Buddy Catlett, 1933-2014 Photo by Daniel Sheehan 2 • Earshot Jazz • December 2014 Earshot Jazz Letter from the Director a Mirror and Focus for the Jazz Community

Home , Buddy Catlett, Dennis Rea, Henry Threadgill

A Mirror and Focus for the Jazz Community December 2014 Vol. 30, No. 12 EARSHOT JAZZSeattle, Washington

Buddy Catlett, 1933-2014 Photo by Daniel Sheehan 2 • Earshot Jazz • December 2014 Earshot JazZ Letter from the Director A Mirror and Focus for the Jazz Community

Executive Director John Gilbreath Managing Director Karen Caropepe Your Earshot Jazz Organization Programs Assistant Caitlin Peterkin Celebrates 30 Years! Earshot Jazz Editor Schraepfer Harvey

Contributing Writers Halynn Blanchard, Steve This issue of the Earshot Jazz pub- munity, gets better each year. As the Griggs, Jeff Janeczko, Andrew Luthringer, lication marks 30 years of organi- national Jazz Times magazine said, Peter Monaghan zational service to the Seattle jazz “Every year, Earshot brings interna- Calendar Editors Schraepfer Harvey, Angela community since Earshot, Volume 1, tional stars to mix and match with Parisi Number 1, launched in December of Seattle artists, gets in your face and Calendar Volunteer Tim Swetonic 1984. finds fresh synergies.” Photography Daniel Sheehan The original Earshot newsletter was Like jazz itself, Earshot links tech- Layout Caitlin Peterkin conceived to formalize advocacy for nical mastery with tangible personal Distribution Dan Wight and volunteers Seattle’s remarkable jazz scene and expression, to help create profound Send Calendar Information to: was “published out of pocket by Gary human connections. Our most re- 3429 Fremont Place N, #309 Bannister, Paul de Barros, and Allen cently completed festival, filled with Seattle, WA 98103 Youngblood,” with a polite request one-of-a-kind performances, also email / [email protected] for a $10 donation to help cover post- brought a ground swell of commu- Board of Directors Ruby Smith Love age. As its core supporters worked nity engagement and palpable good (president), Diane Wah (vice president), Sally up new program ideas, Earshot Jazz will. But we still must politely ask for Nichols (secretary), Sue Coliton, John W. steadily grew into one of the nation’s your financial support. Comerford, Chris Icasiano, Hideo Makihara most comprehensive and respected Earshot Jazz brings tremendous Emeritus Board Members Clarence Acox, non-profit jazz organizations. What value to this community, and has for Kenneth W. Masters, Lola Pedrini, Paul a great idea, and what a legacy! 30 years. But, like most non-profits, Toliver, Cuong Vu Since the original paste-up on the earned revenue from ticket sales off- Founded in 1984 by Paul de Barros, de Barros dining-room table, over sets only half of our actual expenses. Gary Bannister, and Allen Youngblood. one million copies of this Earshot The balance must come, one year at Earshot Jazz is published monthly by Earshot Jazz Society of Seattle and is Jazz newsletter – containing calen- a time, from often-vulnerable pub- available online at www.earshot.org. dar news, record reviews, previews lic sector funding, and the generous and profiles of Seattle artists – have good will of individuals just like you. Subscription (with membership): $35 been distributed free all around Se- We could not provide our unique 3429 Fremont Place #309 Seattle, WA 98103 attle! Beyond that, the Earshot Jazz programs and services without your phone / (206) 547-6763 organization has professionally as- support. sisted hundreds of individual artists, Please consider a year-end gift of Earshot Jazz ISSN 1077-0984 helped thousands of students more $200 to Earshot Jazz, or give at a lev- Printed by Pacific Publishing Company deeply engage with this dynamic art el that is meaningful for you, within © 2014 Earshot Jazz Society of Seattle form, and has paid out over 2.5 mil- your capacity. Your support for Ear- M i ss i o n S t a t e m e n t lion dollars in artist fees to nearly ten shot’s work to further Seattle’s jazz Earshot Jazz is a non-profit arts and service thousand individual artists (70% of legacy is greatly appreciated. Thank organization formed in 1984 to cultivate a them Seattle residents) to share their you. support system for jazz in the community skills and creative energy with hun- And, on behalf of everyone this or- and to increase awareness of jazz. Earshot dreds of thousands of grateful audi- ganization has touched over its many Jazz pursues its mission through publishing a monthly newsletter, presenting creative music, ence members. years, we extend our sincere thanks providing educational programs, identifying and And we’re still growing! The Ear- and congratulations to Earshot’s filling career needs for jazz artists, increasing shot Jazz Festival, already known original founders. listenership, augmenting and complementing for its serious creative integrity and existing services and programs, and networking –John Gilbreath, Executive Director with the national and international jazz deep commitment to its home com- community.

December 2014 • Earshot Jazz • 3 PASSINGS / / / / / Buddy Catlett: May 13, 1933-November 12, 2014

If great musicians jam in the hereafter, the band just got more celestial. Its bass department has taken on one of the best, Buddy Catlett. After some years of heart and other ailments, Buddy, an enor- mous figure in Seattle jazz history, died on November 12, 2014, aged 81. Catlett had, through the first half of his career, an astonish- ing reach into jazz history as it unfolded, and then bore his ex- periences ahead into decades of performance and bandmateship in Seattle. He spanned eras and styles of jazz. Praise for him, as a musician and a person, has come from afar. Quincy Jones, Buddy’s childhood and lifelong friend, called him “one of the greatest bass players to ever take the stage.” While Buddy Catlett was born George James Catlett in Long Beach, Cal., he came with his family to Seattle as a child. While photo by daniel sheehan at Garfield High School in the late 1940s, he played saxophone the tone out of the bass.” When he and one of its own. Quincy Jones asked with Quincy Jones in Charlie Taylor’s Catlett joined the Bumps Blackwell Catlett to join him on what Paul de band and the Bumps Blackwell Junior Band, “We backed up Billie Holiday Barros called, in an obituary in the Band. In 1950, pleurisy sidelined him at the Metropolitan Theater, which Seattle Times, his “short-lived but for two years and led to his taking was part of the Olympic Hotel. Then, now-legendary big band” as it toured up bass, although he maintained his a year later, the band with Buddy and Europe with Jones’s Free and Easy Re- horn chops throughout his life. Ron- me backed Billie Holiday again at the vue starring Sammy Davis Jr. Also on nie Pierce, himself an acclaimed Puget Eagles Auditorium on 7th Avenue.” board were future Seattle stars, trum- Sound saxophonist, flutist, and clari- Catlett went on the road in 1956 peter Floyd Standifer and pianist Patti netist, recalls that after Buddy took with bandleader Horace Henderson, Bown. lessons from him at age 11, “we pro- the younger brother of Fletcher Hen- After the show ended, the band re- gressed through a lifetime of friend- derson, and then with guitarist Jimmy mained in Europe for eight months, ship.” He says “Tiny” Martin “was a Smith and Latin jazz vibraphonist Cal cementing reputations. In 1961, master and taught Buddy how to get Tjader. But Seattle reached out for Catlett got a call from Count Basie,

