A Mirror and Focus for the Community May 2018 Vol. 34, No. 05 EARSHOT JAZZSeattle, Washington

Golden Ear Award Recipients Award recipients (top row) Kenny Mandell, Skerik, Marina Christopher, Erik Hanson, Evan Woodle, Haley Freedlund (bottom row) D’Vonne Lewis, Dawn Clement, Patty Padden, Greg Ruby Photo by Daniel Sheehan IN MEMORIAM/ / / / / Reflections on (1929-2018)

By Wayne Horvitz this debate in the mid-20th century. Some saw electronics as liberating art- My first encounters with Cecil Taylor ists from the body, in tandem with were defined by snow. I am not sure the removal of traditional interfaces I had even heard Cecil Taylor, but at to make music (instruments). With the age of 17 I took off work early and digital technology, this argument con- headed downtown to the Smithsonian tinues today. By contrast, Taylor was to hear Mr. Taylor give a lecture. What the fiercest modernist of his time,and I heard was unexpected—a 60-minute deeply connected to the past, even the barrage of words connecting ideas like ancient. There was no contradiction; a language poet on Benzedrine, as baf- he viewed this paradigm as essential to fling as it was intriguing. I tried to re- truth and beauty. turn that evening for the concert, but Messiaen’s music is as deep and pro- the roads were treacherous. This was found as any in the history of human my first impression of Mr. Taylor, and existence. It is tempting, however, to I still hadn’t heard a note. Six months criticize the Euro-centric position as later, I was now obsessed with his re- CECIL TAYLOR PHOTO BY DANIEL SHEEHAN elitist, even racist. (2) 1,200 words cordings. I drove with two friends on a many others (John Cage included) does not allow me to address this, nor college tour, including Antioch, where championed, which was the notion am I the person to do so. And Cecil Taylor was teaching. We hit a major that jazz, and its improvisatory lan- Taylor was, clearly, deeply passion- blizzard, and never made it. guage, lacked both the structural ate and articulate about the realities I first learned of Taylor’s music read- integrity and sophistication inher- of race in 20th century America. But ing A. B. Spellman’s Four Lives in the ent in Western art music. (1) Cecil in addition, and in particular, he was Bebop Business. I didn’t realize it then, articulated the difference between an fascinated by notions of hierarchy in but things Cecil said influenced me Afro-Centric and a Euro-Centric aes- aesthetics, and calling out the essential almost as much as his music. By the thetic—in particular, the idea that the contradictions. Cecil wasn’t concerned time I was a sophomore in college, I body has inherent structural integrity. with an “us vs. them” dialectic. He fa- had heard Cecil play live more than This wasn’t an intuitive vs. logical ar- mously stated he “wasn’t afraid of his once, and would many times again. gument, feelings vs. thinking argu- European influences.” He was a lover For a period, he was the single great- ment. He was advocating the notion of ballet, the symphony, and the the- est influence on my music. It was dur- that many cultures had faith in the in- ater. Perhaps the Euro-centric position ing this time that I decided to attend a tellectual intelligence of the body. In- can be accused of culturally insensitiv- concert I thought might be interesting. herent in our physical being is a struc- ity, or ignorance—but also of being That I happened to see Olivier Messi- tural integrity—the brain is a muscle intellectually incomplete. aen and Yvonne Loriod perform Mes- and the hands have a brain. (Note that The “composition vs. improvisation” siaen’s music for two was, in we are talking about a relatively brief argument has, by now, become so sop- retrospect, a miracle. I was astounded, moment in European culture, and of orific as to be almost mind-numbing. and profoundly moved. It changed my a certain class. In addition, any vir- Cecil stated, “If an artist practices cer- life. But it was Cecil’s music that had tuoso, in any musical style, needs to tain links and licks, structure will ap- opened the door. Without it I would cultivate an intense relationship with pear.” (3) have been lost. the intelligence of the body.) A pencil and paper are used to work The irony is that Cecil argued fiercely This was a discourse about structure through a motif, an algorithm creates against something that Messiaen, and and form. Electronic music furthered a sequence, a pair of hands reworks a

2 • EARSHOT JAZZ • May 2018 series of intervals. The only significant this—but in retrospect it made sense. Cecil worked pitch sets and interval- difference is the time scale. As Eugene I adore Ornette’s music, but it’s fair lic permutations with the best of them; Chadbourne said to me once, “Bird to say it wasn’t as great a departure as he just arrived at them with a different uses as much space as Monk, at twice many professed. Ornette abandoned methodology—an invitation to the the tempo!” Milliseconds vs. two chord structures, but he didn’t aban- logic of the body. And I don’t believe months at an artist residency. And if don long-standing melodic devices. I Cecil Taylor would find any contradic- you don’t think the brain can be bril- often show students two melodic frag- tion that, as a pianist, he embraced the liant in milliseconds, then you aren’t ments using the same leading tones, definitive trope of modern European awake. In fact, this is the counterargu- scale tone emphasis, etc., both on a music—the division of the octave into ment I use with academics who tout dominant chord: one from a Charlie 12 equal parts. Because above all Cecil improvisation as some sort of revolu- Parker solo, the other from a Mozart Taylor played the . He really, re- tionary construct. Hell, we improvise sonata. Ornette’s lines share many ally played the piano—and we are all every time we get on I-5! If not, we’d of the same devices—diatonic lines, the better for it. all be dead by now. but over a shifting tonality and a free (1) Messiaen himself was a brilliant Messiaen was deeply inspired by bird- length of phrase—another idea found improviser as an organist, one of the re- song. Birdsong—I often think of it as in music from around the globe. maining traditions of improvisation in the greatest rhythmic, non-metered Cecil was interested in the shapes of modern European . music on earth. Not in strict pulse, intervals, the non-diatonic harmonic (2) Much has changed since the 1950s always definitive and precise. An apt implications, and the rhythms within and ‘60s, the 2018 Pulitzer Prize being description of Cecil Taylor’s musical a phrase, free from a given tempo or an example, one that occurred as I was language. famously prac- pulse. Monk and Ellington surely led writing this. Cecil was an early pioneer ticed in his yard in L.A. with birds. It the way, and Coltrane worked both the in articulating these contradictions, and wasn’t transcription, it was ear train- traditional melodic devices and the in- brilliant at doing it. Of course, much ing—or the hippest iReal Pro ever. tervallic. But the sound of Cecil’s lan- remains the same. I used to play sometimes at a place guage shares much with Webern, Ives, midtown called Soundscape, near 8th Ligeti, and Messiaen. Let any Ph.D. (3) This is paraphrased. I could not find Avenue. One day I arrived for a gig in post tonal theory analyze Cecil’s the exact quote. and Cecil Taylor and Ornette Cole- music, and structure will not only ex- Two recordings for reference man were rehearsing for a possible col- ist—it will be blindingly obvious. Like laboration. I heard later—and this was any great , the structures are Cecil Taylor, (Aris- only rumor—that Ornette didn’t care clear, easily evident, and elegant. ta/Freedom 1974) for playing “out of time.” Considering A critic once described Cecil’s ap- Olivier Messiaen (with Yvonne Ornette and Cecil were the two icons proach to the piano as “88 drums.” I Loriod, pianist), Vingt Regards Sur of modern jazz, I was dismayed to hear don’t agree. L’Enfant Jesus (Erato ECD 71581) NEW YORK

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May 2018 • EARSHOT JAZZ • 3 LETTER FROM THE DIRECTOR (Give)BIG News!

The Earshot Jazz organization has that you donate to alternately been described as both Earshot Jazz because a cultural institution and we can double your a spunky little non-profit. They’re donation, dollar for both accurate, and we’re happy to be dollar. Please donate here! As Seattle’s non-profit jazz or- now. ganization, we’re also proud to be an We’re coming out integral part of the overall landscape of April’s Jazz Appre- of Seattle’s hard-working non-profit ciation Month with organizations. The vibrant cultural a full appreciation of fabric of this crazy wonderful city is Seattle’s varied and defined, in large part, by the cultural vibrant jazz commu- institutions and spunky non-profits nity. We had an in- at work here. credible Golden Ear In recent years, the GiveBIG initia- Awards, some fan- tive of The Seattle Foundation has tastic concerts, and a been instrumental in raising public series of informative awareness of the Seattle non-profit and stimulating com- sector. GiveBIG has provided the ex- munity focus group citement, and the path, for individu- sessions. Thanks to als who may not have considered Chris Icasiano for or- themselves to be philanthropists to ganizing that initia- make their own contributions, of tive, to Ruby Smith any size, to their favorite non-profit Love for co-facilitat- ted from his generosity, hard work, organizations. The original prem- ing, and to each of the 27 partici- and leadership. Thank you, Jim! ise of GiveBIG was that The Seattle pants for sharing their passion about Finally, I know I promised more Foundation would match any level Seattle’s multi-faceted jazz scene. news on three prestigious national of donation to some extent, but the The sessions were potent. We look awards that Earshot Jazz has recently program became popular beyond ex- forward to more. received. They include renewed fes- pectations, and the matching pools And speaking of giving big and Se- tival support from the National En- were quickly exhausted. attle’s vibrant cultural community, dowment for the Arts, a Leadership But this year, Earshot Jazz has a we send our hearty congratulations Award from the Doris Duke Chari- matching pool of its own! We men- to our friends at KEXP on the heels table Foundation, and program sup- tioned last month that Earshot Jazz of their stunning announcement port from the Andrew W. Mellon was selected for a Leadership Award about a bequest of close to 10 mil- Foundation. We’ll unpack all of that by the Doris Duke Charitable Foun- lion dollars, which constitutes the news next month. dation. Part of that award offers ad- largest private gift to a single radio Meanwhile, get on board! GiveBIG ditional matching funding, that can station…ever. We’d also like to ex- to your favorite non-profit, and dou- only be granted to match other gifts tend our thanks and congratulations ble your donations to Earshot Jazz to our organization—in this case, up to Mr. Jim Kelly, who is retiring as with our new matching funds!! to $20,000! In this last year of the the leading light of 4Culture. The –John Gilbreath, Executive Director GiveBIG day, it is doubly important entirety of King County has benefit-

4 • EARSHOT JAZZ • May 2018 EARSHOT JAZZ NOTES A Mirror and Focus for the Jazz Community

