A MMirrorirror aandnd FFocusocus fforor tthehe JJazzazz CCommunityommunity March 2006 Vol. 22, No. 3 EARSHOT JASeattle,Z WashingtonZ Earshot Spring Series Le Mystère des Voix Bulgares ICP Orchestra Roy Parnell, 1943-2006

Photo by Daniel Sheehan On the Cover Photo by Daniel Sheehan. performing at the 2005 Earshot Jazz Festival. Bennink is returning to Seattle on March 25 to perform with homes for them with students eager to ICP Orchestra at the Seattle Asian Art Museum. play is not a problem. Earshot Jazz is col- Bumbershoot Deadline lecting them, indefinitely, at the address Bumbershoot, Seattle’s Music & Arts listed on this page. EARSHOT J A Z Z Festival, which in this, its 36th year, will A Mirror and Focus for the Jazz Community become a three-day, rather than four- Art of Jazz this Spring day event, still over Labor Day weekend The Earshot Jazz/Seattle Art Museum Executive Director: John Gilbreath (September 2-4), and still at the Seattle Spring Art of Jazz series for 2006 begins Earshot Jazz Editor: Peter Monaghan Contributing Writers: Center, is accepting applications for art- in Febuary, with performances slated for Andrew Bartlett, Robyn Loda, Peter Monaghan, Lloyd ists, bands, films, vendors, dancers and the Garden Court at the Seattle Asian Art Peterson, Gordon Todd more. To get your application, visit our Museum at Volunteer Park. Shows are Photography: Daniel Sheehan applications page, http://www.bum- free with the very modest museum entry Layout: Karen Caropepe bershoot.com/applicationfaq.html, and fee, and run from 5pm to 7pm. Distribution Coordinator: Jack Gold apply (online only) by March 17. The 2006 Art of Jazz schedule: Mailing: Lola Pedrini March 9: The Tiptons (Sax Quartet) Program Manager: Karen Caropepe Free Sheet Music April 13: Ben Thomas Trio w/ Jovino Calendar Information: mail to 3429 A collection of sheet music, orchestra- Santos Neto Fremont Place #309, Seattle WA tion parts, skat sheets etc. is available free May 11: Fred Hoadley Quartet 98103; fax to (206) 547-6286; or email to whoever picks it up first – first come, June 8: Jeff Johnson Trio [email protected] first served – in South Seattle. The col- July 13: Paul Rucker, solo cello Board of Directors: Fred Gilbert lection includes about 700 standards. Hurricane Katrina Help (president), Paul Harding (vice-president), The full index is available upon request. Lola Pedrini (treasurer), Jane Eckels Contact [email protected]. Nonprofit organizations continue to (secretary), George Heidorn, Taina help jazz musicians in New Orleans to Honkalehto, Hideo Makihara, Thomas Vancouver Deadline recover from the devastation – material Marriott, Richard Thurston The Vancouver Creative Music Institute and personal – of Hurricane Katrina. If Earshot Jazz is published monthly by has extended the application deadline to you’d like to see what you can do, two Earshot Jazz Society of Seattle and is March 31. The educational event takes good sites are WWOZ, the “jazz and available online at www.earshot.org. place June 17-25, 2006 and overlaps with heritage” radio station, which continues Subscription (with membership): $35 the Vancouver International Jazz Festival. to broadcast (see www.wwoz.org/mu- 3429 Fremont Place #309 For details, see http://www.vcmi.ca/. sic_help.php), and Jim Wilke’s Jazz After Seattle, WA 98103 T: (206) 547-6763 The artistic directors this year are pianist Hours site (www.jazzafterhours.org). Marilyn Crispell and bassist Mark He- F: (206) 547-6286 lias, and the faculty includes , Events Listings Earshot Jazz ISSN 1077-0984 Mats Gustaffson, Dylan van der Schyff, Please send your gigs listings to Printed by Pacific Publishing Company. and Trimpin. Tuition fee: $CAN850 for [email protected]. Please also send ©2006 Earshot Jazz Society of Seattle International participants. us links to your own websites, so we can keep our links page up-to-date. Soon, Call for Unwanted Instruments Earshot Jazz we will post a guide to how to format Mission Statement Earshot Jazz asks that people who have your gigs listings at www.earshot.org/ instruments that are unused and are data/gigsubmit.asp so that you can make Earshot Jazz is a non-profit arts simply taking up space to consider do- and service organization formed in easier our job of helping you. Meanwhile, 1986 to cultivate a support system nating them to needy students. Any and please consult the online calendar listings for jazz in the community and to all instruments are welcome, as finding to see how they should be formatted. increase awareness of jazz. Earshot Jazz pursues its mission through Inside this issue... publishing a monthly newsletter, presenting creative music, providing Notes ______2 Preview: ICP Orchestra ______9 educational programs, identifying and Golden Ear Awards Evening ______3 Roy Parnell ______12 filling career needs for jazz artists, In One Ear ______4 Preview: These Hills of Glory ______14 increasing listenership, augmenting Earshot Jazz Spring Series ______5 Please Put Me On Hold ______15 and complementing existing services Preview: The Tiptons ______6 On Music: I, The RCA Puppy ______16 and programs, and networking with Preview: Le Mystère des Jazz on the Radio ______17 the national and international jazz Voix Bulgares ______7 Calendar ______18 community.

2 • Earshot Jazz • March 2006 Golden Ear Awards

Each year the Golden Ear Awards party provides an opportunity for Seattle jazz fans and performers to celebrate the region’s jazz accomplishments of the previous year. Winners are selected by popular vote and nominations from a committee of knowledgeable Seattle jazz players, audience members, journalists, and industry reps. This year’s gathering, aided by generous support from the Raynier Institute & Foundation/No Wasted Notes, was the seventeenth, and the music was sterling. The Seattle Repertory Jazz Orchestra Nonet, joined by special guest , presented “The Birth of the From top left: Bill Anschell, Greta Matassa, Woody Woodhouse (with Jim Wilke), and Dave Peck. Photos by Daniel Sheehan. Cool,” the music of ’s era- defining album of 1949. The Winners Were... NW Recording of the Year Dave Peck, Good Road NW Acoustic Jazz Group The Dave Peck Trio “Outside” Jazz Group The Tiptons NW Instrumentalist of the Year Bill Anschell Emerging Artist or Group Victor Noriega NW Vocalist of the Year Greta Matassa Jazz Concert of the Year Joe Locke (at Ballard Jazz Festival) Special Awards for Significant and Enduring Contributions to Seattle’s Jazz Scene Wayne Horvitz Special Award for Dedicated Excellent in Jazz Education Moc Escobedo, Eckstein Middle School Seattle Jazz Hall of Fame Inductees Mack Waldron Gary Steele Woody Woodhouse

March 2006 • Earshot Jazz • 3 François Rabbath, one of the world’s Jack Straw Productions, the non-profit great double bass virtuosi. sound-arts organization, has announced Rabbath, who retired recently from the the winners of its three categories of 2006 Paris Opera Orchestra, agreed to have his Jack Straw residencies, the Jack Straw Sonarchy is a weekly showcase of new unusual technique captured by two dozen Artist Support Program, the Jack Straw music and sound art recorded live in tiny reflectors affixed to his left hand, New Media Gallery Program, and the the studios at Jack Straw Productions, arms, and shoulders, which permitted Jack Straw Writers Program. The awards and broadcast on KEXP 90.3FM each technicians to record his movements us- include 20 hours of free or matched Saturday evening at midnight. ing strobe lights and cameras. recording and production time with a This month, on March 4, we’ll hear That idea came from Hans Sturm, an Jack Straw engineer. Once completed, More Zero, led by trombonist Chris associate professor of music at Ball State projects are presented to the public at the Stover. With John Silverman, bass; Chris who is the president-elect of the Inter- organization’s Meet the Artist events and Stromquist, drums; Ben Thomas, vibes; national Society of Bassists. One day, he its Composer Spotlight series. and Stuart MacDonald, tenor sax. read about a video-game simulation of Jazz and improvising musicians who On March 11, Michael Monhart (sax/ Tiger Woods’s stroke, and decided that won awards this year include Lori percussion), Gregg Keplinger (drums), a similar project would make a good Goldston, cellist, who will record a Ann Talbott (guitar/vocals), and Paul follow-up to a Ball State DVD about CD-length composition for 12-piece Kikuchi (percussion) produce giant Rabbath’s style, Art of the Bow, that came ensemble combining scored sections waves of plus a lovely out last May, and has done quite well. and structured improvisation; Jason song from Talbott. The new disc should appear by year’s Anderson, a multi-instrumentalist/DJ, March 18, Cuchata, whose alternative end. When pupils see the recording, “they who will record music and sound effects Latin music falls somewhere between the understand the movement and they begin to press onto vinyl dub plates for use in traditional and the experimental. to do it,” Rabbath told the Chronicle. his live turntable improvisations; Julie March 25, The Noisettes air fractured Not that his technique is one that bass- Cascioppo, vocalist, will record a CD electronics. ists are likely to emulate. Rabbath became of original cabaret songs composed in Doug Haire produces and mixes the a virtuoso of both classical and jazz bass collaboration with various Seattle jazz shows, which are also available on KEXP’s after taking up the instrument as a 13- artists; Karin Kajita, pianist and com- web site, via archived audio. year-old in Syria. He taught himself to poser, will record a CD of her original play in a style all his own in which he jazz compositions with her quintet; and Want to know how one of the most embraces the instrument rather than Margie Pos, bassist and composer, will renowned bassists in the world does standing upright. He lasted only a few record original jazz compositions influ- what he does? lessons at the Paris Conservatory because enced by her study of musics from Cuba, This, from the Chronicle of Higher he had decided his own method worked India, and . Education, the industry’s newspaper of well enough for him. He says he polished Jazz musician and composer, and visual record: The biomechanics lab at Ball State it by watching crabs’ spindly legs scurry artist, Paul Rucker received a New Media University last month was hard at work over sand and trying to slide his fingers Gallery Program grant to create a seven- creating a virtual record of the playing of over the strings in a similar way. channel sound and video work.

GRETA MATASSA Vocal/Rhythm Section Workshops Four weeks of 1/2-hour sessions with one of Seattle’s top rhythm sections and vocalists. Final concert at Tula’s, Seattle’s premier jazz club, w/ optional recording. Workshops every month. Cost: $250 Limited to 8 vocalists. 206-937-1262 gretamatassa.com (see Teaching page)

4 • Earshot Jazz • March 2006

Earshot Jazz Magazine, 1-unit vertical ad height, 3-1/4 width, 2-3/8

Client: Greta Matassa, 206-937-1262

Designer: Susan Pascal, 206-932-5336

Revised 1-18-06 Time after Time: Earshot Jazz Spring Series

Spring is upon us, with any luck; so, Ethnic Heritage Ensemble Pharoah Sanders what better time to air out the closets Wednesday, March 1, Triple Door, Wednesday, April 19, Triple Door, 7 of the mind, and dry out the fungus 7:30pm; $18/$16 discount & 9:30pm; $27 in advance/$30 day between one’s toes and ears? Here’s a of show Spring jazz series that should help you Ab Baars Quartet do that in style. It’s a star-studded few months of rivet- “Kinda Dukish,” Monday, April 24, ing jazz. After a flying start on February 8pm; Consolidated Works; $12/$10 9 with trombone legend Julian Priester’s discount quartet, things rolled on on February 19 with German saxophonist Frank Gratkowski and his all-star international Kahil ElʼZabar quartet. Then, the very next day, and the day after, Earshot and the Tractor Tavern The Tiptons welcomes guitar icon Bill Frisell and his Thursday, March 9, Seattle Asian Art Unmentionable Orchestra for two stun- Museum, 5pm; Art of Jazz series, ning nights of the finest in genre-defying free w/museum admission Ab Baars. Photo by John R. Fowler music. Superb! Le Mystère des Voix Bulgares Things don’t slow down this month. Omar Sosa Quartet w/ Pee Wee Sunday, March 12, Town Hall, March 1, an always-welcome visitor, Ellis 7:30pm; $22 in advance/$25 at door Kahil El’Zabar, returns to town with Friday, April 28, 7:30 & 10pm; Triple Co-presented with KBCS 91.3FM the latest version of his Ethnic Heritage Door; $20/$18 discount Ensemble . Every member of the band is Theo Bleckmann/Ben Monder an extraordinary ambassador of modern jazz, and the whole is even greater than Tuesday, May 2, Consolidated Works, the parts. But, mark these words: It’ll be 8pm; $12/$10 discount worth the price of admission just to wit- ness trumpeter Corey Wilkes, one of the most exciting jazz musicians to hit the scene in many years. As if his staggering general playing is not enough, he pulls a Le Mystère des Voix Bulgares real showstopper from down a wormhole ICP Orchestra – “Instant into an alternate artistic universe when Composers Pool” he puts trumpet and flugelhorn to his Saturday, March 25, Seattle Asian Theo Bleckmann. Photo by Jörg Grosse mouth, at once, and plays the same line Art Museum, 8pm; $16/$14 dis- Gelderman. on each, with mirrored fingering. Then count he plays different tunes on the two instru- Danilo Perez Trio ments, still at once. It’s an old Clark Terry Friday, May 5, Triple Door, 7 & trick, but in Wilkes’s embouchure, it rises 9:30pm; $20/$18 discount to something far more than party trick. Venues: Consolidated Works 500 Boren Ave N, 381-3218

