A Mirror and Focus for the Jazz Community December 2011 Vol. 27, No. 12 EARSHOT JAZZSeattle, Washington

Seattle Repertory Jazz Orchestra Photo by Daniel Sheehan NOTES

Nominations Wanted: 2011 Golden Washington’s newest Jazz Studies Triple Door Ear Awards faculty member, Fred Radke, who is Earshot Jazz Festival attendees will The Golden Ear Awards recognize directing the Studio Jazz Ensemble. remember Meshell Ndegeocello’s mes­ and celebrate the outstanding achieve­ Radke is a noted big band expert and merizing performance at the 2009 fes­ ments of the previous year in Se­ trumpeter, perhaps best known for tival. The endlessly inventive bassist, attle jazz. Nominations for the 2011 his work as leader and member of the composer, singer and bandleader in­ awards are currently being accepted. Harry James Big Band. On that night, corporates elements of soul, rock, jazz, Please email nominations to nomina­ The Modern Band, directed by Cuong funk and hip-hop into her music. She [email protected] by January 6, Vu, will also premiere a work titled returns to Seattle in support of her lat­ 2012. The official voting ballots for “Red Riding Hood,” a set of original est release Weather. the 2011 awards will be printed in the interrelated compositions by UW mu­ Event Listings Jan­uary issue of this publication and sic students. The concerts will begin at Reminder: Please send gig listings to avail­able at www.earshot.org. 7:30pm in the Meany Studio Theater. [email protected] at least eight Fred Radke to Make UW Debut On the Horizon: Meshell weeks in advance, if possible. Be sure December 7 will mark the School Ndegeocello to format your gig listings to keep with of Music debut for the University of Tuesday, January 10, 2012, 7:30PM the appearance of this issue’s. LETTER FROM THE DIRECTOR Twenty Years Within Earshot

December always brings opportu­ I became more involved, as volunteer Earshot Jazz newsletters, free of charge, nities to reflect on the past, express coordinator, and, eventually, a board bringing out the word on Seattle jazz appreciation to those around us, and member. When Sue Fawver left the month after month. And we’ve sup­ consider possibilities for the future. director’s post late in 1991, I applied ported jazz education here for years, But this month is especially signifi­ for the job, began as a paid employee with a variety of programs and services cant for me, because it marks the 20th (at $160 per week), left my work in nurturing generations of young artists. anniversary of my becoming the ex­ construction management, and never I am grateful to the vision and dedica­ ecutive director of Earshot Jazz. These looked back. tion of the Earshot founders: Paul and continue to be the most richly reward­ Working with this organization has Judy de Barros, for launching this orga­ ing years of my life. exposed me to some of the most ex­ nization on its well-considered course; I first volunteered as an usher for citing creative minds of our time and and Gary Bannister, who passed away an Earshot Jazz Festival concert in allowed me to forge deeply rewarding late last year, and who’s artistic vision 1990. That summer, Seattle hosted relationships with artists, arts profes­ still guides my own. Thanks, too, to all the Goodwill Games and Arts Fes­ sionals, and fellow travellers here in of the board members, volunteers, and tival, and Earshot mounted a project Seattle and around the world. It has hard-working staff members who have called the International Creative Mu­ also allowed me to channel my passion pitched in over the years. And God sic Orchestra (ICMO), including art­ for the music, need for approval, and bless Lola Pedrini! ists from Seattle, New York, and East obsessive work ethic to the benefit of As always, I invite you to join us! Get Germany (where the Berlin Wall had the community that we all love. involved, like I did, by putting your recently come down), improvising in With more than 2,000 concerts and time, creative resources, and passion a large-ensemble “conduction” under related programs produced so far, Ear­ for the music to work for your com­ Butch Morris. The spirit, inventive­ shot Jazz has nurtured the creative munity. ness, and absolutely crazy wonder spirit in jazz, and enriched the artists Thank you! of that music completely turned me and audiences of this region. We’ve John Gilbreath around. I was hooked. printed and distributed over a million Executive Director

2 • EARSHOT JAZZ • December 2011 EARSHOT JAZZ IN ONE EAR A Mirror and Focus for the Jazz Community

Executive Director John Gilbreath Eastside Jazz Club at Meydenbauer Fund for Composer Jim Knapp Managing Director Karen Caropepe Center On November 2, a benefit concert was held for composer Jim Knapp at Earshot Jazz Editor Danielle Bias The Eastside Jazz Club’s annual Ex­ Assistant Editor Schraepfer Harvey travaganza presents Jackie Ryan and the Triple Door to help defray the cost the Jovino Santos Neto Quinteto at of his medical expenses related to dia­ Contributing Writers Nathan Bluford, John the Theatre at Meydenbauer Center, betes complications. Knapp helped to Ewing, Steve Griggs, Schraepfer Harvey, establish the jazz program at Cornish David Marriott, Peter Monaghan, Abi Bellevue, on December 4, 2011, at Swanson 2pm. The double bill showcases Jackie College more than 40 years ago and Ryan, Randy Halberstadt on piano, continues to teach there today. He also Calendar Editor Schraepfer Harvey Gary Hobbs on drums and Jeff John­ leads the popular Jim Knapp Orches­ Calendar Volunteer Tim Swetonic son on bass. Opening the Extrava­ tra as well as Scrape, a small string or­ Photography Daniel Sheehan Layout Karen Caropepe ganza is Jovino Santos Neto and his chestra. So far, nearly $5,000 has been Mailing Lola Pedrini Seattle-based Quinteto. Tickets avail­ raised towards a $30,000 goal. Dona­ able at www.brownpapertickets.com/ tion information is available at www. Send Calendar Information to: event/191487 or 425-828-9104. jimknappmusic.com/donate/. 3429 Fremont Place #309 Seattle, WA 98103 New Music Venue in Columbia City Sonarchy December Lineup fax / (206) 547-6286 Jazz keyboardist and composer Sonarchy is recorded live in the stu­ email / [email protected] Wayne Horvitz is set to launch the dios at Jack Straw Productions, Seattle, Board of Directors Kenneth W. Masters Royal Room in December, in col­ by producer Doug Haire. The hour- (president), Richard Thurston (vice- laboration with Steve Freeborn and long broadcast features new music and president), Renee Staton (treasurer), Hideo Tia Matthies, the duo best known for sound art made in the Pacific North­ Makihara (secretary), Clarence Acox, Bill Broesamle, George Heidorn, Femi Lakeru, running the former OK Hotel venue west. Now in its 16th year, Sonarchy Lola Pedrini, Paul Toliver, Cuong Vu and now the Rendezvous. The Royal airs Sunday evenings at midnight at Room will be located inside the Royal 90.3 KEXP FM and on www.KEXP. Earshot Jazz is published monthly by Esquire Club at 5000 Rainier Avenue org, where it is also available in several Earshot Jazz Society of Seattle and is South and will include a bar, and a streaming audio formats for two weeks available online at www.earshot.org. restaurant that will be open for dinner following the broadcast. This month’s Subscription (with membership): $35 and weekend brunch. The venue will shows will also be available as podcasts 3429 Fremont Place #309 focus on local improvising artists of all shortly after they air. December 4, Seattle, WA 98103 genres, and will be open to all ages at Seattle-based musician, producer and phone / (206) 547-6763 certain times. Opening weekend, De­ sound designer Jason Wolford pres­ fax / (206) 547-6286 cember 16-18, includes Scrape, Zony ents solo electronics. Then on Decem­ Earshot Jazz ISSN 1077-0984 Mash, WACO, and the Samantha ber 11, Hexaphonic 3 offers freely im­ Printed by Pacific Publishing Company Boshnack Project. More info at www. provised music with Bruce Greeley on © 2011 Earshot Jazz Society of Seattle theroyalroomseattle.com/. bass clarinet, Mike Sentkewitz on bass Origin Records Featured on Seattle and Ryan Burt on drums. On Decem­ ber 18, the Christian Asplund En- Channel MISSION STATEMENT semble performs Asplund’s piece The Earshot Jazz is a non-profit arts and service The Seattle Channel’s Art Zone with Goat, No Weeds, written in tribute to organization formed in 1984 to cultivate a support Nancy Guppy recently highlighted artist Robert Rauschenberg with texts system for jazz in the community and to increase local record labels, including Origin by John Cage. The group includes Ey­ awareness of jazz. Earshot Jazz pursues its Records. The show featured a perfor­ mission through publishing a monthly newsletter, vind Kang on violin, Asplund on viola, presenting creative music, providing educational mance by Human Spirit, the group Brad Hawkins on cello, Greg Camp­ programs, identifying and filling career needs for led by Origin mainstays Thomas Mar- bell on percussion and Michael Lee, jazz artists, increasing listenership, augmenting riott, Mark Taylor and Matt Jor- narrator. Finally on, December 25, and complementing existing services and gensen. The video is available online at programs, and networking with the national and Vapor Music presents sounds for mo­ international jazz community. www.seattlechannel.org/artZone/. bile devices and long nights.

December 2011 • EARSHOT JAZZ • 3 PROFILE Jazz Repertory Builds in Seattle: A Bridge from Past to Future By Steve Griggs at the Manhattan School of Music attributed to Ellington’s formidable and Yale University, and establish the legacy and Schuller’s tireless work. It’s the middle of the night in the first degree-granting jazz program Schuller remembers, “He would just early 1940s. A teenage French horn sit at the piano all player can’t get to night in his stock­ sleep. The muffled ing cap and robe and sound of piano play­ just sort of play and ing seeps through the improvise, play any­ wall from a Cleveland thing. Ruminating, theater door. At 5:00 I call it, at the piano. a.m. the piano finally And every once in a stops. This repeats ev­ while when I would ery night for a week. hear the piano stop, I The late-night piano knew that he had just player is Duke Elling­ heard something that ton, by then already he liked and wrote it a pioneer of original down.” jazz compositions During those late (“Mood Indigo,” “It nights, Ellington was Don’t Mean a Thing,” exploring unusual “Sophisticated Lady,” harmonies. “Every “Solitude,” “In a musician since bebop Sentimental Mood,” from the mid-forties “Caravan,” “I Let a just does that in their Song Go Out of My sleep. But what is im­ Heart,” “Prelude to portant to remember a Kiss,” “I Got It is that when Ellington Bad and That Ain’t was doing this, it was Good,” “Do Nothing at least fifteen years Till You Hear From ahead of everybody Me”). Ellington went else,” explains Schul­ on to chronicle the SEATTLE REPERTORY JAZZ ORCHESTRA PHOTO BY DANIEL SHEEHAN. ler in an interview African American ex­ from Peter Lavezzoli’s perience through music, be awarded in the world as president of the New book The King of All, Sir Duke: Elling- 15 honorary doctorate degrees, and England Conservatory. Schuller also ton and the Artistic Revolution. receive the Presidential Medal of Free­ gained acclaim and admiration for his Ellington died in May of 1974. By dom from Richard Nixon. tireless efforts toward the preservation then, most of the longtime members The sleepless horn player is Gunther and performance of Ellington’s music of the Ellington Orchestra were also Schuller, employed as principal soloist as jazz repertory. The rise of dozens of gone or in poor health. Duke’s son by the Cincinnati Symphony. Schul­ jazz repertory big bands and orchestras Mercer continued to lead the ensemble ler, who would later get a job offer around the United States, including with new, younger musicians. from Ellington, went on to play on the Puget Sound’s own Seattle Rep­ Janna Tull Steed points out in Duke Miles Davis’ Birth of the Cool, teach ertory Jazz Orchestra, can be directly Ellington: A Spiritual Biography, “El­

