November 2011 Vol

A Mirror and Focus for the Jazz Community November 2011 Vol. 27, No. 11 EARSHOT JAZZSeattle, Washington

Robin Holcomb Photo by Daniel Sheehan NOTES

Eyvind Kang Receives Artist Trust working in any discipline who demon- Frisell will also perform in four diver- Innovator Award strate innovation in their art practice. gent settings over two evenings. This Artist Trust, a non-profit dedicated Branford Marsalis, Roy Haynes year’s festival also includes the Port- to providing financial and profession- Headline 2012 US Bank Portland land Jam Band Marathon, an evening devoted to regionally based jam bands al support to artists, announced the Jazz Festival winners of their second-annual Arts with guitar phenom Charlie Hunter. The 2012 US Bank Portland Jazz Fes- Innovator Award. The two awards of tival presented by Alaska Airlines will Audition for More Music at the $25,000 each are the largest available be held Friday, February 17, through Moore November 13 & 14 to individual artists of Washington Sunday, February 26, 2012, at venues Auditions open on November 13 & State. Along with choreographer Pat throughout Portland. The 9th annual 14 for More Music @ the Moore, a Graney, the Arts Innovator Award was eleven-day festival will include jazz performance celebrating diverse genres given to Eyvind Kang, a Seattle-based education and outreach along with a of music and young, talented musi- jazz musician who was selected from series of concerts featuring an eclectic cians. Exceptional musicians ages 14- more than 130 applicants for experi- mix of internationally recognized and 21 are encouraged to try out. Those se- menting with new ideas and pushing local musicians playing a wide-range lected will be given the opportunity to the boundaries of his field. Kang’s of jazz styles. Among this year’s head- work with professional artists, indus- work has been described as a classical liners are esteemed saxophonist Bran- try leaders and nationally acclaimed approach to jazz, with punk, ambi- ford Marsalis and the prolific pianist music directors. Students will learn ent and folk influences. Kang has the Joey Calderazzo, playing songs off to play together and will perform two unique ability to make instruments their latest album, Songs of Mirth and shows at the Moore Theatre in March. sound simultaneously tentative, tender Melancholy; legendary drummer and The More Music @ The Moore pro- and absolutely massive. His approach NEA Jazz Master Roy Haynes, who gram provides young artists training to music is infused with philosophies has played with some of the most dec- and rehearsal time with professional on poetry, music and theater. Eyvind orated names in jazz over the past 60 musicians, production and promo- Kang has toured North America and years and continues to “Snap Crackle tional support, and the opportunity received national recognition for his at 86”; and Grammy-award-winning to perform live at The Moore Theatre. music. The second-annual Arts In- singer Dee Dee Bridgewater perform- Past professional mentors have includ- novator Awards are supported by The ing the timeless songs of Billie Holiday. Dale and Leslie Chihuly Foundation, The revered Seattle-based guitarist Bill to recognize Washington State artists CONTINUED ON PAGE 22

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2 • EARSHOT JAZZ • November 2011

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EARSHOT JAZZ IN ONE EAR A Mirror and Focus for the Jazz Community

Executive Director John Gilbreath Chuck Deardorf Featured at New 13, Los Angeles vocalist, Anna Hom- Managing Director Karen Caropepe York’s Symphony Space ler performs with Stuart Dempster, Chuck Deardorf Dave Pe- Liz Falconer, Lori Goldston, Susie Earshot Jazz Editor Danielle Bias and Assistant Editor Schraepfer Harvey terson were invited to perform at Kozawa and Bill Horist. Then on Symphony Space in New York this November 20, Choro Loco, a quintet Contributing Writers Nathan Bluford, John September with a stellar quintet that dedicated to bringing to life the mu- Ewing, Steve Griggs, Schraepfer Harvey, included pianist Bill Mays, saxophon- sic of Brazil from the early 1900s per- David Marriott, Peter Monaghan, Abi Rosalynn Swanson ist Jon Gordon and drummer John forms. The group features Bishop. Peterson’s song “That’s the DeRoos on clarinet and flute, Marc Calendar Editor Schraepfer Harvey Deal” was chosen for the theme for Smason on trombone, Stuart Zobel Calendar Volunteer Tim Swetonic the PRI show “Selected Shorts,” and on guitar, Amy Rubin on accordion, Photography Daniel Sheehan Louversia Taylor Layout Karen Caropepe the song was performed in the Thalia and on panderio. Mailing Lola Pedrini Theater Symphony Space. Deardorf Finally, on November 27, Racer Ses- will also be celebrating the release sions #2 continues this Sonarchy series Send Calendar Information to: of his latest CD on Origin Records, featuring artists associated with the 3429 Fremont Place #309 Racer Sessions collective, Kate Olson Seattle, WA 98103 Transparence, with a concert in the fax / (206) 547-6286 PONCHO Concert Hall at Cornish on soprano sax, clarinet and crackle- email / [email protected] on Saturday, November 19. The group box, Don Berman, Brandon Lucia and Jen Gilleran on drums and per- Board of Directors Kenneth W. Masters will include Peterson, Dawn Clement, (president), Richard Thurston (vice- Mark Ivester as well as the virtuoso cussion, and Steve Treseler on tenor president), Renee Staton (treasurer), Hideo L.A. guitarist Bruce Forman. Forman sax and bass clarinet. Makihara (secretary), Clarence Acox, Bill also will give a free master class at Cor- Cornish Seeks New Jazz Faculty Broesamle, George Heidorn, Femi Lakeru, nish on Friday, November 18, at noon Member Lola Pedrini, Paul Toliver, Cuong Vu in PONCHO. For more information Kent Devereaux, professor and mu- about these events, visit www.cornish. Earshot Jazz is published monthly by sic department chair announced that edu/musicseries. Earshot Jazz Society of Seattle and is Cornish College of the Arts is cur- available online at www.earshot.org. Sonarchy Radio Program rently seeking a new full-time jazz Subscription (with membership): $35 Announces November lineup faculty member at Cornish College of 3429 Fremont Place #309 Sound wiz Doug Haire is the pro the Arts. The jazz program at Cornish Seattle, WA 98103 ducer and mixer of Sonarchy, recorded is one of the oldest in the nation and phone / (206) 547-6763 live in the studios at Jack Straw Pro this year celebrated its 40th anniversa- fax / (206) 547-6286 ductions in Seattle. This hour-long ry. As the program continues to grow Earshot Jazz ISSN 1077-0984 broadcast features new music and and evolve, the right individual would Printed by Pacific Publishing Company sound art by Pacific Northwest art- join 12 other fulltime and 61 part-time © 2011 Earshot Jazz Society of Seattle ists. Now in its 16th year of airing on music faculty members at one of the KEXP 90.3 FM, Sonarchy is broadcast nation’s premier colleges for the visual every Sunday evening at midnight. and performing arts. Devereaux ex- MISSION STATEMENT This month of November, you can plained that Cornish will start to re- Earshot Jazz is a non-profit arts and service hear live performances by these stellar view applications for the position after organization formed in 1984 to cultivate a support Northwest artists: On November 6, December 15th. Current faculty mem- system for jazz in the community and to increase awareness of jazz. Earshot Jazz pursues its Comfort Food New offers electric jazz bers include Dawn Clement, Chuck mission through publishing a monthly newsletter, music from Bob Antolin on winds, Deardorf, Becca Duran, Randy presenting creative music, providing educational guitar, Kamal Abdul-Alim on trum- Halberstadt, Johnaye Kendrick, programs, identifying and filling career needs for pet, Randy Clere on bass, John Ferrer Jay Thomas, Tom Varner and Beth jazz artists, increasing listenership, augmenting and complementing existing services and on guitar, Bob Pastorok on keys, Kofi Winter. For more information about programs, and networking with the national and Anang on percussion, and Sammy the open position, please visit www. international jazz community. Alamillo on drums. On November cornish.edu/jobs.

November 2011 • EARSHOT JAZZ • 3 PROFILE Robin Holcomb: Fostering New Music

By Steve Griggs A very used Steinway upright piano stands against the dining room wall. The ivories on G below middle C, D above middle C, and the highest F keys are missing, exposing the rough wood below. “It’s hard to find the right thickness to replace them,” says Rob- in Holcomb. From this piano, in the heart of the house, Holcomb works out her song cycles, telling her own version of obscure but vital American historical tales. She evolves a long tradition of Ameri- can popular music. Our first national music that transcended regional styles from other countries can be traced back to songs by Stephen Foster in the mid 1800s and ballads that followed the Civil War. The words were in Eng- PHOTO BY DANIEL SHEEHAN lish, telling stories with classical depth and drama, favoring direct expression dying, sounds too happy. I re-harmo- Cruz. Holcomb switched to a junior over complexity, set to music with nized it very darkly.” college after a quarter but left Cali- undemanding technique for ama- Holcomb’s musical trajectory stems fornia and music behind to sharecrop teurs. Likewise, Holcomb’s music uses from her father. He played trombone tobacco in North Carolina with a English and tells deep and dramatic with the Air Force band in Savannah, boyfriend. Near the end of two years stories. But the expression balances Georgia, during 1954 when Holcomb farming with bootleggers, she rented ideas directly stated with those merely was born. They moved to San Jose and a piano and began a return to music implied. She juxtaposes music with she began musical life with five years making. hymn-like harmony next to free jazz of piano lessons from a neighbor. Her Back on the left coast in the late exploration by masterful improvisers. father rehearsed a big band in the liv- 1970s, she created an independent The resulting sound is simultaneously ing room. music major of Music Composition old and familiar while remaining fresh Years later at school, a skeleton key Utilizing Non-Western Resources at and surprising. It feels like drinking unlocked a storage room containing the University of California Santa from a cool, clear deep well with some five acoustic basses that towered over Cruz. She studied Chinese, Mexican unexpected but refreshing flavors, her. She switched from piano to bass. and Balkan music and performed in even a few tickly bubbles. In high school, she retreated to her a Gamelan orchestra. Playing Suda- Holcomb finds the words, histori- bedroom, singing folk music with gui- nese music from Western Java, she cal popularity, and hymn-like quality tar and writing poetry. performed on the kendang, a two- of Stephen Foster’s music engaging. After graduating from Santa Cruz headed drum that leads the ensemble But she says, “I don’t like the whole high school in 1971, she enrolled at in tempo, meter, section transitions package. ‘Old Dog Tray,’ about a dog the University of California Santa and endings. The kendang player