Seattle Asian Art Museum and Han Bennink wih ICP. 1400 E Prospect St, Volunteer Park, 654-3100 Photo by Francesca Patella. Town Hall, 1119 8th Ave, 652-4255 Danilo Perez (center) with Adam Cruz and Ben Tractor Tavern, 5201 Ballard Ave NW Ben Thomas Trio w/ Jovino Street. Santos Neto Triple Door, 216 Union St, 838-4333 Gonzalo Rubalcaba: a night of Thursday, April 13, Seattle Asian Art For tickets and information call Earshot solo Jazz at (206) 547-6763 or go to www. Museum, 5pm; Art of Jazz series, Wednesday, May 10, Triple Door, 7 & earshot.org. free w/museum admission 9:30pm, admission TBA

March 2006 • Earshot Jazz • 5 lineups, each one packed with mighty None of the Tiptons is a bloke in The Tiptons fine players, the quartet plus percussion- disguise, it’s fairly certain, but the band ist has demonstrated great skill, flair, and plays in the spirit of their namesake’s bold Thursday, March 9 appeal. turn. They cook up a gumbo of genres, Seattle Asian Art Museum, 5pm These days, with the departure of the styles, and moods, all driven by a desire Art of Jazz series; free w/museum extraordinary Sue Orfield, the Tiptons’ to engage and delight their listeners. admission four horns players, who all also sing a They have been doing that, around The Tiptons, the powerpacked, all- bit, are Amy Denio, Jessica Lurie, Tina these parts, with various lineups, since women combo formerly known as the Richerson, and Tobi Stone. Their percus- 1988. In 2004, their release Tsunami, Billy Tipton Memorial Quar- sionist over the last few years has been the captured the attention of the NPR show tet, are still celebrating the release of their outstanding Elizabeth Pupo-Walker. “The Next Big Thing,” which featured new CD, Drive, which appeared in Janu- OK, so they’re not really a quartet, but the band busking in a New York subway. ary. And their devoted audience is, too. rather a quintet; but then Billy Tipton Since then, the Tiptons have peformed It continues in the band’s extraordinary, was not really a man. She was a big-band at clubs and festivals in North America much-loved style, packed with goodness saxophone player and pianist who lived and have toured Europe four times – 70 and flava. – east of the Cascades, mostly – as a man, concerts. For 17 years, the band has been one which only was revealed (even to her son) Their new disc features original mate- of the region’s most-appreciated and when she died. And you thought your rial, other than one cover on which they most-admired. Through a succession of parents were withholding. are joined by the sui generis spoonman, Artis the Spoonman. Co-founder Amy Denio spent some time away from the band at the turn of the century, but now is back in full force. Her repute registers far and wide, in the US and Europe, for her multiinstrumen- 6 talism and dash. She makes it happen. Progressing from strength to strength is Jessica Lurie, on alto. Since moving to New York several years ago, her skills have improved on what was already a dazzling high quality, as was most often demon- strated arouhd here with her barnburning trio, Living Daylights. She also heads the Jessica Lurie Ensembles, which has both East and West coast forms. The two newest, but now fully blooded members of the band are Tina Richerson and Tobi Stone. Classically trained, Richerson also performs with the Seattle Women’s Jazz Orchestra and her own quintet, Hard Bop or Not? In 1997, while studying at the University of Idaho, she won the overall instrumental soloist award from the Lionel Hampton Jazz Festival, and then got to work on the Seattle scene. There, in addition to being a stand-out in SWOJO, she was the first woman to break into the ranks of the all-star Seattle Repertory Jazz Orchestra, and has been becoming more and more prominent on the scene after graduating with her master’s degree from the UW in 2002. Tobi Stone studied with Bert Wilson and Don Lanphere, privately, and with continued on page 8

6 • Earshot Jazz • March 2006 Le Mystère des Voix Bulgares

Sunday, March 12 Immediately, the choir, like the many that used village instruments like the Town Hall Seattle, 7:30pm that followed it, softened what generally gajda (bagpipe), kaval (end-blown flute), $22 in advance; $25 at the door seems, to Western ears, the harshness gadulka (upright fiddle), tamboura (long- ($2 discount for Earshot members, seniors of several existing Bulgarian regional necked lute) and tapan (a large sidedrum and students) folk forms. That may seem odd to say, slapped with thin sticks). because the choir, in its current form, Placing his work in reference to “folk sings in strains that often seem on the music,” it is well to note his acceptance edge of shrillness as single and multiple by Bulgarian authorities. During the voices shriek, yelp, and whoop from the bleak years of oppressive Communist lush, dense fabric of the choir. But there rule, a Soviet-inspired concept of arts led you have it. to the setting up of stultifyingly repeti- Koutev had trained as a violinist and tive village music and dance ensembles later as a composer before obtaining whose every activity was monitored and bandmaster certification and working subject to official approval. Koutev was in in the Bulgarian army. At times, he also many senses the ultimate insider in that conducted amateur orchestras as he pro- national cultural system. He gained full gressed in military rank. Eventually, he acceptance, generous sponsorship, and became an administrator of the country’s ultimately considerable control over his military bands. At the end of a stint in output and its presentation. charge of cultural activities at the Central In this, he can be seen as starkly dif- House of the Bulgarian National Army, ferent from, say, musicians among the Performing a cappella, without am- he, with his wife, Maria Koutev, founded Rom minority of the country. The gypsies plification, this ensemble of Bulgarian the State Ensemble for Traditional Song continued on page 8 woman singers is without par in its in- and Dance, which became the Philip terpretations of compositions inspired by Koutev National Folklore Ensemble. Bulgarian folk tunes and styles. That group served as the model for a In the late 1980s and 1990s, the ex- whole movement, known as the Tra- traordinary choral group achieved huge ditional Music Choirs and Ensembles popularity in the United States, but this movement. concert marks the first time it has visited Under his direction, his ensemble the US in over 12 years. gained wide acclaim, in part from exten- When the ensemble first came to notice sive touring. But it was when the group in this country, it often was mistaken as was expanded with the best vocalists from a performer of traditional folk music, other women’s groups, such as Trio Bul- but it is something quite different from garka, with the astounding Yanka Roup- that. Rather, it serves as a paradigm of the kina, that the Mystere mystique boomed solubility of the “folk music” category. in Western Europe and the US. Its history and development stems The other major reason for its sudden from one man’s response to the songs of wide acclaim was the work of ethnomu- Balkan villages. In 1951, Philip Koutev sicologist Marcel Cellier. He issued their (1903-1982) founded the Ensemble of music on small labels until Nonesuch the Bulgarian Republic; it reflected his took them up, with spectacular results. goal of rendering into a modern form, Koutev can be considered as akin to largely of his own invention, the rich Bela Bartok, Edvard Grieg, and other heritage of his country’s solo folk songs. 20th-century composers who were He adapted those to choral groups, and inspired by folk song as he composed employed harmonies and arrangements copiously – symphonic works, songs for that highlighted the haunting timbres “traditional” choirs, mass and concert and irregular rhythms of the originals. choral works, film music, and much else. From that ensemble was born, one year He directed not only vocal ensembles, later, the Bulgarian State Radio and Tele- small and large, but also musical groups vision Female Vocal Choir. such as the National Folk Ensemble

March 2006 • Earshot Jazz • 7 Le Mystère, from page 7 promoted by word of mouth. Their “folk” Dora Hristova, the earmarks of the group were among the country’s outsiders. The was a merger of Rom styles with those of continue to be sophisticated harmonies, Communist dictator Todor Zhikov and the countries and regions through which thrilling rhythms, and a dazzling, six-part his henchmen brutally excluded and they roamed. It was often electrified vocal style. The repertoire includes works suppressed Rom artistic expression, and – but folk. not only by Koutev, but also by other persecuted its practitioners – even now, Koutev based his compositions on song composers who followed in his path, in- after the end of Communist rule, the and tunes from various regions of Bul- cluding Krasimir Kyurkchiyski, Nikolai country has a poor record of treatment of garia, and formalized them in a way that Kaufman, and Petar Lyondev. the minority Roma, who number about gained approval from thugs and surely So, in the final count, what should we 500,000 – just under seven percent of the risked producing shockingly debilitated make of the group’s connection to “folk” country’s population. expression. music? It seems that it is the category, And yet – isn’t it so often this way? And yet he triumphed. His groups came “folk music,” that is perhaps the problem. – both official sponsorship and official to represent the pinnacle of what could be So often invoked, yet so infrequently persecution produced phenomenal achieved under the wet blanket of state inspected, it seems often to serve an musical and other artistic results. Rom “sponsorship” of the arts. exclusionary role, just as the Bulgarian wedding bands such as the phenomenal Early on, as now, the members of Le authorities wished it to. It doesn’t include ensemble of Ivo Papasov flourished in Mystère are singers from the various rural jazz, or the blues, although in many ways the underground, and in a true folk sense regions of Bulgaria. Using arrangements those forms both meet its stipulation of – at village festivities, chiefly weddings, by Koutev, or by the current conductor, demotic performance handed down in practice and performance, borne along in a tradition of evolution. But that’s another topic, and I’m not here to provoke dissonance, not when we’re about to be treated to music of such transporting, world-wise other- worldliness. – Peter Monaghan Presented by Earshot Jazz and KBCS 91.3FM. Tickets available through Earshot Jazz (206) 547-6763 and Ticketmaster (206) 628-0888 and Ticketmaster online. Town Hall Seattle: 1119 8th Avenue, Se- attle (8th & Seneca); pay parking on site.

The Tiptons, from page 7 Marc Seales and Michael Brockman at the University of Washington, but had been a musician since childhood, and a saxophonist since her teens. A teacher of saxophone, , and flute, she has continued the Tiptons’ tradition of locat- ing and bringing on board the finest of woman sax players in the region. And here, timed to Jessica Lurie’s visit ���������������� from out in New York, is an extra treat. ������������������� She and her bloke, the phenomenal artist, Danijel Zezelj, will present their ������������ performance, live painting, projection, �������������������������� song, and live band performance piece, “Shop of Wild Dreams,” at Consolidated �������������� Works (500 Boren Ave N, 381-3218) ����������� on March 1 through March 3. This is an event not to be missed, because Zezelj’s art must be seen to be believed (see www. dzezelj.com).

