November 7, 2010 PROGRAM NOTES

Home , Buddy Tate, Christmas Jazz Jam, Cuong Vu, Dick Shurman, Ernie Andrews, Everette Harp

ear10_program_cover_4c_r2.pdf 9/22/10 12:30:40 AM Photo of DBR (see schedule; Oct 21) by Julieta Cervantes

CMY

october 15 - november 7, 2010 PROGRAM NOTES

Festival Tickets On Sale ceive awards that night. The ceremony co-authored, and co-edited books. He Tickets for the 22nd Annual Earshot will feature a special performance by is currently completing another jazz Jazz Festival are on sale now. Earshot a Garfield and Roosevelt High School book, Speaking in Tongues: Jazz and members receive a $2 discount on all All-Star Jazz band. All awards recipi- Modern Africa. For more information shows. For the true jazz enthusiasts, ents were selected by the 21-member about Kelley’s lecture, please call (206) the Jazz Festival Gold Card offers the Seattle Music Commission. At press 543-3920. best deal: providing a 30% savings off time, limited tickets were still available On the Horizon: the regular price and preferred seat- to the public free of charge. For more The Pony Boy Orchestra ing at most events. The Gold Card information, visit www.seattlecityof- Seattle Art Museum Downtown grants admission to all festival events. music.com December 9, 5:30pm The pass is $275 for Earshot members Noted Scholar Robin D.G. Kelley Pianist Claude Thornhill is often ($325 general public); available only to Lecture on Jazz and Africa, credited as the progenitor of cool jazz through Earshot Jazz. For a complete October 26 and his recordings influenced and list of performers, show times, and impressed many, including Miles Da- ticket information keep reading, visit The Walter Chapin Simpson Center for the Humanities at the University vis. His orchestra included arranger www.earshot.org, or call (206) 547- Gil Evans and musician Lee Konitz. 6763. of Washington will present Professor Robin D.G. Kelley in a special lec- His musical legacy will be explored The Seattle City of Music ture on October 26 at 7pm in Kane as part of Earshot’s Art of Jazz series Commission to Honor Clarence Hall, Room 130 on the campus. Kel- on December 9th when the Pony Boy Acox and Scott Brown ley’s talk will be titled “When Af- Orchestra presents the “Cool Jazz” of Claude Thornhill, with research, Two of Seattle’s favorite music educa- rica Was ‘The Thing’: Modern Jazz in manuscripts and interviews from Dr. tors, Clarence Acox of Garfield High Revolutionary Times.” A pathbreak- David Deacon-Joyner. School and Scott Brown of Roos- ing scholar, prolific writer, and en- evelt High School, will he honored gaged intellectual, Kelley is Professor Event Listings on Wednesday, October 6, 2010 at of American Studies and Ethnicity at Reminder: Please send gig listings to 7pm at the Showbox at the Market the University of Southern California [email protected] at least eight with City of Music Awards. Musician and author of Thelonious Monk: The weeks in advance if possible. Be sure to Brandi Carlile and Seattle Symphony Life and Times of an American Original format your gig listings to keep with Maestro Gerard Schwarz will also re- (2009), among many other authored, the appearance of this issue’s calendar.

CJR-5: Remembrance Joe McPhee / Michael Bisio Raymond Boni / Paul Harding

IN A SOLO PERFORMANCE Celebrating the release of his new solo album SONGBOOK VOLUME 1 Friday, October 29, 8 pm Chapel Performance Space

JAZZ IMPROVISATION CLINIC Seattle Drum School L.A.B. Wednesday, October 27, 7:30 pm Recorded LIVE at the Free to the public 2001 Earshot Jazz Festival North Country Distributors See Festival schedule for details Tel: 315-287-2852 s Fax: 315-287-2860 Email: [email protected]

2 • EARSHOT JAZZ • October 2010 , EARSHOT JAZZ IN ONE EAR A Mirror and Focus for the Jazz Community

New York Times Highlights present jazz pianist Dave Peck in a Executive Director John Gilbreath Seattle’s Thriving Jazz Scene free clinic on jazz improvisation for Earshot Jazz Editor Danielle Bias Jazz critic Nate Chinen of the New melodic instruments on Wednesday, Assistant Editor Peter Walton York Times published a major feature October 27th at 7:30 pm at the L.A.B. Contributing Writers Andrew Bartlett, Bill article in the Sunday Arts & Leisure at Seattle Drum School (located at Barton, Nathan Bluford, Jessica Davis, John section on August 29 titled “Alt-Rock 12510 15th Ave NE). Players of all me- Ewing, Schraepfer Harvey, Peter Monaghan, Hub, Purring with Jazz” that explored lodic instruments are welcome. Reser- Greg Pincus, Kimberly M. Reason, Peter Seattle’s “independent-jazz ecology” vations are recommended and may be Walton, Eliot Winder (to quote Chinen quoting John Gil- made to 206.364.8815 or info@seat- Calendar Editor Peter Walton breath, executive director of Earshot tledrumschool.com. For more details Calendar Volunteer Tim Swetonic Jazz). Chinen pointed out the “grow- on the clinic, see the full Dave Peck Photography Daniel Sheehan ing number of young musicians [who] Festival preview below. Layout Karen Caropepe have been focused on building an au- Sonarchy’s October Lineup Mailing Lola Pedrini tonomous scene” in Seattle. One of the Sound wiz Doug Haire is the pro- Managing Director Karen Caropepe many aspects of our homegrown jazz ducer and mixer of Sonarchy, recorded Send Calendar Information to: scene highlighted in the article includ- live in the studios at Jack Straw Pro- 3429 Fremont Place #309 ed trumpeter Cuong Vu’s praiseworthy ductions in Seattle. This hour-long Seattle, WA 98103 work with jazz students at the Univer- broadcast features new music and fax / (206) 547-6286 sity of Washington. In the article Vu email / [email protected] sound art by Pacific Northwest artists. is quoted as saying “Seattle could be Now into it’s 14th year of airing on Board of Directors Paul Toliver (president), a model for all the other places in the KEXP 90.3 FM, Sonarchy is broadcast Cuong Vu (vice-president), Lola Pedrini U.S. that need a scene like this.” You (treasurer), Hideo Makihara (secretary), every Sunday evening at midnight. can still read the article online at www. Clarence Acox, George Heidorn, Kenneth W. Th October schedule is as follows: On nytimes.com (search: Seattle Jazz). Masters, Renee Staton October 3rd, Afrocop presents a late- Earshot Jazz is published monthly by Jazz Now Seattle! Podcast Debuts night street soundtrack with Andy Earshot Jazz Society of Seattle and is Jason Parker of J&J Music recently Sells on drums, Jayson Powell on per- available online at www.earshot.org. announced the debut of Jazz Now Se- cussion, Quinten Musgrove on bass, Subscription (with membership): $35 attle!, a brand new podcast set to de- Noel Brass Jr. on keyboards and Col- 3429 Fremont Place #309 but on October 1st. From big bands to lin Higgens on guitar. October 10th Seattle, WA 98103 bebop to free jazz to fusion, the show finds Harry Zeitlin offering up solo phone / (206) 547-6763 will cover all corners of Seattle’s jazz acoustic guitar improvisations. Then fax / (206) 547-6286 scene, and will include an up-to-date on October 17th, the Rich Pellegrin Earshot Jazz ISSN 1077-0984 concert calendar to encourage listeners Quintet presents new jazz music with Printed by Pacific Publishing Company to go out to see and support live jazz. Pellegrin on piano, Scott Morning © 2010 Earshot Jazz Society of Seattle Jazz Now Seattle! is hosted by Parker on trumpet, Neil Welch on tenor and David Marriott, Jr., both active sax, Evan Flory-Barnes on bass and MISSION STATEMENT Seattle jazz musicians. For more infor- Chris Icasiano on drums. On Octo- Earshot Jazz is a non-profit arts and service mation, please visit www.jazznowse- ber 24th catch an encore performance organization formed in 1986 to cultivate a support attle.com. of Cipher that was first broadcasted system for jazz in the community and to increase in November of 2003. Cipher is Tari Dave Peck presents Free awareness of jazz. Earshot Jazz pursues its Nelson-Zagar and Tom Swafford mission through publishing a monthly newsletter, Jazz Improvisation Clinic on on violin and Jesse Canterbury and presenting creative music, providing educational October 27 Greg Sinibaldi on clarinets. Finally, programs, identifying and filling career needs for As part of the educational offer- jazz artists, increasing listenership, augmenting on October 31, Lara Candland and and complementing existing services and ings of this year’s Earshot Jazz Festi- Christian Asplund layer text, drones programs, and networking with the national and val, Let’s Play Stella Records, Seattle and live sampling to create lush and international jazz community. Drum School and Earshot Jazz will evocative ecotopes.

October 2010 • EARSHOT JAZZ • 3 Hadley Caliman

by Kimberly M. Reason On Wednesday, September 8, renowned Seattle tenor saxophonist Hadley Caliman died after a two-year struggle with liver can- cer. He was 78. To write about Caliman is an exercise in superlatives and redundant praise. Redundant, because the words that rise from those who knew him resonate with like opinion. “With Hadley, it was all about the music.” “He was a story-teller.” Or: “All Had- ley wanted to do was play.” The superlatives that add up to Caliman, a beloved and respected member of the West Coast and Seattle jazz scenes, came from 71 years of earning his chops: Once Caliman picked up the horn at the age of seven, he never put it down. “Hadley was always trying to get better up to the very end,” says Se- attle bassist and close friend Phil Sparks. “No matter how great he was, he practiced every day.” Clarence Acox, Director of the Garfield High School Jazz Band and Co-Director of the Seattle Repertory Jazz Orchestra, of which Caliman was a member, says of Caliman: “He was a beautiful person inside and out. His music reflected this, especially in his later years. His soul and personality really came out through his instrument. In fact, Hadley’s music only got better, which is saying a whole lot, considering that he played his entire life. Even when he was having physical dif- ficulties because of his illness,

4 • EARSHOT JAZZ • October 2010 he was playing fantastically. He would break out with a big sound he recorded with the likes of Joe wanted to keep playing up to the and do the blues. He taught me a Henderson, Nancy Wilson, Jon very end -- he was upset when he lot about the dynamics of music.” Hendricks and Bobby Hutcher- couldn’t make his last few gigs.” Caliman not only embodied the son. He relocated to the North- Caliman’s love for music -- his genesis and evolution of jazz, but west in 1982, playing on the local Coltrane-like devotion to playing; also the renaissance of African scene and teaching jazz at Cornish his raw, intuitive sensibility for American culture through jazz. College of the Arts. After retiring an art form derived entirely from Marriott notes: “Back in the for- he gigged full-time, taking special self-schooling and peer learning ties, if you had high intellect as an interest in exposing younger audi- on the bandstand -- represents an African American, you didn’t have ences to music. era that, like the musicians who the opportunities to be an engi- SRJO Co-Director Michael came from it, is slowly dying off. neer or other professional. So you Brockman, who led the Jazz4Kids Trumpter Thomas Marriott, who funneled your talents into music.” concerts, remembers how much played with Caliman during the This juxtaposition of cultural ge- Caliman cherished bringing jazz to latter’s later years and co-produced nius and racial alienation proved children. “He would say that even Caliman’s last two compact discs, significant for African Americans though we didn’t see it happening, Gratitude and Straight Ahead, and American jazz. In an Earshot we were changing the kids’ lives.” believes that Caliman’s life and interview last year, Caliman re- His wife, Linda, says that Cali- death represent the transformative called the bebop era when African man was always pushing the en- emergence and irreplaceable loss of Americans dominated jazz. “We velope. “He was always trying an entire culture. were jazz,” he said. “Duke, Basie, to better himself and his sound. “Hadley grew up very close to the Lunceford, Benny Carter -- we all That passion never left him until beginnings of jazz,” says Marriott. were the best you had. It gave us a the very end. His last gig was at “In his time, everyone was self- false sense of superiority. My peers, the Knowles Art Gallery and was taught. The sound was localized. the older cats, they had soul. Some filled to overflowing with many You learned from those around of the cats playing now don’t eat of our dearest friends. The artist/ you, and Hadley learned from black-eyed peas -- they don’t know owner painted a picture of Hadley the best: Freddie Hubbard, Ed- what cornbread is.” as he played that night, making die Henderson -- even Earl Hines, “When Hadley was coming up the whole evening very memo- who goes all the way back to Louis jazz had a different culture func- rable. But on the way home, he Armstrong. You don’t get any clos- tion,” says Marriott, who feels said he didn’t think he could play er to jazz than that. Consequently, privileged to have collaborated again; he was exhausted. Then, that style of learning and play- so closely with Caliman during a couple of days later, he gained ing led to a lot of individualism. the saxophonist’s last years. “It some strength and said he could There was no ‘jazz curriculum’ doesn’t have the same cultural sig- make the next gig. But that week back then. Now, everyone learns nificance, now. It’s why Hadley is did not go well and he was unable in school. They learn the same way such a cultural icon.” to make it. Emotionally, that was and pull songs off iTunes. Some of Caliman grew up in Los Ange- his hardest week ever. He finally what Hadley did cannot be passed les, where he played in the Jeffer- accepted reality and settled into on because of the way it was as- son High School jazz band with letting go. It was two weeks from similated and learned. With Had- trumpter and flugelhorn player Art his last gig to his passing. Hadley ley gone, that culture is gone, too.” Farmer. Known as “Little Dex” for was dignity personified to the very “He was very lyrical,” says vocal- his tutelage under Dexter Gor- end of his life.” ist and trumpeter Reggie Goings, don, Caliman cut his teeth on the Caliman leaves a treasured and who played a standing gig with 1950s Central Avenue jazz scene. indelible mark on Seattle’s fabled Caliman at Tula’s Jazz Club every By the 1960s, he was touring with jazz scene. “I loved him,” Sparks, Sunday for nearly 12 years. “When Gerald Wilson’s Big Band, Willie says simply. “I’ll miss him.” he played a pattern, he had a lilt Bobo, and Don Ellis. In the 1970s, More on Caliman’s life can be that would flow -- and then he he moved to San Francisco, where found at hadleycaliman.com.

October 2010 • EARSHOT JAZZ • 5 6 • EARSHOT JAZZ • October 2010 EARSHOT JAZZ FESTIVAL 2010 seattle’s jazz festival / october 15 - november 7

Welcome to the 2010 Earshot Jazz Festival

Seattle is a remarkable city. The over- and meet new ones, to set aside the This festival relies on creative col- all quality of life we’ve come to expect challenges of everyday life, and put laborations with individuals and orga- here includes an absolutely vibrant themselves in the path of some of the nizations. We are very grateful to the cultural community that stretches eas- great creativity of our day. It is an op- kind people at Cornish College of the ily across the spectrum, from the tra- portunity for us all to redefine our per- Arts, the Chapel Performance Space, ditional to the alternative, in every as- ceptions and possibilities for music, the Triple Door, and Tula’s jazz club for pect of artistic expression. Within our and to pull alongside the ever-expand- their enthusiastic welcome of Earshot world-renowned music scene exists a ing universe of jazz. festival and their commitment to jazz valued jazz sensibility that continues to Earshot Jazz programs are known overall. We are pleased to be back at draw national attention. In the context for celebrating the continuum of jazz the Northwest Film Forum for some of that vibrancy, Earshot Jazz produces around the world while shining a most rare jazz films. Thanks to regular col- one of the most distinctive jazz festi- positive light on Seattle’s place in the laborators like the Seattle Repertory vals in the country. For two incredible global jazz community. Earlier this year Jazz Orchestra, Nonsequitur, and es- decades Earshot Jazz Festivals have Earshot Jazz was honored in New York pecially Cornish College of the Arts, enriched this community with one-of- with the ASCAP/CMA Award for Adven- with whom we undertake an adventur- a-kind concerts by some of the world’s turous Programming, while three years ously expanded concert series. Special most important artists and have pre- ago we received the Seattle Mayor’s thanks to our major funders, including sented Seattle’s amazing jazz musi- Arts Award in recognition of our endur- the Paul G. Allen Family Foundation, cians in a world-class festival setting. ing contributions to our own commu- the National Endowment for the Arts, We invite you to join us in this year’s nity. and the Raynier Institute and Founda- event. The Earshot Jazz Festival is the big- tion. Huge thanks to George Heidorn As always, this Earshot festival in- gest undertaking of the Earshot Jazz for his support. Thanks to participating cludes main stage concerts, club organization, but it is far from our only radio stations KPLU, KBCS, and KEXP. dates, educational opportunities, jazz activity. We present other concerts and Also, thanks to the many interns and films, and plenty of chances for people events throughout the year, and col- volunteers who help us each year. of all ages to engage more fully with laborate on outside concert initiatives And, as always, thanks to you, the lis- America’s most fascinating contribu- like the Art of Jazz at the Seattle Art tening, concert going audience. Enjoy! tion to world culture. In all, more than Museum. We also publish the monthly Give us your feedback. Let’s keep jazz 300 artists participate in 60-some Earshot Jazz newsletter, work to pro- alive and thriving in Seattle and the events over 24 days, in venues all vide educational opportunities and ad- Pacific Northwest! around the city. vancements to the field, and present Welcome to the 2010 Earshot Jazz But this festival is not just about the the Golden Ear awards program each Festival! numbers. It is a chance for Seattle au- year to recognize the achievements of -John Gilbreath, Executive Director diences to catch up with old friends Seattle’s jazz artists.

October 2010 • EARSHOT JAZZ • 7 to the sponsors, staff, and more than 80 volunteers THANK YOU! who make the Earshot Jazz Festival possible

FESTIVAL STAFF MAJOR SUPPORT SPONSORS IN KIND

Executive Director John Gilbreath Managing Director Karen Caropepe Production Manager and Volunteer Coordinator Schraepfer Harvey Festival Photography Daniel Sheehan Film Curator Peter Lucas Program Editor Danielle Bias Brochure Copy Peter Monaghan Program Assistant Editor Peter Walton Poster & Brochure Design Carl Lierman Festival Web Site Susan Pascal Volunteer Form Hosting Edoceo.com Everything Else Lola Pedrini

CO-PRESENTERS

Cornish College of the Arts

City Arts Festival

KING 98.1FM

Lucid Jazz Lounge

Nonsequitur Foundation

Northwest Film Forum

Seattle Arts and Lectures

Seattle, City of Music Festival

Seattle Repertory Jazz Orchestra

Seattle Theatre Group

Town Hall Seattle

The Triple Door Tula’s Restaurant Nonsequitur

8 • EARSHOT JAZZ • October 2010 TICKETS and info (206)547-9798 / www.earshot.org

TICKETS SITES + ADDRESSES Please Note All events are all-ages, For concerts at the following venues, Venues are located in Seattle except The Crocodile, Tractor Tavern, tickets available at their box offices: unless otherwise noted. some University Jazz Walk shows, and MOORE THEATRE, NORTHWEST FILM shows after 9pm at The Triple Door. FORUM, SEATTLE REPERTORY JAZZ CHAPEL PERFORMANCE SPACE ORCHESTRA, SEATTLE ARTS AND Good Shepherd Center, 4th floor, TRIPLE DOOR advance tickets 206-838- LECTURES, TOWN HALL SEATTLE, AND 4649 Sunnyside Ave N (Wallingford) 4333 & www.thetripledoor.net. Full TRACTOR TAVERN. dinner menu available. THE CROCODILE Other tickets on sale through Brown 2200 Second Ave (Belltown) TULA’S NIGHTCLUB & RESTAURANT Paper Tickets (brownpapertickets. reservations (but not advance tickets) 206- com; 1-800-838-3006) and the EMP|SFM (JBL THEATRE & LEVEL 3) 443-4221. Full dinner menu available. Earshot Jazz office. 325 Fifth Ave N (Seattle Center) DISCOUNTS KIRKLAND PERFORMANCE CENTER SAVE $2 ON MOST SHOWS for Earshot Jazz members, senior citizens, & full- 350 Kirkland Ave, Kirkland $2 time students. To recieve STUDENT DISCOUNT, present current ID at venue. MOORE THEATRE TICKET PACKAGES available only through the Earshot Jazz office: 1932 Second Ave (downtown) when you buy tickets to at when you buy tickets to eight NORDSTROM RECITAL HALL 10% least five separate concerts 15% or more separate concerts 200 University St (at Benaroya Hall) JAZZ FESTIVAL GOLD CARD available only through the Earshot Jazz office: NORTHWEST FILM FORUM A special pass is available for entrance to all festival events that is more 1515 Twelfth Ave (Capitol Hill) 30% than 30% savings off regular price. Also, preferred seating at most events. $325 general, $275 Earshot Jazz members PONCHO CONCERT HALL NOTES 710 E Roy St (Kerry Hall, Cornish College of the Arts, Capitol Hill) All events are free and open to the public. See www.earshot.org for updates and RAINIER VALLEY CULTURAL CENTER details. 3515 S Alaska St (Southeast Seattle) Improvisation Clinic with Dave Peck: Wednesday, October 27, 7:30PM, Seattle Drum School L.A.B., 12510 15th Ave NE, Seattle SEATTLE ART MUSEUM 1300 First Ave (downtown) Workshop with Steve Lehman: Saturday, October 30, 3PM, Poncho Concert Hall Workshop with Rufus Reid: Open workshop and discussion, Monday, November 1, TOWN HALL SEATTLE noon, PONCHO Concert Hall, Cornish College of the Arts 1119 Eighth Ave (at Seneca; First Hill) Workshop with Dafnis Prieto: Open workshop and discussion, Tuesday, November 2, noon, PONCHO Concert Hall, Cornish College of the Arts TRACTOR TAVERN 5213 Ballard Ave NW (Ballard) Workshop with Michael Blake and company: Open workshop and discussion, Thursday, November 4, noon, PONCHO Concert Hall, Cornish College of the Arts THE TRIPLE DOOR Workshop with Ziggurat Quartet: Open workshop and discussion, Friday, November 216 Union St (downtown) 5, noon, PONCHO Concert Hall, Cornish College of the Arts TULA’S RESTAURANT & NIGHTCLUB Jazz for Kids Concert: Presented by Seattle Repertory Jazz Orchestra, Saturday, 2214 Second Ave (Belltown) October 30, 4PM, Nordstrom Recital Hall. The concert is free, however, advance tickets are recommended. UNIVERSITY JAZZ WALK Venues for the walk listed on page 48

October 2010 • EARSHOT JAZZ • 9 EARSHOT JAZZ 2009 FESTIVAL LINEUP

Schedule subject to change. Please check www.earshot.org for updates.

