INSIDE: World Sax Quartet at The Backstage; Charles Gayle at The O.K.
A Mirror and Focus for the Jazz Community"
Vol. 10, No. 1 Seattle, Washington January 1994 Put On Your Golden Eats i'.-:ijpi unday,January23rd, 1994 them. (If you haven't yet voted will mark the fourth year for your favorite Northwest jazz that Earshot Jazz has pre artists, please fill out and return sented the Golden Ear the ballot on page two of this Awards Ceremony. Cre newsletter). ated as a mechanism to The Golden Ear Awards at J bring attention to North tempt to acknowledge the long west artists, past ceremonies have hours of rehearsal, the monetary left a warm glow with all involved investment it requires to produce and provided plenty of surprises. g a decent recording, and the Popular vote by the public se z thought that goes into creating a lects the past year's best recording, o jazz presentation groups, and individuals. Also, two g: This year's ceremony will take individuals are inducted into the P place at Jazz Alley from 5:30 to Jazz Hall of Fame (past inductees o 10:30pm on Sunday, January include Al Hood, Ernestine Ander § 23rd. The evening will open with son, Chuck Metcalf, Floyd Standifer, *" a solo piano set by Larry Fuller. Scene at the '93 Awards Party (l-r): Chuck Metcalf- bass, Billy Buddy Catlett, Don Lanphere, Jabo Wallace- alto sax, Ed Lee- trumpet The local 493 Reunion Band fea Ward and Jim Wilke.) turing Seattle legends Floyd The process of selecting names for your over the past year. Second, everyone who Standifer, Jabo Ward and Buddy Catlett will ballot serves two purposes. First, listeners submits a ballot is also required to think be joined by pianist Billy Wallace and drum are required to attach names to the faces of about and review the events in the jazz mer Patty Padden to present a glimpse at the performers that have impressed them community that have been important to the history of Seattle jazz. The evening's (Continued p. 9 PROFILE By age four, Phil had begun to experi ment with drums, and at age six, he began Phil Snyder: to learn string instrumentals when his father bought him a baritone ukulele. Later, his dad bought a pickup for the ukelele, allow Serious Play Timein g both Snyders to plug into the same amp. Even at that early age, Phil's approach on't be misled by the soft-spoken was serious: "My ears were developed more ffll manner or the sense of humor: Phil than my technique I would develop what | §| Snyder is extremely serious about his ever skill i had to have in order to execute music. Beneath the polite smile lives a what I wanted to do, and it wouldn't neces musician with a strong sense of self sarily be technically correct, but I found and a musical philosophy bordering on ways to get through what I wanted to so it religious fervor. sounded OK. That's stuck with me today." That fervor was probably fed from an As a drummer, Snyder's earliest "gigs" early age by the influence of Phil's father, were with younger brother Tom. "We had Gail Snyder, a guitarist who was constantly this drum and trumpet duo—sounds like it working around Seattle and who nurtured would be hard to get a booking, but we the younger Snyder by his encouragement played quite a bit in public school." As and his record collection, which contained Snyder's formal education continued, the PHOTO: BRADY WOO everything from Segovia to Johnny Smith parallel processes of listening, working, and Phil Snyder and Freddie Green. being influenced and re-influenced began (Continued p. 7) January Highlights Earshot Sundays at Jazz Alley Jan. 2 - Phil Snyder Quintet. A celebra an all-star jam will take us into the night. tion of the CDHatched by this tight group. Paul deBarros will also be there to