8 • Earshot Jazz • March 2006 New Dutch Swing into Seattle ICP Orchestra “instant composition” that drives the death. That would kick-start their foun- band is spontaneity and idiosyncrasy. dational role in what jazz writer Kevin Saturday, March 25 “I welcome all kinds of personal things, Whitehead calls, in his history of modern Seattle Asian Art Museum, 8pm which depend on the resoluteness of the , New Dutch Swing. $16 ($2 discount for Earshot members, musicians,” Mengelberg told the Boston That is a hybrid that set itself apart from seniors and students) Globe. That is to say, he seeks to surround American models with such components as a European chamber-music The sensibility and, notably, a heap of (ICP) Orchestra, long one of the pizzazz. The latter is an inevitable world’s most startling and ear- element of any performance stretching jazz ensembles — and that includes the irrepressible, also one of the most amusing hyper-percussive Bennink. For and diverting — makes a re- the group’s edginess, however, turn visit to these shores, with a Mengelberg is just as important, lineup of 10 stellar musicians. and more subtly so. As Sam Pres- Any U.S. tour by the superb tianni put it in the San Francisco ensemble is a not-to-miss event. Weekly: “The pianist’s strong, At the helm is one of the true stark dissonance, especially in originals of the art form, pia- the lower register, offers a su- nist Misha Mengelberg. He perb foil to the drummer’s often and drummer Han Bennink nutty, octopi rhythms.” formed the group in Amsterdam Mengelberg is a master of in 1967 in the full throes of the Han Bennink and Misha Mengelberg. Photo by Francesca Patella. oblique, unpredictable, and of- free-jazz movement. It was then, ten just plain playful composing and remains now, a refuge for playing in himself with singular jazz musicians, and for this creative orchestra. Wry humor the spirit of those times but, in its per- he has plenty of those in the current ICP is one element of his generally eccentric formances and recordings, the band opts — beginning with the tireless Bennink, musical personality, which manifests it- not for fully free improvisation, but for with whom Mengelberg says he has a self in surprising tempos and phrasing. near-anarchy contained within recogniz- love-hate relationship that should not be That may bring to mind the zaniness able musical forms, from swing rave-ups discontinued. of the Kollektief; saxo- to twisted tangos. At the time of the group’s formation, phonist Willem Breuker was there at the For the successful implementation of Mengelberg and Bennink were still in the ICP’s founding, and spent plenty of time its approach, it depends on an evolving glow of their memorable collaboration in the band before branching out to form cast of always-topflight musicians. The with Eric Dolphy in 1964, just before his his own ensemble. But, more than the

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March 2006 • Earshot Jazz • 9 Kollektief, the ICP forges humor from here in Seattle in recent years with the musical play, with fewer stage antics. Monitor Trio and the Clusone Trio, and The band’s selections are eclectic, draw- longtime Vermonter-in-Amsterdam, cel- ing not just from Mengelberg’s vast com- list Tristan Honsinger, whose collabora- positional pool, but also from , tions include a vaunted one with Cecil European dancehall, parade, and classi- Taylor, and others with and cal music, and the bag of jazz standards Irene Schweitzer, and who has also led his — “Tea for Two,” “My Funny Valentine,” own string quartet with Ernst Glerum, and similar curious manifestations of as well as the ensemble This, That, and Americanism. Expect Monkism, too, The Other. because Mengelberg has been a key figure Tenor saxophonist Tobias Delius fills in preserving and constantly refreshing the last stand. He has stood in in recent the legacy of . Simi- months as a replacement for the ill Tristan larly, he has helped revive interest in the Honsinger, playing the cellist’s charts, less-vaunted departed pianist/composer transcribed for saxophone. That exercise Herbie Nichols. went so well that he remained with the Always sure to provide both propulsion band upon Honsinger’s return. A mem- and zaniness is drummer Han Bennink, ber of Michael Moore’s Available Jelly and who has long been one of the most Honsinger’s This, That, and The Other, in-demand drummers in Europe, and among many other projects, Delius also who has performed and recorded with leads his own quartet with Honsinger, Joe jazz musicians like Dexter Gordon and Williamson (bass) and Bennink. Sonny Rollins. Both he and Mengelberg Mengelberg loosely directs the whole have also teamed up often with the most swirling show — with startling musi- vaunted Europe-based jazzmen, such cal gestures at the keyboard rather than MARCH SHOWS as and , and ostensive conducting. He told Kevin improvisers like Peter Brötzmann and Whitehead that he liked “to put sticks PIANO JAZZ AFTER SEAHAWKS HOME GAMES. REGULAR WEEK- Derek Bailey. into the spokes of all wheels.” Similarly, DAY SHOWS ARE FREE! Bringing all this to life with Mengelberg the band’s members are at liberty to inject and Bennink is a lineup of top-flight, a “virus” — a written snippet that will MON: New Orleans Quintet maverick contributors. The line-up also disrupt a tune, forcing the ensemble to TUES: Holotrad Jazz WED: Floyd Standifer Group includes Wolter Wierbos (trombone; renew its instant composition. THU: Ham Carson & Friends Quintet, Peter van Of the results, Bill Shoemaker wrote Bergen’s LOOS, Theo Leovendie Quin- in Jazz Times: “Compelling open im- 3-4 James Armstrong tet, J.C. Tans Orchestra), Ernst Glerum provisations and pungent thematic ma- (bass; Amsterdam String Trio, Guus Jan- terials function like spark-shooting flints 5 Overton Berry CD release party sen, J.C. Tans Orchestra, Curtis Clark), throughout the program.” Ab Baars (clarinet/saxophone; Guus The approach produces results that 10 The Mudbugs Jansen, Maarten Altena, Loek Dikker, many jazz big bands should note, Lloyd 11 Rent Collectors Orkest de Volharding), and Thomas Sachs suggested in the Sun- Heberer (trumpet; Berlin Contemporary Times. Making reference to a moment 12 Pete Leinonen & John Holte’s Radio Jazz Orchestra, European Jazz Ensemble, in the ICP’s rendition of “Caravan,” he Rhythm Orchestra Pata Orchestra). All those enjoy high wrote: “With one exhilirating stroke — a 17-18 Little Bill and the reputations in their own right. Wierbos, unison horn climax that was as brief as Bluenotes for example, has for many years been one it was sudden — the rendition left you of his instrument’s most-advanced and thinking how thoroughly this band could 19 Woody Woodhouse idiosyncratic innovators. kick the rears of countless mainstream 24-25 Paul Green & Straight Added to the ICP a few years ago, re- repertory orchestras with its expressive- Shot placing cellist Ernst Reijseger, is American ness and power.” 26 Washington Foster Care violist Mary Oliver. She brings to three – Peter Monaghan Benefit with Two Scoops the number of stellar American expats in Moore the band. Also there is long-time Amster- This concert is presented by Earshot Jazz. 31-4/1 Mark Hummell dam resident Michael Moore, a multi- Tickets are available at Wall of Sound (315 hornman (Available Jelly, Gerry Heming- East Pine), Bud’s Jazz Records (1st and FOR DINNER RESERVATIONS way Quintet, Clusone 3, Maarten Altena Jackson), and at Earshot Jazz (206) 547- CALL 622-2563 ensemble) who has impressed audiences 6763 or online at www.earshotjazz.org.

10 • Earshot Jazz • March 2006 March 2006 • Earshot Jazz • 11 Roy Parnell: Jazz club owner and booster don, Eddie Harris, Earl “Fatha” Hines, A memorial celebration was held on 1943-2006 Barney Kessel, Milt Jackson, Blue Mitch- February 27 at Canyon Hills Community ell, Phineas Newborn Jr, Anita O’Day, Church, in Bothell. Remembrances can From 1976 to 1980, Roy Parnell oper- Art Pepper, Bud Shank, Sonny Stitt be sent in his name to King’s School, ated a jazz club in Pioneer Square that and Cal Tjader, Joe Williams, and Phil 19303 Fremont Ave. N., Seattle, WA veterans of the Seattle scene still speak of Woods. He also liked comedians, and 98133. with fondness and respect. He had been often featured the now-obscure Professor Some of those who played at the club, suffering for several years from chronic Irwin Corey. and hung out there, recalled the days scleroderma, a debilitating disease of the Many Seattle players were featured at there, including Jane Peck, who as Jane skin that attacks internal organs and the the club, too, as Parnell hired locals to Lambert often sang at the club. immune system, and died of pneu- Chuck Deardorf, bassist, Cornish monia on February 18. College instructor Parnell’s hosted national and local Roy was a fair minded guy who acts at its location at 313 Occiden- started a jazz club at just the right tial Ave S, which was decorated with time in Seattle; the Pioneer Banque the jazz portraits that now hang in was slowly fading, the only other Demetriou’s Jazz Alley, as well as place for locals was the Other Side with living-room-style fixtures such of the Tracks in Auburn, run by as lamps and large cushions. Radio Victory Music. Parnell’s was com- host Jim Wilke told the Seattle fortable – low cushions and tables, Times: “I don’t know if there ever lots of wood, and a relaxed vibe was a more comfortable jazz club. for the musicians. Many musicians It was always like a party in Roy’s of my generation (Dave Peterson, living room.” Dave Peck, Dean Johnson, Dave Parnell was raised in Seattle, Coleman, Marc Seales, etc.) as went to college in California and well as veterans such as Barney at Central Washington University, Roy Parnell as he appeared in a 1980 profile in the Everett Herald. McClure, Dean Hodges, and Bob and then in the 1960s and 1970s Nixon among others got a chance to worked as a parole officer for King and fill the rhythm sections for visiting stars. work with many jazz legends there; Chet Snohomish counties. He was, as Earshot Those included pianist Dave Peck, bass- Baker, Joe Williams, Zoot Sims, Monty co-founder and Seattle Times jazz critic ist Chuck Deardorf, and multihornman Alexander, Charlie Rouse, even Professor Paul DeBarros put it in an obituary, “a Floyd Standifer. Peck told the Times: “It Irwin Corey. Roy also opened the club for tall, big-chested, imposing man who was really influential in the history of the weekly jam sessions, local groups got an wore a trim beard and carried himself scene. It was where we could essentially opportunity to work, and made sure the with the authority of a ship’s captain, the go to school together. It not only became musicians always got paid. former county employee did not fit the a really great gig for us all, but it was the stereotype of a jazz-club owner.” That, driving force for us to get better at play- Mark Solomon, entertainment agent because he did not drink, nor particular ing.” Earlier this year, he told Down Beat I had heard about Parnell’s jazz club like the night life. He was, however, an Magazine: “Back in the ‘70s, I might have even before I moved to Seattle in 1979 entrepreneur, and made good from his thought about moving to New York. But from my then girlfriend who lived in 150-seat club, eventually selling it to when I started being house piano player Seattle and loved the place. In fact the musician Marv Thomas, father of mul- at [the now defunct] Parnell’s and Jazz only picture I had of her was taken tihornman Jay Thomas, who then sold it Alley, I got to play with Sonny Stitt for at Parnell’s. I worked at KUOW and two years later to four investors, includ- a week, then I’d be playing with Chet KPLU after I arrived and taped many ing singer Ernestine Anderson. Renamed Baker a couple of weeks later. That was performances live at Parnell’s. After Roy Ernestine’s, the club closed in 1983. the bird in the hand.” sold the club to Marv Thomas, I was the Roy Parnell’s taste in jazz was reflected Until a few weeks before his death, booking manager at the club and virtually in the artists he booked, including many Roy Parnell worked in his position as lived there for a year and a half. After the of the big, mainstream names of the day: vice president for human resources at demise of the club I worked with Roy Monty Alexander, Ernestine Anderson, Crista Ministries, where he had worked booking music for a short-lived club on Chet Baker, Ray Brown, Charlie Byrd, since 1986. The Shoreline nonprofit runs the eastside named Roxy’s. Eddie “Lockjaw” Davis, Bob Dorough, churches, the relief charity World Con- Roy’s intention in starting Parnell’s Bill Evans, Dave Frishberg, Dexter Gor- cern, radio stations, and King’s schools. was to create a club that felt like a living

12 • Earshot Jazz • March 2006 room, and Parnell’s certainly was that. was the extension of Roy Parnell the per- and how lucky for all of us. All the great It had intimacy partly because it was son-warm, intimate, open to the music. musicians of my generation in Seattle had small (only 150 seats) and also because the opportunity to play with all the great Jane Peck, singer most of the seating was on couches. Roy jazz musicians of the history of the music. Roy Parnell made my career. Many loved and appreciated jazz. I think he Everyone played Parnell’s and everyone people along the way were encouraging was in it for the music, not the money. loved it. The style of the club was often and helpful and none of what I have He was a traditionalist who loved the imitated but never with as much success achieved could have been done without blues, bop, and various offshoots thereof. because it was the heart of Roy Parnell- all of that help, but Roy Parnell made Most of the time he hired a headliner, this big smiling bear of a man-that was me. He had such faith in me and always like a Zoot Sims or a Chet Baker, and the club. exhibited such generosity, spirit and hu- I saw him last year and we had a great mor. He called me Special Lady and he reminiscence about those years. It was always made me feel such. The best thing only about four years but still seems like a about Roy during the Occidental Square lifetime to me. The best of me was there. Parnell’s years was his absolute sheer joy It was the best playing, the best listening, and love of the music. This guy really and the best time. loved jazz and said over and over again Thank you, Roy how lucky he was and how he couldn’t believe he was doing what he was doing,

hired local players to back them up. That gave some young local players like Dave Peck, Marc Seales, Chuck Deardorff, and Dean Hodges a chance to play with the “big boys.” Roy also hired a lot of local groups, and he knew who could play and who couldn’t. When you went to Parnell’s you knew you’d hear good music in a great setting. Roy was just the kind of person you hoped would own a jazz club. I always found him gracious and candid. His very being was magnanimous. He inspired the people who worked with or for him, and he was truly beloved by those who came into contact with him. Parnell’s the club

