Earshot A Mirror and Focus for the Community , May 1989 The Art of Being a Jazzophile Ken Wiley

Now in its sixth year on KPLU, Ken make sense ofthe long horn. But it wasn't until through town. Wiley's "Artof Jazz" program is widely high school that the musical epiphany oc- "I'd walk down from Pacific Heights to recognized as the Embarcadero to a little tavern called the among the most Pier 23. There was a great stride piano player detailed and far- named Bert Bales who played there regularly. reaching of One evening, clarinetist Frank "Big Boy" Northwest jazz Goodi came in and tore it up, and then a little radio shows. later, Earl Hines stopped in to play a couple of Broadcast Sun­ tunes. It was that kind of place." day afternoons Wiley later returned to the Northwest and from three played with fellow Tacoman Bill Ramsay's o'clock until six, for about a year. The band did Quincy Wiley's pro­ Jones and Basie charts, and played such ven­ grams are ues as the Evergreen B allroom in Olympia and marked by his the Spanish Castle. expository style During this time, Wiley hooked up with and his ability to University of Puget Sound professor Leroy ferret out the ar­ Ostransky, author of the book Anatomy of cane and the re­ Jazz. The two collaborated on a television vealing detail. show that aired in 13 half-hour segments on Wiley's KING-TV. In the show, Wiley posed ques­ balanced ap­ tions to Ostransky, and the two detailed the proach—rang­ Ken Wiley (photo by Georgia Steele) history and development of jazz. The show ing from Elling- provided a glimpse of the broadcasting talent tonia, such as "Cottontail," the show's theme curred that would set him on the path of the Wiley later became. song, Louis Armstrong, and , to jazzophile. "I had a friend at Stadium High modernists Steve Lacy, Ornette Coleman, and School, whose parents had this amazing rec­ continued on page 3 Eric Dolphy—has captured the attention of ord collection—old 78s, some newer stuff. even casual jazz fans. Said one longtime lis­ One day, he invited me over to listen to some tener, "The guy is relentlessly informed and sides. The first thing he put on was the 1947 INSIDE EARSHOT tasteful. He really keeps the show alive." Louis Armstrong concert done in Boston. I'll Although he gives the impression of always remember that sound coming across A REPORT FROM THE BOARD being a radio jock all his life, Ken Wiley the room and just flooring me. It changed my actually turned to broadcasting work only life." recently. It was a logical progression from a Earshot Jazz- more than just In the early 1950s, Wiley started amass­ a newsletter page 2 life of playing, listening, writing, and teach­ ing a personal collection of rapidly disappear­ ing. ing 78 rpm records. "A woman by the name of Perhaps it's Wiley's own experience as a Edith Anderson ran one of those old-fashioned LIVE! musician that gives him such great respect for, record stores in the Rust building downtown, and high expectations of, the music. Bom and the kind with listening booths in the back—a raised in Tacoma, Wiley was encouraged by Reviews of Denny Goodhew great place. This was during the transition and Sonny Booker page 6 his eighth-grade teacher, Bob Mane, to take up from 78s to LPs, and you could get 78s for a the last instrument remaining in the band store quarter each. I feasted." room: the trombone. After high school, Wiley studied litera­ WAXIN'YOUR EARS "On the first day of band practice, I car­ ture and music at a number of universities— ried that old, beat-up case to the band room like including Washington, Iowa, San Francisco A review of David Peterson's it was a jeweled cask," remembers Wiley. State, and Berkeley-living the life of the pro­ album, Afterimage ....page 7 "Then, I realized I couldn't play a lick." fessional student. During his time in the Bay After suitable instruction, Wiley began to area, Wiley caught every player who came Got some gossip or news you want to share with the local jazz