Drew Gress, Artistic Integrity, and Some Kind of Accep- Portunity to Engage Visiting Artists and Craig Taborn, Tim Berne Tance, Even Within Its Own Mainstream

Welcome to the 2006 Earshot Jazz Festival This year, “Seattle’s most important in three-day residency with the Seattle Roosevelt High School Band shares a bill annual jazz event” includes more than Repertory Jazz Orchestra that includes with the Ted Nash Quintet. 60 events over 18 days between October open rehearsals and workshops as well Th e Earshot Jazz Festival is by far the 19 and November 5. With more than as two concerts. biggest undertaking of the Earshot Jazz 200 artists participating, from around Once again, we’ll feature Seattle’s award- organization, but it is far from our only the world and around our city, this year’s winningest high-school jazz ensembles in activity. We present our own concerts event off ers as much as any of its prede- mainstage concerts with special guest throughout the year, collaborate on con- cessors to music lovers of the Seattle area. artist. Guest artists who have rehearsed cert presenting initiatives like SAM’s Art Th e festival includes main stage concerts, and performed with Garfi eld and Roos- of Jazz, the Anacortes Jazz Festival, and, club dates, meet-the-artist receptions, evelt High School Bands in the past have coming up, EMP’s Jazz in January. We jazz fi lms, and plenty of opportunities included saxophonists Ravi Coltrane publish the monthly Earshot Jazz news- for all fans of all ages to learn a bit more and Joshua Redman and New Orleans letter, and work to provide educational about the music and the musicians. trumpeter Nicholas Payton. Th is year, opportunities and advancements to the We’re excited about this festival. With tenor-sax legend David “Fathead” New- fi eld. We also present an awards program so many events on the schedule, I’ll leave man joins the Garfi eld High School Jazz each year to recognize the achievements you to browse the full lineup that follows, Band in a tribute to Ray Charles while of Seattle’s jazz artists. but I do want to highlight a few special continued on page 3 programs. Th e Earshot Jazz festivals are known for celebrating the continuum of jazz around the world while shining a most positive light on Seattle’s place in the global jazz community. One of the ongoing themes in all of our festivals is to honor the legends of Seattle October 20, 2006 Jazz – past, present, and future. We are pleased to join members of Seattle Mayor Greetings! Greg Nickel’s Offi ce and the Seattle City Council at noon on October 19th for a On behalf of the citizens of Seattle, it is my pleasure to welcome you to the free, kick-off concert with a “double trio” 2006 Earshot Jazz Festival! of artists from Seattle and Japan lead by Since 1984, the Earshot Jazz Festival has become Seattle’s biggest, and Jay Th omas. according to Down Beat magazine, most important celebration of jazz music Th is year we also celebrate a relatively in our city. This festival attracts some of the finest musicians from around the recent part of Seattle’s rich jazz history world and highlights some amazing local talent as well. This year, Earshot will with a look at the club scene of the 90’s feature more than 200 artists and numerous jazz education events throughout (that’s the 1990’s) with guitarist Brian the Seattle area. Nova. In collaboration with Town Hall we honor one of Seattle’s true originals, The City of Seattle is proud to open the 2006 Earshot Jazz Festival at City Stuart Dempster. We are also pleased to Hall with a free performance by Seattle trumpeter Jay Thomas and the East/ welcome back Seattle jazz heroes, Chris West Double Trio. Festival highlights include local jazz greats such as Wayne Horvitz, Bill Frisell, Marc Seales and Tom Varner, and out-of-town guests Speed, Jim Black, and Andrew D’Angelo including Wynton Marsalis, Toshiko Akiyoshi, Cyrus Chestnut and Dr. Lonnie for special concerts. Smith. Earshot festivals present many of the most important established and emerging Seattle has a very rich and dynamic jazz history and I am proud to be mayor of artists in jazz. Th is year’s festival presents a city that truly appreciates the value of arts and culture. Thank you for joining the original works of three artist/en- me in celebrating one of the region’s finest festivals and recognizing that art, in sembles (Michele Rosewoman, Drew all its forms, plays a significant role in our community. Gress, and Kamikaze Ground Crew) generated by important commissions Sincerely, from Chamber Music America. We also honor the elders of the art form. Th is year we continue our practice of presenting NEA Jazz Masters program by welcom- GREG NICKELS ing the great Jimmy Heath, who will be Mayor of Seattle

2 • Earshot Jazz • October 2006 This year’s festival also includes our new In well over 1,400 concert presenta- for the Arts, Chamber Music America program, Jazz: the Second Century. This tions Earshot Jazz has demonstrated an and the Doris Duke Charitable Founda- Earshot Jazz initiative began earlier this absolute commitment to creative quality tion. This year we are pleased to welcome year with a series of focus groups, and will – whether young or old, local or national, the Raynier Institute and Foundation’s continue through the festival with panel straight-ahead, or avant-garde. Our No Wasted Notes as a major festival discussions and programs that look to concert presentations honor the progres- sponsor. Thanks also to Steve Peters and the future of jazz. Supported initially by sion of the art form, whether through Nonsequitur. And thanks to our com- 4Culture, this special project will influ- reinvention and bold experimentation munity partners, the Roosevelt Hotel, the ence our direction in the years to come. or through creative collisions with other MarQueen Hotel, the Seattle WEEKLY, Earshot Jazz is celebrating 22 years music of the world. We are very grateful and Triamp Productions. Thanks to to the owners and staff at the Triple Door the participating radio stations KPLU, of service to the artists, audiences, and and Tula’s Restaurant and Nightclub for KBCS, and KEXP, and to Bud’s jazz students of jazz and improvised music in their enthusiastic welcome of Earshot Records, Wall of Sound, and Easy Street the Seattle area. Earshot was founded as festival events. We are also pleased to be records. Also, thanks to the many volun- a newsletter in 1984 and incorporated as back at On The Boards for several of our teers who help us each year. the non-profit 501(c)(3) Earshot Jazz So- presentations. Most of all, thanks to you, the listen- ciety of Seattle soon thereafter, branching Thanks to our collaborators: Northwest ing, concert going, audience. Give us out to educational programs and concert Film Forum, the Seattle Repertory Jazz your feedback. Let’s keep jazz alive presentations. We’ve been distributing Orchestra, Town Hall Seattle, and Cor- and thriving in Seattle and the Pacific the Earshot Jazz newsletter in the area, nish College of the Arts. Northwest! free of charge each month, and have We express our gratitude to major Welcome to the 2006 Earshot Jazz enriched the region with many, many funders such as the Paul G. Allen Family Festival, enjoy! memorable concerts. Foundation, the National Endowment – John Gilbreath, Executive Director Jazz: The Second Century Jazz has been called “America’s greatest arts and culture agency, Earshot Jazz has Monday, October 30th, time tba gift to world culture.” Jazz is complex, initiated a series of focus groups, panel Poncho Concert Hall with Andrew and, at it’s best, always in some discern- discussions, lectures, and workshops D’Angelo, Hilmar Jensson & Jim Black ible motion. Inherent in its imperative called Jazz: The Second Century. Tuesday, October 31, 6:30pm for re-invention is the tension between The Earshot Jazz Festival offers an op- Poncho Concert Hall with Drew Gress, artistic integrity, and some kind of accep- portunity to engage visiting artists and Craig Taborn, Tim Berne tance, even within its own mainstream. a larger audience in the discussions. We That tension has fueled contention invite you to participate. Here is a sched- Sunday, November 5, 12:30pm within the field over a variety of issues, ule of free, open panels and interviews to Seattle Asian Art Museum with including: exact definitions of jazz, the be held during the upcoming festival. We Michael Schiefel interviewed on Jazz in historical context versus the future of jazz, hope you can join us. Europe racial issues in jazz, and considerations of Monday, October 23, Noon Additional educational programs: jazz education. Poncho Concert Hall Within the 22 years of Earshot’s work Matthew Shipp and Gust Burns The Rashied Ali Quintet will conduct in the King County area, the art form, a workshop with the Roosevelt High Saturday, October 28, 6:30pm and the realities of supporting it, have School jazz band. changed. In order to more effectively On The Boards, with John Hollenbeck, Drew Gress, & Chris Speed serve our constituents, and the art form The Ted Nash Quintet will conduct a in general, we plan to address some of the Sunday, October 29, 6:30pm workshop with the Roosevelt and Gar- issues in coming months and share wis- On The Boards field High School jazz bands. dom we’ve gained with the field. Through Kahil el Zabar and Billy Bang a grant from 4Culture, King County’s

Inside this issue... Cover Photo by Daniel Sheehan Festival Introduction ______2 Preview of Festival Events ______9-49 Earshot Jazz Films ______21 Jazz: The Second Century ______3 What I’m really looking Monktail’s Raymond Scott Project ______30 Tickets and Information ______5 forward to ______10, 12, 14, 16 Notes ______51 Festival Quick Reference Guide ______6 Interview with Matthew Shipp ______17 In One Ear ______51 Photography Exhibits ______7 Art Installation by Paul Rucker ______18 Jazz Calendar ______52

October 2006 • Earshot Jazz • 3 To the sponsors, staff, and over 70 volunteers who make the NEA Jazz Masters Thank You! Earshot Jazz Festival possible. on Tour MAJOR SUPPORT The National Endowment for the Arts has supported jazz artists and organiza- tions since 1970, providing millions of dollars in grants and awards. In 2004, the NEA signiﬁcantly expanded its NEA Jazz Masters program and in 2005 created the NEA Jazz Masters Initiative, a comprehensive program of jazz support that includes the NEA Jazz Masters Award, a 50-state NEA Jazz Masters tour with performances and educational activities, television and radio programming featuring NEA Jazz Masters, a compilation CD NESHOM FAMILY produced by Verve Music Group, and FOUNDATION educational resources through the NEA Jazz in the Schools program. NEA Jazz Masters on Tour is part of the NEA Jazz Masters Initiative, a comprehensive program of support for jazz artists, audiences, presenters, and students. NEA Jazz Masters on Tour is a �� series of presentations featuring NEA Jazz Masters in performances, educational SPONSORS IN-KIND activities, and/or speaking engagements

CDS, DVDS D & for audiences in all 50 states beginning E R S E U C & O R W D E S N June 1, 2005 and extending to December

2006. NEA Jazz Masters on Tour is an initiative of the National Endowment for the Arts sponsored by Verizon in partnership with Arts Midwest. Additional support is provided by the Doris Duke Charitable Foundation through a grant to Chamber INNat Music America. QUEEN ANNE

FESTIVAL STAFF John Gilbreath Executive Director

Fred Gilbert Karen Caropepe Peter Lucas Production Manager Program Manager Film Curator Rex Munger Josie Holtzman Susan Pascal Production Assistant Program Assistant Festival Web Site Genesee Adkins danielsheehan.com Dan Mortensen Volunteer Coordinator Festival Photography Sound Technician Peter Monaghan Carl Lierman Lola Pedrini Copy and Editing Poster and Brochure Design Everything Else 4 • Earshot Jazz • October 2006 EARSHOT J A Z Z Tickets and Information A Mirror and Focus for the Jazz Community October 2006, Vol. 22, No. 10 FESTIVAL HOTLINE: (206) 547-9787

Executive Director: John Gilbreath www.earshot.org Earshot Jazz Editor: Peter Monaghan Contributing Writers: Andrew Bartlett, Tickets Join Earshot Jazz Today! Paul Harding, Josie Holtzman, Peter Tickets for the Earshot Jazz Festival are • For discount admission to all jazz- Monaghan, Lloyd Peterson festival events and other Earshot on sale through Earshot Jazz, all Tick- concerts through out the year Photography: Daniel Sheehan etMaster locations, Bud’s Jazz Records • For a year’s subscription to Earshot Layout: Karen Caropepe in Pioneer Square, and Wall of Sound Mailing: Jazz’s nationally respected newslet- Lola Pedrini on Capitol Hill. Program Manager: Karen Caropepe ter, which Jazz Times calls “consis- Intern: Josie Holtzman • Tickets for The Triple Door are tently world class” Calendar Information: available in advance at (206) 838- • To join Earshot Jazz in its many mail to 3429 4333 and at www.thetripledoor. Fremont Place N #309, Seattle WA educational programs and jazz-sup- net. Full dinner menu available. port activities 98103; fax to (206) 547-6286; or email Late shows at The Triple Door are [email protected] 21+only. Sites and Addresses Board of Directors: Fred Gilbert • Tula’s shows are not available in ad- Venues are located in Seattle unless (president), Paul Harding (vice- vance. Please call (206) 443-4221 president), Lola Pedrini (treasurer), otherwise noted. Venue info and maps for reservations and buy tickets at at www.earshot.org. Genesee Adkins, George Heidorn, Taina the door. Full dinner menu avail- Honkalehto, Hideo Makihara, Thomas able. Kirkland Performance Center Marriott, Margret Truax 350 Kirkland Ave, Kirkland • Tickets for the Nordstrom Recital Earshot Jazz is published monthly by Hall concerts are also available at Langston Hughes Cultural Arts Earshot Jazz Society of Seattle and is the Benaroya Hall box office. available online at www.earshot.org. Center 104 17th Ave S (at Yesler) Subscription (with membership): $35 Discounts Meany Hall 3429 Fremont Place N #309 UW Campus, 4104 15th Avenue NE Seattle, WA 98103 T: (206) 547-6763 Earshot members, seniors, and students Nectar Lounge F: (206) 547-6286 receive a discount. 1412 N 36th Street (Fremont) Ticket packages (available only through Northwest Film Forum 1515 Earshot Jazz ISSN 1077-0984 the Earshot Jazz office): Printed by Pacific Publishing Company. 12th Ave (between Pike and Pine) ©2006 Earshot Jazz Society of Seattle • Save 10% when you buy tickets to Nordstrom Recital Hall at five separate concerts Benaroya Hall 200 University St • Save 15% when you buy tickets to On the Boards eight separate concerts Earshot Jazz 100 W Roy Street Mission Statement Jazz Festival Gold Card Paramount Theatre Earshot Jazz is a non-profit arts A special pass is available for entrance 911 Pine Street and service organization formed in to all festival events (except Marsalis). PONCHO Concert Hall Cornish 1986 to cultivate a support system Available only through Earshot: $350 College of the Arts, 710 E Roy for jazz in the community and to general, $300 members. Benefits: increase awareness of jazz. Earshot Seattle Asian Art Museum Jazz pursues its mission through • More than 30% savings 1400 E Prospect Street publishing a monthly newsletter, • Preferred seating for most events Seattle City Hall presenting creative music, providing educational programs, identifying and • An Earshot Jazz T-shirt 600 4th Avenue filling career needs for jazz artists, • Entry to all festival concerts (except The Triple Door 216 Union (be- increasing listenership, augmenting Marsalis); reservations required for neath Wild Ginger at 3rd) and complementing existing services Tula’s and The Triple Door and programs, and networking with Town Hall 1119 8th Ave (at Seneca) the national and international jazz • Invitation to meet-the-artist recep- Tula’s Restaurant & Nightclub tions community. 2214 2nd Avenue

October 2006 • Earshot Jazz • 5 Festival At-A-Glance

Thursday, October 19 Manuel Valera Trio Toshiko Akiyoshi Tula’s, 8:30pm Seattle Asian Art Museum, 8pm Jay Thomas & East/West Double Trio $12 general; $10 members/discount $20 general; $18 members/discount City Hall, noon, free Tuesday, October 24 Bill Anschell Friday, October 20 Tula’s, 8:30pm Rashied Ali Quintet $12 general; $10 members/discount Wayne Horvitz Gravitas Quartet Triple Door, 7pm & 10pm Saturday, October 28 Odeon String Quartet featuring Bill $20 general; $18 members/discount Frisell Kayhan Kalhor & Erdal Erzincan Bobby Hutcherson Quartet Triple Door, 7pm & 10pm On The Boards, 8pm Triple Door, 7pm & 10pm $20 general; $18 members/discount $20 general; $18 members/discount $24 general; $22 members/discount Jay Thomas & East/West Double Trio Manuel Valera Trio Dawn Clement Trio Tula’s, 8:30pm Tula’s, 8:30pm Tula’s, 8:30pm $12 general; $10 members/discount $12 general; $10 members/discount $12 general; $10 members/discount Saturday, October 21 Wednesday, October 25 John Hollenbeck’s Claudia Quintet Monktail Creative Music Concern’s Wynton Marsalis Quartet Larry Coryell Raymond Scott Project Paramount Theatre, 8pm Triple Door, 7pm & 10pm On The Boards, 8pm Contact TicketMaster/Paramount box $22 general; $20 members/discount $18 general; $16 members/discount oﬃce for prices Michele Rosewoman’s Quintessence Sunday, October 29 Matmos / Walter Kitundu On The Boards, 8pm Triple Door, 8pm $20 general; $18 members/discount Lionel Loueke Trio $20 advance / $25 day of show Roberta Piket / Billy Mintz Trio Triple Door, 7pm & 10pm $20 general; $18 members/discount Jay Thomas & East/West Double Trio Tula’s, 8:30pm Tula’s, 8:30pm $12 general; $10 members/discount Ritual Trio w/ Billy Bang $12 general; $10 members/discount On The Boards, 8pm Thursday, October 26 $18 general; $16 members/discount Sunday, October 22 Cyrus Chestnut Trio Big Neighborhood Garﬁeld High School Jazz Band Triple Door, 7pm & 10pm Tula’s, 8:30pm w/ David “Fathead” Newman $24 general; $22 members/discount $10 general; $8 members/discount Triple Door, 7pm & 10pm Nguyen Le - Tiger’s Tail Quartet Dempster Diving $20 general; $18 members/discount On The Boards, 8pm Town Hall, 2pm Manuel Valera Trio $20 general; $18 members/discount For tickets contact Brown Paper Tickets (800) 838-3006 Tula’s, 8:30pm Roberta Piket / Billy Mintz Trio $12 general; $10 members/discount Tula’s, 8:30pm Monday, October 30 $12 general; $10 members/discount Monday, October 23 Andrew Hill Quintet Friday, October 27 Allen Toussaint Triple Door, 7pm & 10pm $20 general; $18 members/discount Triple Door, 7pm & 10pm Brian Nova’s Seattle Showcase: “Way $24 general; $22 members/discount back in the ’90s” TYFT w/ Andrew D’Angelo, Jim Matthew Shipp / Gust Burns Triple Door, 7pm & 10pm Black, & Hilmar Jensson Poncho Concert Hall, Cornish $20 general; $18 members/discount Bling Cornish College, Poncho Concert Hall, College, 8pm Mavis Staples 8pm; $18 general; $16 discount $20 general; $18 members/discount Bernadette Bascom with Praise! (Also: free noon performance & discus- Meany Hall, 8pm Industrial Revelation sion, both musicians, Cornish.) Preferred: $28; $26 members/discount Tula’s, 8:30pm Regular: $22; $20 members/discount $10 general; $8 members/discount

6 • Earshot Jazz • October 2006 Tuesday, October 31 Victor Noriega Quintet Jimmy Heath w/ Seattle Repertory Tula’s, 8:30pm Jazz Orchestra Drew Gress $12 general; $10 members/discount Nordstrom (Benaroya) Recital Hall, Poncho Concert Hall, Cornish Kamikaze Ground Crew 7:30pm; $35; $33 members/discount College, 8pm Free workshop, Saturday 5pm, Langston Nectar, 8pm $18 general; $16 members/discount Hughes Performing Arts Center $18 general; $16 members/discount Tom Varner New Seattle Quintet George Colligan Trio Tula’s 8:30pm Friday, November 3 Tula’s, 8:30pm $10 general; $8 members/discount Django Reinhardt Festival $14 general; $12 members/discount Wednesday, November 1 Triple Door, 7pm & 10pm Sunday, November 5 $24 general; $22 members/discount Ted Nash Quintet Michael Schiefel Roosevelt High School Band Annette Peacock / Eric Barber Cham- ber Quartet Seattle Asian Art Museum, 2pm Triple Door, 7pm & 10pm $12 general; $10 members/discount $20 general; $18 members/discount Seattle Asian Art Museum, 8pm $16 general; $14 members/discount Jimmy Heath w/ Seattle Repertory Rochelle House w/ Marc Seales Trio George Colligan Trio Jazz Orchestra Tula’s 8:30pm Kirkland Performance Center, 3pm $10 general; $8 members/discount Tula’s, 8:30pm $14 general; $12 members/discount $35; $33 members/discount Thursday, November 2 Marc Seales Group Saturday, November 4 Tula’s, 8:30pm Dr. Lonnie Smith Trio w/ Fred Wesley $12 general; $10 members/discount Triple Door, 7pm & 10pm Ana Moura $25 general; $24 members/discount Triple Door, 7pm & 10pm Jason Moran & Bandwagon $24 general; $22 members/discount Triple Door, 7pm & 10pm $22 general; $20 members/discount

Jazz Photographs of Daniel Sheehan Earshot Jazz Films: Throughout the festival, Earshot presents two shows of the jazz photographs of Pulitzer Prize-winning photographer Daniel Sheehan, whose work often appears October 26-30 in these pages: at The Triple Door (216 Union),Jazz Photography Exhibit by Daniel Northwest Film Forum (NWFF) Sheehan – New Works; and, at Café Paloma (93 Yesler Way, Pioneer Square), Eyeshot presents the film component of Jazz, a collection of photos from previous Earshot Jazz Festivals. (Below, Sheehan’s the Earshot Jazz Festival, with new portrait of John Zorn, recent MacArthur Fellowship recipient.) documentaries on vaunted mystery vocalist Jackie Paris and Oscar Brown Jr; a recent one on piano maverick Cecil Taylor; a selection of jazz performances ﬁrst seen on American and European television in the 1960s; and a rarely seen ﬁlm, Paris Blues, which attempted to explore racial, social, and aesthetic issues relating to jazz, with an appearance by Louis Armstrong and a classic score by Duke Ellington. KEXP 90.3FM and Easy Street Records are sponsoring the event. See www.nwfilmforum.org/cin- emas/earshot.php, and page 21.

