A Mirror and Focus for the Jazz Community November 2017 Vol. 33, No. 11 EARSHOT JAZZSeattle, Washington

Paul Kikuchi Photo by Daniel Sheehan Letter from the Director Earshot JazZ A Mirror and Focus for the Jazz Community

Executive Director John Gilbreath This is… Managing Director Karen Caropepe Earshot Jazz Editor Caitlin Peterkin

Contributing Writers Halynn Blanchard, Jazz—in many forms and many Marianne Gonterman, Ian Gwin, Andrew voices, around the world, from Se- Luthringer, Peter Monaghan, Caitlin attle to Seattle! Peterkin, Paul Rauch The Earshot Jazz Festival 2017 is still in progress as this issue goes Calendar Editor Caitlin Peterkin to press, and it’s clear that jazz is… Photography Daniel Sheehan Layout Karen Caropepe more vibrant, cherished, diverse, Distribution Karen Caropepe & Earshot Jazz innovative, respectful, irrever- volunteers ent, connected, singular, spiritual, global, collaborative, studied, radi- visiting jazz artists showing up on Send Calendar Information to: cal, refined, serious, joyful, soulful, our local scene has been nice. It’s 3429 Fremont Place N, #309 hard swinging, and Seattle(!) than been cool to have artists like Matt Seattle, WA 98103 ever before! The music, the artists, Wilson, Joe McPhee, Roxy Coss, email / [email protected] and the audiences have been en- Naomi Moon Siegel, and Greg Tate Board of Directors Danielle Leigh gaged and engaging on a whole new and the Burnt Sugar Arkestra in (President), John W. Comerford (Vice level through this year’s festival, town for a few days each. We appre- President), Sue Coliton (Secretary), Viren and it’s clear we’ll come away with a ciate the enhanced connections that Kamdar (Treasurer), Sheila Hughes, Chris refreshed and enriched definition of happen when a visiting artist is able Icasiano, Ruby Smith Love, Jon Perrino, what jazz is, inside each of us. to run some workshops, give a talk, Diane Wah This festival feels different from the show up at jam sessions, and get Emeritus Board Members Clarence Acox, inside out. “The living spirit of jazz,” better acquainted. We look forward Hideo Makihara, Kenneth W. Masters, Lola which Langston Hughes once spoke to more of that in years to come. Pedrini, Paul Toliver, Cuong Vu of, is strong this year. The individual We are so grateful to all of the Founded in 1984 by Paul de Barros, soul that each artist brings to the people and partners who make this Gary Bannister, and Allen Youngblood. stage seems to be somehow more festival possible. We’d certainly like Earshot Jazz is published monthly by present, maybe burning brighter, to thank all of the artists, audienc- Earshot Jazz Society of Seattle and is but expressing the self of each musi- es, and entities who make this fes- available online at www.earshot.org. cian like strands of DNA wrapped tival such a valued part of Seattle’s Subscription (with membership): $35 around the notes. Clearly there’s also cultural calendar. We appreciate 3429 Fremont Place #309 a lot intellect, skill, and risk involved our regular volunteers and audience Seattle, WA 98103 in what we’re hearing, but the “head members enormously, and we’re de- phone / (206) 547-6763 and the heart” are in a particularly lighted to see many new faces in the Earshot Jazz ISSN 1077-0984 sweet harmony this year. crowd. Whether you’re among the Printed by Pacific Publishing Company This run really felt like a jazz fes- (tens of) thousands of new Seattle © 2017 Earshot Jazz Society of Seattle tival. It’s been fantastic to have so residents, or are just now acting on much music from Dawn Clement, your latent jazz impulses, we’re glad this year’s featured Seattle artist. you’re here. Don’t be bashful in M i ss ion Statement either case. Keep in touch and get She is a jazz festival all her own. To ensure the legacy and progression And, even though the form of some involved! of the art form, Earshot Jazz cultivates jazz traditions has shifted slightly— Enjoy! a vibrant jazz community by engaging like reefer suddenly manifesting as –John Gilbreath, Executive Director audiences, celebrating artists, and gummy bears—the tradition of supporting arts education.

2 • Earshot Jazz • November 2017

notes The Bass Church The Bass Church The Bass Church The Northwest double bass specialists The Northwest double bass specialists The Northwest double bass specialists Applications for 2018 Jack Straw Maque, SoulCanvas provides artists Artist Residencies Now Available with an opportunity to record and www.basschurch.com www.basschurch.com www.basschurch.com The Jack Straw Artist Residency Pro- share original work through social grams offer established and emerging media and special events. Learn more artists in diverse disciplines an op- about the project at soulcanvasart.com. Sales, Rentals, Sales, Rentals, Sales, Rentals, portunity to explore the creative use WJMAC Jazz Walk Repairs, Restorations, Repairs, Restorations, Repairs, Restorations, of sound in a professional atmosphere Whatcom Jazz Music Arts Cen- Lessons Lessons Lessons through residencies in our recording ter (WJMAC), a 501(c)3 nonprofit arts Convenient North Seattle Location Convenient North Seattle Location Convenient North Seattle Location studios and participation in our vari- and education organization, is hosting ous presentation programs. Applica- its first-ever fundraiser for the WJ- (206)784-6626 (206)784-6626 (206)784-6626 tions for the 2018 program are now 9716 Phinney Ave. N. 9716 Phinney Ave. N. 9716 Phinney Ave. N. MAC Jazz Education Program, a jazz Seattle, WA. 98103 Seattle, WA. 98103 Seattle, WA. 98103 available at jackstraw.org, with a dead- ~by appointment only~ performance program for high school- ~by appointment only~ ~by appointment only~ line of November 1. Artists may apply aged musicians. Jazz Walk 2017 pres- to only one program per year. ents 12 bands in six venues in the Arts SoulCanvas Event Launch Party District of downtown Bellingham Join local artists on November 4 at on Thursday, November 16, from The Bass Church The Bass Church The Bass Church Frederick Holmes Art Gallery in Pio- 6–11pm. Regional bands include: Ju- The Northwest double bass specialists The Northwest double bass specialists The Northwest double bass specialists

neer Square (309 Occidental Ave S) to lian MacDonough and Dan Faehnle, www.basschurch.com www.basschurch.com www.basschurch.com celebrate the official launch of SoulCa- Blake Angelos Trio, Kevin Woods nvas. Space is limited; tickets are avail- Quartet, Gail Pettis, Zoo Patrol, Ali- cia Dauber, Milo Peterson Trio, Joe able at brownpapertickets.com.

Founded this past spring by Seattle Sales, Rentals, Sales, Rentals, Sales, Rentals, musicians D’Vonne Lewis and Elena Continued ON PAGE 23 Repairs, Restorations, Repairs, Restorations, Repairs, Restorations, Lessons Lessons Lessons

Convenient North Seattle Location Convenient North Seattle Location Convenient North Seattle Location

In one ear (206)784-6626 (206)784-6626 (206)784-6626 9716 Phinney Ave. N. 9716 Phinney Ave. N. 9716 Phinney Ave. N. Jazz Radio Seattle, WA. 98103 Seattle, WA. 98103 Seattle, WA. 98103 90.3 KEXP, late-night Sundays, ~by appointment only~ ~by appointment only~ ~by appointment only~ 88.5 KNKX hosts Saturday Jazz features Jazz Theater with John Gil- Matinee, Jazz Sunday Side Up, Ken breath, 1am, and Sonarchy, midnight, a live-performance broadcast from Wiley’s the Art of Jazz, and Jazz Northwest, in addition to its weekday the Jack Straw Productions studio, NPR and late-night and prime-time produced by Doug Haire. Full sched- The Bass Church The Bass Church The Bass Church The Northwest double bass specialists The Northwest double bass specialists The Northwest double bass specialists jazz programs. Full schedule and info ule information is available at kexp. at knkx.org. org and jackstraw.org. www.basschurch.com www.basschurch.com www.basschurch.com Abe Beeson hosts The New Cool, Sonarchy’s November schedule: No- Saturdays, 3pm, featuring 21st cen- vember 5, The Antenna Project, solo

tury jazz inspired and informed by the music for a live setting in which the sounds of today, hip-hop, funk, elec- player is the muse, creator, director, Sales, Rentals, Sales, Rentals, Sales, Rentals, tronic & punk rock, followed by Rob- and listener; November 12, Cage- Repairs, Restorations, Repairs, Restorations, Repairs, Restorations, in Lloyd’s Jazz Caliente, 5pm, where match, new music for jazz quartet, Lessons Lessons Lessons with Kate Olson (sax), Matt Endahl Convenient North Seattle Location Convenient North Seattle Location Convenient North Seattle Location jazz meets Latin rhythms.

Jim Wilke’s Jazz Northwest, Sun- (piano), Gary Prince (guitar), and Tim Cohen (drums); November 19, Marc (206)784-6626 (206)784-6626 (206)784-6626 days, 2pm, features the artists and 9716 Phinney Ave. N. 9716 Phinney Ave. N. 9716 Phinney Ave. N. events of the regional jazz scene. For Barreca, PacNW electronics pioneer Seattle, WA. 98103 Seattle, WA. 98103 Seattle, WA. 98103 ~by appointment only~ ~by appointment only~ ~by appointment only~ JazzNW podcasts of archived pro- grams, see jazznw.org. Continued ON PAGE 23