community? Leave us a message on our "In One Ear" answering machine at 547-6763... Former Seattleite Greg Marvin, who now lives in NYC's West Village, is looking for a small house to rent in Seattle from June through September. An exchange might be possible, too. Call Greg at 212-627-0874... April 23 benefit for Woody Shaw was large and included many local musicians and some newcomers, including trumpeter Sidney Lopez, who just moved to Seattle from Miami... Bad news for Bellevue Jazz Festival fans: this year's budget has been cut in half according to organizer Jim Wilke ... Jazz Alley's Seattle Jazz Festival has been postponed until autumn... The Mt. Hood Jazz Festival has added veteran vocalist Lou Rawls and guitarist Kevin Eubanks. Look for Northwest festival details in the June issue ... Bunjazzo, an all-star high school jazz ensemble from Germany, is making the trip

to B ud Shank' s Jazz Workshop this summer. A group r from Japan may appear, too... showed off her dynamite piano chops on KPLU's recent airing of her 1987 NPR appearance on Marian McPartland's Piano Jazz... If Earshot Jazz you haven't listened to it yet, check out Jim Wilke's "Northwest Vol. 5 No. 4 Jazz" program on KPLU, 6-9 Saturday nights. The program, which ©1989 Earshot Jazz Wilke started a little over a year ago, features music by resident Northwest jazz musicians and visitors to the area. Wilke plays selections from commercially available recordings, as well as from his own tapes of recent and bygone local events ... For those Editor: Brian McWilliams of you who like a Microbrew with your jazz, the Red Hook Ale Brewery has started booking jazz Assistant Editor: Charles Smyth Monday and Saturday nights ... Art Director: Seiko Sato Calendar Editor: Bob Mariano, 364-9357 Advertising Manager: Jeff Ferguson, Earshot: More Than a Newsletter 328-6199 Staff Writers: Sandra Burlingame, Todd Report from the Board Campbell and Joseph Murphy. Like the tip of an iceberg, Earshot's newsletter is the most consistently visible part of a larger Contributors: Herb Levy, Ted Dzielak, underlying structure. But the Earshot organization also includes a broad scope of activities Paul de Barros, Ken Wiley, Susan Golden, that many of youhave participated in and enjoyed, including concerts, educational programs, Gary Bannister, Bruce Kochis, and Sheila and seminars for musicians. These activities are made possible in part by the dues of Earshot Espinoza. members and the efforts of numerous volunteers. Thanks to Adrienne Weaver and her stu­ Throughout the organization, excitement is building for the Earshot Jazz Series '89, to be dents at Kimball Elementary School for mailing assistance. held June 23rd-July 1 (see calendar for participants). Under the guidance of project director Computer assistance: Rich Minor Mark Solomon, Earshot Jazz '89 is supported by grants from Seattle Arts Commission, King Thanks to Jim Knodle and Bob Meyer for County Arts Commission, Washington State Arts Commission, and Meet The Composer. distribution assistance. Earshot has already presented two special concerts this year: Steve Lacy, produced by Jeff Earshot Board of Directors: Cherrie Ferguson; and Brad Schoeppach's Borders, produced by Jon Kertzer, who is also producing Adams, Gary Bannister, Donald J. Brown, the upcoming summer series. Sandra Burlingame, Judy de Barros, Vince Ted Dzielak has written several successful grant applications for Earshot's Roots of Jazz Gonzales, Anthony Greenwald, Lola Ped- project, directed by Paul de Barros. In April, Earshot received an additional S1000 from rini, Mark Solomon. ALPAC and S500 from Artist Trust for the project, which will result in a set of 50 oral-history General Information, (206) 547-6763. transcripts and abook on the history of jazz in Washington. The book will also feature portraits Address all correspondence to: by photographer Eduardo Calderon and 60 select vintage photographs. An exhibit will tour P.O. Box 85851, Seattle, WA 98145-2858. the state along