INSIDE: Earshot Fall Series Application; Jay Thomas; Jazz Police
Earshot J Seattle, August 1989 A Mirror and Focus for the Jazz Community . flj ^ Jazz Passenger Jim Nolet Has Come a Long Way Playing Jazz9s History and Future
The sun-bathed crowd that attended the amazing Earshot Festival '89 concert at the Good Shepherd Center last June is still talking about New York's Jazz Passengers, whose Seattle debut was one ofthe great jazz events ofthe year so far. They're also still talking about violinist Jim Nolet, whose zany, no-holds-barred bowing combined the CDs: technical daring of Leroy Jenkins Are They Good For c with the loose-el bowed abandon Jazz? I of a country fid Notice that record stores no longer dler. seem to carry records? Compact discs I Nolet was have won the battle for shelf space in • si as born in Dallas and most shops. And, within three years, moved to Seattle CDs may well become the principal when he was ten. means of issue for new jazz from He started on major labels like Columbia, Concord, classical violin at RCA, and Warner Brothers. age 8, studying There's no denying that compact here with Chris discs are a technological break tine Olason ofthe through. They are easier to use and Northwest Cham store, and they last longer and sound ber Orchestra. By better than their low-tech predeces Jim Nolet the time he was sors. And because of their greater 13, he was play capacity, CDs make it possible for ing professionally with his brothers .guitarists Dave and Tom, whom he acknowledges record companies to add extra tracks as major inspirations, in a little rock band called Mirage. or alternate takes to CD releases. The "My brothers played me Omette Coleman and Eric Dolphy," says Nolet. "But I lis new format has also given labels such tened to everyone—Parker, Sonny Rollins, Monk, the Clash, David Bromberg, Taj as RCA Bluebird reason to dig back Mahal, Neil Young, Ernest Tubbs, Doc Watson, Merle Haggard. I like country music. into the vaults and re-issue record I even played fiddle some, in bluegrass bands in Bellingham." ings that haven't been available for After high school (around 1980-81: Nolet was somewhat vague on dates), he at 20 years or more. tended Cornish College, notan altogether successful experiment. Nolet fondly acknowl The CD revolution has lots of jazz edges former Cornish instructor Gary Peacock as "one ofthe best teachers you could ever listeners contemplating the plunge have. I wish I had been in a better situation to learn from him." But he now feels his most into CD technology. But there's a dark valuable education has come from outside institutions. "The thing I liked about Cornish side to this revolution that goes be most of all was intramural basketball, in which Art Lande was head coach!" yond the typically skimpy liner notes While at Cornish, Nolet gigged around Seattle at such places as Matzoh Momma, that come with CDs, and the cost of the Scarlet Tree and (the now defunct) Ernestine's ("I sucked"), but the Northwest's CDs and CD players, which tend to mellow, Windham Hill-influenced atmosphere didn't satisfy his hankering for more require expensive repairs. exciting avant-garde fare. Seeking wider horizons, Nolet moved to New York, working The problem is that the music in as an accountant in the daytime and making his way on the club scene at night. He quickly dustry's changeover to the CD for hooked up with soon-to-be-fellow Passenger, Bradley Jones, and guitarist Dave Tranzo. mat is not driven merely by technol John Lurie heard their trio and invited Nolet to record on a Lounge Lizards album. When ogy, but also by economics. (When Lurie cohorts Roy Nathanson and Curtis Fowlkes decided to start the Passengers, they ever those two forces get together, it called Nolet. usually means bad things for jazz.) "The Passengers have been great for me," says Nolet."I wasn't expecting to get continued on page 4 continued on page 13 1 Got any news or gossip to share with the jazz community? Leave a message on our Earshot answering machine (547-6763), or call Sandy Burlingame at 325-4123. Please note our change of address! It'snow 3429 Fremont emuwL Place, #303, Seattle, WA 98103 ... Despite the fact that less than 25 Applications for the Earshot Jazz Fall Concert Series are due August 15. See the application form on page 6 of this issue ... A new percent of the U.S. population are fellowship for jazz composers has been established by A.T.& T. and the smokers, very few establishments that Rockefeller foundation. The program will provide grants for composers who feature entertainment are smoke-free. will work in residence with ensembles or music theater companies. The appli My interest in this issue is simple. I cation deadline is October 16. More info from Meet the Composer, 2112 Broad have been a professional musician for way, Room 505, NY, NY 10023 ... Paul de Barros has been selected to participate on a about ten years and have suffered greatly National Endowment for the Arts panel to discuss the NEA's jazz program. Paul also has an from the detrimental effects of article appearing in the September issue of Washington magazine. The piece is a preview of secondary smoke. I am determined to be the Roots of Jazz project and includes vintage photographs ... Jim Knapp has received an able to perform in healthful, smoke-free Individual Artist Grant of $2000 from the Seatde Arts Commission... Many thanks to Gaye ofthe New Orleans Restaurant for her generous assistance with Earshot's Summer Festival. environments. Thanks also to Art Chantry for his generosity in designing the festival poster ... Missing The creation of such establishments Link Music, an international cassette mail-order catalog, is now accepting tapes for their 1990 will require the support and patronage of catalog. Deadline for submissions is September 30. For more information, call (206) 633-2258 the non-smoking community. If you are ... Danny Embrey has moved to Kansas City. He will appear August 29 at Zanzibar's in New interested in this project, please contact York with Peggy Stern, who spent the last two weeks of July in the Seattle area after me. performing with Diane Schuur in Cape Cod... Bumbershoot is looking for volunteers. Call 622-5123 ... KBCS, which