Golden Ear Award Recipients

A Mirror and Focus for the Jazz Community April 2019 Vol. 35, No. 04 EARSHOT JAZZSeattle, Washington

Golden Ear Award Recipients Top Row: Jovino Santos Neto, Randy Halberstadt, D’Vonne Lewis, Jacqueline Tabor, Wally Shoup, Michael Brockman Bottom Row: Rob Homan, Andrew Morrill, Marina Albero, Victor Nguyen, Drew Pine, Rob Granfelt Photo by Daniel Sheehan Letter from the Director Earshot JazZ A Mirror and Focus for the Jazz Community A Celebration of Executive Director John Gilbreath Managing Director Karen Caropepe Acknowledgements Programs Manager Tara Peters Marketing & Development Associate Lucienne Aggarwal Earshot Jazz Editors Lucienne Aggarwal & As you can see by Daniel Sheehan’s photo on this month’s cover, the Tara Peters

recent Golden Ear awards party at the Royal Room was a huge success. Contributing Writers Halynn Blanchard, Riffing on the title from Evan Flory-Barnes’ earlier creative opus,Acknowl - Marianne Gonterman, Ian Gwin, Andrew edgement of a Celebration, this annual awards program is a celebration of Luthringer, Peter Monaghan, Paul Rauch, acknowledgements, honoring the brilliant work done by Seattle’s estab- Carlos Snaider lished and emerging artists over the previous year. And the field was rich. Calendar Editors Casey Adams, Jane This year’s recipients were selected from a record number of votes, and Emerson, & Tara Peters once again exemplify the breadth and beauty of Seattle’s world-class Photography Daniel Sheehan jazz scene. Layout Tara Peters In fact, Seattle’s jazz scene itself is a shining example of the excellence and Distribution Karen Caropepe, Dan Dubie & Earshot Jazz volunteers multiplicity of approaches that are making this such an exciting time for jazz around the world. The Earshot Jazz organization has always embraced Send Calendar Information to: an expansive view of the art form. Earshot’s 33-year presenting history is [email protected] full of names of the adventurous seekers who have helped to pave the way Board of Directors Danielle Leigh for the richness of today’s scene, much as the artists we’ll present in the (President), John W. Comerford (Vice President), Jon Perrino (Secretary), Sheila coming months are blazing a trail to tomorrow. Hughes, Chris Icasiano, Maurice James, Our April concerts provide a fascinating ride down the freeway of jazz Chris Nutter, Gail Pettis, Ruby Smith Love, in the present tense. From the New Orleans pianist Sullivan Fortner’s Diane Wah fresh refinements of the traditional jazz piano trio, to drummer Makaya McCraven’s advancements of Chicago’s commitment to creative musicians, Emeritus Board Members Clarence Acox, Taina Honkalehto, Hideo Makihara, Peter and on to the emerging vision and artistry of saxophonist María Grand. Monaghan, Kenneth W. Masters, Lola We are also pleased to offer the long-overdue Seattle appearance of gui- Pedrini, Paul Toliver, Cuong Vu tarist Miles Okazaki, with his incendiary Trickster quartet. A Whidbey Island native, Miles has been enriching the New York scene for a number Founded in 1984 by Paul de Barros, Gary Bannister, and Allen Youngblood. Earshot of years, and touring the world as part of Steve Coleman’s Five Elements Jazz is published monthly and is available group. He will appear here with everyone’s favorite pianist Matt Mitchell, online at earshot.org. and the searing funk of Coleman’s long-time rhythm team of Anthony Tidd and Sean Rickmann. Subscription (with membership): $35 As we charge into this spring however, we are planning for the summer 3429 Fremont Place #309 Seattle, WA 98103 and fall. We encourage Seattle artists to prepare a concept and submit an phone / (206) 547-6763 entry for the annual juried series, Jazz: The nd2 Century, which we’ll present on consecutive Thursdays in July, at the Chapel Performance Space. Earshot Jazz ISSN 1077-0984 Printed by Pacific Publishing Company And we encourage all of you to dive into this issue, join us at these fasci- © 2019 Earshot Jazz Society of Seattle nating concert opportunities, and clear the entire month of October for another supersonic jazz festival. Seattle is a jazz town. Let’s all get out to hear some live jazz this month!! M i ss i o n S tatement See you out there. To ensure the legacy and progression –John Gilbreath of the art form, Earshot Jazz cultivates a vibrant jazz community by engaging audiences, celebrating artists, and supporting arts education.

2 • Earshot Jazz • April 2019 notes U GiveBIG Returns May 8 ence, taking place in Boise, Idaho on CALL FOR ARTISTs Save the date for the annual day October 14–17, are now open. The of giving, now presented by 501 deadline to apply is April 19. The Jazz: The Second Century conference is a gathering of artists, Commons. GiveBIG is an important, Deadline May 31 24-hour display of community and their management, and presenters of generosity for the region’s nonprofit the performing arts. Attendees enjoy Earshot Jazz seeks submissions organizations. On May 8, maximize extensive professional development for the 2019 edition of the Jazz: your gift to Earshot Jazz by participat- opportunities through keynote pre- The Second Century concert se- ing in this community giving event. sentations, workshops, block-booking ries. The juried series brings the You can help with a donation at any sessions, networking opportunities, progression of Seattle jazz into level. More information available at and more. creative motion on the concert givebig2019.org. Voted on by all registered conference stage. One-hundred years into attendees, the Showcase Award Grant the art-form, what sonic shapes City of Music Career Day is presented to the artist or ensemble does jazz take in its second cen- The City of Music Career Day is a who best represents the excellence of tury? Projects that probe this free event for young people, ages 13- performing arts in our region. Be- question to expand the conven- 24, to spend the day with working yond the honor of being voted “best of tions of the jazz form are invited musicians and industry professionals show,” the award comes with a $5,000 for consideration. to learn what it takes to succeed in a tour support grant. Information and Seattle-area individual artists or competitive and rewarding world of application available at artsnw.org. groups are eligible to apply. Sub- music. Presented by the Seattle Music missions must include a recorded Café Nordo Debuts Jitterbug Commission and the City of Seattle’s sample of a project that can be Perfume and Celebrates Jazz Office of Film + Music in partner- performed in a concert setting. Appreciation Month ship with One Reel. The event takes We encourage applicants to in- place on April 26 at MOPOP and Café Nordo’s Culinarium debuts the clude a statement that speaks to Vera in the Seattle Center. More in- world premier theatrical adaptation of their musical interpretation of formation and registration available at Seattle author Tom Robbins’ cult-clas- the meaning of jazz and the pro- onereel.org. sic novel, Jitterbug Perfume. The progression of the art form. duction is Nordo’s first solo adaptation 2019 Ballard Jazz Festival The submissions are evaluated and features a New Orleans jazz score through a blind-jury process. Announces Lineup composed by Annastasia Workman Jury members reflect the diverse The 2019 Ballard Jazz Festival and performed by Beth Fleenor and Seattle jazz community and in- runs from May 29–June 1. Art- Matt Manges. The multi-sensory ex- clude past Second Century artists include Ernie Watts with New perience includes a four-course dinner ists. A list of past Jazz: The Sec- Stories, Lage Lund, Dawn Clem- from award-winning chef, Erin Brind- ond Century artists and ensem- ent, Overton Berry, Kathy Moore, ley. The production runs now through bles can be viewed at earshot.org. John Stowell, Johnaye Kendrick, Jay May 12. 2019 Second Century artists Thomas, Gail Pettis, Xavier Lecou- Café Nordo’s newest lounge space, and ensembles perform across turier, Jacqueline Tabor, 200 Trio, the Knife Room, celebrates Jazz Ap- four Thursdays in July and are Nathan Breedlove, Rick Mandyck, preciation Month (JAM) with four paid a competitive fee for the and more. For more information, in- nights of jazz happening each Thurs- performance. cluding volunteer opportunities, visit day night in April. Featured artists in- Please send submissions ballardjazzfestival.com clude Brett Jensen, Bakbuk, Kate Voss, by May 31 electronically to Arts Northwest Conference and D’Vonne Lewis’ Limited Edition. [email protected] or by Application Deadline April 19 Individual tickets are $12 or purchase mail to Earshot Jazz, 3429 Fre- a JAM pass and save. Tickets and in- mont Place N, #309, Seattle, WA Performance showcase applica- formation available at cafenordo.com. 98103. tions for the Arts Northwest Confer-

