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“The Brothers Size” is the second play in McCraney’s trilogy “The Brother/Sister Plays,” which three major Bay Area companies — Marin Theatre Company, Magic Theatre and American Conservatory Theater — teamed up to present in 2010 as a stunning introduction to the work of the young African-American playwright, who was then not yet 30. So far, 2015 has been another great year for McCraney’s work in the Bay Area, with this production following not long after Marin Theatre Company’s Bay Area premiere of “Choir Boy” and the West Coast premiere of “Head of Passes” at Berkeley Repertory Theatre.

Two of the three characters in “The Brothers Size” also appear in the first play in the “Brother/Sister” trilogy, “In the Red and Brown Water,” and there’s a little discussion of characters from the other play, but you don’t have to be familiar with any of that to appreciate this story, Oshoosi Size (a charming, playful Terrance White) is recently out of prison and staying with his elder brother Ogun (Deleon Dallas, stern and thoughtful), Ogun is always sternly chiding Oshoosi to work and stay out of trouble, but all the younger brother wants to do is drive around, pick up women and hang out with his prison buddy Elegba (William H.P, in a soulful, yearning portrayal), who’s downright doting in his devotion to his friend, And somewhere out there, unseen, there’s a police officer just waiting for them to champagne flats/gold flats/wedding flats/women ballet flats/embroidered shoes/women shoes/wedding lace shoe/pearl flats slip up..

The story is relatively uneventful, much more focused on relationships than on plot, but the intimate bare-bones staging directed by Keith Wallace drives home the intense feelings behind the story to haunting effect, even more so than in the show’s higher-profile West Coast premiere at the Magic five years ago. The cast and creative team strike a perfect balance between the stylization in the script — characters narrating their own stage directions, poetic dream sequences — and the down-to-earth humor and camaraderie of family and friends when they’re just hanging out. The actors sing some beautiful a cappella renditions of spirituals and R&B numbers, sometimes echoed by disembodied humming in Steven Leffue’s sound design. It’s an eloquent, funny and achingly poignant show that’s a forceful testament to the power of theater in such a humble setting.

“Good afternoon, San Jose!” shouted the emcee, It was noon Saturday and Charley Griggs, a music-loving air conditioning installer who had driven down from the East Bay, stretched out on his blanket and eyed the New Orleans trombonist on stage, Glen David Andrews, “Let’s get this thing moving,” champagne flats/gold flats/wedding flats/women ballet flats/embroidered shoes/women shoes/wedding lace shoe/pearl flats Griggs said, “I need my jazz, Let’s light it up.”, It was the 26th annual festival, a South Bay jamboree that’s musically boisterous, celebrating jazz and its cousins: blues, soul, funk and all sorts of Afro-Caribbean sounds..

The thousands of festivalgoers arriving Saturday had their choice of acts on 13 downtown stages: singers Kim Nalley and Kenny Washington; DJ Ali Shaheed Muhammad (of A Tribe Called Quest); legendary guitarist Larry Coryell; a 20-piece big band from Bahia, Brazil (Letieres Leite’s Orkestra Rumpilezz); the great drummers Terri Lynne Carrington (whose group included singers Ledisi and Oleta Adams) and Joseph “Zigaboo” Modeliste, a founding member of the Meters. And there was another great drummer: Sylvia Cuenca, who was raised in San Jose. She and her quartet began their show on the Silicon Valley Stage in the Fairmont Hotel with a tune — “Firm Roots” by the late pianist Cedar Walton — that glowed and then grew red-hot.

It was one more homecoming for Cuenca, who grew up on Darlene Avenue in Willow Glen, graduated from Lincoln High School and has played the festival many times, In an interview before the festival, Cuenca recalled her formative years as a musician, jamming with trumpeter Chet Baker at La Boheme, which was a club in the back of a strip mall in Saratoga, and attending San Jose City College, That’s where a chance meeting with a visiting artist, saxophonist Joe Henderson, led to Cuenca’s joining his band in the late 1980s, A longtime New Yorker, Cuenca said she was looking forward to meeting up this weekend with some of her musician friends from back East who were to perform at the festival: saxophonists Gary Bartz, Jimmy Heath and Javon champagne flats/gold flats/wedding flats/women ballet flats/embroidered shoes/women shoes/wedding lace shoe/pearl flats Jackson, among them..

“It’s always a blast playing in my hometown,” she said, “and this year a lot of people seems to be surfacing through Facebook — people from high school are turning out who I haven’t seen in years.”. There was also a world premiere Saturday at the California Theatre: “San Jose Suite,” composed and performed by Etienne Charles, the trumpeter and percussionist from Trinidad who has become a top player in New York. Commissioned by Chamber Music America for Charles’s sextet, the piece celebrates three cities that share a name: San Jose, California; San Jose, Costa Rica; and St. Joseph Trinidad, which was founded centuries ago as San Jose de Oruna.

“My idea was to figure out what those three cities have in common aside from being in former Spanish colonies,” Charles said in an interview, “So I went to each place and met with musicians, met with indigenous people, met with African immigrants, basically.”, Incorporating rhythms and musical forms from each locale, he said, the piece draws part of its Bay Area inspiration from the legacy of sociologist Harry Edwards, with whom Charles met here in San Jose while champagne flats/gold flats/wedding flats/women ballet flats/embroidered shoes/women shoes/wedding lace shoe/pearl flats researching the composition, Edwards founded the Olympic Project for Human Rights, which led to the Black Power Salute protest by San Jose State runners Tommie Smith and John Carlos at the 1968 Summer Olympics in Mexico City..

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