October 2006 • Earshot Jazz • 7 8 • Earshot Jazz • October 2006 FESTIVAL EVENTS Thursday, October 19, City Hall, Noon, free Support provided by the City of Seattle, Mayor’s Offi ce of Arts and Culture Aff airs Pluggd Friday & Saturday, Oct. 20-21, Tula’s, 8:30pm $12 general; $10 members/discount Jay Thomas & East/West Double Trio www.pluggd.com/tag/jazz Seattle Mayor Greg Nick- els and other city leaders help to kick off the 2006 Find festival by welcoming three of Seattle’s fi nest jazz musicians teamed up with three Jazz of Japan’s best. The multihornman Jay Podcasts Th omas, fi xture and star of the Seattle scene, has long been among the most tal- www.pluggd.com/tag/jazz ented and popular of the city’s jazzmen. He has won best-instrumentalist titles at Earshot’s Golden Ear awards, and has recorded with Cedar Pluggd, Inc. Walton and Herb Ellis. While gigging in Nagoya, 122 S. Washington Street Japan, 10 years ago, he ran Seattle, WA 98104 into the tenor saxophon- From left: Yasuhiro Kohama, Jay Thomas, and Atsushi Ikeda www.pluggd.com ist, Yasuhiro Kohama. Th ey performed together, and hit Atsushi Ikeda, says Thomas, “is as it off . Th omas later toured with Kohama’s scary as they come on alto sax” and “has big band, and played smaller group dates absorbed all the great masters – Parker, with him. Trane, Rollins... But he is defi nitely his Th us began Th omas’s series of visits own man. He can play ballads as well to Japan, where he also met drummer as up-tempo numbers at a speed that Daisuke Kurata, who generally lives dogs have a hard time hearing.” He in New York, and is much in demand lived and worked in New York years ago there, and then alto saxophonist, Atsushi and recorded with Marcus Belgrave, the Ikeda. legendary Detroit trumpeter. “Atsushi In 2001, Kohama brought his big band, sits on the top of the heap of the Tokyo Continued in the Underground, to the jazz scene,” which boasts over 200 clubs, Earshot Festival, with huge success. Th omas says. Fortifi ed with a few Seattle stalwarts, Daisuke Kurata plays with organ groups they played one of the great runs in the in Harlem and just recorded a CD in festival’s history. Kohama, with his huge New York with Alan Farnham and Grady sound, can do justice to ballads à la Ben Tate guesting on vocals. He has also Webster as well as to modern, cutting- worked and performed there with jazz edge numbers. master Benny Golson, among others. He A year ago, Kohama, Kurata, and Ikeda attended the New School and recently came to Seattle to gig with Th omas, and traveled to Cuba to immerse himself in to woodshed with him. Seattle bass ace Afro-Cuban drumming. Phil Sparks and pianist John Hansen Th e Seattle-Japan jazz bond is growing, joined them. It became clear to all that and no wonder, given talented combos they should play on. like this.

October 2006 • Earshot Jazz • 9 What I’m Really Looking Forward to... Michael Monhart, saxophonist (Sunship)

Photo by Daniel Sheehan

Ritual Trio with Billy Bang: I’m going to this one for Ari Brown. He epitomizes the Chicago tough lyrical tenor sound, which he seamlessly integrates with the past-to-the-future aesthetics of the AACM. That is, he’s in and out with skill and creativity. He’s worth the price of admission to this show (even if there is a bit of wandering playing by the others) and it’s a rare treat to hear him in Seattle. Andrew Hill: only now getting his due, a rare blend of utterly fascinating compositions and superb playing. Dempster Diving: As a disclaimer, this is a show I’m participating in. But I’m looking forward to it because Stuart Dempster is the most virtuosic and creatively “play-full” musician I have ever encountered. His musical friendships and the people he has in- ﬂuenced span generations and genres and many will be on hand to honor a presence we are truly blessed to have in Seattle. There’s something for everyone in this dumpster! Annette Peacock/Eric Barber: I like her compositions, still, reﬂective but with angularity to give an edge. Not sure how they’ll be rendered but it’s worth the chance. Especially because it is also a chance to hear Eric Barber whose playing I really like.

10 • Earshot Jazz • October 2006 Friday, October 20, Triple Door, 7pm & 10pm Wayne Horvitz Gravitas Quartet Odeon String Quartet featuring Bill Frisell $20 general; $18 members/discount Welcomed by KBCS 91.3FM Community Radio

Photo of Bill Frisell by Michael Wilson takes in everything from New Orleans R&B to driving rock beats to classical been as assured when teamed with, say, avant-gardism; much of his output has blue-blooded American icons as varied been underpinned by jazz swing and as drummer Jim Keltner or saxophonist complexity, but he often stakes a claim as Joe Lovano, as when working with, say, a modern chamber composer of note. the stellar Malian percussionist Sidiki Horvitz is a consummate tunesmith, Camara. He has gathered around him clearly one who dances in his head and via collaborators of an astonishing range and the music of his various popular combos. always far-reaching imagination and skill. These have included his driving Pigpen His borderless voyaging will be amply on punk-jazz quartet in the mid-1990s; his show in this performance of Horvitz’s Meters-inspired Zony Mash, in electric enthralling piece. Crowning Wayne Horvitz’s merger of and acoustic versions; and his meditative Like the Kronos quartet, The Se- jazz, improvised, and chamber music, Four Plus One Ensemble, which includes attle-based odeonquartet– Gennady Gravitas teams his piano and electronics trombone veteran Julian Priester. Filimonov, violin; Heather Bentley, viola; with Peggy Lee’s cello, Ron Miles’s trum- Jennifer Caine, violin; and Page Smith, pet, and Sara Schoenbeck’s bassoon. Expansive guitarist, Bill Frisell, and cello – is committed to advancing 20th Horvitz has been, for well over a de- the Odeon String Quartet open each and 21st century composition of many, cade, a key presence in Seattle progres- show performing Horvitz’s These Hills of varied kinds, including new works and sive music, both as a performer and as a Glory. Bill Frisell is as convincing when unusual repertoire that weaves in threads mentor to a whole generation of Seattle playing within well-established jazz forms of tango, American prison blues, Per- jazz innovators who have made their as when mixing them with everything sian folk music, jazz, Russian orthodox mark here and, in impressive numbers, in else in the American musical inventory hymns, minimalism, European neo-ro- New York. He has championed a brand – and, increasingly, in any musical inven- manticism, and contemporary and folk of open-minded, open-eared jazz that tory to which he cares to travel. He has inﬂuences.

CJR-6: PORT OF SAINTS CJR-5: Remembrance Raymond Boni / Michael Bisio Joe McPhee / Michael Bisio Dominic Duval / Joe McPhee Raymond Boni / Paul Harding

Recorded at Chapelle Sainte Philomène, Recorded LIVE at the Puget-Ville, France 2001 Earshot Jazz Festival

Distributed by North Country Distributors: Cadence Building, Redwood, NY 13679-3104 Phone: 315-287-2852 Fax: 315-287-2860 Email: [email protected]

October 2006 • Earshot Jazz • 11 Saturday, October 21, Paramount Theatre, 8pm What I’m Really Looking Forward to... Wynton Marsalis Quartet $35-$75 Christopher Presented by STG, in collaboration with Earshot Jazz DeLaurenti, music Welcomed by KPLU critic Of course, the “big names” ex- cite me. Wynton Marsalis, who, despite his in- ability to under- stand the crucial, penultimate period of Miles Da- vis (1968-1975), is sure to dazzle; I hope saxophonist Lawrence Clark and trumpeter Jumaane Smith match the torrential drumming of Rashied Ali, whose duo gig with Sonny For- tune last year remains burned on my brain; and the tribute to Stuart The phenomenal trumpeter, bandleader, and composer presents an evening of Dempster (with seminal improvisor down-home and sophisticated swing with a new group. Marsalis has become, for and electronic-music pioneer Pauline many, the face of the legacy of jazz in modern times. He has certainly become the Oliveros!) should be a treat. most-recognized jazz artist in the world. He has produced 33 jazz and 11 classical Dempster’s UW concert earlier this records and sold more than seven million discs, including three certified gold records year, an homage to works he commis- – a mighty accomplishment for a jazz musician. He serves as artistic director for the sioned in the 1960s, was superb. Yet prestigious Jazz at Lincoln Center. He has won nine Grammy Awards, and is the no single evening could contain his first jazz musician ever to be honored with the prestigious Pulitzer Prize in Music multifarious, multi-decade activities as (for his epic 1997 recording, Blood on the Fields.) a composer, improvisor, and collabora- Wynton Marsalis is joined on stage by drummer Ali Jackson, bassist Carlos Hen- tor, so this commemoration is a very riquez, pianist Dan Nimmer and saxophonist Walter Blanding. welcome, deeply deserved sequel. Tickets: $35-$75 (plus service charges); online at www.theparamount.com, by phone I’m also enthusiastic about must-hear at 206-292-2787, at The Paramount (911 Pine St, downtown Seattle) and The Moore musicians including Toshiko Akiyo- Theatre box offices, and at Ticketmaster outlets. shi, Bobby Hutcherson, and Andrew Hill. But the “double bill” performances – pianists Matthew Shipp Monthly Jazz in The L.A.B. and Gust Burns; John Hollenbeck @ The Seattle Drum School and the Monktail’s Raymond Scott Project; and Annette Peacock and Eric Barber’s Chamber Quartet – hold the greatest interest for me. Those shows THE JIM KNAPP Geoff Harper Presents: will give additional exposure to tal- ORCHESTRA Last Mondays ented and adventurous local musicians EVERY FIRST every last Monday who often fly below the radar, paying MONDAY @7:30 pm www.lastmondays.com dues in compact venues and in front @ 8PM of sometimes sparse audiences. In addition, these pairings may spur the players to new heights. A Shipp and Burns duo as an encore? Roll out an 206.364.8815 - 12510 15th Ave NE - www.thelabatsds.com extra piano, I’m all ears! Saxophone, Trumpet, Trombone, Violin, Piano, Guitar, Bass, Drums

12 • Earshot Jazz • October 2006 Saturday, October 21, Triple Door, 8pm Matmos Walter Kitundu $20 advance / $25 day of show

Matmos – Martin C. Schmidt and Drew Daniel – blend and bend sonic found art derived from any imaginable object and situation into transporting electronica where improvisation and sonic architecture meet. Th eir output is like some muddle of the earth’s signals, randomly sampled from outer space, and then set to wicked beats. Th eir musical palette is about as unlikely as one gets. Th ey produce their sounds, and their music, using such devices as amplifi ed crayfi sh nerve tissue, a bowed banjo, a $5 electric guitar, a steel guitar recorded in a sewer, insects, the sound of a frozen river melting, and much else. man hair, cards shuffl ing, Polish trains, Th e San Francisco-based band, a duo the crackling of a frozen stream thawing, except when augmented by some of the and the sounds of LP records randomly most idiosyncratic artists on the map, chosen. such as the Kronos Quartet, Bjork, and Oh, and the distinctive tones of chin Antony of Antony and the Johnsons, has implant surgery. Matmos, left, and Walter Kitundu, right. forged a distinctive approach that stands For more of their instrumentarium, visit and instruments that hark to the sounds apart from the mainstays of the UK- www.brainwashed.com/matmos, or listen and phenomena of the natural world. dominated electronica world, and from to their now several recordings, the latest He has made turntables of wood, water, the large-appeal standouts of that world, of which is this year’s Th e Rose Has Teeth fi re, and the sounds of earthquakes, as such as the Chemical Brothers and Th e In Th e Mouth Of A Beast (Matador). well as a family of Phonoharps – multi- Prodigy, by wandering into more arcane stringed instruments made from record sonic terrain, where the likes of Autechre Opening: Walter Kitundu, a sound and players. Visit www.kitundu.com. and Aphex are its kin. visual artist, graphic designer, composer, More samples of their raw material for and instrument builder who constructs Presented by Wake Up, Sensory Eff ect, sampling: contact microphones on hu- mergers of compositions, installations, Decibel Fest, and Earshot Jazz.

Join us for some of the finest local jazz in Seattle 2132 North Northgate Way The music starts at 8pm! (206) 417-0707 www.berkshiregrillseattle.com And there’s never a cover!

October 2006 • Earshot Jazz • 13 Sunday, October 22, Triple Door, 7pm & 10pm What I’m Really Looking Forward to... Garfield High School Jazz Band Andrew Bartlett, w/ David “Fathead” Newman $20 general; $18 members/discount music critic Welcomed by KPLU The way AMM could bow a cymbal and play a taken-apart guitar for a hypnotic hour makes me think of Matmos - like some kind of post- techno riposte to Eddie Prevost and company. I’m psyched to hear Matmos make music from their found and arranged sources, to scramble and skitter and clamber. Andrew d’Angelo’s chops on the alto sax and bass clarinet are sui generic, angled, daunting, and liquid. I love the clatter Jim Black brings to bear, ramshackle and on-target like Han Bennink. I love how the Kamikaze Ground Crew transports the thrill of a circus, a parade, or a deep brass and reed groove. Doug Wieselman and Peter Apfelbaum play thick and hefty or light and tart. Steven Bernstein, he’s got 31 flavors on trumpet before he’s played two songs. That’s what you’ll get with the Kamikazes: Everthing all at once. When I first heard Andrew Hill’s teetery, driven melodies on Judgment, I was hooked. And now he’s back on Blue Note, leaping and loping - some- Photo by Gene Martin thing I can’t wait to catch in person. One of the city’s great school bands joins forces with the tenor-sax giant, to But, on the strength of the notice he hail his old friend and longtime band- won with Charles, he also recorded a mate, soul king Ray Charles. series of his own, popular albums, and In the early days of his career, in Dallas, here he pays homage to the man whose the Texas tenor David “Fathead” New- influence has remained with him, for man worked as a teenager with Ornette 40 years. Coleman and other innovators, as well as R&B stars like T-Bone Walker and The Garfield band, led for 30 years by Lowell Fulsom. In Fulsom’s band, he Clarence Acox, has achieved as much as met soul-great-in-training Ray Charles, any school jazz band in the country, over GRETA MATASSA and soon began a decade of working in the last decade. A perennial competitor Vocal/Rhythm Section Charles’s band. and two-time winner of the Strictly El- After leaving Charles’s band in 1964 lington competition that pits the best Workshops (he would return to it in 1970-71), New- programs in the land. Acox’s direction of Four weeks of 1/2-hour sessions with one of Seattle’s top rhythm sections and man went to work with a host of major the band does not just emphasize sterling vocalists. Final concert at Tula’s, Seattle’s names such as King Curtis, Eddie Harris, group cohesion and the considerable premier jazz club, w/ optional recording. Red Garland, and Herbie Mann, and, talents of the program’s many star play- Workshops every month. Cost: $250 he remained best known, as a sideman, ers; it also puts a premium on expression Limited to 8 vocalists. 206-937-1262 backing with the likes of Aretha Franklin by each and every member off the band gretamatassa.com (see Teaching page) and Dr. John. – everyone takes a solo. 14 • Earshot Jazz • October 2006

Earshot Jazz Magazine, 1-unit vertical ad height, 3-1/4 width, 2-3/8

Client: Greta Matassa, 206-937-1262

Designer: Susan Pascal, 206-932-5336

Revised 1-18-06 Sunday, October 22 - Tuesday, October 24, Tula’s, 8:30pm Manuel Valera Trio $12 general; $10 members/discount Welcomed by KBCS 91.3FM Community Radio

This New York-based Cuban pianist and composer creates fresh, evocative jazz Quality Used Pianos steeped in the Latin-American world, and much else. Trained in Cuba, originally in …from starters to Steinways classical saxophone, he came to the US in 1994 before switching to piano. He attended the jazz program of the New School, studying with Reggie Work- • Best selection used pianos man, Jane Ira Bloom, and others, and • Prices from $1500 soon afterwards began a recording career • 5-year warranty that has rocketed him to prominence. • Pictures on our website A frequent collaborator with New York’s • Consign your old piano top Latin jazz leaders, here he heads his — or — own trio. Valera says that in his composition and • Let us reﬁnish & restore it instrumentality, he mixes his multiple backgrounds, “including Cuban music with impressionistic harmonies or Baio from the North of Brazil with Bartok’s rhythmic elements. Overall I try to create complex music that is simple to the ears.” Valera is, said Jessie Varela in Latin Jazz, “endowed with a profound talent and rich, progressive jazz-Latin ideas.” “My passion is discovering great old pianos, giving them new life, VISIT OUR and ﬁnding them new homes.” NEW LOCATION Arnie Tucker, Owner NEAR DENNY PARK We support “Pianos for Kenya” donation program To buy tickets, visit www.SeattlePianoGallery.com www.earshot.org, or 206-282-7101 • 888-261-7101 2230 8th Ave • Corner 8th & Bell near Denny & Westlake call 206-547-9787

October 2006 • Earshot Jazz • 15 Monday, October 23, Triple Door, 7pm & 10pm What I’m Really Looking Forward to... Allen Toussaint $24 general; $22 members/discount Welcomed by KEXP’s Roadhouse with Greg Vandy

A solo show by the elegantly funky Al Hirt, and “Whipped Cream,” which New Orleans pianist and singer who has helped to make Herb Alpert a house- penned some of R&B’s greatest songs. hold name. If you listen to oldies radio, As singer, pianist, composer, arranger, chances are you hear Allen Toussaint and producer, Toussaint has been deep tunes every day. The list of artists he has in New Orleans – and American – cul- inspired, produced, or provided with hits tural life for more than four decades. is very, very long. Whether making hit records for others, When he takes the stage, himself, he or performing his own enthralling style shows himself a disciple of the legend- of music all over the world, he has been ary Professor Longhair as he ranges over a true American treasure. funky R&B numbers and sweet ballads His hits for others have been as various with charm and panache. as “Fortune Teller,” which the Rolling He has been playing and singing that Meagan Sullivan, Stones recorded (after Benny Spellman), way publicly since well before 1958, Friday host, Drive Lee Dorsey’s top-seller “Working in the when he cut his ﬁrst solo platter for RCA. Coal Mine,” and “Southern Nights,” He has, since that time, been a public Time Jazz, KBCS which Glen Campbell recorded. He also treasure in New Orleans, and is set to penned “Java,” a huge hit for trumpeter deepen that status in this city. 91.3FM Bobby Hutcherson and Andrew Hill: Who are they? The vibraphonist and pianist were two of the deﬁning voices of Blue Note era of jazz in the 60s. Why do I want to see them? Because they are the vanguard of thinking peoples’ music, proof that old cats can still challenge new minds, and because it’s just a privilege to be in their presence.

John Hollenbeck’s Claudia Quintet: Who are they? Minimalist, New York “downtown” post-jazz band, led by percussionist John Hollenbeck. Part jazz, part rock, part chamber, part...? Why do I want to see them? These guys are proof that jazz is not dead, but is constantly being reinvented. I, Claudia was one of my favorite CDs of 2003. And also, because they named their band after a fan.

16 • Earshot Jazz • October 2006 Monday, October 23, Poncho Concert Hall, Cornish College, 8pm Matthew Shipp Gust Burns $20 general; $18 members/discount Copresented with Nonsequitur; Welcomed by KBCS 91.3FM Community Radio Jazz: The Second Century -- discussion with both musicians, at Cornish, noon

Still New York’s most fascinating piano “Tremulous notes ﬂutter like some wa- iconoclast, Shipp has thrilled listeners tercolor vision of a sad butterﬂy as Erik with his collaborations with David S. Satie dissolves into vamping reductive Ware and other vanguardists. His new fractals, like ripples expanding out over album, One, displays the ample solo tal- the smooth surface of a still pond. Scat- ents that we will hear, here. It is “brave tered be-bop shapes bubble up to the Matthew Shipp photo by Peter Gannushkin/downtownmusic.net and beautiful,” said Dream magazine. surface. Busy spiderwebs of sound are spun in frantic circles. This sometimes seems to be about jazz, and other times months in the Bay Area, collaborating its closer to some slightly hallucinatory with bassist Damon Smith, then moved chamber music.” to Seattle. Seattle-based pianist, improviser, and His approach draws from jazz, avant- composer Gust Burns is one of the city’s garde chamber music, hip-hop and rap, leading innovators in all those arenas, and and much else. also has been, as an organizer, one of the He also brings to bear on improvisation prime movers in the emergence of a and composition his exploration of such bright, new scene for new music. issues as intention, form, practice, and After reading philosophy at Western community, and the social, political, and Washington University – focusing on economic roles they play. Heidegger, metaphysics, and Existential- Far from arid theoretician, however, he ism – and studying piano with Canadian is one of the most exciting players in this virtuoso Paul Plimley, Burns spent six city, or far around.

Matthew Shipp says... with the issues that are of today. My biggest issue though is my own language however that is generated and the solo Q. You’ve recorded and played in many different formats, aspect is the purest way for me personally to relate to my in the past. What are the particular pleasures and chal- own language. lenges, for you, of the solo format? Q. Do you agree that the kind of engagement you have A. Solo piano is a great tradition and I partake of it for with modern music forms represents a major new direc- many reasons – the instrument has so many possibilities that tion, and refreshment, of the jazz tradition? sometimes this seems the only way to explore all of those A. I just get out of bed and play everyday so though I’d bypaths. I love being able to explore dynamics the way you like to think I am involved in a new direction in jazz that can in a solo context and I love the freedom of generating harmony etc., and being able to switch directions on a dime is not for me to decide. However I do feel that my own if the whim hits me in the moment. Obviously solo is very language is fresh and shows a fresh perspective to the piano challenging because you are the music while the music lasts jazz language. but that is what’s great about it also. Q. What do you consider your own lineage in piano? I Q. Your music merges jazz forms and others, including wonder, for example, if kalimba music, or steel-drum still evolving forms like electronica and hip hop; how music, inspire you? Does your music derive from more readily and naturally do you do that? than a jazz version of music of the African diaspora? A. It’s all music to me – as a composer the idea is to use A. African drumming in its traditional aspects is a big, big whatever is in your environment to create music whether it’s inspiration to me for I deal with the whole idea of generat- a cello or a computer so it felt very natural to use a computer ing a musical universe in the African drum, language, and to explore taking parts of my personality and generating a coded messages type of way. musical universe that is of the moment and honest in dealing

October 2006 • Earshot Jazz • 17 Tuesday, October 24, On The Boards, 8pm I Owe Love Kayhan Kalhor & Erdal Erzincan Everything Show Cancelled

an Installation by Paul Rucker

Tuesday, October 24, Triple Door, 7pm & 10pm Rashied Ali Quintet $20 general; $18 members/discount Welcomed by KBCS 91.3FM Community Radio

The intricately powerful drummer of a claim in New York. Both are formidable John Coltrane’s final phase, and two players and fine composers. Smith has tear-it-up 20-something players – tenor been likened to “a young Woody Shaw” saxophonist Lawrence Clark and Seattle- while Clark can “reproduce Trane’s early reared trumpeter Jumaane Smith – distill tone with unearthly accuracy” (Dusted 40 years of jazz history, and take the next magazine). giant steps. They make thrilling music as they per- Ali had become one of the first “free- form originals and tunes by the likes of jazz” drummers who had converted the Frank Lowe, Don Cherry, and Theloni- kit from metronome to far more expres- ous Monk. sive voice when Coltrane invited him to join his group, which already boasted the Paul Rucker; photo by Shannon Phipps titan drummer, Elvin Jones. Ali, a Philly native, had been making a name on the Tuesday October 24 — Sunday Octo- New York avant-garde scene working ber 29, On The Boards with the likes of Don Cherry, Pharoah An installation by the cellist, Sanders, Paul Bley, Archie Shepp, Bill bassist, composer, and visual and Dixon, and Albert Ayler, and had been multimedia artist, Paul Rucker, sitting in with Coltrane’s group. will be displayed at On The The rest is history. He and Coltrane Boards during the week that would eventually play in epochal duo Earshot Festival shows take place recordings of the highest order. there. Rucker, who has recently After Coltrane died in 1967, Ali returned from a residency at Bella- played in New York with Shepp and gio, an arts retreat in Italy, in 2004 other emerging leaders of the progressive released the acclaimed albums Oil scene, including Sonny Fortune and the and History of an Apology. much-undersung, highly evolved tenor “I Owe Love Everything” is a man, Frank Lowe. Ali also led his own video/audio, real-time manipula- quartet. tion installation. The viewer will He has always paid particular attention be able to distort and alter the to younger players on the rise, and his audio, while watching the video of presentation here will be no exception. a solo cello performance. Visitors Trumpeter Jumaane Smith, an alumni will trigger the manipulations by of Earshot’s Hands on Jazz class and Roosevelt High School, went on, while waving their hands over an invis- As part of the Earshot Jazz Festival educational programs, ible field. at Juilliard, to become a protégé of Wynton Marsalis. Like bandmate tenor the Rashied Ali Quintet will conduct a workshop with the Roosevelt High School jazz band. saxophonist Lawrence Clark he is staking

18 • Earshot Jazz • October 2006 Wednesday, October 25, Triple Door, 7pm & 10pm Larry Coryell Quartet $22 general; $20 members/discount Welcomed by KPLU The jazz-rock guitar pioneer and legend is one of jazz’s superb craftsmen; with Seattle standouts, pianist Marc Seales, bassist Chuck Deardorf, and drummer Dean Hodges. Larry Coryell studied journalism at the University of Washington but was always destined to be a professional musician. He had been a guitarist in his teens, and after graduation went to New York where he joined Chico Hamilton’s quintet. He soon was a founding member of one of the earliest jazz-rock band, the Free Spirits. Stints followed with vibist Gary Burton and Herbie Mann (in the latter, alongside a very different guitarist, Sonny Sharrock), and then toured with rockers Jack Bruce (Cream) and Mitch Mitchell (Jim Hendrix Experience), and his role as a jazz-rock pioneer took flight. He has been a key figure in jazz expansion, ever since, playing and recording with a who’s who of fellow-minded musicians. In the late 1970s, for example, he was part of a guitar super-trio with John McLaughlin and Paco De Lucia, and his list of collaborators includes vanguardists Charles Mingus, Sonny Rollins, Steve Lacy, Don Cherry, Larry Young, and Billy Cobham, but also more mainstream masters like Maynard Ferguson and Stephane Grappelli. He now has more than 60 albums to his name, and is respected and acclaimed among a critics and fans of jazz from straightahead to out forms. In Chuck Deardorf, Dean Hodges, and Marc Seales, he has three old friends and three of the region’s finest. Deardorf is a longtime instructor at Cornish College of the Arts who has accompanied many visiting top names, and has long been a first-call bassist in this region. Likewise, Marc Seales, a highly refined, always enthralling pianist who heads the jazz unit at the University of Washington, is a stalwart of the local scene whose reputation extends much further. Dean Hodges has been, for many years, as solid and responsive a drummer as any in this region. Additional support provided by the Raynier Institute and Foundation. This concert is dedicated to James Ray.