4 • EARSHOT JAZZ • December 2011 lington did not settle on a definitive property of its creator or the person(s) with fine ears, not only re-create the version of a composition which can be for whom it was created. It belongs, original, but bring to it an excitement replicated by others now. He reworked in the broadest (non-copyright) sense, and drive that has its own validity, old material, expanding, reinterpret­ to the world. One simply comes back even though it may not be precisely ing, combining it with other treat­ to the point that pieces as original, as the excitement that Ellington and his ments. At the piano he could alter a perfect, as imaginative, as beautiful as men got.” piece’s mood and tempo simply by the Ellington’s best cannot just be buried Schuller was not alone in advocat­ introduction he might play on a given in the past. They must survive; they ing for jazz repertory ensembles. A night. In the recording studio, orches­ must be heard.” few years before Ellington’s death, the trations were worked out on the spot, A big obstacle faced by the first jazz director of the Smithsonian Institu­ and Ellington’s interaction with his repertory ensembles was the lack of tion’s Performing Arts Division, Mar­ sidemen produced effects that cannot written music and a dearth of appren­ tin Williams, articulated a vision for be translated into musical notation. ticeships that had thrived when many embracing jazz through residencies by He continually interpreted and rein­ U.S. cities supported vibrant jazz major composers and artists, repertory terpreted his own work, which is part scenes. Because the emphasis of work­ ensembles, and publishing new and of the secret of its enduring appeal.” ing musicians was on performance, transcribed scores. Williams urged Mercer, a trumpet player and band not preservation, scores and parts rare­ Lincoln and Kennedy Centers to be­ manager, now in charge of music that ly survived the death of the composer gin to include jazz programming. had been revised, improvised, and and their working ensembles. In 1973, two jazz repertory groups mutated by individual performers and But recordings captured definitive were born. Bassist Chuck Israels start­ specific performances over decades, versions of songs, allowing musicians ed the National Jazz Ensemble (NJE) leading musicians unfamiliar with with keen ears to grab grooves from vi­ and producer George Wein launched this musical transformation over time, nyl records and more recently, borrow the New York Jazz Repertory Com­ needed a written set of parts. He hired bits from rapidly growing, increasingly pany (NYJRC). trumpeter David Berger to transcribe complete digital archives. The NJE had a stable set of musi­ some of the ensemble’s library from Back in 1974, Schuller imagined the cians and singular artistic direction. recordings. experience of hearing a repertory en­ Berger was hired to transcribe classic Six months after Duke Ellington’s semble. “In truth, Ellington’s compo­ works and the band also played origi­ funeral, Schuller published “The Case sitions are, as compositions, so durable nal compositions by Israels, Berger, for Ellington’s Music as Living Reper­ that they can be played by others sen­ Bob Brookmeyer, Herb Pomeroy, Tom tory” in High Fidelity magazine. “With sitively re-creating the original notes, Pierson and Bob James. all respect of Duke’s feelings, one pitches, rhythms, timbres, etc. But In contrast, the NYJRC had four must say that once a composer creates what is most astonishing is that they musical directors and the performers a work it cannot remain the exclusive can, in performances by fine musicians were chosen from a roster of top artists

December 2011 • EARSHOT JAZZ • 5 depending upon the particular music institution formed a jazz department of a given program. The inaugural sea­ that eventually became Jazz at Lincoln son spanned 15 concerts at Carnegie Center, anchored by the Lincoln Cen­ Hall. ter Jazz Orchestra (LCJO). Both groups survived seven years but Down the coast in D.C., Congress financial and artistic challenges took appropriated $242,000 in 1991 to cre­ their toll. Neither group was backed ate the Smithsonian Jazz Masterworks by an established musical institution. Orchestra (SJMO), which continues A detailed history of these and later to perform today. Led by educators bands can be found in Making the Schuller and David Baker and based Scene: Contemporary New York City at the National Museum of Ameri­ Big Band Jazz by Alex Stewart. can History, this ensemble transcribes In 1985, writer Gary Giddins estab­ classics, rearranges existing material, lished the American Jazz Orchestra and commissions new work. (AJO) with pianist John Lewis (and In 1992, 12 years after the NYJRC later Schuller) to present “a stable of played its last note, Wein launched big band music that keeps its eye on the Carnegie Hall Jazz Band with the future while celebrating its past.” artistic direction by trumpeter Jon Giddins wanted the ensemble to be af­ Faddis. This ensemble commissioned filiated with an institution and receive new works and arrangements of clas­ organizational support similar to a sics associated with original Carnegie symphony orchestra. The AJO found Hall performances. Until the band’s a home at New York’s Cooper Union. dissolution in 2002, it played regularly A grant from the Irene Diamond at Carnegie Hall, and toured through Fund established the band’s library. connections to Wein’s jazz festival pro­ Mark Lopeman transcribed 100 big ductions. band arrangements chosen by conduc­ Way out west, saxophonist Michael tor Loren Shoenberg and writer Dan Brockman began teaching at the Uni­ Morgenstern. Schuller and Lewis em­ versity of Washington in Seattle in phasized recreation of the original mu­ 1987. He had just arrived from the sic in performance, including note-for- New England Conservatory after note imitations of improvised solos on completing a Masters of Music. Dur­ AJO’s second album, Ellington Master- ing Brockman’s schooling back East, pieces. A lack of fund raising expertise Schuller was no longer the Conserva­ at the board and administrative level tory’s president, but was still active on led to the band’s demise in 1992. campus. In attendance at AJO concerts were Like many of Brockman’s school jazz trumpeter Wynton Marsalis and writ­ ensembles, early, rare, and out-of-print er Stanley Crouch. They appreciated jazz music could only be played if some things, disliked others. Their someone transcribed it from a record­ critique prompted them to establish ing. Record companies at the time their own orchestra. In 1987, Lincoln were issuing complete collections of Center began a Classical Jazz series artists and ensembles. Eager students with Marsalis and Crouch making the snatched up the previously rare mu­ artistic decisions. Berger was hired to sic and wrote out scores and parts to conduct a band playing rare Ellington build their libraries. Brockman’s grad­ music that included Ellington Orches­ uate school ensemble did a concert of tra alumni. One distinction from the music transcribed from Thelonious AJO was that performers were free to Monk, Anthony Braxton, and Elling­ use or ignore previous versions of re­ ton. “Gunther Schuller is why I’m into corded improvised music. In 1991, the this,” says Brockman.

6 • EARSHOT JAZZ • December 2011 Two years after Brockman came ergy coming from 17 instrumentalists to Seattle, the Interfaith Council of and 2 singers swinging through songs Washington at University Christian originally played by the Count Basie Church wanted to present music from Orchestra and sung by Ol’ Blue Eyes, Ellington’s 1965, 1968, and 1973 Sa­ Frank Sinatra, at Las Vegas’ Sands cred Concerts. All that could be found Hotel in 1966. The SRJO performers of written music were a smattering owned the grooves like the original of disorganized parts for a few pieces musicians did 45 years ago, but they and no conductor scores to fill in the were making their own personal state­ blanks. To present the concert, Seattle ment through the music today. musicians had to improvise the miss­ The SRJO repertoire encompasses THE NEW YORK VOICES ing parts. The short program had to classic songs by stalwarts like Count Friends of Frank DeMiero be filled with music unrelated to the Basie and Duke Ellington to large Present the original Ellington work. Some of the scale works like Ellington’s “Sacred musicians crafting a concert out of Concerts,” “Freedom Suite,” and “Far sketches that year were saxophonists East Suite,” Benny Carter’s “Kansas Brockman, Don Lanphere and Bill City Suite,” and even Igor Stravinsky’s Ramsay, trumpeters Floyd Standifer “Ebony Concerto.” SRJO commis­ DEE DANIELS and Ed Lee, trombonists Bill Antho­ sioned and premiered “Concerto for ny and David Bentley, pianist Marc Jazz Orchestra,” written by Dave Bru­ Seales, and drummer Clarence Acox. beck alum, local clarinetist Bill Smith, For the next five years, most of these and “The Endless Search,” penned core musicians reconvened every De­ by Philadelphia saxophonist Jimmy cember to present Ellington’s sacred Heath. music. Brockman rewrote a complete Programs have been devoted to set of parts and transcribed Ellington’s groundbreaking recordings like Miles seven-movement “Freedom Suite.” Davis’ Birth of the Cool, Ray Charles’ Each year he added a transcription Genius + Soul = Jazz and Oliver Nel­ from the 45 original pieces of the Sa­ son’s Blues and the Abstract Truth. cred Concerts. In 1995, the Seattle SRJO even turned to local jazz disc Three incredible shows! Repertory Jazz Orchestra (SRJO) was jockeys and KPLU listeners for pro­ established with Brockman and Acox gram ideas. Movies, the Harlem Re­ Thursday · Friday · Saturday as co-directors. A year later, Earshot naissance, and music for dancing have March 1, 2 & 3, 2012 Jazz obtained a set of scores for SRJO all shaped concert events in previous from Berger. years. Don’t miss out… Since their founding, SRJO has ex­ SRJO has featured National Endow­ get your tickets early! panded beyond Ellington and per­ ment for the Arts Jazz Masters as guest VIP packages and premier seating formed tributes to jazz pioneers Lou­ soloists – saxophonists Frank Foster, are available. is Armstrong, Count Basie, Benny Benny Golson, Jimmy Heath, James For more info: Carter, Ray Charles, Dizzy Gillespie, Moody and Frank Wess, trumpeters www.DeMieroJazzFest.org Friends of Frank DeMiero produces this Benny Goodman, Woody Herman, Clark Terry and Gerald Wilson, trom­ annual festival to benefit arts education. Quincy Jones, Stan Kenton, Charles bonist Slide Hampton and pianist To­ Mingus, Thelonius Monk, Gerry Mul­ shiko Akiyoshi. ligan, Frank Sinatra, and Billy Stray­ Local artists are given the SRJO horn. spotlight, too – clarinetist Bill Smith, At this year’s Earshot Jazz Festival, pianist Jovino Santos Neto, bassist the Kirkland Performance Center was Buddy Catlett, and singers Ernestine sold out for the November 6 concert by Anderson, James Caddell, Dee Dan­ SRJO. All 402 pairs of audience ears, several microphones, and video cam­ era lenses were plugged into the en­ CONTINUED ON PAGE 22 GRETA MATASSA