November 2017 • Earshot Jazz • 3 PROFILE Paul Kikuchi: 9066

By Peter Monaghan For several years, Seattle-based per- cussionist and composer Paul Kikuchi has been delving into the archives of Japanese-American life in the city, and for his 2017 Earshot Jazz Festival ap- pearance has created a singular work merging past and present. His 9066 commemorates a dark chapter in American history: the imposition, 75 years ago, of Execu- tive Order 9066. It resulted in some 120,000 Japanese Americans, most of them U.S. citizens, being incarcer- ated in internment camps in the inte- rior of the western United States dur- ing World War II. Among them were thousands of Seattleites. Among his goals, says Kikuchi, is “to illuminate just how much Seattle lost photo courtesy of ARtist in terms of cultural diversity, and how of 78rpm records, as well as memoirs, members of the Japanese-American thriving a Japantown we had, and how that his grandfather, Zenkichi Kiku- community become aware of the work much was decimated and never came chi, left upon his death. He had come he is doing to catalog and digitize the back.” to the United States in 1901 from ru- artefacts. He says 9066 “has grown To do that, he has created a set of ral Japan, and, during his years in the out of getting to know the collection linked sound installations that in- Northwest, laid track for the Northern better, and wanting to share that pro- corporate 78rpm recordings from the Pacific Railroad and farmed in the Ya- cess with people.” large collection held at the Japanese kima Valley. The archive’s hundreds of 78rpm re- Cultural and Community Center of In 2015, Paul Kikuchi’s Songs of Ni- cordings date from the early 1900s to Washington, as well as live perfor- honmachi merged jazz standards of the about 1950, many from before World mance by him, on percussion, and 1920s and 1930s with improvisations War II. Haruko Crow Nishimura, of the De- inspired by popular Japanese songs of “The earlier ones were potentially generate Art Ensemble, on vocals and the era. The performance was held at brought over by Japanese immigrants, electronics. the Panama Hotel, in the International at the turn of the century,” says Kiku- 9066 is the latest of a series of proj- District, a center of Japanese commu- chi. “From there, it was either people ects in which Kikuchi has explored the nity life before the resettlement forced bringing records over or, as of the early lives of Japanese immigrants in the Pa- by Executive Order 9066. 1920s, there were shops in Seattle cific Northwest. His acclaimed and in- Kikuchi’s interest in such legacies where immigrants could buy the re- tensely moving work for chamber jazz led him to the Japanese Cultural and cords.” ensemble, Bat of No Bird Island, which Community Center’s sound archive, The 78s range from traditional, older premiered at the 2013 Earshot festi- with its assortment of now 1,300 re- Japanese music to more popular styles val, was inspired by a small collection cordings, growing all the time as that came into fashion around the

4 • Earshot Jazz • November 2017 time of the war, often incorporating other, he is presenting soundscapes he Western influences into Japanese in- has created with portions of the 78s. In Earshot Jazz presents... strumentation and sources. Kikuchi the Center’s largest space, he and Ha- says: “Some of the donations we get ruko Crow Nishimura will integrate at the Center come from the Japanese prerecorded sound material from the American community, and some just records with their live performance, come from people who find the 78s. along with projected archival film So much was lost during the intern- footage. ment. Shellac records are not the Also part of the presentation will be easiest things to carry around; they’re the Center’s small Hunt Hotel exhibit, pretty heavy. Obviously a lot of stuff which shows what the building was Matthew Shipp Trio got lost during the internment, was like while it was known, after the war, with Michael Bisio just given away or was lost.” as the Hunt Hotel because Hunt, in and Newman Taylor Baker Kikuchi says he wants his produc- south-central Idaho, was the closest tion to suggest “how can the music of town to the Minidoka War Relocation a community help us to get an idea of Center, where the majority of Seattle’s Monday, December 4, 7:30pm PONCHO Concert Hall, 710 E Roy St who people were, and humanize im- exiled Japanese Americans were held. migrant populations, which is pretty The result of that use of the Center’s important in the politics of today. spaces, Kikuchi says, will hopefully be Open to All - Free “But also,” he adds, as an amateur ar- an “intensive, immersive experience chivist he can admit, “I’m just interest- that’s really not like a sit-down concert ed in what people’s musical collections experience.” were like.” He has started working on The war-time experiences of Japanese a further project in which he will try Americans resonates powerfully in the to imagine the lives of particular indi- community, today, including in his viduals based on collections that have own life, Kikuchi says. He has spo- come to the Center. ken, in relation to his earlier Bat of No 9066 will be like earlier projects in Bird Island, of his forebears’ “profound which Kikuchi made innovative use struggles that certainly contextualize of such spaces as a decommissioned the ups and downs of my life today.” nuclear power plant’s cooling tower, Of 9066, he says: “I want people to Sunday, November 5, 6 pm Seattle’s Union Station, and the huge walk away with an experience of hu- underground cistern at Fort Worden manizing this group of people in a State Park. The last of those is near way that they maybe aren’t humanized Families that play where Kikuchi grew up on the Kitsap through reading about them in a text Peninsula. book or being told about them, and music together As another of his “site-responsive then hopefully, from there, being able Nancy Erickson, emcee works,” 9066 will seek to bring to life to humanize a lot of people who are Beth and Jim Wulf, Sheila Blackstone, the spaces of the Japanese Cultural and being marginalized now.” Sylvia and Mikel Rollins, D’Vonne Lewis Community Center, which is housed in a building that was used as tempo- SAVE THE DATE: Paul Kikuchi: 9066 Next concert on December 3 rary housing for Japanese Americans Seattle Buskers returning from concentration camps Friday, November 3, 7pm to resettle in Seattle, after the war. Among his goals, he says, is to give au- 100 Minutes of professional jazz Japanese Cultural & Commu- Family friendly concert / Free parking diences a tactile sense of the building, nity Center of Washington as a living historical location. Seattle First Baptist Church Audience members will be able to 1414 S Weller St 1111 Harvard Avenue navigate a variety of spaces, as they (Seneca and Harvard on First Hill) wish. In one room, 78s from the Cen- Tickets and more information Seattle, WA (206) 325-6051 at earshot.org. ter’s collections will play, while in an- www.SeattleJazzVespers.org/GO/SJV

November 2017 • Earshot Jazz • 5 PREVIEW>> Amy Denio’s Truth is Up For Grabs

Saturday, November 11, 8pm broadcast from Naples with her band Chapel Performance Space Quintetto alla Busara. As a multi- 4649 Sunnyside Ave N instrumentalist and producer, she has Sliding scale $5–15 founded bands including the all-wom- en sax quartet the Tiptons, and now If any artist could be said to repre- has over 50 recordings to her name, sent a Seattle “sound,” it would be many on her label, Spoot Music. As a the multifaceted, kaleidoscope-eyed composer, she has been commissioned West Seattle resident Amy Denio. A by everyone from the Italian National multi-instrumentalist, vocalist, pro- Radio to the Berkeley Symphony, and ducer, and composer, Denio will pre- written largescale works for film and miere her newest work, “Truth is Up dance companies. for Grabs”—an eight-piece song cycle Her last piece for chamber orchestra, for extended chamber ensemble—No- a song cycle titled “Non Lo So, Polo,” vember 11 at the Chapel Performance inspired by the writings of Italo Cal- Space, with Mike Jauregui conduct- vino, premiered in Seattle in 1996 and ing. led to an eight-stop tour of Austria. “The music is inspired by current Now revisiting the orchestral canvas, events, but it is also about beautiful she cites musical influences such as a things in the world right now, like childhood favorite, the Stan Kenton international collaboration in music,” orchestra, to her expansion of the tra- says Denio. While the song cycle does ditional string ensemble with a brass address complex themes, such as con- section, electric guitar, and percussion. temporary military-based economies, “I wanted to create slightly different Amy Denio photo by Ursula Lindenbauer and uses dramatic sources including a sounds and go on my own path,” says poem by the Spanish poet Pablo Ner- Denio. Manifide on guitar and vocals, or con- uda, “Songs for the Mothers of Slain To achieve this, Denio planned out ducting youth symphonies. Militiamen,” Denio insists on finding an orchestra composed of colleagues “He’s excellent at conducting with a positive inspiration of present-day and friends. “The piece was written individual sounds from each instru- music as an international language. for individual voices, and some parts ment,” Denio says. “For example, I play in the Croatian are improvised,” she says. “I have some At the level of collaboration as much band Kultur Shock,” she says, men- phenomenal improvisers in the band.” as inspiration, the song cycle promises tioning her more than 20-year-long These include Seattle session stand- to engage with counterpoint as social collaboration with the Balkan metal- out Geoff Harper (bass), Industrial as it is musical. True to form, Denio folk outfit. “Of course, not everyone Revelation’s Evan Flory-Barnes (bass), continues to give listeners, with her speaks that language, but the music and Cornish Chair of Music James worldly curiosity and imaginative delivers that message loud and clear.” Falzone (clarinet). sense of humor, new ways of hear- By crossing borders both political and Likewise, conductor Mike Jauregui is ing and thinking. Of the piece’s title musical, Denio, a Seattle Hall Jazz of another multi-faceted artist enriching she says: “The trumpeter Jim Knodle Famer, has found the universal in mu- the Seattle scene. A composer, edu- made the comment...and the phrase sic on over six continents. Her career cator, and instrumentalist, he can be has always stood out to me. Everyone has ranged from vocal studies in Bom- found playing trombone in orchestras has their own truth.” bay to a worldwide New Year’s Eve and big bands, leading his rock band –Ian Gwin

6 • Earshot Jazz • November 2017 2017 Earshot Jazz Festival Earshot Jazz Festival in November

Wednesday, November 1, Moore Theatre, Saturday, November 4, Nordstrom Recital Thursday, November 9, Chapel Performance 7:30pm Hall, 7:30pm Space, 7:30pm Gregory Porter Sunday, November 5, Kirkland Performance Lori Goldston & Judith Hamman Center, 2pm Thursday, November 2, Crocodile Café, 8pm Seattle Repertory Jazz Friday, November 10, Triple Door, 7pm & Black Rock Coalition Get-Down Orchestra with Wycliffe 9:30pm Review & Prince Tribute Gordon: The Art of the Ranky Tanky Trombone Thursday, November 2, Chapel Performance Friday, November 10, Seattle Art Museum, Space, 8pm Sunday, November 5, Columbia City 7:30pm Jovino Santos Neto & Martin Theater, 7:30pm Lucian Ban Trio: Songs From Kuuskmann Anton Schwartz Quartet: Afar / Angela Draghicescu Tribute to Stanley Turrentine Friday, November 3, Seattle Art Museum, Saturday, November 11, PONCHO Concert 8pm Monday, November 6, Paramount Theatre, Hall, 8pm Burnt Sugar Arkestra We 7pm Dawn Clement: LineUp! / Dawn Insist: Freedom NOW Jovino Santos Neto Quinteto Clement Duo

Friday, November 3, PONCHO Concert Hall, Tuesday, November 7, Triple Door, 7pm & Saturday, November 11, Nectar Lounge, 8pm 9:30pm 8:30pm Steel House: Edward Simon, The Bad Plus Taylor McFerrin / SassyBlack / Scott Colley, and Brian Blade Noel Brass Jr Wednesday, November 8, PONCHO Concert Friday, November 3, Japanese Cultural & Hall, 8pm Sunday, November 12, Triple Door, 7:30pm Community Center of Washington, Time TBA Giulia Valle Trio The Baylor Project Paul Kikuchi: 9066 Wednesday, November 8, Chapel Saturday, November 4, PONCHO Concert Performance Space, 7:30pm Tickets and information at earshot.org. Hall, 8pm Gato Libre w/ Satoko Fujii Amina Figarova Sextet