4 • EARSHOT JAZZ • November 2011 follows the dancer’s movements and the New York Composers Orches- communicates them to the rest of the tra (NYCO), founded in 1986 with musicians. five saxophones, three trumpets, two Holcomb’s introduction to Javanese trombones, French horn and rhythm music came through a class – Per- section. cussion of the World. She met the Family life became a priority. In teacher’s roommate, pianist/composer 1989, Holcomb and Horvitz, as new Wayne Horvitz and soon Holcomb parents of a three-year-old daughter and Horvitz were taking trips to San Nica, wanted to get out of New York Francisco’s Keystone Corner to hear but not return to California. Hor- the free improvisation of pianist Cecil vitz was familiar with the Northwest Taylor. Holcomb began improvising through a backpacking trip so they free jazz on piano. arrived in Seattle to housesit. “We Holcomb and Horvitz deepened bought the last cheap house here,” says their musical relationship through Holcomb. They recreated their big Selected discography of Robin performing a three piano piece writ- band as NYCO West and performed Holcomb’s compositions: ten by Horvitz. Another step together at the OK Hotel. Eventually this en- todos santos (1988), Larks, They on their musical path came in 1977 at semble was renamed the Washington Crazy (1990), New York Composers Horvitz’s senior recital when Holcomb Composers Orchestra (WACO). Their Orchestra (1990), Robin Holcomb performed a Horvitz piece with her son Lowell was born in 1995. (1990), First Program in Standard father. Holcomb and Horvitz married Nurturing a family never eclipses Time (1992), Rockabye (1992), Little in 1980. They are still together thirty- Holcomb’s expanding musical hori- Three (1996), The Big Time (2002), two years and two children later. zons. With roots in free jazz piano, Solos (2004), John Brown’s Body Creating and nurturing environ- folk music, world percussion and big (2006), The Point of It All (2010) ments for new music is their forte. band composition, Holcomb also In 1977 the couple, along with a few works with words and singers. In 1984 other musicians, formed a group called she set words from Shakespeare’s Tem- White Noise and moved to New York pest to accompaniment by Gamelan City. They rented a basement formerly orchestra. Holcomb wrote personally used as a television repair shop by “a crafted melodies that proved challeng- guy named Henry.” Studio Henry was ing to the actors. Eventually she would born. Five musicians pitched in $25 discover that her own voice was the a month for the rent. They rehearsed best vessel for expressing her music. there, eventually turning it into a per- In 1989 she drew on her visceral ex- formance venue. There was no water in perience with sharecroppers to create the basement and therefore no bath- “Angels at the Four Corners,” blend- rooms. A benefit performance brought ing gospel, folk and classical voices. in enough money to install plumbing. “I write for people I know,” says Hol- Above the performance space was a comb. While rehearsing, a singer Selected discography of pet store, Exotic Aquatics. Some crick- asked a seminal question: “Why don’t Robin Holcomb’s singing and ets escaped and moved downstairs. you sing it?” She’s been singing her arranging: You can still hear them on some of the own vocals ever since. Rubaiyat (1990), Nashville (1996), live recordings made there. One listener described her voice as Frisco Mabel Joy (2000), Poor Boy: Eventually the success of the venue “a little girl with an AK-47.” Distinct Songs of Nick Drake (2004), The brought crowds unwanted by neigh- for sure. It leaves a strong impression. Harry Smith Project: Anthology bors. After the space was shut down, It fits perfectly with her compositions of American Folk Music Revisited Horvitz was asked to book artists into a and arrangements. (2006), Joe Hill: Sixteen Actions for new space called The Knitting Factory. This first historical song cycle spawned Orchestra, Voices, and Soloist (2008), Beginning with the Studio Henry more – one based on environmental- Things ‘Bout Comin’ My Way: A space, Holcomb explored writing for ist Rachel Carson, another on Pacific Tribute to The Mississippi Sheiks a larger ensemble. The vehicle was Northwest utopian communities, and (2009)

November 2011 • EARSHOT JAZZ • 5 one based on the true story of an Ogla- London, Cologne, Guimaraes, Milan, ner Party story in “We Are All Failing la Sioux in the Buffalo Bill Wild West Venice, Perth. Them.” Holcomb continues to post Show told in James Welch’s novel “The Holcomb shares her musical wis- songs on the Internet-based Radio Free Heartsong of Charging Elk.” dom with students as a private teacher, Song Club hosted by Nicholas Hill. Holcomb also brings her unique guest lecturer, artist-in-residence, and Holcomb’s children are continuing musical perspective to music written instructor at several schools. She co- in the musically creative footprints of by others. Hal Wilner, musical direc- facilitates the Composers Colloquium their parents. This summer Nica wrote tor for Saturday Night Live, tapped at Cornish College of the Arts with poetry at the Blue Mountain Center Holcomb for his production of con- faculty members Jovino Santos Neto, in New York and recently tried her temporary artists covering classic Janice Gitek and Jarrad Powell. hand at writing songs. Lowell is an American songs from the Anthology After the Earshot Jazz Festival perfor- award-winning bassist attending Gar- of American Folk Music. She also ar- mances, Holcomb will return to work field High School. Holcomb says, “He ranged, sang and recorded music by on a song cycle for soprano, tape and actually does more music outside of Randy Newman, Leonard Cohen, piano about the 1916 Everett Massacre school.” Just like his parents. Serge Gainsbourg, Burt Bacharach, titled “Smokestack Arias.” Holcomb Write Steve Griggs at stephengriggs@ Nick Drake and Jerome Solon Felder will collaborate with Britta Johnson aol.com and read his blog at stevegriggs- (a.k.a. Doc Pomus), a Brill Building and Curtis Taylor to take on the Don- music.blogspot.com. songwriter who wrote many early rock and roll hits. Her discography of compositions apply online at performed by a variety of ensembles – WWW.CORNISH.EDU/MUSIC solo piano, chamber jazz ensemble, big or call 800.726.ARTS band, string quartet – includes eleven recordings since the late 1980s, two of which are on the Nonesuch Record label. Other artists recording Holcomb’s work include Horvitz, Marty Ehrlich, Myra Melford, Paul Taub and the ROVA Saxophone Quartet. MORE THAN A CONSERVATORY. Holcomb branched out into film WE’RE AN EXPLORATORY. COME PLAY A PART. soundtracks. Jaime Keeling at North- west Film Forum produced a festival of Japanese filmmaker Yasujiro Ozu and commissioned Holcomb and Horvitz to create scores for several of the films. A live performance was staged last year at New York’s World Financial Center. Additionally, Criterion just released a JAZZ AT DVD of five films by Mikio Naruse with original scores by the composing couple. Films, television documentaries, the- CORNISH. atrical plays, poetry collections and modern dance pieces have all ben- CELEBRATING 40 YEARS OF JAZZ (1971 – 2011) efited from Holcomb’s unique musical touch. Her resume catalogs thirteen commissions, ten grants/fellowships, and performances in cities across the Cornish College of the Arts offers globe – Honolulu, Los Angeles, Van- a bachelor of music in composition, couver, Minneapolis, New York City, instrumental or vocal performance.