sign Led by drummer Phil Snyder, joined by copies oi Jackson StreetAfterHours . Come ' Jan 7,8 . pianist John Hansen and bassistSteve Luceno out to root for your favorites, meet the jazz * Lonnie Williams Band * in the rhythm section, with two of Seattle's community, and support Earshot Jazz. The Jan 9 strongest young saxophonists, Rich Cole Golden Ear Awards Party will begin at 6 pm, : and Hans Teuber, on the front line. As good with doors opening at 5:30. Special admis ; •Edmonia Jarrett *.:::. as the new CD is, the band is even better. and the Blues Rebels. !: sion of $15.00 and $10.00 for musicians, Jan. 9 - Living Spirit Band and Jam includes hors Jd oeuvres. Be sure to call for Session. A Seattle institution in less than a reservations, 441 -9729. .:•]...• The King«A»Lings •. year. Hadley Caliman, tenor, Rickey Kelly, Jan. 30 - The Billy Tipton Memorial {'•;•••;•••<'•''] Jan 15 • :'r:'••"•••' vibes; Michael White, violin; Phil Sparks, Saxophone Quartet. Another long over bass; and Larry Jones, drums, demonstrate • Sonando* ..'•' due presentation by Earshot Jazz. Since the astounding quality of Northwest jazz 1987, these women have been blazing trails Jan 16. with their blazing set and high class jam and raising consciousness while creating • Miio Peterson Band | session. Visiting, available, and aspiringplay- some serious (and not-too-serious) music. .. Jan 21, 22 ers are invited to sign up and join in on the With compositions by all members, the second-set Jam Session. * Russell Jackson Band • BTMSQ will take us through Super Bowl Jan.16 - Human Feel. Well, how about Sunday with a minimum of pretzels and jan23 that? Praised by critics across the country, beer and a fair share of rollicking high art. •' Kendra Shank Quintet • formerSeattleitesJim Black and ChrisSpeed, Jazz Alley is located at 6th and Lenora, Jan 28 now an important part of the New York Seattle. Regular price $7 general, $5 mem scene and in national demand as side men, bers (except Golden Ear Awards) Please call •' Hand Picked jazz Band «' bring bandmates Andrew D'Angelo and 441-9729 for reservations. Free, secure •. with Tom McFarland Kurt Rosenwinkle and their great group, parking is provided across the Alley. Set .'";.= •• :••:•••. .1*1129 11 ij^ : Human Feel to town for Cornish workshops times are generally 7:30pm and 9:15, doors and a rare Seattle appearance as part of the • Carousel - A Mixed Bag • open at 6:30. Minors welcome, kids under Living Spirit Series. Cutting edge of the new 12 free. by IIH Lewis Veterans: bop. Jan. 23 - The Golden Ear Awards Party. Join us, host Jim Wilke, and the SeattleJazz Call 622-2563 for dinner community to celebrate 1993's Best of the Earshot Jazz reservations. Northwest. This year's party will feature the "A Mirror and Focus for the Jazz Community" Local 493 Reunion Band featuring Hall of 3429 Fremont PI., #309, Seattle, WA 98103 Famer's Floyd Standifer, Jabo Ward, and ©1993 Earshot Jazz General information, (206) 547-6763 Buddy Catlett as well as Billy Wallace and MX 547-6286 CREOLE RESTAURANT Patty Padden. There will be an opening set Director: John Gilbreath Kl'I'U of solo piano by the great Larry Fuller. After President: Lola Pedrini 885 114 First Avenue S.' the awards, which are selected by popular Editor: John Hlllmer vote and presented by Seattle jazz legends, Art Director: Al Tietjen In Pioneer Square. Calendar Editor: Bob Mariano, 284-0788 Advertising Mgr: Jim Knodle, 784-4437 Staff: Gary Bannister, Joseph Murphy, Steve This is your chance to VOTE your own Robinson, E. L. Saylor Contributors: Daniel Bany, Paul de Barros, Mike £Z}htA/>vi Cay- Aistya+At personal best of '93. Send this form to Dennis, David Dickerson, John Elwood, Robert Fucci, Bruce Greeley, Dan Greenblatt, 'tf^wLn j^y^i^mms Earshot Jazz by Jan 21i 1994 Nina Harlan, Taina Honkalehto, Ray Kelleher, T£j*ffh$ PLAN TO ATTEND tne awards cer- Rick Leppanen, Peter Monaghan, Dan Sapinkopf, Sam Spitzer, Fred Wardenburg, & JM^kM emony Sun., Jan. 23, 5:30 -10:30 pm at Miles White. ,/ /i •••••• -•'.