December 2011 • EARSHOT JAZZ • 7 February 17–26 roy Haynes Quartet Dee Dee briDgewater bill Frisell branForD Marsalis + Joey CalDerazzo Duo CHarlie Hunter tHara MeMory ViJay iyer+ Prasanna+ nitin Mitta = tirtHa gartH Fagan DanCe enriCo raVa tribe Jazz Passengers

Get a 10% discount on tickets go to www.pdxjazz.com when you book with a qualifying hotel stay or Call (503) 228-JAZZ For Details

8 •PJF_Earshot_Ad_R2.indd EARSHOT JAZZ • December 1 2011 10/14/11 3:51 PM PHOTOS 2011 Earshot Jazz Festival in Pictures Daniel Sheehan Captures the Spirit of Jazz Performance

Since 1997, Earshot Jazz has benefit­ in National Geographic, Time, Forbes, Since September 2008, Daniel has ed from the inspired photography of People magazine, The New York Times been sharing his full-color, compel­ Daniel Sheehan, a Pulitzer Prize-win­ and The Washington Post. ling and artistic images from the an­ ning photojournalist. Before moving Music has long been one of Daniel’s nual Earshot Jazz Festival, as well as to Seattle, from 1985 to 1995, Shee­ favorite subjects, and his engaging other Earshot concerts and jazz events han worked at New York Newsday. In images regularly grace the cover and around Seattle, on his spectacular 1992, he and several of his colleagues pages of this publication. His photo­ Eyeshot Jazz blog. The following are were awarded a Pulitzer Prize for their graphs often use a narrative approach, a selection of images from this year’s local news coverage of the fatal crash providing the viewer with the feeling festival. of a New York City subway. of “having been there” at the moment To see more of Sheehan’s beautiful im- Over the years, countless publica­ when the image was captured. A skill­ ages from the 2011 Earshot Jazz Festi- tions and advertising agencies have ful portrait photographer as well, a val, please visit his blog www.eyeshot- made use of Sheehan’s arresting im­ single portrait by Daniel often tells a jazz.com. ages. His images have been published complete story on its own. – Danielle Bias

JIM BLACK, CHRIS SPEED, TREVOR DUNN AND OSCAR NORIEGA PERFORM ON THE FESTIVAL’S OPENING NIGHT AT TOWN HALL DOWNSTAIRS, OCTOBER 14, 2011.

December 2011 • EARSHOT JAZZ • 9 THE “LION OF ZIMBABWE,” THOMAS MAPFUMO, PRESENTED MUSIC THAT HE SAYS IS “INFLUENCED BY THE PEOPLE WHO ARE STRUGGLING AT HOME” AT THE TRIPLE DOOR WITH BLACKS UNLIMITED ON OCTOBER 24, 2011.

THE 19-YEAR-OLD JAZZ SAXOPHONIST AND VOCALIST GRACE KELLY THE ROOSEVELT HIGH SCHOOL JAZZ BAND, LED BY SCOTT BROWN, HELPED TO KICKOFF THE 23RD ANNUAL EARSHOT JAZZ FESTIVAL WOWED AUDIENCES AT TULA’S ON NOVEMBER 2, 2011. AT TOWN HALL ON OCTOBER 14, 2011.

JERRY GRANELLI LOOKS TOWARD SAXOPHONIST DANNY OORE (NOT PICTURED) TRAVIS SHOOK ROCKED THE PIANO AT TULA’S, OCTOBER 28 & 29, 2011. AT TULA’S ON OCTOBER 30, 2011.

10 • EARSHOT JAZZ • December 2011 CINNAMON JONES IN FRONT OF CAMPBELL BROTHERS DARICK, PHIL AND CHUCK AT THE TRIPLE DOOR, OCTOBER 23, 2011. A BLITHE EMI MEYER AT THE PIANO AT TULA’S ON OCTOBER 16, 2011.

JAMES CADDELL SINGS WITH THE SEATTLE REPERTORY JAZZ ORCHESTRA AT THE KIRKLAND PERFORMANCE CENTER, NOVEMBER 6, 2011. DRUMMER ALLISON MILLER PERFORMS AT PONCHO CONCERT HALL ON OCTOBER 27, 2011.

December 2011 • EARSHOT JAZZ • 11 BEBOPPER SHUNZO OHNO AT TULA’S, OCTOBER 22, 2011.

PORTLANDER RICH HALLEY ON TENOR SAXOPHONE AT THE CHAPEL EVAN FLORY-BARNES DIRECTS HIS COMMISSIONED WORK “ACKNOWLEDGMENT OF A CELEBRATION” AT THE KIRKLAND PERFORMANCE PERFORMANCE SPACE, OCTOBER 18, 2011. CENTER, OCTOBER 22, 2011.

Presented in collaboration with Earshot Jazz

ART OF JAZZ Clarence Acox Legacy Quartet Seattle’s jazz legend in the community and on the bandstand, comes to SAM for a winter performance. Following the performance, there will a 7:30 pm artist talk in the Simons Board Room to celebrate the opening of Theater Gates: The Listening Room followed by music and cash bar in the Forum. Thursday, December 8, 5:30–7:30 pm

Seattle Art Museum, Downtown 1st Avenue & Union Street All ages Art of Jazz Seating is limited and available Sponsors: on a first-come, first-served basis. seattleartmuseum.org

12 • EARSHOT JAZZ • December 2011 WESSELL “WARM DADDY” ANDERSON ON ALTO WITH THE GARFIELD HIGH SCHOOL JAZZ BAND AT THE TRIPLE DOOR, OCTOBER 25, 2011.

THE SEATTLE WOMEN’S JAZZ ORCHESTRA (SWOJO) FEATURES MANY OF THE FINEST FEMALE­ JAZZ ARTISTS IN THE REGION. WITH MUSICAL DIRECTOR DR. DANIEL BARRY, SWOJO PERFORMED THE MUSIC OF ROBIN HOLCOMB AND OTHER COMPOSERS AT THE SEATTLE ART MUSEUM ON NOVEMBER 2, 2011. BASSIST PHIL SPARKS AT TULA’S, OCTOBER 24, 2011.

adventurous WIT AND M U S I C ANALYSIS

9 a.m. – noon 3 p.m. Jazz + Global Beats The Michael Eric Dyson Show noon – 3 p.m. Americana, classic to 5 p.m. contemporary Democracy Now!

Weekdays at 91.3 & kbcs.fm

December 2011 • EARSHOT JAZZ • 13 PREVIEW >> Duke Ellington Sacred Music Concerts Bless Seattle

Seattle Repertory Jazz without thinking of it as Orchestra religious music.” Monday, December 26 Ellington welcomed the Town Hall Seattle, invitation by Reverends 7:30 Julian Bartlett and John Yaryan to perform his By Steve Griggs sacred music in church. Seattle has been blessed “It’s an option to say to be able to hear the something that you want Duke Ellington “Sacred to say. And it isn’t an op­ Concerts” performed live portunity that you get ev­ every winter for the past ery day to be invited into 22 years. No other city it like I have been … It’s can make that claim. probably the most impor­ The 23rd annual Duke tant statement I’ll ever Ellington Sacred Music make. For something Concert takes place on that important you need Monday, December 26, everybody.” 2011, at Town Hall with The large cast didn’t the Seattle Repertory Jazz mean that all the music Orchestra (SRJO). The would be loud or grand. concert has not always Ellington wanted a broad been headlined by the palette to make a variety SRJO, but this year will of statements, “whether be the big band’s 17th it’s a loud big thing or performance of this mu­ whether it’s a very hum­ sic. One of Seattle’s most ble little thing like say if a beloved annual events, flower talked.” the SRJO manages to keep the reper­ to consecrate San Francisco’s Grace Despite the serious set­ toire fresh and relevant. Cathedral in 1965. Ellington said, ting and subject, Ellington kept things The 17-piece SRJO will be joined by “I’m having to bring in a lot of people fresh and fun. To cap off the perfor­ vocalists Everett Green and Nichol Es­ for it. Because it’s very important. It mance, he introduced tap dancer kridge, who first sang together on the doesn’t matter to me how many people Bunny Briggs as “the most super le­ sold out 2009 and 2010 concerts. Es­ I have to bring in or what it’s going to viathanic, rhythmaturgically, synco­ kridge also sang on the 2005 concert cost, or anything like that.” pated, tapstimaticianismist.” and appears on the CD Seattle Reperto- Jazz critic Ralph Gleason filmed the Briggs remembers, “Once you see a ry Jazz Orchestra: Sacred Music of Duke first Sacred Concert and created a tap dancer you’ve seen him. But Duke, Ellington. The cast is rounded out by documentary of Ellington’s activities when he plays, he never plays the same the Northwest Chamber Chorus and surrounding the event titled Love You thing … So you’ve got to go along with tap dancer Alex Dugdale, both partici­ Madly. Moved by the concert, Glea­ that music … You can’t do the same pants in the concerts since 2007. son wrote in his book Celebrating the steps because the music isn’t there. So The large number of performers Duke, “I doubt that I shall ever hear that’s what I mean when he makes you echoes Ellington’s first Sacred Concert Ellington play again, in any context, think. It keeps you going … You can