with public jazz performances coordinated with Cornish College of the Arts. Earshot's Education Committee received S600 seed money from member Fred Wardenburg The monthly magazine Earshot Jazz is to begin a jazz program in Seattle's inner-city public schools. Wardenburg set up meetings printed by Murray Publishing Company with school music directors to determine needs, and the education program began in April with of Seattle, 2312 Third Ave. a workshop by the Harper Brothers, co-sponsored by Jazz Alley. In addition, three senior high school students will receive scholarships to the Bud Shank Jazz Workshop this summer. And, thanks to a grant from the Digital Equipment Corporation, Earshot-subsidized private lessons for needy junior high school jazz students will begin in the fall. Grant writer Bruce Gray has signed on to research additional grants for education. A nine-member board of directors oversees the range of committees and volunteers who are responsible for the success of Earshot's projects. Since our last report in December 1988, board members Bruce Kochis, Michael Steiner, and Bob Mariano have stepped down. (Mariano will remain active as assistant-to-the-treasurer and as calendar editor of the newsletter.) We have welcomed new board members Vince Gonzales (membership chair) and Donald Brown (volunteer coordinator). Newly elected officers are Sandra Burlingame, president; Mark Solomon, vice-president; Judy de Barros, treasurer; and Cherrie Adams, secretary. As our organization continues to grow, so do our needs. Earshot has opened a new office in Fremont (with the samemailing address) and has an answering machine to receive your calls (547-6763). Our fondest wish is that a music lover out there in jazzland will donate a com­ recording co. puter for our office; it would greatly help us consolidate our operations. We would even appreciate an old-fashioned typewriter, or any office equipment you can spare. Donations earmarked for special projects are welcomed. KLUB KEV'S recording co. Miraculously, people come forward at appropriate times to volunteer their skills to Earshot. Dedicated efforts have brought great rewards, and there have been fun and new friendships Bringing Seattle the Finest along the way. If you'd like to be a part of it all, even if you have limited time to give, please in Recording Equipment and Personnel. call us at 547-6763. ' . Sandy BurUngame (206) 527-2250 me for the show." versy," he said, discussing Ornette Coleman Ken Wiley continued... Once, a listener phoned Wiley during the and the derision that greeted his music in middle of a show featuring drummers Buddy certain critical circles. "When someone is being In the early 1960s, Wiley returned to Rich and Sid Catlett. "This young kid calls up, attacked, it's then that I become most inter­ school to get a teaching certificate, which led a rock 'n' roll drummer, ecstatic about the ested in hearing their music." to a job teaching English in the Tacoma public music. 'Who are these guys? Can you buy their Going into his seventh year as host of schools. This year marks Wiley's 24th as a records?' he asked. When I told him he could, "The Art of Jazz," Wiley still feels fortunate to teacher in the city's middle schools. Discuss­ the kid said, 'I didn't know guys like this be doing the show. "I'm interested in the ing his approach to teaching writing in the existed. Thanks a lot, man.'" intensity of expression jazz represents, in the electronic age, Wiley said, "The 12-15 age Despite an extensive knowledge of the amazing compression of form that has oc­ group is very creative. I like to stress that their tradition, Wiley is no rear-guardist, who at­ curred in the short history of this art form, and imagination represents aremarkable resource, tempts to defend jazz from the corruption of in where it has been and where it's going." and then take them to the next step of express­ modernity. "I'm always interested in contro­ ing their individuality through