April 2019 • Earshot Jazz • 3 Couth Buzzard Community Jazz or brass family instruments from The is one of the largest on the West coast Festival Returns Newcombe Foundation. Students attracting North American and Inter- The fourth annual community must be enrolling in grades 5-11 for national artists. Qualifying volunteers jazz festival hosted by Couth Buz- the following school year. The ap- can receive a volunteer festival pass, zard Bookstore and Café takes place plication includes an online essay work experience, and school credit. May 24–27. The festival features form and a letter of recommendation Information and application available Seattle musicians and shines a light from their music teacher. For more at coastaljazz.ca. on the valuable jazz community information and the application visit Matt Jorgensen’s Music growing in the Greenwood neigh- thenewcombefoundation.org. Commission for KCTS 9 borhood. For more information, visit Call for Volunteers for the TD Noted Northwest drummer and buonobuzzard.com. Vancouver International Jazz composer Matt Jorgensen was recently Opportunity for Students to Festival commissioned to write new themes Receive Instruments Applications for the TD Vancou- for Seattle’s PBS station, KCTS 9. Students unable to afford their own ver International Jazz Festival, in The new theme music will start airing musical instruments have until April Vancouver B.C. are now open. The throughout 2019. Hear previews of the 30th to apply for string, woodwind, well-respected annual summer festival themes at mattjorgensen.com. On the Radio  88.5 KNKX hosts Saturday Jazz Matinee, Jazz Sunday Side Up, Ken Wiley’s the Art of Jazz, and Jazz Northwest, in addition to its weekday NPR and late-night and prime-time jazz programs. Full schedule and info at knkx.org. Abe Beeson hosts The New Cool, Saturdays, 3pm, featuring 21st century jazz inspired and informed by the sounds of today, hip-hop, funk, electronic & punk rock, followed by Robin Lloyd’s Jazz Caliente, 5pm, where jazz meets Latin rhythms. Jim Wilke’s Jazz Northwest, Sun- days, 2pm, features the artists and events of the regional jazz scene. For Jazz NW podcasts of archived programs, see jazznw.org. 90.3 KEXP, late-night Sundays, features Jazz Theater with John Gilbreath, 1am. Full schedule information is available at kexp.org. 91.3 KBCS, features creative and improvised music on Flotation Device with John Seman and Jonathan Lawson, 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, Mondays & Fridays, 3pm, Joy Spring with Gary Alexander, classic jazz and the Great American Songbook. Hollow Earth Radio, hollowearthradio.org. Fridays at 6pm, biweek- ly, Black Roots Radio, hosted by Jordan Leonard, promotes jazz as a dynamic genre rooted in the Black American experience. Rainier Avenue Radio, rainieravenueradio.world. Mondays and Sundays at 10pm, #MoJamMondays from the Nectar Lounge. Tuesdays at 6pm, Thursdays and Sundays at 2pm, and Saturdays at 5pm, Jazz from the Cabi- nets with Big Poppy.

4 • Earshot Jazz • April 2019 PROFILE The 2018 Golden Ear & Seattle Jazz Hall of Fame Awards By Paul Rauch On the evening of March 11, Earshot Jazz presented the annual Golden Ear & Seattle Jazz Hall of Fame Awards in front of a full house at the Royal Room. The evening kicked off with an- en ergetic set from Alex Dugdale’s Fade Quartet, who set the vibe with innovative hard bop interpretations of standards. Switching between alto and tenor, Dugdale displayed his trade- mark sound accompanied by pianist John Hansen, bassist Greg Feingold, and drummer Max Holmberg. Jazz radio icon Jim Wilke emceed the awards in his usual style, blending his rob granfelt photo by daniel sheehan jacqueline tabor photo by daniel sheehan acute awareness of the current Seattle jazz scene with stories from its colorful the album. Drift, unites jazz with stunning variety of percussion instru- past. other cultural flows in continuous moments. “All the artists nominated tonight are tion, defying musical and sociological “I am honored to have received an- truly winners,” exclaimed Earshot Jazz boundaries. other Golden Ear Award, the fourth Director John Gilbreath in his open- for my Quinteto since 2011. I am ing monologue. “We offer our sincere NW ACOUSTIC JAZZ ENSEMBLE very proud of Chuck Deardorf, Ben Thomas, Mark Ivester and Jeff Busch congratulations to all the nominees Jovino Santos Neto Quinteto this year, and extend our deep appre- for sharing this musical journey with ciation to all who support the music.” With a recording and performance me. No resting on our laurels—we résumé that dates back to his arrival in continue to work together to show the invisible power of music to the world,” NW RECORDING OF THE YEAR Seattle from his native Brazil 25 years ago, Jovino’s Quinteto exudes joy, cel- said Jovino. Duende Libre, Drift ebration, and positivity like no other NW ALTERNATIVE JAZZ GROUP Duende Libre is an eclectic trio that ensemble in the Northwest. The band perfectly expresses Jovino’s musical vi- use the American jazz tradition as High Pulp a launching point for global music sion, influenced strongly by his men- exploration. Pianist/composer Alex tor, Brazilian master composer Her- It has been almost a year since the Chadsey leads the group, with uber- meto Pascoal. Northwest fusion band High Pulp re- talented bassist Farko Dosumov and Bassist Chuck Deardorf, and drum- leased Bad Juice, a bright collection of percussionist Jeff Busch bringing the mer Mark Ivester have been on board tunes steeped in contagious grooves. creative vision to life in vivid tonal from the beginning. Vibraphonist Ben The band has gained a reputation as colors. Thomas joyfully brings the melodic purveyors of dance-inducing jams. Vocalist Chava Mirel adds her free- qualities of the music bubbling to the Led by drummer Rob Granfelt, the flowing style in captivating form to surface. Jeff Busch is the glue that ties group features a core quartet that the rhythmic flow together through a mixes with a large unit of up to ten

April 2019 • Earshot Jazz • 5 marina albero and jovino santos neto photo by daniel sheehan

players. Bassist Scott Rixon, keyboard- ing with her, and tackling her amazing ist Antoine Martell and guitarist Geh- music,” said SRJO director Michael rig Uhles provide the dynamic flow Brockman. of funk-infused rhythms supporting Whether performing Schneider’s solo work from a cadre of horn play- “Walking by Flashlight,” or testing the ers. Most notable is tenor saxophonist wide-open spaces of “Hang Gliding,” Alex Dugdale, along with fellow tenor the SRJO rose to the occasion, deliv- player Victor Nguyen, altoist Andrew ering one of its finest performances Morrill, and trombonist Isaac Poole. in the band’s history. Highlights in- High Pulp is young, open-minded, cluded a scintillating trumpet solo on and unafraid to explore new territory. “Hang Gliding” by Jared Hall, and an off-the-charts tap solo by Alex Dug- NW CONCERT OF THE YEAR dale on the Schneider classic, “Gumba Blue.” Maria Schneider w/ the Seattle Schneider’s ability to bring out the Repertory Jazz Orchestra best in an ensemble with her passion- November 3, Benaroya Hall ate, personal approach is legendary. On this November evening during the Since the beginning of her career Earshot Jazz Fesitval, SRJO and the working with her mentor and collabo- eager audience were the lucky recipi- rator Gil Evans, Maria Schneider has ents of Schneider’s gifts. possessed an intuitive feel for bringing out the best in a piece of music, NW EMERGING ARTIST and the ensemble that performs it. The four-time Grammy-Award winner Marina Albero brings amazing arranging chops, and an unmistakable humanity to the pro- The emergence of a great artist is ceedings. something to witness over time. While SRJO musicians jumped at the op- Barcelona born pianist Marina Albero portunity to work with her, putting in has made a large imprint on the scene long hours to master her complicated since her arrival here in April of 2014, charts. “Maria had a great time with her “emergence” has been the linking everyone in the SRJO, and the band of her creative life experience to the had an especially thrilling time work- jazz tradition.

6 • Earshot Jazz • April 2019 randy halberstadt and jacqueline tabor photo by daniel sheehan d’vonne lewis photo by daniel sheehan

The daughter of legendary Catalan after 40. This is my first award ever NW INSTRUMENTALIST OF THE YEAR musicians, Albero draws influence and I proudly hold it and offer it as D’Vonne Lewis from them, and from her experience an acknowledgement to these women with classical, flamenco, and jazz who work hard in and out of home D’Vonne Lewis is a whirlwind. As forms. She delivers this multi-faceted without any recognition, to these the leader of Industrial Revelation and approach seamlessly with joy and hu- artists that are not that young when Limited Edition, he has long estab- mility. In her acceptance speech, Al- their art finally reaches an audience,” lished himself as one of the city’s most bero was grateful for being recognized said Albero. active artists. As an instrumentalist, as an emerging artist at age 39, after With a new recording on the ho- Lewis’ work on drums, as a leader and spending the last two decades as a ded- rizon, and live performances with a a sideman, has reached iconic status. icated mother. variety of Seattle musicians, Albero’s While Lewis is a product of Scott “I think back to when I was 20, I magnificent talents will continue to Brown’s nationally lauded program at wasn’t playing music, I was raising emerge, thrilling Northwest audiences Roosevelt High School, he ventured kids. Thank you for saying you can along the way. down a different path than most top never be too old to emerge, and that jazz musicians of his generation. a woman musician can have a career ART OF JAZZ

NAOMI SIEGEL BAND THU APR 11, 5:30 – 7:30 PM

Award–winning trombonist celebrates new CD release.

Seattle Art Museum, Brotman Forum 1300 First Avenue Sponsored by Free and open to the public visitsam.org/performs

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

April 2019 • Earshot Jazz • 7 “I never went to school for music, so I’ve learned from everyone I’ve played with—Tim Kennedy, Joe Doria, Tom Marriott, Marina Albero, everybody. This is not for only myself, but for all of you, and my son Donovan,” he remarked. Lewis enters 2019 lead- ing a new quartet named Passage, along with his well-established band, D’Vonne Lewis’ Limited Edition.