FRIDAY, OCTOBER 15 THURSDAY, OCTOBER 21 TUESDAY, OCTOBER 26 Garfield High School Jazz Band City Arts Festival & Earshot Jazz present Matt Jorgensen: “Tattooed by w/ Roxy Coss DBR & Emeline Michel Passion” Triple Door, 7 & 9:30 Triple Door, 7 & 10 (21+) Triple Door, 7:30 The Kora Band David Haney / Julian Priester Duo Jay Clayton / Dawn Clement Tula’s, 7:30 Chapel Performance Space, 8 Quartet Robert Pinsky w/ Marc Seales & Nelda Swiggett Trio Tula’s, 7:30 Paul Gabrielson Tula’s, 7:30 Scott Amendola Trio Nordstrom Recital Hall, 7:30 PONCHO Concert Hall, Cornish College of FRIDAY, OCTOBER 22 the Arts, 8 SATURDAY, OCTOBER 16 James Carter, John Medeski, WEDNESDAY, OCTOBER 27 Vagabond Opera Adam Rogers “Heaven on Earth.” Triple Door, 7:30 & 10 (21+) Triple Door, 7 & 9:30 (21+) Improv Clinic w/ Dave Peck Seattle Drum School L.A.B., 7:30 Jay Thomas: Tribute to Milt Kleeb Retta Christie Trio Tula’s, 7:30 Tula’s, 7:30 The Teaching Triple Door, 7 Eugene Chadbourne & Mural SATURDAY, OCTOBER 23 Ben Black, Lincoln Briney, & Chapel Performance Space, 8 City Arts Festival & Earshot Jazz present DJ Spooky w/ Joshua Roman & Valerie Joyce’s Chet Baker project Chicago Underground Duo Triple Door, 9:30 (21+) 3rd Level, EMP|SFM, 8 Odeon Quartet Triple Door, 7 & 10 (21+) Mark Taylor Quartet SUNDAY, OCTOBER 17 Darius Jones Trio Tula’s 7:30 Robert Glasper Trio Rainier Valley Cultural Center, 8 THURSDAY, OCTOBER 28 screening + Icons Among Us Wellstone Conspiracy CD Charlie Musselwhite Triple Door, film at 6:30, concert at 8 release: Motives Triple Door, 7:30 Roxy Coss Quartet Tula’s 7:30 Murl Allen Sanders Quartet w/ Tula’s, 7:30 SUNDAY, OCTOBER 24 Warren Rand TUESDAY, OCTOBER 19 Gretchen Parlato Group & Tia Tula’s, 7:30 Toshi Reagon & Meklit Hadero Fuller Quartet Matana Roberts, solo & w/ Triple Door, 7:30 Triple Door, 7:30 Seattle artists Chapel Performance Space, 8 Lina Allemano Four Jean-Michel Pilc Chapel Performance Space, 8 Seattle Art Museum, 3 Ordo Sakhna Town Hall, 7:30 WEDNESDAY, OCTOBER 20 MONDAY, OCTOBER 25 FRIDAY, OCTOBER 29 Richard Cole Quintet CD release Roosevelt High School w/ special Tula’s, 7:30 guest Tessa Souter Triple Door, 7 Tula’s, 7:30

10 • EARSHOT JAZZ • October 2010 Dave Peck, solo Natacha Atlas Ziggurat Quartet CD release: Chapel Performance Space, 8 Triple Door, 7:30 Calculated Gestures PONCHO Concert Hall, Cornish College of Steve Lehman Octet Blue Cranes & Ballrogg the Arts, 8 Seattle Art Museum, 8 Tractor Tavern, 8 Thomas Marriott New Chamber- SATURDAY, OCTOBER 30 WEDNESDAY, NOVEMBER 3 Jazz Ensemble Workshop w/ Steve Lehman Bill Frisell Beautiful Dreamers Chapel Performance Space, 8 PONCHO Concert Hall, Cornish College of Trio & guests SUNDAY, NOVEMBER 7 the Arts, 3 Triple Door, 7 & 9:30 (21+) Jazz for Kids Concert: SRJO Seattle Repertory Jazz Orchestra: Gust Burns & Jack Wright Jazz Goes to Hollywood Nordstrom Recital Hall, 4 Chapel Performance Space, 8 Kirkland Performance Center, 3 Tessa Souter Randy Halberstadt Quintet Jack Wright / Gust Burns Large Tula’s, 7:30 Tula’s, 7:30 Ensemble STG presents Ryuichi Sakamoto THURSDAY, NOVEMBER 4 PONCHO Concert Hall, Cornish College of Moore Theater, 8 the Arts, 8 Workshop w/ Michael Blake & An Evening with the Mavis Company Staples Group PONCHO Concert Hall, Cornish College of Town Hall, 7:30 the Arts, noon Seattle Repertory Jazz Orchestra: Carmen Staaf Trio EARSHOT JAZZ Jazz Goes to Hollywood Tula’s, 7:30 Nordstrom Recital Hall, 7:30 FILMS Wayne Horvitz: TONK & Michael SUNDAY, OCTOBER 31 Blake’s Lucky Thompson Project For more information visit PONCHO Concert Hall, Cornish College of www.nwfilmforum.org/live/page/series/1529 Rufus Reid Trio the Arts, 8 Tula’s, 7:30 $9 General, $6.50 students/seniors, $6 NWFF & Earshot members FRIDAY, NOVEMBER 5 MONDAY, NOVEMBER 1 Carmen Staaf Trio HOWL Workshop w/ Rufus Reid Tula’s, 7:30 By Rob Epstein & Jeffrey Friedman PONCHO Concert Hall, Cornish College of (USA, 2010) the Arts, noon Brian Blade Fellowship Friday, October 29 through Rufus Reid Trio + Icons Among Us screening Thursday, November 4, 7 & 9PM (+ 5PM shows on Oct 30 & 31) Tula’s, 7:30 EMP|SFM, film at 6:30, concert at 8:30 Dafnis Prieto Proverb Trio & Workshop w/ Ziggurat Quartet ORNETTE: MADE IN Cuong Vu/ Andrew D’Angelo: PONCHO Concert Hall, Cornish College of AMERICA Agogic the Arts, noon By Shirley Clark (USA, 1985) The Crocodile, 8 SATURDAY, NOVEMBER 6 Friday, October 29 & Saturday, October 30, 7 & 9PM TUESDAY, NOVEMBER 2 University District Jazz Walk ED THIGPEN: MASTER OF University District venues including Lucid TIME, RHYTHM AND TASTE Workshop w/ Daphnis Prieto & Racer Café, 6pm-4am PONCHO Concert Hall, Cornish College of By Don McGlynn (USA/DENMARK, 2009) the Arts, noon Gail Pettis & Friends Monday, November 1 & Tula’s, 7:30 Rufus Reid Trio Wednesday, November 3, 7 & 9PM Tula’s, 7:30

October 2010 • EARSHOT JAZZ • 11 EARSHOT JAZZ 2010 CONCERT PREVIEWS

FRIDAY, OCTOBER 15, TRIPLE DOOR, 7 & 9:30 Garfield High School Jazz Band w/ Roxy Coss

$18 general, $16 members/seniors, $8 jazz scence, her youth quintet performs Seattle’s Garfield High School, under ever Monday in the direction of Clarence Acox, took upper Manhattan top honors at Jazz at Lincoln Center’s at a venue called 15th Annual Essentially Ellington 181 Cabrini, a gig High School Jazz Band Competition that is becoming & Festival, again, in May of this year. ever-more popular The school made competition history, as word continues becoming the first band ever to win to spread about her four times. Acox has led the band for formidable talents. nearly four decades, and he is clearly Some of the great still going strong. He is known for jazz musicians Coss helping to nurture strong soloists, like has performed tenor saxophonist Roxy Coss who is a with include Clark former member of the Garfield band. Terry, Claudio Coss occupied the first tenor chair in Roditi, and Gras- the Garfield’s top jazz band when they sella Oliphant. She won the Ellington competition two also performed as years in a row in 2003 and 2004. She part of the William also won the Outstanding Saxophone Paterson Big Band Soloist award at the 2004 competition. with Slide Hamp- After graduating from Garfield, she at- ton, Joe Lovano, tended William Paterson University in and Dave Valentin. New Jersey on a full Presidential Schol- She has also guest arship. In 2008, she graduated from appeared with the WPU with honors. Writing about her Seattle Women’s senior recital, David A. Orthmann of Jazz Orchestra, All About Jazz commented: “In many and opened for the ways Coss’ Senior Recital was a jazz Dave Leibman Big PHOTO BY DANIEL SHEEHAN fan’s dream: the opportunity to catch Band and Rufus pieces, “Breaking,” is 12 minutes long a gifted young performer before the Reid’s Quintet plus Four as part of the and was written for tenor sax and word gets out, and feeling certain that esteemed Jazz Room Series. drums. The other piece, “Tribe,” is 39 she’s only going to get better.” Not just a talented multi-instrumen- minutes of through-composed music Two years later, the word definitely talist who also excels on soprano saxo- scored for flute, clarinet, soprano sax, seems to be out. Coss celebrates the phone and flute, Coss also continues tenor sax, trumpet, keyboard, bass, release of her self-titled debut album to develop her skills as a composer. and percussion. Listen closely: you this month. (She will also perform Earlier this year, she was commis- may be treated to one or two of Coss’ with the Roxy Cross Quartet on Oc- sioned to co-compose two original original compositions during this very tober 17th at Tula’s.) One of the rising dance scores for the Daniel Gwirtz- special hometown performance. stars of the very competitive New York man Dance Company. One of those -Danielle Bias

12 • EARSHOT JAZZ • October 2010 FRIDAY, OCTOBER 15, TULA’S, 7:30 The Kora Band

$15 general, $13 members/seniors, $10 students The art of playing the kora, a 21-string harp that originated with the Mand- inka people of Western Africa and is made out of a gourd, has been passed down for generations amongst the Jeli, musicians who act as historians, teachers, and philosophers in countries such as The Gambia, Guinea, Senegal and Burkina Faso. Today, the instrument has gained a greater degree of attention around the world, mainly due to the extensive touring done by Jeli such as Mali’s Toumani Diabaté. Kane Mathis, who plays the kora in Port- land-based jazz pianist Andrew Oli- ver’s Kora Band, alongside trumpeter FROM LEFT TO RIGHT: CHAD MCCULLOUGH, BRADY MILLARD-KISH, ANDREW OLIVER, KANE MATHIS, MARK DIFLORIO. PHOTO BY NEILS TOFT. Chad McCullough, bassist Brady Mil- lard-Kish, and drummer Mark DiFlo- far from being the first to do so, in the and melodies for Mathis to fly over. rio, could perhaps be considered a Jeli United States or elsewhere). The kora An idea that could have turned out as in a new, international sense of the is by nature a very agile instrument; a gimmick instead sounds like a mean- term. The Kora Band performs origi- its flexible touch is practically made ingful dialogue between forms of mu- nals and arrangements of traditional for grafting onto unexplored musical sic that come from vastly different cul- and modern West African tunes. regions. tures. The Kora Band’s sound is really As the instrument’s reputation has The Kora Band puts its namesake made up of three parts: there are both spread to different lands it is no sur- in an entirely new context that high- the American and African folk forms, prise that non-Africans have taken up lights the instrument’s character in a but there is also the original style that the task of using it for communicat- way that hasn’t been done previously, is born out of their synthesis. ing to their native countries (Mathis is providing energetic, charged rhythms -Nathan Bluford

FRIDAY, OCTOBER 15, NORDSTROM RECITAL HALL, 7:30 Robert Pinsky w/Marc Seales & Paul Gabrielson Presented in association with Seattle ning poet, he has emphasized the rela- Arts and Lectures tionship between poetry and jazz. “In $20-$50 American culture,“ Pinsky says, “poet- Greatly inspired by jazz, Pinsky’s ry and jazz are kind of advance scouts, reading will be a collaboration with making discoveries and innovations two of Seattle’s most sensitive and ac- that are incorporated into other forms, complished musicians: pianist Marc sometimes softened or diluted a little. Seales and bassist Paul Gabrielson. Poetry is the most vocal and musical As a teenager, Robert Pinsky played verbal art, short of actual song.” the saxophone and dreamt of becom- Pinsky’s poems appear in magazines ing a jazz musician. As an award-win- such as The New Yorker, The Atlan- PHOTO OF ROBERT PINSKY BY EMMA DODGE HANSON

October 2010 • EARSHOT JAZZ • 13 tic Monthly, The Threepenny Review, six books of verse, most recently Gulf appears regularly on PBS’s The News- American Poetry Review, and frequent- Music: Poems, as well as prose on the Hour with Jim Lehrer. He writes the ly in The Best American Poetry antholo- subject of poetry, including Poetry and weekly “Poet’s Choice” column for gies. His poems have earned praise the World and The Sounds of Poetry. The Washington Post and is the poetry for their wild musical energy, vital- Pinsky is also a translator, perhaps best editor for Slate. In 1999 he was elected ity, and ambitious range. The Boston known for The Inferno of Dante: A New to the American Academy of Arts and Globe wrote of Pinsky that “no living Verse Translation. Letters and is one of the few members poet has greater reach of imagination.” Robert Pinsky served an unprec- to have appeared on “The Simpsons.” His volume The Figured Wheel: New edented three terms as United States Pinsky is the winner of the PEN/ and Collected Poems 1966-1996 was a Poet Laureate, the public ambassador Voelcker Award, the William Carlos Pulitzer Prize nominee. Pinsky’s Tan- for poetry. He founded the Favorite Williams Prize, the Lenore Marshall ner Lectures at Princeton University Poem Project, in which thousands of and the 2008 Theodore M. Roethke were published as Democracy, Culture Americans of all ages shared poems Memorial Poetry Award, among many and the Voice of Poetry. He has written that were significant for them. Pinsky others.

SATURDAY, OCTOBER 16, TRIPLE DOOR, 7:30 & 10 (21+) Vagabond Opera

$18 advance, $20 day of show, Ear- shot members $2 discount Vagabond Opera leader Eric Stern is a bel canto tenor with a vision. Bring- ing his love of the technique and traditions of opera to new 21st Century audiences is the goal, and the road his caravan travels to get there meanders through pre-WWII Berlin cabaret, jazz in myriad forms, klezmer, old world Yiddish theater, burlesque, Kurt Weill and Bertolt Brecht, Balkan belly dancing, Bulgarian accordion, Jose- phine Baker, gypsy music and Mar- lene Dietrich. Don’t let the elaborate retro costumes fool you though. Based in Portland, Oregon, Vagabond Opera isn’t about nostalgia. And it’s far from highbrow. Stern’s original songs draw on a century of irony to paint some decidedly colorful portraits. A virtuo- so accordionist and pianist, he also is barker, conductor and presenter. As his website notes: “Eric started his piano out further and further in a series of ian values or canny show business. As studies in utero as his parents met at concentric circles – going back to a an Ashland Daily Tidings reviewer stat- their piano lesson!” place where the audience is comfort- ed: “Where else do you have a trained “I plan things only loosely and am able then taking it further out again. operatic tenor that straps on an accor- sensitive to the energy in the house, so Our performances are never the same. dion, singing in Arabic, Spanish, Yid- I’ll call things differently in the mo- That’s what makes it exciting, vibrant, dish, French and Italian?” ment. It’s a calculated strategy in some and a little harder work for us.” -Bill Barton respects,” as he puts it. “We’ll venture Vagabond Opera is a cutting-edge ensemble that doesn’t ignore egalitar-

14 • EARSHOT JAZZ • October 2010 SATURDAY, OCTOBER 16, TULA’S, 7:30 Jay Thomas: Tribute to Milt Kleeb

WIT AND ANALYSIS IN THE MORNINGS

AN EARLY MILT KLEEB COMBO, KLEEB ON ALTO, WITH MOUSTACHE 5 a.m. – 8 a.m. WIT AND ANALYSIS $15 general, $13 members/seniors, $10 “Milt has been a beacon of my musi- The Takeaway IN THE MORNINGS students cal life,” says Thomas. “I borrowed dif- 8 a.m. – 9 a.m. The stellar Seattle hornman Jay ferent people’s perceptions and ears for Democracy Now! Thomas has spent his whole jazz life a while to figure out what was what, listening to or playing with Milt and then I gravitated to the things I a d v e n t u r o u s Kleeb. He reasoned, then, that it was liked, of course. But I love playing his time to tribute the skilled saxophon- stuff.” 5 a.m.M U S – I C 8 a.m. ist and master arranger who has been Now 91, Kleeb is a walking, firm- a stalwart of Pacific Northwest jazz gripped advertisement for the able- The Takeaway – and jazz much further afield – for bodied able-mindedness that – let’s 8 a.m. – 9 a.m. eight decades. admit it – is not the fate of every aging Democracy Now! Eight! jazzman. Thomas can recall many gigs with A jazz musician since the age of 11, a d9 v a.m. e n t u – r oNoon u s Kleeb, always “so exciting,” he says. when he took up clarinet and then sax He has, for example, often been on in his hometown, South Bend, on the The Caravan with M U S I C the bandstand with Kleeb in the tentet Washington coast, he began his life John Gilbreath that Kleeb co-leads with fellow veteran in jazz playing with local bands, and Noon – 3 p.m. saxophonist Bill Ramsay. soon arranging for them. It was a time With long-term members like when playing swing big-band jazz was The Outskirts Thomas, and always with a driving, not, to be sure, the aspiration of many LISTEN NOW! talent-packed lineup, the Bill Ramsay/ young people in tiny-town Washing- 9 a.m. – Noon Milt Kleeb Band has been a standout ton. “They probably thought I was online at www.kbcs.fm among the region’s many big and lit- pretty weird,” Kleeb allows. The Caravan with tle-big bands. In 1997 it recorded Pete Inspired by the likes of Benny Good- John Gilbreath Christlieb and the Bill Ramsay/Milt man and particularly Duke Ellington, Noon – 3 p.m. Kleeb Band. They later recorded Red he set out for Los Angeles in 1937 Kelly’s Heroes, a tribute to the long- with two band-mate friends. “You go The Outskirts time Tacoma club owner. (The week from South Bend to L.A., that’s un- of their festival gig, Kleeb, Ramsay, real; there’ve got to be some steps in LISTEN NOW! Thomas, and their bandmates have a between, but we went whole hog,” he online at www.kbcs.fm studio booked to record a CD of Kleeb observes. material.)

WIT AND ANALYSIS October 2010 • EARSHOT JAZZ • 15 IN THE MORNINGS

5 a.m. – 8 a.m. The Takeaway 8 a.m. – 9 a.m. Democracy Now! a d v e n t u r o u s M U S I C

9 a.m. – Noon The Caravan with John Gilbreath Noon – 3 p.m. The Outskirts LISTEN NOW! online at www.kbcs.fm While playing in a band that worked Army band. Soon began a 66-year parties and Hollywood events, he sent marriage that is still going. one of his teenage charts to Ken Bak- After the war, Kleeb worked with er, whose band was one of the best in Ted Williams’s band, a mainstay of the town. Baker bought them all. Chicago scene. The pay was good, but After engagements in traveling “ter- the work was grueling, despite Wil- ritory bands” based in Portland, Or- liams’s personable leadership. egon, Kleeb was drafted to the Army. Because the Kleebs now had a daugh- From 1941 to 1945 he honed his ar- ter, they came back to the Northwest ranging skills with both an Army and when money began to dry up for band at Fort Knox, Kentucky, and for jazzmen, Milt enrolled to study ac- Boyd Rayburn, who was a big-name counting at Lewis and Clark College bandleader of the day. in Portland, and then went to work for With that, Kleeb says, he was not just the Bonneville Power Authority. earning decent money, but was able to Kleeb moved to Seattle in 1956, romance the colonel’s daughter, Judy, where he joined the Shorty Clough PHOTO OF JAY THOMAS BY DANIEL SHEEHAN a talented singer who worked with the band which included Jay Thomas’s father, Marv. In 1964 Kleeb began to conceive of a nine-piece combo while leading a big band at a Kenmore country club, and realizing that the big-band era’s days were numbered. Kleeb, a relatively reticent person, teamed up with Bill Ramsay, a lo- quacious funny-man and veteran sax player who had worked in the bands of several major leaders – Benny Good- man, Count Basie, Duke Ellington. During its long history, the Bill Ram- say/Milt Kleeb Band has been a show- case for Jay Thomas and many others. Kleeb writes its charts the time-honored way – by hand, rather than with WORLD a computer program and printer. His work is renowned for its neatness and HEADQUARTERS lack of errors. CHARLES O. ANDERSON A good arranger is a rare commod- A DANCE THEATRE X ity, and that has afforded Kleeb plenty WORLD PREMIERE CO-PRESENTED BY VELOCITY DANCE CENTER of opportunities during his time in the Seattle area. For example, he has “ANDERSON IS A STUNNING MOVER—SOFTLY POWERFUL, DYNAMICALLY COMPLEX.” DEBORAH JOWITT, THE VILLAGE VOICE done a lot of arranging for movie soundtracks, working with big names SEPTEMBER 30-OCTOBER 2 / 8PM FOUNDERS THEATER AT VELOCITY DANCE CENTER (1621 12TH AVE) like Elmer Bernstein.

TICKETS: $10STUDENT $15ADVANCED $18 DOOR Best of all, says Thomas, Kleeb writes BUY AT BROWNPAPERTICKETS.COM OR CALL 800-838-3006 distinct parts for each player, rather CDFORUM.ORG | 206-323-4032 than relying on unison playing. The results, says Thomas, include colorful voicings and engaging playing for every member. -Peter Monaghan TOURWEST, LUCKY 7, THE NORCLIFFE FOUNDATION, NORMAN ARCHIBALD CHARITABLE FOUNDATION, MUCKLESHOOT INDIAN TRIBE, TULALIP TRIBES CHARITABLE FUNDS

16 • EARSHOT JAZZ • October 2010 SATURDAY, OCTOBER 16, CHAPEL PERFORMANCE SPACE, 8 Eugene Chadbourne & Mural Presented in association with Nonse- Van Chadbourne!), and Toshinori rich history: “I still like the goal of quitur Kondo. each performance being better than $5-$15 sliding scale A gifted guitarist, banjoist, and the last in an ever more intensifying Chadbourne’s musical education pioneer of new instruments (electric musical quest [...] The music is ongo- may have begun with rock music, but rake!), Chadbourne is outspoken both ing, so while there may be documenta- in the more than 35 years since he self- in his support of young musicians and tion, there is never an end result.” released his first album, Chadbourne the artist community, as well as in his Opening is the Oslo-based trio MU- has thrived in jazz, free-music, coun- political views. Chadbourne’s protest RAL, which features Norway natives try, bluegrass, and noise, approach- music is some of the most powerful of Kim Myhr (acoustic guitar) and Ingar ing each world with exuberance and the last twenty years, and his prolific Zach (percussion) and Australian Jim personality to spare. Chadbourne has and diverse career has been well-doc- Denley (flute and saxophone). MU- worked with Aki Takase, Derek Bai- umented, primarily on his own Para- RAL’s nuanced group improvisations ley, Fred Frith, Han Bennink, John chute and House of Chadula labels. reveal themselves across concurrent Zorn, Camper Van Beethoven (side- Chadbourne’s solo work is rambunc- planes of sound, slowly shifting audi- performances often billed as Camper tious and constantly re-inventing it- ence depths of listening. self, without sacrificing the guitarist’s -Peter Walton

SATURDAY, OCTOBER 16, 3RD LEVEL, EMP|SFM, 8 Chicago Underground Duo $22 general, $20 members/seniors, Their conception of their output is $10 students theoretical as well as geographic. They Two adventurous multi-instrumen- say their music deals with such dyad talists, Rob Mazurek, primarily on relationships as tension and release, cornet, and Chad Taylor, on various space and density, sound and silence, percussion, are products of the fertile and that they experiment with sonic Chicago improv scene. Beginning in contrasts, low and high tones, and the 1990s, they set a standard for elec- juxtapositions of free jazz and modern tronic expansion of minimalist, acous- composition. tic virtuosity. The results are as immediate as they The duo, formed in 1997 as one ar- are mindfully conceived. That is evi- rangement of the members of the dent on the duo’s latest release, Boca Chicago Underground Collective, de- Negra (Thrill Jockey), its fifth release the disc for an explosion of the famil- scribes its music as “an organic mix- and the Chicago Underground Collec- iar presented in unfamiliar ways. Over ture of African, electronic, coloristic, tive’s eleventh. On a selection of origi- folk-like melodies, for example, it fea- jazz-influenced life supporting system- nals and one Ornette Coleman cover, tures Taylor playing drums and vibes atic, non-systematic feeling from two “Broken Shadows,” the pair’s distinc- simultaneously, as he has in the past, humans trying ever to expand out- tive blend of groove-oriented com- as well as Taylor’s mbira and Mazu- ward and inward for the people and posed and improvised music merges rek’s cornet extensively filtered to es- ourselves.” with ambient washes and catchy melo- tranging effect. But those are not the only ingredients dies. The ultimate goal of all that com- in its heady mix. Mazurek and Taylor The new disc’s title means “Black mitted thinking and playing is typical also acknowledge gathering strains of Mouth,” and is a term used in the Te- CUD output: emotive, energizing lis- varieties of European and Asian music nerife Canary Islands for a mind with tening and playing that exhibits virtu- during their travels about the globe. an insatiable appetite for new informa- osity but doesn’t boast of it. tion. In that vein, the duo aimed on -Peter Monaghan

October 2010 • EARSHOT JAZZ • 17 SUNDAY, OCTOBER 17, TRIPLE DOOR, 8 Robert Glasper Trio Icons Among Us screening, 6:30 ing crisp, melodic statements [with] a $22 general, $20 members/seniors, nice, lighter touch, and in restraining $10 students his considerable chops in the service On the heels of his acclaimed Blue of space,” said All About Jazz. Raised Note release, Double Booked, pianist in Houston, Texas, he has combined Robert Glasper continues to infuse lyrical insights with complex, compel- jazz with hip-hop sensibilities. Preced- ling rhythms to emerge as one of the ed at 6:30pm by the one-hour segment freshest voices in jazz today. He pos- of the jazz documentary Icons Among sesses what the New York Times called Us, in which he appears, Glasper will “percussive intensity, fresh ideas, [and] offer a set that is likely to confirm his improvisatory logic.” place on the “short list of jazz pianists The son of a gospel-singing mother, ROBERT GLASPER PHOTO BY PATRICK MCBRIDE who have the wherewithal to drop a Glasper played piano in church before J Dilla reference into a Thelonious he reached his teens. At home, he heard many other modern greats. Many lis- Monk cover,” (latimes.com) with skill gospel, Motown, and R&B, and he teners and critics have noted a singing and finesse. also got into jazz, rock, pop, and hip- quality in his playing, and he has him- More than seven years ago, when hop. Moving to New York to study at self said: “I guess it is the singer inside in his early 20s, Glasper gave notice the New School University, he began of me; I’m singing through the piano.” while working with Russell Malone, playing with Christian McBride, Rus- Like Eric Lewis or Brad Mehldau, he Mark Whitfield, Marcus Strickland, sell Malone, and Kenny Garrett. is alert to the possibilities of bringing and “neo-soul” star Bilal that he may He acknowledges Keith Jarrett and pop and rock melodies into piano jazz. ascend to jazz-piano fame. A lyrical, Mulgrew Miller as his greatest influ- With Vicente Archer on bass and Mark rhythmic player, he “excels in provid- ences, and also Herbie Hancock and Colenburg on drums.