gave fine live coverage of the Bellevue Jazz Festival, needs a Douglas Miller volunteer for the jazz library, outreach and correspondence. Call 641 -2427... Drummer Mike 2609 Broadway E. Sarin, who now lives in New York, will be gigging around Seattle for the month of August ... Washington State Arts Commission Artist Fellowship Awards applications are due Seattle, WA 98102 August 31,1989. Call 753-3858 or write WSAC, 110 9th & Columbia Bldg., Mail Stop GH- 11, Olympia, Wa. 98504-4111... With assistance from Centrum, Earshot sponsored three scholarship students from Seattle at Bud Shank's Port Townsend Workshop in July ... Non-smokers who like jazz can find Kenny Mandell moves his Creative Music Series to the AFLN Gallery on 16th and Madison refuge in the Trolleyman Pub at the Red this month (see calendar)... Next time you're in AKA Books, ask for the store's list of jazz Hook Ale Brewery in Fremont, which titles. The current list includes more than 30 books, from jazz biographies and histories to features live jazz Monday nights. If you novels ... Good new s for public schools: trumpeter Jon Pugh takes over as music director of know of other non-smoking clubs that Redmond's Evergreen Junior High. He will work closely with John Logan, who has offer jazz, please tell us. —Ed. transferred to Redmond Junior High from the high school. Don Lanphere will offer private lessons at Seattle's Garfield High this fall. Don goes into the studio this month to record a Christmas jazz album... De-Lights Restaurant on South Fawcett in Tacoma has started booking live jazz from noon until 2 p.m. Monday through Friday ... Wayne Horvitz and Robin Holcomb are back from New York, where they put their New York Composers Orchestra through the paces ... Ralph Towner wound up his tour with Gary Burton at the Montreal Jazz Festival... Jay Clayton was profiled on National Public Radio's "Morning Earshot Jazz Edition" in July ... Harmonica and accordian player Murl Allen Sanders has a gig at the Vol. 5 No. 7 Thirteen Coins at Sea-Tac, playing solo Friday and Saturday nights, and with his trio Sunday and Monday nights... Earshotneeds volunteers to distribute newsletters inBellevue,Capitol ©1989 Earshot Jazz Hill, Queen Anne, and other neighborhoods. If interested, please call Brian at 523-6564 Editor: Brian McWUliams Assistant Editor: Charles Smyth Art Director: Seiko Sato Calendar Editor: Bob Mariano, 364-9357 Advertising Mgr: Jeff Ferguson, 328-6199 Staff Writers: Sandra Burlingame, Todd Bill Frisell Returns to Seattle Campbell and Joseph Murphy. Contributors: Herb Levy, Ted Dzielak, Paul For Studio Session de Barros, Ken Wiley, Susan Golden, Gary Bannister, and Roberta Penn. Bill Frisell, whose performance at Coltrane has cleared the way for MCA Mailing: Lola Pedrini records to re-mix and prepare for release Computer assistance: Rich Minor Earshot's summer festival electrified Distribution: Jim Knodle crowds, is returning to Seattle this the studio's master tapes of a live 1965 Earshot Board of Directors: Cherrie Adams, month—to make a recording at John Coltrane session at the Penthouse Gary Bannister, Don Brown, Sandra Ironwood Studios. The session is being club in Seattle. (An article in the May Burlingame, Judy de Barros, Vince Gonzales, Anthony Greenwald, Lola Pedrini, Mark produced for Elektra records by Wayne 1987 Earshot detailed the discovery of Solomon & Peter Davenport. Horvitz, who recommended the studio to the live recordings.) Scoles is still in General Information, (206) 547-6763. Frisell. (According to Ironwood's Paul search of a label for his "Emerald City Address all correspondence to: Scoles, Horvitz went around town Jazz" album which has been getting local 3429 Fremont PL, #303, Seattle, WA 98103. checking out pianos in the various radio airplay. Michael Powers, Marc Seales, and Greta Goehle are among the The monthly newsletter Earshot Jazz is printed recording studios, and liked best by Murray Publishing Company of Seatde, Ironwood's Yamaha C7E grand piano, Seattle musicians featured on the album, 2312 Third Ave. which is equipped with MIDI sensors.) which is available from Scoles. Scoles also reports that Alice The
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3119 Eastlake E • (206) 323-8855 Nolet, continued from page 1 ROBERT B. MEADOR hooked up with a band like this so soon. I was very lucky. They are special in the PRODUCTIONS way that we learn from each other." The AUDIO RECORDING slow process of learning to play jazz has been an eye-opener for Nolet: "When • SIXTEEN TRACK you're young, you think you're going to learn your instrument and things are going • DIRECT TO 2 TRACK to go 'boom.' But it doesn't happen that way. Things go real slow. Especially with violin." • MIDI PRODUCTION Living in New York has been a SPECIALIZING IN THE RECORDING OF breakfast, lunch & dinner musical eye opener for this Northwest ACOUSTIC MUSIC musician, too: "In the East, you have a weekdays 7 am -10 pm totally different set of giants who are BOOK TIME BEFORE THE END OF AUGUST Fri & Sat 'til 4 am revered. Back there, it's Benny Golson, AND RECEIVE A 107, DISCOUNT Sunday brunch 'til 3 pm Sonny Rollins or J.J. Johnson. Here, it's CONTACT BOB MEADOR Maynard Ferguson, Miles Davis in the 212 Alaskan Way S • 621-7093 cool era, and Bill Evans. I'm still learning (206) 523-7820 about names over there. You sit around the table with musicians and they talk names you never heard of. "I learned about roots in music in THE 4TH ANNUAL New York. I learned about history. When I hear great schooled musicians, they might GIG HARBOR JAZZ FESTIVAL be playing the right notes and the right rhythm, but they're not playing the right history. When you hear the Passengers, we're playing the history and future at the same time." —Paul de Barros