NW VOCALIST OF THE YEAR Jacqueline Tabor Jacqueline Tabor’s success as a live performer, and as a recording artist is a testament to passion, hard work, wally shoup photo by daniel sheehan michael brockman photo by daniel sheehan and endurance. As a parent with a full- time job outside of her music career, blues-infused brand of jazz interpreta- his work with Charles Mingus and Tabor has defied the odds by dedicat- tion in live performances throughout Woody Herman. ing herself to her craft, displaying wis- the region. Her art is sincere, with a With Mingus (who referred to him as dom by surrounding herself with top deep connection to tradition. It comes his Beethoven), Hammer arranged for shelf professionals. In her moving ac- from a place we can all connect with— such classic albums as Mingus Mingus ceptance speech, echoing Albero, she the ebb and flow of everyday working Mingus Mingus Mingus, and The Black spoke about her emergence as an artist life, combined with a creative impulse. Saint and the Sinner Lady. His perfor- later in life . mance and recording résumé include “I just turned 49 years old yesterday. SEATTLE JAZZ HALL OF FAME stints with such jazz legends as Johnny Like Marina said, thank you for cel- Hartman, Jimmy Knepper, and Elvin ebrating women over 40 trying to get Bob Hammer Jones. At 89 years young, Hammer their hustle on. Thank you so much Bob Hammer enters the Seattle Jazz has received many accolades over his for giving the love back when we’re on Hall of Fame as both a pianist and ar- long career. With this award, his major stage.” ranger, though it is the latter that has contribution to jazz music in this jazz On the heels of her recent release The gained him world-wide notoriety for community is firmly in place. Lady in the Gown, Tabor offers her

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8 • Earshot Jazz • April 2019 Wally Shoup tive contribution: “David and Helen Halberstadt recently retired from Saxophonist Wally Shoup has been Marriott have been so extraordinary Cornish College of the Arts after a thriving on the periphery of jazz dur- behind the scenes. Seattle is known prestigious 40-year tenure. In tandem ing a career that has covered more around the world for its high school with his role as educator and mentor, than a half century. His penchant for jazz programs. It was David and Hel- he established himself as the pianist’s redefining boundaries only to obliter- en Marriott who absolutely set the bar pianist, providing the perfect touch for ate them has made him a legendary for what is possible in raising funds for area vocalists in particular. His work figure on the free jazz and improvised a high school jazz program. They set with the Seattle Repertory Jazz Or- music scene. While many may hesitate the bar for what people are going after chestra gave him visibility to the jazz to classify Shoup as a jazz musician, now, and showed what is possible with community at large. His recent Origin the open-minded Seattle jazz scene has absolute devotion, absolute love, and Records release Open Heart is giving always held Shoup in esteem. Shoup absolute passion.” him international recognition. David’s passing this past fall left a himself expressed his appreciation for Reed Ruddy that recognition. huge void in the heart of our commu- “This is very unexpected, what an nity. It is always a pleasure when Helen Bassist Chuck Deardorf, a Seattle honor. Seattle jazz scene, thank you attends a local performance. Through jazz icon himself, presented a special for including me in the jazz world. I their passion and love for this com- award to Studio X manager and engi- can’t thank you enough,” said Shoup. munity, they have created a legacy that neer, Reed Ruddy. While Ruddy and will be impactful for decades to come. Studio X are largely known for their Helen and David Marriott Sr. work with bands like Soundgarden Having raised two of the true stan- SPECIAL AWARDS and Nirvana, Ruddy’s work within the jazz community is legendary. dard bearers of jazz in our community Randy Halberstadt is, in itself, a major accomplishment. Starting out at Kaye-Smith Studios, Helen and David Marriott Sr.’s decades In recognition of his dedication to Ruddy’s work has spanned the transi- of passionate support extends beyond the enrichment of the Seattle jazz tion from analog to digital technology, their sons, David Jr. and Thomas, to community, pianist and educator approaching both with his own “gold- encompass the jazz scene at large. Randy Halberstadt received a special en ear.” Recordings with his name Their relentless behind the scenes award for his four decades of dedicated stamped on them are assured to be of work distinguished them as two of service to our community. On receiv- the highest quality. the most influential patrons of jazz in ing the award, Halberstadt joked that Ruddy is moving Studio X to Capitol the Pacific Northwest. In presenting he would have to tell his wife that he Hill, as the historic building on 4th the award, Earshot Jazz Director John hadn’t won in the categories he was Ave. is set for demolition. We will al- Gilbreath outlined their most distinc- nominated for, but instead received an ways have the treasure trove of historic “awesomeness award.” He’s not far off. recordings to remember it by.

Wally Shoup Acceptance Speech for Induction into Seattle Jazz Hall of Fame At the heart of improvised music is the desire to link up (or sync up) with the ever-regenerative Spirit of life itself. As sounds collide through moment- to-moment inter-action and free association, form begins to emerge. In the hands of skilled improvisers, these forms cohere into whole phrases, which cohere into pieces, creating beauty whole-cloth out of ‘nothing’. This to me, mirrors the deeper energies that sustain life itself—creativity constantly re- creating itself. Championing this Spirit, acknowledging it, and rewarding it, benefits each and every one of us. May the Spirit of improvisation keep re-vitalizing itself, and us, with each successive generation. Thank you for recognizing my contribution to this on-going, ever-changing creative music. –Wally Shoup

April 2019 • Earshot Jazz • 9 PREVIEW >> Sullivan Fortner Trio

Wednesday, April 10, 7pm & to show how expansive his skill set re- 9:30pm ally is” (All About Jazz). Aria offers up Royal Room classical European music and melo- 5000 Rainier Ave S dies from the great American Song- book alongside Afro-Cuban and Cre- Pianist and composer Sullivan Fort- ole music from his hometown of New ner is a rising star taking the jazz world Orleans. Fortner showcases his adept by the sweetest of storms. He presents ability as a leader to elicit inspirational his trio with Ameen Saleem (bass) playing from his band. “The rhythmic and Jeremey Clemons (drums) for the brio and harmonic insight in the band Earshot Jazz Now concert series on can be heard all over the album” (Nate April 10. Chinen, New York Times). Hailing from musically rich New Fortner’s Seattle performance draws Orleans, Fortner began playing piano from his latest release, Moments Pre- by ear at just seven years old. By 13, served (Impulse Records, 2018) , fea- Fortner was already an award-winning turing Ameen Saleem (bass) and Jere- musician and enrolled at the New Sullivan fortner photo courtesy of the artist mey Clemons (drums). Fortner shows Orleans Center for Creative Arts (al- not just technical prowess but a tender ums include the Marsalis brothers and Of course, Fortner hasn’t been a solo sensitivity to jazz and music across nu- Terence Blanchard). A gifted student, success—he’s learned from and given merous genres. He self-characterizes Fortner graduated both from NOCCA back to some of the best in the busi- his music as work that “embodies the and his high school as valedictorian of ness. He’s apprenticed in the bands essence of the blues and jazz,” that his class, at the same time. of Stefon Harris, Roy Hargrove, and “connects music of all eras and genres Continuing his education, Fortner Christian Scott aTunde Adjuah, and through improvisation.” received a Bachelor of Music degree with pianists Fred Hersch and Jason On Moments Preserved, “Fortner and in Jazz Studies from Oberlin Conser- Moran, as well as working with the his trio cover Earth, Wind & Fire, vatory and a Master of Music in Jazz Marsalis family, Diana Reeves, Paul Duke Ellington, and even songs from Performance from Manhattan School Simon, Gary Bartz, and many other Wheel of Fortune and Mister Rogers’ of Music. Fortner’s s virtuosic prom- notable musicians. Fortner has ap- Neighborhood. The underlying theme ise as a young man has been realized peared on albums with trumpeters is an emotional honesty that connects as a poised and brilliant performer, Roy Hargrove and Etienne Charles. Fortner to moments from his own life now in his early thirties, hailed by the He is celebrated for his recent work experience” (Nate Chinen,WBGO). New York Times as “a wondrous player, with groundbreaking vocalist Cécile Fortner is a savvy artist who exudes light of touch and vested with fleet, McLorin Salvant. Salvant’s album, The talented playfulness and a zest for re- dazzling power.” A multiple award- Window, a duo with Fortner, just re- combining influences into something winner, Fortner has received the Le- ceived a Grammy-Award. poignant and refreshing. nore Annenberg Arts Fellowship, the As a bandleader, Fortner has released –Editor 2015 Cole Porter Fellowship from the two albums. His debut, Aria (Impulse American Pianists Association, and Records, 2015), showcases standards Advance tickets are $20 adults, $18 the 2016 Lincoln Center Award. He’s and original compositions with much- Earshot members and senior citizens, performed across the world and in re- lauded aplomb. Dan Bilawsky writes $10 students and military, and are avail- nowned festivals including the Mon- that “each of those numbers points to able at earshot.org. Day of show tickets terey Jazz Festival and Newport Jazz different facets of Fortner’s artistry, are $25 adults, $23 Earshot members Festival. and when taken together, they help and seniors, $10 students and military.

10 • Earshot Jazz • April 2019 PREVIEW >> Miles Okazaki: Trickster

Saturday April 13, 7:30pm & album —or any kind of album—its improvisers.” Okazaki wrote compo- 10pm cohesion as “a true concept album” sitions whose qualities would evoke Royal Room (Wall Street Journal) carried the day. recurring trickster themes such as 5000 Rainier Ave S Okazaki had been inspired by read- mischief, disguise, paradox, chaos, ing Trickster Makes This World, Lewis and illusion but also the restoration of It figures that guitarist Miles Okaza- Hyde’s celebrated 1998 study of the balance. ki would one day embrace the age-old unpredictable scoundrel tricksters So, for example, in the Raven-related storytelling device of the “trickster.” who, as reviewer Michael Dirda put “Box in a Box,” he conjured up the He grew up in Port Townsend, near it in The Washington Post, emerge and unboxing of boxes within boxes with where indigenous people of the Salish reemerge in diverse cultures as “gods symmetrical melodies, rotating tet- Sea revered Raven, who in the guise of of mischief, who are also the gods of rachords, a shifting bassline, and an a child stole the light of the world from artistic and cultural renewal.” illusory drum figure, all tucked into within a nest of boxes. That legend in- Many cultures have produced my- a deceptively conventional-sounding spired several compositions that Oka- thology relating to tricksters like Ra- musical framework. zaki recorded with his Trickster quar- ven. In ancient Greece, Hermes re- In disguising intricate compositional tet on its 2017 self-titled debut. Here vealed the knack of making fire. In machinery within relaxed, earthily in Seattle, he will be with two of the West Africa, Eshu connived that a rhythmic tunes, Okazaki follows his band’s original members, and his col- drunkard would create the world. In core musical impulse; he says: “Work- leagues from Steve Coleman’s power- some Native America lore, Coyote ing within constraints focuses creativ- ful outfit—bassist Anthony Tidd and more helpfully revealed how to shoot ity, sharpens technique, and ultimately drummer Sean Rickman, along with arrows and catch salmon. The trick- leads to greater freedom than having piano star Matt Mitchell. sters and ancient archetypes of help- no boundaries.” Trickster Upon its release, (then with ful waywardness, in Okazaki’s un- The approach worked on Trickster. Los pianist Craig Taborn) made the derstanding, use “mischief and magic The New York Times called it “an ex- Angeles Times’s best-of-2017 list, and to disrupt the state of things, break- pression of deep, systemic intrigue.” DownBeat JazzTimes and both sang ing taboos and conventions, opening its praises, too. Unusually for a jazz doorways.” They are “storytellers and Continued ON PAGE 17