SUNDAY, OCTOBER 17, TULA’S, 7:30 Roxy Coss Quartet $10 general, $8 members/seniors, $5 Manhattan and her self-titled debut students album is expected this month. In a Seattle-bred and New York City- review of a recent performance, All based musician Roxy Coss not only About Jazz noted: “Coss is head and excels on her primary instrument, the shoulders above many of the gifted, tenor saxophone, but she also has an well-schooled young people who are impressive command of the soprano trying to get a toehold in the intensely saxophone and flute. Coss began win- competitive NYC jazz and improvised ning awards for her composition at the music scenes. Her multiple talents are age of 9, and she went on to receive nu- worthy of wider recognition, right merous soloist awards at various jazz now.” festivals, including Outstanding Saxo- Coss’s exploration of music styles phone Soloist at the Essentially Elling- emerged from an exceptional base in ton High School Jazz Band Competi- bebop and swing acquired in the band tion, while occupying the first tenor rooms of Garfield and honed on stages With Dawn Clement on piano, Jon chair in the acclaimed Garfield High large and small. She has continued to Hamar on bass, and Byron Vannoy on School Jazz Band. explore diverse musical styles, which drums. (See also October 15, Garfield Currently, she holds down a weekly manifests in her playing, composing, High School Jazz Band w/ Roxy Coss) Monday gig at 181 Cabrini in upper and arranging. -Danielle Bias

18 • EARSHOT JAZZ • October 2010 TUESDAY, OCTOBER 19, TRIPLE DOOR, 7:30 Toshi Reagon & Meklit Hadero $22 general, $20 Earshot members/ Square Gar- seniors, $10 students den. She Both amazing performers in their has worked own right, this special concert with Lenny pairs singer-songwriter Toshi Re- Kravitz, El- agon in a stellar double-bill with vis Costello, Ethiopian-born singer, songwriter, Lizz Wright, and social activist, Meklit Hadero. Ani DiFranco, Reagon, also an impressive guitarist, Carl Hancock draws inspiration from folk, funk, Rux, Nona TOSHI REAGON MEKLIT HADERO blues, and rock. Her music has brought Hendryx, Pete her to such venues as Carnegie Hall, Seeger, Chocolate Genius and many mother, Dr. Bernice Johnson Reagon, the Paris Opera House and Madison other amazing artists, including her co-founder of the Freedom Singers. Her rich musical heritage led her to become saturated in many traditional styles, feeding her desire to explore a range of music from blues to rock. Ad- mittedly, Toshi says that she attempts to “take whatever I’m really into and try to learn it and put it into music.” This trait results in a musical style that not only transcends classification, but also expresses a political consciousness that is as ingrained in her music as the multiple genres she embraces. Meklit Hadero, a true modern global artist, was born in Ethiopia, spent the majority of her childhood in Brooklyn, and has prospered in San Francisco’s diverse arts scene. Her music draws its inspirations from all over the world. She also just recently toured Italy, Kenya, Ethiopia, and Germany. Hadero’s voice has been compared to Nina Simone’s, and she freely admits that Simone is one of her idols. For her debut album, On a Day Like This... (2010) she cover’s Simone’s “Feeling Good.” It can be hard to tell, but Hadero is relatively new to performing. Her first public performance was only five years ago. “I always knew I wanted to be a singer,” she says now, “but I just didn’t know what that meant, what it meant to write songs and express yourself in the world in this way.”

October 2010 • EARSHOT JAZZ • 19 TUESDAY, OCTOBER 19, CHAPEL PERFORMANCE SPACE, 8 WEDNESDAY, OCTOBER 20 TULA’S, 7:30 Lina Allemano Four expressive, compelling, forward think- Richard Cole Quintet ing, inventive, and sophisticated.” CD release She recently performed at the prestigious Festival of New Trumpet Music $12 general, $10 members/seniors, $6 (FONT) in New York City and was students featured as one of the top innovative The powerful, soulful saxophon- trumpeters for the future in Down- ist Richard Cole is one of the most Beat. The other three fourths of the in-demand musicians in the Pacific Lina Allemano Four are Brodie West Northwest. His work as a soloist has on alto sax, Andrew Downing on bass, been praised for its “bite and inven- and Nick Fraser on drums. tion” (Seattle Times) and he is known The band has toured extensively for his skill at mixing together “hard- over the past 5 years, having released edged bop romps with sunny stan- two widely acclaimed CDs, Gridjam dards and cool contemporary fusion.” (JazzTimes) (2008) and Pinkeye (2006). Their lat- Beside work with such jazz greats as est recording is called, Jargon, and is Randy Brecker, Dave Holland, Adam being released this month on Lumo Nussbaum, Julian Priester and John LINA ALLEMANO PHOTO BY NADIA MOLINARI Records. It is the catalyst for this, their Fedchock, Cole has toured regularly first US tour, and was captured live $12 general, $10 members/seniors, $5 with fusion star Dan Siegel. He has at the Lincoln County Social Club students also performed with rhythm and blues There are many bands that strive in Toronto back in May of this year. legends Gladys Knight, The Tempta- for that delicate balance between pre- They are planning a European tour tions and The Four Tops. arranged music and totally free im- early next year, and expect to return to Cole cites numerous influences, in- provisation. The type of music that the US again shortly thereafter. cluding the seminal jazz performances dances between the two so seamlessly Lina Allemano Four’s recent high- of John Coltrane and Joe Henderson. that even the most discerning listener lights include: feature performances at He studied music at Western Wash- may find it hard to tell the difference. Jazz Festivals and major tours across ington University and taught wood- It also requires a dexterous composer Canada; recordings for CBC Radio winds, ensembles, and improvisation capable of writing music that is po- and TVO; nominations for Canadian in the music school at the prestigious rous enough to allow it to breath on its Independent Music Awards’ Favorite Cornish College of the Arts here in own terms, yet is reflective of how the Jazz Group and National Jazz Awards Seattle. band actually sounds while improvis- Acoustic Group of the Year. Richard can be heard regularly in ing. It’s hard to pull off and demands a “I realize what a special combination the Seattle area playing with top- type of synergy that most often comes of musicians this band is,” Lina says, notch musicians like John Bishop, from a band that has been together for “so I’m planning to keep us as busy John Hansen, Jeff Johnson, and Bill a while. The Lina Allemano Four are as possible for as long as I can. I’ll be Anschell. Tonight’s performance cel- one of these rare gems and they foot writing more music this winter for our ebrates the release of his latest album the bill on all counts. The Earshot Jazz next album. My main focus for the for the Origin label, Inner Mission, a festival welcomes them for their debut long term is on continuing the artistic recording which features modern jazz Seattle performance. journey with this band as well as my giant Randy Brecker. For tonight’s Comprised of some of Canada’s most other ensemble called “N”, which is a performance, he is joined by a stellar exciting young jazz players, the group strictly improvising group.” cast that includes Thomas Marriot is led by Toronto based jazz trumpeter, This performance will be the final (trumpet), Anschell (piano), Chuck improviser and composer Lina Alle- show of their US tour (which begins in Deardorf (bass), and Matt Jorgensen mano. Her trumpet playing, composi- Toledo, Ohio on October 9th) so the (drums). tions, and artistic vision have gained band should be in fine form. her recognition as being “adventurous, -John Ewing

20 • EARSHOT JAZZ • October 2010 THURSDAY, OCTOBER 21, TRIPLE DOOR, 7 & 10 (21+) THURSDAY, OCTOBER 21 TULA’S, 7:30 DBR & Emeline Michel Nelda Swiggett Trio $12 general, $10 members/seniors, $6 students Seattle native, jazz pianist and composer Nelda Swiggett explores a variety of sounds and colors in her music – drawing from jazz, Afro-Cuban, gospel, blues, and more. She has arranged several of her original compositions for the Seattle Women’s Jazz Orches- tra and toured extensively throughout DBR PHOTO BY JULIETA CERVANTES EMELINE the Pacific Northwest and Alaska with Presented by City Arts Festival and Earshot Jazz one of the Northwest’s top salsa bands, $20 advance, $25 day of show, Earshot members $2 discount Cambalache. Her compositions and Haitian-American violinist Daniel Bernard Roumain has a wide-ranging re- playing have been praised as “a bright sume for a music-school-trained violinist. Described by Esquire as “the new face palette, a sinewy execution and a pow- of classical music,” Roumain brings together the hallmarks of a classical train- erful, assertive command.” (AllAbout- ing: a deep, velvety tone and an incredible control with the musical sensibilities Jazz.com) of a child of the late 20th century. His latest disc, Woodbox Beats & Balladry fea- Her latest endeavor is performing tures movements of his “Sonata for Violin and Turntables,” in which Roumain’s in an intimate setting with a piano lush string melodies float over helter-skelter drum n’ bass breakbeats. trio. Lately during her performances, The New York Times describes Roumain as “about as omnivorous as a contem- Swiggett also uses her voice as an in- porary artist gets.” This is an apt description as, aside from a solo album, his re- strument, in addition to singing lyr- cent career has included performances of his classical works across the globe, an ics. “That’s really new for me and I’m appearance on “American Idol” with fellow omnivore Lady Gaga, and a position looking to incorporate more singing on the composition faculty at his alma mater Vanderbilt University. He is also a into my original music,” she said. noted film composer, providing the soundtrack for two feature documentaries, “I’ve composed primarily for larger as well as a short for an ESPN program. ensembles in the past -- including sev- For this outing at The Triple Door, DBR will share the stage with Haiti’s Eme- eral big band arrangements. My trio line Michel. During her two-decade-long career as a singer, songwriter, and is a more intimate sound, and while dancer, Michel has also brought together sensibilities that span several genera- I may still hear several horns in my tions. Dubbed the “queen of Haitian song,” Michel is most well-known for head, I have only the piano trio and bringing political and social messages to a combination of native Haitian forms my voice for instrumentation,” said such as the compas, twoubadou, and rara. This can be seen in the hit that Swiggett. “It is a fun and interesting brought her into the international limelight, 1997’s “A-K-I-K-O”. The lyrics of challenge to explore the possibilities this infectious dance track calls for Haitians to see past the country’s political for presenting my original music in turbulence to imagine the possibility of a peaceful country. This Haitian na- this small group.” tionalism infuses Michel’s music: “Especially while the country is sinking politi- Her upcoming concert will also fea- cally,” she reflects, “you carry so much love and so many beautiful things about ture bassist Chris Symer and drummer your country that you want to put into the world.” While her music is deeply Byron Vannoy, who are also on her lat- “Haitian,” Michel has spent the last two decades spanning the globe spreading est album, This Time. The album has the island’s music. She has lived in France, Canada, and New York, and has received airplay on Jim Wilke’s “Jazz performed across Europe, North & South America, and the Carribean. After Hours,” John Gilbreath’s “Cara- The virtuosic duo will be accompanied by long-time DBR collaborator, Elan van” on KBCS, and KPLU, as well as Vytal, aka DJ Scientific, and will present Roumain arrangements of Michel’s airplay across the country. songs in what promises to be an eclectic and genre-bending evening. -Jessica Davis -Eliot Winder

October 2010 • EARSHOT JAZZ • 21 THURSDAY, OCTOBER 21, CHAPEL PERFORMANCE SPACE, 8 David Haney / Julian Priester Duo Julian Priester in 1998 when Julian on various independent labels plus 12 joined his band while touring Cana- albums on the Cadence Jazz Records da. Together they have five duet CDs and CIMP Records imprint. Julian on three different labels - Off the Cuff Priester needs no introduction to the (jazzaudiodotcom), Caramel Topped Seattle jazz audience as he is not only Terrier and For Sale, Five Million Cash an international jazz legend, but an in- (Cadence), and Ota Benga of the Batwa stitution around these parts. He joined and The Music (CIMP). Coda Maga- the faculty of Cornish College of the DAVID HANEY zine chose Ota Benga of the Batwa one Arts back in 1979 and was inducted of the top 10 recordings of 2007. They into the Earshot Jazz Hall of Fame have also performed together on nu- in 2002. His influence is monumen- merous occasions in Europe, Canada, tal and his contributions as a prolific and both coasts of the United States. recording artist, dynamic performer, In January of 2004 the duo performed and original composer are nearly un- a live concert at the central station of paralleled in the history of jazz. Radio France in Paris, heard through- The Haney/Priester duo have been out Europe. described as, “music that has absorbed Mr. Haney’s mastery of the keyboard the lessons of Art without forgetting can best be affirmed by the musical the play of Jazz… Masters at work and company he keeps: a veritable who’s play, whose music is irrepressibly indi- JULIAN PRIESTER PHOTO BY DANIEL SHEEHAN who of jazz heavy weights that includes vidual without ever being about their $12 general, $10 members/seniors, $5 Andrew Cyrille, Bernard Purdie, Han mastery or individuality.” (Cadence) This particular concert will focus on students Bennink, Bud Shank, Roswell Rudd and John Tchicai just to name a few. RURAL BLUES ADAPTATIONS: a David Haney moved to Seattle in Although he has a jazz and classical personal look at blues tunes in a theme 2007 after spending a short time in background, most of his studies have and variation format. And the deli- Portland, Oregon. He describes Seat- been in composition, having spent cate acoustic properties of the Chapel tle as “a small town enjoying it’s time over five years studying privately with should lend itself well to these masters in the big city.” Originally hailing Czech composer Tomas Svoboda. of subtlety. from Edmonton, Ontario, he first met Since 1999 he has released 17 albums -John Ewing FRIDAY, OCTOBER 22, TULA’S, 7:30 Retta Christie Trio

Retta Christie is pure Americana. CDs, the first released in 2008 and the She resides at the crossroads where second earlier this year, reference a time the American Songbook meets the when Western swing bands, cowboy country-western canon. Many note troubadours, big bands and clever pop the slight twang in her voice, but you singers often interpreted the same mate- would be hard pressed not to notice rial. Both volumes also celebrate Chris- that she also possesses a keen sense of tie’s personal and creative relationship swing. with the late cornetist and pianist Jim She has recorded two self-released Goodwin, a brilliant but unsung musi- and critically-acclaimed volumes with cian out of Portland, Oregon. $12 general, $10 members/seniors, $6 woodwind master David Evans and “I was immersed in older country and students piano legend Dave Frishberg. These western, and Jim was obsessed with

22 • EARSHOT JAZZ • October 2010 older jazz, and we both learned about FRIDAY, OCTOBER 22, TRIPLE DOOR, 7 & 9:30 (21+) each other’s music,” Christie says. “He introduced me to this whole world of James Carter, John Medeski, Adam Rogers early jazz, and I quickly started to realize that it wasn’t so different from what “Heaven on Earth.” I was doing. Understanding that connection has really been the foundation features bassist Ralphe Armstrong and of my music ever since.” drummer Lee Pearson. Christie grew up on the family farm Born and raised in Detroit, Michi- in rural Olney, Oregon (she was born gan, James Carter has established in nearby Astoria in 1959. She ac- himself as one of the most creative and quired a guitar at 15, which fostered distinctive voices on saxophone today. in her a love of singing. After college When he made his first appearance on on the East Coast (where she earned the New York scene back in 1988 it an art degree at Skidmore College), stirred excitement not felt since Wyn- she settled in Portland and her profes- ton Marsalis first joined Art Blakey’s sional career took off. With her four- Jazz Messengers. The fact that Mr. or five-piece combo Retta and the Carter performed and toured with Smart Fellas, Christie started making Marsalis in 1986 at the tender age of 17 further underscores the parallels a name for herself playing Eagles and PHOTO OF JAMES CARTER BY DAVID SINCLAIR Elks events. between the two. But if you were to as- It wasn’t until relatively late that $30 general, $28 members/seniors, sume that James Carter is just another she started making albums that fully $20 students “Young Lion” jazz purist that rose to captured her ebullient sound, starting In 2009 James Carter released a re- popularity in the early 90’s, you’d be with 2000’s Rural Jazz, a hard-swing- cord called Heaven on Earth (Half Note sorely mistaken. ing Smart Fellas session featuring her Records). It featured a select group of A child prodigy, Carter spent his expert rhythm guitar work, Goodwin’s New York based musicians including youth taking saxophone lessons, galloping piano, Kevin Healy’s hot organist John Medeski, bassist Chris- studying the classics and listening to fiddle, Jesse Johnson’s deft guitar, and tian McBride, guitarist Adam Rogers, the jazz masters broadcast on a num- Bill Uhlig’s thumping bass. The same and drummer Joey Baron. Like many ber of Michigan public radio stations. Fellas joined her on 2003’s They Took of Mr. Carter’s recordings, it differed At the age of 19 he arrived in New the Stars Out of Heaven, a session re- greatly from the work that preceded York and joined the band of late trum- leased on her label Retta Records. it. His previous release, Present Tense peter Lester Bowie (Art Ensemble of Her relationship with Frishberg be- (Emarcy, 2008) portrayed the saxo- Chicago). In 1994 he released his first gan when Goodwin’s health started phonist as a rugged traditionalist more two recordings as a leader - JC on the failing several years before his death than willing to work within pre-estab- Set and Jurassic Classics. They were in April 2009 and Frishberg started lished forms without ego driven pyro- widely acclaimed as the most impres- performing with her semi-regularly. technics. sive debut by a saxophonist in years. While Frishberg’s sound is more in- Heaven on Earth however features a Since then James has established formed by bebop, he’s also a master mix of avant-garde fire, hard bop in- himself as one of the preeminent jazz of earlier jazz styles. And as a singer/ spired blowing, and a generous squeeze artists of the 21st century. His ability songwriter who often accompanies from the greasy funk oil can. This par- to play fluently in almost any jazz style himself, he knows how to support a ticular dynamic not only provided a with individuality and flare is nearly singer without crowding her. perfect spotlight for Mr. Carter’s vol- unparalleled in modern jazz. He has For tonight’s performance, Christie canic virtuosity, but it also allowed for mastered a family of reed instruments offers up her talents as a vocalist and much experimental interplay between from sopranino to contrabass clarinet, on snare drum, and she is joined on the musicians, all of whom know how released 14 recordings as a leader, and stage by Evans on clarinet and saxo- to throw their weight around. The has performed with legends such as phone, as well as a native of the Seattle Heaven on Earth Band recaptures the Buddy Tate, Harry “Sweets” Edison, area, Ray Skjelbred on piano. spirit of this recording by once again Hamiet Bluiett, Juliues Hemphill, Betty Carter, and Herbie Hancock. -Danielle Bias featuring John Medeski on Hammond B3 and Adam Rogers on guitar. It also -John Ewing

October 2010 • EARSHOT JAZZ • 23 SATURDAY, OCTOBER 23, TRIPLE DOOR, 7 & 10 (21+) DJ Spooky w/ Joshua Roman & Paul Rucker endeavors have taken him to Uganda with his violin-playing siblings, where they played chamber music in schools, HIV/AIDS centers, and displacement camps, communicating a message of hope through music. DJ Spooky’s compositions “North/ South” and “Ice Music,” in line with both artists’ commitment to aesthetic contemplation, are based, loosely and metaphorically, on the hexago- nal shape of ice and snowflakes. The sounds in DJ Spooky’s “Ice Music” composition are reflections of several landscapes– the media landscape of sound, the actual recordings of the landscapes, and the lyrical interpreta- PHOTO OF DJ SPOOKY BY MIKE FIGGIS PHOTO OF JOSHUA ROMAN BY TINA SU tion of the land that Spooky, aka Paul Presented by City Arts Festival and aesthetics of electronic music, Rhythm Miller, explored in his two voyages to Earshot Jazz Science, and his media works have the extreme North and South of our $20 advance, $25 day of show, Ear- appeared in museums and galleries planet. shot members $2 discount across the world, including the pres- Paul Rucker, solo cellist, opens the In one of the most intriguing offer- tigious Venice Biennale for Architec- evening. Rucker is an interdisciplinary ings of the week, multimedia inno- ture in 2000. artist (cellist-bassist-composer-visual vator and conceptualist DJ Spooky, With a similar commitment to mul- artist-creator of interactive sound/vid- aka Paul D. Miller teams up with the timedia performance Joshua Roman eo installations). Rucker has released Seattle Symphony’s own wunderkind has catapulted himself to the forefront two critically acclaimed CDs of his Joshua Roman and the sparkling Se- of the classical music scene. Aside compositions, and he composes new attle-based string quartet of violinists from his prolific career as a traditional music presented in a way that allows Gennady Filimonov and Irene Mitri, concert soloist, most notably premier- the viewer-listener the opportunity to violist Michael Lieberman, and cellist ing David Stock’s Cello Concerto with interact with the work (participants Paige Stockley to perform DJ Spooky’s the Seattle Symphony, he was the only can trigger sounds with the wave of a compositions “North/South” and “Ice soloist invited to perform at the exper- hand, touch of a finger, or press of a Music,” as well as a solo cello piece iment-in-media YouTube Orchestra’s button). As a musician and director, written especially for Roman. debut concert. Roman is committed Rucker plays in various situations from “That subliminal kid,” DJ Spooky to making music accessible to a wider solo cello to leading his LARGE EN- has released numerous solo albums audience, performing a wide range of SEMBLE of twenty-two musicians. and recorded with musicians from all genres from jazz to rock, all the way Rucker won Earshot Jazz Golden Ear genres, including Slayer’s Dave Lom- back to the canon of the classical rep- Award for Best Emerging Artist of bardo, Public Enemy’s Chuck D, and ertoire. 2004 from Earshot, and Jazz Artist of Mike Ladd. In 2002 he contributed One of Roman’s current undertak- the Year 2005 from the Seattle Music to Thirsty Ear’s Blue Series with Op- ings is an online video series called Awards, and Outside Jazz Ensemble of tometry, which featured New York The Popper Project: wherever the cel- the Year, also from Earshot, in 2008. jazzmen Matthew Shipp, William list and his laptop find themselves, In January 2007, he was invited by Parker, and Guillermo E. Brown. His he performs an étude from David legendary filmmaker David Lynch to eclectic career reaches far beyond his Popper’s “High School of Cello Play- perform for the opening of his filmIn - extensive discography; he has also ing” and uploads it, unedited, to his land Empire. published a collection of essays on the YouTube channel. Roman’s outreach -Eliot Winder

24 • EARSHOT JAZZ • October 2010 SATURDAY, OCTOBER 23, RAINIER VALLEY CULTURAL CENTER, 8 Darius Jones Trio $12 general, $10 members/seniors, $6 He joined the New York music students community in 2005, after living and This performance, featuring stand- studying in Richmond, Virginia. out alto saxophonist, composer, and Jones comes from a diverse musical producer Darius Jones will likely chan- background that has led to his unique, nel the great Fred Anderson, whose alternative, and soulful approach to Rainier Valley performance of a few music. Jones has composed and per- years ago was one for the ages. Jones formed in a wide variety of areas such plays future-defining jazz with bassist as electro-acoustic music, chamber Adam Lane and drummer Ryan Saw- ensembles, contemporary jazz groups, yer. Jones, who was recently nominat- avant-garde jazz groups, modern ed for Up & Coming Artist of the Year dance performances, and multi-media by the Jazz Journalists Association events. Jones has performed in Italy, PHOTO OF DARIUS JONES BY MICHAEL LEASE has been described by the New York France, U.S. and Canada. He is the re- Times as “fearless but disciplined” and cent winner of the Van Lier Fellowship two recent AUM Fidelity releases, his “a skilled composer, a hugely soulful awarded by Roulette. 2009 debut, Man’ish Boy (A Raw & saxophonist, and an assured leader” Jones is a rising star on the interna- Beautful Thing) and Little Women‘s (François Couture, AllMusic.com). tional scene thanks to the success of first full-length recording, Throat.