Mark Your Calendars for GiveBIG! Eastside Jazz Club Celebrates 16 Executive Director John Gilbreath Years of Presenting Managing Director Karen Caropepe The Seattle Foundation’s eighth an- nual GiveBIG day is May 9. On this Earshot Jazz Editor Caitlin Peterkin The Eastside Jazz Club, founded by day of giving, maximize your gift to Cooksie and Lionel Kramer, celebrat- Contributing Writers Lucienne Aggarwal, Earshot by participating in this com- ed 16 years of presenting in Bellevue Halynn Blanchard, Marianne Gonterman, munity giving event. You can help this past April. Now operating out of Ian Gwin, Peter Monaghan, Paul Rauch with a donation at any level. Each do- the Resonance Theater, Eastside Jazz Calendar Editors Casey Adams, Jane nation made between midnight and Club presents monthly concerts fea- Emerson & Caitlin Peterkin midnight PDT will receive a prorated turing top-tier musicians. Photography Daniel Sheehan portion of the matching funds. Find On Thursday, May 17, the Susan Pas- Layout Karen Caropepe more information at givebigseattle.org. cal Quintet with special guest, tenor Distribution Karen Caropepe, Dan Dubie & saxophonist Pete Christlieb, performs Earshot Jazz volunteers 2019 CMA National Conference Opportunities their program “Remembering Stan Send Calendar Information to: Getz,” revisiting the music of Getz and 3429 Fremont Place N, #309 Applications are now open for session highlighting his work with vibraphon- Seattle, WA 98103 presentations and ensemble showcases ists Cal Tjader and Gary Burton. The email / [email protected] at the 2019 Chamber Music America all-star group features tenor titan Pete conference in , January Board of Directors Danielle Leigh Christlieb, vibraphonist Susan Pascal, (President), John W. Comerford (Vice 17­–20. pianist Bill Anschell, bassist Chuck President), Sue Coliton (Secretary), Viren CMA invites speakers to propose Deardorf, and drummer Mark Ivester. Kamdar (Treasurer), Sheila Hughes, Chris 75-minute sessions and workshops on Tickets are $20 and are available at Icasiano, Ruby Smith Love, Jon Perrino, a range of topics. Applications are due resonance.events/event/susan-pascal/. Diane Wah by midnight (EST) on Sunday, May For more information about Eastside 13. Jazz Club, visit eastsidejazzclub.com. Emeritus Board Members Clarence Acox, Ensembles may apply to perform a Hideo Makihara, Kenneth W. Masters, Lola 20-minute showcase at the confer- Instrumental Ladies of Jazz Pedrini, Paul Toliver, ence, which are an opportunity to Instrumental Ladies of Jazz, a show- Founded in 1984 by Paul de Barros, market their work to an audience of case of Seattle jazz women, continues Gary Bannister, and Allen Youngblood. presenters, artist managers, educators, at the Caffe Musica in Greenwood. Earshot Jazz is published monthly by and other colleagues. Professional en- Upcoming performances are Leah Earshot Jazz Society of Seattle and is sembles that perform early, classical/ Pogwizd (bass) on May 18 and Kate available online at www.earshot.org. contemporary, jazz, or Olson (soprano sax) on June 15. Subscription (with membership): $35 are encouraged to apply. Applications Presented by Caffe Musica, Instru- 3429 Fremont Place #309 are due by midnight (EST) on Sun- mental Ladies of Jazz is a series dedi- Seattle, WA 98103 day, June 3. cated to showcasing women instru- phone / (206) 547-6763 Applications and details for both mentalists who play jazz in Seattle. Earshot Jazz ISSN 1077-0984 sessions and showcases are available Performances are the third Friday of Printed by Pacific Publishing Company at chamber-music.org. each month, from 7 to 9pm, at Caffe © 2018 Earshot Jazz Society of Seattle Volunteer at the Ballard Jazz Musica (14300 Greenwood Ave N). Festival Seattle Women’s Jazz Orchestra Composition Contest MISSION STATEMENT The Ballard Jazz Festival (May 16– 19 To ensure the legacy and progression ) is seeking volunteers for the annu- Seattle Women’s Jazz Orchestra of the art form, Earshot Jazz cultivates al event. Interested volunteers should (SWOJO) is now accepting scores for a vibrant jazz community by engaging fill out the online form at ballardjazz- its sixth annual jazz composition con- audiences, celebrating artists, and festival.com, or contact Volunteer Co- test. The winning and honorable men- supporting arts education. ordinator Paul Rauch at volunteer@ tion will receive an hono- ballardjazzfestival.com. rarium and their compositions will be

May 2018 • EARSHOT JAZZ • 5 performed and recorded live by the Se- On the Horizon attle Women’s Jazz Orchestra with a Upstream Music Fest special guest during the 2018 Earshot June 1–3 U Jazz Festival in Seattle. Submission Pioneer Square, Seattle CALL FOR ARTISTS deadline is June 30. See swojo.org for Miguel, Valerie June, The True details and online application. Loves, High Pulp, Lori Goldston, The contest was created to encourage Noel Brass, Jr., Skerik Band, SassyB- Jazz: The the composition and performance of lack, and more. upstreammusicfest.com the highest quality jazz ensemble liter- Write Earshot Jazz Second Century ature playable by high school, college, The Earshot Jazz magazine reflects Deadline May 30 and professional bands. This project supported in part by Seattle Office of and shares the many ways that jazz Earshot Jazz seeks submissions Arts & Cultural Affairs, 4 Culture, intersects with lives in the Northwest. from Seattle-area individual art- and The Seattle Foundation. Earshot Jazz is seeking submissions ists and ensembles for the 2018 from writers: Please email story pitch- Jazz: The Second Century series. es, comments, news and announce- The series brings the progression ments to [email protected]. of jazz into creative motion on the concert stage. Projects that question and expand the conven- tions of the jazz form are wel- come. Seattle-area individual artists or groups, in any instrument combination, are eligible. Sub- missions must include a recorded sample of a project that can be performed in a concert setting. We encourage applicants to in- clude a letter that speaks to their musical interpretation of the meaning of jazz and of the next stage of jazz music. Individual artists or ensembles are selected by a blind-jury pro- cess. Second Century artists and ensembles perform during July 2018, and are paid a competitive fee for the performance. Please send submissions elec- tronically to 2ndcentury@ear- shot.org or by mail to Earshot CURTIS STIGERS & THE FULL CIRCLE BAND Jazz, 3429 Fremont Place N, CARLOS CASCANTE Y SU TUMBAO #309, Seattle, WA 98103. Dead- THE DARELLE HOLDEN QUARTET line to apply is May 30. You PLUS OVER 40 LIVE SHOWS! can direct questions and com- ments to Earshot Jazz at (206) 547-6763 or [email protected]. A P @bellevuedowntown X /BellevueDowntown N list of past Jazz: The Second Cen- @BellevueDT #BJBF tury artists and ensembles can be viewed online at earshot.org.

6 • EARSHOT JAZZ • May 2018 GOLDEN EAR AWARDS The 2017 Golden Ear & Seattle Jazz Hall of Fame Awards

D’VONNE LEWIS WITH AWARD PRESENTER RUBY SMITH LOVE PHOTO BY DANIEL SHEEHAN MARINA CHRISTOPHER PHOTO BY DANIEL SHEEHAN

By Halynn Blanchard non-standards such as “Misty,” “Bil- and advocating local jazz programs lie Jean,” and “Heard It Through the and education. The first Monday of April kicked off Grapevine.” The evening’s early birds The evening emphasized the impor- with a standing room-only house of got the worm: Lamarr announced tance of persisting in art education artists and jazz appreciators celebrat- that the trio would release a new re- and drew attention to how the spec- ing accomplishments over this past cord on—and only to be available for trum of modern jazz has continued to year by the Seattle jazz community. purchase on—Record Store Day, April expand in today’s changing landscape. Earshot Jazz Director and radio host 21. During their late set, the trio play- We extend our congratulations to all (KBCS and KEXP) John Gilbreath fully featured new Seattle Jazz Hall of the nominees in this annual look at welcomed familiar faces to The Royal Famer Skerik on saxophone. the region’s vibrant and thriving jazz Room, showing gratitude for the rare Jim Wilke, host of the nationally ecology. gathering of so many key Northwest syndicated Jazz Northwest program, musicians, educators, and listeners un- emceed the presentation of the Golden der the same roof. NW RECORDING OF THE YEAR Ear Awards. In a night honoring cur- “This is a community that might not rent creators and helpers across the Greg Ruby & The Rhythm otherwise have come together,” noted range of Seattle jazz, special achieve- Runners, Syncopated Classic Gilbreath. “It’s a community without ment awards were supplemented to Greg Ruby began a project in 2014 walls.” recognize those individual accom- to commemorate 1920s Seattle music Kicking off the party with hot-and- plishments for which the conve- figure Frank D. Waldron—saxophon- heavy grooves was Delvon Lamarr nient categories may not fully reflect. ist, cornetist, composer, bandleader, Organ Trio (Delvon Lamarr, organ; Among the freestanding awards given and teacher to Quincy Jones, Buddy Jimmy James, ; and Doug Port, out, Earshot’s own Managing Director Catlett, and others. What Ruby dis- drums, seamlessly subbing for David Karen Caropepe was recognized by covered was that Waldron left behind McGraw). Diving into cool origi- the Jazz Journalists Association (JJA) a singular, important artifact from his nals from the group’s latest LP Close as a Jazz Hero for her many years of early life: Syncopated Classic, a collec- But No Cigar, the trio wove in play- vital work behind the scenes, abetting tion of compositions published in 1924 ful melodies from standards and intended for saxophone pedagogy.

May 2018 • EARSHOT JAZZ • 7 Ruby began making arrangements garded Hot Club-style groups working of the music found within Synco- today. Although the band’s roots are pated Classic, finding himself relocat- firmly in the music made famous by ing missing pieces from a weathered Django Reinhardt and Stéphane Grap- photocopy of the 32-page document. pelli, its extensive repertoire includes Since then, Ruby has overseen the re- traditional jazz classics and original cording and late 2017 release of two compositions. Pearl Django has per- albums of Waldron’s compositions: formed at festivals, dances, and night- one honors the original instrumenta- spots throughout the U.S. and abroad. tion of saxophone and piano while the They have played at the prestigious other, now dubbed “NW Recording of Festival Django Reinhardt in Samois the Year,” features arrangements made sur Seine and have been featured on by Ruby for his band The Rhythm NPR’s “All Things Considered.” Runners (Ruby on guitar and , The band’s signature style is marked with multi-instrumentalist Dennis by pristine and dexterous string work,

DAWN CLEMENT PHOTO BY DANIEL SHEEHAN Lichtman, trumpeter Gordon Au, colors of Bal Musette, the steady pulse trombonist Charlie Halloran, bassist of rhythm guitar, and an unmistak- Cassidy Holden, and drummer Julian able swing that delights audiences of MacDonough). all musical sensibilities. Throughout “This record was, I guess you could the years, Pearl Django has cultivated say, a hundred years in the making,” a devoted and enthusiastic following Ruby said while accepting his Golden and they continue to play to packed Ear Award, and extending thanks to a houses wherever they perform. handful of partners in his project in- (Earshot Jazz, March 2017) cluding 4Culture, Washington State Black Heritage Society, and Seattle NW ALTERNATIVE JAZZ GROUP jazz historian Paul De Barros. Rik Wright’s Fundamental NW ACOUSTIC JAZZ ENSEMBLE Forces Pearl Django If you ask the band, they’re “like jazz, but not.” Rik Wright’s Fundamental With a performance history spanning Forces is an award-winning collective more than two decades, Pearl Django of modern progressive jazz players who GREG RUBY PHOTO BY DANIEL SHEEHAN endures as one of the most highly re-

8 • EARSHOT JAZZ • May 2018 JIM WILKE AND PATTY PADDEN PHOTO BY DANIEL SHEEHAN are known for their genre-bending have: Industrial Revelation played a Open to All - Free performances—world beat one min- one-off cover performance of Björk’s ute, rock the next, a touch of jam band, , in celebration of the For those who love jazz with an and back to the core of jazz. Blending groundbreaking album’s 20th anniver- inspirational message! forward-thinking arrangements with a sary. On December 20 at the Neptune Join us for a secular concert by professional jazz core groove that listeners can tap their Theatre, the four stellar musicians of musicians in the beautiful historic gothic sanctuary. toe to, their music has an undeniable Seattle’s mainstay—trumpeter Aha- allure that has propelled them all the mefule J. Oluo, drummer D’Vonne th Season way to the top of the jazz radio charts. Lewis, keyboardist Josh Rawlings, 15 Wright himself is a true musical cha- and bassist Evan Flory-Barnes—com- meleon, adapting to a wide spectrum memorated the Icelandic singer/song- of influences. As a collective, Funda- writer’s third full-length record by mental Forces interchange jazz-ori- performing the album, in its entirety, ented freedoms and rock band rigor, a with backing from modern string en- rare combination. An organic, groove- semble Andrew D.B. Joslyn and the oriented style has emerged as Wright Passenger String Quartet. imprints his compositional voice across Oluo says his initial hints regard- a songbook of robust themes and im- ing this concert came around the be- Sunday, May 6, 6 pm provisations. Rik Wright’s Fundamen- ginning of this year, when tributes of tal Forces isn’t short of receiving ac- the Radiohead’s now two-decade-old Dave Desrochers and claim from a spectrum of critics, and OK Computer were surfacing left and the band has released four full-length right. A big fan of OK Computer, Oluo Seattle Jazz Quartet recordings in the Top 10 of the Roots instead turned to another 20-year-old SAVE THE DATE: Music and CMJ Jazz radio charts. fundamental recording, the revered Next concert on June 3 Homogenic. Reflecting on his reason- NW CONCERT OF THE YEAR ing, Olou said: “For me, 1997 was just 100 Minutes of professional jazz as much defined by Homogenic, and it Family friendly concert / Free parking Industrial Revelation Plays made me think a lot about the way we Björk treat masterpieces made by men versus Seattle First Baptist Church December 20, Neptune Theatre masterpieces made by women, how we 1111 Harvard Avenue idolize them, and how we choose to (Seneca and Harvard on First Hill) Seattle’s beloved garage-jazz four- honor them, and how rarely men cel- Seattle, WA (206) 325-6051 some saluted the avant-pop Goliath ebrate the music of women.” in the most effective way they could www.SeattleJazzVespers.org/GO/SJV

