Earshot Jazz Festival in November, P 4

Home , Big Neighborhood, Brian Torff, Christmas Jazz Jam, Dona Nostra, Gary McFarland, Jazz Concert

A Mirror and Focus for the Jazz Community Nov 2005 Vol. 21, No. 11 EARSHOT JAZZSeattle, Washington

Conversation with Randy Halberstadt, P 21

Ballard Jazz Festival Preview, P 23

Gary McFarland Revived on Film, P 25 PHOTO BY DANIEL SHEEHAN EARSHOT JAZZ A Mirror and Focus for the Jazz Community

ROCKRGRL Music Conference Executive Director: John Gilbreath Earshot Jazz Editor: Todd Matthews Th e ROCKRGRL Music Conference Highlights of the 2005 conference Editor-at-Large: Peter Monaghan 2005, a weekend symposium of women include keynote addresses by Patti Smith Contributing Writers: Todd Matthews, working in all aspects of the music indus- and Johnette Napolitano; and a Shop Peter Monaghan, Lloyd Peterson try, will take place November 10-12 at Talk Q&A between Bonnie Raitt and Photography: Robin Laanenen, Daniel the Madison Renaissance Hotel in Seat- Ann Wilson. Th e conference will also Sheehan, Valerie Trucchia tle. Th ree thousand people from around showcase almost 250 female-led perfor- Layout: Karen Caropepe Distribution Coordinator: Jack Gold the world attended the ﬁ rst ROCKRGRL mances in various venues throughout Mailing: Lola Pedrini Music Conference including the legend- downtown Seattle at night, and a variety Program Manager: Karen Caropepe ary Ronnie Spector and Courtney Love. of workshops and sessions. Registra- Icons Ann and Nancy Wilson of Heart tion and information at: www.rockrgrl. Calendar Information: mail to 3429 were honored with the ﬁ rst Woman of com/conference, or email info@rockrgrl. Fremont Place #309, Seattle WA Valor lifetime achievement Award. com. 98103; fax to (206) 547-6286; or email [email protected]

Board of Directors: Fred Gilbert EARSHOT JAZZ presents... (president), Paul Harding (vice-president), Lola Pedrini (treasurer), Jane Eckels (secretary), George Heidorn, Taina Honkalehto, Hideo Makihara, Th omas Duke Ellington’s Marriott, Richard Th urston Sacred Earshot Jazz is published monthly by Earshot Jazz Society of Seattle and is available online at www.earshot.org. Music Subscription (with membership): $35 3429 Fremont Place #309 Seattle, WA 98103 T: (206) 547-6763 Saturday F: (206) 547-6286 Earshot Jazz ISSN 1077-0984 December 17 Printed by Paciﬁ c Publishing Company. 7:30 PM ©2005 Earshot Jazz Society of Seattle

University Christian Church Earshot Jazz 4731 15th Ave NE Mission Statement Earshot Jazz is a non-proﬁ t arts University District and service organization formed in Seattle 1986 to cultivate a support system for jazz in the community and to increase awareness of jazz. Earshot A Holiday Season Favorite performed by the Jazz pursues its mission through publishing a monthly newsletter, Seattle Repertory Jazz Orchestra presenting creative music, providing with guest vocalists educational programs, identifying and ﬁ lling career needs for jazz artists, James Caddell and Nichol Eskridge increasing listenership, augmenting Tickets $21 and $26 available at: and complementing existing services and programs, and networking with Earshot Jazz Budʼs Wall of Sound Ticketmaster the national and international jazz (206) 547-6763 Jazz Records Records (206) 628-0888 community. www.earshot.org 1st & Jackson Pine & Melrose

2 • Earshot Jazz • November 2005 Chesky release in January string noise and texture group Noggin’ (Nov. 19); and Blue 4 Trio (Nov. 26). Vocalist Valerie Joyce has recently completed recording sessions in New York for her debut Chesky release which Jazz Vespers and Hot will be available in record stores in late Club Sandwich January. She worked with pianist Andy Ezrin and his trio featuring Gene Jackson Seattle Jazz Vespers will feature Hot on drums, Tim Lefevre, and Jon Hebert Club Sandwich on Nov. 6 at 6pm in the on bass, and Lawrence Feldman on historic gothic sanctuary of Seattle First saxophones. Baptist Church on First Hill, at the corner COVER PHOTO: of Seneca and Harvard streets. Blending Floyd Standifer performing three guitars, bass, violin, and mandolin, at the Legends of Seattle Noriega in the Studio the acoustic sextet (which includes guitar- Jazz concert at this year’s Pianist Victor Noriega was due to ist and banjoist Vince Brown, guitarist be in the studio late last month to re- Kevin Connor, mandolin player Matt Earshot Jazz Festival, cord his second CD this month. It’ll be Sircely, and musicians Greg Ruby and which continues through called Alay (pronounced AHL-lye, which Tim Wetmiller) maintains a reverence November 6. means “offering” in Tagalog). It is a col- for the “Gypsy Jazz” of Django Rein- lection of classic Filipino folk songs and hardt and Stephanne Grapelli’s Quintette Earshot Jazz Festival Tagalog numbers, filtered through the du Hot Club de France, and draws on Tickets and Information perspective of a Filipino-American jazz a repertoire that ranges broadly from (206) 547-9787 musician – that’d be Victor Noriega. American big band standards, European A couple of originals will appear on jazz, Brazilian music, and traditional www.earshot.org the CD, too. Noriega has arranged these Gypsy folk tunes pieces for his trio – himself, on piano; Willie Anderson, on bass; and Eric Eagle, on drums – and is making the recording with the support of a residency at Jack Straw Productions. Noriega will hold a release party at the Triple Door on Sunday, December 4, together with Charmaine Clamor, a Filipina vocalist from LA. Also on the night, Michael Konik, a poker commen- tator on Fox Sports Net (no kidding), will sing a couple of songs with Noriega’s outfit. For more information, see www. noriegamusic.com.

Sonarchy in November Sonarchy Radio—which is broadcast on KEXP, Seattle (90.3fm) and KXOT, Tacoma/Olympia (91.7fm) Saturday nights from midnight to 1am, and features jazz and improvised oﬀerings—will feature Akoma Drum Ensemble (Nov. 5), a group of drummers led by Yaw Ampon- Inside this issue... sah that performs Ashanti rhythms from Notes ______2 Monhart, Keplinger & Co ______19 central Ghana; Oxygen Ensemble (Nov. In One Ear ______3 Conversation w/ R. Halberstadt __ 21 12), which includes bassist Thomas Bell, Festival Events in November ___ 4-18 Ballard Jazz Fest Preview ______23 trumpeter Dave Carter, and percussion- Interview with Wayne Horvitz ______9 Interview with Kristin St. Clair ___ 25 ists Olli Klomp and Franklin Starbody; The Streets of Kinshasa ______13 Jazz Calendar ______28

November 2005 • Earshot Jazz • 3 EARSHOT JAZZ FESTIVAL in November

Tuesday November 1, Triple Door, 7pm & Tuesday Nov 1, Edmonds Woodway H. S. Wednesday November 2, Triple Door, 7pm & 9:30pm Wednesday Nov 2, Consolidated Works, 8pm 9:30pm Jeff “Tain” Watts Cuong Vu Trio Ravi Coltrane Quartet $10 general / $8 members & discount Quartet $20 general / $18 members & discount Th e trumpet/electronics individualist $20 general / $18 members & discount Cuong Vu (a regular in the Pat Metheny Group) presents his own jazz-rock trio, Th e versatile, entrancing, polyrhyth- with the astonishing Stomu Takeishi mic tenor and soprano saxophonist, at on percussion, and Ted Poor on bass. once a postbop classicist and progressive Vu’s distinctive musical gifts have by funkster, appears with his killer combo. now taken him from Seattle, where he As he demonstrated on In Flux, this year, was raised after arriving from Saigon in Coltrane has built a winning personal 1975 at the age of 6, to club and con- vocabulary from both jazz classicism and cert venues around the world. At New the funk-oriented M-Base sound, play- England Conservatory of Music, he was ing the tunes of masters like Th elonious mentored by the innovative saxophon- Monk and his father, John Coltrane, as ist Joe Maneri, who encouraged him to well as compelling originals. Coltrane impart to the trumpet his own concep- served a dedicated apprenticeship, ap- Th e modern drum titan leads a thrill- tions of its sonic possibilities, which he pearing with a host of leaders. He had ing quartet. For 20 years a drummers’ did, with reference not only to jazz but inherited, of course, a mighty legacy. drummer, Jeff “Tain” Watts came to also to classical and new-classical com- Named for Ravi Shankar, he was born the prominence through his stellar early second son of John and Alice Coltrane, collaboration with saxophonist Branford in Long Island in 1965, and raised in Los Marsalis, which bristled with intense Angeles. He began as a clarinetist, while interplay and in which it was not always his mother, an eclectic multiinstrumen- clear who was in charge, so provocative talist, inspired his interest in many kinds was the hypertalented percussionist. His of music of the world, from his father’s work with his own band, including on recordings, to classical music, to her per- last year’s Detained at the Blue Note, a formances and to recording sessions. She live record, have revealed that he has played my father’s LP’s and recordings the compositional talent and sense to of classical music, R&B, soul, popular drive a whole band to great heights, too. music, symphonic music, fi lm scores, Combining muscle and fi nesse, Watts is and much else. After studying in the late a startling technician with an uncanny 1980s at Cal Arts, he joined Elvin Jones’ ability to parse out time and reconfi g- group, and then with fellow saxophonist ure it to great eff ect, always driving the Steve Coleman’s groundbreaking outfi ts. music and his bandmates forward. He By 1997, he had recorded on over 30 has explosive power, blinding speed, and PHOTO BY VALERIE TRUCCHIA albums as a sideman, and was set to lead mastery of percussion complexity, but position and performance. In New York his own session, Moving Pictures. Adept he also plays with delight, wit, elegance, since 1994, his idiosyncracy has attracted in both blistering power and calm, rich and composure. Th e style of his compos- collaborations with Pat Metheny, Laurie lyricism, Coltrane also has written win- ing is straightahead, in-the-pocket, and Anderson, Dave Douglas, Cibo Matto, ning compositions of his own that refl ect informed by his great love for John Col- Chris Speed, and many others. He also that diverse palette. trane, and many other of the jazz greats, has carved out an impressive record as a For this outing, Coltrane’s fi rst-rate and the great jazz drummers. leader of his own bands. He has recorded quartet includes respected New York In his current quartet, his bandmates three albums as a leader, Bound (Omni- jazzmen, pianist George Colligan, the are heavyweights, too: young titan Mar- tone), and Pure and Come Play With Me gorgeous-toned bassist from the Mingus cus Strickland on sax, and longtime (Knitting Factory). He also is the leader Big Band, Boris Kaslov; and longtime Watts collaborators Eric Revis on bass of several bands, including Vu-tet with Coltrane collaborator, drummer EJ and David Budway on piano. Jim Black, Curtis Hasselbring, Chris Strickland. Welcomed by KPLU 88.5FM. Speed, and Stomu Takeishi. Welcomed by KBCS 91.3FM. 4 • Earshot Jazz • November 2005 Wednesday November 2, SAM Auditorium, Wednesday November 2, Tula’s Restaurant, 8pm 8:30pm Laura Welland Ben Thomas �� Band Quartet �� $15 general / $13 members & discount $12 general / $10 members & discount �� The fine vibraphonist/percussionist, �� Ben Thomas, marks a CD release with �� a driving band. Thomas’s energetic �� technique and compositional skills have �� permitted him to embrace projects of �� broad styles, taking in jazz, salsa, swing, �� and chamber music, as his two discs on �� Origin Records, The Mystagogueand The �� Madman’s Difference, attest. �� Thomas has performed with and com- �� posed for jazz combos, chamber groups, �� and big bands, as well as for theater and �� dance productions. He now teaches at �� Highline Community College. In Ca- �� dence magazine, Frank Rubolino praised �� Thomas’s “spirited, breezy manner” and �� “extremely well-played” music. “He is lyr- �� ical and at the same time inventive with �� his multi-phonic tone.” His outstanding quartet is Eric Likkel on clarinet and bass Laura Welland can boast of being clarinet, Clipper Anderson on bass, and the only red-headed, patent-holding, John Bishop on drums.

engineer-pianist-trumpeter-bassist in Wednesday November 2, Langston Hughes Seattle. Who sings. She was a mechani- Cultural Arts Center, 6pm cal engineer with several patents to her name who sold her company to play jazz Poetry in Jazz full time. On her debut CD, a few years ago, Love is Never Out of Season, she sang Panel: Langston �� with support from her bass mentor, vet- �� Hughes to Today �� eran John Clayton, and from top-flight Admission free sidemen, drummer Joe LaBarbera and pianists Bill Mays and Larry Fuller. Here, From the classic jazz poets, through she presents her local quartet. Fuller, one the bebop hepcats, to the hiphop mod- of the finest pianists ever to grace the ernists, with special guests including AB stages of the Emerald City, is again with Spellman, Michael Hureaux, Michele Chuck her. So, too, is the fine bassist, Rose Barkley, and Seattle jazz poet Paul Deardorf, guitarist Dan Balmer, and Harding. drummer Gary Hobbs. Also making a special-guest appearance is Seattle’s fa- Co-presented with the Central District vorite jazz daughter, Anne Drummond, Forum for Arts & Ideas and Langston the pianist-trombonist-flutist (but not Hughes Cultural Arts Center. engineer) who in recent years has been playing flute in piano legend Kenny Bar- ron’s Latin jazz band. Those fine players should complement Welland well, as she Earshot Jazz Festival demonstrates her swinging sense of time Tickets and Information and Ella-informed style while celebrating (206) 547-9787 the release of her second CD, Dissertation www.earshot.org on the State of Bliss.