Victor Janusz with Vic at the piano Saltys on Alki Every Saturday & Sunday

10 am—2 pm

www.victorjanusz.com

October 2006 • Earshot Jazz • 19 ��

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20 • Earshot Jazz • October 2006 Earshot Jazz Films

October 26-30, Northwest Film Forum Thursday, October 26, 9pm October 28-29 (Sat., 3pm; Sun., 5pm) Northwest Film Forum and Earshot Jazz team up to present the premieres of Jazz Music Is My Life, new documentaries, and to show classic Transmissions Politics Is My and rare films. The program sheds light Join us for a special selection of rarely on the history of jazz and on the lives Mistress screened jazz performances culled from (Donnie L. Betts, USA, 2005, BetaSP, 110 of some of the greatest composers and 1960s’ American and European TV min.) performers of the art form. All films will programs. Televised performances of This new documentary celebrates screen at Northwest Film Forum (1515 the era, shot with multiple cameras in 12th Ave, between Pike & Pine). the life and work of legendary jazz controlled settings, remain some of the singer, songwriter, poet, playwright, best surviving footage of our greatest Thursday-Sunday, October 26 - 29, 7pm and political activist Oscar Brown Jr, jazz masters in action. Just as these who passed away last year. Known for Paris Blues transmissions brought great artists into his distinctive humor and socially con- (Martin Ritt, USA, 1961, 35mm, 98 min.) living rooms more than four decades scious works, Brown composed more ago, they transform our cinema for one Director Martin Ritt’s rarely seen than one thousand songs, wrote over a night into an intimate all-star concert 1961 film stars Paul Newman and dozen stage shows, shared bills with the featuring Miles Davis, John Coltrane, Sidney Poitier as American jazz musi- likes of Miles Davis, Dizzy Gillespie and Thelonious Monk, Eric Dolphy, Wes cians living in Paris. Louis Armstrong John Coltrane, and hosted the televi- Montgomery and many others. appears in the film. Most significantly, sion series Jazz Scene USA. Interviews Duke Ellington created the great Oscar- with Brown himself as well as friends nominated musical score. The movie is and colleagues are mixed with record- significant for its vibe, cinematography, ings, photos and archival film footage. Ellington’s score (one of the best jazz Director Donnie L. Betts scheduled to scores ever!), and its attempt to address attend. jazz as an art form, race issues, and drug addiction. And it’s not on DVD. Friday-Monday, October 27-30, 9pm Cecil Taylor: All Oct. 28-30 (Sat., 5pm; Sun., 3pm; Mon, 7pm) the Notes ’Tis Autumn: The (Chris Felver, USA, 2004, BetaSP, 71 min.) Filmmaker Christopher Felver gets up Search for Jackie close and personal with the larger-than- Paris life free jazz innovator, pianist Cecil (Raymond De Felitta, USA, 2006, BetaSP, 100 Taylor. All The Notes is an intimate por- min.) trait of the artist, providing rare insight Jackie Paris exploded onto the New into his unique music and its deep intel- York scene in the 1940s and quickly lectual underpinnings. We find Taylor became the favorite vocalist of such jazz at work and at play in his Brooklyn greats as Ella Fitzgerald, Sarah Vaughn, home, in live performances, at teaching Charlie Parker, Dizzy Gillespie, Charles gigs in California, and in a backstage Mingus and Thelonious Monk. So meeting with old friend Mal Waldron. why is it that this singing sensation is The film also includes interviews with today only an obscure side-note in jazz Elvin Jones and several poets. history, if remembered at all? Director Sponsored by KEXP & Easy Street Raymond De Felitta unearths Paris’ Records. Info: (206) 267-5380 www. glorious art and the mysteries of his nwfilmforum.org; tickets: $8 general / $5 enigmatic career and complex past. NWFF & Earshot members. For more Producer David Zellerford scheduled information, go to www.northwestfilm- to attend. forum.com.

October 2006 • Earshot Jazz • 21 Wednesday & Thursday, October 25-26, On The Boards, 8pm Roberta Piket / Billy Mintz Trio $12 general; $10 members/discount The acclaimed pianist, a veteran of the bands of Dave Liebman, Rufus Reid, and Lionel Hampton, joins forces with the captivating drummer. In this new trio, with the virtuoso bassist, Ratzo Harris, they achieve a rare level of interaction that makes at once for propulsive swing and pockets of deep thoughtfulness and feel. They perform originals by all three players, as well as little-heard standards and should-be standards from modern masters like Bill Evans and Herbie Han- Her playing, which draws on a tradition cock. of virtuoso playing that extends through Before becoming a full-time musi- Earl Hines, Lenny Tristano, Bud Powell, cian, Roberta Piket, the Brooklyn-born and Thelonious Monk, and all the way daughter of a Viennese conductor and to modernist titans like Bill Evans, Mc- composer, became a computer engineer, Coy Tyner, Herbie Hancock, and Chick but then made good on her New England Corea, is matched by her gifts as a com- Conservatory training and apprenticed poser. But while she has won high praise with pianist Richie Beirach, who en- from critics and fellow players – Mar- ian McPartland, for instance – she has couraged her love of twentieth-century OCTOBER SHOWS composition, and her incorporation of remained too little-known among fans. its harmonic innovations. She then But that is changing thanks to her several 1 Mark Taylor Jazz spent two years with the all-female big albums, the high accomplishment of this trio, and the playing of her “retro-futur- 13 Robbie Jordan Blues band, Diva. In 1993, she came second Union ist” electric band, Alternating Current. in the International Thelonious Monk 14 George Griffin competition. That drew the attention of Billy Mintz is a wonder to behold, a Lionel Hampton, and she worked with percussionist with the limbs of an oc- 15 David Keys Jazz topus and the multidimensionality of his band, as well as with Dave Liebman, 20-21 Stick Shift Annie Rufus Reid, and others before beginning a whole rhythm section. After playing 22 Reggie Goings Jazz a solo career in 1997. several times here during the last several years, he has won a fervent fan base 27 Red Hot Blues Sisters among Seattle percussionists and fans of surprising, idiosyncratic contributions to 28 Rent Collectors the jazz vocabulary. 29 Chicago 7 Since moving to Los Angeles in 1981, he has toured with the Los Angeles Sym- phonic Jazz Orchestra, sax great Charles Regular Weekday Shows are Free! Lloyd, and the Alan Broadbent Trio, and MON: New Orleans Quintet has been a fixture of the city’s small but TUES: Holotrad Jazz devoted progressive-jazz scene. Before WED: Floyd Standifer Group taking up residency in California, he was THU: Ham Carson & Friends out East, near his hometown of Queens, where he came up as a highly talented Lunchtime: youth proessional who would go on to Bob Hammer on piano and Chris Clark on bass tour with Lee Konitz, Mose Allison, Mary Murphy, Bobby Shew, and many Piano jazz after Seahawks others. He even spent time in the Merv home games. Griffin Show band. He is also a renowned teacher of percussion, with much-used books to his FOR DINNER RESERVATIONS name. CALL 622-2563 22 • Earshot Jazz • October 2006 Wednesday, October 25, On The Boards, 8pm Michele Rosewoman’s Quintessence $20 general; $18 members/discount Welcomed by KBCS 91.3FM Community Radio The renowned pianist and composer and her long-standing group present music from their new album, The In Side Out, pieces commissioned by Chamber Music America. Renowned pianist/composer Michele Rosewoman uses her knowledge of and respect for the genre’s tradition to carry it into a new generation. ‘Quintessence’ has served as her main vehicle for bringing together some of the most inventive voices in contemporary jazz, and this concert and their new, fifth CD, The In Side Out, represent an exciting new chapter in the 20-year history of this highly acclaimed ensemble. In Oakland, Cal., Rosewoman studied jazz and Cuban folkloric music, and played with modern masters like Oliver Lake and Julius Hemphill, then moved to New York in 1978 to play with similar leaders, including Reggie Workman and Carlos Ward, and also with Cuban percussion master and vocalist Orlando “Puntilla” Rios. From 1983, she formed her own groups, starting with New Yor- Uba, a 14-piece band that merged cutting-edge jazz and Cuban folkloric music. She formed Quintessence in 1986, and it has toured extensively and recorded on major labels such as Enja and Blue Note, and won prestigious grants, ever since. It has developed further her amalgam of jazz and Cuban music, and has expanded it with other forms such as funk and R&B. Quintessence is Rosewoman on keyboards and vocals, Mark Shim on tenor sax and electronics, Loren Stillman on saxophone, Brad Jones on basses, and Derrek Phillips on drums. NPR said of the band that “it all comes together, big, tight and flex- ible, rangy, spontaneous, serious and mysterious. Rosewoman and her band are jazz believers, jazz devotees, keepers of the flame.” The presentation ofThe In Side Out has been made possible with support from Chamber Music America’s New Works: Encore Program, funded through the generosity of the Doris Duke Charitable Foundation.

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24 • Earshot Jazz • October 2006 Open to All - Free Thurs., October 26, Triple Door, 7pm & 10pm Our 5th Season! Cyrus Chestnut Trio October ‘06 - June ‘07 $24 general; $22 members/discount Welcomed by KPLU Expect stylish, bluesy jazz from one of the most outstanding of modern pianists. “Not only is his swing headlong, but his ideas also don’t stop coming,” as the NY Times put it. One of the most outstanding of modern jazz pianists, the Balti- more-raised Cyris Chestnut was Sunday, November 5 at 6PM schooled ﬁ rst in his Baptist church, Jazz & Blues then in classical music at Peabody Andre Thomas Quartet Institute of Music and ﬁ nally in with Bernie Jacobs on vocals jazz composition and arranging at Berklee College of Music, where Sunday, December 3 at 6PM he won several scholarships and Klezmer Jazz and World Music awards. The Katatonics He started out in his professional Marc Smason & Joanne Klein on vocals career with singer Jon Hendricks, from 1986 to 1988, and then Sunday, January 7, 2007 at 6PM young mainstream revivalists Gypsy Jazz and more Terence Blanchard and Donald Billet-Deux Harrison (1988-90), and Wynton String Quartet Marsalis (1991). He provided them a swinging gospel feel that Featuring 100 minutes of professional he had acquired playing in his Bal- jazz with an inspirational interlude timore Baptist church, and also a thorough knowledge of early piano Held in the Gothic Sanctuary of 2002 album, Soul Food, was named a top stylists, from Jelly Roll Morton, on. album of that year by Down Beat. Seattle First Baptist Church He has since accompanied many name His emotive, propulsive playing is Seneca and Harvard on First Hill leaders, big bands, and vocalists – fore- marked by a rich underlay of jazz history Seattle, WA (206) 325-6051 most, with the legendary Betty Carter as well as folk and gospel traditions. www.SeattleFirstBaptist.org/SJV – amidst rapidly releasing a succession Here, he is accompanied by bassist of acclaimed albums, beginning in 1994 Michael Hawkins and drummer Neal with Revelation, on Atlantic Jazz. His Smith. latest release is You Are My Sunshine. His

SOUNDSA Celebration of OUTSIDEAdventurous Music and Community Featuring: Reptet, Seattle Harmonic Voices, Special OPS, Jesus & The Bobcats FREE!

Saturday, October 14 - Noon to Dusk Cal Anderson Park 1632 11th Ave (between Denny/Pine)

October 2006 • Earshot Jazz • 25 Thursday, October 26, On The Boards, 8pm Nguyên Lê - Tiger’s Tail Quartet $20 general; $18 members/discount Welcomed by KBCS 91.3FM Community Radio

The spectacular, much-traveled guitar- perfect complement to the spellbinding, ist, on his first-ever US tour, presents a magical playing of Lê, who says of the stellar group with Art Lande (piano), Paul collaboration: McCandless (reeds), and Patrice Héral “My encounter with Art Lande ... in (percussion). 1986 was a big step on my musical path. Nguyên Lê exemplifies how much great With the first notes we played together I jazz lurks outside most American fans’ understood some essential aspects of jazz awareness. For over 20 years, he has been : a music which has no other meaning prized in his native France, where he has than the sharing of a common passion, melded the numerous streams of multi- the instant flow of improvisation, and ethnic culture that course through Paris. that rare alliance of body & soul, poetry He blends African, Asian, and American & science. “ musical languages in stunning, dynamic For Tiger’s Tail, Lê also called on Paul style, with a virtuosity that is of the high- McCandless, a longtime friend of Art experience rangingn through Vienna Art est order. Lande who made his name with Oregon, Orchestra, Maria Pia de Vito, John Tay- For this project, he has created original one of the first world music bands. “Paul,” lor, Dhafer Youssef, Terje Rypdal, Markus music specifically geared to the huge tal- says Lê, “brings us his unique sound and Stockhausen, and Chano Dominguez. ents of ECM veteran pianist Art Lande; lyricism along with his knowledge of clas- “Patrice,” says Lê, “embodies a quality the oboe, English horn, bass clarinet, and sical European tradition and the history which is essential to me: an open and soprano saxophone of Oregon mainstay of jazz. His instruments are rare, as much strong culture, rooted in the jazz soul Paul McCandless; and the spicy, ethni- as his expressivity.” & today’s musical languages as well as cally tinged rhythms of French percus- Patrice Heral, the percussionist from in the wide vocabulary of non-Western sionist Patrice Héral. Montpellier, in the South of France, is music.” Word is, those four master musicians one of the most requested French mu- All that promises an evening of rare have achieved a rare level of chemistry, in sicians around the world, with varied transcultural transport.

\Friday, October 27, Triple Door, 7pm & 10pm Brian Nova’s Seattle Showcase “Way Back in the ’90s” $20 general; $18 members/discount In Seattle in the late 1980s and through- Nova’s “command of jazz-guitar tech- out the 1990s, jazz artists and venues nique, combined with his rock energy, changed the scene. Salute in Cítta, his beautiful sound, his engaging stage Lofurno’s, Wild Ginger, The Olympic presence, merge perfectly with the room Hotel, Belltown Billiards, Axis, Henry’s creating a warm welcoming atmosphere,” Off Broadway, and many others started as we once said in these pages. Among offering jazz. And, a new crop of jazz his distinctions, he is one of the few jazz artists emerged such as Greta Matassa, artists, anywhere, to have studied and Susan Pascal, Randy Halberstadt, Reggie toured with the two jazz-guitar titans, Goings, Greg Williamson, John Bishop, Joe Pass and Herb Ellis. He has toured far Marc Seales, Larry Fuller, Kelly Johnson, and wide, but also has been an influential Reuel Lubag, Beth Winter, John Hansen, presence in Seattle. From 1990-1996, he Clipper Anderson, and others who today headed the jazz program at Seattle U. He elite, including Eddie Harris, Stanley are Northwest mainstays. has also kept many Seattle jazz musicians Turrentine, Ray Brown, Buddy Catlett, So, says Brian Nova, “I thought it would busy by brokering many local jazz book- Harry Sweets Edison, Jessica Williams, be fun to showcase some of those artists ings. He has, for example, established jazz Diane Schuur, Dee Daniels, Taj Mahal, in a reunion.” He has Matassa, Anderson, presentation at a dozen or more venues. rock-and-roll icon Steve Miller, and Pascal, Goings, Mike West, Lubag, and He has released four albums of his own, countless others. Milo Peterson, and he’ll have more of the and has appeared on numerous others. Joe Pass once called him “one of the Way Back crop by game day. He has performed with leaders local and finest jazz guitarists on the scene.” 26 • Earshot Jazz • October 2006 Friday, October 27, Tula’s, 8:30pm Bill Anschell $12 general; $10 members/discount Here, celebrating the release of More to That determinedly idiosyncratic ap- the Ear than Meets the Eye (Origin), is one proach is long-established. After grow- of several world-class jazz pianists who ing up in Seattle, he attended Wesleyan grace Seattle’s scene. Bill Anschell has se- University and studied with jazz pianist cured this status since coming here several Bill Barron and South Indian mrdangum years ago from a long stint as a performer master, T. Ranganatham. He took away a and jazz presenter in Atlanta. rich, enthralling approach to jazz piano In 2005, he was awarded an Earshot Jazz that has won him increasing notice, and Golden Ear Award for best instrumental- promises to bring him much more. He ist, for an approach to the art that can has worked with Ron Carter, Benny Gol- readily be imagined from some of what sen, Lionel Hampton, and guitar stunner he reported to Lloyd Peterson, recently, Russell Malone. For several years he was in these pages. “Individual style is becom- the pianist and musical director for in- ing something of an endangered species dividualist vocalist, Nnenna Freelon. His nowadays,” he said. And, “I’ve looked jazz program, Jazz South, was broadcast Photo by Daniel Sheehan for more broad-based musical ideas that to more than 200 stations internationally. ments of standards can sound like dull interested me, both within and outside of A PBS movie and an HBO series have imitations without personal statement jazz, and worked on ways to build them used his compositions. And he has also or voice...his latest recording treats us to into my practicing and writing.” And: published two books, Jazz In the Concert his own personal creative interpretation “As a listener and as a player, I like to be Setting and Who Can I Turn To? while paying respect to the music he surprised, and to be part of something Said Lloyd Peterson, in these pages: loves, a task much more difficult than that isn’t always predictable.” “Where most modern day arrange- perceived.”

Friday, October 27, Meany Hall, 8pm Mavis Staples Duo Bernadette Bascom with Praise! Preferred Seating: $28 general; $26 discount; $18 youth (under 16) Regular Seating: $22 general; $20 discount; $12 youth (under 16) Welcomed by KEXP’s Preachin’ the Blues with Johnny Horn On a night of soulful tribute, Mavis her siblings singing, and their father Staples, a superstar of gospel, hails the singing and playing guitar as they all per- icon, Mahalia Jackson. formed his songs, they became the voice The gospel legend possesses one of the of the civil-rights movement, and often most recognizable and treasured voices in were at the top of the pop charts. contemporary music. From her early days That acclaim launched Mavis Staples to sharing lead vocals with her groundbreak- her solo fame, beginning in the late 1960s. ing family group, The Staple Singers, to Her attachment to the legacy of Mahalia her powerful solo recordings, she is an Jackson is longstanding; in 1996, for ex- Opening: Bernadette Bascom, “one of inspirational force in modern music. ample, she released the song-cycle album Seattle’s pop music treasures,” as Patrick Spirituals & Gospels: A Tribute to Mahalia She has been performing for over 40 McDonald declared in the Seattle Times. Jackson. In addition to her solo records, years, and is an inductee to the Rock and She is a sultry, powerful vocalist in the var- she has collaborated with artists as re- Roll Hall of Fame. VH1 declared her one ied soul and pop styles of the likes of Luther nowned as her friend, Bob Dylan – their Vandross, Gladys Knight, Anita Baker, An- of the “100 Greatest Women of Rock 2003 song on Gotta Serve Somebody: The nie Lennox, Whitney Houston, and Natalie and Roll,” and Prince considers her “the Gospel Songs of Bob Dylan was nominated Cole. Her past credits include Epicentre epitome of soul.” She has wed what she for a Grammy– and other leading artists calls musical “cousins,” gospel and blues, from various genres, including The Band, and Acapulco Gold, and she has proven both of which, she says, “lift you up from Ray Charles, George Jones, Natalie Mer- capable of bringing the house down with what’s keeping you down.” chant, Los Lobos, and Dr. John. such elegant, sumptuous performances as She ﬁrst came to public notice with the In June, she was awarded the National her Vegas-style, supper-club show, “Let’s Staple Singers, “God’s greatest hitmak- Endowment for the Arts’s National Heri- Celebrate”, a production in the mold of ers,” who had a hit as far back as 1956 tage Fellowship, the country’s highest “Divine Divas” and Gladys Knight’s resi- with “Uncloudy Day.” With Mavis and honor in the folk and traditional arts. dent show at The Flamingo Hilton. October 2006 • Earshot Jazz • 27 Fri., Oct. 27, Seattle Asian Art Museum, 8pm Saturday, October 28, Tula’s, 8:30pm Toshiko Akiyoshi Dawn Clement $20 general; $18 members/discount Welcomed by KBCS 91.3FM Community Radio Trio $12 general; $10 members/discount