stories. Once Joseph Murphy you get them to take that step, once you get the hook in, they just take off." Wiley's teaching vocation and jazz avo­ cation finally intersected in 1982. "At the SAC Looking Out for Individual Artists time, there wasn' t too much happening on the airwaves. Mike Duffy was doing some classic This month, the Seattle Arts Commission will announce the 1989 recipients of the Individual jazz on KRAB, and Jim Wilke was doing an Artists grants in eight categories, including music composition. The applications, which were due hour or so on KUOW-FM. Friends were en­ inFebruary, were judged by professionals in each discipline. Oneof lastyear's Individual Artists couraging me to get on the air, so I got on the grant winners was jazz guitarist Brad Schoeppach, whose group, Borders, performed his original phone to Scott Williams [former program di­ work in an Earshot-sponsored concert in April. rector] atKPLU. 'You couldn't have called at The SAC Individual Artists program is designed to encourage and support the creation of new abetter time,' was his reply. 'Our jazz guy just work, with emphasis on development rather than production. It is up to the artist to collaborate with quit.'" The next week, Wiley and "The Art of an arts organization or work independently to present the new work to Seattle audiences in the form Jazz" were on the air, 10 p.m. - midnight on of a full-blown concert, a workshop, or the like. Saturdays. The guidelines for Individual Artists grants are clear and the application is simple. Your call Soon after Wiley's debut, the program to program manager Michael Pendleton or project director Linda Knudsen at 684-7171 can get you was shifted to S aturday afternoons. Two years an application and provide answers to your questions. If you don't feel like letting your fingers do later, the program went to two, two-hour shows, the walking, you can share a cup of Java and chat with representatives of the SAC during the after KPLU hired a program consultant who commission's monthly no-host coffee hour at 10 a.m. on the second Thursday of each month at suggested KPLU switch to an all-jazz and the Elliott Bay Bookstore and Cafe. news format. Recently, the program has gone Sunday-only, but has added an hour, running 3 - 6 p.m. "I'd forgotten how good it was to have a day off," admits Wiley. THE BEST Fortunately for jazz fans and KPLU, lis­ tener support for the program has been strong and steady. "It seems that the people who KPUJ listen to the show are willing to support it financially," said Wiley. "Some go as far as sending five-page letters detailing their per­ FM8S sonal experience w ith the music, and thanking AND IN-DEPTH NEWS

• May6* JANIS CARPER/ B NEAL WOODALL • May 13* presents CHUCK METCALF TRIO LIVE URBAN JAZZ every Sunday, 6 p.m. to Midnight • May 20* with your host Sonny Booker STANLEY GREENTHAL/ WEEKLY GUEST ARTISTS: GARY HAGGERTY May 7 Sura Dorsey & the "Dossier Group" • June 3 • May 14 Marc Smason & "Changes" May 21 The Jazz Police STRANGERS WITH CANDY SEATTLEHarriott Still Life in Fremont Coffeehouse w SEA-TAC AIRPORT 709 N. 35th, Seattle, WA 547-9850 3201 South 176th Street • Seattle, Washington 98188 • (206) 241-2000 by Bob Mariano SEATTLE CLUBS: Please send June calendar AFLN ART GALLERY AND CAFE (1624 E Madison, 325-4773) information by 5/15/89 to: Fourth Seattle Festival of Improvised Music, 5/12. Scheduled acts are: EARSHOT JAZZ Kenny Mandell Group; Powers/McGrath Duo; Chip Doring/Lori Gold- P.O. Box 85851 ston Duo; Elyra Campbell; Shroud of Shards; Raging Maggots Seattle, WA 98145. ALEXIS CAFE (First and Madison, 624-4844) Michael White, jazz, 6:30-8:30 PM, Tue-Sat Note: The information below was accurate when we received BACCARAT CLUB (408 Virginia St, 448-9500) King Edwards, Wed- it, but post-deadline changes are Sat, 6-10PM; Mike Goodman Quartet, Thur-Sat, 10 PM - 3 AM possible. Please call ahead to BACKSTAGE (2208 NW Market St, 789-6953) Almightly Dread with verify. Tough Mama, 5/6 