A Mirror and Focus for the Community June 2018 Vol. 34, No. 06 EARSHOT JAZZSeattle, Washington

Duende Libre Jeff Busch, Alex Chadsey, Farko Dosumov Photo by Daniel Sheehan LETTER FROM THE DIRECTOR EARSHOT JAZZ A Mirror and Focus for the Jazz Community

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

Contributing Writers Lucienne Aggarwal, ’s 1968 recording New York Is Now! helped to define Halynn Blanchard, Ian Gwin, Andrew the coming epoch in an interesting way. Aside from the gestalt of its title Luthringer, Peter Monaghan, Tara Peters (New York is always now), the release seemed to ignite the tension of the times through the friction created by pushing against existing forms. Fifty Calendar Editors Casey Adams, Jane years later, the tension of the times still exists, and momentum of jazz still Emerson & Caitlin Peterkin thrives on healthy friction, even in its own home. In fact, all of today’s jazz Photography Daniel Sheehan Layout Karen Caropepe came from the creative risk-taking of forward-thinking artists, working Distribution Karen Caropepe, Dan Dubie & boldly outside of the safe and traditional forms. Earshot Jazz volunteers That New York quartet, which united Ornette and fellow avant-garde saxophonist (and fellow Texas native) with the Coltrane Send Calendar Information to: rhythm team Jimmy Garrison on bass and on drums, is also 3429 Fremont Place N, #309 Seattle, WA 98103

the inspiration for the Broken Shadows quartet that appears on our incred- email / [email protected] ible series of summer . This quartet unites out-of-the-box saxo- phonists and Chris Speed with another time-tested rhythm Board of Directors Danielle Leigh team, Bad Plus bassist and drummer , and it’s (President), John W. Comerford (Vice sure to be another for the ages. President), Sue Coliton (Secretary), Viren Kamdar (Treasurer), Sheila Hughes, Chris One of the ways that the Earshot Jazz organization eagerly serves the Icasiano, Ruby Smith Love, Jon Perrino, artists and audiences of this community is as a respected presenter Diane Wah of music at the edges of the jazz mainstream. These are concerts by impor- tant and highly acclaimed artists that, for the most part, would not find Emeritus Board Members Clarence Acox, another stage here. No doubt because, while engaging and important, they Hideo Makihara, Kenneth W. Masters, Lola are economically counterintuitive for artist and presenter alike. That’s why Pedrini, Paul Toliver, Earshot has been recognized by awards from major funders, locally and Founded in 1984 by Paul de Barros, nationally, and why we are so grateful for your individual support. Gary Bannister, and Allen Youngblood. Over the past 30+ years, Earshot Jazz has served up many hundreds of Earshot Jazz is published monthly by unforgettable concerts in Seattle. Earshot has honored creative pioneers Earshot Jazz Society of Seattle and is like , Henry Threadgill, Toshiko Akiyoshi, , Sam Riv- available online at www.earshot.org. ers, and Carla Bley; and we have debuted the work of now-established Subscription (with membership): $35 leaders such as Vijay Iyer, Rudresh Mahanthappa, , Craig 3429 Fremont Place #309 Taborn, , and others. In fact, Earshot was the first in Seattle Seattle, WA 98103 take “risks” on artists like ’s Bandwagon, Robert Glasper’s phone / (206) 547-6763 trio, Ambrose Akinmusire’s quartet, and Kris Davis with , ISSN 1077-0984 all of whom, believe it or not, played Earshot festival gigs at Tula’s early in Earshot Jazz Printed by Pacific Publishing Company their careers. © 2018 Earshot Jazz Society of Seattle All of this to reaffirm that we have an incredible lineup of concerts this month, and to encourage you to come out to sample some or all of this month’s concerts, even if you may not have heard of the artists. They will MISSION STATEMENT be satisfying, unique, and absolutely engaging. And they will all be Now! To ensure the legacy and progression See you out there! of the art form, Earshot Jazz cultivates –John Gilbreath, Executive Director a vibrant jazz community by engaging audiences, celebrating artists, and supporting arts education.

2 • EARSHOT JAZZ • June 2018 IN MEMORIAM / / / / NOTES David Marriott, Sr. 2018 Essentially Ellington Results All three Seattle area schools who performed in the 23rd Essentially El- lington High School Jazz Band Com- petition & Festival at Lincoln Center in May were recognized for their per- formances. The Roosevelt High School Jazz Band received an honorable mention. In the section awards, Roosevelt High School received an honorable men- tion for their drummers, and their saxophone section was awarded as out- standing. Also in the section awards, Ballard High School received an outstanding award for both their trombone and sections, and Mountlake Terrace High School re- ceived an outstanding award for their trombone section. Individuals from all three schools DAVID MARRIOTT, SR. PHOTO COURTESY OF THE FAMILY were also highly regarded. Aaron Ko- rver (Roosevelt) received an outstand- ing award; Sophie Parsons The Seattle jazz community is mourning the loss of David Marriott, Sr., (Mountlake Terrace) received an hon- who passed away on April 30. orable mention for bass; Gian Neri The father of trumpeter Thomas Marriott and his brother, trombonist (Mountlake Terrace) received an out- David Marriott, Jr., along with daughter Rebecca Marriott, David Sr. was standing award; Sean Bowman a strong civic presence in Seattle and pillar of the jazz community for many (Roosevelt) received an honorable years. While the parents of three students in the Garfield High School jazz mention for , Aiden program, David and Helen virtually redefined the potential for jazz educa- Ryser and Elliot Halpern (Roosevelt) tion fundraising, establishing a level that remains the model to this day. each received an outstanding tenor David and Helen Marriott have been familiar faces in jazz audiences saxophone award; Xander Johns for many years, supporting the community both as jazz fans and donors, (Roosevelt) received an outstanding and frequently offering their Queen Anne home for fundraising events. award; Joe Foth- David was a legend in the field of journalism and public relations, with eringham (Ballard) received an hon- a long and distinguished career. He was a past president of the Earshot orable mention for trumpet; and Evan Jazz board of trustees, a member of the University of Washington School Snoey (Ballard) received an outstand- of Music Visiting Committee, and was deeply involved in the Centrum ing violin award. Foundation and the Jazz Port Townsend Festival. Congratulations to these local David Sr. is survived by his wife, Helen, their daughter Rebecca, sons schools for their exacting and spirited David Jr. and Thomas, along with Thomas’ wife Lisa Chick and their three performances! children. The community came together on May 14 at St. Anne’s Church and Tula’s Jazz Club to express condolences to Helen and the Marriott family. We will all miss this fine gentleman bebopper, father, grandfather, and community leader, who was a personal friend to all of us for many years. CONTINUED ON PAGE 31

June 2018 • EARSHOT JAZZ • 3 LETTER FROM THE EDITOR Letter from the Editor: We Have Voice

By the time this issue hits news- liard, a female student (one of two sicians, whose mission is to create stands, it will be just under eight in the entire jazz program) is unpro- initiatives that actively enrich our months since one of the most pow- tected from sexual harassment and performing arts community and to erful players in Hollywood faced his misogyny (“Token Girl,” Medium. bring awareness to issues of inequity, downfall, as the stories of his decades com, by Kalia Vandever, trombon- including but not limited to sexual of sexual harassment and assault cul- ist/composer). harassment and bullying, and to minated into a public reckoning. Recently, there has been discus- shift the cultural landscape within The Harvey Weinstein scandal was sion in our own jazz community our community to foster awareness, the spark that ignited the larger con- about the lack of representation of inclusion, and the creation of safe(r) versation about sexual misconduct women, trans, and non-binary mu- spaces for all. in the workplace. While the #MeToo sicians in major events and festivals Earshot Jazz has always fought for movement was founded in 2006 by on the scene. While many people tolerance, representation, and free Tarana Burke, it has gone viral in the (primarily cis-men) were quick to thinking, but, with this Code, we last months as countless women— argue that lineups should reflect are publicly committing to doing this writer included—have stepped the demographics of a city’s popula- more for the Seattle jazz scene and forward with their own experiences, tion, the major takeaway was this: beyond. sharing their #MeToo stories, and women were not being heard. Their The tides are turning, albeit slowly. bringing attention to the scale and own experiences and thoughts were All of us—artists, audiences, and scope of sexual assault in our society. drowned out by men, some of whom presenters, women, men, trans and For too long, and in all sectors, even went so far as to cast the “Not non-binary persons alike—should our culture has not supported vic- All Men” card while simultaneously be engaged in the fight for equity tims, with many individuals and telling female musicians to “step it and equality, continuing the conver- institutions diminishing reports of up” (sound familiar? #GRAMMYS- sation through our work, collabora- any sign of misconduct. And in the somale). tions, patronage, and curation. If jazz world, where women, women- We need to foster a better culture you see or hear something, speak up; identifying, and non-binary persons of inclusiveness. Of consent. Of and if someone is speaking to you, are already marginalized, it can be safety. Of diversity. Of artistic free- listen. even harder to step forward with al- dom. Which is why I’m proud to Jazz is unlike any other art form, legations, for fear of major repercus- announce that Earshot Jazz has of- constantly evolving. And if the mu- sions to one’s career, or simply not ficially adopted the We Have Voice sic can evolve, shouldn’t those who having structures in place to know Code of Conduct (seen right). make and present it be able to evolve how to report such instances. Even We Have Voice is a collective of with it? at prestigious universities like Juil- 14 female and non-binary jazz mu- –Caitlin Peterkin, Editor

We Have Voice is a collective of 14 musicians, performers, scholars, and thinkers from different generations, races, ethnicities, cultures, abilities, gender identities, economic backgrounds, religious beliefs and affiliations.More infor- mation available at wehavevoice.org. We Have Voice Collective: Fay Victor, Ganavya Doraiswamy, Imani Uzuri, Jen Shyu, Kavita Shah, Linda May Han Oh, María Grand, Nicole Mitchell, Okkyung Lee, Rajna Swaminathan, Sara Serpa, Tamar Sella, Terri Lyne Carrington, Tia Fuller.

4 • EARSHOT JAZZ • June 2018 THE WE HAVE VOICE COLLECTIVE CODE OF CONDUCT TO PROMOTE SAFE(R) WORKPLACES IN THE PERFORMING ARTS THIS CODE PROMOTES ZERO TOLERANCE FOR HARASSMENT OF ANY KIND, INCLUDING BUT NOT LIMITED TO SEXUAL HARASSMENT AND BULLYING. THE COMMITMENTS AND DEFINITIONS HEREIN PROMOTE THE CREATION AND STRENGTHENING OF SAFE(R) SPACES THAT UPHOLD THE EQUITABLE TREATMENT OF ALL PEOPLE REGARDLESS OF THEIR VARIOUS IDENTITIES AND POSITIONALITIES, INCLUDING GENDER IDENTITY, RACE, AGE, ABILITY, ETHNICITY, CULTURE, IMMIGRATION STATUS, SEXUAL ORIENTATION AND IDENTITY, CLASS POSITION AND ECONOMIC BACKGROUND, AND RELIGIOUS BELIEF AND AFFILIATION.

HAVE YOU EXPERIENCED OR WITNESSED HARASSMENT BUT FELT YOU COULDN’T SPEAK UP? IF YOU ARE IN A POSITION OF POWER, HOW HAVE YOU RESPONDED TO REPORTS OF HARASSMENT? THIS CODE OFFERS CLARITY AND TOOLS FOR PEOPLE WORKING IN THE PERFORMING ARTS.

HOW CAN WE COMMIT WHAT IS A SAFE(R) SPACE? TO CREATING SAFE(R) SPACES IN THE A Safe(r)* Space is a balanced, healthy space where all people feel valued and respected. PERFORMING ARTS? *The term “safe(r)” espouses an intersectional approach to the term “safe,” acknowledging that what is “safe” shifts depending on one’s various identities and positionalities. SPEAK UP, SEEK SUPPORT, OR ASK FOR HELP when witnessing, experiencing, or suspecting any HOW IS SEXUAL HARASSMENT DEFINED BY THE LAW? form of harassment. Your silence may enable an Sexual harassment in the workplace is prohibited by law. Quid pro quo sexual abusive situation. harassment is when a term or condition of employment is contingent upon the acceptance of unwelcome sexual behavior. Hostile work environment sexual harassment is when unwelcome sexual behavior of any kind creates an abusive work environment. CREATE MECHANISMS and/or designate persons in your workplace to provide support when needed, WHAT IS A WORKPLACE? allowing people to raise their concerns without fear of retaliation. Listen and respond in a way that A Workplace, whether physical or virtual, can include but is not limited to a stage, dressing safeguards the position of those speaking up. room, office, recording studio, classroom, venue/club, jam session, workshop, residency, rehearsal space, private residence/home studio, hotel room, gallery, social media platform, and communication that involves professional matters. COMMUNICATE your institution’s anti- harassment policies and zero-tolerance protocol clearly to WHAT IS CONSENT? employees, partners, and colleagues at the outset of Consent is a clear and unambiguous agreement to engage in a particular activity. It is any work relationship. expressed outwardly through mutually understandable words or actions. Consent is reciprocal and free of force. Minors, by virtue of being minors, cannot give consent. WORK COLLECTIVELY to combat bias and Someone incapacitated due to drug, alcohol or other substance use cannot give consent. stereotypes. Take deliberate steps to root them out and minimize their impact. WHAT IMPACTS CONSENT? Force, which can be physical, psychological or emotional. Examples include but are not FOSTER DIVERSITY in your role as curator, limited to: grabbing, touching, manipulation, stalking, exposing oneself, holding bandleader, conductor, director, producer, journalist, someone down, using weapons, verbal threats, peer pressure, blackmail, guilt, or coercion. audience member, artist, or in foundations, Power Dynamics, which exist in relationships between employer/employee, teacher/ organizations, institutions, or non-profits. All people student, bandleader/collaborator, director or producer/artist, festival promoter/artist, benefit when Performing Arts spaces are diverse in manager/artist, booking agent/artist, artist/audience, etc. gender, age, sexual orientation, race, culture, Abuse of Power, which occurs when offenders use their position to control, manipulate or nationality, class position, financial status, religious take advantage of another. Prestige, elder status, institutional clout, or financial power affiliation or differing ability. does not grant anyone permission to be abusive. For more information and resources, visit: www.wehavevoice.org