6 • EARSHOT JAZZ • November 2011 2011 EARSHOT JAZZ FESTIVAL CONTINUES THROUGH NOVEMBER 6

TUESDAY, NOVEMBER 1 THURSDAY, NOVEMBER 3 TICKETS + INFO Keith Jarrett, Gary Peacock, Grace Kelly Quintet All events are all-ages, except some University Jazz Walk shows Jack DeJohnette Tula’s, 7:30PM BENAROYA HALL: Tickets on sale through Benaroya Hall, 8PM the Benaroya Hall box office at 206-215- FRIDAY, NOVEMBER 4 4747 and benaroyahall.org WEDNESDAY, NOVEMBER 2 Robin Holcomb & Talking NORTHWEST FILM FORUM: Tickets availabe SWOJO Plays the Music of Pictures / Kate Olson & Gary at www.nwfilmforum.org Robin Holcomb Prince Duo TRIPLE DOOR: Advance tickets available at Seattle Art Museum, 8PM Seattle Asian Art Museum, 7:30PM 206-838-4333 & www.thetripledoor.net. Full dinner menu available Grace Kelly Quintet University District Jazz Walk TULA’S RESTAURANT & NIGHTCLUB: Tula’s, 7:30PM Several University District Venues Reservations (but not advance tickets) available at 206-443-4221. Full dinner Tribute to Jim Knapp Chad McCullough/Bram menu available Triple Door, 7:30PM Weijters Group UNIVERSITY DISTRICT JAZZ WALK: ticket info at www.udistrictjazzfestival.com Tula’s, 8PM Masterclass w/ Malcolm FOR ALL OTHER SHOWS: Tickets are on sale Goldstein SATURDAY, NOVEMBER 5 through Brown Paper Tickets at 1-800- PONCHO Concert Hall, 1PM 838-3006 and www.brownpapertickets. Burn List / Operation ID com/producer/9678 Seattle Art Museum, 8PM SITES + ADDRESSES Malcolm Goldstein Venues are located in Seattle unless otherwise noted EARSHOT JAZZ Chapel Performance Space, 8PM BENAROYA HALL FILMS University District Jazz Walk 200 University Street (downtown) For more information visit Several University District Venues CHAPEL PERFORMANCE SPACE Good Shepherd Center, 4th Floor, 4649 www.nwfilmforum.org/live/page/ Sunnyside Ave N (Wallingford) series/1905 Chad McCullough/Bram Weijters Group KIRKLAND PERFORMANCE CENTER NE CHANGE RIEN Tula’s, 8PM 350 Kirkland Avenue, Kirkland (Pedro Costa, 2009, Portugal/France, NORTHWEST FILM FORUM 35mm, 100 min) SUNDAY, NOVEMBER 6 1515 Twelfth Avenue (Capitol Hill) Friday, October 28 through Thursday PONCHO CONCERT HALL November 3, 7 & 9PM Seattle Repertory Jazz 710 E Roy Street (Kerry Hall, Cornish Orchestra “An Evening with Ol’ Blue College of the Arts, Capitol Hill) IN MY MIND Eyes: The Music of Frank Sinatra” SEATTLE ART MUSEUM DOWNTOWN 1300 First Avenue (downtown) (Gary Hawkins, USA, 2010, DigiBeta, SOLD OUT 100min) SEATTLE ASIAN ART MUSEUM Kirkland Performance Center, 3PM Tuesday, November 1, 7 & 9PM 1400 East Prospect St (Volunteer Park) University District Jazz Walk THE TRIPLE DOOR BLACK FEBRUARY 216 Union Street (downtown) Several University District Venues (Vipal Monga, 2010, USA, DigiBeta, TULA’S RESTAURANT AND NIGHTCLUB 59 min) Bill Anschell Trio 2214 Second Avenue (Belltown) Wednesday, November 2, 7 & Tula’s, 7:30PM UNIVERSITY DISTRICT JAZZ WALK 8:30PM Venues at www.udistrictjazzfestival.com

November 2011 • EARSHOT JAZZ • 7 TUESDAY, NOVEMBER 1, BENAROYA HALL S. MARK TAPER FOUNDATION AUDITORIUM, 8PM Keith Jarrett, Gary Peacock, Jack DeJohnette

KEITH JARRETT, JACK DEJOHNETTE, GARY PEACOCK PHOTO BY ROSE ANNE COLAVITO

Welcomed by KPLU 88.5FM NPR $25-$88.50 See October 2011 Earshot Jazz issue for concert preview. Preview also available online at http://earshot.org/Festival/artistinfo/jarrett-peacock-dejohnette.html. WEDNESDAY, NOVEMBER 2, TRIPLE DOOR, 7:30PM Tribute to Jim Knapp

JIM KNAPP PHOTO BY STEVE KORN

$24 general, $22 members/seniors, $12 students See October 2011 Earshot Jazz for concert preview. Preview also available online at http://earshot.org/Festival/artistinfo/tribute-to-jim-knapp.html.

8 • EARSHOT JAZZ • November 2011 WEDNESDAY, NOVEMBER 2, PONCHO CONCERT HALL, 1PM Masterclass with Malcolm Goldstein �� Free and open to the public �� Pioneering composer/violinist/improviser Malcolm Goldstein shares his per- �� spectives on Charles Ives, John Cage, composition and improvisation at this �� special masterclass and presentation. �� See preview November 5, Chapel Performance Space, 8pm. �� WEDNESDAY, NOVEMBER 2, SEATTLE ART MUSEUM, 8PM �� SWOJO Plays the Music of Robin Holcomb

$22 general, $20 members/seniors, $11 Open to All - Free students When Robin Hol- comb reviewed artists for Seattle’s funding organization Artist Trust, one of her assign- ments was the Se- attle Women’s Jazz Orchestra (SWO- JO). The music li- brary for SWOJO is Sunday, Nov 6, 6 pm very deep; Holcomb says, “I think my Greg Ruby Quartet new piece is number 206 in the book.” with Guest Greg Ruby, guitar SEATTLE WOMEN’S JAZZ ORCHESTRA, SAXOPHONIST KATE OLSON, PHOTO BY JIM LEVITT For this Earshot Jazz Neil Andersson, guitar Festival concert, Bill Boyd, violin SWOJO performs selections of Holcomb’s big band music rearranged for the Spencer Hoveskel, bass larger ensemble, a piece originally written for the ROVA saxophone quartet, and and guest Jasiah, violin premier a new work written for this event. After attending one of their weekly rehearsals, SWOJO director Daniel Barry Sunday, Dec 4, 6 pm heard Holcomb’s big band – the Washington Composers Orchestra (WACO). WACO’s roots are in New York’s downtown scene from the 1980s where Hol- comb and husband Wayne Horvitz wrote for and rehearsed the New York Com- Cocoa Martini posers Orchestra (NYCO). This ensemble was a slimmed down big band – five 100 Minutes of professional jazz saxophones, three trumpets, two trombones, French horn and rhythm section. Family friendly concert | Free parking Impressed by the music, Barry invited Holcomb to write for SWOJO. Holcomb’s big band music is a new chapter for SWOJO. With its program- Seattle First Baptist Church matic terrain, shifting densities between figurative and abstract sections, and 1111 Harvard Avenue (Seneca and Harvard on First Hill) Seattle, WA (206) 325-6051 room for free improvisation, this repertoire will be an interesting adventure for both performers and audience. www.SeattleJazzVespers.org/GO/SJV – Steve Griggs

November 2011 • EARSHOT JAZZ • 9 February 17–26 roy Haynes Quartet Dee Dee briDgewater bill Frisell branForD Marsalis + Joey CalDerazzo Duo CHarlie Hunter tHara MeMory ViJay iyer+ Prasanna+ nitin Mitta = tirtHa gartH Fagan DanCe enriCo raVa tribe Jazz Passengers

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

10PJF_Earshot_Ad_R2.indd • EARSHOT JAZZ • November 1 2011 10/14/11 3:51 PM WEDNESDAY, NOVEMBER 2 & THURSDAY, NOVEMBER 3, TULA’S, 7:30PM Grace Kelly Quintet

$18 general, $16 members/seniors, $10 2007, 2008, 2010, and 2011 and won passes on to people and it’s been an students Jazz Artist of the Year at the Boston amazing experience to see how people A 19-year-old jazz wonder, saxophon- Music Awards in both 2008 and 2010. have been moved by this music. Since ist/vocalist Grace Kelly “plays with The 2009, 2010 and 2011 DownBeat this is the gift I’ve been blessed with, I intelligence, wit, and feeling,” feel that it’s very important to says one of her many collabora- share it,” explains Kelly. tors, Wynton Marsalis. Lately Currently, Kelly is a senior acclaimed for her recordings of at Boston’s Berklee College of “gospel jazz,” for this Earshot Music. “I auditioned for Berk- concert, she is joined by Jason lee and received a full schol- Palmer (trumpet), Doug John- arship, I got my GED and son (piano), Evan Gregor (bass) started college at 16. It’s been and Jordan Perlson (drums). great, playing all the time and Musical energy flows from just living music all day. I’m the heart of the teenage saxo- learning so much and I’m play- phonist, who was born Grace ing all kinds of music. It is a Chung on May 15, 1992. (She challenge to balance college became Grace Kelly after her with all the touring I do with mother divorced and remarried my band but so far I have been and her stepfather, Bob Kelly, able to do both.” legally adopted Grace and her Kelly has performed in over sister Christina.) Just five years 500 concerts as a leader all ago at the age of 14, Grace around the world at promi- Kelly garnered the first of her nent venues and festivals such ASCAP Foundation awards as the Montreal Jazz Festival, and landed an invitation to Newport Jazz Festival, Lincoln perform with the Boston Pops. Center, Carnegie Hall, the Kelly met this challenge by GRACE KELLY PHOTO BY JIMMY KATZ Kennedy Center, the Apollo writing her first full orchestral Theater, Birdland, Boston’s arrangement and performing Symphony Hall, Juan Les Pins it in Boston’s iconic Symphony Hall. Critics Poll added to her list, naming Jazz Festival, Dizzy’s Club Cocoa Since then, she has garnered accolades her one of the Alto Saxophone Rising Cola, Tanglewood Jazz Festival, De- for many of the artists she has grown Stars, the youngest ever to be named troit Jazz Festival, Scullers Jazz Club, up revering. so. Regatta Bar, B.B. King’s Blues Club Trumpeter and Jazz at Lincoln Cen- Her latest recording, Grace, is the (New York), Jazz Bakery (Los Ange- ter Artistic Director Wynton Marsalis seventh release on her PAZZ label. The les), Dakota Jazz Club, and in venues was so impressed with Kelly’s three- album marks a new direction for the as far away as Europe and Asia. night stand as guest of the Jazz at Lin- accomplished artist into the genre of Kelly’s ambitions have yet to out- coln Center Orchestra that he invited gospel jazz and features renowned gos- strip her talent, and her latest album her to join the ensemble at the Ken- pel pianist George Russell Jr. While Grace manifests only the beginning nedy Center’s Eisenhower Theater in mostly duets between Kelly and Rus- of the young artist’s quest to continue Washington, DC. Since then, Kelly sell, Grace also features cameos from to reinvent herself. As Ann Hampton has been voted Best Jazz Act in Bos- celebrated percussionist Jamey Had- Callaway predicts, “There is no telling ton four consecutive years in the Bos- dad, of Paul Simon’s touring band, how far this child prodigy will go with ton Phoenix/WXFN Best Music Poll. and classical guitarist Peter Clemente. the limitless possibilities of her volu- She also received the ASCAP Founda- “Through music, I feel like I’m chan- minous talents.” tion’s Young Jazz Composers Award in neling spiritual energy that I hope – Danielle Bias