Would you be willing to distribute Earshot in your neighborhood? Call Brian at 523-6564 Dee Daniels, Festival Hostess with • HANK CRAWFORD & JIMMY McGRIFFD BOBBY HUTCH- ERSON QUARTET • JEANNIE & JIMMY CHEATHAM & THE BABYBLUESBANDDMELBROWNSEXTETDEDDIE HARRIS • DON LANPHERE QUARTET • NATE BREEDLOVE & HADLEY CALIMAN • JAZZ POLICE WITH GRETA GOEHLE • BILL WATROUS QUARTET • STEVE MUNGER QUARTET • ROADSIDE ATTRACTION • LONNIE WILLIAMS • THE AIRFORCE BIG BAND • AND MORE! AUGUST 12 & 13,1989 recording co. CELEBRATIONS MEADOW KLUB KEV'S recording co. GIG HARBOR Bringing Seattle the Finest 628-0888 in Recording Equipment and Personnel. Tickets at Ticketmaster or BON MARCHE & TOWER (206) 527-2250 (tax deductible: The Gig Harbor Jazz Festival is a benefit for Interaction/Transition) Mirroring the diversity of the Northwest jazz scene, Earshot's Summer Festival featured styles ranging from blues and swing to metajazz. Called "an ambitious achievement" by the Seattle Times, the Festival included several Seattle- debut performances. Thanks to the hard work of organ izers John Kurtzerand Mark Solomon, along with nu merous volunteers, the Festival was the successful start of what we hope will become a summer tradition. : from a more aggressive, bluesy approach. "Mycology" and the be-bop of "Dues Jay Thomas & All in all though—recording quality, Blues." It's as fresh as the Northwest air Cedar Walton Trio concept, and execution—Jay Thomas with and as real as Los Angeles smog. And the | Easy Does It the Cedar Walton Trio is an excellent execution of the entire set is so tight and Discovery DSCD956 piece of work. energetic that I had trouble sitting still. —Joseph Murphy It's mostly straight ahead jazz, but since Although multi-instrumentalist Jay band leader Brown paid dues with Mo Thomas has been on the scene for well Mel Brown Sextet town, everything rolls along as steady and over a decade, this is his first release. If Gordon Bleu relentless as the wheels on an r&b tour the wait was required to work up this Gleeful Music GL001 bus. combination of players and performances, The ensemble work is solid and ev then it was well worth it. In the tradition Anytime an American album title has ery solo right on the money. Lee's piano of Benny Carter, Ira Sullivan, and even a reference to something French, I'm im work is rootsy but vehement, and the horn Ornette Coleman, Thomas has taken on mediately suspicious: it's usually preten section (Warren Rand, alto; Thara Mem the formidable task of finding both a reed tious, easy-listening music that'll make ory, trumpet; Michael York, tenor) pro and trumpet voice. Although the record the unsophisticated listener feel classy. vides potent but poetic dynamics that ing more prominently displays his stronger But one listen to the opening, title explode bop into the now. Tim Gibson's trumpet voice, it is clear that Thomas, cut of Gordon Bleu and my fears bass is liquid and Brown's drumming has an individual tenor voice as well. melted. It's a sassy, swinging ticks along as steady but not as predictable On trumpet, Thomas is one o£ %^t^^ blues that mixes pop and as a biological clock. those modern classicists who, Jk ^^1 ^jazz into a sound that's The Mel Brown Sextet currently can Miles one moment and ^ ^r genuine and certified works out of Portland so we claim them as Brownie the next, without miss American-made. our own, but don't bet on these locals ing a beat or sounding strained in The title's play on words is in being around for long. The group' s recent transition. His strong tone and facility reference to the composer of seven appearance at the Playboy Jazz Festival in combine with marvelously inventive solo of the album's ten tunes, Gordon Lee, Los Angeles, combined with this rousing ideas to carry standards such as "Secret pianist for the Portland-based sextet. Lee's debut release, will probably put them in Love" and "Some Other Time" and push material ranges from lyrical numbers like the international jazz spotlight. up the energy on Cole Porter's "Dream "Without" to the fusionistic sounds of —Roberta Penn Dancing" and "Getting Sentimental Over You." The inclusion of blues-based gems | 1 "Blue Trane" and Walton's thoroughly Earshot Jazz Fall Series '89 infectious "Jacob's Ladder" nicely offset The EarshotJazz Series '89 application deadline is August 15,1989. Forthefall series, oureighth, we areonce the standards and provide a showcase for again looking for groups of any persuasion. Your material needn't be original compositions. (Groups that played the trombone chorus orchestrated by Bill Earshot's Summer Series are ineligible.) If interested, please fill outthe application below, and sendusa tape, preferably of the workyou actually intend Ramsay. to perform. The series of concerts will take place in mid-October and early November. Ana1—oh, yes—not a bad backup trio. As recent patrons of the Cedar Walton APPLICATIONS MUST BE RECEIVED OR POSTMARKED BY AUG. 15,1989 AT 5:00 PM. Trio can attest, this is a group that can Name of Group perform the most delicate trio filagrees Personnel one tune and sound like the entire Basie band the next. If you wanted to cite the Contact person. most diverse and dynamically sound Phone piano trio working in jazz today, a prime Address contender would be this one with Walton City. on piano, Billy Higgins on drums, and Zip David Williams on bass. On this set it is Brief description of the program you would like to present: easy to see why. Check out Walton's uncanny comping, dovetail fills and unhesitating but always complementary solos. Or Higgins' smooth-as-mayonnaise press rolls, brush work, and line playing. For further information, contact Mark Solomon at (206) 547-6763 Send to Earshot Jazz, 3429 Fremont PI., #303, Seattle, WA98103 Or Williams' hand-in-glove time lock with L J Higgins. A soloist could ask for no more. Thomas's solos reflect the ease and ac complishment of his backing trio, as back ground and foreground seem to dissolve. As fine as this recording is, I can't help feeling it could have been better. Perhaps rushed in the recording studio, or tainted by the producer's tendency to play the percentages in choosing certain tunes, this recording could have benefited 6 A Night in Sandoval the melody, the two men sitting or nothin' like that."); why the bell of his side-by-side at a grand piano in the trumpet is angled skyward (a man in a Havana: courtyard of an old Cuban mansion, Chicago club filled with mobsters bent FILM surrounded by banana trees and middle- one years ago when Diz hit a high note Dizzy Gillespie in aged Russian tourists. that interfered with his conversation; Cuba Throughout, the Cuba of A Night In Gillespie liked