•• j x-av Jazz Alley, 6th & Lenora, Seattle. Mailing: Lola Pedrini ^tft^im&fififfigMtty Tickets: $15 general; $10 musicians. Computer Assistance: * Call 441 -9729 for reservations. Taina Honkalehto, Ernie Saylor Proofreading: Ernie Saylor Best of the Northwest Earshot Board of Directors: Jay Clayton, Ralph Best NW Jazz Recording Davis, Taina Honkalehto, Lara Morrison, Joseph Murphy, Lola Pedrini, Eric Ring, Leon Best NW Jazz Group, Acoustic Vaughn, and Joseph Antoine-Zimbabwe. Earshot Jazz is printed by Best NW Jazz Group, Electric Pacific Media Group, 2321 Third Ave., Seattle SPECIAL FUNDING FROM: Best NW Concert The Lila Wallace- Best NW Instrumentalist Reader's Digest Best NW Emerging Artist National Best NW Vocalist Seattle Jazz Hall of Fame (vote for two) 1 2 Network — 2 • EARSHOTJAZZ * December '93 PREVIEW
World Saxophone Quartet BOBBY McFERRIN and African Drums with the Seattle Symphony The Backstage January 24
I hough you won'tfind World Saxophone Quartet in the Downbeat Reader's Poll for Best Acoustic Jazz, they are without a doubt one ofthe most influential ensembles ofthe last decade. The quartet's groundbreaking record ings opened the gates for all the same instrument groups that have become a fix ture on today's scene. Brass Fantasy, M'Boom, 29th StreetSax Quartet, TRMPTS, and Clarinet Summit all owe a debt to W.S.Q. David Murray is surely set to inherit the throne of top tenor one day. Hammiet Bluiett is without peer when it comes to virtuosity on baritone sax, and Oliver Lake has made important contributions to the history of alto sax andal most single-handedly has kept alive the spirit of Eric Dolphy. The fourth seat in W.S.Q. is currently handled by rising star Eric Person. Jazz is in dire need of updating the role of rhythm within the ensemble. Recent years have exposed us to complex interplay between drums, horns, and guitars, making jazz rhythms seem archaic. Nowhere has the combination of jazz with African sensi bilities of rhythm and improvisation been so succinctly explored as on the W.S.Q. release Metamorphosis. Joined by Senegalese percussionists Mor Thiam and Mar Gueye, W.S.Q. digs into the reclamation of roots with verve on Meta morphosis. Besides being a seamless fusion, the recording also presents some ofthe best compositions W.S.Q. have penned. Murray's "Ballad for the Black Man "is killer, Mor Thiam's "Lullaby" seems written for W.S.Q., and Bluiett's "The Holy Men" con tinues the string of funky dance-like num bers he contributes. Tickets are $13.50 for Earshot members and advanced general. $15.50 atthe door. They are available from Wed., Jan. 12, 1994 • Opera House, 8pm Backstage Music, Earshot Jazz and Ticketmaster. -Gary Bannister "Enthusiastic concertgoers found themselves joining in on everything from theme songs... to what appeared HELP WANTED-EDITOR Earshot Jazz Is seeking an editor to oversee publication to be the entire soundtrack to 'The Wizard of Oz'." of this newsletter. Applicantforthis 1/4to 1/3 time paid position should have a working knowledge of jazz and The Seattle Times, 1992 the Northwest jazz community in addition to the skills and experience necessary to manage a monthly publica tion. Respond with letter, resume, or questions to John Call the Seattle Symphony at 443-4747 or Gilbreath, at Earshot Jazz , 3429 Fremont PI. #309 Seattle, WA 98103. Or call 206-547-6763. Ticketmaster at 292-ARTS! Tickets: $35.00 -$17.00 VOLUNTEER