SATURDAY, OCTOBER 23, TULA’S 7:30 Wellstone Conspiracy CD release: Motives $12 general, $10 members/seniors, $6 Southern Idaho in Twin Falls and has students performed with a variety of jazz artists, The superb quartet of Idaho saxo- including Gene Harris, Bill Watrous, phonist Brent Jensen and Seattle- Lew Soloff, John Stowell, the Manhat- based all-stars pianist Bill Anschell, tan Transfer and the Lionel Hampton bassist Jeff Johnson, and drummer Big Band. Pianist Anschell performs John Bishop celebrate their latest Ori- regularly with many of Seattle’s finest gin Records release, Motives tonight. musicians and has also worked with Already garnering stellar reviews, the Nnenna Freelon, Ron Carter, Benny disc is proof of “how many great jazz Golson and Russell Malone. musicians there are throughout the In a career that has spanned more BILL ANSCHELL, BRENT JENSEN, JOHN BISHOP, JEFF JOHNSON United States,” according to Jazz Re- than three decades, bassist Johnson view. Jazz Chicago calls it a “true gem has had opportunities to with a veri- rin, Konitz, Slide Hampton, Golson, of a recording. This album entrances table who’s who of the jazz world, in- George Cables, Kenny Werner, Sonny immediately from the start—begin- cluding Philly Joe Jones, Hal Galper, Fortune, Bobby Hutcherson, Dr. Lon- ning with Jensen’s tribute to free jazz Bud Shank, Chet Baker, Lee Konitz nie Smith, Tom Harrell and Steve pioneer and Ornette Coleman drum- and Sunny Murray. Currently, and Swallow, among many others. mer Ed Blackwell...” for the last 20 years, he has performed Tonight’s performance will likely While the musicians on the stage to- regularly in a trio with Seattle pianist feature an impressive collection of ad- night are well-known to many in the Jon Alberts and drummer Tad Brit- venturous orignal works and melodic Pacific Northwest and beyond, it is ton, and he often appears with pianist tunes inspired by the modern harmo- worth mentioning some of their cre- Jessica Williams. Drummer Bishop nies of Herbie Hancock and Wayne dentials. Jensen currently serves Di- has appeared on over 80 albums and Shorter. rector of Jazz Studies at the College of worked with artists like Bobby McFer- -Danielle Bias

October 2010 • EARSHOT JAZZ • 25 SUNDAY, OCTOBER 24, TRIPLE DOOR, 7:30 Gretchen Parlato Group & Tia Fuller Quartet

GRETCHEN PARLATO TIA FULLER Open to All - Free

th $25 general, $23 members/seniors, $12 students 9 Season Young vocalist Gretchen Parlato is widely respected and loved by her peers – other musicians – and has received rave reviews for her distinctively original begins Oct 3 recordings. According to Billboard Magazine: “Parlato’s time has arrived...the most alluring jazz vocal album of 2009.” Her CD In A Dream also “belongs in the 4-5 Grammy nominations for Best Jazz Vocal Album,” said critic Don Heckman. It was chosen #1 Best Vocal Jazz Album of the Year by the Village Voice. Fans, fellow musicians, and the press all seem to be on the same page when it comes to Ms. Parlato’s burgeoning career, poised on the brink of super- stardom as some have stated. Few improvising singers have her combination of a lovely natural voice, wide Sunday, Oct 3, 6 pm range, willingness to take chances, seemingly unlimited imagination in her original songs, wise choice of music written by others, and innate soulfulness less Susan Pascal Quartet any artifice or posturing. Susan Pascal, vibes; Dave Peterson, These numerous talents are evident on her first self-titled CD, the stunning guitar; Chuck Deardorf, bass; recordings with Lionel Loueke (Virgin Forest from 2007 in particular), collabo- Mark Ivester, drums rations with Helen Sung and Ambrose Akinmusire, and the 2006 performance of “Journey” with Kendrick Scott Oracle from The Source. Parlato has quickly Sunday, Nov 7, 6 pm amassed an impressive discography. Opening for Parlato tonight is tenor saxophonist and flutist Tia Fuller, an- Holotradband other rising young star who has performed with Ralph Peterson, Jon Faddis, T.S. New Orleans and Chicago Jazz Monk, Rufus Reid Septet, Nancy Wilson, Sean Jones and Wycliffe Gordon. In addition to her two albums as leader, Healing Space and Pillar of Strength, she is featured extensively on Sean Jones’ four Mack Avenue CDs. A high profile job 100 Minutes of professional jazz has been with Beyoncé’s all-female band. Her jazz quartet will perform at The Family friendly concert | Free parking Triple Door. Also respected as an educator, Ms. Fuller has lectured and taught ensemble and Seattle First Baptist Church masterclasses at the Lionel Hampton Jazz Festival, Stanford University, IAJE 1111 Harvard Avenue Seneca and Harvard on First Hill Jazz Convention, New Mexico State University, Duquesne University, the Pan- Seattle, WA (206) 325-6051 ama Jazz Festival and Purchase College. -Bill Barton www.SeattleJazzVespers.org/GO/SJV

26 • EARSHOT JAZZ • October 2010 GRETA206-937-1262 MATASSA gretamatassa.com SUNDAY, OCTOBER 24, 3PM, SEATTLE ART MUSEUM, 3 “A marvel of virtuosity” —Los Angeles Times Jean-Michel Pilc Award-winning vocalist, recording artist and teacher offering private instruction, workshops and clinics. $15 general, $13 members/seniors, $7 Greta has students coached many Jean-Michel Pilc taught himself how winners of the Lionel Hampton to play the piano. This is a learning Jazz Festival strategy that is difficult, unpredictable, and Kobe Sister City jazz and often ends in giving up. For some, competitions such as Pilc, teaching yourself how to and helped start the careers of play an instrument produces a style several of the that has taken note of the basics as area’s current jazz headliners. they would be taught in a textbook but For teaching info, performances and cds: leaves room for individual paths where 206-937-1262 GRETAMATASSA.COM a teacher’s personal style might have produced unnecessary traits of con- ventionality. Musicians who learned to Garfield High School play in this way, which can be some- Audiences and critics in the past what isolating, often retain the best have, for good reason, noted Pilc’s ag- Jazz Band I aspects of childhood, because no one gressive use of his left hand. He uses Woodmen Hall ever directly told them that there is a it not to provide context for his right Lopez Island, WA way that their instrument is supposed hand, as many pianists do, but rather to sound. to reflect and deflect the other hand, October 9, 2010 Possessing a virtuosic level of skill, provoking and inspiring. Pilc’s two 2:30 p.m. Pilc has the technical gifts necessary hands function almost as magnetic Tickets $15.00 for running around on the modern poles or even tennis opponents, vol-

Earshot Jazz Magazine,Purchase at 1-unit vertical jazzad playground, where all of the old leying energy back and forth with un- www.LiveMusicOnLopez.com musical rules were broken long ago stoppable momentum. He plays with height, 3 in.Proceeds to benefit LSMAF and instrumentalists who want to a lot of force; his fingers hit the keys width, 2-3/8 in. say something have the task of using with a detectable sense of boldness and This is the 3rd year Clarence Acox has their imagination to reassemble those precision. brought his nationally recognized students to Lopez in support of music in rules in a way that produces some- He also plays with a lot of versatil- Client: Greta Matassa, 206-937-1262 thing fresh. Like many of today’s jazz ity, but doesn’t go out of his way to talents, Pilc’s music is a combination show that versatility off. His patience Designer: Susan Pascal, 206-932-5336of his personal favorite characteristics is deceptive, as it is difficult not only from various eras of classical, popular to anticipate his next move, but also song, and of course, jazz itself. to guess when that move will occur. Revised 4-10-08 Pilc was born in Paris and now bases His playing is very theatrical in that his career out of New York City, where he seems as if he is interpreting events he teaches at NYU when he is not that he already knew would occur touring or recording in various small (watch the look he sometimes gives group and solo configurations. His his band members as they perform, latest album, True Story, was released like he’s waiting for them to say their earlier this year and finds him in a trio lines). His music has a way of moving with bassist Boris Kozlov and drum- through different moods like they’re mer Billy Hart. The album is mostly intertwining narratives, whose jux- built upon Pilc’s original compositions, taposition reveals the relevance they including the five-part title suite, but have to each other. Somehow, Pilc’s also features his own versions of pieces youthful intuition ties it all together. by Franz Schubert and Cole Porter. -Nathan Bluford

October 2010 • EARSHOT JAZZ • 27 MONDAY, OCTOBER 25, TRIPLE DOOR, 7 Roosevelt High School w/ special guest $15 general, $13 members/seniors, $7 students The Roosevelt High School Jazz Band remains a titan of big band excellence. Praised far and wide for their strong ensemble playing, they return to the Triple Door for their annual Earshot Jazz festival performance with a special guest soloist. The band performs under the direction of Scott Brown, a dedicated teacher and accomplished jazz artist. Brown is himself a trombonist with the Seattle Repertory Jazz Orchestra and recipient of the 2007 KCTS Golden Apple Award PHOTO BY DANIEL SHEEHAN for Excellence in Education. TUESDAY, OCTOBER 26, TRIPLE DOOR, 7:30 TUESDAY, OCTOBER 26 TULA’S, 7:30 Matt Jorgensen: “Tattooed by Passion” Jay Clayton/ Dawn $15 general, $13 members/seniors, $7 students Clement Quartet For this special world premiere per- $14 general, $12 members/seniors, $7 formance, drummer Matt Jorgensen students w/ID presents “Tatooed by Passion” with One of the truly iconic adventur- strings. This original work was in- ers in Seattle jazz history, vocalist Jay spired by the paintings of his late Clayton returns from New York to cel- father-in-law, the prominent abstract- ebrate the release of her new recording impressionist artist Dale Chisman. A In and Out of Love, and the harmonic moving and deeply personal musical convergence of her birthday with that journey, “Tatooed by Passion” draws of the gifted pianist, Dawn Clement. influence directly from Chisman’s Writing in the Los Angeles Times, paintings, his home city of Denver, Don Heckman described Clayton as his life-long friends, and his constant “one of the special blessings of jazz. reinvention of himself as an artist. Jor- Like her close friend Sheila Jordan, she gensen explains that with “Tatooed is an artist for whom the music is front for Passion” he wanted to expand his and center.” Clayton has gained world- “own palette from previous record- wide attention as both a performer ings, exploring broad new textures and and educator. She has appeared at ma- musical landscapes.” jor venues including Lincoln Center, PHOTO OF MATT JORGENSEN BY DANIEL SHEEHAN Jorgensen is a unique voice in Seat- Sweet Basil, Town Hall, the Kennedy tle’s vibrant and diverse jazz community. Center, Jazz Alley, and the North Sea Nationally-recognized for his work as both a performer and composer, All About and Montmartre Festivals. Her book, Jazz once wrote of him: “No one playing in this format—with the exception of Sing Your Story: a Practical Guide for perhaps Vijay Iyer—has crafted a more distinctive jazz identity. ” Since moving Learning and Teaching the Art of Jazz back to Seattle in 2002 after living and performing for ten years in New York Singing, was published by Advance City, Jorgensen has recorded four CD ’s with his group Matt Jorgensen +451 for Music in 2001. Origin Records. In 2003 he received an award for “Best Acoustic Jazz Group” Clayton has performed and recorded from Earshot Jazz. throughout the U.S., Canada and Eu- For tonight’s performance, Jorgensen is joined by his longtime collaborators— rope with leading jazz and new mu- trumpeter Thomas Marriott and saxophonist Mark Taylor. Corey Christiansen sic artists including Muhal Richard plays guitar and Dave Captein performs on bass. Tonight’s string quartet fea- Abrams, Steve Reich, Stanley Cowell, tures violinists Karen Haliburton and Eric Rynes along with Brianna Atwell on Bobby McFerrin, Jeanne Lee and Nor- viola and Chris Worswick on cello. ma Winstone. Her current projects, -Danielle Bias covering both standards and original

28 • EARSHOT JAZZ • October 2010 TUESDAY, OCTOBER 26, PONCHO CONCERT HALL CORNISH COLLEGE OF THE ARTS, 8 Scott Amendola Trio

$16 general, $14 members/seniors, $8 students Perhaps best known as the percussionist for the Nels Cline Singers, the San Francisco-based Scott Amendola has forged bonds to the worlds of jazz, DAWN CLEMENT PHOTO BY DANIEL SHEEHAN blues, groove, rock, and new music. Writer Derk Richardson’s observation that “If Scott Amendola didn’t exist the San Francisco music scene would have to invent him” certainly says something of Amendola’s place in that community, and Amendola has now PHOTO BY DANIEL SHEEHAN become a major presence on projects that you can literally put anything rooted in LA, the Bay Area, Seattle, in front of them and they’re going to Chicago, and New York. make great music from it,” Amendola In San Francisco Amendola leads spoke of his bandmates on his website. a diverse collection of ensembles, “And it’s going to be them, their inter- from the modern jazz interpretations pretation, which is exciting to me as a of Plays Monk, with clarinetist Ben JAY CLAYTON bandleader.” Goldberg and bassist Devin Hoff, Amendola, Parker, and Shifflett music, integrate poetry and electronics to the improvisational acoustic-elec- worked together with Nels Cline and into her music. tronic group Crater with laptop art- Jenny Scheinman on Amendola’s Clayton’s collaborator tonight, pia- ist JNHO, to the Groove Trio with 2005 release Believe, and on Lift the nist and composer Dawn Clement, Hammond B3 player Wil Blades and trio’s developed sympathy is apparent. serves on faculty at Cornish College of guitarist Will Bernard. His work with the Arts since 2000. Her colleague at Nels Cline and Devin Hoff in the rau- From the psychedelic-metal noise of Cornish, the legendary Julian Priester cous Nels Cline Singers has won him “Death By Flower” to the relaxed Bra- once said of Clement: “In all this world huge acclaim, and for Cline, Amendo- zilian groove of “Tudo De Bom,” the of jazz, there are very few individual la’s wild and creative spirit is an essen- Amendola Trio courageously navigates voices, no matter what the instrument. tial voice on the scene today: “The first a challenging and memorable series of But Dawn Clement has come up with time I heard Scott I was really blown original compositions. a voice that’s unique…Dawn Clem- away. There aren’t too many drum- And as for the leader in this new en- ent’s music is uniquely heard. And mers on the West Coast who had his semble, Amendola is “both a tyrant of that’s the thing that grabbed my atten- wide ranging ability. Scott’s got some heavy rhythm and an electric-haired tion.” funk in him, a looser, sexy thing go- antenna for outworldly messages (not Clayton has lent her talents to sev- ing on, and the flexibility to play free a standard combination)” (LA Weekly), eral collaborations including the and different styles. He plays behind as well as a leader that “is creating Jane Ira Bloom Quartet, the Seattle singer/ songwriters and he rocks too.” space for his broad-ranging sensibili- Pianist Collective, as well as her own Amendola visits Seattle in support ties, making it clear that he has be- trio. Dawn has performed with such of his self-released album Lift, his first come a bandleader not to exert more notables as Nancy King, Ingrid Jen- album in five years. Lift marks the de- control but to make way for more free- sen, Hadley Caliman, John Clayton, but of the Scott Amendola Trio, which dom.” (Metro, San Jose). Mercer Ellington, Mark Dresser and features longtime collaborators guitar- Together, the trio is wild, at times Pharaoh Sanders. Her latest album is ist Jeff Parker and bassist John Shif- nasty, and full of big flavor. entitled Break (Conduit Records). flett. “They’re such great musicians -Peter Walton

October 2010 • EARSHOT JAZZ • 29 WEDNESDAY, OCTOBER 27, TRIPLE DOOR, 7 The Teaching $15 general, $13 members/seniors, $7 soul, Afro-Cuban, drum n’ students bass) on a whim, while con- Featuring keyboardist Josh Rawl- trolling momentum and ings, bassist Evan Flory-Barnes, and pacing with great precision. and percussionist Jeremy Jones, The Josh Rawlings’ sparkling, lus- Teaching creates immersive and infec- cious chords (affectionately tious improvised music as no one else dubbed “kraws” by those in in Seattle is making it. The trio formed the community familiar with in 2006, growing exclusively from the the man), Flory-Barnes’ ex- chemistry the band discovered on plosive swing and inventive THE TEACHING: JOSH RAWLINGS, EVAN FLORY-BARNES, JEREMY JONES stage. The band’s philosophical trajec- technique, and Jones’ ferocious Having now released their self-titled tory was more clearly defined, as the drumming are the trademark sounds debut studio album and a live DVD, trio shared the rather grand interest of the band. More recently, spontane- and having won the Golden Ear for in sharing the teachings of mankind, ous vocals and devotional chanting 2009 NW Acoustic Jazz Group of the while also fostering a musical environ- have added greater depth to the trio’s Year, The Teaching is poised to reach ment of “devotion, surrender, sensitiv- sound. It is quite magical when it all a larger audience than ever with their ity, enthusiasm, and joy to direct the comes together, and here the band celebratory music and their message of flow of the music.” does indeed create “music that has no community. Effortlessly enjoyable, but Musically, The Teaching revels in limits,” as Rawlings told Earshot Jazz not wanting for intelligence. spontaneity, jumping off in any num- in an interview during the summer of ber of directions (hip-hop, jazz, R&B, 2009. -Peter Walton

WEDNESDAY, OCTOBER 27, TRIPLE DOOR, 9:30 (21+) Ben Black, Lincoln Briney, & Valerie Joyce’s Chet Baker project

$15 general, $13 members/seniors, $7 students Inspired by a tribute to Baker that Lincoln Briney presented in New York, San Francisco, Chicago, and other cities, vocalists Briney, Ben Black, and Valerie Joyce evoke the memory and spirit of the Chesney Henry “Chet” Baker (1929-1988). They celebrate Baker, one of the finest trumpeter’s and vocalists in jazz history, with songs and anecdotes from his short, scintillating life. Working with the singers as they revive the spirit of Beat Generation music and spoken-word events

BEN BLACK are four instrumentalists of regional and national renown: pianist Bill Anschell, bassist, Evan Flory- Barnes, drummer, José Martinez, and trumpeter Thomas Marriott, all of whom have won awards for their playing and recordings. Lincoln Briney, a stylish cult favorite at the Living Room at Manhattan’s Gershwin Hotel, and throughout Japan, appeared with Tom Jones, Leo Sayer, and others in a 2001 gala Tribute to Leiber & Stoller (available on DVD). His Foreign Affair (Sinatra Society of Japan, 2006), with Bill Frisell as guest artist, scored a top-10 nomination in Japan from Swing Journal.