BALLARD FIREHOUSE (5429 Russell Ave, 784-3516) Vlastimil Tresnak, 5/9; Junior Wells and Guitar Slim, 5/14; Defenders 5/18-20, with L'Orchestra Afri-Sound, 5/18; Buddy Colette, 5/21; Duffy Bishop SPECIAL EVENTS: and the Rhythm Dogs, 5/25-27 B&O ESPRESSO (204 Belmont E, 322-5028) Klaus Lendzian, Tue • The Washington Jazz Society will hold its annual Spring Cruise on BRASIL (First and Blanchard, 728-1461) Julian Catford, jazz guitar, Saturday, May 6, from 11 AM to 3 PM aboard the Goodtime Two, Fri-Sat; Kathy Beuthin, 5/4 & 5/18 leaving from Pier 56 on the downtown Seattle waterfront. Music will be CANLIS (2576 Aurora Ave N, 283-3313) Frank Smithson, Tue-Sat provided by The Chuck Metcalf Quintet. Call 324-2794 for information. DIMITRIOU'S JAZZ ALLEY (Sixth and Lenora, 441-9729) James Moody Quartet, 5/1-6; Dirty Dozen Brass Band, 5/8-13; Mongo San- • There will be a special benefit for injured trumpeter Woody Shaw at tamaria, 5/15-20; Dee Daniels Quartet, 5/22-27; Art Foxall Quartet, 5/ Barb's Soul Cuisine in Olympia on 5/7, 2-6 PM. Proceeds will help pay 30-6/3 (closed Memorial Day 5/29) for hospital expenses from Woody's subway accident in March. DOC'S BARBECUE (2608 S Judkins, 323-9312) Jazz every Fri-Sat FABRO'S RESTAURANT (6400 Martin Luther King Jr Way S, 723- • The Fourth Seattle Festival of Improvised Music takes place 5/11 8924) Michael Powers Group, Fri-Sun at The Squid Row Tavern, 5/12 at The AFLN Cafe, and 5/13 at The OK FOUR SEASONS HOTEL, GARDEN COURT (411 University, 621 Hotel. Each night features 6 acts at the participating club. Tickets are S5 1700) Gina Funes with The Fred Radke Band, Fri-Sat per night, or SI 1 for three nights. Call 281-8485 or 323-1792 for infor­ GAMBITS LOUNGE,MARRIOTT SEA-TAC HOTEL (3201 South mation. See the club listings below for details. 176th St, 241-2000) Sura Dorsey and the Dossier Group, 5/7; Changes, featuring Marc Smason, 5/14; The Jazz Police, 5/21 CONCERTS: Shoreline Community College Music Department presents Jazz Night V, with the Shoreline Jazz Band, plus guest high school jazz bands Shore- DIMITRIOU'S THE WEST wood, and Mountlake Terrace, and guest artist Jeff Hay, in concert COAST'S Tuesday 5/2,7:30 PM, at the Little Theater. PREMIER JAZZ Mel Torme and George Shearing, Pantages Center, Tacoma, 591-5894, CLUB 5/6 Francois Arambel and the French Connection, Blue Heron Center for the Arts, Vashon, 463-5131,5/6 MAY 1 - 6 MAY 8-13 Take 6, Meany Hall, 628-0888,5/19 The James Moody The Dirty Dozen University Jazz Combos, UW Brechemin Auditorium, 543-1200,5/25 UW Studio Jazz Ensemble, Meany Theater, 543-4880,5/31 Quartet Brass Band In Vancouver BC: Paul Cram Quartet, Western Front, 604-682-0706,5/11 MAY 15- 20 Barre Phillips, Western Front, 604-682-0706,5/12 Mongo Unity, Western Front, 604-682-0706,5/13 Santamaria Ralph Moore Quartet, Vancouver Community College, 604-682- 0706,5/26-27 In Victoria BC: Ralph Moore Quartet, Herman's Jazz Club, 753 View St, 604-388- • MAY 22 - 27 9166,5/24-25 The Dee Daniels Looking Ahead: < Quartet There will be a Jazz Festival on 6/4 at Seward Park benefiting South East Effective Development (SEED). The festival features The Joe Hender­ KPIU son Quartet, and other acts will be announced soon. Local High School Co-welcomed by groups will also be playing. FM8S

Earshot Jazz Series *89,6/23 - 7/1, features Tony Williams, Jon Faddis, 6th & Lenora Dinner Reservations The Jazz Passengers, Bill Frisell, Jay McShann and Big Miller, Craig 441-9729 Suggested Harris and The Tailgators, with other acts to be announced. 