the look, as well as the Havana is strictly a colorful backdrop— thousand dollars the man gave him); and Films about jazz are a bit like snow an exotic locale filled with smiling natives where all his strength comes from ("It's storms in Seattle: once a year one will and lush flora. Interspersed between the not your stomach, it's your asshole. If you arrive with little warning, then disappear concert and travel footage is an interview don'ttighten your asshole, your diaphragm before you've had a chance to really with Gillespie in New York after the trip, will never get tight.") Sitting in his living appreciate it. A Night in Havana: Dizzy in which he answers some ofthe questions room, Gillespie, the elder statesman of Gillespie in Cuba, which made a brief that jazz fans have been wondering about bebop, is a repository of jazz lore that he appearance last month at the Grand Illu for years, like what the deal is with his conveys with relish; he is the hip, funny sion, was the latest in a recent two-film cheeks ("I don't know what happened to grandfather everyone wishes for. flurry of jazz cinema—Clint Eastwood's my face, it just went that way. It don' t hurt —Todd Campbell dark docudrama, Bird, being the first. Part documentary, part concert film, A Night in Havana features snippets of If you missed A Night In Havana during its run in July, live performances (it would have been you have a second chance to catch the film when it returns nice if director John Holland had stayed to the Grand Illusion as part of a warm-up toDiz's three- with just one song from beginning to end) day sdnt at the New Orleans Restaurant in Pioneer with some electrifying footage of Square, September 10,11, and 12. (Movie showtimes were Gillespie' s band joined by a host of Cuban not worked out at press time; call the Grand Illusion for musicians, including the brilliant trumpet details.) The only thing better than Gillespie in his living player, Arturo Sandoval. Equally riveting room on film, of course, is Gillespie in a cozy restaurant. is a quiet little blues duet, with Gillespie Don't miss it. providing appeggiated chords and
500 musical examples, the book will most Harlem Renaissance writers (Langston likely be read only by determined jazz Hughes, Claude McKay, Zora Neale BOOKS fans. Still, it's worth the effort. Hurston), the Lost Generation writers Schuller's book is divided into ten (Gertrude Stein, F. Scott Fitzgerald, et "The Swing Era: The Development chapters, with topics including Benny al.), jazz oral histories, biographies, and numerous newspaper accounts. of Jazz, 1930-1945" Goodman, Duke Ellington, Louis Arm strong, "The Quintessence of Swing," Ogren sees jazz and its surrounding Gunther SchuUer "The Great Black Bands," "The Great culture defined by what she calls collec Oxford University Press Soloists," "The White Bands," and other tive participation, an idea that weaves topics, and ending with "Things to Come." throughout the book. She believes the rich "The Jazz Revolution: Twenties Schuller honors jazz's twin roots of interaction between musicians and be America and the Meaning of Jazz" African and European classical traditions, tween musicians and their audiences is Kathy Ogren while documenting its unique and pro what helped, in part, to give jazz its popu Oxford University Press found influence on the music of America larity. Ogren sees this participatory nature and the world. He asserts that artists like as reflective of a characteristic of the The story of jazz has always been Armstrong, Ellington, Chick Webb, Earl black society in general. Yet reaction to more than musical; it's also a chronicle of Hines, and others possessed skills that jazz by blacks was mixed; some, includ our social, racial, and cultural relations. transcended any particular musical style ing Black Renaissance writers, argued Gunther Schuller's vast and imposing and extended the techniques of the day. that jazz cast a bad light on the black book, The Swing Era, focuses in large part The chapter on Duke Ellington is espe community. on jazz as a wonderful, creative America cially enjoyable. In examining song after Whites split largely along generation music. Kathy Ogren' s book explores jazz' s song, Schuller details the genius of Elling lines. For many ofthe young, the new and cultural and social meaning. ton. His five-page commentary on the unusual rhythms and sounds of jazz reso Schuller's writing reminds me of that tune "Cotton Tail" is an inspiration. Since nated with a society undergoing rapid by the recent, popular class of writer-sci reading the book, I' ve listened to the song change. For others, jazz was an evil re entists who explain their subject with such several times. That may be the best way to sponsible for "speeding up" society. In technical precision and thoroughness that, digest this book: borrow or buy the re the end, the economic boom of the twen if nothing else, you are astonished by how cordings, read Schuller's commentary, ties, the rise of phonograph and radio much one human being knows about one and listen with new insight to the music. technology, the migration of musicians subject That quality is both a great strength While Schuller concentrates on the from New Orleans, and—most impor and weakness of The Swing Era. It cer performance of jazz, Kathy Ogren fo tantly—the music itself, helped jazz gain tainly is refreshing to find a jazz book free cuses on the context in which jazz was an audience of millions by the end of the of pretension and sloppy scholarship. performed. To assemble this social his decade. However, with over 918 pages and over tory, she draws upon writings from the —Ted Dzielak 1 by Bob Mariano ALEXIS CAFE (First and Madison, 6244844) Michael White, Tue- Sat. Please send September BACKSTAGE (2208 NW Market St, 789-6953) Defenders, 8/4; Lara calendar information by Lavi, 8/5; Almighty Dread and the World Beat Band, 8/26. BALLARD FIREHOUSE (5429 Russell Ave, 784-3516) Sam Pierce 8/15/89 to our new address: and Pierce Arrows, 8/3; Edison Jones, plus Common Cause, 8/17; EARSHOT JAZZ, Edison Jones, 8/18-19. 