The big-band legend plays bop-inspired piano in a rare solo show. The New York Times has called her “one of the finest living bebop pianists.” Early in her career, Oscar Peterson championed her playing, in which, she has said, she aims to create “more substance and more quality rather than quantity of notes.” She brings to bear on her craft more from medical studies to music, and when than 50 years of jazz experience. When she discovered jazz, her destiny was set. she first came to the US, in 1956, it was In 1952, Oscar Peterson heard her as the first Japanese woman ever to attend play in a club, and arranged for Norman Berklee College of Music, and she would Granz to record her. later become the first women to lead a In Boston, she played with local lead- This Seattle-based pianist plays and long-term big band. ers, and began to compose. She married composes with enthralling variations of She is, of course, most acclaimed as a saxophonist Charlie Mariano in 1959, tone, pacing, and style. big-band leader, composer, and arranger, and they formed several bands before Clement, diminutive in stature but but this performance will make clear that parting in 1967. In 1969 she married expansive in spirit, exudes such imagina- her piano skills are just as impressive. She saxophonist Lew Tabackin, and moved tion and energy at the keyboard that it has received 14 grammy nominations, with him to LA, where they formed the is no surprise that her star has ascended and many other honors. Toshiko Akiyoshi–Lew Tabackin Big on the Seattle scene, and is also shining Akiyoshi tells the story of her musical Band, which they later moved to New further afield. She has been fulfilling the life in her 1996 autobiography, Life With York, and for which she long famously enormous promise that she showed as a Jazz. She was born in 1937 in Manchu- composed and arranged. student at Cornish College of the Arts, ria to Japanese parents who returned to Three years ago, frustrated by the dif- where she now teaches. Japan after World War II when the Chi- ficulty of running a jazz big band, and She announced her intention to play nese Communist army invaded. She had finding recording contracts for it, she jazz that embraced risk and imagination already begun to play the piano, and by opted to concentrate again on her own with her funky, gamboling, historically the age of 16 was playing professionally, playing and composing, which often informed performances on Julian Pries- including in front of US soldiers based in features Japanese influences. Tonight we ter’s In Deep End Dance. That was the her hometown, Beppu. That diverted her will reap the benefits of that. trombone great’s first album as a leader in 25 years, and his choice of Clement as bandmember was indicative. She followed up that startling performance with her own release, Hush, which showed that with her technical skill she had developed a subtle touch and a winning streak of swagger of the kind she should have, given her talent. From there she has not looked back, in further recordings and performances. Ju- lian Priester says of her: “In all this world of jazz, there are very few individual voices, no matter what the instrument. But Dawn Clement has come up with a voice that’s unique. Among her guests are drummer Adam Kessler and guitarist Rick Mandyck – yep, the same Rick Mandyck whom you normally hear on sax, here on his other medium of advanced expression. 28 • Earshot Jazz • October 2006 Saturday, October 28, Triple Door, 7pm & 10pm Bobby Hutcherson Quartet $24 general; $22 members/discount Welcomed by KPLU Th e vibes legend, a defi ning artist on New York tour, he was detained by fellow 1960s Blue Note albums, plays riveting, adventurers in jazz on the strength of his heady jazz that made him a favored col- facility with complex musical concepts, laborator of Jackie McLean and McCoy and his dazzling four-mallet technique. Tyner; with a quartet that includes the Collaborations followed with the key drum sensation, Eddie Marshall. experimentalists of the era, including Eric Bobby Hutcherson has been at the fore- Dolphy, Andrew Hill, Jackie McLean, front of jazz vibes playing for three de- Grachan Moncur III, and Archie Shepp. cades. Playing with a full-bodied sound, At the same time, he worked with more he stepped into modern jazz of the 1960s hard-bop-oriented innovators like Grant to provide masterful, artistically challeng- Green, Herbie Hancock, and Hank ing accompaniment to some of the era’s Mobley. Th rough all those associations, leading lights. First among those was he became much-recorded on Blue Note fellow LA modernist Charles Lloyd, and during the label’s golden era. then Al Grey and Billy Mitchell. During a It was Hutcherson’s extraordinary ear for new harmonic possibilities, as well as his clear, rich melodic capabilities that endeared him to the key jazz vanguardists of the day. And it those qualities that he has carried on, throughout a long and illustrious career. He has been recording as a leader since 1965, when he brought together Andrew Hill, Sam Rivers, and Freddie Hubbard on Dialogue, whose ac- complishments still resound today. All along, he has been outstandingly �� expressive in both straightahead and free �� modes. He displayed those qualities with �� the likes of tenor saxophonist Harold �� Land, trumpeter Woody Shaw, and Mc- Coy Tyner. Along the way, he took up �� marimba in addition to the vibes. �� He is one of the greats. �� October 2006 • Earshot Jazz • 29 Monktail Creative Music Concern Tributes an Early-Movie Great BY JOSIE HOLTZMAN

Who was Raymond Scott? tive jazz,” that departed from the jazz chive and Estate. That turned out to For some, his cultural significance norms of the time. be Irwin Chusid.” derives from his contribution to early So, what would lead the members of Chusid, an eccentric from New York electronic music. A colleague of Robert The Monktail Creative Music Concern, City was not only the archivist for Jim Moog, Scott is credited with inventing a growing cadre of Seattle jazz progres- Flora, but also a locally famous radio some of the earliest and most sophis- sivists comprising several bands, to personality with his long-running free- ticated electronic musical devices such form radio show on WFMU, and, as as the Clavivox, one of the earliest Ewing soon discovered, the reigning synthesizers, and the Electronium, the expert and guardian of the Raymond “instantaneous composer-performance Scott archives, which included Scott’s machine.” musical charts. Or perhaps Scott’s most significant After Chusid and Ewing worked to- legacy stems from his commercial gether on the Reptet artwork, Chusid success: Warner Brothers bought his broached the topic of a Raymond Scott Merry Melodies in 1943 to provide tribute, for which he proposed that the soundtrack for America’s favorite Ewing assemble a band and Chusid fly irreverently wacky cartoon characters, out to Seattle to speak about Scott and such as Bugs Bunny and Daffy Duck. his legacy. Chusid also volunteered to But Scott’s contributions to the jazz provide Scott’s charts, which, though idiom, which were far more enigmatic never notated by Scott himself, were and ambiguous, have generally been transcribed at the request of his publi- overlooked. A notorious eccentric and cist in the 1940s, and had come to rest perfectionist, Scott, who lived from solely in the hands of Mr. Chusid. 1908 to 1994 and graduated from “This is living music,” Chusid told the Julliard School of Music in 1931, Ewing as he handed over the charts may have been lauded as a worthy only a few months ago. “Irwin was very composer of modern music, but he Raymond Scott adamant about us taking the charts and also has been dismissed for composing arranging them and taking liberties “silly pseudo-jazz.” In 1939 Rhythm with them. He wants it to live in the magazine declared: “I don’t think that select this supposedly unimprovisable present time,” Ewing explained. “We those Scott compositions are sincerely repertoire for their latest project? could have taken the tunes and played jazz vehicles. Only occasionally do The Raymond Scott Project came them exactly as they were played on they swing.” about as a result of the chance encoun- the records in the ’30s and ’40s, but Ironically, Scott’s goal was to revital- ter between John Ewing, Collective instead we assigned each tune to the ize swing, although his methodology member and founder of the improvised different members of the collective seemed counterintuitive: It required music group, Reptet, and Irwin Chu- who did their own personalized ar- that his quintet adhere strictly to the sid, the foremost living Raymond Scott rangements.” notes and structure of his composi- scholar. Ewing detailed that meeting In this way, Monktail was able to put tions in a way that straight-jacketed over the animated syncopations of his its own creative stamp on the original improvisation. fellow Monktail comrades as they dili- songs, composing and arranging more The complexly quirky melodies and gently practiced the demanding Scott improvised solo sections and even add- rhythms of Scott’s pieces, which he tunes inside Capitol Hill’s cramped ing some new sections and instrumen- obsessively and meticulously rehearsed, Gallery 1412: “I wanted to use the tal parts. They are taking some liber- were performed and recorded by his artwork of the late jazz artist Jim Flora ties, but John Seman, who co-founded quintet between 1937 and 1939. for the cover art for the latest Reptet the Monktail collective, about a decade His style introduced a new creative album, so I got in touch with the guy ago, explains: “In the beginning one of perspective, what he called “descrip- who was the director of the Flora Ar- the foremost concerns was remaining

continued on page 31

30 • Earshot Jazz • October 2006 Saturday, October 28, On The Boards, 8pm John Hollenbeck’s Claudia Quintet true to the composer. But he didn’t have all of this free stuff in the middle Monktail’s Raymond Scott Project of a section; so, is that ok?” Chusid’s $18 general; $16 members/discount Welcomed by KBCS 91.3FM Community Radio relaxed attitude about the music reas- Jazz: The Second Century -- discussion with John Hollenbeck, Drew Gress & Chris Speed at On the sured them that it was, so the collec- Boards, 6:30pm tive moved forward with the project, Irwin Chusid delivers a multimedia presentation on the work of composer Raymond Scott on Friday, diligently practicing the complex October 27 at noon, Poncho Concert Hall, free charts, internalizing the music, and using new elements to inform their own interpretations of the pieces. As Seman says, “This is the way we can put what we do inside of that music of Raymond Scott.” Scott’s music lends itself well to this approach in part because, as Ewing says, “people know the melodies because they grew up watching Warner Brothers cartoons. It’s almost part of the soundtrack of people’s lives.” The project even has a compelling predeces- sor. A few years ago, clarinetist Don Byron, in his “Bug Music” album and The compelling band of a brilliant the songs of Charles Ives, to the microto- performances, featured Scott promi- percussionist and composer whose blend nality of Joe and Mat Maneri, to Balkan nently in his celebration-by-adaptation of music defies categorization. Opening: music (which he plays and teaches). of the music of early composers for The Monktail collective’s wild spin on a Seattle-raised saxophonist Chris Speed, film and television cartoons. genius of early animated-film scores. performing with the likes of Tim Berne, If the success of Byron’s project The innovative percussionist, John Dave Douglas, and Myra Melford, and was not encouragement enough, the Hollenbeck, whom Meredith Monk calls leading his own Pachora and other bands, Monktail collective has the further “one of the most brilliant musicians” she is one of the leading saxophonists on the impetus of being able to look forward has worked with, brings together a huge New York scene. to performing this music in the pres- knowledge of musical forms from around Ted Reichman, on accordion, has ence of the catalyst for the project the world, from jazz to chamber music to demonstrated his range and imagination and reigning Scott expert, Irwin varied folk forms. The result is an intri- working with everyone from avant-gardist Chusid. He will deliver a lecture cate blend that defies categories “Innova- Anthony Braxton, to klezmer artist David on Raymond Scott at Cornish Col- tive jazz does not have to be harsh, angry, Krakauer, to pop star Paul Simon. Drew lege in conjunction with Monktail’s loud, shrill, or grating; it can be delicate, Gress (who appears later in this festival project. witty, ethereal and radiantly lyrical, as the with his own project) is a first-call New From the history, to the coinci- Claudia Quintet pointed out,” concluded York bassist who works with Tim Berne, dence, to the concept, Monktail’s Howard Reich (Chicago Tribune) after Uri Caine, Don Byron, Fred Hersch, and Raymond Scott Project has evolved hearing the band. As demonstrated on others. He, Reichman, Speed, and Moran from a quirky series of events that the group’s self-titled, 2002 CD, and in also form the Balkan-swing band, Slavic seem, now, rather a propos for such earlier recordings with his Quartet Lucy, Soul Party, while Speed and Gress have an unconventional man of American Hollenbeck orchestrates compelling, teamed in the bands of Dave Douglas music. Further, for a group that de- idiosyncratic, ambitious music. Down and others. scribes itself as thriving on “the atypi- Beat wrote: “Drummer John Hollenbeck To capitalize on his quintet members’ cal and the exigent; the real weirdo has traveled among jazz, contemporary familiarity with one another, Hollenbeck’s stuff,” performing the work of a man classical, and pan-ethnic folk music with compositions display, as Howard Reich of such unconventional musical ge- the agility of a seasoned commuter on the of the Tribune put it, “substance and nius, with a legacy so memorable yet New York City subway.” ingenuity,” while the quintet elegantly contestable, will doubtlessly produce He has ideal fellow travelers in this “delved into neo-baroque fugal writing, an evening of nostalgia, entertain- quintet. African and Middle Eastern melody and ment, and inventive interpretation. Matt Moran is a vibraphonist with a classical chamber music techniques.” revolutionary approach to the instru- Opening: Monktail’s Raymond Scott ment, and experience in everything from project. See article on previous page. October 2006 • Earshot Jazz • 31 Sunday, October 29, On The Boards, 8pm Ritual Trio w/ Billy Bang $18 general; $16 members/discount Jazz: The Second Century -- discussion with Kahil el Zabar ad Billy Bang at On the Boards, 6:30pm

Percussionist Kahil El’Zabar’s always of several kinds, kalimbas,, riveting, deep-grooved trio, with Ari balaphons, congas... Brown (sax) and Yosef Ben Israel (bass), Billy Bang, Harlem- joined by inspiring violinist Billy Bang. raised, ended up as a hard- El’Zabar, as Andrew Bartlett noted in ship student at a prep these pages, “can lull with a West African school where he played ripple, creating a rhythmic tug that’s ac- drums the Arlo Guthrie. Kahil ElʼZabar tually an undertow, pulling you further He had at first, however, out to the tune (and into it) without your been a violinist, and would seen him take the lead of extraordinary full notice. It’s not, as they say, about the return to this instrument after a stint in projects and recording dates such as Valve destination, but rather the journey.” the military, in Vietnam. That experi- No. 10, where he rejoined Frank Lowe for He is a statesman of the Association for ence, which continues to find expression a stellar essay in controlled, melodic free- the Advancement of Creative Musicians, in his artistic life, led Bang to embrace dom streaked with political awareness. which gave rise to the Art Ensemble of the experiments of the free-jazz violinist The promise of this evening does not Chicago, and which has championed the Leroy Jenkins, with whom Bang studied. end with those two huge talents. Yosef vast spectrum of music of the African He also was influenced by revolutionary Ben Israel is one of the finest and most diaspora. With his array of bands and saxophonist/violinist Ornette Coleman, muscular of modern bassists. And Ari collaborations, including the Ritual Trio, and other vanguardists, and soon was Brown is a saxophonist of true heft and El’Zabar has carried forward that project playing with stellar sax innovators Frank depth, one of the giants of the art for in concerted fashion. And he has done Lowe and Sam Rivers. who, although less-noticed, is at the far it on a vast array of percussion instru- Those were just the first of his giant reaches of the form’s current expressive ments – the jazz drum kit, hand drums steps in new jazz, many of which have capabilities.

Sunday, October 29, Triple Door, 7pm & 10pm Gilfema: Lionel Loueke Trio $20 general; $18 members/discount Welcomed by KBCS 91.3FM Community Radio New African jazz from a former Terence After lessons from Blanchard sideman who is, says Herbie his brother, Loueke Hancock, “an amazing guitarist. He’s like studied classical guitar a musical painter.” at the National Insti- Gilfema is West African guitarist and tute of Arts in Ivory From left: Lionel Loueke, Ferenc Namath, and Massimo Biolcati vocalist Lionel (Gilles) Loueke, Hungarian Coast, then went to and then he, too, went to Berklee on a drummer Ferenc Nemeth and Swedish- Paris’s American School of More Than scholarship. Italian bassist Massimo Biolcati, and its title Music, whch is run by Berklee graduates. There, he and Loueke met Ferenc Ne- is formed from the three players’ names. That brought Loueke to Berklee, itself, meth, a Hungarian drummer of native Together they combine three musical in 1999. “Chardash” rhythms and “Fox” dirges cultures on a bed of intricate, soothing, He played on Charlie Haden’s Gram- from the age of three, in emulation of his and meditative jazz. my-winning Land of Song, and Terence father. He graduated to a Top 40 band The star of the show is clearly the Blanchard’s Bounce (2003) and Flow in his teens, while also studying classical astoundingly gifted Loueke. Born in (2005). He has toured with those leaders, piano, and while at an academy in Bu- Benin, Loueke, whose is known by the as he often has with Charlie Haden. dapest, transferred to Berklee and then first name Gilles at home, was influenced Bassist Massimo Biolcati, born in New England Conservatory of Music, to become a guitarist by his older brother Stockholm, played guitar until a friend and finally at the University of South- – although, as he says, “I loved music, introduced him to jaz, and he switched ern California, where he completed his and would have played anything that to bass, initially the fretless, and then master’s degree in jazz performance. was available to me. Guitar happened the upright, acoustic instrument, which Together, these three, fresh voices in to be the first instrument I could get my he first played publicly at the age of 16, jazz create music that stuns newcomers hands on.” to their art. 32 • Earshot Jazz • October 2006 Sunday, October 29, Tula’s, 8:30pm Big Neighborhood $10 general; $8 members/discount the band interprets with a keen sense In New York, from 1986, Fagan studied of pacing and mood. Several genres of further with David Murray. He released music inform their output, but they all his debut album, Lost Bohemia (Open are fully integrated, so that result is... Minds) in 1992, with Reggie Workman well, great jazz. on bass, Andrew Cyrille on drums, and Miller has a warm tone and a masterful Bobby Bradford on trumpet. Whoa! command of the bass. On drums Phil You have to like a jazz band that plays Parisot is engaged and engaging; he takes a tune dedicated to Frank Zappa that up the challenges of the complex counts quotes 20th-century composer Paul Hin- with apparent ease. White’s guitar is all demith. In keeping with that shout-out, mood, no flash, and so is Chris Fagan’s the band’s book features plenty of com- The innovative Seattle quartet, distin- alto. He contributes plenty of swing and plex, but never obtuse, writing. It is, for guished by top-flight playing, impressive color, and a clear, keening tone. example, often intricate and metrically writing, and great assurance, celebrates Fagan was schooled in California by varied, and yet still thoroughly thought- the release of its second disc on the Bal- the clarinet great John Carter and the and mood-provoking rather than techni- lard-based Origin label, 11/11. trumpeter Bobby Bradford, and doesn’t cally dazzling. Most impressive is the as- Guitarist and guitar-synth player, fail that fortunate pedigree. It is, after surance with which the quartet performs David White, back in Seattle after 18 all, one that would assure any attentive music that, in lesser hands, might bog years in New York, and bassist Doug student a solid blend of tradition – in the down in technicalities, but here is, as the Miller write most of the tunes, and they sense of looking back – and tradition in pieces demand, warm, buoyant, and of are convincing, catchy numbers that the sense of moving ahead. varied and appropriate humor.

Sunday, October 29, Town Hall, 2pm Dempster Diving $12 general, $10 members/discount Presented by Town Hall Seattle in collaboration with Earshot Jazz and Nonsequitur