4 THE GROVE (500 Wall St, (441-9326) Lou Bianchi, Wed-Fri HOLLYWOOD'S ON BROADWAY (112 Broadway E, 328 7427) Brad Schoeppach Trio, Thur HOLLYWOOD UNDERGROUND (323 Second Ave S, 628 8964) MAY NATIONAL ACTS Bochinche, Wed; Mark Henderson/Reggie Goings Quintet, Fri EDDIE HARRIS JJ'S PUB (8118 Greenwood Ave N, 783-7559) Songwriters Spotlight, with Jazz and Reggae, Thur 4TH - 7TH LAKE UNION CAFE (3119 Eastlake Ave E, 323-8855) Bobby Ran­ "The Swinging Soulful Sax!" dall, Wed-Sat LARIVEGAUCHE(2214SecondAve,441-8121)PierreSavoye,jazz Co-Welcomed by: piano, Fri; Kendra Shank, Sat LATONA (6423 Latona Ave NE, 525-2238) Martin Totusek, 5/3; Ultra KPUJ Thirties, 5/5; Peter Bige, StevenBige, and Rick Leppanen, 5/6; Fredrick Tucks, 5/7; Valerie Rosa, 5/11; Sura Dorsey, 5/13; Danny Embrey and FM8S Beth Winter, 5/14 & 5/21; Klaus Lendzian, 5/18; A Little Jazz, with Boots, Barry, and Murry, 5/19; Changes, 5/27 LOFURNO'S (2060 15th Ave W, 283-7898) Jam Session, Sun-Mon; Melody Jones, Tue-Thur; Jazz with various artists, Fri-Sat Call 622-2563 for dinner reservations. MANDALA BOOKS (918 NE 64th St, 527-2979) Second Nature, 5/18 NEWMELODY TAVERN (5213 Ballard Ave NW, 782-3480) Changes, featuring Marc Smason and Hans Teuber, 5/3 NEW ORLEANS RESTAURANT (114 First Ave S, 622-2563) New Orleans Jazz Quintet, Mon; File Gumbo Zydeco, Tue; Floyd Standifer Group, Wed; Eddie Harris, 5/4-7; Bert Wilson and Bebop Revisited, 5/ 11; Duo Glide 5/12; Kelley Johnson Ensemble, 5/13; Chuck Metcalf Group, 5/14, 5/21, & 5/28; Ham Carson Group, 5/18 & 5/25; Sweet Talkin' Jones, 5/19-20; Floyd Standifer Group, 5/26; John Holt Swing Band, 5/27 OK HOTEL (212 Alaskan Way S, 621-7903) Borders and Timebone, a double-bill performance of two jazz quartets, 5/3; Fourth Seattle Festival of Improvised Music, 5/13. Scheduled acts are: Amy Denio; Catabatics; New Art Orchestra; Yama the Pit; Robert Hinrix; Tippie 114 First Agogo Avenue South O'LEARY'S SPORTS PUB (5228 Ballard Ave, 782-5525) Kevin In Pioneer Square Wallace Statement, 5/4-6; Out Of The Blue, 5/11 & 5/25-27 OWL CAFE (5140 Ballard Ave NW, 784-3640) Rhythm Boys, Tue; Washington Blues Society Meeting, 6:30 PM, 5/7 PATTI SUMMERS (94 Pike, 621-8555) Patti Summers and Gary ANTIQUE SANDWICH (51 st & N Pearl, Tacoma, 752-4069) Victory Steele, Wed-Sat; Floyd Standifer Jazz Jam, Sun Music Open Mic, includes jazz, Tue RED HOOK ALE BREWERY (3400 Phinney Ave N, 548-8000) Jazz BARB'S SOUL CUISINE (302 W4th, Olympia, 786-9835) Live Jazz Saturday and Monday nights, 7 - 9 PM. Tue-Sat. Syd Potter Quintet, Tue; Jazz Jam with the Steve Munger ROASTERS (Broadway Mall, 2nd floor, Broadway, 324-1995) Woody Group, Thur Woodrow, Fri;The Ron Siegrist Quintet, Sat BRAVO PAGLIACCIO (10733 Northup Way, Bellvue, 827-8585) SCARLET TREE (6521 Roosevelt Way NE, 523-7153) "Jazz on a Hank DeZee, Wed-Sat Sunday Afternoon" series every Sunday, 4 - 8 PM BUCK'S CAFE AMERICAN (2901 Hewitt, Everett, 258-1351) The SIMONETTI'S (12255 AuroraAveN, 365-7600) ZiahAhmonuel Trio, Gary Christianson Band, Thur Thur-Sat CARNEGIE'S (Seventh and Franklin, Olympia, 357-5550) Joe Baque, SQUID ROW TAVERN (518 E Pine, 322-2031) Fourth Seattle Festival Mon-Thur of Improvised Music, 5/11. Scheduled acts are: Circular Cowboys; Pete CHRISTOPHER'S OF BELLEVUE (134 105th Ave NE, Bellevue, Lienonen Group; MJ Williams & John Silverman; The Ibid Duo; The 455-0221) Tony Frand, Jack McDougall, and Friends, big band, Fri-Sat Robert Valenza Group; The Pop Weasels CONWAY TAVERN (1667 Spruce, Conway, 4454733) Goodtime STILL LIFE COFFEEHOUSE (35th and Fremont, 547-9850) Neal Jazz Band, 5/7; Art Foxall with the Bill Whitbeck Trio, 5/14; Trish Woodall and Janice Carper, 5/6; Chuck Metcalf Trio, 5/13; Stanley Hatley's Invitational Jazz Jam, 5/21; Bathtub Gin, 5/28 Greenthal and Gary Haggerty, 5/20; Strangers with Candy, 6/3 HENRY'S RESTAURANT AND BAR (1128 Broadway Plaza, Ta SULLIVAN'S (2701 First Ave, 441-4805) Primo Kim, Tue-Sat coma, 627-3400) Jazz Open Mic, Sat 2-5PM THIRTEEN COINS (18000 Pacific Hwy S, 243-9500) Thirteen Coins KELLY'S (1101 Tacoma Ave S, Tacoma, 572-2038) Jazz with Red Trio featuring Buddy Catlet, Jack Perciful, and Andre Thomas, Wed- Kelly, Jack Perciful, Bill Ramsay, Billy Hobart, and others, Fri-Sun Thur PORTOFINO RESTAURANT (51 W Dayton St, Edmonds, 672 TOP OF THE PIER RESTAURANT (Alaska Way & Broad St, Pier 0660) ESP Jazz Ensemble, Fri-Sat 79,441-1867) Jack Brownlow, Tue-Sat PROSITO ITALIAN RESTAURANT (6th and Proctor, Tacoma, 