Welcome to the 13th ANNUAL Earshot Jazz Festival

This year we come to our celebration of jazz, the remarkable A aron Parks, a sure sign tha t the fu ­ land. typically regarded as a uniquely American manifes­ ture o f jazz is in good hands, at Tula’s. Seattle’s excit­ The production of the Earshot Jazz festival is tation of the creative spirit, with a tenacious grief ing Living Daylights headlines at the Rainbow that the collective effort o f many hard working staff, vol­ over the atrocities o f September 11th and a dark, un­ n igh t. unteers, and audience members. We are grateful to settled sense o f ou r future. T h e fu ll im pa ct o f these The big news in our festival this year concerns the many community members who provide input still-evolving events seems limitless — so large that two landmark concerts in two o f Seattle’s finest halls. and w o rk on the Earshot Jazz festival, and the in ­ they appear to be ushering in an entire new “age.” We are honored to present Keith Jarrett with Gary creasing numbers of audience members who look A n age tha t no one seems qu ite ready to name. Peacock and Jack DeJohnette at Benaroya H all, and forward to each year’s offerings. Like jazz itself, our grief and uncertainty seem, the legendary Dave Brubeck Quartet at the Para­ This year we bring more artists to the region for at first glance, to be about America. But in the end— mount Theater, where he w ill be joined by Seattle m ulti-night engagements. That means extended con­ and deep inside we all know it — it has to be about treasure Bill Smith. tact with the community with opportunities for the whole planet, and all of its people. W ith this The centerpiece o f this year’s festival is an ex­ school visits, workshops and master classes. Also this series o f concerts, we seek n o t to deny or avoid the tra ord in ary series o f concerts w ith g uitar w izard B ill year our Jazz Reach program, supported by the King depth o f our collective experiences, but to bring the Frisell. This “triple B ill” o f projects includes the pre­ County Arts Commission, helps to bring festival music to the experience. m ier o f new w orks, com m issioned by Earshot Jazz programs to venues outside o f the city core. Jazz, born o f suffering blues, can nourish the soul and Seattle’s Rakumi Arts, from Bill Frisell and Organizationally, we continue to welcome sup­ and take us to places, inside, where g rie f and jo y live M alian guitar treasure Boubacar Traore. The unique port from the Doris Duke Charitable Foundation the deepest w ithin all o f us. This celebration o f cre­ collaboration is supported by the Africa Exchange through its JazzNet program, which combines the ative music, and what Langston Hughes called, “the program of 651 Arts and the Ford Foundation and forces o f the Non Profit Finance Fund and the Na­ living spirit o f jazz,” reflects our collective spirit, past w ill be presented by EMP. The “triple Bill” also pre­ tional Endowment for the Arts. This five-year asso­ and present, w ith all o f the astonishment, grief, rage, sents a first-ever, live duo performance w ith drum­ ciation w ill see the completion, w ith your help, o f a resilience, pride, and unity that we now carry so mer Jack DeJohnette, and world premier perfor­ perm anent endow m ent fu n d fo r Earshot Jazz, w hich clearly. mances of Frisell’s new intercontinental Quartet, w ill benefit Seattle’s jazz community in perpetuity. T h e 2001 Earshot Jazz Festival showcases the with Brazilian guitarist Vinicius Cantuaria, Greek- Here at Earshot, we w ill continue to do our part breadth of jazz, from elegant concerts by living leg­ Macedonian oud player christos Govetas, and to bolster Seattle’s well-known jazz ecology and the ends in Seattle’s finest concert halls, to impassioned Malian percussionist Sidiki Camara. wide spectrum o f jazz activities under way here. The interpretations o f the jazz canon, to exciting visits Another international project in this year’s festi­ Earshot Jazz Festival is our strongest statement about to the outer edges o f the art form . val is the Seattle-area residency o f the Japanese big the health o f tha t scene. We kick off the festival this year with concerts band “Continued in the underground.” C uG will We’ve got a wonderful jazz festival lined up for that demonstrate, and celebrate, the Pacific pe rform w ith th e ir Seattle associates, trum peter Jay you this year. We invite you to join in this celebra­ Northwest’s place in the jazz continuum. W hile we Thomas, vocalist Becca Duran, and other guests. tion of jazz, America’s great contribution to world honor the accomplished jazz master D on Lanphere C uG perform in four venues within the festival set­ culture. at ou r O n T h e Boards m ain stage, we also present ting, in Bellevue, Seattle, Tacoma, and Vashon is­ John Gilbreath

Thanks to everyone who makes the Earshot Jazz Festival possible!

We are grateful for recognition and major sup­ County Arts Commission’s Sustained Support Program concept, design, and production of this year’s poster p o rt fo r the 2001 Earshot Jazz Festival from : and is p roviding educational residencies through the K in g and brochure. Thanks also to Van Diep for graphics JazzNet, a program of the Non-Profit Finance C ou n ty Arts in Education program. This year’s Jazz Reach work on festival advertising and programs and to Pe­ Fund, funded by the Doris Duke Charitable Foun­ program is funded by the Special Projects program o f the ter Monaghan for his tireless, high-quality work on dation and the National Endowment for the Arts King County Arts Commission. behalf o f Earshot Jazz. A n d welcome to Steve C line, The Allen Foundation for Music M any Earshot Jazz artists are presented through co­ the new editor o f the Earshot Jazz publication. National Endowment for the Arts operation o f the Western Jazz Presenters N etw ork, a con­ Thanks to the jazz programmers and managers Corporate Council for the Arts sortium o f jazz presenters in the Western US and Canada at KPLU-NPR 88.5FM, KBCS 91.3FM, and KEXP K in g C o u n ty Arts Com m ission dedicated to promoting jazz through “block booked” tour­ 90.3FM. Special thanks to Jim W ilke for his support The Seattle Foundation ing initiatives. The WJPN receives and distributes fund­ of Seattle jazz. Thanks to Bud Young, James Seattle Arts Commission ing from the Wallace-Reader’s Digest Funds. Rasmussen, and C huck Smart at Bud’s Jazz Records; Rainier Oven Building We are very grateful to the management and staff at M ark Sullo at Wall of Sound, American Music, John’s p o n c h o the West Coast Hotels for their enthusiastic participa­ Music, and, as always, Lola Pedrini. Wallace-Reader’s Digest Funds tio n as exclusive hotel sponsor o f the Earshot Jazz Festi­ Thanks to Michael Allison and Fred Gilbert for Torrefazione italia val. Thanks to Jean W erner at the Roosevelt H otel, Troy a ll of the work they do, and to Bryce Montgomery Alaska Airlines, Seattle Weekly, EMP, T h rifty Car Thrall at the Paramount Hotel, Jenny Bouska at the Vance for holding it all together at the Earshot office. Thanks Rentals, A T & T Wireless, American Music, Colum­ Hotel, Vicki Penchosky at the West Coast Grand Hotel. to Susan Pascal fo r our web page design. Thanks to bia Winery. Thanks to Calyn Hostetler at the Camlin Hotel. the folks at On The Boards for their enthusiastic wel­ Boubacar Traore’s residency, commissioning, and Significant in-kind donations for this festival come come. Thanks to Dan Mortensen’s impeccable ear and performance activity is made possible by Africa Ex­ from KPLU/NPR Radio, Alaska Airlines, Seattle Weekly, fine equipment. Thanks to all of the wonderful mu­ change, an international program of 651 Arts, gener­ Thrifty Car Rental, A T & T Wireless Services, Columbia sicians and audience members who make this festival ously supported by the Ford Foundation. Winery, W ild Ginger Restaurant, American Music, the a necessity. Earshot Jazz receives organizational support from West Coast Hotels, KEXP 90.3FM, and KBCS 91.3FM. Perhaps our most significant support comes from the W ashington State A rts C om m ission and has pro­ Thanks to Daniel Sheehan for his generous creative some 600 jazz supporters in the co m m un ity w ho are vided “Roots of Jazz” school programs to more than spirit, and for the photograph of Roscoe M itchell (taken members o f Earshot Jazz and the 70 + volunteers who 35,000 elementary and middle-school students with at the 1999 Earshot festival) that graces this year’s mar­ work on this festival each year. PLEASE JO IN US!! support from the Washington State Arts keting materials. Daniel’s wonderful photographs, includ­ Commission’s Arts in Education Program. ing shots o f m any Earshot Jazz events, are viewable at Thank you one and all! Earshot Jazz receives assistance fro m the K in g www.danielsheehan.com. Thanks to Yori Sasaki for the The JazzNet Endowment

Early last year, Earshot Jazz was selected for an important new initiative to support jazz in America. In the summer of 2000, Earshot Jazz launched a 5-year campaign to build a perma­ nent endowment fund o f $500,000. Remarkably, we are almost there. We need your help now. J a z z N e t, a unique grant program administered by the Non-Profit Finance Fund and funded by the Doris Duke Charitable Foundation and the National Endowment for the Arts, provides sig­ nificant programming support to fourteen o f the leading jazz presenting organizations in America. It also provides matching funds to help these or­ ganizations build permanent endowment funds, in effect putting in place a grant program w ith­ out an “end date.” Earshot Jazz is proud to announce a signifi­ cant award from The Allen Foundation for M u­ sic. The two-tiered award provides annual sup­ port for the Earshot Jazz Festival, and a one-time grant o f $50,000 designated for our permanent endowment fund. When combined with the 3- to-2 match from the Duke Foundation and the money we’ve already raised from individual do­ nors, this puts us within $30,000 of our total g °a l. We are honored to received for the JazzNet recognition in the first place, and delighted to receive this resounding endorsement from our local community. This endowment fund w ill sup­ port jazz in Seattle in perpetuity. Thanks to The Allen Foundation, to our ma­ jor donors, and to all o f you who participated in last fall’s J a z z N e t campaign. Because o f you, we are almost there. Please help us wrap up this sig­ nificant campaign. Contact the Earshot Jazz of­ fice at (206) 547-6763 for more information or pick up a brochure at one o f our concerts. T h a n k you!