November 2017 • Earshot Jazz • 7 Wednesday, November 1, Thursday, November 2, Crocodile, 8pm Moore Theatre, 7:30pm Black Rock Coalition Get-Down Gregory Porter Revue / Burnt Sugar Arkestra $41.50–52.50 + fees Presented by Seattle Theatre Group “Caramelizes” Prince Singer and songwriter Gregory Por- ter has a unique relationship with $20 adults | $18 Earshot members & seniors | $10 students & military his audiences. A vocalist who subtly Tonight and tomorrow, Seattle gets a chance to experience the singular fire and crosses the boundaries of jazz, blues, funk of the Burnt Sugar Arkestra and Black Rock Coalition in three unforgetta- and R&B, Porter is a sophisticated, ble, earth-shaking settings. As David Fricke, writing in Rolling Stone, said, “The soulful, and consummately stylish BRC’s shows have been a great fact of New York life since the activist group’s performer whose last two albums, founding in 1985. The BRC has long been rich in underestimated talent.” 2016’s Take Me to the Alley and 2013’s Kicking off tonight is the Black Rock Coalition’s booty-shaking, finger-snap- Liquid Spirit, won Grammys in the ping Get-Down Revue, an all-star repertory jump through worlds of music, category of Best Vocal Jazz Album. dance, legacy, future, blues, rhythm, rock, and soul. Based in The Atlantic Porter’s singing, recalling the me- Rhythm and Blues, 1947-1974 box set, BRC respects the artists who gave birth to lodic intuition of Marvin Gaye, the rock and roll, but were often limited by racism, culture, geography, economics, honest and emotional touch of Bill and circumstance. BRC notes, “The music they recorded was often allowed to Withers, and the dramatic depth of escape those boundaries and dance its way into the hearts of people around the Johnny Hartman, has a musical poet- world, calling disparate communities to move on the one—crossing lines and ry all its own. This sensibility shines expanding humanity 8 bars at a time.” through particularly in his songwrit- Helmed by 25-year crowd-pleaser Luqman Brown (Dope Sagittarius, Funk- ing, recalling his humble origins as Face), and never far from co-founder Greg “Ionman” Tate, BRC’s Get-Down one of eight siblings to a minister Revue includes Shelley Nicole, V. Jeffrey Smith, Lewis “Flip” Barnes, Ben Tyree, mother and a largely absentee father. Leon Gruenbaum, Greg Gonzalez, and Jared Michael Nickerson. As a young man, Porter sang gos- Founded by musician and iconic Village Voice writer Greg Tate, producer Kon- pel on his own time, reserving his da Mason, and Vernon Reid, guitarist for Living Colour, BRC’s founding mem- ambitions for the NFL. He received bers initially gathered in an art gallery named “Jams” on Broadway to meet and, a full-ride scholarship to San Diego according to Tate, “air out certain gripes that people had about the ‘glass ceiling’ State University playing football un- in music for Black musicians....Recording contracts and performances pigeon- til a career-ending injury in his junior holed black artists playing rock, metal, thrash, and other forms of modern rock year left him at a crossroads. Working music into preset categories, creating a vicious cycle of misinformed consumers relentlessly on his repertoire and writ- and misrepresented performers.” Their growing circle of musicians, artists, crit- ing, Porter gigged, workshopped, and ics, and music professionals found a common cause. “When we started to think networked his way into success, first about this whole tradition of people in jazz, like Lester Bowie, Art Ensemble of as a singer for artists such as David Chicago, when they started their organization in Chicago, the AACM, they just Murray and Dianne Reeves, then on put on their own concerts…in different meeting spaces,” Tate said. his own with 2010’s Grammy-nomi- Next up is the Burnt Sugar Arkestra’s “avant-funk and roll splinter cell,” Re- nated Water, before signing with Blue bellum, featuring vocalists Shelley Nicole and Mikel Banks, in “caramelized” Note Records. tribute to the late, great Prince. Porter has toured on stage and in fes- Since its inception in 1999, Burnt Sugar has been a “maximum blend” multira- tivals throughout the U.S. and Europe, cial crew of Sisters and Brothers from around the world, espousing to the motto collaborating with artists such as the “it takes a village” to succeed. electronic group Disclosure, Jamie Cul- Earshot Jazz is proud to present what Rolling Stone calls “a multiracial jam lum, Buddy Guy, and Renée Fleming. army that freestyles with cool telekinesis between the lustrous menace of Miles “To me, if I contribute anything to Davis’ On The Corner, the slash-and-om of 1970s King Crimson, and Jimi jazz, it’s my vulnerability and really Hendrix’ moonwalk across side three of Electric Ladyland” for two evenings of thinking about the emotion in each two distinctively legendary and different songbook performances. song,” he has said.

8 • Earshot Jazz • November 2017 Thursday, November 2, Chapel Performance Space, 8pm Jovino Santos Neto & Martin Kuuskmann

$5–15 sliding scale him a spot in the Seattle Jazz Hall of Presented by Nonsequitur Fame—and in the hearts of listeners Rarely does the fortepiano meet mano worldwide. He is currently a profes- a mano with the bassoon—though sor of jazz composition at the Cornish composer/pianist Jovino Santos Neto College of the Arts, and also teaches in and virtuoso concert bassoonist Mar- music camps in California and Brazil. tin Kuuskmann will certainly have a “He’s a star,” conductor Paavo Järvi few things to say about this marriage has said of Grammy-nominated bas- of winds and strings when they per- soonist Martin Kuuskmann. “His form as a duo for this year’s festival. playing is world-class virtuoso play- Born in Brazil, Neto is a top-tier ing…but I would say that his presence composer, pianist, flutist, and educator is his real strength as a soloist.” based out of Seattle. From his native Combined with this strength, Rio de Janeiro, Neto earned his bona Kuuskmann, a graduate of Yale and fides touring and recording with Her- the Manhattan School of Music, has meto Pascoal and his group. In 1993 furthered the musical conception of he moved to the U.S., and has toured, his instrument through his modern- Martin Kuuskmann photo by Karl J. Kaul recording, and composed music in a ization of bassoon technique, mak- bewildering variety of settings without ing one wonder why the instrument Aside from playing and recording losing his signature musical humor, doesn’t take its place beside the tenor with world-class orchestras and his inventiveness, and scholarly respect for of Coltrane or the guitar of Hendrix. own Absolute Ensemble, Kuuskmann the various traditions of South Ameri- Modern composers such as Erkki-Sven has found time as an educator to give can music. Tüür, David Chesky, and Christopher back to his musical communities, Neto has earned Grammy nomina- Theofanidis have dedicated concertos serving as the woodwind coach for tions through his Seattle-based Quin- to him, and, in addition to premiering the Baltic Youth Philharmonic, teach- teto, composed music performed by these, he has performed works written ing at the Arosa Music Academy in the Seattle Symphony, and played for a variety of modern ensembles by Switzerland, and more. Currently he with the likes of Paquito D’Rivera, composers such as John Patitucci and teaches at the Lamont School of Music Bill Frisell, and more, all earning Daniel Schneider. at the University of Denver.

ART OF JAZZ DAWN CLEMENT GROUP Thursday, November 9, 5:30 – 7:30 PM

Pianist, Dawn Clement is becoming one of Seattle’s most admired creative spirits. Both as a traditionalist and a progressive artist, she is ready to join the group of Seattle jazz greats.

SEATTLE ART MUSEUM Brotman Forum Sponsored by: 1300 First Avenue Free Seating is limited and available on a first-come, first-served basis. visitsam.org/performs

November 2017 • Earshot Jazz • 9 Friday, November 3, Japanese Cultural & Community Center of Washington, 7pm Paul Kikuchi: 9066

$16 adults | $14 Earshot members & live performance. The shellac platters can the music of a community help us seniors | $8 students & military came to Seattle with Japanese immi- to get an idea of who people were, and Marking the 75th anniversary of grants, or Japanese Americans bought humanize immigrant populations, Executive Order 9066, which led to them from stores in the city’s Japan which is pretty important in the poli- the incarceration of Japanese Ameri- town, which thrived until thousands tics of today? But also, I’m just inter- cans during World War II, this per- of Seattleites, among 120,000 Japa- ested in what people’s musical collec- formance—in a building used as nese Americans, most U.S. citizens, tions were like.” temporary housing following the were forced into concentration camps Kikuchi’s group includes him on internment—uses pre-War music in the interior of the western United percussion and vocalist Haruko Crow sourced from the Center’s collec- States. Nishimura (Degenerate Art Ensem- tion of hundreds of 78rpm records, Kikuchi says he wants his produc- ble). to create soundscapes incorporating tion to answer the question: “How Presented with support from 4Culture.

Friday, November 3, Seattle Art Museum, 8pm Burnt Sugar Arkestra: We Insist! Freedom NOW

$24 adults | $22 Earshot members & seniors | $12 students & military In homage to Abbey Lincoln, Max Roach, and Oscar Brown Jr, the Burnt Sugar Arkestra Chamber revives and reimagines the legendary 1960s canon of Liberation music, with compositions specifically from the We Insist! Freedom Now Suite, Percussion Bitter Sweet, and It’s Time, as well as selections from some of Ms. Lincoln’s later solo work and from the Max Roach Quartet. Under the conduction baton of founder Greg Tate (in gesture and spirit, con- tinuing the flow of Butch Morris), the Burnt Sugar Arkestra includes Shelley Nicole (vocals), Mikel Banks (vocals), V. Jeffrey Smith (sax), Lewis “Flip” Barnes (trumpet), Ben Tyree (guitar), Leon Gruenbaum (keys), Greg Gonzalez (drums), and co-leader Jared Michael Nickerson (bass). The Burnt Sugar Arkestra Chamber, founded by Village Voice sage Greg Tate and co-led with bassist Jared Michael Nickerson, was originally conceived in 1999 as a forum for the New York area improvisers to compose, record, and perform material, often through deployment of Butch Morris’s “Conduction” system, reflecting the breadth and depth of American diaspora music in the 21st century. With an alumni that includes Matana Roberts, Vijay Iyer, Julia Kent, Graham Hayes, Okkyung Lee, and Qasim Naqvi, Burnt Sugar’s prodigious collective chops allow a wide swath through the avant-soul-jazz-hip-hop and rock spec- trum along with a variety of songbook performances from Sun Ra to Steely Dan. Gregory “Ionman” Tate likes to say the Burnt Sugar Arkestra is “a territory band, a neo-tribal thang, a community hang, a society music guild aspiring to the condition of all that is molten, glacial, racial, spacial, oceanic, mythic, an- tiphonal and telepathic.”