March 2006 • Earshot Jazz • 13 These Hills of Glory March 5: Julian Priester, Philip Wilson, Michael including Bill Frisell and Don Byron, Ron Miles, trumpet, soloist Shrieve, and Carla Bley. and has also been a member of the El- March 19: His composing has brought him as lington Orchestra and Fred Hess’ Boulder much renown as his playing. His com- Creative Music Ensemble. A staple of the Tom Swafford, violin, soloist positions for small jazz groups have made Denver jazz scene, he also is in demand Café Paloma, 7:30pm him a club favorite, and he has been a the world over for his rich, distinctive Admission: $10 at the door mentor to a whole generation of out- sound. jazzers and rockers-turned-jazzers here The “phenomenally gifted trumpeter,” Wayne Horvitz presents the fourth in Washington state. as critic Bill Milkowski has described and fifth instalments of his series of He also has received many commis- him, is also a fine composer. He has lived presentations of These Hills of Glory: sions from such quarters as the National in Denver since he was 11, where he Composition No. 2 for String Quartet Endowment for the Arts, Meet The began studying the trumpet. He studied and Improviser, with Denver-based Composer, the Kronos String Quartet, music at the University of Denver and trumpeter Ron Miles and Seattle-based Seattle Chamber Players, Mary Flagler, the Manhattan School of Music, and in violinist Tom Swafford as soloists. BAM, and Earshot Jazz. 1999 served as musical director and ar- They join the odeonquartet, a top-class His compositions often have a trans- ranger for drummer Ginger Baker’s disc string, in interpreting Horvitz’s work, porting, dancing quality, so it is no sur- Coward of the County (Atlantic 1999). which rests at the intersection of com- prise that he has often collaborated with His compositions anchor that record. position and improvisation. choreographers, including Paul Taylor He also released a series of well-received Keyboard player Wayne Horvitz has and the White Oak Dance Project, Liz discs on Gramavision (My Cruel Heart, long played and composed in multiple Lerman Dance Exchange, and Crispin Woman’s Day) and Capri (Witness, Ron genres, and combinations of them. He Spaeth. His film work includes music and Miles Trio). enjoys high repute throughout North sound design for three PBS specials and Tom Swafford grew up in Seattle. He America, and much further afield. Here Gus Van Sant’s feature film, Psycho. began improvising in 1991 as a member in Seattle, he has been the leader of In 2001, Horvitz received an Artist of Tufts University New Music Ensemble. several stellar projects, including Zony Trust Fellowship (Seattle) and in 2002 In the late 90’s, while a composition Mash, Pigpen, and The Four plus One he was awareded a Rockefeller Founda- graduate student at U.C. Berkeley, he Ensemble. He was also co-founder of tion MAP Grant. Last month, Earshot performed with 024c, Dan Plonsey, John both East and West Coast versions of the Jazz awarded him a special Golden Ear Schott, and Matt Ingalls, among others. New York Composers Orchestra. And, he for his many contributions to Seattle He also recorded the CD Hill Music with has long and often performed and col- creative music. the Emergency String Quartet. laborated with many jazz leading of the He and trumpeter Ron Miles go way From 2001 to 2002 Tom studied day, including Bill Frisell, Butch Morris, back. Miles has often performed with composition in Amsterdam with Louis , Robin Holcomb, Fred Frith, longtime Horvitz New York colleagues, Andriessen. Since returning to Seattle, he

14 • Earshot Jazz • March 2006 has been active in Seattle’s thriving cre- Please Put Me On Hold ative music community. He is a member Tell you one thing: Whoever is pro- have the music automatically down- of Doublends Vert, Cipher, Tone Action gramming the City of Seattle phone loaded onto your computer, via www. Orchestra, Thingsome Q, Volute, and a system’s hold music is hip. seattle.gov/onhold. duo with drummer Matt Crane, as well When you call the Public Utilities According to Nate Brown of the as the Irish/Punk band, Meisce. department at the city, Wayne Hor- Mayor’s Office of Arts and Cultural He wrote, played, and recorded string vitz, Bogey Vujkov, Carlos Cascante’s Affairs, some listeners now actually arrangements for pop bands Guster, Pa- Tumbao with Thomas Marriott, and want to be put on hold. And, San pas Fritas and SweetLou. Dave Peck are some of the musicians Francisco is planning to copycat us In the Seattle-based odeonquartet, Miles whose recordings you hear while by placing its own cats on an on-hold and Swafford will meet one of the most waiting. system. distinguished of modern string quartets, Music by some of the city’s lead- City employees cooked up the idea with Gennady Filimonov, violin; Heather ing lights of jazz and other forms of because callers had been complaining Bentley, viola; Jennifer Caine, violin; and music is part of city employees’ vision that the exisiting on-hold music...well, Page Smith, cello. of making the vexed experience of it sucked, and are we surprised? Selling Among their distinctions is to present waiting on hold a little more pleasant, the idea of replacing it with something high-quality performances of new cham- and to promote the city’s music scene tastier was not difficult, Brown says, ber music, and to bring new composition while doing so. because the music industry employs to new audiences. The quartet has been, Also on rotation have been Aono 8,700 people in Seattle and gener- for example, the Lehmann Ensemble-in- Jikken, which creates music from ates $1.3 billion in annual sales. City Residence at Cornish College of the Arts found objects; the Northwest Cham- employees and musicians they knew during 2001-2003 season. ber Chorus; Seattle Pro Musica, an selected the first rotation of cuts, but They have appeared to increasing ac- early-music group, performing “To a more permanent group will make claim. Gavin Borchert, in the Seattle Mistress Margaret Hussey;” pianist the selections in the future. Cuts will Times, wrote: “Just a few seasons old, this and accordianist Murl Allen Sanders; rotate every quarter. young, vibrant group has made a Kronos- and Wu Ziying, a performer of Chi- The program is already drawing like commitment to a 20th century music nese classical music. some extra attention to Seattle music. all over the artistic map – from serialism, The announcement between tunes The Bloomberg business news service evocations of folk and pop music from is a rather clunky announcement by wrote about it, which prompted the around the world, American classics Mayor Greg Nickels hippin’ the caller LA Times and some others to do the and European neo-romanticism.” The to what’s happenin’. He even tells you same. ensemble features works in varied Ameri- how to subscribe to a ``podcast’’ to – Peter Monaghan can and international styles including fresh and imaginative performances of standard and lesser-known masterpieces as well as new works and unusual reper- toire. Their work may, for example, weave in threads of tango, American prison Origin Records New Releases blues, Persian folk music, jazz, Russian available at Bud’s, Tower, Silver Platters & Easy Street orthodox hymns, minimalism, European neo-romanticism, and contemporary and GRETA MATASSA Favorites From a Long Walk folk influences. Origin 82452 For this, the quartet has received a JOHN BISHOP prestigious King County Arts Commis- Nothing if Not Something sion grant, and regularly appeared on the Origin 82455 Seattle Chamber Music Festival’s “Under Forte” series. The series will end next month, on April SEATTLE REPERTORY JAZZ ORCHESTRA 16, with a performance of the work by Sacred Music of the odeonquartet and, as soloist, Gust Origin 82456 Burns, at Gallery 1412. ORIGIN For more information, visit www.wayne- RECORDS OA2RECORDS horvitz.com and www.odeonquartet.org. www.originarts.com - 206/781-2589 distributed by: CITY HALL RECORDS 415/457-9080

March 2006 • Earshot Jazz • 15 On Music I, The RCA Puppy We lived in a little bungalow in Jamaica, through her youth, and loved singers. She Queens, two younger sisters, Dad, Mom, loved to dance and listen to singers. and myself. The house seemed big to me, I loved to laugh and didn’t know it was lived there about the 3rd grade through all sinking in. On Saturday nights my the middle of the 7th, years when folks often had company over, including marbles, baseball cards and comic books family, for Rum & Coke and card games ruled. Our home was surrounded by trees like Gin Rummy, Tunk, especially Bid in a backyard that stretched all around Wiss. From upstairs in my room I loved the house, shed with a big garage at the to listen to them laugh and drink. Some- Paul Harding, photo by Daniel Sheehan end of a long driveway. We had real good times argue. Sometimes they get quiet times in that brown house. because of the music; like Nat Cole – who Donnie played Trane, Monk, and the Inside was spent mostly between the yel- ruled the world then – singing “Mona cats, but loved all of it. I learned most low kitchen and Mediterranean-spirited Lisa” or “Nature Boy.” While still reading of what I know about R&B from my living room. A huge canvas of Venice nursery rhymes repeatedly, Burroughs, mother’s brother. I fell in love with this canals went along the eastern wall. A Wells, and Kipling, I was just a kid but 45 single by Wynton Kelly named “Little long couch on the opposite wall… and connected with the singer’s pathos, some- Tracie” that Mom had bought – she the long mocking face of the stereo con- thing in his tone and story. And others… brought all the music home. Funny, only sole sat beside it. Decades before VCRs, like Joe Williams, Johnny Mathis, a new two records I think Dad ever raved about DVD Players, downloads, and iPods, voice then, Billy Eckstine, Frank Sinatra, were Sam Cooke’s “You Send Me” and there were three speeds: 33, 78, and 45 Little Jimmy Scott, Johnny Hartman, later Otis Redding’s swansong “On The rpm on the turntables. Us kids weren’t and Arthur Prysock. Dock Of The Bay.” allow to touch it. Sometimes company got loud. Hank Motown hadn’t marched full flank yet. The living floor, more than once a week, Ballad & The Midnighters or King The Beatles were on their way. Muham- instantly became a dance floor. My sisters Curtis’s big saxophone got them danc- mad Ali was breaking all the rules. I would show Mom the latest dance steps ing. Sometimes my sisters were called wanted to be the first Negro President of as a 45 disc would drop down on the downstairs to show the latest moves. This the USA when they killed JFK. After the turntable and the needle’s arm rose and would go on all night. And although I card party I would sneak downstairs past swung onto the wax… Then music filled don’t recall anyone breaking music into the folding chairs, champagne, and wine the house. Music, always somewhere categories, the later hours brought some glasses, stained tables, playing cards, and in that house. Had no idea it was in jazz. Ahmad Jamal. Horace Silver. Art records all in disarray on the floor around my blood. Mom played classical piano Blakey. Miles Davis. Only my Uncle continued on page 23

Monthly Jazz in The L.A.B. @ The Seattle Drum School THE JIM KNAPP ORCHESTRA EVERY FIRST MONDAY Geoff Harper Presents: @ 8PM Last Mondays every last Monday @7:30 pm www.lastmondays.com Wayne Horvitz Quartet Sunday, April 2nd @ 7:30pm

206.364.8815 - 12510 15th Ave NE - www.thelabatsds.com

Saxophone, Trumpet, Trombone, Violin, Piano, Guitar, Bass, Drums

16 • Earshot Jazz • March 2006 Jazz on the Radio

What the Puget Sound Offers Thursday 9am-noon ::Vintage Jazz - Al Saturday & Sunday midnight- Barnes plays 1920s and 1930s jazz. 3am :: Jazz After Hours with Jim Wilke – _Straightahead jazz. KBCS 91.3FM Friday 9am-noon :: Caravan - John www.kbcs.fm Gilbreath explores the intersec- Saturday 11am-3pm :: Saturday Jazz with tions of jazz and world rhythms. Ruby Brown – Bluesy straightahead jazz. Monday midnight-3am :: Prisms - Avant-garde music, experimen- Sunday 2-6am :: Nightowl Jazz - John Pe- Saturday 3-4pm :: Jazz Profiles with tal soundscapes, and art music. tri plays jazz for “nighthawks at the diner.” Nancy Wilson – Syndicated; jazz bios. Weekdays 7-9am :: Drive Time Jazz - Jazz, Sunday 10pm-midnight :: Flota- Saturday 5-6pm :: Piano Jazz with traffic, news, and weather with John tion Device - Jonathan Lawson Marian McPartland – A different Midgley, Diane Sweeney, Catherine Hall, presents jazz on the “out” side. third and fourth hand each week. Gordon Todd, and Megan Sullivan. Sunday 9am-noon :: Jazz Sunday Side Up KEXP 90.3FM Monday 9am-noon :: The Bud with Ruby Brown – Straightahead jazz. and Don Show www.kexp.org - In memory of Sunday 1-2pm :: Jazz NW with Jim Don Lanphere, Bud Young play- available on the Web and via streaming audio Wilke – Regional jazz and jazz news. ing “the best jazz in town.” archive Sunday 3-6pm :: The Art of Jazz Monday 9-11pm :: Straight, No Chaser Sunday Midnight-2am :: Jazz The- with Ken Wiley – Classic jazz - David Utevsky plays “music that ater - and masterful history-telling. burns or tingles the ears like a shot of John Gilbreath celebrates whiskey does the throat” from bebop jazz as alive and thriving, now. KPLU jazz programs, supplemented by and hard-bop to avant-garde jazz. KPLU 88.5FM “Jazz from the KPLU Library,” can also be heard on KPLU’s World Wide Web stream, Monday 11pm-1am :: Giant Steps www.kplu.org - John Pai “allows the inherent na- “World Class Jazz.” KPLU is heard at: ture of the music to speak” and each available on the web 88.5 Seattle/Tacoma; KPLI 90.1 Olympia; week highlights a classic jazz album. Monday - Friday 9am-noon :: Jazz with KVIX 89.3 Port Angeles/Victoria; Aber- Tuesday 1-3am :: Ampbuzz - A mix Dick Stein – Straightahead jazz. deen/Hoquiam 100.9; Bellingham 88.7; of psychedelic rock, outsider folk, Monday-Friday noon-3pm :: Jazz with Centralia/Chehalis 90.1; Raymond/South free and not-so-free jazz, and any- Robin Lloyd – Straightahead jazz. Bend 90.3; Longview/Kelso 104.5; Mount thing else “out” but not necessar- ily “noise.” With Chris Martin. Monday-Friday 7:30pm-mid- Vernon 91.1; West Seattle 88.1 night :: Evening Jazz with Abe KSER 90.7FM Tuesday 9am-noon :: Be-Bop Spo- Beeson – Straightahead jazz. ken Here - Bernie Goldberg journeys www.kser.org through the classic bebop world. Monday-Friday midnight-3am :: Jazz on the Graveyard – Kevin Kniestedt & available on the web Wednesday 9am-noon :: 20th Century Troy Oppie present straightahead jazz. Jazz The First Half - Joanie Nelson Sunday 2-4pm :: Jazz in the Schools plays music of the 1920s to 1940s. with Steve Ward – Recordings by Northwest high-school and pro- fessional jazz musicians.