John Gilbreath, Executive Director

The 2001 Earshot Jazz Festival begins with a tribute to one o f Seattle’s most beloved jazz treasures, saxophonist^' Don Lanphere. A Wenatchee native, Lanphere was immersed in music from the beginning, and was sitting in with national acts Don Lanphere’s brand new release, Home at Last was arriving in Seattle while still in high school. He headed to recorded in a two-day session w hich included his b irth ­ Chicago to study music at Northwestern University, but day, June 26th. The recording session and C D production after a couple o f years was on to New York City. were a gift to him from his long-time working band of Lanphere quickly developed in the rich ^nd turbulent Marc Seales, Doug M ille r and John Bishop, also known as environm ent o f late 1940’s New York and was soon w ork­ the New Stories Trio. The liner notes are by Ira Gitler. ing in groups led by trumpeter Fats Navarro and drum mer Copies o f Home at Last are available for sale at the October M ax Roach. A t the same time Bob Weinstock, the head o f 25 th concert. Prestige records, asked Lanphere to suggest musicians he Lanphere’s playing has always been marked by fluency would want to record with. Lanphere with his personal and control, particularly on faster tunes, but he also com­ dream team of “Fats Navarro and Bird’s rhythm section.” mands a superb lyricism. He plays tenor and soprano sax A nd the so-called W ailing W all recording session was the in the Seattle Repertory Jazz Orchestra and is active in jazz result, with Lanphere and Navarro fronting the rhythm education, teaching improvisation to a wide variety o f stu­ section of Al Haig, Max Roach and Tommy Potter. dents. In 1949 Lanphere was enlisted by Woody Herman to Participating in tonight’s tribute are many Seattle’s fin ­ replace Jim m y Giuffre. In the next few years he recorded a est jazz artists, including: New Stories Trio, Jon Pugh, Jeff num ber o f classic recordings w ith Herm an’s and A rtie Hay, Clarence Acox, Floyd Standifer, Bill Ramsay, Jay Shaw’s big bands. In the late 1950’s he located in Boston Clayton, Chuck Deardorf, and Dean Hodges. Current and and worked with artists like Herb Pomeroy, Joe Gordon, former students Carl Staaf, Roger Stark, A nn Linquist, Toby Claude Thornhill, and Urbie Green. In 1959 he rejoined Stone, and Wenda Zonnenfield w ill participate as well. Herman’s band as the tenor sax soloist. Guests also include Bud Young, D on’s co-host on the Don In 1961 he returned home to Wenatchee to run the and Bud Show Monday mornings on KBCS, and Doug fam ily record store. He was absent from the recording scene Ramsey, noted jazz writer. Jim W ilke w ill record the event u n til the early 1980’s, when he began a series o f recordings for broadcast on KPLU’s Jazz Northwest. Among many for the HEP label with the aptly titled From Out O f No­ highlights, the evening w ill include the premire perfor­ where. Since then he has collaborated with Bud Shank, mance of new music, in tribute to Don Lanphere, Larry Coryell, and Pete Christlieb, among others, and has commisioned by Earshot Jazz from composer and SRJO led his own all star group o f Seattle musicians. Earlier this co-director, Michael Brockman. year, Lanphere released Like a Bird, a quartet recording Please join us in the lobby for a “Meet the Artist” re­ with organist Barney McClure, guitarist M im i Fox, and ception following the concert. drummer Mel Brown. — Steve Cline Living Daylights Wayne Krantz, a bluesy, lyrical, yet explosive guitarist Wayne Krantz Trio — Corvallis-raised, Berklee-trained, formerly a sideman for Steely Dan, M ichael Brecker, B illy Cobham, Carla Thursday 10/2 5 Bley, and others — is now best known for leading the burn­ Rainbow Bar and Grill, 8:30pm ing, grooving trio that he brings to the Earshot festival, w ith drum m er Keith Carlock and bassist T im Lefebvre. $14 general It is certainly true that Krantz and his trio mates have u n til now been a close-kept secret on the national scene The power trio Living Daylights, a central presence on the — “one o f jazz’s best kept semi-secrets,” as Joe Woodard Northwest out-jazz scene, is renowned for its full-throttle per­ p u t it in Jazziz — but word is creaping out, thanks in part formance style, thrilling repertoire, and outstanding instrumen­ to such albums as Signals, Long To Be Loose, and Two D rin k talism, which have also been winning audiences further and M inim um , all on the German Enja label, and a new one, further afield, thanks to much tireless touring all around the Greenwich Mean (available from www.waynekrantz.com), U.S. and in Europe, as well. but largely due to the spread of word of mouth in the Jessica Lurie (saxophones and flute), Arne Livingston (elec- wake of sizzling live performances. Krantz started play­ trie bass), and Dale ing guitar at 14, inspired by the Beatles, and then by Fanning (drum s) are 1960’s/1970’s San Francisco and English progressive rock­ all outstanding indi­ ers. He played in rock and country groups until discover­ vidually. Together they ing Barney Kessel in his father’s record collection. He went form a honed, rollick­ off to Berklee College of Music as a jazz convert, and ing unit whose group soon was playing in the D Sharp Group with now-gui- dynamism and com­ tar-legend Bill Frisell. That brought him to the notice of munication are truly Carla Bley, and whole new areas o f musical exploration. extraordinary as they Leni Stern also hired him , and soon he was touring lo­ produce dense and cally, nationally, and to gigs in Europe. He counts as his funky grooves, catchy influences a broad range o f modern guitar masters — M ick riffs, and huge impro­ Goodrick, Pat Metheny, Mike Stern, Bill Frisell, Kevin vised solos. A testi­ Eubanks, John Scofield... And, as he says: “Way off in m ony to their achieve­ the distance, the mountains that inspire all o f us are John ment is that guitar icon McLaughlin and George Benson; those are the guys that B ill Frisell joined them have taken their own the farthest.” A New Yorker since on th e ir last release, 1985, Krantz formed his trio in 1993. For many Earshot Electric Rosary (Liquid festivalgoers, the combo m ight well prove one o f the most City), which was a surprising acts of the year. Certainly Krantz has drawn typical Daylights out­ high praise: “ His mastering o f polyphony is staggering” ing: burning saxo­ — G uitar Techniques; “he’s a monster in the making” — phone, teeming drums, Guitar Player; “electrifying, exclamatory, dynamic, tempo- and dazzling, tum bling shifting, scalp-peeling, spine-tingling improvisation that electric bass in the tradition o f Jaco Pastorius. The trio has de­ brings out the rock lover in the hearts of open-eared veloped an advanced fusion of rock, jazz, funk, Latin... jazzheads” — Down Beat. Here and there you’ll hear the steps o f a Balkan ring dance, — Peter Monaghan too. Living Daylights has, in effect, thoroughly mined many musics to incorporate them, fully, into a distinctive, coherent, idiosyncratic style. It takes in rock that does much more than just ro ll over or rock backwards and forwards. It steps and swag­ gers like an R&B horn section. It swings and sings like good jazz, but ignores the hackneyed mainstream formulas. When the m om ent is right, it embraces the jazz avant-garde, from the blessed squawk o f Ayler, on. The band profits, too, from ex­ quisite tunesmithing by all three members of the unit. Deft, balanced structuring, anchored in bedrock drumming and loop- enforced bass, permits Lurie and Livingston to take their time while exploring musical ideas in solos and exchanges. It’s quest­ ing music. The horn soars. So does the singing bass. Fanning, on drums, frolics and drives with constantly impressive inven­ tion. There’s rhapsody and vitality throughout their repertoire. It’s all shifting, propulsive, and highly melodic. — Peter Monaghan Aaron Parks Trio Aaron Parks Solo Thursday 10/2 5 Friday 10/26 Tula’s Restaurant, 8:30pm Brechemin Auditorium, UW, $10 general 7:30pm W ith a year in New York under his belt, and $14 general studies w ith Kenny Barron and Joanne Brackeen, this remarkable young pianist’s gifts, and awards, Joining Parks on his trio appearance w ill be drum mer M ark Ivester and bassist Jeff Johnson, one o f the most celebrated o f the many are mounting up rapidly. W ith this festival run at outstanding bassists who have made a name in the Pacific N o rth ­ Tula’s, we’ll see w hy Parks may become one o f west. Seattle’s most significant contributions to the jazz Peter Monaghan continuum . — The still-teenaged pianist has been tearing it up in New York, while enrolled at the Manhattan School of Music after a stint at the University of Washington jazz program. He has appeared on M arian McPartland’s Piano Jazz on N PR and gar­ nered ink in the New York Times from Terry Teachout, and he has been playing in far-flung fes­ tivals in Europe and North America. A t the Ameri­ can Pianists Association annual meeting this year, he took home first prize in the association’s an­ nual competition. The prize included the produc­ tion o f a C D , two years o f professional assistance, and the title of Cole Porter Jazz Fellow. H is latest C D release, earlier this year, First Ro­ mance (Keynote), demonstrated that he contin­ ues towards an impressive mastery of piano-trio idioms. H is playing is assured, tasteful, and sensi­ tive. Already a popular regular at Jazz Port Townsend, he is poised for wide acclaim. It’s all a far cry from playing in the corner at a Tully’s coffeeshop downtown. Parks played there often u n til he left Seattle, after an apprenticeship in this region w ith M u rl Allen Sanders and Music Works Northwest. D uring that time he also played bas­ soon w ith the Seattle Youth Symphony. Every time clarinetist Don Byron enters the record­ Don Byron’s Music ing studio, he has big ideas and innovative bands. When he debuted his Music for Six Musicians in 1995, Byron came out in an unflinching, unhurried for Six Musicians Latin jazz groove w ith a strong social conscience— this after forays in Klezmer, free bop, Schubert, and more. Odean Pope Trio M usic for Six Musicians places Byron’s woody reeds in the dominion of tunes that most often go for broke w ith brass, saxophones, and percussion all cruising at Friday 10/26 dramatic, sometimes blaring paces. W ith Ron Miles on On The Boards, 8pm trumpet; George Colligan on piano, Leo Traversa on $18 general bass, M ilto n Cardona on congas, and Ben W ittm a n on drums, this band is very much a tradition-footed Latin crew and something more again. Byron plays a sultry licorice stick when he needs to snake around a melody, w hich he does pliantly and unhurriedly. He blazes richly, though, when the band is cooking, serving up an eponymous debut CD with Music for Six Musicians and the new CD, You Are #6. The band’s less into brassy brawn and more keen on quirky, killer vocal turnouts from guest singers and the ensemble’s members on their new set. W ith the Ron Miles/Milton Cardona road lineup (which differs significantly from that on the new CD), the band w ill be six-strong, and very strong at that. It’s not like Poncho Sanchez’s Latin jazz, m ainly because Byron works in so much and skips over the more blaz­ ing side of the genre for more hidden currents and angles. Elements o f Klezmer tinge turns o f phrase, and the band never fears heading into post-bop territory with colorful harmonic explorations and expansions. When Byron brought his Mickey Katz band to Se­ attle for the 1994 Earshot festival, the show was a full- on blast; expect the same here. — Andrew Bartlett Coming out of the rich tenor saxophone tradition of Phila­ delphia, Odean Pope has been dishing out fiery and creative saxophone since he first filled in Jimmy Smith’s band for his friend and mentor John Coltrane in 1955. Like Coltrane, he has always sought to discover new techniques for increasing the expressive vocabulary o f his instrument. He masterfully employs circular breathing, over-blowing, and “multiphonics,” using clus­ ters o f simultaneous overtones to create a rich, deep and soulful texture in his playing. Mr. Pope’s improvising is driven by a re­ lentless rhythmic propulsion, but he is just as keenly sensitive and thoughtful when approaching ballads. “ I tried to imagine,” Pope once said, “what it w ould sound like i f I played at the bottom range o f my instrument like Coltrane played the top.” A n equally gifted composer and arranger, Pope fearlessly delves into odd meters and utilizes complex scales, whether it is for his piano-less trio heard tonight or his phenomenal Saxophone Choir. Best known for his longtime association with master drum­ mer Max Roach, Pope first joined Roach’s quartet in 1967, but left for a period of time in the ’70s to lead one of the most interesting and unheralded fusion groups o f that era, Catalyst. He re-joined Roach’s band permanently in the late ’70s and con­ tinues to perform and record with him to this day. Pope’s own trio always speaks o f a deep soul combined w ith a sophisticated intellect. He is joined tonight by the great Tyrone Brown, an alumnus o f Catalyst, and guitarist Pat M artino’s bassist throughout the ’70s, and Craig Mclver on drums. — Michael Allison raculous” by Peter Watrous in the New York Times. He has Kenny Werner Trio also led other highly acclaimed trios, including one w ith Dave Holland and Jack DeJohnette, and now his current one, with Friday 10/26 A ri Hoenig on drums and Johannes Weidenmueller on bass. Tula’s Restaurant, 8:30pm His many solo performances and recordings have also been $14 general acclaimed; he has been involved in remarkable collaborations with, among many others, the leading klezmer clarinetist S aturday 10/27 Andy Statman, the saxophonist Joe Lovano, and the drum­ Tula’s Restaurant, 8:30pm mer Billy Hart; and he has received many grants and com­ missions for works for chamber groups and orchestras. $14 general The fundamental tenet o f “effortless playing” is simple — though, to many musicians, surprising. Werner believes, as Sunday 10/28 he teaches in his book and many workshops entitled E ffo rt­ Tula’s Restaurant, 8:30pm less M astery, that musicians can call up “something from very $14 general deep in their soul” if, with thorough preparation and de­ voted practice, they renounce the “obses­ sive need to sound good.” He describes some of the quasi- Kenny Werner has meditative practices emerged as one o f the most that permit him to do gifted and distinctive of this. Before playing, modern jazz pianists, and he says, he sits at the his life history suggests that piano and “I literally that was always meant to be. say to myself that I am Growing up on Long Is­ w illin g to release all land in the 1950s and tension, all anxiety, all 1960s, he jumped right into disease, all concerns performing and recording about playing great with a song-and-dance piano, and all fear of group and then a 15-piece orchestra, and he appeared on playing wrong notes. In fact, I affirm that there are no wrong television playing stride piano. W hile still in high school, he notes.” That, he says, has such results as helping him to “open enrolled at Manhattan School of Music to study to be a con­ my ears to an acceptance of wider tonalities than my con­ cert pianist, but jazz’s emphasis on improvisation beckoned, scious mind would normally allow.” so Werner headed to Berklee School of Music in Boston — This release o f mental, physical, and spiritual roadblocks and discovered his place in music. This was, in part, thanks certainly does the trick, as one can hear in Werner’s brilliant, to Madame Chaloff, an inspirational piano teacher and spiri­ th rillin g performances. He has also been a tireless teacher o f tual guide, with whom he studied. Also formative, when the techniques he has discovered. He gives many workshops, Werner traveled on to Brazil, was Juao Assis Brasil, a concert and has taught jazz harmony, theory, and composition at such pianist who introduced Werner to a concept that has under­ institutions as New York University and the New School for pinned his playing ever since: “effortless playing.” Social Research. As a teacher, he encourages students to take In his Bill Evans and Keith Jarrett-inspired “pure sponta­ the path that has allowed him , as he says, to accept “whatever neous melodic creation,” Werner creates intricate, braided is w illin g to come out w ithout forcing it. I am usually amazed pieces that are constantly surprising and technically dazzling, and delighted at what I hear when I let the energy build on yet never flashily indulgent. His 1981-1995 trio with bassist its own.” Ratzo Harris and drum m er Tom Rainey was called “near m i­ Constantly, listeners are, too. - Peter Monaghan