COMPUTER HELP Attention computer industry jazz fans. The Earshhot Tickets also available 1-1/2 hours before the concert at the Opera House Box Office office could use your help in setting up various data (subject to availability). Ask about discount rates for groups of 10 or more. bases and downloading IBM files onto new Macintosh equipment Please call the Earshot office, 547-6763. EARSHOTJAZZ * January '94 • 3 30. Features the Garfield HS Jazz Band JAZw Z & special guests. (282-7028) Around The Sound CONCERTS: by Bob Mariano A "Living Spirit of Jazz" series, sponsored by EARSHOT JAZZ, Sundays, 6:30- 10pm (sets at 7:30 & 9pm). Scheduled are: Phil Snyder Quintet (album release January 1994 party), 1 /2; Living Spirit House Band & Jam, 1/9; Billy Tipton Memorial Please send February calendar information de Barros speaking and showing slides, Saxaphone Quartet, 1/30. by 1/15/94 to EARSHOT JAZZ, 3429 sponsored by theEthnicHeritageCoun- • "The Jazz Cafe" presents jazz atthe Kent Fremont PI #309, Seattle, WA, 98103 cil, Museum of History & Industry, 1/ Masonic Hall, 805 E Smith St, Kent, 8- 16, 2-4pm. (443-1410) 11:30pm. Featured are: Don Gardner SPECIAL EVENTS: EARSHOT Golden Ear Awards, Jazz Al w/Jazz Cafe House Band, 1/7; Wes ley, 1/23. (547-6763) Baker w/Jazz Cafe House Band, 1/21; • Pacific Northwest Music Festival, Meany Jack Straw Productions presents a series A Kendra Shank w/Randy Porter & Jeff Theater, UW. Scheduled are: Orchestra of recording and audio production work Johnson, Kitsap Unitarian Universalist Festival Concert, 1/10, 6pm; Choral shops in January and Februrary. Call for Church, Bremerton, 1/22, 8pm. (337- Festival Concert, 1/11, 7pm; Jazz Band details. (634-0919) 5822) Festival Concertfeaturing Eddie Daniels, "Jammin"', a benefit forthe Garfield HS A Hot Tunes Port Townsend, featuring plus UW Studio Jazz Ensemble I, Impe Jazz Band trip to the Montreaux Festi vintage Swing, Jazz, Blues, and Rags, rials Jazz Ensemble I, and Marc Seales, val, Langston Hughes Cultural Center, various venues around Port Townsend, 1/13; 7pm; Concert Band Festival fea 10417th Ave S, 12 noon brunch on 1/ turing Eddie Daniels, 1/14-15. (543- 2/25-26. (800-733-3608, 385-3102) 4880) • "An Afternoon with the Author of 'Jack son Street After Hours' ".featuring Paul PASSAGES
Salutelin Citta' Carter Jefferson (1944 -1993) Ifystorante ItaSano Tenor player Carter Jefferson died De Jefferson was a dynamic tenor stylist prouaTy-presents cember 9 in Krakow, Poland, after being in whose dense phrasing was tempered by a a coma for six days. He was there touring fierce lyricism. He possessed an exceptional UW.Mll with several Euro ability to build solo 'Every Triday and Saturday Wight pean artists. While tension chorus af 9:30 -1:30 details are sketchy ter chorus through at press time, it is interlocking lines believed he died and terse modula from internal hem tions. His tech S(FECIJtL gVESTS UNJJUNVJW& orrhaging, the re nique, endless -Mm)J\
"The LCJO blew the lid off the Monterey Jazz Festival with a smashing performance... and they swung ferociously." -San Francisco Chronicle
Music or Louis ARMSTRONG, DUKE ELLINGTON, COUNT BASIE. JELLY ROLL MORTON, JOHN COLTRANE,
THELONIOUS MONK, WYNTON MARSALIS AND OTHERS
FEATURING MARCUS ROBERTS JON FADDIS JOSHUA REDMAN NICHOLAS PAY TON
LINCOLN CENTER JAZZ ORCHESTRA
Pantages Theater Tuesday, February 1, 7:30 p.m. Pre-performance discussion 6:30 p.m. Tickets:$25/$22/$19/$13 Sponsored by Key Bank ofWashington with KPLU 88.5 For tickets, stop by the Broadway Center Ticket Office, 901 Broadway, Tacoma, or call 591-5894 Monday-Friday between 11:30 a.m.-5:30 p.m., or Ticketmaster at 627-8497. As always, group discounts are available. IN CONCERT FOR ONE NIGHT ONLY!