June 2018 • EARSHOT JAZZ • 5 PROFILE Duende Libre: Global Grooves, Musical Medicine

FARKO DOSUMOV, ALEX CHADSEY, AND JEFF BUSCH PHOTO BY DANIEL SHEEHAN

By Andrew Luthringer ende Libre crafts an intoxicating musi- Corea, the is a sublime tour de cal blend that winds through Africa, force and step forward for the band. “Duende Libre” translates roughly as Cuba, Brazil, and beyond. But this is Chadsey is the primary composer, “free spirit,” and the dynamic Seattle no mere musical tourist grab bag of but the final creations are truly the trio’s music expresses that notion well. genres engineered to demonstrate ver- collaborative work of all three, and But the band explores realms beyond satility. Their music is a thoroughly or- they have developed an effective work- mere freedom: faith in community, ganic blend of groove and vibe, forged ing method to content with the flood positivity, and the core belief that art through careful study and dexterous of ideas they produce. is a medium for human connection in versatility, as well as the earnest belief Chadsey elaborates: “Jeff is the voice a fragmented world. in the transformative power of music. of reason in the band…He’s like, As drummer and percussion wizard On June 16, the trio will release their ‘Would my folks want to listen to this? Jeff Busch puts it: “In today’s world, second album, Drift. Balancing lushly Would I want to dance to this in my where there are a lot of different strug- complex harmony and rhythm with living room?’ And that actually be- gles, music is like a dose of medicine.” melodic accessibility, and drawing comes the litmus test!” Comprised of founder and bandlead- from the well of jazz-based but glob- “How do we simplify all these ideas er Alex Chadsey on keyboards, Farko ally minded musicians such as Chick and just make something that’s, you Dosumov on bass, and Busch, Du-

6 • EARSHOT JAZZ • June 2018 know, a tune? That we can remem- Chadsey elaborates: “There’s an argu- are just not as organized. …Alex has ber?” says Busch. [laughs] ment to be made of ‘Why even bother stepped it up in a different way.” Chadsey continues: “We try to find to make an album in this day and age, The final accounting however, is the balance, keeping it accessible to with the way music is generally con- about intangibles. Chadsey sums it up: listeners,” (“Non-musician listeners!” sumed, and I get that. …But, it’s also a “Did I leave feeling more uplifted? interjects Busch). Chadsey continues, milestone and marker for us as a band, Was I able to connect with the audi- “For me, that means trying to craft from a creative standpoint. …This is ence? Was I able to connect with my strong melodies, the manifestation fellow musicians? For me, that’s actu- and not over- of all the time ally the bottom line.” “The most important write. I want to we’ve invested re- Duende Libre is aural balm for the leave plenty of thing is trying to connect hearsing, playing soul, medicine that goes down easy, room for Farko shows, touring. and will leave you healed in both body and Jeff to add with your bandmates in For me, that’s and spirit. Daily use is recommended. their own thing priceless.” to it. I’m trying to a positive way, and the Busch chimes stay out of their in: “It’s cool if Duende Libre CD Release way, and not dic- people that are listening.” you have the re- tate too much.” sources, and you Party feat. Chava Mirel & The new album –Jeff Busch can make a CD, Frank Anderson is a riveting lis- but at the end of Friday, June 29 ten, but where the day, the most Rainier Arts Center Duende Libre really create their deep- important thing is trying to connect 5117 Rainier Ave S est magic is onstage in front of an au- with your bandmates in a positive way, https://www.facebook.com/ dience. The band is prepping for an and the people that are listening.” upcoming CD release event on June “It’s important to have the balance events/220115425419645/ 29, which will also feature powerhouse between having this hard-nosed real- vocalist collaborators Chava Mirel and ism about the situation, but not let- More gigs: Frank Anderson. ting that ultimately kill your desire, or “It’s going to be a special night; the need, to create,” continues Chadsey. Duende Libre feat. Chava Mirel concert is actually a partnership with Dosumov adds, “When you start & special guest Frank Anderson Rainier Arts Center,” says Chadsey. playing music as a kid, you don’t think Thursday, June 28 “It’s part of a new about anything The Firefly Lounge initiative that “In today’s world, where but just how awe- they’re doing to some it is! So why Bellingham feature local art- there are a lot of different does it have to be ists in the space different when Duende Libre and enrich the you turn 40?” struggles, music is like a Thursday, July 19 community.” It helps that To see the band dose of medicine.” Chadsey is not Geo’s Bar & Grill - Greenwood live is to get a only adept at nav- sense of the deep –Jeff Busch igating the online Duende Libre feat. Chava Mirel respect they have world of the mod- at Ellensburg’s Music Festival: for each other, ern musician, but Jazz in the Valley and the joy they has, as Busch call take in connecting with each other it, “a particularly positive attitude.” Friday, July 27 and the audience. The good vibes are “I’ve played in some great bands, for real, and they inoculate the three that I love playing with,” says Busch. KNKX Live Studio Session: against the travails of creating art in a “But sometimes I’ll call for a gig, and http://knkx.org/post/duende- high-tech world, where music can be- no one will return my call [laughs]. libres-seattle-inspired-global- come just another product data point, They’re great players, but some people and it can be hard to make a living. fusion

June 2018 • EARSHOT JAZZ • 7 PREVIEW >> Chano Domínguez Flamenco Sketches

Monday, June 4, 7pm leader and composer, and in 1993, he Triple Door moved to New York just as that album, 216 Union Street Chano, appeared. Mergers of jazz and various forms of Presented by Earshot Jazz Latin music are hardly unusual; what Earshot Jazz is pleased to present one sets Domínguez’s variant apart is his of today’s most celebrated jazz pianists marriage of jazz and flamenco, the and composers, Chano Domínguez, latter itself a result of the meeting of whose singular work is defined by his the musical and dance traditions of flamenco origins. Performing two sets Western Europe and, from far to the on June 4 at the Triple Door, Domín- east, Romani (gypsy) peoples. It has guez is joined by vocalist Blas Córdo- won Domínguez a variety of honors, ba, flamenco dancer Daniel Navarro, including jazz publications’ best al- bassist Alexis Cuadrado, and drum- bum for several of his discs, as well as mer Henry Cole. four Grammy nominations: for best CHANO DOMÍNQUEZ PHOTO BY LOURDES DELGADO flamenco album of 2011 and 2015 The distinctive performances and cussion, particularly the cajón wood recordings of pianist Chano Domín- for Iberico and Bendito, both on Blue Note, and for Calle 54 in 2001. box. As will be apparent in his quar- guez result from his decades of explo- palmero During his career, Domínguez has tet performance here, the , in ration of the intersections of jazz and particular, blends the quite different flamenco—an exploration that has performed and recorded with a who’s who of Latin jazz— Paco de Lucia, rhythmic traditions of flamenco, with culminated in acclaimed renditions its varyingly accented 12-beat cycles, with his quartet, Flamenco Sketches Paquito d’Rivera, Jerry Gonzalez, Chucho Valdez, Gonzalo Rubalca- and jazz. of the Latin-influenced compositions The result, for all Domínguez’s in- of . ba—as well as some of the greats of any sort of jazz—Joe Lovano, Herbie corporation of such elements as Cu- Born in Cádiz in 1960, Domínguez ban son and jazz-fusion modes, “re- played flamenco guitar as a child be- Hancock, Jack DeJohnette. Perhaps the highlight of his output, though, mains intensely Spanish,” Ben Ratliff fore taking to the piano and, in his wrote in the New York Times. 20s, fronting the progressive Latin- has been his Flamenco Sketches on Blue Note in 2012. Released to mark the fif- “The concept is unique, the playing rock band CAI. CAI released three All tieth anniversary of the release of Miles brilliant,” Paul Rauch wrote in before Domínguez went out About Jazz Davis’ classic , it presented . “Domínguez revolution- alone in 1981 to push the most thrill- ized the use of the piano in flamenco.” ing aspect of its output: its knitting of his renditions of “Flamenco Sketches” and “So What,” and reached the top He added: “While much of latin jazz jazz and flamenco. is rhythmic adaptation of traditional He refined his approach for a decade 40 of Billboard’s jazz albums chart. Domínguez deployed, there, the compositional and harmonic compo- in Europe, his reputation growing as nents of the form, Domínguez has dis- he received such awards as first prize flamenco elements that make his re- cordings, and particularly his live per- tinguished himself as a true pioneer of in 1986 in Spain’s National Jazz Young flamenco jazz.” Talents Contest with his band Cadix, formances, so thrilling: nods to the –Peter Monaghan and as a 1990 finalist in the Martial greatest Spanish composers, such as de Solal Piano Competition in Paris. Falla, Albeniz, and Granados, as well Tickets are $22 adults, $20 Earshot After winning the 1992 Muestra de as traditional elements like clapping members and senior citizens, $10 stu- Jazz awarded by Spain’s Institute of by a palmero, dancing and singing by dents and military and are available at Youth, he recorded his first album as a a cantaor, and the use of flamenco per- thetripledoor.net.

8 • EARSHOT JAZZ • June 2018 PREVIEW >> & Nate Wooley

Wednesday, June 13, 8pm Chapel Performance Space 4649 Sunnyside Ave N

Presented by Earshot Jazz & Nonsequi- tur Two of the most distinctive innova- tors in jazz and freely improvised mu- sic join forces. An evening of rare mu- sic is assured. Reeds player Ken Vandermark and trumpeter Nate Wooley worked to- gether for several years in the bands of distinguished leaders like Agusti Fer- nandez, , and before forming a duo in 2013. Vandermark had been a catalyst of cutting-edge jazz in Chicago, and then moved to New York in 1989 to con- tinue to explore the terrain of and experimental music. So he was a KEN VANDERMARK AND NATE WOOLEY PHOTO COURTESY OF THE ARTISTS standout player long before the Ma- cArthur Foundation honored him in to bring a composer’s craft to the im- unusual trumpet players living today, 1999 with one of its famous and gen- proviser’s art.” and that is without hyperbole.” erous no-strings-attached fellowships. Oregon-raised trumpeter Nate Since their days of working together He has recorded many albums with Wooley moved to New York in 2001 in the bands of other leaders, Van- his Vandermark 5 quintet and col- and has become an in-demand trum- dermark and Wooley have released laborated with the likes of Peter pet player on the booming jazz, im- two duo albums—East By North- Brötzmann, , Paal Nils- prov, noise, and new-music scenes of west (2014) and All Directions Home sen-Love, Paul Lytton, Joe McPhee, Brooklyn. Performing with such icons (2015)—and have toured extensively in Joe Morris, and —re- as , , Ivo North America and Europe. Combin- nowned innovators, all. Perelman, Matthew Shipp, Sylvie ing composition and improvisation, at In search of new collaborations and Courvoisier, Fred Frith, and Evan times melodic, at times abstract, this new areas of musical exploration, he Parker, as well as a host of younger duo is, as the New York Times put it, travels constantly throughout North players, his renown has grown as an “abrasive yet sensual”—it is “music of America, Europe, and Japan, and idiosyncratic kind of trumpeter. He casual extremity.” wherever he plays is acclaimed. In ad- has so convincingly expanded the pos- They will celebrate the release of their dition to the tenor sax, Vandermark sibilities of the instrument through new album by performing its long- plays baritone saxophone and the bass nonstandard techniques that even one form works. and Bb . He is, as the Chi- of the current greats of his instrument, –Peter Monaghan cago Tribune put it, a player who “has , has said: “Nate Wool- Sliding scale $5-$15. Tickets and in- learned to harness his galvanic energy, ey is one of the most interesting and formation at earshot.org.

