A Mirror and Focus for the Community January 2019 Vol. 35, No. 01 EARSHOT JAZZSeattle, Washington

Kate Olson Photo by Daniel Sheehan LETTER FROM THE DIRECTOR EARSHOT JAZZ A Mirror and Focus for the Jazz Community New Year’s Revolutions Executive Director John Gilbreath Managing Director Karen Caropepe Programs Manager Tara Peters Marketing & Development Associate Lucienne Jazz has always flowed Aggarwal comfortably in the dynamic Earshot Jazz Editors Lucienne Aggarwal & pocket between evolution Tara Peters and revolution; changing too fast for some, and too Contributing Writers Paul de Barros, Marianne Gonterman, Ian Gwin, Peter slowly for others. People Monaghan, Steve Peters, Paul Rauch, Josh will always love what they Rawlings, Jovino Santos Neto love—and that’s a good Calendar Editors Casey Adams, Jane thing. Jazz is expansive Emerson, & Caitlin Peterkin enough to accommodate Photography Daniel Sheehan hardliners in any one of Layout Tara Peters its many expressive styles, Distribution Karen Caropepe, Dan Dubie & whether in swing, , Earshot Jazz volunteers , fusion, smooth, Send Calendar Information to: , funk or elec- [email protected] tronic—deconstructed or Board of Directors Danielle Leigh reconstructed. But, wheth- (President), John W. Comerford (Vice President), Jon Perrino (Secretary), Sheila er through evolution or Hughes, Chris Icasiano, Maurice James, revolution, it has become Chris Nutter, Gail Pettis, Ruby Smith Love, unusual to hear someone Diane Wah staunchly maintain that jazz can only be one thing—and that’s a good Emeritus Board Members Clarence Acox, Sue thing, too. Coliton, Taina Honkalehto, Viren Kamdar, The Earshot organization has a strong reputation of giving voice to the Hideo Makihara, Peter Monaghan, Kenneth revolutionary masters of jazz, believing that the art form best moves for- W. Masters, Lola Pedrini, Paul Toliver, ward by engaging its own perimeters. After all, didn’t Cuong Vu like Charlie Parker; and Ornette Coleman and Albert Ayler, even John Founded in 1984 by Paul de Barros, Gary Coltrane, actually made jazz people angry in their time, by opening exist- Bannister, and Allen Youngblood. Earshot ing structures to express deeper truths. Jazz is published monthly and is available One of Earshot’s first concert presentations, in 1986, was the pianist online at earshot.org.

Cecil Taylor, an avant-gardist if ever there was one, and the organization Subscription (with membership): $35 has gone on to present many of the revolutionary thinkers of the music. 3429 Fremont Place #309 But Earshot has also steadfastly honored jazz history and its ongoing evo- Seattle, WA 98103 lution, especially by documenting and supporting the day-to-day, year-to- phone / (206) 547-6763 year building of Seattle’s incredible jazz scene. Earshot Jazz ISSN 1077-0984 I propose a New Year’s resolution as a solution to the revolution/evolution Printed by Pacific Publishing Company question. Let’s all resolve to get out to hear more live jazz in 2019. We can © 2019 Earshot Jazz Society of Seattle engage our own perimeters and get out to stretch our ears with live Seattle jazz in all its forms. MISSION STATEMENT Please accept the best possible wishes, from all of us at Earshot Jazz, for To ensure the legacy and progression a new year of good health, peace, prosperity, progress, compassion, and an of the art form, Earshot Jazz cultivates open sense of unity that celebrates our individuality and creative spirits. a vibrant jazz community by engaging Oh, and jazz! Lots of jazz. audiences, celebrating artists, and –John Gilbreath, Executive Director supporting arts education.

2 • EARSHOT JAZZ • January 2019 NOTES

Seattle JazzED Girls Ellington Erskine (bass) for a night of grooves on Jazz Festival Project Headed to Swing Central January 10 at Tula’s at 7:30pm. February 22-23 Jazz University of Idaho, Moscow, ID Digitization Intern Wanted The Lionel Hampton Jazz Festival The all-girls, all-city has Earshot Jazz is seeking an intern to features over 400 student performanc- been named one of 12 finalists for assist with a magazine digitization es, a dozen world-class jazz artists, and the 2019 Swing Central Jazz com- project. Internships are unpaid and nearly 100 workshops, clinics, and petition, happening April 3–5 as part-time, but can be for course credit special exhibits. Lineup details to be part of the Savannah Music Festi- where necessary. announced soon. Visit uidaho.edu for val, running March 28–April 13 in Tasks include sorting magazines, information. Savannah, Georgia. data entry, and data verification. This marks the first time the ensem- Earshot Jazz 2019 Series Strong attention to detail and or- ble—comprised of female-identified ganization required and experience Earshot Jazz presents a series of students grades 9-12 under the di- with excel spreadsheets helpful. Please world-renowned artists beginning in rection of Kelly Clingan—has been send a letter of interest and résumé to early 2019. named a finalist. [email protected]. Upcoming concerts include: Kahil The prestigious three-day workshop El’Zabar: Ethnic Heritage Ensemble, and competition is led by pianist and On the Horizon Itamar Borochov, Omar Sosa & Seck- educator Marcus Roberts and features The 34th Annual Seattle Improvised Music ou Keita: Transparent Water, Sullivan an eclectic range of jazz educators. Festival Fortner Trio, Maxine Gordon, Maria Along with receiving instruction from February 6-10 Grand: Persephone, Tim Berne’s Sun the nation’s top educators, the ensem- Various venues, Seattle of Goldfinger, Satoko Fujii Trio, Rob- ble will have a chance to win the Jean First organized by the late Paul ert Dick & Thomas Buckner, Miles Elizabeth Faircloth award and $5,000 Hoskin (see In Memoriam, p. 5), the Okazaki’s Trickster, Paal Nilssen- to support their program. Seattle Improvised Music Festival Love’s Large Unit, and many more. SWOJO 2019 Girls Jazz Band (SIMF) brings together the most in- Tickets and more information will be Program novative improvisers from the diverse available soon at earshot.org. th scene. Now in its 34 year, SIMF is Write Earshot Jazz Seattle Women’s Jazz Orchestra the longest-running festival in the (SWOJO) presents its 2019 Girls Jazz United States dedicated solely to music The Earshot Jazz magazine reflects Band program, from January 23– that is completely improvised. and shares the many ways that jazz March 27. The program is open to girls Curious audiences can get a preview intersects with lives in the North- in middle school and above and offers of the festival this month on Thursday, west. Earshot Jazz is seeking submis- eight after-school workshop sessions January 17, 7pm at Neumos where sions from writers. Please email story with a special concert to cap off the SIMF presents Bad Luck + Crystal pitches, news, and announcements to course. All instruments are welcome. Beth & the Boom Boom Band. [email protected]. Members of SWOJO will provide Help the Jazz Around the Sound mentoring to help develop skills in jazz Biamp PDX Jazz Festival Calendar interpretation and improvisation. On- February 20-March 3 Various venues, Portland, OR line registration begins January 2 at Please email news and an- Christian Scott, the Aaron Diehl swojo.org. For more information con- nouncements about jazz gigs, con- Trio, , Freddy Cole, tact [email protected]. certs, and community events to Patrice Rushen with special guest Er- jazzcalendar@ earshot.org. Featured Community Event nie Watts, Jovino Santos Neto Quin- News’n’Notes One of Seattle’s favorite drummers, teto, The Bad Plus, Kendra Shank, Tarik Abouzied, brings together North- Veronica Swift ft. the Benny Green Email news about Seattle-area jazz west jazz heavyweights Andy Coe (gui- Trio, and more. More information at artists and events for Earshot Jazz tar), Tim Kennedy (keys), and Damian pdxjazz.com. Notes to [email protected].