November 2011 • EARSHOT JAZZ • 11 FRIDAY, NOVEMBER 4-SUNDAY, NOVEMBER 6, UNIVERSITY DISTRICT VENUES University District Jazz Festival

Event passes are $15-$35 seasoned, are in and around Seattle’s Events will take place at LUCID Jazz North of downtown Seattle is a place University District. The three-day fes- Lounge, Neptune Theatre, Café Racer, where young people, students, profes- tival brings together local artists from Tempero Do Brasil, District Lounge, sors and coffee shop dwellers coexist. all walks of life, inspired by a broad Fourno’s, Café Solstice, Agua Verde, The bustling streets of the University tableau of genres – from funk and jazz Herkimer Coffee and other locations District are full of diversity and in- to bop and Bach. Each artist at the in the U. The opening event will be ventiveness, fostering creativity and University District Jazz Festival has held at the Neptune Theatre at 8pm on forming the perfect environment for something to offer, from the funky Friday, November 4, featuring Lucky jazz. The University District Jazz Fes- sounds of The Teaching to the sultry Brown and the Trophy Bucks, Ricardo tival, conceived by owner of LUCID songs of Elnah Jordan. Guity & Elnah Jordan, the Cornish Jazz Lounge, David Pierre-Louis, cel- Gravity, Moraine, Manghis Kahn, Blues Ensemble, and many others. ebrates that community and the art a Cornish College Latin ensemble di- Festival passes are $15-$35. Listings form, November 4-6, in venues in the rected by Jovino Santos Neto and the for all ages venues and show times University District. Racer Sessions are among the myriad can be found on the University Dis- Originally created to celebrate the events on this year’s lineup. With ad- trict Jazz Festival’s website (www.ud- opening of LUCID Jazz Lounge, over ditional artists including hip-hop istrictjazzfestival.com). A portion of the past three years, the annual event inspired DJ Absolute Madman & the proceeds from ticket sales will go has become a public draw for people Spekulation, the eclectic sounds of to Savor the Sound, The Seattle Mu- from every corner of the city, giving Cedar Suede (accordionist Jamie Mas- sician’s Foundation, and to creating a the artists of Seattle’s nationally re- chler and guitarist Harold Belskus), scholarship for a student at Cornish nowned jazz scene a chance to be seen and the earthy, organic sounds of the College of the Arts. Come out and by people who may not regularly at- Sequoia Ensemble, featuring many enjoy some classic jazz, funky fusions, tend shows and jam sessions. Pierre- regular participants of the Racer Ses- and avant-creations. Be whisked away Louis’s mission to “support, cultivate sions, there is bound to be something to the bleeding edges of sound. Don’t and enhance the Seattle jazz commu- for everyone. Over the course of the miss out on what is bound to be an nity” is brought to life during the U 3-day festival, the unique ingenuity inspirational weekend full of imagina- District event. and creativity of our city is on display tion, sonic exploration, and jazz. From November 4 through Novem- in the University District. – Abi Swanson ber 6, Seattle jazz artists, young and

Presented in collaboration with Earshot Jazz

ART OF JAZZ Anton Schwartz Quartet Seattle’s newest tenor sax powerhouse, the Anton Schwartz Quartet, performs at this month’s The Art of Jazz. Thursday, November 10, 5:30–7:30 pm Seattle Art Museum, Downtown 1st Avenue & Union Street All ages Art of Jazz Seating is limited and available Sponsors: on a first-come, first-served basis. seattleartmuseum.org

12 • EARSHOT JAZZ • November 2011 FRIDAY, NOVEMBER 4, SEATTLE ASIAN ART MUSEUM, 7:30PM Robin Holcomb & Talking Pictures Kate Olson/Gary Prince Duo

Welcomed by KBCS 91.3FM $16 general, $14 members/seniors, $8 students Robin Holcomb’s music is not new to Talking Pictures – guitarist Ron Sam- worth, trumpeter Bill Clark, drummer Dylan van der Schyff, and cellist Peggy Lee. The Vancouver, BC, group first convened in 1993, took note of Holcomb’s 1990 recording Larks, They Crazy and soon incorporated some of the material into the ensemble’s repertoire. Although audiences in Paris, Koln and Amsterdam have attended their performances, this is the first chance ROBIN HOLCOMB PHOTO BY M. WILSON to hear the ensemble live in Seattle.

This concert will feature music from singing Shel Siverstein’s lyrics that KATE OLSON the group’s recent recording The Point resemble a Civil War ballad. An ar- of It All, with Holcomb and Wayne rangement of Neil Young’s “After the Opening for Holcomb will be Kate Horvitz. On the CD, Horvitz’s shim- Gold Rush” plays with the dual imag- Olson, a recent arrival to Seattle and mering Hammond organ camouflages ery of America’s history seeking shiny instantly one of its most outstanding Clark’s muted trumpet. Samworth’s minerals in a pan and burning herbs in saxophonists. She will offer a set that is quiet electric guitar swells and feed- a bowl. This is music that invites you both nuanced and highly expressive with back rub against Lee’s flickering cello, in to a deep world of human history, Washington DC-based guitarist Gary then both instruments pluck pizzicato emotion and imagination. Prince. arpeggios behind Holcomb’s voice – Steve Griggs

PRESENTS VALLEY VIBES JAZZ CONCERT AND CONVERSATION FRIDAY / NOVEMBER 11 / 7PM RAINIER VALLEY CULTURAL CENTER 3515 S. Alaska St., Seattle, 98118 w/ The Legacy Quartet Clarence Acox FREE ADMISSION AND Katy Bourne Trio Donations accepted at the door FOR MORE INFORMATION Plus, a post-concert reception and conversation, Please call 206.760.4286 “SEATTLE’S JAZZ HERITAGE” with Clarence Acox and Katy Bourne. Mark your calendars for more Valley Vibes 2nd Friday, Jun-Nov 2011

November 2011 • EARSHOT JAZZ • 13 FRIDAY, NOVEMBER 4 & SATURDAY, NOVEMBER 5, TULA’S, 8PM Chad McCullough/Bram Weijters Group $14 general, $12 members/seniors, $7 ments have been with these guys – on range of projects, performing as well students and off the bandstand. Over the last with artists and groups from the Bel- Seattle trumpeter Chad McCullough three years we’ve been able to dial in gian hip-hop scene, like Jerboa, DJ and Antwerp-based pianist Bram a really exciting group dynamic. We’re Lefto and Mc Krewcial, as well as with Weijters memorably recorded lyrical, also looking forward to showcasing rock groups like Giants of the Air. subtle, often driving jazz last year on some new music.” Of his collaborations with Mc- Imaginary Sketches (co-released by Seattle’s Origin Records and Belgium’s De W.E.R.F. records). The album builds on several international collaborations to document the unique blend of their compositional and performance styles. From the near stand-still tempo of Weijters’ “An- other Dark Ballad,” to the spiraling search of “Imagi- nary Folk Song,” to the burning, and aptly titled, “Speeding,” the musical chemistry heard on Imagi- nary Sketches is constantly twisting and turning. McCullough’s warm lyri- cism has a great counter- part in Weijters’ subtlety and drive. Writing in BRAM WEIJTERS AND CHAD MCCULLOUGH Jazz Review, John Barron praised their collaboration on Imagi- Weijters started music courses at Cullough, Weijters says: “I’m really nary Sketches as “a fitting pair ... The the music school in Antwerp, attend- looking forward to play again with vitality put forth by McCullough and ing piano and percussion classes. As our American-Belgian band. I feel a Weijters makes this disc worthy of a teenager he played in several rock very natural and strong connection multiple listens.” Antwerp’s De Mor- bands, but after completing second- with Chad, whose playing is so un- gen similarly proclaimed: “The quartet ary education, he was admitted to the earthly lyrical, yet very purposeful. He ... moves to the wavelength of Paulo Antwerp Conservatory. After gradu- always adds exactly the right amount Frescu: traditional, overtly lyrical, un- ating for jazz piano in Antwerp, he of melancholy or punch to my compo- complicated.” went to the Brussels Conservatory, sitions. I’m also really happy that Piet On his relationship with Weijters, where he graduated in 2005 for jazz Verbist and Matt Jorgensen will join McCullough explains, “We origi- composition and arranging. Over the us. They’re both really experienced nally met at the 2009 Banff Centre years, he has also taken lessons and players, and they know how to make Creative Music Workshop in Canada attended master classes with artists a rhythm section solid as concrete or [workshop under the direction of Dave ranging from Kenny Werner, Anthony flexible as needed, whatever the tune Douglas] ... I’m really honored to get Braxton, Gary Peacock, Mark Turner, calls for.” to showcase this band in my home- Dave Liebman, Bill Carrothers and – Danielle Bias town. Some of my best musical mo- others. He has participated in a wide

14 • EARSHOT JAZZ • November 2011 SATURDAY, NOVEMBER 5, SEATTLE ART MUSEUM, 8PM Burn List / Operation ID