10 • Earshot Jazz • November 2017 Friday, November 3, PONCHO Concert Hall, 8pm Steel House: Edward Simon, Scott Colley, Brian Blade

$30 adults | $28 Earshot members & Venezuelan pianist Edward Simon, path—one that continues to balance seniors | $15 students & military a formidable recording artist, educa- his role as a leader and a band member, Co-presented with Cornish Presents tor, and bandleader, is at the top of his as a creative collaborator. game. His musical approach is to get Brian Blade, one of today’s leading jazz Three world-class instrumentalists— to the essence of the message, commu- drummers, composers, and bandlead- Edward Simon (piano), Scott Colley nicating by making every note count. ers, makes music that exists beyond (bass), Brian Blade (drums)—who met In 2010, Simon was named a Guggen- borders, as demonstrated in his last Ear- in New York in the early 1990s, convert heim Fellow and joined the all-star SF- shot appearance in February 2016 with their shared histories into nimble, po- JAZZ Collective, which comprises top his Fellowship Band. Sensitivity, hon- etic, genre-leaping music. This collabo- jazz performer/composers in jazz today. esty, and loyalty all inform his creative ration of visionary artists, each with On bass is Scott Colley, “one of the expression, but it’s perhaps his sense of their own robust composing, record- leading bassists of our postbop era, spirituality that is most of all conveyed ing, and performing careers, promises and a composer-bandleader of quietly in every context. “When there’s a lis- to be a compelling evening of musical serious resolve” (The New York Times). tener, when there’s someone to receive communication that stays deft and Embracing the unknown, searching all your vulnerability and all your hopes spell-binding, focused on moment-to- for the unexpected, stands as a career- and all your open heart,” Blade has said, moment interaction. defining aspect of Colley’s musical “it completes something.”

Saturday, November 4, PONCHO Concert Hall, 8pm Amina Figarova Sextet

$24 adults | $22 Earshot members & arranging, performing, and touring seniors | $12 students & military under her belt, as a solo performer and Co-presented with Cornish Presents with her sextet, founded in Holland Proving that many of the leading but based in New York since 2010. composer-arranger-orchestra leaders Her phenomenal sextet includes Plat- in jazz are women, Amina Figarova teau on flutes, as well as New York- joins the likes of Carla Bley, Ma- based Alex Pope Norris (trumpet/ ria Schneider, and Mary Halvorson, flugelhorn) and Wayne Escoffery (ten- adding her own independent voice to or saxophone). Escoffery, who has also modern music, “one of the most im- worked with Eric Reed, Ron Carter, portant composers to come into jazz Ben Riley, and the Mingus Big Band, in the new millennium,” according to adds moments of inspired virtuosity to JazzTimes. the Ellingtonian harmonies of Figa- Born in Baku, the capital of the for- rova’s compositions, backed by a fresh mer Soviet state Azerbaijan, Figarova rhythm section including Jason Brown began her studies in classical piano, (drums) and Marcos Varela (bass). later studying jazz at the Rotterdam Their elastic ease in switches of mood, Conservatory in the Netherlands and tempo, and texture are characteristic eventually graduating from the Berk- of the group’s remarkable longevity lee College of Music in Boston. Now and testified in their rapid and unique a Manhattanite with her husband, musical communication, making the Belgium-born flutist Bart Platteau, distinctive personalities in Figarova’s Amina Figarova photo by Joke Shot she has over 20 years of composing, music shine all the more.

November 2017 • Earshot Jazz • 11 Saturday, November 4, Nordstrom Recital Hall, 7:30pm Sunday, November 5, Kirkland Performance Center, 2pm Seattle Repertory Jazz Orchestra with Wycliffe Gordon: The Art of the Trombone

$15–49 renewing its collaboration with com- nist, and he inherited a record collec- Presented by Seattle Repertory Jazz Or- poser, bandleader, and trombonist tion from his great-aunt that included chestra Wycliffe Gordon for a bill that’s sure the recordings of Louis Armstrong Listeners looking for living proof of to be a blowout. and his hot groups. After shooting the big band tradition can look no Georgia-born Wycliffe Gordon was through the ranks of elementary and further than the Seattle Repertory born into a musical family; his father college-level bands, Gordon hit his Jazz Orchestra (SRJO), which will be was church organist and classical pia- stride with traditionalist Wynton Marsalis. Gordon has toured worldwide as a performer, educator, and ambas- sador of jazz, teaching clinics and workshops to audiences throughout Access Inspiration! the U.S. With over 20 record dates as a leader under his belt, Gordon has earned the authority to play with brash and abandon in musical set- tings both large and small. For those new to town, the SRJO is a Basie-ite supergroup of who’s who in Seattle music, a 17-piece big band founded in 1995 to wield an immense arsenal of swinging American music, from Fletcher Henderson to Gil Ev- ans to works hitherto heard only on vinyl. SRJO is currently co-directed by Clarence Acox, director of Gar- field High School’s acclaimed band, and saxophonist, educator, and com- poser/arranger Michael Brockman. Having spearheading projects such as a recording of Jimmy Heath’s ar- rangements on 2010’s Jimmy Heath: Make a donation TODAY The Endless Search, or their epic con- certs of Duke Ellington’s sacred mu- www.earshot.org /donate 206-547-6763 sic at Town Hall, SRJO represents the best of the Northwest. Active in jazz education like Gordon, they will be Earshot Jazz has been Seattle’s major ambassador of jazz sure to make this concert a lesson in music over the last 32 years – presenting jazz masters rhythm and blues. and important new artists, supporting the local scene, and educating young and old about the joys of jazz – all thanks to contributions from folks like you.

12 • Earshot Jazz • November 2017 Sunday, November 5, Columbia City Theater, 7:30pm Anton Schwartz Quartet: Tribute to Stanley Turrentine

$20 adults | $18 Earshot members & I was quickly and insufferably addicted. seniors | $10 students & military His ridiculously soulful phrasing, his The jazz organ quartet, with saxo- sound that’s at once huge and perfectly phone, guitar, and drums, is an efficient detailed, his playing that is so powerful, concept in terms of musical identity; it honest and uplifting.” exposes the members to the core of their Schwartz’ collaborators are a who’s collective musical being, laying bare who of the soul-jazz movements in Se- the total expressiveness of the players, attle and Portland. Organist Joe Doria and the strengths and weaknesses of has maintained a legendary residency the collective. It’s like a mini-big band, at Seattle’s Seamonster Lounge with his with B-3 sounds swirling and creating band McTuff. He is also the keyboardist foundational remnants from which the for Michael Schrieve’s Spellbinder, and rhythmic aspects and melodic input of has performance and recording credits the drums, guitar and saxophone give that include Carlos Santana, King Sun- rise to musical adventurism. ny Ade, and Jeff “Tain” Watts. Guitar- The late, great Stanley Turrentine ist Dan Balmer, acclaimed by the Los knew this concept well. He married the Angeles Times as, “the model of what a organist Shirley Scott in 1960 and the contemporary guitarist should be,” re- two frequently played and recorded to- turns to Seattle after being featured this gether. In the 1960s, he started working past May at the Ballard Jazz Festival. In with organist Jimmy Smith, and made 2009 Dan became one of only five Or- many soul jazz recordings both with egonians to be honored with member- Smith and as a leader. ship in both the Oregon Music Hall of Tenor saxophonist Anton Schwartz Fame and the Jazz Society of Oregon has long been an admirer of both the Hall of Fame. soul jazz phenomenon, and of Turren- Drummer D’Vonne Lewis may tine himself, both as a composer and be the most active and visible musi- improviser. Schwartz utilized the more cian on the Seattle jazz scene. He is standard quintet format of piano, bass, a fourth-generation Seattle musician, drums, trumpet, and saxophone for the grandson of Seattle rock and roll his latest release, Flash Mob, a release pioneer, Dave Lewis, himself a Ham- that spent eight weeks in the jazz radio mond B-3 legend. Lewis leads two top 10. trailblazing fusion ensembles, Indus- For his performance at the Earshot trial Revelation and D’Vonne Lewis’ Jazz Festival, Schwartz is given the Limited Edition. opportunity to explore the B-3 world, While much of the acclaim bestowed and pay homage to Turrentine utiliz- on Schwartz has been attributed to his ing a top shelf group of Northwest compositional prowess, for one spe- musicians. cial evening at the historic Columbia “Unlike the other saxophonists whom City Theater, the focus will be on his I listened to a lot early on, like John resourceful and powerful approach on Coltrane, Charlie Parker, Sonny Roll- the tenor saxophone. This show will be ins, Dexter Gordon, Turrentine wasn’t his first live encounter with Doria, and considered essential listening,” says should dig deep, in a very soulful and Schwartz. “But when I discovered him explosive way.

November 2017 • Earshot Jazz • 13 Monday, November 6, Paramount Theatre, 7pm Jovino Santos Neto Quinteto: The Unknown

$7–10 Golden Ear Award-winner and Se- Neto’s award-winning chamber en- Presented by Seattle Theatre Group attle Jazz Hall of Famer Jovino San- semble has long been a groundbreak- Paris, France. Among hundreds of tos Neto has been nominated thrice ing and standout creative force in West loose film canisters marked L’Inconnu for Grammy Awards, recognition for Coast jazz. Educator and bandleader (“Unknown”), archivists unearth from his immense work as a performer (on Ben Thomas (vibraphone, bandoneon) the massive collection of the Ciné- piano, recorder, melodica, and per- fits his inclusive productivity in tango mathèque Française a silent horror film cussion), recording artist, composer, and classical styles to the group, while once thought lost: Lon Chaney’s The and creative collaborator. A student fellow Origin Records recording art- and bandmate of Hermeto Pascoal Unknown. A lurid tale of love, lust, ist Mark Ivester (drums) matches wits from 1977 to 1992, Neto has made and murder, the 1927 picture features with Neto in his command of Afri- Seattle his home, teaching at the Cor- man-of-a-thousand-faces Lon Chaney nish College of the Arts and endear- can and Afro-Cuban styles. A mem- and silver screen vixen Joan Crawford ing himself to audiences worldwide ber of Cuban groups Rumba Abierta, in lead roles. with his adventurous Brazilian- and Tumbao, and Mango Son, Jeff Busch November 6, at the Paramount The- jazz-influenced work. In addition to (percussion) completes the group’s un- atre, Brazilian jazz pianist Jovino San- working with Flora Purim, Bill Frisell, breakable dance, which Seattle’s first- tos Neto and his Quinteto will accom- Anat Cohen, Marco Granados, Paqui- call session player and fellow Seattle pany this intriguing film live with an to D’Rivera, his music has been played Jazz Hall of Famer Chuck Deardorf equally extraordinary original score by by the Seattle Symphony and orches- (bass) keeps grounded. the pianist. tras worldwide. Tuesday, November 7, Triple Door, 7pm & 9:30pm The Bad Plus