KUOW 94.9FM www.kuow.org Saturday 7pm-midnight :: The Swing Years and Beyond - American popular music 1920s-1950s with Amanda Wilde.

KWJZ Smooth Jazz 98.9FM www.kwjz.com available on the Web Smooth jazz, 24 hours.

Note: If you know of any other Seattle- area jazz programs on the radio, do let us know, at [email protected].

March 2006 • Earshot Jazz • 17 WEDNESDAY, MARCH 1 Room on the 3rd and 4th, and at Bake’s Place JA Monty Alexander & Spirit of Jamaica, 7:30 & th JA Hiromi, 7:30 Providence Point, on the Eastside, on the 11 . 9:30 JU Sandra Locklear & Inner Circle Quartet, 8 TD George Kahn, 7:30 MA PK & Tom Swafford, 7:30 1 HIROMI TU Greta Matassa vocal workshop, 8 TD Ethnic Heritage Ensemble, 7:30 Still only in her mid-20s, this extremely gifted TU Gail Pettis Trio, 8 Japanese pianist inherited a wealth of knowledge 2 VIBES, MAN about jazz from her mentor, Ahmad Jamal, Seattle vibraphonist Ben Thomas plays and from other piano greats. She blended it swinging, pulsing jazz that has captured the 1/2 SANDRA LOCKLEAR attention of critics far afield. In Jazz USA, John Seattle-based vocalist-pianist Sandra Locklear with everything from the classics to funk, and emerges as one of the most promising talents Barrett, Jr. praised Thomas’s second album, records a new CD during these two evenings at The Mystagogue, for its “power -it’s here by the Jubilante in Renton, with her Inner Circle Quartet: in modern piano jazz, as evidenced by her 2003 debut CD Another Mind. Hiromi Uehara was a truckload. While Ben Thomas brings his mallets Jack Klitzman on horns, Mike Barnett on bass and down hard, his band stretches in serpentine, Steve Korn on drums. The show also features child classical-music prodigy who discovered jazz in her teens. At 17, she had a now-fabled Zappa-like themes. There’s tons of sustain on guest vocalist Jim Locklear. Sandra Locklear the title track, endless harmony for the drums sings standards and originals with great emotion chance meeting with piano legend Chick Corea who, on hearing her, invited her to perform with to crash against.” Similarly, in All Music Guide, and proficiency, honed during years of singing Adam Greenburg praised his “contemporary in Europe, Canada, the Northwest, and Alaska, him in concert the next day. In 1999, Hiromi enrolled at Berklee College of Music in Boston. take on the vibes that’s still influenced by the and influenced by the likes of Astrud Gilberto, various masters.” Laura Nyro, Carol King, Shirley Horne, and Nina She says: “I really don’t have barriers to any type Simone. The club is all-ages until 10pm. of music. I could listen to everything from metal to classical music to anything else.” And: “I love 2 GRETA MATASSA Bach, I love Oscar Peterson, I love Franz Liszt, Greta Matassa, a perennial favorite among fans 1/3/4/11 GAIL PETTIS I love Ahmad Jamal. I also love people like Sly of jazz vocals, leads a vocal workship at Tula’s. You have four opportunities to hear this and the Family Stone, Dream Theatre, and King She is “stratospherically gifted,” as Earshot Jazz nominee for last year’s Golden Ear Award for Crimson... Basically, I’m inspired by anyone who said, and has repeatedly won best-jazz-vocalist best vocalist. Gail Pettis, originally from Gary, has big, big energy.” At Jazz Alley. awards in Seattle, including this year’s Golden Indiana, and schooled in the art of the jazz Ear Award for best Northwest vocalist. She has vocal locally by Dee Daniels and Greta Matassa, 1 STRINGS PACKED IN a varied and get-after-it style, and is a student and an admirer of the likes of Bobby Caldwell of all the greats. At Tula’s at 8. and Kevin Mahogany, goes from strength to In the small but music-friendly Matt’s in the Market, upstairs from where Patti Summers’ strength, performing a winning, crowd-involving FRIDAY, MARCH 3 style of vocal jazz. In these pages last July, Todd place used to be, two fine string players, violinist Matthews wrote of Pettis that “A performance Tom Swafford and bassist PK share their dulcet C* Pran, Ballard IOOF, 1706 NW Market, Seattle, provides Pettis the opportunity to process, learn, airs. 7:30 reflect, and quite often unpack a tune in search C* Katy Bourne Quartet, Columbia City BeatWalk- of its core feeling and emotion. It’s a goal that THURSDAY, MARCH 2 Revival Lighting, 4860 Rainier Ave S, 7 Pettis frequently achieves, and with a soulful C* Ben Thomas & Tangent Project, Seattle City C* Garfield High School Big Band Dance, Swedish grace that makes the process seem almost Hall, 600 4th Ave, noon Club, 1920 Dexter Ave N, 7:30 effortless.” She told Matthews: “As I experience C* Jeff Hamilton Trio, Bruce Paulson, Wenatchee C* Michael Biller & Joe Casalini Duo, Columbia it, the currency of jazz is emotion. That’s what Jazz Workshop, Wenatchee High School, 7:30 City Art Gallery, 4864 Rainier Ave S, 7 you give and hopefully get back.” She is at Tula’s C* Jon Pugh jam for teens, Roy’s Place, 4918 HS Jon Hamar Trio, 8 on March 1, the Sorrento Hotel’s elegant Fireside 196th St SW, Lynnwood, 7

Get your gigs listed! To submit your gig information go to www.earshot.org/data/gigsubmit.asp or e-mail us at [email protected] with details of the venue, start-time, and date. As always, the deadline for getting your listing in print is the 15th of the previous month. The online calendar is maintained throughout the month, so if you are playing in the Seattle metro area, let us know!

AA Seattle Asian Art Museum in Volunteer Park, Seattle MA Matt’s in the Market, 94 Pike St #32, 467-7909 AF Affairs Cafe, 2811 Bridgeport Way West, University Place, (253) 565-8604 MK Mr. Lucky, 315 1st Ave N Seattle, 282-1960 BF Benaroya Hall, 3rd and Union Downtown Seattle, 215-4747 NE Norm’s Eatery, 460 N. 36th, (206) 547-1417 BJ Beacon Pub, 3057 Beacon Ave S, 726-0238 NO New Orleans Restaurant, 114 First Ave S, 622-2563 BP (425) 391-3335 OU On the House, 1205 E Pike, (206) 324-3974 C* Concerts and Special Events OW Owl ‘n Thistle, 808 Post Ave, 621-7777 CC Charlie’s at Shilshole, 7001 Seaview Ave NW, 783-8338 PC Plymouth Congregational Church, 1217 6th Ave, (206) 622-4865 CF Coffee Messiah, 1554 E Olive Way, 861-8233 PM Pampas Club, 90 Wall St, 728-1140 CF Copperfield’s Restaurant, 8726 S Hosner, Tacoma, (253) 531-1500 PN Poncho Concert Hall at Cornish College of the Arts, 710 E Roy St. CM Crossroads Shopping Center, 15600 NE Eighth St, Bellevue, (425) 644-1111 RD Richmond Beach Deli, 632 NW Richmond Beach Road, Shoreline, (206) 546-0119 CV Café Venus and Mars Bar, 609 Eastlake Ave E RZ Rendezvous, 2320 2nd, 441-5823 CZ Cutter Point 7520 27th St. W. University Place, (253) 565-4935 SA The Spar, 2121 N 30th, Tacoma, (253) 627-8215 FB Seattle First Baptist Church, Seneca at Harvard on First Hill SB Seamonster Lounge 2202 N 45th St, 633-1824 GT Gallery 1412, 1412 18th Ave SF Serafina, 2043 Eastlake Ave E, 323-0807 GR Grazie Rist., 23207 Bothell-Everett Hwy SE, Bothell, (425) 402-9600 SQ Scarlet Tree Restaurant, 6521 Roosevelt Way NE, 523-7153 HS Hiroshi’s, 2501 Eastlake Plaza, 726-4966 SR Sorrento Hotel, 900 Madison, 622-6400 IB Il Bistro, 93-A Pike St, 682-3049 ST Suite G, 513 N 36th St, 632-5656 JA Jazz Alley, 2033 6th Ave, 441-9729 SU Sunset Tavern, 5433 Ballard Ave, 784-4480 JB Jazzbones, 2803 6th Ave, Tacoma, (253) 396-9169 SY Salty’s on Alki, 1936 Harbor Ave SW, 526-1188 JF Johnny’s, Fife exit 137 off I-5 at Motel 6, (253) 922-6686 TA Tempero Do Brasil Restaurant, 5628 University Way, 523-6229 JU Jubilante Restaurant, 305 Burnett Ave S, Renton (425) 226-1544 TB Tutta Bella Neapolitan Pizzeria, 4918 Rainier Ave. S. 721-3501 JW Julia’s of Broadway, 300 Broadway, 860-1818 TD The Triple Door, 216 Union St, 838-4333 KR Kirkland Performance Center, 350 Kirkland Ave, Kirkland, (425) 893-9900 TO ToST, 513 N 36th St, 547-0240 LA Latona by Green Lake, 6432 Latona NE, 525-2238 TU Tula’s, 2214 2nd Ave, 443-4221 LU Luigi’s Grotto, 102 Cherry, 343-9517 WB Wasabi Bistro, 2311 2nd Ave, 441-6044

18 • Earshot Jazz • March 2006 Recuring Weekly Performances

MONDAYS IB Blake Micheletto MK Reggie Goings & Jazz Suspenders, NO New Orleans Quintet

TUESDAYS NO HoloTrad Jazz OW Bebop & Destruction

WEDNESDAYS CV Matt Jorgensen/Mark Taylor Group, 9:30 NO Floyd Standifer Group, 8 PC Susan Pascal/Murl Allen Sanders/Phil Sparks, Noon The Frank Gratkowski Quartet appeared at Con Works on February 19, with Frank Gratkowski, bass clarinet; Kjell Nordeson, SA Kareem Kandi Band, 8 drums; Torsten Müller, bass; and Fred Lonberg-Holm, cello. Photo: David Wight. ST Ryan Burns Trio