14 • EARSHOT JAZZ • December 2011 never grow old up here (pointing to his timing, without which nothing could head). Not with Duke Ellington. He have happened.” won’t let you. That’s why everybody Blessings flowed to Ellington likes to work for him.” throughout his life. He got his first To Ellington, listening was para­ major gig at New York’s Cotton Club ���������������������� mount, whether you were on stage because the hiring manager was three ������������� or in the audience. In the same year hours late to the audition, as was El­ ����������������������������������� as the first Sacred Concert, he said in lington! It wasn’t that Ellington’s Or­ ������������������������������ ����������������������������������� Jazz Journal, “If you love music, then chestra played better, just that all the ������������������������������������� it follows you love to listen to it, which other bands had showed up on time ������������������������������������������ makes the ear the most essential in­ and left. “So, I mean, who’s directing �������������������������������������������� strument, the most essential musical this?” asks Ellington. instrument in the world.” But for Ellington, serendipity was in­ Ellington developed three Sacred fused with spirit. Derek Jewell wrote Concerts in the last ten years of his in A Portrait of Duke Ellington, “Before life. The first premiered in 1965 in he was out of his twenties, Ellington San Francisco, the second in 1968 in claimed, he had completely read the New York, and the third in 1973 in Bible four times, and he went through London. Encompassing 45 pieces, the it thrice after the death of his mother.” Open to All - Free actual program of any performance Stanley Dance commented on El­ varied based on venue and available lington’s blessings and their impact performers beyond the Ellington Or­ when delivering the eulogy at the Ca­ chestra. For example, the New York thedral of St. John the Devine in New performance of the first concerts York City, where 10,000 mourners at­ added “A Christmas Surprise” played tended the funeral inside and 2,500 by pianist Billy Strayhorn and singer listened to a broadcast outside: “Duke Lena Horne. Ellington knew that what some called The Sacred Concerts were played by genius was really the exercise of gifts Ellington hundreds of times all over which stemmed from God … The Son the world. Ellington’s son Mercer, of God said, ‘Proclaim the good news who played trumpet and managed the to all men.’ And Duke knew the good Sunday, Dec 4, 6 pm band, said in A.H. Lawrence’s book news was concerts, grateful for an op­ Duke Ellington and His World, “He portunity to acknowledge something Cocoa Martini was getting calls from all over the of which he stood in awe, a power he Vocalists Kimberly Reason, Kay Bailey, country for us to do the Sacred Con­ considered above his human limita­ and Nadine Shanti with pianist Eric certs. Many times we’d be booked in tions … He reached out to people with Verlinde, bassist Chuck Kistler, and a large city for a dance. Sure enough, his music and drew them to himself.” drummer Brian Kirk we’d get a request from one of the “Ellington’s single-minded dedica­ churches.” tion to music was as passionate as any Ellington acknowledged his good saint’s devotion to personal holiness,” Sunday, Jan 8, 6 pm fortune in his memoir Music Is My Janna Tull Steed wrote in Duke El- Date changed to second Sunday due to holiday Mistress, written with Stanley Dance. lington: A Spiritual Biography. “The The Ron Weinstein Trio “As I travel from place to place by car, immense legacy of Edward Kennedy Straight-up trio of piano, bass and drums bus, train, plane … taking rhythm to Ellington, his art and his witness, is the dancers, harmony to the romantic, entrusted to future generations to ap­ 100 Minutes of professional jazz melody to the nostalgic, gratitude to propriate for their own enrichment Family friendly concert | Free parking the listener … receiving praise, ap­ and blessing.” plause, and handshakes, and at the Tickets are $15-$34, available at Seattle First Baptist Church 1111 Harvard Avenue (Seneca and Harvard on First Hill) same time doing the thing I like to www.brownpapertickets.com or 800- Seattle, WA (206) 325-6051 do, I feel that I am most fortunate be­ 838-3006. cause I know that God has blessed my www.SeattleJazzVespers.org/GO/SJV

December 2011 • EARSHOT JAZZ • 15 FOR THE RECORD 2011 CD Wrap

By Schraepfer Harvey On multiple nights a week, many of the region’s great musicians are per­ forming in area clubs and bars. Even with such a busy live jazz calendar around Puget Sound, artists, produc­ ers, engineers and all make time to fo­ cus on great studio work. Here are a few notable releases from 2011:

Thomas Marriott Bill Anschell Human Spirit Figments Origin Records Origin Records Thomas Marriott and frequent local Bill Anschell is a regular first-call pia­ collaborators Mark Taylor and Matt nist for all jazz combos – trio, quartet, Jorgensen present a tasteful project etc. Ironic, then, that the longest track with Hammond B3 artist Gary Ver­ on his solo piano release Figments runs sace. On Human Spirit, Marriott, about six minutes? Where’s the twen­ Taylor, Jorgensen and Versace gel with ty-minute piano plunge? There isn’t an economy of exertion. Solos are one, and that’s the first great detail Milt Kleeb Dectet thoughtfully asserted; the B3 comps about this record. The second is we’re Something If Nothing Else sparsely, flirting with spatial elements invited into a place of deconstruction Pony Boy Records not always present in organ quartets. but not destruction with Anschell, vis­ The eight tracks, mostly Marriott iting some of his favorite tunes ­– from The Milt Kleeb Dectet debuted this originals, on Human Spirit fit each Arlo Guthrie to Joni Mitchell to the recording at the annual Pony Boy Jazz other nicely. “Hiding in Public,” “Side Beatles and American standards. The Picnic. Something If Nothing Else is a Walk” and “Human Spirit” are espe­ third is if listening were viewing the bluesy, pop-ish, swinging big band cially characteristic: Jorgensen’s drum­ facade of a great building, Figments is recording, sometimes angular and ming jumps and sizzles around in the that building’s hallways, crawl spaces, surprising, all the best of big band ef­ pocket, and exciting saxophone and corners and otherwise unremarked fects. The Kleeb collective, including trumpet conversations run on top of upon details that make the structure drummer Greg Williamson, multi- cool organ comps. Ellington’s “Low complete. Figments is Anschell giving instrumentalist Jay Thomas, bass­ Key Lightly” is nicely rendered. Look himself permission to explore these ist Chuck Deardorf and pianist John for a second Human Spirit group re­ spaces, and it’s a nice snap shot of the Hansen, relishes the expert arranging lease coming soon, a result of a live pianist in mid air. by Kleeb. Jay Thomas calls Kleeb an recording session at Tula’s in October. “underground legend. All the cats ‘in That group features bassist Essiet Es­ the know’ are hip to Milt.” siet and pianist Orrin Evans.

16 • EARSHOT JAZZ • December 2011 The Monktail Creative Music Con­ cern also released multiple CDs in 2011. The organization, founded by bassist John Seman and drummer Mark Ostroski, released five volumes of material from 2001-2004, a period of expansive improvisations from a grow­ ing nexus of like-minded collaborators at the time: Seman, Ostroski, guitarist Stephen Parris, drummer John Ew­ ing, pianist Stephen Fandrich, wind players Beth Fleenor, Izaak Mills and Adam Weiss, and trumpeters Saman­ Rich Pellegrin Quintet Welch’s releases and the Table and tha Boshnack and Ahamefule J. Oluo. Three-Part Odyssey Chairs catalog are at store.tableand­ Look for Archives Vol. I-V at monktail. OA2 Records chairsmusic.com. bandcamp.com. The Rich Pellegrin Quintet release Three-Part Odyssey is an open and or­ ganic collaboration between R. Scott Gifting the Hammond B3 on CD Morning (flugelhorn and trumpet), Neil Welch (tenor sax), Pellegrin (pi­ If you’re in need of a gift for a Hammond B3 fan, multiple 2011 releases ano), Evan Flory-Barnes (bass) and by Northwest artists feature the organ: Chris Icasiano (drums). “I sought to McTuff Trio create a collaborative environment with powerful personalities who would McTuff Volume 2: After the Show each bring a contrasting perspective to Joe Doria Music the ensemble, ensuring that we would Dynamic, inventive music conver­ never become too comfortable,” Pel­ sations by Joe Doria on the B3, with legrin writes in the liner notes. The Andy Coe on guitar and D’vonne mix of music personalities is the excite­ Lewis on drums. ment with this recording; I’d look for more from these contributors in 2012. The Nightcrawlers You can get a head start with Icasia­ Down in the Bottom no and Welch, frequent collaborators Cellar Live whose connection is apparent at times Vintage B3 sounds out of Vancou­ on the Three-Part Odyssey release. The ver, BC, featuring a handful of local duo has released two recordings on the guest artists with Cory Weeds, alto Table and Chairs label, bad luck. and saxophone; Steve Kaldestad, tenor The Young Lizards Two. saxophone; Chris Gestrin, Ham­ Launched in early 2011, the Table mond B3; and Jesse Cahill, drums. Our Modern Lifestyle and Chairs catalog now has a hand­ Pony Boy Records ful of releases – AGOGIC, Chemical Thomas Marriott Smart, clean, fun B3 quartet with Clock – including three statements Human Spirit Greg Williamson on drums, Ty Bai­ by saxophonist Welch, all released in Origin Records lie on Hammond B3, Dave Petersen 2011. Welch’s first, Boxwork, is a com­ Hammond B3 artist Gary Versace on guitar, and Chris Fagan on saxo­ pilation of exercises and explorations joins an evident and expanding mu­ phone; features John Coltrane’s “Mr. on solo saxophone. Iron Creek, two sical rapport shared by trumpeter Day,” from Coltrane Plays the Blues, of Welch’s live solo saxophone per­ Thomas Marriott, alto saxophonist Joe Henderson pieces, and “Three formances, and Sleeper, a composed Mark Taylor and drummer Matt Views of a Secret” by Jaco Pastori­ ensemble piece featuring reeds, trom­ Jorgensen. ous. Hip! bone and cello, followed late in 2011.

December 2011 • EARSHOT JAZZ • 17 JAZZ AROUND THE SOUND december 12 THURSDAY, DECEMBER 1 SATURDAY, DECEMBER 3 MC Jackie Ryan / Jovino Santos Neto, 2 PG Nikki Schilling, 5 BC Adam Kessler, Phil Sparks, 9 BX Kelly Eisenhour Holiday Extravaganza, 7, 9 SF Jerry Frank, 6:30 BX Diana Page Duo, 7, 9 C* Faith Beattie w/ Totusek, Sparks, Guity, Bayley SF Danny Ward brunch, 11am C* Marc Seales student quintet & Vu-Tang Clan (Queen City Grill, 2201 1st Ave), 10 SR Elliot Gray, 12:30 (Brechemin Auditorium, UW), 7:30 C* Marc Smason Trio (Gilbert’s Deli, 10024 Main, SY Victor Janusz, 9:30am C* Nikki Schilling (La Hacienda, 620 SE Everett Bellevue), 11am TD Reptet (Musicquarium), 9 Mall Way, Everett), 6 C* Picoso w/ DJ Chilly & Correo Aereo (Nectar TU Reggie Goings Jazz Offering, 3 CH Darin Gray & Alchimia, 8 Lounge, 412 N 36th), 8 TU Jim Cutler Jazz Orchestra, 8 JA Chick Corea Trio ft. Brian Blade & Hans C* Daniel Glass drum clinic (Drum Exchange, 4501 VI Ruby Bishop, 6 Glawischnig, 7:30, 9:30 Interlake Ave N), 1 VI Ron Weinstein Trio, 9:30 LJ The Hang, 9:30 C* Kevin Mccarthy & Andy Roben, (Sullivan’s MO The Bad Plus w/ Mark Morris Dance Group, 7:30 Steakhouse, 621 Union St), 6 4 EASTSIDE JAZZ CLUB AT NO Ham Carson Quintet, 7 JA Chick Corea Trio ft. Brian Blade & Hans TK Jon Alberts, Jeff Johnson, Tad Britton, 8:30 Glawischnig, 7:30, 9:30 MEYDENBAUER CENTER TU Tim Huling Jazz Composition Lab, 7 LJ Robert Parks CD release, 9:30 The Eastside Jazz Club’s annual Extravaganza presents MO The Bad Plus w/ Mark Morris Dance Group, 7:30 Jackie Ryan and the Jovino Santos Neto Quinteto at FRIDAY, DECEMBER 2 NC Ashley Webster, 8 the Theatre at Meydenbauer Center, 1100 NE 6th St, BP Bottom Line Duo w/ Greg Ruby, 7:45 PA Pink Martini w/ Seattle Symphony, 8 Bellevue, on December 4, 2011, at 2pm. The double BX Chris Clark Trio, 7, 9 SR Gail Pettis, 7:30 bill showcases Jackie Ryan with her superb trio, Randy C* BlueStreet Jazz Voices (First Christian Reformed SR Elliot Gray, 12:30 Halberstadt on piano, Gary Hobbs on drums and Jeff Church, 14555 25th Ave NE, Shoreline), 7:30 SY Victor Janusz, 9:30am Johnson on bass. C* Dan Duval Trio (Baker Street Books, 32709 TU Kelley Johnson Quartet, 7:30 Vocalist Ryan thrills with a 3 ½ octave range and Railroad Ave, Black Diamond), 7 VI Ruby Bishop, 6 amazing stage presence. She has a style that is uniquely C* Katy Bourne & Reuel Lubag (Wild Vine Bistro, VI The James Band, 9:30 born of a Mexican mother who sang in Operettas in 1800 Bothell-Everett Hwy, Bothell), 8 Mexico and an Irish father who sang classical tenor in EB Perry Robinson, Marc Smason, Craig Hoyer, 7 SUNDAY, DECEMBER 4 many languages. Teo Macero, producer of Miles Davis’s HS Jazz & Sushi, 7:30 BP Que Sera w/ Kristi King, 6:45 Bitches Brew and Dave Brubeck’s Time Out, has said, JA Chick Corea Trio ft. Brian Blade & Hans BP Michael Gotz brunch, 10 “One loves to hear a great singer – especially one with Glawischnig, 7:30, 9:30 BX Danny Kolke Trio, 6, 8 style, control, pitch and a wonderful sense of rhythm. LJ Shoreline Community College Jazz Improv, 9:30 C* Marc Smason Trio (Gilbert’s Deli, 10024 Main, Jackie Ryan is one of those rare talents – she has it MO The Bad Plus w/ Mark Morris Dance Group, 7:30 Bellevue), 11am all, and is destined to become a major star! I just love NC Greg Schroeder Trio, 8 CR Racer Sessions, 8 her sound.” NO Thomas Marriott’s Flexicon, 8 DT Kevin Mccarthy & Friends Jam Session, 8 Opening the Extravaganza is Jovino Santos Neto and SF Djangomatics, 9 FB Coco Martini, 6 his Seattle-based Quinteto. Neto teaches piano and SR Marco de Carvalho, 7:30 FG Monktail Creative Music Concern session, 9 composition at Cornish College of the Arts, and can TU Katie King Quartet, 7:30 GB Primo Kim, 6 also be heard as a piano soloist, working with symphony JA Chick Corea Trio ft. Brian Blade & Hans orchestras, jazz big bands, chamber music groups, and Glawischnig, 7:30, 9:30 in collaboration with musicians such as his mentor