3429 Fremont PL, #303 CHANDLER'S COVE (901 FairviewN, 223-2722) Bochinche, 8/26, Seattle, WA 98103 1PM. Note: Information presented here CHICAGO'S (315 First Ave N, 282-7791) Stevie & the Blue Flames, was accurate at presstime, but 8/3-5; Reputations wAom Scott, 8/10-12; Night Life, 8/17; S. A. M., changes often occur after our deadline. featuring Feff Afdem, 8/18-19; Little Jimmy & the Blues Stars, featuring Always call ahead to check. Kathy Hart, 8/24-26; Little Jimmy & the Blues Stars, featuring Kathy Hart, Nancy Clair, & Valerie Rosa, 8/31. DIMITRIOU'S JAZZ ALLEY (Sixth and Lenora, 441-9729) Dave SPECIALEVENTS: Valentin, 7/31-8/5; Ahmad Jamal, 8/7-19; Milt Jackson Quartet, 8/21- • Spectrum Dance Theater announces A Gershwin Summer Extrava 26; Nat Adderley Quartet, 8/28 - 9/2. ganza, August 3-6, at the Washington Hall Performance Gallery. Call FOUR SEASONS HOTEL, GARDEN COURT (411 University, 352-4161 for tickets and information. 621-1700) The Fred Radke Band, Fri-Sat. • Victory Music is sponsoring a series of "Country Pops" festivals THE GROVE (522 Wall St, 441-9326) Lou Bianchi, Wed-Fri. which will include jazz. "Country Pops" atMilton Park, 8/20,9:30AM- HOLLYWOOD UNDERGROUND (323 Second Ave S, 628 8964) 1 PM, features Jay Mabin. The series continues at the Parkland Roundup, Bochinche, Wed; Mark Henderson/Reggie Goings Quintet, Fri. PLU East Campus in Parkland on 8/26,10AM-2PM, with jazz by Bill LAKE UNION CAFE (3119 Eastlake Ave E, 323-8855) Jazz every Ramsay. Wed & Fri-Sat; Jazz Open Mic, Sun; Kelley Johnson w/the Dehner • Plan your entry now for The 1st Annual MARZENA New Music Franks Ensemble, 8/11 & 8/25. Performance Competition. Winners will perform during The 3rd LA RIVE GAUCHE (2214 Second Ave, 441-8121) Pierre Savoye, Annual Seattle Spring Festival of Contemporary Music in April 1990 at jazz piano, Fri; Beth Winter, Sat. the Nippon Kan Theater. To enter, you must submit a cassette, video, LATONA (6423 Latona Ave NE, 525-2238) Leo King, 8/3; Redeker, and/or written proposal by 12/1/89 to MARZENA, 17038 Evanston Ave 8/4; Brian Cutler, 8/5; Joyce Yarrow, 8/6; Victor Cummings, 8/10; Gail N, Seattle, 98133. Call 364-1856 for more information. Thomas, 8/12; DinaBlade Trio, 8/13; Bill Davie, 8/17; Kelley Johnson Trio, 8/18 & 9/3; Steve Kim Trio, 8/19; Beth Winter, 8/20; Doug Reid, CONCERTS: 8/26; Jay Clayton, 8/27. • Air Force Jazz Band, Owens Beach, Point Defiance Park, Tacoma, LOFURNO'S (206015th Ave W, 283-7898) Melody Jones, Tue-Thur; 8/2,5PM. Jazz w/various artists, Fri-Sat. • Latin Expression, Thurston County Fair, Olympia, 8/3 & 8/6. • The 8th Annual Mt. Hood Festival of Jazz runs from 8/4-6 at Mt. Hood Community College, Gresham, Oregon. Call 503-666-3819 for information. • Earl Klugh, Paramount Theatre, 628-0888, 8/5. DIZZY GILLESPIE • Pat Metheny Group, Paramount Theatre, 628-0888,8/10. • Ernestine Anderson, plus a 17-piece big band, Woodland Park Zoo, and his 628-0888,8/12,6PM. • The Fourth Annual Gig Harbor Jazz Festival takes place 8/12-13 quartet at the Celebration Meadow overlooking Gig Harbor. See ad on page 4. • Latin Expression, Forest Park, Everett, 8/13,3PM. at the • The First Conway Jazz Festival, takes place 8/13 at 1PM at the Rexville Grange, five miles east of Conw ay. Music is by Ann and Bruce New Gillette, Interplay, The Gary Evans 20 Piece Big Band, and The Goodtime Jazz Band. Call 455-4733 for information. Orleans • Latin Expression, Koll Business Center, Tukwila, 8/17,11:30AM. • Francois Arambel and the French Connection, Blue Heron Center for the Arts, Vashon, 463-5131,8/18. KPIIT. • Third Annual Ballard Dixieland Jazz Festival, Ballard Eagles FM8S Hall, 784-8238,8/18-19. • Lionel Hampton, Washington Center for the Performing Arts, Olympia, 8/19,753-8586. • Los Altos, Marine Park, Ruston Way, Tacoma, 591-3690,6:30PM, September 10th, 11th & 12th, 7 & 9:30 pm 8/22. Call 622-2563 for details • Foggy Bottom Jazz Band, Browns Point Lighthouse Park, Tacoma, 591-3690,6:30PM, 8/24. Tickets available at The New Orleans, • Kenny G, Seattle Opera House, 628-0888, 8/25-26. Ticketmaster & Bud's Jazz Records • Bochinche & Latin Expression, The Mountaineers Building, 300 Third Ave W., 762-5257,8/26. • Bochinche, Sheraton Tacoma Hotel, 591-5191,9/1,12 noon. NEW ORLEANS SEATTLE CLUBS: CREOLE RESTAURANT
AFLN ART GALLERY AND CAFE (1624 E Madison, 3254773) liABTBtM 028-0888 Bert Wilson, 8/4; Vinny Golia Group, plus One Hand Clapping, 9/2. or BON MARCHE & TOWER 8 MARRIOTT SEA-TAC HOTEL, GAMBITS LOUNGE (3201 South 176th St, 241-2000) Live urban jazz every Sunday Night. MOUNTAINEERS (300 WThird) Bochinche/Latin Expression, 8/26. MURPHY'S PUB (2110 N 45th St, 634-2110) Ultra Thirties, 8/25. Jazzln August. NEW MELODY TAVERN (5213 Ballard Ave NW, 782-3480) Wed night jazz. NEW ORLEANS RESTAURANT (114 First Ave S, 622-2563) New Orleans Jazz Quintet, Mon; File Gumbo Zydeco, Tue; Floyd Standifer Group, Wed and Fri; Ham's Seattle Sound, Thur; Michael McClennan Group, Sat; Chuck Metcalf Quartet, Sun; Dina Blade, 8/12. NOGGINS (Westlake Center, 682-2739) Michael Powers, Wed. OKHOTEL (212 Alaskan Way S, 621 -7903) Borders, plus Timebone, 8/11; Timebone, plus MJ Williams, 8/12. O'LEARY'S SPORTS PUB (5228 Ballard Ave, 782-5525) Charles AUGUST HIGHLIGHTS White Band, 8/4; Sam Pierce & Pierce Arrows, 8/10 & 8/31; L'Orchestra Afrisound, 8/12; Defenders, 8/18; Common Cause, 8/24; Kutumba, 8/25. Date/Artist OWL CAFE (5140 Ballard Ave NW, 784-3640) Rhythm Boys, Tue. 4 & 5/The Tom McFarland Trio THE OXFORD (1918 First Ave, 728-9891) Mark Henderson/Reggie 11/Michael Powers Goings Quintet, Sat. PARKERS (17001 Aurora Ave N, 542-9491) Yellowjackets, 8/3; 12 /John Holte Tower of Power, 8/5. 18 & 19/David Friesen - Bassist PATTI SUMMERS (94 Pike, 621 -8555) Patti Summers & Gary Steele, Fri-Sat; Floyd Standifer Jazz Jam, Sun. 25 & 26/Sweet Talkin' Jones RED HOOK ALE BREWERY, TROLLYMAN PUB (3400 Phinney Ave N, 548-8000) Carolyn Graye w/Cary Black & John Bishop, 8/1; Michael Powers, 8/7; Chuck Metcalf Trio, 8/14; Michael Bisio Quartet, Call 622-2563 for dinner reservations. 8/21; Bonita, 8/28. SIMONETTI'S (12255 Aurora Ave N, 365-7600) Zyah Ahmonuel, Thur-Sat. NEW ORLEANS THIRTEEN COINS (18000 Pacific Hwy S, 243-9500) Thirteen Coins Trio, Wed-Thur; Murl Allen Sanders, Fri-Sun. CREOLE RESTAURANT UNTVERSITY BISTRO (4135 University Way NE, 547-8010) 114 First Avenue S. In Pioneer Square Bochinche, 9/1-3.