June 2018 • EARSHOT JAZZ • 9 Open to All - Free PREVIEW >>

For those who love jazz with an inspirational message! Join us for a secular concert by professional jazz Broken Shadows: Chris Speed, musicians in the beautiful historic gothic sanctuary. Tim Berne, Dave King & Reid Anderson

Saturday, June 16, 7 & 9:30pm The Royal Room 5000 Rainier Ave S

Presented by Earshot Jazz The changes that Ornette Coleman brought to jazz 60 years ago were joyful, uplifting ones, but revolutionary—and initially confusing for many. He confronted tired bebop gestures with an idiosyncratic approach to harmony Last Concert of the Season and chord progression that brought howls from jazz traditionalists who had lost sight of the key component of jazz tradition: innovation. Sunday, June 3, 6 pm Still, today, Coleman’s contribution is relatively little appreciated, and even less embraced by the majority of jazz musicians. And the same can be said of the fresh approaches of two other saxophone greats of the 1960s and beyond, Dewey Paula Byrne Quartet Redman and Julius Hemphill. Like Coleman, those two innovators were from Paula Byrne, vocals the South, and were steeped in the bars and the churches of that region: Randy Halberstadt, piano their yelps and laments and hollers. Clipper Anderson, bass It was all too much for even some of the most keen-eared leaders of the day, Mark Ivester, drums Miles Davis among them. But others, such as Modern Jazz Quartet visionary John Lewis, were alert to what motivated Coleman and others. So, too, are the New York-based members of Broken Shadows: Tim Berne, Chris Speed, Reid PLUS Special Presentation of the Anderson and Dave King. Seattle Jazz Vespers Significantly, they have named their group for a 1971 Ornette Coleman album “Young Jazz Artist” that was recorded at the same sessions as the acclaimed Science Fiction (although Scholarship Award not released until 1982), and that featured Dewey Redman (1931–2006). Broken Shadows was a pivotal moment in Coleman’s career—a summation of his earlier acoustic albums, and a signal of his turn towards a larger-ensemble future with SAVE THE DATE: a full commitment to his “harmolodics” approach, with his Prime Time band. Season 16 starts on October 7, 2018 Like Coleman (1930–2015), Julius Hemphill (1938–1995) was from Fort Worth, Texas, and he followed a related path in music. He moved to St. Louis, 100 Minutes of professional jazz co-founded the Black Artists’ Group, and then went on to New York during the Family friendly concert / Free parking flourishing of the so-called “free jazz” movement. Beginning with albums like Dogon A.D. in 1972 and Coon Bid’ness (1975), Hemphill made his points, both Seattle First Baptist Church musical and political. 1111 Harvard Avenue In New York, his students included alto saxophonist Tim Berne, one of the two (Seneca and Harvard on First Hill) horn players in Broken Shadows. Berne, “a saxophonist and composer of granite Seattle, WA (206) 325-6051 conviction” (New York Times), like Hemphill proved highly gifted in composi- tion. The Guardian called his first release with his early quartet Snakeoil “an www.SeattleJazzVespers.org/GO/SJV object lesson in balancing composition, improvisation, and the tonal resources of an acoustic band.” Many Berne releases, in a wide variety of band settings,

10 • EARSHOT JAZZ • June 2018 REID ANDERSON, TIM BERNE, CHRIS SPEED, DAVE KING PHOTO COURTESY OF THE ARTIST have followed. He has long been a pivotal figure in New York, bringing together players from across the spectrum of new approaches to jazz and related music. As the New York Times put it: “Few musicians working in or around jazz over the last 30 years have developed an idiomatic signature more distinctive than Tim Berne.” Broken Shadows’ other horn player is Seattle-raised saxophonist and - ist Chris Speed, “one of the principal figures in a dynamic left-of-center jazz/ improv scene in the city” (NY Times). In bands like Endangered Blood, Human Feel, Chris Speed Trio, yeah NO, and Pachora, as well as the influential Alas No Axis with and John Hollenbeck’s Claudia Quintet, he has long been a major contributor to the shape of jazz today. Assuring Broken Shadows a rock-solid foundation are two members of the popular-beyond-jazz-circles Bad Plus, bassist Reid Anderson and drummer Dave King. In addition to the prominence both have achieved with that world-touring trio, King and Anderson have been increasingly active in other contexts. King was, for example, in town for an Earshot presentation in April with the Chris Speed Trio. He and Anderson drive a Broken Shadows that critic Bradley Bambarger has described particularly well: “Wound through [its] DNA...are the age-old sounds of back-alley bars and carnival midways, funeral processions and holiday pa- rades, the rave-ups of Saturday night shading into the hymns of Sunday morn- ing.” Berne, Speed, Anderson, and King achieve “a rocking, roughhewn har- monic convergence wholly in keeping with the source materials, even as their improvisations have a searching, burning modernism of their own.” –Peter Monaghan Tickets $18 adults, $16 Earshot members/senior citizens, $10 students/military. Tickets and more info at earshot.org. Note: Tickets do not guarantee seating during shows at the Royal Room. To guaran- tee a good seat, make a dinner reservation at [email protected]. The Royal Room is an all-ages venue until 10pm.

June 2018 • EARSHOT JAZZ • 11 PREVIEW >> Aaron Parks & Little Big

Wednesday, June 20, 7 & 9:30pm time playing with trum- The Royal Room peter Terence Blanchard. 5000 Rainier Ave S When the New York Times praised Parks for being Presented by Earshot Jazz “a step ahead of everyone Heavily lauded University of Wash- else,” they were spot on ington alum and jazz pianist Aaron in more than one way: At Parks is leading his fresh quartet Lit- just 15, the Seattle-raised tle Big on a debut West Coast tour pianist was a triple-major in celebration of their new album on in math, computer science, Ropeadope Records. Seattle can catch and music at the Univer- Parks’ Little Big during two shows at sity of Washington. That the Royal Room, Wednesday, June 20. same year, Parks was se- The color-rich electro-acoustic quin- lected to participate in the tet sees impressive members backing GRAMMY Jazz Band, Parks: Greg Tuohey (guitar), Vicente which led to a move to Archer (bass), and Tommy Crane New York to attend the (drums). Each player brings their var- Manhattan School of Mu- ied experiences from jazz and impro- sic. At 18, while a member vised music but also electronica, R&B, of Blanchard’s band, he indie pop, alt-country, and much more earned the title of Cole Por- AARON PARKS PHOTO BY DENEKA PENISTON to this genre-fluid music, which cre- ter Fellow from the Ameri- ates a world of its own. can Pianists Association. his own debut with 2008’s Invisible The forward-thinking Aaron Parks Parks appeared on three Blue Note Cinema. In some ways, Parks’ newest entered the public eye during his albums by Blanchard before making endeavor with Little Big can be seen

ART OF JAZZ

MERCEDES NICOLE THU JUN 7, 5:30 – 7:30 PM

Stylish jazz vocals from a Seattle treasure.

Seattle Art Museum, Brotman Forum 1300 First Avenue Sponsored by Free visitsam.org/performs

Seating is limited and available on a first-come, first-served basis.

12 • EARSHOT JAZZ • June 2018 as a continuation of the trajectory notable jazz musicians Greg Osby, heard in various podcasts including set Invisible Cinema—with a deeper Ambrose Akinmusire, Logan Rich- NPR’s “Death, Sex & Money.” commitment to melodic songwriting, ardson’s SHIFT, Becca Stevens, and If the last decade is any indication modern rhythms, and immersive sto- Yaron Herman. Aside from his work as of Parks’ career and the promise of rytelling. a core member of Little Big, Crane is this new lineup, the world can expect Joining Parks on guitar is Auckland- the leader of post fusion jazz/rock out- many more milestones out of this sin- born jazz non-purist Greg Tuohey. fit Late Bloomer and a staple of Con- gular artist. Perhaps there will be small Tuohey had a guitar in his hands be- currence with Paul Horton (Alabama enlightenments that Little Big gives to fore he was a decade old, and by the Shakes) and Wood River. Not with- us; I’m skeptical that these little mo- age of 15 was playing professionally holding himself from other genres, ments aren’t glimpses into Parks’ more in jazz clubs. Awarded a scholarship Crane contributes to ambient drone profound vision. to study at Berklee College of Mu- and experimental , and he –Halynn Blanchard sic, Tuohey used this as a jumping off has discovered a niche for himself in Tickets are $18 adult, $16 Earshot point to move to New York, where he audio-visual collaborations. Crane’s members and senior citizens, $10 stu- would work with the likes of Reid An- acclaimed compositions have can be dents and military and are available at derson, , Seamus Blake, earshot.org. and Ari Hoenig, eventually becoming a founding member of the collabora- tive jazz group Flipside. Following an extensive tour with Flipside, Tuohey himself flipped sides as he began work- ing strictly in rock music for over a de- cade. In 2010, Tuohey picked impro- vised music back up and released his first jazz record as a leader. Now back on the New York scene, he maintains a rigorous touring and recording sched- ule with both rock and jazz acts. On bass is Vicente Archer, one of the most sought-out collaborators of his generation. Archer, born and raised in Woodstock, NY, was a 20-year-old college student in Boston when he was picked up for touring with acclaimed artists Donald Harrison and Eric Reed. That launched him into work- ing and recording with artists such as Terence Blanchard, Kenny Garrett, , Stanley Jordan, Kendrick Scott, and Stefon Harris, among many more. Vicente currently tours with Blue Note recording artists Amos Lee and Robert Glasper, and Grammy Award-winning artist Nich- olas Payton. New York-based drummer, com- poser, and producer Tommy Crane completes the lineup. A product of The New School, Crane got his start touring with The Mingus in 2002 and has since performed with

June 2018 • EARSHOT JAZZ • 13 PREVIEW >> Thumbscrew: , & Tomas Fujiwara

MARY HALVORSON, TOMAS FUJIWARA, AND MICHAEL FORMANEK PHOTO BY AMY TOUCHETTE

Thursday, June 21, 8pm with rhythm as a pliable substance, Beat’s rising-star jazz band for five Cornish College of the Arts solid but ever shifting. His style is years straight following their 2008 de- 710 E Roy St forward-driving but rarely blunt or ag- but, Dragon’s Head. gressive, and never random.” Among Halvorson’s other working Presented by Earshot Jazz As evidenced by the trio’s second al- bands is an octet with Hébert and A fresh force in New York jazz since bum, 2016’s Convallaria, a followup Smith along with trumpeter Jonathan her arrival there in 2002, guitarist to an eponymous debut album, For- Finlayson, saxophonists Jon Irabagon Mary Halvorson appears here with manek and Fujiwara perfectly comple- and , trombonist Ja- Thumbscrew, an intense trio with vet- ment Halvorson’s sinuous, mysterious, cob Garchik, and pedal steel guitarist eran bass master Michael Formanek highly idiosyncratic style. It is one that Susan Alcorn. The New York Times de- and tirelessly resourceful drummer has won her much acclaim. She is “a clared its 2016 debut, Away With You, Tomas Fujiwara. singular talent” (Lloyd Sachs, Jazz- “radiant.” The trio formed by chance, after For- Times), ”NYC’s least-predictable im- Thumbscrew, however, is a special manek subbed into a band featuring proviser” (Howard Mandel, City Arts), case. The Village Voice called its “bar- Halvorson and Fujiwara. Already fa- and “one of the most exciting and orig- rage of riffs…both epic and melodic, miliar with each other’s playing from inal guitarists in jazz — or otherwise” the low end beefy, and the percussion earlier projects, they adopted a reper- (Steve Dollar, Wall Street Journal). She massive.” toire of originals by all three members also has “been steadily reshaping the Expect great dynamic range, a bal- of the group, and an approach that sound of jazz guitar…with her elastic, ance of dulcet melody and whiplash emphasizes a cooperative blending of sometimes-fluid, sometimes-shred- rhythms, otherworldly atmospheres all three instruments rather than an ding, wholly unique style” (Shaun and dancing interludes. older approach to jazz soloing. Brady, Philadelphia City Paper). –Peter Monaghan Further testimony to Halvorson’s Formanek is among the most dy- General admission $18, Earshot mem- talents is that another of her bands, a namic and at times muscular of mod- bers & seniors $16, students & military/ trio featuring bassist John Hébert and ern bassists, and Fujiwara, says Nate veteran $10. Tickets and more informa- drummer Ches Smith, was Down- Chinen in the New York Times, “works tion at earshot.org.

14 • EARSHOT JAZZ • June 2018 PREVIEW >> Dan Weiss Starebaby Metal Jazz w/ , , &

Friday, June 22, 7 & 9:30pm The Royal Room 5000 Rainier Ave S

Presented by Earshot Jazz Here’s a mesmerizing quintet in which all five members are bona fide stars. To get a sense of where they’re com- ing from, bear in mind that the outfit’s drummer leader not only is thorough- ly schooled in Indian percussion, but has also powered the drive train of the sludge-metal band Bloody Panda. So, imagine a rather doom-dredged MATT MITCHELL, BEN MONDER, DAN WEISS, TREVOR DUNN, AND CRAIG TABORN PHOTO BY KYLE JOHNSON baby gazing out from the bandstand Mahanthappa, Miguel Zenon, Kenny thrashers Mr. Bungle, Fantômas, and as it savors that combination, with a Werner, and David Binney. Secret Chiefs 3. He has featured in mischievous glint in its eye and a little Mitchell is a Philadelphian who per- various Mike Patton and John Zorn cuddly panda blood on its hands. forms frequently with a host of the projects for skills equally as honed on But there’s more: the band weaves most compelling of New York’s many electric bass as on upright acoustic, as into its mix the singular contributions expanders of jazz traditions. he demonstrated recently in his Seattle of four of the heaviest hitters in mod- Taborn was schooled in the deep, appearance with Chris Speed’s En- ern-day muscular jazz, electric and expansive traditionalism of the Asso- dangered Blood. Among Dunn’s more acoustic: Ben Monder (), Trevor ciation for the Advancement of Cre- surprising accomplishments is to have Dunn (electric bass), and Craig Taborn ative Musicians and Sun Ra, and the played—with the rock band Melvins and Matt Mitchell (keyboards). iconoclasm of Cecil Taylor. He toured Lite—51 gigs in 50 states and D.C. Together the five players create slay- and recorded with saxophonist James in 51 days in an (apparently unsuc- ing yet rollicking jazz-ish music, some Carter before becoming a first-call cessfully) attempt at inclusion in the of the most vital of this moment in the keyboardist in both electronic and Guinness Book of World Records. history of the art form. acoustic settings. He has by now re- That’s the kind of commitment and Dan Weiss has come to be acclaimed leased several albums under his own staying power Starebaby has, too. Few as one of New York’s most compelling, name and appeared on scores of oth- other bands working today can put the innovative drummers behind such re- ers. quintet to bed. cordings as his large-ensemble 2014 Guitarist Ben Monder moderates outing Fourteen and its 2016 follow- –Peter Monaghan Starebaby’s mixture of melody and up Sixteen: Drummers Suite, both on Adults $18, Earshot members & seniors muscle with edgy fragility and nu- the cutting-edge label. $16, students & veterans/military $10. anced slashing. A graduate of Manhattan School of Tickets and information at earshot.org. Trevor Dunn on bass is a fabled fig- Music with a major in jazz percussion ure in New York in many varieties of Note: Tickets do not guarantee seat- and a minor in classical composition, experimental music; particularly cel- ing during shows at the Royal Room. To he has toured and recorded with the ebrated have been his contributions guarantee a good seat, make a dinner varied likes of , Rudresh to the inspired musical cacophony of reservation.