$30 adult | $28 Earshot members & more important contributions have in modern classical music and realms seniors | $15 students & military arguably been the tremendous output of jazz that involve collaborating The Bad Plus is inarguably one of the of original music from all three mem- with older masters of the form (Ron defining jazz groups of the 21st cen- bers, and their telepathic and unique Carter and Billy Hart, to name just tury. The iconoclastic trio, consisting interplay on the bandstand. The trio’s two). Iverson also has an increasingly of pianist Ethan Iverson, bassist Reid improvisational sound was remark- mature and influential role as a critic Anderson, and drummer Dave King, able even in the beginning of their and journalist through his extensive has been performing together for 17 reign, but 17 years on, it is beyond the website, Do the Math. Reid Anderson years. And unless you can make it to level of all but a very few of the finest and Dave King will carry on The Bad New York for their closing finale at performing units in jazz history. The Plus with the intriguing choice of Or- the Village Vanguard on New Year’s Bad Plus explore unusual textures, rin Evans taking over the piano seat. Eve, this will likely be your very last juxtapositions, and transitions far re- Evans is a long-time musical associate chance to see them in their original moved from the typical jazz structure of bassist Anderson’s, and the future form. of head-solo-head, opting instead for direction of the group will no doubt The Bad Plus is renowned for their a collective approach to improvisation be quite a different manifestation, radical deconstructions of pop and around dynamics and structure. Their and worth watching out for. But for rock staples such as Queen, Nirvana, shows are fiery, with an unpredictable now, come down to The Triple Door and Tears for Fears, as well as more yet rigorously consistent energy. and grab your last chance to see this left-field fare like Aphex Twin and in- Why is this your last chance to see edition of what is arguably one of the triguing oddities like “(Theme from) the band? Because Iverson is depart- most important piano trios in jazz his- Chariots of Fire.” However, the group’s ing to explore his deepening interest tory.

14 • Earshot Jazz • November 2017 Wednesday, November 8, Chapel Performance Space, 7:30pm Gato Libre

$16 adults | $14 Earshot members & who, along with the late guitarist proud, round tone adds a new meaning seniors | $8 students & military Kazuhiko Tsumura, completed the to the pathos of the group’s breathy and If you’re searching for a space in mu- group’s early sound: a sparse, folkish, lyrical trumpet melodies. sic to search and meditate, to come Europe-evoking atmosphere full of This adds also to the intense, some- to terms with the careful nuances of intoning orchestral chords, sparkling times humorous interplay sparked emotions sudden or long coming, then flamenco strings, and plaintive trum- by Fujii, a world-class composer and the trio Gato Libre, playing November pet melodies, all on the cutting edge improviser whose grasp of extended 8 at the Chapel Performance Space, is of Japanese improvisation. techniques and extraordinary compo- the right ensemble to get to know. Now, in reflection on, rather than in sitional intuition can be heard along Gato Libre is pianist, composer, and spite of, their losses, Fujii and her new that of Natsuki Tamura’s and Wada- accordionist Satoko Fujii joined by group have found a new dynamic to the da Leo Smith’s on 2017’s Aspiration. trumpeter Kappa Maki and trom- core simplicity of their ensemble, put Together their music resembles “the bonist Neko Jaras. The group was to record on this year’s release Neko. ingenuous, unselfconscious improvi- originally founded by Fujii’s husband, While Fujii’s church-like accordion has sations childhood...both playful and trumpeter Natsuki Tamura, and the taken on the lower end of the ensemble’s sincere, ecstatic, and melancholic,” ac- late bass player Norikatsu Koreyasu, sound, the addition of the trombone’s cording to the BBC.

Wednesday, November 8, PONCHO Concert Hall, 8pm Giulia Valle Trio

$18 adults | $16 Earshot members & and Scott Colley. stretched from studies at the Berklee seniors | $10 students & military Valle’s international career has en- College of Music to playing at the Co-presented with Cornish Presents compassed performances with Jason White House with Paquito D’Rivera Lindner, Guillermo Klein, Antonio featuring Wynton Marsalis, as well as After a successful outing in 2015, Canales, and Mayte Martín, among work with Ravi Coltrane, Barry Har- composer and bassist Giulia Valle others. Aside from recording as a lead- ris, Chris Potter, and Tomasz Stańko. will revisit Earshot Jazz audiences er, she currently leads a 16-piece en- Aruán Ortiz is a Cuban-born, this year with her trio, which includes semble, Líbera, a symphonic-electric Brooklyn-based composer, violist, stars Aruán Ortiz on piano and Kush experimental group, as well as the and pianist, who has been called “one Abadey on drums. A bold, dynamic, Giulia Valle Group, whose record- of the most versatile and exciting pia- and percussively ingenious group, the ing Danza Imprevista was described nists of his generation” by DownBeat Giulia Valle Trio combines Argentine, by critic Farrell Low as “an excellent Magazine. From collaborating with Brazilian, and Spanish influences with example of a quintet speaking as one Esperanza Spalding, Don Byron, and the melodic brashness of punk and the voice.” Wadada Leo Smith to 2012’s San- big band bop of Charles Mingus’ in- Cohorts in Valle’s unpredictable tiarican Blues Suite, a Afro-Cuban- novative ensembles. storytelling, Ortiz and Abadey add Haitian contemporary classical suite, Italian-born, Barcelona-raised com- their own international experiences Ortiz has amply shown his brilliant poser, double bassist, and bandleader to the trio. Kush Abadey, son of pre- touch as an avant-garde performer Giulia Valle began her classical edu- mier drummer Nasar Abadey, got an and a formidable orchestrator. Hid- cation at the Liceu Conservatory in early start touring with the Wallace den Voices, the last release of his criti- Barcelona, followed by studies in Paris Roney Quintet, with whom he con- cally acclaimed trio including Eric with bass virtuoso François Rabbath. tinues to tour and record. His stud- Revis and Gerald Cleaver, was one of From there on she pursued jazz, study- ied yet expansive playing has since NPR’s top ten jazz albums of 2016. ing under Ben Street, Bruce Barth,

November 2017 • Earshot Jazz • 15 Thursday, November 9, Seattle Art Museum (Brotman Forum), 5:30pm Art of Jazz: Dawn Clement Group

Free most admired creative spirits as she Jazz series. Both as a traditionalist and Co-presented with Seattle Art Museum rounds up top Seattle players, includ- a progressive artist, Clement is ready Festival Resident Artist, pianist ing bassist Chris Symer and drummer to pull up a chair to the table of Seattle Dawn Clement, investigates the prog- D’Vonne Lewis, for an impeccable jazz greats. ress of her trajectory. Join one of our performance at the monthly Art of

Thursday, November 9, Chapel Performance Space, 7:30pm Lori Goldston & Judith Hamann

$16 adults | $14 Earshot members & with that of another acoustic philoso- the Tokyo Experimental Festival and seniors | $8 students & military pher, cellist Judith Hamann, at the the Ausland Summer Festival. In support of the Seattle Improvised Chapel Performance Space, in what’s New York-born composer, cellist, Music Festival sure to be a many sided conversation. and teacher Lori Goldston has now When asked if she played and com- Electro-acoustic cellist and composer long been a part of the Seattle scene, posed music according to any motto or Judith Hamann comes from San Fran- throwing her all into projects play- ideal, cellist Lori Goldston has stated, cisco via Melbourne, a student of clas- ing with Nirvana, Mirah, Earth, Cat “It’s supposed to be about freedom.” sical performance who studied under Power, Eyvind Kang, Terry Riley, and This theme—the search for and ex- Charles Curtis and Séverine Ballon. a bevy of others. Her works, including pression of liberation from constraints Her work with modern composers those composed for film, both silent both positive and negative—courses such as La Monte Young and Nata- and talking, have been commissioned through the movement of Goldston’s sha Anderson pairs with improvisa- by the Kennedy Center, Northwest bow over the sounding board of her tion and experimentation on classical, Film Forum, and Boston Museum of cello, inciting passionate answers in avant-garde, and popular themes in Fine Arts, and received awards from contexts as loud as electrified rock or groups such as Hammers Lake (with the Seattle Arts Commission, leading intimate as a solo elegy. Audiences will Carolyn Connors) or her duo with cel- Artforum to describe her performance have a chance to encounter Goldston’s list Anthea Caddy, CELLO II. She has style as “constituting a kind of physical musical investigations in dialogue performed internationally, including act of listening.”

16 • Earshot Jazz • November 2017 Friday, November 10, Triple Door, 7pm & 9:30pm Ranky Tanky

$28 adults | $26 Earshot members & the Charleston Jazz Orchestra, South seniors | $14 students & military Carolina’s premier jazz ensemble. Jim- Off the coast of South Carolina, my Heath has described Singleton as Georgia, and Northeast Florida lies a “a talented trumpeter, composer, ar- chain of barrier islands known as the ranger, and bandleader cut from the Sea Islands. There, a population of same cloth as Dizzy Gillsepie [and] African Americans speaks Gullah, an Thad Jones.” English Creole retaining elements of Bassist Kevin Hamilton has toured its West and Central African heritage. with Houston Person, Gregory Hines, The Charleston-based quintet Ranky and René Marie, and is a steady mem- Tanky, whose name translated from ber of the Charleston Jazz Orchestra. Gullah loosely means “Work it” or In 2012, Hamilton joined the U.S. “Get Funky!” visits us this year to cel- Department of State’s OneBeat Pro- ebrate the music, dances, and legacy of gram, a residency for international Gullah culture. musical collaboration. Quiana Parler Photo by Reese Moore Ranky Tanky is a collaboration of On drums and percussion is Quentin Beat the Donkey, with Canadian folk musicians who have known one anoth- E. Baxter, a Grammy-nominated edu- star April Verch, as a U.S. cultural am- er in the Charleston music scene since cator, composer, and producer who has bassador worldwide, and as the leader the early ‘90s. Vocalist Quiana Par- toured worldwide with vocalist Freddy of his own group, the American roots ler has brought her joyful, expressive Cole, including a 2016 festival per- band Matuto. Based in New York, voice to TV shows including Saturday formance at the Triple Door. He has Ross also has a wide recording output Night Live, Good Morning America, worked and recorded with artists such with five albums as a leader. and Jimmy Kimmel Live. Along with as Joey DeFrancesco, Terry Gibbs, Ce- With its hard-working rhythms, ec- projects in her hometown of Charles- cile McLorin Salvant, Donald Byrd, static ensemble vocals, and authentic ton, Parker has toured with the likes of Fred Wesley, and more. Southern style, Ranky Tanky rewrites Maroon 5 and Kelly Clarkson. Guitarist, songwriter, composer, and the history of American Music, tying Trumpeter Charlton Singleton, a vocalist Clay Ross has played in a va- the gut of gospel with the sound of music educator and recording artist, is riety of styles and contexts: tours with blues, bluegrass, and jazz—the Gullah the artistic director and conductor of Cyro Baptista’s percussion ensemble style of the Sea Islands. Duke ellington’s Sacred MuSic Seattle Repertory Jazz Orchestra + vocalists Stephen Newby & Nichol Eskridge + NW Chamber Chorus + Tap Dancer Alex Dugdale