Welcomed by 91.3 KBCS in Speed’s Yeah No, and in the Pat and helps run the weekly Racer Ses- $16 general, $14 members/seniors, $8 Metheny Group. sions. students Saxophonist and composer Greg Sini- Aaron Otheim’s work as a pianist, Burn List, a new collaboration from baldi, has established himself as one keyboardist and composer has helped Seattle’s scorching new music scene, of Seattle’s most inventive musicians, fuel the recent explosion of experimen- features trumpeter and University of embracing a diverse musical world. tal and improvised music in Seattle. Washington music He, along with professor Cuong other members Vu, tenor saxo- of the avant-jazz phonist Greg Sini- collective Speak, baldi, keyboardist received interna- Aaron Otheim tional attention and drummer with the release of Chris Icasiano. their first album, Having been on which was hailed the forefront of as “a debut rocket the Emerald City ride of outstanding scene as estab- quality” by BBC lished veterans, Music. Otheim is Vu and Sinibaldi a co-founder and each offer unique artistic director of BURN LIST’S AARON OTHEIM, CUONG VU, CHRIS ICASIANO AND GREG SINIBALDI compositional ap- the Racer Sessions. proaches and styles that have helped Whether he’s performing with his He is also a board member of Table & shape the newest generation of musi- groups Goat or Burn List, playing in Chairs. Otheim performs with a num- cians in the city. Icasiano and Otheim the metal band Uncle Pooch, or com- ber of other Seattle-based projects, are in part, products of those contribu- posing new chamber music, he brings including Heatwarmer, Hardcoretet, tions, and they form Burn List’s pared- forth a characteristic and unique per- Wand, Smallface, Andy Clausen’s down rhythm section combination of formance each time he plays. He has Wishbone and Grand Hallway. keyboard and drums, pushing to cre- received grants from the Puffin Foun- What began as duets between saxo- ate a new sonic approach to the music dation, Jack Straw Foundation, Cen- phonist and clarinetist Ivan Arteaga and group improvisation. trum, 4Culture and the City of Seattle and guitarist Jared Borkowski in a Cuong Vu’s influence on the young, and has been Artist in Residence at the University of Washington basement and growing, new-music community Banff Center, the Atlantic Center for quickly expanded to include Evan coming out of the University of Wash- the Arts and Centrum. Woodle on drums and David Balatero ington shouldn’t be understated. Now Chris Icasiano is a force in Seattle’s on bass, playing improvisation-heavy, a professor of jazz studies at UW, Vu new music and avant-garde jazz scene. free jazz-influenced compositions. Rob moved East from the Seattle area, his He performs regularly in the co-led Hanlon soon joined on keyboards. home as a youth, to pursue a music duo Bad Luck with long-time friend With their current lineup complete, degree at the New England Conserva- and collaborator, saxophonist Neil Operation ID oriented themselves to- tory of Music, on full scholarship. He Welch. Icasiano also plays in a num- ward a more through-composed mu- then moved to New York and joined ber of collaborative projects in Seattle, sical landscape, transitioning from a the vibrant downtown scene there dur- including Goat, Speak, Wand, King purely instrumental outfit into one ing the Knitting Factory and Tonic Tears Bat Trip, Andy Clausen’s Wish- that more and more incorporates solo heyday. Vu has toured the world in bone, and many more. He is also a and group vocals by all five members the lead of his groups Vu-Tet and CV board member of the new independent of the band. Trio, with Chris Speed and Jim Black Seattle record label Table & Chairs – Compiled by Schraepfer Harvey

November 2011 • EARSHOT JAZZ • 15 SATURDAY, NOVEMBER 5, CHAPEL PERFORMANCE SPACE, 8PM Malcolm Goldstein

Presented by Nonsequitur ploring the physicality of musical per- – because your life (note: I did not say $5-$15 sliding scale formance, and of space.) livelihood) depends on it.” How radically disorienting and yet In the early 1960s, he stirred the Another of Goldstein’s merits, Gar- riveting, you might ask, can one man avant-garde artistic ferment of New land wrote, was that he is an advanced with one violin be? York, co-founding with James Ten- violin technician and innovator who The answer may emerge from a rare ney the Tone Roads Ensemble and has headed far away from the world of opportunity to hear a performer who, performing with the Judson Dance what Harry Partch called “show hors- while a living legend among devo- es in the concert ring.” Not content tees of exploratory musical sound, is with a “dreary bag of tricks known hardly a household name: Malcolm as ‘extended techniques’,” Goldstein Goldstein. has taken a different path. As he Since the early 1960s, the violin- once wrote, extended technique “for ist and composer has profoundly me, has to do with an embracing altered violin playing by extending of all virtues/qualities … For some the instrument’s tonal range. people, though, this has become a In his improvisational “sound- technique to be achieved – the new ings” – of the kind he will perform virtuoso – ‘techniques’ to be added here – he has created awareness of onto the older techniques … this is the instrument’s great range of sonic not what is important to me.” textures. Hearing Goldstein play, for the Born in 1936 in Brooklyn, New first time, can be a shock; however, York, Goldstein disappointed his said Garland, an audience member parents by foregoing medicine for may well come to think: “Well, isn’t music, which he had been perform- MALCOLM GOLDSTEIN PHOTO BY SYLVIA OTTE this perfectly natural, what a violin ing since a young age. Intermittently is supposed to sound like?” and ambivalently, he studied a tradi- Theater, the New York Festival of the Goldstein has long been a devotee tional repertoire (in a 2006 interview Avant-Garde, and the Experimental of and expert on the music of Charles with Dan Warburton for Paris Trans- Intermedia Foundation. Ives, and that, said Garland, explains atlantic magazine, he summarized that In his widely performed and much- Goldstein’s “intimate affinity with folk as “Wieniawski, Sarasate, Vieuxtemps acclaimed compositions for chamber fiddling, with its rougher articulation … what I call monkey music” – the groups, orchestras, and choral, stage, and more vigorous rhythmic drive. But European approach). At Columbia and electro-acoustic performance, Malcolm is not emulating folk music – University, where he studied composi- Goldstein has merged improvisational by way of analogy listen to those great tion, and where electronic music was mastery and extended techniques. His recordings of Charlie Ives banging out present but marginalized, Goldstein work has brought him many awards some of his piano music and singing was often roundly criticized for his id- and commissions. (more like howling – wonderfully so). iosyncratic approach. At age 27, how- He occupies an increasingly unusual In both cases, the boundaries between ever, he found a teacher who encour- corner of new-music performance and art music and folk music are blurred: aged him to take what he liked from composition – he has long worked out- Instead, this is just the ‘real thing,’ in a the classical repertoire and fit it to his side academic settings. In liner notes to very honest and unself-conscious way.” own feel for the sounds of the violin. a 2008 New World Records retrospec- Another indication of Goldstein’s He had already begun composing, tive of Goldstein works, Peter Garland embrace of the demotic is his love for playing, and improvising with new explained that while the violinist com- the music of Ornette Coleman, who music and dance companies, and poser taught in academe, early in his has written a collection of pieces for exploring electronic composition. career, he then quit because of his con- (Working with dancers, he has said, viction that “living in the real world led him to improvise as a way of ex- forces one to create music that matters CONTINUED ON PAGE 22

16 • EARSHOT JAZZ • November 2011 SUNDAY, NOVEMBER 6, KIRKLAND PERFORMANCE CENTER, 3PM Seattle Repertory Jazz Orchestra “An Evening with Ol’ Blue Eyes: The Music of Frank Sinatra” Presented by Seattle Repertory Jazz Orchestra SOLD OUT

SUNDAY, NOVEMBER 6, TULA’S, 7:30PM Bill Anschell Trio Admission by donation city’s thriving jazz scene, working as a sociation with vocalist Nnenna Free- Nearly 10 years have passed since Se- sideman with various groups and lead- lon, serving as her pianist, arranger attle native Bill Anschell returned to ing his own trio. and musical director. Anschell’s piano the Emerald City after spending 25 By 1992, Anschell’s performing itin- work and arrangements were featured years studying, composing and per- erary had grown to the point where it throughout Freelon’s 1996 Concord forming across the country and release Shaking Free, which was around the world. The pianist, nominated for a Grammy as the composer and arranger has played year’s best jazz vocal recording. and recorded with a host of jazz His own CDs have earned critical greats, including Floyd Standifer, acclaim and widespread exposure, Richard Davis, Ron Carter, Benny with the last three discs all mak- Golson, Nnenna Freelon and Rus- ing JazzWeek’s national Top 50 sell Malone. chart for radio airplay. Anschell’s Anschell left Seattle after high 1998 release, A Different Note All school, studying for two years at Together, was selected by United Oberlin College (Ohio), then earn- Press International (UPI) as one ing his music degree from Wes- of the 10 Best jazz releases of the leyan University (Connecticut). At year. His 2006 CD, More to the Wesleyan, Anschell worked closely Ear than Meets the Eye, was chosen with saxophone great Bill Barron. by numerous critics and radio sta- He also studied semi-privately tions across the country for their with South Indian mrdangum 10 Best of 2006 lists. His 2009 master T. Ranganathan, kindling duo CD of spontaneous impro- a passion for rhythmic experimen- visations with saxophonist Brent tation that has driven Anschell’s Jensen was described by Cadence music ever since. as “startlingly beautiful, surpris- After leading the life of a jazz ing, and powerful … a transform- vagabond for several years, An- ing experience.” schell settled in Atlanta in 1989. Bill Anschell photo by Daniel Sheehan In 2005, Anschell received the He was initially drawn there by Golden Ear Award for Northwest the opportunity to serve as jazz coor- demanded his full attention. He left Jazz Instrumentalist of the Year, and dinator for the Southern Arts Federa- the SAF post, continuing to produce in 2006 his trio was named the Best tion (SAF), the regional arts agency of “JazzSouth” out of his home while Northwest Acoustic Jazz Ensemble. the South. Firing up SAF’s jazz de- focusing on playing and composing. He will lead a festival close-out cel- partment virtually from scratch, An- Over the next ten years, Anschell ebration with a standards trio for Se- schell launched a host of high-profile ascended the jazz ranks in Atlanta, attle featuring bassist Chris Symer and programs, published a book on grant leading his trio at major festivals and drummer Jose Martinez. writing, and created “JazzSouth,” an becoming a first-call accompanist for The festivities also include food, drink, internationally syndicated radio show. visiting jazz greats. During the same gratitude, and good cheer. At night he dove headlong into the period, Anschell enjoyed a lengthy as- – Danielle Bias