June 2018 • EARSHOT JAZZ • 15 PREVIEW >> Thomas Strønen: Time is a Blind Guide

Saturday, June 23, 8pm the collective for their Se- PONCHO Concert Hall, attle performance, along Cornish College of the with Håkon Aase (vio- Arts lin), Leo Svensson Sander 710 E Roy St (cello), and Ayumi Tana- ka (piano). For those who Presented by Earshot Jazz remember Strønen’s last Renowned Norwegian performance in Seattle as drummer and composer a part of Eilertsen’s trio Thomas Strønen and his in 2016, the reuniting of collective Time is a Blind the two musicians, along Guide grace the PON- with the other talented CHO stage Saturday, TBG musicians, will of- June 23. Celebrating their fer an experience that is second album, Lucus, re- no less mesmerizing and leased in January on ECM evocative. records, Seattle marks the Experienced together, ensemble’s THOMAS STRØNEN PHOTO BY OHWEH the nimble quintet is second stop on their Unit- Strønen has been working tirelessly one part string trio, one ed States tour. over the last two decades, with some part piano trio, and one part percus- Strønen is deeply ingrained in the 65-plus records to his name, either sion ensemble. Strønen describes the internationally acclaimed Scandina- solo or as a contributor, on prestigious project as a “chamber ensemble with vian jazz scene, getting his start early labels ECM and Rune Grammofon. a high improvisational focus” that on and showing no signs of slowing One of the earliest and most endur- creates “melodic music with a twist.” down. Born in Bergen and raised in ing collaborations he developed was Indeed, “the ensemble pursues an aes- the small village of Åsgårdstrand, he with saxophonist Iain Ballamy after thetic that draws upon many genres, started playing drums at the age of a chance encounter. Together, they including jazz folk, baroque, new mu- 5, later discovering jazz and improvi- comprise the band Food, an experi- sic, avant-garde sounds, film scores sation at the age of 12. One wonders mental avant-garde duo that often fea- and traditional Japanese music,” says if there is something on the shores tures additional members including Reed in DownBeat. Their latest album of Åsgårdstrand that nourishes such , , Ma- title Lucus refers to a letting in of light. emotionally arresting art. The expres- ria Kannegaard, and more. Strønen composes in such a way that sionist painter Edvard Munch lived Formed in 2013 as a response to a balances structured restraint with am- and worked in the town, painting his commission for Connexions—a series ple space for each collective member most famous work, The Scream, there. curated by Fiona Talkington in an to expand and explore, to look deep Strønen’s drumming, too, vibrates effort to bring together Norwegian within before opening up to the light. with a creative, sometimes dark, inten- and British musicians—the Time is a The result is a sweeping atmospheric sity that DownBeat’s Bobby Reed calls Blind Guide collective has shape-shift- soundscape that is lyrical, layered, and “hypnotic.” ed over the years into its current quin- expansive. After studying jazz and composition tet iteration. Eilertsen—who is a lead- –Tara Peters for six years at the University and Con- ing figure on the Oslo scene in his own Tickets and information available at servatory of Trondheim (NTNU), right as a bassist and composer—joins earshot.org.

16 • EARSHOT JAZZ • June 2018 PREVIEW >> Quartet feat. Kris Davis, Chad Taylor & Ken Vandermark Sunday, July 1, 8pm PONCHO Concert Hall, Cornish College of the Arts 710 E Roy St

Presented by Earshot Jazz Earshot Jazz is pleased to present titan of modern jazz, Eric Revis, with all-star quartet Kris Davis, Chad Taylor, and Ken Vander- mark. From a schooling as fine as any modern jazzman could hope for, Eric Revis has graduated to a prominent position in performance and composition. After studying with Ellis Marsalis in New Orleans and Texas, the bassist backed legendary vocalist Betty Carter in the 1990s and then became a fixture of ’ group. Early in his career, Revis performed with a who’s-who of the lead- ing lights of modern post-bop and -oriented jazz: Branford Marsalis and his -inspired Buckshot LeFonque project, Chicago neo-bop trumpeter Russell Gunn, and the band of drummer Jeff “Tain” Watts, among them. He has performed with legends like and McCoy Tyner, and neo- traditionals like JD Allen, Russell Gunn, and Winard Harper, but also eminent modernists like guitarist and the most torrid avant-gardist of them all, saxophonist Peter Brötzmann.

ERIC REVIS PHOTO BY EMRA ISLEK In creating four albums between 2009 and 2013, Revis’ unit with pianist and drummer Nasheet Waits, Tarbaby, has

June 2018 • EARSHOT JAZZ • 17 called on a roster of jazz heavyweights. The diversity of those collaborators cause by then she had 10 albums as a Revis has recorded another four discs reflects the range of styles Revis has leader, including the highly regarded with cutting-edge pianist Armen Nal- incorporated into his compositions. 2016 release, Duopoly. Her skills have bandian. As many critics have observed, in his made her a valued bandmate of the Along the way Revis also emerged explorative approach to writing and likes of John Zorn, Terri Lyne Car- as one of the most impressive of jazz performing music he is informed by rington, Craig Taborn, Don Byron, composers and bandleaders in his own the past but not bound or limited by Tyshawn Sorey, Michael Formanek, right, composing and performing dis- it. His arrangements are melodic, as- Tony Malaby, and Mary Halvorson. tinctive, varied music of his own that sured, wih plenty of color, hue, and Drummer Chad Taylor co-founded incorporates much of jazz history and interest for fans of both straightahead the Chicago Underground ensembles plenty of its future. and direction-changing jazz. after beginning his career in his teens He began in 2004 with Tales of the And then there’s his tone. “Eric’s in Chicago. Among leaders to call Stuttering Mime, and since then has sound,” says Branford Marsalis, “is the on his talents have been Fred Ander- issued a stream of highly acclaimed sound of doom; big, thick, percussive.” son, Derek Bailey, Cooper-Moore, trio and quartet recordings, rich in Revis deploys it to great advantage Pharoah Sanders, Marc Ribot, Peter their compositions and varied in their regardless of who is along on the ride. Brötzmann, and . instrumental palettes. He has harked In a 2013 interview, he said: “My cri- Saxophonist Ken Vandermark was to the historical expanse and cultural teria for putting any group together (or a catalyst of cutting-edge jazz in Chi- associations of the art form by incor- being in a group), is pretty straight- cago, exploring the terrain of free jazz porating such elements as melodica, forward. Cool, intelligent, forward- and experimental music long before string quartet, and washboard. thinking individuals. That and they the MacArthur Foundation honored Laughter’s Necklace Of Tears appeared are all phenomenal musicians … with him with one of its famous no-strings- in 2008, followed by Parallax (2012), very distinct personalities.” attached fellowships. In search of new City Of Asylum (2013), In Memory of His collaborators consistently excel collaborations and new fields of musi- Things Unseen (2014), Crowded Soli- in both enrichment of jazz traditions cal exploration, he travels constantly tudes (2016), and Sing Me Some Cry and embrace of extemporaneous in- throughout North America, Europe, (2017). Revis has called on the likes of vention. In recent days, and for his and Japan, and wherever he plays is ac- pianists Jason Moran and Kris Davis; Seattle appearance, that expansionism claimed. saxophonists Ken Vandermark, Bill comes from three players with sterling –Peter Monaghan McHenry, and altoist Darius Jones; pedigrees. General admission $20, Earshot mem- and drummer/percussionists Nasheet Kris Davis has established a mighty bers/seniors $18, students & military/ Waits, Andrew Cyrille, and Chad Tay- reputation on piano in New York jazz veterans $10. Tickets and more informa- lor. circles. Her 2017 Downbeat rising star tion at earshot.org. award came somewhat belatedly, be-

18 • EARSHOT JAZZ • June 2018 PREVIEW >> 2018 TD Vancouver International Jazz Festival

MACY GRAY PHOTO COURTESY OF THE ARTIST JULIAN LAGE PHOTO BY NATHAN WEST KAMASI WASHINGTON PHOTO BY B+ & MIKE PARK

June 22–July 1 Grammy Award-winner, will take the There are several other series de- Various venues, Vancouver, BC stage on June 28. Saxophonist giant signed to meet a variety of jazz tastes. Kamasi Washington, who leads the The Vogue Series, located at the his- What better way to experience the avant jazz way with his progressive, toric Vogue Theatre, promises shows Pacific Northwest’s jewel of a summer improvisational music that incorpo- that are “fun, upbeat and eclectic.” than indulging in one of the region’s rates hip-hop, classical, and R&B, will The venue also has a dance floor for most famous and creative jazz festi- be performing on June 24. Bonobo (Si those who want to move along to the vals? The TD Vancouver International Green), billed by the festival as “one music. This series features artists such Jazz Festival is set to deliver a dynamic of the biggest electronic artists of our as the soul-infused band St. Paul and lineup of artists (more than 1,800), times,” is credited with “[creating] the Broken Bones, indie group Dirty both local and international, from shifting soundscapes that meld jazz, Projectors, the Spanish Harlem Or- June 22 through July 1. Run by one of electronica, trip-hop and classical and chestra, and dobro/lap steel star Jerry Canada’s largest not-for-profit music setting them to glorious visuals to cre- Douglas. presenters, the Coastal Jazz and Blues ate a show that is a feast for the eyes as The Performance Works Series Society, the festival is in its 33rd year. well as the ears.” Green and his band showcases modern, easygoing jazz on Over a period of 10 days and nights, will be performing on June 25. Robert Granville Island. This series will fea- the festival will feature more than 300 Plant, best-known as ’s ture artists such as Julian Lage, GoGo concerts, approximately half of which frontman, will collaborate with the Penguin, Mary Margaret O’Hara & are free. The events take place at a vari- Sensational Space Shifters on June 29. Peggy Lee, and Gerry Granelli with ety of venues around Vancouver, with Plant and the Space Shifters have in- , as well as many others. artists to suit every taste. vited folk star Seth Lakeman to help As a special bonus, on Canada Day, The festival’s Marquee Series, located create their unique and spellbinding Sunday, July 1, the music at Granville at the Queen Elizabeth Theatre, fea- concoction of American roots music, Island is free all day. tures headliners Macy Gray, Kamasi Celtic folk, and North and West Afri- The Pyatt Hall Series features classic Washington, Bonobo, and Robert can rhythms. jazz by artists such as Roberta Gam- Plant. Vocalist Macy Gray, the ‘90s barini, Russell Malone, and Emmet R&B superstar and multi-platinum

June 2018 • EARSHOT JAZZ • 19 Cohen, while the Imperial Series offers newer-sounding, funkier jazz from the likes of the electronic funk-pop group KNOWER and the Afrofuturist group Sons of Kemet. The Innovation Series, located at The Ironworks and also at The China Cloud, offers even New! Daily pick up and delivery in Seattle more boundary-pushing experimental and North Lake Washington areas jazz with artists including Thumb- 7 Luthiers, set up and screw, Dan Weiss’ Starebaby, Peggy restoration experts, and makers on site Free consultation in shop or by Lee’s Echo Painting, the appointment in Seattle Quartet, Lisen Rylander Löve with Invisible Taste, Cat Toren & Fabian Lessons Kallerdahl, and more. Since 1964 970 5th Ave NW Downtown Jazz, which is a family- Suite 100 Issaquah WA 98027 friendly outdoor space in Vancouver www.HammondAshley.com Art Gallery and Robson Square, will host free weekend performances. Their lineup includes the funk band Ghost- Note and the Nubian pop group Al- sarah and the Nubatones, who’ve styled themselves as “East African ret- ro pop.” Downtown Vancouver’s Da- vid Lam Park will host more free con- certs including such bands as the Mo- town soul band, Queer As Funk, and the Bollywood party-infused group, Red Baraat. Granville Island will host a slew of free concerts as well includ- ing the Korean music-inspired band, The Watermill Project; the acoustic bluegrass group, Wildwood Fire; and an improv group that plays abstract expressionist painting-inspired music called Parker Woods’ Otra. There’s a wide range of jazz experi- ences to immerse yourselves in at the TD Vancouver International Jazz Fes- tival. To learn about all the options, the Coastal Jazz blog entry titled “In- sider’s Guide to the Festival,” available at coastaljazz.ca/insiders-guide-to-the- festival/, is particularly helpful, as is the comprehensive downloadable fes- tival guide. –Lucienne Aggarwal For more information, full schedule, and tickets, visit coastaljazz.ca.

