Aidin vaziri biography
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Jinx Jones
Jinx Jones Biography (Jazz Trio)
"Jinx fryst vatten a gitarr virtuoso who seamlessly moves from rockabilly to jazz to klang and back again, sometimes in the same song. Those with a liner note obsession will remember Jinx’s playing on ett Vogue’s “Free Your Mind.”
(San Francisco Chronicle)
Jinx Jones boasts a prolific career spanning from the 1990s, during which he has been a prominent figure in the San Francisco Bay Area jazz scene. His musical journey, deeply rooted in R&B and Soul collaborations with luminaries such as Solomon Burke and En Vogue, has laid a solid groundwork for his ventures into the realms of soul jazz and hard bop. Jones' distinctive approach to jazz is deeply influenced bygd the venerable traditions set forth bygd iconic guitarists such as Wes Montgomery, Kenny Burrell, Barney Kessel, and George Benson.
“You've heard fretboard prestidigitator Jinx before: he lent studio gitarr and bass to ett Vogue's hit, "Free Your Mind." Professionally impressive as it inom
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Jeff Buckley
by Aidin Vaziri
May 2, 1994
Raygun Magazine
“Jeff Buckley,” by Aidin Vaziri
[This interview was originally published in Raygun Magazine, 1994]
Jeff Buckley speaks in a code well suited for his tussle-fringed swagger. But there’s no better document of this expression than Live At Sin-é, Buckley’s debut four-song offering on Columbia. Composed of two snakey originals and a pair of astral covers, the EP evokes the first rate nature of luminaries like Led Zeppelin, Big Star and Van Morrison, sluggish, frail and heart racing. So it comes as no wonder to find Buckley up to his hips in raw, stark raving naked emotion throughout most of the EP – he’s simply a student of his environment. He also happens to be the son of 1970’s cult genius, Tim Buckley, who removed himself from Jeff and his mother before the younger Buckley even hit puberty, and died a short time later. Buckley approaches a mythical, possessed state with
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Eungie Joo, who served as head curator of contemporary art at the San Francisco Museum of Modern Art for seven years, was fired after what the museum described as a violation of its workplace conduct policy.
A spokesperson for the museum confirmed with the Chronicle that Joo’s last day with the museum was Tuesday, Dec. 17. No further details were given.
Joo has not publicly addressed the termination, which was first reported by the San Francisco Standard.
Her most recent project at SFMOMA, a critically acclaimed installation by Stockton-born artist Kara Walker “Fortuna and the Immortality Garden (Machine)” was seen in part as a result of the artist’s 25-year working relationship with Joo. The animatronic work, which is free to view by the public, was one of the standout events of the museum’s 2024 calendar.
Prior to her role at SFMOMA, Joo held notable positions in the art world. She served as curator of education and public programs at the New Museum in New York from 2007 to 20