November 2005 • Earshot Jazz • 5 Thursday November 3, Benaroya Hall/ Phil Woods Quintet since 1995, and has Nordstrom Recital Hall, 8pm often accompanied Gerry Mulligan and Bill Charlap Trio singers Tony Bennett and Carol Sloane. Tonight, as on his earlier Blue Note re- $28 general / $26 members & discount lease, Stardust, he ventures deep into the American songbook in the company of Th e hugely talented and popular pia- his fi ne trio with bassist Peter Washing- nist performs music from Plays George ton and drummer Kenny Washington. Gershwin: Th e American Soul, his new (Before the concert, Charlap talks about Blue Note release. Gershwin, he says, is his playing, and answers questions.) “the heart and soul of American music.” His music, the pianist says, “is designed Welcomed by KPLU 88.5FM. Pre-con- for interpretation and reinterpretation. cert presentation with the artist and Paul We will never run out of ways to play deBarros, 7pm. and arrange his songs.” Charlap, as the Boston Globe puts it, “can call to mind the Thursday November 3, Langston Hughes rhythmic gusto of Earl Hines, the Apol- Cultural Arts Center, 8pm lonian poise of Teddy Wilson, and the Bill Charlap shaded melancholy of Bill Evans, among Ravi Coltrane other pianistic forebears. Yet he always remains recognizably himself.” A huge Quartet: Jazz and favorite among mainstream-jazz fans, Poetry with good reason, he is always a delight. $18 general / $16 members & discount As the venerable critic Whitney Balliett says, he is “the best, but least well-known, Coltrane’s quartet (see above) performs of a swarm of gifted pianists who have ap- with poets AB Spellman, Paul Harding, peared in New York in the past ten years and others. Few cultural commentators or so,” one who can penetrate directly to are better equipped than Spellman to “a secret emotional center in jazz.” He refl ect on the life and signifi cance of is a connoisseur’s pianist who has won Coltrane and jazz in America, in general. huge notices as a stylistically surprising, Th e noted jazz writer, accomplished poet, inventive player with a formidable but venerated arts authority, and innovative never bragging technique. Th e New York arts administrator once famously stated: native – and son of Broadway composer “Jazz lives at the very center of the Ameri- Moose Charlap (who wrote Peter Pan) can vernacular.” Since 1975 until his and Sandy Stewart, who sang for Benny recent retirement, the NEA says, Spell- Goodman – Charlap has worked in the Ravi Coltrane man greatly elevated and expanded the

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6 • Earshot Jazz • November 2005 role of arts administrator - and the face Thursday November 3, SAM Lobby, 5:30pm of arts funding - in the United States and SAM After Hours: was a guiding force in the continuation and expansion of the NEA Jazz Masters Fucho Aparicio program. Spellman wrote a biography of Art Tatum and is to be greatly acclaimed & Correo Aereo for being one of those who, rather than Ensemble’s Dia decrying the music of eventual NEA Jazz Masters Cecil Taylor, Ornette Coleman, de los Muertos and Jackie McLean, sang their praises, Admission free (with museum entry) as he did in his Four Lives in the Bebop THE BAD PLUS Business. Fucho Aparicio and Correo Aereo W OCEAN ORKER Co-presented with the Central District Ensemble celebrate the Day of the Dead /M W Nov 1-2 Forum for Arts & Ideas and Langston tradition – Dia de los Muertos – the an- Hughes Cultural Arts Center. Welcomed cient indigenous festivity, originating by KBCS-FM 91.3FM. in prehispanic Mexico, which has been PRAFUL transformed over centuries. It is a time Nov 3 Thursday November 3, Tula’s Restaurant, when Mexican families remember and 8:30pm honor their dead relatives in a colorfully DJANGO REINHARDT Gary Hobbs artistic, joyous, lively, and particularly FESTIVAL musical occasion, celebrating the con- Nov 4-5 Quartet tinuation of life, as opposed to the end $12 general / $10 members & discount of it. “Fucho” (Rafael de Jesús) Aparicio, JOYCE W/ DORI CAYMMI Th e veteran, Oregon-based drummer, who was born and raised in the “Lla- Nov 7 Gary Hobbs – “crisp and agile,” said nos” (plains) region of Venezuela, the Down Beat – performs with a polished “heartland” of Venezuelan folk music, is DEBBY BOONE combo that includes piano gem Marc a lifelong musician now acknowledged Nov 8-9 Seales. Hobbs, who teaches at the Uni- as one of the best maraca players in the versity of Oregon, got his break with world, as well as a self-taught expert of TOOTS THIELEMANS the Stan Kenton Orchestra, from 1975 the Venezuelan cuatro. From early child- Nov 10-13 to 1977, and went on to perform and hood he recorded and toured interna- record with the likes of Eddie Harris, Bud tionally with his family ensemble, Los TUCK AND PATTI Shank, Tom Grant, Suzanna McCorkle, Hermanos Aparicio, and in recent years Nov 15-17 Dan Siegel, Glen Moore, Th e New York has been a visiting professor at the UW Voices, Eddie Harris, and Anita O’Day. renowned ethnomusicology program, One of the busiest drummers in Portland while continuing to play, tour, and record TAJ MAHAL as a sideman, fi rst-call drummer for visit- nov 18-20, 22-23, with many Latin American artists in sev- 25-27 ing jazz stand-outs, and leader of his own eral genres. Th e duo Correo Aereo (“Air groups, he has been recorded on literally Mail”) performs traditional and original dozens of albums, including his own Low music of Venezuela, Mexico, and Argen- JANE Flight Th rough Valhalla. He also tours tina. Abel Rocha and Madeleine Sosin MONHEIT extensively to give jazz-education and combine silken vocal harmonies and an Nov 29-Dec 4 -performance workshops at universities unusual array of instruments with a rich and colleges around the country. In Marc taste and style of traditional rhythms and Seales, he has one of Seattle’s fi nest on song. Hailed for their musical virtuosity board. Seales has been one of the region’s and original interpretations of folkloric true treasures for over 20 years. A singular music as well as original compositions, stylist with a singular sensitivity both for Correo Aereo tours nationally and jazz and the sentiments that underlie his internationally, collaborated in several own version of it, he has been a much- multimedia projects internationally, and acclaimed player here and further afi eld. was commissioned by Th e Seattle In- Please call 206-441-9729 He is best known for his work with the ternational Children’s Festival 2005 to to make reservations stellar straightahead piano trio New Sto- create a new work, “Para Cantarle al Rio/ or visit us online at ries Trio, but also has won notice for his To Sing A River,” a musical multimedia several progressive-jazz projects. ensemble production for all ages. WWW.JAZZALLEY.ORG

November 2005 • Earshot Jazz • 7 Thursday November 3, Kirkland Performance and the New York Philharmonic. She is by some essential American tunesmiths, Center, 7:30pm preparing for a 2006 tour with the Los like Wayne Shorter. Th eir album had Luciana Souza Angeles Guitar Quartet. More than all the startling quality of a complex inter- those accomplishments, it is her work as weaving of their musical sensibilities, en- Brazilian Duo a leader that is winning her great acclaim. twined as they have become during quite $25 general / $22.50 members & discount / $10 She has recorded six critically acclaimed diff erent trajectories in music – Horvitz’s youth albums, where she has, among other output is as often howling and squalling things, interpreted poems of Elizabeth as delicately and deliciously tuneful and Bishop and Pablo Neruda. She was voted often plain sweet and dancing; Holcomb’s Female Singer of the Year in 2005 by music is tendril-delicate and of so appeal- the Jazz Journalists Association for her ing a luminosity that an attentive listener originals and covers of sambas, choros, will willingly follow it down some quite and ballads by maestros like Ivan Lins, Alice and Wonderland paths. Caetano Veloso, Tom Jobim, Paulinho Holcomb’s pieces, she allows, may da Viola, Hermeto Pascoal, and Chico be more “melancholy over all” than Buarque. Horvitz’s, in which she hears bittersweet moments that “shimmer throughout Co-presented with the Kirkland Per- the music.” Horvitz says: “We have very formance Center; welcomed by KBCS different sounds and techniques, our 91.3FM. Luciana Souza, the transfi xing rising training and backgrounds are diff erent, star of Brazilian jazz song, appears with although at the time that we fi rst met and her longtime accompanist, guitarist Thursday November 3, Consolidated Works, also became involved in musical projects Romero Lubambo. Souza grew up in 8pm together we were both very infl uenced a family of musicians in Sao Paulo, was by Cecil Taylor (pianistically) and all the recording by age three, then came to the Robin Holcomb & music coming out of the AACM and the U.S. to study at Berklee College of Music Wayne Horvitz BAG (Black Artists’ Group). Also Keith and ended up teaching there and now $12 general / $10 members & discount Jarrett and Chick Corea etc. were very at Manhattan School of Music. She has much in the air.... Also we were being rapidly made her mark as one of the new Two singular, Seattle-based pianists, introduced to the music of Messaien and greats of Brazilian song. She has appeared Robin Holcomb and Wayne Horvitz, John Cage and many other contemporary on more than 30 albums with the likes reprise their 2005 Solo Songlines record- composers.” of Danilo Perez, George Garzone, and ing, live in concert. Married for 25 years, Any Holcomb-Horvitz concert is, as Maria Schneider. She has been the soloist these two key fi gures in the expansions has often been witnessed in Seattle, a on acclaimed new-classical performances, and intersections of jazz and other Ameri- stirring and resounding event. and has performed Manuel de Falla’s “El can music forms perform renditions of Co-presented with Nonsequitur. Amor Brujo” with the Atlanta Symphony their own tunes, each other’s, and others

Sol Disk Creative, Improvised, Outside Music

Ghidra The Acoustic Reign Project Lost Valentine The Jack Gold Quartet Carter/Keplinger/Radding

Reuben Radding Jim Knodle Michael Monhart Brian Kent Daniel Carter Wally Shoup Jack Gold Roger Fisher Gregg Keplinger Bill Horist Mike Peterson Michael Bisio

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8 • Earshot Jazz • November 2005 Musical Blessings: An Interview with Wayne Horvitz BY LLOYD PETERSON I think are some of the problems with performing music that I think I have [Th is interview is a continuation from the contemporary chamber music. I think the most strength at, which is more October issue. Th e October issue is avail- there is too much emphasis on chal- in the improvised music realm. As a able online at www.earshot.org/zine.asp.] lenging the performer and challenging composer, the problem is that people the paradigm in terms of newness or assume I’m a ‘jazz’ composer and make innovation. When I’m writing, I still certain assumptions about what that look for the things that I have always means. So it has taken a certain amount looked for in music: some kind of heart of work to convince people that this is along with whatever level of complex- just composed music, and it’s not really ity I’m interested in. Th e worst person anything you would expect because of you can try to analyze is yourself, but I some category that I get put in. know I am intrigued with some level of complexity. Th e music of Cecil Taylor EARSHOT: With composing, do you inspired me to pursue music, period. start with specific sounds and ideas Also, the Art Ensemble, Albert Ayler, that you have in mind, or do you many 20th century composers, et work more from notation?

PHOTO BY ROBIN LAANANEN cetera. Bartok was the fi rst composer HORVITZ: I have gone back and that really spoke to me, even though forth between working on diff erent EARSHOT: Though the group Sweet- I had no classical background. But ideas with the piano pretty much all er Than the Day consisted of the same all of those people have a tremendous of my life. If I were stuck, I might use members that made up Zony Mash, I amount of heart and soul in their mu- a sampler to move a piece along. But it felt it brought out a certain dynamic sic. Cecil Taylor’s music is not dry and really depends on what I’m writing. I from the players and, with that, more academic by any stretch of the imagi- still create pieces electronically, but that creative ideas. nation. I think it has as much soul as doesn’t make up the majority of the way Howlin’ Wolf’s or Al Green’s. Eugene HORVITZ: Sweeter Th an the Day that I compose, although it did at one Chadbourne said this to me years ago: time. If I’m writing for chamber music is basically a frustrating ensemble for “What I learned from Lightin’ Hopkins me because it’s such a great band and or for acoustic ensembles, I’ll write at wasn’t to play like Lightin’ Hopkins, the piano in the traditional mode and we don’t get to play enough. I’m glad we but to play from your heart.” And I did Zony Mash for so long, because we use the computer at the end just for the don’t care if you are making abstract notational part. got the interaction part really together, electronic music or if you are writing but the music of Sweeter Th an the Day a three-chord song. Th ere has to be a EARSHOT: What is the most criti- is closer to my heart. And as great as all balance. cal aspect of improvisation? Is it the those guys played in the electric band, statement itself, or is it how you ar- they are as equal to it or better in the EARSHOT: I also hear a particular rived at the statement? acoustic band. Th e band is just incred- maturity with your chamber compo- ible, but it’s also very hard to book. sitions that brings out your soulful- HORVITZ: If you are talking about We had a couple of real nice tours in ness. Are you moving more in this what is now known as improvised mu- Europe, but there are less and less gigs direction? sic, where two or three or fi ve people out there, and the European scene has get together and don’t have any pre- changed some. Th ey basically want big HORVITZ: I started playing late conceived structure, I think the most names and known quantities. in life, and started composing from important thing is a sense of compo- the time I started playing. And when sitional ensemble. Free improvising is EARSHOT: Most of what I hear from I’m not playing, I miss it. There is probably my favorite thing to do at its chamber music doesn’t move me. Yet nothing that replaces that sort of elec- best, but there are very few people who I am moved by your chamber work. trical energy of interacting with other I enjoy doing it with. And I think the What is at the heart of it? people. At the same time, I like the critical factor is whether they approach fact that I’m able to create something HORVITZ: It’s hard to compliment it as if they are coming at it from, “I’m that I hear and have the best possible soloing all of the time” versus “I’m my own music, but I can tell you what players play it. For the most part, I like

November 2005 • Earshot Jazz • 9 making ensemble music amongst the playing it, and he loves to superim- are familiar with Sara. She is a beauti- four of us.” Th ere is a kind of associa- pose tempos across other tempos or fully trained classical bassoonist, and a tion with free jazz where everybody is rhythmic feels across other rhythmic great improviser as well. I’m by far the playing all at once and it all comes out feels. It’s one thing to superimpose in worst musician in the group, which is in the wash. But I prefer to play with contemporary music, 9 against 11 as an how I like it. Ron, Peggy, and Sara are people that are listening more. Each example. But it’s another thing to play just unbelievable. Th is is an ensemble improvisation should have a beginning, two diff erent tempos and two diff erent that I am planning to invest a lot in over middle, and end, just like a composi- rhythmic feels that are somehow com- the next three to fi ve years. tion. It should have a sense that there plimentary and create a whole. And is a song in there, although that doesn’t there is a subtle thing that happens in EARSHOT: Has the journey thus far mean that it has to have a melodic the best improvised music where people been everything that you thought it theme, even if it’s noise. Th ere should don’t go to where the other person is would be? be a feeling that there is some kind of going, but they fi nd something that HORVITZ: I don’t know if I structure, like any music. I don’t mean works in both conjunction and con- thought that clearly when I was in my that has to have anything to do with tradistinction to it. And when those twenties. I think the biggest thing that length of bar or length of the space. things are happening, that’s when I get you learn when you have done this Rather, the arc of the piece. I love when the most excited. for a long time is that there is noth- everybody knows when the piece ends: ing linear about it. Every two to three you know you are playing with people EARSHOT: It must be tremendously inspiring to have a significant other years, I have a couple of months where who are on the same wavelength. It’s I think, “Well, I have to quit music and interesting, Briggan Krauss is one of the who happens to be wonderfully creative and supportive. fi nd something else to do.” And then top three people that I like to improvise stuff starts coming up again and I get with when I’m using electronics, but HORVITZ: Robin [Holcomb] has excited and then I forget about those Peggy Lee would be in my top three the most unique harmonic sensibility periods, and it never dawns on me that of people to improvise with when I’m of anybody I know or know of. On top it will ever stop. But you learn quickly playing piano. Briggan’s ear for sound of that, she has a melodic sense that I that not just in your career, but in your is just so amazing, and so is Peggy’s admire tremendously, which in some life as well, it’s peaks and valleys. At the ear for form and phrase, and how she ways is even more unique. I think a same time, I’ll be sitting around here interacts with things. lot of my music gets its strength from and people like you will call and say, EARSHOT: I’m pretty amazed at the the fact that I take relatively simple “You have so much going on,” and I’ll level of creativity that Briggan, Dylan melodic ideas and basically bring out think, “I do?” I don’t have any tours this Van Der Schyff, and you are able to other ways of hearing those ideas by summer. But at the same time, I’m way reach in performance. what I do harmonically and rhythmi- behind on a ton of projects [laughing]. cally. But I’m not sure that my melodies So you know, it’s sort of a conundrum HORVITZ: Dylan Van Der Schyff are as strong as Robin’s. Her melodies [laughing]. But when I look back at has been a great new hook up for me. really stand on their own, which is very everyone I have gotten to play with, Th e trio is always improvised and 90 rare. I often hear what she is working and all the CDs I have made, and all percent of the time is electronic. But on through the door; I don’t interrupt the tours that I have done, especially then I think the nature of that group is her [laughing], but it’s almost always the people I have gotten to play with. strongest when I’m using electronics. I inspiring. I mean, when I think of the drummers never tire of working with those guys. alone—guys like Joey Baron, Bobby It’s really something else and I hope we EARSHOT: And your plans for the Previte, Michael Shrieve, and Kenny can keep doing it. future? Wollesen—it goes on and on. I have HORVITZ: Robin and I have a had the opportunity to play with some EARSHOT: I’m also really high on of the greatest drummers alive, includ- Dylan who seems to be able to use children’s record that was started and put on hold for a variety of reasons. My ing a few that should be much better and color and shape more than most known—Andy Roth, of course, comes drummers that I hear. next big project, besides writing this string quartet and trying to get Joe Hill to mind. I mean, think of the guitar HORVITZ: Dylan has the best of recorded, is a new ensemble that I just players I have gotten to play with as both worlds. He loves to improvise in started. We are going to make a record- well: Bill [Frisell], Elliot Sharp, Dave an open form, and he loves to play out ing for Songlines and it’s with Ron Miles Tronzo, and Tim Young—who should of time. But he has very good time, and on trumpet, Peggy Lee from Vancouver be 10 times better known than he is. he does that thing that I like so much. on Cello, and Sara Schoenbeck on bas- I just have no choice but to count my He is always implying time without soon. I’m not sure if people from here blessings.