GET YOUR GIGS To submit your gig information go to www.earshot.org/Calendar/data/gigsubmit.asp or e-mail us at [email protected] with details of the venue, start-time, and date. As always, the deadline for getting your listing in print is the 15th of the previous month. The online calendar is maintained LISTED! throughout the month, so if you are playing in the Seattle metro area, let us know! Calendar Key

AM Amore Restaurant, 522 Wall St, 770-0606 FB Seattle First Baptist Church, 1111 Harvard Ave, BC Barca, 1510 11th Ave E, 325-8263 206-325-6051 OW Owl ’n’ Thistle, 808 Post Ave, 621-7777 BP Bake’s Place, 4135 Providence Point Dr SE, FG Faire Gallery Cafe, 1351 E Olive Way, 206-652- PA Paramount Theatre, 911 Pine St, 206-682-1414 Issaquah, 425-391-3335 0781 PG Prohibition Grill, 1414 Hewitt Ave, Everett, 425- BX Boxley’s, 101 W North Bend Way, North Bend, GB El Gaucho Bellevue, 555 110th Ave NE, Bellevue, 258-6100 425-292-9307 425-455-2734 SB Seamonster Lounge, 2202 N 45th St, 633-1824 C* Concert and Special Events HS Hiroshi’s Restaurant, 2501 Eastlake Ave E, 726- SE Seattle Art Museum, 1300 First Ave, 654-3100 CB Conor Byrne Pub, 5140 Ballard Ave NW, 206- 4966 SF Serafina, 2043 Eastlake Ave E, 206-323-0807 784-3640 JA Jazz Alley, 2033 6th Ave, 441-9729 SR Sorrento Hotel, 900 Madison St, 206-622-6400 CG Copper Gate, 6301 24th Ave NW, 706-3292 LJ Lucid Jazz Lounge, 5241 University Ave NE, SY Salty’s on Alki, 1936 Harbor Ave SW, 526-1188 CH Chapel Performance Space, Good Shepherd 402-3042 TD Triple Door, 216 Union St, 838-4333 Center, 4649 Sunnyside Ave N, 4th Floor MO Moore Theatre, 1932 2nd Ave, 206-682-1414 TK Thaiku, 5410 Ballard Ave NW, 706-7807 CL Cypress Lounge & Wine Bar, 600 Bellevue Way MT Mac’s Triangle Pub, 9454 Delridge Way SW, 206- TO Town Hall Seattle, 1119 8th Ave, 206-652-4255 NE, Bellevue, 425-638-1000 763-0714 TU Tula’s, 2214 2nd Ave, 443-4221 CR Cafe Racer, 5828 Roosevelt Way NE, 523-5282 MX MIX 6006 12th Ave S, 767-0280 VI Vito’s, 927 9th Ave, 682-2695 DT Darrell’s Tavern, 18041 Aurora Ave N, NC North City Bistro & Wine Shop, 1520 NE 177th, VL Vino at the Landing, 800 N 10th Pl, Renton, Shoreline, 542-2789 Shoreline, 365-4447 425-282-0382 EB Egan’s Ballard Jam House, 1707 NW Market St, NO New Orleans Restaurant, 114 First Ave S, 622- WR White Rabbit, 513 N 36th St, 588-0155 206-789-1621 2563

18 • EARSHOT JAZZ • December 2011 Hermeto Pascoal, Bill Frisell, Paquito d’Rivera, Airto NC Double Scotts on the Rocks, 8

Moreira, Claudio Roditi, David Sanchez, Joe Locke, NO Thomas Marriott’s Flexicon, 8 Marco Granados. SF Pasquale Santos, 9 There will be pre-concert and intermission jazz in the SR Miss Rose & Her Rhythm Percolators, 7:30 foyer with the Jose “Juicy” Gonzales Trio. Tickets are TU Jay Thomas Hard Bop Quartet, 7:30 The Bass Church The Bass Church The Bass Church The Northwest double bass specialists $20 ($15 students 18 & under), available at www. VI Casey MacGill, 8 The Northwest double bass specialists The Northwest double bass specialists brownpapertickets.com/event/191487 or 425-828- 9104. SATURDAY, DECEMBER 10 www.basschurch.com www.basschurch.com www.basschurch.com BX Katy Bourne Quartet, 7, 9 MONDAY, DECEMBER 5 C* Faith Beattie w/ Totusek, Sparks, Guity, Bayley AM JT/TK Quartet, 8:30 (Queen City Grill, 2201 1st Ave), 10 GB Primo Kim, 6 C* Marc Smason Trio (Gilbert’s Deli, 10024 Main, MT Triangle Pub jam session w/ Pavel Shepp, 8:30 Bellevue), 11am Sales, Rentals, Sales, Rentals, Sales, Rentals, NO New Orleans Quintet, 6:30 CH The Tiptons, 8 Repairs, Restorations, Repairs, Restorations, Repairs, Restorations, WR Spellbinder, 9:30 CR Ask the Ages, 9 JA Taj Mahal Trio, 7:30, 9:30 Lessons Lessons Lessons TUESDAY, DECEMBER 6 LJ The Schwa, 9:30 Convenient North Seattle Location Convenient North Seattle Location Convenient North Seattle Location

BX Future Jazz Heads, 7, 9 SF Jose Gonzales Trio, 9

C* Mike Stern workshop (UW School of Music, Room SR Deems Tsutukawa, 7:30 (206)784-6626 35), 11:30am SY Victor Janusz, 9:30am (206)784-6626 (206)784-6626 9716 Phinney Ave. N. 9716 Phinney Ave. N. 9716 Phinney Ave. N. CG Suffering F#ckheads, 8 TU Thomas Marriott Human Spirit, 7:30 Seattle, WA. 98103 Seattle, WA. 98103 Seattle, WA. 98103 CH Brian Kinsella & Fluke, 8 TU Penelope Donado, 4 ~by appointment only~ ~by appointment only~ ~by appointment only~ GB Primo Kim, 6 VI Ruby Bishop, 6 JA Mike Stern, Richard Bona, Dave Weckl, Bob VL The Brooks Giles Trio, 8 Franceschini, 7:30 MX Mock, Kim, Willis, 8 10 THE TIPTONS IN WALLINGFORD

NO Holotradband, 7 Based in New York and Seattle, the Tiptons – Amy OW Jam w/ Martinez & Verlinde, 10 Denio, alto saxophone, clarinet, voice; Jessica Lurie, CURTAIN CALL SB McTuff Trio, 10 alto and tenor saxophone, voice; Sue Orfield, tenor The Bass Church The Bass Church The Bass Church TU Jay Thomas Big Band, 7:30 saxophone, voice; Tina Richerson, baritone sax, voice; weeklyThe recurringNorthwest do uperformancesble bass specialists The Northwest double bass specialists The Northwest double bass specialists