4 • Earshot Jazz • December 2014 and joined his Orchestra. Buddy re- beat. When you play like that, you corded numerous albums with the have a tendency to run away with the leader, including Li’l Ol’ Groovemaker time. But what you learn is that it’s the and Ella and Basie, as well as Sina- whole beat, including the decay, that tra–Basie: An Historic Musical First in you have to play.” 1962. The affection that Buddy Catlett -at In 1965 Louis Armstrong hired tracted from Seattle jazz musicians was Catlett who played, recorded, and legion. After all, he had schooled or toured in that vaunted company un- inspired many. Drummer Greg Wil- til 1969. AllMusic draws particular liamson, who with multi-horn man Jay attention to Catlett’s contribution to Thomas recorded Catlett’s only album “Cocktails for Two,” “in which most as a leader, Here Comes Buddy Catlett, of the theme is sipped as a bass solo.” in 2004 on Williamson’s Pony Boy (It’s on YouTube.) Thanks to his mem- Records, recalls first hearing Catlett bership in Armstrong’s band, Buddy who was playing with Floyd Standifer appeared in three films, including at the old New Orleans Restaurant site When the Boys Meet the Girls, of 1965. in Pioneer Square: “I convinced my He went on to work with a host of mom to take this junior-high-school big-name leaders, including pianists kid to the big city to hear the band. Red Garland and Junior Mance, On hearing I was a drummer, Buddy drummer Chico Hamilton, saxophon- asked me to sit in. After the tune he ists Coleman Hawkins, Johnny Grif- said to my mom ‘The kid plays good.’ fin, and Eddie “Lockjaw” Davis... I think my path was cleared with that There were many more: Booker Er- one encouraging note.” vin, Mongo Santamaria, Phil Woods, Horn player Jay Thomas recalls: “For Frank Foster... He appeared on more as long as I can remember I heard than 100 albums, backing the greats. about Buddy from Rollo Strand and Ben Webster, Anita O’Day, Sonny George Segal and my father Marvin Stitt, Ella Fitzgerald... and many older musicians. I heard sto- Throughout his touring career, Bud- ries and tales repeatedly about Buddy dy struggled with alcohol and returned Catlett. Buddy was always Seattle’s to Seattle in the 1970s to recover. He pride and joy.” As friends, “Buddy was began playing in a variety of settings, always so supportive and encourag- including with drummer Clarence ing,” Thomas says. “Buddy was like an Acox in the Roadside Attraction Big older brother.” Band. Others collaborators included Another frequent bandmate of Bud- vocalist Edmonia Jarrett, reeds man dy’s, Brian Nova, recalls his bandstand Ham Carson, and Bill Sheehan’s fine shorthands, particularly “Well OK Tuxedo Junction big band. den” which, Nova says, “could be used In his Seattle Times obituary, Paul de when someone messed up a solo, or if Barros records that during those years someone really blew us away playing, Silvia Giuliani, www.arlequins.it “wherever he played, national touring or if someone pissed us off...” Even- artists would come to listen.” Marc tually Nova asked where Buddy got Seales told de Barros: “One night I was the phrase, and learned it came from playing with Buddy at Tula’s. Wynton Catlett’s childhood neighborhood. Raffaella Berry, www.progmistress.com Marsalis came in and said, ‘I came An elderly neighbor would slowly down to play with Buddy.’” drive his big-ol’ Buick to kids’ merci- For a 1998 article in Earshot Jazz, less teasing until one day some youths Catlett told de Barros: “A lot of my “were chillin’ around the old man’s time feeling is from the Ray Brown car, so he goes outside and tells them tradition of being right on top of the ‘Get away from my car, you little rats!’

December 2014 • Earshot Jazz • 5 and one of the teenagers pulls his coat had something going. People want to four complete sets of new old stock back to reveal a piece he has tucked in find out who you are, you know, so LaBellas from the 1960s, a slightly his pants, and the old man looks at the Ornette asked me to play. It wasn’t all used set of Golden Spirals, a single gun, then at the kid and says ‘Well OK that different, but the bar lines were! new old stock G string Red o Ray... It den,’ turns around, and walks back It was like thirteen-and-three-quarter- was a lovely and generous gift, on par into the house.” bar tunes! with Buddy’s everyday spirit and vibe. Among the qualities Catlett often “There’s a lot of things you can do, A man beyond beyond.” That he was displayed was a wide-open mind for though, if you listen.” open to any music that was good was jazz styles. He told Paul de Barros Michael Bisio, who spent many years evident when he joined Bisio in per- in 1998 about living in New York in Seattle as an avant-garde bassist, re- forming two-bass gigs together in Se- in 1959 at Booker Ervin’s house and calls that one day Buddy arrived at his attle, with our without other players. going repeatedly to the Five Spot to house and began flinging packets of As Bisio and many others can re- hear Ornette Coleman: “Every night, bass strings through the window. “He late, Buddy Catlett’s humility was as Monk and Trane would be sitting in knew I was exclusively using guts at memorable as his generosity. Catlett’s the middle of the room, and they’d that time and brought them over as a late-life companion Jessica Davis, who stay there all night. Ornette definitely gift,” Bisio says. “There were probably recorded interviews with Buddy for Black History Month and other his- torical purposes, says it was only after seeing reactions to him at jazz events, even from national stars, that she real- ized just how highly regarded he was: On one occasion, coming away from Jazz Alley, “I told Buddy, ‘You were quite a hit tonight.’ And, he respond- ed, ‘Yeah. What do you know? Who would have thought?’” Davis sums up the Buddy Catlett she knew through reference to a comment he made in an interview “that really resonated with me, about how he went to see Count Basie at the Civic Audito- rium, and he was so mesmerized by the Esperanza band’s performance that he almost fell out of the balcony. He followed that Spalding by saying, little did he know that he would some day play with the Count Basie Orchestra. That really stuck with me – he followed his dreams, and it wasn’t easy, but he was strong.” Quincy Jones said in his “RIP to my brother and bandmate Buddy Catlett”: “We traveled the world playing the music we love. A lot of notes, a lot of laughs, a lot of great memories. We will all miss you Buddy, but you will live on in our hearts.” “Buddy Catlett: Celebration of Life,” a musical tribute and jazz jam coordinated by Clarence Acox, Listen 9am-3pm will take place at Jazz Alley on Mon- weekdays on 88.5 FM day, December 1, 7-10pm.

6 • Earshot Jazz • December 2014 notes

Seattle Jazz Experience Ensembles should submit two selec- NOMINATIONS Application tions in contrasting styles and tem- pos that show off the band at its best. Nominations Wanted: Participation in the Seattle Jazz Ex- S There are no other instrumentation or 2014 Golden Ear Awards perience is by audition only and is repertoire requirements; there are no The Golden Ear Awards recog- open to high school and college jazz application fees. A school may submit nize and celebrate the outstanding ensembles worldwide. There are three audition materials and applications for achievements of the previous year divisions – high school, college, and up to three different ensembles. in Seattle jazz. Nominations for community – and three ensemble cat- The application deadline for the 2015 the 2014 awards are currently be- egories: large ensemble (11-25), small Seattle Jazz Experience is December ing accepted. Please email nomi- ensemble (3-10), and vocal ensemble 15, 2014. Visit www.seattlejazzexperi- nations to nominations@earshot. (4-20). For the 2015 festival, commu- ence.org for details. org by January 10, 2015. The of- nity ensembles are restricted to ensem- ficial voting ballots for the 2014 bles featuring students ages 14-19, not On the Horizon awards will be printed in the Feb- college-age or adult ensembles. ruary issue of this publication and All ensembles interested in partici- Divine Jazz Cruise feat. Greta available at www.earshot.org. pating must submit two (2) auditions Matassa, Dee Daniels & Tony Galla selections, totaling no more than 15 August 28-September 4, 2015 Send us your suggestions for minutes. All audition submissions are Join Greta Matassa next summer on submitted online. No CDs, DVDs, a jazz cruise to Alaska. The cruise sails NW Recording of the Year: or videotapes will be accepted or re- viewed. Continued ON PAGE 23 NW Acoustic Jazz Ensemble In one ear of the Year:

Jazz Radio Sonarchy’s December schedule: De- 88.5 KPLU hosts Saturday Jazz cember 7, Dub Championz, a pow- Alternative Jazz Group of the Matinee, Jazz Sunday Side Up, Ken erhouse performance from the Pacific Year: Wiley’s the Art of Jazz, and Jazz Northwest’s finest dub artists; De- Northwest, in addition to its weekday cember 14, Spontaneous Music En- semble, with Wally Shoup (alto sax), NPR and late-night and prime-time NW Concert of the Year: jazz programs. For KPLU’s full jazz Jacob Zimmerman (alto sax), Neil schedule, see kplu.org/schedule. Welch (tenor sax) and Carmen Roth- well (bass); December 21, Eric Ring Jim Wilke’s Jazz Northwest, Sun- NW Jazz Instrumentalist of days, 2pm, features the artists and in a solo piano concert; December events of the regional jazz scene. Air- 28, Infernal Noise Brigade, a Son- the Year: ing December 7: an SRJO concert archy archive show from 2001 bring- celebrating Quincy Jones and Ray ing drumline, breakbeats, loud hail- Charles. For JazzNW podcasts of ar- ers, Balkan fanfares, taiko and heavy Emerging Artist of the Year: chived programs, see jazznw.org. sound pressure to your next political 90.3 KEXP, late-night Sundays, protest holiday. features Jazz Theater with John Gil- 91.3 KBCS, late Sundays and prime- NW Vocalist of the Year: breath, 1am, and Sonarchy, midnight, time Mondays, features Floatation a live-performance broadcast from the Device with John Seman and Jona- Jack Straw Productions studio, pro- than Lawson; Straight, No Chaser Seattle Jazz Hall of Fame: duced by Doug Haire. Full schedule with David Utevsky; Giant Steps with information is available at kexp.org and jackstraw.org. Continued ON PAGE 23