May 2018 • EARSHOT JAZZ • 9

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SKERIK PHOTO BY DANIEL SHEEHAN KENNY MANDELL PHOTO BY DANIEL SHEEHAN

This got Olou envisioning how In- jazz pianists”; performed at the Mon- The Bass Church dustrialTh eRevelation Bass would Ch usoundrch play- tereyT hJazze BFestivalass andC htheur Kennedych The Northwest double bass specialists ing theTh eincredible Northwest dou tunesble bass sofpec Homogenic,ialists Center;The Nwasorth wtheest d oEarshotuble bass sp eJazzcialist s Festival pushing him to make it happen. Ad- 2017 Resident Artist; and had three www.basschurch.com ditionally,www the.ba instrumentalsschurch.co mband was kids andww wraised.bas sthemchur cwhileh.co mearning a drawn to the challenge of covering the master’s degree back east and main- “pop” album, because of its unpredict- taining a full round of teaching duties able, virtuosic melodies not typically at Cornish College of the Arts. Sales, Rentals, associated Sales,with the Rentals, genre. “Björk, in Sales, Rentals, Repairs, Restorations, Repairs, Restorations, Repairs, Restorations, general, and Homogenic, specifically NW EMERGING ARTIST Lessons [gave us] so much Lessons to work with,” said Lessons Convenient North Seattle Location Convenient North Seattle Location Convenient North Seattle Location Marina Christopher Olou.

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Dawn Clement has fittingly been lik- styles. She’s got vocal chops and to ened to Seattle jazz’s Wonder Woman. boot: Christopher earned herself a spot The Bass Church TheT hpianist/composer/vocalist/educae Bass Church - as Ta finalisthe B ina thess 2017Ch uSeattle-Koberch The Northwest double bass specialists The Northwest double bass specialists The Northwest double bass specialists tor is one of the most admired spirits Female Jazz Vocalist competition. www.basschurch.com in thew Pacificww.ba ssNorthwestchurch. comusicm scene. A productwww.b aofss cMountlakehurch.com Terrace The musical delicacy and vivaciousness High School and Central Washing- of Clement’s piano playing is truly one ton University’s strong jazz programs, of the most cherished treasures to be Christopher went on to play in the or- Sales, Rentals, found in the Sales, belly Rentals, of this artistic city. chestra of Sales,the Royal Rentals, Caribbean cruise Repairs, Restorations, Clement Repairs, has now Restorations, won four Golden ship, later Repairs, releasing Restorations, a solid album Must Lessons Ear awards; Lessonsproduced six albums; Love Cats with Lessons an excellent five-piece Convenient North Seattle Location Convenient North Seattle Location Convenient North Seattle Location recorded with drummer Matt Wil- she put together. Since, she’s worked

(206)784-6626 son,(206)784-6626 saxophonist , and with(206)784-6626 Pacific Northwest singers includ- 9716 Phinney Ave. N. trombonist9716 Phinney Julian Ave. N. Priester; been hailed ing9716 Eugenie Phinney Ave. Jones, N. Jacqueline Tabor, Seattle, WA. 98103 by Seattle,JazzTimes WA. 98103 magazine as “one of the andSeattle, Billy WA. Brandt. 98103 ~by appointment only~ ~by appointment only~ ~by appointment only~ most interesting of the new crop of

10 • EARSHOT JAZZ • May 2018 HALEY FREEDLUND PHOTO BY DANIEL SHEEHAN ERIK HANSON PHOTO BY DANIEL SHEEHAN

She can regularly be heard heading Hardison is adept at exploring original her soul band Marina and The Dream- approaches and revealing hidden lay- boats, for which she also writes and ar- ers of nuance in unexpected material. ranges. The group is quickly gaining a (Earshot Jazz, December 2017) following having shared the bill with The Hot 8 Brass Band and D’Vonne SEATTLE JAZZ HALL OF FAME Lewis’ Limited Edition. Christo- pher has plans to release an album of Patty Padden her own music with Marina and the Drummer Patty Padden is famed in Dreamboats this spring. the community and beyond for her re- nowned live performances with some NW VOCALIST OF THE YEAR of Seattle’s greatest jazz legends includ- ing Clarence Acox and Buddy Catlett. LaVon Hardison Recognition should also be given for LaVon Hardison is more than a sing- Padden’s unforgettable humor, angelic er; she’s a multi-talented entertainer vocal abilities, and inspirational out- who simply lights up a room, raising look. the roof and bringing down the house. “This is a pleasant surprise. Some- Hardison has brashness and sass when times surprises aren’t so pleasant,” said she needs it, but a warm sense of con- Padden, accepting her award with a nection is her secret weapon. She has a positive moral. Since her chief gigging flair for the theatrical, as well as a big days, Padden­—and her drumming— sense of humor, and is as popular with have endured the effects of multiple fellow musicians as she is with audi- sclerosis. Once hopeless that her drum ences. playing was not viable anymore, the -born and Olympia-based for always-malleable Padden has picked 20 years, Hardison is an incisive and up guitar after lessons with Phil See, sensitive interpreter of not only jazz Seattle rock guitarist and fellow MS standards, but R&B/soul classics and patient. gems of ‘60s and ‘70s pop (her superb Accepting her Seattle Jazz Hall of 2016 release, Come Together, encom- Fame award in front of the roaring passed standards, , Ray crowd, Padden joked: “I’m so old Charles, Burt Bacharach, and more). school that I was around before Ear- shot.”

May 2018 • EARSHOT JAZZ • 11 Skerik work across the U.S. and around the Jazz Program back in 2010, the per- Seattle’s “Dark Lord of the Saxo- globe, and he is in a position to speak severing sessions have been a staple at phone,” Skerik is a longtime local icon, from experience. Skerik’s uniquely U District’s iconic Café Racer. The be- 2003 Earshot Jazz Northwest Jazz In- uncompromising improvisational cos- loved cafe bounced back after a mass strumentalist of the Year, and far be- mology is a revolutionary force. shooting in 2012, only to struggle to yond a Seattle cult renown, though he stay afloat during an extended con- absolutely amounts to that description. SPECIAL AWARDS struction project on Roosevelt Way beginning in March 2016. Through Skerik’s discography is anything but Racer Sessions at Café Racer digestible, having appeared on a hand- GoFundMe efforts and recent city For maintaining the artist-run ful of albums every year since 1992. supplementation, Café Racer will be weekly jam session dedicated to “And he still looks the same as he did receiving fiscal sponsorship to keep in the ‘90s!” noted Wayne Horvitz, in- and improvised music their doors open, and its product of ducting Skerik with a moving speech. The volunteer-driven Racer Sessions the Racer Sessions alive as ever. The “saxophonics” forefather has de- provide meaningful improvisational Kenny Mandell, saxophonist veloped his sound and concepts over opportunities through recurring Sun- For running weekly jam sessions many years of travel, gigging, and hard day sessions. A product of the UW and starting a weekend jazz festival at Couth Buzzard Books Saxophonist, flutist, and educator Kenny Mandell has encouraged new and out-of practice players alike to get back in the scene during weekly open, all-levels jams. May 2016 launched the first Couth Buzzard Jazz Fest, featur- ing three full weekend days of local music out of Couth Buzzard Books in Greenwood. Erik Hanson, Executive Director, Jazz Night School For building a vibrant jazz- education program in the Columbia City community that is available to young and old Hanson and the work of the Jazz Night School have proved an enduring enrichment of the Seattle Jazz scene. Founded 10 years ago by Hanson, Jazz Night School grew steadily, adding a variety of ensembles and classes for all levels, and in 2011 our community elected to become a non-profit organi- zation. By 2012, the Jazz Night School became our area’s largest jazz program for all. We applaud the program for recognizing jazz as a civic issue; the school provides many vessels for play- ers to grow and educational opportu- nities for people of all ages.

12 • EARSHOT JAZZ • May 2018 NEWS The Roxy Coss Quintet Wins Groundbreaking Grant

By Paul Rauch The grant of $40,000 is allotted at the rate of $10,000 per year, and as- On April 2, The Associated Musi- sists band members in terms of salary, cians of Greater New York, Local 802 health care, pension, promotions, and AFM announced that the Roxy Coss all aspects of being a working musi- Quintet is the winner of the union’s cian in the challenging financial envi- groundbreaking Emerging Artists ronment of New York City. Project (EAP). The four-year grant “Musicians across New York City program, launched in association with know how difficult it can be to for an the Orchestra of St. Luke’s (OSL), is emerging ensemble to get a firm foot- designed to help artists firmly establish hold in the industry and make a liv- themselves in New York City. The aim ing, but this grant is going to go a long is to assure all musicians can afford to way towards helping us thrive,” says live, work, and raise a family in New Coss concerning her working quintet. York. Coss has created a distinctive sound The competition received submis- with her band, featuring guitarist Alex sions from 52 ensembles comprising Wintz, pianist Miki Yamanaka, bass- over 400 musicians. These submissions ist Rick Rosato, and drummer Jimmy were evaluated by a distinguished jury Macbride, all of whom are currently of professional musicians including based in New York. Having a con- jazz composer Maria Schneider, vibra- sistent working quintet has enabled phonist Stefan Harris, and clarinetist Coss to get deeper into her original David Krakauer. compositions, without the burden of Coss, the New York-based saxophon- constantly reteaching them to new ist/composer and bandleader, was band members. This grant is a giant born and raised in the Columbia City step towards each member commit- neighborhood of Seattle, and was a ting fully to the band, knowing a fair member of the nationally lauded pro- wage awaits. gram at Garfield High School, under ROXY COSS PHOTO BY DESMOND WHITE “Part of the goal with this grant is the tutelage of Clarence Acox. She left that it will be easier for the members some 13 years ago to pursue her jazz “Our ensemble is thrilled that we’ve of my ensemble to commit to my gigs dreams in New York, first studying at been selected,” says bandleader Coss. in the future, if they know there is at William Paterson University in New “The Union is making a huge effort to least a minimum fair wage and terms Jersey. She has gained considerable re- be more inclusive and relevant to cur- that will be implemented,” she says. nown for her work with trumpeter Jer- rent, younger musicians on the scene “And hopefully this grant eventually emy Pelt, and the release of four well- in New York City. Many of the cur- allows us to fill out our touring sched- received albums. Her latest, The Future rent Union Members are older, and ule more fully, so we can move toward is Female (Posi-Tone, 2018) with her primarily play classical and Broadway being a band with more of a full-time working quintet, is a quantum step music. To include a jazz ensemble for performance schedule.” forward musically for Coss, as well as this project, makes a loud statement of One of the benefits of the grant is re- expressing her work to achieve gender their support for jazz musicians and ceiving opportunities and resources to equality in jazz and beyond. other young musicians who currently don’t benefit directly from the Union record and rehearse at The DiMenna in more traditional ways.” Center for Classical Music, provided

May 2018 • EARSHOT JAZZ • 13 by OSL. While OSL is a classical en- coverage. In this regard, the Roxy has so many different mini-scenes, semble, they have an eclectic view of Coss Quintet is an ideal winner.” where everyone has a place to explore the musical world, having such diverse While Coss has shifted her base of their unique styles and visions. I think performance credits as Sting’s Rainfor- operations to Gotham, her roots in this value and ideal was ingrained in est Fund Benefit, and ’sA Seattle are firmly in place. She often me from a very young age,” says Coss Map of the World (Warner Bros.,1999). returns to visit and perform, and deep- in reverence for her native digs. “I am Local 802 executive board member ly appreciates the support the Seattle also grateful I had so many wonderful and OSL harpist Sara Cutler supports community continues to offer, more teachers and mentors growing up in having a jazz ensemble win the grant. than a decade since her departure for Seattle, and that the support contin- “For us, bringing a jazz group en- New York. ued on even when I left home. When thusiastically into the union fold is a “I feel very fortunate that my home- I return, there has been an ongoing huge plus,” she says. “We, as a union, town is Seattle. Not only is it a great sense of educating, supporting, col- are looking for ways to serve a new city in general, it has a focus on the laborating and enriching.” community of musicians in a rapidly arts and community, with science and As her star continues to rise in the changing business. Jazz is a genre in critical thinking at the foundation. It jazz community, her work to achieve which we have historically had little also happens to be a great city for mu- gender equality in jazz and provide sic and jazz. I love the fact that Seattle mentorship for young female musi- cians is enabled. Coss sees gender equality as a platform for the music to evolve, and for new audiences to be en- gaged. Simply put, the music is better for all people, both male and female. In Seattle, young musicians have been the beneficiaries of her vision. “I have worked a lot with the local jazz programs in the area, and become part of that vital community and training ground that feeds the nation- al jazz scene. I have also had many op- portunities to perform when I return, and therefore naturally evolve within that same scene from a student to a professional and mentor. I hope that I not only serve as a role model to young girls in the community, but also to the boys who can see a woman be a pow- erful voice on the scene,” states Coss with purpose. While many of Seattle’s brightest stars on the resident scene have jour- neyed to New York and returned, Coss finds the pace of New York City to her liking, and, in a way, carries the torch of Seattle jazz music forward. Her vi- sion has been given a fresh jump start with the EAP award. How the Roxy Coss Quintet utilizes its current mo- mentum will be interesting and fulfill- ing to witness moving forward. For more information on Roxy Coss, visit roxycoss.com.