John Ewing (from Reptet), drums – perform originals WEDNESDAY, DECEMBER 7 and arrangements of world music. Covering musical www.basschurch.com www.basschurch.com www.basschurch.com BX Darin Clendenin, 7, 9 territory from New Orleans second line to free jazz, C* Studio Jazz Ensemble & UW Modern Band Afro-Cuban to Balkan, Klezmer and beyond, the MONDAY (Meany Studio Theater, UW), 7:30 Tiptons create some wild sounds for a sax quartet. AM JT/TK Quartet, 8:30 JA Mike Stern, Richard Bona, Dave Weckl, Bob The Tiptons’ newest CD, Strange Flower, includes 12 GB Primo Kim, 6 NO New Orleans Quintet, 6:30 Franceschini, 7:30 songs penned by each of the players, inspired by the Sales, Rentals, Sales, Rentals, Sales, Rentals, LJ Jazz & Poetry w/ Verbal Oasis, 8:30 lonely echo of train whistles at night, scientific findings WR Spellbinder, 9:30 NC Diane Fast-Neale & Bob Neale, 7 Repairs, Restorations, Repairs, Restorations, Repairs, Restorations, on bees from Harper’s Magazine, and covering genres TUESDAY NO Legacy Band w/ Clarence Acox, 8 from micro-big band to Gospel, bluegrass to Balkan, Lessons Lessons Lessons MX Mock, Kim, Willis, 8 SF “Passarim” Bossa Nova Quintet ft. Leo whimsical jazz to funk. Convenient North Seattle Location Convenient North Seattle Location Convenient North Seattle Location NO Holotradband, 7 Raymundo w/ Francesca Merlini, 8 Originally called Billy Tipton Memorial Sax Quartet in OW Jam w/ J Martinez & E Verlinde, 10 TD Kane Mathis (Musicquarium), 4:30 honor of big band saxophonist and pianist Billy Tipton, SB McTuff Trio, 10 TK Ron Weinstein Trio, 8:30 following the post-mortem revelation that Tipton was (206)784-6626 (206)784-6626 (206)784-6626 9716 Phinney Ave. N. 9716 Phinney Ave. N. 9716 Phinney Ave. N. TU Greta Matassa Student Recital, 7 actually a woman who lived as a man for more than 50 WEDNESDAYSeattle, WA. 98103 Seattle, WA. 98103 Seattle, WA. 98103 VI Honey Castro, 9 years. Many believe that this allowed Tipton to pursue ~byNO appointmentLegacy Band only~ w/ Clarence Acox ~by appointment only~ ~by appointment only~ a career in the male-dominated world of jazz. TK Ron Weinstein Trio, 8 THURSDAY, DECEMBER 8 Nonsequitur presents the Tiptons on Saturday, BC Adam Kessler, Phil Sparks, 9 December 10, 2011, 8PM, as part of the ongoing THURSDAY BX Alexey Nikolaev & Tony Foster, 7, 9 Wayward Music Series in the historic Chapel BC Adam Kessler w/ Phil Sparks, 9 C* Robert Knatt & Wayne Horvitz Seattle JazzED Performance Space at the Good Shepherd Center in LJ The Hang, 9:30 (NW African American Museum, 2300 S Seattle’s Wallingford neighborhood. Admission is $5- NO Ham Carson Quintet, 7 Massachusetts), 7 $15 sliding scale (cash or check only) at the door. TKT hAlberts,e B Johnson,ass Britton,Chu 8rch The Bass Church The Bass Church CH Hell’s Bellows & James Hoskins, 8 The Northwest double bass specialists The Northwest double bass specialists The Northwest double bass specialists CH The Tiptons, 8 SUNDAY, DECEMBER 11 FRIDAY LJ The Hang, 9:30 BP Greta Matassa Trio w/ Susan Pascal, 6:45 HS wJazzw w& .Sushi,bass c7:30hurch.com www.basschurch.com www.basschurch.com NO Ham Carson Quintet, 7 BP Michael Gotz brunch, 10 NO Thomas Marriott’s Flexicon, 8 SE Art of Jazz: Legacy Quartet w/ Clarence Acox, BX Danny Kolke Trio, 6, 8 SATURDAY 5:30 C* Marc Smason Trio (Gilbert’s Deli, 10024 Main, SY Victor Janusz, 9:30am TK Jon Alberts, Jeff Johnson, Tad Britton, 8:30 Bellevue), 11am TU Carrie Wicks w/ Bill Anschell, Chris Symer, Byron C* Bluestreet Jazz Voices, (Shoreline Conference VI Ruby Bishop, 6 Sales, Rentals, Sales, Rentals, Sales, Rentals, Vannoy, 8 Center, 18560 1st Ave NE, Shoreline), 3:30 SUNDAY VI Michel Navedo Trio, 9 Repairs, Restorations, Repairs, Restorations, Repairs, Restorations, CR Racer Sessions, 8 BP Michael Gotz brunch, 10am DT Kevin Mccarthy & Friends Jam Session, 8 BX Danny Kolke Lessons Trio, 6, 8 Lessons Lessons FRIDAY, DECEMBER 9 GB Primo Kim, 6 CR RacerConvenient Sessions, North Seattle8 Location Convenient North Seattle Location Convenient North Seattle Location C* Nikki Schilling (Wild Vine Bistro, 18001 Bothell JA Taj Mahal Trio, 7:30 DT Kevin McCarthy session, 8 Everett Hwy, Bothell), 8 LJ TransLUCID, ft. the Jason Goessl Quartet, 7 GB Primo Kim, 6 CH Michael Nicolella, 8 (206)784-6626 (206)784-6626 PG Bob Strickland jam, 5 (206)784-6626SY Victor Janusz, 9:30am CL The Brooks Giles Band, 8 9716 Phinney Ave. N. 9716 Phinney Ave. N. SF Anne Reynolds & Tobi Stone, 6:30 9716TU PhinneyJim Cutler Ave. Jazz N. Orchestra, 8 HS Jazz & Sushi, 7:30 Seattle, WA. 98103 Seattle, WA. 98103 Seattle, WA. 98103 SF Pasquale Santos brunch, 11am VI Ruby Bishop, 6 JA Taj Mahal Trio, 7:30, 9:30 SY Victor Janusz, 9:30am ~by appointment only~ ~by appointment only~ ~by appointment only~ LJ The Rumptones, 9:30 TU North Seattle CC Jazz Band, 8

December 2011 • EARSHOT JAZZ • 19 TU Jazz Police, 3 TU Emerald City Jazz Orchestra, 7:30 TD Thione Diop and Crew, 9 TU Jim Cutler Jazz Orchestra, 9 VI Jason Parker Quartet, 9 TK Jon Alberts, Jeff Johnson, Tad Britton, 8:30 VI Ruby Bishop, 6 TU Fred Hoadley’s Sonando, 8 VI Ron Weinstein Trio, 9:30 WEDNESDAY, DECEMBER 14 VI Ron Weinstein Trio, 9 BX The Young Lizards, 7, 9 MONDAY, DECEMBER 12 CB Market Street Dixieland Jass Band, 8:30 FRIDAY, DECEMBER 16 AM JT/TK Quartet, 8:30 JA Taj Mahal Trio, 7:30 BX Milo Petersen Trio, 7, 9 BX Carolyn Graye Singer Soiree, 7, 9 LJ Farko Collective, 9 C* Kareem Kandi Band (Royal Lounge, 311 Capitol GB Primo Kim, 6 NC Diane Fast-Neale & Bob Neale, 7 Way N, Olympia), 7 NO New Orleans Quintet, 6:30 NO Legacy Band w/ Clarence Acox, 8 C* Rebecca Parris & Randy Halberstadt (JazzVox MT Triangle Pub jam session w/ Pavel Shepp, 8:30 TK Ron Weinstein Trio, 8:30 Auburn), 7:30 TD Stacey Kent, 7:30 TU Hal Sherman’s Bellevue Community College Jazz C* ChoroLoco (Quetzalcoatl Gallery, 3209 S. TU Jessica Stenson/Lisa DeCosta Group, 7:30 Band, 7:30 Beacon), 7:30 WR Spellbinder, 9:30 VI Jerry Zimmerman, 7 C* Dan Duval Good Vibes Quartet (Luther’s Table, 419 S 2nd St, Renton), 7:30 TUESDAY, DECEMBER 13 THURSDAY, DECEMBER 15 C* Jaiman Crunk / Guy Alston Duo (Match Coffee & BX Future Jazz Heads, 7, 9 BC Adam Kessler, Phil Sparks, 9 Wine, 15705 Main St NE, Duvall), 7:30 CG Suffering F#ckheads, 8 BX Milo Petersen Trio, 7, 9 C* Doug Ostgard & Steve Allen (Baker Street Books, JA Taj Mahal Trio, 7:30 CH Monktail series, 8 32709 Railroad Ave, Black Diamond), 7 MX Mock, Kim, Willis, 8 JA Taj Mahal Trio, 7:30 CH Neal Kosaly-Meyer, 8 NO Holotradband, 7 LJ The Hang, 9:30 HS Jazz & Sushi, 7:30 OW Jam w/ Martinez & Verlinde, 10 NC Ashley Webster, 7 JA Taj Mahal Trio, 7:30, 9:30 SB McTuff Trio, 10 NO Ham Carson Quintet, 7 LJ Steve Kim, 9:30 NC David George Quartet, 8 NO Thomas Marriott’s Flexicon, 8 SF Leo Raymundo Trio w/ Sue Nixon, 9 TU Susan Pascal Quartet, 7:30 VI Jovino Santos Neto, 8 SATURDAY, DECEMBER 17 BX Janette West Group, 7, 9 C* Faith Beattie w/ Totusek, Sparks, Guity, Bayley (Queen City Grill, 2201 1st Ave), 10 C* Marc Smason Trio (Gilbert’s Deli, 10024 Main, Bellevue), 11am CH Vance Galloway & Charles Buckingham, 8 JA Taj Mahal Trio, 7:30, 9:30 LJ Seffarine, 9:30 PA Tony Bennett, 8 SF Tim Kennedy Trio, 9 SR Nelda Swiggett Trio, 7:30 SY Victor Janusz, 9:30am TU Greta Matassa Quartet, 7:30 TU Seattle Teen Music, 2 VI Ruby Bishop, 6 SUNDAY, DECEMBER 18 BP Michael Gotz brunch, 10am BX Danny Kolke Trio, 6, 8 C* Michael Powers (Marine View Church, 8469 Eastside Dr NE, Tacoma), 5 C* Rebecca Parris & Randy Halberstadt (JazzVox Camano), 7:30 CR Racer Sessions, 8 DT Kevin Mccarthy & Friends Jam Session, 8 GB Primo Kim, 6 JA Taj Mahal Trio, 7:30 SF Jerry Frank, 6:30 SF Alex Guilbert Duo brunch, 11am SY Victor Janusz, 9:30am TU Jay Thomas Big Band, 4 TU Jim Cutler Jazz Orchestra, 8 VI Ruby Bishop, 6 VI Ron Weinstein Trio, 9:30 MONDAY, DECEMBER 19 AM JT/TK Quartet, 8:30 BX Offbeats Jazz Choir, 7, 9 GB Primo Kim, 6 MT Triangle Pub jam session w/ Pavel Shepp, 8:30 NO New Orleans Quintet, 6:30 TU Darin Clendenin Trio jam, 7:30