JA Monty Alexander & Spirit of Jamaica, 7:30 & Sushi. Each week, drummer Greg Williamson, 9:30 the head honcho of Pony Boy who is renowned THURSDAYS PN Eyvind Kang, Zachary Watkins, Mark Oi, 8 for his big groovy beat, will anchor the line-up, CF Monktail Music Series, 8 SB Pantheon, 10 joined by different guest artists from the Pony SR Gail Pettis Trio, 9 Boy stable. Williamson has been a stalwart of CM Victory Music Open Mic, 6 TU Gary Hobbs Quintet, 8:30 the local scene – one of the busiest jazzers in the business – backing singers, bandleaders, JB Kareem Kandi Band, 8:30 and dancers up and down the West Coast and 3 COMPOSERS NOW! LU Robeson Trio, 8 Cornish Alumni Eyvind Kang, Zachary Watkins, far afield, and leading his own Pony Boy All-Star and Mark Oi present new compositions in jazz, Big Band and Double Sax Quintet. He has spent NO Ham Carson Quintet, 7 several years on the road with the big bands of electronic, and cross-genre experimental music, SQ Darrius Willrich, 10 at PONCHO Concert Hall (710 E Roy St; $15 Woody Herman and others and toured with the general, $7.50 students/seniors/Cornish alumni, likes of jazz funnyman Steve Allen and Seattle’s TA Urban Oasis, 7 at door, or from Ticket Window 206.325.6500, own Ernestine Anderson. Of his driving, exciting www.ticketwindowonline.com, or Ticket Window sound, Jazz Times says: “Capturing a groove WB Wayne Trane, 9 box offices). Kang is one of the most compelling and sticking with it how could you miss?” He has appeared on more than 40 CDs. Read musical minds in the country – not to miss. He FRIDAYS will appear on viola with Tim Young on guitar more about his collaborators on this series (worth the price of admission, alone), and Geoff at www.ponyboyrecrods.com. March 3, he’ll AF Kareem Kandi Band, 7 Harper, bass. Zach Watkins uses electronics present the Jon Hamar Trio in which he and linked to live music, with John Seman on bass, the bassist are joined by guitarist Ryan Taylor JU Urban Oasis, 9 (gtr). March 10: singer Carolyn Graye joins the Mark Ostrowski on percussion, Izaak Mills on LA LHH Trio, 5:30 woodwinds, and Joe Gray working video images. Greg Williamson Trio that includes pianist John Also on the program is guitarist Mark Oi, who Hansen and the incomparable bassist – no one LU Robeson Trio, 8 spent 10 years working with sax legend John makes the instrument sound better – Buddy Tchicai, and then taught in Cape Verde. Could Catlett. March 17, Catlett’s own trio takes the PM Floyd Standifer, 9 be the sleeper concert of the year. stage, with Williamson and trumpet/sax stand- out Jay Thomas. March 24, it’ll be singer Karen SY Victor Janusz & Tim Koss, Shivers with a different Williamson Trio, this 8:30 3/11/22 KATY BOURNE time with Jon Hamar on bass and the winner of Oklahoman transplant Katy Bourne sings this year’s Golden Ear Award for musician of the standards as Geoff Harper (bass) and Ron year, pianist Bill Anschell. On the last date of SATURDAYS Weinstein (keys) play, at 7. Originally a sax the month, the Greg Williamson Quartet brings player, she first sang in blues bands in Seattle together Hamar, Hansen, and a man with a sound AF Kareem Kandi Band, 7 before blossoming into a fulltime jazz devotee as big as the Russian steppes, saxophonist CC Andre Thomas & Quiet Fire, and studied with Greta Matassa. The also-poet Alexey Nikolaev. Shows are from 8pm to 11pm, and writer has performed with some of Seattle’s with no cover; more shows through April. 9 finest musicians including Michael Gotz, Farko LU Robeson Trio, 8 Dosumov, Darin Clendenin, Geoffrey Harper, SATURDAY, MARCH 4 Clipper Anderson, Mark Ivester, Steve Korn, BF Seattle Repertory Jazz Orchestra w/ Ernestine PM Floyd Standifer, 9 Frank Clayton and Ron Weinstein, and counts, Anderson, Benaroya/Nordstrom Recital Hall, among her musical influences, everyone from 7:30 SU Victor Noriega Sarah Vaughan, , and Miles Davis C* Greta Matassa Quintet w/ Susan Pascal, to Joni Mitchell and Todd Rundgren. Tacoma Jazz & Wine Festival SUNDAYS C* Bar Tabac, Goddess Café (1901 N 45th St), 3/10/17/24/31 PANTHEON 11am CZ Kareem Kandi Friday nights at the SeaMonster, “SOUL mixing GT Zachary Watkins, Son of Rose, Kazutaka JF Buckshot Jazz, 5:30 boomBAP jazz with spaceAGE funk, and still Nomura rocking hard like jimi... stretching the limits JA Monty Alexander & Spirit of Jamaica, 7:30 & NE Dangerous Brain Clinic, 10 and paying homage...” with P.K., C.D. Littlefield, 9:30 Kimo, Thaddeus Turner, Chad Redlight, DJ SR Gail Pettis Trio, 9 TD Arturo Rodriguez, 8 Woogie, guests. Cover $5. TU Mike Allen Quartet, Tribute to Wayne Shorter, 8:30 3/10/17/24/31 GIDDY UP! Pony Boy Records is presenting a series of 4-5 GREAT AMERICAN SONGBOOK shows every Friday night in March and April Vocal great Ernestine Anderson is the special at Hiroshi’s Restaurant (2501 Eastlake Plaza, guest of the Seattle Repertory Jazz Orchestra 726-4966; www.hiroshis.com) titled Jazz & in the third installment of its Great American Songbook series. Hailed as one of the greatest

March 2006 • Earshot Jazz • 19 voices in jazz, Concord recording artist Ernestine Gothic church with a brief homily from pastor Anderson, together with the all-star jazz Stephen Jones and a “free-will offering,” to pay orchestra, performs favorites by George the musicians, midway) you can hear the always- Gershwin, Jerome Kern, Irving Berlin, Duke compelling Jay Thomas with his quintet and Ellington, and many others. Anderson, a native the stellar Becca Duran singing. The concert, of Seattle and one of the city’s most celebrated beginning at 6pm, is free, and no bookings or artists, is in demand throughout the world, and tickets are required. All this is at Seattle First the SRJO has waited years to pair up with her rich, Baptist Church on First Hill at the corner of bluesy voice. On Saturday, March 4, at 7:30pm, Seneca and Harvard streets. Dress is as-you- at Benaroya Hall/Nordstrom Recital Hall, and come, and light refreshments are served in the on Sunday, March 5, at 3pm, at the Kirkland church’s Fellowship Hall afterwards. Parking is Performance Center. Tickets $16-$32; at the free on Sundays in the lighted adjacent lot. door, or call SRJO at 206-523-6159. 5/19 HORVITZ’S GLORIOUS HILLS 4/11/25/29 GRETA THE GREAT Not sure how you’re going to fit in all the riches Greta Matassa, a perennial favorite among fans that this Sunday has to offer, but here you go, of jazz vocals, leads her quintet at the Tacoma anyway: Wayne Horvitz presents his piece “These Jazz & Wine Festival. “Stratospherically gifted,” Hills of Glory” for sting quartet and improviser. as Earshot Jazz said, Matassa has repeatedly On the 5th, the latter is trumpeter Ron Miles, and won best jazz vocalist awards in Seattle for her on the 19th, it’ll be violinist Tom Swafford. Both varied and get-after-it style. A student of all the should be fascinating performances, at Café greats, she never fails to impress. Paloma (93 Yesler, just west of First at Pioneer Square) at 7:30; admission $10 at the door. See preview in this issue. 4/11/18/25 NO SMOKING, PLEASE The Bar Tabac Quartet lends Wallingford a touch of the boulevards in a weekly, late-morning 5/10 GOINGS & CALIMAN Bill Frisell. Frisellʼs Unspeakable Orchestra appeared last gig. With Craig Flory on clarinet, John Sampson Saxophonist Hadley Caliman was last year on guitar, Terry Weigland on accordion, and Mike inducted into the Seattle Jazz Hall of Fame for month at the Tractor Tavern. Photo by Daniel Sheehan. Doherty on snare drum. his several decades of top-rate playing. Long a cherished teacher at Cornish College and a SUNDAY, MARCH 5 resident of rural Cathlamet, Wash., he started C* Wayne Horvitz: These Hills of Glory, Cafe his career in stellar company, in the late 1940s, TUESDAY, MARCH 7 Paloma, 93 Yesler Way, 7:30 after growing up in LA, where he played while GT Just Add Water jam w/ Wendy Martin C* Bach Around the Clock, 11am-9pm, Town Hall in high school in a big band that included Eric JA Mary Stallings, 7:30 (8th & Seneca), free Dolphy and Art and Addison Farmer. After TU Ingraham H.S. Jazz Band, Jay Thomas Big C* Seattle Repertory Jazz Orchestra w/ Ernestine touring the South with blues bands, he went Band, 7 to Pomona State College to study singing and Anderson, 3, Kirkland Performance Center WEDNESDAY, MARCH 8 FB Jay Thomas Quintet, 6 clarinet while studying privately with Dexter Gordon. From there, his career took off in BJ Better World w/ Joanne Klein & Marc Smason, JA Monty Alexander & Spirit of Jamaica, 6:30 & 8:30 8:30 various directions. Early on, he worked with jazz greats like Della Reese, Gerald Wilson, Mongo JA Mary Stallings, 7:30 JU Jubilante Sunday Night jam, 7:00 Santamaria, Don Ellis, and Hampton Hawes, and TU UW Studio Jazz Ensemble, 8 KR Seattle Repertory Orchestra, 3 then in San Francisco, while at the San Francisco SU Suffering F*#kheads, 9 Conservatory, he studied and played with THURSDAY, MARCH 9 TU Reggie Goings/Hadley Caliman Quintet, 3 some of the great rock and Latin-rock-jazz AA The Tiptons, 5:30 TU Jim Cutler Jazz Orchestra, 8 fusion bands of the era, including Santana, the JA Regina Carter, 7:30 & 9:30 Grateful Dead, and the Escovedo Brothers. He SU PK & What Army, Jessica Lurie Ensemble, 9 5/12/19/26 THEY DON’T MEAN “FINK” has since played with a who’s who of greats, TU Beth Winter/Dawn Clement Group, 8 Wild and wacky renditions of jazz and anything including Freddie Hubbard, Bobby Hutcherson, else that can be wrangled into its ken, with Ron Julian Priester, Nancy Wilson, Joe Henderson, 9 THE TIPTONS Weinstien on the mighty Hammond B-3 organ, and others. Touring with Earl “Fatha” Hines on The all-women saxophone quartet, plus Craig Flory on clarinet, Mike Peterson on drums, that all-time great’s last tour brought him to drummer, appear at the Art of Jazz Series at Jay Roulston on trumpet, Greg Sinibaldi on tenor Washington State, where he ended up settling, the Seattle Art Museum foyer, at 5:30pm. The sax. Their style, says Flory, is “sublime self- as, of course, did Julian Priester. In 1991, winners last month of this year’s Golden Ear indulgence meets wank from hell.” Caliman, who was early in his career called Li’l Award for best “outside jazz” group, the Tiptons Dex, was chosen to fill Dexter Gordon’s seat in have, with various lineups, been together since a tribute to the sax great at Avery Fisher Hall in 5 BACH AROUND THE CLOCK 1988, and now again boasts co-founder Amy You may not realize that Johann Sebastian New York, where he performed alongside Dizzy Denio, along with stalwart Jessica Lurie (alto/ Bach was a jazzcat. Sure he was – improvised Gillespie, Buster Williams, Wynton Marsalis, and tenor), and newer additions Tina Richerson like the dickens! And you can see how that Bobby Hutcherson. He and Reggie Goings are at (tenor) and Tobi Stone (baritone). On percussion might have sounded when Jovino Santos Neto, Tula’s for their regular, first-Sunday-afternoon is the much-praised Elizabeth Pupo-Walker. gig, from 3pm to 7pm (cover $7). Then, on the Together they perform everything from Carla David Mesler, and other jazzers of today, along th with their counterparts in early music and other 10 , Caliman appears with his quartet, again Bley to Los Lobos, and from klezmer to Sun Ra, genres, celebrate the Voice of God composer at Tula’s. with plenty of New Orleans, Eastern Europe, funk and hip-hop in the mix. At the Seattle at Town Hall’s almost-annual Bach Around the MONDAY, MARCH 6 Clock celebration. It’s an all-day affair, kicking Asian Art Museum, free with the very reasonable off at 11am and running until 9pm. Won’t cost C* Jim Knapp Orchestra w/ Tom Varner, 8 (see museum entry. you a brass pfennig, either. There is plenty highlight box) TU Greta Matassa jam, 8 for all tastes, and all the rest is tasteful, too. 9/10 JESSICA LURIE The day begins with a family concert with Making a return visit to her hometown, the the Kaleidoscope Children’s Dance Company 6 KNAPP W/ VARNER outstanding saxophonist and flutist Jessica Lurie and ends with an audience sing-along of The Jim Knapp Orchestra continues its series of appears with another stand-out local who moved choruses from the B minor mass with the Puget monthly performances at the L.A.B. performance to New York, drummer Andrew Drury, who has Sound Symphony Orchestra (improvisation not space of the Seattle Drum School. The Jim Knapp excelled in both composition and performance, encouraged, but inevitable anyway). In between, Orchestra is well known for its original style, including in solo shows in striking outdoor the program includes the Italian Concerto in fine writing, and virtuoso performers, including settings. Today they’re at the Sunset Tavern in F, cello suites, flute trio sonatas, Cantata no. saxophonists Mark Taylor, Steve Treseler, and Ballard, at 9, with bassist PK and his high-wattage 18, motets, the French Suite in G Major, and Adam Harris; trumpeters Jay Thomas and Vern What Army; on the 10th, they’re at the Paradise much more. Stuart Dempster and the Didgeri Sielert; and trombonist Jeff Hay The rhythm Artist Salon in Chimacum, at 8pm. Dudes perform a new work. There will be new section includes John Hansen (piano), Phil dance pieces by Anna Mansbridge and local Sparks (bass), and Adam Kessler (drums). The FRIDAY, MARCH 10 brass is led by the lead trumpet of Brad Allison, choreographers Wade Madsen, Joyce Paul, and C* Jessica Lurie/Andrew Drury, Paradise Artist Denis Basic. Performers include Seattle favorites and anchored by the bass trombone of Dave Salon, Chimacum, 8 Marriott and the baritone sax of Jim Dejoie. Jillon Dupree, Opus 7, Byron Schenkman, Seattle C* Brendan Wires, Bellevue Art Museum, 7 Early Dance, and Janet See. Jovino performs A special treat is the outstanding player of Seattle newcomer Tom Varner, certainly one of GR Greg Schroeder Quartet w/ special guests, Brazilian jazz based on Bach, and Dave Mesler 7:30 plays piano jazz with his trio. the very best French horn players in jazz. The L.A.B. performance space at the Seattle Drum GT Alan Lechusza and MAD Trio School is a small theatre with perfect sound and HS Carolyn Graye w/ Greg Williamson Trio, 8 5 JAZZ VESPERS an excellent piano. It is all ages, and has easy JA Regina Carter, 7:30 & 9:30 In this month’s instalment of the popular, parking in a safe neighborhood. Admission $10 SB Pantheon, 10 highly appealing series, Jazz Vespers (jazz in a (students $5). TU Hadley Caliman Quartet, 8:30