In the wake o f his tribute event (see page 6), Don Lanphere Lanphere w ill perform with his award-winning quartet. Completing the lineup is Marc Seales Quartet (piano), Doug M iller (bass), and John Bishop (drums). Check out one o f the finest jazz groups in the Friday 10/26 Pacific Northwest as they perform material from Crossroads Shopping Center, their latest CD, Home A t Last. 7:30pm free Richard Bona Group Amizade Friday 10/26 On The Boards, 8pm $18 general

Blending the jazz-fusion fireworks of electric bass with his smooth voice and East African popular music, Richard Bona is carving his own hybrid niche in the music world. After touring and recording with world-fusion master Joe Zawinul in the mid-1990s, Bona settled in New York where he quickly became a fixture on the music-club scene. After being discovered in a club, he was hired as music director for singer H arry Belafonte, a gig he kept for nearly two years. By 1999, Branford Marsalis had signed him to Columbia Records and released his debut album Scenes From M y L ife , w hich has further established his reputation as an artist to watch. Born in 1967 in a small village in Cameroon, Bona was a musically precocious youngster, singing and playing his home­ made instruments in public from the age of five. He made guitars out o f bicycle cables and wood, and by age 11, had moved to the city with his father and began landing profes­ sional guitar gigs. There, he was exposed to jazz for the first time, including the music o f virtuoso jazz-fusion bassist Jaco Pastorius o f Weather Report fame. This led Bona to pick up the bass and change his musical life forever. Bona’s impressive bass prowess, expressive voice (he sings in his native Douala language) and poignant songwriting w ill surely make for a unique and enchanting evening o f jazz and w orld music in his first Earshot Jazz Festival appearance. — Gordon Todd

This program was made possible with generous support from the Wallace- R e a d e r’s D igest Funds through the Western Jazz Presenters Network.

Choro, with its high-velocity string work and virtuoso im­ provisations, and dance-rhythm Baiao, as well as its close sty­ listic relative Forro. C om plim enting the Brazilian masters w ill be Randy Neal on guitar and mandolin, Jeff Busch on percussion, Mark Ivester on Drums and Guil Guimaraes on bass. M ulti-instrum entalist Santos Neto has worked w ith lu ­ minaries such as Airto Moreira, Flora Purim and Hermeto Pascoal. He spent 15 years in Pascoal’s ensemble perform ing on, and producing, a string of extraordinary recordings. He settled in Seattle in the early 90’s and now performs in a va­ riety o f settings including his own Jovino Santos Neto Quar­ tet, which includes Ivester and Neal. Mendon^a comes from the rich musical environment of Bahia, in northeast Brazil. His talents at guitar and percus­ sion have been employed by artists like Placido Domingo and Paul Simon, as well as countless others. He has been Those who have had their experience with Brazilian mu­ instrumental in bringing Brazilian culture to the Pacific sic limited to Bossa Nova w ill not want to miss Amizade. Northwest. He directs Show Brazil, a music and dance troupe, After having worked together for years, Jovino Santos Neto and he produces Brazil Fest, w hich takes place at the Seattle and Eduardo Mendon^a conceived a new vehicle to present Center in August. the vastness o f Brazilian musical traditions. Like, for example, — Steve C line Joe McPhee with Michael Bisio & Raymond Boni Saturday 10/27 On The Boards, 8pm $14 general NOTE: Earshot is proud to present this perfor­ mance in lieu o f the Charles Gayle cancellation. he began playing jazz and improvised m u­ Django Reinhardt, flamenco, and jazz in­ sic at age 21. His discography contains more fluences. His playing features rapid strum­ than 30 recordings; he has produced solo ming combined with long, full, orchestral The music of multi-hornman Joe and big band performances internationally; chords, augmented by electronics and de­ McPhee is deeply felt, intricately wrought, and he has also created music for many film lay devices. H is is music fu ll o f passion and and compellingly powerful. Here, he ap­ and dance theater projects. Boni has long brilliant colors, and this should prove a trio pears w ith a favored Seattle and beyond- researched gypsy music, and draws on o f similar character. Seattle accompanist, bassist M ichael Bisio, — Peter Monaghan along with the French guitarist Raymond Boni, one of McPhee’s collaborators from his earliest, memorable hat A rt recordings. Joe McPhee is a giant on the current scene, playing saxes, alto clarinet, pocket trumpet, and valve trombone. In 1969, he and artist (and now-Seattleite) Craig Johnson founded CjR Records to present McPhee’s music. That led to the formation o f the vaunted, progressive Swiss label, now known as hat Art. That was the beginning o f a highly praised career. McPhee, said the prom inent new-jazz observer, John Corbett, “makes meaningful, communicative music. Liberated, to be sure — steeped in the free jazz revolution o f the ’60s — but music that is direct, riveting, current.” His many al­ bums include some memorable collabora­ tions with Michael Bisio, whose reputation as an expansive and idiosyncratic bassist has soared, well beyond his adopted home o f Seattle. Bisio first made his mark in Seattle as a classical and new-music player. Then, in the 1980s, he blossomed in jazz and improvi- sational music, working with progressive figures like Bob Nell, Barbara Donald, Jack Walrath, and Bert Wilson. His own highly praised recordings have included Ours, from 1983 — “This is the best album to come out o f Seattle in ages — tough, com m itted jazz, executed w ith assurance and authority,” wrote Paul deBarros — and the 1986 inside- outside quartet release, In Seattle. H is 1996 quintet recording, Covert Choreography, was an Earshot Golden Ear awardee. He has toured in recent years w ith both McPhee and sax titan Charles Gayle. Raymond Boni, the French guitarist, makes his first Seattle appearance, and his first West Coast appearance since the 1970s. A long-tim e McPhee collaborator, he com­ bines Django-like fire and drive w ith avant- garde techniques. Born in Toulon in 1947, Continued In The M arvin Thomas. We are grateful to them all fo r the many hours o f work involved in setting up this compli­ Underground cated project. CUG performs four concerts in the re­ gion and w ill also complete a recording project in Se­ Saturday 10/27 attle with some o f this area’s top musicians. The Cross­ Crossroads Shopping Center, roads Shopping Center concert is free o f charge. Tickets 7:30pm fo r each o f the other concerts are available at the door. free Inspiration set in while Yasuhiro Kohama sat in the V il­ Sunday 10/28 lage Vanguard experiencing the Monday Night Orchestra. Kilworth Chapel, University of The Vanguard w ould be an intim ate setting at any rate. But with 16 top-call New York musicians performing their vi­ Puget Sound, 7:30pm brant, dynamic art in concert from the famous summit of a free stage, and w ith so much history drawn on the walls, it is not so hard to imagine how the evening could be transforma­ Monday 10/29 tional. The young tenor saxophonist describes it as a “spiri­ Tula’s Restaurant, 8:30pm tual experience” and the beginning o f his mission to create $16 general the jazz orchestra, which he w ould form in 1989. He called it CUG or Continued in the Underground. Saturday 11/3 In Japan, a country currently rich with talented jazz en­ sembles, C U G has established itself as one o f the premier Vashon High School Theater, 8pm professional groups. This is largely due to the inspired com­ $15 general, available through positions and adventurous orchestrations o f the brilliant pia­ Vashon Allied Arts at the Blue nist Shuhei M izuno. M izuno is one o f several band members who contribute compositionally to the ensemble’s book. Heron Arts Center O ther pieces have been commissioned from artists like Kenny Werner. C U G covers many classic compositions, as well, from Earshot jazz is delighted to host this Seattle residency the beautiful interpretations of Ellington’s The Sunset and the by the Continued in the Underground (CUG) big Mockingbird and Isfahon to the no-holds-barred free blowing of Ornette Coleman’s Happy House. band from Japan. A fu ll year in the works, the CUG C U G is uniquely blessed w ith a fu ll roster o f talented project has been the labor o f love o f Seattle multi­ improvisers, producing an immensely versatile ensemble with instrumentalist Jay Thomas and, by virtue o f their deep roots in a variety o f musical directions. It does not sound proximity, his family, Becca Duran Thomas and at all like a “West Coast” big band, but has a sound and sty­ listic kinship w ith the modern New York ensembles. In its three festival appearances, C U G w ill feature Seattle area friends as guest soloists. These w ill include alto saxophonist Mark Tay­ lor, trombonist Dave Marriott and multi-instru­ mentalist Jay Thomas. Shuhei has penned a set o f vocal charts that w ill feature Becca Duran, as well. C U G members Shuhei and bassist Goh Shimada w ill be appearing with the David M a rrio tt Sextet at its Tula’s engagement on Sun­ day, October 30. The complete CUG ensemble w ill also be perform ing on Sunday, October 28, at the U n i­ versity of Puget Sound’s Kilworth Chapel (on north 18th Street, between U nion and Lawrence, in Tacoma’s north end). Joining CUG at that performance w ill be the UPS big band led by Syd Potter. The Vashon Allied Arts performance on Sat­ urday, November 3, w ill take place at Vashon High School theater, 20120 Vashon Hwy. SW and w ill begin at 7:30 PM. Tickets for that per­ formance are available from Blue Heron Arts Center (PO Box 576, Vashon, WA 98070) or can be charged by phone at (206) 463-5131. — Steve Cline levels, dancing across a tune as i f in flig h t and then going Myra Melford’s raucously into free territory before piling w ith Vu atop a rum ­ bling burst. Crush is magnificent and brings Melford to the peak of her talent. Crush Trio — Andrew Bartlett