November 2011 • EARSHOT JAZZ • 17 JAZZ AROUND THE SOUND november 11 TUESDAY, NOVEMBER 1 FRIDAY, NOVEMBER 4 C* Sequoia Ensemble, Moraine, Spyn Reset (Galway Arms, 5257 University Way), 8 BH EJF: Keith Jarrett, Gary Peacock, Jack AA EJF: Robin Holcomb & Talking Pictures / Kate CH EJF: Malcolm Goldstein, 8 DeJohnette, 8 Olson & Gary Prince Duo, 7:30 EB Jacob Zimmerman Quintet, 9 CG Suffering F#ckheads, 8 BP Danick & Amitie, 7:45 LJ Ayron Jones & The Way , 10:30 EB Ivan Arteaga/Jared Borkowski & Kate Olson/Gary BX Randy Halberstadt w/ Gary Hobbs, 7, 9 LJ The Teaching & Katrina Kope, 8:30 Prince, 9 C* Manghis Khan (The Rat & Raven, 5260 SE EJF: Burn List / Operation ID, 8 JA Omar Sosa Quartet, 7:30 University Way NE), 11:30 SF Leo Raymundo Jazz Trio, ft. Sue Nixon, 11am MX Mock, Kim, Willis, 8 C* Milo Petersen Trio (Baker Street Books, 32709 SY Victor Janusz, 9:30am NO Holotradband, 7 Railroad Ave, Black Diamond), 7 TU EJF: Chad McCullough/Bram Weijters Group, 8 OW Jam w/ J Martinez & E Verlinde, 10 C* Beth Fleenor: Mother May I (Jack Straw Gallery, VI Ruby Bishop, 6 SB McTuff Trio, 10 4261 Roosevelt Way NE), 8 VI The James Band, 9:30 TU Jay Thomas, 7:30 C* High/middle school jam session w/ Steve Treseler (CMA Gallery, UW), 6:30 SUNDAY, NOVEMBER 6 WEDNESDAY, NOVEMBER 2 C* Ricardo Guity & Elnah Jordan, Verbal Oasis, AV Chronic Quartet, 11am BX Eric Verlinde, 7, 9 Spekulation, Caffeine (Neptune Theatre, 1303 BP Michael Gotz brunch, 10am CB Market Street Dixieland Jass Band, 8:30 NE 45th St), 8 BX Danny Kolke Trio, 6, 8 DL Peter Daniel 3, 8 DL Eric Fridrich, 5,11 C* Fabulous Party Boys (The Rat & Raven, 5260 JA Omar Sosa Quartet, 7:30 GT Jacob Zimmerman Quintet, 8 University Way NE), 12am NO Legacy Band w/ Clarence Acox, 8 HS Jazz & Sushi: Diana Page Group, 7:30 C* Cornish Latin Ensemble w/ Jovino Santos Neto PO EJF: Masterclass w/ Malcolm Goldstein, 1 LJ Lucky Brown & The Trophy Bucks - Afterparty, (Burke Museum, UW, 17th & 45th) , 5 SE EJF: SWOJO Plays the Music of Robin Holcomb, 8 11:30 C* Gregory Dilley (Herkimer Coffee, 5611 University SF “Passarim” Bossa Nova Quintet ft. Leo LJ Alika Lyman Group, 5 Way NE) , 11am Raymundo w/ Francesca Merlini, 8 NC Double Scotts on the Rocks, 8 CR Racer Sessions, 8 TD EJF: Tribute to Jim Knapp, 7:30 NO Thomas Marriott’s Flexicon, 8 DT Kevin McCarthy session, 8 TK Ron Weinstein Trio, 8:30 SF Pasquale Santos, 9 FB Greg Ruby Quintet, 6 TU EJF: Grace Kelly Quintet, 7:30 TU EJF: Chad McCullough/Bram Weijters Group, 8 GB Primo Kim, 6 VI Honey Castro, 9 VI Casey MacGill, 8 KC EJF: SRJO “An Evening with Ol’ Blue Eyes”, 3 THURSDAY, NOVEMBER 3 SATURDAY, NOVEMBER 5 KC Seattle Repertory Jazz Orchestra, 3 LJ Leif Totusek, 11am BC Clark Gibson w/ Phil Sparks, 9 AV A Cedar Suede, 6 LJ The Hang w/ Josh Rawlings, Jason Holt, Tim BX Jon Hamar / Tony Foster, 7, 9 BX Leah Stillwell, 7, 9 Carey, 12:30am LJ The Hang, 9:30 C* Trish, Hans, and Phil at Jazzscapes (206-660- SF Jerry Frank, 6:30 NO Ham Carson Quintet, 7 0654), 7:30 SF Danny Ward, 11am TK Jon Alberts, Jeff Johnson, Tad Britton, 8:30 C* Gravity, Verbal Oasis, Carl Kennedy (Cafe SY Victor Janusz, 9:30am TU EJF: Grace Kelly Quintet, 7:30 Solstice, 4116 University Way), 8 TU EJF: Bill Anschell Trio, 7:30 VI Tango Ahora, 9 C* Zizzy Zi Zixxy, Call Me Ladro (University Heights TU Reggie Goings, 3 WA Killerbees, 8 Community Center, 5031 University Way NE), 8 VI The Ron Weinstein Trio, 9:30 VI Ruby Bishop, 6

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

AA Seattle Asian Art Museum, Volunteer Park, 1400 DL District Lounge, 4507 Brooklyn Ave NE, 547- Shoreline, 365-4447 E Prospect St, 206-654-3100 4134 NO New Orleans Restaurant, 114 First Ave S, 622- AM Amore Restaurant, 522 Wall St, 770-0606 DT Darrell’s Tavern, 18041 Aurora Ave N, 2563 AV Agua Verde, 1303 NE Boat St, 545-8570 Shoreline, 542-2789 OW Owl ’n’ Thistle, 808 Post Ave, 621-7777 BC Barca, 1510 11th Ave E, 325-8263 FB Seattle First Baptist Church, 1111 Harvard Ave, PG Prohibition Grill, 1414 Hewitt Ave, Everett, 425- BH Benaroya Hall, 200 University St, 215-4747 206-325-6051 258-6100 BP Bake’s Place, 4135 Providence Point Dr SE, GB El Gaucho Bellevue, 555 110th Ave NE, Bellevue, PO PONCHO Concert Hall, Kerry Hall, 710 E Roy St Issaquah, 425-391-3335 425-455-2734 RV Rainier Valley Cultural Center, 3515 S Alaska St. BX Boxley’s, 101 W North Bend Way, North Bend, GT Gallery 1412, 1412 18th Ave SB Seamonster Lounge, 2202 N 45th St, 633-1824 425-292-9307 HS Hiroshi’s Restaurant, 2501 Eastlake Ave E, 726- SE Seattle Art Museum, 1300 First Ave, 654-3100 C* Concert and Special Events 4966 SF Serafina, 2043 Eastlake Ave E, 206-323-0807 CB Conor Byrne Pub, 5140 Ballard Ave NW, 206- JA Jazz Alley, 2033 6th Ave, 441-9729 SY Salty’s on Alki, 1936 Harbor Ave SW, 526-1188 784-3640 LB Lakeside Bistro, 11425 Rainier Ave S, 772-6891 TD Triple Door, 216 Union St, 838-4333 CG Copper Gate, 6301 24th Ave NW, 706-3292 LJ Lucid Jazz Lounge, 5241 University Ave NE, TK Thaiku, 5410 Ballard Ave NW, 706-7807 CH Chapel Performance Space, Good Shepherd 402-3042 TU Tula’s, 2214 2nd Ave, 443-4221 Center, 4649 Sunnyside Ave N MT Mac’s Triangle Pub, 9454 Delridge Way SW, 206- VI Vito’s, 927 9th Ave, 682-2695 CR Cafe Racer, 5828 Roosevelt Way NE, 523-5282 763-0714 WA Waid’s Haitian Cuisine & Lounge, 1212 E CY Courtyard Marriott Hotel, 11010 NE 8th, MX MIX 6006 12th Ave S, 767-0280 Jefferson St, 206-328-6493 Bellevue, 425-828-9104 NC North City Bistro & Wine Shop, 1520 NE 177th, WR White Rabbit, 513 N 36th St, 588-0155