WALIAS BJ LOUNGE (6166 Fourth Ave, 767-0900) Sonny Oliver DIMITRIOU'S THE WEST Trio, Sun-Mon. COAST'S WILDROSE TAVERN (1021 E Pike, 324-9210) Nora Michaels Caberet, Sun; Jazz w/MJ Williams, Julie Wolf, & Patty Padden, Mon; PREMIER JAZZ Billy Tipton Memorial Saxophone Quartet, 8/5; Kristina Olsen, 8/12; CLUB Kathleen Tracey, 8/19; Jessica Williams, 8/26. *# '•JULY 31-AUG 5 •AUG 7- 19 CLUBS OUT OF TOWN: Dave Valentin Ahmad Jamal BARB'S JAZZ CITY (302 W4th, Olympia, 786-9835) Fri & SatNight Jazz. BUCK'S CAFE AMERICAN (2901 Hewitt, Everett, 258-1351) The Gary Christianson Band, Thur. CARNEGIE'S (7th & Franklin, Olympia, 357-5550) Joe Baque, Mon- Thur. CONWAY TAVERN (1667 Spruce, Conway, 445-4733) Goodtime Jazz Band, 8/6; Jazz Jam, 8/20, Larry Prigg, 8/27. DE LIGHTS RESTAURANT (608 Fawcett, Tacoma, 272-1819) Business Lunch with live jazz featuring Gary Crooks and others, Noon to 2PM, Mon-Fri. HENRY'S RESTAURANT AND BAR (1128 Broadway Plaza, Tacoma, 627-3400) Jazz Open Mic, Sat 2-5PM. KELLY'S (1101 Tacoma Ave S, Tacoma, 572-2038) Jazz with Red •AUG 28-SEPT 2 Kelly and others, Fri-Sun. •AUG 21 -26 MORGAN'S LAKEPLACE BAR & GRILL (2 Lake Bellevue Dr, Milt Jackson Quartet Nat Adderley Quartet Bellevue, 455-2244) Bochinche, 8/3 & 8/24. w/Cedar Walton, Billy Higgins PORTOFTNO RESTAURANT (51 W Dayton St, Edmonds, 672 0660) ESP Jazz Ensemble, Fri-Sat. PROSITO ITALIAN RESTAURANT (6th and Proctor, Tacoma, Co-welcomed by KPLU FM88 752-0676) Jazz jam w/Jay Mabin, Mon; Michael Powers Trio, Tue; Pastiche, 8/6; Bochinche, 8/13; Jessica Williams Trio, 8/27. 6th & Lenora Dinner Reservations 441-9729 Suggested PLEASE NOTE EARSHOT'S CHANGE OF ADDRESS Mi i/o t
jto/f/i StowelURob Thomas The Jazz Police Union Cafe is likely to become a major jazz venue. Owner Neville Proud has Orcas Center Lake Union Cafe already sunk more than half a million July 7,1989 July 16,1989 dollars into renovation, including new plumbing, a new bakery and a fresh coat The performance stage at the Orcas We heard rumors last weekend that of paint inside to match the exterior. The Center opened its summer series of jazz the Lake Union Cafe was under new result is an attractive and comfortable with this charming and well-matched duo. management and was going to feature new restaurant. Jazz, Proud says, is a Following an effusive introduction by live jazz a couple times a week, with jam major part of the new concept. We can Barney McClure, Stowell (guitar) and sessions on Sunday nights. Noticing a expect live music Tuesday through Thomas (electric bass and solid-body fresh coat of paint on the outside of the Sunday, he told us, with national as well amplified violin) began one of those restaurant, we decided to investigate. as local talent gracing the stage. musically sophisticated yet dynamically From the parking lot, it looked understated presentations that sneak up hopeful: a dozen people decked out in —Todd Campbell on you with their detail and intensity. tuxedos and armed with trumpet and The duo tended toward waltzes such saxophone cases milled about in as Vince Guaraldi's "Great Pumpkin conspiratorial groups of two and three. Waltz," Steve Swallow's lovely "Falling Either we were in for the most formal Best New Grace," and Thomas' "Aunt Alice." jam session this city has ever seen—and Stowell's linear, full-voiced chordal ap we were underdressed—or our sources Jazz Entertainers proach laid elegant foundations for Tho had their information a bit askew. mas' long, glissando lines on the violin Inside, a quartet, the Dehner Frank and bright, melodic work on bass. On Ensemble, minus Dehner Frank, was Jobim's rarely heard "Portrait in Black wrapping up a set of jazz standards. and White" and the standard "I Remem Next up were the Jazz Police. Twenty- ber You," the duo's empathy seemed one musicians strong, the tuxedo-clad particularly strong, turning the latter conspirators we had seen in the parking warhorse into a jumping rhythmic exer lot proved not only to be armed, but cise in three and finding the hidden and dangerous. Led by the nattily dressed more interesting tune within. James Rasmussen, a latter-day Doc On Sam Jone's blues, "One For Severinsen with a tightly drawn Amos," Thomas lit it up with a particu ponytail sporting a bright red ribbon, the larly far-ranging solo that fractured the Jazz Police launched into their set with boppish blues line into an obtuse inquiry "Space Acres," written by guitar player a la' early-Atlantic Coltrane, while man Bruce Bernard. Mark Henderson - aging to reference "Freedom Jazz Dance" If this wasn't actually a jam session, Reggie Goings Quintet andacoda reading of "Now's The Time." the music was jamming nonetheless. Although Thomas' approach to vio Ensemble passages were tight, and lin is more prone to glissando than I pre arrangements, mostly written by band s fer, his voice works well here to comple members, were challenging and quirky. 5:00 - 9:00 p.m. at the ment the spareness of the duet setting. Even a tired standard like "Killer Joe" Stowell, a relentlessly linear stylist who, was given new life with an infusion of through long association with bassist Latin rhythms. The band is full of strong David Friesen came to thoroughly grasp soloists, especially tenor saxophonist 323 Second Avenue the dynamics of the duo setting, applied Dean Mochizuki, a fluid player with a his extensive repertoire of chord voicings fine dynamic range, and guitarist (Second & Jackson) and colors to provide a multi-hued, pian- Bernard, who has a languid and 628-8964/328-1140 istic backdrop and carefully noted solos understated style. In an evening's worth set in clear, distortionless lines. of thrills, the Jazz Police were hampered The Stowell/Tnomas duo is the kind only by the tightness of the room. Start of act too often found displaying their ing off at full speed and full volume, 5:00 - 9:00 p.m. at talent as backdrop to tinkling glasses and Rasmussen didn't always leave the group TEh© ©xtadl conversation. It's nice to hear them where with room to maneuver as they explored the environment is conducive to a more dynamic territory ranging from loud to 1918 First Avenue studied appreciation of their musician very loud. (Between Stewart & Virginia) ship. Although it's a bit cozy for a big 441-7171/328-1140 —Joseph Murphy band—what restaurant isn't?