January 2019 • EARSHOT JAZZ • 3 IN MEMORIAM NOMINATIONS / / / / / S Samia Panni: A Tribute Nominations Wanted: 2018 By Jovino Santos Neto Golden Ear Awards The Golden Ear Awards cel- With the passing of the beloved radio ebrate the outstanding achieve- DJ, singer, percussionist, and Brazilian ments of Seattle jazz artists over music scholar Samia Panni on Decem- the previous year. Nominations ber 2, the Seattle music community for the 2018 awards are cur- lost one of its most important mem- rently being accepted. Please bers. email your nominations to Born in Bangladesh to a diplomatic [email protected] by family, Panni lived on different con- January 15. tinents, gathering cultural perspec- In order to preserve the integ- tives from Africa, South America, and rity of the democratic process, many other places before settling in please, no ballot-stuffing. The- of Seattle. She founded and was one of ficial voting ballots for the 2018 the hosts of the Brazilian music show awards will be printed in the Raízes on Saturday afternoons at KBCS radio for over 30 years. There, February issue of Earshot Jazz SAMIA PANNI BY JEANNIE BUMGARNER-BLACK and available at earshot.org. she introduced many artists to North- west audiences, championing new tal- settled and gave me some of my first Send us your suggestions for: ents while also paying tribute to the gigs in town with Beija-Flor. Panni great masters. was a support system for many other NW Recording of the Year: In addition, Panni was a founding musicians who moved to Seattle. With member, singer, and percussionist of her weekly radio show, she created and Beija-Flor (Hummingbird), a Brazilian maintained a worldwide community NW Acoustic Jazz Ensemble of the band that performed in many venues of musicians and music lovers centered Year: around our region over many years. in Seattle. We all mourn her passing, She spoke and sang in Portuguese with celebrate her life, and will remember a perfect accent, even though she had her contributions to art and culture. Alternative Jazz Group of the Year: never visited Brazil. Her choice of rep- ertoire was always of the highest qual- ity, and she could sing with spirit and NW Concert of the Year: depth, conveying the beauty of music The Bass Church The Bass Church The Bass Church from Brazil like few others. She also The Northwest specialists The Northwest double bass specialists The Northwest double bass specialists

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IN MEMORIAM/ / / / / Paul Hoskin: 1958–2018 Margit Galanter. He returned to the expectations. But in recent months he Northwest in the late ‘90s, moving resumed practicing, and spoke opti- around from the Olympic Peninsula mistically of returning to performing to Astoria, Oregon, until finally set- next year. He also privately expressed tling down in Seattle in 2009. profound gratitude to the community Hoskin was a tireless catalyst in the that had helped nurture and support improvised music community, always him through his various crises. seeking out new players and venues Paul Hoskin touched a lot of lives and curating shows. In 1985 he orga- and was beloved by many, even though nized a weekend gathering of locals loving him could be a challenge. He and friends from New York to create was full of contradictions: endearing, the first Seattle Improvised Music Fes- exasperating, brilliant, feral, loyal, tival, now entering its 34th year. He stubborn, dedicated, self-deprecating, continued to be involved with it spo- grandiose, gentle, dismissive, meticu-

PAUL HOSKIN BY ARRINGTON DE DIONYSO radically, returning as co-curator in lous, chaotic, self-destructive, resilient. 2015 and 2016. He also booked shows He might expound eloquently on Spi- By Steve Peters at the Collins Pub, and was involved noza, Heidegger, and Wittgenstein, or with Gallery 1412 and Spite House. recall a long, factually questionable Paul Hoskin, a key figure in Seattle’s Since 2016, Hoskin stepped back story from 30 years ago. He lived on history of freely improvised music, from music, attending the occa- his own terms, made a deep impres- passed away in his Seattle apartment sional gig but mostly laying low. No sion on the music scene in Seattle and on November 17. stranger to hard luck and hard living, elsewhere, and leaves an equally large While attending Oberlin College in his health deteriorated in the last few void in his absence. Quite simply, the late ‘70s, Hoskin hung out with years, resulting in several brushes with there was no one like him. musicians and listened voraciously, es- mortality followed by astonishing re- pecially to free jazz and European im- To read a 2014 inter- coveries, of which he was quite proud; provisation. In 1980 his brother gave view with Paul Hoskin, visit he relished defying everyone’s worst him a battered C-melody saxophone https://tinyurl.com/y9bogws3 salvaged from a friend’s attic and ad- monished him to start playing. Essen- tially self-taught, Hoskin worked his way through the reed family, eventu- Perry Robinson:1938–2018 ally settling on contrabass clarinet and baritone sax, on which he developed a highly idiosyncratic voice that never A frequent visitor and collaborator with the Seattle jazz community, Perry ceased to evolve. Robinson passed away on December 2nd. In the ‘80s and ‘90s Hoskin bounced In addition to being one of the great clarinetists of our time, Robinson between the coasts and toured around was a unique and benevolent spirit in the free-jazz world. He lived humbly, the US and Europe. He improvised re- travelled regularly, and encouraged creativity and kindness with everyone lentlessly, playing in countless ad hoc he encountered. When visiting extended family in Seattle, he often per- groupings, as well as ongoing projects formed, most regularly with trombonist and vocalist, Marc Smason. Rob- like Audio Letter and the sprawling inson played folk music with joy and traditional jazz with deep feeling, but New Art Orchestra in Seattle, and was best known as an eager and fearless improviser, who encouraged new NYC groups The Same and Trigger. possibilities in everyone he encountered. He also collaborated extensively with dancers, especially Linda Austin and

January 2019 • EARSHOT JAZZ • 5 IN MEMORIAM/ / / / / Mark Sampson: 1977–2018

By Josh Rawlings Upon recently transcribing a solo A contingent of dear friends, family, from one of his and peers came together on Sunday, last documented December 2 at Rumba Notes in Co- jams, it’s clear lumbia City to celebrate and remem- that Mark was a ber Mark Sampson in the best way master of fusing we knew how—through music and a lush, smooth gos- high-vibrational hang. This tradition pel styling with of a musical wake-jam-celebration bebop quirkiness (most vividly on display in traditional and spirit. He New Orleans funeral street proces- was a chameleon sions) is a beautiful and magnificent of the keys who way to honor and celebrate a human could adapt to being. nearly any mu- Mark was a dear friend, Cornish sical situation, classmate, and man of the keyboards, but that vibe he and I was honored to be invited by Mi- MARK SAMPSON BY JASON TANG brought with his chael Avery-Jarrell Darby to celebrate brand of church- his life. While it’s still unclear what most subtle and special ways when you meets-jazz sound was something spe- exactly happened to Mark, we know least expect it; he’ll continue trying to cial to hear. We’ll miss his presence on we all felt his spirit move through the communicate to you.” Goodbye Mark! the scene. room and through the celebratory mu- Rest in piano power up there with the I was encouraged by the words of Ma- sic made that evening. I’ll always re- greats. You’ll be missed my friend. kini Magee at Mark’s memorial when member Mark’s incredible smile, hu- To read the transcribed solo of one she said to me, “Be on the lookout for mor and immense musical talent. He of Mark’s last performances, visit Mark in anything living. Be it a bird, had a profound and sensitive touch to joshrawlings.com a flower, anything, he’ll be there in the the piano that I admired deeply. ART OF JAZZ

KATE OLSON QUARTET THU JAN 10, 5:30 – 7:30 PM

Award-winning saxophonist and bandleader— one of Seattle’s finest.

Seattle Art Museum, Brotman Forum 1300 First Avenue Sponsored by Free and open to the public visitsam.org/performs

Seating is limited and available on a first-come, first-served basis.

6 • EARSHOT JAZZ • January 2019 ROOTS Roots: Seattle Drummer Bill Kotick

Throughout the year, Earshot Jazz is proud to be sharing brief excerpts from the forthcoming book, After Jackson Street: Seattle Jazz in the Modern Era, by Seattle’s preeminent jazz writer, Paul de Barros. Picking up where de Bar- ros’ Jackson Street After Hours (Sasquatch Books, 1993) left off, the new book will be published by the History Press of Charleston, S.C., and will feature fascinating interviews with the familiar artists and under-sung heroes who shape the vibrant jazz scene of the Pacific Northwest.

Born in Olympia in 1933, Bill Kotick who had booked a tour with Stan was one of Seattle’s go-to drummers in the Getz, Wardell Gray and Zoot Sims. ‘50s and ‘60s. He worked with Overton Norm offered his Berry at the Doubletree Inn, in Tukwila, for the tour. Larry Rockwell was a for five years and earlier with the Seattle damn good bass player, and I could vocal group, The Signatures, at the fabled keep good time, but (pianist) Bob Lake City Tavern. Largely self-taught, Alcivar wasn’t a jazz improviser. At Kotick played in the Jackie Souders band the first concert, the guys turned at the Seattle World’s Fair, at the Ken- to Bob and said, “I Got Rhythm” nedy Center with Floyd Standifer, and and Bob said, “I don’t know it.” So was the drummer with Stan Getz on the it was a struggle. In Portland, Stan fateful night in 1954 when the famous had gotten hold of some heroin and tenor saxophonist was arrested in Seattle I remember Zoot Sims, after we got for robbing a pharmacy. Kotick retired on the bus, came back and said to from music in 2001 and last year left Larry Rockwell, “You sit in front of Seattle for Georgia, where he lives with him, and if he stops breathing, yell.” his son and daughter-in-law. Below is an So that was my kind of depressing excerpt from my interview with Kotick: introduction to big time jazz. We got to Seattle and the drugstore I bought my first drum set from LEFT TO RIGHT: BILL KOTICK, OVERTON BERRY, CHUCK METCALF. PHOTO robbery occurred, and the last thing COURTESY OF OVERTON BERRY. Yenny Music, where (saxophonist) in the world I wanted to do was to low him and she kind of jumped and I Chuck Stentz worked. He really was go to the Music Box Theater and play remember Al Haig looked right at her a prime mover in my musical career. a concert. But we all showed up and said, “Boo!” I would come down and buy rhythm tried to be noble and perform our very I came back to Seattle, in March of and records – Big Sam Price and best. But our hearts weren’t in it. ‘61. I had never envisioned myself be- Eddie “Cleanhead” Vinson – and he In 1956, Jim Glover and I decided to coming a professional musician. So would say, “Well, hey, have you heard go to New York. Jim had $75. I had I called one of my fraternity broth- Stan Getz?” I enrolled at the Univer- $125. We heard about a local band ers who was working for a bank out sity of Washington in 1951, and a leader named Hugo Pedell, who was in Everett. (After the interview), the couple of my older fraternity broth- looking for musicians to go work at bank manager said, “Mr. Kotick we ers bought the Lake City Tavern and the Elbow Beach Surf Club, in Bermu- don’t think you’d be happy working in I talked them into putting a trio in da. The piano player was Al Haig. He a branch bank in Everett.” They were there – Buddy Catlett and (pianist) would always play a solo in the middle absolutely right. And that was it. I said, Paul Neves – then we hired (tenor of the dinner set, a Chopin piece, and I love music more than anything else, saxophonist) Freddie Greenwell. he played it very well, until one Sat- and that’s what I’m gonna do. And it (Impresario and band leader) Norm urday after he’d been there a month worked out. Bobrow happened to know a jazz pro- or so, he pushed his chair clear off the moter in L.A. named Gene Norman –Paul de Barros bandstand. There was a girl sitting be-