Presented by Earshot Jazz: Saturday, December 30, University Christian Church, 7:30pm

Earshot Jazz Presented by St. Thomas Church and Earshot Jazz: p: 206.547.6763 w: www.earshot.org Sunday, December 31, St. Thomas Episcopal Church, 7:30 pm

November 2017 • Earshot Jazz • 17 Friday, November 10, Seattle Art Museum, 7:30pm Lucian Ban & Elevation: Songs From Afar / Angela Draghicescu

$35 adults | $33 Earshot members & toire and folk music of Romania along context of jazz. seniors | $17 students & military with American jazz and improvisation. Through recordings such as 2016’s Presented in partnership with The Ro- Composer and pianist Lucian Ban Songs from Afar with his band ELEVA- manian Cultural Institute in New York was born in Cluj-Napoca, considered TION, Ban has fluidly combined in Earshot Jazz is excited to welcome by some to be the unofficial capital of improvisation the formal strategies of back the Romanian-born pianist Lu- the famous Transylvania region. After European concert music with the com- cian Ban, whose evocative duo with vi- studies in composition at the Bucharest plex emotional planes of traditional olinist Mat Maneri at the Chapel Per- Music Academy, he established his own Romanian music. Ban’s cinematic mu- formance Space awed and enchanted group Jazz Unit, and in 1999 moved to sic, infused with intense narratives of last year’s audiences. New York to study at the New School. place and time, will enliven and engage This year, in concert with the fourth Through ensembles with the likes of this year’s festival in a way not to be annual Romanian Film Festival in the Barry Altschul, Sam Newsome, Na- missed. Pacific Northwest, Ban will be joined sheet Waits, Mark Helias, and Pheero- This performance also features clas- again by Maneri, as well as collabora- an akLaff, and his own projects such sical pianist Angela Drăghicescu, a tors Brad Jones (bass) and Billy Hart as his collaboration with Sam New- Romanian native and professor of mu- (drums), and Abraham Burton (sax) some on 2008’s The Romanian-Amer- sic at the University of Puget Sound. in addition to the traditional Roma- ican Jazz Suite or with John Hébert The renowned Romanian and a string nian singer Gavril Tărmure to present on 2010’s Enesco Reimagined, Ban has quintet performEnescu’s Romanian music infused with the classical reper- consistently redefined the canon and Rhapsody.

Saturday, November 11, PONCHO Concert Hall, 8pm Dawn Clement: LineUp! / Dawn Clement Duos

$18 adults | $16 Earshot members & with special guest Julian Priester. The claimed Origin Records releases: After seniors | $10 students & military two award-winning Pacific Northwest Hours (2002) and Spectre (2009). Co-presented with Cornish Presents artists bring listeners a lineup of new, Dawn Clement began playing pi- The 2017 Earshot Jazz Festival Resi- collaborative compositions, and, in ano when she was 10 years old, with dent Artist presents her focused group tonight’s performance, feature bassist early lessons with ragtime pianist and compositions and performances, with Michael Glynn, a regular player on church organist Keith Taylor. Her ca- Mark Taylor (saxophones & co-lead- the Seattle scene, and Bellingham- reer today includes playing at the Mary er), Michael Glynn (bass), and Julian based drummer Julian MacDonough, Lou Williams Piano Competition at MacDonough (drums), in what Jazz. known for his impeccable balance of Washington DC’s Kennedy Center com calls “a full-fledged four-way ex- precision and improvisation. and Paris’ International Martial Solal change between master musicians pre- Mark Taylor is a creative improvis- Jazz Piano Competition, teaching at ternaturally attuned to one another.” er and impeccable ensemble player. Cornish and at Port Townsend’s Cen- Since its conception just a few years He performs and records with Matt trum Jazz Workshop, and releasing ago, Clement’s and Taylor’s LineUp! Jorgensen +451, Jim Knapp Orches- five CDs. has delighted audiences from its tra, Tom Varner, Thomas Marriott, Opening is Dawn Clement in duo monthly engagement at Tula’s Restau- Wayne Horvitz, Seattle Repertory with vocalist and fellow Cornish rant & Jazz Club to the 2016 Ballard Jazz Orchestra, and the Randy Hal- College educator, Johnaye Kendrick, Jazz Festival, for which they earned berstadt Quintet. Taylor has two ac- whose warmth, grace, and personality the Golden Ear Concert of the Year, have made her a Seattle favorite.

18 • Earshot Jazz • November 2017 Saturday, November 11, Nectar Lounge, 8:30pm Taylor McFerrin / SassyBlack / Noel Brass Jr.

21+ only coming music is highly anticipated in Tapping into a smoky ‘90s jazz-lounge $20 adults | $18 Earshot members & the Future Soul scene and rumored texture, the classically trained jazz vo- seniors | $10 students & military to cue up cutting-edge collaborations calist possesses “an earthy vibe with a Rising Brooklyn DJ, keyboardist, with members of polyrhythmic soul cosmic outlook, balancing emotional and beatboxer Taylor McFerrin bridges group Hiatus Kaiyote and buzzworthy vulnerability with confidence and many musical worlds, including gold- drummer Marcus Gilmore, grandson swagger” (Earshot Jazz). en-era soul, sample-heavy hip-hop, of jazz legend Roy Haynes. Another Seattle soul master joins the free-form jazz, and electronic beats. Opening is Seattle’s blossoming lineup: Noel Brass Jr. (keys), of psyche- Following his beloved debut full-length hypno-funk frontwoman SassyB- delic trio AfroCop. Drawing as much album Early Riser, McFerrin has toured lack (Catherine “Cat” Harris-White). from punk, gospel, Afrobeat, electron- worldwide (including at the 2014 Ear- Fresh off releasing her self-produced ics, funk, and soul, as from jazz, Brass shot festival) as a one-man show, land- full-length solo album No More Weak celebrates his solo keyboard record ing impressive opening slots for artists Dates, the always-busy muse went release with local specialty label Wax such as Erykah Badu, The Roots, Nas, back to the studio for her decade-defy- Thematique, backed by Seattle guitar- and Robert Glasper. McFerrin’s forth- ing summer release New Black Swing. ist Andy Sells.

Sunday, November 12, Triple Door, 7:30pm The Baylor Project

$28 adult | $26 Earshot members & seniors | $14 students & military Husband-and-wife duo The Baylor Project, consisting of vocalist Jean Baylor and drummer Marcus Baylor, has been surprising and exciting audi- ences with its effortless blend of clas- sic jazz, gospel, blues, and funk since forming in 2013. Originally from New Jersey, mezzo- soprano Jean Baylor found her musi- cal beginning in R&B, forming the Billboard-charting duo Zhané after studying jazz vocal performance at Temple University. In the world of Jean and Marcus Baylor Photo Courtesy of the ARtists jazz she has performed with the likes drummer for the Grammy-nominat- iTunes jazz charting album. of Kenny Garrett, Marcus Miller, and ed group The Yellowjackets. He has With touchstones ranging from Buster Williams. toured extensively with Kenny Gar- church revival meetings to the Gersh- Hailing from St. Louis, composer, rett and Cassandra Wilson, sharing win songbook, The Journey combines arranger, and bandleader Marcus Bay- the stage with Regina Carter, Freddie the Baylors’ skills as urban improvisers lor was the house drummer in his fa- Hubbard, Olu Dara, and more. and down home traditionalists, “en- ther’s church before he studied at The This year Earshot is proud to pres- compassing the musical and cultural New School for Jazz and Contempo- ent the Baylor Project following their reflections of their lives, from family to rary Music. Before pursuing his own successful 2017 recording debut The church to a life in jazz” (James Nadal, career in music he was a member and Journey, a Top Ten Billboard and #1 All About Jazz).