—the Lake 10 The 12th Annual talent, the future of jazz in Puget Sound is nato. Tacoma pianist John Hansen did a Bellevue Jazz Festival secure. nice job on the ensembles, and the rhythm By the time Keith Baggerly's Road section of Phil Sparks and Jamael Nance Downtown Park, Bellevue side Attraction took the stage, sound smoldered with in-the-pocket intensity, 1 July 14,15,16 problems were resolved and swinging big with Sparks putting down an achingly band rhythms filled the air. Vocalist Greta expressive solo on "Lover Man." Neither rain, nor bridge closings, nor Goehle shouted her way through all her The much-anticipated Wayne Hor budget cuts, nor bureaucratic sleight of numbers. With her great natural voice, vitz Trio grew out of his band with John hand could keep the City of Bellevue Jazz why deliver with such strain and artifici- Zom, the Sonny Clark Memorial Quartet. Festival from its appointedrounds. ^ True to its billing, the trio played hard- In its second year at the Down JS charging, stretched-harmony bop that town Park site, the festival has ^ aimed to pay tribute to and impress always been the preeminent gath j*> original insights on the bop repertoire. ering for locals to strut their stuff. J Horvitz understands that one of a bop For most of its 12-year run, Belle ^ player's essential secrets is to make a vue has been the only area-ori o phrase sing, wring it out, and let it ented festival. Expectations and J hang in the air. With all the rough- competition have always been *• hewn feeling for the blues of Mai high—certainly this year more than Waldron and ear for the extended har ever as limitations on time and monies of Ellington, Horvitz showed money threatened to capsize the himself and his trio (Mike Bisio, bass; festival's thrust and scope. Sur Teo Sutton, drums) to be masters of prisingly, the pared-down festival the language. Horvitz used the natural was a more concentrated and sat orchestral range of the piano to high isfying event, touching the bases light his voicings on "Way Cross of classic bop, Basie, nouveau Town," and built toward breakneck eclectic, and swing with more hits BeccaDuran warming up at the Bellevue Jazz Festival octaves on "Nica" and the lazy cut- than misses than previous festi ality? James Caddel, in relaxed Joe Wil time blues, "CoolStruttin."' On the vals. liams style, lent his rich bass to "Do Noth latter, Bisio showed that, in the Blanton/ Although Saturday evening' s weather ing 'Til You Hear from Me." Mingus blunt-but-expressive bop/blues was cooperative, the first set by Unnatu For those who braved the formidable style, no one in these parts can match him. ral Axe was jinxed. Barney McClure's Sunday downpour, that afternoon's pro The jumpingest set Sunday was the Hammond B-3 organ, affectionately gram was a triumph of music over matter perennial Bellevue Fester, Ernestine An known as "Leslie," expired on stage be that rewarded the devotee with some seri derson—a vision in white Bolero outfit fore emitting a sound, and McClure was ously joyful noise. and Spanish riding hat—whose voice forced to substitute acoustic piano. Noth A handful of umbrella-covered fans oozes so much character and range that ing wrong with that, except it gave an heard the Knapp/Schoeppach/Coile con even a nasty coughing spell couldn't de rail her. Bill Ramsay's well-rehearsed big entirely different texture to the group. figuration, Ohio Howie and the Temple band displayed his affection for Basie and Chuck Deardorf, bassist for Don of Boom hit their stretched Afro/Latin Lanphere's group which followed, was maintained a stellar rapport with Ernestine grooves with elan. Schoeppach's spark through wraparound arrangements and pulled into service to sub for McClure's and Knapp's orchestral sense pull this razor-sharp ensembles. On "Night in left hand. Sound problems plagued the set ensemble together, nailing the time, then Tunisia," "You're My Everything," and which focused on originals by guitarist stretching from "rock" to straight-four her signature, "Never Make Your Move Danny Embrey and alto saxophonist swingtime in a plastic, funky fashion that Too Soon," the rise and fall of the horn Denney Goodhew, who brought out his sets up high wire solos and exciting rhyth lines, section cadenzas, and clarion tone new sopranino. Despite the impromptu mic hooks. throughout were areal treat. What a pleas changes, these seasoned improvisers— The Becca Duran Quintet did not ure to hear a big band of locals with the including Michael Buono on drums—put fare as well, the victim in part of being just skill to articulate the writing of a big band in an outstanding performance. The high too breezy for this overcast day. Duran master like Ramsay. light was Goodhew' s amazing solo on his writes intelligent lyrics, including a gor "Pete and Repeat," in which he integrated geous and thoughtful French lyric inspired The crowd swelled to a peak of about circular breathing technique to sustain a by African women ("L'Africaine"). But 800 in the new but unfinished downtown repetitive rhythmic phrase. this set never took off, with tentative ac park. Unfortunately, the stage allowed a Don Lanphere's Quintet also con companiment that seemed uncertain of full view of the adjacent parking lot on the tended with sound problems, but that didn't how strong to stand behind the vocals and rough site of the razed high school— a affect the music. Don introduced two of when to lay out. stark reminder of the urban setting. (Per his students, who sat in with crowd-pleas The Caliman/Breedlove Quintet haps when the park is finished, it will ing performances. Both pianist Greg that followed reverently pays homage to convey a more pastoral feeling.) Bellevue Reitan of Bellevue High School and the Blue Note sound. This was epito 12 triumphed musically despite the ob tenor saxophonist Ulysses Colwell of mized in the Breedlove dedication, "Lee," stacles, but beware folks: it may be neces Seattle's Bush School are juniors with that beautifully set up the at-once funky sary to go to the mat for the future of this musical maturity beyond their years. If and sharp-edged bluesy feel that was Lee vital local affair. Stay tuned. they represent up-and-coming local Morgan's forte over a brewing 5/8 osti- —Sandy Burlingame and Joe Murphy 11 B
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RECORDS PAT METHENY • LYLE MAYS • STEVERODBY PAUL WERTICO • PEDRO AZNAR • ARMANDO MARCAL One ofthe most exciting parts ofthe ist Grace Holden (sister to Jimmy and Posing and playing paid off. One "Roots of Jazz: Washington" project has Ron, still on the music scene, and daugh evening during a gig out at Lake Sam- been discovering the myriad cross-con ter of Oscar Holden, oneof Seattle's major mammish, rhythm and blues entrepreneur nections between various players: hori jazz pianists in the 1930s); Major Pigford Bumps Blackwell heard Charley's band. zontally (across town) and vertically on trombone (see June 1989 Earshot); From then on, the group became The (through the generations). Elmond Miller on drums; and Buddy Bumps Blackwell Junior Band. The Jun Catlett on alto saxophone. Taylor wrote ior Band was very popular. It played all Charles Taylor, born in 1930, was a arrangements, sometimes taking material over the state and spent a month at the schoolmate of Quincy Jones and partici off Louis Jordan records, and bought stock Pacific National Exposition in British pated for a couple of intense years on the arrangements, as well. Columbia. (The band was pictured in the Seattle jazz scene before going on to a February 1989 Earshot Jazz.) successful career in anthropology. mm iimiif "Bumps acted like a father to us. He Taylor's mother, Evelyn Bundy, born gave us lectures on dope and drinking— in 1909 in Seattle, was also a well-known don't do this, don't do that... When we bandleader/musician who played piano, were playing in Canada—I' m sure no one banjo, drums, saxophone, and sometimes will ever forget this;—we were very well sang, both with the famous Edith Turnham known and there were all these high school band and her own orchestra. The Evelyn kids and girls and everything out there Bundy Band included drummer and singer having a party that night. He wouldn't let •H Leonard Gayton, who later opened the us go because we were having a 'battle of Chinese Garden. the bands' with Cab Calloway the next The Taylor household—particularly day