VICTOR JANUSZ BAND Café Pluvieux CD Release Concert

Friday, April 19, 7pm The Swedish Club, Seattle No Cover / Donations Accepted

“VJ knows how to sell a song and the obvious joy that he has in performing is appealing.” --Scott Yanow, LA Jazz Scene

April 2019 • Earshot Jazz • 11 PREVIEW >> Makaya McCraven

Friday, April 19, 7 & 9:30pm creating music content for TV and Royal Room film and touring with pop acts The Weeknd and Halsey. Spero’s newest Chicago-based jazz drummer, pro- acclaimed project is his jazz band ducer, and “beat-scientist” Makaya Spirit Fingers, a dynamic ensemble McCraven recycles sounds from his of uber-talented young musicians. own live improvisations to make Guitarist and composer Matt Gold fresh hip-hop infused recordings. is fresh in his career, already with McCraven’s rhythms—influenced appearances on NBC, FOX, and by free-jazz, African dance bands, NPR under his belt. Gold is one- Hungarian folk music, indie rock, half of duo Sun Speak, with drum- and a deep history of “straight mer Nate Friedman. Together, the ahead” jazz—are flipped, layered, two musicians craft an innovative and spliced together into some- writing style that explores compos- thing wholly inventive and radi- ing music wholly from previous ses- cally communal. On Friday April sion improvisations, not dissimilar 19th, McCraven returns to the from McCraven’s methods. Royal Room for two shows with an The musical literacy of bassist incredible Chicago quartet: Greg Junius Paul is unavoidable. The Spero (piano); Matt Gold (guitar); internationally established instru- and longtime collaborator Junius makaya mccraven photo by david marques mentalist has shared the stage with Paul (bass). artists including Wynton Marsa- This tour celebrates McCraven’s Born in Paris, young McCraven was lis, Curtis Fuller, Donald Byrd, Fred hyped October 2018 release, Universal exposed to the world of jazz through Anderson, Roscoe Mitchell, Kahil Beings. For the finished album, Mc- the mentorship of legendary saxo- El’Zabar, Chico DeBarge, KRS-One, Craven gathered years of recorded ses- phonists Archie Shepp and Yusef La- Dee Alexander, Roy Hargrove, and sions from New York, Chicago, Los teef, both friends of his drummer fa- Corey Wilkes. Angeles, and London, electronically ther. His skills as a musician flourished Defying easy categorization, Mc- condensing, looping, and reworking as he worked under other jazz greats, Craven—and those who’ll back him them into full tracks. Universal Beings sharing the stage with Charles Neville on the Seattle stage—are artists fluent features young jazz luminaries like and Lionel Loueke. McCraven’s debut Split Decisions in a number of categories and curi- horn player Shabaka Hutchings, jazz album (2012), garnered In The Moment ous about all of the rest. In a new era harpist Brandee Younger, cellist Tome- solid praise, but it was of genre-bending music, McCraven ka Reid, and underground jazz guitar (2015) that introduced the world to his seems to invent categories of his own, staple Jeff Parker. McCraven’s process unique brand of “organic beat music.” which has led to the New York Times has been compared to Teo Macero’s A master of collaboration, McCraven dubbing him “one of the best argu- post-production edits of Miles Davis has selected a touring group aptly suit- ments for jazz’s vitality.” sessions during Miles’ electric period ed for the new music ritual he reigns on albums like On the Corner. It rein. McCraven’s pianist Greg Spero is –Halynn Blanchard mains, though, entirely modern and known in the jazz world for his work Advance tickets are $20 adults, $18 future-reaching. “Universal Beings is a touring with the Miles Davis Electric Earshot members and senior citizens, brilliant… and, yet easy to listen to… Band, a multigenerational all-star col- $10 students and military, and are avail- seductive album,” says Jim DeRogatis. lective led by Davis band alumnus able at earshot.org. Day of show tickets (Sound Opinions, Chicago) Vincent Wilburn Jr. (Davis’ nephew). are $25 adults, $23 Earshot members Spero has been equally successful in and seniors, $10 students and military.

12 • Earshot Jazz • April 2019 >> PREVIEW The Bass Church The Bass Church The Bass Church The Northwest double bass specialists The Northwest double bass specialists The Northwest double bass specialists

8th Annual North Bend Jazz Walk www.basschurch.com www.basschurch.com www.basschurch.com

founder of the North Bend Jazz Walk, Sales, Rentals, Sales, Rentals, Sales, Rentals, and Tracy Knoop; Steve Treseler and Repairs, Restorations, Repairs, Restorations, Repairs, Restorations, Student Allstars; Elevation Gain; Milo Lessons Lessons Lessons

Petersen with Steve Griggs and Drew Convenient North Seattle Location Convenient North Seattle Location Convenient North Seattle Location

Baddeley; the Thomas Marriott Quin-

tet; the Diana Page Duo; Jennifer (206)784-6626 (206)784-6626 (206)784-6626 Kienzle and Cole Schuster; the Bernie 9716 Phinney Ave. N. 9716 Phinney Ave. N. 9716 Phinney Ave. N. Seattle, WA. 98103 Seattle, WA. 98103 Seattle, WA. 98103 Jacobs Quartet, CWU Green Combo; ~by appointment only~ ~by appointment only~ ~by appointment only~ the Paul Green Quintet; Johnaye Ken- drick Trio; and the Boxley ProAm Big

Band, a 16-piece big band perform and workshop arrangements from Count Basie, Duke Ellington, Thad The Bass Church The Bass Church The Bass Church The Northwest double bass specialists The Northwest double bass specialists The Northwest double bass specialists Jones as well as some originals from within the band. Jazz from the next www.basschurch.com www.basschurch.com www.basschurch.com generation will be performed by Bel- levue High School Jazz Band, Mercer johnaye kendrick photo by daniel sheehan Island High School Jazz Band, Mount Sales, Rentals, Sales, Rentals, Sales, Rentals, Saturday, April 20, 5–10pm Si High School Jazz Band and New- Repairs, Restorations, Repairs, Restorations, Repairs, Restorations, Various venues, North Bend, WA port High School Jazz Band. JazzClubsNW, the sponsor of the Lessons Lessons Lessons Convenient North Seattle Location Convenient North Seattle Location Convenient North Seattle Location As the icy grip of winter gives way North Bend Jazz Walk, is a member to gentler spring days, music fans of driven non-profit organization that (206)784-6626 (206)784-6626 (206)784-6626 all ages are invited to the 8th Annual fosters a cross-generational creative ef- 9716 Phinney Ave. N. 9716 Phinney Ave. N. 9716 Phinney Ave. N. North Bend Jazz Walk, a highly an- Seattle, WA. 98103 Seattle, WA. 98103 Seattle, WA. 98103 fort, from passionate young talent to ~by appointment only~ ~by appointment only~ ~by appointment only~ ticipated annual jazz extravaganza set seasoned artists who have toured in in the scenic foothills of the Cascade the region, nationally and across the Mountains. The festival showcases globe. Its goals are to support musi- a broad representation of acclaimed cians, live music venues, and nurture Pacific Northwest jazz artists, as well young talent. The Bass Church The Bass Church The Bass Church as award-winning high school bands. One ticket allows access to all venues The Northwest double bass specialists The Northwest double bass specialists The Northwest double bass specialists

Concerts take place in 14 different throughout the evening, located with- www.basschurch.com www.basschurch.com www.basschurch.com venues, nestled in the heart of this his- in easy walking distance. All ticket toric town. proceeds benefit local jazz education, The 2019 North Bend Jazz Walk pro- live performance, and scholarships. gram again features many stalwarts of –Marianne Gonterman Sales, Rentals, Sales, Rentals, Sales, Rentals, the local jazz scene as well as up-and- Repairs, Restorations, Repairs, Restorations, Repairs, Restorations, coming jazz talent. This year’s lineup Tickets are $25 adult advance purchase/$30 day of show; $15 youth ad- Lessons Lessons Lessons includes the Kelly Johnson Trio; Dan Convenient North Seattle Location Convenient North Seattle Location Convenient North Seattle Location

vance purchase/$20 at the door. Pick up Marcus and Trombonasaurus Rex; the Dmitri Matheny Quartet with Ma- your tickets at Umpqua Bank Commu- (206)784-6626 (206)784-6626 (206)784-6626 nity Room (146 W 2nd St, North Bend). 9716 Phinney Ave. N. 9716 Phinney Ave. N. 9716 Phinney Ave. N. theny on flugelhorn, the Jay Thomas Seattle, WA. 98103 Seattle, WA. 98103 Seattle, WA. 98103 Intergalactic Four Tenor Sax Band; Visit jazzclubsnw.org for tickets, venues ~by appointment only~ ~by appointment only~ ~by appointment only~ the Danny Kolke Trio, led by the and other details.