LINCOLN BRINEY Raised in Europe, and exposed there to diverse musical cultures, Ben Black is a distinctive Origin Records recording artist now long based in Seattle where he has an enthusiastic following. Next year, he will release Mystery and Wonder (Origin), a collection of 10 original jazz songs and one standard inspired by various spiritual traditions and musical experiments. Declining to settle into convention, Valerie Joyce has developed a voice that is wonderfully idiosyn- cratic, lush, and richly expressive. In an emotionally arresting and disarmingly vulnerable style, she delivers standards, modern songs, and originals, all with great emotional nuance. -Peter Monaghan PHOTO BY DEREK WONG

30 • EARSHOT JAZZ • October 2010 WEDNESDAY, OCTOBER 27, TULA’S 7:30 Mark Taylor Quartet $15 general, $13 members/seniors, $7 Taylor as a major musical force and students “one of Seattle’s finest young musi- Winner of the 2009 Golden Ear cians.” (Paul de Barros) award for NW Jazz Recording of the A Seattle native, Taylor picked up the Year for his wonderful Spectre, saxo- alto in the fifth grade and studied at phonist Mark Taylor reconvenes the Roosevelt High School, and later with album’s quartet for one evening at Tu- Don Lanphere and Michael Brock- la’s. Featuring LA pianist Gary Fuku- man at UW. Taylor next studied at shima, bassist Jeff Johnson, and drum- the Manhattan School of Music for mer Byron Vannoy, the Mark Taylor two years, where he also performed Quartet offers a wide-ranging, “consis- with the Vanguard Orchestra, before tently compelling” (Seattle Times) set returning to Seattle. of original music that proudly displays Taylor has been a steady contribu- tor to the Seattle jazz scene, however, particularly to the Jim Knapp Orches- EarshOT Jazz prEsEnTs tra, Thomas Marriott’s ensembles, the SRJO, and Matt Jorgensen + 451. Within these ensembles, Taylor’s dart- ing, edgy improvisations on alto and LEE KOniTz soprano saxophone made him a fixture in the community, and earned him widespread respect from audiences and peers alike. As Wayne Horvitz, nEw QuarTET another bandleader for whom Taylor has worked, told the Seattle Times: “I with Florian weber + Jeff Denson + ziv ravitz love his sound and ideas and lyricism, his open-mindedness and looking to break out of the musical bag he’s usually associated with [...] As many alto players as there are, it’s a hell of a horn to say something new on. He’s got a lot of modern conceptual stuff, but doesn’t use it like a guy running his licks. I find that really refreshing.” This balance between conceptual playing and Taylor’s interest in more traditional forms is a key component to his quartet: “I don’t know if there’s a specific sound I’m looking for. I love thoughtful composition, but also complete freedom, stuff that has some depth and pushes you out of your comfort level.” The celebration of the Tuesday, October 5 7:30 pm Spectre Quartet continues, but a year The Triple Door 216 Union Street, Seattle past its release, look for new sounds as Tickets available through www.thetripledoor.net / 206-838-4333 EarshOT Jazz well. p: 206.547.6763 More information at www.earshot.org / 206-547-6763 w: www.earshot.org -Peter Walton

October 2010 • EARSHOT JAZZ • 31 THURSDAY, OCTOBER 28, TRIPLE DOOR, 7:30 Charlie Musselwhite $25 general, $23 Earshot members vocals creep up and overwhelm you A groundbreaking recording artist before you know it. He plays magnifi- since the 1960s, harmonica master cent harp with superb dexterity and Charlie Musselwhite continues to cre- phrasing. The results are amazing.” ate trailblazing music while remain- Over the last 43 years Musselwhite ing firmly rooted in the blues. Born has released over 30 albums. And to- in Mississippi, raised in Memphis and night, he takes the stage in Seattle to schooled on the South Side of Chica- celebrate the release of The Well on go, his wise vocals, melodic harmonica Alligator Records. Musselwhite wrote playing and deep country blues guitar or co-wrote every track on the album, work accompany his often autobio- and as a result, these revealing, autobi- graphical and original songs. Living ographical songs recall specific events Blues says, “Musselwhite’s rock-solid and places in Musselwhite’s amazingly colorful life. Each track on The Well is PHOTO BY MICHAEL WEINTROB also a chapter from his life, and in the exterminator truck as a day job, Char- liner notes to the CD he offers some lie lived on the South Side and hung very personal insights into the mean- out in blues clubs at night, develop- ing behind the songs. Musselwhite de- ing close friendships with blues icons scribes his music and the blues in gen- Little Walter, Big Walter, Sonny Boy eral this way: “It’s about the feeling, Williamson, Big Joe Williams, Muddy and about connecting with people. Waters and Howlin’ Wolf. Before long, And blues, if it’s real blues, is loaded he was sitting in at clubs with Muddy with feeling. And it ain’t about tech- and others, building an impressive nique, either. It’s about truth, connect- word-of-mouth reputation. Soon af- ing to the truth and communicating ter, Charlie was being paid to play in with the people.” the same South Side neighborhood. Born into a blue collar family in Noted blues journalist Dick Shurman Kosciusko, Mississippi on January 31, says, “The black Chicago blues artists 1944 and raised by a single mother, all liked Charlie as a person. They felt Musselwhite grew up surrounded by that he was one of them — a southern blues, hillbilly, and gospel music on country boy with a deep affinity for the radio and outside his front door. the blues.” His family moved to Memphis, where, Over the years, he has released al- as a teenager, he worked as a ditch bums on a variety of labels, ranging digger, concrete layer and moonshine from straight blues to music mixing runner. Fascinated by the blues, Mus- elements of jazz, gospel, Tex-Mex, Cu- selwhite began playing guitar and ban and other world music, winning harmonica. As a teen, Musselwhite at- new fans at every turn. Musselwhite tended parties hosted by Elvis Presley has guested on numerous recordings, and hobnobbed with many of the lo- as a featured player with Tom Waits, cal musicians, including Johnny Cash Eddie Vedder, Ben Harper, John Lee and Johnny Burnette, but the celebri- Hooker, Bonnie Raitt, The Blind Boys ties a young Charlie sought out were of Alabama, INXS and most recently Memphis’ veteran bluesmen like Furry Cyndi Lauper. He was inducted into Lewis, Will Shade and Gus Cannon. the Blues Foundation’s Blues Hall Of Following the path of so many, Mus- Fame in 2010, has been nominated for selwhite moved to Chicago looking for six Grammy Awards and has won 24 better paying work. While driving an Blues Music Awards.

32 • EARSHOT JAZZ • October 2010 THURSDAY, OCTOBER 28, TULA’S, 7:30 Murl Allen Sanders Quartet w/ Warren Rand Tula’s with the saxophonist Warren ton, Jimmy Smith, Jimmy Mcgriff, Rand. Richard “Groove” Holmes and Jack Sanders the accordionist is likely bet- McDuff as having left an indelible ter known to fans than Sanders the mark on how he approaches music. keyboardist. No doubt his style on ac- Sanders has collaborated with such cordion is unique and readily inden- diverse artists as Chuck Berry, Etta tifiable, fusing together pop, zydeco, James, Merrilee Rush, Theodore Bikel, rock, country and blues influences. Peter Duchin and David Matthews. However, Sander is quick to point out Born in Albany, Oregon in 1953 and that as a both a keyboardist and accor- raised in Salem, Rand studied saxo- dionist, he has been greatly impacted phone after high school with Sonny by jazz music, and that is the aspect King, Rich Halley and Jim Pepper. of his diverse repertoire that will be on Later teachers include Marc Cope- $12 general, $10 members/seniors, $6 display tonight. land, Lee Konitz, Bob Newman and youth Over the years, he has studied the Gary Peacock. He has performed ex- The long-time top-draw keyboardist, performances jazz accordionists Art tensively with regional and national accordionist, and educator Murl Allen Van Damme, Leon Sash and Tommy musicians in jazz and R&B, including Sanders is a master of many forms of Gumina. However, he cites pianists Denney Goodhew, Jay Thomas, Rob- music, including jazz. He makes his Keith Jarrett, Bill Evans and Oscar ert Cray, Jimmy Witherspoon, Albert debut performance as a bandleader at Peterson as well as organists Billy Pres- King, and many others.

THURSDAY, OCTOBER 28, CHAPEL PERFORMANCE SPACE, 8 Matana Roberts, solo & w/ Seattle artists her family’s African American history son, a founding Association for the over ten generations. At the same time Advancement of Creative Musicians “COIN COIN” has also become a cat- (AACM) member. (Roberts is a cur- alyst for collaboration with musicians rent AACM member.) in cities across the country. Tonight, Though she now lives in New York, she tries it out with a select group of Roberts remains very closely identified Seattle soloists. with the Chicago avant garde. Review- Roberts is herself a much-desired ing a Roberts’ performance in 2005 collaborator and has worked with for the New York Times, Ben Ratliff artists and ensembles like Greg Tate argued that the Windy City “breeds and his Burnt Sugar Arkestra, Savion a temperate kind of jazz avant-gardist, Glover’s homage project to John Col- catholic minded about new directions trane, the Oliver Lake Big Band, the but inclined to see bebop as earthy PHOTO BY OWEN RICHARDS Julius Hemphill Sextet and the Merce and nourishing rather than a vener- Cunningham Dance Company. She Presented in association with Nonse- has also appeared on recordings with able, unkillable oppressor.” That same quitur genre-bending bands such as God- night, Ratliff also pointed out that she $5-$15 sliding scale speed You Black Emperor and TV began her set with a polite warning: Saxophonist Matana Roberts brings on the Radio. In 2008, she released a “Excuse me while I change the atmo- her solo works and a series of ensemble critically-acclaimed recording entitled sphere a little.” No doubt Robert’s per- pieces called “COIN COIN” to Se- The Chicago Project, produced by pia- formance tonight in Seattle will foster attle. “COIN COIN” is inspired by nist Vijay Iyer, and featuring Chicago similar atmospheric adaptations. her own research and examination of collaborators like the late Fred Ander- -Danielle Bias

October 2010 • EARSHOT JAZZ • 33 THURSDAY, OCTOBER 28, TOWN HALL, 7:30 Ordo Sakhna $22 advance, $24 day of show, stu- the borders and influence of Soviet dents and seniors $3 discount Union. With the disintegration of the Ordo Sakhna, best defined as a folk- USSR came Kyrgyz independence and lore group, will perform at Town Hall, natural post-Soviet challenges. brining to Seattle a rare glimpse of In American media Kyrgyzstan is their native land – Kyrgyzstan. an occasional minor news story about The best way to appreciate the art of what actually is a major U.S. military Ordo Sakhna is to take a closer look at support operation. Kyrgyzstan is U.S. where they come from and under what military’s last major transportation circumstances they work. Kyrgyzstan hub before Afghanistan. Kyrgyzstan is is a small, mostly Muslim country of leasing out a former Soviet air base to about five million in Central Asia. For the U.S., bringing a steady cash flow cent events did not shine a kind light most of the 20th century it was within into struggling Kyrgyz economy. Re- on Kyrgyzstan. There were violent clashes between various groups, vying for limited economic opportunities. But beneath the complicated layers of local and usually corrupt politics, lies an amazingly rich cultural tradition that has been nurtured since the 5th century. Today, Ordo Sakhna is the strongest voice of preserving and sharing this tradition, both inside and beyond Kyr- gyzstan’s borders. Formed in 1998, the group of conservatory trained musicians made it their life’s work to study and perform Kyrgyz folklore. Kyrgyz tradition does not separate poetry, music, dance, and oral history, because all elements are viewed as one. Ordo Sakhna brings to the audience a carefully restored look into Kyrgyz culture. In its core, Kyrgyz culture is semi- nomadic. Even prior to the introduction of Islam in 8th century, Kyrgyz people developed a culture based on their lives constants: movement of herds, sound of wind, and warmth of a yurt dwelling. Through voice, dance, and the sound To Hadley, of traditional instruments, such as ko- from the faculty, staff, students, and muz (a three-string lute) and kyl kyak alumni of Cornish College of the Arts. (a frame drum), Ordo Sakhna achieves You will be missed. what they set out to do from the start: giving the ancient Kyrgyz folklore its Photo: Daniel Sheehan continuity. -Greg Pincus

34 • EARSHOT JAZZ • October 2010 EARSHOT FESTIVAL FILMS presented by the Northwest Film Forum + Earshot Jazz Festival

Co-presented by Northwest Film Forum and the Earshot Jazz Festival. Curated by Peter Lucas. Northwest Film Forum and the Earshot Jazz Festival team up to present the 9th annual film program celebrating the history, sounds, and spirit of jazz as well as its intersections with cinema. All films $9 General; $6.00 Film Forum and Earshot Jazz members; $6.50 Seniors, Children under 12 and Students with valid photo student ID. Go to http://www.nwfilmforum.org/live/page/ series/1529 for more information. OCT 29 - NOV 04 OCT 29 - OCT 30 Howl Ornette: Made in America (Rob Epstein, Jeffrey Friedman, USA, 2010, 35mm, 90 min) Presented by Northwest Film Forum and Earshot Jazz The beats are alive and well thanks to a soaring performance by James Franco in Howl, a mesmerizing channeling of Allen Ginsberg, set in 1957 San Francisco as his poetic masterpiece is put on trial. Part hallucinatory animation, part courtroom drama, part period piece about the creation of the iconic beat poem and the censorship trial for obscenity that followed its 1956 City Lights publication, Howl is bred with unexpected life and energy. It affirms itself as a genre-bending (Shirley Clark, USA, 1985, 35mm, hybrid that brilliantly captures a pivotal moment: the birth of a counterculture. 80 min) 25th Anniversary Screening NOV 01 - NOV 03 Shirley Clarke was one of the key figures of the American independent Ed Thigpen: Master of Time, Rhythm and film movement, with the films The Taste Connection (1961) and The Cool World (1963) building her reputation. (Don McGlynn, USA/Denmark, Both had strong jazz elements, and for 2009, Beta-SP, 91 min) her final film Clarke returned to the Seattle Premiere jazz scene, making this brilliant music Apart from being an incredible mu- documentary featuring the legendary sician with a rare feel for music, the Ornette Coleman, a toweringly inno- drummer Ed Thigpen, who passed vative yet humble figure. away this year, was also a human being with a fascinating personal history. The film serves almost as much as After growing up in Saint Louis and Los Angeles, he worked with the likes of a portrait of Ft. Worth, Texas, Cole- Dinah Washington and Bud Powell at an early age. Later, he spent many years man’s birthplace, to which he returns living in Copenhagen. He was a musician, but also a teacher and a family man to perform his Skies of America sym- of faith, who constantly sought out new means of expression. phony to well-heeled society mem- In this personal, multifaceted portrait film, the Copenhagen-based American bers, and with his electric Prime Time director Don McGlynn tells the story of Thigpen, whose work (on no less than group at the Caravan of Dreams. 900 albums) has included collaborations with Oscar Peterson, Ray Brown, Her- The film includes commentary from bie Hancock and Ella Fitzgerald, but who has also enriched the jazz world with people as varied as William Burroughs, his own two bands, “Ed Thigpen Trio” and “Ed Thigpen Scantet.” Jr., Buckminster Fuller, Robert Palmer Notes adapted from original programming at CPH:DOX and Coleman’s son Denardo.

October 2010 • EARSHOT JAZZ • 35 FRIDAY, OCTOBER 29 & SATURDAY, OCTOBER 30, TULA’S, 7:30 Tessa Souter $15 general, $13 members/seniors, $7 Francisco homeless to travel, to celeb- students rity interviews, to her own experience New York-based performer Tessa as a teen mother. But, she never let go Souter has been critically acclaimed as of her long-held dream to be a singer. much for her expressive style as for her In New York, she started sitting in on beautiful voice. Born in London, the jam sessions, before winning a schol- daughter of English and Trinidadian arship to Manhattan School of Music, parents, her unique style infuses jazz which she left to be mentored for four with the soul and passion of flamenco, years by jazz vocal legend Mark Mur- Jeff Johnson (a Seattle-based musician Middle Eastern, and Brazilian music. phy, who says “she is a true musician, who records with Origin Records and Formerly a features journalist for the extraordinary and very moving ...com- who has also performed with such art- international press, Souter was cited by pletely captivating audiences.” She ists as pianist Jessica Williams, trum- San Francisco author Po Bronson, in describes the experience in her book, peter Chet Baker, and vocalist Marle- his best-selling What Should I Do With Anything I Can Do You Can Do Bet- na Shaw), and drummer Mark Ivester My Life, as someone who successfully ter, published by Random House-Ve- (an instructor at Cornish College of transformed her life twice. After mov- milion UK, 2006. Souter has inspired the Arts who has performed with nu- ing from London to San Francisco in standing ovations from Minsk to Mos- merous jazz artists of international the early 90’s, she established herself cow to New York’s Dizzy’s Club Coca stature including Larry Coryell, Fred- as a freelance journalist, initially jug- Cola. Her band will include guitarist die Hubbard, Diane Schuur, Mose Al- gling cleaning houses with writing John Stowell (who has toured, record- lison, Charlie Byrd and Eartha Kitt). articles on everything from the San ed, and taught internationally), bassist -Jessica Davis

FRIDAY, OCTOBER 29, CHAPEL PERFORMANCE SPACE, 8 Dave Peck, solo $12 general, $10 members/seniors, $6 formances. Performing solo, Peck un- students folds emotion at a perfect pace, devel- Dave Peck’s rich, melancholic music oping sparkling, bittersweet ideas with is one of the great pleasures of Seattle the utmost care. jazz, and how welcome the pianist’s Coda Magazine has called Peck “in- intensified recording and performing trospective and astute [...] lush and schedule is. Still in the afterglow of the deeply attentive [...] warm, adept and June release of Peck’s lovely Modern perfectly subtle with enormous craft,” Romance, Peck here performs in the while DownBeat observed his play- intimate Chapel Performance Space ing as “lyrical and pastel, swinging in celebration of his new solo album and bluesy, with a ringing crystalline Songbook Volume 1. touch.” And of his last solo recording, Though his primary interest may be “Jazz After Hours” host Jim Wilke in the continued development of the commented simply that “Peck’s play- piano trio – and his trio with Joe La- ing is the perfect balance of intellect Barbera and Jeff Johnson is wonderful and emotion, and that makes for the alike, and will discuss the use of mu- indeed – Peck at times sounds most highest kind of art.” sical vocabulary in jazz improvisation, like a solo performer at heart. In his On Wednesday, October 27 Peck visualization as a learning technique trio recordings Peck’s deeply personal presents a clinic on jazz improvisa- for acquiring vocabulary and muscle language comes to the forefront in the tion for melodic instruments at the memory, and theme and development long, dramatic solo improvisations Seattle Drum School L.A.B. The free in improvisation. that introduce many of the group per- clinic is open to musicians and fans -Peter Walton

36 • EARSHOT JAZZ • October 2010 FRIDAY, OCTOBER 29, SEATTLE ART MUSEUM, 8 Steve Lehman Octet Identity, released its debut, self-titled that go into it. But something about it disc. The band includes other leaders will strike you as grippingly unusual. of the New York progressive-jazz scene Check this, for a pedigree. Jackie including Rudresh Mahanthappa. McLean, the hard-bop alto legend, The same month, the Jack Quar- was a mentor to Lehman, early on, and tet presented the world premiere of conveyed to him the wonders of con- Lehman’s “Nos Revi Nella” for string sciously producing precise, expressive quartet. sounds and timbres. That suggests the Brooklyn-reared Now jump ahead to Lehman’s fas- saxophonist’s musical range. So do his cination with a set of loosely affili- recordings with his quintet, and with ated new-music composers of “spectral the group Fieldwork (Lehman, pia- music.” Since 2006 Lehman has been nist Vijay Iyer, and monster drummer pursuing a doctorate at Columbia Tyshawn Sorey). With Mahanthappa, University with the best-known spec- those players comprise a new breed of tralist, the French composer Tristan charging instrumentalist-composers. Murail. Spectralism entails analyzing PHOTO BY WILLIE DAVIS Now we have a rare opportunity to the spectrum of tones that contribute $22 general, $20 members/seniors, witness the precision, drive, and huge to any note, and then using that acous- $10 students musical imagination that Lehman’s tic information as bases for composi- In the year since Steve Lehman made octet exhibited on Travail, Transfor- tion and performance, with an intense his first Earshot Festival appearance, mation & Flow. The ensemble may focus on timbre and articulation. in a riveting solo performance for sax claim, as validly as anything on the Lehman has become the first jazz and electronics, he has confirmed his scene today, to be forging a rich vein composer to make extensive use of standing as one of the most exciting into the future of jazz. The New York spectralism, which can make his music and innovative jazz performers, any- Times’s Nate Chinen called Travail a difficult to perform. But a good deal where. “breathtaking accomplishment, a blast of his appeal is that he has managed His 2009 octet album Travail, Trans- of urban futurism at once hypnotic, to attain a group dynamic of rare co- formation & Flow has continued to kinetic and kaleidoscopic. And funky.” hesion. Of doing that so successfully draw rave reviews: four-and-one-half Here in Seattle, the octet will be with his octet – of integrating spectral stars from DownBeat; top-10 list- Lehman on alto sax, Jonathan Fin- harmony and improvised music – he ing from more than 30 publications layson on trumpet, Mark Shim on says by phone from New York: “That’s around the country; and a New York tenor sax, Jacob Garchik on trom- something I’ve been pursuing for al- Times rating as the pop or jazz CD of bone, Chris Dingman on vibes, Jose most 10 years. It requires a delicate the year. The Jazz Journalists Associa- Davila on tuba, Drew Gress on bass, balance to be very specific and detail- tion in April recognized Lehman in and Cody Brown on drums – a power- oriented in composing a piece and at three categories: composer, alto saxo- house outfit, by any measure. the same time setting things up so phonist, and recording of the year. Building on advances forged by the they can be made much better by the Win acclaim like that, and suddenly likes of Jackie McLean, Anthony Brax- individuals you work with.” the seemingly impossible can happen: ton, George Lewis, Henry Threadgill, With support from CMA’s Presenting a musician can get to go on tour with and Steve Coleman (a progression to Jazz Program, funded through the Doris his octet, generally a prohibitively ponder!), Lehman has impressed fans Duke Charitable Foundation. expensive undertaking. That is what and critics, alike. -Peter Monaghan Lehman has been doing. His eight- Lehman’s music is at once highly piece has appeared around the U.S. evolved – informed by studies in and Europe. It is scheduled to contin- 21st-century musical experimental- ue touring well into 2011. ism – and plainly catchy and driving. Also since his last Earshot appear- Relishing it certainly does not require ance, another of Lehman’s bands, Dual knowledge of the theoretical concerns

October 2010 • EARSHOT JAZZ • 37 SATURDAY, OCTOBER 30, MOORE THEATER, 8 Ryuichi Sakamoto Presented by Seattle Theater Group a unique insight into Ryuichi Saka- As a young composer Ryuichi Saka- $27.50 moto’s music. While it is nearly im- moto was already fascinated with Following his recent double-CD re- possible to categorize Sakamoto’s work blending classical melodic touch with lease on Decca label Ryuichi Sakamo- into one ganger, two threads have been technology and electronic beats. to will perform at The Moore Theater ever-present in his music since his days In late 1970’s Sakamoto himself be- on October 30. Seattle is one of only as composition student at Tokyo Uni- came a force in early electronica as a ten cities Sakamoto has selected for his versity of the Arts in the early 1970’s: member of Yellow Magic Orchestra rare North American tour (there are classical piano and experimentation. (one of the first Japanese acts to break seven U.S. and three Canadian dates Among Sakamoto’s early influences into European and American scenes). on the bill). were turn of the 20th century French Beyond Yellow Magic Orchestra, The two-volume release, Out of composer Claude Debussy and Ger- Ryuichi Sakamoto added another di- Noise and Playing the Piano, presents man electronica pioneers Kraftwerk. mension to his music. Composing a score to 1983 film Merry Christmas, Mr. Lawrence, Sakamoto found one 600 Queen Anne Ave N more way to explore music. Subse- Seattle, WA 98109 quently, he composed music for a 206-282-7407 number of films, winning a Grammy 888-445-3076 and an Oscar in 1987 for the best orig- www.marqueen.com inal score for The Last Emperor (Saka- moto co-wrote the score with David Byrne and Cong Su). Through his MoreTrees Founda- tion, Sakamoto pioneered green tours, aiming to offset the carbon footprint MarQueen Hotel otherwise associated with a tour production. His foundation preserves and replenishes leased forests in Japan and Philippines. When on tour Sakamoto fully maximizes the use of only lo- Seattle’s cal resources. Additionally, he offers carbon offset credit to corporations Lodging Secrets through his MoreTrees Foundation. Out of Noise, perhaps his most ex- Two distinct hotels steps away from Seattle Center. perimental work to date, explores a delicate relationship between musical and non-musical sounds, between the sound of piano and the sound of envi- Inn at Queen Anne ronment. Playing the Piano is a return to the basic solo piano self-covers, as Sakamoto himself acknowledges. It is a collection of his many famous works, including 505 First Ave N those originally composed as electron- Seattle, WA 98109 ica or film score pieces. Regardless of 206-282-7357 the final form, Sakamoto’s music was 800-952-5043 always conceived at the piano. www.innatqueenanne.com -Greg Pincus

38 • EARSHOT JAZZ • October 2010 SATURDAY, OCTOBER 30, TOWN HALL, 7:30 An Evening with Mavis Staples Presented by Earshot Jazz and Town gospel recording, Staples teamed up Hall Seattle. Advance: Premium, $32; with Wilco’s Jeff Tweedy, a fellow Chi- General, $25. Day of Show: Premium, cagoan who produced the album and $35, General, $28. Students under 25: co-wrote two of the songs. In a review $12. $2 discount at all levels for Seniors of the recording, Rich Albertoni of The and Members of Town Hall and Ear- Paper wrote: “The title track marches shot Jazz forward to slow and steady acoustic A Rock and Roll Hall of Famer and guitar that supports its soothing, spiri- soul/gospel legend, Mavis Staples tual feel. Staples’ vocals feel rich and needs no introduction. But just to re- significant and, like all great blues and fresh your memory, it should be stated gospel, ready to beat back the trials that the 71 year old, who shows no and tribulations of everyday life.” signs of slowing, first came to prominence as a member of the Staple Sing- ers. The group led by her father, Pops Staples, first hit the charts in 1956 with the gospel track “Uncloudy Day.” Nearly two decades later in the 1970s, the Staple Singers came to even greater prominence after hitting the charts with soulful pop songs like “Respect Yourself,” “I’ll Take You There,” and “Let’s Do It Again”. She stands within a category of musician that has become increasingly scarce, the type whose musical mag- nificence and beauty resonates across generations and time. She does not so much sing to her audiences as she sings for them. Such is the responsibility of an artist who belongs to the people. As a young woman, Staples found an immediate outlet for her music-based sense of morality in the non-violent campaigns of the American Civil Rights Movement. Half a century later, the men and women that marched with their own two feet to the tunes of songs sung by Staples and her peers are reimagining that dream for new times, new realities. In 2007, she released a collection of traditional civil rights songs, We’ll Never Turn Back. While you may hear some of those songs at this Earshot Jazz performance, you will also greatly enjoy the tunes off her latest release You Are Not Alone. For this blues meets folk meets