This program was made possible with generous support from the Wallace- Daniel Carter & Reader’s Digest Funds through the Western Jazz Presenters Network. In one o f many extraordinary engagements offered at this Reuben Radding year’s Earshot Festival, New York multi-instrumentalist Daniel Carter w ill be joined by contrabassist Reuben Radding for Sunday 10/28 an evening of high-energy free improvisation. On The Boards, 8pm New York multi-instrumentalist Daniel Carter (saxo­ phones, trumpet and flute) has been recording and playing $16 general improvised music for decades. A man o f large ideals con­ Likened to Cecil Taylor for her command of the entire cerning artistic independence, Carter is one o f the true inno­ keyboard, pianist Myra Melford might be better likened to vators of his music and the methods of its delivery. A most Jaki Byard or Don Pullen. She has the deep soulful churn explanatory quote in support of his vision was captured in a that led Byard to invoke boogie woogie amidst clustering recent interview with jazz writer Nils Jacobson, where Carter keyboard splashes, to indulge the fu ll scope o f the jazz tradi­ described the merit of anarchism in music as “the idea of tion in almost every keyboard people freely associating, and deciding touch. She sounds like a Don for themselves individually and collec­ Pullen protege, though, when tively what they want to do.” she’s liquidly rolling through There are many sects, cliques and sub­ solo space, fo ld in g her own circles in New York’s creative music scene, clusters into inventive, melodic and Carter can safely be said to be an compositions that have marked influence in all of them. As a member all her albums. She flows across of the Other Dimensions in Music the keys, a strong, pulling ocean (ODM) quartet with trumpeter Roy current that washes over the ears Campbell, bassist W illia m Parker, and hugely. Crush brings M elford drum m er Rashid Bakr, Carter has pio­ back to the small band format neered new channels through which where she first recorded, w ith a sonic expression can be approached. His few twists thrown in. Crush in­ output w ith O D M is best represented on tegrates M elford’s global musi­ the records Now! and Time is o f the Es­ cal imagination, something she sence and Beyond on Steven Joerg’s A U M indulged beautifully in 2000 on Fidelity label. Carter also plays a key role her Omnitone recording, Equal in Test (Sabir Mateen, reeds; Matt Interest, which boasted Joseph Heyner, bass; Tom Bruno, drums), a Jarman and Leroy Jenkins in a quartet that has equal appeal in both their globetrotting extravaganza. In sound and conception. The group has the coming rendition of Crush — which began as a more- performed for years in acoustic environments that best serve than-standard piano trio, Melford has trumpeter and one­ to enhance their music. In the underground subway systems time local Cuong Vu on trum pet and bassist Stomu Takeishi, o f New York, to be exact. Carter was also crucial in last year’s who w ith M elford sound like bop gone deep, weaving styles Painter’s Spring (Thirsty Ear), a trio record led by W illiam that sound terrifically jazzy in a way that’s colored by Vu’s Parker that is easily one o f the most attractive jazz recordings dub-like vamps and East Indian that M elford’s gleaned while o f the past decade. on a Fulbright fellowship to study last year in India. M elford’s Reuben Radding, a local staple in improvisational music, fans never want for excitement and motion, and where she studied in New York for several years w ith Anthony Braxton began her career wowing people w ith sheer keyboard power, alum ni M ark Dresser. In New York he enjoyed steady em­ now she captures the ear w ith dynamism and a color spec­ ployment, performing with forward thinkers that include trum that veers suddenly from the deep-end flush of the Carter, Dave Douglas, Susie Ibarra, Andrea Parkins, John piano’s low notes to the wheezing dance of the harmonium. Zorn and Roy Campbell. O f the many performing ensembles As for Vu, he’s done lots since heading East from Bellevue, he has ameliorated, the most noteworthy is his own reper­ releasing two fabulous CDs — one on Omnitone and one on tory group, M y th Science, a u n it devoted to the music o f K n ittin g Factory. Both show o ff the young brass champ’s in ­ Sun Ra. He also spent years w ith Marc R ibot’s acclaimed terpolations o f 1970s-era Miles Davis soundscapes (minus Shrek. In the Pacific Northwest, Radding is involved with the electric keyboards) and an expansively quick improvising Street o f Crocodiles and the Creative String Trio. im agination that smears notes, runs through the trum pet’s Daniel Carter and Reuben Radding have blazed band­ conventional gamut, and then explodes in a rush of concerted stands before with a wonderfully explosive mix of ecstastic pulse. W ith M elford, Vu and the nimble Takeishi adventurousness and texture, and their performance together w ill rivet the ears w ith cascading waves and sharp, punctuat­ in this year’s festival seeks to continue that tradition.

ing melodic frameworks. Takeishi’s bass takes rhythms to new This perform ance is made possible with the support o f Artists’ Trust A lan Jones "Triple Bill” B ill Frisell, an endlessly versatile guitarist, w ill provide a special spotlight for the 2001 Earshot Festival - in fact, three spotlights. The world-renowned, Seattle-based gui­ tarist has revitalized the jazz scene here in the decade he has made the city his headquarters and home base. Constantly on the road to the key centers o f wo rld jazz, the w o rld now is coming here to find him. First, Frisell joins the celebrated Malian guitarist Boubacar Traore, to perform compositions commissioned by Earshot Jazz and Rakumi Arts. Then, for the first time ever, he matches musical wits with drummer Jack DeJohnette, a hall-of-fam er who fo r 35 years has been at the center of many of the groundbreaking movements in j azz. Finally, in two concerts, Frisell presents his new, inter­ national quartet, with Brazilian guitarist Vinicius Cantuaria, Greek-Macedonian oud player Christos Govetas, and M alian percussionist Sidiki Camara. The series marks a new, global approach for the tireless innovator, who in recent years has been most in te n t on a broad exploration o f varied American musical forms, incorporating elements of folk, bluegrass, and country as well as composers like Aaron Copeland. After growing up in Denver playing clarinet and saxo­ phone, and then adding guitar, Bill Frisell studied clarinetj- at the University of Northern Colorado and composition at Berklee. Soon he embarked on a stellar career. He was, in effect, the house guitarist at ECM Records in the 1970s, recording with the likes of Paul Motian and Jan Garbarek. By the 1980s he was leading his own bands and recording dates, culm inating in his expansions o f jazz through varied American musical idioms. He has led varied groups - for example, previously at the Earshot festival he has appeared with a quartet including trumpeter Ron Miles, violinist Eyvind Kang, and trombonist Curtis Fowlkes. But, whatever the setting, Frisell’s highly individual, sig­ nature sound, often augmented with processed guitar sounds, is typically laden w ith bent, elongated, somewhat mournful and vulnerable notes. But his compositions of­ ten rollick and jog along at one moment, then sing lan­ guidly and sweetly at another. As Andrew Bartlett wrote in these pages: “ He can spin a short snippet over and over through a sampler, then fin d just the rig h t dust and gloss across the top to create a vulnerable, th o ughtful m ix o f Americana, inimitable Frisellisms, and an overall music that can take the head away from the sound at hand and trans­ port it elsewhere.” He has created breathtaking, almost cinematic albums on Nonesuch like the 1997 American-roots oriented Gone, Just Like a Train with fabled drummer Jim Keltner and bassist V ik to r Krauss; the solo Ghost Town; and the recent Blues Dream. In all of those, as Andrew Bartlett said of Ghost Town, he achieves “a rustic, w indblow n narrative,” with surfaces of “pleasant unfurling of folksy, tuneful gui­ tar picking” and bewitching sonic backgrounds. But it w on’t do to focus only on what Frisell has done in the past, because he’s constantly moving. — Peter Monaghan Boubacar Traore Sunday 10/28 EMP, Sky Church, 8pm $22 general

If you were one of the fortunate many who caught either, or both, of the performances by Habib Koite at last month’s Bumbershoot festival, you might be interested in pursuing his art back to its roots. There you w ill find Boubacar Traore. M alian music has gained an extraordinary place in the “world music” genre since — with its soulful and un-pretentious guitar style and rough, deeply felt vocals — it bears, to the western ear, resemblance to American blues. O f the M alian artist’s who have held the highest profile, like Koite and A li Farka Toure, Traore is both the most venerable and the most recent to gain the recog­ n itio n he has deserved. But, to pile upon this contradiction yet another, Traore was in 1960 the most widely known musician in all o f Ma li — a ubiquitous presence who had w ritten the great anthems of a young nation. Growing up in the Kayes region o f M ali, Traore was more interested in soccer and there won his nickname Kar Kar, a word­ play on the phrase kari kari, from the Bambara language, which means “too much dribbling.” When his older brother returned from eight years o f musical study in Cuba, Boubacar became interested in his guitar playing and started to teach himself to play. He developed unusual techniques and, with his brother’s encouragement, was inspired to begin composing his own mu­ sic. In the early ’60s, M a li became independent o f France and Traore produced the radio mega-hits “Kar Kar Madison”, “Mali Twist” and “ Kayes Ba,” in w hich he expressed excitement for the young African nation and encouraged his fellow citizens to return and build the country. But his cultural contribution would not support a family, and he soon relegated music to a personal hobby and became a community noble and a businessman. In 1988, Traore moved to Paris to collect him self after the death of his wife. There he began establishing ties to the A fri­ can musical com m unity and was re-discovered by a British pro­ ducer. In 1994, the Stern’s label released M ariam a, the first o f a string o f remarkable recordings, w hich have brought his art, at long last, to the world. The collaboration with Bill Frisell began more than a year ago, when the two artists met after playing separate dates at the Bumbershoot Festival. Though clearly half- a-world apart, in many ways, the artists dis­ covered remarkably fertile common ground in each other’s music. Plans to nurture the artistic collaboration were developed through an organizational collaboration, between Earshot Jazz and Seattle’s Rakumi Arts, the non-profit organization formed to support the African Arts in the Northwest. — Steve Cline

This collaboration and commission is supported by the Africa Exchange, an international program o f 651 Arts, generously supported by the Ford Foundation. Standifer has a smooth way of educating from the band­ Floyd Standifer stand at the New Orleans Creole Restaurant, one of the few venues in Seattle open to under-21s, where his quartet has held a Wednesday gig for 14 years. He says: “ M y mother was Quartet a school teacher. M y father was a minister. They just kept saying, 'You’re going to be a teacher.’ Music was calling me. Sunday 10/28 I ended up doing both.’’ His curriculum: “I enjoy knowing Rainier Valley Cultural Center, 7pm why bebop works, and I think somebody out there might $8 general like to know it.” One o f Seattle’s most beloved jazz men, the saxophonist/ trumpeter takes his area-leading mainstream quartet to South Seattle, w ith ace veterans Clarence Acox (drums), Phil Sparks (bass), and B illy Wallace (piano). Floyd Standifer is among the most renowned and histori­ cally im portant o f Seattle jazzmen. A fter moving to Seattle from Oregon 50 years ago, to study physics at the University of Washington, he stumbled onto a thriving R &B and bebop scene at the YM CA on 23rd and Olive, next to the church where his father was minister. There, he played w ith the likes o f Ernestine Anderson, Q uincy Jones, and Bumps Blackwell. In 1954, while still in college and beginning to raise a family, he began a five-year stand at The Flame Tavern in North Seattle. Then, in 1959, he h it the road w ith Q uincy Jones’s Starting from scratch 30 years ago, drum m er Clarence “Free and Easy’’ tour, which included Clark Terry. Acox built the big-band program at Garfield High School In recent years, he has been most visible w ith his quartet and into one of the best in the country. He has helped make the in stellar performances in the Seattle Repertory Jazz Orches­ region arguably the strongest in the nation for high-school tra. Also, for several years, he and the seasoned 493 Reunion jazz programs. And, in recent years, he has also consolidated Band have taught fundamentals of jazz at schools through his central role in the city’s jazz scene by forming, with U W the Roots of Jazz program, which Earshot Jazz runs with a sax prof Michael Brockman, the most high-profile of the city’s grant from the Washington State Arts Commission. The 493 many big bands, the Seattle Repertory Jazz Orchestra. Reunion Band celebrates the segregation-era black musicians’ Clarence also performs regularly as drum m er for Roadside union, Local 493. Attraction and other area groups. Right from the start, Floyd was an educator. In 1955, he Billy Wallace, a “killer piano player,” as Floyd Standifer and a few others set up the Northwest Jazz Workshop in the says, has brings to the quartet years o f experience w ith Max U District, a rallying point for local jazz musicians. In the Roach, Sonny Rollins, Sonny Stitt, and Clifford Brown, and 1970s, he taught jazz at Olympic College in Olympia. From then o f leading his own combos. O n bass is Phil Sparks, ubiq­ 1980 beyond his semi-retirement in the early 1990s, he taught uitous on the local scene thanks to his unerringly sympa­ humanities and music at the Northwest School on Capitol thetic accompaniment. H ill, and then at the U W jazz program. — Peter Monaghan i Maybe Monday Stackpole Monday 1 0/29 On The Boards, 8pm $1 5 general

