A Mirror and Focus for the Jazz Community July 2020 Vol. 36, No. 07 EARSHOT JAZZSeattle, Washington An Incomplete Guide to Ongoing Anti-Racist Work EARSHOT JAZZ LETTER FROM THE DIRECTOR A Mirror and Focus for the Jazz Community

Executive Director John Gilbreath Black Lives Matter. Managing Director Caropepe Programs Manager Tara Peters Development Manager Errin Patton Marketing & Development Associate Lucienne These are incredible times. Aggarwal I believe they’re historic Earshot Jazz Editors Lucienne Aggarwal & times. James Baldwin said, Tara Peters “We’ve been locked inside a history of racism that we Contributing Writers Paul de Barros, Paul r. did not originally create.” Harding Comfort and denial have Calendar Editors Carol Levin, Jane Emerson, not helped non-Black folks & Tara Peters change that history; but the Photography Daniel Sheehan Layout Tara Peters alarms are loud and clear Distribution Karen Caropepe, Dan Dubie & now, and comfort is barely Earshot Jazz volunteers an expectation. Good. It’s Send Calendar Information to: past time to stay awake. As [email protected] Earshot Jazz takes a stand Board of Directors Danielle Leigh against the intrinsic racism (President), Chris Icasiano (Vice President), that has oppressed, brutal- Chris Nutter (Secretary), Augusto Cardoso, ized, and murdered Black Sheila Hughes (Treasurer), John W. Americans for centuries, we Comerford, Maurice James, Kenneth W. also pledge to mistrust the consciousness that has allowed us to rest too Masters, Gail Pettis, Ruby Smith Love, Diane Wah easily, for too long. Please see our statement to our commitment to anti- racism work on page 6. Emeritus Board Members Clarence Acox, Sue As an organization that was founded and has worked to celebrate jazz as Coliton, Taina Honkalehto, Hideo Makihara, a Black-American cultural treasure, it has been perhaps too convenient for Peter Monaghan, Kenneth W. Masters, Lola Pedrini, Paul Toliver, Cuong Vu us to claim high ground in the constant racial inequities that undergird the structure of everyday life. Remarkably, as with all white privilege, our too- Founded in 1984 by Paul de Barros, Gary often high-minded resolve has shuttered our view of the lives and everyday Bannister, and Allen Youngblood. Earshot experiences outside of our own worldview. We have to be ready to unlearn Jazz is published monthly and is available online at earshot.org. the confidence we’ve been compelled to project. We’ll need your help. Jazz has been on the vanguard of both suffering and liberation in this Subscription (with membership): $35 country. It’s an artform that thrives on change. Jazz brought integration to 3417 Fremont Ave N, #221 the bandstand and airwaves years ago, but now carries the racial tension of Seattle, WA 98103 white appropriation (for more on Seattle’s history of segregated musicians’ phone / (206) 547-6763 unions, see page 10). Jazz is many things; never confined by its own histo- Earshot Jazz ISSN 1077-0984 ry. It is the sound of surprise and food for the soul; more work in progress. Printed by Yakima Herald-Republic We pledge to open our ears to Black voices, to open our eyes to ineq- © 2020 Earshot Jazz Society of Seattle uity, open our stages to the breadth of Black expression, open our mouths against racism, open our doors to Black employees and advisors, and to MISSION STATEMENT open our hearts to the dignity of all Black Lives. To ensure the legacy and progression Please join us. of the art form, Earshot Jazz cultivates —John Gilbreath, Executive Director a vibrant jazz community by engaging audiences, celebrating artists, and supporting arts education.

2 • EARSHOT JAZZ • July 2020 NOTES

Jazz in America Summer Sessions 4Culture Building for Equity days offer livestreamed concerts from The Herbie Hancock Institute of Jazz 4Culture’s Building for Equity ini- the Royal Room stage and are present- is offering online courses during the tiative organized with Executive Dow ed via Live Concerts Stream. 100% of summer designed for school students. Constantine and the King County donations received during the shows The courses are open to students of all Council, will support cultural build- go to the performers. Visit theroyal- backgrounds and interests, not just ing projects and create a pathway to ra- roomseattle.com for details. musicians. Classes for grades 10-12 cial equity in facilities funding. Com- Essentially Ellington Awardees take place from June 22–July 8; classes munities that have historically faced For the first time in its history, the for grades 7-8 take place from July barriers to purchasing and stewarding Essentially Ellington Jazz Band Com- 13–29; and classes for grades 4-6 take cultural space will be at the center of petition and Festival was held as a vir- place from August 3–12. Classes are the program. One of the programs tual event (from June 8–12). These are offered via Zoom and teachers are also is the Building for Equity: Capacity the local awardees who hail from the invited to apply. The 8-session webinar Building Grants which will help secure greater Seattle area. series is free. Advance registration is long-term facility needs—the program In the group section—Honorable required, for details visit hancockinsti- application deadline is July 7. The oth- Mention Rhythm Section: Garfield tute.org. er program is the Building for Equity: High School and Mountlake Terrace Learning Circle Program—the pro- Seattle JazzED Offers Summer High School, Honorable Mention gram application deadline is July 14. Camp Alternative Saxophone Section: Roosevelt High Information on both programs can be School, Outstanding Saxophone Sec- Due to COVID-19 health regula- accessed at 4culture.org. tions, JazzEdD has decided to cancel tion: Garfield High School, Outstand- their in-person summer camps and of- Royal Room’s Staycation Festival ing Trombone Section: Mount Si High fer either refunds or credit for future While their venue is closed, the School and Roosevelt High School, classes. Instead, JazzED will offer a Room is offering the Staycation Festi- Honorable Mention Trumpet Section: virtual music camp called Jam of the val. The festival is a regular bi-weekly Garfield High School, Outstanding Week which will run in July and Au- offering of livestream music concerts Trumpet Section: Seattle JazzED. gust. These virtual classes provide an on Wednesday and Sunday. Wednes- In the individual section—Honor- opportunity for students to learn a days offer YouTube premieres on the able Mention Piano: Abraham Lu- new jazz standard or melody and learn Royal Room Channel and feature art- edtke (Seattle JazzED), Natalie Song pointers on performing more expres- ists from around the globe, while Sun- CONTINUED ON PAGE 15 sive solos, among other skills. Levels offered include beginner, intermedi- ate, and advanced. Classes will be con- ducted by well-known jazz musicians including Kelsey Mines, Roxy Coss, Willem de Koch, David Marriott, Kareem Kandi, Riley Mulherkar, and Marina Albero. Celebrity music guest artists will be joining some of the classes. Jam of the Week is offered for all instruments (including voice) and to all ages. JazzED encourages partici- pants to pay what they can with full tuition waivers also available. For more information visit seattlejazzed.org.