18 • EARSHOT JAZZ • November 2011 MONDAY, NOVEMBER 7 FRIDAY, NOVEMBER 11 AM JT/TK Quartet, 8:30 BP Pearl Django, 7:45 C* Beth Fleenor: Mother May I (Jack Straw Gallery, BX Jay Thomas w/ Barney McClure, 7, 9 4261 Roosevelt Way NE), 1 C* Beth Fleenor: Mother May I (Jack Straw Gallery, GB Primo Kim, 6:00 4261 Roosevelt Way NE), 1 MT Triangle Pub jam session w/ Pavel Shepp, 8:30 C* Trumpet Summit w/ Chad McCullough, Nathan NO New Orleans Quintet, 6:30 Eklund & Dan Kramlich (CMA Gallery, UW), 7:30 TU Greta Matassa jam, 7:30 C* High/middle school jam session w/ Steve Treseler WR Spellbinder, 9:30 (CMA Gallery, UW), 6:30 HS Jazz & Sushi: Greg Williamson Quartet, 7:30 TUESDAY, NOVEMBER 8 NC Scott Lindenmuth Trio, 8 C* Beth Fleenor: Mother May I (Jack Straw Gallery, NO Thomas Marriott’s Flexicon, 8 4261 Roosevelt Way NE), 1 RV The Legacy Quartet w/ Clarence Acox and Katy CG Suffering F#ckheads, 8 Bourne Trio, 7 ET Transitions w/ Larry Jones, Lief Totusek, Phil SF Pasquale Santos, 9 Sparks, 9 TU Susan Pascal Quartet w/ Dave Peterson, Chuck MX Mock, Kim, Willis, 8 Deardorf, Mark Ivester, 7:30 NO Holotradband, 7 VI Jovino Santos Neto, 8 OW Jam w/ J Martinez & E Verlinde, 10 SB McTuff Trio, 10 SATURDAY, NOVEMBER 12 TU Emerald City Jazz Orchestra, 8:30 BX Kelly Eisenhour Quartet, 7, 9 TU Roosevelt HS Jazz, 7:30 SF Jose Gonzales Trio, 9 SY Victor Janusz, 9:30am WEDNESDAY, NOVEMBER 9 TU Thomas Marriott Quartet, 7:30 BX Milt Kleeb Dectet CD Party, 7, 9 TU Seattle Teen Music, 2 C* Beth Fleenor: Mother May I (Jack Straw Gallery, VI Ruby Bishop, 6 4261 Roosevelt Way NE), 1 CURTAIN CALL CB Market Street Dixieland Jass Band, 8:30 SUNDAY, NOVEMBER 13 DL Peter Daniel 3, 8 BP Michael Gotz brunch, 10am weekly recurring performances NO Legacy Band w/ Clarence Acox, 8 BX Danny Kolke Trio, 6, 8 TK Ron Weinstein Trio, 8:30 C* Pearl Django & Greta Matassa (Marine View TU Greta Matassa Student Recital, 7 Church, 8469 Eastside Dr NE, Tacoma), 5 MONDAY VI Jerry Zimmerman, 7 CR Racer Sessions, 8 AM JT/TK Quartet, 8:30 DT Kevin McCarthy session, 8 THURSDAY, NOVEMBER 10 GB Primo Kim, 6 GB Primo Kim, 6 NO New Orleans Quintet, 6:30 BC Clark Gibson w/ Phil Sparks, 9 PG Bob Strickland jam, 5 WR Spellbinder, 9:30 BX Diana Page Duo, 7, 9 SF Anne Reynolds & Tobi Stone, 6:30 C* Beth Fleenor: Mother May I (Jack Straw Gallery, SF Pasquale Santos, 11am TUESDAY 4261 Roosevelt Way NE), 1 SY Victor Janusz, 9:30am MX Mock, Kim, Willis, 8 LJ The Hang, 9:30 TD The Schwa, 9 NO Holotradband, 7 NO Ham Carson Quintet, 7 TU Jazz Police, 3 OW Jam w/ J Martinez & E Verlinde, 10 SE Art of Jazz: Anton Schwartz, 5:30 TU Jim Cutler Jazz Orchestra, 8 SB McTuff Trio, 10 TK Jon Alberts, Jeff Johnson, Tad Britton, 8:30 VI The Ron Weinstein Trio, 9:30 WEDNESDAY TU Chris Fagan/Dave Peterson Quartet, 8 VI Ruby Bishop, 6 DL Peter Daniel 3, 8 VI Michael Navedo & Jimmie Herrod, 9 MONDAY, NOVEMBER 14 NO Legacy Band w/ Clarence Acox WA Killerbees, 8 TK Ron Weinstein Trio, 8 AM JT/TK Quartet, 8:30 VI Jerry Zimmerman, 7 THURSDAY BC Clark Gibson w/ Phil Sparks, 9 LJ The Hang, 9:30 NO Ham Carson Quintet, 7 TK Alberts, Johnson, Britton, 8 WA Killerbees, 8 FRIDAY HS Jazz & Sushi, 7:30 NO Thomas Marriott’s Flexicon, 8 SATURDAY SY Victor Janusz, 9:30am VI Ruby Bishop, 6 SUNDAY BP Michael Gotz brunch, 10am BX Danny Kolke Trio, 6, 8 CR Racer Sessions, 8 DT Kevin McCarthy session, 8 GB Primo Kim, 6 SY Victor Janusz, 9:30am TU Jim Cutler Jazz Orchestra, 8 VI Ruby Bishop, 6

November 2011 • EARSHOT JAZZ • 19 GB Primo Kim, 6:00 NO Legacy Band w/ Clarence Acox, 8 C* Mike Nelson Trio (Baker Street Books, 32709 JA Miguel Zenon Quartet, 7:30 TK Ron Weinstein Trio, 8:30 Railroad Ave, Black Diamond), 7 MT Triangle Pub jam session w/ Pavel Shepp, 8:30 TU Beth Winter, 7:30 C* Steve Treseler, Chad McCullough, Dan Kramlich, NO New Orleans Quintet, 6:30 VI The Leeni & Love Show, 9 Craig Flory (CMA Gallery, UW), 7:30 TU Johnaye Kendrick, 7:30 C* High/middle school jam session w/ Steve Treseler WR Spellbinder, 9:30 THURSDAY, NOVEMBER 17 (CMA Gallery, UW), 6:30 BC Clark Gibson w/ Phil Sparks, 9 HS Jazz & Sushi: Ocho Pies, 7:30 TUESDAY, NOVEMBER 15 BX Katy Bourne w/ Hans Bremer, 7, 9 JA Jane Monheit, 7:30, 9:30 CG Suffering F#ckheads, 8 CH Monktail Composer Series, 8 NC David George Quartet, 8:30 CY Pearl Django Group w/ Susan Pascal, 7:30 JA Django Reinhardt Allstars , 7:30 NO Thomas Marriott’s Flexicon, 8 JA Django Reinhardt Allstars, 7:30 LJ The Hang, 9:30 SF Alex Guilbert Duo, 9 MX Mock, Kim, Willis, 8 NC Ashley Webster, 7 TU Joe Doria Organ Trio, 7:30 NO Holotradband, 7 NO Ham Carson Quintet, 7 VI Casey MacGill, 8 OW Jam w/ J Martinez & E Verlinde, 10 TK Jon Alberts, Jeff Johnson, Tad Britton, 8:30 SB McTuff Trio, 10 TU Fred Hoadley’s Sonando, 8 SATURDAY, NOVEMBER 19 TU Roadside Attraction, 7:30 VI The Ron Weinstein Trio, 9 BP Little Bill & The Bluenotes, 7:45 VI The Jason Parker Quartet, 9 WA Killerbees, 8 BX Aria Prame CD Party, 7, 9 JA Jane Monheit, 7:30, 9:30 WEDNESDAY, NOVEMBER 16 FRIDAY, NOVEMBER 18 LB Dina Blade & Hans Brehmer, 7 BX Alexey Nikolaev, 7, 9 BX Milo Petersen Trio, 7, 9 PO Chuck Deardorf w/ Bruce Forman, 8 CB Market Street Dixieland Jass Band, 8:30 C* Kareem Kandi Band (Royal Lounge, 311 Capitol SF Leo Raymundo Jazz Trio, ft. Sue Nixon, 9 DL Peter Daniel 3, 8 Way N, Olympia), 7 SY Victor Janusz, 9:30am JA Django Reinhardt Allstars, 7:30 TU Brian Nova, 7:30 VI Ruby Bishop, 6 SUNDAY, NOVEMBER 20 BP Michael Gotz brunch, 10am BP Greta Matassa Presents “Light Out of Darkness: A Earshot Jazz pr E s E n t s Tribute to Ray Charles”, 6:45 BX Danny Kolke Trio, 6, 8 CR Racer Sessions, 8 DT Kevin McCarthy session, 8 Seattle Repertory Jazz Orchestra GB Primo Kim, 6 JA Jane Monheit, 7:30 + vocalists Everett Greene & Nichol Eskridge SF Jerry Frank, 6:30 SF Alex Guilbert Duo, 11am + NW Chamber Chorus SY Victor Janusz, 9:30am TU Jim Cutler Jazz Orchestra, 9 TU UW Jazz, 8 TU Jay Thomas, 4 VI The Ron Weinstein Trio, 9:30 Duke ellington’s VI Ruby Bishop, 6 MONDAY, NOVEMBER 21 AM JT/TK Quartet, 8:30 Sacred MuSic GB Primo Kim, 6:00 MT Triangle Pub jam session w/ Pavel Shepp, 8:30 NO New Orleans Quintet, 6:30 TU Darin Clendenin Trio, 7:30 WR Spellbinder, 9:30 Monday TUESDAY, NOVEMBER 22 CG Suffering F#ckheads, 8 deceMber 26, 2011 ET Transitions w/ Larry Jones, Lief Totusek, Phil Sparks, 9 JA Ain’t Misbehavin’, 7:30 7:30pM MX Mock, Kim, Willis, 8 NO Holotradband, 7 Town Hall Seattle OW Jam w/ J Martinez & E Verlinde, 10 1119 Eighth Ave (at Seneca) SB McTuff Trio, 10 TU Music Works, 7:30 $34 / $26 WEDNESDAY, NOVEMBER 23 Tickets available at BX Danny Kolke, 7, 9 brownpapertickets.com CB Market Street Dixieland Jass Band, 8:30 1.800.838.3006 DL Peter Daniel 3, 8 JA Ain’t Misbehavin’, 7:30 NO Legacy Band w/ Clarence Acox, 8 Earshot Jazz TK Ron Weinstein Trio, 8:30 p: 206.547.6763 w: www.earshot.org TU Greta Matassa jazz workshop, 7:30 VI Jerry Zimmerman, 7