December 2014 • Earshot Jazz • 7 PREVIEW >> 26th Annual Concert of Duke Ellington’s Sacred Music

Saturday, December 20 each Seattle Sounders game, where he Newby offers input concerning what Town Hall Seattle, 7:30pm involves the filled stadium in singing to expect of his own artistic construal his musical arrangement and celebrat- on five pieces in the program. He sees Ellington called his Sacred Music, ing “something positive.” his opportunity as a vessel to re-enact written in the latter, most liturgical Ellington’s music and he approaches stage of his life, the most important “All come together in one accord,” Newby said of the mixed audience that his interpretations of Ellington’s vo- music he’d ever written. His recitative cal music from a place of reverence. paraphrases the Holy text and is per- mirrors modern Ellington tributes. Newby understands Ellington “as an formance that connects with the audi- The spirit behind the culmination of African American brother…both in ence in a dialogue typical of African Ellington’s last, liturgical phase-of-life theologizing through scripture and American community music. work was one that extended optimis- composing.” This year, the Northwest Chamber tically to all humanity. “Every man This concert will feature blues, jazz Chorus, under Director Mark Kloep- prays in his own language,” Ellington and gospel pieces drawn from El- per, performs the Duke Ellington Sa- says, “and there is no language that lington’s three Sacred Concerts, from cred Concert alongside the impressive God does not understand.” which Newby also hears the compos- Seattle Repertory Jazz Orchestra, co- With his creative hands, Ellington ite of “music of the negro-spiritual and directed by Michael Brockman and theologized to the masses with prayer Harlem Renaissance.” Regarding El- Clarence Acox. Guest tap-dancer Alex lines and musical fire-and-brimstone lington’s theologizing on the “In the Dugdale joins, as do guest vocalists sermonettes. “Ellington understood Beginning God” recitative, specifically Nichol Venee Eskridge, featured on of the alluded eschatology of what will SRJO’s Sacred Music of Duke Elling- God’s presence,” Newby comments. be in the end, Newby adds: “He was ton CD, and Seattle’s gospel virtuoso, In response to this communal “of- more familiar with the text than we Dr. Stephen Newby. fering to God,” Ellington’s audience think.” Dr. Newby connects with Ellington’s found themselves with rhythmic toes sense of community in spaces both and bobbing necks, habits still in pres- – Halynn Blanchard sacred and secular. He is the regular ent-day listeners consumed by the sa- Tickets are $14-$36 at www.brownpa- leader of the National Anthem before cred repertoire. pertickets.com or 800-838-3006.

8 • Earshot Jazz • December 2014 PREVIEW >> Rene Hart: Make It Go

December 27, 8pm recent recording. The The Royal Room set will also include old folk tunes like “The “Make It Go.” Bassist Rene Hart’s Water Is Wide” and online profile phrase fits his role as Pete Seeger tunes. Hart heartbeat of a band. Hart’s levity ap- worked with eclectic pears in his description of musical composer David Am- preferences as if in a dating service – “I ram who introduced like strong melodies and long walks on him to Seeger. “David a modal vamp.” I don’t know this guy Amram has a great yet, but I bet I will like his music. message about being Hart hails from Brooklyn these days, yourself and not letting but his early schooling was in Seattle. the corporate world in- Trumpeter Floyd Standifer taught him fluence you.” Hart ex- Humanities at the Northwest School plained to me that Am- back in the 1980s. He attended Berk- ram walked away from lee College of Music in 1989 and two a giant contract after years later moved to New York. Over successfully scoring the the last few years, he has returned to soundtrack to the 1962 Seattle to visit family and perform two film Manchurian Can- or three times a year. His most recent didate. trip was a tour with saxophonist Jes- Hart continues to de- sica Lurie. This time around, Hart fine his own voice on will perform at the Royal Room, 8pm, bass. At a jazz recording December 27, with local collaborators session with Hipmo- Skerik on saxophone, Dawn Clement tism, a band with slide on keyboards, and D’vonne Lewis on trumpeter Steven Bern- drums. stein and drummer Al- The repertoire will come from Hart’s lison Miller, he began latest project, the Honey Ear Trio. experimenting with This collective threesome includes how his bass sounded drummer Allison Miller and saxo- rene hart photo by sid ceasar during playback by al- phonist Eric Lawrence. Miller arrived tering it with software it might lead. Look for these electronic in New York at the same time as Hart. effects. Intrigued, he built his own rig explorations on his Seattle gig. They met at the Bop Juice jam session of controllers (an iPod Touch and Kil- When Wayne Horvitz took his Roy- at Visiones run by saxophonist Ralph lamix DJ knobs), attached them to his al Room Collective Ensemble to The Lalama and drummer Clifford Bar- bass, added a foot pedal and connect- Stone in New York last May, Hart baro. Later they teamed up with Law- ed inputs to his laptop. Often at first, and Horvitz paired up for some duos. rence, son of the saxophonist/educator the configuration failed because the Now, Hart comes to Horvitz’s venue Arnie Lawrence. laptop overheated on stage. Over time, to have a good time and fulfill his ex- In Seattle, Hart plans to play “Lu- tweaks have improved its reliability so citement about the chemistry of this minesque,” which he described to me Hart can use effects when he’s inspired new assembly of artists. over the phone as his ode to optimism, by a sound and wants to follow where – Steve Griggs and “High Water” from Honey Ear’s

December 2014 • Earshot Jazz • 9 2014 Earshot Jazz Festival Daniel Sheehan’s EyeShotJazz Blog Throughout the year, Pulitzer Prize-winning photojournalist Daniel Sheehan shares his incredible images of Earshot Jazz events on his blog, EyeShotJazz, and his portraits of area jazz artists regularly appear in this publication. Visit eyeshotjazz. com to view Sheehan’s photos in color. Here are a few selections from this year’s festival.

kate olson and naomi siegel perform at the royal room crystal beth (aka beth fleenor) gave a primal performance at barboza

eric vloeimans’ “Oliver’s cinema” captivated the crowd at chapel performance space

10 • Earshot Jazz • December 2014 a 10-tet led by wayne horvitz opened the festival at town hall on october 10, thelonious monk’s 97th birthday

industrial revelation’s josh rawlings & d’vonne lewis at emp pharoah sanders at town hall battle trance at chapel performance space

Pham Trà My performing with Trí Minh’s Quartet at poncho concert hall

December 2014 • Earshot Jazz • 11 FOR THE RECORD Choice, Recent Local Releases

a soulful piano solo. A simple bossa of the myriad musical forms that have nova groove provides the foundation emerged from the island’s long his- for Swiggett’s vocal line and a series tory of intercultural contact, suggest of solos on the title track, whose lyrics she’s done a good job. With far more are an ode to the pianist’s mother – an than a little güiro and a sprinkling of artist whose lovely painting also grac- salsa rhythms, this collection of eleven es the album cover. “A Tune With a solid compositions conveys a sense of View,” with its syncopated framework originality without losing sight of the and vocalized melodies, closes the al- source of its inspiration. bum about as perfectly as possible. The fiery son, “La Chica del – Jeff Janeczko Malecón,” is one of several tracks that benefit from the wonderful contribu- Ann Reynolds’ Clave Gringa tions of the La Familia Valera Miran- Nelda Swiggett’s Stringtet da ensemble. This, along with “Songo Blue-Eyed Painted Lady Para Cuba Con Amor Borracho” and the bolero “Working Self-released Through,” are among the more tradi- OA2 Records tionally oriented cuts. Cuba’s debt to Pianist and composer Nelda Though Cuba is a relatively tiny is- African music comes to the fore in Swiggett’s latest offering, Blue-Eyed land, it has given the world of music “Sol y Luz,” which utilizes the synco- Painted Lady, is a 9-track disc of – especially jazz – immense gifts. With pated 6/8 bell rhythm of the Santeria original compositions played skill- Para Cuba Con Amor, pianist Ann spirit-god Elegua as an ostinato base fully by her “stringtet” – that is, her Reynolds and her Clave Gringa group for an inventive arrangement. But the piano trio (Chris Symer, bass; Byron offer Cuba, if not a gift, at least a very album really wouldn’t be an offering if Vannoy, drums) augmented by violist danceable note of thanks. Reynolds Reynolds didn’t imbue it with a sense Rachel Swerdlow and cellist Walter has been travelling to Cuba annually of her own spirit, which shines brightly Gray, both of the Seattle Symphony for the past fourteen years to study at on several tracks that treat Cuba more (Gray was also a founding member the National School for the Arts and as a point of departure than a destina- of the Kronos Quartet). Though it is “absorb more of the music and cul- tion. Swiggett’s fourth CD, it is the first re- ture.” The 11 original songs on Para – JJ cording for the stringtet. It’s a fine de- Cuba Con Amor, which explore some but that showcases Swiggett’s voice as Marc Smason a composer and the abilities of the ensemble members in relative equal fash- Mambo de Gente ion. This is a welcome balance here, as Self-released Swiggett’s compositional voice is one of the album’s strong points. If you’re wondering what can be On “Thanks to Solomon,” Swiggett’s done about all that presently ails the twisting and turning of a half-step world, trombonist Marc Smason has theme through various rhythmic and a rhetorical question for you: “Why harmonic treatments suggests a mini- can’t we sing and dance right thru this malist approach. But the contrasting crap?” As the opening track of his new section is a pleasant, forget-your-wor- album (the lyrics of which are printed ries country-blues vamp that supports directly on the cover sleeve), we can