14 • EARSHOT JAZZ • May 2018 CATCHING UP WITH  Catching Up With: Cuong Vu

By Peter Monaghan Andrew D’Angelo, who linked Seattle friends in the two East Coast cities. In the days when Eastside high Events that most musicians only schools dominated the Seattle youth- dream of were emerging for both jazz scene, Cuong Vu was a rising Palmer and Vu. First Palmer got a trumpet player at Bellevue High, and gig singing backing vocals for David was a star vocalist at Bowie, and Vu ended up doing some Lake Washington High. recording with him, too: “Bowie came At many high-school jazz competi- down to one of her gigs in New York, tions, “I and my bandmates went to and saw me play.” see their band play, especially Holly — That was in 1998, right before Vu got she was phenomenal,” says Vu. a call from guitar legend Pat Metheny, This month at Tula’s, they mark a inviting him into a restructured Pat long musical friendship with an eve- Metheny Group as a trumpeter and ning of songs from After Hours, a vocalist. Vu joined Metheny, drum- Great American Songbook album that mer Antonio Sánchez, bassist/vocal- they are shopping to record labels. ist , and two longtime CUONG VU PHOTO BY STEVE KORN With them, in a top-flight lineup, will Metheny collaborators, bassist Steve be pianist , drummer Its last minute features a distinctive Rodby and keyboardist . Vu , and bassist . and characteristic Vu solo, filtered and performed with Metheny for several Back at high school, Vu and Palmer somewhat mournful. (These days you years as both trumpeter and vocalist, got to know each other in all-city and can hear it on YouTube.) and won two Grammy Awards for all-state jazz combos. Then, after Vu From the mid-1990s through the first Best Contemporary Jazz Album, for went off to New England Conserva- decade of this century, Vu released sev- Speaking of Now (2002) and The Way tory of Music on a scholarship, he re- eral albums in New York, and worked Up (2005). calls, “I’d come back here and say to with a who’s who of the city’s leading Palmer toured extensively with Bow- Holly, ‘You gotta come to Boston,’” jazz and jazz-ish players. His primary ie in 1999 and 2000, as a vocalist and where he was gigging with fellow Se- project as a leader was with bassist Sto- percussionist, and recorded with him attle transplants. “So she came and mu Takeishi and drummer Ted Poor. on Hours (1999), his later Bowie at the visited us and found her way to Berk- They marked out idiosyncratic sonic Beeb, and the unreleased Toy. She has lee College of Music with a really good territory and blurred stylistic borders also performed or recorded with Dr. scholarship.” with rich electronic soundscapes that Dre, , Sting, Seal, and After graduation, they found each could burst with riveting instrumental Michael Bublé, and worked with big- other again in New York: “She asked fire. name pop producers like . me to be part of a trio with trumpet, Typical of informed responses has and , in addition to releasing guitar, and voice, playing covers and been that of New York Times and five well-received albums of her own. some originals. It was really fun.” NPR jazz critic Nate Chinen: “There Vu recorded for two days with Bow- Vu had been working with Jamie are aspects of Mr. Vu’s tone that sug- ie, for Toy, which Bowie intended as Saft, a fellow New England Conserva- gest the softer side of Miles Davis, or a reworking of pre-Ziggy Stardust-era tory graduate, and Seattle friends like the moody poise of a Davis emula- material, and fame. Bowie never re- drummer , who had gradu- tor like . But Mr. Vu has leased Toy, but one track featuring Vu, ated from Berklee, and saxophonist more subversive designs” conveyed by “Your Turn to Drive,” ultimately ap- “sculptured distortion and drones.” peared in 2003 as a digital download.

May 2018 • EARSHOT JAZZ • 15 With that kind of rep, a decade ago, not have foreseen. Due for fall release At times, all that has given Vu pause. Vu came back to the Seattle area, as is a studio album he is making with Late last year, he said on his Facebook chair of jazz studies at the University Richard Karpen, the director of the page: “I’ve been taking a pseudo- of Washington. UW School of Music and a renowned hiatus from performing...probably, His 10 years at the institution have composer of electro-acoustic music, partly from a serious infection of ‘self- been fruitful, he says. It has bought and, on electronics, Juan Pampin, di- re-evaluation.’ So I’m searching and him not only collaborations with jazz- rector of the UW’s remarkable Center searching and searching.” But within program colleagues—until returning for Digital Arts and Experimental Me- a couple of sentences, he could declare: to New York a couple of years ago, dia (DXARTS). “I think I’m starting to find my way guitarist was one of those, The UW jazz program, like many back.” and for several years, now, Ted Poor university-level jazz departments, has His enthusiasm is returning, he says. has taught drums there. A frequent not been all plain sailing for Vu. It has He is, after years of not quite finding collaborator has been a former star had a steady stream of visiting faculty the opportunity, about to record an student, now faculty member, bassist members from out East, a supply obvi- album with his wife, pianist Cristina Luke Bergman. ously aided by the faculty Vu has gath- Valdés, one of the foremost interpret- Vu’s releases, featuring those and a ered. And students have delighted at ers of contemporary music. few others, have included It’s Mostly the opportunity to rehearse for a week And then there’s his album with Residual (2005), Vu-Tet (2007), and and gig with big names like bassists Palmer. It works, Vu believes, because Leaps of Faith (2011). 2015 brought Eric Revis and , drum- of what they have shared, in music. As a recording with Frisell, Poor, and mers Billy Hart and , youths, “we had a really strong con- Bergman, Ballet: The Music of Michael and horn players George Garzone and nection because we were fans of each Gibbs (RareNoise), an homage to that Tim Berne. other’s playing,” he says. “We listened jazz composer captured at a 2016 show But since the global economic crisis to the same pop music and were really at UW’s Meany Hall. of a decade ago, enrollment numbers into the same cheesy stuff—from Toto With all that recording, Vu’s renown have not been what Vu—and, presum- to Chicago to all kinds of pop music.” in jazz-ish circles has only increased. ably, the UW—would like. Outside of In jazz, they shared a fondness for He received Europe’s Echo Jazz 2017 the large, most prestigious conservato- trumpeter and vocalist—and a star at Awards—International Instrumental- ries, all jazz programs have struggled. both—. ist for his work on his album, Cuong Plus, Vu admits, with his length- Although Palmer has largely been a Vu Trio Meets Pat Metheny (Nonesuch, ening time away from New York, he pop vocalist, he says, “she’s got seri- 2016), which featured Poor and Takei- sometimes does despair of being taken ous jazz chops, and I came out of jazz shi, too. a little for granted, in Seattle—which even though none of my records re- But being at the UW has also pro- is to say, of playing to audiences of 30 ally display that way of playing.” That vided Vu with collaborations he might or 40. “It’s not that fun,” he says. commonality became clear, recording After Hours. “Intuitively, we were able to occupy the same space together and not step on each other’s toes. The main thing is maybe the way we breathe to- gether musically.” They go way back. They were even, Vu reveals, each other’s senior prom New! Daily pick up and delivery in Seattle date. and North Lake Washington areas Is there a photo of that? 7 Luthiers, double bass set up and “Not that I’d want anyone to see,” restoration experts, and makers on site Vu laughs. But the long friendship will Free consultation in shop or by appointment in Seattle be on clear display at Tula’s. Lessons After Hours: Holly Palmer/Cuong Vu Thursday, May 17, 7:30pm Since 1964 Tula’s Restaurant & Jazz Club 970 5th Ave NW Suite 100 $15; 206-443-4221, Issaquah WA 98027 www.HammondAshley.com [email protected]

16 • EARSHOT JAZZ • May 2018 PREVIEW >> Abouzied/Balmer/Doria Summer Concerts June 4, 7pm and 9:30pm The Triple Door Chano Dominguez Flamenco Sketches June 13, 8pm Chapel Performance Space & Nate Wooley June 16, 7pm and 9:30pm The Triple Door Broken Shadows: TARIK ABOUZIED PHOTO BY DANIEL SHEEHAN , Tim Berne, Dave Friday, May 18, 7:30pm With roots together in Seattle’s hall- King, Reid Anderson Tula’s Restaurant & Jazz Club mark funk/jazz Hammond organ trio $20 McTuff, Abouzied pairs up again with June 20, 7pm and 9:30pm organ icon Joe Doria. The go-to keys The Royal Room In a spectacular Northwest group- master is hardly in need of an intro- Aaron Parks’ ing, renowned Seattle drummer duction, continually stunning his au- Little Big and Jazz Instrumentalist of the Year diences with his ability to add depth nominee Tarik Abouzied calls on old June 21, 8pm and dimension to every song he per- PONCHO Concert Hall friend Joe Doria on Hammond B-3 forms. Doria is a backbone member to Mary Halvorson’s and Portland guitar legend Dan Balm- a handful of groups including his own Thumbscrew er for a memorable night of music on Joe Doria Trio, The Drunken Mas- May 18 at Tula’s Restaurant & Jazz June 22, 7pm and 9:30pm ters, Skerik’s Syncopated Taint Septet, Club. The Royal Room and Spellbinder, featuring renowned Renowned for his taut, tough back- Dan Weiss’ drummer Michael Shrieve of Santana. beats, Abouzied is a veteran of such Starebaby: Metal One of Portland’s most acclaimed Jazz celebrated Seattle jazz-funk outfits as music educators and master disciples McTuff and Happy Orchestra. Abouz- June 23, 8pm of his instrument – Dan Balmer – ied has produced six albums collective- PONCHO Concert Hall completes the trio. Balmer impresses ly between his groups, which also in- Thomas Strønen: as one of only five Oregonians to be clude instrumental funk septet Pocket Time is a Blind honored with membership in both The Change, and modern jazz-fueled Guide Oregon Music Hall of Fame and the Hardcoretet. Currently, the drummer Jazz Society of Oregon Hall of Fame, July 1, 8pm produces new big band Happy Or- and has been hailed as “the model of PONCHO Concert Hall chestra, which was awarded 4Culture’s Eric Revis Quartet what a contemporary guitarist should 2015 Arts Project Grant and won Ear- be” ( Times). shot Jazz’s 2017 Alternative Jazz Group of the Year. –Ed., courtesy of Tarik Abouzied