Delta is the official airlines of Jazz at Lincoln Center provide credentials but fail to fully convey Charles Gayle Trio that playing freestyle requires the proper OK Hotel attitude as well as aptitude. Whereas DMITRIOUS some musicians shutdown when faced December 5 with the unequivocal challenge of a u CharlesGayle—defendingtheego aP%lthough tenor warrior parameters of style and ability— I Charles Gayle's media cachet found Bisio and Meyers in a state of is that of one of New eager equanimity PRESENTS York City's many before this gig. homeless street play Emotions distilled in ers, hecertainly didn't anticipation of chal GENE HARRIS learn the fundamen lenge. tals of his advanced Despite Gayle's Tues., Dec. 28 - Sat., Jan 1 multi-phonic tone proclamation that a JUNIOR WALKER poetry at 125th & successful gig for & THE ALL-STARS Jerome or Grand him means empty Central. Far from be ing out the club, the Tues., Jan. 4 - Sat., Jan. 8 ing a punk jazz primi 250 plus at the OK JOE PASS QUARTET tive, Gayle has chops were lapping it all Tues., Jan. 11 - Sat., Jan. 15 and control that be up and demanding lies the wild, catch- more. While the JIMMY SCOTT as-catch-can realities musical antecedents Tues., Jan. 18 - Sat., Jan. 22 of learning your craft to his style can be on heating grates. heard in late JOE HENDERSON While his expression- o Coltrane, Gilmore, Tues.,Jan. 25-Sat.,Jan. 29 istic content and de-1 Dolphy and Ayler, Earshot Sundays livery may speak to § Gayle is less tuneful Jan. 2- Phil Snyder Quintet his street experience, | than the latter and Jan. 9- "The Living Spirit of Jazz" Gayle can flat out^ more legato than Jam Session play; as he eloquently S the former— com Jan. 16- Human Feel displayed on thisSun- £ ing closer to Jan. 23- Earshot Jazz Golden Ear day night at the OK , charles c t ft Hotel Dolphy's fulminate Awards Party Hotel. ' chromatic sharding Jan. 30- Billy Tipton Memorial After seventeen one-nighters ranging and Gilmore's searing held tones. Sax Quartet from Vancouver to Long Beach, Gayle is The four title-less excursions of his set probably noting his good fortune being enveloped terse compressed phrases, long matched up in trio with the fearless section multi-phonic tones and shorter exclama of drummer Bob Meyer and bassist Michael tions against the fractal pulses of Bisio's Bisio. Drummer Meyers' experience in group frantic sixteenth note runs and Meyer's and duet setting with the incomparable circular patterns and accents. When Bisio tenors Bert Wilson and Joe Lovano, and picked up the bow to engage in angular Bisio's work with Carter Jefferson, Barbara harmonic sparring with Gayle, the music at v/> Donald, Horvitz's trio and his own groups once evoked Bartok's late string quartets and the multiphasic expressionism of Mark Rothko through its use of keening tension I and release and contrasting pastel and pri Still Life in Fremont mary tones. Working this canvas, the Coffeehouse "street" content of Gayle's music became apparent in its evocations of disconnected dialogues, random sounds and dark, urban Thursday Night LIVE! ontologies as musical conversations joined Jan. 6 and diverged in antiphonal waves broken BUCK CAT ORCHESTRA by plaintive solitary statements from Gayle— Jan. 13 a street Dante staring at the Sistine Chapel TRANSITIONS ceiling from a recessive ring of South Bronx Jan. 20 Stts: Tuesday-Saturday 8:30 & 10:30 hell. Sunday 7:30 4 9:30 BRIAN KEN/RICK MANDYKE QUINTET Without a melodic hook to lean on, or DINNER RESERVATIONS NOT ,« ,. IS' REQUIRED Jan. 27 anythingresemblingachord change, Charles KPIU KELLEY JOHNSON QUARTET -'- ^M^ FREE PARKING-VIA BACK ALLEY Gayle came calling with an honest, scarified ') \C *W KIDS UNDER 12 FREE 885 voice that combines craft and emotion, «>%•:'•. depth and challenge. Finding Bisio and < Dimitriou's Jazz Alley Meyers ready and waiting for him is the RESTAURANT AND NIGHTCLUB Food 709 N. 35th musical equivalent of finding a C-note on a 2033 6th Ave. & Lenora & Music New York City street. 