July 2020 • EARSHOT JAZZ • 3 U SPECIAL ANNOUNCEMENT A Message from Earshot about the 2020 Jazz: The Second Century Series

Dear Artists, Our submission format is fluid and We truly are living in unprecedent- flexible. Artists are invited to use ed times with the global health crisis the tools and technology available of COVID-19 and the global upris- to them to create a response to what ing to combat systemic racism. This jazz is right now. Submissions can be series has always been about explor- in the form of the final product or ing the fundamental question: “One- a sample of what the final product hundred years into the art-form, will be. If you do not have access to what sonic shape does jazz take in recording equipment, contact us at its second century?” This has never [email protected] and we’ll felt more relevant—or urgent—dur- work to get you what you need. ing these times of social distancing, The safety of artists is a top prior-

where musicians are being forced to ity! Submissions should embrace and 2019 SECOND CENTURY ARTIST HALEY FREEDLUND explore new and innovative ways to follow current health recommenda- COURTESY OF THE ARTIST develop and present their art. tions and movement restrictions in Have fun with this project. Push Things are a little different in this their creative response. yourself to think outside the box. edition of the Jazz: The Second Cen- Jazz: The Second Century has al- Take care of each other. Be safe. tury series. We’re adapting the for- ways remained true to our core val- We can’t wait to see what you come mat from a live concert to a pre-re- ues of cultivating community and up with! corded audio or video performance, supporting the progression of the which will be presented as a “Watch genre. And at this moment, we need –Earshot Team Party” via our social media streams. community and art more than ever.

4 • EARSHOT JAZZ • July 2020 U CALL FOR ARTISTS Jazz: The Second Century Series

Seeking submissions, now through Please send submissions electroni- July 10, 2020! Earshot Jazz seeks sub- cally to [email protected] by missions from Seattle-area individual July 10, 2020. artists and ensembles for the 2020 This series–presenting Seattle art- Jazz: The Second Century series. The ists, selected by a peer panel, perform- series brings the progression of jazz ing original work–is a continuation of into creative motion. Projects that the very first programming initiative question and expand the conventions of the Earshot Jazz organization, and of the jazz form are welcome. embodies one of our core values. Ear- Seattle-area individual artists or shot’s first concert series, New Jazz/ groups are eligible to apply. Submis- New City, was mounted in the New sions must include a recorded sample City Theater, now the Richard Hugo of a project that can be pre-recorded House, on Capitol Hill in 1986. The and presented in a livestream “Watch series has continued each year since: Party” setting and a written statement as New Jazz/New City, the Earshot between 250–350 words. Spring Series, Voice and Vision, and Individual artists or ensembles (fol- now Jazz: The Second Century. lowing current health and safety The series is a current and un-senti- 2019 SECOND CENTURY ARTIST XAVIER LECOUTURIER BY guidelines) are selected by a blind-jury mental look at our city’s engagement STEVE KORN process. Second Century artists and with this diffuse, vibrant art form. ensembles present a pre-recorded au- Thanks to the artists, to our panel- A list of past Second Century artists dio or video performance during Au- ists, who helped curate these concerts, can be viewed online at earshot.org. gust 2020, and are paid a competitive and to audience members who support fee for the performance. them.