12 • Earshot Jazz • December 2014 only assume that making you do so is a recording that simply captured a spe- Smason’s goal with Mambo de Gente. cial moment that music created. A nine-track album that mixes covers – JJ and standards in with Smason’s originals, it’s a straight-ahead swinging al- Brad Gibson bum that, though not of the highest production value, is a thoroughly en- Poontet joyable listen. Smason wastes no time Self-released – getting to the point straightaway and carrying the momentum through with style and ease. “Mambo de Gente’s” march-like dance rhythm gives way to the easy swing of “Justice Song,” which gives Rich’s way even more to the slow, funky, back-alley blues of “Los Buhos.” Sma- Jazz Coffee son sings on several tracks, too, offering cover of Fairport Convention’s “Who Knows Where the Time Goes” and the Duke’s “Mood Indigo,” both of which are wholly his own. The same can be said of his cover of Eric Apoe’s W E E K D A Y S “Sayonara.” It’s kind of a tricky album to pin down at first, and one whose raison 9am CAR AVAN d’etre goes far beyond singing and Drummer Brad Gibson named this global beats dancing to forget that the world is CD after the naughty Nordic nudies messed up. But if you know that Sma- adorning the walls at the Copper Gate, son’s an NEC and CalArts grad, and where this band originated. The club is an activist who believes first and fore- gone but the risqué vibe lives on. The noon THOM HARTMANN erotic close up female open mouth on PROGRAM most in building community through progressive talk music, it starts to make a little more the cover doesn’t quite have her tongue sense. And when it starts to make a deep enough in cheek. little more sense, it starts to sound like Featuring six compositions by Gib- 3pm MUSIC + IDEAS son, this session was recorded by Ja- global beats/news features son Gray at the Seattle Drum School, mixed by Mell Dettmer at Studio Soli, and mastered by Doug Krebs. The band recorded in the L.A.B. (Little 5pm DEMOCRACY NOW! Auditorium in the Back) of the Drum progressive news School without headphones. During post production some solos were cut and digital effects added. 6pm HARD KNOCK RADIO One of the unusual aspects of this urban culture ensemble is the use of two keyboard- ists, one playing analog instruments, the other digital. Over coffee in the University District, Gibson explained, “I used two keyboards to get a big- ger sound than keyboard and guitar.” Listen online Marc Smason photo by John Madsen Gibson likes “interplay within the mo- www.kbcs.fm ment with individuals who work well

December 2014 • Earshot Jazz • 13 together” and is satisfied that the CD Invisible Man is “a complete and good representation of my compositions.” Pony Boy Records The CD opens with “The Matri- Guitarist Frank Kohl may wrestle arch,” a through-composed medita- with his own inner demons of distrac- tion with improvisation only by the tion and insecurity, but you can’t hear drum and keyboard accompaniment. After a written, moaning alto saxophone solo by Bryan Smith, the band breaks into silence. With nothing to fill the break, ears have a chance to breathe and gather energy before the restatement of the melody. “I Hope U Make It Dirty” uses the syllables of the title to generate the melodic rhythm. The 1960s era “K” Zildjian high hat cymbals set up the funky groove with a crisp “tick, tick, tick” beneath the cloudy pad from Mack Grout on digital keyboards and phase shifting “wee-oo-wee-oo” from Ryan Burns on that on his third recording, Invisible analog keyboards. “Round & Round” Man. His soaring solos and swinging fades in from silence to a melody play- tunes unveil a spirit tuned in to the ing with rhythms of threes against moment and where the notes may lead. twos. Trumpeter Scott Morning takes Originally from New York State, a muscular solo over the open vamp, Kohl learned music in his high school spurred by Gibson’s drum fills and jazz band, got inspired at clubs in New driving pulse on the ride cymbal bell. York City, studied at Berklee in Bos- The song ends with a dizzying stac- ton, and returned to New York City as cato drum solo by Gibson over four a professional, recording his first CD, repeated notes. The high hat cymbals Reform, with bassist Michael Moore “chick” brightly on the sentimental in 1981. Kohl migrated to the Bay ballad, “Andrea.” “Twilight” features a Area in 1983 and joined a band called vamp by bassist Jason Gray that turns Warmth led by vibraphonist Don the beat around underneath a slowly McCaslin. Then he met his Seattle- building series of long harmonies in the born wife and they moved to the Pa- horns and ambient solos from the key- cific Northwest. She teaches yoga and Delivery Service in Seattle boards. The band sound takes me back keeps Kohl’s negativity cool. But Kohl to fond memories of 1970s collabora- walked away from music ten years ago. Full Service tions between electric keyboardist Jan Kohl’s creative flame was rekindled Violin Family Dealer Hammer, electric bassist Gene Perla, hearing Jim Hall at Jazz Alley. Bassist Serving Western & Central Washington and percussionist Don Alias, but with Steve LaSpina really impressed him. Established 1964 a Northwest cloud covered moodiness. LaSpina is a “super strong and tuned “Blue Topaz” spins quick disorienting in listener and player,” Kohl told me five-note arpeggios against punches by over the phone. “He gives so much of the drums and horns. himself. He comes from that school of BASSES Check out Gibson’s group Synthesis, being more involved with the music, 9pm-midnight, December 10 at Vito’s. like Eddie Gomez. I get something – Steve Griggs back from him that inspires me.” www.hammondashley.com The inspiration led to this recording Frank Kohl of five Kohl originals and three stan-