10 • Earshot Jazz • November 2005 Friday November 4, Triple Door, 7pm & with ECM as a leader. He has become form, from the most in-the-pocket to the 9:30pm one of the most acclaimed of bassists most unleashed (violinist and musical Bobo Stenson due to his impeccable taste and stunning maverick Eyvind Kang has often spoken technique. On drums is Jon Fält. fondly of his days there under the guid- ance of the likes of violin legend Michael Trio Friday November 4, Benaroya Hall/ White.) $20 general / $18 members & discount Nordstrom Recital Hall, 8pm Among the performers this evening Cornish Jazz will be Brazilian piano virtuoso Jovino Santos Neto, a veteran of the singular Composers: band of multi-instrumentalist Hermeto Beneﬁ t For Next-Generation Scholarships Pascoal; saxophonist Denney Goodhew, one of the greats of Seattle jazz history; $20 general (discount for students) rising piano and composing stand-out, A celebration of the Cornish jazz Dawn Clement; trumpeter and big-band continuum and its long-term eﬀ ect on leader and arranger, James Knapp; and Seattle’s jazz community. Th at is has had others.

PHOTO BY ROBERT LEWIS a salutary eff ect on jazz in this region is Proceeds will benefi t the Music De- Subtle, fi ligeree, highly refi ned piano in little doubt. Its graduates have gone partment Scholarship Fund. from Bobo Stenson, the Swedish ECM on to key roles in all manner of the art master and his top-notch trio including the spectacular bassist Anders Jormin. PRESENT Almost synonymous with the concept of the “ECM sound,” Stenson has etched a Scandinavian sensibility onto jazz, music institute both as a soloist and in league with such formative players as Sonny Rollins, Stan vancouver Getz, Gary Burton, and two frequent e collaborators, saxophonist Charles Lloyd CREATIVEC TV and Polish trumpeter Tomasz Stanko. R I e Stenson at fi rst played with the kinds of A innovative players that most American jazz fans just didn’t get – for example, ARTISTIC DIRECTORS MARILYN CRISPELL with Don Cherry and George Russell. MARK HELIAS He became a key fi gure in Swedish jazz, FACULTY MATS GUSTAFSSON playing for example with emerging bass NICOLE MITCHELL giant Palle Danielsson in the band Rena LORI FREEDMAN JUNE 17-25 2006 Rama. Down Beat proclaimed that the popular mid-1970s Jan Garbarek-Bobo DYLAN VAN DER SCHYFF VANCOUVER CANADA Stenson Quartet, in which Stenson JOHN KORSRUD played, “burned with a brilliant fl ame, SAL FERRERAS forging a sturdy sound within a classic PETER HANNAN tradition.” With Charles Lloyd Quartet, Plus special workshops by TRIMPIN Applications must be received he recorded four ECM albums. He also OTHER FACULTY TO BE ANNOUNCED by: Feb. 1, 2006. appeared on Don Cherry’s last studio VCMI dovetails with the recording, Dona Nostra, in 1994. His lat- Join some of the leading international TD Canada Trust Vancouver est ECM release is Goodbye, on which he practitioners of Creative Music for an intensive International Jazz Festival: programs Henry Purcell, Ornette Cole- 9-day program. Open to innovative and emerging June 23-July 2, 2006 artists whose musical activities encompass man, Stephen Sondheim, Tony William’s College credit offered improvisation, new compositional practices Lifetime, Russian actor and protest singer through Vancouver and/or the application of new technologies. Community College Vladimir Vyotsky, Argentine composer Ariel Ramírez, and the Gordon Jen- FOR MORE INFO & APPLICATIONS www.vcmi.ca kins-penned standard “Goodbye” (once Benny Goodman’s sign-off tune, and hugely popular in the Sinatra/Nelson Riddle version). Jormin has been with Stenson all along, while also recording

November 2005 • Earshot Jazz • 11 Friday November 4, Consolidated Works, Friday November 4, Tula’s Restaurant, 9pm 8pm &10:30pm Reptet Konono #1 $12 general / $10 members & discount (Congotronics) A hot progressive combo of Seattle’s $22 general / $20 members & discount best young players, Reptet is a chordless sextet consisting of multi-instrumental- Direct from the Congo, in their US ists who promise: “We will be whooping premiere, Konono #1 is something to up an all new, all original night of thick behold. It is a 12-piece combo playing harmonic color and high falutin tootin’.” driving, trance-inducing music with Reptet is saxophonists Tobi Stone and thumb pianos amped by car batteries and PHOTO BY DANIEL SHEEHAN Izaak Mills, trumpeter Samantha Tobi Stone salvaged parts, all embellished by busted Boshnack, trombonist Jenny Kellogg, hub-cap cymbal and found-instrument drummer John Ewing, and bassist outlanders like Horace Tapscott, Gil percussion, and megaphoned vocals. Ben Verdier. Th ey combine tradition, Melle, and Misha Mengelberg. [For more information see Th e Streets freedom, and discipline with an original Reptet – a truncation of Repertoire of Kinshasa on page 13.] sensibility to form what’s been called and Quartet – and began gigging in “warmly appealing music that retains the public. Th e members of the evolving Welcomed by KEXP 90.3FM. vibrant, thought-provoking qualities you cooperative introduced originals into

expect from the best jazz.” their repertoire with the addition of new Konono #1 Ewing scraped together fellow out- members like Tobi Stone who aspired Another show has been added to jazzers from his years of touring and to become composers. Th e band’s self- performing in Seattle funk, rock, and reg- titled debut CD on Monktail Records the schedule for 10:30 PM. gae bands. He arranged weekly blowing appeared in 2003. Th eir music is intense, Tickets on sale now. sessions to explore the music of inspired taut, and fresh, as their growing fan base will attest. ki[Zf_Wdei ¾iw{ i{w¾

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12 • Earshot Jazz • November 2005 The Streets of Kinshasa

BY PETER MONAGHAN 1979 formed the band, and today still Just as Mingiedi improvised in this directs it. way, the group’s music is itself heavily Friday November 4, Consolidated Works, 8pm As for the word, “konono,” that has improvised, using jerryrigged instru- Konono #1 (Congotronics) a surprising signifi cance. It refers to the mentation. fetal position that one might assume When Mingiedi started the band, $22 general / $20 members & discount during grief over a death, and the core he couldn’t aff ord regular equipment, Konono is, as Th e Guardian put it, musical form of the band is in fact which had to be imported to the Con- “an intense, compelling, and downright Matanga trance music, which tradi- go, so he collected magnets from used bizarre outfi t [that] includes echoes tionally was improvised at a matanga car parts and used them to build pick- of anything from blues, dub, and rap – a long period of mourning for a dead ups for his likembés, then connected through to...free-form jazz.” family member or friend. those to home-made amplifi ers that All that is, indeed, true, but it That is a ritual practiced in the he powered with car batteries because should be added that Konono’s music region from which the members of Ko- the districts of Kinshasa where his band is the continuing fl ow of the musical played had no mains electricity. sources from which all those other He used bass, medium, and treble forms drew. likembés. To boost the call-and-re- For over 25 years, the band has plied sponse songs of his vocalists over the its trade at outdoor cafés in the poor traffi c – and the likembés – he had them suburbs of Kinshasa, which has the un- sing through colonial-era megaphones enviable reputation of being one of the known as “ lances-voix “ or voice-throw- most dangerous cities in the world. It is ers. Th e whole, unworldly mix was the capital of the Democratic Republic capped with percussion instruments of Congo, which formerly was Zaire, made from car parts and cookware. and which has been gripped by a civil He was able to fi nd players versed in war that has killed over three million traditional percussion who weren’t too people in the power vacuum left by the proud to wail away on pans, pots, and end of the Cold War. car parts. Instead of drums, they play Th e band’s full name is L’Orchestre saucepan lids and hub caps mounted on Tout Puissant Likembe Konono No. 1 a steering column. Th ey also use four de Mingiedi. bells traditionally used in Bazombo’s L’Orchestre is self-explanatory. Tout trance music. Puissant – “all powerful” – has long With the lances-voix, Belgium’s colo- designated its standing among the nization of the country, which ended many amplifi ed street bands of the city. in the 1960s, has borne strange and Konono has in common with them that wonderful musical fruit. Th at extends its equipment looks like something out nono came: Bazombo, in the country’s to the extraordinary loudspeakers that of a Renton scrap-metal yard, and in south, near the border with Angola. Konono’s members have lugged around fact it isn’t far from that. Matangas entail loud supplication to for almost three decades. Likembé refers to the instruments ancestral spirits. Each tune or song has The droning, hypnotic, looping at the ensemble’s core: the likembés, or its own dance and relates an aspect of sound of the likembés, which becomes thumb pianos (metal rods attached to village life – death, marriage, concepts all the more surreal as it rattles and a simple resonator), which are found of paradise... all played for spiritual, buzzes through enormous loudspeakers in many African countries, a result of trance-inducing purposes. dating from the Belgian period, and their being developed as instruments But Mingiedi realized that he would which were a fi xture particularly of that can be played while walking. not be playing in villages, but amidst 1950s life in the country, as they served Konono’s innovation was to electrify traffi c, so he experimented in order to as street-corner clarions of government and amplify theirs, so that their sound fi t the musical practices to a new, ur- radio and of the 10pm curfew. could compete with traffi c noise. ban reality, and in the process became Th ese dinosaurs have been sublimat- Mingiedi is Mawangu Mingiedi, a a leader among those who developed ed in the Konono sound. Th e conical virtuoso of the thumb piano who in Kinshasa’s tradi-moderne style. speakers threaten to rip themselves free

November 2005 • Earshot Jazz • 13 14 • Earshot Jazz • November 2005 of the high stands on which they are mounted, so severe is their buzzing and distortion. But that distortion, the band members note, is not just an essential element of the Konono sound; it also is an extension of the African tradition of “dirtying” the sound by acoustic means, such as by placing metal rings on the forks of the likembé. Th is year, Konono’s acclaimed album, Congotronics, is introduc- ing to the world their gallimaufry of traditional Bazombo trance music, lo-fi electronica, and the kitchen sink. “Every so often,” wrote Britain’s Telegraph, “there Gangbé Brass Band comes a record of such unlikeliness, of such overpowering rhythmic Saturday November 5, Triple Door, 7pm & carry sunny African chorales, and poly- intensity…that you’re knocked 9:30pm rhythmic voodoo grooves host harmonies sideways. Th is is one of them.” Th e that slide in all directions at once.” Add BBC agreed: “Th e tale of how a col- Gangbé Brass to that, said Pareles, “tubalike vamps on lection of Congolese thumb pianos euphonium [that carry] tunes shared by provided the missing link between Band trumpets and trombones, with Samuel punk, techno, and all points in be- $24 general / $22 members & discount Gnonlonfoun’s puckish trumpet solos ce- tween has taken 25 years to tell…. menting the connection to New Orleans It could really be from anywhere, A horn-driven, percussive, highly brass bands.” And, chanting, Afrobeat- at any time…. Th is music comes danceable large ensemble from Benin, funk horn section, dancing, rapping, and from somewhere unknown and successor to Osibisa, Fela Kuti, and King song “unpredictable to the end, when, off ers hope that there are worlds of Sunny Ade, the Gangbé Brass Band likely as not, the horns would toss off a music out there, unexplored and produces a winning fusion of Lagos and tricky little tag and suddenly stop, as if waiting to be discovered.” New Orleans. Th e eight-piece formed in to suggest that the band’s musical bounty With their three singers, three 1994 as a sort of supergroup of Benin’s had barely been tapped.” dancers, and a sound system fea- jazz turks who were looking for a new, turing loudspeakers that look compelling fusion of Benin traditions like something off a Doctor Who and its distant relative, jazz. Th ey signify hullabaloo, not so much lo-fi and their approach by taking a name that almost-no-fi -at-all, and you have means “metal sound” in the Fon language Congotronics, which is something of Benin, and by cranking up traditional altogether unexpected, blending rhythms with jazz harmonies in a kind of a village-square percussive groove historical musical dialectic. Th eir songs with an electronic warp eff ect that are in Benin vernacular, and deal with calls to mind Edgard Varèse crossed everyday life, and social and political with half-recollected precepts of causes, which have included collecting Phillip Glass’s minimalism. and preserving Beninese ceremonial But make no mistake – this is rhythms. Gangbé, Jon Pareles wrote in traditional music: music in the Th e New York Times, “leaps among the tradition of calling out the spirits, many ethnic traditions of its home, a tradition vital to the community Benin, and beyond to Africa and the life of the Congo, and one whose New World’s African diasporas, segue- thrill is hard for any Western audi- ing from traditional voodoo rhythms to ence to miss. jazz without missing a syncopated beat.” In the band’s “dizzyingly gorgeous horn Welcomed by KEXP 90.3FM. lines,” Time Out wrote, “rolling vamps

November 2005 • Earshot Jazz • 15 Saturday November 5, Benaroya Hall/ Saturday November 5, Consolidated Works, Reunion interweaves words and music Nordstrom Recital Hall, 7:30pm 8pm in a kind of audio cinema with music by Sunday November 6, Kirkland Performance Jay Clayton: Granelli and his bandmates with vocals Center, 3pm and spoken text written and performed Seattle Repertory Outskirts by actor/playwright/singer Rinde Eckert. $18 general / $16 members & discount Jayne Ira Bloom, like Granelli, pioneered Jazz Orchestra the use of live electronics and movement w/ NEA Jazz Beloved Seattle vocal expansionist, Jay in jazz, and complements those innova- Clayton, now in New York, returns with tions with a winning rich and haunting Master Gerald fellow stand-out modernists, drummer tone and lyricism. A frequent collabo- Wilson Jerry Granelli, and soprano saxophonist rator with many leading innovators in Jane Ira Bloom. Clayton will present her progressive but still tune-based jazz, $16-$32 suite, Lines and Spaces: Dream Sweet. She she also has experimented in jazz-Asian has built her piece for voice, text, elec- crossover music with a collective Atlantic/ The all-star Seattle Repertory Jazz tronics, and live improvisation according Paciﬁc Waves band featuring virtuosi Orchestra continues its series of out- to what she characterizes as “the notion Min Xioa-Fen on Chinese pipa, Jin Hi standing concerts with jazz legends of leaving silence and space; things come Kim on Korean komungo, and Mark by welcoming renowned band leader, in these spaces if you just stop.” It is the Dresser on bass. For her eﬀorts, Bloom composer, and arranger Gerald Wilson product of her return to New York after has won numerous awards, including as a special guest to lead the orchestra many years in Seattle, where she was titles of soprano saxophonist of the year, in his most famous and beloved works a perennial pick as the region’s most twice, from the Jazz Journalists Award, written for and recorded by the Jim- outstanding jazz vocalist, one who was and the Down Beat International Critics mie Lunceford Orchestra, the Count distinguished by an indefatigable quest Poll prize for soprano saxophone. Basie Orchestra, Ray Charles, Dizzy for new sonorities and stylistic elements. Lines and Spaces: Dream Sweet was Gillespie, Duke Ellington, Stan Kenton, Jerry Granelli and Jane Ira Bloom are created with support from Chamber Music and others, including his famous “Yard both giants of progressive jazz who have America’s New Works Creation and Presen- Dog Mazurka,” “Hi Spook,” and “Viva taught at Clayton’s old stomping ground, tation Awards funded by the Doris Duke Torado.” Cornish College of the Arts. “I have such Charitable Foundation. Co-presented with SRJO. a connection with both of them! It’s mag- ical,” Clayton says. Granelli, too, has long been fascinated with words’ encounters Earshot Jazz Festival with music. His 1993 jazz instrumental CD A Song I Thought I Heard Buddy Tickets and Information Sing was inspired by Michael Ondaatje’s (206) 547-9787 experimental novel about Buddy Bolden, www.earshot.org Coming Through Slaughter. His Sandhills