July 2020 • EARSHOT JAZZ • 5 U EARSHOT ANNOUNCEMENT Earshot Jazz’s Statement on Anti-Racist Work

Released June 11, 2020 ship, wealth redistribution, investing in Black and Brown communities, Last week we released a brief state- collective liberation, community-led ment on our social media channels spaces, safety, empowerment, trans- affirming that Black Lives Matter. formation, and belonging. We stand by that affirmation, but We’re asking ourselves: how can our we know those words aren’t just a vision—that Jazz is widely embraced hashtag, and that they ring hollow and highly valued as America’s great without action. We also stated that gift to world culture—contribute to we are committed to moving for- the collective visions of Black-led or- ward with necessary, ongoing anti- ganizations? racist education and action. We’d We commit to questioning and like to share an update on where evaluating our efforts for transfor- we’re at with that. mative changes and will engage in We’ve heard from voices within our a regular cycle of action, reflection, organization and our community and adjustment. We’ve identified who’ve let us know that we’ve fallen some first steps, but this is ongo- short. Understanding that we have ing work that extends far beyond a We have a lot of work and educa- power in our leadership role in the checklist: tion ahead of us. We admit that we Seattle jazz community, we realize don’t know where all our biases are, we must step up to admit our short- • Seek a facilitator to help us with where we are upholding systemic comings and commit to educating evaluation and next steps racism and white privilege, and ourselves about our individual and • Center anti-racism, equity, where we need to interrupt white organizational racism that perpetu- and justice in our strategic and advantage. We acknowledge that the ates systemic racism, inequity, and succession planning this summer pressure to be confident in our state- injustice. • Invest resources in ongoing anti- ment and our actions ties into white We are reckoning with what it racist education and training for dominant culture, but that the fear means to be a white-led organization staff and board of getting it wrong doesn’t excuse us with a team of 5 non-Black staff that from moving forward. We know we stewards a Black art form. We’ve en- • Evaluate our advertising, vendor, will make mistakes and we pledge to gaged in deep dialogue about how, and venue relationships to align our money with anti-racist values learn from those mistakes so they do as an organization, we’ve contribut- Engaging with and working with not happen again. ed to anti-Blackness in jazz and how people of color in our community We want to thank everyone in our we can more actively counter that to has always been important to Ear- community who has shared feedback become anti-racist. shot Jazz. We have made a conscious with us as we begin this work. We We’ve spent time this week looking effort to include Black voices in our look forward to keeping you updated directly to Black-led organizations programming, but we know now on our progress, and in the mean- and their visions—what world they that it isn’t enough when inclusion time we welcome your comments dream of—and how we can con- takes place in a white-led venue, in and questions to [email protected]. tribute to that. We’ve seen recurring front of a largely white audience, statements calling for Black owner- –The Earshot Jazz Team: promoted through white-led media. John, Karen, Tara, Errin, Lucienne

6 • EARSHOT JAZZ • July 2020 COMMUNITY CONVERSATIONS Earshot Jazz: Invitation to a Conversation on Race, The Protest, and The Music

By Paul r. Harding lations in the range of 700,000 to Roosevelt High School jazz programs 750,000. Washington DC, Denver, have grand reputations in the world of A unique and globally renowned and Seattle. Of the three cities, Seattle education in The Music. cultural non-profit agency promoting has the smallest percentage of Afri- Meanwhile, the imbalance of cost Jazz was born in Seattle in 1984. Paul can American citizens. No other city of living versus wages, the health sys- de Barros, Gary Bannister, and Allen of this caliber and growth has a jazz tem, education costs, poisoning of the Youngblood were the three visionaries non-profit as persistently successful, environment, coal/oil industry woes, who birthed it. The first Earshot Jazz globally respected, and renowned with and—most urgently—the behavior of Festival hit the ground in 1989 and it’s under 10% Black Folks living within genocide against people of color, es- been running and growing annually its borders. This makes for a unique pecially Black Folks, has finally been ever since. If Earshot Jazz were a grand set of circumstances when it comes rubbed altogether to start a fire that oak tree, I would point out its creative to NOW—The Protest growing like a many of us (60s ‘radicals’ whose prin- branches. Diverse presentations of The wildflower across the nation. A strange ciples never melted like butter) saw Music through a spring series, educa- situation to discuss what must be dis- coming—we just didn’t know when; tion workshops and internships, artists cussed: Race. Why? and had no way of perceiving the in residence, film showings, and the Politics aside (if that is possible), I power that network/cable tv and so- annual Golden Ear Awards, are only must add another fact to Seattle’s— cial media would have. And one more the main menu that Earshot has of- yes, a big ‘white’ city—unusual rela- new ingredient—the most overt racist, fered the city and surrounding regions tionship to Race in The Music. There fascist president since (the 1st) Recon- for over three decades. is an annual high school jazz band na- struction. Did we mention the global Every big city has a Jazz legacy and/ tional competition in NYC. No state mystery of a deadly virus crisis? or neighborhood that once stirred and of the 50 has taken home as many So, Seattle, let’s get the easy ques- swung with The Music, which is our awards/trophies as Seattle high schools tions out of the way before we talk. greatest gift to the world. Only three have and continue to do. Garfield and cities across the 50 states have popu-