January 2019 • EARSHOT JAZZ • 7 PROFILE Kate Olson: Embracing an Ocean of Possibilities

KATE OLSON BY DANIEL SHEEHAN

By Paul Rauch at the University of Wyoming. Indeed, country, living on that societal edge her parents had found the ideal place through her studies. A decision to pur- The city of Laramie, Wyoming, is to raise their daughter, free from the sue graduate studies at the University known for its natural beauty, bucolic perceived mayhem of big city life. of Michigan, Ann Arbor, provided a lifestyle, high elevation and color- But while her family was settling new perspective, in a social environ- ful history. It is the site of the state’s into the certainty of retired life, young ment that embraced innovation, cre- only university, and has developed a Olson was mapping out a life as an art- ativity, and individualism. Olson’s ears reputation as a preferred place to re- ist, a journey that would almost cer- were opened by new sounds, providing tire. This is especially true if you enjoy tainly pull her away from this idyllic the beginnings of her own personal ar- the small-town vibe and beauty of this setting. tistic vision. Recordings such as Brian high desert mecca. “They got stuck with this daugh- Eno’s Ambient 1: Music for Airports, Such was the case for the family of ter who decided she wanted to be an and soprano saxophonist Steve Lacy’s saxophonist Kate Olson, her father artist, who was interested in making Monk interpretive, Reflections, began choosing the city to retire from the Air music and art and being weird,” recalls to mold her evolving, yet still static Force after 20 years of service. Olson Olson. musical persona. had spent her life on the move with her Adding to this eclectic mindset was “I didn’t have a relationship with the military family, beginning in Califor- her choice to explore music through music, except the music of Thelonious nia, and including a three-year stay in her instrument of choice, the saxo- Monk, and Steve Lacy’s involvement England. Arriving in Laramie as a sev- phone. She was a newly inspired fe- with it. The way he played the music enth grader, she remained in the his- male artist growing up in cowboy of Monk really spoke to me,” she says. toric western city, eventually studying

8 • EARSHOT JAZZ • January 2019 Lacy’s sound would serve as a har- Ivan Arteaga. While her meeting Sie- original compositions, and original binger of things to come for Olson, gel would evolve into the formation of compositions by my friends,” she says. who eventually identified the soprano the eclectic duo Syrinx Effect, it was While seeing things in terms of com- saxophone as her choice. Even though there as well where she met Luke Berg- munity, Olson has evolved into an her parents, and more specifically her man, who connected her with her first engaged bandleader, aside from her mother, preferred their daughter en- Seattle band, Ask the Ages. prowess as a writer and player. gage in practical pursuits other than While Olson’s many projects include “For me to work in this town, I have art, they still gifted her a Yamaha KO Electric, a solo project, and the to hold myself to a higher standard. professional model soprano while still aforementioned Syrinx Effect, it is her I’m not saying because I’m a woman, in college. Her mother simply heard KO Ensemble that expresses her defin- or a soprano player, playing an instru- and loved the sound. It was a gift so itive compositional, and playing style. ment nobody needs. I have to be the personal, so beautifully articulated, with her mother stating, “This is your voice.” Olson now had the means to “For me to work in this town, I have to hold myself use Lacy’s sound to assist in finding to a higher standard.” her own, using his unique tie-in to the entire jazz tradition. Her sound would reflect and swing, Monk “I’m a very practical person. I have most reliable, the most prepared, the and Cecil Taylor. The music became this practical side of me that’s housed most punctual, the most in tune. I categorically homogenized, blending in an artistic and dreamy personality,” have to be easy going. You have to con- divergent paths into one. she states. “I wanted to work, I wanted stantly be reminding yourself to not In time, it became clear that Ann a band that could play gigs around take things personally,” she remarks. Arbor was no longer providing the town. I had been writing music in the December found Olson writing and scene, and subsequent opportunities jazz idiom since college.” performing for the annual celebration, to perform, so following graduation, In pianist Alex Guilbert, bassist Land of the Sweets: The Burlesque she headed to Seattle with a friend to Chris Symer, and drummer Brad Gib- Nutcracker at the Triple Door. The explore the scene here. son, Olson found the perfect pieces challenges as a writer are different and “I could see myself very easily being a to map out her aesthetic vision. She exciting. middle America alcoholic that played didn’t want the band to play standards, “Since we’re working with dancers, community theatre,” says Olson. Se- so she set out to compose pieces with the tempos have to be the same every attle would be the perfect proving a loosely fitting structure to time, it has to basically sound the same ground for her musical conceptions, enable untethered improvisation. every time because dancers are very providing an eclectic local jazz scene. “The jazz aesthetic allows for im- much cueing off what we are playing. Simply put, she could see that there perfect performance in pursuit of the It’s a challenge to myself to do some- was so much more to learn, and be- edge. I lean a lot on my rhythm sec- thing different every time,” she says. ing in a city with so many like-minded tions to do their own thing. My job This is a remarkable contrast to her souls sharing and embellishing their is the melody,” says Olson. Guilbert, usual approach that features a sense of sound, there was so much space to Symer, and Gibson interpret her work elasticity to time and space. grow and create. in a way that makes sense to her. “I KO Ensemble will be featured at the Olson’s personality is inward by na- know when I play with Chris and monthly Art of Jazz series on January ture. There is a reticence about her Brad, that everyone is listening and 10 at the Seattle Art Museum. The that is communicated through her paying attention. They’re joking with band is swiftly becoming the perfect playing. One gets the sense that her each other the entire time. Their bond culmination of her many streams of musical persona is slowly unraveling is so strong. I want them to be doing musical thought in cohabitation to- into abandon, her eclectic approach their thing with Alex and I riding on gether, like two forks of a river uniting a mindful blend of melody and may- top of it,” she adds. and creating a main flow, integrating hem. The beginnings of her integra- Olson sees the band as extending be- strength into her musical personality. tion into the Seattle scene came via the yond her own leadership. “It’s a way to What merges and interacts with that Racer Sessions, where she would meet document what is going on with my flow will continue to impact Olson like-minded souls like trombonist generation of Seattle jazz musicians, as a composer and improviser down- Naomi Moon Siegel and saxophonist KO Ensemble became a way to play stream and beyond.

January 2019 • EARSHOT JAZZ • 9 PREVIEW >> Recurring Jazz Series

From intimate house concerts to collaborative efforts between community businesses and city arts organizations, here is a glimpse into some of the upcoming concert series around the Puget Sound, many of them free of charge.

JazzLIVE at Marine View

Celebrating its 10th anniversary, Marine View Presbyterian Church’s JazzLIVE presents some of the North- west’s premier artists. Enjoy great jazz in a relaxed and family-friendly en- vironment on the second Sunday of the month from 5-7pm. On Sunday, January 13, an all-star band launchs the 2019 series with a tribute to An- tonio Carlos Jobim, the brilliant Bra- zilian artist known for merging bossa nova with jazz. On February 10, Jay Thomas, the influential multi- instrumentalist showcases The Can- MARINA ALBERO BY DANIEL SHEEHAN taloupes, combining modern with Now in its 24th year, Earshot Jazz Shank. Her crystal-pure tone, power- and boogaloo. The series proudly programs this free series pre- ful musicianship, and elastic phrasing continues on March 10 with famed sented by the Seattle Art Museum in are beautifully accompanied by the in- saxophonist Tom Brax- cooperation with KNKX. The con- novative guitarist John Stowell. For ton, whose distinct, melodic sound certs take place on the second Thurs- more information visit earshot.org. has been thrilling audiences of all ages day of the month, offering art enthu- from coast to coast and abroad for siasts opportunities to enjoy great jazz nearly two decades. On April 14, ter- in a relaxed setting. The 2019 Art of JazzVox House Concert rific trumpeter and great entertainer Jazz series gets underway on January Series Lance Buller & The Roadstars take 10 with award-winning saxophonist, the stage with a variety of music from improviser, bandleader, and educator jazz, to swing. Don’t miss 2016 Ear- Kate Olson. A unique contributor shot Golden Ear Award winner Birch Is there a better way to enjoy mu- to the Seattle jazz scene, she leads her sic than in a cozy home setting with Pereira & The Gin Joints with guests own projects KO Ensemble and KO Sundae + Mr. Goessl on May 5. a small audience, delicious food and Electric and collaborates frequently perhaps a glass of wine? This series is Visit marineviewpc.org for more de- with Syrinx Effect, Ask the Ages, the tails. the brainchild of Nich Anderson, with Seattle Rock Orchestra, the Royal input from a variety of people, bring- Room Collective Music Ensemble and ing audiences to homes across greater Art of Jazz Electric Circus, led by Wayne Hor- Seattle, Camano Island and Bain- vitz. February 14 is a Valentine’s Day bridge. Listeners enjoy concerts with homecoming with one of our favorite jazz vocalists from across the globe in New York exports, vocalist Kendra a quiet and intimate setting. Now in