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16 • Earshot Jazz • November 2005 Saturday/Sunday November 5-6, Tula’s Restaurant, 9pm Sat.; 8:30pm Sun. Marc Seales New NEA Jazz Master Quintet Gerald Wilson $12 general / $10 members & discount Wilson, an NEA Jazz Master since the Duke Ellington band at the Apollo 1990, is 87 and going strong. Theatre when they hit New York. The NEA says: Gerald Wilson’s Wilson’s work as a composer-arranger use of multiple harmonies is a hall- enabled him to work for the Count mark of his big bands, earning him a Basie and Dizzy Gillespie bands. Wil- reputation as a leading composer and son then accompanied Billie Holiday arranger. His band was one of the on her tour of the South in 1949. greats in jazz, leaning heavily on the In the early 1960s, he again led his blues but integrating other styles. His own big bands. His series of Pacifi c arrangements infl uenced many musi- Jazz recordings established his unique Marc Seales is a Seattle piano trea- cians that came after him, including harmonic voice, and Mexican culture sure. For 20 years, he has been a singular multi-instrumentalist Eric Dolphy, - especially the bullfi ght tradition - stylist with extraordinary sensitivity for who dedicated the song “G.W.” to infl uenced his work. His appearance jazz history and for the sentiments that Wilson on his 1960 release Outward at the 1963 Monterey Jazz Festival underlie his own takes on it. His award- Bound. increased his popularity. winning New Stories Trio has performed Wilson began as a pianist, taught He has contributed his skill as and recorded extensively, alone and with by his mother, in Memphis, Tennes- an arranger and composer to artists luminaries Mark Murphy, Ernie Watts, see. The family moved to Detroit ranging from Duke Ellington, Stan and the late Don Lanphere. Seales has in 1934, enabling him to study in Kenton, and Ella Fitzgerald to the Los also held the piano chair in the Seattle the noted music program at Cass Angeles Philharmonic to his guitar- Repertory Jazz Orchestra and performed Tech High School. As a professional ist-son Anthony. Additionally he has as a solo artist. Recent recognitions have trumpeter, his fi rst jobs were with been a radio broadcaster at KBCA and included Earshot Jazz Golden Ear Awards the Plantation Club Orchestra. He a frequent jazz educator. Among his for Northwest Acoustic Jazz Group took Sy Oliver’s place in the Jimmie more noted commissions was one for title. As professor of jazz studies at the Lunceford band in 1939, remaining the 40th anniversary of the Monterey University of Washington and a highly in the seat until 1942, when he moved Jazz Festival in 1998. valued fi gure in Seattle jazz, Seales has to Los Angeles. His signature sound, says the Pen- entertained and mentored thousands In California, he gained work in guin Guide to Jazz, has been “slightly over the years. Here, he leads a sparkling the bands of Benny Carter, Les Hite, dark, overtoned, regular without be- young-guns combo. Trumpeter Th omas and Phil Moore. When the Navy sent ing robotic.” Says the Guide: “One of Marriott is one of the most talented jazz him to its Great Lakes Naval Training the great orchestrators in jazz, he leans musicians ever to emerge from the city. A Station in Chicago, he found work in heavily on the blues, but integrates winner of the prestigious Carmen Caruso Willie Smith’s band. He put together swing, bebop, rock and some classical International Trumpet Competition, his own band in late 1944, which infl uences.” and a veteran already of a year on the included Melba Liston, and replaced road with the Maynard Ferguson band, Marriott is likely to make a big splash before long. Another UW graduate due Gerald Wilson performs with the all-star for great things is bassist Evan Flory- SRJO on Nov 5, 7:30pm at Benaroya’s Barnes, who has been performing with Nordstrom Recital Hall and on Nov 6, 3pm at Kirkland Performance Center. Brazilian-in-Seattle piano giant Jovino Santos-Neto, as well as in the Afro-Cuban NEA Jazz Masters on Tour is an initiative quintet Picosso, the hip-hop band Ma- of the National Endowment for the Arts roon Colony, and his own Th e Th reat of sponsored by Verizon in partnership Beauty. Equally anticipated is the emer- with Arts Midwest. Additional support gence of drummer D’vonne Lewis, who is provided by the Doris Duke Charitable has proven equally versatile in settings Foundation through a grant to Chamber conservative and in the vanguard. On Music America. percussion is Larry Barilou.

November 2005 • Earshot Jazz • 17 Sunday Nov 6, Triple Door, 7pm & 9:30pm Sunday November 6, Consolidated Works, distinctive figures on the Seattle progres- Virginia 8pm sive-music scene. Gregg Keplinger, 3muchfun: Opening the evening is Rodrigues 3muchfun, a horn trio with Perry Rob- $24 general / $22 members & discount Michael Monhart, inson (clarinet), Jim Knodle (trumpet), and Marc Smason (trombone). Their & Friends collaboration, which has produced “ir- resistible” music “by three creative im- w/opener provisers in a relaxed and playful mood” ( Signal to Noise), began in 1999. Perry 3muchfun Robinson has been a leading voice in �� $12 general / $10 members & discount revitalizing jazz clarinet for four decades. Marc Smason has performed all kinds of Two Seattle masters, saxophonist music throughout the world, including �� Michael Monhart and drummer Gregg stints with Benny Green, Sam Shepard, �� Keplinger recreate some of the thrilling Jeff Johnson, the Funk Brothers, Julian �� vibrancy of their recent release, Absurd Priester, Bert Wilson, Mike Bisio, and �� World Country , on which they were Sonny Simmons. Jim Knodle is a stalwart ��The incomparable Brazilian �vocalist, joined by their collaborators tonight, figure in the progressive-music scene in ��Virginia Rodrigues, sings in lushly tran- guitarist Ann Talbott , and percussion- the Pacific Northwest who has led and ��scendent tones. She rose from poverty on ist Paul Kikuchi , who were along with worked with numerous ground-breaking them on the disc, as were many other ��the strength of that celestial instrument, ensembles. ��influenced by songs of the church, the music halls, and black America, from jazz �� to gospel to opera. She is a champion and �� astonishing practitioner of Afro-Brazil- ian music that is still little-heard abroad. Born in a Salvador slum in 1964, at 12 she went to work as a cleaning woman, manicurist, and cook, but made time to sing in Catholic and Pentecostal church choirs. She learned musical theory, studied singing, and took a special interest in black woman singers. She realized that, in a country with strangely few of those, she could take inspiration for her own career from the likes of jazz greats Billie Holiday and Ella Fitzgerald, soul icons like Aretha Franklin, and African- American opera singers Marian Anderson and Jessye Norman. Upon embracing Condomble (the polytheistic Afro-Brazil- ian religion derived from West African Yoruba culture), she fused religious song and chant with samba, bossa nova, and folk and popular musics, and recorded her fresh vision of them. She quickly became a famed figure on American and European stages. The Observerhailed her, saying “her achingly pure voice is that of a miscreant choirboy, albeit one as comfortable with the percussive power of Bahia as churchy yearnings.” An evening of soaring song, and the pulsing magic of Brazilian music, is assured. Welcomed by KBCS 91.3FM.

18 • Earshot Jazz • November 2005 Monhart, Keplinger, & Co.: The Absurd Made Sensible

BY PETER MONAGHAN both counterpoints and complements unique and particular sound fi elds,” Keplinger’s own. says Monhart. Absurd World Country, the new CD Kikuchi is trained in both contem- So, off they went. Over a couple of by the drum marauder Gregg Keplinger porary music and jazz and displays months, at various studios, Monhart and unassuming sax monster Michael arresting skill both technically and in and Keplinger recorded solo drum Monhart, is a vibrant megalith of pure improvisation. and saxophone tracks. Th en, over one sound art. In the realms of vanguard On the evening, we can expect the weekend, they gathered a wide range jazz-related accomplishment, it suc- intensity and fascination of the record- of Seattle musicians, diverse in age and ceeds the free-jazz invaders Stackpole as ing, which evolved, Monhart says, performance style, ranging from elderly the most intense experience you’re likely “out of a particularly dialogic period of and retired to young and upcoming, to undergo in a Seattle music venue. Gregg and mine’s – playing, talking, and from straight ahead jazz to out to rock On the disc, Monhart and Keplinger thinking about music. We’ve known to classical. “On a long Saturday we are joined by many Seattle out-jazz and each other for many years, playing with hung out at the studio in a delightful rock icons, from guitarist Stone Gossard each other in a number of diff erent atmosphere of shared companionship, to bass outlander Geoff Harper to young contexts. playing, listening, eating, talking, comers Adam Diller on saxophone and “For the past few years, we have been laughing,” says Monhart. “For the most Tom Swaff ord on violin to Emily Bish- more actively playing and collaboration part, each player would go into the ton who contributes gorgeous, ingenue with each other. We had been working main studio room alone and record, no sacred vocals. Not for years has a Seattle on not only playing ‘with’ each other instructions, no backing track, just the recording so indisputably signaled that but also ‘against’ each others, always manifestation of their own expression much is well on the local scene, and with an ear tuned to the ongoing com- at that moment.” that much more will emerge in the near position of a piece. We were testing the Next came the process of putting future. Monhart, an ethnomusicologist boundaries of what musically relates the tracks together as cohesive pieces by day, brings to bear on his saxophone but with an emphasis on the musicality of music. One track, “Retro Tomor- playing the lessons of his intellectual – that is, we weren’t as much going for row,” was recorded on the Sunday of craft, the experience of wide listening complexity as trying to push each other, the marathon recording weekend. Any in intensely spiritual musics from the individually and as a uni,t into greater of the musicians from the previous day world of jazz and from the world at freedom in playing. “ were invited to come and do a group large, and his long collaborations with When Kikuchi came into the mix, piece, which was recorded all together musicians of eastern Buddhist practices. the trio made some initial recordings in one room with mostly open room Keplinger has for decades been a true with an approach that might seem odd, mikes. We did a couple takes with the rock of exploration of all that is vital in and certainly produced some compel- base material being a twelve-tone row jazz drumming. A mentor for a whole ling music: the three musicians played that Monhart brought in. On that track generation of high-profi le Seattle rock in areas of the studio quite distant from were saxophonist Steve Griggs, who drummers, he has been unfl agging in each other, so that they heard each other contributed a ripping solo, bassist Dan his devotion to drum art. Th is evening, only distantly. “Th e recordings surprised O’Brien, keyboard player Richard Phil- the two Seattle masters will be joined by us,” says Monhart, “both on how much lips, and Monhart and Keplinger. friends from their recording – whom, they naturally fi t together – I think the By contrast, the disc’s last piece is a we shall see. result of a long collaboration – but also live recording from a show at ToST of For their festival appearance, they on how they expanded our conception Keplinger, Phillips, and Monhart per- will be joined by two of their collabora- of what could fi t together.” forming the Arthur Jones composition, tors on their album, Ann Talbott , a San Keplinger wondered what the results “Your Lady,” which was memorably Francisco guitarist, and Paul Kikuchi , would be if they recorded a variety of recorded by the 1960s free-jazz saxo- a Seattle percussionist. their Seattle musical friends separately, phonist Frank Wright. Talbot, who had a Seattle rock band each musician alone without a set of Among other pieces, the opener, with Keplinger in the 1990s called instructions or any backing tracks. “Shredded Evidence,” has bass and Crushed Velour, is an awesome guitar- “We would then compose pieces with drum tracks which Keplinger and Pearl ist with a strong rhythmic sense that these individual colors, these very Jam/Green River/Mother Love Bone/

November 2005 • Earshot Jazz • 19 Brad guitarist Stone Gossard recorded Th e result, and the promise for this Th e likelihood of the results being together. Over that went a Monhart festival performance, is a rare balance as coherent and compelling as they saxophone track and some guitar tracks of individuality and communality. It defi nitely are was surely fairly remote. which Ann Talbot contributed from began with Monhart and Keplinger’s But coherence and compulsion is, in- San Francisco and from the Saturday playing together, but took off when deed, what Keplinger, Monhart, and session. they took the risky steps of recording friends achieved. Th eir recording has Keplinger and engineer Don Gunn tracks separately, and then inviting fel- continuity despite the free-fl ying nature constructed the rest of the CD’s pieces low musicians whom they knew and of the recording, and despite the dif- in the studio. Th ey made mixes, listened trusted to do the same. “Th roughout the ferent methods of construction. One to them with Monhart, and re-arranged session there was a sense of community, does here, on the album, some signs of voices, entrances, and exits. Keplinger, of shared endeavor,” says Monhart. “All cutting and insertion, but those only says Monhart, essentially composed the the players were strong, skilled in their increase the thrill of the whole output. pieces using the recorded raw materials tradition, open and honest in their Th e results are in the disc, and you – through a process of “composing, expression, willing to take the chance, can be confi dent they’ll be there on listening, editing of this large body of the risk of doing a free take in front of stage, too. very strong musical material.” their peers.”