July 2020 • EARSHOT JAZZ • 7 Whose music is The Music? ALL of community meeting of Earshot and offerings: Clint Eastwood’s Bird and us! Who are the creators and what musicians where my mention of “cul- a few excellent documentaries. (Miles was the social/economic scene those tural conspiracy” was laughed at by a or Lady Day at Emerson’s Bar and Grill innovators had to survive, especially musician who is also a university pro- were tragic affairs if we are talking bios women? Why do we not teach the fessor in Seattle. Let’s see: Al Jolson/ even close to accuracy to any degree— stories/contributions of these geniuses The Jazz Singer (1st sound film epic), if anything, they perpetuated mad- in elementary school? Beethoven and Benny Goodman, Gene Kruper, Red ness, violence/abuse, and drug addicts, Mozart are not alien names to our Nichols, Glenn Miller, (not only Jazz:) mostly). The film Round Midnight youth. Lil Hardin and Lester Young Hank Williams, Chopin, Mozart, and (Dexter Gordon Oscar-nominated for are generally unknown in their own others compared to no major mov- lead role) and the HBO film Bessie are country. I could list how many major ie productions on Duke Ellington, the only movies of two essential char- movie productions have been made Count Basie, the father of the Charles- acters in the shaping of the art form I of white men who fell in the category ton—James P. Johnson—Mary Lou embrace with integrity. of Jazz compared to how few movies Williams, Art Tatum, Ethel Waters, or As we enjoy our music heroes and have been made of African American John Coltrane. What few bio movies debate our love for The Music—do leaders in the music. I once sat in a that have been made have been recent we not take for granted not only the sacrifice and mere dues any artist in this America pays (for there is no even playing field in any art form in this America—only the co-dependency on the corporate world, which nurtures elitism and fascism), but the match- less suffering Black artists face at the hands of racism? Do we even stop to think how the humiliation of dealing with Jim Crow and exploitative ex- cesses of capitalism have yet to stop the creativity of Black Folks, which gives this country its original dance and song-form (The Blues), and language, and fashion! Lady Day joined Artie Shaw for bet- ter secure pay and artistic experience, but the humiliation she faced in South and North made her quit that band. Did anyone care by the time Lester Young passed in the 50s? When Char- lie Parker passed in the 50s? When Lady Day was arrested at her death bed and died in 1959? Point? Maybe Judy Garland died in destitution, but I gather Doris Day, Rosemary Clooney, and Peggy Lee, left this earth well- off. Talent versus opportunity? Ella Fitzgerald (whose youth was a home- less one) and Sarah Vaughan were the only Black women artists of The Mu- sic’s original innovators to leave this earth with solid financial story. Straight through the danger of Jim Crow, in the middle of the Civil Rights

8 • EARSHOT JAZZ • July 2020 struggle, there was music vital to polit- brown folks’ lands is conspiracy. Sup- hopefully a gracious reality—that, of ical and cultural justice despite the fact porting dictators who commit crimes course, Earshot Jazz supports BLACK that it was rarely, barely heard. Max against humanity is conspiracy. Ac- LIVES MATTER, because it has to Roach’s We Insist!, Charlie Mingus’ cusing others of “election interference” or it wouldn’t exist. And not because “Fables of Faubus,” John Coltrane’s while the CIA exists for interference it needs cosmetic change (We ain’t in “Alabama” and Africa/Brass, Miles (and murder if need be) is conspiracy. Harlem!), but because national and Davis’ Nefertiti, and Archie Shepp’s College student loan interest rates are international relationships in cultural Attica Blues—recordings from the 50s conspiracy. Selling Soul records with support, and vision in a directorship through early 60s NEVER HEARD white folks on the album cover but the of an agency such as Earshot Jazz is by the masses. Now we have at least Isley Brothers singing all songs on the required. This NOW urgently means three television networks (including recording was conspiracy. that a certain character of sensitive Oprah’s) that broadcast ALL BLACK All of this—combined with other courage, honesty, grace, and selfless- programs—but nothing of Jazz, what crimes against humanity in the USA ness, must ask the question in a fire ACCM called The Great Black Music. (violations of 1st amendment by pres- that is burning right now: What are we Hell, even Steve Allen had jazz on his ent elected president and abuse of mil- willing to do? Go how far to disman- show, but that was early television and itary function)—made for a rubbing tle the very foundation of our racist I think they forgot to be racist the first of sticks now aflame in compassion in myths and most dangerous addiction: decade or so. numbers in all races and ages across the obsession with competition to ex- Now that we are all proud consum- the country. Numbers that will hope- ist, gain, and profit for things which ers of the abstraction of success, how fully keep the fire lit, because once make us lose sight of the inner heart do we relate this suppressed history to more this America has a spiritual op- that The Music has been giving us ever the syndrome of police state murders portunity to save herself, morally, so- since Fletcher Henderson’s band ar- against Black People? A people who do cially, and environmentally. IF we go rived at Roseland. What are we will- not know (are not taught) their culture, as far as The Music already has in free- ing to give up? What are we willing their highest artists including jazz mu- dom! Meet in a middle moral ground to sacrifice? Between Wall street and sicians, are simply qualified consum- to boycott the hell out of everything, the health crisis many things, includ- ers at best whose spiritual persona has everywhere while taking care of ing small businesses, will never be the become addicted to, if not obsessed each other. same. We have a grand opportunity with, symbolism. A false cultural sense No healing until the wound thor- towards establishing harmony versus of right and wrong. Muhammed Ali oughly cleaned. In order to do that we the falsehood of competition and its had what, a 7th grade education? Yet have to look at what is still standing rewards—rewards that any storm or he bravely pointed out (from his Na- after the march and the cops’ cameras flood or flu can wipe out before the tion of Islam teachings) that the “good and the gas and the sticks. The bril- FCC or FDA or FBI or CIA or NRA guy wore the white hat…angel food liance, but lack of humility, to go all or ICE turn this beautiful place into cake is white and devil’s food cake is the way. All the way where? The an- a nightmare of materialism, racism, chocolate). Symbolism in Race is con- swer in Seattle with relationship to murder, and sexism masquerading as spiracy. Selling wars against Black and Earshot Jazz is that it is a simple—and The Dream MLK died for.