and he didn't want us to be out of its basement music room and bar, which shape." to this day is bedecked with autographed Taylor's recollections of the young photos of all the travelling black ban Quincy Jones are insightful: "Quincy dleaders—was known as the place to stop hasn't changed one bit. What I saw then by and socialize after the gig. Lionel Charles Taylor was a person who was willing to go after Hampton, Erskine Hawkins, Count Ba his paper route and who was willing to sie, Jimmie Lunceford, Johnny Hodges Taylor's description of how this practice every day... He was willing to go all came by. bunch of high-schoolers learned to play home and sit down and write out all the "My dad would invite them," recalls jazz has an anthropologist's eye: "All the charts for a big band. How many people Charles Taylor. "They 'd be happy to come, black kids I knew had a favorite instru are willing to do that? Not just once, but because in those days, black people didn' t ment that they liked to listen to and could over and over again? ... That stick-to-it- have any place to stay or to go. There was 'pose' to. I liked to pose to a tenor saxo iveness, everybody else fell beside the a lot of singing. Everybody would play. phone. So, when I got my instrument, way... We spent hours practicing our sig Everybody would take turns singing songs that's what I got. I liked Lester Young and natures for signing autographs. He used to and telling stories and laughing." Coleman Hawkins. So the first thing I did make his look like a trumpet and I used to During one of those sessions, Lionel was pose. Then you make some sounds. make mine look like a saxophone." Hampton bought young Charles a set of The first sounds you'd make were like drums, but Taylor would choose the tenor being able to sound like Lester Young or —Paul de Barros saxophone. Coleman Hawkins. So it went from pos "I got a saxophone for Christmas ing to playing, because we didn't really The preceding sketches are based on in when I was 18," he says. "I took lessons know how to play. But we just kept on terviews by Ted Dzielak with Gayton's from Frank Waldron. He was really, really doing it." widow, Emma, and with Charles Taylor. good. I took lessons for six months and for six months I practiced about six hours a day. When I couldn't play with a mouth piece, I would just play with my fingers, fingering. Then the rest of the time I THE BEST would just imagine it. After six months, I started a band." The Charley Taylor Band included KPIU Charley's best friend, Quincy Jones, on trumpet (they are close, to this day); pian- FM8S AND IN-DEPTH NEWS 14 "^ Roots: Bob Russell JAY THOMAS continued from July 1989 issue with In the early 1950's, the Seattle after-hours scene began to slow down. Alcohol by the The Cedar Walton Trio drink waslegalized in 1951 and the city's "tol erance policy" of illegal clubs, as it was called, began to wane. In 1952, with clubs closing, Russell took a job with Seattle City Light. He E&kf, beet \X continued to play, though. Like many black players, he had difficulty getting high-paying, "If fame reaches him now, it won't come a moment too soon." downtown jobs, which were dominated by the white Local 76. ixixixirk Leonard Feather, L.A. Times CD Now available at Bud's Jazz Records and Tower TD: Did white kids come in and sit in with the bands at the after-hours clubs? —See & Hear the Jay ThomaslBecca Duran Quintet— Russell: Yeah. And if they would lis Seattle Album release party New Orleans Sept. 21 ten when they'd come in they could learn Bumbershoot NW Court Stage Sept. 1, 6 - 7 pm lots of things. Not everyone would. Mostly Gambit's Lounge SeaTac Marriott Sept. 10 just a piano player or a drummer. The rest of them were scared of it. Some of them would stay right there with Al and watch his fingers like that. Because he was sit ting on the end, back in this corner. They could see his hands. Just like you can see .0. mine now you could see his hands thata- THE WASHINGTON CENTER way. They'd sit right there and they'd FOR THE PtRFORMING ARTS watch him. And Vern, of course he sat in IN OLYMPIA the center and the back and they could see him, see his hands like that. There was a kid come in, probably you know him, LIONEL HAMPTON Pete Barrington. He turned out to be a hel luva good trumpet player. Last I heard of IN THE ONLY him he's back east somewhere. I think he was with the Stan Kenton band. He was on wild, goofy stuff. Last I heard he was PACIFIC NORTHWEST playing more legitimate trumpet instead of that goof, Dizzy Gillespie. APPEARANCE THIS TOUR TD: You mean bebop? Russell: Yeah. I don't know, maybe KPUJ I'm wrong. I just don't like that stuff. It FM8« IS CO-WELCOMER don't make sense. Jumping in and break the chord up and then drop it off. And can't catch the chord back. You've got to COMING catch some other chord or try to break up what the chord is mixing. I don't know. AUGUST 19,8:00 PM Just don't make sense to me. I never did $25, $23, $18 do much like that. TICKETS ON SALE NOW TD: The other day, you showed me a Christmas card from Buck Clayton, saying One of the great jazz musicians of all time, Lionel Hampton, who is in something like, "Thanks for getting me his late 70's, will be accompanied by a 16 piece band. started." You got him started on trumpet? Known for his mastery of both vibes and drums, Hampton also Russell: Yeah. I was playing with vocalizes many of the classic jazz selections he has helped make famous. Critics agree that despite his age, he is playing as well or better Grant Moore, in Peoria, Illinois, and he than ever. talked to me about the idea of the trumpet. Hampton's musical background reads like a "Who's Who" of Am And when I got through talking to him, erican jazz. After playing backup for Louis Armstrong, he went on to why, I got him interested in it. We stayed perform with Benny Goodman, Gene Krupa, Sy Oliver, Dizzy Gillespie, over that night after we finished playing and many others. there and I talked to him the next day Tickets available at Center Ticket Office, (753-8586), Yenney Music again. And I talked him into getting a Store, The Bookmark, Rainy Day Tapes & Records, and the Great Music trumpet. The next I heard, he was with Co. (Centralia/Chehalis). Count Basie. —Paul de Barros and Ted Dzielak 15 GET RESULTS JOIN NOW! flyers papers or buy a subscription for a friend resumes Supporting membership entitles you to receive: brochures I Earshot Jazz delivered every month to your home; newsletters • The famous 10 percent discount at Bud's Jazz Records; advertisements • Discounts on all Earshot} azz events, such as the upcoming Earshot Fail Concert Series. (If you would like to receive the newsletter only, the cost is a mere $15.) BOSCOGRJIPHIJI i m-nu Mail to Earshot Jazz, 3429 Fremont PL, #303, Seattle, WA 98103. We need your support. NAME jita/ivu tfumftb to ADDRESS Circle type of donation: Newsletter Supporting Member Patron Lifetime WeUeyJfeefi $15 $25 $75 $150 £ot AiA $300 corUki^uMon, Thanks to our new and renewing members: Troy Grugett, Fred and Keree Huston, Doris Brevort, Ann Wagsland, Murl Allen Sanders, Bob Winn, Evan Davis, Steve Rice. Thanks to the do lD Earshot Jazz NON-PROFIT 3429 Fremont PL, #303 ORGANIZATION Seattle, WA 98103 U.S. POSTAGE PAID PERMIT No. 14010 Address Correction Requested SEATTLE, WA Time dated material. Date mailed: July 27, 1989