Once experienced, their sound is unmis­ takable. Earshot Jazz is proud to welcome San Francisco’s creative trio Maybe Monday back to Seattle for a one-night performance. T heir first collective Seattle appearance was in 1998. The trio - consisting of Larry Ochs (saxophones), Fred Frith (guitars) and M iya Masaoka (koto and electronics) — has broadened the soundscape o f creative jazz since form ing in 1997. Maybe M onday’s music is a colorful blend o f emo­ Stackpole is the light- and heat-seeking Seattle-based jug­ tion and palpable cultural elements. Their recent Buzz gernaut quartet of electric guitarist Dennis Rea, alto saxo­ Records release, Saturn’s Finger, leaves no doubt to phonist Wally Shoup, drummer Gregg Keplinger, and bass­ the sobriety that can be achieved in free settings. A ist Geoff Harper. It serves as remarkable proof of the fruition quirky combination o f the daring o f experimental jazz o f post-free-jazz in this city. Its sound is a highly impressive and oriental charm, the trio brings a welcome ap­ confluence of many streams in jazz- and rock-related music proach to music. Kaleidoscopic electronics interweave of the last four decades, including the quest for new sounds through progressive guitar sounds and circular so­ and new approaches to music-making that were pursued in prano saxophone urgings, all fueled by sharp com­ the free jazz o f the mid-1960s. m unication and interactive prowess. The group u ti­ Stackpole delves the free-improv experimentation o f chiefly lizes m inim al notation, relying on their own intimacy British innovators who began to emerge at that same time. for their music, which is built solely on the potenti­ And it embraces the most felicitous of Prog-rock grandeur ality of improvisation. The musicians’ capacity to ef­ and musicianship. M ining such fields, Stackpole explores fectively employ time and space in a musical system sound as sculpture, and otherwise non-harmonious sound as rooted in discord is astounding. musical raw material. Larry Ochs is best known as a founding member Guitarist Dennis Rea brought Stackpole together at the of the innovative ROVA saxophone quartet. He also 1998 Tonehole Festival, “to see what would happen.” He says: helped to establish the late Glenn Spearman’s groups “ It struck me that that particular quartet could strike some as a new foundation in improvised music. Ochs is sparks.” The results were so impressive that the band quickly currently an integral component in the John Lindberg headed into the studio, and an album resulted, earlier this quartet with Wadada Leo Smith and Andrew Cyrille. year. Gigs since then have been few, making this festival ap­ Fred Frith is among the finest o f the West Coast’s pearance all the more essential listening. progressive guitarists that include B ill Frisell and John O f its nature Stackpole is evanescent, a brief, fortunate Schott. An unequivocal composer w ith a remarkable encounter. It produces music of varied color, texture, and discography, Frith has been a member of many tempos that eddies from some fairly swinging jazz, to music groundbreaking groups, from the outrageo-rock of akin to 20th-century experimental composition, to sound- the Residents to many o f John Zorn’s designs. But sculpture that recalls, at points, warped ballads. Rea brings perhaps most notable is Friths co-founding o f the into play his habitual wide sonic palette, developed in jazz, British progressive-rock band Henry Cow. rock, free-improv, and even folk-oriented settings. His pri­ M iya Masaoka is an accomplished koto player and mary performing and composing vehicle is Axolotl, a rock “audio artist.” Her numerous projects include com­ band, but no ordinary one, with Rea and Bill Horist explo­ positions w ith live bees and a sound piece w ith audio sively pulling out all sonic stops. Rea also is a member o f pickups strategically placed upon nude human bod­ LAND, the free-thinking cooperative spearheaded by ies. keyboardist Jeff Greinke. A nd he has long played w ith Seattle’s Audiences can expect an evening of enchanting extraordinary “songster of the bleak,” Eric Apoe. improvisation and stunning interplay when Maybe W ally Shoup has persevered in Seattle post-jazz circles, Monday hits the bandstand in late October. weathering charges that what he was playing was inadequate — Alan Jones Fred Andersonwith Fred Andersonwith William Parker and William Parker and Hamid Drake Hamid Drake Monday 10/29 Frode Gjerstad Trio Rainier Valley Cultural Center, 8pm $10 general Tuesday 10/30 On The Boards, 8pm

Even if tenor saxophonist Fred Anderson isn’t a house­ $16 general hold name in jazz, the Earshot faithful w ill remember vividly another saxophone trio boasting Anderson’s indefatigable In a much-anticipated return to Seattle, alto saxophonist/ rhythm team of Hamid Drake and W illiam Parker and how clarinetist Frode Gjerstad leads a dynamic, energetic post- unbelievably the pair rocked in their Seattle trio gig w ith that free jazz trio from Norway, w ith two b rillia n t young players, saxist, Frode Gjerstad. Paal Nilssen-Love and O yvind Storesund — the same line-up Even i f Drake and Parker are two o f the greatest, the too- that impressed m ightily this June at the Seattle Improvised often untold story here is still Fred Anderson, the owner of M usic Festival. Chicago’s Velvet Lounge and A rare out-jazz practitioner in Norway, Gjerstad excels at an early associate o f the W indy a rattling, post-free jazz sound influenced by the 1960s avant- City’s fabled Association for garde. In his youth, he found few opportunities to play with the Advancement of Creative like-minded musicians, but he says: “Because I grew up in a Musicians. Like Los Angeleno small town where basically no one cared for this music, my Harold Land and fellow Chi­ love for it grew stronger. ” He cagoan Von Freeman, Ander­ had come to love jazz at the son opted for living in his com­ age of eight, from recordings munity rather than taking on that oddly prepared him for a life on the road early in his a life in free jazz: “ I didn’t re­ career. alize that there was a set o f That ability to focus and chords because I was too commit shows in Anderson’s young to understand it,” he playing. He rolls through says. “ I th o u g h t that jazz changes and tunes like a pa­ music was free music, so I ap­ tient, chilled out Sonny proached it like that from the Rollins, with a far more un­ beginning.” buckled sense of the freedom Gradually, he found oth­ inherent in improvisation. ers who “were also thinking Anderson is wont to hold a wrong.” His expansive com­ slow, roiling phrase and alter it munity of collaborators has slightly in deep, elongated by now included such top in ­ tweaks, never hurried and ternational improvisers as never overly concerned with Barry Guy, Derek Bailey, Pe­ phenomenal displays o f chops. ter Brotzmann, Rashid Bakr, Alongside the methodical Borah Bergman, W illiam Anderson, Drake and Parker Parker, B illy Bang, H am id w ill be their customary hard Drake, and Bobby Bradford. From 1981—94, he played with charging selves, driving John Stevens, w ith whom he co-led the trio Detail. rhythms that keep chugging In 1997, Gjerstad was awarded Jazz Musician o f the Year time as Anderson makes space, in Norway. Part o f his achievement has been to usher young limitless space so much o f the time, to consider the currents musicians into the world of free jazz. For example, his band, of musical force that underlie tonality and shape melody. Circulasione Totale Orchestra, has been a bridge from elec­ If Anderson was decidedly Chicagoan in his rooting for tric, rock-oriented performances to avant-garde forms. He decades, he remains so now, and this is a rare chance to catch says: “ I ’m playing w ith youngsters all the time because I th in k him. Anderson’s one o f jazz’s elder statesman no matter how they’ve got lots o f energy and they also have a different view. w ell-known he is, in an out-of-Chicago appearance, and this They listen to different types of music and they bring that w ill trigger for witnesses an out-of-head experience. D on’t miss out. — Andrew Bartlett David Marriott Ensemble Tuesday 10/30 Tula’s Restaurant, 8:30pm $8 general

In this special project, created for the Ear­ shot festival, trombonist David M arriott, one o f the most imaginative and talented o f a new generation o f Seattle jazzmen, presents new w ork written especially for an unusual, inter­ national combo. The core o f his group is M arriott, Seattle drum m er Steve Korn, and two o f the most outstanding members o f the visiting Japanese big band, Continued in the Underground (see entry for October 27): Shuhei Mizuno, a world-class jazz pianist, and Goh Shimada, an extraordinary, smokin’ bass player. M arriott has written new material, includ­ ing a Halloween suite that the group w ill per­ form on the m id n ig h t set, w ith guest Jay Thomas, for whom Marriott has especially w ritten parts. Now in New York at the Manhattan School of Music, after graduating from Garfield High and the University of Wash­ ington, M a rrio tt is clearly reveling in the op­ portunities presented to him by being in New York city. In addition to studying w ith saxo­ phonist and former Miles Davis sideman, Dave Liebman, Marriott had his first big- league gig at the Puerto Rican Heineken Fes­ tival in Ray Vega’s band. He plans to stay in school in New York, possibly to continue on to a doctoral program at NYU. The Japanese players w ill be returning a favor — during their performances at the festival, their own ranks w ill be swelled by Mark Taylor on alto sax, David Marriott on trombone, Jay Thomas on horns, and Becca Duran, vocals. — Peter Monaghan tal Band where he participated in the crystal­ Von Freeman Bill Frisell & lization of the Association for the Advance­ ment of Creative Musicians. Abrams chal­ Wednesday 10/31 Jack DeJohnette lenged the participants o f his ensemble to find Tula’s Restaurant, a method for personal development and to dedicate themselves to that development. 8:30pm W ednesday 10/31 DeJohnette’s stunning growth in these years $14 general On The Boards, 8pm led to his moving to New York City in 1966. $18 general There he would play in John Coltrane’s group T h u rsd a y 11/1 as well as the bands of Jackie McLean, Betty Tula’s Restaurant, Because Jack DeJohnette is as much a Carter and Abbie Lincoln. Late in 1966 he 8:30pm presence in the E C M catalog on drums as began a three-year tenure in one o f the most B ill Frisell is on guitar, it m ight be something popular Jazz bands o f the time. Led by saxo­ $14 general of a miracle that this pairing of jazz giants phonist Charles Lloyd, the band also featured has escaped the label’s inventory. B ut we are a young pianist named Keith Jarrett. Nearing 80 years o f age, tenor saxophon­ fortunate indeed to be here for this perfor­ Late in1968 DeJohnette produced his first ist Von Freeman would be a full-on jazz in­ mance of two of the most versatile and in­ recording as a leader, called The DeJohnette stitution had he opted to leave Chicago and ventive artists in jazz today. Complex. From this record it was very clear ride the rails full-time with the bands of Billy Jack DeJohnette has been present in most that he possessed the ability to play exceed­ Eckstine and Sun Ra. Both those vastly d if­ of the seminal events in the development of ingly well at any style he wished to. Just a ferent bandleaders employed Freeman, who jazz since the mid-1960s. It is not hyperbole couple o f months after its release, Miles Davis ran with the likes of Gene Ammons and the to call him a living legend. came calling for him to replace wildly great Johnny Griffin. Freeman’s so­ There are very few drummers Tony Williams. Miles’ working journs with this crew give a good sketch of who have the range and sheer group o f 1969 w ould also in ­ his talents. His robust tone fits tightly in a musicality of DeJohnette; he clude Chick Corea on piano, swing band, where the power of phrasing is simply a talent of the high­ Dave H o lla n d on bass and means the utmost. A nd his ability to soar free est order. Wayne Shorter on saxophone. of melodic and harmonic moorings makes D rum m ing came later in He stayed w ith M iles’ working Freeman an inordinately exciting player to the development of Jack band through 1970. catch, much like Coltrane or Sun Ra’s tenor DeJohnette the musician. In the ’70s, DeJohnette of choice, John Gilmore. First there was the piano, played in George Benson’s Between his tenure with a litany of great w hich he studied from the age band, and formed three of his bands and the present day, Freeman’s kept a of four through his enrolment at the Ameri­ own — Compost, Directions, and Special Edi­ low profile — something that Chicago’s can Conservatory of Music in Chicago. He tion. The latter w ould become his lasting en­ Delm ark and Premonition labels have tried also tried saxophone. But he was inspired by semble. He w ould also become a regular in to reverse w ith a series o f first class record­ another drummer of enormous talent and the ECM catalog, backing musicians like ings. Freeman’s pair o f powerhouse two-horn musicality: M ax Roach. It was drums that John Abercrombie, Kenny Wheeler and Pat outings, one with Ed Peterson and another DeJohnette would focus his energy on. Metheny. Keith Jarret also became a frequent with young scion Frank Catalano —both on A motivated young musician could not collaborator and along w ith Gary Peacock Chicago’s own Delmark Records — feature the have been in a better place and time than they form one o f the great w orking groups in elder player flying the hard-charging genius- Chicago in 1963. That year DeJohnette Jazz today. improviser flag high. His punchy, coarse tone joined Muhal Richard Abrams’ Experimen­ — Steve Cline and fast harmonic stair-climbs are awe-inspir­ ing in their depth. But he’s every b it as able to dive slowly into the lyrical, lovely realm. Long jams are his forte, no matter their pac­ ing or mood. Freeman’s rhythm section at this years fes­ tival w ill be the B illy Wallace trio (Wallace on piano, Bob Matthews on bass, and Matt Yarborough on drums). The recording Live a t the Dakota (Premonition) finds him in a form closest to that he’ll bring to Seattle, an unadorned, jamming band with the tenor saxist fronting a trio o f piano, bass, and drums cavorting through standards with abandon. This m ig h t seem the straight-and-narrow path, what with his hometown pitching such curveballs as Patricia Barber, Chicago Under­ ground Quartet, and Eight Bold Souls. But to hear Freeman mull over a midnight mood is to witness the fu ll range o f post-war jazz history, all delivered in vivid Technicolor. It’s something else. — Andrew Bartlett Keith Jarrett, Gary Peacock, & Jack D e J o h n e tte T h u rsd a y 11/1 Benoroya Hall, 8pm $45, $38, $28 re­ served seating