Paul r. Harding Published works: Hot Mustard & Lay Me Down (En Theos Press, 2003); Excerpts of Lamentation & Evidence of Starlite (Aurius Unlimited, 1993); excerpt of completed novel manuscript in Black Renaissance Noire; selected verse in Black Renaissance Noire, Transition 112, Obsidian: Literature & Arts in the African Diaspora, Konch, Coon Bidness, Berkeley Poetry Review, and various anthologies. Unpublished manuscripts in both the Gwendolyn Brooks Papers at the Bancroft Library, University of California, Berkeley, and the Derek Walcott Collection at the Alma Jordan Library, University of West Indies. Awarded Philip Whalen Memorial Grant for poetry and Edith K. Draham Scholarship for fiction. ‘Spoken Music’ performed with legendary Charles Gayle, Ravi Coltrane, Joe Ford, Michael Bisio, and other renowned musicians. Former Earshot Jazz Board of Directors President, former Urban League of Metropolitan Seattle Education Director and founder of ULMS Children’s University. Currently teaches critical thinking, reading and writing in the Bronx.

July 2020 • EARSHOT JAZZ • 9 ROOTS Segregation in Seattle Jazz Unions

ERNIE LEWIS BAND PLAYING IN OAKLAND, 1944. LEFT TO RIGHT: VERNON “POPS BUFORD, WALTER OAKES, PONY POINDEXTER, WARREN THOMPSON, EARL BOATLEY, ERNIE LEWIS. PHOTO COURTESY OF VERNON BUFORD ESTATE. By Paul de Barros other non-white musicians for the next Basin Street and the Black Elks Club, 34 years. Though union representation and near the 12th and Jackson hub sat In these times of struggle against sys- was a stride forward—it helped musi- the Black and Tan and the Rocking temic racism in America, it’s illumi- cians get work, fair contracts and of- Chair. Over on Madison, you had the nating to recall that it wasn’t so long fered legal protection from dishonest Savoy Ballroom (later called Birdland) ago that Seattle had two musicians’ promoters—the trade-off was a system and the Washington Social Club. It unions—one for whites, Local 76— of unofficially segregated “turf.” This was in these neighborhood venues that and one for everyone else, Local 493. meant that the lucrative jobs in down- Seattle jazz grew and thrived. The story of how that came to be and town hotels, ballrooms and theaters— One of the motives behind union seg- how it ended is an important theme in as well as radio broadcast orchestras— regation was to reserve the best-paying the history of Seattle jazz. were reserved for whites and that non- jobs for whites. Ironically, however, In his pictorial book, The Blue Note: whites were relegated to night clubs according to many musicians I inter- Seattle’s Black Musicians’ Union, Da- in two neighborhood districts—one viewed for my book, Jackson Street Af- vid Keller documents how, under the along Jackson Street, from the Chi- ter Hours: The Roots of Jazz in Seattle, leadership of brass band man Pow- natown International District to 14th musicians often made more in tips at ell Barnett, Black musicians formed Avenue South, and the other along after-hours joints than whites earned their own union, Local 458, in 1919. three blocks of East Madison Street, in theaters and ballrooms. Neverthe- Though that organization dissolved, it from 20th Avenue East to 23rd Avenue less, in 1936 and again in 1950, Local was succeeded in 1924 by Local 493, East. In the Chinatown-International 493 attempted to force the unions to which served African American and District there were, among others, the amalgamate, but without success, and

10 • EARSHOT JAZZ • July 2020 pressure grew nationally to undo ra- Local 76 magazine, Musicland, urg- cial segregation. In 1954, the year the ing members to do the right thing in a Supreme Court ruled against “sepa- tone that resonates today: The Bass Church The Bass Church The Bass Church rate but equal” public schools in Little “Not only can we steal a march on The Northwest double bass specialists The Northwest double bass specialists The Northwest double bass specialists

Rock, Ark., with Brown vs. the School our ‘Frisco friends by desegregat- www.basschurch.com www.basschurch.com www.basschurch.com Board, the American Federation of ing now, we can join in a sweeping Musicians got serious about desegre- nation-wide trend which gives the lie gation, too. At a meeting that year in to the white supremacy bilge prevalent