20 • EARSHOT JAZZ • December 2011 WR Spellbinder, 9:30 WEDNESDAY, DECEMBER 28 C* Milo Petersen Trio (Baker Street Books, 32709 Railroad Ave, Black Diamond), 7 BX John Hansen, 7, 9 TUESDAY, DECEMBER 20 HS Jazz & Sushi, 7:30 JA Poncho Sanchez Latin Jazz Band, 7:30 BX Future Jazz Heads, 7, 9 JA Poncho Sanchez Latin Jazz Band, 7:30, 9:30 LJ Vocalize-It jam, 8:30 CG Suffering F#ckheads, 8 NO Thomas Marriott’s Flexicon, 8 NC Diane Fast-Neale & Bob Neale, 7 JA David Lanz, 7:30 SF Jerry Frank, 9 NO Legacy Band w/ Clarence Acox, 8 MX Mock, Kim, Willis, 8 TU Bill Anschell Trio, 7:30 TK Ron Weinstein Trio, 8:30 NO Holotradband, 7 TU Greta Matassa Vocal Showcase, 7:30 OW Jam w/ Martinez & Verlinde, 10 SATURDAY, DECEMBER 31 VI Jerry Zimmerman, 7 SB McTuff Trio, 10 BP New Year’s Eve Bash w/ Little Bill & The TU Roadside Attraction, 7:30 THURSDAY, DECEMBER 29 Bluenotes, 8 BX Carolyn Graye & Paul Green w/ Christopher BC Adam Kessler, Phil Sparks, 9 WEDNESDAY, DECEMBER 21 Woitach, Chris Symer, Greg Williamson, 7, 9 BX Leah Stillwell, 7, 9 BX Randy Halberstadt, 7, 9 C* Faith Beattie w/ Totusek, Sparks, Guity, Bayley JA Poncho Sanchez Latin Jazz Band, 7:30, 9:30 EB Steve Messick Quartet, 7 (Queen City Grill, 2201 1st Ave), 10 LJ The Hang, 9:30 JA David Lanz, 7:30 C* Marc Smason Trio (Gilbert’s Deli, 10024 Main, NO Ham Carson Quintet, 7 NC Diane Fast-Neale & Bob Neale, 7 Bellevue), 11am SF Alex Guilbert Duo, 8 NO Legacy Band w/ Clarence Acox, 8 JA Poncho Sanchez Latin Jazz New Year’s Eve TK Jon Alberts, Jeff Johnson, Tad Britton, 8:30 TK Ron Weinstein Trio, 8:30 Celebration, 8:45, 11 TU Leah Natale/Jacqueline Tabor Group, 7:30 TU Kelley Johnson Vocal Showcase, 7:30 NC Momentum Jazz Quartet, 8 VI Leeni and Love Show, 9 FRIDAY, DECEMBER 30 SF John Sanders Quartet w/ Sue Nixon, 9 SY Victor Janusz, 9:30am BX Bryant Urban Blue Oasis, 7, 9 THURSDAY, DECEMBER 22 TU Greta Matassa Quartet, 8:30 BC Adam Kessler, Phil Sparks, 9 BX Reuel Lubag Duo, 7, 9 JA Tingstad and Rumbel, 7:30 LJ The Hang, 9:30 NO Ham Carson Quintet, 7 TK Jon Alberts, Jeff Johnson, Tad Britton, 8:30 TU David Friesen Christmas Project, 7:30 Tula’s Jazz Calendar DECEMBER 2011 VI Tango Ahora, 9 Tula’s Restaurant and Nightclub Reservations: 206-443-4221 22142214 Second Ave, Avenue, Seattle, Seattle, WA 98121 WA 98121 decemberTULAS.COM 2011 FRIDAY, DECEMBER 23 www.tulas.com; for reservations call (206) 443-4221 HS Jazz & Sushi, 7:30 SUNDAY MONDAY TUESDAY WEDNESDAY THURSDAY FRIDAY SATURDAY 1 2 3 JA Tingstad and Rumbel, 7:30 EARLY ARRIVAL DISCOUNTS • MONDAY thru THURSDAY: LJ Lisa Markley & Bruce Balmer, 9:30 Make dinner reservations and arrive by 7:00 pm to receive a Tim Huling Katie Kelley NC Rick Leppanen & Susan Pascal, 8 10% discount on all food items. Jazz King Johnson NO Thomas Marriott’s Flexicon, 8 EARLY ARRIVAL DISCOUNTS • FRIDAY and SATURDAY: Composition Make dinner reservations and arrive by 7:00 pm to receive a Quartet Quartet SF Pasquale Santos, 9 $5 discount on your cover charge. Lab 7:30-11:30PM $15 7:30-11:30PM $15 SR Nikki DeCaires, 7:30 7-11PM $5 TU Stephanie Porter Quartet, 7:30 4 5 6 7 8 9 10 Penelope SATURDAY, DECEMBER 24 Reggie Goings • NON-JAZZ • BIG BAND JAZZ Donado Jazz Offering Greta Jay w/ Bill Anschell, C* Faith Beattie w/ Totusek, Sparks, Guity, Bayley 3-7PM $10 Belltown Carrie Paul Gabrielson (Queen City Grill, 2201 1st Ave), 10 Jay Matassa Thomas Mark Ivester Neighborhood Wicks 4-6 PM $12 C* Marc Smason Trio (Gilbert’s Deli, 10024 Main, Jim Cutler Thomas Student Hard Bop Bellevue), 11am Jazz Event Big Band Group Thomas Orchestra 7:30-11PM $5 Recital 8-11PM $10 Quartet SY Victor Janusz, 9:30am 7-11PM $10 7:30-11:30PM $15 Marriott 8-11PM $5 Human Spirit SUNDAY, DECEMBER 25 7:30-11:30PM $15 GB Primo Kim, 6 11 12 13 14 15 16 17 Jazz Police BIG BAND JAZZ BIG BAND JAZZ HOT LATIN JAZZ BIG BAND Jessica Susan Seattle MONDAY, DECEMBER 26 3-7PM $5 Emerald Hal Teen Music Stenson/ Sherman’s Fred Pascal 2-5PM $5 AM JT/TK Quartet, 8:30 North Seattle CC Lisa City Jazz Hoadley’s BX Carolyn Graye Singer Soiree, 7, 9 Jazz Band Bellevue Quartet Greta 8-9PM DeCosta Orchestra Community w/Dave Peterson GB Primo Kim, 6 7:30-11PM $5 Sonando Chuck Deardorf Jim Cutler Group College 8-11PM $10 Matassa MT Triangle Pub jam session w/ Pavel Shepp, 8:30 7:30-11PM $8 Mark Ivester Jazz Orch. Jazz Band 7:30-11:30PM $15 Quartet NO New Orleans Quintet, 6:30 9-11PM $5 7:30-11PM $7 7:30-11:30PM $15 PA Woody Allen & New Orleans Jazz Band, 7:30 18 19 20 21 22 23 24 TO SRJO: Duke Ellington’s Sacred Music, 8 Jay Thomas JAZZ JAM BIG BAND JAZZ Kelley David TU Boyd Phelps Sax Attack, 7:30 BIG BAND Stephanie Closed 4-7PM $5 w/ Darin Roadside Johnson Friesen WR Spellbinder, 9:30 Jim Cutler Clendenin Porter Christmas Jazz Attraction Vocal Christmas Eve Trio 7:30-11PM $8 Showcase Quartet TUESDAY, DECEMBER 27 Orchestra Project 7:30-11:30PM $15 7:30-11PM $10 7:30-11PM $10 7:30-11PM $10 BX Future Jazz Heads, 7, 9 8-11PM $5 29 30 31 CG Suffering F#ckheads, 8 25 26 27 28 NEW YEAR’S MX Mock, Kim, Willis, 8 Boyd BIG BAND JAZZ Greta Leah Closed Bill EVE PARTY NO Holotradband, 7 Phelps The Little Matassa Natale/ OW Jam w/ Martinez & Verlinde, 10 Christmas Vocal Jacqueline Anschell Greta Day Sax Big Band Matassa SB McTuff Trio, 10 7:30-11PM $5 Showcase Tabor Trio Attack 7:30-11:30PM $15 TU The Little Big Band, 7:30 7:30-11PM $10 7:30-11PM $10 Group Quartet 8:30-12:30 $35 VI Wally Shoup Trio, 9 7:30-11PM $10

December 2011 • EARSHOT JAZZ • 21 SRJO, from page 7 ly. SRJO employs a part-time financial artists with individual instruction for controller/bookkeeper and a ticketing 20 students and group instruction for iels, Bernie Jacobs, Gretta Matassa and manager. 40 more. Danny Quintero. Education is a strong part of the Upcoming performances by SRJO SRJO documented their growing SRJO mission. Since 2000, SRJO has include the “23rd Annual Duke Elling­ success on three recordings, SRJO presented free or low ticket price con­ ton Sacred Music Concert” on De­ Live (2002), Sacred Music of Duke El- certs to reach students and children. cember 26, Benny Carter’s “Peaceful lington (2006) and The Endless Search These educationally focused Jazz4Kids Warrior – A Tribute to Martin Luther (2010). All of the CDs feature live re­ concerts are now underwritten by Se- King” in March, “North by North­ cordings by Seattle jazz archivist Jim attle’s Child magazine, PONCHO west: Music of Seattle Jazz Compos­ Wilke. and Kennelly Keys. Additionally, the ers” in April and “Jazz of the Harlem The current performers in SRJO are SRJO Jazz Scholars program provides Renaissance II: All-Acoustic Jazz” in 17 of Seattle’s most proficient artists instruments and lessons. Most recent­ June. Tickets are available at www. – trumpeters Cesar Amaral, Thomas ly, the Clowes Foundation and City of srjo.org. Unplug your ear buds and Marriott, Andy Omdahl and Jay Seattle are funding a project at Denny experience live performances of great Thomas, trombonists Bill Anthony, Middle School to match five SRJO jazz music by our city’s talented artists. David Bentley, Scott Brown, Dan Marcus and Nathan Vetter, saxo­ phonists Michael Brockman, Travis Ranney, Bill Ramsay, Tobi Stone and apply online at Mark Taylor, pianist Randy Halber­ WWW.CORNISH.EDU/MUSIC stadt, bassist Phil Sparks, and drum­ or call 800.726.ARTS mer Clarence Acox. In former sea­ sons, the band included Seattle’s elder statesmen who are no longer with us – saxophonists Hadley Caliman and Don Lanphere, trumpeters Ed Lee and Floyd Standifer. SRJO built an audience that trusts MORE THAN A CONSERVATORY. the quality and diversity of program­ WE’RE AN EXPLORATORY. COME PLAY A PART. ming so concerts sell out in advance. Individual performers and the ensem­ ble as a whole generate interest so that audiences grow for all future projects – whether it’s the next SRJO season or one of the band members’ small en­ semble gigs at a club. Although SRJO is not affiliated JAZZ AT with an arts institution, it regularly performs at the Benaroya Nordstom Recital Hall and the Kirkland Perfor­ mance Center. SRJO is a non-profit CORNISH. 501(c)3 corporation, maintains a board of 19 directors, lists more than CELEBRATING 40 YEARS OF JAZZ (1971 – 2011) 150 individual sponsors and receives support from city, county, and state government along with five private foundations. All of this is managed Cornish College of the Arts offers by co-directors Acox and Brockman, a bachelor of music in composition, concurrent with their positions as edu­ instrumental or vocal performance. cators at Garfield and UW respective­