10 • EARSHOT JAZZ • January 2019 its 12th season, the series highlights Northwest favorites Chris Symer on both up-and-coming as well as es- bass and D’Vonne Lewis on drums. tablished voices alike. The 2019 sea- Harpsichordist and organist Henry son launches on January 11-13 with Lebedinsky and internationally ac- Grammy nominee Kate McGarry, claimed Scottish fiddler and violinist accompanied by guitarist/arranger/ Brandon Vance showcase Scottish folk producer Keith Ganz and the great and baroque music on March 3. Ital- multi-instrumentalist Gary Versace. ian jazz pianist, composer and educa- The series continues on February 2-3 tor Francesco Crosara takes the stage with soulful vocalist Brianna Thomas on April 7. Stephen Bryant, violinist and bassist Andrés Rotmistrovsky. with the Seattle Symphony, known for Chris Ayer, a genre-defying rising his passion and enthusiasm for music, star, who has toured across the US plays chamber music on May 5. Janet and in Europe, inspires his audience See, one of today’s outstanding per- on February 8-9 with his sharp pop formers on baroque and classical flute, sensibility and his strong heritage in is joined by her music quartet on Sep- the American singer-songwriter tra- tember 8. Fiery multi-instrumentalist dition. Kendra Shank, hailed by the Marina Albero returns with her jazz New York Times as a “superbly skilled piano quartet on October 6. The 2019 vocalist,” and Portland-based guitarist series concludes on November 3 with and local favorite John Stowell return cellist Meg Brennand and her quar- on February 15 in a duo setting. The tet. For more information on tick- great Madeline Eastman, voted rising eting and performance times, visit star by DownBeat critics poll for the firstsundaysconcerts.org 4th time and top female vocalist in the DownBeat readers’ poll, performs with Grammy nominated pianist Randy The Jazz Project Porter on March 22-23. For a com- plete list of artists and locations, visit jazzvox.com. Be sure to reserve well in Bellingham’s Jazz Project was con- advance, as seating is limited. ceived in 1997 by drummer and com- munity leader Jud Sherwood. He founded The Jazz Project with the goal First Sundays Concerts to promote jazz from a player’s perspec- tive, linking local performers, educa- tors, and students with opportunities Set at Winslow’s Waterfront Park to listen and play jazz, with the sup- DISCOVER THE Community Center on scenic Bain- port of local businesses and the City of CONTEMPORARY bridge Island, eight concerts promise Bellingham. Now in its 21st year, the ART & CRAFT OF listeners a sanctuary of sound. Held 2019 season features over 150 events. THE PUGET SOUND throughout the year with music span- The Art of Jazz series, held at Majestic REGION. ning the realm of jazz and classical, Hall, BAAY Theater, Church House, FREE ADMISSION concerts are presented in an intimate and WWU Concert Hall commences THANKS TO MEMBERS & DONORS LIKE YOU! setting near the heart of downtown. on January 27, presenting Northwest The 2019 season begins January 6 jazz stalwarts, vibraphonist Susan OPEN DAILY, 10am-6pm Pascal Mark Ivester Chuck with New York-based classical pianist , with , 550 Winslow Way East, Bainbridge Island Elizabeth Dorman. On February 10 Deardorf, and Dave Peterson. Check the indelible pianist, Earshot Golden out guitarist John Stowell and vocal- WWW.BIARTMUSEUM.ORG Ear Award winner, and 2016 Hall of ist Kendra Shank on February 24. On Fame inductee Bill Anschell brings March 24 the Austin Piazzolla Tango his Standards Trio to the island, with Quintet lights up the stage with the

January 2019 • EARSHOT JAZZ • 11 music of the late Argentine composer Astor Piazzolla, followed on April 28 by the Tribute Band, with Kevin Woods on trumpet, Josh Cook on tenor sax, Roger Yamashita on bass, Bill Anschell on piano, and Jud Sherwood on drums. On May 26 the series forges ahead with the great Marina Albero Quartet. Highlights in the second half of the season are the Jud Sherwood Trio on September 30, the Bill Anschell Trio on October 27 and the Wayne Horvitz Ensemble, capping the series on November 17. The prolific Jazz Project also hosts FARKO DOSUMOV, ALEX CHADSEY, AND JEFF BUSCH BY DANIEL SHEEHAN The Summer Jazz Series on the second Sundays of June, July and August at the Samson Estate Winery, with the Jennifer Scott Quartet on June 9, the Bellingham Youth Jazz Band on July 14 and the Christopher Woitach Steel Trio on August 11, culminating NEW CD RELEASE with the Bellhaven Jazz Festival on Saturday, September 7. Series tickets range from $5-17, but are free with membership. The Jazz Project sponsors a number of additional jazz offerings, including the Jazz at Illu- minati Brewing every Thursday from 5:30-8pm For more information visit jazzproject.org.

Featuring ANA VELINOVA - VOCALS Jazz in the City David Deacon-Joyner - Piano Osama Afifi - Bass Jeff Busch - Drums Jazz in the City celebrates the vi- Justin Cottrell - Sax brancy and longevity of jazz music in Seattle through an annual concert series emphasizing local artists. Spon- sored by Ariel Media, a multimedia company servicing Seattle, Tacoma, and Everett, founded by Dr. James Gore (creator of the Jackson Street Music Program); Jazz in the City partners with the Frye Art Museum to present free, bi-monthly concerts. SHOW AT 7:30PM Beloved Seattle guitar stalwart, Mi- TICKETS $15 chael Powers will perform on Feb- THURS, JAN 31 ruary 17. April 21, the acclaimed Tula’s - 2214 2nd Ave. Seattle WWW.ANAVELINOVA.COM cross-genre percussionist and vocalist,

12 • EARSHOT JAZZ • January 2019 Tor Dietrichson takes the stage. On June 16, the seven-time Golden Ear Award winner, Thomas Mar- riott, brings his innovative trumpet compositions to the series. Geof- frey Castle will present his pioneer- ing six-string music on August 18. Later in the year on October 20, smooth jazz vocalist Barbie Anaka will grace the stage. Rounding out the year is the globally-influenced mu- sic of Duende Libre featuring Alex Chadsey on piano, Farko Dosumov on bass, and Jeff Busch on drums. For upcoming performances visit fryemuseum.org. KENDRA SHANK BY JOHN ABBOTT

Seattle Jazz Vespers

Now in its 17th season at Seattle First Baptist Church, Seattle Jazz Vespers is a secular concert series by profes- sional jazz musicians for those who love jazz with an inspirational mes- sage. The concerts occur on the first Live Sunday of the month during October in through June from 6-8pm and are free and open to the public. On Janu- concert! ary 6, alto saxophonist Brent Jensen, with Jamie Findlay on guitar, Chris Symer on bass, and Stefan Schatz on drums, will play a tribute to Paul Des- mond in the first concert of the new year. For information on additional concerts in the coming months, visit seattlefirstbaptist.org.

Whatcom Jazz Music Arts Center TUES, JAN 15th 2019, 7PM The Whatcom Jazz Music Arts Cen- Whatcom Jazz Music Arts Center ter (WJMAC) shares the experience of great jazz music and its culture with 207 Prospect St, Bellingham WA listeners of all ages, featuring local and regional artists. Founded in 2015 by $20 general/ $10 students (at door) drummer and educator Julian Mac- Donough, WJMAC hosts jazz events www.wjmac.org

January 2019 • EARSHOT JAZZ • 13 highlighting top Northwest musi- cians on Wednesday evenings at 7pm TICKETS ON SALE NOW! at the Unity Spiritual Center. Starting the year with a bang on January 2, it’s Tenor Trifecta!!! with Mike Allen (tenor), Josh Cook (tenor), Thomas FEBRUARY 20–MARCH 3, 2019 Harris (tenor), Miles Black (piano), Roger Yamashita (bass), and Chris- tian Casolary (drums). On January 9 the great trumpeter, composer, and educator Jared Hall and his quin- tet return with new music for the PDX JAZZ new year. Roy McCurdy with Cory Weeds leads an all-star band at the Lucas Hicks Theatre on January 15. FESTIVAL A Seattle favorite, guitarist drummer, composer, and educator Milo Peters- 2019 en brings his quartet on January 23, followed on January 30 by the Mike presented by Allen Quartet featuring Miles Black. Visit wjmac.org for more information and upcoming performances.