Regular weekday shows are FREE! Mon: New Orleans Quintet 6:30 PM Tues: Holotrad Jazz 7 PM Wed: Floyd Standifer Group 8 PM Thurs: Ham Carson Quintet 8 PM T.J. Wheeler & students 6 PM PIANO JAZZ AFTER SEAHAWKS HOME GAMES NOVEMBER SHOWS 1 The Saints go marching in for New Orleans. All Saints Day benefit for Katrina victims 5PM Proceeds to the American Red Cross. Sponsored by Washington Blues Society and The New Orleans Restaurant

4 Rock’n Jake 5 Paul Green and Straight Shot 6 Jay Thomas Big Band w/Becca Duran 11 Blues Alliance 12 Soul Vaccination

13 Two Scoops Moore POST GAME 4PM

John Holte Radio Rhythm Orchestra 7PM 18-19 Lil’ Bill and the Bluenotes 20 Reuel Lubag Jazz

Karen Shivers CD Release Party! 3:30PM 25-26 Fat Cat 27 Woody Woodhouse FOR DINNER RESERVATIONS CALL 622-2563

20 • Earshot Jazz • November 2005 A Conversation with Randy Halberstadt

BY TODD MATTHEWS Pianist, arranger, composer, and educator Randy Halberstadt is known equally for his skill at the piano as for his close association with singers. He is a ﬁ rst-call accompanist for most local jazz vocalists, and works or has worked with Greta Ma- tassa, Gail Pettis, Ernestine Anderson, Jay Clayton, Beth Winter, Dee Daniels, and Janis Mann. His ability to blend in and support vocalists, adapting to their various styles and sounds, is impressive – and one of the main reasons why Halberstadt is so popular with them. “Randy creates a very supportive bed for us to sing in,” says Matassa. “He listens to a particular type of phrasing that we have – because each of us is diﬀ erent – and complements it with a particular

kind of voicing. I think that when Randy PHOTO BY DANIEL SHEEHAN works with a singer that listens to him, Randy Halberstadt. The Randy Halberstadt Quintet performs on November 10, 5:30pm at the Seattle Art Museum as part of there’s a lot more that can happen. If the ongoing Art of Jazz Series. Admission free with museum entry. you’re a singer who’s working with Randy, out on the Seattle jazz scene in the 1970s, with the intent of being a composer. Th e if you’re not listening to him, then you’re the close association he has with singers, problem was, I had to audition on an in- missing an awful lot of what can really and his role as a music educator. strument, and the only thing I knew was happen in a conversation.” the trombone. In the music department, Th at said, accompanist is only one EARSHOT JAZZ: It’s my understand- I kind of lost focus because I didn’t really role Halberstadt fi lls. He regularly leads ing you were raised in Texas. Tell me want to be a trombonist. It took until his own group, and has recorded three how you arrived in Seattle and became graduation before I realized that. At that albums as leader: Inner Voice (Pony Boy, interested in performing music. point, I was just getting good enough on 1991), Clockwork (Pony Boy, 1996), and piano that I could handle a few gigs. Parallel Tracks (Origin Records, 2004), RANDY HALBERSTADT: My which won the 2004 Golden Ear Award first instrument was the trombone. EARSHOT: This was in the mid- to for Northwest Recording of the Year. Th at’s about all they had down there in late-1970s. What was the jazz environ- Halberstadt is also a music educator: he’s Odessa, Texas: football, marching bands, ment like in Seattle at the time? a professor at Cornish College of the Arts, not much jazz. My intent in coming to teaches private students, and is the author Seattle was to be an oceanographer. Th e HALBERSTADT: Well, there were a of Metaphors for the Musician: Perspectives University of Washington had a great number of very good musicians and some from a Jazz Pianist (published by Sher department. But it didn’t work out. Once clubs like the Pioneer Banque, Parnell’s, Music), a very practical and down-to- I rolled up my sleeves and got into it, I the fi rst Jazz Alley, and a number of hole- earth instruction book that ranges from found out it wasn’t for me. I just kind of in-the-wall clubs for the local musicians, improvisation, theory, and even career slogged around and tried diff erent things just as there are today. But I was coming advice for practicing musicians. for a couple years, like most college kids in at an entry level. I decided to try to Halberstadt, 52, will perform with his do. One day a dorm buddy took me to a make something happen, rather than sit quintet (bassist Jeff Johnson, drummer piano and played a song he had written, back and wait for the phone to ring. My Gary Hobbs, trumpeter Th omas Mar- and I was hooked. Th e piano became a fi rst move was to sit down with my record riott, and saxophonist Mark Taylor) on composing machine for me. I had no collection, transcribe a bunch of stuff , November 10 at the Seattle Art Museum interest in actually becoming a pianist. It and put a book together. I picked the as part of Earshot’s Art of Jazz series. I was all about the song. For a year or two, tunes I wanted to play, with no thought met with Halberstadt at his home in West when I went to the piano it was just to to what was marketable. Th en I asked Seattle to discuss his early career starting work on my own songs. Eventually, I de- around, ‘Who are the good players?’ cided to apply for the music department Th at led me to Danny O’Brien on bass

November 2005 • Earshot Jazz • 21 and Teo Sutton on drums. I went to a that is a little different than working of players, I bring my composing and place that hadn’t had music before, and with other musicians? arranging mentalities to that, and I learn I scored us a four-night-a-week gig for from their contributions. about six weeks. It was good money. I was HALBERSTADT: For the most part, just stunned. It may still be the best gig it’s not diff erent from working with a EARSHOT: Let’s talk about your book. I ever had [ laughing ]. Th at got my foot horn player. But lyrics are one diff erence I was very impressed by how you write in the door. If one of the guys couldn’t – listening to lyrics and trying to create in such a frank and approachable make it to a gig, I would hire someone an accompaniment that complements way. Right up front, in the chapter else, so in this way I started networking. or enhances the message of the tune. I ‘Crooked Road,’ you make it clear Th at led to playing on other peoples’ gigs. really enjoy creating a very wide-open that you struggled with many of the Th ere were certain people on the scene space for a singer to work in. But I also hurdles in learning jazz, and that you back then who are still on the scene today. really enjoy the balance between working had to change directions many times Floyd Standifer, of course. I remember I with singers and with instrumentalists. before you found the way that worked had a little ad at the time, and I went to I like working with Hadley Caliman. I for you. did a show last night with Susan Pascal, Floyd and sat with him on the break. I HALBERSTADT: A lot of people showed him my ad: ‘Band forming. Need Chuck Deardorf, and John Bishop. I absolutely adore working in that band. have mentioned that chapter. I origi- tenor sax, trumpet, bass, and drums.’ He nally had it in the back of the book, as just laughed and said, ‘Well, sonny, you’re I also recorded with Clarence Acox on a couple albums. Th ey’re just diff erent, and an ‘about the author’ type of thing. My looking for a whole band . You got noth- editor said, ‘You’ve got to move that up ing!’ It was true. I enjoy that. But you’re right. I seem to have gained a reputation as [ pause ] I hate to the front.’ I’m very glad that I did EARSHOT: Is it fair to say you have a the word ‘accompanist,’ because it sounds that. It does tend to draw people in. I close association with singers? subservient. It doesn’t matter who you get e-mails from all over the world, and are making music with, all of you should most are complementary. One of the fi rst HALBERSTADT: It’s totally fair. Part have your ears open and be listening to e-mails I received was from a woman in of that is just what the market bears. Sing- each other. We’re all musicians. But what San Francisco who just broke into tears ers are not sidemen, typically. If they’re I like for myself is a balance between be- while reading it. She said it released a lot going to work, they have to get off their ing a sideman and doing my own thing. of her fears. I’m happy to provide that ser- butts and get the gigs. So that’s what If I just did my own thing, I don’t think vice. It’s important for students to know most of the calls are that come in. And I would grow. I know there are some that people they respect aren’t monoliths. I seem to have fi gured out some good great players out there who have chosen We’re not untouchable. We didn’t come ways of working with singers. I really not to be sidemen. Ultimately, it’s about out of the womb knowing how to do this. enjoy doing it. the music that is most important to you. I know that’s not true of me. For me, I wouldn’t be comfortable either EARSHOT: Does working with singers For more information about Halber- bring out something in your playing just doing sideman gigs or just leading my own group. When I work with a variety stadt, visit randyhalberstadt.com.

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, with optional recording. Workshops every month. Cost: $250 Limited to 8 vocalists. 206-937-1262 gretamatassa.com (see Teaching page)

22 • Earshot Jazz • November 2005 Ballard Jazz Festival Preview: Small Festival Packs a Creative Punch

Since 2003, the Ballard Jazz Festival has been a great opportunity to showcase the region’s finest jazz talents while exploring larger concepts, ideas, and group arrangements. Last year, two nights billed as “Brotherhood of the Drum” put rock drummers Michael Shrieve (with his group Tangletown) and Matt Cameron on the Mars Hill mainstage, while jazz vocalist Greta Matassa crooned at the Lock ‘n Keel. In 2003, Brian Blade and Bill Frisell headlined the festival, while smaller groups (largely on the Origin Records label) packed the bars and clubs on Old Ballard Avenue. The festival consistently brings a nice mix of musicians to a historic neighborhood of Seattle over a couple of days. This year’s festival, which runs Nov. 18 and 19 at various venues, includes a roster of local and out-of-town artists that further proves that small festivals can still pack a punch. Here are some highlights from this year’s festival schedule:

Joe Locke duo with piano master John Hicks, also at the Penthouse; and appeared at Th e biggest draw to the festival this a week-long engagement at the Village year is New York vibraphonist Joe Locke Vanguard, playing alongside Al Foster (Nov. 19, Mars Hill), who has spent and Buster Williams, as a member of the much of this year working in the group Renee Rosnes Quartet. For his appear- 4 Walls of Freedom – a quartet that in- ance at the festival, Locke has assembled cludes tenor saxophonist Tommy Smith, a quartet that includes pianist Geoff rey drummer Gary Novak, and bassist Ed Keezer, drummer Novak, and bassist Howard. Locke is a popular vibraphon- Mike Pope. ist respected among jazz musicians. “Joe Locke is a wonderful young man who’s all about the music, all the time,” says Larry Goldings vibraphonist Bobby Hutcherson. “You Another New Yorker, Larry Gold- can hear it in every note he plays.” In ings (Nov. 18, Tractor Tavern), brings addition to 4 Walls of Freedom, Locke the Hammond B-3 organ alive at the has most recently premiered new music festival with a trio that includes guitar- for big band and voices with Jazz Band ist Peter Bernstein and drummer Joe Classic in New York City; performed as Strasser. Goldings is most known for a guest soloist with the Jeff “Tain” Watts his work with John Scofi eld, Jim Hall, expanded ensemble at Lincoln Center’s PHOTO COURTESY OF JOE LOCKE Joe Locke Maceo Parker, and Michael Brecker, as Stanley Kaplan Penthouse; performed in well as the nine albums he has recorded

November 2005 • Earshot Jazz • 23 as a leader. He also appeared (on piano) - to explore new musical territory, create Dawn Clement on the James Taylor album October Road a coherent variety of moods and styles, Cornish faculty member Dawn (Sony, 2002). His music is lyrical, soul- and draw upon 20 years of performing to- Clement (Nov. 18, Hattie’s Hat) is most ful, sophisticated, and bluesy – and his gether. Th e lineup includes saxophonist known for her recording work on Julian appearance at festival is a must-see for Richard Cole, guitarist Rick Mandyck, Priester’s album In Deep End Dance fans of the B-3. bassist Chuck Deardorf, and drummer (Conduit Records, 2002) and her debut John Bishop. album Hush (Conduit Records, 2003), as Tumbao well as her live performances with Nancy On the local front, two groups stand Jovino Santos Neto King, Pharoah Sanders, Ingrid Jensen, out on the schedule. Finally, the festival turns its attention and John Clayton. Her performance at First, Tumbao (Nov. 18, Lock & Keel) to the piano this year with appearances the festival, entitled ‘Clement Weather,’ performs its Latin and Caribbean jazz by three outstanding musicians. includes drummer Jose Martinez and infl uenced sound on the heels of recent Jovino Santos Neto (Nov. 18, Mars bassist Jon Hamar. praise from local critics. “Th e nice thing Hill Church) brings his classical, jazz, about Tumbao is it’s not just another salsa and indigenous Brazilian music to the band playing airy dance music,” says stage with a lineup that includes bassist Seattle Times music critic Tom Scanlon. Deardorf, drummer Mark Ivester, and “[T]he band keeps one foot fi rmly plant- saxophonist Hans Teuber. A member ed in Latin jazz as it roams various dance of Hermeto Pascoal’s legendary band beats.” Th e group includes pianist Julio from 1977 to 1992, Santos Neto built Jauregui, trumpeter Th omas Marriott, on his knowledge of Brazilian music bassist Dean Schmidt, drummer Jeff during a stint with Airto Moreira and Busch, and conga player Frank Medina. Flora Purim’s group, Fourth World, from Marriott has been busy on the local scene 1993 until 1997. His last album, Canto since returning to Seattle last year from do Rio (Liquid City Records, 2004), was New York City, and it will be great to nominated for a 2004 Latin Grammy hear his trumpet against the classic Latin Award for Best Latin Jazz Album. He also rhythm sound this group produces. received commissions by the IAJE and ASCAP, Jack Straw Foundation, Seattle Origin Uber Band Arts Commission, Artist Trust and Meet the Composer. Jovino was the recipient Dawn Clement The Origin Uber Band (Nov. 18, of a Golden Ear Award as the Best Jazz Conor Byrne Pub) assembles many of Instrumentalist of the Pacifi c Northwest the artists that appear on Origin Records in 2004. Marc Seales – and individually in Seattle jazz clubs - Finally, Marc Seales (Nov. 18, Mars Hill Church) has shared the stage with many of the great players in the last two decades, including Benny Carter, Joe Henderson, Larry Coryell, Bobby Hutcherson, Slide Hampton, Eddie “Cleanhead” Vinson, Art Farmer, Jackie McLean, Clark Terry, Art Pepper and Frank Morgan. Seales is today promot- ing jazz awareness and molding young talent as an Associate Professor of Music and head of the jazz department at the University of Washington.

For more information about the Ballard Jazz Festival, including a complete festival lineup and ticket prices, visit www.ballardjazzfestival.com.

24 • Earshot Jazz • November 2005 Tomorrow Has Been Cancelled: The Brief and Brilliant Life of Gary McFarland