A tribute to world renowned avant- garde trombonist, composer, didgeridoo player, aural provocateur, and beloved local teacher and mentor, Stuart Dempster, on the occasion of his 70th birthday. In this one-of-a-kind sonic extravaganza and tribute concert, Town Hall inside and out will be transformed, with ongoing and (at times) simultaneous work performed in hidden corners and unexplored spaces in addition to its two stages. Concocting the sonic gallimaufry will Photograph by Jean Sherrard be some of the many leading creative improvisational dancer Sheri Cohen, DJ Listening Band. Among his accomplish- lights who cherish Stuart Dempster, Tamara Weikel, Michael Monhart, Loren ments, he has been a Fulbright Scholar in and who have accompanied him on his Dempster, sound artist Susie Kozawa, lyr- Australia, a Guggenheim Fellow, and the journey through decibels, drones, and ical juggler Thomas Arthur, a trombone recipient of a commission from Meet the echoes. Those will include modern-mu- choir, and others to be announced. Composer for a collaboration with Merce sic legend Pauline Oliveros. Also along Dempster has been an inspiring pres- Cunningham. He is also the author of the with be astounding sound sculptor and ence in Seattle for 40 years, since he landmark book The Modern Trombone: engineer Trimpin, flautist Paul Taub, came here from his position as principal A Definition of Its Idioms, of 1979. But inspiring composer and performer David trombonist at the Oakland Symphony, it would be hard, indeed, to capture his Mahler, the DidgeriDudes with Brian and formed a new-music ensemble aural magic in mere words. You must hear Pertl and Greg Powers, trombone-playing with clarinetist Bill Smith. Among his him to experience his magic. unicyclist Nathaniel Oxford, the band long-term projects has been his Deep Tickets: www.brownpapertickets.com, Awesome, Degenerate Art Ensemble, 800-838-3006, Earshot, at the door. October 2006 • Earshot Jazz • 33 Monday, October 30, Triple Door, 7pm & 10pm Andrew Hill Quintet $20 general; $18 members/discount Welcomed by KBCS 91.3FM Community Radio The great piano innovator, a key figure ning on piano at the age of 13, with the in the Blue Note era of the 1960s, has re- encouragement of Earl “Fatha” Hines. He turned to prominence. That is only right, was soon working as a sideman with tour- because his playing and compositional ing musicians, including two beboppers skills are enormous. As Down Beat once who knew as much about avant-garde said: “His piano playing is intrinsic to his composition as anyone in jazz, Miles formidable compositions, which can be Davis and Charlie Parker. likened to origami.” All that prepared him ideally for the In the last several years, Hill has enjoyed tumult of creativity that would follow, a resurgence of creativity and a much-de- on his mid-1960s recordings on Blue served boost in jazz-audience attention. Note, for which he recruited a stable of In 2000, he released Dusk, his first album like-minded musicians – Eric Dolphy, in a decade, and then added the critically acclaimed Time Lines last year. Bobby Hutcherson, Joe Henderson, Tony On the latter, he reunited with trum- Williams, Elvin Jones, and Freddie Hub- peter Charles Tolliver, who was with him bard were among them. He also worked are as rich and rewarding as the finest on his early Blue Note albums, which with Sam Rivers, during this period. modern composition. were the mint of the realm in the mid- Since that golden time, he has been In addition to the great veteran, Charles 1960s, and resonate, still. hailed by three generations of progres- Tolliver, Hill’s stellar quintet includes Hill’s roots in jazz were unusual ones, sive jazz followers, but his public profile Marty Ehrlich, one of New York’s finest steeped as they were in compositional has been muted by his steadfastness saxophone players, as well as the polished modernism. He studied as a youth with adherence to his own jazz vision, carried rhythm section of Eric McPherson on composer Paul Hindemith, after begin- forward by his captivating pieces, which drums and John Hebert on bass. Monday, October 30, Cornish College, Poncho Concert Hall, 8pm TYFT w/ Andrew D’Angelo, Jim Black, & Hilmar Jensen Bling $18 general; $16 members/discount Jazz: The Second Century -- discussion with TYFT at PONCHO Concert Hall, time tba A star Cornish alumnus returns from His projects include Morthana, with New York with Hilmar Jensson (electric Norwegians Anders Hana and Morten guitar, effects) and Jim Black (drums). Olsen, while for a decade he has been TYFT is a commanding, incendiary a member of the Matt Wilson Quartet, small unit that has now recorded two which has released four albums. He has and many other ace American vanguard- albums and has been acclaimed wherever recorded a solo bass clarinet disc, too. ists, since returning to Iceland in 1994. it has played – including Scandinavia and Jim Black is another ex-Seattleite. Here, He is, for example, in AlasNoAxis. Iceland. It specializes in nimble, fiery he developed an astonishing facility on Together these three individualists ensemble playing and improvisation, drums, then went to Berklee College of crank out, skronk up, and delightly con- heightened by ethereal and arresting Music before settling in 1991 in Brook- tort rock-tinged, avant-garde jazz. electronic washes and flickers of humor. lyn. There he leads AlasNoAxis, which Opening: Bling, innovative chamber- Well-known in Seattle are drummer has been recorded on the sterling Winter jazz duo with renowned saxophonist Jim Black and multi-genre artist Andrew & Winter label, and he co-leads and Denney Goodhew on piano and Beth D’Angelo, both of whom are mainstays composes for highly considered bands Fleenor on clarinet. Early in his career, of the vibrant Brooklyn arts scene. Pachora and Human Feel, which includes Goodhew earned wide notice and was D’Angelo plays alto sax and bass clari- D’Angelo. And he has worked with many award best-instrumentalist honors each net, and also performs and composes on of the scene’s leading lights. year from 1990 to 1993. He has worked electronics. In addition, he is a visual Hilmar Jensson, a most idiosyncratic with a wide variety of national jazz fig- artist who has had several exhibitions of guitarist, attended Berklee and met Black ures, and was particularly noted for his oil crayon drawings and light sculptures and D’Angelo on the Boston scene, and collaborations with Ralph Towner and in New York and Russia. has maintained collaborations with them, other members of Oregon. 34 • Earshot Jazz • October 2006 Monday, October 30, Tula’s, 8:30pm Industrial Revelation $10 general; $8 members/discount Go to the home page of the Seattle quartet, Industrial Revelation, and you’ll be greeted by a series of quotes and the graphic of a stocky stick figure illumi- nated in orange flames with a wispy trail of musical notes rising above. Before entering the site, a final isolated sentence warns, “Prepare for the revelation.” But what does “Industrial Revelation” mean, exactly? It is a “revolution of industrial strength,” offers the quartet’s wind, the sky, the sea. I refuse to let it be perspective on the present and heritage of 24-year-old trumpeter Ahamefule Oluo, shut in and become academic art.” music. “Music as a whole is a continuum, laughing heartily. “It’s like a brick in The goal of these young musicians is an from bop to Kanye West,” says Evan, “It’s a nice flowery cake,” suggests 22-year important one for modern jazz, as the all derived from the same source.” old keyboardist Josh Rawlings, or an quartet strives to reach out to an audience But in acknowledging their rock influ- “apocalyptic vision,” according to the of its peers, a generation that is becoming ences, the group does not intend to pro- 27-year-old so-called “Old Man” of the notorious for blatant disregard of jazz, put mote a new “trendy” jazz or lower the bar group, bassist Evan Flory-Barnes. off by academicism or avant-garde inac- to let more people in, as Evan explains: The same rowdy amusement accompa- cessability. Aham says of his experimental “There is a difference between being ac- nies each suggestion. But, joking aside, playing days: “There was this mentality cessible and pandering. It is a matter of and no matter the exact interpretation of that we were so much smarter, that we authenticity, that isn’t contrived.” its name, this motivated quartet, which would know what’s going on but no one While creating an inclusive vibe and also includes drummer D’Vonne Lewis, else will. Now the way I think about it amalgamating the styles and influences is fully, earnestly invested in an ambitious is, I want to go on a journey but I want of a cross section of genres, Industrial reinvisioning of jazz music. In a revela- to bring people with me.” Revelation nonetheless continues to tory revolution, if you will. The statement, affirmed by the earnest recognize the importance of the soul “We’re coming at this with confidence. nods of his band mates, communicates of jazz and the core tradition that is its We’re not going to let anything break us,” Industrial Revelation’s specific intention heritage. Aham explains that the group says Josh. The collective resolve of this of inclusivity. Assimilating infuences was born out of a shared dissatisfaction determined and talented group generates as wide-ranging as the electronic ex- with a perceived, sustained mediocrity an infectious energy that is as palpable perimental songstress, Bjork, to classical in the art form, a stasis perpetuated by amidst the clinking silverware of a relaxed impressionist Claude Debussy, to chame- the academic institutions manufacturing lunch as on the bandstand at their latest leon indie icon Beck, to hip-hop revolu- musicians. However, this dissatisfaction is gig at Egan’s Ballard Jam House. The tionaries Outkast, Industrial Revelation not an outright rejection, as Josh, a Cor- close-knit foursome thrives on a total- draws from a diverse cultural and musical nish College of the Arts grad, and Evan, izing concept that drives the musical and spectrum. And they do so unapologeti- a UW alum, defend their college music the emotional in a cohesive chemistry. As cally. “When we play, the song feels like education as an important stepping stone the bandmates philosophize, storytell, what it feels like and goes where it goes. in developing expressive tools. and muse over their music, the creation It’s not like, this is a Latin feel, this is a About the Seattle scene today, Industrial of the group one year ago, and the state calypso feel,” Aham explains. Similarly, Revelation’s members are characteristi- of jazz and music in today’s society, their the group balks at critics’ attempts to pi- cally optimistic; they predict a trend unity of purpose and ambitious resolve geonhole their music as so-called be-bop, towards a cohesive generation that will epitomize the ensemble harmony and hard-bop, or “power jazz,” an ambiguous create a more-vibrant jazz community. chemistry of which they speak. description they laughingly pray does not They hope and believe that their revela- “It is the philosophy behind the music,” stick. Their reluctance about classification tion will take place not just in their own Oluo explains. “We are trying to get away is, however, not borne not from aloofness music and perception of jazz but infect from the things that make jazz intellectual but, again, from an effort to divest jazz of the rest of the Seattle and national jazz and get back to what makes jazz simply a the preconceived notions and prejudices community. feeling.” As the Debussy quote on their that many young listeners harbor. As lunch comes to a close, Josh states: website reads, “I love music passionately. The quartet’s insights demonstrate an “As it says, prepare for the revelation, we And because I love it I try to free it eclecticism bred of pop-culture savvy that are going to do this no matter what.” from barren traditions that stifle it. The enriches their music and expands their – Josie Holtzman

October 2006 • Earshot Jazz • 35 36 • Earshot Jazz • October 2006 Tuesday, October 31, Poncho Concert Hall, Cornish College, 8pm Drew Gress $18 general; $16 members/discount Jazz: The Second Century -- discussion with Drew Gress, Craig Taborn, & Tim Berne at PONCHO Concert Hall, 6:30pm The vanguard bassist and pedal-steel He has received several composition guitarist, Drew Gress, presents his star- awards, including a SESAC Composer’s tling 7 Black Butterflies, a deep-grooved, Award and grants from the National unpredictable New York quartet with the Endowment for the Arts and Meet the jaw-dropping chops of saxophonist Tim Composer. Berne, pianist Craig Taborn, and drum- All that is a far cry from his early days in mer Tom Rainey. music, when he backed Buddy Hackett, The leader of two earlier, well-received Phyllis Diller, Zoot Sims, Cab Calloway, quartets, Joint Venture and Jagged Sky, and that almost irretrievably forgotten Gress also is a first-call accompanist diva... Whatsername. among New York progressive jazz players Oh, right, Pia Zadora. such as Ravi Coltrane, John Hollenbeck, In Taborn, Rainey, and Berne, he has and Uri Caine. He comitted his compo- three of the stars of cutting-edge jazz. sitions for 7 Black Butterflies to disc in Taborn is a much-traveled veteran of 2005, and scored an even greater success a wide swath of jazz, including in proj- than he had on his acclaimed 2001 re- ects of stellar Art Ensemble of Chicago lease, Spin & Drift. Critics praised him hornman’s such as his most recent quin- standing outfits as Blood Count and as a for his “distinct sound, dynamic playing, tet, a stunning affair. Tom Rainey is even sideman with just about every innovative and writing abilities,” and the album as more well-traveled, just as accomplished, leader on the New York scene. “simply a cut above in terms of vision, and like Rainey game for the most rari- creative energy, and sheer musicality,” as fied and adventurous settings as well as Drew Gress’s compositions for this concert one put it. All About Jazz said it was ‘a more conventional ones and those in were created with support from Chamber contender for year’s best” and “a crackling between. Among those are projects led by Music America’s New Works: Creation and collection uniting a stellar cast who live Tim Berne, a disciple of the great Julius Presentation Program, funded though the up to their reputations.” Hemphill who has amassed a huge list generosity of the Doris Duke Charitable of credits both as a leader of such out- Foundation.

Tuesday, October 31, Tula’s 8:30pm Rochelle House w/ the Marc Seales Trio $10 general; $8 members/discount

Knowing, emotionally engaging vocals drenched in knowing, disappointed from an under-recognized jewel of Seattle hope. And much else about her singing is jazz, accompanied by one of the finest ac- of a high order of emotional engagement companists the city has ever known, pia- and communication. nist Marc Seales, along with two young Seales is the ideal accompanist for her turks of the scene, drummer D’Vonne delivery, and for setting its context. His Lewis and bassist Evan Flory-Barnes. piano is so sympathetic to the tender- The vocalist demonstrated her great ness in House’s heart that it seems fairly skills on her recent, debut album, Dreams to weep along with her. Like House, he of Love, which breathed life into jazz-vo- is present in the music, not merely to cal conventions. Her singing is not flashy, convey formulas and conventions, but but it is shot through with qualities that as a spirit who inheres and vivifies forms support the tales she sings, where love and expectations. may be a temporary illusion; or, as in Lewis and Flory-Barnes, who also ap- Antonio Carlos Jobim’s “Agua de beber,” pear during the festival with Industrial where love desired is unattainable... She Revelation (see page 35) are two rising, may express the fragility of attachment, inspiring presences on the local scene, loss, or longing. She may say much and guarantee that much great art is to by leaving much unsaid. Her voice is follow, in this town.

October 2006 • Earshot Jazz • 37 Wednesday, November 1, Triple Door, 7pm & 10pm Ted Nash Quintet Roosevelt High School Band $20 general; $18 members/discount

Another of the city’s stellar school bands, on a joint bill with the all-star quintet of hard-bop saxophonist Ted Nash. Roosevelt has, like its crosstown friendly rival, Garfield High, been among the nation’s best handful of school jazz programs for years. Led by trombonist and inspiring educator Scott Brown, it shares with Garfield an ethos of extraordinarily disciplined ensemble playing wedded to the showcasing of each player’s individual voice, however developed, so far. That’s expansive, enlightened education! Roosevelt’s tyros will have plenty to aspire to, witnessing Ted Nash and his band of advanced jazz pros. Down Beat identified Nash as a rising star in 2004, and has kept the spotlight on him as he has matured As part of the Earshot Jazz Festival educational programs, the Ted Nash Quintet into an inventive, assured alto and tenor sax player. will conduct workshops with the Roosevelt and Garfield High School jazz bands. Nash, the nephew of the reedman of the same name, and son of trombonist Dick Nash, is well-known for his associations with the Lincoln Center Jazz Orchestra and the Jazz Composers Collective, and he has also worked with Louie Bellson, the Gerry Mulligan Big Band, and the Mel Lewis Orchestra; but it is his own combos that promise to secure his reputation. His 2003 album Still Evolved made various best-album lists, and garnered such praise as “a good one for those thirsty for new bebop that simmers” (John Frederick Moore, Jazziz). He repeated that accomplishment with In The Loop, Sidewalk Meeting, and La Espada de la Noche. TheSan Diego Union said he “thrives on combining disparate styles into an enticing whole that is never quite what it seems.” His bandmates make that all the more likely. Trumpeter Marcus Printup is a veteran of Marcus Roberts’s band, the Lincoln Center Jazz Orchestra, and Betty Carter’s group, and has recorded his own projects on Blue Note. Pianist Frank Kimbrough treads lightly between the post-bop mainstream and the experimental, and his many collaborations and projects as a leader reflect that versatility and adventurous spirit. Ben Allison, on bass, likewise. Like Kimbrough, he toured and recorded with the Jazz Composers Collective’s Herbie Nichols Project, in honor of the undersung piano genius. This promises to be one of the most spirited evenings of the festival.

38 • Earshot Jazz • October 2006 Wednesday, November 1, Tula’s 8:30pm Tom Varner’s New Seattle Quintet $10 general; $8 members/discount

“The French horn in contemporary It’s a famously difficult one, as Varner jazz,” as Joachim Berendt put it in The has himself always allowed. But his ac- Jazz Book, has settled in Seattle. Oye! complishments on it, captured on a series Peter Watrous, in The New York Times, of stellar albums on such labels as Soul said of him: “Breaking up bebop phrases Note, is clear. All along, he has trode his with long melody notes, Varner is now at own path with his trademark swinging, Photo by Daniel Sheehan the point where his lines, complicated but pulsing approach, part hard-bop, part dark, fat tone.” Others have hailed his logical, hurtle to their destiny.” inspired by developments from the likes reach, from bop to free to funk to “mis- The extent of such praise seems wholly of Ornette Coleman and Don Cherry terioso tone poems,” as one critic put it. justified, once you listen to Varner’s rich – early heroes – and part distillation of Varner has assembled a top-deck quintet outpouring of recordings, or attend his everything he grew up with in jazz and here in Seattle to continue his explora- dazzling performances, where he provides classical French horn music. tions. On reeds, he has two of the town’s all the evidence for his enthusiastic advo- Option noted that “his attack on the finest, Mark Taylor and Eric Barber. Tay- cacy for the French horn as a surprising horn can be razor sharp and he’s able to lor is, for many Seattle leaders, a first-call but deserving jazz instrument. move through its range with ease and a sax player. He is heard regularly with the Jim Knapp Orchestra, Seattle Repertory Jazz Orchestra, and various other groups led by Marc Seales, Jay Thomas, Steve Korn and others, as well as at the head of his own Mark Taylor Quartet. Barber moved here last year from Los Angeles. There, and elsewhere, he was involved with some of the leading musical innovators of the day, providing rarified personal extensions from an amalgam of jazz, Balkan music, Indian music, and extended saxophone technique. Phil Sparks is one of Seattle’s most far- reaching, dependable bassists, with a sin- ing, thrumming approach. Reade Whit- well, on drums, similarly never falters in his sympathetic and complementary approach to the rhythm-section role.

October 2006 • Earshot Jazz • 39 Thursday, November 2, Triple Door, 7pm & 10pm Dr. Lonnie Smith Trio w/ Fred Wesley $25 general; $24 members/discount Welcomed by KPLU For 40 years a soul-jazz, hard-bopping as anything he’s done. And, B-3 organ icon, Smith joins forces with in his selection of material, the longtime trombonist and backbone from hard bop to Hendrix, of James Brown’s JB Horns, a pillar of demonstrate his eclecticism. funk. No more, though, than the “The good Doctor Smith,” said the album he recorded before BBC, “can claim to be the current in- those: Boogaloo to Beck: novator, tastemaker and genuine link A Tribute, was wall-to-wall between past and present.” Since his ﬁrst covers of Beck, the quintes- album appeared in 1967, Lonnie Smith sential Californian pop- has, as much as anyone, kept the Ham- rock pastichist. He brought mond B-3 in the hearts and souls of any along tenor-sax titan David jazz listener who likes it funky. “Fathead” Newman (see He came to attention in George Benson’s page 14, above) for the wild mid-1960s quartet, then went to work ride. with Lou Donaldson, and also recorded With the good Dr. Smith as a leader for Blue Note – inventively tonight is Fred Wesley, who audience. Meanwhile, however, he con- deep-grooved albums like Think from surely has at least 17 PhDs in funk. For tinued to create his own funk-art with the 1968 and Drives from 1970. many years, he was the musical director JB Horns, which he toured with Maceo He strikes, to be sure, a singular pose: of James Brown’s solid-gold horn section, Parker and Pee Wee Ellis, two other His turban and his moniker – Dr. Lon- the J.B.’s. As much as anyone, he was of Brown’s consummate backup crew. nie Smith – relate to nothing but his responsible for the tightest, most swaying Wesley also has led his own Fred Wesley own whim, he has admitted. The win- grooves in show biz, and his solos were Group since 1996. ning affectations leave him no room marvels of power and expression. Again In 2002 he published his memoirs, Hit for slouching, and he assumes none. as much as anyone, he was funk. Me, Fred: Recollections of a Sideman. He His latest albums, Too Damn Hot and With the advent of hip-hop sampling, had, as you can imagine, a tale to tell. Jungle Soul are as swinging and riveting his legacy was refreshed by a younger

Thursday, November 2, Tula’s, 8:30pm Victor Noriega Quintet $12 general; $10 members/discount Also Noriega plays a free concert at Seattle City Hall at noon. Performance presented by the City of Seattle, Mayor’s Ofﬁce of Arts and Culture Affairs

The Seattle pianist, honored with a says he wished to pay homage to the Shanghai, China. But he has deep roots 2005 Earshot Golden Ear Award for music he heard at home growing up. The here, too. He recorded Alay with two Emerging Artist, plays jazz inspired by album also has a serenade written by a collaborators who are present tonight, his native Philippines. great-uncle, a popular Filipino composer in this quintet, and with whom he has As he demonstrated on his recent al- and conductor in the 1930s. been playing as a unit for six years: bass- bum, Alay, which featured original com- However, the tracks are “not just jazzed- ist Willie Blair and drummer Eric Eagle. positions and instrumental arrangements up Filipino songs,” he says. Instead they Says Noriega: “We’re always trying to of traditional Filipino/Tagalog songs are playful, sometimes complex and eclec- expand how far we can go when we’re – played, he says, “with a contemporary tic arrangements fueled by Noriega’s playing. We’re always trying to explore perspective” – Noriega is an exciting, restless jazz sensibility. that next avenue.” emerging presence in Seattle jazz. Noriega is based in Seattle, but has been The leader has also called on two top “Alay” means “gift” or “oﬀering” in Ta- spending quite a bit of time in Vancou- area players: saxophonist Mark Taylor, galog, and the album is, indeed, a gift of ver BC, Portland, and New York, and and multi-instrumentalist Jay Thomas, originality and fresh approaches. Noriega even traveled for a couple of months to who will play trumpet on this gig.

40 • Earshot Jazz • October 2006 Thursday, November 2, Nectar, 8pm Kamikaze Ground Crew $18 general; $16 members/discount

“With brasses, saxophones, and drums,” The seven- Jon Pareles once wrote in The New York piece, horn- Times, this notorious NY Downtown o r i e n t e d project “is by turns an oom-pah-pah ensemble is circus band, an earnest pit orchestra, and Gina Leish- a bluesy jazz septet.” man, alto and Of the all-star ensemble, Pareles went bari sax, bass on to say that it “juggles styles as easily as clarinet, ac- the Karamazovs juggle cutlery.” cordion, pi- The allusion to the madcap juggling act ano, ukulele, oning, while Leishman writes “more am- is not gratuitous, because KGC began its voice; Doug Wieselman, Eb, Bb, bass bitious, more contrapuntal pieces with a life as the pit band for a Broadway run by clarinet, tenor and bari sax, guitar; Peter palette of early 20th-century harmonies, the Flying Karamazov Brothers – speciﬁ- Apfelbaum, tenor sax; Steven Bernstein, similar to Lenny Pickett’s Borneo Horns.” cally, their Juggling and Cheap Theatrics of trumpet, slide trumpet; Art Baron, trom- She is also given to “wry lyrics, piquant 1983. Soon, however, the Crew evolved bone; and Kenny Wollesen, drums. dissonances, and shifty meters recalling into a vehicle for original composition, That is, as you may well know, about as Stravinsky and Kurt Weill.” plus an occasional theatre gig, including sinuous and sinewy a mob as New York Should be...well, a riot. a legendary production of Shakespeare’s has to oﬀer. Comedy of Errors at Lincoln Center The ensemble has two main composers: Gina Leishman created compositions for this concert with support from Chamber Music and Stravinsky’s L’Histoire du Soldat at Leishman and Wieselman. The latter America’s New Works: Creation and Presentation Brooklyn’s Next Wave Festival. writes “jaunty parodies of waltzes and Program, funded though the generosity of the circus marches,” by the band’s own reck- Doris Duke Charitable Foundation.

Friday & Saturday, November 3-4, Tula’s, 8:30pm George Colligan Trio $14 general; $12 members/discount

George Colligan is, as Chris Hoven put ous Monk, and Mc- it in All About Jazz, “one of the best kept Coy Tyner, he has secrets in jazz.” Eminent critic, Willard developed a hard- Jenkins, in JazzTimes, called him “one swinging, muscularly of those fine young talents bubbling just tuneful, fleet-fingered below the collective periscopes of the jazz style that is bright and critical and presenting fraternities.” uplifting, as he dem- Perhaps Colligan is that, no more. He onstrates on his latest has, rather, arrived as a prominent new Criss Cross album, pianist, thanks to several years of collabo- Past Present Future and rations with names like clarinetist Don on a disc by his organ Byron and Cassandra Wilson. He was the trio, Mad Science, recipient of a 2003 composition grant titled Realization. Colligan demonstrated his versatility by from Chamber Music America/Doris Colligan has worked with Phil Woods, playing keyboards and samples in a Byron Duke Foundation, and he won the 2001 Gary Bartz, Robin Eubanks, Billy Hig- concert salute to the Sugar Hill rap label. Jazzconnect.com Jazz Competition. gins, Lee Konitz, Nicholas Payton, Steve He toured the world with Cassandra In fact, he is hardly a newcomer, at all. Wilson, and many, many others. Wilson from 1999 to 2001. He has more than 70 recording credits, He began working with Don Byron All this makes you wonder, why is and has toured, recorded, and performed in 2001, and has collaborated, now, on George Colligan not much better known? with a host of progressive and straighta- several Byron projects, including his Bug Well, such are the vagaries of fame, ap- head jazzmen and women. Music recasting of early cartoon music parently. It’s not for lack of outstanding Influenced by the likes of Chick Corea, by the likes of Raymond Scott. skill, imagination, or output. Miles Davis, Herbie Hancock, Theloni-

October 2006 • Earshot Jazz • 41 Friday, November 3, Triple Door, 7pm & 10pm Django Reinhardt Festival $24 general; $22 members/discount

Dorado Schmitt, the French gypsy-guitar legend, has teamed up with young star Samson Schmitt, and Parisian accordion wiz Ludovic Beier, to celebrate the legendary Django Reinhardt, whose “hot swing” defined ’30s and ’40s European jazz. In company with violinist Stephane Grappelli, Reinhardt’s Quintet of the Hot Club of France pioneered a style that was one of continental jazz’s first major innovations. The Django Reinhardt Festival is an all-star band of modern practitioners of the world that Reinhardt created. Dorado Schmitt, a guitar legend from the Lorraine region of France, became known to a broad audience through his appearance in the film portrait of Rom (Gypsy) life, Latcho Drom, which followed the gypsy road from northern India, through Western Asia and Eastern Europe, to Spain. Schmitt also created the original soundtrack for the movie. Schmitt was raised as a guitarist from an early age, and steeped himself in the Reinhardt legacy. He has had a two-guitar and bass trio, Dorado Trio, since 1978. But in his teens he also gravitated to the rock music of Santana, Jimi Hendrix, and others. His career underwent a major challenge in 1988, when he was critically injured in a car accident. He trained himself again, both in guitar and violin, which he plays with equal facility and inspiration. In 2001, he won the Django Award at the Django Festival in Reinhardt’s home town, Luttre-Liberchies. He has become, with all that, perhaps the most renowned player of “gypsy jazz” in the world. He brings with him several other stars, including his son, Samson Schmitt; Ludovic Beier, an accordion wiz from Paris; Peter Beets, a pianist from Holland; and Brian Torff, a bassist who toured with Grappelli for years. Dorado Schmitt’s skills are legendary, among guitar heads and the many audience members who have marveled at his astounding skill. Not to miss.