Piano Starts Here

The Piano Starts Here series, pre- sented by KNKX at the Royal Room, highlights the work of some of the most talented and prolific pianists throughout history. To honor those FEATURED ARTISTS famous artists, Seattle’s finest pianists will perform their works, while Alex STANLEY CLARKE · PHAROAH SANDERS · THE BAD PLUS Guibert will host the series. On Janu- CHRISTIAN SCOTT · VANGUARD JAZZ ORCHESTRA ary 16 the music of Gene Harris and TERENCE BLANCHARD E-COLLECTIVE with Darrell Grant will be performed by Scotty Bemis, Ryan Burns, and Jo- VERONICA SWIFT featuring the Benny Green Trio nas Myers. On March 20, Gonzalo ERIC ALEXANDER QUARTET featuring Harold Mabern Rubalcaba, Danilo Pérez, and Mi- chel Camilo, three Latin American STEVE TURRE Rahsaan Roland Kirk Tribute masters will be honored. The series FREDDY COLE Nat King Cole at 100 · AARON DIEHL TRIO extends through November. Visit theroyalroomseattle.com for more in- CHRIS POTTER TRIO and more … formation and tickets. –Marianne Gonterman PDX Jazz thanks our major partners. Did we miss something? We want to hear from you! Email [email protected] with your favorite recurring jazz series. pdxjazz.com

14 • EARSHOT JAZZ • January 2019 >> PREVIEW Vermillion FIRST THURSDAYS rd January 3 , 2018 | 8-11PM

Pearl Django: Celebrating 25

Years of Hot Jazz Ch ristian Pin cock’s

standards, as well as in- SCRAM BL E R

ventive originals. Guitarist

Neil Andersson founded the group with David Seth Alexan der Tro u p

“Pope” Firman and the

late bassist Dudley Hill.

A veteran of the legendary 1508 11TH Ave – Seattle Northwest rock outfit, The Wailers, Andersson was MICHAEL GRAY, JIM CHAR, DAVID LANGE, RICK LEPPANEN, TIM LERCH instrumental in leading COURTESY OF THE ARTIST Pearl Django to the world Wednesday, January 2, 7:30pm capital of gypsy music, Thursday, January 3, 7:30pm Samois-Sur-Seine, for the prestigious Dimitriou’s Jazz Alley festival in 2002. 2033 6th Ave For the January 2 and 3 Jazz Alley Since their inception in 1994, Pearl performances, Andersson is joined Django has played a major role in by bassist Rick Leppanen, the solid popularizing the Pacific Northwest’s low end to their hot club sound since distinct gypsy-jazz scene. 25 years, 14 1998, along with the versatile violinist , and over a hundred Jazz Alley and member since 1996 Michael Gray. performances later, the group returns They’re backed by the tone-bending to Jazz Alley to ring in the new year. accordionist David Lange, and the Gypsy jazz is a style of swing, which band’s twin sultans of swing, guitar- began in during the 1930’s. The ists Tim Lerch and Jim Char. Romani-French guitarist Django Re- Despite changes in lineup over the inhardt—famous for his lightening years, Pearl Django hasn’t lost a beat. style despite the paralysis of two fin- Their music has been featured in films, gers—and violinist Stéphane Grap- nationally broadcasted television pro- pelli—who popularized a leisurely, yet grams, and NPR’s “All Things Con- virtuosic approach to jazz—founded sidered.” The well-loved group has also the genre through their “Quintette du taken the coveted Earshot Jazz Golden Hot Club de France.” Since then, Hot Ear award for Northwest Acoustic En- Club bands, festivals, and communi- semble of the Year in 2018. Still going ties have emerged everywhere from strong, Pearl Django plays the genre Scandinavia to Seattle, where Whid- “with such verve, skill and pleasure bey Island’s Djangofest has been at- that they’re pretty much irresistible tracting “Djangophiles” from around to jazz and non-jazz listeners alike.” the globe. (Seattle Weekly). Distinguished by their charming vir- For more information about Pearl tuosity and their smooth, yet eclectic Django’s upcoming performance at approach to the genre, Pearl Django Jazz Alley, visit www.jazzalley.com. has made their mark on the local scene –Ian Gwin with their refined versions of gypsy

January 2019 • EARSHOT JAZZ • 15 The Black/White Chord Shape System >> for and Improvisation PREVIEW A Fresh Vision & Language for the Organization of Jazz Chord Voicings and Improvisation Detailing the Pedagogical Legacy WHSS Duo: Wayne Horvitz and of the great Jerome Gray!

by Larry Kee 417 pages Sara Schoenbeck spiral bound

Now $34.95 at Amazon.com

“Also works for horns!” – J. Gray

[email protected]

WAYNE HORVITZ BY DANIEL SHEEHAN SARA SCHOENBECK COURTESY OF THE ARTIST

Thursday, January 31, 8pm In such settings, Horvitz’s writing Chapel Performance Space has made great use of the sound of 4649 Sunnyside Ave N Schoenbeck’s instrument, which as a double-reed contraption few play- Bassoonist Sara Schoenbeck and key- ers have dared use in jazz settings. It’s boardist Wayne Horvitz call their duo notoriously difficult to master, in the collaboration “a study of the crossroads first place, let alone import to jazz con- where texture and extended technique texts. Saxophone great Illinois Jacquet meet with and support the expression has been among the few who have suc- of melody and song.” Not literal, sung ceeded. song, but music with the characteris- Horvitz’s writing for the groups tics of song, explored through impro- Schoenbeck has graced has made visation and improvisation-laden com- great use of her sound, and that has positions. enhanced their success. Conveying They first met as performers at the nuanced emotions, often blisteringly Time Flies improvisation festival in beautiful, even when mournful, his Vancouver, B.C. in 2000, and have Way Out East for the Gravitas Quar- performed in several collaborations, tet is a case in point. since. Two have involved Horvitz’s Horvitz is, of course, renowned in chamber-oriented groups: his Gravitas Seattle and far beyond as a musician Quartet for new-music, jazz, and im- and composer who can do it all. Long provised composition, and his Some resident here but a global musician, he Places Are Forever Afternoon, a septet has excelled in in genre-expanding jazz that performed his suite based on po- but also various related and not-so- ems of Richard Hugo. They have also related fields. He performs on piano, often played together in improvising keyboards, and electronics, and com- large and small groups.

16 • EARSHOT JAZZ • January 2019 ECA SPECIAL ENGAGEMENT poses for his many ensembles as well Sara Schoenbeck is tailor-made for as for dance, theater, and film. His list collaboration with him. A classically of collaborations, prominent with the trained Californian, her accomplish- likes of Bill Frisell, Butch Morris, John ment on an instrument with relatively Zorn, and other boundary explorers, is few great exponents has taken her to miles long. As All About Jazz put it, collaborations with a host of musi- “there’s nobody else out there I hear cians and ensembles, in many and var- even attempting to cover some kind ied styles, as well as to teaching posts of similar range, and do it so convinc- and master class appearances around ingly.” the country, for both improvising bas- Horvitz has received many promi- soonists and classically trained musi- nent grants for composition and per- cians. She is currently on the faculty at formance, along with a host of com- Brooklyn Conservatory of Music and missions from the likes of the Seattle Packer Collegiate Institute. Symphony and the Kronos Quartet. The Wire magazine places her in the TUESDAY, JANUARY 29 His groups over the years have ranged “tiny club of bassoon pioneers” at work from New York-based innovators The in contemporary music today and the President to his seriously rocking Seat- New York Times has called her perfor- tle quartet Pigpen to a series of quieter mances “galvanizing” and “riveting, chamber groups, among them Sweeter mixing textural experiments with a Than The Day and the aforementioned big, confident sound.” ensembles with Schoenbeck. Following their duo performance, In Seattle, he has nurtured a host Horvitz and Schoenbeck invite their of talented younger players, bring- Seattle friends, Abbey Blackwell (bass) ing many into the broad church of and Raymond Larsen (trumpet), to jazz from rock and grunge. His ex- join them on stage for a second set. pansive ecumenism is reflected in his Tickets & Information: Tickets are $5–15 sliding scale at the ec4arts.org | 425.275.9595 programming for the glorious Rainier door. More information available at Valley venue The Royal Room, which waywardmusic.org 410FOURTHAVENUENORTH he co-founded in 2011. EDMONDSWA98020 –Peter Monaghan Tuesday, January 29, 2019 7:30 pm | $39–$74 Troy ‘Trombone Shorty’ Andrews has God-given talent, natural charisma, and a relentless drive to bridge music’s past and future. In the last four years, Andrews banked his fifth White House New! Daily pick up and delivery in Seattle gig; backed Macklemore and Madonna and North Lake Washington areas at the Grammys; opened tours for 7 Luthiers, double bass set up and Daryl Hall & John Oates and Red Hot restoration experts, and makers on site Chili Peppers; inherited the esteemed Free consultation in shop or by annual fest-closing set at the New appointment in Seattle Orleans Jazz & Heritage Festival in the tradition of Crescent City greats Lessons like the Neville Brothers and Professor

Since 1964 Longhair; and released Trombone Shorty, a children’s book about his life 970 5th Ave NW Suite 100 that was named a Caldecott Honor Issaquah WA 98027 www.HammondAshley.com Book in 2016.