October 2010 • EARSHOT JAZZ • 39 SATURDAY, OCTOBER 30, NORDSTROM RECITAL HALL, 7:30

Seattle Repertory Jazz Orchestra: Jazz Goes The Bass Church The Bass Church The Bass Church The Northwest double bass specialists The Northwest double bass specialists The Northwest double bass specialists to Hollywood www.basschurch.com www.basschurch.com www.basschurch.com

Sales, Rentals, Sales, Rentals, Sales, Rentals, Repairs, Restorations, Repairs, Restorations, Repairs, Restorations, Lessons Lessons Lessons

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

(206)784-6626 (206)784-6626 (206)784-6626 9716 Phinney Ave. N. 9716 Phinney Ave. N. 9716 Phinney Ave. N. Seattle, WA. 98103 Seattle, WA. 98103 Seattle, WA. 98103 ~by appointment only~ ~by appointment only~ ~by appointment only~

The Bass Church The Bass Church The Bass Church The Northwest double bass specialists The Northwest double bass specialists The Northwest double bass specialists

www.basschurch.com www.basschurch.com www.basschurch.com

PHOTO BY BRUCE C MOORE

$15-$39 James Moody, Jimmy Heath, Frank The Seattle Repertory Jazz Orchestra, Foster, Frank Wess and Kenny Hing, Sales, Rentals, Sales, Rentals, Sales, Rentals, an all-star big band made up of the Se- trombonist Slide Hampton, and sing- Repairs, Restorations, Repairs, Restorations, Repairs, Restorations, attle area’s leading jazz instrumental- ers Marlena Shaw, Ernie Andrews Lessons Lessons Lessons Convenient North Seattle Location Convenient North Seattle Location Convenient North Seattle Location ists, presents short clips and performs and Dee Daniels. In 2001, Quincy memorable pieces from movies of the Jones conducted the SRJO at the Se- (206)784-6626 (206)784-6626 (206)784-6626 last 70 years, including “Mission: Im- attle Opera House in a performance of 9716 Phinney Ave. N. 9716 Phinney Ave. N. 9716 Phinney Ave. N. Seattle, WA. 98103 Seattle, WA. 98103 Seattle, WA. 98103 possible,” “The Pink Panther,” Quincy works he wrote for the Basie band and ~by appointment only~ ~by appointment only~ ~by appointment only~ Jones’ “Soul Bossa Nova” (theme to his own groups. The SRJO has played Austin Powers), “Black Orpheus,” and tribute concerts to Dizzy Gillespie,

Ellington’s “I’m Gonna Go Fishin’” Duke Ellington, Billy Strayhorn, (the theme to Anatomy of a Murder). Miles Davis, Charles Mingus, Count Award-winning guest vocalist Gail Basie, Stan Kenton, and Thelonious The Bass Church The Bass Church The Bass Church The Northwest double bass specialists The Northwest double bass specialists The Northwest double bass specialists Pettis will join the SRJO to help rec- Monk. The SRJO will also present a reate Lena Horne’s famous 1943 per- free Jazz4Kids concert on Saturday, www.basschurch.com www.basschurch.com www.basschurch.com formance of “Stormy Weather.” The October 30 at Nordstrom Recital Hall SRJO is co-directed by drummer Clar- at Benaroya Hall, at 4pm. The Jazz- ence Acox, a nationally-recognized 4Kids program offers jazz workshops jazz band director at Seattle’s Gar field and clinics for local school musicians, Sales, Rentals, Sales, Rentals, Sales, Rentals, High School, and saxophonist/arrang- in-school workshops by SRJO artists, Repairs, Restorations, Repairs, Restorations, Repairs, Restorations, er Michael Brockman, a long-time fac- and an annual Jazz4Kids concert that Lessons Lessons Lessons Convenient North Seattle Location Convenient North Seattle Location Convenient North Seattle Location ulty member at the University of Wash- is presented free-of-charge to all school ington School of Music. The SRJO age children and youth, plus any par- (206)784-6626 (206)784-6626 (206)784-6626 has brought internationally known ent, teacher, or youth group leader ac- 9716 Phinney Ave. N. 9716 Phinney Ave. N. 9716 Phinney Ave. N. guest soloists to join in its concerts, companying them. Seattle, WA. 98103 Seattle, WA. 98103 Seattle, WA. 98103 ~by appointment only~ ~by appointment only~ ~by appointment only~ including trumpeters Clark Terry -Jessica Davis and Arturo Sandoval, saxophonists

40 • EARSHOT JAZZ • October 2010 SUNDAY, OCTOBER 31; MONDAY, NOVEMBER 1; & TUESDAY, NOVEMBER 2, TULA’S, 7:30 Rufus Reid Trio

$12 general, $10 members/seniors, $5 history of jazz is second to none. In- students deed, it is hardly possible to separate An accomplished sideman, a vision- his exuberance on the bandstand ary educator, and a composer of note, from his work as an educator, and his bassist Rufus Reid possesses one of performances and lectures serve this the richest and most generous tones common goal. As Dr. Billy Taylor has in jazz today. Having been the bassist noted: “Look at who he’s taught, now of choice for dozens of major artists, stars in their own right, and other in- including Dexter Gordon, Thad Jones, strumentalists who’ve benefited from and Nancy Wilson, Rufus Reid here the wealth of information he commu- leads his own trio of Steve Allee and nicates as second nature. As a leader, percussionist Duduka Da Fonseca for he knows just how to pace a program three music-packed nights at Tula’s. to satisfy an audience and musicians. PHOTO OF RUFUS REID BY JOHN ABBOTT Born in Atlanta, GA in 1944, Rufus He reaches out and touches people – ration fills every crevice of the music, Reid came of age in Sacramento, Cali- his playing is infectious. The fun starts and the band sounds all too happy to fornia where he played the trumpet with him on the bandstand and spills stretch “far beyond the bebop bound- in junior high and high school. Upon over to the audience.” aries,” as Reid observes in his liner graduation Reid entered the United As an improvisor, Reid is certainly a notes. Reid is a democratic leader, States Air Force as a trumpet player, genius. His long-standing band with and Allee and Da Fonseca respond to where he first became seriously inter- drummer Akira Tana, TanaReid, was Reid’s music with some of their finest ested in the bass. After completing his one of the most exciting post-bop individual performances. Reid knows term in the Air Force, Reid moved to bands of the 90s, and amazingly, Reid when to grab the spotlight, though, as Seattle to study bass with James Har- has only improved since. His newest in his powerful bass solo improvisa- nett of the Seattle Symphony, and he release Out Front with Allee and Da tions: Reid may be one of the few who went on to study bass performance at Fonseca is a powerful and refreshing can command extended attention in Northwestern University. blast of modern piano trio. Released in the form. Reid himself became, of course, one March of 2010, Out Front is a celebra- One of the great bassists in jazz his- of the premiere bass educators of the tion of the trio’s terrific chemistry and tory, performing for three nights at the last thirty years. His commitment to the immense joy shared between the top of his game, on his own terms. education and communicating the musicians and their audience. Inspi- -Peter Walton

Presented in collaboration with Earshot Jazz

ART OF JAZZ Wayne Horvitz and the Sonny Clark Memorial Sextet THURSDAY, OCTOBER 14, 5:30 PM

SEATTLE ART MUSEUM DOWNTOWN 1st Ave. & Union St. • All ages Drink specials at TASTE Bar including the $5 Hammering Man

Seating is limited and available Art of Jazz on a ﬁ rst-come, ﬁ rst-served basis. Sponsors: seattleartmuseum.org

October 2010 • EARSHOT JAZZ • 41 MONDAY, NOVEMBER 1, THE CROCODILE, 8 Dafnis Prieto Proverb Trio & Cuong Vu/ Andrew D’Angelo: Agogic

$15 general, $13 members/seniors, $7 two years in Barcelona. He decided students then and there that he would not re- When the 25 year old Cuban born turn to Cuba. He stayed in Spain for percussionist Dafnis Prieto’s arrived one year until Jane Bunnet invited on the New York scene back in 1999 him to tour with her in Canada and it sent shock waves throughout the the U.S. During that time he applied jazz world. His subsequent years of for a visa to return to Barcelona but performing, composing and recording his request was denied. The situation have gone a long way toward cement- forced him to consider living in New ing his place as one of the world’s pre- York. eminent percussionists. If fact, many Just as his move from Santa Clara believe he is revolutionizing the art of to Havana proved difficult, his move drumming. to New York was even more so – not Raised in the small town of Santa professionally, but personally. Being Clara, Cuba — about 150 miles east from a small town, he didn’t like NY of Havana, Prieto studied both guitar at first. But despite his reservations, he and percussion as a child. After leav- was very well received there. New York ing the School of Fine Arts in Santa Times jazz writer Ben Ratliff described Clara he attended the National School the timing of his arrival in New York of Music in Havana, where he concen- as “perfect”. PHOTO OF DAFNIS PRIETO BY DANIEL SHEEHAN trated on Afro-Cuban and classical He almost immediately began getting music. It was also around this time calls to perform with some of Ameri- that he became interested in jazz. The ca’s top innovators - Henry Threadgill, move from a small provincial town to Steve Coleman, Eddie Palmieri, Roy the relatively huge confines of Havana Hargrove, Don Byron, Andrew Hill, was disconcerting to him, but it also among others. He also became a fix- gave him access to a lot of music he ture at the Jazz Gallery in Lower Man- had not previously been exposed. The hattan, which opened its doors to him work of Ornette Coleman, John Col- and give him the artistic freedom to trane and Hermeto Pascoal opened do whatever it is he wanted to do. In his mind to the creative possibilities 2005 he released his first recording as inherent in avant-garde music. a leader, entitled About the Monks. It CUONG VU Some of his earliest collaborations not only features his considerable per- were with pianists Carlos Maza and forming talents, but also showcases his boardist Jason Lindner. Kicking the Ramon Valle as well as with the producing, arranging, and composing night off right will be the Cuong Vu/ groundbreaking (and now legendary) skills. He has released three more re- Andrew D’Angelo Quartet. Seattle group, Columna B. But he was find- cords as a leader since then. jazz audiences should be very famil- ing the avant-garde scene in Cuba too “In order to understand rhythm you iar with trumpeter Cuong Vu and small and having a hard time making a have to internalize it,” Prieto once said. the transformation he has brought to living as a jazz musician. It was around “The meaning of playing swing is to the University of Washington’s Jazz this time that he met the visiting Ca- swing. The meaning of clave is to play Program. Andrew D’Angelo is an nadian saxophonist Jane Bunnett, and WITH the clave. It is an attitude. That iconoclastic alto saxophonist who has performed in her band, The Spirits of is the essence of music.” worked with Erik Friedlander, Bobby Havana, during her stay. While tour- Mr. Prieto will be performing with Previte and Jamie Saft among others. ing with Columna B in Spain, his his Proverb Trio which features free- He is a former Seattleite now making wife, the dancer Judith Sánchez Ruíz, style & vocal improvisation innovator his home in New York. received a commission to perform for Kokayi and the multi-faceted key- -John Ewing

42 • EARSHOT JAZZ • October 2010 TUESDAY, NOVEMBER 2, TRIPLE DOOR, 7:30 Natacha Atlas $30 Natacha Atlas has been a major world music innovator since the early 1990s, first with Transglobal Under- ground, then her own albums com- mencing in 1995 with Diaspora. The Belgian singer is a mix of Moroccan, Palestinian, Egyptian, and British an- cestry and has long championed the combination of Arabic musical traditions with modern popular music. Or “cha’abi moderne” in her words. She once called herself “a human Gaza Strip,” referring to her Judeo-Islamic heritage. Reggae, drum n’ bass and hip hop have all impacted her music, but the Middle Eastern roots are always deep. The mesmerizing rhythms and sinuous grooves are richly ground- ed in that part of the world. One can visualize belly-dancers even if none are present. She is a talented belly-dancer as well as singer, as Transglobal Un- derground made evident. “There will always be two identities living within me: Arabic and European. When I was very young, I tried to ignore the Arabic side, my father’s side, because I saw it as foreign,” she said. “But something happened in my late teens. I was at a nightclub in Brussels and I heard Arabic music, and I knew then that there was something inside of me that I wanted to go back to. So I ended up going to the other extreme. But as you mature, you realize that you have both inside you...These days I dream in two E OP languages, and not a day goes by when I BTaye Drums StudioB Maple is already known for tracking your every move. The looks and sounds don’t end up using Arabic.” of yesteryear can now be recreated using the Taye Drums' EFS™ technology and using 100% North American Atlas (yes, that’s her given name) is Sugar Maple shells. This brings strength and a wide tuning range so everyone can hear how currently at work on a new album, good you will sound. Mounqaliba, co-produced by Samy Make sure you go home with a new Taye. Bishai, which will again explore the Taye Studio Maple BeBop configuration includes: more classical world. Inspired by the •SM1208R, 12”x8” Rack Tom •SM1414F, 14”x14” Floor Tom poems of Indian poet Rabindranath •SM1405S, 14”x5” Snare Drum •SM1814B, 18”x14” Bass Drum Tagore, it was scheduled for release Available in Classic Walnut (CW), Black Oyster (BO), and White Pearl (WP, Not Pictured) September 20, 2010. Taye Drum Co, 13924 Mountain Avenue, Chino, CA 91710 | Toll Free 877.709.8293 | www.tayedrums.com | www.mytaye.com -Bill Barton

October 2010 • EARSHOT JAZZ • 43 TUESDAY NOVEMBER 2, TRACTOR TAVERN, 8 WEDNESDAY, NOVEMBER 3 TRIPLE DOOR, 7 & 9:30 (21+) Blue Cranes & Ballrogg Bill Frisell Beautiful Dreamers Trio & guests

PHOTO OF BLUE CRANES BY JASON QUIGLEY PHOTO OF BILL FRISELL BY MICHAEL WILSON $14 general, $12 members/seniors, $7 matter. Bringing a “conception that students strives for beauty without ever touch- $25 Part of the recent movement of jazz ing on anything lyrical, saxophonist In the Beautiful Dreamers trio, Frisell musicians to bring an indie-rock ethos Klaus Ellerhusen Holm and bassist and violist Eyvind Kang join arms to their post-bop chops and harmonic Roger Arntzen create a soundscape with drummer Rudy Royston to take sensibilities (think a West Coast ver- that is atmospheric while also manag- a rustic, wind-blown repertoire (Blind sion of the Bad Plus), The Blue Cranes ing to be energetic and unpredictable. Willie Johnson’s “Nobody’s Fault” work a fine line between avant- Their sophomore outing, Insomnia, sits alongside Little Anthony and the garde improvisation and toe-tap- finds the duo in a space even more in- Imperials’ “Goin’ Out of My Head”) ping catchiness. Regarded as “a wel- fluenced by contemporary American and infuse it with, well, dreamscapes come addition to a scene that too often and European improvisatory music and ethereality and percussive grit and tries to define itself as straight ahead” than their eponymous debut. Both the tussle. In the studio, the band played (Kyle O’Brien), the band members young artists have garnered critical ac- things rather straight – minimal elec- Reed Wallsmith (alto sax), Sly Pig claim in Norway’s fertile jazz scene. tronic manipulation and samples. But (tenor sax), Keith Brush (bass), Rebec- Arntzen is also well-known from his the spacing and textures of Beautiful ca Sanborn (keyboards) and Ji Tanzer playing a part in the band In The Dreamers live recalls the slightly later, (drums) have also been noted for their Country. at times warpy and tipsy Bill Frisell strong ensemble playing. “The greatest The members of the piano trio were Quartet. Put simply, Frisell, a veteran strength of Blue Cranes is their unity named “Young Jazz Musicians of the if there ever was one, flourishes in a as a band,” All About Jazz’s Marc Mey- Year” in 2004. Holm has toured Eu- small, compact setting where he can ers says, “they anticipate each other’s rope, the US, and Asia with his group create a spacious, three-way trio-logue moves with considerable empathy.” the Klaus Holm Kollektif. He also that allows everyone their say, whether Also on the bill, from Norway, the plays with the improvised music trio it’s clustery, open-ended, and stringy, duo Ballrog performs music by Eric Murmur and has composed exten- or pile-driving and forward-leaning. Dolphy, Paul Bley, Ornette Coleman, sively not only for his own projects, (Note: Bartlett’s full-length preview and Jimmy Giuffre in a stripped- but also for film and various chamber will appear in the November Earshot down, contemplative manner befitting music settings. Jazz.) the compositions they take as subject -Eliot Winder -Andrew Bartlett

44 • EARSHOT JAZZ • October 2010 WEDNESDAY, NOVEMBER 3, CHAPEL PERFORMANCE SPACE, 8 Gust Burns & Jack Wright $12 general, $10 members/seniors, $6 prano saxophones, but he is a pianist students as well. To date, he has made over 40 “In the rarefied, underground world recordings (many published on his of experimental free improvisation, own Spring Garden label), performed saxophonist Jack Wright is king,” ac- in over 20 countries, and written ex- cording to the Washington Post. For tensively about music and society for more than twenty-five years, Wright journals such as Improjazz (France) has toured practically non-stop and and Signal to Noise (US). rightfully claims that he has played Over the years, Wright has focused in virtually every venue available to most of his public performances on experimental improvised music in the collaborative exchanges with artists United States, and many in Europe as like William Parker, Bob Marsh, Nate PHOTO OF GUST BURNS BY DANIEL SHEEHAN well. Wright mostly plays alto and so- Wooley, Bhob Rainey and Andrew Drury, just to name a very few. For this year’s Earshot Jazz Festival, he presents two shows in collaboration with his preferred collaborator in the North- west, Seattle’s own Gust Burns, a pianist, improviser, and composer who seeks new routes into improvisation by working with diverse areas of music such as silence, density, structure and alternative narrative approaches. Similar to Wright, Burns has been a partner in many successful collaborations, working with improvisers like Jeffrey Allport, Wally Shoup, Keith Rowe, Andrea Neumann, Stéphane Rives, and many others. In addition to his work as an improviser and composer, Burns has directed the Seattle Improvised Music Festival since 2003. For these meetings between Wright and Burns, it might be fair to assume that various traditions of improvised music from the last 40 years will be both touched upon and eschewed. Wright himself has written that “In relation to assessing a performance, improvisation has an evolving history, which means that some of it is ‘past’, and valued for that, and some of it is ‘contemporary’…My particular version of this music is one of many possible, and does not easily fit the hierar- chy based on an aesthetic model.” -Danielle Bias

October 2010 • EARSHOT JAZZ • 45 WEDNESDAY, NOVEMBER 3, TULA’S, 7:30 Randy Halberstadt Quintet $12 general, $10 members/seniors, $6 many jazz greats - Herb Ellis, Nick Bri- excellent response from educators, stu- students gnola, Don Lanphere, Roswell Rudd, dents, musicians and the jazz press. Long a major figure on the Seattle Julian Priester, John Stowell, Buddy de At Tula’s, the quintet featuring alto jazz scene, versatile and creative pia- Franco, Slide Hampton, Pete Christ- saxophonist Mark Taylor, trumpeter nist Randy Halberstadt is a full pro- lieb and Terry Gibbs among them. and flügelhornist Thomas Marriott, fessor at Cornish College of the Arts, Also a talented composer and arrang- bassist Jeff Johnson and drummer teaching jazz theory, vocal standards er, his hip “Bad Bud” has been heard Mark Ivester will include music from and private lessons there since 1983 for 13 years on KPLU. Inner Voice, his their new Origin CD, Flashpoint. and also is on the faculties of the 1991 CD for Pony Boy Records, focus- “I love hearing Randy play,” said Jes- Blaine Jazz Festival and Centrum Jazz es on original works for jazz piano trio. sica Williams. “He has humor, drama, Workshop, Port Townsend. Halberstadt is also the author of Met- conviction, and a sense purpose in his He is the pianist with the Seattle Jazz aphors For The Musician: Perspectives approach to music.” Repertory Orchestra has worked with from a Jazz Pianist, which has received -Bill Barton THURSDAY, NOVEMBER 4; FRIDAY, NOVEMBER 5, TULA’S, 7:30 Carmen Staaf Trio $12 general, $10 members/seniors, $6 ally as part of the Mary Lou Williams formance career playing and touring students Women in Jazz Festival. with bands such as Four Across and Carmen Staaf, one of the finest At the Kennedy Center event, a panel the Prana Trio. alumna of the Garfield program, has that included piano legend Dr. Billy Living in Brooklyn, her experiences made huge strides in her decade out Taylor and pianist-composer Toshiko have included backing Mexican singer East. She performs for two nights here Akiyoshi selected Staaf from four fi- Lila Downs at Carnegie Hall, perform- with New York trio-mates, Kendall nalists from around the world. Her ing at various venues in a dog suit with Eddy on bass and Austin McMahon performance was measured, nuanced, Internet sensation the Xylopholks, and on drums. and convincing in a way that signaled playing accordion in a puppet musical In May 2009, Staaf won the presti- Staaf’s impressive growth as a musi- about the Rosenberg trial. gious Mary Lou Williams Women in cian since she left Seattle. Her own highly praised album, Re- Jazz Pianist Competition held annu- In 2008 Staaf moved from Boston to flection, appeared in 2007. New York to pursue a full-time per- -Peter Monaghan THURSDAY, NOVEMBER 4, PONCHO CONCERT HALL, CORNISH COLLEGE OF THE ARTS, 8 Wayne Horvitz: TONK & Michael Blake’s Lucky Thompson Project

$18 general, $16 members/seniors, $9 call of improvisers once he ended up patetic tenor and soprano genius who students in New York for a year-long residency went from the bands of Don Redman, By now, pianist Wayne Horvitz has (think Tim Berne, Herb Robertson, Billy Eckstine, and Count Basie, to a hit just about every musical vein there and Michael Blake - more on him in a world without improvising, without is. For this show, he’ll co-create a var- minute). His co-piloting with Horvitz playing publicly, after he abandoned ied landscape with Danish pianist will surely create something memora- playing in the 1970s. It’s a fitting locale Soren Kjaergaard, a spry piano tal- ble; expect the wide-ranging. for Blake’s tribute, given Thompson’s ent that defies the cliche that Nordic And Kjaergaard will not only mix it final days here in Seattle and his death pianists play icy, abstract keyboard. up with Horvitz, but he’ll drop some in 2005 after a bout with Alzheimer’s. Kjaergaard hails from Lemvig, Den- ivories too with Michael Blake’s Nor- -Andrew Bartlett mark. He sculpted his own chording dic ensemble, Blake Tartare, and their (Note: Read Bartlett’s full concert pre- voice, and found company with a first- tribute to Lucky Thompson, the peri- view in the November issue of Earshot.)