April 2019 • Earshot Jazz • 13 PREVIEW >> María Grand: Persephone/HerStory

Tuesday, April 23, 8pm Grand takes a turn inward, moving Chapel Performanc Space from ensemble formats to a more ex- 4649 Sunnyside Ave N perimental and intimate solo performance. While still drawing from myth María Grand, one of the most excit- and ritual—this time with the story of ing young voices to emerge from New the Greek goddess Persephone—the York in recent years, makes her first nature of her solo performance sug- appearance in Seattle this month with gests that it is also more overtly auto- her solo performance Persephone/Her- biographical than its predecessors. Story. Devised with Grand’s creative part- Of Swiss and Argentine descent, ner, writer and visual artist Satya Ce- Grand, 26, is a tenor saxophonist, leste, Persephone/HerStory is a creative composer, and singer. She has per- retelling of the myth of Persephone, as formed with a wide array of musical performed by Grand. luminaries, including Nicole Mitch- The story of Persephone’s betrayal, ell, Vijay Iyer, Craig Taborn, Mary rape, and castigation is well known, Halvorson, Chris Potter, Jen Shyu, but Grand’s performance offers a new, Aaron Parks, Fay Victor, Rajna Swam- María grand photo by john rogers more universal telling that raises the inathan and Joel Ross. Her sound is question of why descriptions of Perse- deeply embedded within the jazz tra- ing and healing the inflictions of our phone’s experience always depict her as dition, with a fullness and subtlety patriarchal society, the most needed passive. Indeed, our portrayal of Perse- that radiates emotion, empathy, and and least taken step is simply to listen. phone is ever-couched between the strength that carries us into new sonic Jazz and creative music affords us a stories of the male gods Zeus, Hades, territories. Her music is of the rare beautiful medium to do just that, and and Poseidon. Grand, instead of re- type that invites listeners to challenge here we have a unique opportunity to casting the morals of the myth learned their deepest held assumptions, inter- address conflict and healing head on through their infidelity, violence, and rogate where they are complicit within by putting HerStory front and center. attempts to mend past treacheries, fo- ongoing abuses of power, and ulti- Make no mistake: as much as cuses on what we might learn by listen- mately move towards personal heal- Grand’s work operates in the subcon- ing to HerStory. Through her embodi- ing through the shared experience of scious realms of human experience, it ment of the goddess, Grand provides a music. also sends deep ripples to the struc- space to acknowledge the Persephone’s The trajectory of Grand’s projects tures of jazz’s very culture and power living in the here-and-now, in our per- is expansive in the scope of her con- structure. This month marks the one- sonal lives and communities. ceptual undertakings, as well as ever year anniversary of the founding of the Grand’s Persephone provides answers deepening into the depths of her per- We Have Voice collective, an intersec- at a time when all people, regardless sonal voice and sound. With her first tional and intergenerational collec- of gender and sexual orientation, are two albums, TetraWind and Magda- tive co-founded by Grand along with coming to terms with the way the so- lena, Grand pursues an expression of 13 other female and non-binary jazz cietal construction of gender roles and personal and relational balance—both and experimental musicians. A direct power dynamics have caused pain and in music and in life—by symbolically response to the #MeToo movement suffering on the most intimate, sub- harnessing natural elements, ancient in jazz, their expressed mission, pre- conscious, structural and interperson- Egyptian and Christian mythology, sented in an open letter and Code of al levels. Men, in particular would do and the healing qualities of feminine Conduct, is to promote “safe(r) work- themselves justice to attend this per- psyche/the sacred feminine in ensem- formance, because so often in address- ble formats. With Persephone/HerStory Continued ON PAGE 17

14 • Earshot Jazz • April 2019 PREVIEW >> Jack DeJohnette, Joe Lovano, Esperanza Spalding, Leo Genovese: The Spring Quartet Friday April 26, 8pm Moore Theatre 1932 2nd Ave It’s a large stage that can contain this much multi-generational talent: saxophonist Joe Lovano and drummer Jack DeJohnette, plus two younger virtuo- sos, bassist Esperanza Spalding and Argentinian pianist Leo Genovese. Since 2014 they have been the Spring Quartet. In bubbling torrents of un- bounded collaboration, never about jack dejohnette, joe lovano, esperanza spalding, leo genovese photo courtesy of the artist ego, always about creation in the mo- that jazz writers resort to when words 2012 CD Radio Music Society to Bill- ment, the quartet has been as clear an have failed them in the face of ac- board’s Top 10 album chart. example as there is in jazz of what the complishment and inspiration as vast Argentinean pianist Leo Genovese, a Boston Globe characterized as a “super- as Lovano’s. He has released around now-longtime Spalding collaborator, group that adds up to more than the 30 albums as a leader—two dozen is the perfect foil for the Spring Quar- sum of its chops.”And what chops! for Blue Note—attracting a reputa- tet. A true pianist’s pianist, he achieves Jack DeJohnette has for 50 years tion both as a “tenor titan” of mighty effects and takes extraordinary paths been one of the most vaunted of all power, but also as what Will Layman at his multi-keyboard array that mess jazz drummers, a mighty machine in PopMatters described as one of with your mind in all the best ways of percussion whether at full force or the “most introspective saxophonists, of jazz. You could say, to use another a whisper. A recipient of the highest armed with a tone that can also be a jazz-journalism cliché, that Geno- honor the nation bestows on jazz per- whisper or a confession.” vese is “on the rise,” but his riveting formers, the NEA Jazz Masters Award, In bassist Esperanza Spalding and pi- contributions are never about reputa- he has been there for some of the key anist Leo Genovese, the veterans De- tion, always about creation in the mo- moments in jazz and jazz fusion. His Johnette and Lovano have found two ment—he is ever intent upon contrib- key collaborations have included early leaders of a new generation. Spald- uting from deep in the jazz, and in the ones with Miles Davis and Charles ing’s history with Lovano includes her process he soars aloft. Lloyd before his own Special Edition membership of his two-drummer Us That’s in keeping with the guiding emerged as a highly distinctive acous- Five group, which took DownBeat’s principle of Spring Quartet, as DeJoh- tic-meets-electric band. 2010 critics award for best jazz group. nette states it: “being open, prepared Of course, DeJohnette’s most high- Also a vocalist, the singing, ecstatic for the unexpected, and willing to fol- profile role in recent decades has been quality of Spalding’s playing is rein- low that where it takes us,” and the as the drummer, for more than 35 forced by her visible elation as she per- four mighty instrumentalists achieve years, in pianist Keith Jarrett’s lumi- forms. Deft and incisive as well as strik- that in dazzling sets of crystalline nescent Standards Trio. ingly responsive to bandmates, and communication. Saxophonist Joe Lovano has made naturally intuitive, she has emerged as –Peter Monaghan a similar mark—so much so that the one of the most accomplished of mod- Tickets range from $42.50-62.50 (plus New York Times has hailed him as ern bassists. That status was confirmed fees). Tickets and information available “one of the greatest musicians in jazz by her 2011 Grammy Award for best at stgpresents.org. history.” That’s the kind of accolade new artist, and the rapid ascent of her

April 2019 • Earshot Jazz • 15 PREVIEW >> West Coast Premiere of Nina Simone: Four Women

April 26-June 2 Arts in an interview. “Part of it is Seattle Repertory Theatre looking to really bring stories to 155 Mercer St life in the African-American community that we don’t normally Starting in late April and running get to see and we also don’t know through June, Seattle Repertory about.” Theatre will feature the west coast Simone’s music and Ham’s dia- premiere of Nina Simone: Four logue offer an access point into Women by playwright Christina deeper conversations within the Ham. The full-length drama with Civil Rights Movement, confront- music honors examines American ing issues of status, class and sex- singer-songwriter Nina Simone at ism from conflict to reconciliation. the intersection of her music and Audiences will gain insight into activism after the 1963 16th Street Simone’s work, activism, and ul- Baptist Church bombing in Ala- timate legacy, as well as narratives bama that left four Black girls dead. historically flattened. The church’s rubble is the setting The Washington Post described for Ham’s play, directed by Univer- the play not as “comfort food,” but sity of Washington professor and “a show with bloody knuckles.” award-winning director, Valerie Nina Simone photo courtesy of the dutch national archives Ham intended to stoke those diffi- Curtis-Newton. cult moments, to bring uncomfort- Billed by Ham as “neither a juke- the numerous—and often silenced— able conversations to the fore, reflect- box musical or standard biopic,” Four voices of African-American women ing a candor as natural to Simone as Women pulls from a mix of gospel, during a time of tremendous upheaval her iconic tenor. hymnals, and Simone’s protest songs in conversations still relevant today. “This is putting it out there, and to punctuate a discussion on women Ham, who grew up surrounded by sometimes it makes people uncom- in the Civil Rights Movement in the piles of Simone’s records and whose th fortable, but Nina didn’t make people aftermath and agony of extreme racial mother attended the 16 Street Bap- comfortable, so I can’t write a play violence. tist Church, said the classically-trained about her and not talk about [uncom- Four Women refers to Simone’s 1966 pianist-turned-activist was misunder- fortable issues],” Ham said in the in- song in which she characterizes four stood in her time, often because of terview. archetypes of African-American wom- themes she refused to shy away from. Four Women catapulted Ham into en who serve as the play’s minimal Both “Four Women” and “Mississippi the list of the 20-top produced play- cast: Sarah (Shaunyce Omar), an old- Goddam,” two of Simone’s pivotal wrights in the 2018-2019 season and er, conservative manual laborer; bira- protest songs, did not receive airplay for good reason: it gives voice and song cial activist Sephronia (Britney Simp- on Black or White radio stations. to a necessary and timely conversation. son); prostitute Sweet Thing (Porscha “The thing that resonated with me Simone’s combined legacy of protest Shaw); and Nina Simone (Shontina about Nina Simone was specifically and song is still as potent today as it Vernon) standing in as Peaches, the how she was creating during a time was then. angry radical. where Black women were being side- The characters present a constellation lined during the Civil Rights Move- –Whitney Bashaw of perspectives in conflict based on ment, even though we were such an For tickets and information visit their history and status, illuminating integral part of that movement,” Ham seattlerep.org. told the National Endowment for the