14 • Earshot Jazz • December 2014 dards at Tedesco Recording Studio in turns Tennessee up to eleven. Remem- Paramus, NJ, by Kohl and LaSpina, ber the fiddle solo on “The Devil Went Frank’s brother Tom on piano, and Down to Georgia” by Charlie Daniels? drummer Jon Doty. Greg Williamson Now crank it up and distort the hell at Pony Boy mixed the session and out of it. You will only be scratching Ross Nyberg mastered the recording the surface of where this track goes. in his Issaquah studio. “In That Distant Place” by Jon Davis While Kohl clearly mastered tech- is awash in reverb over a mellow seven nique, his guitar solos sing true with and a half beat groove. “Synecdoche” room for breath and emotion. The by James DeJoie starts as a five and strong swing, bass pedal, and catchy a half beat figure and evolves into a melody of the title track echo compo- four on the floor jam. “The Earth is sitions by Oliver Nelson and Bobby an Atom” by Alicia DeJoie glides along Timmons. The two-beat folky “In Eight years ago, guitarist Rea started mostly in six beats and pans the bari- Your Arms” harkens from the ilk of down the path to this recording as a tone sax from left to right. “Spiritual guitarist Pat Metheny, who was on duo with cello. More strings and per- Gatecrasher” pulls out the distortion the Berklee scene while Kohl attended cussion joined the journey. Eventu- pedals with a ten beat vamp under a classes there. “Born Again” swings in ally Rea collected the current lineup flute melody. After a quick interlude, a a minor key with a brief tag between of Alicia DeJoie (violin), James DeJoie flute and violin take modal solos over the end of the bridge and the recapitu- (reeds, flute), Kevin Millard (stick the closest the drums come to a jazz lation of the opening melodic phrase. bass), and Tom Zgonc (drums) and ride cymbal pattern. “The Okanogan “Falling Sky” sambas through a uni- deposited them at Soundhouse record- Lobe” closes the playlist with a lead son figure and melancholy melody. ing studio in Ballard. Engineer Steve guitar head banger. Fist pumps and “Round About” is a swinging blues Fisk (Nirvana, Soundgarden) piloted moshing switch briefly to an off bal- with the last phrase sliding smoothly the vintage Trident 80B console. Rea ance genteel waltz, then back to ham- down chromatic cadences. Standards set up the studio’s guitar amplifier in mering grooves for the solos. All bow “My Funny Valentine,” “My One and the bathroom, the same amp that Kurt to the great spirits of feedback and dis- Only Love,” and “Alone Together” Cobain used on his first record. tortion! round out this enjoyable recording. While the mix may sound just fine Moraine synthesizes progressive Music that emphasizes feeling can on computer speakers, the sonic rock, grunge, and jazz with a uniquely be difficult to capture in the recording depth, and detailed placement of en- Seattle slant. studio. For Invisible Man, Kohl said riched sounds deserve closer listening Check out the CD release concert, he “did have a lucky day with magical on headphones at high volume. Rea 8:30pm, December 14 at Columbia moments in it.” wanted to make this recording an City Theater (21+). Come hear some magic at the CD re- enveloping experience like their live – SG lease performance, 9pm, December 27 at sound. Mission accomplished. The electric violin sounds sometime take Egan’s Ballard Jam House. Nate Omdal & Spekulation – SG on the character of an overblown blues harmonica. The signal processed bari- Enemy Within tone saxophone thrusts like a second Moraine distorted guitarist. The odd time sig- (The Original Soundtrack) Groundswell natures are deep in the pocket. The au- United Artists Initiative MoonJune Records dio signals are blazing hot. The decays of each song’s last sound are handled Bassist Nate Omdal likes the “Ital- ian cooking” style of music creation The geologic theme of Moraine ex- with finesse. – put the right ingredients (musi- tends to one of the major genres influ- “Mustardseed” by Daniel Barry cians) together in the pot (studio) encing its formation: progressive rock. grows from undistorted power chords and the results can be delicious (spec- The band’s leader, Dennis Rea, cites on bass, though a slow anthem of ris- tacular sounding). In the case of the 1970s bands King Crimson, Soft Ma- ing notes in the saxophone and violin, soundtrack for the short narrative chine, and Gentle Giant as the magma pushed by steady drumming, bloom- dance film Enemy Within, it was Josh from which Moraine erupted. ing into a chalkboard scratching guitar freakout. “Gnashville” by Rea Rawlings on piano, Begin Scarseth on

December 2014 • Earshot Jazz • 15 Rawlings over Omdals plucked bass and string pad. Act three starts with a The Bass Church The Bass Church suspendedThe Bdescendingass C chordhur cprogresh - The Northwest double bass specialists The Northwest double bass specialists sion T joinedhe North w withest do ub dubsteple bass spec ia electronicslists

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dancer representing insecurity as she (206)784-6626 stalks(206)784-6626 and challenges three other danc- (206)784-6626 9716 Phinney Ave. N. 9716 Phinney Ave. N. 9716 Phinney Ave. N. Seattle, WA. 98103 ersSeattle, struggling WA. 98103 with beauty, self image Seattle, WA. 98103 ~by appointment only~ and~by confidence. appointment only~ The film spans ballet, ~by appointment only~ modern, and dubstep dancing and the soundtrack became the basis for the film’s choreography. The Bass Church TheT hvisualse B foras “Enemys Ch urWithin”ch are The Bass Church The Northwest double bass specialists powerfullyThe Nor tbeautiful,hwest double b soass pleasespecialist shear the The Northwest double bass specialists music in the context of the film. The www.basschurch.com movements,www. bbodies,asschu lighting,rch.com staging, ble at wLondonww.ba Bridgesschur cStudiosh.com went so editing and sound effects are works of well, saxophonist Skerik asked, “Why art in themselves. The soundtrack con- are we coming back tomorrow?” Not sists of five acts and music for the end that the day was grueling. In fact it was Sales, Rentals, Sales, Rentals, Sales, Rentals, credits. very relaxed. Everyone was in a good Repairs, Restorations, Repairs, Restorations, Repairs, Restorations, It’s amazing how the music focuses mood. Everyone was in the same room Lessons Lessons Lessons

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16 • Earshot Jazz • December 2014 that they appear on the CD so there for an intimate exploration by tenor telling, evocations of shared human was not much need for editing. Only saxophonist Skerik. Ryan Burns be- experience. one tune was spliced from multiple gins “First Light” with pointillist notes While knowing the underpinnings takes. Andy Meyer manned the board over a shifting fog of winds. The fog behind Marriott’s musical concepts at London Bridge, Brian Montgom- thickens with freely improvising reeds may deepen the experience, it’s not re- ery mixed the session, and Graemme and rhythm shadowed by brass clouds. quired to revel in the music itself – vig- Brown mastered the recording. Again Horvitz highlights his color- orous post-bop, executed with nuance, The result is breathtaking – flaw- ful orchestration and the ensemble anchored by Marriott’s smeary, lush less, flowful, continuously intriguing, displays its masterful unity of sound. tone and backed by a hard-driving swinging, surprising, and an hon- “Sweeter Than the Day” is arranged as East Coast threesome of Orrin Evans est representation of the how the en- a rich wind ensemble hymn to again on piano, Donald Edwards on drums semble sounds live. Horvitz admits to feature the savory trombone tone of and the authoritatively woody pres- maybe not taking the band right to the Williem de Koch and syrupy saxo- ence of bassist Eric Revis. Marriott’s edge of the cliff in the studio like he phone testifying of Skerik. The title bandmates play with the conviction does at the group’s home in Columbia track, “At the Reception,” is a swinging and rapport of a working trio, and the City. But he did use the “conduction” affair with trumpeter Steve O’Brien vibe is that of a cohesive quartet, rath- technique of his mentor Butch Morris boisterously greeting visitors. Kate Ol- er than the sidemen/leader dynamic – improvising the performance of each son pirouettes through the crowd on found on many jazz sessions. piece through cues instead of reading soprano saxophone with Beth Fleenor The music is strong throughout, but a song from the upper left of the first deftly balancing drinks as she jostles I’m partial to the second half of the page to the lower right of the last. through her clarinet solo. “Redux #4 disc: The cinematic, funky mood of “A Walk in the Rain” evokes film (Sweeter Than the Day)” closes the “Locked Up,” the loosely angular play- noir, but slightly more playful than CD with a succinct low down mourn- fulness invoking Monk and Dolphy the cynical movie genre. “Forgive- ful interpretation this time through. on “Living on the Minimum,” and the ness” shows off Horvitz’s gorgeous or- – SG bossa-tinged R&B groover “Washing- chestration, tenderly and meticulously ton Generals,” showcasing expansive and exploratory work from Marriott performed and improvised upon by Thomas Marriott and Evans, as well as some welcome the winds. The tonal colors are so rich, solo space for Edwards. even the tinniest ear will experience Urban Folklore While perhaps not as brazenly ex- synesthesia. “Barber Shop” bounces Origin Records ploratory as some of his superb past like a parade of marching clowns with “The job of a musician is to illustrate work (check out Crazy: The Music of saxophone solos by a swooping and Willie Nelson), Urban Folklore is not diving Kate Olson on soprano and only a burning modern jazz album but a squawking Skerik on tenor. “Iron- another solid step towards consolidat- bound” begins with weaving coun- ing Marriott’s status as one of Seattle’s terpoint between Ivan Arteaga’s alto most reliably versatile and creative mu- saxophone and Beth Fleenor’s clarinet sicians. yielding to a drunken waltz with an – Andrew Luthringer energetic Eric Eagle drum solo over a unison melody by the winds, through a few sparsely decorated melodies, Bad Luck then a return of the unison a second Three time with a clarinet solo. “Prepaid Table & Chairs Funeral” comes alive with Al Keith bopping over a Morse code vamp by The singular duo of drummer Chris the piano and drums. Ivan Arteaga Icasiano and tenor saxophonist Neil inserts improvised comments inside the human condition.” On his latest Welch, who could arguably be de- the melody then trombonist Wil- album, ace trumpeter Thomas Mar- scribed as one of Table & Chairs’ mar- lem de Koch launches a golden toned riott lays out his musical ethos. Mar- quee acts, intensify and extend their flight over a group improvisation. The riott conceived the nine original tunes alliance on the superb Three. Sound- rhythm section shrinks to a whisper on Urban Folklore as musical story- ing literally like the work of one brain

December 2014 • Earshot Jazz • 17 The sole cover is Roscoe Mitchell’s “Nonaah,” which closes out the album, and is an apt choice to make lit- eral part of the lineage that Bad Luck is updating, paying tribute to a kin- dred spirit yet operating on their own terms. With Mitchell, they share some sonic common ground but also something more important: A relentless and uncompromising pursuit of their own artistic vision. – AL