46 • EARSHOT JAZZ • October 2010 FRIDAY, NOVEMBER 5, LEVEL 3, EMP|SFM, 8:30 Brian Blade Fellowship Icons Among Us screening, JBL Theater, 6:30 $22 general, $20 members/seniors, $10 students: film & concert; $5 film only Born in Shreveport, Louisiana, percussionist Brian Blade moved to New Or- leans to study at Loyola University in 1988. At Loyola Blade was able to study with many of the city’s great educators, including John Vidacovich, Ellis Mar- salis, Steve Masakowski, and John Mahoney. It was at Loyola that Blade also befriended pianist Jon Cowherd and bassist Chris Thomas, with whom he later moved to New York City. This trio formed the core of Blade’s Fellowship, which soon expanded to feature two reeds, electric guitar, and pedal steel guitar. With Fellowship, Blade released the eclectic Brian Blade Fellowship (1998) and Perceptual (2000) for Blue Note, and though the albums were critically acclaimed, they were not great commercial successes. Blade’s star continued to rise, however, first in high-profile gigs with Joshua Redman and Kenny Garrett, and later with Wayne Shorter in his new quartet with John Patitucci and Danilo Perez. Blade has also gone to conquer some seemingly unlikely gigs with Bob Dylan, Joni Mitchell, and Seal, while winning numerous award from major jazz and percussion publications along the way. Blade’s volcanic dexterity and poly- rhythmic power behind the drumset is one of the most exciting sounds in jazz today. Which is not to undervalue his supreme taste and musical awareness, nor his abilities as a leader. For over a decade, Fellowship has remained Blade’s primary output as a composer and leader. After a long absence from recording, the band returned in 2008 with Season of Changes, both a thrill- ing reminder of what the band could accomplish and a measure of how far Fellowship has come. Pedal steel guitarist Dave Easley has left the band, though Jon Cowherd, Chris Thomas, reedmen Myron Walden and Melvin Butler, and guitarist Kurt Rosenwin- kel now fully deliver on the ensemble’s great promise. The music is explosive and full of tiny flourishes of wit. Not to be missed. -Peter Walton

October 2010 • EARSHOT JAZZ • 47 SATURDAY, NOVEMBER 6, UNIVERSITY DISTRICT VENUES, 6PM-4AM University District Jazz Walk Locations and schedules as follows: Café Racer: 5828 Roosevelt Way NE 11pm - 1am Racer Session, Cu- rated by Luke Bergman Café Solstice: 4116 University Way NE 7pm - 9pm EnRoot Caspian Grill: 5517 University Way NE 6pm - 8pm Katrina Kope Duo The District Lounge: 4507 Brooklyn Ave NE: 6pm - 8pm Katy Bourne Trio Finn MacCools: 4217 University PHOTO OF LUCID BY SAM BAE Way NE - Team Team Fabulous BBQ 2nd Annual University District Jazz concept, the joint cover charge. Think 8pm - 11pm Walk presented by LUCID of it: You can pay once and hit mul- Galway Arms: 5257 University Way $10 covers all venues except $35 for tiple places to catch tunes, with a Jazz NE - 8pm-11pm Gravity dinner shows (includes dinner & admis- Walk extending from Café Racer at Herkimer Coffee: 5611 University sion to all shows) the North end (58th) and toward Café Way NE - 7pm - 9pm Eli Rosenblatt Let’s face it, the U-District seems to Solstice at the South end. The venues Solo have lost the money-spending crowd to have garnered praise already as unas- Wing-It Productions: 5510 Universi- University Village, where the shopping suming places where aesthetics are ty Way NE 6pm - 7:30pm Garfield/ ranges from its multiple Starbucks to a key component of the experience, Roosevelt All-Star Big Band Pottery Barn and Restoration Hard- where the vibe is central. Yes, there are Knarr Bar: 5633 University Way NE ware to Anthropogie and Lucky Jeans more thriving rock clubs in town, but 9pm - 11:30pm Alexey Nikolaev and on and on. Meanwhile, Univer- Café Racer and Lucid in particular Quartet sity Way has had its commercial knees step up as versatile, viable nerve cen- LUCID: 5241 University Way NE. wobbled, especially its musical knees, ters. Racer’s Woodring is the creation Legacy Quartet A Hadley Caliman with the loss of Cellophane Square in of the Bill Frisell-collaborating artist Tribute 6pm - 8pm; Bernie Jacobs particular. But the South end of the (and boasts crunchy peanut butter, Quartet 9-11:30pm; Reservoir Cats 12am - 2am Ave has its match in the North end, mustard, and butter pickles – “grilled the blocks that reach past NE 50th to perfection”), and the menu sprawls Mars Bistrot: 5247 University Way NE 7-9pm Josh Rawlings & Jason Street, where good vegetarian food across sausages, hot dogs, hot and cold Parker Duo has been a staple (and pizza like At- deli sandwiches, and a full bar. Lucid lantic Street was once sought after). brings in Zaw pizza, thrives in its dim- Royal Booze & Burritos:6pm - 8pm University Way NE Rumptones Pioneer Square’s another neighbor- mer lighting, and pays close attention hood that’s had its troubles, losing El- to the local scene. Between the spaces The Rat & Raven: 5260 University liott Bay Books to Capitol Hill (where, in the Jazz Walk, you can catch exactly Way NE 10pm - 12am Unsinkable Heavies no surprise, the store is finding suc- that, the local scene, something that’s cess next to Everyday Music and less been hard to grasp in recent years, Ruby: 4241 University Way NE - Hochiwichi than 2 blocks away from Neumo’s). with the venues for younger musicians The point? Music can be the soul of spread thinly across multiple neighbor- Taste of Chicago: 5259 University a neighborhood, a healing force that hoods. Here, the drinks are cold, the Way NE 2am - 4am DJ Absolute Madman emanates in tonalities, rhythms, vibra- food good, and the sounds truly worth tions – all of which draw audiences. the ear-time. Think of it as another Tempero do Brasil: 5628 University And from the long-ago thriving mu- way to re-discover the U-District; go Way NE 6pm - 8pm Tempero do Brazil’s House Band sic buzz in Pioneer Square, the U- beyond the Farmer’s Market and the District’s picking up a foundational Street Fair. -Andrew Bartlett

48 • EARSHOT JAZZ • October 2010 SATURDAY, NOVEMBER 6, TULA’S, 7:30 Gail Pettis & Friends $14 general, $12 members/seniors, $7 tage, Pettis’ road to jazz was indirect. students She taught and practiced orthodontics “As I experience it, the currency of full-time for 15 years, before moving jazz is emotion,” Gail Pettis explained to Seattle in 1996 by way of Memphis. in a 2005 interview with Earshot Jazz. Following her move to Seattle, she “That’s what you give and hopefully developed an interest in West Coast get back. Many of my song selections Swing dancing that also fostered in her are a result of how I feel after listen- a deeper appreciation of jazz. When an ing to a particular song for the first injury took her off the dance floor, she time. Several of the tunes I perform began looking for other creative out- [are] chosen after hearing only an in- lets and signed up for a jazz workshop strumental version and discovering the led by Seattle saxophonist Darren Mo- lyrics much later.” tamedy. With Motamedy’s encourage- Recording of the Year.” Earlier this Pettis is a four-time nominee and ment, she pursued this new passion by year, her second recording, Here in 2007 winner of the Earshot Golden participating in jam sessions and also the Moment, was released. Its refresh- Ear Award for “Northwest Vocalist of through private study, eventually selling reading of standard songs has been the Year.” Born in Henderson, Ken- ing her orthodontic practice in 2006 embraced by listeners, resulting in a tucky, Pettis grew up in Gary, Indiana. to devote herself full-time to music. 14-week stay on the JazzWeek Nation- Her grandfather Arthur Pettis was a Pettis released her debut CD in 2007, al Airplay Chart. Tonight’s concert blues singer and guitarist who record- May I Come In? on Origin/OA2 Re- will feature music from these recorded for Victor Records in Memphis in cords. The CD was received warmly by ings as well as new material. 1928 and for Brunswick in Chicago radio and was nominated for Earshot’s -Danielle Bias in 1930. In spite of her musical heri- Golden Ear award “2007 Northwest

SATURDAY, NOVEMBER 6, PONCHO CONCERT HALL, CORNISH COLLEGE OF THE ARTS, 8 Ziggurat Quartet CD release: Calculated Gestures $14 general, $12 members/seniors, $7 Miller. Pianist Anschell’s knowledge Anschell’s recordings under his own students of Carnatic music strongly influences name have been warmly received. The Ziggurat Quartet’s recent Origin the complex rhythms and patterns in Barber has collaborated with a long CD Calculated Gestures has received his compositions. Saxophonist Barber list of adventurous musicians, includ- widespread critical acclaim and signif- also has a deep interest in the music ing Nels Cline, Mark Dresser, Vinny icant airplay on jazz radio. According of India, plus that of the Balkans and Golia, Wayne Horvitz, Wadada Leo to the group’s myspace.com page: “A Hungary; the asymmetrical meters Smith, Tom Varner, Nate Wooley, and passion for rhythmic experimentation and surging cross-rhythms that result Glen Velez. drives the ensemble’s complex original swing in a decidedly unconventional A mainstay of the regional jazz scene compositions; many of the pieces are but still infectious manner. Although for over two decades, Miller is one of deeply influenced by the rhythms of still dealing with odd meters, Miller’s the most respected and in-demand East Indian music, as well as jazz and tunes have a bit more of a traditional bassists in Seattle. contemporary chamber music.” focus in terms of singable melodies. Add the colorful and resourceful Despite working in the “standard” Anschell is well-known as a humorist drumming of Byron Vannoy to the jazz quartet format of horn, piano, and writer in addition to his impecca- mix and you have a quartet that plays bass and drums, the ensemble comes ble credentials as a musician. His long ensemble music in the true sense of the up with a vital and visceral approach tenure with vocalist Nnenna Freelon word. that sounds sui generis. The repertoire as musical director, arranger, com- -Bill Barton is entirely original compositions by poser and pianist included a Grammy Bill Anschell, Eric Barber and Doug nomination for her 1996 Shaking Free. PREVIEWS CONTINUED ON PAGE 55

October 2010 • EARSHOT JAZZ • 49 JAZZ AROUND THE SOUND october 10 FRIDAY, OCTOBER 1 C* Charles O Anderson (dance), Spectrum Dance Baker. Vanity Fair hailed Stormy Weather (Atria Books/ AM Lonnie Williams, 9 Theater (800 Lake Washington Blvd), 1:30 Simon & Schuster) as “definitive”; Liz Smith wrote: C* Trish Hatley, Lakeside Bistro (11425 Rainier Ave C* Dance Theater X: World Headquarters, Velocit “[It] may just be one of the best biographies about S), 7 Dance Center (1621 12th Ave), 8 show business, race, love, sex, and music ever C* Dance Theater X: World Headquarters, Velocit CH Seattle Percussion Collective, 8 written.” Gavin also co-produced the recent Verve/Hip- Dance Center (1621 12th Ave), 8 JA Nancy Wilson, 7:30 & 10 OSelect CD Lena Horne Sings: The M-G-M Singles, C* Hettle Street Blues, Prohibition Grille (1414 LJ Jonathan Hanson & Special Blend, 9:30 the first complete reissue of her historic work on the Hewitt, Everett), 8 MM Rotating Cabaret, 8 M-G-M label in the late ‘40s, during her reign at the CH Double Yoko, 8 SF John Sanders Quartet, 9 “Dream Factory” of movie musicals. Horne went on to DL Who Da Bossa, 9 SY Victor Janusz, 10am become a fabled nightclub seductress and civil-rights HS Janette West Quartet, 7:30 TD Too Slim & Taildraggers, 8 icon; in 1981 she opened the biggest one-woman JA Nancy Wilson, 7:30 & 10 TD Caffeine Trio, Musicquarium, 9 smash in Broadway history, “Lena Horne: The Lady LJ Legacy Quartet, 9:30 TH Lance Buller w/ Phil Sparks, Chris Spencer, & and Her Music.” Even after her death, Horne remains MM Joseph Rojo, 9 Mike Slivka, 9 a towering role model for the likes of Janet Jackson, SF Alex Guilbert Trio, 9 TU Katie King CD release, 3 Halle Berry, and Alicia Keys. At 8pm at Kirkland TD Jennifer Coolidge, 7:30 & 10:15 TU Susan Pascal Quartet, 7:30 Performance Center (350 Kirkland Ave, Kirkland, 425- 893-9900). Admission $35. Preceded 5-6pm by a TD Das Schwa, Musicquarium, 9 2 CELEBRATING LENA HORNE TH Lance Buller w/ Phil Sparks, Chris Spencer, & free discussion with James Gavin. Mike Slivka, 9 To mark the paperback release of his acclaimed TU Midnight Rock: Spekulation, midnight biography, Stormy Weather: The Life of Lena Horne SUNDAY, OCTOBER 3 TU Stephanie Porter Quartet, 7:30 – one of Oprah Winfrey’s top summer reads of 2009 BA Here. Now., 7:30 WS Victor Janusz, 5 – and to salute the Hollywood show-business legend BP Sinatra at Sands w/ Joey Jewell & Trish Hatley, 7 who died on May 9 at the age of 92, James Gavin will C* Jam w/ Bob Strickland, Prohibition Grille (1414 SATURDAY, OCTOBER 2 present “Stormy Weather: The Life and Music of Lena Hewitt, Everett), 5 BP Hilary Field & Patrice O’Neill, 7:45 Horne,” which combines live performances by two CR Racer Sessions, 8 C* Josh Rawlings, Lakeside Bistro (11425 Rainier vocalists much-influenced by Horne – Rebecca Parris FB Jazz Vespers Season Opening: Susan Pascal Ave S), 7 (“New England’s First Lady of Jazz”) and Paula West Quartet, 6 C* Bill Mattox Trio, Prohibition Grille (1414 Hewitt, (“a swinging pop-jazz sophisticate in the tradition of GB Primo Kim, 6 Everett), 8 Lena Horne and Carmen McRae” – NY Times) – along JA Nancy Wilson, 7:30 C* Jazz in the Corner, Wayward Coffee House (8570 with rare audio and video and Gavin’s narration. MM Adam Creighton, 7:30 Greenwood Ave N), 8 The musical numbers include fresh arrangements of SF Jerry Frank, 6:30 C* Stormy Weather: The Life and Music of Lena Horne standards – “Honeysuckle Rose,” “Yesterday SF Danny Ward, 11am Horne, Kirkland Performance Center (350 When I Was Young,” “Bein’ Green,” “Stormy Weather” SY Victor Janusz, 10am Kirkland Ave, Kirkland), 8 – by George Mesterhazy, who accompanied Shirley TD Marianne Dissard & Francois Breut, 7:30 Horn in the last phase of her career. Gavin’s previous TU Jim Cutler Jazz Orchestra, 8 book was Deep in a Dream: The Long Night of Chet TU Reggie Goings Jazz Offering, 3

GET YOUR GIGS 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 LISTED! month, so if you are playing in the Seattle metro area, let us know! CALENDAR KEY

AM Amore Restaurant, 2301 5th Ave. 770-0606 MX MIX 6006 12th Ave South, 767-0280 BA BalMar, 5449 Ballard Ave NW, 297-0500 NC North City Bistro & Wine Shop, 1520 NE 177th, Shoreline, 365-4447 BC Barca, 1510 11th Avenue, Seattle, (206) 325-8263 NO New Orleans Restaurant, 114 First Ave S, 622-2563 BP Bake’s Place, 4135 Providence Point Dr SE, Issaquah, 425-391-3335 OW Owl ’n’ Thistle, 808 Post Ave, 621-7777 BX Boxley’s, 101 W North Bend Way, North Bend, 425-292-9307 PT Poggie Tavern, 4717 California Ave SW, 206-973-2165 C* Concert and Special Events SB Seamonster Lounge, 2202 N 45th St, 633-1824 CH Chapel Performance Space, Good Shepherd Center, 4649 Sunnyside Ave N SE Seattle Art Museum, 100 University St, 654-3100 CR Cafe Racer, 5828 Roosevelt Way NE SF Serafina, 2043 Eastlake Ave E, 323-0807 DC Dulces Latin Bistro, 1430 34th Ave, 322-5453 SR Sorrento Hotel, 900 Madison, 622-6400 DL District Lounge, 4507 Brooklyn Ave NE, 547-4134 SU Sunset Tavern, 5433 Ballard Ave, 784-4480 EB Egan’s Ballard Jam House, 1707 NW Market St, 789-1621 SY Salty’s on Alki, 1936 Harbor Ave SW, 526-1188 FB Seattle First Baptist Church, Seneca at Harvard on First Hill, 325-6051 TD Triple Door, 216 Union St, 838-4333 GB El Gaucho Bellevue, 555 110th Ave NE, Bellevue, 425-455-2734 TH 13 Coins Restaurant, 125 Boren Ave N, 382-1313 HS Hiroshi’s Restaurant, 2501 Eastlake Ave E, 726-4966 TI Third Place Books, 17171 Bothell Way NE, Lake Forest Park, 366-3333 JA Jazz Alley, 2033 6th Ave, 441-9729 TK Thaiku, 5410 Ballard Ave NW, 706-7807 LC Local Color, 1606 Pike Pl, 728-1717 TO ToST, 513 N 36th St, 547-0240 LJ Lucid Jazz Lounge, 5241 University Ave NE , 402-3042 TU Tula’s, 2214 2nd Ave, 443-4221 LM Lombardi’s, 2200 NW Market St, 783-0055 WS Sixth Avenue Wine Seller, 600 Pine St # 300, 621-2669 MM Martin’s Off Madison, 1413 14th Ave, 325-7000

50 • EARSHOT JAZZ • October 2010 MONDAY, OCTOBER 4 TD CrÃ¨me Tangerine, 7:30 MM Howard Dixon, 7:30 AM Ronnie Pierce Jazz Ensemble, 7:30 TK Jon Alberts, Jeff Johnson, Tad Britton, 8 NO New Orleans Quintet, 6:30 C* Lee Konitz New Quartet, Brechemin Auditorium TU Danielsson Quartet w/ Michelle Amato, 7:30 PT Better World w/ Marc Smason & Joanne Klein, (UW Seattle School of Music), 12:30 8:30 GB Primo Kim, 6 FRIDAY, OCTOBER 8 TD Eric Bibb w/ Grant Dermody & Paula Boggs, 7:30 MM Howard Dixon, 7:30 AM Lonnie Williams, 9 TO Michael Shrieve”s Spellbinder, 9 NO New Orleans Quintet, 6:30 BP Jackie Ryan Quartet, 7:45 TU Seattle Composers’ Ensemble, 7:30 PT Better World w/ Marc Smason & Joanne Klein, C* Fathia Atallah, Lakeside Bistro (11425 Rainier 8:30 Ave S), 7 TUESDAY, OCTOBER 12 TD Open Mic, Musicquarium, 8 C* Richard Allen, Prohibition Grille (1414 Hewitt, JA Leni Stern, 7:30 TD Rami Kleinstein, 7:30 Everett), 8 MM Karin Kajita, 7:30 TO Michael Shrieve”s Spellbinder, 9 CH Paul Kikuchi, 8 MX Don Mock, Steve Kim, Charlie Nordstrom, 9 TU Vocal jam w/ Greta Matassa, 7:30 DL Who Da Bossa, 9 NO Holotradband, 7 HS Monkstone Theocracy, 7:30 OW Jam w/ Eric Verlinde & Jose Martinez, 10 TUESDAY, OCTOBER 5 JA Jazz Crusaders: Joe Sample, Everette Harp, SB McTuff Trio, 10 JA Nearly Dan w/ Tom Scott, 7:30 Wayne Henderson, 7:30 & 10 TD Joey Arias & Eliot Douglass in “Strange Fruit”, MM Karin Kajita, 7:30 LJ How Now Brown Cow, 9:30 7:30 MX Don Mock, Steve Kim, Charlie Nordstrom, 9 MM Joseph Rojo, 9 TU Emerald City Jazz Orchestra, 7:30 NO Holotradband, 7 SF Djangomatics, 9 OW Jam w/ Eric Verlinde & Jose Martinez, 10 TD Return of Tony Clifton, 7:30 SB McTuff Trio, 10 TH Lance Buller w/ Phil Sparks, Chris Spencer, & TD Lee Konitz New Quartet - Minsarah, 7:30 Mike Slivka, 9 TU Jay Thomas Big Band, 7:30 TU Gail Pettis Quartet, 7:30 WS Victor Janusz, 5 5 LEE KONITZ NEW QUARTET Often regarded as the great alto foil to Charlie Parker, SATURDAY, OCTOBER 9 Lee Konitz prefers long, warm legato lines that BP Jackie Ryan Quartet, 7:45 CURTAIN CALL nonetheless touch on wilder harmonies than might C* Douglas Benjamin, Lakeside Bistro (11425 weekly reoccuring performances first be apparent. Konitz formed a key association Rainier Ave S), 7 with Lennie Tristano in the 1940s, and with Tristano, C* Dana Lupinaci, Prohibition Grille (1414 Hewitt recorded arguably the first “free” jazz of the modern Ave, Everett), 8 MONDAY era. Konitz was an integral piece of the Birth of the C* Mejor Mundo, Agua Verde Café & Paddle Club AM Ronnie Pierce Jazz Ensemble, 7:30 Cool Nonet, and later performed in Stan Kenton’s (1303 NE Boat St), 12:30 GB Primo Kim, 6 Orchestra. Konitz has released many excellent small C* Garfield High School Jazz Band, Woodmen Hall MM Howard Dixon, 7:30 (livemusiconlopez.com), 2:30 NO New Orleans Quintet, 6:30 group albums with Warne Marsh, Gerry Mulligan, and PT Better World, 8 Tristano, though the 1961 trio date Motion with Elvin CH Natalie Lerch & Lucy Wenger, 8 TO Michael Shrieve’s Spellbinder, 9 Jones and Sonny Dallas, is, for many, the great treasure JA Jazz Crusaders: Joe Sample, Everette Harp, of his small group records. Konitz’s popularity waned Wayne Henderson, 7:30 & 10 TUESDAY somewhat in the 60s, though from the 70s onward LJ JB Quartet, 9:30 MM Karin Kajita, 7:30 he has been an incredibly prolific recording artist, MM Rotating Cabaret, 8 MX D. Mock, S. Kim, C. Nordstrom, 9 and he is now playing as strongly as ever. Performing SF Jose Gonzales Trio, 9 NO Holotradband, 7 SY Victor Janusz, 10am OW Jam w/ Eric Verlinde & Jose Martinez, 10 here at the Triple Door with the young Minsarah trio, SB McTuff Trio, 10 here is a chance to see the legend from a few feet TD Come Together, Music of John Lennon, 7 away, doing what he has done for over 60 years: truly TH Lance Buller w/ Phil Sparks, Chris Spencer, & WEDNESDAY improvising. Also, Konitz and his quartet present a Mike Slivka, 9 MM Bonnie Birch, 7:30 lecture/ masterclass at Brechemin Auditorium in the TU Greta Matassa Quartet, 7:30 NO Legacy Band w/ Clarence Acox UW Seattle School of Music at 12:30pm on Monday, TK Ron Weinstein Trio, 8 October 4. Free and open to the public! SUNDAY, OCTOBER 10 BA Here. Now., 7:30 THURSDAY BC Clark Gibson, Barca, 9 BP Tribute to Rat Pack!, 7 WEDNESDAY, OCTOBER 6 C* Killerbees, Waid’s Haitian Cuisine C* Richard Allen, Prohibition Grille (1414 Hewitt, C* Maxwell Street Revivalist Blues Jam, Prohibition (1212 E Jefferson), 9 Everett), 6 Grille (1414 Hewitt Ave, Everett), 5 LJ The Hang w/ Teaching JA Nearly Dan w/ Tom Scott, 7:30 C* Dr. Dee Daniels, Meydenbauer Theatre (11100 MM Jerry Zimmerman, 7:30 MM Bonnie Birch, 7:30 NE 6th St, Bellevue), 7 NO Ham Carson Quintet, 7 NO Legacy Band w/ Clarence Acox, 8 CR Racer Sessions, 8 TK J. Alberts, J. Johnson & T. Britton, 8 SF Passarim, 8 GB Primo Kim, 6 JA Jazz Crusaders: Joe Sample, Everette Harp, FRIDAY TD DJ SABD & DJ Brother James, Musicquarium, 9 AM Lonnie Williams, 9 TD Hot Tuna - electric!, 7:30 Wayne Henderson, 7:30 DL Who Da Bossa, 8 TK Ron Weinstein Trio, 8 MM Adam Creighton, 7:30 HS Jazz & Sushi, 7:30 TU Smith/ Staelens Big Band, 7 SF Anne Reynolds & Tobi Stone, 6:30 MM Joseph Rojo, 9 SF Alex Guilbert Duo, 11am TH Lance Buller Quartet, 9 THURSDAY, OCTOBER 7 SY Victor Janusz, 10am WS Victor Janusz, 5 BC Clark Gibson Trio, 9 TD DJ Bamboo, Musicquarium, 9 SATURDAY C* Killerbees, Waid’s Haitian Cuisine (1212 E TD Chance Mckinney & Crosswire, 7:30 SY Victor Janusz, 10am TU Jim Cutler Jazz Orchestra, 8 Jefferson), 9 TH Lance Buller Quartet, 9 EB Dorothy Rodes, Eric Verlinde, Jeff Johnson, 7 TU Jazz Police, 3 JA Jazz Crusaders: Joe Sample, Everette Harp, SUNDAY Wayne Henderson, 7:30 & 10 MONDAY, OCTOBER 11 BA Here. Now., 7:30 LJ Hang w/ Teaching, 9:30 AM Ronnie Pierce Jazz Ensemble, 7:30 CR Racer Sessions MM Jerry Zimmerman, 7:30 C* Dana Lupinacci Band, Prohibition Grille (1414 GB Primo Kim, 6 MM Adam Creighton, 7:30 NO Bob Jackson Quintet, 7 Hewitt Ave, Everett), 8 SY Victor Janusz, 10am TD Ijo Anyanmo, Musicquarium, 9 GB Primo Kim, 6