752 WALIAS BJ LOUNGE (6166 Fourth Ave, 767-0900) Sonny Oliver 0676) Jazz jam with Jay Mabin, Mon; Michael Powers Trio, Tue; Sun Trio, Sun-Mon Jazz Series, 8 to 11:30PM: Hume Street Preservation Jazz Band #405,5/ WILDROSE TAVERN (1021 EPike, 324-9210) Jay Clayton Presents 7; Los Altos, 5/14; Beija Flor, 5/21; Blue Sky, 5/28. Thur Jazz Series: New Artists and Special Guest, Mon; Cinco DeMayo Celebration, with Danny Ward and Reality, 5/4 & 5/18; Rick Leppanen and his Steel Drum latin jazz, 5/5; Julie Wolf and Pals, 5/20; Joanne Rand, 5/27 Band, 5/11& 5/25 VILLA GIULIO(5621196th SW, Lynnwood, 774-2186) Danny Ward Trio, Fri-Sat CLUBS OUT OF TOWN: Denny Goodhew with Jay Clayton Wildrose Tavern March 27 This was one of those magical nights that mood (must have been the new hom), at one compositions, as well as his marvelous sound sneak up on you, unexpected. It looked inno­ point joking with the audience about the pos­ and feeling. But Brad wasn't being a star or a cent enough—another Jay Clayton deal at the sible narrative meanings imbedded in a set list leader tonight. He was just trying to play the Wildrose, where amodest, supportive, insider that had "You chords (there crowd would rally to hear their favorite and Don't Know was no piano), maybe not-so-favorite players and friends. But What Love Is" keep the thing what actually went down was in some ways the following hard happening perfect model of what a healthy jazz scene is upon "I Love with his com- all about (with one exception, about which You." ping, and more later). Then there struggle Let's start with Denny Goodhew, who, was bassist John through the with a glittering new alto , played Silverman. For speedy unison with even more spirit and excitement than he the first time, Sil­ melody of a did that amazing night a few months back at verman did not Goodhew the Maggie Hawthorn benefit. Goodhew is sound young and original: always a felicitous player, who builds momen­ tentative, putting trying to learn tum with a supercharged abandon that seems in some of the more music to just fly from his hom, like quail flushed best solo work and pi ay better, from their nests. But on this night, Goodhew I've heard the like he ought to surpassed even himself. As I sat there listening bassist offer— be doing. to the perfectly ascending architecture and confident, me­ This spiraling cadences of his solos, I mused that lodic and the­ was also the probably nowhere in the Western United matic stuff that . first night I'd (photo by Candace McCutcheon) States—the whole country?—was music that ,, , Denny Goodhew heard the beautiful being played at that particular really made drumming of Gary Gibson, the new percus­ moment. The usually tongue-tied Goodhew, sense and moved me. Then there was Brad sion teacher at Cornish. I'd found his vibes who hosted, was also in an unusually sparkling Schoeppach—the guitarist who, rightfully, has playing a little stiff at the Wildrose a few gotten so much attention recently for his weeks earlier—but on drums, no way. Firm but flexible, Gibson is just the kind of driving, Sonny Booker and Friends responsive and intelligent rhythm man we can Gambits Lounge/ Sea-Tac Marriott Hotel always use around here. April 16 When Jay Clayton came up and joined the group with limpid lyrics on Coltrane's Longtime Seattle-area impresario Sonny Booker has taken on the herculean task of turning "Equinox," aperfectnight was complete. Why this airport hotel lounge/disco into an intimate Sunday-evening jam session. As evidenced by this perfect? Because here was a situation where particular Sunday, he's succeeding admirably. veteran players could shine, where young Airport lounges are notoriously impersonal; Gambits is no exception. The circular room, players could grow, where a teacher like with its industrial-strength disco lighting and elevated dance floor/stage, has all the soul of Gibson could share his obvious talents with downtown Bellevue at rush hour. The piano, an upright, is