January 2019 • EARSHOT JAZZ • 17 FOR THE RECORD

Ascension Northwest with the battle horn of Dick Val- Big Band Thing entine (tenor sax), Kenny Mandel’s (tenor sax) extended structures, the Self-released bottled lightning of Seth Alexander John Coltrane is one and many. After (alto sax), and Neil Welch’s (tenor finding religion in 1957, music’s sacred sax) multiphonic games. Trumpet- calling pulled him in “Both Directions ers Jim Knodle and Ray Larsen at Once,” the name of a 1963 “lost al- build and topple melodies respec- bum” released this year that has since tively, while bassists Ryan Berg charted 21 on Billboard’s Top 200. and Abbey Blackwell balance all Of these, saint John Coltrane, the the sublime chaos on acoustic and self-sacrificing spiritual searcher, lives electric basses, leading to Berman’s on today. West Seattle-based drum- liturgy of sticks and skins. mer Don Berman pays homage to the Like the original recording, which saint’s revelations with his project As- infamously included two versions, this powerful lineup can be heard select backgrounds, propel the ritualis- cension Northwest. tic form forward. Four years after Ornette Coleman in a studio version, recorded in Jack Straw Studios for KEXP’s Sonarchy, These players, too, create what recorded his eight-person Free Jazz, on Trane’s proto- was a sancti- Coltrane gathered an eleven-piece and a live performance captured in The Royal Room. Notable differences fied collective, a celebration of the band for 1965’s Ascension. The mu- holy consecration of sound into music. sic consisted of a few chords, around include Matt McCluskey finding mi- raculous harmonies on electric, rather Theirs is the lasting power of Trane’s which improvisors took turns soloing original project—a whole more than between raucous ensemble sections. than acoustic, keyboard on the first, and the addition of the incendiary the sum of its parts—brought again to Inspired by Coltrane’s self-described life in the Emerald City. We would be “big band thing,” Berman orchestrat- Ivan Arteaga (alto sax), incandescent Brennan Carter (trumpet), and intel- right to step into the chamber of their ed an analogous piece for a band fea- profound service, immerse ourselves turing 11 of Seattle’s most outstanding ligent Kelsey Mines (bass) on the sec- ond. Otherwise, Berman’s shrewd or- in the beauty of creation, until the last improvising musicians. few notes sound, Ite, missa est. Moving down from wind to rhythm chestrations, combining soloists with –Ian Gwin section, the band opens ceremonies

18 • EARSHOT JAZZ • January 2019 German players Christian Eckert on ludes offered by each artist. “Hesitant guitar and Steffen Weber on tenor Spring,” also by Eckert, is one of the saxophone, along with Seattle artists most beautiful pieces with its memo- Matt Jorgensen on the drums and Phil rable melody; tender and wistful with Sparks on bass. This is the foursome’s an elegantly paired soulful, slow bass second offering following the 2014 al- and guitar that lay the groundwork for bum Grassroots. the exquisite drawn-out saxophone. Transatlantic is sharp, thoughtful, The persistent yet reverent drumming and vivifying with a modern edge. keeps things balanced all the while. The project naturally lends itself to a Weber’s arrangement of the clas- democratic sound, as three of the mu- sic, “When You Wish Upon a Star,” sicians are composers, while all four is like the lucky hidden charm in a players’ music resonates equally. The cake. It surprises with a recording of Chamber 3 opener, “The Sparks” by Jorgensen, is urban traffic sounds to open and then Transatlantic a lively mid-tempo piece that juxta- is fleshed out by the confident and poses jaunty bass, guitar, and drum contemporary playing by each musi- OA2 Records instrumentals with a saxophone that cian. This piece could end up as part Like a longstanding relationship be- pleasantly mingles the plaintive with of a film track contrasting Pinocchio’s tween good friends, Transatlantic im- joyfulness. hopeful sentiments with realism. presses with its ease, candor, and re- “Chillaxed,” a piece by Eckert, lives Transatlantic is thoroughly engaging spect that each distinct player shares up to its name with a slow-paced style. and full of nuggets of creativity that for one other. As the title suggests, it’s It slinks by with a gentle, but thorough- only get better with each subsequent an album merging cross-global talents. ly satisfying, walk-in-the- park-sort- listening. The Chamber 3 collective consists of of-sound, with attractive sonic inter- –Lucienne Aggarwal

sic’s history, re-imagining songs from (piano on “Heat Wave”), and Osama to Katy Perry. Afifi (bass on “Heat Wave”). On the opening track, Richard Rog- Throughout There Will be Trouble, ers and Lorenz Hart’s “My Funny Val- Hardison’s warm, blues-tinged vocals entine,” Hardison displays her knack bounce off the light and bright plunk- for re-arranging. A song made famous ing of Verlinde’s keys. “Firework” for its slow, wistful mood by Chet (Perry) is an ascending conversation of Baker, , and Frank Sina- hope between the two with the keys tra, Hardison flips the script, giving having the last sparkling word. the tune a funky groove. Jeff Busch’s The title track takes its name from drums and Eric Verlinde’s piano set a line in The Clash song “Should I the opening energy with Jerome Smith Stay or Should I go.” Hardison trans- delivering a dance-worthy tuba solo forms the song, giving it a solid jazz mid-song. feel while staying true to its burning LaVon Hardison Steeped in the Baptist church of her directness. On the concept of trouble, youth, Hardison’s vocals are soulful, Hardison notes that in our current There Will be Trouble bold, and unabashed, gliding easily be- climate, there is no shortage. While Self-released tween sultry and playful. She serves her it’s often an uncomfortable feeling, “Frim Fram Sauce” (Nat King Cole) trouble can also mark a turning point LaVon Hardison doesn’t just sing with a side of relish, clearly savoring for healing. There Will be Trouble suc- standards, she probes them, breathing every line. “Mood Indigo” (Ellington) ceeds at breaking down genre barriers new life into their time-worn shells. is Hardison at her most restrained and to show the possibility of music as a On her latest release There Will be eloquent, with Hans Teuber’s clarinet vessel for transformation. Trouble, Hardison draws her source offering an emotional counterpoint. –Tara Peters material from the deep well of mu- Also featured on the album are Dean Schmidt (bass), David Deacon-Joyner

January 2019 • EARSHOT JAZZ • 19 JAZZ AROUND THE SOUND January 01 TUESDAY, JANUARY 1 CN Dan Duval Good Vibes Trio, 3pm ES Eric Verlinde, 6pm EB Frank S. Holman III, 6pm MT Jazz Night, 9pm SB 5 Stories, 8pm SB Joe Doria Presents, 9:30pm ES Daniel Davison, 6pm NL Mo’ Jam Monday, 7:30pm HS Birch Pereira and the Gin Joints, 7pm RR 322 Album Release Tour Show, 7:30pm WEDNESDAY, JANUARY 2 JA Nearly Dan, 7:30pm, 9:30pm TUESDAY, JANUARY 8 EB Eric Verlinde, 6pm MQ Michele D’Amour and the Love Dealers, 9pm ES Daniel Davison, 6pm OS Rick Mandyck and Jeff Johnson, 8pm CI Swing It Seattle Class Social Party, 8:45pm JA Pearl Django – Celebrating 25 Years!, RR JazzED: Welcome to Winter Quarter Jam EB Eric Verlinde, 6pm 7:30pm Session, 4:30pm ES Daniel Davison, 6pm SB 322, 9:30pm RR Oleaje Flamenco present Feria de Invierno, JA Kat Edmonson, 7:30pm SC Tenor Trifecta, 7pm 9pm SB 5 Stories, 8pm THURSDAY, JANUARY 3 SB The Barrett Martin Group, 10pm SB Joe Doria Presents, 9:30pm TH Route 66, 7:30pm TU Emerald City Jazz Orchestra, 8pm BC Live Jazz with Adam Kessler, Phil Sparks, TU Bill Anschell Standards Trio, 7:30pm and guests, 9pm WEDNESDAY, JANUARY 9 EB Eric Verlinde, 6pm SUNDAY, JANUARY 6 CI Swing It Seattle Dance Class Series, ES Alexey Nikolaev, 8pm AB Jazz at the Beaver with Max Holmberg and 6:45pm ES Daniel Davison, 6pm the 200 Trio, 9pm EB Eric Verlinde, 6pm JA Pearl Django – Celebrating 25 Years!, CI Swing It Seattle Dance Class Series, ES Daniel Davison, 6pm 7:30pm 6:45pm JA Kat Edmonson, 7:30pm OS Jonas Myers, 7pm CM The Joe Baque Trio, 12:30pm SB Danny Godinez, 10pm RR Bombazo with Grupo Bayano, 8pm CR Racer Sessions, 8pm SC Jared Hall Quintet, 7pm SB Super Jam, 10pm CZ Choro Music Open Jam Hosted By Stuart TD Paris Combo, 7:30pm SY Mel Brown Trio, 7pm Zobel, 2pm TU Kent Meridian High School opening for Jim TU Clipper Anderson Quartet, 7:30pm DT Darrell’s Tavern Jazz Jam, 8pm Sisko’s Bellevue College Jazz Orchestra, FRIDAY, JANUARY 4 EB Tom Kellock, 6pm 7:30pm CO Space Is the Place Festival featuring Sun Ra ES Eric Verlinde joined by Josephine Howell at THURSDAY, JANUARY 10 Arkestra, 7pm 7pm, 6pm BC Live Jazz with Adam Kessler, Phil Sparks, CZ Jazz First Fridays, 7:30pm FB Seattle Jazz Vespers: Brent Jensen Quartet, and guests, 9pm EB Tom Kellock, 6pm Paul Desmond Tribute, 6pm CM Bellevue School District Jam Session, ES Daniel Davison, 6pm JA Nearly Dan, 7:30pm 6:30pm HS Michel Navedo and Brazil Novo, 7pm RR The Elnah Jordan Experience ft. Eric EB Eric Verlinde, 6pm JA Nearly Dan, 7:30pm, 9:30pm Verlinde, 4:30pm ES Alexey Nikolaev, 8pm LA Happy Hour Jazz w/ Phil Sparks, 5pm TU Brian Monroney Quartet with Alexey ES Daniel Davison, 6pm MQ The Shady Bottom, 9pm Nikolaev, Dean Schmidt, Ben Smith, TH Chris Stevens Band, 7:30pm 7:30pm JA Peter White, 7:30pm TU Jovino Santos Neto Quinteto, 7:30pm OS Alex Guilbert, 7pm MONDAY, JANUARY 7 SE Art of Jazz: Kate Olson Quartet, 5:30pm SATURDAY, JANUARY 5 CC Cider Jam Mondays, 9:30pm SY Mel Brown Trio, 7pm CM Portage Bay Big Band, 7pm EB Tom Kellock, 6pm TD Paris Combo, 7:30pm