Over the course o f 18 years, 13 recordings, and countless concert dates around the world, Keith Jarrett, Gary Peacock, and Jack DeJohnette have become simply one o f the great­ est piano trios in jazz. Recognized as one o f the most cre­ ative musicians and gifted pianists of our time, Jarrett leads the group w ith his unsurpassed melodic and rhyth­ mic improvisations. Peacock is a leader in the van­ guard of today’s bassists, while DeJohnette is a master of tone and color on the drums. It’s rare to keep a working jazz group together so long, but the em- pathic communication and intense yet jo yfu l music making o f this trio is rarer still — and surely the impetus for them to keep playing. Thankfully, they are touring again after Jarrett’s battle with chronic fatigue syndrome curtailed his traveling quiet concert, filled with lapidary details and shared subtle­ for several years. ties, lig h t but never superficial. The music transformed fierce N ow they are back for their first concert in Seattle since concentration into exquisite grace.” 1995’s extraordinary, sold-out Earshot Jazz Festival appear­ The trio’s work together goes back to the mid-1960s when ance. That concert was a perfect musical experience that trans­ Jarrett and DeJohnette were the foundation of the rhythm fixed the audience and left an indelible mark on one’s cre­ section for the Charles Lloyd Quartet from 1966-68. They ative consciousness. This year’s appearance promises noth­ were together again in 1970 w ith Miles Davis. A ll three played ing less. together for the first time in 1977 on Peacock’s EC M Records Since 1983, the “Standards Trio,” as it has come to be debut Tales o f Another. In 1983, Jarrett invited his two col­ known, has played American popular songs and jazz stan­ leagues to jo in him for a recording session dedicated to stan­ dards in a style planted firm ly in the mainstream jazz tradi­ dards at a tim e when such tunes were considered a b it passe. tion but with new branches Since then, the trio has developed a extending that tradition. large following and become Jarrett’s main Jarrett’s intention was to show context for playing jazz. They have re­ that “music wasn’t about ma­ corded four studio recordings and nine terial, but what the player live concert recordings, all on ECM, the brings to the material.” most recent being Whisper Not, a 1999 W hat these three bring to Paris concert. T heir six-CD Keith Jarrett standard material is unending at The Blue Note: The Complete Record­ creative invention with ings garnered unanimous critical praise and many awards, melody, harmony and time that makes even the most time­ including the 1996 Down Beat Critics Poll for album of the w orn songs new and exhilarating. Take, for example, their year. 1991 recording o f “ Bye Bye Blackbird.” W hile the trio stays This rare concert appearance by the K eith Jarrett Stan­ within the recognizable structure of the tune, they stretch dards Trio w ill no doubt be one of the artistic highlights of the form with implied time keeping and hints of melody. the year in Seattle. In a review o f a concert last year, Jon Pareles o f the New — Gordon Todd York Times described their approach perfectly: “ It seemed like gravity was suspended when the Keith Jarrett Trio performed.. .Melodies hovered aloft, transparent and glow­ ing from within; improvisations danced in midair. It was a Torben Waldorff Konk Pack Quartet with Friday 11/2 Sit And Spin, 8pm Ingrid Jensen $10 general This program was made possible with generous support T h u rs d a y 11/1 from the Wallace-Reader’s Digest Funds through the West­ On The Boards, 8pm ern Jazz Presenters Network. $15 general Three vaunted improvisers promise some of the most unanticipatable sounds but dead-certain pleasures o f the Earshot fes­ The unabashed critical praise that streams in tival. for trumpeter Ingrid Jensen, a N o rth Vancouver Since forming at the Szuenetjel Festival in Budapest in 1997, the native, has been fast and furious; much like her energetic trio has toured widely to create freely improvised music development and career as a jazz artist. A t the age that emphasizes “rapid interaction,” “unstable timbres,” and “tran­ o f 26 Jensen had only graduated from sient sounds.” Malaspina College in Canada and Berklee C ol­ Tim Hodgkinson (flat guitar, electronics, clarinet, and alto saxo­ lege in Boston, moved to New York City, toured phone) is best known as a founding member, with Fred Frith and with Lionel Hampton and His Golden Men of Chris Cutler, of the legendary avant-rock group Henry Cow [1968­ Jazz, toured Europe with the Vienna A rt Orches­ 1 9 7 8 ]. H e also in s ti­ tra, become the youngest member o f the faculty at gated the experimental- Bruckner Conservatory in Linz, Austria, and music group, The Work moved back to New York City to play in the all­ (1980-1995), and female D IV A big band (take that Golden Men). played alto sax in God O h, and in her spare time she managed to pro­ (1991-1994), which duce a pair of superlative records for the Enja la­ was described as “ hard­ bel: Vernal Fields in 94 which featured Boston tenor core non-jazz — a sym­ saxophone giant George Garzone, and Here O n phony of extremes.” Earth in 96 with all-star tenor saxophonist Gary And he works with the European Improvising Orchestra, a duo with Bartz. Vernal Fields, won Canada’s 1995 Juno Ken Hyder titled Shams, and a trio w ith Huder, K-Space, that has Award in the “ Best Mainstream A rtist o f the Year” toured as far as the Russian far east. He has also appeared in impro­ and The Boston Globe vising settings with the likes of Lol Coxhill, Lindsay Cooper, Evan voted it #2 in the Parker, John Zorn, Chris Cutler, and Tom Cora. C ritic’s Choice “Best W orking on the fertile British experimental-rock, avant-jazz, free- New Artist o f the Year” improv, and experimental-theater scenes, London-based Roger Turner category. She placed has developed an idiosyncratic percussion language. His experience first in the 1995 “Car­ includes a duo with Annette Peacock (1983-1985), the post-wave mine Caruso Interna­ band The Nose Flutes (1986-1987), and numerous jazz-based en­ tional Jazz Trumpet sembles including those o f Elton Dean, Alan Silva, and Lol Coxhill. Competition” and was He has, most notably, won wide acclaim in the world of improvised the recipient of the music, in collaborations with the likes of Derek Bailey, Johannes 1996 “Best New­ Bauer, Evan Parker, Cecil Taylor, and O tom o Yoshihide. H is ongo­ comer” Award from the ing projects include: the inimitable British quartet of the crazed/ C o rk Jazz Festival in inspired vocalist Phil M inton, pianist Veryan Weston, and saxophone Ireland. It is the pro­ giant John Butcher; The Recedents with Lol Coxhill and Mike Coo­ found intelligence of per; In The Tradition w ith bassist Alan Silva and trombonist Johannes her playing and her sound, described in Penguin Bauer; and projects w ith M a rtin Klapper and the Gustafsson, Munthe, Guide to Jazz as “like oiled silk,” that distinguishes Strid, Turner Quartet. her in the modern jazz scene. Thomas Lehn (analog synthesizer), based in Cologne, also has For her Earshot appearance, Jensen joins the made his name on the im prov scene, but he has pooled lessons from Stockholm-based Torben W aldorff Quartet. Gui­ his experience across a wide range o f music and theater fields. W ith tarist and composer Waldorff, also a product of training in recording engineering and classical and jazz piano, he Berklee in Boston, released an eclectic, and elec­ played during the 1980s w ith many jazz groups, including three fabled tric, record hello world in 1999 which teamed him large ensembles — those o f Gunter Hampel, George Russell, and Keith with Scandinavian keyboard player Maggi O lin in Tippett. He also has long been active in the performance of new- a bass-less ensemble. A recording o f his acoustic music piano pieces, and also classical- and romantic-period works group, w ith Jensen, has just been released and fea­ and compositions for chamber groups. He made use of this diverse tured five W aldorff originals. background when he began to develop his approach to live elec­ — Steve Cline tronic music using “ historic instruments” : analog synthesizers o f the late 1960s. T heir beauty, he says, is that their fle xib ility permits him All-Star Rahsaan Roland Kirk Tribute with Steve Turre, James Carter, Mulgrew Miller, Buster Williams, and Lewis Nash Friday 1 1 /2 On The Boards, 8pm $20 general I f you want a tactile preview of what Steve Turre’s tribute to the great Rahsaan Roland Kirk will sound like, drop in on the trom bonist’s most recent set, TNT (Telarc). M ost o f the set boasts the core of the band Turre’s bringing to Seattle, with tenor sax titan James Carter, pianist M ulgrew M iller, bassist Buster W ill­ iams, and drummer Lewis Nash. W ith Turre, a veteran o f K irk ’s bands, the T N T band is fabu­ lously ambidextrous. They can play unabashedly dreamy ballads and big-shouldered post bop fu ll o f careening turns and fearless leaps. W hat’s more, they can embrace the paths o f R& B that K irk found so fruitful. Kirk’s prismatic view of the jazz tradition obvi­ ously helped shape Turre, who can lay down fat and wide low- range tones and then buttery slips and slides w ith acute facility. The fu n k can turn to swing and then to blues and then go all-out, leaving the tune behind for deep exploration. Carter’s tenor is paired in the K irk tribute band w ith altoist Jeff Clayton, and the three-horn fro n t line is a necessity to imagine Rahsaan’s amazingly simultaneous m ulti-horn playing. O f course the closest thing to K irk ’s m ulti-styled peregrina­ tions today is in fact James Carter, who’s released a Django Reinhardt tribute that’s unparalleled in its excellence, a rip snort­ ing electric fu n k session, and a slew o f great post-bop gems in the space o f a few short years. The last tim e he and Turre jarred the floor like this, they did so with the great Lester Bowie in his underaccorded New York Organ Ensemble. As for the K irk tribute, expect wealthy doses o f hard-bop chops — Miller, Nash, and W illiams’ forte — and a performance, far-reach­ ing, touching on everything from swing to post-bop to neo-soul jazz, all at once. — Andrew Bartlett