Chemical Clock and two instruments, their obvious free jazz textures (“Squid”) or a catchy deep connection as improvisers and Bad Habitat synth hook (pretty much every track). uniquely interconnected composition- Table & Chairs Cameron Sharif’s intricate com- al instincts are augmented by Welch’s positions and multifarious keyboard judicious but superbly effective use of In describing Chemical Clock’s Bad textures pull the music towards outer electronics. The agile duo’s sturdily Habitat, there’s a temptation to fall space, as Ray Larsen’s versatile and constructed pieces are immaculately back on an exhaustive (and exhaust- velvety trumpet (even when mutated executed – often skeletally minimal ing) listing of hyphenated genre influ- by electronics) helps keep the band yet perfectly proportioned. ences (post-prog-soundtrack-fusion- sound rooted in earthly pleasures, The album’s highlights are many and chamber-pop-this-and-that), but this while the bass and drums tandem of varied. The title track’s intervallic ac- doesn’t really do the music justice. Mark Hunter and Evan Woodle lock robatics yield an ambiguous blurring Suffice to say that the myriad invoca- it all down like a rhythm section is of the lines between avant-freedom tions in the band’s music make for a supposed to, at least a rhythm section and tight structure; the power-drone referential richness that is difficult to on whatever planet Chemical Clock of “Ideal City” provides a satisfying describe. The band traffics in rhyth- has emigrated from. Deploying pro- rattle to the body cavities; and “Pow- mic precision, fiercely executed riffage digious chops, they produce absurdly er Ballad” truly lives up to its name, and a studious aversion to 4/4 time, varied textures for a quartet, yet they interspersing punchy blasts of sound but are also fully at ease with a sweetly make the balancing act seem easy and with ominously beautiful ambient bal- lyrical melody (“Spring Forward”), a natural, all the while tempering the lad sections. pumping disco groove (“Roy”), dark

18 • Earshot Jazz • December 2014 seriousness of their execution with an Nine Surprises Featuring a stellar 9-piece ensemble evident sense of humor. of Seattle jazz luminaries, Nine Supris- Unlike some other polymath fore- Tom Varner Music es is structured as a suite, interspersed bears where the lines between parody, Hopefully, we’re many years past the with short improvisational interludes irony and sincerity were more clearly stage where Tom Varner has to explain from some of the ensemble. The writ- defined (Frank Zappa comes to mind), the “jazz French horn,” and instead ing is richly textured, with beautifully Chemical Clock seem to embody a have arrived at a point where he can ambiguous sonorities and harmonies more fluid, less self-conscious sense simply be considered an amazingly recalling the inescapable influence of musical identity. While some simi- sensitive, versatile and skilled musi- of Gil Evans, with a scent of Third larly inclined bands sound merely like cian, who combines the execution of Stream 20th-century modernism, and a sum of their impressive record col- classical training with the free-ranging a hint of Henry Threadgill in his more lections, Bad Habitat just sounds like, experimentalism and vocabulary of relaxed moments. well, Chemical Clock. A stellar effort. jazz. On Varner’s latest self-released “Main Theme” lays out a wander- – AL album Nine Surprises, his considerable ing, somewhat languorous mood for skills as a composer and arranger also the suite, and though a number of share the spotlight. Tom Varner Continued ON PAGE 23

December 2014 • Earshot Jazz • 19 Jazz Around The Sound December 12 Monday, December 1 EB Margo Murphy and John Roberts, with Ruthie SF Sue Nixon Jazz Quartet, 9 Dornfield, 9 TU Marc Seales Group, 7:30 BX Mount Si Jazz, 7 EB Jacob Zimmerman Quintet , 7 VI The Tarantellas, 6 C* Havana Sessions w/ Onlytrio (Havana Social JA Roy Hargrove Quintet, 7:30, 9:30 VI Jimmie Herrod, 9:30 Club, 1010 E Pike St), 9 NC Robin Bessier, 7 ED David Benoit Christmas Tribute to Charlie SB Cephalopod, 10 Sunday, December 7 Brown , 7:30 TU Katie King Vocal Showcase, 7:30 TU Cascadia Big Band, 7:30 BH Portland Cello Project’s Holiday Spectacular VI Casey MacGill, 5:30 (with special guest: Ural Thomas & the Pain), Tuesday, December 2 VI Tim Kennedy Trio, 9 7:30 AV Cosmic Quintet, 6:30 Friday, December 5 BX Danny Kolke Trio, 6 BP Gotz Lowe Duo, 6 C* Steve Jones Trio (Village Wines, 14450 CH Zero-G: Triptet and Dempster & Smith, 8 BX Vox at the Box: Jazz Vocal Jam, 7 Woodinville-Redmond Rd, Woodinville), 5 DU Jeff Ferguson’s Triangular Jazztet, 7:30 CM Cascade Brass Quintet, 6:30 FB Seattle Jazz Vespers - The Bill Chism Quartet JA Elvin Bishop, 7:30 EB Angie McKenzie, with Hans Brehmer (piano), with Annie Eastwood on Vocals, 6 OW Eric Verlinde Trio, 10 Osama Afifi (bass) and Robert Rushing (drums), JA Roy Hargrove Quintet, 7:30 SB McTuff, 11 7 PO American Gamelan, Past and Present, 7 SB Erectet, 8 GZ Quiet Fire, 7 SF Lennon Aldort, 6:30 JA Roy Hargrove Quintet, 7:30, 9:30 TO Andrew Durkin & Guests: Music & Your Mind, SF Sunday brunch feat. Pasquale Santos, 11am LA Latona happy hour w/ Phil Sparks, 5 7:30 TU Jim Cutler Jazz Orchestra, 7:30 LJ Don’t Move, 9 TU Kelley Johnson Vocal Showcase, 7:30 VI The Ron Weinstein Trio, 9:30 LJ VioPan Duo, 6 VI Ruby Bishop, 6 Wednesday, December 3 NC Paul Anastasio & Fire of Tierra Caliente, 8 BP Gotz Lowe Duo, 6 RR Michel Navedo and Brazil Novo/ Maracuja, Monday, December 8 BX Future Jazz Heads, 5,7 8:30 SF Alex Guilbert Duo, 9 BX Bob Baumann and Friends, 7 C* Ryan Burns Trio (Black Zia Cantina, 15212 6th C* Havana Sessions w/ Paul Gabrielson Trio Ave SW, Burien), 8:30 TU Jacqueline Tabor w/ Clipper Anderson, Alexey (Havana Social Club, 1010 E Pike St), 9 CM International School Jazz Band, 6:30 Nikolaev, Mark Ivester, Randy Halberstadt, CM 85th Street Big Band, 6:30 EB Lizzie Clauss & Jo Baque, 9 7:30 SB Jacques Willis Presents, 7 JA Elvin Bishop, 7:30 TD Charlie Hunter and Scott Amendola, 7:30 NC Jam w/ Darin Clendenin Trio, 7:30 Saturday, December 6 SF Jazz Trio featuring Shawn Mikelson, 8 BX Janette West Band (w/North Bend Holiday Tree TU David Marriott Big Band, 7:30 TD Sunshine Subconscious (Musicquarium), 8:30 Lighting Festival), 7,8:45 Tuesday, December 9 TD Goapele, 7:30 BX Janette West Quartet, 7 TU Smith Staelens Big Band Holiday Celebration, 7 CR Racer Sessions, 8 BP Gotz Lowe Duo, 6 VI Michael Owcharuk Trio, 9 GZ Quiet Fire, 7 BX Jam Session, 7 JA Roy Hargrove Quintet, 7:30,9:30 CM Bellevue Christian School Jazz Ensemble, 6:30 Thursday, December 4 NC Four, 8 JA Roberta Gambarini, 7:30 BP Gotz Lowe Duo, 6 RR Electric Circus, 10:30 OW Eric Verlinde Trio, 10 BX Chuck Kistler & Dan Greenblatt, 7,8:30 SB Sound Dialog, 10 SB McTuff, 11 CH Angelina Baldoz & Friends: Etudes, 8 SB Eric Hullander Band, 8 SB Travis Hartnett Jazz, 6 Calendar Key