42 • Earshot Jazz • October 2006 Friday, November 3, Seattle Asian Art Museum, 8pm Annette Peacock Eric Barber Chamber Quartet $16 general; $14 members/discount Copresented with Nonsequitur Foundation The groundbreaking composer, pianist, pianist Marilyn Crispell. This led to her and chanteuse, Annette Peacock, has been ECM release in 2000, An Acrobat’s Heart, pivotal in avant-music for 40 years. This a gorgeous song cycle showcasing her is the first-ever West Coast performance plaintive voice and spacious piano. (For for a musician of complex harmonic lan- a longer profile, see the September issue of guage and singer of singular style. Earshot Jazz: www.earshot.org/zine.asp.) Her life in music has been extraordinary. Opening: The Seattle quartet of Eric Bar- She was on hand for the beginnings of ber, a stellar sax player who has relocated free jazz with Albert Ayler in the late 60s. from LA. He has collaborated with many She emerged as a composer of the “free leading innovators, providing a rarified ballad,” a lyrical, open approach to song amalgam of jazz, Balkan music, Indian form she developed in response to the music, and extended sax technique. macho blowing sessions of that scene. His quartet ranges through virtuo- With second husband Paul Bley (her sic improvisation and contemporary first: Gary Peacock), she pioneered the chamber music, powered by three of use of Moog synthesizers in live, impro- the region’s most imaginative voices. visational settings. She recorded three Jesse Canterbury’s prowess on clarinets influential albums in the 70s with stellar was clear when he recorded an album rock and jazz musicians, and self-released of improvised and composed music for several more idiosyncratic LPs before clarinets with the legendary William dropping out of sight for 10 years. O. Smith. Tom Swafford is active as a In 1995 she relocated to Woodstock, composer and violinist in classical, ex- NY, and released a two-disc ECM al- perimental, punk, and bluegrass groups. bum, Nothing Ever Was, Anyway, a set Gust Burns, on piano, is an inexhaustible of her compositions performed by her contributor to the city’s thriving new new neighbor, the brilliant improvising music and improvising scenes. Photo by Daniel Sheehan

Saturday, Nov. 4, Triple Door, 7pm & 10pm Ana Moura $24 general; $22 members/discount Welcomed by KBCS 91.3FM Community Radio The young star of soulful, sensuous Por- noted fadista, Maria de Fe, heard her, and tuguese fado, a form of universal songs asked Moura to sing at her fado house. of love, loss, and longing. Moura, like virtually all aspiring fadista, Moura, wrote The New York Times, was inspired by the revered Amalia Ro- “brings a sultry, smoke-tinged voice to drigues, but was also developing her own fado’s dramatic arcs.” Her performances, style. And her “natural truth, without steeped in sensuous emotion, have made eﬀort or premeditation,” as one journalist described her gift, drew attention. her a star in Europe. It is music that, as Moura has emerged as a leading voice she says, “needs no translation.” of traditional fado just as the idiom is In her late teens, while sing pop and enjoying renewed popularity. She is rock music, Moura continued to include not, however, altogether a traditionalist. in her performances fado songs she had Rather, she sings older songs to which she heard as a child. Only about ﬁve years and her audiences can relate, as well as ago, she began to frequent Lisbon’s sto- newer ones. Today, she explains, “there’s a ried fado houses, and sang there. At a new generation that sings lyrics related to Christmas party later that year at which our time... We must feel what we sing.... today, so young people have begun to get several fadista were in attendance, the Younger singers use lyrics that speak of more interested in the music again.” October 2006 • Earshot Jazz • 43 Saturday, November 4, Nordstrom (Benaroya) Recital Hall, 7:30pm Sunday, November 5, Kirkland Performance Center, 3pm NEA Jazz Master Jimmy Heath w/ Seattle Repertory Jazz Orchestra $35; $33 members/discount Also: Free workshop, 5pm, Saturday at Langston Hughes Performing Arts Center

The NEA Jazz Master, a ﬁne sax and He began his career in the 1940s as a ﬂute player, and a renowned composer sideman with many famous bandleaders, and arranger, leads the all-star Seattle including Dizzy Gillespie, J.J. Johnson, band in premiere performances of his and Miles Davis. suite The Endless Search. Heath has He went on to lead his own groups, and composed the work with a Meet the in 1975 joined with his brothers Tootie Composer grant to the SRJO. and Percy in the critically acclaimed The Jimmy Heath is among the most widely Heath Brothers. In 2003, the National revered and recognized musicians in the Endowment for the Arts honored him world of jazz. with the title NEA Jazz Master. He Photo by Bryan Moore / All About Jazz

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44 • Earshot Jazz • October 2006 Photo by Jeorg Grosse Geldermann maintains an active career world-wide as Clarence Acox, award-winning conduc- Starlight Awards from the Kirkland a performer, composer and band leader. tor of the Garﬁeld High School bands, Performance Center. Several members His recent work as a composer includes a direct the 17-piece orchestra. of the all-star group have been named to 2005 piece commissioned by the Lincoln The band, which for a decade has been the prestigious Seattle Jazz Hall of Fame, Center Jazz Orchestra, which Wynton performing the Sacred Music of Duke including tenor saxophonist Hadley Cali- Marsalis directs. Ellington in a cherished Seattle holiday man, in 2005. The SRJO will also perform several tradition, can boast many of the region’s The orchestra’s most recent album, other works that Heath wrote for bands best-loved soloists and band leaders, Sacred Music of Duke Ellington, featuring led by Dizzy Gillespie and other luminar- such as pianist Larry Fuller, trumpeter Dee Daniels, has been broadcast nation- ies of jazz with which Heath has recorded Jay Thomas, bassist Phil Sparks, saxo- ally and was included in the 2005 “best and performed. He last came to Seattle in phonists Bill Ramsay, Hadley Caliman, picks” of PRI’s Jazz After Hours radio 2001 as a guest performer for two sold- Travis Ranney, and Mark Taylor, and show with Jim Wilke. out SRJO concerts. trombonists Scott Brown, Bill Anthony, The capabilities of the SRJO, which is and Dan Marcus. NEA Jazz Masters on Tour is an initia- celebrating its 11th season, are extraor- Also in the band is the phenomenal tive of the National Endowment for the dinary. It was recently named Northwest trumpeter Thomas Marriott, back in Se- Arts sponsored by Verizon in partnership Best Acoustic Jazz Ensemble at the 2005 attle after several years in New York City. with Arts Midwest. Additional support is Earshot Jazz Golden Ear Awards. Saxo- In past years the SRJO has received provided by the Doris Duke Charitable phonist/arranger Michael Brockman, a Golden Ear awards from Earshot Jazz Foundation through a grant to Chamber long-time UW professor, and drummer for Concert of the Year as well as two Music America.

Sunday, November 5, Seattle Asian Art Museum, 2pm Michael Schiefel $12 general; $10 members/discount Jazz: The Second Century -- Michael Schiefel interviewed on Jazz in Europe at Seattle Asian Art Museum, 12:30pm Michael Schiefel is a riveting, hugely talented singer on the thriving Berlin post-Wall jazz scene. In solo and group formats, he has released 12 albums since 1997, each one winning more praise than the one before. Particularly in solo performance, he augments his distinctive, virtuoso voice with experimental loops and other effects to achieve extraordinary expressions of passion, joy, and alien- ation. His latest, just-released pop-jazz disc, Don’t Touch My Animals, in English and German, features songs above love and tangled relationships, creates warped images of urban life, and muses on the ironies of German life. It is a fine follow- up to highly praised albums such as his 2003 Gay, on which, wrote Jazzthing, “his vocal range traverses a variety of moods and personae, from melancholic Photo by Jeorg Grosse Geldermann to euphoric and from crooner to diva” as in idiosyncratic styles. “Germany has Jazz Encyclopedia, 2005), whether per- he covers songs of artists as varied as Ella never seen a singer like Michael Schiefel forming solo, as here in Seattle, or with Fitzgerald and Portishead. before,” Sueddeutsche Zeitung said last the funk-pop band JazzIndeed; with the Michael Schiefel’s apprenticeship in year of Schiefel, who in 2001, at the age classical-inspired big band, Thaerichen’s Berlin clubs in the early 1990s after the of 31, became a professor of vocal jazz at Tentett; with the Balkan-beat German- Wall fell, as the city flourished with a new the Franz Liszt Conservatory in Weimar Bulgarian quintet Batoru; or with mod- cultural sense of possibilities, has reaped – and the youngest music professor in ern jazz stalwart David Friedman. huge artistic rewards for him. Reviewers Germany. He has proved himself as “one and fans sing his praises for the way that, of the few German jazz musicians who Additional support provided by Goethe- chameleon-like, he inhabits varied songs possesses a truly original style” (German Institut. October 2006 • Earshot Jazz • 45 Sunday, November 5, Tula’s, 8:30pm Marc Seales Group $12 general; $10 members/discount

For his new combo, the refl ective, emo- A longtime professor of jazz studies at tionally compelling Seattle pianist, Marc the University of Washington, Seales has Seales, has called on powerful saxophon- also long been intent on calling on the ist Rich Cole and imaginative young lessons of the post-bop and electric eras bassist Evan Flory-Barnes and drummer of jazz to enrich the straightahead realm. D’Vonne Lewis. Th e result has been that he has become Marc Seales has long been one of an often-praised and always surprising the jewels of the Seattle scene. As the voice. pianist with the New Stories trio, he has Richard Cole has been, for many years, demonstrated a high degree of craft and one of the fi nest horn men in the region imagination. His playing is marked by an but his unassuming manner has to a uncanny ability to go deep to the emo- degree confi ned his reputation to close tional and musical core of the standards listeners and his numerous fans among and originals he explores, in perfect em- leaders here and further afi eld. At once Photo by Daniel Sheehan pathy with his bandmates drummer John complex, intuitive, and intent on chasing BishopBishop and bassist DougDoug MMiller.iller. down the soul of tunes, he makes an ideal collaborator for Marc Seales. D’Vonne Lewis, on drums, and Evan Flory-Barnes, on bass, are two up-and- coming stars of the local scene. With bands like Industrial Revelation (see above, page 35), they have demonstrated an embrace of a broad swath of stylistic elements, all wrapped up into a highly engaging whole, at once entertaining, compelling, and driving. Th ese qualities make them, too, perfect for this Seales project, in which the leader steps outside the safe confi nes that his reputation with New Stories created for him, to explore parts of the jazz tradition of the last 40 years for which he has, until recently, been little known.

46 • Earshot Jazz • October 2006 Sunday, November 5, Triple Door, 7pm & 10pm Jason Moran & Bandwagon $22 general; $20 members/discount

from two grants he received from the New Work Commission of the San Fran- cisco Jazz Festival and Chamber Music America’s “New Works: Creation and Presentation” program. For his compositions, Moran used sampled conversations as triggers. He was in part inspired, he said, by his admiration for composing techniques pioneered by Brazilian giant Hermeto Pascoal, involving transcrib- ing the cadences and pitches of spoken language. Such experimentation has emerged, in fact, here and there throughout Moran’s recordings, at the same time as he has also demonstrated a profound grasp of jazz and blues-based forms. Jazziz magazine wrote: “Moran is blessed with the courage of his own con- victions – part scavenger and part seer, Photo by Daniel Sheehan fluent in the cut/paste/splice devices of hip hop production....” The late-20s Houston native has bassist Tarus Mateen and drummer Na- His Bandwagon project suggests that he emerged as one of the leading pianists sheet Waits, are joined by several guests is not done innovating. He, Mateen, and of the era. “He uses the whole keyboard, from jazz and African traditions. Waits produce a rip-roaring, modernist tonality and dissonance, softness and Each of Moran’s albums, in fact, has gloss on the blues on Same Mother, and loudness, and gravitates toward the produced wonderful surprises, twists and their new disc contains pieces for kora, cloudy chords of the French impressionist fades on traditions and modes of jazz djembe, and talking drum player Abdou composers,” wrote Ben Ratliff in the New and its kindred forms. That began with Mboup and trumpeter Ralph Alessi. York Times. his 1999 debut, Soundtrack to Motion, Numerous awards and honors have vali- He is, said the New Yorker, “the hottest which the NY Times’ Ben Ratliff named dated Moran’s approaches. His embrace pianist on the scene today,” at once “inno- as his Recording of the Year: “He’s such of the tradition of innovation no doubt vative, energetic, [and] genre-crossing,” an obvious exception to the often-heard stems in no small part from his early as Downbeat noted. He has made bold gripe that jazz hasn’t produced individu- schooling. Moran was first inspired by his advances within a framework that recalls alists since the ‘60s.” father’s Thelonious Monk records to keep the great, explorative, but readily acces- That disc set the tone for others that on with piano studies that were dragging, sible Blue Note era of the 1960s. He has, followed, including outings with bassist and thank goodness for that. for example, performed innovative work Mateen and Waits and a classic record- He moved to New York and studied for solo piano and vocal found sound, ing with sax iconoclast Sam Rivers, Black with out-piano titans Jaki Byard, Muhal demonstrating that, as the NY Times put Stars, from 2001. Also on his discography Richard Abrams, and Andrew Hill. Blue it, he is “one of the most independent is another trio disc that ranged through Note executives heard Moran on saxo- minds now working in jazz.” Texas blues, looped Turkish voice, phonist Greg Osby’s Further Ado, and Moran made his name accompanying hip-hop pioneer Afrika Bambaata, and quickly signed him. the likes of Cassandra Wilson, Steve much else. As All About Jazz remarked, Rolling Stone has proclaimed Moran Coleman, and Greg Osby, and now is “little precedent exists for his explorative “the most provocative thinker in current well-established as a leader. He has made compositions, stylistic choices, and per- jazz,” while the NY Times simply said: “If seven acclaimed albums, of which the lat- formance style.” you want to know what’s new in jazz, go est is the just-released Artist in Residence, Moran’s work for piano and recorded hear Moran.” on which his trio, The Bandwagon, with voices and other found sounds stemmed

Tickets available at 206-547-9787 and www.earshot.org

October 2006 • Earshot Jazz • 47 Notes In One Ear a weekly listenership of over 500,000 and thousands of members. Larry Neeb is president of Creative Jack Straw Grants Applications KPLU-FM’s campaign to raise $5-mil- Communications for the Parish, a St. Th e 2007 Artist Residency Applications lion for a new home on the campus of Louis, Missouri-based ecumenical pub- are now available for download at the Pacific Lutheran University has been lishing company. He is also a regent Jack Straw Productions website, www. boosted by a major gift from the brother of PLU which holds the license to the jackstraw.org. of its longtime manager. otherwise independent station. The sound-arts organization’s Artist Larry Neeb has given $1-million to the His donation follows a challenge gift Support Program, New Media Gallery, station in honor of Martin Neeb. Th e sta- in May of $500,000 from the Gary E. and Writers Program are designed to tion will name its new home for Martin Milgard Family Foundation, which was support artists who are interested in Neeb, in honor of his more than 25 years met by other donors. To date, $3.5-mil- exploring and incorporating sound into as head of the station. In December, he lion has been raised for the building. Th e their creative work. offi cially leaves the station. He retired station will solicit private donors, cor- Deadline for applications is Friday, No- as full-time manager in May, having porations and foundations, and KPLU vember 17, at 5:30pm. More information changed the station over time from a listeners for the remaining funds. is available at the Jack Straw site. student-run operation to a National Th e new home will take the place of Public Radio jazz and news station with the station’s current, overfl owing home on the PLU campus, Eastvold Hall. Th e new building will include state-of-the-art facilities, stable storage for records, and improved workspace. Construction will begin in the spring and end by 2008. Tula’s Jazz Calendar October 2006 A search is under way for a replacement ��2214 Second Ave, Seattle, WA 98121 �� for Martin Neeb, who came to KPLU in ��for reservations call (206) 443-4221 www.tulas.com �� 1981 from Los Angeles, where he was � � � � � � � director of broadcasting for the Franciscan �� Communications Center, a producer of �� television and feature fi lms. He has received 3-7 $7 �� 8:30-12:30 �� 8-12 $7 8-12 $5 �� $12 8:30-12:30 several broadcasting awards. And, under his �� 8-12 $8 $12 leadership, the station earned a 1996 Mar- �� 8-12 $8 8-12 $5 coni Award for Jazz Station of the Year. � � �� Dennis Rea, guitar ace and author of a �� fascinating new book, Live at the Forbid- 3-7 $5 �� 8:30-12:30 8:30-12:30 den City: Musical Encounters in China �� 8-12 $8 $15 $15 �� 8-12 $5 8-12 and Taiwan, has reached a decision that 8-12 $5 8-12 $7 $7/$5 student is all at once i) no doubt well-advised, �� ii) fortunate for all of us, and iii) a sad �� refl ection on the state of music marketing 4-7 $5 �� in the modern world. �� 8-12 $5 �� Releasing CDs of “obscure music” these �� 8-12 $15 8-12 $8 8-12 $7 �� 8:30 $12/$10 8:30 $12/$10 days is futile, he suggested in a recent 8-12 $5 email to friends and his many admirers. �� (Th at’s iii., above). So, ii., he has released �� his latest batch of music on the Internet. 3-7 $7 �� He has posted a recent composition on �� his Myspace site, and a very fi ne one at �� 8:30 $12/$10 8:30 $12/$10 �� 8:30 $12/$10 that. “I feel,” he says in his emailing, that 8:30 $12/$10 8:30 $12/$10 8:30 $12/$10 8:30 $12/$10 it “is my most signifi cant recording to �� date under my own name, certainly the �� most elaborate. Many of you have heard �� 3-7 $5 �� me threaten for years to distill my Asian �� musical infl uences into something of my �� 8:30 $10/$8 �� 8:30 $12/$10 8:30 $12/$10 8:30 $12/$10 own, and this piece is the result.” �� 8:30 $10/$8 8:30 $12/$10 It’s a piece, titled “Th ree View from 8:30 $10/$8 Chicheng Precipice,” in three parts: “A 48 • Earshot Jazz • October 2006 Mist but Not a Mist (after Bai Juyi),” strated on, for example, his renditions of October 5-8, the three players will il- “Egret Blizzard,” and “Uncarved Block.” transcriptions of Bach’s cello suites. lustrate the benefits of openmindedness On the piece, Rea plays electric and A winner of numerous Grammys and a at a workshop for intermediate/advanced resonator guitars, and dan bau; Ruth prestigious MacArthur Award, he also is a players in classical, jazz, and bluegrass Davidson is on cello; Alicia Allen, violin; musical polymath, willing to go wherever music entitled “Crossing Musical Lines,” Will Dowd, drums and percussion. Will great playing is to be had. And to play a restricted to 30 participants. It will focus Dowd recorded it, earlier this year. wide array of instruments. on improvised and composed music in “Happily,” writes Rea, “an excerpt from That appetite brings him, this month, the classical, jazz, and American Roots the piece appears on the soundtrack to Port Townsend, where he will collabo- traditions. There’ll be ensemble playing, to acclaimed Seattle filmmaker Cheryl rate with the renowned mandolin player, master classes, and group sessions. Reg- Slean’s new film “Diggers” (www.dig- Mike Marshall (who is also an outstand- istration info: www.centrum.org. gersthefilmcom), which will premiere ing interpreter of classical composers), Capping the weekend: an October later this year and will be featured in the and drummer/bassist, John Clayton, 7 concert at 7:30pm at Fort Worden 2007 Seattle International Film Festival who is equally at ease in classical and State Park’s Joseph F. Wheeler Theater. and other film events. jazz settings, and who is artistic director Reserved-seating tickets, at $55, from It’s a pity if music as fine as this really of the Centrum arts organization at Fort www.centrum.org, 360-385-3102, and cannot be released on the old, CD-style Worden State Park. the Centrum office, Fort Worden Park. platform (i., above), but there you have it. Rea says he may post other pieces, in the future. We’ll keep you posted. His Myspace site is www.myspace.com/den- nisrea. There’s more on his book at www. myspace.com/liveattheforbiddencity. Sonarchy, the weekly showcase of new music and sound art recorded live in the studios at Jack Straw Productions, is broadcast on KEXP 90.3FM each Satur- day evening at midnight. This month, jazz and improvized music offerings begin October 7 with Deadmen’s funky jazz: “Horn section meets rhythm section in a 73% dark chocolate center.” October 14, in Assisted Living, Jason Kopec and Dan Kaufman make electronic soundscapes with samplers, keys, bass, voice, and field recordings. October 21, the Tom Varner Cham- ber Trio perform highly accomplished acoustic ensemble music. Varner, without doubt one of the world’s top two or three jazz French horn players, and now to all our delights a Seattle resident, is joined by another recent immigrant to the city, Eric Barber, on saxophones, most recently of Los Angeles. On percussion and a second French horn – you won’t hear this, often, in a jazz trio – Seattle resident, and one of the finest drummers around, Greg Campbell. Making special guests appear- ances is piano individualist Gust Burns. This one should be a killer. Edgar Meyer is one of the great instru- mentalists of the day. His bass playing beggars imagination, as he has demon-

October 2006 • Earshot Jazz • 49 SUNDAY, OCTOBER 1 Certainly the jazz French horn great, Tom Varner, and also drum-n-bass, funk, and world music C* Darren Motamedy, Argosy Jazz Cruise, Pier is one of those. He has plenty of support. Soloists influences. Joining Stover, a versatile, busy 56, 11am include saxophonists Mark Taylor, Mark Treseler, musician who may also be heard with Quake, C* Better World w/ Marc Smason, Broadway and Adam Harris; trumpeters Jay Thomas and Frieze of Life, the James Knapp Orchestra, Farmer’s Market, noon Vern Sielert; and trombonist Jeff Hay. The rhythm Sonando, and Quasinada, as well as his other C* Seattle Jazz Vespers: New Orleans Quintet, section is John Hansen on piano, Phil Sparks on own band, the 12-piece Acquired Involuntary Seattle First Baptist Ch. (Union, & Seneca), 6 bass, and drummer Adam Kessler. The brass is Narcissism, are Stuart MacDonald (saxophone), led by trumpeter Brad Allison, and anchored by Ben Thomas (vibes), John Silverman (bass), and JA Manhattan Transfer, 7:30 the bass trombone of Doug Nierman and the Chris Stromquist (drums). The release party NO Mark Taylor, 8 baritone sax of Greg Metcalf. The Jim Knapp (actually, the second release party) is at ToST on SF Tina Richerson & Conlin Roser, 11am Orchestra plays its leader’s music exclusively. 4 October, also at ToST. More info, and sound SF Jerry Frank, 6:30 The Orchestra has recorded On Going Home samples, at www.morezero.com. By the way, SU Suffering F-Heads, 9 (Seabreeze), Things For Now (A-Records), and Stover has recently returned to Seattle from a TU Reggie Goings/Hadley Caliman Quintet, 3 Secular Breathing (Origin). Knapp developed the series of performances in Germany, where his TU Jim Cutler Jazz Orchestra, 8 jazz program at Cornish College in the late ‘70’s music was warmly received. and continues to teach there. At 8pm; admission 1 JAZZ VESPERS $10 (students $5), Seattle Drum School (12510 THURSDAY, OCTOBER 5 Seattle Jazz Vespers this month presents New 15th Ave NE, Seattle, 364-8815). C* Edgar Meyer, Mike Marshall, & John Clayton, Orleans Quintet, in which Dave Holo and friends Centrum www.centrum.org, call for time play and sing traditional jazz of the 20’s, 30’s TUESDAY, OCTOBER 3 EB Ev Stern Trio jam, 9 and 40’s. Dave Holo plays cornet and vocals, SU 3 Much Fun, 9 GT 3 Much Fun, 8 George Goldsberry, reeds; Jack Powell, guitar TU Jay Thomas Big Band, 8 TU Thomas Marriott & Tumbao, 8 & banjo; Peter Kok, piano; Jeff Norwood, bass. FRIDAY, OCTOBER 6 First Baptist Church is offered to jazz groups 3/5 TWO MUCH FUN for 100-minute performances. The Vespers are Trombonist Marc Smason and trumpeter Jim C* Edgar Meyer, Mike Marshall, & John Clayton, free and open to the public on first Sundays at Knodle welcome back to town one of the great Centrum www.centrum.org, call for time 6pm, October to June. No tickets or reservations modern clarinetists, Perry Robinson – collectively, EB Eric Vaughn Trio, 10 needed. Pastor Stephen Jones delivers a short they are 3muchfun – for two shows. The first, GR Kevin Mccarthy Quartet, 7:30 inspirational interlude. Free-will offering to pay on October 3, is at the Sunset Tavern (5433 HS Susan Pascal Trio, Pony Boy Records: Jazz & musicians. Light refreshments after, to meet Ballard Ave NW); admission $5–15. The second Sushi, 7:30 performers. Parking free in lighted lot. Seattle is at Gallery 1412 (1412 18th Ave), admission JA Steve Tyrell, 7:30 & 9:30 First Baptist Church (Harvard, Union, & Seneca, $5-15, on October 5. SF Kay Bailey Trio, 9 Capitol Hill), 6 TU Greta Matassa, 8:30 WEDNESDAY, OCTOBER 4 MONDAY, OCTOBER 2 EB Andy Shaw vocal jam, 7 6-8 STEVE TYRELL C* Jim Knapp Orchestra, 8, Seattle Drum School SF Passarim, 8 Vocalist Steve Tyrell, touring in support of TU Greta Matassa jam, 8 TB Katy Bourne, Randy Halberstadt & Clipper Songs of Sinatra (2005), is joined by Quinn Anderson, 6:30 Johnson (piano), Lyman Medeiros (bass), Jon 2 KNAPP BAND TO More Zero CD release, 10 Allen (keyboard), Kevin Winard (drums), Steve The first Monday of each month brings the TU Clark Gibson Quartet w/ Jay Thomas, 8 Cotter (guitar), and Lew Soloff (trumpet). Tyrell Jim Knapp Orchestra to the L.A.B. performance WI Eric Verlinde, Ronnie Pierce, Aria Prame, 9 recorded the album after Quincy Jones asked him space of the Seattle Drum School. All ages; easy to sing “Fly Me To The Moon” with him at The parking. Trumpeter Jim Knapp is renowned for ORE ERO Hollywood Bowl Hall Of Fame. He aimed, with his composing and arranging skills, presents 4 M Z Trombonist Chris Stover’s band More Zero his fifth album, to modernize Sinatra’s signature his Orchestra. The Orchestra boasts original has released a new CD of intricate, original songs while honoring Sinatra’s feel and vibe. style, superior writing, and virtuoso performers. compositions informed by jazz and new music,

Get your gigs listed! To submit your gig information go to www.earshot.org/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 throughout the month, so if you are playing in the Seattle metro area, let us know!