Chicago, Barnett, who had co-found- throughout much of our ethically dec- Sales, Rentals, Sales, Rentals, Sales, Rentals, ed Local 458 but had always been in adent and crassly ignorant South…” Repairs, Restorations, Repairs, Restorations, Repairs, Restorations, favor of one union for all, came back It took several years for the amal- Lessons Lessons Lessons to Seattle with a plan for amalgama- gamation process to unfold, but by Convenient North Seattle Location Convenient North Seattle Location Convenient North Seattle Location

tion. He was assisted in this endeavor 1958, the details were finalized: Local by another musician with strong Se- 493 was no more, and non-white mu- (206)784-6626 (206)784-6626 (206)784-6626 9716 Phinney Ave. N. 9716 Phinney Ave. N. 9716 Phinney Ave. N. attle ties—pianist Ernie Lewis. sicians were welcomed into Local 76. Seattle, WA. 98103 Seattle, WA. 98103 Seattle, WA. 98103 In 1946, Lewis had brought a nimble By the end of the decade, segregation ~by appointment only~ ~by appointment only~ ~by appointment only~ new sextet from Oakland to Basin in the AFM had been eliminated. (In Street, with the remarkable alto saxo- 1994, to honor the past, the Seattle lo- phonist Pony Poindexter and tenor cal changed its name to Local 76-493). man Vernon “Pops” Buford. Pianist This did not end discrimination, of The Bass Church The Bass Church The Bass Church Gerald Wiggins also played in the course, and many Black musicians felt, The Northwest double bass specialists The Northwest double bass specialists The Northwest double bass specialists group when Lewis was away on busi- at least for a while, that amalgamation www.basschurch.com www.basschurch.com www.basschurch.com ness. Lewis was an excellent pianist actually hurt their careers more than with an ear for the new, once-over- it helped. Tenor saxophonist Jabo lightly Count Basie Seven style that Ward observed, “At our own local, had caught the ear of the modern they called us. When we went into 76, Sales, Rentals, Sales, Rentals, Sales, Rentals, players. He also had an ear for sing- we got crumbs.” White bassist Chuck Repairs, Restorations, Repairs, Restorations, Repairs, Restorations, ers and snapped up the young Ernes- Metcalf tended to agree: “Guys like Lessons Lessons Lessons tine Anderson to sing with his band. Milton Garred [Ray Charles’ ex-bass Convenient North Seattle Location Convenient North Seattle Location Convenient North Seattle Location

A recently discovered photograph player] wouldn’t be hired by white mu- of Anderson with the Lewis band at sicians. Or Jabo Ward. The social pat- (206)784-6626 (206)784-6626 (206)784-6626 9716 Phinney Ave. N. 9716 Phinney Ave. N. 9716 Phinney Ave. N. KOL radio studio was probably taken terns had already kind of congealed.” Seattle, WA. 98103 Seattle, WA. 98103 Seattle, WA. 98103 around the time the band was work- Indeed, hotel managers and club own- ~by appointment only~ ~by appointment only~ ~by appointment only~ ing out at a roadhouse south of town ers often resisted integrated groups, as called the China Pheasant, in 1947. well. Pianist Elmer Gill recalled being

Lewis went back to Oakland, but in asked by the Sorrento Hotel to fire his 1955 was hired by the American Fed- white guitar player because the venue eration of Musicians to represent all 55 did not want an integrated band. (Gill The Bass Church The Bass Church The Bass Church The Northwest double bass specialists The Northwest double bass specialists The Northwest double bass specialists Black locals to help move the merger refused.) process forward. From July 1, 1955, In the end, however, a new, integrat- www.basschurch.com www.basschurch.com www.basschurch.com through 1986 Lewis accomplished ed jazz culture emerged in places like that task, passing through Seattle Pete’s Poop Deck, Dave’s Fifth Avenue twice a year. At the local level, two and, later, the Penthouse, which paved of the main figures involved in ham- the way for the jazz club culture we Sales, Rentals, Sales, Rentals, Sales, Rentals, mering out the merger were drummer know today at Jazz Alley or Egan’s. Repairs, Restorations, Repairs, Restorations, Repairs, Restorations, Emmett Lewis, who in 1954 had be- It’s nevertheless a good reminder that Lessons Lessons Lessons Convenient North Seattle Location Convenient North Seattle Location Convenient North Seattle Location come president of Local 493, and the the jazz culture we enjoy today did

great trad revivalist, pianist Johnny not just arrive by accident. It was (206)784-6626 (206)784-6626 (206)784-6626 Wittwer, from Local 76. It was prob- the result of a lot of work by a lot of 9716 Phinney Ave. N. 9716 Phinney Ave. N. 9716 Phinney Ave. N. ably Wittwer who wrote an unsigned people, and it’s evident that this work Seattle, WA. 98103 Seattle, WA. 98103 Seattle, WA. 98103 ~by appointment only~ ~by appointment only~ ~by appointment only~ editorial for the December issue of the never really ends.

July 2020 • EARSHOT JAZZ • 11 ANTI-RACISM WORK Racial Equity, Social Justice & Black-Led Organizations, Resource Lists, Book Lists, & more

As part of our ongoing anti-racist work, Earshot Jazz has compiled this list for our staff, board, and community to ex- plore. This list is by no means comprehensive. It presents a number of resources that we invite you to spend time with.