MayTickets 2018 • EARSHOTand info JAZZ at • 17

earsho206-547-6763t.org PREVIEW >> The 16th Annual Ballard Jazz Festival

May 16–19 fans with the opportunity Various venues, Ballard to take in the best of the Se- attle jazz scene, mixed with The Ballard Jazz Festival national and international returns with its 16th edi- artists. tion May 16–19, in Seattle’s “I want to make sure it’s historic Ballard neighbor- a local festival, so it sounds hood. Headlining the fes- like Seattle,” says Bishop tival’s mainstage is Clar- of the philosophy he has ence Penn & Penn Station, maintained through- a New York ensemble that out the festival’s 16-year includes pianist Geoffrey run. Indeed, the Seattle Keezer, saxophonist Chad jazz scene’s annual rite of Lefkowitz-Brown, and spring connects the city’s bassist Yasushi Nakamura. historic and colorful jazz Swedish trumpeter Oskar past, with the modern pro- Stenmark will open the gressive mindset of its vi- concert, which in turn cel- brant present. ebrates the grand opening The festival commences of the brand-new Nordic on Wednesday, May 16, Museum Auditorium. and Thursday, May 17, with Penn in many ways typi- two individual concerts at fies the approach of artistic Conor Byrne Pub, former- directors John Bishop and ly the historic Owl Cafe. Matt Jorgensen, bringing Wednesday’s event, dubbed in an artist highly regard- CLARENCE PENN PHOTO COURTESY OF THE ARTIST “Celebration of the Drum,” ed in the jazz community, features three bands led by ready for discovery by the Mainstage Concert, normally the clos- drummers, including legendary drum- Seattle jazz audience. Penn has estab- ing event on Saturday evening, moves mer/drum tech Gregg Keplinger. Also lished himself as both a leader and to Friday, while the ever-popular Bal- featured are veteran drummer and sideman, paying his dues performing lard Jazz Walk will be held on Satur- educator Brian Kirk, 20-year-old wun- with iconic artists such as Betty Cart- day. This enables the expansion of the derkind Xavier Lecouturier, and New er, Jimmy Smith, , and walk to the afternoon hours, begin- York drummer Stefan Schatz. Kirk Stanley Clarke. Penn Station explores ning with the Saturday Jazz Picnic at will feature his Nu Trio with beloved the eclectic world of the compositions Peddler Brewery, an all-ages event that performers Phil Sparks (bass) and Na- of the great , with welcomes families and under-21 jazz than Breedlove (trumpet). Lecouturier a contemporary twist. Stenmark ap- fans. Vibraphonist Susan Pascal will enlists young bass phenom Ben Feld- proaches jazz through the lens of tra- perform with a quintet that includes man, along with two young rising ditional Swedish melodies, tempered legendary tenor saxophonist, Pete stars, guitarist Lucas Winter and pia- by New York-style post-bop sensibility. Christlieb. nist Gus Cairns. Schatz, who recently Taking place over four days in his- Promoted by Seattle-based Origin relocated to Seattle, will in a true sense toric Ballard, this year’s event has Records, the event has maintained a introduce himself to his new city and taken on a few notable changes. The true Seattle feel, presenting Seattle jazz its jazz audience.

18 • EARSHOT JAZZ • May 2018 Thursday brings the “Guitar Sum- enue, raised some concern about the ing to the myriad of possibilities the mit” to Conor Byrne, featuring bands viability of the event going forward new facility presents. led by guitarists Milo Petersen, John this year. Bishop and Jorgensen had to The Ballard Jazz Festival is a mirror Stowell, and Andy Coe, each bring- come up with an alternative plan. that reflects the current state of af- ing their unique tie into the jazz tra- “The biggest challenge was out of fairs out on the jazz scene in Seattle dition. Stowell has a long history in fear, just the fear of not being able to throughout the year. In many ways, it live performance and recordings, most come up with something,” says Bish- upholds the tradition one can experi- notably with bassist David Friesen and op. In the end, the facility became ence year-round in clubs and concert the trio Scenes, with Jeff Johnson and available, and provided the means to halls throughout the city. It is four John Bishop. Seven-string guitar ace create an even more viable future for days that jazz aficionados and those Petersen has long been Seattle’s first- the festival. new to the genre alike can witness jazz call guitarist, honing his chops with “This is a huge step up. We thought played at the highest level in a way that luminaries Cedar Walton, Ernestine we were lost, but now we’re found. tells our story here in Seattle. Anderson, and to name There’s lots of room to grow, if we’re –Paul Rauch but a few. Andy Coe has taken his smart about it,” remarks Bishop, allud- For a full schedule, or to purchase tick- progressive approach to guitar into ets, visit ballardjazzfestival.com. the jazz genre, as well as the well-es- tablished jam band scene in the Pacific Northwest. He is known in Seattle for his work with Skerik’s Bandalabra, McTuff, and the jam ensemble, The Andy Coe Band. The Mainstage Concert on Friday evening, May 18, features the afore- mentioned Penn, and Stenmark, housed in the brand-new Nordic Mu- seum facility in Ballard, which opens on May 5. The new digs also provide a larger capacity, enabling more seats for this perennially sold out show. The Ballard Jazz Walk on Saturday, May 19, features 21 bands in 10 ven- ues strewn from the Ballard Bridge, down old Ballard Avenue, and up onto Market Street. The event creates a Bourbon Street-like atmosphere for one celebratory evening in old Ballard. It gives area jazz fans the opportunity to sample the depth and quality of the Seattle jazz scene in one location, on one night. The walk upholds the long- held Seattle tradition of pairing the best of the Seattle scene with visiting jazz dignitaries. It is how the festival began in year one, and remains the one day of the festival that is an ab- solute “can’t-miss” event on the Seattle music calendar. The uncertainty of the completion date of the new museum, coupled with the loss of a few venues on Ballard Av-

May 2018 • EARSHOT JAZZ • 19 PREVIEW >> The Third Annual Couth Buzzard Books Community Jazz Festival May 25–28 tar. After the Brad Pap- Couth Buzzard Books ineau trio—playing in 8310 Greenwood Ave N tribute to the late Seattle pianist and composer Al Jazz is a uniting force: Hood—the Northwest’s that’s how musician-in- “sound of jazz” himself residence, saxophonist Jim Wilke hosts the festi- Kenneth Mandel, de- val’s annual tribute band, scribes the core of the dedicated this year to Greenwood bookstore/ Miles Davis. The group all-ages venue Couth includes session regulars Buzzard Books’ third an- Mikel Rollins on bass, nual community jazz fes- Mike Connors on bari- tival. An outgrowth of tone sax, and Katie Web- the Couth’s numerous ster on alto sax—though monthly jams— ranging one instrument will re- from and free jazz to main noticeably absent. Celtic and Brazilian cho- “Jenny Ziefel is going to ro—the all-ages festival play the trumpet parts on continues this year with a clarinets,” says Mandel. four-day program which “The other day she said: covers both old and new. ‘It’s very curious you’re “We try and give people going to have a white, a loose historical survey female clarinetist playing of jazz, featuring the very Miles Davis’ part.’ Why best in local talent. Those not? ...My understanding are the two cornerstones,” of Miles Davis was that poet and store owner you don’t get stuck in the Theo Dzielak tellsEarshot past, you always move Jazz one drizzly Satur- JIM KNODLE PHOTO BY COURTESY OF THEO DZIELAK forward.” day morning in between Sunday opens with a checking stock, pump- ville Johnson, creating ties with the festival edition of the Couth’s open ing espressos, and dialing down the venue’s lively folk and acoustic scene. jazz jam, the gathering space for play- scratchy-sounding big band playing on Says Dzielak of Johnson: “He’s like a ers who range from high schoolers the eclectic, book-lined space’s sound walking encyclopedia of early music, (including students from Ballard and system. anything from old folk-y blues stuff, Montlake Terrace) to retirees. The “That was the design of the book- to the bridge from when blues moved jam is followed by the Seth Alexander store, to be a community spot, to all into the early jazz era.” Group, “a great composer and player,” communities,” he says. “The jazz festi- On Saturday, the festival highlights according to Mandel, who echoes as val has the same foundation.” vocalists, including Gillian Klein, Ju- much enthusiasm for old friends as Beginning with roots of jazz, the lie Cresswell, Jean Mishler, and Scotty for his young music students. Closing festival begins Friday with swing trio Lee, backed by Couth all-stars Lance the Jump Monkeys and guitarist Or- Lu on drums and Al Pignatoro on gui- CONTINUED ON PAGE 24

20 • EARSHOT JAZZ • May 2018 PREVIEW >> UW IMPFest X

BILL FRISELL PHOTO BY DANIEL SHEEHAN PHOTO BY DANIEL SHEEHAN

May 30 & 31, 7:30pm tion. Both a returning performer at The Frankfurt Ballet, and Rickie Lee Meany Studio Theater the IMPFest and a well-respected jazz Jones. His collaborations and musical $10–20 guitarist, creator, collaborator, and influence continue. pioneer, accolades precede him. Stereo- Jazz pianist Myra Melford’s suc- Now spanning 10 years, the annual phile honors him by stating, “for over cessful two-decades career combines student-led jazz project known as the ten years Bill Frisell has quietly been an amalgam of influences. Initially Improvised Music Project (IMPFest), the most brilliant and unique voice to inspired by the blues traditions she produced by the University of Wash- come along in jazz guitar since Wes grew up with in Chicago, her music ington’s School of Music, shows no Montgomery…[and] he may also be has since developed in new directions. sign of slowing down. The festival one of the most promising compos- Gathering ideas from such varied brings together all-star faculty and stu- ers of American music on the current sources as the literary works of Rumi, dents with world-renowned musicians. scene.” Apart from his own undeni- Albert Camus, and Kōbō Abe, along This year’s headliners are guitarist Bill able talent, Frisell has been involved with her deep interest in Aikido, Sid- Frisell, jazz pianist Myra Melford, and in masterful collaborations, working dha Yoga, and traditional ideas de- alto sax player Andrew D’Angelo. The with such diverse and talented per- rived from the Huichol people, she festival runs for two evenings, May 30 formers including Elvis Costello, the creates unique music. Berkeleyside calls and 31, at UW’s Meany Studio The- Los Angeles Philharmonic, Marianne her “a visionary bandleader with a sin- ater. Faithful, Vernon Reid, Vinicius Can- gularly expansive sound embracing a Internationally renowned jazz vet- tuária, , , Ron- global array of influences. While she’s eran Bill Frisell needs no introduc- ald Shannon Jackson, Gus Van Sant, known for her percussive attack and

May 2018 • EARSHOT JAZZ • 21 roiling keyboard technique, Melford is also a deeply soulful player with a pas- The Time is Now! sion for Afro-Caribbean grooves, the blues and classical Hindustani music.” Tell your friends and support Not only does she take these dynamic and divergent influences and interpret them for the piano, but she uses the harmonium and the electric keyboard to create music that can be both bliss- ful and dramatic. Melford currently works with two ensembles: the quintet Snowy Egret and the collective known as Trio M. Her most recent awards include the Doris Duke Charitable Foundation’s Performing Artist Award and being named a Guggenheim Fel- DOUBLE-TIME!Thanks to the low. Raised in Seattle, saxophonist/com- poser Andrew D’Angelo makes waves Doris Dukeyour Charitable donation willFoundation, be wherever he finds himself. As a young matched note-for-note, adult he moved to New York and dollar-for-dollar! then Boston, becoming part of such progressive jazz ensembles as Human Feel, Either/Orchestra, and Tyft. Hu- man Feel was willing to break musical boundaries, and, as D’Angelo tells it, “would prove to be one of the central incubators of new jazz for the 1990s.” Over the past 20 years, he’s collabo- rated with , , , Cuong Vu, and Matt Wilson, among others. D’Angelo says that his music takes influence from jazz traditions as well as lean- ing heavily on electro-acoustic music and modern classical music. JazzTimes magazine praises D’Angelo as “an ex- pressionist [who] wields a visceral, heart-on-sleeve tone.” He’s a tenacious, turbulent musician who’s not afraid to be musically radical. –Lucienne Aggarwal It’s Easy! For more information about IMPFest To get started, go to www.givebigseattle.org and X, visit music.washington.edu. To buy select “Find Your Cause” tickets, visit tickets.artsuw.org. Thank you for your support!

Triple-Time? It’s possible! Please find out if your company offers a corporate gift-matching program.