AV Agua Verde, 1303 NE Boat St, 545-8570 ED Edmonds Center for the Arts, 410 4th Ave N, PD Pink Door, 1919 Post Alley, 443-3241 BB Couth Buzzard Books, 8310 Greenwood Ave N, Edmonds, 425-275-9595 PO PONCHO Concert Hall, Kerry Hall, 710 E Roy 436-2960 FB Seattle First Baptist Church, 1111 Harvard Ave, St BH Benaroya Hall, 200 University St, 215-4747 206-325-6051 RR The Royal Room, 5000 Rainier Ave S, 906- BP Bake’s Place Bellevue, 155 108th Ave NE, GZ Grazie Canyon Park, 23207 Bothell-Everett 9920 Bellevue, 425-454-2776 Hwy, Bothell, 425-402-9600 RV Rainier Valley Cultural Center, 3515 S Alaska St BX Boxley’s, 101 W North Bend Way, North Bend, JA Jazz Alley, 2033 6th Ave, 441-9729 SB Seamonster Lounge, 2202 N 45th St, 633- 425-292-9307 KC Kirkland Performance Center, 350 Kirkland Ave, 1824 C* Concert and Special Events Kirkland, 425-828-0422 SE Seattle Art Museum, 1300 1st Ave, 654-3100 CH Chapel Performance Space, Good Shepherd LA Latona Pub, 6423 Latona Ave NE, 525-2238 SF Serafina, 2043 Eastlake Ave E, 323-0807 Center, 4649 Sunnyside Ave N, 4th Floor LJ Lucid Jazz Lounge, 5241 University Ave NE, SG Ship Canal Grill, 3218 Eastlake Ave E, 588- CM Crossroads Bellevue, 15600 NE 8th St, 402-3042 Bellevue, 425-644-1111 MT Mac’s Triangle Pub, 9454 Delridge Way SW, 8885 CR Cafe Racer, 5828 Roosevelt Way NE, 523-5282 763-0714 SY Salty’s on Alki, 1936 Harbor Ave SW, 526-1188 DT Darrell’s Tavern, 18041 Aurora Ave N, MV Marine View Church, 8469 Eastside Dr NE, TD Triple Door, 216 Union St, 838-4333 Shoreline, 542-6688 Tacoma, 253 229-9206 TO Town Hall Seattle, 1119 8th Ave, 206-652- DU Duos Lounge, 2940 SW Avalon Way, 452-2452 NC North City Bistro & Wine Shop, 1520 NE 177th 4255 EB Egan’s Ballard Jam House, 1707 NW Market St, St, Shoreline, 365-4447 TU Tula’s, 2214 2nd Ave, 443-4221 789-1621 OW Owl ’n’ Thistle, 808 Post Ave, 621-7777 VI Vito’s, 927 9th Ave, 682-2695

20 • Earshot Jazz • December 2014 TD A Winged Victory For The Sullen w/ Hildur LJ Freudian Slurp, 9:30 Gudnadottir from Múm, 7:30 NC Wiretappers, 8 TU Emerald City Jazz Orchestra, 8 SB Felas Kooties, 10 Curtain Call SB Jacques Willis Presents, 7 weekly recurring performances Wednesday, December 10 SF Shawn Mikelson Trio, 9 BP Gotz Lowe Duo, 6 TU Peter Daniel Quartet, 7:30 BX Future Jazz Heads, 5,7 VI Kareem Kandi, 9:30 MONDAY C* Eagle’s Idea w/ Joe Doria, Ryan Burns, Eric VI Jerry Zimmerman, 6 Eagle (Black Zia Cantina, 15212 6th Ave SW, C* EntreMundos jam (Capitol Burien), 8:30 Sunday, December 14 CH Sean Osborn, 7:30 BB Music Improv Session w/ Kenny Mandell, 7 Cider, 818 E Pike St), 9 EB Vocal Jam, 9 BX Danny Kolke Trio, 6 EB Vocal Showcase, 7 MV Michael Powers Holiday Jazz, 5 C* Mo Jam Mondays (Nectar JA Roberta Gambarini, 7:30 RR Edna Vazquez and Diana Gameros, 8:30 Lounge, 412 N 36th St), 9 NC Meridienne, 7 SB Don’t Move Trio, 10 TU Jim Sisko’s Bellevue College Jazz Orchestra, SB Travis Hartnett Band, 7 MT Triangle Pub jam, 8:30 7:30 SF Ann Reynolds & Leah Pogwizd, 6:30 VI Synthesis, 9 SF Sunday brunch feat. Alex Guilbert Duo, 11am PM Paul Richardson, 6 TU Jim Cutler Jazz Orchestra w/ North Seattle Thursday, December 11 College, 7:30 TUESDAY BH An Evening with Andy McKee, 7:30 TU Jazz Police Big Band, 3 BX Randy Halberstadt Duo, 7,8:30 VI The Ron Weinstein Trio, 9:30 BP Gotz Lowe Duo, 6 C* Jose Gonzales Trio (Cornish Playhouse, 201 VI Ruby Bishop, 6 OW Jam w/ Eric Verlinde, 10 Mercer St), 6 Monday, December 15 CH People. Make. Awesome. (Music + Moving SB McTuff Trio, 11 Image), 8 BX Mount Si Vocal Jam, 7 EB Kenny Mandell Jazzworks Showcase, 7 C* Havana Sessions w/ Matt Setzler (Havana Social NC Leah Natale, 7:30 Club, 1010 E Pike St), 9 WEDNESDAY RR Anthem International Music Festival, 8 RR The Royal Room Collective Music Ensemble, 8 SB The Suffering Fuckheads, 10 SB Ari Joshua Band, 10 BP Gotz Lowe Duo, 6 SE Art of Jazz: Jay Thomas Band, 5:30 TU PH Factor Big Band, 7:30 BX Future Jazz Heads, 5, 7 TU Jack Halm & Jazz Etc., 7:30 VI Casey MacGill, 9:30 Tuesday, December 16 PD Casey MacGill, 8 VI Jennifer Kienzle, 9 BP Gotz Lowe Duo, 6 BX Offbeats Vocal Jazz Ensemble , 7 Friday, December 12 JA Joey DeFrancesco Trio Home for the Holidays, THURSDAY BP Gotz Lowe Duo, 6 7:30 BP Gotz Lowe Duo, 6 BX Ronnie Pierce Living Legends Tribute, 7,8:45 OW Eric Verlinde Trio, 10 CM Uptown Swing, 7 SB Kid Quagmire, 8 PD Greg Ruby & Maggie Kim, 8 DU Jeff Ferguson’s Triangular Jazztet, 7:30 SB McTuff, 11 EB Nancy K Dillon & MJ Bishop, 9 TU Roadside Attraction Big Band, 7:30 FRIDAY EB Chip Parker, 7 Wednesday, December 17 GZ Edward Paul Trio, 7 BP Gotz Lowe Duo, 6 LA Latona happy hour w/ Phil Sparks, 5 BP Gotz Lowe Duo, 6 NC Swingnuts, 8 BX Future Jazz Heads, 5,7 DU Jeff Ferguson’s Triangular RV Central Washington University Jazz Band 1 w/ C* Being John Mclaughlin (Black Zia Cantina, Daniel Barry, 7:30 15212 6th Ave SW, Burien), 8:30 Jazztet, 7 SF Tim Kennedy Trio, 9 JA Joey DeFrancesco Trio Home for the Holidays, LA Latona happy hour w/ Phil TD The Hot McGandhis (Musicquarium), 10 7:30 TU Bill Anschell Trio, w/ Chris Symer, Jeff Busch, NC Karin Kajita & Emily, 7 Sparks, 5 7:30 RR Jazz Night School, 6 VI Jovino Santos Neto, 8 SB Unsinkable Heavies, 10 SUNDAY TU Greta Matassa Showcase, 7:30 12 Central Washington VI Jerry Zimmerman, 8 BX Danny Kolke Trio, 6 University Jazz Band 1 w/ Thursday, December 18 CR Racer Sessions, 8 Daniel Barry BX Nelda Swiggett Stringtet (Orchestral Jazz), Central Washington University Jazz Band 1, directed 7,8:30 DT Darrell’s Tavern session, 8 by Chris Bruya presents the Music of Daniel Barry in EB JazzMeat, 7 PM Paul Richardson & Josephine concert with Daniel Barry conducting. Daniel Barry’s NC Diane & Bob Holiday Show, 7 music falls primarily into the jazz category but SB Black Zabrek, 10 Howell, 6 assembles ideas from Afro-Cuban, Afro-Peruvian and TU Fred Hoadley”s Sonando, 8 Brazilian musical traditions. Free admission. VI Casey MacGill, 5:30 SY Victor Janusz, 10am VI Rat City Brass, 9 Saturday, December 13 TU Jim Cutler Jazz Orchestra, BX Aria Prame Quartet, 7,8:45 Friday, December 19 7:30 C* 2saxy & Urban Flo (Shuga Jazz Bistro, 317 BP Gotz Lowe Duo, 6 Main Ave South, Renton), 8:30 BX Greg Williamson Quartet, 7,8:45 VI Ruby Bishop, 6 CR Racer Sessions, 8 CM Critical Mass Big Band, 7 VI Ron Weinstein Trio, 9:30 EB Val D’Alessio & Jaspar Lepak, 9 DU Jeff Ferguson’s Triangular Jazztet, 7:30 GZ Edward Paul Trio, 7 EB Steve Messick’s Holiday Jazz Showcase, 7