BY TODD MATTHEWS and photographs of the late composer he got his initial jazz following. But he Despite an impressive career as a mu- and musician, as well as interviews with always really liked pop music, and in the sician, composer, and record producer, McFarland’s family and closest musical mid-1960s he began to shift more toward the jazz-pop fi gure Gary McFarland has friends. Th e fi lm is St. Clair’s attempt to pop-oriented recordings, which at the remained a footnote in music. Born in bring his enthusiasm for (and justice to) time were dismissed as easy listening. But Los Angeles in 1933, and raised in Grants McFarland onto the screen. he never gave up jazz altogether. Th at’s Pass, Oregon, McFarland was a signifi - pretty much why you’ll fi nd he’s forgotten cant fi gure on the orchestral today. He kind of snubbed jazz and pop scene during his original jazz fans, and the 1960s. He composed, no one ever really caught performed, and recorded on with what he was doing music with Anita O’Day, with pop music because he Bob Brookmeyer, Gerry died too early. Mulligan, Th ad Jones, Bill EARSHOT: His music has Evans, Eddie Gomez, Sad- jazz, orchestral, and pop ao Watanabe, Clark Terry, elements. How would you Zoot Sims, Phil Woods, and describe his audience? Johnny Hodges. In 1968, he teamed with guitarist Gabor ST. CLAIR: I think ini- Szabo and vibraphonist tially his audience was defi - Cal Tjader to create Skye nitely the Down Beat maga- Records. And his career zine crowd. Th at’s certainly is highlighted by two no- where he got his original table albums: the pop-infl u- burst of fame. However, he enced bossa nova Soft had his largest success with Samba (Verve, 1964), which Soft Samba, his fi rst album was praised by mainstream to catch on with a wider audiences, but panned by audience outside of jazz. jazz critics; and America the At the same time, that was Beautiful: An Account of Its the album that kind of en- Disappearance (Skye, 1969): raged jazz fans. If you read with songs such as “Due To the reviews of that album, a Lack of Interest, Tomor- they’re amazingly hostile. It row Has Been Cancelled,” was because of that album, “Suburbia: Two Poodles PHOTO COURTESY OF KRISTIAN ST. CLAIR though, that he was able to and a Plastic Jesus,” and Composer and vibraphonist Gary McFarland tour with a jazz combo that “Last Rites for the Prom- had Phil Woods, and Sadao ised Land,” the album is an emotionally EARSHOT JAZZ: Who was Gary Watanabe—it was one of Watanabe’s fi rst charged masterwork for which critics McFarland and why do you think audi- professional gigs in the United States. raved. ences should know about him? McFarland died in 1971 due to strange EARSHOT: What was the differ- circumstances: he ingested a drink laced KRISTIAN ST. CLAIR: If you just ence between Soft Samba, which was with liquid methadone at a New York stick to the jazz history, he’s sort of a panned, and America the Beautiful, City bar. To this day, the details sur- footnote as this rising-star arranger and which was praised? rounding his death remain a mystery. composer who gained an initial following Seattle fi lmmaker Kristian St. Clair ST. CLAIR: I think Soft Samba was the in the jazz world with the Gerry Mul- natural outgrowth of music that he felt has been working on a fi lm about Mc- ligan big band, and then came out with Farland since 2000. Currently in the a natural inclination toward, which was a series of his own large-scale orchestral bossa nova, as much as it was just Gary fi nal stages of post-production, Th is Is jazz albums. Th at’s pretty much where Gary McFarland includes rare footage trying to break out into a larger audience. November 2005 • Earshot Jazz • 25 America the Beautiful combined every- and think, ‘Th at’s McFarland.’ He always he got what he needed. I think he got thing, more than most of his albums. cited Gerry Mulligan, Miles Davis, and the bare minimum he needed to write, It has the rock element, the swing-jazz Duke Ellington as his biggest infl uences. and then went off with it. Gary really element—it’s just all there. To that point, Th ere is this spacious sound to his music is about as self-taught as you can be for I think that was his most definitive that I think probably comes from a West that medium of jazz. Basically, he’s an musical statement. After that album, he Coast infl uence—and Gerry Mulligan, in arranger-composer with a minimum arranged strings for Steve Kuhn, and he particular. You could say that infl uence skill-set. But that’s why his music is so was working on a three-part suite for the also came from the fact that his primary unique and original. Th ad Jones big band, part of which was instrument was the vibraphone. I think recorded after he died. I don’t think he it’s a combination of all those things. EARSHOT: How did you first learn ever necessarily turned his back on jazz, about Gary McFarland? EARSHOT: Do you think that because but he was defi nitely a musically restless ST. CLAIR: When I was in college spirit. And he did have an innate sense of he settled on the vibraphone—which is an unusual instrument with a unique and exploring jazz, I came across this Gil pop music. Th ere’s no doubt about that. Evans Impulse album. It was a 1970s re- I think that’s why his music transcends sound—it contributed to his signature sound? issue. It was a Gil Evans album coupled jazz. Th ere is this pop melody sense in with Gary McFarland’s Profi les album. I Gary’s music that I think is completely ST. CLAIR: He picked the vibraphone didn’t know who Gary McFarland was. I lacking in a lot of jazz. It makes his music because he thought it was easy to play. bought it for the Gil Evans album. But I very timeless. I listen to it today, and I’m He was this guy who was sort of bum- listened to the Profi les album, and I was always sort of amazed at how timeless it ming around. He was from Grants Pass, pretty blown away. It’s an album that is sounds. It’s pretty prescient when you Oregon, and he was bumming around now considered strictly jazz, but it kind consider what music is today, and the Southern California. He wasn’t sure what of transcends jazz. After that, I pretty DJ crowd and Electronica—a lot of his he wanted to do with himself. He was in much bought every album of Gary’s that music predates that. his early twenties when he was drafted. I came across. EARSHOT: What were the signature While he’s in the Army, he tries to play a bunch of musical instruments, and fi nally EARSHOT: Why did you decide to sounds of his compositions and the make a movie about Gary McFarland? music he performed? settles on the vibraphone—not because he liked it, but because it was easy to ST. CLAIR: I’ve always wanted to ST. CLAIR: Th ere were probably a play. But he was a good vibraphonist. make fi lmmaking my vocation, and I couple. His most instantly recognizable He was no virtuoso like Milt Jackson or was looking for a subject after some songs are on albums like Soft Samba or Bobby Hutcherson, but he was good. He failed projects. I had the records, Gary Th e In Sound, where he hummed along defi nitely had a natural talent, but he seemed like a cool guy, and that was it. It with the vibraphone. Th at was defi nitely never pursued it in the classical sense of struck me as a pretty good story. He was his signature sound at the time. If you composition study or anything like that. this sort of largely self-taught person for listen to his writings for big band, he defi - He went to Berklee for one semester and whom everything sort of fell into place. nitely has these voicings. You hear them dropped out. I guess he just fi gured that

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26 • Earshot Jazz • November 2005 I defi nitely think he tried hard, but he at home on the set of MASH, and that’s ST. CLAIR: No. Th ere was no police also got a lot of lucky breaks. Some of totally true. He had a very sardonic hu- report. It’s common knowledge that Gary that was born out of his talent, but he mor, which comes through in his music. died of a methadone overdose, but the also had this personality that just natu- I’m still surprised no one has really caught death certifi cate says the cause of death rally made people want to help him out. onto Gary. Everyone is discovering all was a fatty liver. He may have had a fatty And of course, there was his mysterious these forgotten music people, and Gary liver, but that’s not what he died from. death. Th at was obviously an intriguing is defi nitely one of those people who is part of the story. ripe for rediscovery. EARSHOT: Have you ever imagined what Gary would have gone on to do EARSHOT: Was there something about had he not died so young? Gary that you came across while making the film that really surprised you? ST. CLAIR: I think he never would have given up his jazz roots, and I think ST. CLAIR: I’m constantly rediscover- he would have returned to that. But also, ing things to like and appreciate in his I think he would have ended up being music. I’ll listen to new music now, and the go-to person for a lot of pop projects. then I’ll listen to Gary’s music, and I’ll Kind of like how you see Deodato arrang- just be surprised at how forward thinking ing strings for an album by Bjork. I think and prescient a lot of his music is. the same thing would have happened for Gary McFarland. His string writing is EARSHOT: Describe the circumstances very unique and original. It completely surrounding Gary’s death? lends itself to pop. ST. CLAIR: When I fi rst started the EARSHOT: There was a period there fi lm, it was always said that he died of where critics and the jazz community PHOTO COURTESY OF KRISTIAN ST. CLAIR a methadone overdose in a bar. When McFarland with trumpeter Clark Terry. panned his work. Do you think he I went to New York City for my fi rst ended up in a favorable light in the group of interviews, it took me forever jazz world? EARSHOT: What was the reaction to even nail down the exact bar. Every- from McFarland’s family, as well as one said it was a diff erent bar. Some guy ST. CLAIR: I think now when people the other musicians with whom he left his methadone, and Gary took it, go back and listen to his work, yes. As worked, when you approached them drank it, and died. Gary defi nitely had it has been left standing, he’s just pretty about making a film? substance abuse issues, so I wasn’t neces- much forgotten or dismissed. Whenever sarily surprised that happened. But then I he pops up in any jazz book, it’s always ST. CLAIR: Th ey were kind of sur- interviewed Gene Lees, and he said Gary just a footnote to the Gerry Mulligan prised. Th ey asked, “How do you know was murdered, that he was poisoned. It recordings. They’ll even say that he about Gary McFarland?” Th ey were just was a malicious prank. Someone put squandered his talents on lightweight very, very happy. Everyone welcomed methadone in his drink without telling pop projects. Th at couldn’t be further me with open arms. I was always pretty him, and he died of a heart attack. Th ose from the truth if you listened to him. surprised about that. For Gary’s widow, are pretty much the pervading thoughts But that’s where it stands. Obviously, if I said, “Why don’t I edit some of the about his death. I dug about as deep as that’s the only press he’s getting, it’s not footage that I shot already?” I did that, you possibly could. I do know the metha- really going to drive people to listen to she liked it, and that was all. I’ll always be done came from Mason Hoffenberg, his music. grateful to his family. Th e more it went co-author of the novel Candy, with Terry along, the more I thought, “Wow, this is Southern. Th e frustrating thing was that EARSHOT: Do you ever wonder what pretty heavy. His family is trusting me everyone that was there was either dead he would think about somebody mak- with his legacy.” I think the musicians or didn’t want to talk about it. Th e whole ing a film about him? and the family realized that just seeing me thing is very strange. And Gary wasn’t ST. CLAIR: I think he would just love passionate about his music was enough with his usual crowd of people when he for them. Th e musicians loved Gary. Th ey seeing all of his old friends and family. I died. It was almost like a perfect storm think he would be happy that someone were very glad he could potentially get of shady characters that happened to be his due. Th ere’s still a long haul with the was paying serious attention to his pop in the bar when he was there. It’s really music because that never happened in fi lm. Th ere’s not huge name recognition anyone’s guess. with Gary McFarland. But it’s a great his lifetime. story. And his personality comes through EARSHOT: Did the police investigate For more information about Kristian St. in the fi lm. I think that’s another great Gary’s death? Clair’s fi lm about Gary McFarland, visit asset to the fi lm. Th ere’s a lot of humor. http://www.thisisgarymcfarland.com. His brother said Gary would have been

November 2005 • Earshot Jazz • 27 TUESDAY NOVEMBER 1 NO Floyd Standifer Group 4/5 JAMES BLOOD ULMER SE Earshot Jazz Festival: Laura Welland Band, 8 C* Earshot Jazz Festival: Cuong Vu Trio, The guitar great, James Blood Ulmer (see TB Travis Hartnett, 6:30 Edmonds Woodway High School November 6 listing) plays one show today at TU Earshot Jazz Festival: Ben Thomas Quartet, 8:30 C* Susan Pascal Quartet, IKEA “Join the Uncrowd” the Upstage in Port Townsend, and another jazz series, IKEA Restaurant, 600 SW 43rd St, tomorrow, an all-ages show in Tacoma at 2/9/16/23/30 FLOYD STANDIFER GROUP Renton, 5 Jazzbones, at 6pm; admission $20. JA The Bad Plus, Mocean Worker, 7:30 The esteemed, personable, and always crowd- JU Marc Smason Duo, 7:30 pleasing saxophonist and trumpeter leads his 4-6 ECHOES OF DJANGO TD Earshot Jazz Festival: Jeff “Tain” Watts Quartet, regular Wednesday evening quartet gig at the 7 & 9:30 New Orleans. The quartet never fails to impress, Django Reinhardt Festival with Dorado Schmitt and veteran educator Standifer always slips in a (guitar gypsy legend from the Lorraine region 1 GOOD VIBES little learnin’ to go with his enthralling bebop. of France), Samson Schmitt (young gypsy guitar The Pascal quartet, in which the talented star, son of Dorado), Ludovic Beier (accordion vibraphonist is joined by lyrical guitarist Dave THURSDAY NOVEMBER 3 whiz from Paris), Pierre Blanchard (top jazz Peterson, top-notch bassist Chuck Deardorf, violinist from France), and Brian Torff (bass, C* Earshot Jazz Festival: Ravi Coltrane Quartet, toured with Grappelli for years). At Jazz Alley; and swish drummer Mark Ivester, strikes a fine Langston Hughes Cultural Arts Center, 8 balance between spontaneity and imaginative Friday/Saturday at 7:30pm & 9:30pm; Sunday at C* Pearl Django, Bouchée Crêperie & Café (3510 6:30pm & 8:30pm. arrangements, originals and great jazz and Fremont Ave N; reservations required, 206- American Songbook standards. Her bright 632-5220) melodic sense and rhythmic agility effortlessly C* Pearl Django, City Hall (600 Fourth Ave), noon 4/11/18/25 WHAT’S THE DEAL? keep the listener entertained and interested. She BF Earshot Jazz Festival: Bill Charlap Trio, 8 The Monktail Creative Music Concern has has, as this publication has noted, “blazing four- CK Earshot Jazz Festival: Robin Holcomb & Wayne inaugurated a Friday evening jazz event at mallet technique,” while Heritage Music Review Horvitz, 8 Delina (Jackson & 25th). The MCMC group Deal’s wrote: “Susan Pascal is a lyrical ballad interpreter JA Praful, 7:30 & 9:30 Number explores the history and dialog of the who lingers sumptuously over a melody, making KR Earshot Jazz Festival: Luciana Souza Brazilian quartet format. The sound of Bird & Diz, Ornette the most of its defining chord structure, but Duo, 7:30 & Don Cherry, and the William Parker Quartet all when it’s time to stretch out on a jazz solo, she’s SE Earshot Jazz Festival: SAM After Hours, Latin come into play. It is exciting, energetic music in Music/Day of the Dead Celebration, 5:30 capable of intricate bebop improvisation.” At a great-sounding room, with Billy Monto, sax; IKEA Renton; admission free. Also on the 26th TU Earshot Jazz Festival: Gary Hobbs Quartet, Gabe Herbertson, trumpet; John Seman, bass; 8:30 at Pacific Place Atrium, again at 5pm. and Mark Ostrowski, drums. At Delina (2519 S FRIDAY NOVEMBER 4 Jackson St, at 25th Ave S; 206/322-3533). 1/15/29 SMASON/VAUGHN C* James Blood Ulmer, The Upstage, 932 Trombonist and vocalist Marc Smason appears Washington, Port Townsend, WA 98368, 4-5 PARRIS, BAKIN with pianist Eric Vaughn at Jubilante restaurant 360.385.2216 At Bake’s Place, in Issaquah, Rebecca Parris (305 Burnett S, Renton, 425-226-1544), 7:30. C* Manghis Khan Quartet, Spice Restaurant 2301 shows why she has won the admiration of 5th Ave, 206-770-0606, 10 icons Shirley Horn, Carmen McRae, and Sarah WEDNESDAY NOVEMBER 2 BF Earshot Jazz Festival: Cornish Jazz Vaughan for her interpretive wisdom and Composers, 8 C* Bastards of Jazz, Union Station, Jamie Moyer improvisational artistry. The Massachusetts- BP Rebecca Parris, 8 Foundation Benefit (www.bastjazz.com), 5 born singer performed in musical theater from CK Earshot Jazz Festival: Konono #1 C* Manghis Khan Quartet, Toi (1904 4th Ave), 7 the age of six, then studied with world-famous (Congotronics), 8 C* Earshot Jazz Festival: Poetry in Jazz Panel, vocal coach, Blair MacClosky (her uncle) and JA Django Reinhardt Festival, 7:30 & 9:30 Langston Hughes Cultural Arts Center, 6 attended the Boston Conservatory. She began PM Floyd Standifer Quartet w/ Dina Blade, 9 CK Earshot Jazz Festival: Cuong Vu Trio, 8 her professional career working with top-40s TI Reptet , 7:30PM JA The Bad Plus, 7:30 bands in the Northeast but turned to jazz, TU Earshot Jazz Festival: Reptet, 9 and has performed all over the world with her

Get your gigs listed! Earshot Jazz provides the most comprehensive listing of improvised music in the Seattle metro area. In print and on the web, it is our mission to help listeners find jazz and musicians find an audience. 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!