16 • Earshot Jazz • April 2019 Okazaki, from page 11 creative portion of it is allowing it to open up.” Okazaki has since taken on other Playing in Seattle is something of a Vermillion slippery musical challenges, most no- homecoming for Okazaki, who be- FIRST THURSDAYS tably a 2018 recording, Work: The April 4th, 2019 | 8-11PM came hooked on jazz by attending Port April 4th, 2019 | 8-11PM

Complete Compositions of Thelonious Townsend’s Centrum jazz festival. At Monk for guitar. On solo guitar he Harvard University and then Man- KIN O F THE M O O N performed his transcriptions of the 70 KIN O F TH E M O O N hattan School of Music, he gigged all

known Monk piano compositions. He the while. In 2005 he placed second used simply a guitar and an amp—no in the Thelonious Monk International Ch ristian Pin cock’s effects, no overdubs, no fixes, no rehar- Jazz Competition, and his career blos- SCRAM BL E R

SCRAM BL E R monizing. Nate Chinen for WBGO somed in the company of mainstream

called the monumental work “an act of artists like vocalist Jane Monheit and Seth Alexan der Tro u p

immersive scholarship and exhaustive pianist Kenny Barron as well as experi-

Seth Alexan der Tro u p

scope” and “a singular achievement.” mentalists like Steve Coleman, Mary

TH With Trickster, Okazaki deploys far Halvorson, and John Zorn. 1508 11 Ave – Seattle TH different resources. Tidd and Rickman His albums as a leader—Mirror 1508 11 Ave – Seattle share his delight in the kind of funk, (2006), Generations (2009), and Fig- R&B, and hip hop-fueled pulse that urations, a New York Times top-10 Open to All - Free they and Okazaki injected into Steve jazz album of 2012—have been Coleman’s Five Elements during hun- “slowly evolving puzzles of brilliant dreds of performances. Pianist Matt jazz logic,” as the Times’s Ben Ratliff th Season Mitchell, much celebrated for his own wrote of the last. Okazaki has emerged 15 projects as well as his contributions to as a thoughtful guitar theorist (as evi- Tim Berne’s Snakeoil and the Dave denced by his 2015 book Fundamen- Douglas Quintet, has become “an in- tals of Guitar) as well as, to quote Steve dispensable fixture of the contempo- Coleman, “a very intense cat.” rary vanguard” (New York Times). –Peter Monaghan With musicians like that in his quartet, Okazaki says, “it’s a waste of their $20 adults, $18 Earshot members & abilities for me to be trying to have seniors, $10 students & military (ad- too much control and be trying to tell vance); $25 adults, $23 Earshot mem- Sunday, April 7, 6 pm them what to do. The fun of it and the bers & seniors, $10 students & military (day of show). Tickets at earshot.org. Dmitri Matheny Quartet Grand, from page 14 the cultural mind-set so that people Dmitri Matheny, flugelhorn know what to do when they suspect or Milo Petersen, guitar places within the performing arts,” see abuse.” Phil Sparks, bass with an emphasis on expelling sexual Grand’s work all circles back to the Mark Ivester, drums harassment and discrimination from a healing power of sound, of telling culture that includes bandleaders and our respective individual stories with SAVE THE DATE bandmembers, curators, journalists, May 5: Bill Anschell Trio all of the joy, pain, and vulnerability educators, promoters, managers, and attached, and working to build a bet- various music institutions and orga- ter world from that intimacy. Join 100 Minutes of professional jazz nizations. In a New York Times article her along with the rest of the Earshot Family friendly concert / Free parking Grand said, “The idea is to propose so- community on April 23. lutions, and also open the conversation Seattle First Baptist Church to go further...How do we change this –Carlos Snaider 1111 Harvard Avenue culture? And not just in the dynamic This performance is supported by (Seneca and Harvard on First Hill) of victims denouncing perpetrators, The Selvage Fund. Tickets sliding scale Seattle, WA (206) 325-6051 because that puts the victims at a lot of $15/$10/$5. Advance tickets available www.SeattleJazzVespers.org/GO/SJV risk. What we’re trying to do is change at earshot.org.

April 2019 • Earshot Jazz • 17 FOR THE RECORD

Gregg Belisle-Chi sophomore effort, I Sang to You and edges, cede control, and dirty up the Book of Hours the Moon shared elements of austere proceedings with experimental rock refinement, control and icy focus, but textures. ears&eyes Records Book of Hours brings the heat too, and Backed by a sensitive but driving trio When he lived in Seattle, guitarist/ is a more wide-ranging and grittier of Dov Manski on keyboards, Matt composer Gregg Belisle-Chi affair. Positively bursting with ideas, Aronoff on electric bass, and Michael was an intriguingly iconoclastic W. Davis on drums, the album presence on the creative music covers a lot of ground, deploying scene, contributing his nimbly suite-like compositional struc- distinctive guitar playing and tures that touch on everything deeply challenging writing to a from delicate, lyrical fingerstyle broad range of music. Since his guitar with swells of rubato noise move to New York, Belisle-Chi and electro-ambient sound- has been attracting attention scapes (“Kyrie”), to slippery, and praise from fellow guitar twisting fusion and dreamy iconoclasts (and former influ- rock ostinatos (“Gloria”), not to ences) such as Ben Monder and mention odd time syncopations, Steve Cardenas. The move East atonality, electronic timbral de- has also inspired a creative ex- construction, and even a touch pansion for Belisle-Chi, well- of twang. documented on his superb new Book of Hours is a decisive and album, Book of Hours. impressive statement of purpose Belisle-Chi has an intuitive and direction from a musician and open-minded aesthetic, and to watch. Highly recommended. though Monder and others in –Andrew Luthringer packed from start to finish with sharp the modern guitar realm may serve Gregg Belisle-Chi celebrates the release compositional contrasts and dynamic as influences and guideposts, Belisle- of Book of Hours at the Royal Room on improvisational fluency, Book of Hours Chi clearly is not chasing trends or April 12 at 8:30pm. hipster jazz tropes. His excellent de- is the sound of an artist who isn’t but, Tenebrae and equally impressive afraid to get a little messy around the

18 • Earshot Jazz • April 2019 FOR THE RECORD

Naomi Moon Siegel of Time,” and along with with Eagle’s Live at Earshot “Way Out West” stick-work, reflects Siegel’s poppy but mature eclecticism. Slow & Steady Records Woolstenhulme gives accent to the Former Seattleite, Missoula-based trio’s post-bop cool with his angular trombonist extraordinaire, Naomi and chorus-laden rock style, matching Moon Siegel, returns with her first complex barbs of ebbing dissonance album since her 2016 debut, Shoebox with Horvitz on the elegiac pledge View. Recorded live at PONCHO “Fortifying Love,” and playing off Ea- Concert Hall at Cornish College as gle’s delicate brushwork on the ambi- part of Earshot Jazz’ annual festival, tious landscape “Punta Uva.” Live at Earshot brilliantly captures Diop, a Senegalese percussionist Siegel’s signature tone and poignantly based in Seattle, brings his mastery of prudent compositions. Featuring a ros- West African percussion to two tracks, ter of Seattle greats—Wayne Horvitz “Jeannine’s Joy,” and “Jaam Rek,” and and “Mancha Sanchaba,” give an out- (piano), Geoff Harper (bass), Eric Ea- injects the group’s drifting clouds of of-doors quality, elegant in their spare gle (drums), and Sean Woolstenhulme sound with novel percussive timbres. textures and looking-glass harmonies. (guitar), plus special guest Thione On “Jaam Rek,” co-written with Diop, Siegel shines on the album’s closer, Diop (percussion)—Live at Earshot is the drummer’s warping melodies lend “Fortifying Love,” which contains an electrically atmospheric effort that an unpredictable excitement to the some of the wildest playing on the brims with adventure and insightful otherwise laid-back groove. record. She plays into an electronic musical instinct. The virtues of Siegel’s compositions fuzz-effect, building her phrases into Those who have heard Siegel’s indie- emerge exceptionally well in the al- a crescendo of passionate exhortations inflected debut will note familiar com- bum’s live setting. The picturesque which suggests a feeling of pride in the positions, such as the bluesy “Ukela- “Foghorn” recalls Charles Mingus’ “A loud applause that follows. dy,” as well as a familiar rhythm sec- Foggy Day,” with an anxious spider- –Ian Gwin ing of melodies, courtesy of Harper tion—save for the addition of Harper. Naomi Moon Siegel performs at the The trio’s craft in swing makes an el- and Horvitz, breaking down into atonal flurries and a tattle-tale waltz. Seattle Art Museum on April 11 as part egant switch between odd meter and of the Art of Jazz series. triplet fours on the opener “Fullness Compositions like “Electric Flower,”