20 • EARSHOT JAZZ • June 2018 PREVIEW >> NW Summer Festivals

Bellevue Jazz & Blues Festival TD Victoria International Jazz Port Townsend May 30–June 3 JazzFest July 22–29 Various venues, Bellevue, WA June 22–July 1 Fort Worden State Park, Port Townsend, WA Deva Mahal, Dr. Lonnie Smith, Curtis Stigers Various venues, Victoria, BC Jazzmeia Horn, Terrell Stafford, Dave Stryker, with the Full Circle Big Band, Carlos Cascante Macy Gray, , Al Muirhead, Jeff Hamilton, John Clayton, Jean and Marcus y su Tumbao, Darelle Holden, and more. (425) Jamison Ross, Allison Au, Ellen Doty, Ghost- Baylor, Tamir Hendelman, Donald Vega, Katie 453-3110, www.bellevuedowntown.com/events/ Note, Morgan James, GoGo Penguin, Julian Thiroux, Matt Wilson, and more. (360) 385- jazz-and-blues-festival Lage, Vincent Herring, and more. (250) 388- 3102, www.centrum.org 4423, www.jazzvictoria.ca Upstream Music Fest Jazz in the Valley June 1–3 Taste of Tacoma July 27–29 Pioneer Square, Seattle, WA June 22–24 Downtown Ellensburg, WA Miguel, Valerie June, The Flaming Lips, The Point Defiance Park, Tacoma, WA D’Vonne Lewis’ Limited Edition, Happy True Loves, High Pulp, Lori Goldston, Noel Indigo Jazz Band, Blue Mountain Spanish Orchestra, Bill Anschell, Duende Libre ft. Chava Brass, Jr., Skerik Band, SassyBlack, and more. Sound, Michael Powers, Scott Lindenmuth, and Mirel, and more. (888) 925-2204, (509) 925- www.upstreammusicfest.com more. (425) 295-3262, www.tasteoftacoma.com 2002, www.jazzinthevalley.com Chateau Ste. Michelle Concert Drayton Harbor Music Festival Oregon Festival of American Series July 8–14 Music June 10–September 15 Blaine Performing Arts Center, Blaine, WA August 1–11 Chateau Ste. Michelle, Woodinville, WA Greta Matassa, Camille Bloom, Nick Biello, The John G. Shedd Institute for the Arts, Taj Mahal & Keb’ Mo’, Chris Botti, Jethro Tull, student showcases, and more. (360) 820- Eugene, OR Chris Thile, Ben Folds, Dirty Dozen Brass Band, 8312, www.draytonharbormusic.org “In the Hands of the Muses: Tributes to Chris Isaak, Lyle Lovett, Ben Harper & Charlie Vancouver Island MusicFest Songbook Masters & Mentors,” celebrates the creators and practitioners of the Great American Musselwhite, The Gipsy Kings, Béla Fleck, July 13–15 Songbook through personal tributes. (541) 434- Yes, John Fogerty, Sheryl Crow, Michael Franti Comox Valley Fairgrounds, Courtenay, BC 7000, www.theshedd.org & Spearhead, Rodrigo y Gabriela, and more. Arlo Guthrie, David Amram, Eve Goldberg, (425) 488-1133, www.ste-michelle.com Shakura S’Aida, Dustbowl Revival, Josh Jazz and Oysters Britt Pavilion Series White Jr., and more. (250) 871-8463, www. August 18 June 12–September 14 islandmusicfest.com Nahcotta Boat Basin, Ocean Park, WA Britt Pavilion, Jacksonville, OR Cathedral Park Jazz Festival F.J. Marx Quartet, Eugenie Jones, 45th Street Brass, Ilwaco High School Jazz Band. www. Preservation Hall Jazz Band, Cyril Neville, July 20–22 watermusicfestival.com & Walter Wolfman Washington. Arlo Guthrie Cathedral Park, Portland, OR & Janis Ian, Trombone Shorty’s Voodoo Reggie Houston, Norman Sylvester Band, The Vancouver Wine & Jazz Threauxdown ft. Galactic, Ziggy Marely, Father Quadraphones, Tahira Memory, and more. Festival John Misty, Brandi Carlile, and more. (800) 882- (503) 709-3366, www.jazzoregon.com/cpjazz August 24–26 7488, www.brittfest.org Bite of Seattle Esther Short Park, Vancouver, WA Artists TBD. www.vancouverwinejazz.com TD Vancouver International July 20–22 Jazz Festival Seattle Center, Seattle, WA DjangoFest NW June 22–July 1 Michael Powers, Scott Lindenmuth, Stickshift September 19–23 Various venues, Vancouver, BC Annie with Kimball & the Fugitives, Paul Whidbey Island Center for the Arts, Whidbey Kamasi Washington, Macy Gray, Bonobo, Richardson, and more. (425) 295-3262, www. Island, WA Robert Plant and the Sensational Space biteofseattle.com Tcha Limberger, Cyrille Aimée, Adrien Moignard, Shifters, Thumbscrew, Julian Lage, Dan Weiss Gonzalo Bergara, Jason Vieaux, and more. Starebaby, Ken Vandermark, and more. (888) (360) 221-8262, www.wicaonline.org 438-5200, (604) 872-5200, www.coastaljazz.ca

June 2018 • EARSHOT JAZZ • 21 JAZZ INSTRUCTION Carolyn Graye – Voice, piano, theory, songwrit- Steve Rice – Jazz piano instruction, North Seattle; Osama Afifi - Upright/electric bass instruction. ing, improvisation. MA. 206.687.0426, www. [email protected], (206) 365-1654 Worked with Kurt Elling, Nnenna Freelon, Tribal carolyngraye.com Gary Rollins - Guitar and bass guitar instruction. Jazz, Yanni, Vanessa Paradis. (206) 877-2285 Ed Hartman – YAMAHA Performing Artist. Jazz, 30+ years teaching. Student of Al Turay. Mills www.myspace.com/osamaafifi Latin, percussion lessons (drumset, vibraphone, Music, Burien, Shoreline. (206) 669-7504. Clipper Anderson – NW top bassist, studio musi- congas) @ The Drum Exchange. FREE intro. les- garyleerollins.com cian, composer. PLU faculty. Private students, son. (206) 545-3564, [email protected] Murl Allen Sanders – jazz piano & accordion clinics, all levels, acoustic/electric. $45/hr. (206) Kelley Johnson – Earshot Best Jazz Vocalist, instructor interested in working with motivated 933-0829 or [email protected] International Vocal Competition Winner. Lessons intermediate level young people. (206) 781-8196 Dave Anderson -- Improvisation instruction/coaching, & workshops, voice, & improvisation. www.kelley- Greg Sinibaldi – Improvisation/composition using any level/instrument, from saxophonist/composer in johnson.com (206) 323-6304 12-tone technique, all instruments & levels, Greenlake neighborhood. (206) 553-9957, davean@ Diane Kirkwood - Recording Artist/Jazz Vocal- ensemble coaching, workshops. (206) 675-1942; comcast.net, www.daveandersonjazz.com ist. Private Vocal Coach/Performance & Audition [email protected] Bob Antolin – Saxophone and Improvisation (all in- Coach. Students/Adults (425) 823-0474 or Marc Smason – Trombone, jazz vocal & dijeridu. struments). Jazz & World focus. NE Seattle. (206) [email protected] Professional trombonist/vocalist since 1971. Has 355-6155 or [email protected] Scott Lindenmuth - Jazz Guitar Instruction. Impro- taught in schools & privately. www.marcsmason.com Jon Belcher – Jazz drum set instruction. Studied visation, theory, technique. Beginning through Bill Smith – Accepting students in composition, with Alan Dawson. Author Drumset Workouts advanced. (425)776-6362, www.scottlindenmuth. improvisation and clarinet. (206) 524-6929, books 1 & 2. Web site: www.drumsetworkouts. com, [email protected] [email protected] com. (253) 631-7224, [email protected] Pascal Louvel – www.SeattleGuitarTeacher.com GIT Charlie Smith – Accepting students for jazz com- Emilie Berne - Vocal instruction in cabaret, jazz, grad, Studied with R. Ford and N. Brown, (206) position and arranging, theory and piano. Leader musical theater, song writing. All levels. Over 30 282-5990 and arranger for Charlie Smith Circle. (206) 890- years teaching experience. (206) 784-8008 Greta Matassa – Award winning, Earshot Best Jazz 3893 [email protected] Dina Blade – Jazz singing instruction. Closet sing- Vocalist. Private instruction and workshops. (206) David L. Smith - Double bass and electric bass. ers and beginners welcome. dinablade@dinablase. 937-1262 www.gretamatassa.com, gretamatassa@ Teaching all styles & levels. BM Eastman School com or (206) 524-8283 home.com of Music, MM Univ. of Miami. (206) 280-8328; Samantha Boshnack – Experienced trumpet tech- Yogi McCaw – Piano/Improvisation/Composition/ [email protected] nique & improvisation instructor w/ music degree. Home Recording. North Seattle. (206) 783-4507 Amy Stephens – Jazz piano, theory, improv, All ages, levels. Home studio in Ballard. (206) or [email protected] composition, classical piano also. BM/BM, MM 789-1630 or [email protected] Wm Montgomery – Instruction in jazz piano, improv Indiana Univ., 10+ yrs teaching experience.(206) Ryan Burns – piano, fender rhodes, guitar and bass (all instruments), ear training, theory, composi- 240-7632, [email protected] instruction. University of Puget Sound and Seattle tion. Seattle (Magnolia Village). (206) 282-6688, Ev Stern’s Jazz Workshop: 18 years of jazz en- Drum School. [email protected] [email protected] sembles, classes, lessons. All ages, instruments, Julie Cascioppo – Coaching to improve your perfor- Dennis Moss – Jazz and Brazilian guitar instruc- levels. evstern.com; (206) 661-7807; evstern@ mance on all levels. with Jazz/cabaret singer Julie tion. BM from Cornish. All ages/levels. In-home comcast.net Cascioppo. www.juliesings.com 206-286-2740 lessons also possible. [email protected], Jacob Stickney – saxophone. Rhythm, sight-read- Frank J. Clayton – Basic to advanced double bass, www.dennismossmusic.com ing, musicianship, harmony, arr. & composition. drums and ensemble. 23 yrs playing and perform- Cynthia Mullis – Saxophone instruction with a [email protected] ing in NYC. Studies at Berklee, Manhattan and creative, organic approach to Jazz style, theory, Tobi Stone – Saxophone/Clarinet. All ages/levels. Juilliard schools. (206) 779-3082 technique. BM, MA, NYC professional. 206-675- Attention to tone, technique, theory, improvisation. Darin Clendenin has openings for students in jazz 8934. Email: [email protected] BM, 10 years teaching/performing. Member Reptet piano. Beginning – advanced, ages 8 to 80, 31 Nile Norton, DMA – Vocal Jazz coaching, all levels. & Tiptons. (206) 412-0145 years playing experience, 18 years teaching experi- Convenient Pioneer Square studio location. Ryan Taylor – Guitarist with extensive performance/ ence. (206) 297-0464 Recording and transcriptions. www.npnmusic.com, teaching background. For information, ryan-tay- Peter Cramer – voice, saxophone, and piano private [email protected], (206) 919-0446 [email protected] or call (206) 898-3845 instruction. Honors BM Cornish 07’. www.peter- Ahamefule J. Oluo – Trumpet instruction all levels. Andre Thomas – Intermediate to advanced tech- cramermusic.com, or 612 308 5248. Studied at Cornish, member of Monktail Creative niques for the modern drummer as applied to jazz Anna Doak – Double bass instructor 784-6626, Music Concern. 849-6082, [email protected] and bebop. (206) 419-8259 [email protected]. Professional performing/re- Susan Palmer – Guitar instruction. Teacher at Jay Thomas – accepting select students on trum- cording bassist. Professor of double bass at WWU Seattle University and author of “The Guitar pet, saxophone, flute. Special focus on improvisa- Becca Duran – Earshot Vocalist of 2001; MA. Lesson Companion” book, CD and videos. Email: tion and technique. (206) 399-6800 [email protected] Learn to deliver a lyric; study tone production, Yakup Trana – Cornish graduate, professional phrasing, improvisation, repertoire. All languages. Susan Pascal – Jazz vibraphone improvisation and guitarist. Guitar instructions for all levels; (425) 548-9439; www.beccaduran.com technique, beginning thru advanced. 206-932-5336 221-3812, [email protected] [email protected], www.susanpascal.com Hans Fahling – Jazz guitar instruction, as well as Byron Vannoy MFA – Jazz drum set instruction & jazz ensembles for all instruments. Contact: (206) Ronnie Pierce – Instruction in sax, clarinet, flute. rhythmic improvisational concept lessons for all 364-8815, email: [email protected], web (206) 467-9365 or (206) 374-8865 instruments. All ages and levels accepted. (206) site: www.fahlingjazz.com Christian Pincock – trombone, trumpet, composi- 363-1742, [email protected] William Field – Drums, all styles. Member of AFM tion, improvisation. Maple Leaf studio. 10+ years Debby Boland Watt – Vocal instruction in Jazz, Im- Local 76-493. City of Seattle business license dba teaching all ages/styles. Active performer. www. provisation & Bobby McFerrin’s Voicestra. Cornish Sagacitydrums. (206) 854-6820 ChristianPincock.net, (505) 352-4447 BM: Vocal Jazz & MFA: Improv & Comp (243) Curtis Forbes – Guitarist, Berklee graduate, degree in Bren Plummer -- Double Bass Instruction: Jazz and 219-5646 or www.debbywatt.com composition available for private lessons in guitar, classical. BM (NEC), MM, DMA (UW). Experienced Patrick West – Trumpet Instruction. 20 + years ex- composition, arranging, theory. (206) 931-2128 or freelance jazz and orchestral player. brenplum- perience teaching. All ages and levels accepted. [email protected] [email protected] (206)992-9415 Emphasis on Technique and improvisation. (425) David George – Instruction in trumpet. Brass and Josh Rawlings – Piano & vocal instruction in jazz/ - 971-1831 jazz technique for all students. Home studio in popular. Flexible rates/schedule. All ages welcome. Garey Williams – Jazz Drum Instruction. (206) Shoreline. Cornish graduate. (206) 545-0402 or (425) 941-1030 or [email protected] 714-8264 or [email protected] [email protected] Bob Rees – Percussionist/vibraphonist. All ages. Greg Williamson – drums and rhythm section; jazz Steve Grandinetti, MSEd – Jazz drum set instruc- Emphasis on listening, rhythm, theory, & improv. and big band; private studio for lessons, clinics tion. Studied with Justin Di CioCio. Centrum Degrees in developmental music & perc. perfor- and recordings; (206) 522.2210, greg@ponyboy- Blues Festival faculty member. 360-385-0882, mance. 417-2953; [email protected] records.com [email protected] Ann Reynolds – Jazz piano, improvisation, and latin Tony Grasso – Trumpet technique, composition, music with emphasis on Cuban musical styles. improvisation. All levels. 15 years teaching experi- 206-499-6995. [email protected] To be included in this listing send up to 15 words ence. 940-3982; [email protected] to [email protected].