to react instantly to his collaborators in impro­ vising settings. That has proven true, certainly, in his work with such players as John Butcher, Gunter Christmann, Phil Durrant, Wolfgang Fuchs, Mats Gustafsson, and a great number of other leaders o f the vital European im prov scene. Only some collectively improvised music, Stuart Broomer wrote in Coda Magazine, “genu­ inely presses the envelope, pushing into a ter­ rain where the unknown can happen and where even the best players encounter risk.” Konk Pack, w ith its “eruptions o f energy that an average flash o f lightning w ouldn’t have to be ashamed of,” does just that, he said. In its music “a barrage o f discreet particles bounced around, colliding in a universe in which chance and interactivity blurred into one another.” — Peter Monaghan The Morgan family relocated to Los Angeles in 1948, Frank Morgan & and teenager Frank won a talent contest that led to record­ ing a solo with Freddie Martin. Working on the L.A. bop scene in the early 1950s led to collaborations with Teddy George Cables Charles and Kenny Clarke as well as releasing his own al­ bum in 1955, Introducing Frank Morgan. But Morgan’s F rid a y 11/2 lifestyle (as well as his playing) was becoming increasingly Tula’s Restaurant, 8:30pm similar to his childhood idol, Charlie Parker. T h irty years o f battles w ith heroin addiction, arrests for $14 general possession and prison tim e put a hold on Morgan’s career S a tu rd a y 11/3 but didn’t keep him down forever. After performing locally on an occasional basis in small clubs and as a sideman in the Tula’s Restaurant, 8:30pm late ’70s, M organ made his successful comeback in 1985 $14 general w ith the Easy Living and has since developed his own bop- based style and recorded for Telarc, Contemporary, and S u n d a y 11/4 Antilles. He also plays for prison inmates, recovering addicts, Tula’s Restaurant, 8:30pm and at-risk youth, telling his story o f recovery. $14 general Joining M organ is prolific composer and often-requested sideman George Cables, who has had a large part in defining Self-proclaimed “old purist” Frank the piano jazz o f the ’80s and ’90s. W hile studying at Mannes Morgan has been called “the New College in the early ’60s, he formed the Jazz Samaritans w ith B ird” and for good reason: his first Billy Cobham and Steve Grossman at the age o f 18 and be­ encounter w ith Charlie Parker left an gan w orking w ith some o f the biggest names in jazz. im print on him, shaping his playing The list of his collaborators throughout the next two de­ and his lifestyle as well. cades reads like a list o f who’s-who in jazz. Cables played The son of guitarist Stanley M or­ with Sonny Rollins in 1969, Joe Henderson (’69 to ’71), gan, a one-time member of The Ink Freddie Hubbard (’71 to ’76) and Dexter Gordon during Spots, Frank picked up the guitar at his triumphant return to the United States (’76 to ’78), as the age o f three but changed his mind well as working with Max Roach and A rt Blakey in the early and his instrum ent at age seven when ’70s. he met Parker backstage at the Para­ He later became known as “A rt Pepper’s favorite pianist” dise Theater in D etroit. (The elder from ’79 to ’82, according to Scott Yanow in A ll Music Guide. Morgan knew Parker when the two Cables has also recorded for as a leader for SteepleChase, played together in Kansas City). Concord, and Contemporary in addition to plentiful sideman Frank was itching to pick up a saxo­ gigs w ith the likes o f Ray Brown and Jim m y Cobb. His popu­ phone, but Bird recommended start­ larity as a sideman isn’t surprising. Rough Guide calls his solo ing on the clarinet, so Morgan found one the next day (with work “sure-footed and stimulating” and his backing “in­ the help of Wardell Gray and Teddy Edwards) and began tensely rhythmic and supportive.” studying. — Megan Aemmer Regardless, he has quietly produced a solid Denny Zeitlin body of work including the penning of some classic fake-book material w ith fellow pianist F rid a y 11/2 B ill Evans, film music, and music for pre­ pared piano. But it is his collaboration with Brechemin Auditorium, bassist, and Tacoma native, David Friesen that UW, 7:30pm has been the focus o f Zeitlin’s musical activ­ $15 general ity in the 1990’s. W hen performing solo, as he Since recording a remarkable w ill for this festival, it is Z e itlin ’s string of records for Columbia classically trained virtuosity and in the sixties, w ith a trio that in ­ improvisational skill that de­ cluded Jerry Granelli on drums mand our attention and appre­ and Charlie Haden on bass, ciation. But, like the late pianist Denny Zeitlin has recorded far Evans, it is the immense har­ less frequently. This could be monic vocabulary and sheer due to the frequently noted fact musicality that is truly compel­ that he has had a fu ll career in ling in the beautiful music of psychiatry that has kept his D enny Zeitlin. music a part-time endeavour. — Steve Cline Bill F ris ell’s Intercontinental Quartet Vinicius Cantuaria, Christos Govetas and Sidiki Camara Saturday 11/3 on The Boards, 8pm $20 general Sunday 11/4 Bellevue Community College, Carlson Theater, 7:30pm $20 general

A nticipation is high for the premiere per­ Vinicius Cantuaria arrived on the Brazil­ formance of Bill Frisell’s newest project, the ian music scene at a time when Tropicalia, a International Quartet. And understandably late ’60s popular culture movement, was so, once you consider the incredible talent throwing out all the “rules” and subjecting being brought together here. traditional Brazilian music to a concept the Sidiki Camara is one o f the most highly Tropicalistas’ called artistic cannibalism. respected percussionists from the nation of Cantuaria was a member o f the progressive M ali and is a regular in the bands of Malian rock band O Ter^o at the time, but soon was legend Boubacar Traore and young stars working with the principal architects of Bra­ Habib Koite, Toumani Dibate and Oumou zilian popular music, Gilberto Gil and Sangare. Since 1986, Camara has held a po­ Caetano Veloso. sition in the National Ballet of Mali. Camara It was w ith Veloso’s band that Cantuaria makes his home in Brussels, Belgium where began to compose major hits. He began his he runs an organization called Absl solo career in 1983 with the eponymous Wakinama to teach the art of djembe drum­ Vinicius Cantudria. In the decade that fol­ ming. lowed, he established himself as a skilled Christos Govetas was featured in last songwriter and had many o f his songs cov­ months Earshot Jazz. He came to the U nited ered by other artists. States from Greece in 1978 and made Seattle But Cantuaria has recently focused his his home four years ago. A master o f Balkan attention back to traditional Brazilian styles. fo lk music styles, he has recorded w ith the Since moving to New York City in the mid traditional Greek band Ziyia and Seattle- ‘90s, he has become a champion o f the Bossa based Pangeo. In 1999 he received the N orth­ Nova and has recorded a pair of gorgeous west Folklife Fellowship Award. Govetas is a titles, Tucumd in 1999, and earlier this year, master o f numerous Greek fo lk music styles Vinicius. Both records feature lineups rich and a virtuoso performer on laouto, with talented jazz players like Peter bouzouki, (both plucked lutes), zourna Apfelbaum, Arto Lindsay, Joey Baron and Bill (shawm), and clarinet. Frisell. — Steve Cline

Trio w ill open for the trio of tenor saxophon­ into the music.” ist Fred Anderson and two long-time Gjerstad The drummer in Gjerstad’s three-year-old collaborators, bassist W illia m Parker, and trio, Paal Nilssen-Love — “Amazing! Unbe­ drummer Hamid Drake. Gjerstad’s first, cel­ lievable!” says out-piano titan Georg Graewe ebrated performance in Seattle, in 1999, was — began in the C T O 12 years ago, at age 15. with that rhythm section. So, to end the Bassist O yvind Storesund joined the trio af­ evening, the two trios w ill play together in ter he came from a small village to study at what should be a spectacular finale. the conservatory in Stavanger. — Peter Monaghan A t this festival performance, the Gjerstad the early ‘60s, w hich produced the album The Real Ambas­ Dave Brubeck sadors. Although his quartet with Desmond lasted until 1967, Q u a r te t Brubeck has found creative paths to venture into other con­ texts o f jazz. He first appeared w ith the New York Philhar­ Sunday 11/4 monic, conducted by Leonard Bernstein, in 1959, and has played regular orchestral dates since. He explored electric Paramount Theatre, 8pm music in the ‘70s with his sons, Darius, Chris and Danny. $39, $34, $26 reserved seating He has written religious music, and since the m id-‘80s, has toured with a new quartet featuring Seattleite Bill Smith on clarinet and Bobby M ilitello on alto, alternating in the horn chair. Pianist Dave Brubeck is one o f the few household names A man who has played jazz for eight U.S. presidents, kings, in jazz still making music today. And at the age of 80, after princes and popes, Dave Brubeck’s amazing jazz journey 55 years as a performer and more than 100 recordings as a brings him to the Earshot Jazz Festival for a rare Seattle ap­ leader, he has certainly earned the title o f “jazz legend.” pearance with M ilitello on alto, Michael Moore on bass and Along with his Canadian counterpart Oscar Peterson, Randy Jones on drums, along w ith special guest, clarinetist Brubeck is that rare jazz musician who has gained popular B ill Smith. D on’t miss the chance to have him play for you. success and artistic achievement without sanitizing his mu­ — Gordon T o d d sic to appeal to the masses. In the early 1950s, he helped pioneer the popular phe­ nomenon known as West Coast or cool jazz, a light but in tri­ cate style with a distinctive harmonic approach. W ith altoist Paul Desmond, Brubeck’s quartet became one of the most popular combos in jazz after a series o f concert appearances on college campuses, venues not normally booking jazz at the time. Many critically praised recordings came from the quartet, peaking with the huge success of the album Time O u t in 1960, which experimented with odd-metered rhythms. Aided by what are now two of the most recognized jazz tunes in history— “Take Five” and “Blue Rondo a la Turk”— Time Out was the first modern jazz album to become a gold record. It remains a perennially top-sell­ ing jazz album today. The unusual meters of Time O ut was no gimmick for Brubeck. From the start of his career, he enjoyed experimenting w ith classi­ cal sounds, polyrhythms and polytonality. He also employed distinctive harmonies and con­ trapuntal improvisations early on, which helped establish the Eurocentric sound of the West Coast school of jazz (along with others such as Gerry M ulligan, Chet Baker, Jimmy Giuffre, and Bud Shank). Although the Brubeck quartet won the first jazz poll conducted by a black newspaper, The Pittsburgh Courier, in the early ‘50s, Brubeck’s immense popularity was certainly propelled by a vast white audience. His appearance on the cover o f Time magazine in 1954 caused him some embarrassment as great black jazz pio­ neers and innovators, including Duke Ellington, had never received such recognition in mainstream white society. Brubeck’s recol­ lections about racism in jazz were among the most poignant moments in Ken Burns’ docu­ mentary Jazz. Long a supporter of civil rights, Brubeck was instrumental in putting together an anti-racism show with Louis Armstrong in

Seattle Repertory Jazz Orchestra announces upcoming season The award-winning Seattle Repertory Jazz Blues,” the concerts w ill feature Ernie (3:00 pm at the Kirkland Performance Cen­ Orchestra, co-directed by drummer Clarence Andrews, one of the leading Jazz singers of ter). Titled “Our Man in New York,” these Acox and saxophonist/arranger Michael our time, w ith a career spanning over 55 years concerts w ill feature as a special guest New Brockman, has announced an exciting lineup o f recordings and tours w ith the orchestras York saxophonist, flutist, and composer Frank for its 2001-02 concert season. Special offer­ o f Benny Carter, Jay McShann, Harry James, Wess. Famed for his 11 years as soloist and ings include guest appearances by renowned Nat Pierce and Gene Harris, as well as the arranger w ith the C ount Basie Orchestra, Jazz and blues singer Ernie Andrews and New small groups of Cannonball Adderley, Ray Wess has been at the heart o f Jazz in New York tenor saxophonist/flutist/composer Brown, Kenny Burrell, and the Harper Broth­ York C ity for 50 years. Featured works w ill Frank Wess, plus the world premiere of a ers. The concerts w ill be a celebration o f the include his own compositions and arrange­ newly commissioned work for the SRJO by vocal tradition of big band Jazz, and w ill in­ ments, Jum pin’ a t the Woodside and Battle Seattle composer and Brubeck collaborator clude classic Jazz and swinging blues, such as Royal, made famous on recordings with W illiam O. Smith (who was featured in the Ellington’s Don’t Get Around Much Any More C ount Basie. September, 2001, edition of Earshot Maga­ and Basie’s Every Day I Have the Blues. The SRJO has introduced several new zine). The second concerts in the series are on ticket price levels to make it easier for Jazz The roster o f the 17-piece SRJO includes Saturday, March 2, 2002 (7:30 pm at lovers w ith middle/lower incomes, students, many o f the region’s leading jazz soloists and Nordstrom Recital Hall), and Sunday, March and people on fixed incomes to attend their band leaders, among them saxophonists D on 3, 2002 (3:00 pm at the Kirkland Perfor­ concerts. Ticket prices now range from $15 Lanphere and B ill Ramsay, trumpeters Floyd mance Center). Titled “Jazz Composers of to $31, with additional discounts of 10% or Standifer and Jay Thomas, pianist Marc Our Time”, these concerts w ill feature the more when you purchase a series subscrip­ Seales, and bassist Phil Sparks. Acox is the premiere o f a new work commissioned by the tion for all three concerts in the 2001-02 sea­ award-winning director of the Garfield High SRJO, Concerto fo r Jazz Orchestra by Seattle son. Subscriptions and individual tickets for School bands, and Brockman is a long-time composer W illiam O. Smith, plus big band all performances can be purchased directly faculty member of the University of Wash­ works o f Stan Kenton, Thad Jones, Toshiko from the SRJO offices at 206-523-6159. ington School of Music and an authority on Akiyoshi, Oliver Nelson, Ellington, Mingus, Tickets can also be purchased from the the music of Duke Ellington. and Boston composer George Russell, plus Kirkland Performance Center (425-893­ The season’s first concerts are on Satur­ pieces by other living composers from the 9900), Bud’s Jazz Records (206-628-0445), day, November 10, 2001 (7:30 pm at Northwest and across the nation. Benaroya Hall (206-215-4747), and all Nordstrom Recital H all), and Sunday, N o­ The third concerts in the series are on Sat­ TicketMaster outlets. For more information, vember 11, 2001 (3:00 pm at the Kirkland urday, June 15, 2002 (7:30 pm at Nordstrom visit the SRJO web site, www.srjo.org. Performance Center). Titled “Singin’ the Recital H all), and Sunday, June 16, 2002 as jazz, and has proven him self to be as adept, and certainly as articulate and imaginative, as any saxophone player in town. He most often is heard in non-idiomatic improvisa­ tion, but in fact he also has demonstrated a facility for jazz-rock-improv hybrid playing in his trios Project W and now Ghidra, and in performances around the country with Sonic Youth guitarist Thurston Moore. Geoff Harper has most often played in relatively mainstream jazz settings; in particu­ lar, in Bebop and Destruction. But he is, as Rea says, “a guy w ith an encyclopedic mas­ tery o f different jazz styles” and “a keen in ­ terest in more outside forms o f jazz.” Gregg Keplinger is a singular figure in Seattle’s jazz life. Often, infamously, given short shrift by mainstream and even progres­ sive players o f recent decades, he has persisted as something of a shadow figure, always to be contended w ith because so memorably powerful and present, even though little heard. Influenced by Elvin Jones, a long-time friend for whom he makes drums, he pro­ duces, as Rea puts it, “ bustling, bristling, polymetric free-jazz drumming.” He adds: “Gregg is simply a force of nature.” - Peter Monaghan