April 2019 • Earshot Jazz • 19 Jazz Around The Sound April 04 Monday, April 1 Thursday, April 4 ES Daniel Davison, 6pm JA Peabo Bryson, 7:30pm BC Live Jazz with Adam Kessler, Phil Sparks, CC Cider Jam Mondays, 9:30pm JA Peabo Bryson, 9:30pm and guests, 9pm ES Eric Verlinde, 6pm MQ Happy Orchestra Quartet, 8:30pm BP The Darelle Holden Quartet, 8pm MT Triangle Pub Jazz Night, 9pm NC New Rhythmatics, 8pm EB Eric Verlinde, 6pm NL Mo’ Jam Mondays, 8:30pm OS Jonas Myers, 8pm RR The Salute Sessions, 9:30pm ES Daniel Davison, 6pm JA Peabo Bryson, 7:30pm RR Ranger and the “Re-Arrangers” with Accordionist Toby Hanson, 6pm Tuesday, April 2 KR JAM at The Knife Room 7:30pm MQ Jazzukha, 5pm TU Bill Anschell Quartet with Brian Monroney, BP The Billy Stapelton-Annie Eastwood Duo, NC Tim Lerch & Jamie Findlay, 7pm Chris Symer, Brad Boal, 7:30pm 8pm OS Jonas Myers, 7pm VI Don’t Move, 9:30pm EB Eric Verlinde, 6pm RR An Evening with Jazz Underground, 8pm VI The Tarantellas, 6pm ES Daniel Davison, 6pm TU Clipper Anderson Quartet, 7:30pm JA Delfeayo Marsalis & The Uptown Jazz VI Casey MacGill, 5:30pm Sunday, April 7 Orchestra, 7:30pm VI Marina Christopher Trio, 9pm AB Jazz at the Beaver with Max Holmberg and RR Orrin Evans and Captain Black Big Band, the 200 Trio, 9pm 7:30pm Friday, April 5 CM New Age Flamenco, 12:30pm SB Joe Doria Presents, 10pm CM Soul Fisticated, 7pm CR Racer Sessions, 8pm TU Tim Kennedy Quintet, 7:30pm CZ Jump Ensemble & All About Monk Jazz, CX Joe Brazil Legacy Band, 8pm 7:30pm CZ Choro Music Open Jam, 2pm ES Daniel Davison, 6pm Wednesday, April 3 DT Darrell’s Tavern Jazz Jam, 8pm HS Michel Navedo and Brazil Novo, 7pm EB Eric Verlinde, 6pm JA Peabo Bryson, 7:30pm EB Tom Kellock, 6pm ES Daniel Davison, 6pm JA Peabo Bryson, 9:30pm ES Eric Verlinde joined by Josephine Howell, JA Delfeayo Marsalis & The Uptown Jazz LA Happy Hour Jazz w/ Phil Sparks, 5pm 6pm Orchestra, 7:30pm MQ How Now Brown Cow, 8:30pm FB Seattle Jazz Vespers: Dmitri Matheny MQ Kate Voss Duo, 5pm NC Cherrie Adams with the Forman-Finley Band, Quartet, 6pm NC Jazz Jam w/Darin Clendenin Trio, 7pm 8pm HS Emma Caroline Baker, 10:30am RR Orrin Evans and Captain Black Big Band, RR Cuban Music with Kiki Valera & Cubaché, JA Peabo Bryson, 7:30pm 7:30pm 8pm MO Monterey Jazz Festival On Tour, 7:30pm SB Danny Godinez & Friends, 10pm Tom Kellock, 6pm TU Brian Monroney Quartet with Alexey SB Johnny and The Moles, 8pm TU Alex Dugdale Fade Quintet, 7:30pm Nikolaev, Dean Schmidt, Ben Smith, SC Cory Weeds Quartet, 7pm VI Jovino Santos Neto, 9pm 7:30pm TL Emma Caroline Baker, 7pm VI Lennon Aldort, 6pm TU Rick Mandyck Quartet w/ Bill Anschell, Phil Saturday, April 6 VI Ron Weinstein Trio, 9:30pm Sparks & John Bishop, 7:30pm CH James Falzone, 8pm WF Francesco Crosara, with Osama Afifi and Jeff VI Bar Tabac, 9pm EB Frank S. Holman III, 6pm Busch, 4pm

Calendar Key

AB The Angry Beaver EG Egan’s Ballard Jam House NL Nectar Lounge BC Barca FB Seattle First Baptist Church OS Osteria la Spiga BP Bake’s Place Bellevue HS Hotel Sorrento PG Pantages Theater CC Capitol Cider JA Dimitriou’s Jazz Alley RR The Royal Room CF Caffe Musica KR The Knife Room SB Seamonster Lounge CH Chapel Performance Space LA Latona Pub SC WJMAC at Sylvia Center for the Arts CM Crossroads Bellevue MO Moore Theater SE Seattle Art Museum CR Cafe Racer MQ The Triple Door MQ Stage and Lounge TD Triple Door CX Café Ibex MT Mac’s Triangle Pub TL Tin Lizzie Lounge CZ Couth Buzzard Books MV Marine View Church TU Tula’s DT Darrell’s Tavern NB North Bend VI Vito’s EB El Gaucho Bellevue NC North City Bistro & Wine Shop WF Waterfront Park Community Center

20 • Earshot Jazz • April 2019 Monday, April 8 NC Stephanie Porter Quartet, 8pm RR Gregg Belisle-Chi CD Release with Jim CC Cider Jam Mondays, 9:30pm Knapp’s Scrape, 8:30pm Curtain Call EB Tom Kellock, 6pm TU Susan Pascal Quartet with Bill Anschell, weekly recurring performances ES Eric Verlinde, 6pm Chuck Deardorf, Mark Ivester, 7:30pm NL Mo’ Jam Mondays, 8:30pm VI Kate Olson Ensemble, 9pm RR The Salute Sessions, 9:30pm Saturday, April 13 MONDAY Tuesday, April 9 EB Frank S. Holman III, 6pm CC Cider Jam Mondays, 9:30 BP The Billy Stapelton-Annie Eastwood Duo, EG Frank Anderson, Randy Cole & Anthony 8pm Warnke, 9pm EB Tom Kellock, 6 EB Eric Verlinde, 6pm ES Daniel Davison, 6pm ES Daniel Davison, 6pm HS David Francis featuring Les Jeunes Artistes, ES Eric Verlinde, 6 JA Benny Golson, 7:30pm 7pm RR The Salute Sessions, 9:30 RR 50th! Great Records of 1969– Bob Dylan’s JA Tower of Power – 50th Anniversary Tour, Nashville Skyline, 7:30pm 7:30pm TUESDAY SB Joe Doria Presents, 10pm JA Tower of Power – 50th Anniversary Tour, TU Emerald City Jazz Orchestra, 7:30pm 9:30pm EB Eric Verlinde, 6 NC Duende Libre w/Frank Anderson, 8pm Wednesday, April 10 OS Alex Guilbert, 8pm ES Daniel Davison, 6 EB Eric Verlinde, 6pm RR Miles Okazaki: Trickster (early show), SB Joe Doria Presents, 10 EG Vocal Showcase & Jam, 7pm 7:30pm EG Vocal Showcase & Jam, 9pm RR Miles Okazaki: Trickster (late show), 10pm WEDNESDAY ES Daniel Davison, 6pm RR Natalie Cressman & Ian Faquini CD Release RR Sullivan Fortner Trio (early show), 7pm / Adriana Giordano & Marina Albero, 4:30pm EB Eric Verlinde, 6 RR Sullivan Fortner Trio (late show), 9:30pm TU Jacqueline Tabor Jazz Band, 7:30pm SB Commando, 10pm VI Jerry Zimmerman, 6pm ES Daniel Davison, 6 SC Kevin Woods featuring Frank Russo, 7pm VI Kareem Kandi, 9:30pm TL Emma Caroline Baker, 7pm THURSDAY Sunday, April 14 TU Shorecrest HS opens for Jim Sisko’s BC Adam Kessler & Phil Sparks, 9 Bellevue College Jazz Orchestra, 7:30pm AB Jazz at the Beaver with Max Holmberg and VI Paul Gabrielson Trio, 9pm the 200 Trio, 9pm EB Eric Verlinde, 6 CC Rik Wright’s Fundamental Forces, 5:30pm ES Daniel Davison, 6 Thursday, April 11 CR Racer Sessions, 8pm BC Live Jazz with Adam Kessler, Phil Sparks, CX Joe Brazil Legacy Band, 8pm VI Casey MacGill, 5:30 and guests, 9pm CZ Kenny Mandell’s Jazzworks, 6pm BP The Darelle Holden Quartet, 8pm CZ Open Jazz Jam with Kenny Mandell, 2pm FRIDAY CH Big Band at the End of the World, 8pm DT Darrell’s Tavern Jazz Jam, 8pm EB Eric Verlinde, 6pm EB Tom Kellock, 6pm EB Tom Kellock, 6 ES Eric Verlinde joined by Josephine Howell, ES Daniel Davison, 6pm ES Daniel Davison, 6 JA Tower of Power – 50th Anniversary Tour, 6pm 7:30pm HS Emma Caroline Baker, 10:30am LA Happy hour w/ Phil Sparks, 5 KR JAM at The Knife Room, 7:30pm JA Tower of Power – 50th Anniversary Tour, MQ Duende Libre, 5pm 7:30pm SATURDAY OS Jonas Myers, 7pm MV Lance Buller & The Roadstars, 5pm SE Art of Jazz: Naomi Moon Siegel Band, TU Richard Cole Quartet, 7:30pm EB Frank S Holman III, 6 VI Alfred Marra, 6pm 5:30pm ES Daniel Davison, 6 TU Overton Berry and Bruce Phares, 7:30pm VI Ron Weinstein Trio, 9:30pm VI Casey MacGill, 5:30pm SUNDAY VI Jennifer Kienzle, 9pm Monday, April 15 CC Cider Jam Mondays, 9:30pm AB Beaver Sessions, 9 Friday, April 12 EB Tom Kellock, 6pm CR Racer Sessions, 8 CF Instrumental Ladies of Jazz – Jamie ES Eric Verlinde, 6pm Maschler and Ann Reynolds duo, 7pm NL Mo’ Jam Mondays, 8:30pm CX Joe Brazil Legacy Band, 7 CM Ranger and the “Re-Arrangers”, 7pm RR The Salute Sessions, 9:30pm EB Tom Kellock, 6pm DT Darrell’s Tavern Jazz Jam, 8 Tuesday, April 16 ES Daniel Davison, 6pm EB Tom Kellock, 6 JA Tower of Power – 50th Anniversary Tour, BP The Billy Stapelton-Annie Eastwood Duo, 7:30pm 8pm ES Eric Verlinde with Josephine JA Tower of Power – 50th Anniversary Tour, EB Eric Verlinde, 6pm Howell, 6 9:30pm ES Daniel Davison, 6pm LA Happy Hour Jazz w/ Phil Sparks, 5pm VI Ron Weinstein Trio, 9:30 MQ The Kareem Kandi Band, 9pm