Seattle-Based Organizations

Africatown Community Land Creative Justice King County Equity Now Trust Creative Justice is an arts-based al- Coalition Africatown Community Land Trust ternative to incarceration. Creative A coalition of accountable, Black-led is working for community owner- Justice builds community with youth community-based organizations fight- ship of land in the Central District most impacted by the school-to-pris- ing to achieve equity in King County. that can support the cultural and on-(to-deportation) pipeline. Par- Their list of demands includes re-pur- economic thriving of people who are ticipants and mentor artists work to- posing government owned land for part of the African diaspora. The Af- gether to examine the root causes of community use and halting develop- ricatown Community Land Trust is incarceration, like systemic racism and ment leading to gentrification, par- comprised of real estate professionals, other forms of oppression, and create ticularly in the Central District neigh- business executives, entrepreneurs, art that articulates the power and po- borhood. Website: kingcountyequi- and longtime community members tential of our communities. Website: tynow.com and nojimcrow.com from the Central District. Website: creativejusticenw.org africatownlandtrust.org Lavender Rights Project: Black Coalition of Anti-Racist Whites Trans Task Force Black Dot Seattle Formed in 2001, this organization The Black Trans Task Force (BTTF) Black Dot started in 2015 as a proj- partners with several other local or- is a project of the Lavender Rights ect from Hack the CD to provide a ganizations such as the Duwamish Project which promotes community safe space for entrepreneurs, creatives, Tribe, El Comité, Got Green, BAYAN building, research, and political ac- technologists, and community build- PNW and others. They are an affili- tion addressing the crisis of violence ers of the African diaspora to connect, ate of the nation-based organization against Black Trans people. The build business, and community. Web- Showing Up For Racial Justice. Web- BTTF provides resources for Seattle- site: blackdotseattle.com site: carw.org Tacoma Black trans people in collabo- Black Lives Matter Seattle- Decriminalize Seattle ration with community partners to King County broaden safety nets and increase ave- A grassroots coalition of Seattle abo- nues for justice that are typically avail- The local chapter of this nation-wide litionist organizations calling for the organization is focused on disman- able for white trans people. Website: defunding of the Seattle Police De- lavenderrightsproject.org/wa-btff tling anti-Black systems and policies partment. Their list of demands are of oppression. BLMSKC demand that inspired by Seattle Indivisible racism be declared a public health and and are rooted A volunteer-based organization with crisis in Washington state and that in years of work opposing police and the city must divest at least $100 mil- a mission to help influence our repre- prisons in the Seattle region. Website: sentatives and resist racism, authoritar- lion from the police budget, particu- decriminalizeseattle.com larly from militarization. Website: ianism, and corruption in our govern- blacklivesseattle.org ment. Website: seattleindivisble.com

12 • EARSHOT JAZZ • July 2020 National Organizations

Anti-Racism Project and amplifying the voices of people of shared vison for black lives. Website: Anti-Racism Project seeks to edu- color on social media. Website: from- m4bl.org privilgetoprogress.org cate participants about how insti- National Museum of African tutionalized racism, internalized Race Forward American History and Culture racism and white privilege feed op- pression. They offer workshops and Organization which provides re- Museum located in Washington DC courses, and a resource list. Website: search resources, online training and devoted exclusively to the documenta- antiracismproject.org consulting, and produces Colorlines, tion of African American life, history, a daily news site that focuses on race. and culture. They have a resource page Black Visions Collective Website: raceforward.org called Talking About Race. Website: Minnesota-based organization dedi- Race to Lead nmaahc.si.edu cated to liberation for all Black lives. The Okra Project BVC centers healing justice and trans- Part of the Building Movement Proj- formative justice to create conditions ect, this org advances the potential The Okra Project is a collective for long term success and transforma- for nonprofit organizations to have that seeks to address the global cri- tion. Website: blackvisionsmn.org an impact in building movements for sis faced by Black Trans people by progressive social change. Website: bringing home cooked, healthy, and Equal Justice Initiative racetolead.org culturally specific meals and resourc- An organization committed to end- Reclaim the Block es to Black Trans People. Website: ing mass incarceration in the United theokraproject.com A Minneapolis based organization States with many educational resourc- Showing Up For Racial Justice es on race, slavery, segregation, and formed in 2018 by community and more. They have a museum in Mont- city council members to move money SURJ is a national network of gomery, Alabama. Website: eji.org from the police department into other groups and individuals working to areas of the city’s budget that truly undermine white supremacy and to From Privilege to Progress promote community health and safe- work toward racial justice. Through A national movement to desegregate ty. Website: reclaimtheblock.org community organizing, mobilizing, the public conversation about race. Movement for Black Lives and education, SURJ moves white P2P calls on all Americans to join on people to act as part of a multi-ra- the path to antiracism by learning, An organization that seeks to mobi- cial majority for justice with pas- speaking up in their everyday lives, lize people to influence national and sion and accountability. Website: local agendas in the direction of their showingupforracialjustice.org

Seattle Black-Led Arts Organizations

African-American Writers’ Central District Forum for Arts and camaraderie for hip-hop gen- Alliance and Ideas eration feminists of color, queer, and straight people. Website: The African-American Writers’ Al- This arts organization works out of crunkfeminist collective.com liance, a diverse and dynamic collec- Langston Hughes Performing Arts In- tive of Seattle-area writers of African stitute, and solely presents emerging Key to Change descent, provides an informal and sup- Black artists. Website: cdforum.org Inspiring underserved youth through portive forum for new and published Crunk Feminist Collective world-class music instruction and writers. Website: aawa-seattle.com supporting their development as The Crunk Feminist Collective self-aware leaders. Key to Change aims to create a space of support removes the barrier to entry for low-