marginal; the sound system tinny and the community, and where the audience could sub-par. Nonetheless, Booker and his carousel of musicians overcome'the obstacles to generate bask rapturously in the results. What more neighborhood-session warmth and some fine performances. could you ask for? Backed by a tux-clad trio of Larry Fuller on piano, Steve Luceno on bass, and Jamael Nance Well, how about money, maybe? The on drums, Booker held court in gracious manner, stepping out front for a flugelhorn lead on "You dark side of all this, of course, is that these Don't Know What Love Is," with a strong tone and thoughtful phrasing. Blues crooner Clarence musicians were rewarded with nothing more Williams came on to swing the blues on' 'Everyday (I' ve Got the B lues)," and Laura M ae Abraham than the three lousy bucks that we, the audi­ sang "Lush Life." On "Everyday," trumpeter Ed Lee and tenor man Jabo Ward fell by for a chorus ence, dropped into the steel cashbox at the or two, with Jabo turning a dense, modem solo, that managed to reference John Coltrane and door. Withoutraging about the myriad ramifi­ Benny Carter while staying solidly in the groove. cations of that simple, sad fact, let me pinpoint Despite being pushed to the back of the stage and further rarefied through projection on two one obvious result. The Wildrose sessions will closed-circuit video screens in the room, the trio did soldierly duty all night, with Luceno taking disappear. And until someone, somewhere, a popping, muscular solo on "Nica's Dream," and Fuller sweetly swinging the blues on "Willow sometime, gets serious about supporting or Weep for Me." Nance, keeping time anchored, played exquisitely throughout. He is further proof subsidizing such a scene, so that musicians that a New Orleans pedigree means music in the blood. The Crescent City native makes it look don't have to play only for love, "I Love You" smooth and effortless. will always and forevermore be followed by Booker hopes to keep the two-month-old seriesgoing indefinitely, and wants to encourage the bittersweet lament, "You Don't Know other area airport lounges to present jazz. For now, Gambits is one of those relaxed-but-lively What Love Is," as scenes such as this continue sessions well worth checking out. to founder, again and again and again. Joseph Murphy Paul de Barros sound on electric guitar. He is joined here by Miner" and "Sea Tune" are minor-key excur­ Blue Sky cohorts Chuck Deardorf and John sions that provide indelible refrains. Nick Bishop, and by keyboardists Nick Moore and Moore's modal synthesizer introduction to the Curtis Brengle, along with drummer Dave latter nicely sets up the varied moods of the Coleman. piece, without telegraphing the melody. For those of grittier musical persuasions, "Roy Known throughout the Northwest as a Street Blues" finishes the action with a dash of first-call guitarist, capable of cutting it behind the blues, no doubt inspired by Peterson's time artists as diverse as Benny Wallace and Paul as guitar instructor at the Cornish Institute on McCandless, Peterson comes to the fore here Roy. with a largely unembellished tone that sings through detailed legato phrasing with a rare David Peterson has evolved a unique warmth and clarity. No staccato flurries or personal tone and compositional style. The distorted bravura upset the apple cart here. In­ production, by Peterson, Charles Tomaras, stead, a distinctly Northwestern sense of and engineer Scot Charles, lets that voice David Peterson shading and light colors the proceedings. speak without undo instrumental clutter.

Afterimage . On "J.T.," the tone is set with a medium Joseph Murphy Nebula tempo, turning toward the Latin-inflected "Spring Breeze." Maria Miller's lyric on "A David Peterson's first date as a leader Different Shade of Autumn" is given a warm- features his crafty hooks and unmistakable tempered reading by Kimberly Demetre. "The

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