April 2019 • Earshot Jazz • 21 JA Helen Sung “Sung With Words” featuring VI Brad Gibson Presents, 9pm Friday, April 19 Johnaye Kendrick, 7:30pm MQ Bernard Purdie, 7:30pm Thursday, April 18 EB Tom Kellock, 6pm NC Jack Cook & Phantoms of Soul, 7pm EG Jazz ‘n Blues ‘n Shiny Shoes., 7pm BC Live Jazz with Adam Kessler, Phil Sparks, RR David Francis featuring Les Jeunes Artistes, EG Jazz ‘n Blues ‘n Shiny Shoes., 9pm and guests, 9pm 7:30pm EG Susan Robinson and Pat Johnston, 7pm BP The Darelle Holden Quartet, 8pm SB Joe Doria Presents, 10pm EG Susan Robinson and Pat Johnston, 9pm EB Eric Verlinde, 6pm TU Jeremy Bacon Quintet, 7:30pm ES Daniel Davison, 6pm ES Daniel Davison, 6pm JA Kenny G, 7:30pm Wednesday, April 17 JA Kenny G, 7:30pm JA Kenny G, 9:30pm JA Kenny G, 9:30pm LA Happy Hour Jazz w/ Phil Sparks, 5pm EB Eric Verlinde, 6pm KR JAM at The Knife Room, 7:30pm NC Rod Cook & Toast, 8pm ES Daniel Davison, 6pm MQ KO Ensemble, 5pm NL Ghost Note with High Pulp, 8pm JA Helen Sung “Sung With Words” featuring NC Hot Mess, 7pm RR Makaya McCraven Early Show, 7pm Johnaye Kendrick, 7:30pm TU Axiom Quartet with Phil Parisot, Alexey RR Makaya McCraven Late Show, 9pm MQ Bernard Purdie, 7:30pm Nikolaev, John Hansen, Michael Glynn, TU Jovino Santos Neto Quinteto, 7:30pm MQ Frank Kohl Trio, 5pm 7:30pm VI Michael Owcharuk Trio, 9pm NC Dan Duval Good Vibes Quartet, 7pm VI Amber Rachelle, 9pm SC Steve Kaldestad Quartet, 7pm VI Casey MacGill, 5:30pm Saturday, April 20 TL Emma Caroline Baker, 7pm TU Duende Libre, 7:30pm EB Frank S. Holman III, 6pm ES Daniel Davison, 6pm JA Kenny G, 7:30pm JA Kenny G, 9:30pm NB North Bend Jazz Walk, 5pm OS Chip Parker, 8pm PG Saxophone Fusion featuring James Carter, 7:30pm TU Greta Matassa Quintet, 7:30pm VI The Tarantellas, 6pm VI Tim Kennedy Trio, 9:30pm Sunday, April 21 AB Jazz at the Beaver with Max Holmberg and the 200 Trio, 9pm CR Racer Sessions, 8pm CX Joe Brazil Legacy Band, 8pm CZ Choro Music Open Jam, 2pm CZ Music Improv Session w/ Kenny Mandell, 7pm DT Darrell’s Tavern Jazz Jam, 8pm EB Tom Kellock, 6pm ES Eric Verlinde joined by Josephine Howell at 7pm, 6pm HS Emma Caroline Baker, 10:30am JA Kenny G, 7:30pm JA Kenny G, 9:30pm RR Ann Reynolds Clave Gringa CD Release, 7pm TU Kelley Johnson Quartet, 7:30pm VI Ron Weinstein Trio, 9:30pm VI Scotty Bemis, 6pm Monday, April 22 CC Cider Jam Mondays, 9:30pm CZ Choro Special Session, 7pm EB Tom Kellock, 6pm ES Eric Verlinde, 6pm NL Mo’ Jam Mondays, 8:30pm RR The Salute Sessions, 9:30pm Tuesday, April 23 BP The Billy Stapelton-Annie Eastwood Duo, 8pm

22 • Earshot Jazz • April 2019 CH Persephone/Her Story María Grand, 8pm Sunday, April 28 EB Tom Kellock, 6pm EB Eric Verlinde, 6pm ES Eric Verlinde, 6pm ES Daniel Davison, 6pm AB Jazz at the Beaver with Max Holmberg and JA Jackson High School Jazz Ensembles, JA Halie Loren, 7:30pm the 200 Trio, 9pm 7:30pm NC Lord Shambleton, 7pm CC Forman-Finley Band, 6pm NL Mo’ Jam Mondays, 8:30pm SB Joe Doria Presents, 10pm CR Racer Sessions, 8pm RR The Salute Sessions, 9:30pm TU David Marriott’s Triskaideka-Band, 7:30pm CX Joe Brazil Legacy Band, 8pm CZ Open Jazz Jam with Kenny Mandell, 2pm Tuesday, April 30 Wednesday, April 24 DT Darrell’s Tavern Jazz Jam, 8pm EB Tom Kellock, 6pm BP The Billy Stapelton-Annie Eastwood Duo, EB Eric Verlinde, 6pm ES Eric Verlinde joined by Josephine Howell, 8pm ES Daniel Davison, 6pm 6pm EB Eric Verlinde, 6pm JA Halie Loren, 7:30pm HS Emma Caroline Baker, 10:30am ES Daniel Davison, 6pm RR Jazz Night School ft. Big Band Blue, 6pm JA The Spinners, 7:30pm JA The Delfonics featuring Greg Hill, 7:30pm SB Cole Schuster Organ Band, 10pm TU Clipper Anderson Quartet, 7:30pm NC Songwriter Showcase, 7pm SC Bill Anschell Trio, 7pm TU Greta Matassa Student Showcase, 3pm RR Daniela Spielmann, Jovino Santos Neto, and TD Birch Pereira and the Gin Joints, Sundae VI Ron Weinstein Trio, 9:30pm special guests, 7:30pm and Mr Goessl, 7:30pm SB Joe Doria Presents, 10pm TL Emma Caroline Baker, 7pm Monday, April 29 TU Critical Mass Big Band, 7:30pm TU Central WA University opens for pH Factor Big Band, 7:30pm CC Cider Jam Mondays, 9:30pm VI Wally Shoup Quartet, 9pm Thursday, April 25 BC Live Jazz with Adam Kessler, Phil Sparks, and guests, 9pm BP The Darelle Holden Quartet, 8pm EB Eric Verlinde, 6pm ES Daniel Davison, 6pm JA The Spinners, 7:30pm KR JAM at The Knife Room, 7:30pm MQ The Djangomatics, 5pm NC Hopscotch, 7pm SB Spider Lounge, 8pm TU Peter Daniel Funk Jazz Quartet with Andy Coe, Joe Doria & Xavier Lecouturier, 7:30pm VI Casey MacGill, 5:30pm VI Marco de Carvalho, 9pm Friday, April 26 EB Tom Kellock, 6pm ES Daniel Davison, 6pm JA The Spinners, 7:30pm JA The Spinners, 9:30pm LA Happy Hour Jazz w/ Phil Sparks, 5pm MO Jack DeJohnette, Joe Lovano, Esperanza Spalding, Leo Genovese: The Spring Quartet, 8pm MQ Jacqueline Tabor, 5pm NC Jacqueline Tabor Jazz, 8pm TU Stephanie Porter Quintet, 7:30pm VI Lushy, 9:30pm Saturday, April 27 EB Frank S. Holman III, 6pm ES Daniel Davison, 6pm JA The Spinners, 7:30pm JA The Spinners, 9:30pm NC Camille Bloom, 8pm OS Joshua Hou, 8pm TU Marc Seales Group, 7:30pm VI James Band, 9:30pm VI Jerry Zimmerman, 6pm

April 2019 • Earshot Jazz • 23 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

In this issue... A $35 basic membership in Earshot brings the newsletter to your door and entitles you to Letter from the Director: A Celebration of Earshot JazZ discounts at all Earshot events. Your member- Acknowledgements______2 MEMBE r s h IP ship also helps support all our educational programs and concert presentations. Notes______3 Type of membership Jazz: The 2nd Century Call for Artists______3 Individual ($35) Additional tax-deductible donation ______On the Radio______4 Household ($60) Patron ($100) Sustaining ($200) PROFILE: The 2018 Golden Ear & Seattle Other Jazz Hall of Fame Awards______5 Sr. Citizen – 30% discount at all levels PREVIEW: Sullivan Fortner Trio______10 Canadian subscribers please add $5 additional postage (US funds)

PREVIEW: Miles Okazaki: Trickster______11 Regular subscribers – to receive newsletter 1st class, please add $10 PREVIEW: Makaya McCraven ______12 for extra postage Contact me about volunteering PREVIEW: 8th Annual North Bend ______Jazz Walk ______13 NAME

PREVIEW: María Grand: Persephone/HerStory_____ 14 ______ADDRESS PREVIEW: Jack DeJohnette, Joe Lovano, Esperanza Spalding, Leo Genovese: ______CITY/STATE/ZIP The Spring Quartet______15 ______PREVIEW: West Coast Premiere of PHONE # EMAIL Nina Simone: Four Women______16 ______For the Record______18 Earshot Jazz is a nonprofit tax-exempt organization. Ask your employer if your Jazz Around the Sound______20 company has a matching gift program. It can easily double the value of your membership or donation. Mail to Earshot Jazz, 3429 Fremont Pl N, #309, Seattle, WA 98103