22 • EARSHOT JAZZ • June 2018 Jazz Port townsend John Clayton, artistic director workshoP and Festival July 22-29, 2018 Coaching, rehearsals, master classes, theory, special topics and 60 performances— including yours. this year honoring Blue note legend with Featured artists. Terell Stafford, Jeff Hamilton, Stefon Harris, Matt Wilson, Jazzmeia Horn, George Cables, Gary Smulyan, Taylor Eigsti, Tamir Hendelman, Graham Dechter, Katie Thiroux, Marcus and Jean Baylor plus 20 more. Special track Stefon Harris for music educators.

apply aT Open to instrumentalists and vocalists CENTRuM.ORG/Jazz high school-aged and older.

June 2018 • EARSHOT JAZZ • 23 FOR THE RECORD

Jr.(trombone), to original members Colón, Charles, Eric Verlinde (keys), and D’Vonne Lewis (drums). Like the near-superhuman warriors in the orig- inal Contra game, Contraband rely on their herculean instrumental powers to play their way through gnarly levels of fast-paced contemporary fusion. As on the first record, Colón and Charles stand out for their solos, Colón’s hearty tone on tenor pairing off with Charles’ brisk, but equally as fiery sound, turning the heroic shuffle of the original “Legend of Zelda” theme Hans Teuber & into a soul shakedown. Since many of Jeff Johnson Contraband the original songs were synthesized, Reloaded some instrumental weight falls on the Deuce Hey Phil! Records capable keyboardist Eric Verlinde, who nails fine details like backgrounds Origin In 2011, when the Seattle Symphony and more overt elements, such as the Veterans of the Seattle scene and kin- performed music from “Legend of Zel- loquaciously baroque organ solo intro dred “wise musical souls,” saxophonist da,” “Halo,” and “Super Mario Bros.,” to “Castlevania III –Riddle.” Overall, Hans Teuber and bassist Jeff Johnson classical aficionados learned what the album does present an abundance have aptly named their duo debut. The anyone who knew how to whistle the of standout solos, as in the “boss level” etymology of “deuce” traces back to “Overworld” theme already knew: the of “Metroid – Kraid’s Lair,” in Coe’s the number two, but along the way has art of video games partly turns on its unexpected metric variations, and picked up the spice of the devil and the indelible music. Yet as early as 2008, with Willis’ rapid-fire vibe work, in underworld aura of the gambling den: Seattle saxophonists Cliff Colón and which he re-sequences the main theme like rolling snake eyes, a deuce pins the J. Charles had recognized enduring as if pounding cheat codes on an N64 player at their own game. Similarly, in 8-bit music through jazz in their Con- controller. And that’s not to mention Deuce, Teuber and Johnson lay down traband project. Taking its name from the rhythm section, especially the all their cards. With cunning turns of Konami corporation’s run and gun fine-tuned interaction between bass phrase, their swinging dialogue always style ‘80s era console game Contra, and drums, audible when Lewis and seems to come to draws, sounding Contraband transcribed the game’s Dosumov revamp the theme to the like the politic conversations of two high-energy electronic score into a suite online slot machine game “Secrets of close travelers on the whims of luck, of action-packed jazz which echoed the Forest” into a churning slow jam. the winds of change, and the ways of the original’s bracing cooperative Reloaded has a lot of surprises in store chance. gameplay and colorful 3D graphics. for those who’ve put their time in at Like any good match, Teuber and For Contraband’s sophomore release, the console, such as the addition of Johnson play on one another’s unique Reloaded, the band is indeed reloaded, guitarist RL Heyer who shreds on the strengths. Teuber takes the upper tackling other classic Konami themes album’s closer “Silver Surfer,” to name register with his spiraling, boppishly from Metroid and Castlevania, in a one example. But even for those who decorative approach on tenor and alto larger ensemble adding Jacques Wil- don’t, the inventiveness, humor, and saxophones, where Johnson joins him lis (vibes), Andy Coe (guitar), Farko excitement of Contraband’s arrange- with his earthy melodies, double stops, Dosumov (bass), Thomas Marri- ments should intrigue any jazz fan and melodic slaps, sometimes doubled ott (trumpet), and David Marriott ready to level up. by the horn’s clapping pads. In its cool

24 • EARSHOT JAZZ • June 2018 formal approach, the duo’s co-written his own voice further in the process. original material—taking up most of Hence it’s not hard to see where the the album—appropriately brings out album’s piano-based opener “Zephyr,” the instrumentalists’ faculty for both a suspensefully floating ode, takes song and sound. For “Hummingbirds” its sophisticated and symphonistic and “Let’s Pretend,” Johnson reveals structure if compared with tracks like his quick yet harmonically fine bow- “Choro,” Chadsey’s dramatic tribute ing, whereas Teuber tests a thin line to Jovino Santos Neto. between the horizontal motion of his As to the mix of traditions and ap- melodies and the vertical of overtone proaches mastered by the entire band, clusters. For their aptly titled “Hot their very rendering of these has be- Rod,” based on a slick blues theme, come richer, not merely in solos but in Johnson cruises with guitaristic string comping and melodic statement. vamps and quick switches, with Teu- Duende Libre Dosumov’s upper register improvi- ber’s fluttering lines running with it sations have a lyrically vocal quality, like a motor’s moving parts. Drift enhanced by the use of octaving ped- Apart from their own material, the Self-released als, though only part and parcel of the duo treats a few classic ballads, but re- popping sound on the mix of hip-hop models them in their own unbridled, If the United Nations’ General As- layout and afro-beat build up in the ti- swinging renditions; thus the pleading sembly had a house band, it might tle track “Drift.” His tight groove with ode of Irving Berlin’s “How Deep is sound something like Duende Libre. Busch stands out on the the Ocean?” becomes a playfully ac- Negotiating on a platform of jazz and classic “Spain,” as well as the multi- robatic burlesque, while the late-night cool-fusion, Alex Chadsey (piano, part “Subway.” For this track, Chad- advance of Bob Haggard’s “What’s composition), Farko Dosumov (bass), sey has the band switch from full-on New?” changes its setting from a lush and Jeff “Bongo” Busch (percussion) funk to a more laid-back vibe, like ball to a bustling street somewhere entertain the music of Europe, Africa, ducking out of said transport’s crazed downtown. The grit and grime of the and the Americas with both the stra- rush and climbing into the chill of the blues, however, always lurks some- tegic exuberance and cool-headedness night. Here, listeners may take note of where in the distance, stepping out of trained diplomats. Duende Libre re- Busch’s melodic work on the cowbell, on a notable cover of Jimmy Reed’s turn from the studio a year after their in addition Mirel’s bright harmonies “Bright Lights, Big City.” Though they self-titled debut with Drift, sounding in the background, featured through- only outline the pounding rhythm of like a band that’s far surpassed its own out the album’s varied pieces. the original, its fundamental rock sustainable development goals. For “Bosphorous,” the trio mixes a comes out in the almost palpable snap On Drift, the band’s cultural conflu- Phrygian mode figure with a swinging of strings and shiver of grace notes. ence, which melded pre-existing alloys Latin funk-march, describing a scene Just as any great solo performer can like and Afro-Caribbean of a treacherous danger lurking among convey the size and complexity of a full music, has spread like its own musical heightened nobility. Like the crossing band from a just a few key resources, confidence. Joined by vocalist Chava of cultures at the seat of empires in the Teuber and Johnson handle their ma- Mirel (who, like Chadsey, is another world’s most narrow strait, Duende terial together like a full band. At the veteran of reggae royalty Clinton Libre combines the various traditions same time, the indicative space they Fearon’s group), the trio focuses less around us into compelling stories of create between one another produces on the familiar ‘70s Rhodes sound, to what we have in common. And while an intimacy which reinforces the sen- more on varied modes on its medita- telling these stories, one can hear, too, sitive, telling, and sometimes wild tive and ingeniously immersive pieces. how the group drifts into the unique convictions of two of Seattle’s greats. Chadsey writes now in gestures closer hybrid of what it is itself. to that of his idols and peers, revealing –Ian Gwin

June 2018 • EARSHOT JAZZ • 25 JAZZ AROUND THE SOUND June 06 FRIDAY, JUNE 1 CZ Choro Music Open Jam Hosted By Stuart RR The Automat with Darren Loucas, Geoff BP Mark DuFresne Band, 9pm Zobel, 2pm Harper, and Eric Eagle, 10pm BT Live , 6pm DT Darrell’s Tavern Jazz Jam, 8pm SB 5 STORIES JAZZ, 8pm CZ Jazz First Fridays, 8pm EB Tom Kellock, 6pm SB Joe Doria Presents, 9:30pm EB Tom Kellock, 6pm ES Eric Verlinde, 6pm TU Tim Kennedy Band / Northwest School, ES Daniel Davison, 6pm ES Josephine Howell, 7pm 7:30pm HS Michel Navedo & Brazil Novo, 7pm FB Seattle Jazz Vespers: Paula Byrne Quartet, VI Grace Love, 8:30pm JA Spyro Gyra, 7:30 & 9:30pm 6pm WEDNESDAY, JUNE 6 HS Eli Meisner, 10:30am LA Happy Hour Jazz w/ Phil Sparks, 5pm EB Eric Verlinde, 6pm MQ Freudian Slurp, 8:30pm JA Spyro Gyra, 7:30pm ES Daniel Davison, 6pm MQ Swing 3PO, 5pm MQ Brian Nova Jazz Jam, 7pm JA Grace Kelly – A Joy Party!, 7:30pm NC Trish, Hans & Phil, 8pm SC Jazz Combo Classes, 12pm MQ Jacques Willis Trio, 5pm RR JazzED: All-Star Combos, 6:30pm SY Victor Janusz, 10am NC Jazz Jam w/Darin Clendenin Trio, 7:30pm TU Kareem Kandi, 7:30pm TU Jim Cutler Jazz Orchestra / North Seattle RR Jazz Night School featuring Big Band Blue, VI Jovino Santos Neto, 9pm College, 7:30pm 6pm SATURDAY, JUNE 2 TU Katie King Vocal Showcase, 3pm RR The General Business Band, 10pm BP The Rumba Kings, 7pm VI Lennon Aldort, 6pm SB Danny Godinez & Friends, 10pm BT Live Jazz Trio, 6pm VI Ron Weinstein Trio, 9:30pm SC Michael Van Bebber, 7pm CM Mach One Jazz Orchestra, 7pm MONDAY, JUNE 4 TK Live Jazz w/ Jon Alberts, Jeff Johnson & Eric EB Frank S. Holman III, 6pm Eagle, 8pm CC Cider Jam Mondays, 9:30pm ES Daniel Davison, 6pm TU Eric Verlinde Trio, 7:30pm EB Tom Kellock, 6pm JA Spyro Gyra, 7:30 & 9:30pm VI Bar Tabac, 9pm ES Eric Verlinde, 6pm NC Clave Gringa Quartet, 8pm MT Jazz Night, 9pm THURSDAY, JUNE 7 NI Jeremy Shaskus’ Pyramid Scheme, 8pm NL Mo’ Jam Mondays, 8:30pm BC Adam Kessler, Phil Sparks and Guests, 9pm OS Key Up, 8pm RR Evan Smith Studio Recital, 6pm BP Darelle Holden Quartet, 8pm PL The Carolena Matus Trio, 5:30pm CH Ramen Trio – CD Release Concert, 8pm TD Brian Nova Big Band, 8pm RR Matt Carr Septet “Chorus in Via”, 8:30pm EB Eric Verlinde, 6pm TU Bill Anschell Quartet with Brian Monroney, RR The Salute Sessions, 10pm EG Jacob Zimmerman Group, 7pm Chris Symer, and Brad Boal, 7:30pm SC Jazz Combo Classes, 7pm ES Alexey Nikolaev, 8pm VI Don’t Move, 9:30pm TD Chano Dominguez Flamenco Sketches, 7pm ES Daniel Davison, 6pm VI The Tarantellas, 6pm TUESDAY, JUNE 5 FT Mark Lewis, 8pm SUNDAY, JUNE 3 EB Eric Verlinde, 6pm JA Jeffrey Osborne, 7:30pm AB Jazz at the Beaver with Max Holmberg and the ES Daniel Davison, 6pm MQ How Now Brown Cow, 8:30pm 200 Trio, 9pm JA Grace Kelly – A Joy Party!, 7:30pm NC Correo Aereo, 7pm CM Dan Duval & Good Vibes Quartet, 12pm KX Jacqueline Tabor Live on KNKX, 12:15pm NI NiteLite Jam Session, 8pm CR Racer Sessions, 8pm RR Casa de la Trova hosted by SuperSones, 8pm OS Shawn Schlogel, 7pm