November 2017 • Earshot Jazz • 19 Jazz Around The Sound November 11 Wednesday, November 1 Saturday, November 4 Monday, November 6 JA Leo Kottke, 7:30pm BH Seattle Repertory Jazz Orchestra with Wycliffe CC Cider Jam with Entremundos, 9:30pm MO Gregory Porter, 7:30pm Gordon: The Art of the Trombone, 7:30pm MT Jazz Night, 9pm NC Jazz Jam with Darin Clendenin Trio, 7:30pm BT Live Jazz Trio, 6pm NL Mo’Jam Mondays, 8:30pm PG Paragon Hang Jazz Open Mic, 8pm EG Hans Brehmer, Geoff Cooke, Brad Boal and PO Cornish Presents: Projeto Arcomusical, 8pm PO Student Ensemble Showcase, 8pm John Anderson, 9pm PT Jovino Santos Neto Quinteto: The Unknown, RR High Pulp, 10pm FH SoulCanvas Launch Party, 7pm 7pm SB Dueling Hammond B3s with Delvon Lamarr & JA Karrin Allyson – Songs in the Key of Now, RR Itimare, 8pm Michael Zabrek, 9:30pm 7:30pm RR Royal Room Collective Music Ensemble // SC Mike Allen Quartet, 7pm NC Forman-Finley Band Featuring Cherrie Adams, Allison Au Quartet Presented by KNKX, 7:30pm TU Eric Verlinde Trio, 7:30pm 8pm RR The Salute Sessions, 10pm VI Bar Tabac, 9pm SM Balboa, Blues & Booze: Michael Van Bebber OS Bill Anschell, Chris Symer & Steve Korn, 8pm Trio, 8pm Thursday, November 2 PO Amina Figarova Sextet, 8pm AC Max Holmberg/Reuel Lubag Trio, 6:30pm SB 700 Saturdays, 10pm Tuesday, November 7 BC Adam Kessler, Phil Sparks and Guests, 9pm SB Cubano Y Latina, 7pm BP Kate Voss Duo, 8pm CE Black Rock Coalition Get-Down Revue / Burnt TT Women of Jazz, 7:30pm JA Pete Escovedo & his Latin Jazz Orchestra, Sugar Arkestra “Caramelizes” Prince, 8pm TU Marc Seales Band, 7:30pm 7:30pm CH Jovino Santos Neto & Martin Kuuskmann, 8pm VI DTR Trio, 9:30pm NC Steve Messick’s Endemic Ensemble, 7pm EG Jacob Zimmerman Group, 7pm VI The Tarantellas, 6pm OW Owl n’ Thistle Jam, 10pm EU Jam Session, 8:30pm RR Dylan Hayes Electric Band, 8pm FW Breaks and Swells Record Release Party, 8pm Sunday, November 5 RR Frank Vitolo Quartet, 10pm JA Karrin Allyson – Songs in the Key of Now, AB Jazz at the Beaver w/ Max Holmberg and the SB Joe Doria Presents, 9:30pm 7:30pm 200 Trio, 9pm TD The Bad Plus, 7&9:30pm OS Jonas Myers, 7pm CC Ev Stern, Jonas Myers, and Will Lone at CC, TU Tim Kennedy Band, 7:30pm RR Negative Press Project // Tiny Ghost, 8pm 6:30pm TU Kate Voss and The Big Boss Band, 7:30pm CT Anton Schwartz Quartet: Tribute to Stanley Wednesday, November 8 VI Casey MacGill, 5:30pm Turrentine, 7:30pm CH Gato Libre, 7:30pm VI Random Guys, 9pm DT Darrell’s Tavern Jazz Jam, 8pm JA Pete Escovedo & his Latin Jazz Orchestra, FB Seattle Jazz Vespers: Families that play music 7:30pm Friday, November 3 together, 6pm MQ Frank Kohl Trio, 5pm BT Live Jazz Trio, 6pm HA Bossa Nova w/ Dina Blade, 6pm PG Paragon Hang Jazz Open Mic, 8pm CH Seattle Composers’ Salon, 8pm JA Karrin Allyson – Songs in the Key of Now, PO Giulia Valle Trio, 8pm EG Kareem Kandi Band, 9pm 7:30pm RR High Pulp, 10pm JA Karrin Allyson – Songs in the Key of Now, KC Seattle Repertory Jazz Orchestra with Wycliffe SC Joe Magnarelli, 7pm 7:30pm TU Jim Sisko’s Bellevue College Orchestra, 7:30pm Gordon: The Art of the Trombone, 2pm JC Paul Kikuchi: 9066, 7pm VI Brazil Novo, 9pm LA Happy Hour Jazz w/ Phil Sparks, 5pm RR Garfield High School Jazz Jam, led by Jacob MQ Michel Navedo, 5pm Zimmerman, 5pm Thursday, November 9 NC Jacqueline Tabor, 8pm RR The Alaska Suite – Nelda Swiggett Quintet, AC Max Holmberg/Reuel Lubag Trio, 6:30pm PO Steel House: Edward Simon, Scott Colley, Brian 7:30pm BC Adam Kessler, Phil Sparks and Guests, 9pm Blade, 8pm SS Willie Bays Quartet, 2:30pm CH Lori Goldston & Judith Hamann, 7:30pm SB Funky 2 Death, 10pm TU Big Band Jazz: Jim Cutler Jazz Orchestra, EU Jam Session, 8:30pm SE Burnt Sugar Arkestra: We Insist! Freedom NOW, 7:30pm JA Pete Escovedo & his Latin Jazz Orchestra, 8pm VI Lennon Aldort, 6pm 7:30pm TU Marc Seales Band, 7:30pm VI Ron Weinstein Trio, 9:30pm LL Sentimental Journey: Songs and Stories of VI Frank Vitolo Ensemble, 9pm WP First Sundays Concerts – Kelley Johnson, 4pm WWII, 2pm

Calendar Key

AC Aca Las Tortas EG Egan’s Ballard Jam House ME Meany Theater SB Seamonster Lounge AK Alki United Church of Christ EU EuroPub MO Moore Theatre SE Seattle Art Museum (Downtown) BP Bake’s Place Bellevue FB First Baptist Church MQ Musicquarium at the Triple Door SM Smith Tower BC Barca FW Fred Wildlife Refuge NL Nectar Lounge ST Stage 7 Pianos BT Brass Tacks FH Frederick Holmes Art Gallery NC North City Bistro & Wine Shop SS Swingin Sounds CC Capitol Cider HA Harissa OS Osteria la Spiga AB The Angry Beaver CH Chapel Performance Space at Good BH Benaroya Hall OW Owl ‘n’ Thistle CE The Crocodile Shepherd Center JC Japanese Cultural and Community PG Paragon RR The Royal Room CT Columbia City Theater Center of Washington PT Paramount Theatre TT Thumbnail Theater CO Conor Byrne Pub KC Kirkland Performance Center PO PONCHO Concert Hall, Kerry Hall, TD Triple Door CZ Couth Buzzard Books LL Lacey Timberland Library Cornish College of the Arts TU Tula’s CM Crossroads Bellevue LA Latona Pub QA Queen Anne Beerhall VI Vito’s DT Darrell’s Tavern MT Mac’s Triangle Pub RE Resonance at SOMA Towers WP Waterfront Park Community Center JA Dimitriou’s Jazz Alley MV Marine View Church RR Rhythm & Rye SC WJMAC at Sylvia Center for the Arts

20 • Earshot Jazz • November 2017 OS Jonas Myers, 7pm DT Darrell’s Tavern Jazz Jam, 8pm SB Kareem Kandi Band, 9:30pm HA Bossa Nova w/ Dina Blade, 6pm SE Art of Jazz: Dawn Clement Group, 5:30pm JA Hiromi Duet featuring Edmar Castaneda, Curtain Call VI Casey MacGill, 5:30pm 7:30pm weekly recurring performances VI Dan Kramlich Trio, 9pm MV Dave Tull/Rebecca Kilgore Quartet, 5pm RR Arthur Migliazza // Carol J Bufford, After Hours Friday, November 10 Stomp, 5pm MONDAY BT Live Jazz Trio, 6pm RR Lakeside School Jazz Night, 7:30pm CM Kate Voss & The Big Boss Band, 7pm TD The Baylor Project, 7:30pm CC EntreMundos Jam, 9:30 JA Hiromi Duet featuring Edmar Castaneda, TU Big Band Jazz: Jazz Police, 4pm 7:30pm TU Big Band Jazz: Jim Cutler Jazz Orchestra, MT Triangle Pub Jam, 9 LA 1-2-3 Friday: Totusek, Sparks, Jones, 5pm 7:30pm LA Happy Hour Jazz w/ Phil Sparks, 5pm VI Bob Hammer, 6pm NL Mo’ Jam Mondays, 8:30 MQ Ranger and the Re-Arrangers, 5pm VI Ron Weinstein Trio, 9:30pm RR Bean, Kienzle, Lone Trio, 6pm RR The Salute Sessions, 10 SB Funky 2 Death, 10pm Monday, November 13 SE Lucian Ban & Elevation: Songs From Afar / MT Jazz Night, 9pm TUESDAY Angela Drăghicescu, 7:30pm RR The Salute Sessions, 10pm TD Ranky Tanky, 7&9:30pm RR Casa de la Trova hosted by SuperSones, BP Kate Voss Duo, 8 TU Greta Matassa Quintet with Alexey Nikolaev, 7:30pm 7:30pm NL Mo’Jam Mondays, 8:30pm RR Frank Vitolo Quartet, 10 VI Kate Olson Ensemble, 9pm CC Cider Jam with Entremundos, 9:30pm SB Joe Doria Presents, 10 Saturday, November 11 Tuesday, November 14 BT Live Jazz Trio, 6pm BP Kate Voss Duo, 8pm WEDNESDAY CH Amy Denio: Truth Is Up for Grabs, 8pm JA ConFunkShun, 7:30pm CM Mood Swings Jazz Band, 7:30pm NL Industrial Revelation ft. Marina Albero with PG Paragon Hang Jazz Open JA Hiromi Duet featuring Edmar Castaneda, Happy Orchestra, Urban Ghost, 8pm Mic, 8 7:30pm RR Frank Vitolo Quartet, 10pm NL Taylor McFerrin / SassyBlack / Noel Brass Jr., SB Joe Doria Presents, 9:30pm RR High Pulp, 10 8:30pm TU Big Band Jazz: Emerald City Jazz Orchestra, 8pm OS Hopscotch, 8pm THURSDAY PO Dawn Clement: LineUp! / Dawn Clement Duos, Wednesday, November 15 8pm JA ConFunkShun, 7:30pm AC Max Holmberg/Reuel RR Alma y Azúcar, 9pm PG Paragon Hang Jazz Open Mic, 8pm RR Brazilian Duo Amilton Godoy & Léa Freire w/ RR High Pulp, 10pm Lubag Trio, 6:30 special guest Harvey Wainapel, 6:30pm RR Piano Starts Here: The Music of Jan Johannson/ SB 700 Saturdays, 10pm Esbjorn Svensson, 7:30pm BC Adam Kessler & Phil SB Cubano Y Latina, 7pm SC Jazz Walk Feature Concert, 7pm Sparks, 9 TU Bill Anschell Standards Trio with Jeff Johnson, TU Big Band Jazz: pH Factor Big Band, 7:30pm John Bishop, 7:30pm VI Brad Gibson Presents, 9pm EU EuroJam Session, 8 VI Jerry Zimmerman, 6pm VI Kareem Kandi, 9:30pm Thursday, November 16 OS Jonas Myers, 7 AC Max Holmberg/Reuel Lubag Trio, 6:30pm Sunday, November 12 BC Adam Kessler, Phil Sparks and Guests, 9pm VI Casey MacGill, 5:30 AB Jazz at the Beaver w/ Max Holmberg and the CH Matthew McCright, piano: Connecting Flights, 200 Trio, 9pm 8pm FRIDAY CC 322 Jazz Collective, 6:30pm EU Jam Session, 8:30pm CZ Open Jazz Jam–Kenny Mandell, 2pm JA ConFunkShun, 7:30pm BT Live Jazz Trio, 6 LA Happy hour w/ Phil