December 2014 • Earshot Jazz • 21 GZ Michael Powers Group, 7 Sunday, December 21 OW Eric Verlinde Trio, 10 LA Latona happy hour w/ Phil Sparks, 5 SB McTuff, 11 NC Pearl Django, 8:30 BB Open Jazz Jam w/ Kenny Mandell, 2 TU Lonnie Mardis & SCC Jazz Orchestra, 7:30 SF Shawn Mikelson Duo, 9 BX Danny Kolke Trio, 6 TD The Djangomatics, 5 C* Bob Strickland’s Jazz (couriers) jam (Anchor Wednesday, December 24 Pub & Restaurant, 1001 Hewitt Ave, Everett), 5 TD Lushy, 10 VI Wally Shoup Quartet, 9 TU Jovino Santos Neto Quintet, 7:30 SB Ask the Ages, 7 VI Casey MacGill, 8 SF Ann Reynolds & Leah Pogwizd, 6:30 Friday, December 26 SF Sunday brunch feat. Pasquale Santos, 11am BP Gotz Lowe Duo, 6 TU Jim Cutler Jazz Orchestra, 7:30 Saturday, December 20 BX RMI Concert, 7,8:45 VI The Ron Weinstein Trio, 9:30 BX Diana Page Quartet, 7,8:45 DU Jeff Ferguson’s Triangular Jazztet, 7:30 VI Ruby Bishop, 6 CH Christian Pincock and The Sky is a Suitcase, 8 GZ The Christel Trio, 7 CR Racer Sessions, 8 Monday, December 22 JA Sara Gazarek - Home for the Holidays, EB Chris Chandler, 9 7:30,9:30 BX Will Crandell Project, 7 GZ Michael Powers Group, 7 LA Latona happy hour w/ Phil Sparks, 5 C* Havana Sessions w/ Steve O’Brien Sextet NC Eugenie Jones Winter Solstice Celebration, 7 NC Katy Bourne, 8 (Havana Social Club, 1010 E Pike St), 9 SB Tuatara, 10 SF Shawn Mikelson Duo, 9 JA The Senate, 7:30 SF Alex Guilbert Trio, 9 TU Stephanie Porter Quintet, 7:30 TU Lisa Fox Group CD Release Celebration, 7:30 TO Earshot Jazz: Ellington’s Sacred Music Concert, VI Lushy, 9 7:30 Tuesday, December 23 TU Susan Pascal Quartet, 7:30 Saturday, December 27 BX Future Jazz Heads & Jazz Heads, 6 VI The Tarantellas, 6 BX Pony Boy Holiday Jam Session, 7,8:45 JA The Senate, 7:30 VI Danny Quintero, 9:30 CR Racer Sessions, 8 EB Frank Kohl Trio, 9 GZ The Christel Trio, 7 JA Sara Gazarek - Home for the Holidays, 7:30,9:30 SF Tim Kennedy Trio, 9 TD Brad Gibson Trio featuring: Ari Joshua and Joe Doria, 10 TU Greta Matassa Quartet, 7:30 VI Prom Queen, 9:30 VI Jerry Zimmerman, 6 Sunday, December 28 BB Open Jazz Jam w/ Kenny Mandell, 2 BX Danny Kolke Trio, 6 JA Sara Gazarek - Home for the Holidays, 7:30 RR Garfield Jazz Jam, 6 SB Tim Kennedy Jazz, 9 SB Triangular Jazztet, 7 SF Shawn Mikelson Duo, 6:30 SF Sunday brunch feat. Alex Guilbert Duo, 11am TU Jim Cutler Jazz Orchestra, 7:30 VI The Ron Weinstein Trio, 9:30 VI Ruby Bishop, 6 Monday, December 29 JA Poncho Sanchez Latin Jazz Band, 7:30,9:30 TU Tatum Greenblatt Group, 7:30 Tuesday, December 30 BP Gotz Lowe Duo, 6 JA Poncho Sanchez Latin Jazz Band, 7:30, 9:30 OW Eric Verlinde Trio, 10 SB Fawcett Symons and Fogg, 8 SB McTuff, 11 TD Aurelio, 7:30 TU Bill Anschell Trio, 7:30 Wednesday, December 31 BX New Years Eve HB Radke & the Jet City Swingers, Old School Reunion, 7,8:30 SF New Year’s celebration w/ John Sanders, Sue Nixon, and special guests, 9 TU New Year’s Eve Party w/ Stephanie Porter Quintet, 8:30

22 • Earshot Jazz • December 2014 Notes, from page 7 Releases, from page 19

from Seattle. More at www.divine- Write Earshot Jazz jazzcruise.com. The Earshot Jazz magazine reflects On the Horizon and shares the many ways that jazz intersects with lives in the Northwest. Sudden Valley Jazz Series Earshot Jazz is seeking submissions April-November, 2015 from writers: Please email story pitch- Sudden Valley Dance Barn, es, comments, news and announce- Bellingham ments to [email protected]. Pearl Django, Trish, Hans and Phil, Help the Jazz Around the Sound Carlos Cascante y su Tumbao featur- Calendar ing Thomas Marriott, Mike Allen Please email news and announce- Quartet and the WWU Jazz Orches- ments about jazz gigs, concerts and tra. More at www.suddenvalleylibrary. community events to jazzcalendar@ org. earshot.org. the sections mine a similar ambience, there is enough variety to keep listeners energized, with plenty of solo space In One Ear, from page 7 for the top-notch band as they navi- gate through the wide intervallic leaps John Pai. More about jazz on KBCS waves in Seattle. Local broadcaster and tart chord clusters. On the driving at kbcs.fm. and jazz archivist Jim Wilke hosted closer “Mele,” the soloists and struc- 94.9 KUOW, Saturdays, 7pm, fea- the show for 30 years. It’s now hosted ture hint at sunnier jazz climes, only tures Amanda Wilde’s the Swing by Jeff Hanley and is no longer broad- to be pulled back to Varner’s darker Years and Beyond, popular music cast by a Seattle-area station. KPLU’s vision as the horns get the last laugh from the 1920s to the 1950s. More at Jazz 24 programming airs instead. with interjections of tight and thorny kuow.org/swing_years.php. chromatic harmonies. It’s a great way In One Ear News to go out. Jazz Radio Dropped Syndication Email news about Seattle-area jazz – AL Jazz After Hours, previously aired on artists, for In One Ear, to editor@ear- 88.5 KPLU, weekends from midnight shot.org. to 4am, is no longer carried on the air

December 2014 • 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

COVER: buddy catlett Photo by Daniel Sheehan

In this issue... A $35 basic membership in Earshot brings Letter from the Director: Your Earshot Jazz the newsletter to your door and entitles you to Earshot JazZ discounts at all Earshot events. Your member- Organization Celebrates 30 Years!______3 MEMBE r s h IP ship also helps support all our educational programs and concert presentations. Passings: Buddy Catlett______4 Type of membership Notes______7 Individual ($35) Additional tax-deductible donation ______Household ($60) Patron ($100) Sustaining ($200) In One Ear______7 Other Sr. Citizen – 30% discount at all levels Nominations Wanted: 2014 Golden Ear Canadian subscribers please add $5 additional postage (US funds) Awards______7 Regular subscribers – to receive newsletter 1st class, please add $10 26th Annual Concert of Duke Ellington’s for extra postage Sacred Music______8 Contact me about volunteering ______Rene Hart: Make It Go______9 NAME ______Daniel Sheehan’s EyeShotJazz Blog______10 ADDRESS

______For the Record: Choice, Recent Local CITY/STATE/ZIP Releases______12 ______Jazz Around the Sound______20 PHONE # EMAIL ______Earshot Jazz is a nonprofit tax-exempt organization. Ask your employer if your 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