CALENDAR KEY AA Seattle Asian Art Museum in Volunteer Park, Seattle AF Affairs Cafe, 2811 Bridgeport Way West, University Place, (253) 565- NO New Orleans Restaurant, 114 First Ave S, 622-2563 8604 ON On the Boards, 100 W. Roy St (lower queen anne) AY Asteroid Cafe, 3601 Fremont Ave N Seattle, Washington (206) 547-9000 OU On the House, 1205 E Pike, (206) 324-3974 BX Bake’s Place, 4135 Providence Point Dr. SE, Issaquah, (425) 391-3335 OW Owl ‘n Thistle, 808 Post Ave, 621-7777 C* Concerts and Special Events PC Plymouth Congregational Church, 1217 6th Ave, (206) 622-4865 CF Coffee Messiah, 1554 E Olive Way, 861-8233 PM Pampas Club, 90 Wall St, 728-1140 CZ Cutter Point 7520 27th St. W. University Place, (253) 565-4935 PN Poncho Concert Hall at Cornish College of the Arts, 710 E Roy St. DC Dulces Latin Bistro, 1430 34th Ave, 322-5453 RD Richmond Beach Deli, 632 NW Richmond Beach Rd, Shoreline, 546-0119 EB Egan’s Ballard Jam House, 1707 NW Market Street, 789-1621 SA The Spar, 2121 N 30th, Tacoma, (253) 627-8215 GR Grazie Rist., 23207 Bothell-Everett Hwy SE, Bothell, (425) 402-9600 SB Seamonster Lounge 2202 N 45th St, 633-1824 GT Gallery 1412, 1412 18th Ave Seattle SF Serafina, 2043 Eastlake Ave E, 323-0807 HS Hiroshi’s Restaurant, 2501 Eastlake Avenue E Seattle (206)726-4966 SU Sunset Tavern, 5433 Ballard Ave, 784-4480 IB Il Bistro, 93-A Pike St, 682-3049 SY Salty’s on Alki, 1936 Harbor Ave SW, 526-1188 JA Jazz Alley, 2033 6th Ave, 441-9729 TA Tempero Do Brasil Restaurant, 5628 University Way, 523-6229 JB Jazzbones, 2803 6th Ave, Tacoma, (253) 396-9169 TB Tutta Bella Neapolitan Pizzeria, 4918 Rainier Ave. S. 721-3501 JF Johnny’s, Fife exit 137 off I-5 at Motel 6, (253) 922-6686 TD The Triple Door, 216 Union St, 838-4333 JU Jubilante Restaurant, 305 Burnett Ave S, Renton (425) 226-1544 TO ToST, 513 N 36th St, 547-0240 JW Julia’s of Broadway, 300 Broadway, 860-1818 TT Tractor Tavern, 5213 Ballard NW, 789-3599 LA Latona by Green Lake, 6432 Latona NE, 525-2238 TU Tula’s, 2214 2nd Ave, 443-4221 LU Luigi’s Grotto, 102 Cherry, 343-9517 TW Town Hall, 11198th Ave, Seattle 652-4255 NE Norm’s Eatery, 460 N. 36th, (206) 547-1417 WB Wasabi Bistro, 2311 2nd Ave, 441-6044 NH Nordic Heritage Museum, 3014 NW 67th St, 789-5707 WI The Whiskey Bar 2000 2nd Avenue, Seattle (206) 443-4490

50 • Earshot Jazz • October 2006 Sets: Friday/Saturday 7:30pm & 9:30pm; Sunday TU Jim Cutler Jazz Orchestra, 8 7:30pm. Cover $26.50. MONDAY, OCTOBER 9 Recurring Weekly Performances TU Darin Clendenin Trio jam, 8 6 JAZZ & SUSHI Tuesday, October 10 MONDAYS Pony Boy Records series, Jazz & Sushi, “one of JA Marta Topferova, 7:30 Seattle’s tastiest weekly jazz gigs,” continues this IB Blake Micheletto TD Patricia Barber, 7:30 month at Hiroshi’s Restaurant (2501 Eastlake Ave E, 726-4966, reservations recommended) TU Emerald City Jazz Orchestra, 8 NO New Orleans Quintet with music each Friday evening, from 7:30 to TD Origin Records Jazz Night, 7 10pm; no cover. The lineup starts October 6 10-11 PATRICIA BARBER with the Susan Pascal Trio (Susan Pascal, vibes; At the Triple Door, the vocalist/pianist WB Chris Blacker Quartet Larry Holloway, bass; Greg Williamson, drums). promotes her new CD, Live: A Fortnight In October 13: Thelonious Monk and his circle, France, by performing her smart, subtle with The Monk-stone Conspiracy (Bill Anschell, compositions with her polished quartet. Patricia TUESDAYS piano; Chris Symer, bass; Greg Williamson, Barber has won many fans with her “adventurous DC Eric Verlinde, 6:30 drums); October 20, the Greg Williamson Quartet piano playing, a low-vibrato alto on perpetual (Alexey Nikolaev, sax; Jon Hamar, bass; Greg rhythm and timbre alert, and smart songs about NO HoloTrad Jazz Williamson, drums) announce their upcoming the way we think and live, not just the way we Jazz Japan tour; and October 27, Buddy Catlett, love,” as the New York Times put it. Barber OW Bebop & Destruction bass; Christopher Woitach, guitar; and Carolyn has a great sense of drama in presenting her Graye, voice, play tunes from each of their Pony observations of life. Her nuanced stylizations WEDNESDAYS Boy CDs. The series continues into November. have served her well since she first came to public attention in Chicago via late-1980s club DC Eric Verlinde, 6:30 SATURDAY, OCTOBER 7 dates. There, she recorded Cafe Blue in 1994, C* Edgar Meyer, Mike Marshall, & John Clayton, an album of originals and covers that reflected NO Floyd Standifer Group, 8 Centrum www.centrum.org, call for time her work at her Chicago base of operations, The Green Mill. Her breakthrough album was 1998’s PC Susan Pascal/Murl Allen C* Groovin’ Higher Jazz Orchestra, The Factory (5602 S Washington St), Tacoma, 5 Modern Cool, and her subsequent work have only Sanders/Phil Sparks, Noon won her further renown. The critics have been C* Edgar Meyer, John Clayton, & Mike Marshall, lavish. Time magazine: “Cross Diana Krall with SA Kareem Kandi Band, 8 Centrum/Fort Worden State Park, 7:30pm Susan Sontag, and you get Patricia Barber, whose WI Eric Verlinde Trio, 10 EB Peter Martin Band, 7 throaty, come-hither vocals and coolly incisive EB Greg Sinibaldi band, 10 piano are displayed to devastating effect.” GR Kevin Mccarthy Quartet, 7:30 She has been together with her bandmates THURSDAYS GT Montreal/Seattle improvised music summit, for several years - Michael Arnopol, bass; Eric w/ Lori Freedman, clarinets; Tom Swafford, Montzka, drums; and Neal Alger, guitar - which AY Spice Girl jam, 9:30 violin; Gust Burns, piano, 8 has provided her with a cohesion that only adds CF Monktail Music Series, 8 JA Steve Tyrell, 7:30 & 9:30 to her great assurance. At 7:30pm each evening; SF Leo Raymundo, 9 cover $27 advance, $30 day of show. CM Victory Music Open Mic, 6 TB Frank Clayton Duo, 7 TD Regina Carter, 7 & 10 WEDNESDAY, OCTOBER 11 JB Kareem Kandi Band, 8:30 TU Susan Pascal Quartet, 8:30 EB Andy Shaw vocal jam, 7 LU Robeson Trio, 8 JA Marta Topferova, 7:30 7 MONTREAL/SEATTLE SUMMIT SF Passarim, 8 NO Ham Carson Quintet, 7 The Montreal/Seattle improvised music TB Steve Mason, 6:30 TA Urban Oasis, 7 summit, with Montrealer Lori Freedman, TD Patricia Barber, 7:30 clarinets, and Seattleites Tom Swafford, violin, TO Joe Doria Trio, 10 WB Wayne Trane, 9 and Gust Burns, piano, will consist of an 8pm TT John Ellis Quartet, 8 concert after a 1pm improvised music workshop TU Carolyn Graye Group, 8 facilitated by the three musicians. The workshop FRIDAYS WI Eric Verlinde, Ronnie Pierce, Aria Prame, 9 is open to all skill and experience levels, and will focus on group improvising within the AF Kareem Kandi Band, 7 overlapping spaces of new music and improvised 11 JOHN ELLIS QUARTET JU Urban Oasis, 9 music. More details: gallery1412.org. At Gallery The John Ellis Quartet, said All About Jazz 1412 (1412 18th). – New York, is “that mix of North and South, Big LA LHH Trio, 5:30 Easy and Big Apple, funk and fantastic sounds that make Ellis one of the more exciting young LU Robeson Trio, 8 7-8 QUEEN OF THE VIOLIN artists to emerge in recent years.” John Ellis, Regina Carter comes to The Triple Door (cover sax; Mike Moreno, guitar; Alan Hampton, bass; PM Floyd Standifer, 9 $25 advance, $28 day of show) with, presumably, and Derrek Phillips, drums, make their debut Alvester Garnett (drums), Alon Yavnai (piano), performance in Seattle. The 32-year old tenor SATURDAYS Chris Lightcap (bass), and a percussionist TBA, saxophonist, who made his name as a five-year touring in support of her CD I’ll Be Seeing You: A member of The Charlie Hunter Trio, recently AF Kareem Kandi Band, 7 Sentimental Journey (Verve, 2006). How versatile released his latest album, By A Thread (Hyena). It is Carter? Well, leaders as diverse as Faith Evans, followed last year’s well-received One Foot In The LU Robeson Trio, 8 Elliot Sharp, and Mary J. Blige have employed her. Swamp. At the Tractor Tavern (5213 Ballard Ave PM Floyd Standifer, 9 Add this to an extremely long list of jazz leaders, NW), at 8pm; $10 advance, $12 at door. including Tom Harrell, Wynton Marsalis, and SU Victor Noriega Oliver Lake. Her previous disc, Paganini: After a THURSDAY, OCTOBER 12 Dream (Verve), celebrated her opportunity late in C* Thomas Marriott’s Willie Nelson Project, SY Victor Janusz, 10am 2001 to play Niccolo Paganini’s very own violin Earshot/SAM Art of Jazz series, Seattle Asian - she was the first jazz musician favored with Art Museum (Volunteer Park), 5 SUNDAYS that honor. A year later, she returned to Genoa EB Steve Kim, Dave Coleman, Don Mock, 9 to record on the instrument. As all that suggests, JA Jody Williams & The Rose City Kings, 7:30 CZ Kareem Kandi Carter, who is living proof of the effectiveness of TU Jeremy Jones Xtet, 8 the Suzuki method, is recognized as a technician JF Buckshot Jazz, 5:30 of inspired skill. 12 TOM & WILLIE SU Suffering F-Heads, 9 SUNDAY, OCTOBER 8 Award-winning jazz trumpeter Thomas Marriott’s new band, The Willie Nelson Project, NE Dangerous Brain Clinic, 10 C* Deems Tsutakawa, Argosy Jazz Cruise, Pier will perform at the Earshot/SAM Art of Jazz series, SY Victor Janusz, 10am 56, 11am Seattle Asian Art Museum (1400 E Prospect St, C* Edgar Meyer, Mike Marshall, and John Clayton, Volunteer Park). It presents reworkings of classic Centrum www.centrum.org, call for time songs by the great American singer-songwriter. C* Yellow Jackets, Northshore Performing Arts Marriott has transformed much of the country- Center, Bothell High School (18125 92nd Ave western material to fit his modern electric jazz NE, Bothell); www.npacf.org, www.ticketswest. group which includes drummer Matt Jorgensen, If you have a new CD that you would com, 800-992-TIXX, TicketsWest outlets, 7pm bassist Geoff Harper, saxophonist Mark Taylor, JA Steve Tyrell, 7:30 and keyboardist Ryan Burns. Marriott has like to submit for review, please send a SF Tina Richerson & Conlin Roser, 11am reshaped Nelson hits and less-known tunes to SF Alex Guilbert, 6:30 emphasize improvisation and interplay. At 5pm; copy Earshot Jazz, 3429 Fremont Place N SU Suffering F-Heads, 9 free with modest museum entry. More: www. #309, Seattle WA 98103 TD Regina Carter, 7 & 10 thomasmarriott.net. TU Jazz Police Big Band, 3

October 2006 • Earshot Jazz • 51 FRIDAY, OCTOBER 13 with the last rays of the year glowing on them, C* Marc Smason, Gary Way, Greg Barnes, Mike it’ll be a hatches-battened show. THURSDAY, OCTOBER 19 Smith, Living Green (630 2nd St, Langley, Also on the bill is Special Ops, a self-described C* Daniel Barry and Walk All Ways, Musicworks Whidbey Is., 360 221-8242, no cover “death-jazz trio” that, like Reptet, operates NW (14360 SE Eastgate Way, Bellevue), 7:30 C* Rik Wright, Tony Grasso, Ev Stern, Jeremy under the large Monktail talent umbrella. Mark C* The Music of Mark Ostrowski, Soma series, Jones, El Diablo, www.rikwright.com Ostrowski (drums), Stephen Parris (guitar), and 8, Gallery 1412 (1412 18th Ave, at Union); 8 C* Art & Music at the Top of the World, Nordic John Seman (double bass), explain themselves, (all-ages; $5-15 sliding scale) Heritage Museum, 7:30 thus: “a free-improvisation commando unit C* 19 Marc Smason/Bruce Barnard/Ken EB Skerik, Joe Doria, D’Vonne Lewis, 10 replete with dark regalia, sonic hand grenades, Strong, 6 HS Pony Boy Records: Jazz & Sushi, 7:30 and a warped sense of humor.” They draw *C & P Coffee Co. (5612 California SW) JA Acoustic Africa: Habib Koité & Dobet from contemporary chamber composition, EB New Architects, 8 small-group jazz improvisation, electronic Ghanhoré, 7:30 & 9:30 GT The Music of Mark Ostrowski, 8 experimentalism, and dark metal, all with “droll NH Dani Strömbäck Trio & The Art Of Peter JA Bob Baldwin & Friends, 7:30 & 9:30 Borotinskij: Music And Art From The Top Of wit and sonic shenanigans from the subtle to The World, 7:30 the scabrous. It’s black noise and white noise. TU Milo Petersen & the Jazz Disciples, 8 SF Lady T Plus Two, 9 It’s cross-genre pollination boiled in ammonia, TW Jay Thomas East/West Double Trio, Earshot Jazz Festival, Noon TU Dave Peck Trio, 8:30 cured in bleach, dipped in battery acid and ignited with the American flag.” Again, that’s their description, and it fits well enough. 19 COMMUNAL MIND EXPANSION 13-14 PECK AND PALS The Soma series promises “communal mind Dave Peck, one of the finest pianists ever to The other two bands on the bill are the a expansion” by radical and diverse Seattle grace these parts, appears at Tula’s with two capella, overtone-singing ensemble, Seattle ensembles, and this month is depending on other aces with national reputations, bassist Harmonic Voices, and Jesus and the Bobcats, Mark Ostrowski to deliver it. “The Music of Mark Jeff Johnson and drummer Joe LaBarbera. The a “non-denominational, theatrical, hyper-surf, Ostrowski” at Gallery 1412 (1412 18th Ave, at Hartford (CT) Courant said: “He works the same space-age boogaloo combo from the center Union; 8pm; all-ages; $5-15 sliding scale) is an mellow magic with his luminous, single note of another earth.” So they say, and we believe entire concert of works by local composer Mark lines and shimmering, romantic harmonies...the ’em. All this in a Capitol Hill park that has been Ostrowski, a percussionist who is a member trio manages to be meditative and mysterious, transformed during the last year, with a natural of the fertile Monktail Creative Music Concern, while creating a groove that breathes with life at amphitheater, the Sunbowl, at its center. Cal and of one of its member bands, Special Ops. any tempo, even the slowest, and in any mood, Anderson Park, on Saturday, October 14, noon to Ostrowski’s compositions feature graphic as even the most poetic.” With this trio, Peck, who 6pm. The park is at 1632 11th Ave, between Pike well as standard notation and varied chamber- was recently featured in Downbeat magazine and Denny. Info: www.monktail.com.Free. jazz/chamber-music conigurations. The evening and on Marian McPartland’s syndicated radio will highlight Ostrowki’s latest work with the