547*9850 -Joseph Murphy 6 • EARSHOTJAZZ * December '93 Friday, February 25, 1994 4:45 p.m. Phil Snyder (from P. v Vocal Winners Concert in earnest. LIONEL Winning Groups and the Lionel Hampton Realizing he needed to play livejazz, Phil School of Music Jazz Choirs with the Primo called drummer Corky Ryan for advice on i< «"ia\ HAMPTON Kim Quartet, featuring: Primo Kim, vocals & piano; Jim Day, guitar; Andy Zadrozny, bass; how to begin. Ryan referred him to Jerry Michael Flivka, drums Heldman, a bassist and manager of a coffee house on University Way, called the 8:00p.m. All-Star Concert Queequeg. "The place was open until 4 am Lionel Hampton, vibes; Freddie Hubbard, and everyone came in there—local players, trumpet; Red Rodney, trumpet; Claudio Miles Davis, the Adderly Brothers. The great , Wsimm Roditi, trumpet; Elvin Jones, drums; Herb part was meeting all these people and the Ellis, guitar; Oliver Jones, piano; Brian camaraderie.That's where I first started play Bromberg, bass; Gene Harris Quartet, •5^ University of Idaho ing. I learned so much of what I know from featuring: Gene Harris, piano; Ron Eschete, guitar; Paul Humphrey, drums; Luther Hughes, working with Jerry. I was about 17 and Jerry bass; Carl Fontana, trombone; Bill Watrous, was about 23. There were people in there Wednesday, February 23, 1994 7:00p.m. trombone; Ian McDougal, trombone; Jeff like Mark Doubleday and Sarge West. Larry PEPSI International World Jazz Concert Uusitaio, trombone Coryell was playing bass there at the time Lionel Hampton, vibes; Dr. Hampton will be and Dave Friesen was just learning. I be performing on the Hitoshi Maeda Saturday, February 26, 1994 4:45 p.m. came the house drummer and I was only Sanukitophone; Ray Brown Trio, featuring: Ray Instrumental Winners Concert 17." Brown, bass; Jeff Hamilton, drums; Benny Winning Groups and the Lionel Hampton One night Sarge West asked him if he Green, piano (England); Elvin Jones, drums; School of Music Jazz Band I with Claudio had heard Tony Williams. "I was feeling Herb Ellis, guitar; Oliver Jones, piano Roditi, trumpet pretty good about my playing and all the (Canada); Brian Bromberg, bass; Lionel attention I was getting from all these older Hampton joins Buddy DeFranco, clarinet, to 8:00p.m. GTE Giants of Jazz Concert great players, but I hadn't heard of Tony, so play a musical tribute to Benny Goodman; Lew Lionel Hampton and his New York Big Band; Soloff, trumpet; Arkady Shilkloper, horn Lionel Hampton and his Giants of Jazz Friends I bought a Miles album, and it was so (Russia); Alexandre Ouzounoff, bassoon play a musical tribute to Dizzy Gillespie; amazing to me what Tony was doing. He (France); Matthew Brubeck, cello; David Freddie Hubbard, trumpet; Red Rodney, was a major influence on me. I still love the Widelock, guitar; Dee Daniels, vocals (Canada); trumpet; Claudio Roditi, trumpet; Pete way he plays. There are very few players Kitty Margolis, vocals; Hitoshi Maeda, Candoli, trumpet; Conte Candoli, trumpet; that play that way today in terms of the Sanukitophone Inventor (Japan); Tomoiki Elvin Jones, drums; Herb Ellis, guitar; Oliver excitement. A lot of players play very well, Sakura, percussionist (Japan); Matsuko Fujji, Jones, piano; Brian Bromberg, bass very fast, technically, but Tony was doing percussion lecturer (Japan) that and being musical. My life changed dramatically after that. It was what I was Thursday, February 24,1994 7:00 p.m. TICKETS: call Ticket Express at 1-800-345- trying to do, but then I heard somebody the DELTA AIR LINES Special Guest Concert 7402, or locally call (208)885-7212. Tickets also available at G & B Outlets. same age as me who was so much better, so Lionel Hampton, vibes; Delia Reese, vocals, far beyond me, he developed that style to and her quartet; Paquito D'Rivera, clarinet/ HOUSING INFORMATION: (208)882-9220 such a great degree and yet he was so saxophone; James