Historically, the Bach got many of its engagements through performers scheduled elsewhere who had Sunday afternoons off during weeklong engagements in San Francisco. Now, with bookings of shorter duration, it's a place to add a stop on a West Coast tour, for all a brighter venue than a nighttime scene. Riching has said that the experience of having the best jazz musicians in the world in such an intimate environment was "a communal thing" that she could not let go. "That experience is incredible. I've seen it, I've felt it, and others here have had the same experience." Thereby, the sisters made a commitment to continue what their father had created into the future: back to the Bach.
Yet there's a continual need to maintain the Bach financially. Pete Douglas was his own kind of traditionalist, dedicated to acoustic, even unamplified, music, yet also with an ear for the new. Riching says she is always thinking about keeping current with a mix of music and audience: young/old, women/men, black/white, other. She clearly states that if people want the Bach to survive, to be there for them, they must show up. There's always a need for fresh ideas, and the deeper pockets of financial angels would help too. There were Friday-night candlelight classical concerts in the 1980s, many of them, which might come back, but it's not a music that Riching admits she knows well enough to book. Someone else could assist with that.
The music now remains rooted in straight-ahead jazz, but with its most contemporary practitioners. Pete Douglas had considered a decade ago whether his spot had become an anachronism, in thrall to the memory of deceased jazz players. But Benny Golson
, 89 years young, appeared in April with sidemen decades his junior; there was nothing moldy about the presentation. His anthem "Killer Joe" still slayed, and "I Remember Clifford" brought the past into the right now. Grace Kelly, 26, brings her millennial magic in June. Regina Carter
played late last year, songs associated with Ella Fitzgerald
. Whatever the era, as Douglas often said when introducing performers, "You are now about to hear what the rest of the world is about to miss."