CALENDAR KEY AF Affairs Cafe, 2811 Bridgeport Way West, University Place, (253) 565-8604 LU Luigi’s Grotto, 102 Cherry, 343-9517 BF Benaroya Hall, 3rd and Union Downtown Seattle, 215-4747 MK Mr. Lucky, 315 1st Ave N Seattle, 282-1960 BP Bake’s Place at Providence Point, 4135 Providence BP NE Norm’s Eatery, 460 N. 36th, (206) 547-1417 C* Concerts and Special Events NO New Orleans Restaurant, 114 First Ave S, 622-2563 CC Charlie’s at Shilshole, 7001 Seaview Ave NW, 783-8338 OW Owl ‘n Thistle, 808 Post Ave, 621-7777 CF Coffee Messiah, 1554 E Olive Way, 861-8233 PC Plymouth Congregational Church, 1217 6th Ave, (206) 622-4865 CK Consolidated Works, 500 Boren Avenue North, Seattle, (206) 381-3218 PM Pampas Club, 90 Wall St, 728-1140 CM Crossroads Shopping Center, 15600 NE Eighth St, Bellevue, (425) 644-1111 SA The Spar, 2121 N 30th, Tacoma, (253) 627-8215 CV Café Venus and Mars Bar, 609 Eastlake Ave E SE Seattle Art Museum, 100 University St, 654-3100 CZ Cutter Point 7520 27th St. W. University Place, (253) 565-4935 SQ Scarlet Tree Restaurant, 6521 Roosevelt Way NE, 523-7153 HV Hopvine, 507 15th Ave NE, 328-3120 ST Suite G, 513 N 36th St, 632-5656 IB Il Bistro, 93-A Pike St, 682-3049 SU Sunset Tavern, 5433 Ballard Ave, 784-4480 JA Jazz Alley, 2033 6th Ave, 441-9729 SY Salty’s on Alki, 1936 Harbor Ave SW, 526-1188 JB Jazzbones, 2803 6th Ave, Tacoma, (253) 396-9169 TA Tempero Do Brasil Restaurant, 5628 University Way, 523-6229 JF Johnny’s, Fife exit 137 off I-5 at Motel 6, (253) 922-6686 TD The Triple Door, 216 Union St, 838-4333 JU Jubilante Restaurant, 305 Burnett Ave S, Renton (425) 226-1544 TI Third Place Books, 17171 Bothell Way NE, Lake Forest Park, 366-3333 JW Julia’s of Broadway, 300 Broadway, 860-1818 TO ToST, 513 N 36th St, 547-0240 KR Kirkland Performance Center, 350 Kirkland Ave, Kirkland, (425) 893-9900 TU Tula’s, 2214 2nd Ave, 443-4221 LA Latona by Green Lake, 6432 Latona NE, 525-2238 WB Wasabi Bistro, 2311 2nd Ave, 441-6044

28 • Earshot Jazz • November 2005 own groups as well as with some jazz legends, star, son of Dorado), Ludovic Beier (accordion than which there has been, with little doubt, no including Dizzy Gillespie, Buddy Rich, Woody whiz from Paris), Pierre Blanchard (top jazz other jazz-rock fusion band. At ToST. Herman, Terry Gibbs, David “Fathead” Newman, violinist from France), and Brian Torff (bass, Norman Simmons. Harold Jones, Andy Simpkins, toured with Grappelli for years). At Jazz Alley; THURSDAY NOVEMBER 10 Gerry Wiggins, Bill Cunliffe, Red Mitchell, Buster Friday/Saturday at 7:30pm and 9:30pm; Sunday JA Toots Thielemans, 7:30 & 9:30 Cooper, Nat Pierce, and many others. Her at 6:30pm and 8:30pm. JB Bruce Katz Band, 8:30 latest release is The Secret of Christmas (Shira Records). MONDAY NOVEMBER 7 TU Pat and Dee w/ Friends, 8 JA Joyce w/ Dori Caymmi, 7:30 10-13 TOOTS SATURDAY NOVEMBER 5 TD James Blood Ulmer, 7:30 Toots Thielemans, the jazz-harmonica player, C* Rik Wright, El Diablo TU Greta Matassa Jam, 8 appears with piano virtuoso Kenny Werner and C* Manghis Khan Quartet, Spice Restaurant 2301 guitarist Oscar Castro-Neves. At Jazz Alley, 5th Ave, 206-770-0606, 10 7/9/11 A PERENNIAL FAVORITE Thur.-Sat. at 7:30pm & 9:30pm; Sunday at 6:30 BF Earshot Jazz Festival: SRJO w/ NEA Jazz Master Greta Matassa, a perennial favorite among & 8:30pm. Gerald Wilson, 7:30 fans of jazz vocals, leads her quartet at Tulas. BP Rebecca Parris, 8 “Stratospherically gifted,” as Earshot Jazz said, 10 BRUCE KATZ BAND CK Earshot Jazz Festival: Jay Clayton: Outskirts, 8 Matassa has repeatedly won best jazz vocalist JA Django Reinhardt Festival, 7:30 & 9:30 awards in Seattle for her varied and get-after-it Hammond B-3 blues and jazz from Bruce Katz JB James Blood Ulmer, 6 style. A student of all the greats, she never fails & Co., at 8:30pm, all-ages, admission $10. PM Floyd Standifer Quartet w/ Dina Blade, 9 to impress. On the 9th, she leads her vocal TB Marco de Carvalho, 7 workshop, one of a number of monthly events FRIDAY NOVEMBER 11 TD Earshot Jazz Festival: Gangbé Brass Band, 7 & of the kind at Tula’s that provides an opportunity C* Manghis Khan Quartet, Spice Restaurant 2301 9:30 to see professional jazz singers’ students strut 5th Ave, 206-770-0606, 10 TU Earshot Jazz Festival: Marc Seales New their stuff – a heroic undertaking, one has to JA Toots Thielemans, 7:30 & 9:30 Quintet, 9 say. Then on the 11th, with Cliff Colon, she PM Floyd Standifer Quartet with Dina Blade, 9 SUNDAY NOVEMBER 6 performs her “Tribute to Ray Charles,” another TU Greta Matassa w/ Cliff Colon: Tribute to Ray in her acclaimed series of historically based Charles, 8:30 C* Hot Club Sandwich Group, Seattle First Baptist performance pieces. Church, 6 SATURDAY NOVEMBER 12 BF Earshot Jazz Festival: Seattle Chamber Players: Seattle Mavericks, 7 7 JAMES BLOOD ULMER C* Manghis Khan Quartet, Spice Restaurant (2301 5th Ave, 770-0606), 10 CK Earshot Jazz Festival: Gregg Keplinger, At his best, he is the best. Inspired by the BP Janis Mann Quartet, 8 Michael Monhart & Friends w/opener late-1970s post-free, harmolodic expansions JA Toots Thielemans, 7:30 & 9:30 3muchfun, 8 of Ornette Coleman in his Prime Time phase, JW Rik Wright, Julia’s on Broadway HV Pearl Django, 8 Ulmer has ranged through jazz, rock, and blues JA Django Reinhardt Festival, 6:30 & 8:30 in distinctive, thrilling fashion. More recently, PM Floyd Standifer Quartet w/ Dina Blade, 9 KR Earshot Jazz Festival: SRJO w/ NEA Jazz Master he has been revising the blues, most recently TB Illuzionz Trio, 7 Gerald Wilson, 3 on Birthright, of which Andrew Schwartz of the TU Judy Wexler Quartet, 8:30 TD Earshot Jazz Festival: Virginia Rodrigues, 7 & Washington Post wrote: “Reminiscent in spirit of 9:30 blues legend Robert Johnson’s seminal 1930s 10-13 TOOTS TU Reggie Goings/Hadley Caliman Quintet, 3 recordings, Birthright offers a transcendent and Toots Thielemans, the jazz-harmonica player, TU Earshot Jazz Festival: Marc Seales New edgy performance.” appears with piano virtuoso Kenny Werner and Quintet, 8:30 guitarist Oscar Castro-Neves. At Jazz Alley, TUESDAY NOVEMBER 8 Thur.-Sat. at 7:30pm & 9:30pm; Sunday at 6:30 6 GOINGS & CALIMAN & 8:30pm. JA Debby Boone, 7:30 Saxophonist Hadley Caliman has just been TU Emerald City Jazz Orchestra, 8 inducted into the Seattle Jazz Hall of Fame for SUNDAY NOVEMBER 13 his several decades of top-rate playing. Long 8 EMERALD CITY JA Toots Thielemans, 6:30 & 8:30 a cherished teacher at Cornish College and a TU Jim Cutler Jazz Orchestra, 8 resident of rural Cathlamet, Wash., he started Another of the city’s great big bands, and one TU Jazz Police Big Band, 3 his career in stellar company, in the late 1940s, of the most spirited ones, Emerald City Jazz after growing up in LA, where he played while Orchestra, features the work of Matso Limtiaco, ORE IG AND in high school in a big band that included Eric whose compositions and arrangements have 13 M B B Dolphy and Art and Addison Farmer. After been used for years in local high schools and The big band music never stops at Tulas. touring the South with blues bands, he went colleges, and the talents of top younger players. Tonight it is the Jim Cutler Jazz Orchestra, led to Pomona State College to study singing and At Tula’s. by the tenor saxophonist, and featuring top clarinet while studying privately with Dexter Northwest musicians, performs, as they put it, Gordon. From there, his career took off in WEDNESDAY NOVEMBER 9 “music written by band members, Northwest composers, and classic material that is not various directions. Early on, he worked with jazz JA Debby Boone, 7:30 performed enough,” including works by Gil greats like Della Reese, Gerald Wilson, Mongo NO Floyd Standifer Group Santamaria, Don Ellis, and Hampton Hawes, and Evans, The Stan Kenton Orchestra, Maynard TB Darren Loucas, 6:30 then in San Francisco, while at the San Francisco Ferguson, and Buddy Rich.” TO Marc Bordenet & Too Many Hipsters, Being Conservatory, he studied flute and played with John McLaughlin, 9:30 some of the great rock and Latin-rock-jazz TU Greta Matassa Jazz Workshop, 8 10-13 TOOTS fusion bands of the era, including Santana, the Grateful Dead, and the Escovedo Brothers. He Toots Thielemans, the jazz-harmonica player, 9 TOO HIP has since played with a who’s who of greats, appears with piano virtuoso Kenny Werner and including Freddie Hubbard, Bobby Hutcherson, You can’t just claim to be a hipster; you have guitarist Oscar Castro-Neves. At Jazz Alley, Julian Priester, Nancy Wilson, Joe Henderson, and to prove it. So here is a chance to witness Mark Thur.-Sat. at 7:30pm & 9:30pm; Sunday at 6:30 others. Touring with Earl “Fatha” Hines on the Bordenet and his merry men demonstrate & 8:30pm. last tour of that all-time great brought him to their bona fides. Drummer Mark Bordenet is a Washington State, where he ended up settling, Northwest native who lives in New York where 13 HANDS UP! as, of course, did Julian Priester. In 1991, he is putting the finishing touches on a new recording featuring an electric group along At Tula’s, at 3pm, another of the many top-class Caliman, who was early in his career called Lil big bands in Seattle, the Jazz Police Big Band, Dex, was chosen to fill Dexter Gordon’s seat in with Seattle-bred Kenny Barron bandmember Anne Drummond on flute. His co-hipsters performs at 3pm. Playing big-band standards a tribute to the sax great at Avery Fisher Hall in and originals by several band members, the New York, where he performed alongside Dizzy are three of the region’s finest: Mark Taylor, saxophones; Ryan Burns, keyboards; and Geoff Police play arresting Latin, Afro-Cuban, and Gillespie, Buster Williams, Wynton Marsalis, and mainstream jazz, as well as blues, fusion, rock, Bobby Hutcherson. He and Reggie Goings are at Harper, bass. Also appearing on the evening is Being John McLaughlin, which debuted at Patti funk, and even classical opera. James Rasmussen Tulas for their regular, first-Sunday-afternoon directs; his lieutenants include saxophonists gig, from 3pm to 7pm (cover $7). Summers Cabaret to a packed house in May, 2002. The electric group, with Rick Mandyck on Greg Metcalf, Warren Pugh, Jim Cutler, Cynthia guitar, Ryan Burns on keyboards, Mark Taylor Mullis, and Jim DeJoie; trumpeters Mike Mines, 4-6 ECHOES OF DJANGO on saxophones, Geoff Harper on bass, and Matt Dennis Haldane, Alan Keith, and Daniel Barry; Django Reinhardt Festival with Dorado Schmitt Jorgensen on drums – another killer lineup – and trombonists Dan Haeck, Steve Kirk, Pat Moran, (guitar gypsy legend from the Lorraine region plays repetoire based heavily from the early and Dave Bentley; vibraphonist Evan Buehler, of France), Samson Schmitt (young gypsy guitar Mahavishu band of John McLaughlin, greater guitarist Greg Fulton, bassist David Pascal, and drummer Chris Monroe. It’s quite a force.

November 2005 • Earshot Jazz • 29 13 KLEZ FEST around the venerable old town. See preview, November issue. Recurring Weekly Jewish music through the centuries, with Marc Smason, trombone, Talia Marcus, violin; Andrea Smardon, clarinet; Craig Hoyer, piano; 4/11/18/25 WHAT’S THE DEAL? Performances Ken Strong, bass; and Greg Campbell, drums & The Monktail Creative Music Concern has special guests. At Klez Fest, at University Prep, inaugurated a Friday evening jazz event at 25th NE & NE 80th, 206-525-0915, admission Delina (Jackson & 25th). The MCMC group Deal’s MONDAYS $10/$7; from 2-2:45pm. Number explores the history and dialog of the quartet format. The sound of Bird & Diz, Ornette IB Blake Micheletto, call for MONDAY NOVEMBER 14 & Don Cherry, and the William Parker Quartet all time TU Jam w/ Darin Clendenin Band, 8 come into play. It is exciting, energetic music in MK Reggie Goings & the Jazz a great sounding room, with Billy Monto, sax; 14 DARIN CLENDENIN Gabe Herbertson, trumpet; John Seman, bass; Suspenders, call for time and Mark Ostrowski, drums. At Delina (2519 S Before settling some years ago in Seattle, Jackson St, at 25th Ave S; 206/322-3533). NO New Orleans Quintet pianist and keyboardist Darin Clendenin was for six years the musical director of the International TUESDAYS Tap Festival, where he worked alongside Gregory 18 CARRIE CLARK Hines, Savion Glover, and other stars of the Sultry jazz, blues, and folk from regular Carrie NO HoloTrad Jazz trade. He has also worked with national figures Clark, who appears on the third Friday of each OW Bebop & Destruction like drummer Dave Weckl, saxophonist Eric month, at St. Cloud’s, in Magnolia (1131 34th Marienthal, and Ernestine Anderson, with whom Ave; 726-1522). Wednesdays he served as musical director. He filled that role CV Matt Jorgensen/Mark Taylor in this area with beloved vocalist Edmonia Jarrett, SATURDAY NOVEMBER 19 too, and he has also performed often with other Group, 9:30 C* Manghis Khan Quartet, Spice Restaurant top-drawer singers, including Portland’s Nancy (2301 5th Ave, 206-770-0606), 10 King, and Seattleites Rebecca Kilgore and Greta NO Floyd Standifer Group, 8 C* James Bernhard & Friends, St. Cloud PC Susan Pascal/Murl Allen Matassa. At Tula’s at 8pm, he and his band lead restaurant (1131 34th Ave, Magnolia), 9 the evening’s jam session. C* Carlos Cascante’s Tumbao: CD release party, Sanders/Phil Sparks, Noon 9:30 SA Kareem Kandi Band, 8 TUESDAY NOVEMBER 15 C* Ballard Jazz Festival, several venues in Ballard (see preview in Nov. issue) ST Jazz Night with the Ryan JA Tuck and Patti, 7:30 JU Marc Smason Duo, 7:30 PM Floyd Standifer Quartet w/ Dina Blade, 9 Burns Trio, call for time TU Roadside Attraction Big Band, 8 TB Kathleen Donnelly & Darin Clendenin, 7 TU Susan Pascal Quartet, 8:30 THURSDAYS 15 BANDSTAND ATTRACTION 19 CASCANTE CALIENTE! CF Monktail Music Series, 8 How many jazz big bands can a mid-sized city boast? Here in Seattle, we have more of Carlos Cascante and his hot Latin ensemble CM Victory Music presents Open them than you could wave a baton at. And Tumbao (www.tumbao.us), which among Mic, 6 the Roadside Attraction, which trumpeter other things is the house band at the Century Keith Baggerly formed in 1979, is one of the Ballroom, release their new CD, Rucuerdos, at FL Greg Schroeder Quartet, 8 longest-running, and the best. They play big- the Century Ballroom (915 E Pine St, on Capitol JB Kareem Kandi Band, 8:30 band standards, originals, and contemporary Hil) at 9:30pm. The six-piece band performs a arrangements, and perform each third Tuesday joyful, energetic repertoire of traditional salsa LU Robeson Trio, 8 of each month at the Belltown club. Among many mixed with modern timba and Latin jazz. The NO Ham Carson Quintet, 7 fine players on its roster are saxophonist Richard album, whose title means “memories,” has eight Cole, drummer Clarence Acox, and trombonist originals and four covers, in salsa, chacha, son SQ Darrius Willrich, 10 Bill Anthony. montuno, and bolero styles. Led by Costa Rican TA Urban Oasis, 7 vocalist Carlos Cascante, the band also includes WEDNESDAY NOVEMBER 16 Julio Jauregui (piano), Dean Schmidt (bass), WB Wayne Trane, 9 Thomas Marriott (trumpet), Jeff Busch (drums), C* Manghis Khan Quartet, Toi (1904 4th Ave, Pedro Vargas (congas) and Carlos Cascante 206-267-1017), 7 FRIDAYS (vocal). Guests on the recording included some CK Trimpin Performs Live w/ Seattle Chamber heavy hitters: Ray Vega (trumpet); Ted Dortch AF Kareem Kandi Band, 7 Players, 7:30 & 9 (saxophone); two members of Eddie Palmieri’s JA Tuck and Patti, 7:30 band, Joe Santiago (bass) and Doug Beavers JU Urban Oasis, 9 NO Floyd Standifer Group (trombone); Paoli Mejias (congas), whose current LA LHH Trio, 5:30 TB Steve Mason, 6:30 album Mi Tambor is nominated for a Grammy; TU Randy Halberstadt vocal showcase, 8 as was a disc by Jovino Santos Neto, Canto do LU Robeson Trio, 8 Rios, on which Jeff Busch appears. The newest PM Floyd Standifer, 9 2/9/16/23/30 FLOYD STANDIFER GROUP member of the band, Pedro Vargas, grew up The esteemed, personable, and always crowd- in Cuba and brings a rich Cuban influence to SATURDAYS pleasing saxophonist and trumpeter leads his Tumbao. He has toured the world and played regular Wednesday evening quartet gig at the with many great traditional Cuban artists, such AF Kareem Kandi Band, 7 New Orleans. The quartet never fails to impress, as the stars of Buena Vista Social Club, Los Van and veteran educator Standifer always slips in a Van, and Sierra Maestra. Thomas Marriott is CC Andre Thomas & Quiet Fire little learnin’ to go with his enthralling bebop. an outstanding Seattle-reared trumpeter who w/ Bernie Jacobs, 9 has already recorded four of his own CDs. LU Robeson Trio, 8 THURSDAY NOVEMBER 17 His knowledge of all types of Latin rhythms combined with his creative improvisational talent PM Floyd Standifer, 9 JA Tuck and Patti, 7:30 make him one of the up-and-coming Soneros in TU Hard Bop or Naught, 8 SU Victor Noriega the Latin scene. FRIDAY NOVEMBER 18 SY Victor Janusz & Tim Koss, AMES ERNHARD RIENDS C* Manghis Khan Quartet, Spice Restaurant 19 J B & F 8:30 (2301 5th Ave, 770-0606), 10 The veteran blues, jazz, and rock crooner and C* Carrie Clark, St. Cloud restaurant (1131 34th guitarist, James Berhhard, and band, appear each SUNDAYS Ave, Magnolia), 9:30 third Saturday of the month at St. Cloud’s, in C* Ballard Jazz Festival, several venues in Ballard Magnolia (1131 34th Ave; 726-1522). CZ Kareem Kandi, call for time (see preview in Nov. issue) JF Buckshot Jazz, 5:30 PM Floyd Standifer Quartet w/ Dina Blade, 9 SUNDAY NOVEMBER 20 TU Dave Marriott & Generation Trio, 8:30 NE Dangerous Brain Clinic, 10 NO Karen Shivers CD release party, 3:30 18-19 BALLARD JAZZ FEST TU Jim Cutler Jazz Orchestra, 8 TD Arturo Rodriguez, 8 TU Jay Thomas Big Band, 4 OThe Ballard Jazz Festival presents a rich selection of local jazz leaders, at venues all