Moody, saxophone; Lew GENERAL INFORMATION: Dr. Lynn J. Skinner, young himself. He was a wonderful influ Soloff, trumpet; Elvin Jones, drums; Herb Ellis, Executive Director, Lionel Hampton Jazz guitar; Oliver Jones, piano; Brian Bromberg, Festival. University of Idaho, Moscow, ID ence." bass; Greg Abate, saxophone 83844-4014 (208)885-6765 Following a year at Olympic College (where he first met Rufus Reid) and a three- year hitch in the army, Phil returned to Seattle, playing regularly around town with EARSHOT Jim Knapp, Jack Brownlow, and many oth JAZZ MEMBERSHIP ers, eventually landing a part-time job at Cornish College teaching percussion. It was A $30 basic membership in Earshot brings the at this time that he met Gary Peacock. "I newsletter to your door and entitles you to didn't know he lived here. I had heard him discounts at Bud's Jazz Records and all Earshot Name on record and he was my favorite bass events. Your membership helps support our player. When we met I was so excited. He educational programs and concert series. Address played bass the way I like to think of drums. Check type of donation: I just loved playing with him. He's so unpre a New, • Renewal dictable. What he does with the time and Q $20 Newsletter only City/State/ZIP how he accents the notes is not what you Type of membership: anticipate. He keeps you on your toes as a • $30 Individual • $55 Household Phone # fellow player and also as a listener. I like not Q $100 Patron • $200 Sustaining to know what's coming next. Gary's a won Q $300 Lifetime Where Did You Pick Up Earshot? Senior Citizens — 30% discount at all levels. derful player that way." Q Canadian and overseas subscribers— please Since 1977, when he wife became ill add $5 additional postage (US funds). and he realized he needed medical insur Please mail to Earshot Jazz, 3429 • Regular subscribers— to receive newsletter ance, Phil has worked for the City of Seattle Fremont PL, #309, Seattle, WA first class, please add $5 for extra postage. as supervisor of the Audit Inspection Unit, a • Contact me about being a volunteer 98103 city program that weatherizes low income • • • • a • (Continued p. 8) EARSHOT JAZZ * January '94 • 7 Phi! Snyder (from p. u houses and buildings. Snyder is upbeat about CENTRUM PRESENTS the day job and how it has affected his musical career: "Actually, something good came of that, because I didn't have to play HOT TUNES everything. Up to that point, everything I got musically I had to play to make a living. I really hated most of it. I became more creative in terms of what I want to do PORT TOWNSENCI musically. I started to play more piano, more guitar, and I started to write things." He was FEbRU/uiy 25 & 26, 1994 also able to continue on part-time for a while at Cornish. "Jim Knapp was very IN SEVEN TAVERNS. clubs, encouraging of me in terms of writing." ANd RESTAURANTS Phil's sums up his strong philosophy Bob BR ZMAN about playing drums with an ear toward the soloists in his group: "You can't compete CATS ANd LkMMERS with melody and harmony, I'd rather hear those soloists. But in terms of creating and DENNER FRANC shaping things, there's nothing as influen tial in a jazz group as drums. BIACI< SWAN CIAS iic JAZZ BANCI Phil is proud of the soloists in his quintet and pleased with the way this latest record VATORy ing projectturned out. ltisthe47-year-old's VoltNTEER PARk CON first recording as a leader. "There's really only one standard. You forgetthat, because ORCHESTRA of a lot of hype and a lot of attention that people give to artists because they happen BARNEy MCCIURE TRJO to live within the community. Ifyouwantto know where you are as a musician, all you How's BAYOU need to do is go and pick up what's happen ing internationally or nationally and you'll know. Ididn'tmakearecordforalong,long time because I felt I didn't have anything to contribute. I'm extremely lucky to have these guys (his quintet). If an album can't TickETS AVAlLAbLE AT QuilMpER SOUN