Calendar Key

AB The Angry Beaver ES El Gaucho Seattle PL Patriots Landing BC Barca FB Seattle First Baptist Church PO PONCHO Concert Hall BH Benaroya Hall FT Fremont Tavern PY Puyallup Meeker Days Festival BP Bake’s Place Bellevue HS Hotel Sorrento RA Rainier Arts Center BT Brass Tacks JA Dimitriou’s Jazz Alley RR The Royal Room CC Capitol Cider KC Kirkland Performance Center RY Rhythm & Rye CH Chapel Performance Space KX KNKX Studio SB Seamonster Lounge CM Crossroads Bellevue LA Latona Pub SC WJMAC at Sylvia Center for the Arts CO The Conway Muse MQ The Triple Door Musicquarium SE Seattle Art Museum CR Cafe Racer MT Mac’s Triangle Pub SY Salty’s on Alki CT Columbia City Theater MV Marine View Church TD Triple Door CZ Couth Buzzard Books NB Naked City Brewery TK Thaiku DT Darrell’s Tavern NC North City Bistro & Wine Shop TT Tractor Tavern EB El Gaucho Bellevue NI NiteLite Lounge TU Tula’s ED Edmonds Center for the Arts NL Nectar Lounge VI Vito’s EG Egan’s Ballard Jam House OS Osteria la Spiga WW Whisky West

26 • EARSHOT JAZZ • June 2018 RR Jazz Night School featuring two big bands, TU Jazz Police, 4pm vocalists, and numerous small ensembles, TU Jim Cutler Jazz Orchestra / Edmonds 6pm Community College, 7:30pm CURTAIN CALL SB Barrellhouse Gang, 7:30pm VI Bob Hammer, 6pm weekly recurring performances SE Art of Jazz: Mercedes Nicole, 5:30pm VI Ron Weinstein Trio, 9:30pm TT Hackensaw Boys w/ Birch Pereira and The Gin MONDAY, JUNE 11 Joints, 9pm MONDAY TU Phil Parisot Quintet with Jared Hall, Steve CC Cider Jam Mondays, 9:30pm Treseler, Dan Kramlich, and Michael Glynn, EB Tom Kellock, 6pm CC EntreMundos Jam, 9:30 7:30pm ES Eric Verlinde, 6pm EB Tom Kellock, 6 MQ Brad Gibson Trio, 5pm VI Marina Christopher Ensemble, 9pm ES Eric Verlinde, 6 MT Jazz Night, 9pm FRIDAY, JUNE 8 NL Mo’ Jam Mondays, 8:30pm MT Triangle Pub Jam, 9 BT Live Jazz Trio, 6pm RR Kenny Washington feat. Anton Schwartz, Marc NL Mo’ Jam Mondays, 8:30 CM The Offbeats, 7pm Seales, Michael Glynn & D’Vonne Lewis, 8pm EB Tom Kellock, 6pm RY Birch Pereira & The Gin Joints, 8pm TUESDAY ES Daniel Davison, 6pm SC Jazz Combo Classes, 7pm EB Eric Verlinde, 6 HS Swing 3PO, 7pm ES Daniel Davison, 6 JA Jeffrey Osborne, 7:30pm TUESDAY, JUNE 12 OW Tuesday Jazz Night, 9 LA Happy Hour Jazz w/ Phil Sparks, 5pm EB Eric Verlinde, 6pm MQ Sweetspot Combo, 5pm ES Daniel Davison, 6pm SB 5 Stories Jazz, 8 NC Jacqueline Tabor’s CD Release, 8pm JA Jamison Ross, 7:30pm SB Joe Doria Presents, 9:30 NI Bren Plummer, 9pm MQ Rochelle House, 5pm RR Jazz Night School featuring various small RR The Automat with Darren Loucas, Geoff WEDNESDAY ensembles, 6pm Harper, and Eric Eagle, 10pm EB Eric Verlinde, 6 VI Kate Olson Ensemble, 9pm SB 5 STORIES JAZZ, 8pm SB Joe Doria Presents, 9:30pm ES Daniel Davison, 6 SATURDAY, JUNE 9 TU Emerald City Jazz Orchestra, 7:30pm PD Casey MacGill, 8 BT Live Jazz Trio, 6pm PG Paragon Hang, 8 CM Mark Lewis Trio, 7:30pm WEDNESDAY, JUNE 13 EB Frank S. Holman III, 6pm CH Ken Vandermark & Nate Wooley, 8pm THURSDAY EG Angie McKenzie, 9pm EB Eric Verlinde, 6pm BC Adam Kessler & Phil Sparks, 9 ES Daniel Davison, 6pm EG Elise Kloter, 7pm EB Eric Verlinde, 6 ES Daniel Davison, 6pm JA Jamison Ross, 7:30pm HS Eugenie Jones, 7pm MQ Some’tet, 5pm ES Daniel Davison, 6 JA Jeffrey Osborne, 7:30 & 9:30pm RR Goss Productions Music School, 7pm ES Alexey Nikolaev, 8 MQ BlueStreet Jazz Voices, 8pm RR The General Business Band, 10pm FT Mark Lewis & Friends, 8 SC Chuck Findley and , 7pm OS Clave Gringa Trio, 8pm NI Nitelite Jam Session, 8 RR Liberty High School Jazz Band and Combos, TU Jim Sisko’s Bellevue College Orchestra / 5pm Bellevue High School, 7:30pm OS Shawn Schlogel, 7 RR Nolatet (feat. Mike Dillon, James Singleton, VI Paul Gabrielson Trio, 9pm PD Greg Ruby & Maggie Kim, 8 and Brian Haas), 9pm WW Jeff Ferguson’s Triangular Jazztet, 7pm VI Casey MacGill, 5:30 TD Jazz After Dark, 8pm THURSDAY, JUNE 14 FRIDAY TU Susan Pascal Quartet with Bill Anschell, BC Adam Kessler, Phil Sparks and Guests, 9pm Chuck Deardorf, and Mark Ivester, 7:30pm EB Eric Verlinde, 6pm BT Live Jazz Trio, 6 VI Jerry Zimmerman, 6pm ES Alexey Nikolaev, 8pm EB Tom Kellock, 6 VI Kareem Kandi, 9:30pm ES Daniel Davison, 6pm ES Daniel Davison, 6 FT Mark Lewis, 8pm SUNDAY, JUNE 10 LA Happy hour w/ Phil Sparks, 5 AB Jazz at the Beaver with Max Holmberg and the JA Brian Culbertson “Colors of Love” Tour, 200 Trio, 9pm 7:30pm SATURDAY NI NiteLite Jam Session, 8pm CC Kareem Kandi, 6pm EB Frank S Holman III, 6 CR Racer Sessions, 8pm OS Shawn Schlogel, 7pm ES Daniel Davison, 6 CZ Open Jazz Jam With Kenny Mandell, 2pm SB Barrellhouse Gang, 7:30pm DT Darrell’s Tavern Jazz Jam, 8pm SB Kareem Kandi, 9:30pm SUNDAY EB Tom Kellock, 6pm TD Ramsey Lewis, 7:30pm AB Beaver Sessions, 9 ES Eric Verlinde, 6pm TT Contraband Reloaded (album release) w/ ES Josephine Howell, 7pm McTuff, 8pm CR Racer Sessions, 8 HS Kay Bailey, 10:30am TU Delvon Lamarr disORGANized Hammond B-3, DT Darrell’s Tavern Jazz Jam, 8 7:30pm JA Jeffrey Osborne, 7:30pm EB Tom Kellock, 6 MQ Brian Nova Jazz Jam, 7pm VI Jennifer Kienzle, 9pm ES Eric Verlinde with Josephine MV Kenny Washington Quintet featuring Anton FRIDAY, JUNE 15 Howell, 6 Schwartz, 5pm BT Live Jazz Trio, 6pm MQ Brian Nova Jazz Jam, 7 NB North Seattle Youth Jam, 5pm EB Tom Kellock, 6pm RR Columbia City Beatwalk featuring Trovadoro, ES Daniel Davison, 6pm SY Victor Janusz, 10am 7pm HS Monty Banks, 7pm TB Kevin Connor & Swing 3PO, 5 SC Jazz Combo Classes, 12pm JA Brian Culbertson “Colors of Love” Tour, 7:30 VI Ron Weinstein Trio, 9:30 SY Victor Janusz, 10am & 9:30pm TD Nellie McKay, 7:30pm

June 2018 • EARSHOT JAZZ • 27 LA Happy Hour Jazz w/ Phil Sparks, 5pm OS Jacob Zimmerman, 8pm ES Eric Verlinde, 6pm MQ Happy Orchestra Quartet, 9pm RR Broken Shadows: Chris Speed, Tim Berne, ES Josephine Howell, 7pm NI Alex Guilbert, 8pm Dave King, Reid Anderson, 7 & 9:30pm HS Emma Caroline Baker, 10:30am RR Joe Casalini, acoustic bass and Michael Biller, SB Cuban music with Kiki Valera & Cubaché, JA Brian Culbertson “Colors of Love” Tour, guitar: An evening of jazz duets, 6pm 7pm 7:30pm TD Ramsey Lewis, 8pm TD Ramsey Lewis, 8pm KC Seattle Repertory Jazz Orchestra – Dee TU Jacqueline Tabor’s CD Release, 7:30pm TU Greta Matassa Tribute to Frank Sinatra with Daniels: My Favorite Things, 2pm VI Michael Owcharuk Ensemble, 9pm Alexey Nikolaev, Darin Clendenin, Clipper MQ Brian Nova Jazz Jam, 7pm Anderson, and Mark Ivester, 7:30pm PY Dan Duval & Good Vibes Trio, 12pm SATURDAY, JUNE 16 VI James Band, 9:30pm SC Jazz Combo Classes, 12pm BH Seattle Repertory Jazz Orchestra – Dee VI The Tarantellas, 6pm SY Victor Janusz, 10am Daniels: My Favorite Things, 7:30pm VI Bob Hammer, 6pm BT Live Jazz Trio, 6pm SUNDAY, JUNE 17 VI Ron Weinstein Trio, 9:30pm CH Kin of the Moon & Renee Baker, 8pm AB Jazz at the Beaver with Max Holmberg and the EB Frank S. Holman III, 6pm 200 Trio, 9pm MONDAY, JUNE 18 EG Mark Christian Miller – Story Time for Adults, CC Jazz: FADE Quartet, 6pm CC Cider Jam Mondays, 9:30pm 9pm CR Racer Sessions, 8pm EB Tom Kellock, 6pm ES Daniel Davison, 6pm CZ Choro Music Open Jam Hosted By Stuart ED Seattle Repertory Jazz Orchestra – Dee HS Delilah Pearl and the Mantarays, 7pm Zobel, 2pm Daniels: My Favorite Things, 7:30pm JA Brian Culbertson “Colors of Love” Tour, 7:30 CZ Music Improv Session w/ Kenny Mandell, 7pm ES Eric Verlinde, 6pm & 9:30pm DT Darrell’s Tavern Jazz Jam, 8pm MT Jazz Night, 9pm MQ Marina Christopher, 9pm EB Tom Kellock, 6pm NL Mo’ Jam Mondays, 8:30pm RY Olympia Jazz Senators, 8pm SC Jazz Combo Classes, 7pm TUESDAY, JUNE 19 EB Eric Verlinde, 6pm ES Daniel Davison, 6pm JA Jeff Lorber Fusion, 7:30pm SB 5 STORIES JAZZ, 8pm SB Joe Doria Presents, 9:30pm TU LineUp! Dawn Clement & Mark Taylor with Michael Glynn & D’Vonne Lewis, 7:30pm WEDNESDAY, JUNE 20 EB Eric Verlinde, 6pm ES Daniel Davison, 6pm JA Jeff Lorber Fusion, 7:30pm RR Aaron Parks & Little Big, 7 & 9:30pm RR The General Business Band, 10pm SC Vincent Herring Quartet, 7pm TD GoGo Penguin, 7:30pm TU Axiom Quartet with Alexey Nikolaev, John Hansen, Michael Glynn, and Phil Parisot, 7:30pm VI Brad Gibson Presents, 9pm THURSDAY, JUNE 21 BC Adam Kessler, Phil Sparks and Guests, 9pm EB Eric Verlinde, 6pm ES Alexey Nikolaev, 8pm ES Daniel Davison, 6pm FT Mark Lewis, 8pm JA Spanish Harlem Orchestra, 7:30pm MQ Michel Navedo, 5pm NI NiteLite Jam Session, 8pm OS Shawn Schlogel, 7pm PO Thumbscrew (Mary Halvorson, Michael Formanek, Tomas Fujiwara), 8pm TD Nels Cline and Scott Amendola, 7:30pm TU Eastside Modern Jazz Orchestra, 7:30pm FRIDAY, JUNE 22 BT Live Jazz Trio, 6pm CT Seattle Interprets Jobim 2018, 8pm EB Tom Kellock, 6pm ES Daniel Davison, 6pm JA Spanish Harlem Orchestra, 7:30 & 9:30pm LA Happy Hour Jazz w/ Phil Sparks, 5pm