30 • Earshot Jazz • November 2005 C* Susan Pascal Quartet, Pacific Place Atrium, A $35 basic membership in Earshot brings the Sixth & Pine, 5 JAZZ CM Pearl Django, 7:30 newsletter to your door and entitles you to EARSHOT JAZZ MEMBERSHIP KR David Lanz, 8 discounts at Bud’s Jazz Records and all Earshot ______PM Floyd Standifer Quartet w/ Dina Blade, 9 NAME events. Your membership helps support our TB First Circle, 7 educational programs and concert series. TU Kelley Johnson Quartet, 8:30 ______Check type of donation: ADDRESS SUNDAY NOVEMBER 27 C* Nadine Shanti Trio, Pacific Place, 5 New Renewal ______CITY/STATE/ZIP JB Lance Buller & Stephanie Porter jazz & dinner Type of membership: show (all ages), 7 TU Fairly Honest Jazz Band, 3 $25 Newsletter only $35 Individual ______PHONE # EMAIL TU Jim Cutler Big Band, 8 $60 Household $100 Patron 13/20/27 MORE BIG BAND ______ $200 Sustaining $300 Lifetime EMPLOYER, IF IT PROVIDES MATCHING GRANTS The big band music never stops at Tulas. On Other: the 13th, 20th, and 27th, it is the Jim Cutler Jazz ______Orchestra, led by the tenor saxophonist, and Sr. Citizen – 30% discount at all levels WHERE DID YOU PICK UP EARSHOT? featuring top Northwest musicians, performs, as they put it, “music written by band members, Canadian and overseas subscribers please ______Northwest composers, and classic material that add $8 additional postage (US funds). Please mail to: Earshot Jazz is not performed enough,” including works by 3429 Fremont Place N, #309 Gil Evans, The Stan Kenton Orchestra, Maynard Ferguson, and Buddy Rich.” Regular subscribers – to receive newsletter Seattle, WA 98103 1st class, please add $5 for extra postage. MONDAY NOVEMBER 28 Contact me about volunteering. Earshot Jazz is a non-profit, tax-exempt organization. C* Brandin Offichner, Last Mondays series, Seattle Drum School (12510 15th Ave NE), 7:30 TU Jazz Jam w/ Darin Clendenin Band, 8 20 JAY THOMAS BIG BAND TUESDAY NOVEMBER 22 Any big band with multi-hornman Jay Thomas 28 LAST MONDAYS W/ GEOFF (trumpet, flugelhorn, alto, tenor, soprano and TU Hal Sherman & his Monday Night Jazz Orchestra, 8 A fine quartet, with Hans Teuber, saxes; Byron flutes) is going to be a good one. Tonight he is at Vannoy, drums; Jaques Willis, vibes; and Geoff Tulas with the highly accomplished and exciting WEDNESDAY NOVEMBER 23 Harper, bass. Harper has been playing bass for vocalist Becca Duran. JA Taj Mahal, 7:30 and 9:30 26 years and contributing to the music scene NO Floyd Standifer Group of the Pacific Northwest for over 15 years. 13/20/27 MORE BIG BAND TB Katy Bourne Trio, 6:30 Last Mondays (www.lastmondays.com) is his The big band music never stops at Tulas. On TU New Steve Korn Group, 8pm response to the question, “do you play in a the 13th, 20th, and 27th, it is the Jim Cutler Jazz band?” Each month the series showcases one or Orchestra, led by the tenor saxophonist, and 23 NEW STEVE KORN two of the more than 20 varied groups that are featuring top Northwest musicians, performs, fortunate to have Harper on board. Always highly The New Steve Korn Group performs at Tulas entertaining, often comical, this all-ages concert as they put it, “music written by band members, with a powerful lineup of Korn on drums; Mark Northwest composers, and classic material that series takes place on the last monday of every Taylor, sax; Dawn Clement, piano; and on bass, month at The L.A.B., the acoustically magnificent is not performed enough,” including works by Paul Gabrielson, who in addition to playing for Gil Evans, The Stan Kenton Orchestra, Maynard performance space at The Seattle Drum School years on the local scene – with, for example, the (12510 15th Ave NE) at 7:30pm. Ferguson, and Buddy Rich.” Brian Nova Trio – has a long history in big-time settings playing with the likes of the Kingston MONDAY NOVEMBER 21 Trio and many other national names. At 8pm. TUESDAY NOVEMBER 29 JB Fife & Stadium High School Jazz Band & Choir JA Jane Monheit, 7:30 (all-ages event), 3 FRIDAY NOVEMBER 25 JU Marc Smason Duo, 7:30 TU Magnolia Big Band, 8 TD Hal Sherman Monday Night Jazz Band, 7:30 C* Manghis Khan Quartet, Spice Restaurant 2301 TU Kelley Johnson jam, 8 5th Ave, 206-770-0606, 10 29-30 JANE MONHEIT C* No Jive Five, St. Cloud restaurant (1131 34th 21/26 KELLEY JOHNSON Ave, Magnolia), 9 Through December 4 at Jazz Alley, the vocalist She is simply one of the finest vocalists around, PM Floyd Standifer Quartet w/ Dina Blade, 9 Jane Monheit appears with her quintet, in as has been testified to by area fans for several TU Roberta Piket/Billy Mintz Trio, 8 support of her recent The Season, an album of years. She arranges her numbers herself, largely, Ella-inspired songs. and to great effect. An improvising singer who 25 PIKET & MINTZ values lyrics, Kelley is known for her tasteful, Roberta Piket, whom JazzTimes calls “a WEDNESDAY NOVEMBER 30 understated phrasing and relentless swing. As startlingly fresh pianist [who] has evolved a JA Jane Monheit, 7:30 an arranger, she reworks standards creating personal style in which the harmonies of classical NO Floyd Standifer Group modern jazz out of classics while keeping the modernists...ring out withthe energizing brio of TB Jeff Fielder, 6:30 stories intact. Johnson has been awarded “Best jazz masters,” appears with the singular drum TU Katie King Vocal Showcase, 8 Northwest Jazz Vocalist” by Earshot Jazz and the master Billy Mintz. Piket, who came second Northwest jazz community. At Tulas at 8pm, in the 1993 International Thelonious Monk 2/9/16/23/30 FLOYD STANDIFER GROUP she leads a jam session. And she is back on the Competition, has won raves from several top The esteemed, personable, and always crowd- 26th, this time fine pianist (and husband) John jazz publications for her recordings, starting pleasing saxophonist and trumpeter leads his Hansen, and her quartet; 8:30pm. with Unbroken Line (1997) and continuing regular Wednesday evening quartet gig at the with several others, including the more recent New Orleans. The quartet never fails to impress, September of Tears with Billy Hart and Rufus 21-22 HAL SHERMAN BIG BAND and veteran educator Standifer always slips in a Reid, and I’m Back in Therapy And It’s All Your On Monday at Triple Door, and on Tuesday little learnin’ to go with his enthralling bebop. Fault. at Tula’s, Hal Sherman presents his Monday Night Jazz Band plays swing, bebop, Latin jazz, 30 KATIE KING and ballads with a heady lineup of amateur and 25 NO JIVE FIVE Katie King, the stylish and – if one may still professional jazz players. Upbeat jazz, blues, swing, and bossa from use the term – sassy vocalist, at Tulas, leads a the No Jive Five, which appears the last Friday vocal showcase. Stylish and distinctive, King has of each month at St. Cloud’s, in Magnolia (1131 21 FIFE & STADIUM HIGH SCHOOL JAZZ BAND the key attribute of a convincing jazz vocalist: 34th Ave., 726-1522). AND CHOIR she just lets you have it. That seems like great role modeling for her many students, and you Another of the fine high-school jazz programs SATURDAY NOVEMBER 26 in the region struts its stuff, at Jazzbones in can see how well the lessons have taken at this Tacoma, at 3pm, all-ages, admission $5. C* Manghis Khan Quartet, Spice Restaurant showcase at Tula’s. They’re brave, you got to (2301 5th Ave, 770-0606), 10 give them that.

November 2005 • Earshot Jazz • 31 Earshot Jazz CLASSIFIEDS NON-PROFIT ORGA- 3429 Fremont Pl., #309 NIZATION U.S. POSTAGE Seattle, WA 98103 PAID Double bassist sought for gigging PERMIT No. 14010 jazz band. Group ranges from trio Change Service Requested SEATTLE, WA to sextet. Gigs 3 to 5 times a month from Portland to Vancouver. Pay is $75 per musician per night, 2 to 3 sets each night. Gas, food and lodging covered when traveling. 50% originals, 50% standards. Contact [email protected]. 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

2214 Second Ave, Seattle, WA 98121 for reservations call (206) 443-4221 www.tulas.com november 2005 SUNDAY MONDAY TUESDAY WEDNESDAY THURSDAY FRIDAY SATURDAY 1 2 3 4 5

EARSHOT JAZZ EARSHOT JAZZ EARSHOT JAZZ EARSHOT JAZZ EARSHOT JAZZ FESTIVAL FESTIVAL FESTIVAL FESTIVAL FESTIVAL Claire Daly Ben Thomas Gary Hobbs Reptet Marc Seales 8:30 Quartet Quartet 9:00 New Quintet $12/$10 8:30 8:30 $12/$10 9:00 $12/$10 $12/$10 $12/$10 6 7 8 9 10 11 12

Reggie Goings Greta Emerald Greta Pat and Dee Greta Hosted by Sunday, November 6, 6PM Hadley Caliman Matassa City Jazz Matassa with Matassa w/ Jazz NW’s Quintet Jazz Jam Orchestra Jazz Friends Cliff Colon: Jim Wilke: Hot Club 3-7 $7 8-12 $7 8-12 $5 Workshop 8-12 $8 Tribute to Judy EARSHOT JAZZ FESTIVAL 8-12 $8 Ray Charles Wexler Sandwich Group Marc Seales 8:30-12:30 Quartet New Quintet $12 8:30-12:30 An evening of gypsy jazz! 8:30 $12 $12/$10 13 14 15 16 17 18 19 Sunday, December 4, 6PM Jazz Police Jazz Jam Roadside Randy Hard Bop Dave Nelda Susan Pascal Quartet Big Band w/ Darin Attraction Halberstadt or Naught Marriott Swiggett 3-7 $5 Clendenin Big Band Vocal 8-12 $7 and the Showcase with Randy Halberstadt, Jim Cutler Band and 8-12 $5 Showcase Generation 4-7 $8 Jazz guest host 8-12 $7 Trio Susan Pascal Chuck Deardorf, and Mark Ivester Orchestra Todd Hymas 8:30-12:30 Quartet 8-12 $5 8-12 $7 $12 8:30-12:30 $12 100 minutes of popular jazz 20 21 22 23 24 25 26 Jay Thomas Kelley Hal Steve CLOSED Roberta Kelley with an inspirational interlude Big Band Johnson Sherman’s Korn Piket/ Johnson 4-7 $5 Jazz Jam Monday Quartet Have a Billy Mintz Quartet Jim Cutler 8-12 $7 Night 8-12 $7 wonderful Trio 8:30-12:30 Held in the Gothic Sanctuary of Jazz Jazz Thanksgiving 8:30-12:30 $12 Orchestra Orchestra $12 Seattle First Baptist Church 8-12 $5 8-12 $5 Seneca and Harvard on First Hill 27 28 29 30 Fairly Jazz Jam Magnolia Katie King Seattle, WA Honest w/ Darin Big Band Vocal Jazz Band Clendenin 8-12 $5 Showcase 206-325-6051 3-7 $5 Band and 8-12 $7 Jim Cutler guest host All-Stars 8-12 $7 www.SeattleFirstBaptist.org/SJV 8-12 $5