program, Piano Jazz, won 2006 Earshot Golden SUNDAY, OCTOBER 15 premiere of seven new pieces for various Ear awards for NW Acoustic Jazz Ensemble of C* Greta Matassa, Argosy Jazz Cruise, Pier 56, instrumentation. Those will include a solo piano the Year and NW Recording of the Year for the 11am piece performed by Stephen Fandrich (Seattle album. Cover $15. C* Art & Music at the Top of the World, Nordic Harmonic Voices); a solo bass clarinet piece Heritage Museum, 3:30 featuring Beth Fleenor (Bling, the Qhromatics); 13/15 TOP OF THE WORLD JA Acoustic Africa: Habib Koité & Dobet and a duet featuring Fleenor and Ostrowski The Nordic Heritage Museum presents “Art Ghanhoré, 7:30 & 9:30 himself on drums. and Music from the Top of the World,” with a NH Dani Strömbäck Trio & The Art Of Peter collaboration between a Finnish Jazz Trio led Borotinskij: Music And Art From The Top Of FRIDAY, OCTOBER 20 by Dani Strömbäck and Finnish visual artist The World, 4 EB Mike Owcharuk Trio, 10 Peter Borotinskij. The music of Dani Strömbäck NO David Keys, 8 HS Pony Boy Records: Jazz & Sushi, 7:30 combines jazz, Swedish folksongs, and film SF Tina Richerson & Conlin Roser, 11am JA Bob Baldwin & Friends, 7:30 & 9:30 scores. Borotinskij’s art is Scandinavian in SF Aaron Mesaros, 6:30 SF Djangomatics, 9 spirit, quite homogenous, but with touches of SU Suffering F-Heads, 9 TD Wayne Horvitz Gravitas Quartet, Odeon String Surrealism. The Friday presentation, with beer TU Jim Cutler Jazz Orchestra, 8 Quartet feat. Bill Frisell, Earshot Jazz Festival, and wine served, emphasizes the folk end of the TU Jay Thomas Big Band, 4 7 & 10 spectrum, and starts at 7:30pm. On Sunday, at TU Jay Thomas East/West Double Trio, Earshot 4pm, jazz and film scores will be the emphasis. MONDAY, OCTOBER 16 Jazz Festival, 8:30 At 3:30pm, coffee and Scandinavian pastries RD Doug Reid, Andy Roben, Kevin McCarthy, 7:30 SATURDAY, OCTOBER 21 will be available. Tickets for each concert are TU Tim Ries Rolling Stones Project, 8 $10 for Museum members, and $12 for non- C* Wynton Marsalis Quartet, Paramount Theatre, members. More details: (206) 789-5707, www. TUESDAY, OCTOBER 17 Earshot Jazz Festival, 8 nordicmuseum.org. C* Katy Bourne & Bill Anschell, Tutta Bella (4111 EB Sunship featuring Stuart Dempster, 10 Stone Way, Seattle), 6:30pm JA Bob Baldwin & Friends, 7:30 & 9:30 SATURDAY, OCTOBER 14 JA Javon Jackson, 7:30 SF Jazzukha, 9 C* Sounds Outside concert: Reptet, Special TU Roadside Attraction Big Band, 8 TB Marco de Carvalho, 7 Ops, Seattle Harmonic Voices, Jesus and the TD Matmos, Walter Kitundu, Earshot Jazz Festival, Bobcats; noon-6pm, Cal Anderson Park (1632 WEDNESDAY, OCTOBER 18 8 11th Ave, Pike & Denny); admission free, noon EB Andy Shaw vocal jam, 7 TU Jay Thomas East/West Double Trio, Earshot C* Kevin McCarthy Quartet, Maddox Grill (18411 JA Javon Jackson, 7:30 Jazz Festival, 8:30 Hwy 99, Lynnwood), 7:30 SF Passarim, 8 EB Industrial Revelation, 10 TB Kristin Connell & Charlie Akeley, 6:30 SUNDAY, OCTOBER 22 JA Acoustic Africa: Habib Koité & Dobet TO Evan Flory-Barnes, 10 C* Michael Powers, Argosy Jazz Cruise, Pier 56, Ghanhoré, 7:30 & 9:30 TU Greta Matassa vocal workshop, 8 11am NO George Griffin, 8 WI Eric Verlinde, Ronnie Pierce, Aria Prame, 9 JA Bob Baldwin & Friends, 7:30 SB Das Vibenbass, 10 NO Reggie Goings, 8 SF Voodoo Trio, 9 17-18 JAVON JACKSON SF Alex Guilbert, 6:30 TB Cynthia Mullis Trio, 7 Saxophonist Javon Jackson appears in support SF Tina Richerson & Conlin Roser, 11am TU Dave Peck Trio, 8:30 of his new release Now with George Cables SU Suffering F-Heads, 9 (piano), Nat Reeves (bass), and Jimmy Cobb TD Garfield HS Jazz Band w/ David “Fathead” 14 SOUNDS OUTSIDE (drums). Raised in Colorado on Gene Ammons Newman, Earshot Jazz Festival, 7 & 10 There’ll be jazz on the out side, outdoors, and Ahmad Jamal, then much taken with TU J-Word, 3 when the Montail Creative Music Concern and Sonny Stitt, Rollins, Henderson, Coltrane... All TU Manuel Valera Trio, Earshot Jazz Festival, 8:30 Seattle Parks and Recreation present Sounds that led him from alto to tenor sax, and early Outside: A Celebration of Adventurous Art and membership in the band of former Seattleite, MONDAY, OCTOBER 23 Community on October 14 at Cal Anderson Park, and ex-Max Roach Quintet member, Billy Wallace. JA Philippe Saisse Trio, 7:30 free of charge. In the all-afternoon, all-ages Through friend Branford Marsalis, he attended PN Matthew Shipp, Gust Burns, Earshot Jazz affair, noon to 6pm, four bands will appear, Berklee College of Music, during which time he Festival, 8 including the redoubtable Reptet, which we also toured wih Freddie Hubbard, Elvin Jones, TD Allen Toussaint, Earshot Jazz Festival, 7 & 10 described recently in these pages as “at times, in Charlie Haden, and Cedar Walton. He then join TU Manuel Valera Trio, Earshot Jazz Festival, 8:30 their live performances...a juggernaut jazz band, Art Blakey’s legendary training camp alongside arresting, compelling, and just plain cranked-up.” the likes of Terence Blanchard, Kenny Garrett, Reptet is a dynamic four-horn, bass, and drum Wallace Roney and Benny Green. Jackson TUESDAY, OCTOBER 24 sextet who will tour out East this fall to promote appeared on several Blakey recordings, and C* Marc Smason’s open jazz workshop, On the its new CD, Do This, which Downbeat praises for remained with the Messengers for over three House (1205 E Pike), 7:30 its “bittersweet and elegiac mood of orchestral years until Blakey’s death in 1990. He then struck JA Rebirth Brass Band, 7:30 grandeur.” Tobi Stone (woodwinds), Izaak Mills out as a leader, and released Burnin’ and Me and ON Kayhan Kalhor & Erdal Erzincan, Earshot Jazz (woodwinds), Samantha Boshnack (brass), Ben Mr. Jones in 1991. Set times: Tues-Wed. 7:30pm. Festival, 8 O’Shea (trombone), Ben Verdier (bass) and John Cover $21.50. Cover $21.50. OU Smason open jazz workshop, 7:30 Ewing (drums), put on a powerhouse show, and

52 • Earshot Jazz • October 2006 TD Rashied Ali Quintet, Earshot Jazz Festival, 7 & C* Better World w/ Marc Smason, Jai Thai (235 C* Pony Boy All-Star Big Band, Game Farm 10 Broadway E), 10 Wilderness Park in Auburn, 5 TU Manuel Valera Trio, Earshot Jazz Festival, 8:30 BX Pearl Django JA Susana Baca, 7:30 EB Motel 5, 10 NO Chicago 7, 7 24-25 REBIRTH OF THE CRESCENT CITY JA Susana Baca, 7:30 & 9:30 ON Ritual Trio w/ Billy Bang, Earshot Jazz Festival, The bluesiest, swinginest, hollerinest brass ON Monktail Creative Music Concern’s Raymond 8 band on the planet comes in from New Orleans Scott Project, Earshot Jazz Festival, 8 SF Ann Reynolds & Tobi Stone, 6:30 for two nights at Jazz Alley. They’ve been ON John Hollenbeck’s Claudia Quintet, Earshot SF Tina Richerson & Conlin Roser, 11am stompin’ up and down the streets and stages Jazz Festival, 8 SU Suffering F-Heads, 9 of New Orleans and the wide world since 1983, SF Leo Raymundo, 9 TD Lionel Loueke Trio, Earshot Jazz Festival, 7 & advancing the tradition of brass bands while also TB Frank Clayton Trio, 7 10 injecting it with everything and anything from TD Bobby Hutcherson Quartet, Earshot Jazz TU Big Neighborhood, Earshot Jazz Festival, 8:30 the grab basket of American popular music. Festival, 7 & 10 The funky world travelers have become crowd TW Dempster Diving, Earshot Jazz Festival, 2 TU Dawn Clement Trio, Earshot Jazz Festival, favorites at concert halls and festivals, and have 8:30 MONDAY, OCTOBER 30 appeared with bands like The Grateful Dead, the C* Northwest Film Forum, www.nwfilmforum.org, Meters, George Clinton and the P-Funk All-Stars, Earshot Jazz Festival, various times Maceo Parker, and Dr. John, all of whom they 28 SOPHISTICATED ELLINGTON The Duke Ellington Broadsay Musical, JA Sadao Watanabe w/ Peter Erskine Trio, 7:30 match for soul and a guarantee of a fine time. PN TYFT w/ Andrew D’Angelo, Jim Black, & Cover $21.50 Sophisticated Ladies, comes to Bothell’s Northshore Performing Arts Center, direct from Hilmar Jensen, Earshot Jazz Festival, 8 WEDNESDAY, OCTOBER 25 New York, featuring a swinging cast and live jazz TD Andrew Hill Quintet, Earshot Jazz Festival, 7 & orchestra. At 8pm, at Northshore Performing 10 EB Andy Shaw vocal jam, 7 Arts Center, Bothell High School campus, 18125 TU Industrial Revelation, Earshot Jazz Festival, JA Rebirth Brass Band, 7:30 92nd Ave NE, Bothell. Tickets at www.npacf. 8:30 ON Michele Rosewoman’s Quintessence, Earshot org, www.ticketswest. com, 800-992-TIXX, TUESDAY, OCTOBER 31 Jazz Festival, 8 TicketsWest outlets. SF Passarim, 8 PN Drew Gress & 7 Black Butterflies, Earshot Jazz TB Katy Bourne & Randy Halberstadt, 6:30 SUNDAY, OCTOBER 29 Festival, 8 TD Larry Coryell, Earshot Jazz Festival, 7 & 10 C* Northwest Film Forum, www.nwfilmforum.org, TU Rochelle House & Marc Seales Trio, Earshot TO Oval League, 10 Earshot Jazz Festival, various times Jazz Festival, 8:30 TU Roberta Picket/Billy Mintz Trio, Earshot Jazz Festival, 8:30 WI Eric Verlinde, Ronnie Pierce, Aria Prame, 9

THURSDAY, OCTOBER 26

� � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 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� � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � C* Earshot Jazz Films, Northwest Film Forum, �� www.nwfilmforum.org, Earshot Jazz Festival, various times �� C* Henry Butler, Meany Theater, UW, 7:30 C* Black Lab Trio, Sonando, John Sanders Quartet, Saint Laurent Winery, 1 EB Ev Stern Trio jam, 9 JA Susana Baca, 7:30 & 9:30 ON Nguyen Le Tiger’s Tail Quartet, Earshot Jazz Festival, 8 TD Cyrus Chestnut Trio, Earshot Jazz Festival, 7 & 10 TD Das Vibenbass, 9 TU Roberta Picket/Billy Mintz Trio, Earshot Jazz Festival, 8:30 26 HENRY BUTLER, Henry Butler’s music is a rich amalgam of jazz, Caribbean, classical, pop, blues and R&B influences, as excitingly eclectic as his New Orleans birthplace. UW School of Music jazz faculty and students will appear with him on stage. Butler is a four-time W.C. Handy “Best Blues Instrumentalist - Piano” award nominee, who through his classically-trained wizardry combines the percussive jazz piano playing of McCoy Tyner and the New Orleans style playing of Professor Longhair. He creates a rich amalgam of jazz, Caribbean, classical, pop, blues and R&B influences, his music is as excitingly eclectic as �� that of his New Orleans birthplace. At Meany Theater, UW, 7:30; $15 general, $10 students & seniors; bookings 206-543-4880, www.music. �� washington.edu. FRIDAY, OCTOBER 27 �� C* Mavis Staples & Praise!, Earshot Jazz Festival, �� UW Meany Hall, 8 �� C* Northwest Film Forum, www.nwfilmforum.org, �� Earshot Jazz Festival, various times �� AA Toshiko Akiyoshi, Earshot Jazz Festival, 8 �� EB Seattle Arts Trio, 9 �� HS Pony Boy Records: Jazz & Sushi, 7:30 �� JA Susana Baca, 7:30 & 9:30 �� JW Rik Wright/James DeJoie/Chris Symer �� SF Fred Hoadley Trio, 9 �� TD Brian Nova’s Seattle Showcase , Earshot Jazz �� Festival, 7 & 10 �� TU Bill Anschell CD release, Earshot Jazz Festival, 8:30 �� SATURDAY, OCTOBER 28 �� C* Northwest Film Forum, www.nwfilmforum.org, �� Earshot Jazz Festival, various times C* Sophisticated Ladies, Northshore Performing �� Arts Center, Bothell High School campus, �� 18125 92nd Ave NE, Bothell, 8

October 2006 • Earshot Jazz • 53 Thank you to our Members and Donors

($500 and above) Mary Jo Mc Cassey Jodee Fenton John DeGuiseppi Carole Miguel Andrew Freund Brian Mc Williams Bob Francis Vera Cruz Detour Bill Mirand George E. Heidorn Barbara Metch Joey Meyer & Terry Bill Deyoung Dan E. Morris Lola Pedrini Peter Monaghan Furlong Scott Dutton Lan Mosher Jeff & Blue Resnick Michael Monhart Harold Glucksberg Peter & Margot Eddy Barbara Muller Laura Welland Trudy Morse Steve Goettsch Malcolm Edwards Raul Mustelier Osamu Murao Bill Karp & Susan Guralnick P. Elster David Nemens ($100 to $499) Vickie Nauman M. Schraepfer Harvey Heather Fandrich Greg Oaksen Anonymous Wesley A Neep Daniel & Jilda Johnson Donald Fels John Pagel James Abrahamson Jane & Dave Peck Jim & Nancy Kenagy Jeff Ferguson Robert Pillitteri Thomas Ager Lola Pedrini Nancy & Bob Kimberly Milton & Nelli Flynn Connie Pious Annette Althoff Steve Peters Mark Levensky Bryan Ford Stuart Porteous David L. Ballenger John G. Powers Ronald & Peggy Levin Judy Foster Ruth Quinet Gary Bannister Margie Prichard Stuart & Tyna Mandel Scott Gelband Jon Quitslund Robert Barley Katherine Ransel Deborah Mersky Marianne Gonterman Dennis Rea Sanford C. Barnes Jeff & Blue Resnick Stanya Montalvo Gail Gorud Brian Reece Aaron & Tanya Barnett Gary Roberts Hal & Susan Mozer Libby Graham Brian Reeh Alexander Barnett Steve Robinson Andrew & Riley Mulherkar Bruce Greeley Ann Reynolds Odin Bendiksen Stephen J and Elizabeth Abby Myers Loma Gregg Geri Rivera Richard Bloomer Rosenman Thomas Newhof R. Dodge Grosse Gregg Robinson Hal Blumberg Jeffrey Ross Jim O’Halloran Donald R. Gunderson Peter Robinson Sandra Burlingame Mitzi Rossmann Jonathan & Stephanie Otis Jeffrey Hall Jim Roll Verna Busch Helen Runstein Lloyd Peterson Mark T. Hanson Bill Ross Karen Caropepe Francie Rutherford Rachel Price Judy Harper Stephen Ross Paul Chuey Earnest Saylor Dolores Scharman Malcolm Harris Katharina Roth Andy Collins Greg Schroeder Ray Stark & Lynn Alan Hashimoto Oren Sreebny & Michelle Michael Cunningham J Boit Sesnon Schwendiman Phyllis Hatfield Rudnick Jim Cutler Chris Sharpe Dave & Joan Shannon Jenny Hayes Dr. David N. Rudo DDS Bill Frisell & Carole Joshua Shaw Ski & Derry Sherensky Tom Healy Jim Russell D’Inverno Charles Shell Jerry Simon Christine Hibbard Murl Allen Sanders Paul de Barros Chuck Smart Mark Solomon Steve Holman Judy Schimke Stephen DeVore Mark Solomon H.A. Stroy Rochelle House Scott Shimel David Dickerson Elisabeth Squires Ralph Stufflebam Cynthia Hughen Karen Shivers Simon Donovan Michael Steiner Nelda Swiggett Jack Hunden Mike Simpson Mark and Barbara Hubers Kathy Okawa & Larry John VanGilder Jerry Hunnicutt Daniel Sloan Drake Symonds Loretta Vosk Ralph Hurvitz David L. Smith Emily D. Eason Steven Tapia Nick Wagner Jo Jeffrey DENNIS A SMITH Skip Elliot Richard Tassano Peter Johansen Steven Smith Roger Galloway Richard Thurston (Up to $49) Nicholas & Laurel Jannie Spain Belinda Ghitis Cal Treger Dorrane Acinapura Johnson Teresa Sparkman John Gilbreath Lee Van Divort Kenneth Anderson Cheryl Johnson Bob C. Sterbank Vince Gonzales Paul & Nancy Verba Ann Babb-Nordling Matthew Jorgensen Alan Stuard Anke Gray Jim & Judy Wagonfeld Tom Bergersen Karin Kajita John Suggs Brendan Greenstreet Laura Welland Sue and Roger Billings Frederick F Kellogg III Jim Taylor Tony & Jean Greenwald Lynette Westendorf Robert Boling Peter Kenagy Mark Terry Paul Grekin Ken Wiley Laura May Booker Bill Kiely Jack Toker Steve Griggs Chic & Kathy Wilson Samantha Boshnack James King Gail Tremblay Susan Grover Fronda Woods Michael E. Brand Richard Kitaeff Ernie Umenoto Don Guilliams Dr. Marvin R. Young Michael & Carolyn Frank Kiuchi Ken Updegraff R. Dennis Haldane DF Zervas Brandon Christine Kline Robin Updike Dan Hall Don Brown Patti Gorman & Dick David Utevsky Dr. Lawrence Halpern ($50-$99) Dorothy Broxon Jenkins Knutson Kristina Veirs E. Richard Hart Lisa Stone & Paul Agid Tom Buchanan Frank DeMiero & Ken Don Vidger George E. Heidorn Cecile Bassen Ted Burik Kraintz Annet Vogels Richard Hobbs John Nelson & Linda Mary A. Burki Chad Kuipers Harry Vye Taina Honkalehto Benedict Augusto Cardoso Brent Lackey Douglas Wadden D & D Horton & Rodes Richard & Rae Bernstein Meg & Michael Carrico Midge Lanphere Paul Wagner Linda Jacobs Kathleen P. Carey Troy Chapman Rob Larsen David O. Wall Mark Jaffe Meg Carrico Virginia Chapson Jack Lattemann Gerald Warren Matt Janke Jeri Jo & James Carstairs Jason Civjan Alan Lawrence Bob Washington Craig Johnson Raman Chandrasekar Stuart Clarke Francis Lee Ken & Alberta Weinberg William E. Jones David Clarke Beverly Coco Richard Lemp Teri Weldy Don Kern Sophia Smith & Dinnen Laurie Cogan Harris Levinson Phil Wenzel Nancy Knudsen Cleary Louis Collins Jim Levitt Jackie White Doris Kogan Peter S. Davenport JAMES R. COOK Todd Lien John Whitton Jon Krueger Gary Ackerman & Robin Ron and Erica Cowan Barbara Loh David J. Wight Jerome LaBarre Dearling Steve Coyne Andrew Luthringer Mark Wigzell Roger Layman Debra Del Castillo Rob Crawford Thomas Malone Wayne Willoughby Robert Leo Carol Levin & Steve Aura Cuevas Sandy Marks Peter A. Wilson Herb Levy Deutsch Scott Dart Lance McDonald Michael Winans Paul Lovdahl Frank Duckstein Jacqueline Davis James McLallen Richard Wright Hideo Makihara Mary Elayne & Steve Jenny Davis Dennis McMahon Carlos Xavier Bob Mariano Dunphy Jerry Davis Rick McMinn Janice Yamanchi David & Helen Marriott David & Jane Emerson Akos Deak Gil Menendez Eric Zoeckler Ken & Kara Masters Jerri Etchason Robert Deehan Steve Messick Glen Zorn

54 • Earshot Jazz • October 2006 A $35 basic membership in Earshot brings the J A Z Z newsletter to your door and entitles you to E A R S H O T JAZZ MEMBERSHIP discounts at Bud’s Jazz Records and all Earshot ______events. Your membership helps support our NAME educational programs and concert series. ______Check type of donation: ADDRESS ❏ New ❏ Renewal ______Type of membership: CITY/STATE/ZIP

❏ $25 Newsletter only ❏ $35 Individual ______PHONE # EMAIL ❏ $60 Household ❏ $100 Patron ______❏ $200 Sustaining ❏ $300 Lifetime EMPLOYER, IF IT PROVIDES MATCHING GRANTS Other: ______❏ Sr. Citizen – 30% discount at all levels WHERE DID YOU PICK UP EARSHOT?

❏ Canadian and overseas subscribers please ______add $8 additional postage (US funds). Please mail to: Earshot Jazz 3429 Fremont Place N, #309 ❏ Regular subscribers – to receive newsletter Seattle, WA 98103 1st class, please add $5 for extra postage.

❏ Contact me about volunteering. Earshot Jazz is a non-profit, tax-exempt organization. Earshot Supports Jazz Education Jazz education programs reinvigorate middle-schoolers of varying levels of Jazz Workshops the tradition of the music and cultivate instrumental experience work with Jazz workshops create unique opportu- the talents of future leaders. They are at professional Seattle jazz musicians over nities where people at different levels of the root of Seattle’s highly regarded jazz a two-week period gaining skill and jazz proficiency can study and play with scene. confidence to improvise in the context many of the top artists working in jazz The Earshot Jazz organization takes of a big band jazz group. The two-week today. Earshot Jazz sets up workshops by great pride having programmed, funded, class culminates in a concert that allows touring artists such as the Lee Konitz, and supported educational opportunities the students to exhibit the knowledge, Roscoe Mitchell, Barry Harris, Myra that have served over 50,000 students. confidence and skill gained. Participants Melford, Ted Nash, Kamau Daáood, and These programs encourage connections in this program have continued on to Sam Rivers. between jazz’s journeymen and juniors play in award-winning ensembles in that establish an essential link between high school and college. Some go on to Artist in Residence the past and present. This link is how professional acclaim, like Jumaane Smith Earshot Jazz brings artists from around the jazz tradition, as musical knowledge, who plays this year’s jazz festival with the the country to contribute to the lively is enlivened and passed along. Earshot’s Rashied Ali Quintet. community of jazz artists, educators, main educational programming, the Roots of Jazz and students of the Pacific Northwest. Hands on Jazz classes and Roots of Jazz Over the years, our artist-in-residency workshops, have been enriching Seattle’s This workshop is offered to students programs have brought such national schools and community centers for grades 1-12 and integrates live perfor- treasures as Carla Bley, Jane Ira Bloom, over 15 years. Educational grants and mance, instruction, and participation to Ravi Coltrane, Benny Golson and oth- funding have created opportunities for educate students about the many aspects ers to Seattle to work with local area jazz valuable artist-in-residence programs. of jazz. Throughout the assembly pre- programs and King County schools. Our scholarship program, established in sentations, the musicians provide a basic 1988 for young inner-city musicians to explanation of jazz, present its beginnings Scholarship Funds attend Centrum’s prestigious Summer in America, and introduce some of its The Wardenburg Scholarship provides Jazz Workshop, was recently renamed major contributors. By demonstrating financial assistance for young, inner-city for it’s founder, Fred Wardenburg, who traditional and non-traditional jazz jazz musicians to attend Centrum’s Port passed away earlier this year. instruments the students learn about Townsend Jazz Workshop, where they the three basic elements of the music -- live and study with nationally-known jazz Hands on Jazz rhythm, call and response (sharing), and artists. Participants attend daily rehears- For the past 14 years Earshot has pro- improvisation (doing your own thing). als in combos, improvisation, or vocal duced the “Hands on Jazz” program in Some students even get to participate classes, receiving focused instruction as collaboration with the Seattle Center in the composition of a spontaneous they prepare for a performance at the end Academy. In this summer program, piece. of the workshop.

October 2006 • Earshot Jazz • 55 Earshot Jazz NON-PROFIT ORG 3429 Fremont Pl., #309 U.S. POSTAGE Seattle, WA 98103 PAID PERMIT No. 14010 Change Service Requested SEATTLE, WA

Time dated material CLASSIFIED ADS EARSHOT JAZZ presents...

Seattle Drum School offers private instruction for saxophone, trumpet, Duke Ellington’s trombone, violin, piano, guitar, bass, drumset & hand drums. Plus jazz ensembles, jazz recording workshops & big band. 206-364- Sacred 8815 Music JetCityOrange.com, a web site like no other. Goof off at work, waste precious bandwidth, fritter away valuable time. From the mind of Saturday Jerry Whiting. December 30 Fandrich Vertical Action Steinberg 7:30 PM (upright grand piano) for sale. Con- cert quality piano played by pros in Our House Jazz Concert series and First Presbyterian on KPLU jazz cruises. Unparalleled Church of Bellevue tone and action response. Dampp- Chaser humidity control system. 1717 Bellevue Way NE Great for small venues or spaces. Bellevue, WA Photos of piano can be found at http://www.ourhousejazz.com/, Concert Series window. Purchased for $18,000+; a steal for $10,000. �� 206-634-1179 or ourhouse8@aol. com. Seattle Repertory Jazz Orchestra

Classiﬁ ed ads cost $10 for 25 words or less, 50 cents ��Dee Daniels per additional word. Copy and payment accepted through the 15th of the month prior to publication at Earshot Jazz, 3429 Fremont Pl. #309, Seattle WA �� Earshot Jazz Ticketmaster 98103. Fax: 547-6286, Email: [email protected] �� (206) 547-6763 (206) 628-0888 www.earshot.org

56 • Earshot Jazz • October 2006