20 • Earshot Jazz • March 2006 10 MAD ALAN LESCHUSZA at 2pm and 8pm; admission: $15 advance 1- JA Dr. John, 7:30 & 9:30 MAD TRIO presents new music for tuba, 800-838-3006 or www.brownpapertickets.com; RZ Greg Sinibaldi, 7:30 electric cello, and processed woodwinds in $18/12 at the door TD Lynne Arriale, 7 & 9:30 a spirit of electro-acoustic investigations of TU Kelley Johnson vocal showcase, 8 composed work and improvisation. For this 12 HANDS UP! Pacific Northwest tour, the trio is focusing on At Tula’s, at 3pm, another of the city’s many 16/20/24 KELLEY JOHNSON a series of new compositions by reed player top-class big bands, the Jazz Police Big Band, One of the finest vocalists around, as has and composer Alan Lechusza, a member of The performs at 3pm. Playing big-band standards been testified to by area fans for several years, Vinny Golia Large Ensemble, that refer to various and originals by several band members, the Johnson arranges her numbers herself, largely, genres, including heavy metal and avant-jazz Police play arresting Latin, Afro-Cuban, and and to great effect, as she showed in particular with “Feldman-esque textures and sonic/noise mainstream jazz, as well as blues, fusion, rock, on her CD Music is the Magic. With one track landscapes.” The trio, an electro-acoustic funk, and even classical opera. James Rasmussen from it, “Tea for Two,” she won first place ensemble based in California and New Mexico directs; his lieutenants include saxophonists in the 2002 International JazzConnect Vocal was formed in 1999 by Mark Weaver (tuba) and Greg Metcalf, Warren Pugh, Jim Cutler, Cynthia Jazz Competition. An improvising singer who Alan Lechusza (woodwinds), both of whom Mullis, and Jim DeJoie; trumpeters Mike Mines, values lyrics, Kelley is known for her tasteful, compose for the trio. Various third members Dennis Haldane, Alan Keith, and Daniel Barry; understated phrasing and relentless swing. As have graced the group – on this trip, it will be trombonists Dan Haeck, Steve Kirk, Pat Moran, an arranger, she reworks standards creating cellist Carolyn Lechusza who has played as a solo and Dave Bentley; vibraphonist Evan Buehler, modern jazz out of classics while keeping the and chamber artist throughout the U.S. She has guitarist Greg Fulton, bassist David Pascal, and stories intact. Johnson has been awarded “Best collaborated with new music, improving, and drummer Chris Monroe. It’s quite a force. Northwest Jazz Vocalist” by Earshot Jazz and the out-jazz legends such as , Mark Northwest jazz community. At Tula’s at 8:30, Dresser, Anthony Davis, George Lewis, Joelle, she leads a vocal showcase. Then, on the 20th Fred Frith, , and Vinny Golia, 12 SWING DANCE she is back leading a jam, while on the 24th, she and is now loading up on intellectual/academic The Radio Rhythm Orchestra, a mainstay in the leads her quartet with fine pianist (and husband) fodder for her performance as a doctoral student Seattle swing scene since the early 90s, perform John Hansen. in UC San Diego’s renowned Critical Studies/ classic, eclectic, and original tunes. They feature, Experimental Practices Program. and have done for 20 years, the talents of bassist FRIDAY, MARCH 17 and arranger Pete Leinonen. With the Yamaha electric cello, foot pedals and C* Karen Shivers & Karen Kajita, HG Bistro, 1618 soundboard of Carolyn Lechusza, wrote critic MONDAY, MARCH 13 E Main, Puyallup, 8 HS Buddy Catlett Trio, 8 Roy Durfee, the trio produces “a music more TU Darin Clendenin Trio jam, 8 purely aural than rhythmic, seemingly both JA Dr. John, 7:30 & 9:30 pre-conceived and manufactured on the spot. TUESDAY, MARCH 14 SB Pantheon, 10 Absent conventions, each trio-led experience C* La Banda Gozona, China Harbor, 2040 TD Marlena Shaw, 7:30 & 10 was informed for the listeners by their own Westlake N, 8 TU Thomas Marriott Quartet, 8:30 pursuits of the musically defined figures to an GT Chris Stover eventual rest.” Of Leschusza’s compositions, he JA Dr. John, 7:30 17-18 MARLENA SHAW said: “Sounding almost as though his writing is TU Emerald City Jazz Orchestra, 8 Swinging, soulful vocalist Marlena Shaw, sacrificial, the composer describes his partner’s equally adept in any of a variety of jazz styles, cello as ‘becoming a battle axe cutting through 14 EMERALD CITY is renowned for her wit, style, and charm, and compositional complexity while detailing has been for decades. Raised early on gospel intricate nuances.’” Adding power to all that Another of the city’s great big bands, and one of the most spirited ones, Emerald City in Valhalla, NY, she moved into jazz under the is Weaver’s tuba, which Leschusza calls “an influence of an uncle. By 10 she was performing incredible force of nature.” Jazz Orchestra features the work of Matso Limtiaco, whose compositions and arrangements with him at the Apollo Theater in Harlem; have been used for years in local high schools on their return gig, the uncle was booked 10 GREG SCHROEDER and colleges, and the talents of top younger elsewhere, so Shaw took the stage alone. After The trombonist appears with his quartet (with players. Led by trumpeter Kevin Seeley, the some misdirections, her career blossomed when Chuck Kistler, bass; Greg Williamson, drums; ECJO is among this city’s amazing large haul of she was invited to sing with the Count Basie and a guest pianist) each Thursday at 7:30pm interesting and compelling jazz big bands. It’s Orchestra, and did so to the leader’s acclaim. She at Grazie’s. an intergenerational affair, with some polished has, ever since, sung with great spirituality and writing and arranging by Limtiaco - hard- style, rich and broad. At The Triple Door. SATURDAY, MARCH 11 swinging stuff with plenty of convincing soloing C* Emerald City Jazz Orchestra, Sedro Woolley by the likes of alto saxophonist Mark Taylor, SATURDAY, MARCH 18 Jazz Festival, Sedro Woolley High School, 3 pianist Reuel Lubag, and tenor saxophonist C* Bar Tabac, Goddess Café (1901 N 45th St), C* Bar Tabac, Goddess Café (1901 N 45th St), Rob Davis. Of the band’s CD Alive and Swingin 11am 11am (SMP), critic Jack Bowers said: “Section work is GT Slide Show Secret BP Gail Pettis Trio, 8 immaculate, soloists are superb, and the rhythm JA Dr. John, 7:30 & 9:30 JA Regina Carter, 7:30 & 9:30 section simply kicks ass. Above all, everyone TD Marlena Shaw, 7:30 & 10 SF Katy Bourne Trio, 9 plays with conspicuous fire and enthusiasm, TU Susan Pascal Quartet, 8:30 diving earnestly into every chart as if it were the TU Greta Matassa Quartet, 8:30 last one they’d ever encounter. And speaking of 18 ACCORDIAN/BASS SECRET 11/14 EMERALD CITY charts, any first-rate big band sounds even more A really stunning accordian/bass duo – really! exciting with an expert arranger at its beck and – from Denmark, and about as far from the Another of the city’s great big bands, and one call, and the Emerald City Orchestra assuredly of the most spirited ones, Emerald City Jazz polka as Denmark is from your local, friendly, has one in Matso Limtiaco,” the ensemble’s experimental-music house, Gallery 1412 (18th & Orchestra, features the work of Matso Limtiaco, baritone saxophonist. At Tula’s. whose compositions and arrangements have Union). The Slide Show Secret is stellar Icelandic been used for years in local high schools and WEDNESDAY, MARCH 15 double-bassist Kristján Orri Sigurleifsson and colleges, and the talents of top younger players. German accordionist Eva Zöllner, who work At the Sedro Woolley Jazz Festival, at 3pm. JA Dr. John, 7:30 out of Copenhagen, Denmark. Sigurleifsson is TD Lynne Arriale, 7 & 9:30 studying at the Royal Danish Academy of Music. SUNDAY, MARCH 12 TO Jack Gold Quartet, 9 His teacher is Michal Stadnicki, first principal C* Paul Rucker Large Ensemble, 2 & 8, TU Hal Sherman & BCC Jazz Orchestra, 8 in the National Danish Radio Orchestra while Consolidated Works (500 Boren Ave N) performing in a variety of new-music ensembles. JA Regina Carter, 6:30 & 8:30 15 DRUMMING FOR GOLD His performance is something to behold. At Gallery 1412 (1412 18th Ave) where admission JU Jubilante Sunday Night Jazz Jam, 7 The drummer presents his quartet, which prices are always eminently reasonable. NO Pete Leinonen & John Holte Radio Rhythm includes Michael Monhart on ; Jim Orchestra, 7 Knodle on trumpet, and music that is “fiery and on edge, by turns pushing things toward SUNDAY, MARCH 19 SU Suffering F*#kheads, 9 chaos then reining the sound back in structure’s AA Victor Noriega Trio, 1 TU Jim Cutler Jazz Orchestra, 8 direction.” JA Dr. John, 6:30 & 8:30 TU Jazz Police Big Band, 3 JU Jubilante Sunday Night jam, 7:00 TU Jim Cutler Jazz Orchestra, 8 12 LOTS OF RUCKER 15/28 MONDAY NOT MONDAY Paul Rucker, one of the most promising Hal Sherman leads the Bellevue Community SU Suffering F*#kheads, 9 jazz composers to grace these parts in years, College Jazz Orchestra in his adaptations of presents music for his 20-person big band, big-band arrangements of Count Basie, Woody 19 VICTOR NORIEGA including many of the city’s most exciting Herman, and Stan Kenton. The fiery pianist releases his second album, younger players (and some of the exciting, Alay, with original compositions and jazz not-so-young ones, for that matter). The THURSDAY, MARCH 16 interpretations of traditional Filipino songs. Of performance marks the release of his new CD, C* Jon Pugh jam for teens, Roy’s Place, 4918 his first disc Stone’s Throw, Gordon Todd, jazz a recording of his earlier large-ensemble works 196th St SW, Lynnwood, 7 music director at KBCS, said: “Introspective at at the 2004 Earshot Jazz Festival. Two shows, GT Soma Series presents Joe Stevens and Chris times, energetic and boundary-stretching at Stewart others, these tunes seamlessly blend jazz and