Calendar Key

AB The Angry Beaver DT Darrell’s Tavern NL Nectar Lounge BC Barca EB El Gaucho Bellevue OS Osteria la Spiga BP Bake’s Place Bellevue ES El Gaucho Seattle RE Resonance at SOMA Towers CC Capitol Cider FB Seattle First Baptist Church RR The Royal Room CF Caffe Musica HS Hotel Sorrento SB Seamonster Lounge CH Chapel Performance Space JA Dimitriou’s Jazz Alley SC WJMAC at Sylvia Center for the Arts CI China Harbor LA Latona Pub SE Seattle Art Museum CM Crossroads Bellevue MQ The Triple Door Musicquarium SW Stone Way Cafe CN Craft 19 Espresso + Creperie MT Mac’s Triangle Pub SY Salty’s on Alki CO Columbia City Theater MV Marine View Church TD Triple Door CR Cafe Racer NC North City Bistro & Wine Shop TH Third Place Commons CZ Couth Buzzard Books NE Neumos TU Tula’s

20 • EARSHOT JAZZ • January 2019 TU Alex Monfort Trio with Matt Jorgensen & JA Martin Taylor and Laurence Juber, 7:30pm Michael Glynn, 7:30pm RR Piano Starts Here: The Music of Gene Harris/Oscar Peterson – Moving The Blues CURTAIN CALL FRIDAY, JANUARY 11 Forward, 7:30pm CM The Blueprints Trio, 7pm weekly recurring performances EB Tom Kellock, 6pm THURSDAY, JANUARY 17 ES Daniel Davison, 6pm BC Live Jazz with Adam Kessler, Phil Sparks, JA Peter White, 7:30pm, 9:30pm and guests, 9pm MONDAY LA Happy Hour Jazz w/ Phil Sparks, 5pm ES Alexey Nikolaev, 8pm NL Robert Walter’s 20th Congress with OG ES Daniel Davison, 6pm CC Cider Jam Mondays, 9:30 McTuff, 8pm JA An Evening with Chris Botti, 7:30pm, SW 5 Feet Up!, 7pm 9:30pm EB Tom Kellock, 6 TU Stephanie Porter Quintet, 7:30pm NC Brent Jensen Trio, 7pm NE SIMF Presents: Bad Luck + Crystal Beth & ES Eric Verlinde, 6 SATURDAY, JANUARY 12 the Boom Boom Band, 7pm CM Mercy Merci, 7:30pm OS Jonas Myers, 7pm NL Mo’ Jam Mondays, 7:30 EB Frank S. Holman III, 6pm RE The Jay Thomas Sextet, 7:30pm ES Daniel Davison, 6pm SB Jazz Abbey, 8pm TUESDAY HS Jaqueline Tabor, 7pm SY Mel Brown Trio, 7pm JA Peter White, 7:30pm, 9:30pm TU Thomas Marriott Quintet, 7:30pm NC Johnny Pinetree & the Yellin’ Degenerates, ES Daniel Davison, 6 8pm FRIDAY, JANUARY 18 OS Walking Hat Trio, 8pm CF Jamie Maschler and Ann Reynolds, 7pm SB 5 Stories Jazz, 8 RR Alma y Azucar with SuperSones Quinteto, CR Racer Sessions, 8pm SB Joe Doria Presents, 9:30 8pm EB Tom Kellock, 6pm RR WinterSongs: A Vocal Showcase, 4:30pm ES Daniel Davison, 6pm TH Kings of Swing, 7:30pm JA An Evening with Chris Botti, 7:30pm, WEDNESDAY TU Abouzied Coe Kennedy Erskine, 7:30pm 9:30pm LA Happy Hour Jazz w/ Phil Sparks, 5pm ES Daniel Davison, 6 SUNDAY, JANUARY 13 MQ Happy Orchestra Trio, 8:30pm AB Jazz at the Beaver with Max Holmberg and TH Island Jazz Quintet, 7:30pm THURSDAY the 200 Trio, 9pm TU Marc Seales Band, 7:30pm CI Swing It Seattle Dance Class Series, BC Adam Kessler & Phil Sparks, 9 6:45pm SATURDAY, JANUARY 19 CR Racer Sessions, 8pm EB Frank S. Holman III, 6pm ES Daniel Davison, 6 CZ Open Jazz Jam with Kenny Mandell, 2pm ES Daniel Davison, 6pm DT Darrell’s Tavern Jazz Jam, 8pm HS Delilah Pearl and the Mantarays, 7pm ES Alexey Nikolaev, 8 EB Tom Kellock, 6pm JA An Evening with Chris Botti, 7:30pm, ES Eric Verlinde joined by Josephine Howell at 9:30pm SY Mel Brown Trio, 7 7pm, 6pm OS Hopscotch Trio, 8pm JA Peter White, 7:30pm TH Portage Bay Big Band, 7:30pm FRIDAY MV A Tribute to Jobim, 5pm TU Greta Matassa Quintet, 7:30pm TU Richard Cole Quartet, 7:30pm SUNDAY, JANUARY 20 EB Tom Kellock, 6 MONDAY, JANUARY 14 AB Jazz at the Beaver with Max Holmberg and ES Daniel Davison, 6 CC Cider Jam Mondays, 9:30pm the 200 Trio, 9pm EB Tom Kellock, 6pm CI Swing It Seattle Dance Class Series, LA Happy hour w/ Phil Sparks, 5 ES Eric Verlinde, 6pm 6:45pm JA John Sebastian, 7:30pm CR Racer Sessions, 8pm SATURDAY MT Jazz Night, 9pm CZ Music Improv Session w/ Kenny Mandell, NL Mo’ Jam Monday, 7:30pm 7pm EB Frank S Holman III, 6 TUESDAY, JANUARY 15 DT Darrell’s Tavern Jazz Jam, 8pm EB Tom Kellock, 6pm ES Daniel Davison, 6 CI Swing It Seattle Class Social Party, 8:45pm ES Eric Verlinde joined by Josephine Howell at ES Daniel Davison, 6pm 7pm, 6pm JA Martin Taylor and Laurence Juber, 7:30pm JA An Evening with Chris Botti, 7:30pm, SUNDAY SB 5 Stories, 8pm 9:30pm SB Joe Doria Presents, 9:30pm TU Milo Petersen, Steve Griggs, Jay Thomas, AB Beaver Sessions, 9 SC Roy McCurdy with Cory Weeds, 7pm 7:30pm TD The Levin Brothers, 7:30pm CR Racer Sessions, 8 TU Carrie Wicks Quintet with Bill Anschell, MONDAY, JANUARY 21 Jeff Johnson, D’Vonne Lewis, Brent Jensen, CC Cider Jam Mondays, 9:30pm DT Darrell’s Tavern Jazz Jam, 8 7:30pm EB Tom Kellock, 6pm EB Tom Kellock, 6 WEDNESDAY, JANUARY 16 ES Eric Verlinde, 6pm MT Jazz Night, 9pm ES Eric Verlinde with Josephine CI Swing It Seattle Dance Class Series, NL Mo’ Jam Monday, 7:30pm 6:45pm Howell, 6 ES Daniel Davison, 6pm

