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Brian Kirk Photo by Lisa Hagen Glynn Letter from the Director Earshot Jazz a Mirror and Focus for the Jazz Community

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Brian Kirk Photo by Lisa Hagen Glynn Letter from the Director Earshot Jazz a Mirror and Focus for the Jazz Community A Mirror and Focus for the Jazz Community February 2018 Vol. 34, No. 02 EARSHOT JAZZSeattle, Washington Brian Kirk Photo by Lisa Hagen Glynn LETTER FROM THE DIRECTOR EARSHOT JAZZ A Mirror and Focus for the Jazz Community Executive Director John Gilbreath Ideals of Jazz and Freedom Managing Director Karen Caropepe Earshot Jazz Editor Caitlin Peterkin Contributing Writers Halynn Blanchard, Ian I’ve been thinking about Duke El- als of freedom and independence,” Gwin, Paul Rauch lington a lot lately, so I was amused, which Ellington mentioned, seem, but not really surprised, to look up to many, to be going off the tracks. Calendar Editors Karen Caropepe and Caitlin and see a street sign announcing That Seattle’s vibrant jazz scene is Peterkin Duke Ellington Place as I walked well known and respected by the Photography Lisa Hagen Glynn to a gathering in New York City a international jazz community is Layout Karen Caropepe couple of weeks ago. New York is always gratifying, as is seeing the Distribution Karen Caropepe & Earshot Jazz volunteers the center of the jazz universe any many Seattle artists in New York, time, but for a period each January who are now a part of that same send Calendar Information to: that intensity is bumped up by a international community. You can 3429 Fremont Place N, #309 factor of many. Once again, I was help to ensure that the young art- Seattle, WA 98103 happy to be in the middle of it. ists here have all of the support email / [email protected] The huge Association of Perform- they need to take their place in the Board of Directors Danielle Leigh ing Arts Presenters (APAP) confer- world. (President), John W. Comerford (Vice ence brings thousands of arts pro- The annual Golden Ear and Se- President), Sue Coliton (Secretary), Viren fessionals into the city each January, attle Jazz Hall of Fame Awards Kamdar (Treasurer), Sheila Hughes, Chris and helps to create an overall envi- are just around the corner, and Icasiano, Ruby Smith Love, Jon Perrino, ronment for the jazz field (among we’re asking for your participation. Diane Wah others) to capitalize on the concen- Over nearly 30 years, these awards tration. This year, Jazz at Lincoln have been the barometer of Seattle Emeritus Board Members Clarence Acox, Center and JazzTimes magazine jazz, reflecting the times and styles Hideo Makihara, Kenneth W. Masters, Lola Pedrini, Paul Toliver, Cuong Vu inaugurated the two-day Jazz Con- through the nominations put forth gress, which grew out of the Jazz by fans and peers. We’ve got just a Founded in 1984 by Paul de Barros, Connects conference from previous hot month or so to get out to see Gary Bannister, and Allen Youngblood. years. And, as has been the case for and hear these artists, cast your Earshot Jazz is published monthly by the past 14 years, the NYC Winter vote, and plan to join us at the an- Earshot Jazz Society of Seattle and is Jazzfest got bigger, edgier, and more nual awards ceremony. available online at www.earshot.org. relevant than ever. As always, Se- As Ellington acolyte Wynton subscription (with membership): $35 attle artists could be found shining Marsalis says, “Jazz music is Amer- 3429 Fremont Place #309 in all quarters. ica’s past and its potential, summed Seattle, WA 98103 Ellington’s comment that, “Jazz up and sanctified, and accessible to phone / (206) 547-6763 is a good barometer of freedom,” anybody….The music can connect Earshot Jazz ISSN 1077-0984 seemed especially apocryphal. The us to our earlier selves and to our Printed by Pacific Publishing Company showcases, conference topics, and better selves-to-come. It can remind © 2018 Earshot Jazz Society of Seattle concerts were burning as much with us of where we fit on the time line of issues of equity and social justice as human achievement; that’s the ulti- they were with incredible, state- mate value of art.” M I S S I O N S TATEMENT of-the-art music making. The pro- Join us! To ensure the legacy and progression gramming was articulate in reflect- –John Gilbreath, Executive Director of the art form, Earshot Jazz cultivates ing the times in which we live, ac- a vibrant jazz community by engaging knowledging that the “certain ide- audiences, celebrating artists, and supporting arts education. 