22 • EARSHOT JAZZ • May 2018 PREVIEW >> The 2018 Bellevue Jazz & Blues Festival

May 30–June 3 Various venues, Bellevue, WA Currently in its 11th year, the Bel- levue Jazz & Blues Festival celebrates community and the creative power of music with more than 40 live concerts. Top national and regional artists, as well as promising student talent, ap- pear in venues across downtown Bel- levue, with headliners Deva Mahal and the Dr. Lonnie Smith Trio per- forming at the Meydenbauer Center Theatre. The Eastside’s premier jazz and blues event takes place over the course of five days, running from May 30 through June 3. Deva Mahal is the daughter of leg- endary blues musician , with whom she wrote the song “Never

Let You Go” on his Grammy Award- DR. LONNIE SMITH PHOTO COURTESY OF THE ARTIST DEVA MAHAL PHOTO COURTESY OF THE ARTIST nominated album Maestro. Her inborn passion and soaring talents make her of 2017, Smith was the recipient of the Anschell; Northwest piano mainstay a formidable and inspirational artist. NEA Jazz Masters Award, the highest Overton Berry; sultry vocalist Gail She has performed onstage alongside honor in jazz. “Jazz is American Clas- Pettis; renowned keyboardist Deems such legends as Etta James, Dianne sical,” he proclaims. “And this music is Tsutakawa; saxophonist, improviser, Reeves, The Roots, and Cyndi Lauper, a reflection of what’s happening at the and educator Kate Olson; Grammy- and collaborated with a wide-ranging time… The organ is like the sunlight, nominated instrumentalist Josh Raw- array of artists, including TV on the rain and thunder…it’s all the worldly lings; top-flight sax man Kareem Radio and Sharon Jones and the Dap sounds to me!” Kandi; pianist Eric Verlinde; keyboard Kings. “My music speaks a lot about Highlighted artists include Curtis artist/pianist Darin Clendenin; and pain and heartache, but I dive into Stigers with The Full Circle Big Band many more. those feelings, submerge myself in playing a smooth, ballad-heavy blend The festival also presents noteworthy them so I can work through them and of soul and rock; Carlos Cascante y performances by the Mark DuFresne get to the other side,” she has said. su Tumbao, an active member of the Band and the Rumba Kings. Du- Dr. Lonnie Smith is an unparalleled Spanish Harlem Orchestra; and the Fresne, a sought-after blues talent, was musician, composer, performer, and Darelle Holden Quartet, featuring awarded by The Washington Blues So- recording artist, hailed as a “legend,” a a silky-smooth songstress with deep ciety as best vocalist, songwriter, and “living musical icon,” and as the most musicality. harmonica player more than any other creative jazz organist by a slew of mu- Many Northwest favorites complete artist. The Rumba Kings are a Span- sic publications. Always ahead of the the lineup: 2014 Seattle Jazz Hall of ish guitar-driven instrumental band, curve, it is no surprise Dr. Smith’s Fame inductee Greta Matassa; 2016 comprised of George Stevens (guitar, fan-base is truly worldwide. In spring Seattle Jazz Hall of Fame inductee Bill bouzouki), Johnny Bacolas (producer,

May 2018 • EARSHOT JAZZ • 23 bass, bouzouki, guitar), Teddy Adams Couth Buzzard, from page 20 (guitar), Tor Dietrichson (percussion), and Andrey Zasypkin (drums). Sunday night is the My Favorite Things band, which includes Don Berman on Since its launch, the festival has drums, Dick Valentine on woodwinds, Mart Hasegawa on bass, and special also hosted a non-adjudicated stu- guest Bruce Barnard on guitar. dent showcase featuring college, high Monday, a day of experiment, covers the shape of jazz to come. As Mandel school, and middle school ensembles explains, “[it] features a lot of people in solo and duo contexts where they get to from around the Puget Sound. 2018 play whatever they want. They don’t have to adjust their set for us.” These -in participating schools include Ed- clude guitarists Matt Benham and Simon Henneman; one half of Bad Luck, sax- monds-Woodway High School, with ophonist Neil Welch; and Jim Knodle, the hard-working veteran trumpet player past performances at the Essentially and improvisor whom Mandel rates “like the Don Cherry of Seattle.” Sunday’s Ellington Competition & Festival in program also includes electro-harpist Carol J. Levin, percussionist Schraepfer NYC, and Bellevue College Jazz Com- Harvey, and Ziefel in their elegantly shocking trio The Likes Of, and finishes bo, having performed with top honors with the CD release concert of Mandel’s 3 Corners project, with guitarist Tim at the Lionel Hampton, Reno, and Volpicella and keyboardist Curtis Dahl. Fullerton Jazz festivals. School bands Funded through public support, including an Indiegogo campaign, the festival perform on the final two days at the follows the open-minded philosophy that the festival’s organizers—social activ- Bellevue Arts Museum. ists of the Vietnam era—apply day in and day out in their work teaching and Bellevue’s foremost annual jazz and organizing within the community. At least, that’s part of what brought Dzielak, blues music event is sure to reward a former public defense attorney, and Mandel, who’s experienced managing listeners venturing to the Eastside. food-cooperatives, together in the . Festival events are produced in part “I’m not St. John the Baptist in the desert or anything...anybody can knock by non-profit organization Bellevue on doors and ask others to participate,” the latter says about his role with typical Downtown Association and sponsored New York flair, “It’s all about inclusiveness...for me the purpose is: let’s collabo- by the City of Bellevue, Microsoft, rate, what can we do together?” Washington Federal, 4Culture, Bel- And watching yet another musician carrying an instrument case come in levue Arts Museum, KNKX 88.5 FM, through the door as the store starts buzzing with curious visitors, locals, and Bellevue Reporter, 425 Magazine, and book browsers taking their morning coffee, it’s hard to imagine what we can’t. Gravity Creative. –Ian Gwin For tickets and full lineup see online at For a complete schedule and ticket info for the Couth Buzzard Community Jazz bellevuedowntown.com or call 1-800- Festival, visit buonobuzzard.com. 838-3006. –Marianne Gonterman

24 • EARSHOT JAZZ • May 2018 PREVIEW >> Chano Domínguez Flamenco Sketches

Monday, June 4, 7 & 9:30pm caba—as well as some of the Triple Door greats of any sort of jazz—Joe $25 Lovano, Herbie Hancock, Jack DeJohnette. Perhaps the high- Earshot Jazz is pleased to light of his output, though, has present one of today’s most cel- been his Flamenco Sketches on ebrated jazz pianists and com- Blue Note in 2012. Released to posers, Chano Domínguez, mark the fiftieth anniversary of whose singular work is defined the release of Miles Davis’ clas- by his flamenco origins. Per- sic Kind of Blue, it presented his forming two sets on June 4 at renditions of “Flamenco Sketch- the Triple Door, Domínguez es” and “So What,” and reached is joined by vocalist Blas Cór- the top 40 of Billboard’s jazz al- doba, flamenco dancer Daniel bums chart. Navarro, bassist Alexis Cuadra- Domínguez deployed, there, do, and drummer Henry Cole. the flamenco elements that make The distinctive performances his recordings, and particularly and recordings of pianist Cha- CHANO DOMINQUEZ PHOTO BY LOURDES DELGADO his live performances, so thrill- no Domínguez result from his ing: nods to the greatest Spanish decades of exploration of the Youth, he recorded his first album as a composers, such as de Falla, Albeniz, intersections of jazz and flamenco— leader and composer, and in 1993, he and Granados, as well as traditional an exploration that has culminated in moved to New York just as that album, elements like clapping by a palmero, acclaimed renditions with his quartet, Chano, appeared. dancing and singing by a cantaor, and Flamenco Sketches of the Latin-influ- Mergers of jazz and various forms of the use of flamenco percussion, partic- enced compositions of Miles Davis. Latin music are hardly unusual; what ularly the cajón wood box. As will be Born in Cádiz in 1960, Domínguez sets Domínguez’s variant apart is his apparent in his quartet performance played flamenco guitar as a child be- marriage of jazz and flamenco, the here, the palmero, in particular, blends fore taking to the piano and, in his latter itself a result of the meeting of the quite different rhythmic traditions 20s, fronting the progressive Latin- the musical and dance traditions of of flamenco, with its varyingly accent- rock band CAI. CAI released three Western Europe and, from far to the ed 12-beat cycles, and jazz. albums before Domínguez went out east, Romani (gypsy) peoples. It has The result, for all Domínguez’s in- alone in 1981 to push the most thrill- won Domínguez a variety of honors, corporation of such elements as Cu- ing aspect of its output: its knitting of including jazz publications’ best al- ban son and jazz-fusion modes, “re- jazz and flamenco. bum for several of his discs, as well as mains intensely Spanish,” Ben Ratliff He refined his approach for a decade four Grammy nominations: for best wrote in . in Europe, his reputation growing as flamenco album of 2011 and 2015 “The concept is unique, the playing he received such awards as first prize for Iberico and Bendito, both on Blue brilliant,” Paul Rauch wrote in All in 1986 in Spain’s National Jazz Young Note, and for Calle 54 in 2001. About Jazz. “Domínguez revolution- Talents Contest with his band Cadix, During his career, Domínguez has ized the use of the piano in flamenco.” and as a 1990 finalist in the Martial performed and recorded with a who’s He added: “While much of latin Solal Piano Competition in Paris. who of Latin jazz— Paco de Lucia, jazz is rhythmic adaptation of tradi- After winning the 1992 Muestra de Paquito d’Rivera, Jerry Gonzalez, tional compositional and harmonic Jazz awarded by Spain’s Institute of Chucho Valdez, Gonzalo Rubal-

May 2018 • EARSHOT JAZZ • 25 components of the form, Domínguez has distinguished himself as a true ON THE RADIO pioneer of flamenco jazz.” While the  flamenco palos bulería, or soleá “may seem incomprehensible to the sensibil- Jazz Radio in Lloyd’s Jazz Caliente, 5pm, where ities of the swing or jazz ballad forms, 88.5 KNKX hosts Saturday Jazz jazz meets Latin rhythms. Domínguez … seamlessly blends these Matinee, Jazz Sunday Side Up, Ken Jim Wilke’s Jazz Northwest, Sun- musical worlds together composition- Wiley’s the Art of Jazz, and Jazz days, 2pm, features the artists and ally, and in their obvious commonali- Northwest, in addition to its weekday events of the regional jazz scene. For ties — those derived through the art of NPR and late-night and prime-time JazzNW podcasts of archived pro- improvisation.” jazz programs. Full schedule and info grams, see jazznw.org. 90.3 KEXP –Peter Monaghan at knkx.org. , late-night Sundays, Abe Beeson hosts The New Cool, features Jazz Theater with John Gil- Tickets and more information at Saturdays, 3pm, featuring 21st cen- breath, 1am. Full schedule informa- earshot.org. tury jazz inspired and informed by the tion is available at kexp.org. sounds of today, hip-hop, funk, elec- 91.3 KBCS, features creative and tronic & punk rock, followed by Rob- improvised music on Flotation Device with John Seman and Jonathan Law- son, Sundays at 10pm. The Monday night lineup includes The Caravan with John Gilbreath at 7pm, Straight No Chaser with David Utevsky at 9pm, Giant Steps with John Pai at 11pm, and The Shape of Modern Jazz with Gordon Todd at 1am Tuesdays. Shows can be streamed anytime at kbcs.fm. 91.7 KSVR Mount Vernon, Doctor Dee hosts two nights of jazz, Fourth 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 Lopez Island, Mon- days & Fridays, 3pm, Joy Spring with Gary Alexander, classic jazz and the Great American Songbook. Hollow Earth Radio, hol- lowearthradio.org, Fridays at 6pm, biweekly, 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 underrepresented voices. More at face- book.com/blackrootsradiojl and hol- lowearthradio.org.

26 • EARSHOT JAZZ • May 2018 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].