Committed to providing very playable, great Sparks, 5 sounding instruments, within your budget. SB Funky 2 Death, 10 High quality string repairs Best rental instruments available SATURDAY Professional set up and restoration SB Cubano y Latina, 7 SB 700 Saturdays, 10 SUNDAY AB Beaver Sessions, 9 DT Darrell’s Tavern Jazz Jam, 8

Pick up and delivery in Washington State HA Bossa Nova w/ Dina 7 Luthiers Since 1964 Blade, 6

970 5th Ave NW Suite 100 VI Bob Hammer, 6pm Issaquah WA 98027 www.HammondAshley.com VI Ron Weinstein Trio, 9:30

November 2017 • Earshot Jazz • 21 OS Jonas Myers, 7pm Monday, November 20 VI Afrocop, 9:30pm RE Eastside Jazz Club Monthly Concert, 7:30pm VI Jerry Zimmerman, 6pm CC Cider Jam with Entremundos, 9:30pm SB Tim Kennedy Band, 9:30pm MT Jazz Night, 9pm SC WJMAC Jazz Walk 2017, 6pm Sunday, November 26 NL Mo’Jam Mondays, 8:30pm TU Big Band Jazz: Critical Mass Big Band, 7:30pm AB Jazz at the Beaver w/ Max Holmberg and the RR Jared Hall Quintet, 8pm VI All Mingus, 9pm 200 Trio, 9pm RR Royal Room Collective Music Ensemble VI Casey MacGill, 5:30pm CC Forman-Finley Band, 6pm Presented by KNKX, 7:30pm CZ Open Jazz Jam With Kenny Mandell & Friends, Friday, November 17 RR The Salute Sessions, 10pm 2pm BT Live Jazz Trio, 6pm Tuesday, November 21 DT Darrell’s Tavern Jazz Jam, 8pm JA Taj Mahal Quartet, 7:30pm HA Bossa Nova w/ Dina Blade, 6pm BP Kate Voss Duo, 8pm MQ Happy Orchestra Trio, 9pm JA Taj Mahal Quartet, 7:30pm JA Taj Mahal Quartet, 7:30pm SB Funky 2 Death, 10pm TU Axiom Quartet, 7:30pm RR Frank Vitolo Quartet, 10pm TU Tom Collier, 7:30pm VI Bob Hammer, 6pm SB Joe Doria Presents, 9:30pm VI Max Wood Trio, 9:30pm VI Ron Weinstein Trio, 9:30pm TU Line Up! Mark Taylor, Dawn Clement, 7:30pm Saturday, November 18 Wednesday, November 22 Monday, November 27 AK Steve Griggs Ensemble presents Blues for John CC Cider Jam with Entremundos, 9:30pm CO 45th St Brass w/ Human Ottoman, guests, 9pm T. Williams, 7:30pm MT Jazz Night, 9pm JA Taj Mahal Quartet, 7:30pm BT Live Jazz Trio, 6pm NL Mo’Jam Mondays, 8:30pm PG Paragon Hang Jazz Open Mic, 8pm EG Alina Quartet, 9pm RR The Salute Sessions, 10pm QA The Chicago 7, 6pm JA Taj Mahal Quartet, 7:30pm RR High Pulp, 10pm NL Jazz Is Phish, 8pm Tuesday, November 28 SC Julian MacDonough Trio, 7pm OS Jonas Myers & Owen Thayer, 8pm BP Kate Voss Duo, 8pm TU Greta Matassa Quartet featuring Robert Vaughn, RR The Ain’t No Heaven Seven Dixieland Band, JA Russell Malone Quartet, 7:30pm 7:30pm 6pm RR Frank Vitolo Quartet, 10pm VI Ben von Wildenhaus, 9pm SB 700 Saturdays, 10pm RR The Walking Hat Trio, 7:30pm SB Cubano Y Latina, 7pm Thursday, November 23 SB Joe Doria Presents, 9:30pm TU David Marriott’s Triskaideka­-Band, 7:30pm ST JAZZ UNLIMITED presents Yoginis Indian Jazz *Venues may be closed due to holiday.* Project, 7:30pm AC Max Holmberg/Reuel Lubag Trio, 6:30pm Wednesday, November 29 TU Pure Desmond w/Brent Jensen, Jamie Findlay, BC Adam Kessler, Phil Sparks and Guests, 9pm Jeff Johnson & John Bishop, 7:30pm PG Paragon Hang Jazz Open Mic, 8pm EU Jam Session, 8:30pm RR High Pulp, 10pm VI The Tarantellas, 6pm OS Jonas Myers, 7pm VI Tim Kennedy Trio, 9:30pm RR Jazz Night School featuring: Big Band Blue and Friday, November 24 more, 6pm SB Westsound DFC, 9:30pm Sunday, November 19 BT Live Jazz Trio, 6pm SC Damani Phillips, 7pm AB Jazz at the Beaver w/ Max Holmberg and the JA Taj Mahal Quartet, 7:30pm TU Greta Matassa Student Showcase, 7:30pm 200 Trio, 9pm SB Funky 2 Death, 10pm VI The Neighborhood Boys, 9pm CC Some’tet, 6pm TU Stephanie Porter Quintet, 7:30pm CM Jovino Santos Neto Quarteto, 12:30pm VI Yada Yada Blues Band, 9:30pm CZ Music Improv Session Kenny Mandell, 7pm Thursday, November 30 DT Darrell’s Tavern Jazz Jam, 8pm Saturday, November 25 AC Max Holmberg/Reuel Lubag Trio, 6:30pm BC Adam Kessler, Phil Sparks and Guests, 9pm HA Bossa Nova w/ Dina Blade, 6pm BT Live Jazz Trio, 6pm EU Jam Session, 8:30pm JA Taj Mahal Quartet, 7:30pm JA Taj Mahal Quartet, 7:30pm JA Tower of Power, 7:30pm ME Zakir Hussain, 7:30pm OS Frank Clayton Duo, 8pm OS Jonas Myers, 7pm TU Big Band Jazz: Jim Cutler Jazz Orchestra, SB 700 Saturdays, 10pm RR Jazz Night School, 6pm 7:30pm SB Cubano Y Latina, 7pm TU Thomas Marriott, 7:30pm VI Bob Hammer, 6pm TU Susan Pascal Quartet with Bill Anschell, Chuck VI Casey MacGill, 5:30pm VI Ron Weinstein Trio, 9:30pm Deardorf, Mark Ivester, 7:30pm VI Jimmie Herrod, 9pm

22 • Earshot Jazz • November 2017 In One Ear, from page 3 Notes, from page 3

creates dense, highly refined layers of Doria, Casey McGill, Pace and Line- Earshot Jazz is excited to present sonic textures developed through years Up, as well as Ari Hoenig from NYC. pianist/composer Matthew Shipp in of dedicated listening; November One ticket ($25 general, $15 students) trio with Michael Bisio (bass) and 26, Dowsing, freely improvised music gets attendees in to any or all venues. Newman Taylor Baker (drums) this by Steve Griggs (sax), Ben Griggs (syn- Advance tickets at brownpapertickets. December. Tickets and more info to thesizer), and Greg Campbell (percus- com. Day of tickets at the Sylvia Cen- come at earshot.org. sion). ter, 205 Prospect St, Bellingham, after Help the Jazz Around the Sound 91.3 KBCS , features creative and 5pm. More info at wjmac.org. Calendar improvised music on Flotation Device On the Horizon with John Seman and Jonathan Law- Please email news and announce- Matthew Shipp Trio with Michael son, Sundays at 10pm. The Monday ments about jazz gigs, concerts and night lineup includes The Caravan Bisio and Newman Taylor Baker Monday, December 4, 7:30pm community events to jazzcalendar@ with John Gilbreath at 7pm, Straight PONCHO Concert Hall earshot.org. No Chaser with David Utevsky at 710 E Roy St 9pm, Giant Steps with John Pai at 11pm, and The Shape of Modern Jazz with Gordon Todd at 1am Tuesdays. Shows can be streamed anytime at kbcs.fm. 91.7 KSVR Mount Vernon, Doctor Dee hosts two nights of jazz, Fourth Corner Jazz, featuring recordings of live performance in Northwest Wash- ington, Sundays, 6-7pm, and The Doctor’s Den, Mondays, 8-10pm. 102.9 KLOI-LP Lopez Island, Mon- days & Fridays, 3pm, Joy Spring with Gary Alexander, classic jazz and the Great American Songbook. Hollow Earth Radio, hol- lowearthradio.org, Fridays at 6pm, biweekly, Black Roots Radio, hosted by Jordan Leonard, promotes jazz as a dynamic genre rooted in the Black American experience. Hollow Earth Radio is Seattle’s free- form online radio station that supports the local music communities in the greater Pacific Northwest and tries to create an open, encouraging stage for underrepresented voices. More at face- book.com/blackrootsradiojl and hol- lowearthradio.org. In One Ear News Email news about Seattle-area jazz artists, for In One Ear, to editor@ear- shot.org.

November 2017 • Earshot Jazz • 23 NON-PROFIT ORG Earshot Jazz U.S. POSTAGE 3429 Fremont Place N, #309 PAID Seattle, WA 98103 PERMIT No. 14010 SEATTLE, WA Change Service Requested A Mirror and Focus for the Jazz Community November 2017 Vol. 33, No. 11 EARSHOT JAZZSeattle, Washington

Paul Kikuchi Photo by Daniel Sheehan COVER Photo: Paul Kikuchi photo by daniel sheehan

In this issue... A $35 basic membership in Earshot brings Contents the newsletter to your door and entitles you to Earshot JazZ discounts at all Earshot events. Your member- MEMBE r s h IP ship also helps support all our educational Letter from the Director______2 programs and concert presentations. Type of membership Individual ($35) Additional tax-deductible donation ______Notes______3 Household ($60) Patron ($100) Sustaining ($200) Other Sr. Citizen – 30% discount at all levels In One Ear______3 Canadian subscribers please add $5 additional postage (US funds)

Regular subscribers – to receive newsletter 1st class, please add $10 Profile: Paul Kikuchi: 9066______4 for extra postage Contact me about volunteering ______Preview: NAME ______Amy Denio’s Truth is Up For Grabs______6 ADDRESS

______CITY/STATE/ZIP Earshot Jazz Festival Schedule______7 ______PHONE # EMAIL Preview: Earshot Jazz Festival ______Earshot Jazz is a nonprofit tax-exempt organization. Ask your employer if your Concerts in November______8 company has a matching gift program. It can easily double the value of your membership or donation. Jazz Around the Sound______20 Mail to Earshot Jazz, 3429 Fremont Pl N, #309, Seattle, WA 98103