January 2019 • EARSHOT JAZZ • 21 TUESDAY, JANUARY 22 ES Daniel Davison, 6pm NC Duende Libre, 8pm JA WAR, 7:30pm OS New Age Flamenco Trio, 8pm CI Swing It Seattle Class Social Party, 8:45pm OS Scotty Bemis, 7pm TH The SOS Jazz Nonet, 7:30pm ES Daniel Davison, 6pm SB DX-TET, 8pm TU Susan Pascal Quartet with Bill Anschell, JA Jeff Kashiwa & Coastal Access, 7:30pm SY Mel Brown Trio, 7pm Chuck Deardorf, Mark Ivester, 7:30pm SB 5 Stories, 8pm TU Jared Hall, 7:30pm SB Joe Doria Presents, 9:30pm SUNDAY, JANUARY 27 TU David Marriott’s Triskaideka-Band, 7:30pm FRIDAY, JANUARY 25 AB Jazz at the Beaver with Max Holmberg and WEDNESDAY, JANUARY 23 EB Tom Kellock, 6pm the 200 Trio, 9pm ES Daniel Davison, 6pm CI Swing It Seattle Dance Class Series, CI Swing It Seattle Dance Class Series, JA WAR, 7:30pm 6:45pm 6:45pm LA Happy Hour Jazz w/ Phil Sparks, 5pm CR Racer Sessions, 8pm ES Daniel Davison, 6pm NC Stephanie Porter Quartet, 8pm CZ Open Jazz Jam with Kenny Mandell and JA Jeff Kashiwa & Coastal Access, 7:30pm TH Ranger and the Re-Arrangers, 7:30pm friends, 2pm NC Ron Weinstein Trio, 7pm TU Alex Dugdale Fade Quartet, 7:30pm DT Darrell’s Tavern Jazz Jam, 8pm SC Milo Petersen Quartet, 7pm EB Tom Kellock, 6pm TU ph Factor Big Band, 7:30pm SATURDAY, JANUARY 26 ES Eric Verlinde joined by Josephine Howell at THURSDAY, JANUARY 24 CO Giordano Productions presents André 7pm, 6pm Mehmari Trio, 8pm BC Live Jazz with Adam Kessler, Phil Sparks, JA WAR, 7:30pm EB Frank S. Holman III, 6pm and guests, 9pm TU Xavier Lecouturier, 7:30pm ES Daniel Davison, 6pm ES Alexey Nikolaev, 8pm JA WAR, 7:30pm, 9:30pm

Open to All - Free

th Season 15

Sunday, January 6, 6 pm

Brent Jensen Quartet Paul Desmond Tribute Brent Jensen, alto sax Jamie Findlay, guitar Chris Symer, bass Stefan Schatz, drums

SAVE THE DATE: February 10 Jake Bergevin Quartet 100 Minutes of professional jazz Family friendly concert / Free parking Seattle First Baptist Church 1111 Harvard Avenue (Seneca and Harvard on First Hill) Seattle, WA (206) 325-6051

www.SeattleJazzVespers.org/GO/SJV

22 • EARSHOT JAZZ • January 2019 MONDAY, JANUARY 28 CC Cider Jam Mondays, 9:30pm ON THE RADIO EB Tom Kellock, 6pm ES Eric Verlinde, 6pm  MT Jazz Night, 9pm 88.5 KNKX NL Mo’ Jam Monday, 7:30pm hosts Saturday Jazz at 7pm, Straight No Chaser with Matinee, Jazz Sunday Side Up, Ken David Utevsky at 9pm, Giant Steps TUESDAY, JANUARY 29 Wiley’s the Art of Jazz, and Jazz with John Pai at 11pm, and The CI Swing It Seattle Class Social Party, 8:45pm ES Daniel Davison, 6pm Northwest, in addition to its week- Shape of Modern Jazz with Gordon JA Peter Bernstein, Larry Goldings & Bill day NPR and late-night and prime- Todd at 1am Tuesdays. Shows can Stewart, 7:30pm time jazz programs. Full schedule be streamed anytime at kbcs.fm. NC Songwriter Showcase, 7pm SB 5 Stories, 8pm and info at knkx.org. 91.7 KSVR Mount Vernon, SB Joe Doria Presents, 9:30pm Abe Beeson hosts The New Cool, Doctor Dee hosts two nights of TU Critical Mass Big Band, 7:30pm Saturdays, 3pm, featuring 21st cen- jazz, Fourth Corner Jazz, featuring WEDNESDAY, JANUARY 30 tury jazz inspired and informed by recordings of live performance in CI Swing It Seattle Dance Class Series, the sounds of today, hip-hop, funk, Northwest Washington, Sundays, 6:45pm electronic & punk rock, followed by 6-7pm, and The Doctor’s Den, ES Daniel Davison, 6pm JA Peter Bernstein, Larry Goldings & Bill Robin Lloyd’s Jazz Caliente, 5pm, Mondays, 8-10pm. Stewart, 7:30pm where jazz meets Latin rhythms. 102.9 KLOI-LP Lopez Island, SB Cole Schuster , 10pm Jim Wilke’s Jazz Northwest, Sun- Mondays & Fridays, 3pm, Joy SC Mike Allen Quartet featuring Miles Black, days, 2pm, features the artists and Spring with Gary Alexander, classic 7pm TU Axiom Quartet, 7:30pm events of the regional jazz scene. For jazz and the Great American Song- THURSDAY, JANUARY 31 JazzNW podcasts of archived pro- book. BC Live Jazz with Adam Kessler, Phil Sparks, grams, see jazznw.org. Hollow Earth Radio, and guests, 9pm 90.3 KEXP, late-night Sundays, hollowearthradio.org. Fridays at BP The Darelle Holden Duo, 8pm features Jazz Theater with John Gil- 6pm, biweekly, Black Roots Ra- CH Sara Schoenbeck and Wayne Horvitz Duo, breath, 1am. Full schedule informa- dio, hosted by Jordan Leonard, 8pm ES Alexey Nikolaev, 8pm tion is available at kexp.org. promotes jazz as a dynamic genre ES Daniel Davison, 6pm 91.3 KBCS, features creative and rooted in the Black American expe- JA Sara Gazarek + HORNS Seattle-Only New improvised music on Flotation De- rience. Album Preview!, 7:30pm NC Night-N-Gale w/Carrie Wicks, 7pm vice with John Seman and Jona- Rainier Avenue Radio, RR Bad Luck // Matrio // Twin Talk, 8pm than Lawson, Sundays at 10pm. rainieravenueradio.world. Mondays SB Circling Drones, 8pm The Monday night lineup includes and Sundays at 10pm, #MoJam- SY Mel Brown Trio, 7pm TU Ana Velinova “Could It Be” CD Release, The Caravan with John Gilbreath Mondays from the Nectar Lounge. 7:30pm

January 2019 • EARSHOT JAZZ • 23 NON-PROFIT ORG EARSHOT JAZZ U.S. POSTAGE Society of Seattle PAID 3429 Fremont Place N, #309 PERMIT No. 14010 Seattle, WA 98103 SEATTLE, WA A Mirror and Focus for the Jazz Community January 2019 Vol. 35, No. 01 EARSHOT JAZZSeattle, Washington Change Service Requested

Kate Olson Photo by Daniel Sheehan KATE OLSON PHOTO BY DANIEL SHEEHAN

IN THIS ISSUE... A $35 basic membership in Earshot brings the newsletter to your door and entitles you to Letter from the Director: New Year’s Revolutions____ 2 EARSHOT JAZZ discounts at all Earshot events. Your member- MEMBERSHIP Notes______3 ship also helps support all our educational programs and concert presentations. Golden Ear Nominations______4 Type of membership In Memoriam: Samia Panni______4 Individual ($35) Additional tax-deductible donation ______In Memoriam: Paul Hoskin______5 Household ($60) Patron ($100) Sustaining ($200) In Memoriam: Perry Robinson______5 Other Sr. Citizen – 30% discount at all levels In Memoriam: Mark Sampson______6 Canadian subscribers please add $5 additional postage (US funds) Roots: Seattle Drummer Bill Kotick______7 Regular subscribers – to receive newsletter 1st class, please add $10 Profile: Kate Olson: Embracing an Ocean of for extra postage Possibilities______8 Contact me about volunteering Preview: Recurring Jazz Series______10 ______NAME Preview: Pearl Django: Celebrating 25 Years of Hot ______Jazz ______15 ADDRESS

Preview: WHSS Duo: Wayne Horvitz and Sara ______Schoenbeck______16 CITY/STATE/ZIP

For the Record______18 ______PHONE # EMAIL Jazz Around the Sound______20 ______On the Radio______23 Earshot Jazz is a nonprofit tax-exempt organization. Ask your employer if your company has a matching gift program. It can easily double the value of your membership or donation. Mail to Earshot Jazz, 3429 Fremont Pl N, #309, Seattle, WA 98103