May 2018 • EARSHOT JAZZ • 27 JAZZ AROUND THE SOUND May 05 TUESDAY, MAY 1 BP Darelle Holden Quartet, 8pm SATURDAY, MAY 5 EB Eric Verlinde, 6pm BP Mark DuFresne Band, 8pm BP Locurano, 8pm ES Daniel Davison, 6pm EB Eric Verlinde, 6pm BT Live Jazz Trio, 6pm JA Pedrito Martinez Group, 7:30pm EG Jacob Zimmerman Group, 7pm EB Frank S. Holman III, 6pm MQ Frank Kohl Trio, 5pm ES Alexey Nikolaev, 8pm EG Marilyn Deering with Victor Janusz & Medearis NC Brazilian Saxophonist Daniela Spielmann ES Daniel Davison, 6pm Dixson, 7pm w/ Adriana Giordano, Marina Albero, Dean FT Mark Lewis & Randy Halberstadt, 8pm ES Daniel Davison, 6pm Schmidt & Jeff Busch, 7:30pm JA Earl Klugh, 7:30pm JA Earl Klugh, 7:30 & 9:30pm OW Tuesday Jazz Night, 9pm MQ Marina Chrisopher, 9pm MQ The Hot McGhandis, 9:30pm RR Casa de la Trova hosted by SuperSones, 8pm NI Nitelite Jam Session, 8pm OS 200 Trio, 8pm SB 5 Stories Jazz Collective, 8pm OS Jonas Myers, 7pm RR Cinco de Mayo: Latin Fiesta with Alma y SB Joe Doria, 9:30pm PD Greg Ruby & Maggie Kim, 8pm Azúcar and special guests, Supersones TU Tim Kennedy Band, 7:30pm SL Secret Jazz Club Concert, 7pm Quintet, 9pm WEDNESDAY, MAY 2 TD Victor Horky & His Silk Road Swing, 5pm SW Seattle Women’s Jazz Orchestra with special TU Overton Berry and Bruce Phares, 7:30pm BH Angélique Kidjo: Remain In Light, 7:30pm guest Jake Bergevin, 7:30pm VI Casey MacGill, 5:30pm BP Sue Nixon Trio, 8pm TU Stephanie Porter Quintet, 7:30pm VI Random Guys, 9pm EB Eric Verlinde, 6pm VI DTR Trio, 9:30pm ES Daniel Davison, 6pm FRIDAY, MAY 4 VI The Tarantellas, 6pm JA Pedrito Martinez Group, 7:30pm BT Live Jazz Trio, 6pm SUNDAY, MAY 6 NC Jazz Jam with Darin Clendenin Trio, 7:30pm CM The Ted Dortch Quartet, 7pm AB Jazz at the Beaver with Max Holmberg and the PD Casey MacGill & Friends, 8pm CZ Jazz First Fridays, 7:30pm 200 Trio, 9pm PG Paragon Hang Jazz Open Mic, 8pm EB Tom Kellock, 6pm CC Frank Vitolo, 6pm RR Souf by Ruby Dunphy, 8pm EG Kareem Kandi Band, 9pm CM The New Rhythmatics, 12:30pm RR Wayne Horvitz Trio featuring Geoff Harper, ES Daniel Davison, 6pm CR Racer Sessions, 8pm 10pm HS Michel Navedo & Brazil Novo, 7pm CZ Choro Music Open Jam Hosted By Stuart SC Return to the Jazz Forest, 7pm JA Earl Klugh, 7:30 & 9:30pm Zobel, 2pm TD Djangomatics, 5pm LA Happy Hour Jazz w/ Phil Sparks, 5pm DT Darrell’s Tavern Jazz Jam, 8pm TK Live Jazz w/ Jon Alberts, Jeff Johnson & Eric MQ Happy Orchestra Trio, 8:30pm EB Tom Kellock, 6pm Eagle, 8pm NC Pearl Django, 8pm ES Eric Verlinde with Josephine Howell, 6pm TU Eric Verlinde Trio, 7:30pm NI Alex Guilbert Trio, 8pm FB Seattle Jazz Vespers: Dave Desrochers and the VI Bar Tabac, 9pm OC India: Shadow and Light, 8pm Seattle Jazz Quartet, 6pm WW Future Jazz Heads, 6pm SP India: Shadow and Light, 7pm HS Emma Caroline Baker, 10:30am THURSDAY, MAY 3 TU Alex Dugdale Fade Quartet, 7:30pm JA Earl Klugh, 7:30pm BC Adam Kessler, Phil Sparks and Guests, 9pm VI Jovino Santos Neto, 9pm MQ Brian Nova Jazz Jam, 7pm

Calendar Key

AB The Angry Beaver HS Hotel Sorrento RR The Royal Room BC Barca JA Dimitriou’s Jazz Alley RY Rhythm & Rye BH Benaroya Hall KH Karen Hille Phillips Center for the SB Seamonster Lounge BL Ballard Elks Lodge Performing Arts SC WJMAC at Sylvia Center for the Arts BP Bake’s Place Bellevue LA Latona Pub SE Seattle Art Museum BT Brass Tacks MQ Musicquarium at the Triple Door SL The Stables CC Capitol Cider MT Mac’s Triangle Pub SP Stage 7 Pianos CM Crossroads Bellevue MV Marine View Church SW Shorewood Performing Arts Center CR Cafe Racer NB Naked City Brewery SY Salty’s on Alki CS Charles Smith WInes Jet City NC North City Bistro & Wine Shop TB Tutta Bella Neapolitan Pizzeria CZ Couth Buzzard Books NI Nitelite Lounge “Wallingford” DT Darrell’s Tavern NL Nectar Lounge TD Triple Door EB El Gaucho Bellevue OC OmCulture TK Thaiku EG Egan’s Ballard Jam House OS Osteria la Spiga TU Tula’s ES El Gaucho Seattle OW Owl ‘n’ Thistle UW UW Meany Studio Theater FB Seattle First Baptist Church PD Pink Door VI Vito’s FT Fremont Tavern PG Paragon WW Wildflower Wine Shop in The Old North RE Resonance at SOMA Towers Bend Firehouse

28 • EARSHOT JAZZ • May 2018 MV Tom Grant with guest vocalist Shelly Rudolph, VI Casey MacGill, 5:30pm 5pm VI Jennifer Kienzle, 9pm CURTAIN CALL RR Garfield High School Choir, 7pm FRIDAY, MAY 11 SP India: Shadow and Light, 7pm weekly recurring performances SY Victor Janusz, 10am BT Live Jazz Trio, 6pm TB Kevin Connor & Swing 3PO, 5pm CM Choroloco, 7pm TU Jim Cutler Jazz Orchestra, 7:30pm EB Tom Kellock, 6pm MONDAY VI Bob Hammer, 6pm EG Dina Blade Sings Johnny Mercer, 9pm VI Ron Weinstein Trio, 9:30pm EG Don & George Stone and Friends, 7pm CC EntreMundos Jam, 9:30 ES Daniel Davison, 6pm EB Tom Kellock, 6 MONDAY, MAY 7 JA Euge Groove, 7:30 & 9:30pm MT Triangle Pub Jam, 9 CC Cider Jam Mondays, 9:30pm KH Pacific Lutheran Jazz Ensemble featuring Alto EB Tom Kellock, 6pm Saxophonist Vincent Herring, 8pm NL Mo’ Jam Mondays, 8:30 ES Eric Verlinde, 6pm LA Happy Hour Jazz w/ Phil Sparks, 5pm RR The Salute Sessions, 10 MQ Brad Gibson Trio, 5pm RR True Loves // Crack Sabbath // Guy/Horvitz MT Jazz Night, 9pm Duo: Benefit for STUDIO 23, 8pm TUESDAY NL Mo Jam’ Mondays, 8:30pm TD Kurt Elling, 7pm EB Eric Verlinde, 6 RR The Royal Room Collective Music Ensemble, TU Marc Seales Band, 7:30pm OW Tuesday Jazz Night, 9 7:30pm VI Max Wood Trio, 9pm SB 5 Stories Jazz, 8 RY PC & J and Friends, 8pm SATURDAY, MAY 12 SB Joe Doria Presents, 9:30 TUESDAY, MAY 8 BT Live Jazz Trio, 6pm EB Eric Verlinde, 6pm CM Market Street Jazz Band, 7pm WEDNESDAY ES Daniel Davison, 6pm CS Elena Maque “Chance” Single and Music EB Eric Verlinde, 6 JA Joey DeFrancesco Trio, 7:30pm Video Release, 8pm ES Daniel Davison, 6 OW Tuesday Jazz Night, 9pm EB Frank S. Holman III, 6pm RR The Full Circle Jazz Ensemble with Special EG Chip Parker Quartet, 7pm PD Casey MacGill, 8 Guest Tim Hickey on Tap Shoes, 8pm EG Peter Spencer, 9pm PG Paragon Hang, 8 RR Wayne Horvitz Trio featuring Geoff Harper, ES Daniel Davison, 6pm WW Future Jazz Heads, 6 10pm JA Euge Groove, 7:30 & 9:30pm SB 5 Stories Jazz Collective, 8pm OS Rick Mandyck and Paul Gabrielson, 8pm THURSDAY SB Joe Doria, 9:30pm RY 45th St Brass & Human Ottoman, 9pm BC Adam Kessler & Phil Sparks, 9 TU Emerald City Jazz Orchestra, 7:30pm TD Kurt Elling, 7pm EB Eric Verlinde, 6 TU Susan Pascal Quartet with Bill Anschell, Jeff WEDNESDAY, MAY 9 Johnson, John Bishop, 7:30pm ES Daniel Davison, 6 EB Eric Verlinde, 6pm VI Jerry Zimmerman, 6pm ES Alexey Nikolaev, 8 EG Vocal Jam, 9pm VI Kareem Kandi, 9:30pm FT Mark Lewis & Friends, 8 EG Vocal Showcase, 7pm ES Daniel Davison, 6pm SUNDAY, MAY 13 NI Nitelite Jam Session, 8 JA Joey DeFrancesco Trio, 7:30pm AB Jazz at the Beaver with Max Holmberg and the OS Jonas Myers, 7 MQ Jacques Willis Trio, 5pm 200 Trio, 9pm PD Greg Ruby & Maggie Kim, 8 PD Casey MacGill & Friends, 8pm CM Red & Ruby, 12:30pm VI Casey MacGill, 5:30 PG Paragon Hang Jazz Open Mic, 8pm CR Racer Sessions, 8pm SC Tardo Hammer Trio, 7pm CZ Open Jazz Jam With Kenny Mandell, 2pm FRIDAY TU Jim Sisko’s Bellevue College Orchestra / DT Darrell’s Tavern Jazz Jam, 8pm BT Live Jazz Trio, 6 Newport High School, 7:30pm EB Tom Kellock, 6pm VI Brazil Novo, 9pm ES Eric Verlinde joined by Josephine Howell at EB Tom Kellock, 6 WW Future Jazz Heads, 6pm 7PM, 6pm ES Daniel Davison, 6 JA Euge Groove, 7:30pm LA Happy hour w/ Phil Sparks, 5 THURSDAY, MAY 10 MQ Brian Nova Jazz Jam, 7pm BC Adam Kessler, Phil Sparks and Guests, 9pm NB North Seattle Youth Jam, 5pm SATURDAY BP Darelle Holden Quartet, 8pm SY Victor Janusz, 10am EB Frank S Holman III, 6 EB Eric Verlinde, 6pm TB Kevin Connor & Swing 3PO, 5pm ES Daniel Davison, 6 EG Jamie Jenson and Bob Jones, 7pm TD Kurt Elling, 7pm ES Alexey Nikolaev, 8pm TU Jazz Police, 4pm SUNDAY ES Daniel Davison, 6pm TU Reuel Lubag “Premiere” CD Release Party AB Beaver Sessions, 9 FT Mark Lewis w/ Milo Petersen, 8pm with Ben Feldman, Ed Littlefield, 7:30pm JA Euge Groove, 7:30pm VI Lennon Aldort, 6pm CR Racer Sessions, 8 MQ Jacob Szekely Trio, 5pm VI Ron Weinstein Trio, 9:30pm DT Darrell’s Tavern Jazz Jam, 8 NI Nitelite Jam Session, 8pm OS Jonas Myers, 7pm MONDAY, MAY 14 EB Tom Kellock, 6 PD Greg Ruby & Maggie Kim, 8pm CC Cider Jam Mondays, 9:30pm ES Eric Verlinde with Josephine SB Kareem Kandi, 9:30pm EB Tom Kellock, 6pm Howell, 6 SE Art of Jazz: Hans Teuber & Jeff Johnson, ES Eric Verlinde, 6pm MQ Brian Nova Jazz Jam, 7 5:30pm JA Lean On Me: José James Celebrates Bill SY Victor Janusz, 10am TU Jared Hall Quintet featuring Vincent Herring Withers, 7:30pm w/ John Hansen, Michael Glynn, Matt MQ Joel Bean Trio, 5pm TB Kevin Connor & Swing 3PO, 5 Jorgensen, 7:30pm MT Jazz Night, 9pm VI Ron Weinstein Trio, 9:30