Voice and Vision series Earshot Jazz and The Seattle A rt Museum present Voice and Vision, a concert series at the Seattle Asian A rt Museum at Volunteer Park. Presented on the second Thursday of each month, September through November this year, the series features vanguard perfor­ mances that show considerable dedication to the jazz tradition o f progression and expan­ sion. Voice and Vision seeks to nurture innova­ tion in the Seattle jazz scene and to alert lis­ teners and fellow musicians to progressive de­ velopments in the art form . Curators have looked for w ork that exhibits clear, innovative voice and distinctive vision w ithin the jazz tra­ dition. The series began last year in On The Boards’ Studio Theater and continues this Fall in the Garden C ourt gallery o f the Seattle Asian A rt Museum. It w ill resume in the Summer o f 2002 in the SAAM auditorium. This year’s concerts are free o f charge. Scheduled for this year are:

October 11 — Saxophonist Michael Monhart and trombonist Stuart Dempster — Musical alchemists explore the sonic potential of the Garden Court.

November 8 — Bassist Reuben Radding’s ensemble - N Y transplant develops creative collaboration w ith Seattle improvisers.

Fe s t iv a l As s is ta n c e Ne e d e d The Earshot Jazz Festival takes place from October 25 to November 4, and you may be able to help make it happen. W hile we have rented vans to transport musicians and much of their luggage and equipment, we often need help moving mu­ sical instruments around town from venue to venue and from the studios of their own­ ers to venues. We w ill also need the usual complement o f volunteers to act as ushers at events, to take care o f hospitality needs such as trans­ porting or setting up food for musicians, and so forth. Please call Earshot Jazz at (206) 547­ 6763.

V o ic e a n d V is io n 2002 Although artists have already been se­ lected for this year’s Voice and V ision series, which begins this month (see page 39 for details), it isn’t too early to start thinking about subm itting w o rk fo r next year. The something out. series, a collaboration between Earshot Jazz Earshot Jazz is a non-profit, 501(c)(3), and the Seattle Asian A rt Museum, is held tax exempt, charitable organization. Most of at the Volunteer Park institution. It is open your donations are tax deductible. All of to Puget Sound-resident artists. The jury is them are very much appreciated. looking for submissions that focus on the creation and presentation of new composi­ Lis t in g o f Ja z z I n s t r u c t o r s tions or conceptual improvisations. Next I f you are a music teacher whose services year’s series w ill run July to December, on include jazz instruction, and would like to the second Thursday of each month. Con­ be included in a listing of instructors that tact Earshot Jazz for more information. runs occasionally in this publication, please Earshot Needs send us your name, phone number and/or email, and a description of what you offer, For the many shows it presents, Earshot up to 25 words. Send submissions to Ear­ w ould be greatly assisted by the donation o f shot Jazz at the address or email on this page. a small Gallien Krueger bass amp or head, and/or a Hartke 410 cabinet. We could also I n t e r n Po s it io n use a good quality, name brand jazz drum Earshot offering an opportunity to gain set. Also, a late model, reliable mini-van. If experience in all aspects o f no n -p rofit orga­ you can donate any o f these, please call John nizational duties: fundraising, bookkeping, Gilbreath at Earshot Jazz, 206-547-6763. concert production, marketing and promo­ W h ile we're on the subject, we'd also be tions, and website work. Applicants should very happy to be given a building, or part o f have good comm unication skills and a work­ one, that could serve as the prim ary Earshot ing knowledge of Macintosh computers. Jazz venue, educational and administrative Contact Earsho Jazz at the address on this headquarters. C ontact Earshot Jazz w ith page or send email your ideas. We value your human and intellectual re­ Ca l l f o r Un w a n t e d I n s tr u m e n ts sources. I f you have any ideas or proposals Earshot Jazz is asking that people who please d o n 't hesitate to contact us. I f there have instruments that are unused and are are particular artists you'd like to see us simply taking up space to consider donat­ present, please let us know. We m ight also ing them to needy students. Any and all in­ be able to use your pro bono professional struments are welcome, as finding homes for services, whether legal, financial, public re­ them w ith students eager to play should not lations, marketing, cleaning, etc. A nd i f you be a problem. Earshot Jazz is collecting them, have tim e and resources to volunteer toward indefinitely, at the address listed on this page. our mission and goals, we are happy to w ork as one of 10 outstanding college jazz musi­ A CD Release Party for Mike Marlin is In One Ear cians in the country; his rendition o f Sam taking place on October 28 at the Little The­ River’s ‘Beatrice’ was also included in the ater, 610 19 th Ave. E. (Capitol H ill near 19th magazine’s enclosed C D o f the student’s per­ & Aloha), 2-4 pm. $5 Donation. Mike in­ formances. vites everyone to a Sunday afternoon celebra­ Trumpeter and bandleader Jim Knapp tion of his Summer 2001 debut solo CD writes to thank everyone who took part in Cornish w ill host drummer, pianist, and “ Banjoology,” a creative exploration o f sound the “Secular Breathing” event at Tula’s Res­ composer extraordinaire Jack DeJohnette for on five-string banjo and various unconven­ taurant in September, a fundraiser for the Jim a question/answer seminar; Dialogue with a tional prepared objects. M ike performs a solo Knapp Orchestra’s next recording project. “ It Master Drummer: A Conversation w ith Jazz set and w ill then be joined by Jesse Canter­ was a wonderful day o f music and your sup­ Giant Jack De Johnette Friday, November 2, bury (clarinet), Reuben Radding (bass), Bob port and encouragement is going a long way PONCHO Concert Hall, 9:30am. Admis­ Rees (drums), and Daniel Carter (reeds) who toward helping us achieve our goal,” he says sion is free. For inform ation call the music w ill be in town for the Earshot Jazz Festival. to the myriad of performers who came down office at Cornish, 206-726-5030 For information, call (206) 675-2055, visit to by donate their performances to the cause. mikemarlin.net or email swordfish @ Those included the M ark Taylor Sextet which Sonarchy Radio is heard live from the stu­ tentacle.org included Dawn Clement, Paul Gabrielson, dios at Jack Straw Productions on KEXP Steve Korn, and Knapp himself; Johanna (90.3) every saturday night from 11pm to Kunyan’s Group with Charlie Smith, Byron midnight. These live music and sound broad­ Quincy Jones to lead Vannoy, and Evan Flory-Barnes; the Jay Tho­ casts are produced and mixed by Doug Haire mas Quartet with John Hansen, Paul for Jack Straw Productions. SRJO performance in Gabrielson, and Julian McDonough; Charlie October 6th — bassist Fred Chalenor Smith’s band, Circle, with Johanna Kunin, writes music for a band featuring Jeff November Saul Cline, Mark Taylor, Craig Flory, Jay Greinke, John Hyde, Elaine DeFalco, Tucker The SRJO w ill also perform, w ith guests, Roulston, Dave Baldock, Julian Priester, Beck Martine, Dennis Rea and Nathan Greig. under the baton o f Q uincy Jones in a very Henderer-Pena, Dawn Clement, W illie Blair D ow n tempo country music and very elec­ special November 12th concert at the Seattle and Byron Vannoy; Jay Clayton w ith Julian tric. Opera House. T hat event is produced by the Priester, Randy Halberstadt, Phil Sparks, October 13 — Logic Probe Duroc and Experience Music Project (EMP) as part of Steve Korn, and, again, Knapp; and the Jim Colossus are into their sixth year o f live elec­ their annual Masters Series. Jones, who got Knapp Orchestra with Mark Taylor, Saul tronic performance w ith racks o f samplers, his start on the Jackson Street after-hours Cline, Ambrose Nortness, Greg Metcalf, Brad devices and yard sale crap. scene in Seattle, is in the process o f preparing Allison, Jay Thomas, Jack and Karen Halsey, October 20 — FCS North make their sec­ his memoirs, which w ill involve some retro­ Jeff Hay, Greg Schroeder, John Hansen, Phil ond appearance on Sonarchy Radio. twoand spection about Seattle’s golden era o f jazz. He Sparks, and Julian M cD onough. “ Thanks a h alf years later they are very tight and ideal has been in touch w ith old friends and musi­ again, and best wishes,” Knapp signs off. for radio. cal comrads from the day. October 27 — Daniel Carter, from New A nd m ark your calendars for the Decem­ Percussionist Jacques Willis, a sophomore York City, meets a Seattle powerhouse rhythm ber 22nd Earshot Jazz presentation of Duke in the Cornish jazz program , was featured in section in Ruben Radding and Gregg Ellington’s Sacred Music, performed by the the October issue ofJazziz magazine - selected Keplinger. SRJO w ith gospel choir, tap dancer, and special guest vocalist Dee Daniels. This year’s concert marks 13 years in Seattle, and w ill take place at the University Christian Church, on 50th and 15th Ave NE. Tickets for this concert are available through Earshot Jazz. The Seattle Repertory Jazz Orches­ tra (SRJO) recently announced up­ coming concerts for its 2001/02 sea­ So Long, Vonne son. The ambitious season o f concerts, combined with a couple of very excit­ Vonne Griffin, a jazz singer who in January 2000 was inducted ing extracurricular concerts this fall and into the Seattle Jazz H a ll o f Fame, has died at the age o f 85, from winter, should give the all-star band complications o f liver cancer. Treasured by jazz fans in the Puget Sound plenty of visibility. region for her blues-rich vocal style, she w ill be remembered as a key The “regular season” concerts once figure o f the golden age o f Seattle jazz. again include Saturday performances She began her career in her birthplace, New Orleans, and in later at Nordstrom Recital H all at Benaroya life frequently commemorated her roots by singing “Do You Know Hall and Sunday matinees at the What It Means To Miss New Or­ Kirkland Performance Center. They leans?” A fte r perform ing in the are: group the Three Berries, w ith her sisters, she performed extensively — November 10th and 11th 2001: “Singin’ the Blues,” featuring w ith Louis Prima, was often heard the dynamic jazz and blues vocalist Ernie Andrews. on radio broadcasts, and played with many leading jazz figures. — March 2nd and 3rd: “Jazz Composers of Our Time”, featuring Meanwhile, she had married Bill the premiere of a new works by W illiam O. Smith, and big band G riffin and they had had their first works o f Stan Kenton, Thad Jones, child. After settling in the North­ Toshiko Akiyoshi, Oliver Nelson, west, they w ould have five more, and others. and she sang little u n til the early 1970s, when she began to estab­ — June 15th and 16th 2002: “Our lish a reputation here for her out­ M an in New York,” featuring Basie- standing vocal work. In the 1970s, Band saxophonist, flutist, and com­ she was a headliner for a year-long poser Frank Wsss. series of packed shows at the Olympic Hotel, and another one, orga­ nized by Norm Bobrow, at the Broadway Performance Hall. In 1980, Tickets and brochures for the she released Scrapbook, an album o f her favorite songs. She later was a regular season are available from the regular at the fabled Interbay venue, Lofurno’s. In the early 1990s, she SRJO offices at (206) 523-6159. performed there as the featured singer with the Floyd Standifer Quar­ You can visit the SRJO web site, tet. Vonne was honored at a service on September 18. www.srjo.org for more information.