22 • EARSHOT JAZZ • December 2011 JAZZ INSTRUCTION Osama Afifi - Upright/electric bass instruction. Ed Hartman – YAMAHA Performing Artist. Jazz, Murl Allen Sanders – jazz piano & accordion Worked with Kurt Elling, Nnenna Freelon, Tribal Latin, percussion lessons (drumset, vibraphone, instructor interested in working with motivated Jazz, Yanni, Vanessa Paradis. (253) 229-1058 congas) @ The Drum Exchange. FREE intro. les- intermediate level young people. (206) 781-8196 son. (206) 545-3564, [email protected] www.myspace.com/osamaafifi Greg Sinibaldi – Improvisation/composition using Clipper Anderson – NW top bassist, studio musi- Kelley Johnson – Earshot Best Jazz Vocalist, 12-tone technique, all instruments & levels, cian, composer. PLU faculty. Private students, International Vocal Competition Winner. Lessons ensemble coaching, workshops. (206) 675-1942; clinics, all levels, acoustic/electric. $45/hr. (206) & workshops, voice, & improvisation. www.kelley- [email protected] johnson.com (206) 323-6304 933-0829 or [email protected] Marc Smason – Trombone, jazz vocal & dijeridu. Dave Anderson -- Improvisation instruction/coaching, Diane Kirkwood - Recording Artist/Jazz Vocal- Professional trombonist/vocalist since 1971. Has any level/instrument, from saxophonist/composer in ist. Private Vocal Coach/Performance & Audition taught in schools & privately. www.marcsmason.com Greenlake neighborhood. (206) 553-9957, davean@ Coach. Students/Adults (425) 823-0474 or [email protected] Bill Smith – Accepting students in composition, comcast.net, www.daveandersonjazz.com improvisation and clarinet. (206) 524-6929, Bob Antolin – Saxophone and Improvisation (all in- Scott Lindenmuth - Jazz Guitar Instruction. Impro- [email protected] visation, theory, technique. Beginning through struments). Jazz & World focus. NE Seattle. (206) Charlie Smith – Accepting students for jazz com- 355-6155 or [email protected] advanced. (425)776-6362, www.scottlindenmuth. com, [email protected] position and arranging, theory and piano. Leader Jon Belcher – Jazz drum set instruction. Studied and arranger for Charlie Smith Circle. (206) 890- with Alan Dawson. Author Drumset Workouts Pascal Louvel – www.SeattleGuitarTeacher.com GIT 3893 [email protected] books 1 & 2. Web site: www.drumsetworkouts. grad, Studied with R. Ford and N. Brown, (206) 282-5990 David L. Smith - Double bass and electric bass. com. (253) 631-7224, [email protected] Teaching all styles & levels. BM Eastman School Emilie Berne - Vocal instruction in cabaret, jazz, Greta Matassa – Award winning, Earshot Best Jazz of Music, MM Univ. of Miami. (206) 280-8328; musical theater, song writing. All levels. Over 30 Vocalist. Private instruction and workshops. (206) [email protected] years teaching experience. (206) 784-8008 937-1262 www.gretamatassa.com, gretamatassa@ home.com Amy Stephens – Jazz piano, theory, improv, Dina Blade – Jazz singing instruction. Closet sing- composition, classical piano also. BM/BM, MM ers and beginners welcome. dinablade@dinablase. Yogi McCaw – Piano/Improvisation/Composition/ Indiana Univ., 10+ yrs teaching experience.(206) com or (206) 524-8283 Home Recording. North Seattle. (206) 783-4507 240-7632, [email protected] or [email protected] Samantha Boshnack – Experienced trumpet tech- Ev Stern’s Jazz Workshop: 18 years of jazz en- nique & improvisation instructor w/ music degree. Wm Montgomery – Instruction in jazz piano, improv sembles, classes, lessons. All ages, instruments, All ages, levels. Home studio in Ballard. (206) (all instruments), ear training, theory, composi- levels. evstern.com; (206) 661-7807; evstern@ 789-1630 or [email protected] tion. Seattle (Magnolia Village). (206) 282-6688, comcast.net [email protected] Ryan Burns – piano, fender rhodes, guitar and bass Jacob Stickney – saxophone. Rhythm, sight-read- instruction. University of Puget Sound and Seattle Dennis Moss – Jazz and Brazilian guitar instruction. ing, musicianship, harmony, arr. & composition. Drum School. [email protected] BM from Cornish. All ages/levels. In-home lessons [email protected] also possible. [email protected], www. Julie Cascioppo – Coaching to improve your perfor- dennismossmusic.com Tobi Stone – Saxophone/Clarinet. All ages/levels. mance on all levels. with Jazz/cabaret singer Julie Attention to tone, technique, theory, improvisation. Cascioppo. www.juliesings.com 206-286-2740 Cynthia Mullis – Saxophone instruction with a BM, 10 years teaching/performing. Member Reptet creative, organic approach to Jazz style, theory, & Tiptons. (206) 412-0145 Frank J. Clayton – Basic to advanced double bass, technique. BM, MA, NYC professional. 206-675- drums and ensemble. 23 yrs playing and perform- 8934. Email: [email protected] Ryan Taylor – Guitarist with extensive performance/ ing in NYC. Studies at Berklee, Manhattan and teaching background. For information, ryan-tay- Juilliard schools. (206) 779-3082 Nile Norton, DMA – Vocal Jazz coaching, all levels. [email protected] or call (206) 898-3845 Convenient Pioneer Square studio location. Darin Clendenin has openings for students in jazz Recording and transcriptions. www.npnmusic.com, Andre Thomas – Intermediate to advanced tech- piano. Beginning – advanced, ages 8 to 80, 31 [email protected], (206) 919-0446 niques for the modern drummer as applied to jazz years playing experience, 18 years teaching experi- and bebop. (206) 419-8259 ence. (206) 297-0464 Ahamefule J. Oluo – Trumpet instruction all levels. Studied at Cornish, member of Monktail Creative Jay Thomas – accepting select students on trum- Anna Doak – Double bass instructor 784-6626, Music Concern. 849-6082, [email protected] pet, saxophone, flute. Special focus on improvisa- [email protected]. Professional performing/re- tion and technique. (206) 399-6800 cording bassist. Professor of double bass at WWU Susan Palmer – Guitar instruction. Teacher at Seattle University and author of “The Guitar Yakup Trana – Cornish graduate, professional Becca Duran – Earshot Vocalist of 2001; MA. Lesson Companion” book, CD and videos. Email: guitarist. Guitar instructions for all levels; (425) Learn to deliver a lyric; study tone production, [email protected] 221-3812, [email protected] phrasing, improvisation, repertoire. All languages. Byron Vannoy MFA – Jazz drum set instruction & 548-9439; www.beccaduran.com Susan Pascal – Jazz vibraphone improvisation and technique, beginning thru advanced. 206-932-5336 rhythmic improvisational concept lessons for all Hans Fahling – Jazz guitar instruction, as well as [email protected], www.susanpascal.com instruments. All ages and levels accepted. (206) jazz ensembles for all instruments. Contact: (206) 363-1742, [email protected] 364-8815, email: [email protected], web Ronnie Pierce – Instruction in sax, clarinet, flute. (206) 467-9365 or (206) 374-8865 Debby Boland Watt – Vocal instruction in Jazz, Im- site: www.fahlingjazz.com provisation & Bobby McFerrin’s Voicestra. Cornish William Field – Drums, all styles. Member of AFM Bren Plummer -- Double Bass Instruction: Jazz and BM: Vocal Jazz & MFA: Improv & Comp (243) Local 76-493. City of Seattle business license dba classical. BM (NEC), MM, DMA (UW). Experienced 219-5646 or www.debbywatt.com Sagacitydrums. (206) 854-6820 freelance jazz and orchestral player. brenplum- [email protected] (206)992-9415 Patrick West – Trumpet Instruction. 20 + years ex- Curtis Forbes – Guitarist, Berklee graduate, degree in perience teaching. All ages and levels accepted. composition available for private lessons in guitar, Josh Rawlings – Piano & vocal instruction in jazz/ Emphasis on Technique and improvisation. (425) composition, arranging, theory. (206) 931-2128 or popular. Flexible rates/schedule. All ages welcome. - 971-1831 (425) 941-1030 or [email protected] [email protected] Garey Williams – Jazz Drum Instruction. (206) David George – Instruction in trumpet. Brass and Bob Rees – Percussionist/vibraphonist. All ages. 714-8264 or [email protected] Emphasis on listening, rhythm, theory, & improv. jazz technique for all students. Home studio in Greg Williamson – drums and rhythm section; jazz Shoreline. Cornish graduate. (206) 545-0402 or Degrees in developmental music & perc. perfor- mance. 417-2953; [email protected] and big band; private studio for lessons, clinics [email protected] and recordings; (206) 522.2210, greg@ponyboy- Steve Grandinetti, MSEd – Jazz drum set instruc- Steve Rice – Jazz piano instruction, North Seattle; records.com [email protected], (206) 365-1654 tion. Studied with Justin Di CioCio. Centrum Beth Winter – Vocal Jazz Teacher, technique and Blues Festival faculty member. 360-385-0882, Gary Rollins - Guitar and bass guitar instruction. repertoire. Cornish Jazz Instructor has openings for [email protected] 30+ years teaching. Student of Al Turay. Mills private voice. (206) 281-7248 Tony Grasso – Trumpet technique, composition, Music, Burien, Shoreline. (206) 669-7504. improvisation. All levels. 15 years teaching experi- garyleerollins.com ence. 940-3982; [email protected]

To be included in this listing, send up to 15 words, to Earshot Jazz, 3429 Fremont Pl N #309, Seattle WA 98103; fax (206) 547-6286; [email protected].

December 2011 • 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 class, please add $5 for class, please add $5 for st EMAIL the newsletter to your door and entitles you to to brings you Earshot in membership entitles basic $35 A and door your member to Your newsletter the events. Earshot all at discounts educational our all support helps also ship presentations. concert and programs $300 Individual Lifetime $300 Individual $200 Sustaining $100 Patron

Earshot Jazz, 3429 Fremont Pl N, #309, Seattle, WA 98103 WA Earshot Jazz, 3429 Fremont Pl N, #309, Seattle, (US funds) extra postage $35 Individual $60 Household discount at all levels Citizen – 30% Sr. subscribers please add $8 additional postage Canadian and overseas to receive newsletter 1 Regular subscribers – Contact me about volunteering MEMBERSHIP

EARSHOT JAZZ CITY/STATE/ZIP ______PHONE # ______Type of membership Type Other ______NAME ______ADDRESS ______Earshot Jazz is a nonprofit tax-exempt organization. Ask your employer if your if employer your Ask organization. tax-exempt nonprofit a is Jazz Earshot company has a matching gift program. It can easily double the value of your membership or donation. Mail to 2 2 3 4 9 _ 14 16 18 23 _

______we stock over 34,000 items: CDs, LPs, DVDs, videos, _ SEATTLE REPERTORY JAZZ ORCHESTRA JAZZ REPERTORY SEATTLE ______

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Classifieds cost $10 for 25 words or less, 50 cents per additional word. Copy and payment accepted through the 15th of the month prior to publication. Good service/prices. www.cadencebuilding.com; (315) 287-2852. Good service/prices. www.cadencebuilding.com; Jazz records: shipping. books. Over 1500 labels, domestic & imports. Worldwide CLASSIFIEDS Jazz Instruction Jazz Calendar 2011 CD Wrap Bless Seattle Preview: Duke Ellington Sacred Music Concerts 2011 Earshot Jazz Festival in Pictures A Bridge from Past to Future Profile: Jazz Repertory Builds in Seattle: Profile: Jazz Repertory Builds in Seattle: In One Ear Letter from the Director: Twenty Years Within Earshot Years Letter from the Director: Twenty Notes IN THIS ISSUE... COVE SHEEHAN DANIEL BY PHOTO