March 2006 • Earshot Jazz • 21 modern classical influences, expertly rendered 23 FOUR OF THE BEST Jerome Gray and William O. Smith, and shows all by Noriega and his trio. Ranks with the best Mark Taylor, sax; Marc Seales, piano; Jeff the signs of sharing their expansive conception jazz CDs of the year so far.” For this CD release, Johnson, bass; Byron Vannoy, drums. Four of the of jazz music. A mark of her versatility is that Noriega will be accompanied, as he has been best jazzmen the city has to offer. At Tula’s. she also performs Italian music on Fridays for six years, by Willie Blair, bass; and Eric at Saviano’s Italian Restaurant in Bellevue, Eagle, drums. “Alay” means “gift” or “offering” in FRIDAY, MARCH 24 accompanying a variety of Seattle’s finest opera Tagalog. Noriega says he wanted to pay homage HS Karen Shivers w/ Greg Williamson Trio, 8 singers. to the music he heard at home growing up. JA Mindi Abair, 7:30 & 9:30 However, these are “not just jazzed-up Filipino TUESDAY, MARCH 28 JW Emily McIntosh & Karin Kajita, 6:30 songs,” Noriega says. Instead they are playful, TU Hal Sherman’s Monday Night Jazz Orchestra, SB Pantheon, 10 sometimes complex and eclectic arrangements. 8 At 1pm at the Seattle Asian Art Museum in TU Kelley Johnson Quartet, 8:30 Volunteer Park; $11; $9 students/museum SATURDAY, MARCH 25 15/28 MONDAY NIGHT ON TUESDAY members, at the door or www.noriegamusic. C* Bar Tabac, Goddess Café (1901 N 45th St), Hal Sherman leads the Bellevue Community com. 11am College Jazz Orchestra in his adaptations of big-band arrangements of Count Basie, Woody MONDAY, MARCH 20 JA Mindi Abair, 7:30 & 9:30 TU Greta Matassa Quartet, 8:30 Herman, and Stan Kenton. TD Bellevue Community College Vocal Jazz Ensemble, 7:30 SUNDAY, MARCH 26 WEDNESDAY, MARCH 29 TU Kelley Johnson jam, 8 JA Mindi Abair, 6:30 & 8:30 C* Chicago 7 w/ Joanne Klein & Marc Smason, TUESDAY, MARCH 21 JU Jubilante Sunday Night jam, 7:00 Highway 99 Blues Club, 1414 Alaska, 8:30 TU Greta Matassa vocal workshop, 8 GT Just Add Water jam w/ Wendy Martin SU Suffering F*#kheads, 9 JA Papa Grows Funk, 7:30 TU Fairly Honest Jazz Band, 3 THURSDAY, MARCH 30 TU Roadside Attraction Big Band, 8 TU Jim Cutler Jazz Orchestra, 8 JA Stanley Clarke, 7:30 & 9:30 MONDAY, MARCH 27 TU Beth Winter vocal showcase, 8 21-22 PAPA GROWS FUNK JA Kobe Sister City Jazz Vocalist audition, 7 FRIDAY, MARCH 31 Some of the most talented jazz-inflected RD Bernie Jacobs & Karin Kajita, 7 funkiest jam merchants of New Orleans comprise CM Seattle Womens Jazz Orchestra (SWOJO), 7:30 TU Darin Clendenin Trio jam, 8 Papa Grows Funk, and they’re heading to Jazz GT Eric Ostrowski presents Film and Improv Alley for two nights. John Gros (Hammond B3, HS Greg Williamson Quartet, 8 OBE OUND electric piano, and vocals), Jason Mingledorff 27 K B JA Stanley Clarke, 7:30 & 9:30 For the second year, one high-school and (saxophone, cowbell and vocals), June Yamagishi JW Cheryl Serio & Karin Kajita, 6:30 (guitar), Marc Pero (bass) and Jeffrey “Jellybean” one adult jazz vocalist from the Seattle area will proceed from Jazz Alley to performances PN Red Hot and Cole: Spring Musical Production, Alexander (drums and vocals) were voted #1 8 Funkiest Band by Offbeat Magazine thanks to in Japan thanks to the Kobe, Japan, Sister City Jazz Vocalist competition (admission $5). In SB Pantheon, 10 their steaming Hammond B-3, chunky guitar, TU Milo Peterson & The Jazz Disciples, 8:30 wailing sax, and a rollicking rhythm section. The Kobe, the singers will perform at the Kobe Jazz band has grown from a weekly Monday night Queen Vocalist Contest, in May. Every fall for jam-session at New Orleans’s Maple Leaf Bar into the last six years the winner of the Kobe Jazz 31 PORTERING RED HOT COLES a national and international touring act. Contest has flown to Seattle to debut in the US The “swellegant” musical production Red Hot at Dimitriou’s Jazz Alley. Last year SKSCA sent and Cole comes to Seattle for two nights, March WEDNESDAY, MARCH 22 local jazz vocalist Kelley Johnson and Roosevelt 31 and April 1 (no foolin’), presenting the life and High School vocalist Isabelle DuGraf to Kobe for music of the great Broadway composer and wit, JA Papa Grows Funk, 7:30 an October concert event. Cole Porter. Presenting favorites like “Anything TB Katy Bourne Trio, 6:30 Goes,” “Kiss Me Kate,” “High Society” and “Can- TU Brian Kirk & SCCC Jazz Ensemble, 8 Can,” it also presents Porter’s life, which took 27 JACOBS & KAJITA him from childhood in Indiana to the stages and 22 BIG BAND CENTRAL Seasoned flute and sax player, Bernie Jacobs, salons of New York, London, Paris, and Venice. You don’t always look to colleges for high- also a talented singer, has quietly won renown With book by James Bianchi, Muriel McAuley, quality big-band jazz, but for years the Seattle among fellow jazz men since he moved here and Randy Strawderman, and lyrics and music Central Community College Jazz Ensemble about a decade ago. He is often heard with by…correct: Cole Porter, this is a production came to shine under the direction of Brian Kirk. Woody Woodhouse, Brian Nova, and Larry Fuller, that is traveling the country. It demonstrates, At Tula’s. and here teams with the accomplished pianist, according to the Burbank Daily Review, that “the a local and UW grad, Karin Kajita. She is one of composer’s enduring, sphisticated, frequently THURSDAY, MARCH 23 the too-little-known jewels of the local scene. deliciously wicked rhymes and catchy melodies Unassuming but expansive and bigminded, provided one of the major sources for the JA Mindi Abair, 7:30 & 9:30 she plays hard-bop standards and her own OU Marc Smason jazz workshop, 7:30 emergence of our modern American musical compositions with an authority and swing that stage.” TU Mark Taylor, Marc Seales, Jeff Johnson, Byron should earn her far greater attention. In addition Vannoy, 8 to her UW studies, she studied privately with

22 • Earshot Jazz • March 2006 RCA Puppy, from page 16 A $35 basic membership in Earshot brings the J A Z Z newsletter to your door and entitles you to E A R S H O T JAZZ the stereo. Everyone gone home or sleep. MEMBERSHIP discounts at Bud’s Jazz Records and all Earshot ______Sneak a couple of albums onto the turn- events. Your membership helps support our NAME educational programs and concert series. table. Turn the volume real low. ______Check type of donation: ADDRESS Doo-wop groups were evolving into so- ❏ New ❏ Renewal phisticated arrangements using orchestras ______Type of membership: CITY/STATE/ZIP like Phil Spector did. Loved his “Shangra La” by The Ronettes. Mary Wells’ “You ❏ $25 Newsletter only ❏ $35 Individual ______PHONE # EMAIL Beat Me To Punch” got to me. The Coast- ❏ $60 Household ❏ $100 Patron ers and The Contours were popular, even ______❏ $200 Sustaining ❏ $300 Lifetime EMPLOYER, IF IT PROVIDES MATCHING GRANTS more The Marvelettes and Martha & The Other: Vandellas. But Gary U.S. Bonds, LIVE ______❏ Sr. Citizen – 30% discount at all levels WHERE DID YOU PICK UP EARSHOT? on American Bandstand, coming out of

❏ Canadian and overseas subscribers please ______Philly, was the first R&B performer to add $8 additional postage (US funds). Please mail to: Earshot Jazz get my immediate attention. Dug this 3429 Fremont Place N, #309 ❏ Regular subscribers – to receive newsletter Seattle, WA 98103 cat twisting away, swinging his arms as 1st class, please add $5 for extra postage. he sang “About A Quarter To Eight” ❏ Contact me about volunteering. Earshot Jazz is a non-profit, tax-exempt organization. with such a wonderful, convincing soul- ful delivery. I mean I dug it. But it was the music my mother played that took anchor in my soul. So… just like the little RCA puppy with the spotted ear up against that huge flowering brass speaker, I laid there right up close against the screen cheeks of the console. Yeah, Mom’s records were the ones I wanted to listen to alone. Staring at the album jacket covers of Gloria Lynne, Etta Jones, Carmen McRae, Dakota Sta- tion, Dinah Washington was the queen! Nancy Wilson was hot, Esther Phil- lips, Sarah Vaughn (her favorite!), June Christie, Nina Simone, Ella Fitzgerald, Anita O’ Day, Lena Horne, and (no one intrigued and pulled me in like) Billie Holiday, I was gazing upon the poets who would slay me. Little did I know, was maybe 11. Lady Day was with me sometimes when I was Spiderman in one of the trees in our backyard. I was rescuing her. In a high branch sometimes I’d sing a lyric like “Easy Living” like Tarzan might if he were Fred Astaire of the jungle. Try Sara’s “September” low notes singing in the tub… had a dog named Blue Gene… after a Gene Ammons record long before I saw Jug blow… and then came The Jazz Messengers…. To be continued: – Paul Harding Paul Harding is a poet, performance art- ist, and director of education programs at the Urban League of Metropolitan Seattle. He is also a member of the Earshot Board of Directors.

March 2006 • Earshot Jazz • 23 Earshot Jazz CLASSIFIEDS NON-PROFIT ORGA- 3429 Fremont Place. N, #309 NIZATION Seattle, WA 98103 U.S. POSTAGE Seattle Drum School offers private PAID instruction for saxophone, trumpet, PERMIT No. 14010 trombone, violin, piano, guitar, bass, Change Service Requested SEATTLE, WA drumset & hand drums. Plus jazz ensembles, jazz recording workshops & big band. 206-364-8815

Classifi eds cost $10 for 25 words or less, 50 cents per additional word. Copy and payment accepted through the 15th of the month prior to publication at Earshot Jazz, 3429 Fremont Pl. #309, Seattle WA 98103. Fax: 547-6286, Email: [email protected] Time dated material Open to All - Free

Tula’s Jazz Calendar March 2006 ��������������������������������2214 Second Ave, Seattle, WA 98121 �������������������������������� ���������������������������������������for reservations call (206) 443-4221 www.tulas.com �������������������� ������ ������ ������� ��������� �������� ������ �������� � � � � ������� ����� ������ ����� ���������� ������ �������� ������ ������� ���� ������ ������� ������� 8-12 $7 �������� 8:30-12:30 ������������ 8-12 $8 $12 ����������� ����������� ������������� 8:30-12:30 $12 � � � � � �� �� ������� �������� �������� ����� �������� ���� ������� ����� Sunday, March 5, 6 pm ������� ��������� �������� ����������� ������ ������� ������� ������� ���� ��������� ������� ���� ������� ������� ������� ������ 7 PM ����� ������� 8:30-12:30 ���� Jay Thomas Quartet 3-7 $7 ������� ���� �������� ����� $12 �������� with vocalist Becca Duran ���������� 8-12 $7 ������ 8-12 $5 8-12 $8 8:30-12:30 ����������� �������� $12 8-12 $5 8-12 $5 Sunday, April 2, 6 pm �� �� �� �� �� �� �� ����������� ������� ��� ������ ������ ����� �������� �������� ���� �������� ������� �������� ������ Hadley Caliman 3-7 $5 ���������� ���� ������ ����� �������� �������� with Reggie Goings and Group ���������� ��������� ��������� ���� �������� 8:30-12:30 8:30-12:30 ���� �������� 8-12 $5 ���������� 8-12 $8 $12 $12 ���������� ���������� 8-12 $5 8-12 $5 8-12 $7 100 minutes of popular jazz �� �� �� �� �� �� �� with an inspirational interlude ����������� �������� �������� ���������� ����������� ������ ������ ����� �������� ���������� ������� ����������� ������� �������� 3-7 no cover ����� �������� ��������� ������������ �������� ������� ������� ������������ ���������� 8-12 $5 �������� 8-12 $7 8:30-12:30 8:30-12:30 Held in the Gothic Sanctuary of ����������� ������� 8-12 $5 $12 $12 Seattle First Baptist Church 8-12 $5 8-12 $7 �� �� �� �� �� �� Seneca and Harvard on First Hill ������ ������ ����� ����� ���� ���� Seattle, WA ��������� �������� ���������� ������� ������ �������� 3-7 $5 ���������� ������� ����� ����� ������� 206-325-6051 ���������� ��������� ����������� �������� �������� ���� ���� �������� ��������� 8-12 $8 8-12 $8 ��������� ���������� ���������� 8-12 $5 8:30-12:30 www.SeattleFirstBaptist.org/SJV 8-12 $5 8-12 $7 $12