20 • EARSHOT JAZZ • November 2011 THURSDAY, NOVEMBER 24 BC Clark Gibson w/ Phil Sparks, 9 JA Ain’t Misbehavin’, 7:30 adventurous WIT AND LJ The Hang, 9:30 M U S I C NO Ham Carson Quintet, 7 ANALYSIS TK Jon Alberts, Jeff Johnson, Tad Britton, 8:30 WA Killerbees, 8 FRIDAY, NOVEMBER 25 3 p.m. BX Reuel Lubag Group, 7, 9 9 a.m. – noon HS Jazz & Sushi: Tracy Knoop Quartet, 7:30 The Michael Eric JA Ain’t Misbehavin’, 7:30 Jazz + Global Beats NC Sandy Carbarry & Tim Lerch, 8 Dyson Show NO Thomas Marriott’s Flexicon, 8 noon – 3 p.m. SF Jerry Frank, 9 Americana, classic to 5 p.m. TU Greta Matassa Quartet, 7:30 Democracy Now! VI Lushy, 9 contemporary SATURDAY, NOVEMBER 26 BX Bernie Jacobs Quartet, 7, 9 C* Ariel Pocock, Katie Jacobson, Elliot Gray (CMA Weekdays at 91.3 & kbcs.fm Gallery, UW), 7 GB Primo Kim, 6 JA Ain’t Misbehavin’, 7:30 SF Tim Kennedy Trio, 9 SY Victor Janusz, 9:30am TU Stephanie Porter Quartet, 7:30 VI Ruby Bishop, 6 SUNDAY, NOVEMBER 27 Tula’s Jazz Calendar NOVEMBER 2011 BP Michael Gotz brunch, 10am Tula’s Restaurant and Nightclub Reservations: 206-443-4221 22142214 Second Ave, Avenue, Seattle, Seattle, WA 98121 WA 98121 novemberTULAS.COM 2011 BX Danny Kolke Trio, 6, 8 www.tulas.com; for reservations call (206) 443-4221 CR Racer Sessions, 8 SUNDAY MONDAY TUESDAY WEDNESDAY THURSDAY FRIDAY SATURDAY DT Kevin McCarthy session, 8 1 2 3 4 5 GB Primo Kim, 6 Tula’s Restaurant BIG BAND JAZZ EARSHOT JAZZ EARSHOT JAZZ EARSHOT JAZZ EARSHOT JAZZ JA Ain’t Misbehavin’, 7:30 Grace Grace Chad Chad PG Bob Strickland jam, 5 & Jazz Club Jay McCullough/ McCullough/ SF Anne Reynolds & Tobi Stone, 6:30 Featured in Downbeat Thomas Kelly Kelly Bram Weijters Bram Weijters SF Pasquale Santos, 11am Magazine’s Guide of Quintet Quintet 100 Great International Big Band Group Group SY Victor Janusz, 9:30am 7:30-11PM $5 7:30PM $18 gen. 7:30PM $18 gen. 8PM $14 gen. 8PM $14 gen. Jazz Clubs. $16 mem/seniors, $16 mem/seniors, $12 mem/seniors, $12 mem/seniors, TD Cocoa Martini, 7:00 $10 students $10 students $7 students $7 students TU Fairly Honest, 3 6 7 8 9 10 11 12 TU Jim Cutler Jazz Orchestra, 8 Reggie Goings JAZZ JAM BIG BAND JAZZ Seattle VI The Ron Weinstein Trio, 9:30 Greta Chris Susan Jazz Offering hosted by Roosevelt Fagan/ Teen Music VI Ruby Bishop, 6 3-7PM $8 HS Jazz Matassa Pascal 2-5PM $5 EARSHOT JAZZ Greta Dave 7:30-8:30PM Student Quartet Thomas MONDAY, NOVEMBER 28 Bill Matassa Emerald Peterson w/ Dave Peterson Marriott Anschell 7:30-11PM $10 Chuck Deardorf City Jazz Recital Mark Ivester AM JT/TK Quartet, 8:30 7-11PM $10 Quartet Quartet Trio 8-11PM $10 7:30-11:30PM GB Primo Kim, 6:00 7:30-11PM Orchestra 7:30-11:30PM $15 $15 MT Triangle Pub jam session w/ Pavel Shepp, 8:30 Donation 8:30-11PM $5 NO New Orleans Quintet, 6:30 13 14 15 16 17 18 19 TU Boyd Phelps, 7:30 Jazz Police Johnaye BIG BAND JAZZ Beth Winter HOT LATIN JAZZ Joe Doria Brian BIG BAND Kendrick WR Spellbinder, 9:30 3-7PM $5 Roadside Fred Organ Vocal Cornish Nova Jim Cutler Attraction Showcase Hoadley’s Trio Trio TUESDAY, NOVEMBER 29 Jazz Orch. Showcase 7:30-11PM $8 7:30-11:30PM 7:30-11PM $10 7:30-11PM $10 Sonando 7:30-11:30PM CG Suffering F#ckheads, 8 8-11PM $5 8-11PM $10 $15 $15 JA Sophie Milman, 7:30 20 21 22 23 24 25 26 MX Mock, Kim, Willis, 8 Jay Thomas JAZZ JAM BIG BAND JAZZ BIG BAND Greta Greta Stephanie NO Holotradband, 7 4-7PM $5 w/ Darin Music Matassa Closed OW Jam w/ J Martinez & E Verlinde, 10 UW Jazz Clendenin for Matassa Porter 8-9PM Works Jazz Thanksgiving SB McTuff Trio, 10 Jim Cutler Trio Quartet Quartet TU Critical Mass, 7:30 7:30-11PM $10 Big Band Workshop 7:30-11:30PM 7:30-11:30PM Jazz Orch. 7:30-11PM $5 7:30-11PM $10 $15 $15 VI The Wally Shoup Trio, 9 9-11PM $5 27 28 29 30 WEDNESDAY, NOVEMBER 30 Fairly BIG BAND JAZZ EARLY ARRIVAL DISCOUNTS BX Chris Morton, 7, 9 Honest Boyd Katie MONDAY thru THURSDAY: Critical Make dinner reservations and arrive by 7:00 pm to CB Market Street Dixieland Jass Band, 8:30 Jazz Band Phelps King receive a10% discount on all food items. 3-7PM $5 DL Peter Daniel 3, 8 Sax Mass Vocal FRIDAY and SATURDAY: JA Sophie Milman, 7:30 Randy Make dinner reservations and arrive by 7:00 pm to Big Band Showcase receive a$5 discount on your cover charge. Attack 7:30-11PM $5 NO Legacy Band w/ Clarence Acox, 8 Burgeson 7:30-11PM $10 7:30-11PM $10 TK Ron Weinstein Trio, 8:30 Group NOTE: No Tula’s discounts during Earshot Jazz events. TU Katie King, 7:30 8-11PM $5

November 2011 • EARSHOT JAZZ • 21 Notes, from page 2 The Seattle Repertory Jazz Orches plus alto vocalist Nichol Eskridge, tap- tra’s (SRJO) tradition of performing dancer Alex Dugdale, and the North ed Daniel Bernard Roumain (DBR), the Sacred Music of Duke Ellington in west Chamber Chorus. (Look for a Ernestine Anderson, Dave Dederer, Seattle began more than two decades full preview in the December issue of Michael Shrieve, Bernadette Bascom ago in 1989. Founding members of the newsletter.) This concert sold out and Alan White. For more informa- the SRJO, including Michael Brock in 2009 and 2010, so early ticket pur- tion and to sign up, please visit www. man and Clarence Acox, the late Don chase is recommended. For more in- stgpresents.org/education. Lanphere and Floyd Standifer, Bill formation, visit www.srjo.org. On the Horizon: The Seattle Ramsay, Marc Seales and others were Event Listings Repertory Jazz Orchestra’s 23rd drawn together because of this concert Reminder: Please send gig listings to Annual Duke Ellington Sacred and it continues to play a central role [email protected] at least eight Music Concert in the ethos of this stellar big band. weeks in advance if possible. Be sure For this year’s concert, the SRJO will Sunday December 26, 2011, 7:30pm, to include the date, time, place, and feature guest baritone vocalist Everett Town Hall Seattle project name. Greene of the Count Basie Orchestra

Goldstein, from page 16 him, and whose violin playing Gold- stein holds in high regard: “I was blown away!” he told Warburton. “Ev- erybody else hated it. They said, he can’t play the violin. I said, that’s playing the violin. Everybody plays like so and so, but he’s playing like him. Beautiful, fantastic, wild!” Those adjectives describe Goldstein’s approach to improvisation, too. He told Warburton that, as far as he is concerned, the improvisation nature of, say, Bach, and the emphasis on improvisation as a key element of musical performance in the 17th and 18th centuries, and many others, relates to his own sense of the corporeality of music, something that all conservatory students today should be given the opportunity to experience. After all, he said, what is improvisation? “If in the act of doing something you have an idea to do something bet- ter, something different, you’re already becoming a composer. For me, improvisation is getting into the sound … you get into the sound, and the sound tells you where to go. You simply fol- low the sound.” – Peter Monaghan

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

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

November 2011 • EARSHOT JAZZ • 23 NON-PROFIT ORG - EARSHOT JAZZ U.S. POSTAGE 3429 Fremont Place N, #309 PAID Seattle, WA 98103 PERMIT No. 14010 SEATTLE, WA Change Service Requested class, please add $5 for class, please add $5 for st EMAIL the newsletter to your door and entitles you to to brings you Earshot in membership entitles basic $35 A and door your member to Your newsletter the events. Earshot all at discounts educational our all support helps also ship presentations. concert and programs $300 Individual Lifetime $300 Individual $200 Sustaining $100 Patron

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2011 Earshot Jazz Festival in November Robin Holcomb: Fostering New Music In One Ear Notes IN THIS ISSUE... COVE SHEEHAN DANIEL BY PHOTO