October 2010 • EARSHOT JAZZ • 51 WEDNESDAY, OCTOBER 13 LJ Hang w/ Teaching, 9:30 Bobby Previte, Ray Drummond, and John Zorn (to C* Composer Spotlight, artist TBA, Jack Straw MM Jerry Zimmerman, 7:30 whom the album is often credited). This performance, Productions (4261 Roosevelt Way NE), 7:30 NO Ham Carson Quintet, 7 titled “Music for the Baroness Pannonica,” features the C* Richard Allen, Prohibition Grille (1414 Hewitt, SE Art of Jazz: Wayne Horvitz & Sonny Clark excellent Seattle Memorial Sextet, and is presented as Everett), 6 Memorial Sextet, 5:30 part of the ongoing Art of Jazz series at the Seattle Art JA Leni Stern, 7:30 TD One Eskimo, 7:30 Museum. Admission to the performance is free with LJ Alika Lyman Group, 8:30 TD Thione Diop, Musicquarium, 9 museum tickets, and the music will begin at 5:30pm. MM Bonnie Birch, 7:30 TK Jon Alberts, Jeff Johnson, Tad Britton, 8 NO Legacy Band w/ Clarence Acox, 8 TU Wayne Horvitz Sweeter Than the Day, 7:30 FRIDAY, OCTOBER 15 AM Lonnie Williams, 9 TD Back to Ours w/ Jason & Seth of Maldives, 14 ART OF JAZZ: SONNY CLARK Musicquarium, 9 BP Greta Matassa Trio, 7:45 TD Nikki Yanofsky, 8 MEMORIAL SEXTET C* Anita Wardell w/ Bill Anschell, Auburn (jazzvox. TK Ron Weinstein Trio, 8 The Sonny Clark Memorial Sextet (with Wayne com), TBA TU Hochiwichi, 7:30 Horvitz, Craig Flory, Geoff Harper, Andy Roth, and C* Sam Chambliss, Lakeside Bistro (11425 Rainier Steve Moore) nearly stole the show at the July 17th Ave S), 7 THURSDAY, OCTOBER 14 edition of Monktail’s 2010 Sounds Outside festival. C* Now Playing w/ Leo Schultz, Prohibition Grille BC Clark Gibson Trio, 9 How does Horvitz tackle the music of Sonny Clark, (1414 Hewitt Ave, Everett), 8 C* Killerbees, Waid’s Haitian Cuisine (1212 E Thelonious Monk, and Horace Silver? With great C* Robert Pinsky w/ Marc Seales & Paul Gabrielson, Jefferson), 9 verve, intelligence, and authenticity. The Sonny Clark Nordstrom Recital Hall (200 University St), 7:30 EB Todd Hymas w/ Darin Clendenin, 7 Memorial [then] Quartet released its debut album CH Paul Hoskin, 8 JA Billy Cobham Palindrome Tour, 7:30 & 9:30 Voodoo on Black Saint in 1986, featuring Horvitz, DL Who Da Bossa, 9 HS Milo Petersen Trio, 7:30 JA Billy Cobham Palindrome Tour, 7:30 & 9:30 LJ Plei w/ Michael Avery, 9:30 MM Joseph Rojo, 9 SF Kiko de Freitas, 9 TD Garfield High School Jazz Band w/ Roxy Coss, 7 & 9:30 TD Garfield High School Jazz Band, 7 & 9:30 TH Lance Buller w/ Phil Sparks, Chris Spencer, & Mike Slivka, 9 TU The Kora Band, 7:30 WS Victor Janusz, 5 SATURDAY, OCTOBER 16 C* Gail Pettis, Lakeside Bistro (11425 Rainier Ave S), 7 C* Chicago Underground Duo, EMP/SFM Level 3 (325 5th Avenue N), 8 C* Blues Healers, Prohibition Grille (1414 Hewitt Ave, Everett), 8 CH Eugene Chadbourne & Mural, 8 JA Billy Cobham Palindrome Tour, 7:30 & 9:30 LJ Forever Growing, 9:30 MM Rotating Cabaret, 8 SF Leo Raymundo Trio, 9 SY Victor Janusz, 10am TD How Now Brown Cow, Musicquarium, 9 TD Vagabond Opera, 7:30 & 10 TH Lance Buller w/ Phil Sparks, Chris Spencer, & Mike Slivka, 9 TU Jay Thomas: Tribute to Milt Kleeb, 7:30 SUNDAY, OCTOBER 17 BA Here. Now., 7:30 C* Anita Wardell w/ Bill Anschell, Camano Island (jazzvox.com), TBA C* Jam w/ Bob Strickland, Prohibition Grille (1414 Hewitt Ave, Everett), 5 CR Racer Sessions, 8 GB Primo Kim, 6 JA Billy Cobham Palindrome Tour, 7:30 MM Adam Creighton, 7:30 SF Jerry Frank, 6:30 SF Danny Ward, 11am SY Victor Janusz, 10am TD Robert Glasper Trio, 8 TU Roxy Coss Quartet, 7:30 TU Jay Thomas Big Band, 4 MONDAY, OCTOBER 18 AM Ronnie Pierce Jazz Ensemble, 7:30

52 • EARSHOT JAZZ • October 2010 GB Primo Kim, 6 C* Darius Jones Trio, Rainier Valley Cultural Center C* Bill Mattox Trio, Prohibition Grille (1414 Hewitt MM Howard Dixon, 7:30 (3515 S Alaska Street), 8 Ave, Everett), 5 NO New Orleans Quintet, 6:30 C* Bad Luck & Trouble w/ Jim Dilani, Prohibition C* Hook Me Up w/ Keely Whitney, Marine View PT Better World w/ Marc Smason & Joanne Klein, Grille (1414 Hewitt Ave, Everett), 8 Church (8469 Eastside Dr NE, Tacoma), 5 8:30 C* Mejor Mundo, Agua Verde Café & Paddle Club CR Racer Sessions, 8 TD Open Mic, Musicquarium, 8 (1303 NE Boat St), 12:30 GB Primo Kim, 6 TD Recoil/ Alan Wilder of Depeche Mode, 7:30 CM Dana Lupinacci Band, 7 JA Manhattan Transfer, 7:30 & 10 TO Michael Shrieve”s Spellbinder, 9 JA Manhattan Transfer, 7:30 & 10 MM Adam Creighton, 7:30 TU Jam w/ Darin Clendenin Trio, 7:30 LJ New Seattle Percussion Trio, 9:30 SE Jean-Michel Pilc, 3 MM Rotating Cabaret, 8 SF Anne Reynolds & Tobi Stone, 6:30 TUESDAY, OCTOBER 19 SF Tim Kennedy Trio, 9 SF Alex Guilbert Duo, 11am CH Lina Allemano Four, 8 SY Victor Janusz, 10am SY Victor Janusz, 10am JA Melissa Morgan, 7:30 TD DJ Spooky w/ Joshua Roman & Odeon Quartet, TD DJ Bamboo, Musicquarium, 9 MM Karin Kajita, 7:30 Paul Rucker, 7 & 10 TD Gretchen Parlato Group & Tia Fuller Quartet, MX Don Mock, Steve Kim, Charlie Nordstrom, 9 TD DJ Spooky w/ Josh Roman, 7 & 10 7:30 NO Holotradband, 7 TH Lance Buller w/ Phil Sparks, Chris Spencer, & TU Jim Cutler Jazz Orchestra, 8 OW Jam w/ Eric Verlinde & Jose Martinez, 10 Mike Slivka, 9 TU Easy Street, 4 SB McTuff Trio, 10 TU Wellstone Conspiracy CD release: Motives, 7:30 TD Toshi Reagon & Meklit Hadero, 7:30 MONDAY, OCTOBER 25 TU Roadside Attraction, 8 SUNDAY, OCTOBER 24 AM Ronnie Pierce Jazz Ensemble, 7:30 BA Here. Now., 7:30 CH Christopher Heeman, 8 WEDNESDAY, OCTOBER 20 C* Richard Allen, Prohibition Grille (1414 Hewitt, Everett), 6 JA Melissa Morgan, 7:30 LJ Deseo Carmin, 8:30 MM Bonnie Birch, 7:30 NO Legacy Band w/ Clarence Acox, 8 TD Off Deep End, Musicquarium, 9 Tula’s Jazz Calendar October 2010 TD Grievous Angel - Legend of Gram Parsons, 7:30 Tula’s2214 SecondRestaurant Ave, Seattle, and Nightclub WA 98121 Reservations:october 206-443-4221 2010 TK Ron Weinstein Trio, 8 2214www.tulas.com; Second Avenue, for reservations Seattle, WAcall (206)98121 443-4221 TULAS.COM TU Richard Cole Quintet CD release Inner Mission, SUNDAY MONDAY TUESDAY WEDNESDAY THURSDAY FRIDAY SATURDAY 7:30 1 2 EARLY ARRIVAL DISCOUNTS THURSDAY, OCTOBER 21 MONDAY thru THURSDAY: Make dinner reservations and arrive by 7:00 pm to Stephanie Katie King BC Clark Gibson Trio, 9 receive a 10% discount on all food items. Porter CD Release 3pm $15 incl.CD C* Killerbees, Waid’s Haitian Cuisine (1212 E FRIDAY & SATURDAY: Make dinner reservations and arrive by 7:00 pm to receive a $5 discount on your cover charge. Quartet Susan Jefferson), 9 7:30pm $15 Pascal CH David Haney/ Julian Priester Duo, 8 EARSHOT JAZZ: No discounts on EARSHOT events. EARSHOT events have MIDNIGHT ROCK: JA Manhattan Transfer, 7:30 & 10 three-tiered cover pricing: General, Members & Seniors, and Students w/ID. SPEKULATION Quartet 7:30pm $15 LJ Hang w/ Teaching, 9:30 3 4 5 6 7 8 9 MM Jerry Zimmerman, 7:30 Reggie Goings VOCAL JAM BIG BAND JAZZ BIG BAND JAZZ Danielsson NO Ham Carson Quintet, 7 hosted by Gail Greta Jazz Offering Jay Smith/ Quartet w/ TD Eduardo Mendonca, Musicquarium, 9 3-7pm $8 Greta Pettis Matassa TD Woodbox Beats & Balladry by Daniel Bernard Jim Cutler Matassa Thomas Staelens Michelle Quartet Quartet Roumain, 7 & 10 Jazz Orch. 7:30pm $10 Big Band Big Band Amato 7:30pm $15 7:30pm $15 TK Jon Alberts, Jeff Johnson, Tad Britton, 8 8pm $5 7:30pm $5 7pm $10 7:30pm $15 TU Nelda Swiggett Trio, 7:30 10 11 12 13 14 15 16 Jazz Police Seattle BIG BAND JAZZ Wayne EARSHOT JAZZ EARSHOT JAZZ 3-7 $5 Composer’s Emerald Hochiwichi The Kora Jay Thomas: FRIDAY, OCTOBER 22 Jim Cutler Acoustic Horvitz Tribute to AM Lonnie Williams, 9 Ensemble City Jazz Sweeter Than Band Jazz Orch. 7:30pm Swing Jazz 7:30 $15 gen Milt Kleeb C* Ryan Shea Smith, Lakeside Bistro (11425 8pm $5 Orchestra 7:30pm $5 the Day $13 M&S, $10 St 7:30 $15 gen $15 gen/$5 stu. $13 M&S, $10 St Rainier Ave S), 7 7:30pm $5 7:30pm $12 C* Danny Ward, Prohibition Grille (1414 Hewitt Ave, 17 18 19 20 21 22 23 Jay Thomas JAZZ JAM BIG BAND JAZZ EARSHOT JAZZ EARSHOT JAZZ EARSHOT JAZZ EARSHOT JAZZ Everett), 8 Big Band Richard DL Who Da Bossa, 9 w/ Darin Nelda Retta Wellstone 4pm $5 Roadside Cole HS Jay Thomas Quartet, 7:30 EARSHOT JAZZ Clendenin Attraction Swiggett Christie Conspiracy JA Manhattan Transfer, 7:30 & 10 Roxy Coss Trio 8pm $8 Quintet Trio Trio 7:30 $12/$10/$6 7:30 $12/$10/$6 CD Release LJ Tom Collier Trio, 9:30 Quartet 7:30pm $10 CD Release 7:30 $12/$10/$6 7:30 $10/$8/$5 7:30 $12/$10/$6 MM Joseph Rojo, 9 24 25 26 27 28 29 30 SF Fred Hoadley Trio, 9 Easy Street EARSHOT JAZZ EARSHOT JAZZ EARSHOT JAZZ EARSHOT JAZZ EARSHOT JAZZ TD James Carter & John Medeski Heaven on Earth Steve 4pm $8 Jay Clayton Mark Murl Allen Tessa Tessa Band, 7 & 9 Jim Cutler Griggs Taylor Sanders TH Lance Buller w/ Phil Sparks, Chris Spencer, & Jazz Dawn Clement Souter Souter Ensemble Quartet Quartet Quartet 7:30 $15 gen 7:30 $15 gen Mike Slivka, 9 7:30pm $10 $13 mem/sen $13 mem/sen Orchestra 7:30 $14/$12/$7 7:30 $15/$13/$7 w/Warren Rand $7 student w/ID $7 student w/ID TU Retta Christie Trio, 7:30 8pm $5 7:30 $12/$10/$6 WS Victor Janusz, 5 31 Fairly Honest Tula’s Restaurant and Jazz Club 3pm $5 Presenting the best of Seattle jazz. SATURDAY, OCTOBER 23 EARSHOT JAZZ BP Dave Frishberg, 7:45 Featured in Downbeat Magazine’s Guide Rufus of 100 Great International Jazz Clubs. C* Sam Chambliss, Lakeside Bistro (11425 Rainier Reid Trio Ave S), 7 7:30 $12/$10/$5 “This is a cool place...” Wynton Marsalis

October 2010 • EARSHOT JAZZ • 53 GB Primo Kim, 6 WEDNESDAY, OCTOBER 27 EB Dina Blade & Hans Brehmer’s Jazz Vocal MM Howard Dixon, 7:30 C* Richard Allen, Prohibition Grille (1414 Hewitt, Students, 7 NO New Orleans Quintet, 6:30 Everett), 6 JA Irma Thomas, 7:30 PT Better World w/ Marc Smason & Joanne Klein, C* Improv Clinic w/ Dave Peck FREE, Seattle Drum LJ Hang w/ Teaching, 9:30 8:30 School L.A.B. (12510 15th Ave NE), 7:30 MM Jerry Zimmerman, 7:30 TD Roosevelt High School Jazz Band, 7 JA Spencer Day, 7:30 NO Ham Carson Quintet, 7 TO Michael Shrieve”s Spellbinder, 9 LJ Vocalize-It w/ Jennifer Hopkins, Jennifer Lovena, TD Selectas Jigsy & Matsui, Musicquarium, 9 TU Steve Griggs Ensemble, 7:30 8:30 TD Charlie Musselwhite w/ Son Jack Jr., 7:30 MM Bonnie Birch, 7:30 TK Jon Alberts, Jeff Johnson, Tad Britton, 8 TUESDAY, OCTOBER 26 NO Legacy Band w/ Clarence Acox, 8 TU Matana Roberts, solo & w/ Seattle artists, 8 C* Scott Amendola Trio, PONCHO Concert Hall, TD 125 w/ 214 aka Chris Roman, Musicquarium, TU Murl Allen Sanders Quartet w/ Warren Rand, 7:30 Cornish (710 E Roy St), 8 9:30 JA Spencer Day, 7:30 TD Ben Black, Lincoln Briney, Valerie Joyce, 9:30 FRIDAY, OCTOBER 29 MM Karin Kajita, 7:30 TD Teaching, 7 AM Lonnie Williams, 9 MX Don Mock, Steve Kim, Charlie Nordstrom, 9 TK Ron Weinstein Trio, 8 C* Deems Tsutakawa, Lakeside Bistro (11425 NO Holotradband, 7 TU Mark Taylor Quartet, 7:30 Rainier Ave S), 7 OW Jam w/ Eric Verlinde & Jose Martinez, 10 C* First Things First, Prohibition Grille (1414 Hewitt SB McTuff Trio, 10 THURSDAY, OCTOBER 28 Ave, Everett), 8 TD Matt Jorgensen’s Tattooed by Passion, 7:30 BC Clark Gibson Trio, 9 CH Dave Peck, 8 TU Jay Clayton/ Dawn Clement Quartet, 7:30 C* Killerbees, Waid’s Haitian Cuisine (1212 E DL Who Da Bossa, 9 Jefferson), 9 EB Dina Blade & Hans Brehmer, 7 C* Ordo Sakhna, Town Hall (1119 8th Ave), 7:30 HS Greg Williamson Quartet, 7:30 JA Irma Thomas, 7:30 & 10 MM Joseph Rojo, 9 SE Steve Lehman Octet, 8 SF Alex Guilbert Trio, 9 TD Das Schwa, Musicquarium, 9 TD 5th Can Can Halloween Spectacular, 7 & 10 Earshot Jazz pr E s E n t s TH Lance Buller w/ Phil Sparks, Chris Spencer, & Mike Slivka, 9 TU Tessa Souter, 7:30 WS Victor Janusz, 5 Seattle Repertory Jazz Orchestra SATURDAY, OCTOBER 30 + vocalists Everett Greene & Nichol Eskridge BP Little Bill & Bluenotes, 7:45 C* Greta Matassa, Lakeside Bistro (11425 Rainier + NW Chamber Chorus Ave S) C* Richard Allen, Prohibition Grille (1414 Hewitt Ave, Everett), 8 C* SRJO, “Jazz Goes to the Movies,” Nordstrom Recital Hall (200 University St), 7:30 Duke ellington’s C* Workshop w/ Steve Lehman FREE, Poncho Concert Hall, Cornish (710 E Roy St), 3 C* Evening w/ Mavis Staples, Town Hall (1119 8th Ave), 7:30 C* Ryuichi Sakamoto, Moore Theatre (1932 2nd Sacred MuSic Ave), 8 JA Irma Thomas, 7:30 & 10 LJ Zizzy Zi Zixxy, 9:30 MM Rotating Cabaret, 8 SF Leo Raymundo Trio w/ Sue Nixon, 9 Sunday SY Victor Janusz, 10am TD 5th Can Can Halloween Spectacular, 7 & 10 december 26, 2010 TH Lance Buller w/ Phil Sparks, Chris Spencer, & Mike Slivka, 9 7:30pm TU Tessa Souter, 7:30 SUNDAY, OCTOBER 31 Town Hall Seattle BA Here. Now., 7:30 1119 Eighth Ave (at Seneca) C* Jam w/ Bob Strickland, Prohibition Grille (1414 Hewitt Ave, Everett), 5 CR Racer Sessions, 8 $34 / $26 GB Primo Kim, 6 Tickets available at JA Irma Thomas, 7:30 brownpapertickets.com MM Adam Creighton, 7:30 1.800.838.3006 SF Jerry Frank, 6:30 SF Conlin Roser Guitar Duo, 11am SY Victor Janusz, 10am Earshot Jazz TD 5th Can Can Halloween Spectacular, 7 & 10 p: 206.547.6763 w: www.earshot.org TU Jim Cutler Jazz Orchestra, 8 TU Fairly Honest Jazz Band, 3 TU Rufus Reid Trio, 7:30

54 • EARSHOT JAZZ • October 2010 SATURDAY, NOVEMBER 6, CHAPEL PERFORMANCE SPACE, 8 Thomas Marriott New Chamber-Jazz Ensemble $14 general, $12 members/seniors, $7 uffre’s clarinet, Gunther Schuller’s students French horn, the way a cello can elide Of all the instruments associated what a brass instrument blurts out. with the “Third Stream,” the trumpet But Thomas Marriott has been a mas- always seemed too blaring, with too ter of textures since his career began many immediate blasts and incongru- here in the 1990s. He keeps coming ously declarative tendencies. In the up with great ideas, too, with his Wil- PHOTO OF THOMAS MARRIOTT BY DANIEL SHEEHAN era when post-bop melded with the lie Nelson Project veering through the the same time as he’s been driving his post-classical, the blurring of genres country songwriter’s oeuvre in a thrill- harder-bop Flexicon quintet and then seemed to need instruments that could ing thrall. Meanwhile, he’s been work- two new sessions coming from Origin be blurry overall. Think of Jimmy Gi- ing on his new chamber ensemble, at Records, Marriott’s first set of his own compositions (Constraints and Libera- tions) and then a churning Hammond B-3 set with Gary Versace tackling the piano on the former and the B-3 on the latter. As is clear, Marriott has no trouble with territory, and his new chamber ensemble will further confirm the matter. -Andrew Bartlett SUNDAY, NOVEMBER 7 KIRKLAND PERFORMANCE CENTER, 3 Seattle Repertory Jazz Orchestra: Jazz Goes to Hollywood See Seattle Repertory Jazz Orchestra, October 30 SUNDAY, NOVEMBER 7 PONCHO CONCERT HALL CORNISH COLLEGE OF THE ARTS, 8 Jack Wright / Gust Burns Large Ensemble $12 general, $10 members/seniors, $6 students See Jack Wright / Gust Burns, No- vember 3

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ear10_program_cover_4c_r2.pdf 9/22/10 12:30:40 AM 12:30:40 9/22/10 ear10_program_cover_4c_r2.pdf october Photo of DBR (see schedule; Oct 21) by Julieta Cervantes Julieta by 21) Oct schedule; (see DBR of Photo Classifieds 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. shipping. Good service/prices. www.cadencebuilding.com; (315) shipping. Good service/prices. www.cadencebuilding.com; 287-2852. JAZZ RECORDS: videos, books. Over 1500 labels, domestic & imports. Worldwide CLASSIFIEDS Jazz around the Sound Earshot Jazz Festival 2010: Concert Previews Earshot Jazz Festival 2010: Films Earshot Jazz Festival 2010: Schedule Earshot Jazz Festival 2010: Tickets and Information and Information Earshot Jazz Festival 2010: Tickets Hadley Caliman Earshot Jazz Festival 2010: Introduction In One Ear Notes IN THIS ISSUE... K Y M C CY MY CM CMY