2 • Earshot Jazz • February 2018 NOTES EARMAIL Seattle Drum School Announces CMA New Jazz Works Letter to the Editor New Band Program Applications are now open for Re: A Royal Room of Sound, The Seattle Drum School launches a Chamber Music America’s New Jazz Earshot Jazz January 2018 new Contemporary Band for Wind & Works program. The New Jazz Works Rhythm Instruments program, run- program provides grants to U.S. jazz I was thrilled to see the article about ning Mondays beginning January 29 ensembles to create, perform, and, if the Royal Room sound staff, which at its Georgetown location. The pro- desired, record new works. The new incidentally I only found out about gram is offered at two different levels: work may be composed by the ensem- by reading it! Sound people are a criti- Beginning/Intermediate and Interme- ble leader or another member of the cal and often under-appreciated link diate/Advanced. ensemble. in live performance, and deserve the Designed to be engaging and col- Applications are due February 4, same respect that studio engineers of- laborative, while establishing a well- and are available at chamber-music. ten garner. It can be a thankless job; no rounded grasp of music fundamentals, org. one notices when the sound is good, but they all complain when it’s bad. the Contemporary Band program of- 4Culture Project Grants fers students hands-on experience in However, I do not agree with the idea The deadlines to apply for a 4Culture their exploration of a variety of dif- that sound engineers should have, or Project grant in Arts, Heritage, and ferent musical styles and forms. Addi- even desire, 100% control. The best Preservation have been set. Grants are tionally, students will have the oppor- sound engineers are collaborators, not available to artists and art groups, re- tunity to record and perform original know-it-alls. I can promise you that in siding in King County, who are creat- and learned material. More informa- 40 years of touring there is no greater ing and presenting work in dance, the- tion at seattledrumschool.com. red flag than, “Trust me, I know the room.” They may know the room, but CONTINUED ON PAGE 22 they don’t know the music. If space permitted I could give mul- tiple concrete examples of excellent IN ONE EAR engineers, technically, ruining gigs because they conceived the music dif- ferently than the artist. (I can also Doug Haire Retires from Sonarchy Jazz Radio give you an equal number of examples After 22 years, Sonarchy will go si- 88.5 KNKX hosts Saturday Jazz where musicians didn’t understand the lent on the airwaves. Matinee, Jazz Sunday Side Up, Ken room, and did the same.) Producer Doug Haire recently an- Wiley’s the Art of Jazz, and Jazz My favorite engineer in the world is nounced his retirement from the Northwest, in addition to its weekday Joe Ferla, now retired. Studio or live, program, as well as from Jack Straw NPR and late-night and prime-time his first questions were always, “What Cultural Center (where Sonarchy is jazz programs. Full schedule and info we got here?” “How do you think we recorded live) after 27 years. at knkx.org. should approach it?” “This is how I Sonarchy is the beloved late-night Abe Beeson hosts The New Cool, hear it, does that work for you?” “I’m broadcast on KEXP 90.3 that featured Saturdays, 3pm, featuring 21st cen- not happy with the sound I’m getting, new music and sound art made in the tury jazz inspired and informed by the have any ideas?” and so on. Pacific Northwest. February will be the sounds of today, hip-hop, funk, elec- Here’s to open minds, opens ears, last month of Sonarchy programming tronic & punk rock, followed by Rob- and working as a team to make the (see below for schedule). Archives are in Lloyd’s Jazz Caliente, 5pm, where best sound, and the best music, pos- available at kexp.org/podcasting. jazz meets Latin rhythms. sible. “It’s all been lovely,” says Haire. Jim Wilke’s Jazz Northwest, Sun- Earshot Jazz thanks you, Doug, for days, 2pm, features the artists and –Wayne Horvitz decades of serving our community in events of the regional jazz scene. For Musician, composer, educator, and the presentation of new music. CONTINUED ON PAGE 22 Royal Room co-owner February 2018 • Earshot Jazz • 3 4 • Earshot Jazz • February 2018 GOldEN EAR AwARDS 2017 Golden Ear Awards Ballot Cast your ballot by March 8! Each year, the Golden Ear Awards recognize and celebrate the outstanding achievements of the previous year in Seattle jazz. In the process, Seattle jazz fans and performers can take stock of and show gratitude for the region’s vibrant jazz ecology. The awards are determined by a combination of nominations and popular vote. Nominees this year were selected by a poll of Earshot Jazz readers, jazz performers, audience members, journalists, and industry professionals. There are eight Golden Ear Award categories, including induction into the Seattle Jazz Hall of Fame. Please vote online at earshot.org, by email to [email protected], or mail your selections to Earshot Jazz, 3429 Fremont Pl. N., #309, Seattle, WA 98103, by March 8.
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