28 • EARSHOT JAZZ • June 2018 MQ Daniel Tapport Trio, 9pm RR Charles Street Messengers release their first FRIDAY, JUNE 29 MQ Djangomatics, 5pm album!, 8pm BT Live Jazz Trio, 6pm NC Cuban music with Kiki Valera & Cubaché, RR The General Business Band, 10pm EB Tom Kellock, 6pm 8pm SB Cole Schuster Organ Trio, 10pm ES Daniel Davison, 6pm NI Brent Jensen, 8pm SC Adam Thomas, 7pm HS Breaks & Swells, 7pm RR Dan Weiss’ Starebaby: Metal Jazz, 7 & TU Ph Factor Big Band, 7:30pm JA Acoustic Alchemy, 7:30 & 9:30pm 9:30pm VI Wally Shoup, 9pm LA Happy Hour Jazz w/ Phil Sparks, 5pm TU D’Vonne Lewis Quartet, 7:30pm WW Jeff Ferguson’s Triangular Jazztet, 7pm MQ Afrocop, 9pm VI Johnny Astro, 9pm THURSDAY, JUNE 28 MQ Victor Horky & His Silk Road Swing, 5pm SATURDAY, JUNE 23 BC Adam Kessler, Phil Sparks and Guests, 9pm RA Duende Libre CD Release feat. Chava Mirel & BT Live Jazz Trio, 6pm EB Eric Verlinde, 6pm Frank Anderson, 8pm CO Market Street Dixieland Jazz Band @ Conway ES Alexey Nikolaev, 8pm TU Stephanie Porter Quintet, 7:30pm Muse, 8pm ES Daniel Davison, 6pm VI Lushy, 9:30pm EB Frank S. Holman III, 6pm FT Mark Lewis, 8pm SATURDAY, JUNE 30 EG Tribute to Bruce Cockburn, 7pm JA Acoustic Alchemy, 7:30pm BT Live Jazz Trio, 6pm ES Daniel Davison, 6pm NI NiteLite Jam Session, 8pm EB Frank S. Holman III, 6pm JA Spanish Harlem Orchestra, 7:30 & 9:30pm OS Shawn Schlogel, 7pm ES Daniel Davison, 6pm MQ Roberta Donnay and The Prohibition Mob TD Sing Low, Indigo, 8:30pm JA Acoustic Alchemy, 7:30 & 9:30pm Band, 9pm TU Jared Hall Quartet, 7:30pm TU Marc Seales Band, 7:30pm NI Bren Plummer, 9pm VI Satin Sirens, 9pm VI Jerry Zimmerman, 6pm OS Nancy Erickson & Shawn Schlogel, 8pm VI Tim Kennedy Trio, 9:30pm PO Thomas Strønen: Time is a Blind Guide, 8pm TU Gail Pettis Quartet, 7:30pm VI Jerry Zimmerman, 6pm VI Monty Banks, 9:30pm SUNDAY, JUNE 24 AB Jazz at the Beaver with Max Holmberg and the 200 Trio, 9pm CR Racer Sessions, 8pm CZ Open Jazz Jam With Kenny Mandell & Friends, 2pm DT Darrell’s Tavern Jazz Jam, 8pm EB Tom Kellock, 6pm ES Eric Verlinde, 6pm ES Josephine Howell, 7pm HS Savage Carlson Duo, 10:30am JA Spanish Harlem Orchestra, 7:30pm MQ Brian Nova Jazz Jam, 7pm SC Jazz Combo Classes, 12pm SY Victor Janusz, 10am TU Big Band Jazz: Jim Cutler Jazz Orchestra, 7:30pm VI Bob Hammer, 6pm VI Ron Weinstein Trio, 9:30pm MONDAY, JUNE 25 CC Cider Jam Mondays, 9:30pm EB Tom Kellock, 6pm ES Eric Verlinde, 6pm MT Jazz Night, 9pm NL Mo’ Jam Mondays, 8:30pm RY Seattle Women’s Jazz Orchestra, 8pm SC Jazz Combo Classes, 7pm TUESDAY, JUNE 26 EB Eric Verlinde, 6pm ES Daniel Davison, 6pm JA Jimmy Webb, 7:30pm MQ Frank Kohl Trio, 5pm SB Joe Doria Presents, 9:30pm TU David Marriott’s Triskaidekaband, 7:30pm WEDNESDAY, JUNE 27 EB Eric Verlinde, 6pm ES Daniel Davison, 6pm JA Jimmy Webb, 7:30pm

June 2018 • EARSHOT JAZZ • 29 ON THE RADIO  88.5 KNKX in Lloyd’s Jazz Caliente, 5pm, where 90.3 KEXP 88.5 KNKX hosts Saturday Jazz jazz meets Latin rhythms. 90.3 KEXP, late-night Sundays, Matinee, Jazz Sunday Side Up, Ken Jim Wilke’s Jazz Northwest, Sun- features Jazz Theater with John Gil- Wiley’s the Art of Jazz, and Jazz days, 2pm, features the artists and breath, 1am. Full schedule informa- Northwest, in addition to its weekday events of the regional jazz scene. For tion is available at kexp.org. JazzNW podcasts of archived pro- NPR and late-night and prime-time 91.3 KBCS jazz programs. Full schedule and info grams, see jazznw.org. This month’s at knkx.org. program highlights include excerpts 91.3 KBCS, features creative and Abe Beeson hosts The New Cool, from Celebration of the Drum at the improvised music on Flotation Device Saturdays, 3pm, featuring 21st cen- Ballard Jazz Festival on June 3 and with John Seman and Jonathan Law- tury jazz inspired and informed by the vocalist Mercedes Nicole at the Art of son, Sundays at 10pm. The Monday sounds of today, hip-hop, funk, elec- Jazz on June 17. night lineup includes The Caravan tronic & , followed by Rob- with John Gilbreath at 7pm, Straight No Chaser with David Utevsky at 9pm, with John Pai at EARSHOT JAZZ PRESENTS 11pm, and The Shape of Modern Jazz with Gordon Todd at 1am Tuesdays. Shows can be streamed anytime at Makaya McCraven kbcs.fm. Wednesday 91.7 KSVR August 8, 8pm 91.7 KSVR Mount Vernon, Doctor Royal Room Dee hosts two nights of jazz, Fourth 5000 Rainier Ave S Corner Jazz, featuring recordings of live performance in Northwest Wash- ington, Sundays, 6-7pm, and The Doctor’s Den, Mondays, 8-10pm. 102.9 KLOI-LP 102.9 KLOI-LP Lopez Island, Mon- days & Fridays, 3pm, Joy Spring with Gary Alexander, classic jazz and the Great American Songbook. Hollow Earth Radio Hollow Earth Radio, hollowearthra- dio.org, Fridays at 6pm, biweek- ly, Black Roots Radio, hosted by Jordan Leonard, promotes jazz as a dynamic genre rooted in the Black American experience. Hollow Earth Radio is Seattle’s free- form online radio station that supports the local music communities in the greater Pacific Northwest and tries to create an open, encouraging stage for EARSHOT JAZZ underrepresented voices. More at face- p: 206.547.6763 w: www.earshot.org book.com/blackrootsradiojl and hol- lowearthradio.org.

30 • EARSHOT JAZZ • ForJune Reservations 2018 call 206-443-4221 $15 general / $13 Earshot members and seniors / $7 Students w/ ID Notes, from page 3

2019 CMA National Conference Copland Fund supports contemporary The Bass Church The Bass Church The Bass Church Opportunities classical music and jazz. The Northwest double bass specialists The Northwest double bass specialists The Northwest double bass specialists

Applications are now open for en- More information and application www.basschurch.com www.basschurch.com www.basschurch.com semble showcases at the 2019 Cham- available at coplandfund.org. ber Music America conference in New Seattle Women’s Jazz Orchestra York City, January 17­–20. Composition Contest Ensembles may apply to perform a Sales, Rentals, Sales, Rentals, Sales, Rentals, Seattle Women’s Jazz Orchestra 20-minute showcase at the confer- Repairs, Restorations, Repairs, Restorations, Repairs, Restorations, (SWOJO) is now accepting scores ence, which are an opportunity to Lessons Lessons Lessons

for its sixth annual jazz composition market their work to an audience of Convenient North Seattle Location Convenient North Seattle Location Convenient North Seattle Location

contest. The winning and honorable presenters, artist managers, educators, mention composers will receive an and other colleagues. Professional en- (206)784-6626 (206)784-6626 (206)784-6626 honorarium and their compositions 9716 Phinney Ave. N. 9716 Phinney Ave. N. 9716 Phinney Ave. N. sembles that perform early, classical/ Seattle, WA. 98103 Seattle, WA. 98103 Seattle, WA. 98103 will be performed and recorded live ~by appointment only~ contemporary, jazz, or world music ~by appointment only~ ~by appointment only~ by the Seattle Women’s Jazz Or- are encouraged to apply. Applications chestra with a special guest during are due by midnight (EST) on Sun- the 2018 Earshot Jazz Festival in Se- day, June 3. attle. Submission deadline is June 30. Applications and details are available See swojo.org for details and online The Bass Church The Bass Church The Bass Church at chamber-music.org. The Northwest double bass specialists The Northwest double bass specialists The Northwest double bass specialists application. BlueStreet Voices Presents Jazz www.basschurch.com www.basschurch.com www.basschurch.com CityArtist Projects Application After Dark Now Open Join BlueStreet in downtown Seattle Applications are now open for the Se- for their swingin’ season closer at the attle Office of Arts & Culture’s City- Sales, Rentals, Sales, Rentals, Sales, Rentals, Triple Door on Saturday, June 9. Pro- Artist Projects, with a deadline of July Repairs, Restorations, Repairs, Restorations, Repairs, Restorations, gram will feature selections from Nat 11. Lessons Lessons Lessons King Cole, Bessie Smith, Convenient North Seattle Location Convenient North Seattle Location Convenient North Seattle Location CityArtist Projects supports the de- and the Jazz Messengers, Blossom velopment and presentation of work Dearie, Sarah Gazarek, and more. created by generative Seattle-based in- (206)784-6626 (206)784-6626 (206)784-6626 Doors open at 6:30pm; music begins 9716 Phinney Ave. N. 9716 Phinney Ave. N. 9716 Phinney Ave. N. dividual artists/curators. The 2019 cy- Seattle, WA. 98103 Seattle, WA. 98103 Seattle, WA. 98103 at 8pm. Tickets are $25 in advance, ~by appointment only~ ~by appointment only~ ~by appointment only~ cle will accept proposals from artists/ $28 at the door, and are available at curators working in dance, music and thetripledoor.net. theater (including scriptwriting). Ap- Aaron Copland Fund Performance plicants can request one of the follow- Program ing set amounts: $2,000, $5,000, or The Bass Church The Bass Church The Bass Church The Aaron Copland Fund for Music’s $8,000. Awarded artists will need to The Northwest double bass specialists The Northwest double bass specialists The Northwest double bass specialists offer a public presentation in city lim- 2018 Performance Program grant cy- www.basschurch.com www.basschurch.com www.basschurch.com cle is now open. The deadline is June its of Seattle. 30. All applications must be submit- More information and application available at seattle.gov/arts. ted through the online portal at cop- landfund.org/programs/performance- Write Earshot Jazz Sales, Rentals, Sales, Rentals, Sales, Rentals, program. Repairs, Restorations, Repairs, Restorations, Repairs, Restorations, The Earshot Jazz magazine reflects The Performance Program was creat- Lessons Lessons and shares the many ways that jazz Lessons ed to support performing and present- Convenient North Seattle Location Convenient North Seattle Location Convenient North Seattle Location

intersects with lives in the Northwest. ing organizations whose artistic excel- Earshot Jazz is seeking submissions lence encourages and improves public (206)784-6626 (206)784-6626 (206)784-6626 from writers: Please email story pitch- 9716 Phinney Ave. N. 9716 Phinney Ave. N. 9716 Phinney Ave. N. knowledge and appreciation of serious Seattle, WA. 98103 Seattle, WA. 98103 Seattle, WA. 98103 es, comments, news and announce- contemporary American music. The ~by appointment only~ ~by appointment only~ ~by appointment only~ ments to [email protected].

June 2018 • EARSHOT JAZZ • 31 NON-PROFIT ORG EARSHOT JAZZ U.S. POSTAGE 3429 Fremont Place N, #309 PAID Seattle, WA 98103 PERMIT No. 14010 SEATTLE, WA Change Service Requested

DUENDE LIBRE PHOTO BY DANIEL SHEEHAN

IN THIS ISSUE... A $35 basic membership in Earshot brings the newsletter to your door and entitles you to Letter from the Director: Jazz is… Now______2 EARSHOT JAZZ discounts at all Earshot events. Your member- In Memorium: David Marriott, Sr.______3 MEMBERSHIP ship also helps support all our educational programs and concert presentations. Letter from the Editor: We Have Voice______4 Type of membership We Have Voice: Code of Conduct______5 Individual ($35) Additional tax-deductible donation ______Duende Libre: Global Grooves, Musical Medicine______6 Household ($60) Patron ($100) Sustaining ($200) Preview: Chano Domínguez Flamenco Sketches______8 Other Preview: Ken Vandermark & Nate Wooley______9 Sr. Citizen – 30% discount at all levels Preview: Broken Shadows: Chris Speed, Canadian subscribers please add $5 additional postage (US funds) Tim Berne, Dave King & Reid Anderson______10 Regular subscribers – to receive newsletter 1st class, please add $10 Preview: Aaron Parks & Little Big______12 for extra postage Preview: Thumbscrew: Mary Halvorson, Contact me about volunteering Michael Formanek & Tomas Fujiwara______14 ______Preview: Dan Weiss Starebaby______15 NAME Preview: Thomas Strønen:Time is a Blind Guide______16 ______ADDRESS Preview: Eric Revis Quartet feat. Kris Davis, ______Chad Taylor & Ken Vandermark______17 CITY/STATE/ZIP Preview: 2018 TD Vancouver International ______Jazz Festival______19 PHONE # EMAIL NW Summer Festivals______21 ______Jazz Instructors______22 Earshot Jazz is a nonprofit tax-exempt organization. Ask your employer if your For the Record: CD Reviews______24 company has a matching gift program. It can easily double the value of your membership or donation. Jazz Around the Sound______26 Mail to Earshot Jazz, 3429 Fremont Pl N, #309, Seattle, WA 98103 On the Radio______30