May 2018 • EARSHOT JAZZ • 29 NL Mo Jam’ Mondays, 8:30pm OS Jonas Myers, 7pm ES Eric Verlinde with Josephine Howell, 6pm RR The Jacob Szekely Trio with Dennis Hamm PD Greg Ruby & Maggie Kim, 8pm HS Frank Clayton, 10:30am and special guest Anton Schwartz, 8pm RE Eastside Jazz Club Concert Series, 7:30pm JA , 7:30pm RR The Salute Sessions, 10pm RR Mi casa es tu casa! A benefit for the Seattle/ MQ Brian Nova Jazz Jam, 7pm King County Coalition on Homelessness, 7pm RR Nathan Hale High School Jazz Concert, TUESDAY, MAY 15 SL Secret Jazz Club Concert, 7pm 5:30pm EB Eric Verlinde, 6pm TU Holly Palmer, Cuong Vu “After Hours”, SY Victor Janusz, 10am ES Daniel Davison, 6pm 7:30pm TB Kevin Connor & Swing 3PO, 5pm JA Lean On Me: José James Celebrates Bill VI Casey MacGill, 5:30pm TU Jim Cutler Jazz Orchestra / UW Jazz, 7:30pm Withers, 7:30pm VI Mingish, 9pm TU Seattle Music Academy, 4pm OW Tuesday Jazz Night, 9pm VI Bob Hammer, 6pm SB 5 Stories Jazz Collective, 8pm FRIDAY, MAY 18 VI Ron Weinstein Trio, 9:30pm SB Joe Doria, 9:30pm BT Live Jazz Trio, 6pm TU LineUp! Dawn Clement & Mark Taylor, CF Instrumental Ladies of Jazz – Leah Pogwizd MONDAY, MAY 21 7:30pm and Ann Reynolds duo, 7pm CC Cider Jam Mondays, 9:30pm EB Tom Kellock, 6pm EB Tom Kellock, 6pm WEDNESDAY, MAY 16 EG Margo Murphy & John Roberts with Ruthie ES Eric Verlinde, 6pm EB Eric Verlinde, 6pm Dornfield, 7pm MT Jazz Night, 9pm EG Valerie Piacenti and Nicholas Moore, 7pm ES Daniel Davison, 6pm NL Mo Jam’ Mondays, 8:30pm ES Daniel Davison, 6pm HS Jacqueline Tabor, 7pm RR Christian Pincock’s Scrambler, 8pm JA Lean On Me: José James Celebrates Bill JA Madeleine Peyroux, 7:30 & 9:30pm RR The Salute Sessions, 10pm Withers, 7:30pm MQ Ranger & The Re-Arrangers, 5pm RY South Sound Swing Orchestra, 8pm PD Casey MacGill & Friends, 8pm MQ Rik Wright’s Fundamental Forces, 9pm TD Janiva Magness, 7:30pm PG Paragon Hang Jazz Open Mic, 8pm RR Robin Layne Band’s CD Release Concert & En RR KNKX Presents: Piano Starts Here: Soul/R&B Canto, 9pm TUESDAY, MAY 22 Keyboard Icons – The Music of Stevie Wonder, TU Abouzied / Doria / Balmer, 7:30pm EB Eric Verlinde, 6pm Marvin Gaye, Aretha Franklin, D’Angelo, ES Daniel Davison, 6pm 7:30pm SATURDAY, MAY 19 JA Sean Jones featured Guest with Mercer Island RR Wayne Horvitz trio featuring Geoff Harper, BT Live Jazz Trio, 6pm and Bothell HS Jazz Ensembles, 7pm 10pm EB Frank S. Holman III, 6pm OW Tuesday Jazz Night, 9pm SC Brian Lynch, 7pm ES Daniel Davison, 6pm SB 5 Stories Jazz Collective, 8pm TU Axiom Quartet, 7:30pm HS Savage – Carlson Duo, 7pm SB Joe Doria, 9:30pm VI Hans Teuber Ensemble, 9pm JA Madeleine Peyroux, 7:30 & 9:30pm TU David Marriott’s Triskaidekaband, 7:30pm WW Future Jazz Heads, 6pm VI The New Triumph, 9pm VI The Sufferings of Ron and Mike, 9pm WEDNESDAY, MAY 23 THURSDAY, MAY 17 VI The Tarantellas, 6pm EB Eric Verlinde, 6pm BC Adam Kessler, Phil Sparks and Guests, 9pm EG Vocal Jam, 9pm BP Darelle Holden Quartet, 8pm SUNDAY, MAY 20 EG Vocal Showcase, 7pm EB Eric Verlinde, 6pm AB Jazz at the Beaver with Max Holmberg and the ES Daniel Davison, 6pm EG Raphael Z Quartet, 9pm 200 Trio, 9pm JA Halie Loren, 7:30pm EG Twin Tenors Jazz Band, 7pm BL Alex Guilbert’s Stampede Seven, 1pm PD Casey MacGill & Friends, 8pm ES Alexey Nikolaev, 8pm CR Racer Sessions, 8pm PG Paragon Hang Jazz Open Mic, 8pm ES Daniel Davison, 6pm CZ Choro Music Open Jam Hosted By Stuart RR The Westerlies, 7:30pm FT Mark Lewis & Overton Berry, 8pm Zobel, 2pm RR Wayne Horvitz trio featuring Geoff Harper, JA Madeleine Peyroux, 7:30pm DT Darrell’s Tavern Jazz Jam, 8pm 10pm NI Nitelite Jam Session, 8pm EB Tom Kellock, 6pm SB Freudian Slurp, 10pm

30 • EARSHOT JAZZ • May 2018 SC Mabes and Terrel, 7pm EG Matt Jorgensen International Quartet, 9pm JA Ballard High School Vocal and Jazz Bands, 7pm TU Ph Factor Big Band, 7:30pm ES Daniel Davison, 6pm MQ Frank Kohl, 5pm VI Ben von Wildenhaus, 9pm HS Chip Parker – Darin Clendenin Duo, 7pm OW Tuesday Jazz Night, 9pm WW Future Jazz Heads, 6pm JA Bobby Caldwell, 7:30pm SB 5 Stories Jazz Collective, 8pm JA Bobby Caldwell, 9:30pm SB Joe Doria, 9:30pm THURSDAY, MAY 24 NC Duende Libre, 8pm TU Critical Mass featuring Pete Christlieb, BC Adam Kessler, Phil Sparks and Guests, 9pm RR A Love Supreme with The John Hanrahan 7:30pm BP Darelle Holden Quartet, 8pm Quartet, 6pm EB Eric Verlinde, 6pm TU Sixth Annual Miles Davis Birthday Celebration WEDNESDAY, MAY 30 EG Kelly Ash Student Showcase, 7pm with Thomas Marriott, 7:30 & 9pm BP Bellevue Jazz & Blues Festival Presents: ES Alexey Nikolaev, 8pm VI Afrocop, 9:30pm Carlos Cascante Y Su Tumbao, 8pm ES Daniel Davison, 6pm VI Jerry Zimmerman, 6pm EB Eric Verlinde, 6pm FT Mark Lewis & Bill Anschell, 8pm ES Daniel Davison, 6pm JA Bobby Caldwell, 7:30pm SUNDAY, MAY 27 JA Edmonds-Woodway High School Jazz NI Nitelite Jam Session, 8pm AB Jazz at the Beaver with Max Holmberg and the Ensembles, 7pm OS Jonas Myers, 7pm 200 Trio, 9pm PD Casey MacGill & Friends, 8pm PD Greg Ruby & Maggie Kim, 8pm CC Forman-Finley Band with Cherrie Adams, 6pm PG Paragon Hang Jazz Open Mic, 8pm RR Jazz Underground CD Release Party, 8pm CR Racer Sessions, 8pm SB Cole Schuster Organ Band, 9:30pm TU Jared Hall Quintet with Tal Cohen, Paul CZ Couth Buzzard Jazz Fest, 2pm SC Brad Shigeta Quartet, 7pm Gabrielson, John Bishop, 7:30pm DT Darrell’s Tavern Jazz Jam, 8pm TU Bren Plummer Quartet, 7:30pm VI Casey MacGill, 5:30pm EB Tom Kellock, 6pm UW IMPFest X w/ Bill Frisell, Myra Melford and VI Matt Jorgensen Quartet, 9pm ES Eric Verlinde joined by Josephine Howell at Andrew D’Angelo, 7:30pm 7PM, 6pm VI Jimmie Herrod, 9pm FRIDAY, MAY 25 HS Savage Carlson Duo, 11:30am WW Future Jazz Heads, 6pm BT Live Jazz Trio, 6pm JA Bobby Caldwell, 7:30pm CZ Couth Buzzard Jazz Fest, 7:30pm MQ Brian Nova Jazz Jam, 7pm THURSDAY, MAY 31 EB Tom Kellock, 6pm SY Victor Janusz, 10am BC Adam Kessler, Phil Sparks and Guests, 9pm EG Favorite Things – A Tribute to the Music of TB Kevin Connor & Swing 3PO, 5pm BP Bellevue Jazz & Blues Festival Presents: The Miles Davis, 9pm TU Greta Matassa Sextet with Alexey Nikolaev, Darelle Holden Quartet, 8pm ES Daniel Davison, 6pm Susan Pascal, Darin Clendenin, Clipper BP Darelle Holden Quartet, 8pm HS Breaks and Swells, 7pm Anderson, Mark Ivester, 7:30pm EB Eric Verlinde, 6pm JA Bobby Caldwell, 7:30 & 9:30pm TU Greta Matassa Student Showcase, 3pm ES Alexey Nikolaev, 8pm MQ Daniel Rapport Trio, 9pm VI Bob Hammer, 6pm ES Daniel Davison, 6pm MQ Victor Horky & His Silk Road Swing, 5pm VI Ron Weinstein Trio, 9:30pm FT Mark Lewis & Michael Powers, 8pm RR Electric Circus, 9pm JA Spyro Gyra, 7:30pm RR Ranger and the Re-Arrangers, 6pm MONDAY, MAY 28 NI Nitelite Jam Session, 8pm TU Sixth Annual Miles Davis Birthday Celebration CC Cider Jam Mondays, 9:30pm OS Jonas Myers, 7pm with Thomas Marriott, 7:30 & 9pm CZ Couth Buzzard Jazz Fest, 1pm RR Amy Denio and OU, 8:30pm VI Yada Yada Blues Band, 9:30pm EB Tom Kellock, 6pm SB Satin Sirens, 11pm ES Eric Verlinde, 6pm SL Secret Jazz Club Concert, 7pm SATURDAY, MAY 26 MT Jazz Night, 9pm UW IMPFest X w/ Bill Frisell, Myra Melford and BT Live Jazz Trio, 6pm NL Mo Jam’ Mondays, 8:30pm Andrew D’Angelo, 7:30pm CZ Couth Buzzard Jazz Fest, 1pm VI Casey MacGill, 5:30pm EB Frank S. Holman III, 6pm TUESDAY, MAY 29 VI Marina Albero Ensemble, 9pm EG Lady ‘A’ and her Backporch Blues Showcase, EB Eric Verlinde, 6pm 7pm ES Daniel Davison, 6pm ART OF JAZZ

HANS TEUBER & JEFF JOHNSON THU MAY 10, 5:30 – 7:30 PM

Saxophonist Hans Teuber and bassist Jeff Johnson’s musical collaboration is highly intuitive and empathetic.

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.

May 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

GOLDEN EAR AWARD RECIPIENTS PHOTO BY DANIEL SHEEHAN

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