July 2020 • EARSHOT JAZZ • 13 income students and students of color Hughes Performing Arts Institute, Movimiento Afrolatino Seattle with an inclusive approach that helps Langston guides generative programs Movimiento Afrolatino Seattle is an build trust and connection. Website: and community partnerships that cen- umbrella organization created by Af- keytochangestudio.org ter Black art, artists, and audiences rolatino communities and artists that and honor the ongoing legacy of Se- Kutt’N’Up Entertainment appreciate Afrolatino arts and culture. attle’s Black Central Area. Website: Website: movimientoafrolatino.org Kutt’N’Up is a dance family that langstonseattle.org consists of youth all over the greater Northwest Tap Connection Martyr Sauce Seattle area. Their mission is to suc- A race and social justice orient- ceed in all aspects of life including Martyr Sauce is an art gallery that ed studio connecting dance across but not limited to grades, respon- found its origins in a stairwell leading communities located in the Rain- sibility, and accoutability. Website: up to the owner, Tariqa Waters’ apart- ier Valley neighborhood. Website: nthekutt.com ment. Now in a full studio space, Wa- nwtapconnection.org ters is commited to showcasing under- Langston represented artists and undiscovered South Seattle Emerald Established in 2016 to lead program- talent. Website: martyrsauce.com This newspaper’s mission is to am- ming within the historic Langston plify the authentic narratives of South Seattle, which have been underserved by other media. They employ a racial justice lens to uplift the community. Website: southseattleemerald.com Spectrum Dance Theater The Spectrum Dance Theater, under the guidance of choreographer Donald Byrd, aims to bring dance to a diverse audience. Part of their vision is “To have dance and the arts be considered part of the solution to the challenges facing our communities.” SDT has a page with anti-racism resources. Web- site: spectrumdance.org Northwest African American Museum NAAM’s mission is to spread knowl- edge, understanding, and enjoyment of the histories, arts and cultures of people of African descent for the en- richment of all. Website: naamnw.org Wa Na Wari Wa Na Wari means home in the Kalabari language. This organization creates space for Black ownership, pos- sibility, and belonging through art, historic preservation, and connection. Website: wanawari.org

14 • EARSHOT JAZZ • July 2020 Notes, from page 3 Black-Owned Business Directories (Mountlake Terrace High School), Black Owned Everything The Intentionalist Honorable Mention Bass: Mat- thew Lord (Garfield High School), Directory that highlights Black- A robust online guide to small busi- Outstanding Bass: Andrew Vinther owned brands across all categories. nesses with filters for Black-owned, (Mountlake Terrace High School), Website: blackownedeverything.co woman-owned, LGBTQ-owned, and Honorable Mention Drums: Elijah more. Website: theintentionalist.com EatOkra Baradi (Seattle JazzED), Outstand- We Buy Black ing Drums: Ethan Horn (Mount Si Eat Okra is an app-based directory High School), Honorable Mention Vi- to find local Black-owned restaurants The largest online marketplace for braphone: Nathan Mesler (Roosevelt across the United States. Website: Black owned Businesses. Website: High School), eatokra.com webuyblack.com Honorable Mention Clarinet: Ben- jamin Price (Mount Si High School), Outstanding Clarinet: George Fulton (Roosevelt High School), Outstand- Resource Lists Compiled by other Arts Organizations ing Alto Saxophone: Nathaniel Wray (Mount Si High School), Eli Sul- livan (Roosevelt High School), and Anti-Racist and Social Justice Black-Led Arts and Heritage Caden Hargrave (Mountlake Terrace Resources—KEXP Organizations in Washington High School), Outstanding Tenor State—Artist Trust. Saxophone: George Fulton (Roosevelt Website: kexp.org High School), and Nick Altemeier Anti-Racist Resources— Website: artisttrust.org (Roosevelt High School), Outstand- ing Baritone Saxophone: Elijah Wray Chamber Music America Racial Justice Resources— (Mount Si High School), Outstanding Website: chamber-music.org Seattle Rep. Doubler: Owen Moreland on Tenor Website: seattlerep.org Saxophone and Clarinet (Mount- lake Terrace High School), Honor- able Mention Trombone: Nathan Gilbreath (Seattle JazzED), Parker Multi-Media Lists: Books, Videos, Films, Podcasts Casazza (Roosevelt High School), and Alec Raring (Mountlake Terrace High School), Outstanding Trombone: The Anti-Racist Starter Pack: Anti-Racism Reading List for Nick Mesler (Roosevelt High School), 40 TVS Shows, Documentaries, Young Readers by Age—Book Outstanding Trumpet: Nate Miller Films, TED Talks and Books to Shop Santa Cruz. (Seattle JazzED), and Javier Gonzalez (Roosevelt High School), and Out- Add to Your List—Parade. Website: bookshopsantacruz.com standing Vocal: Brooke Lambert (Se- Website: parade.com Confronting Racism at Work: attle JazzED). The Band Directors were also praised An Essential Reading Guide for A Reading List—Harvard for their work: Jared Sessink for Gar- Fighting Racism—BuzzFeed Business Review. field High School, Kelly Clingan for News. Website hbr.org Seattle JazzED, Bill Leather for Mount Website: buzzfeednews.com Si High School, Scott Brown for Roos- List of Books, Films, and evelt High School, and Darin Faul for Podcasts about Racism—NPR. Mountlake Terrace High School. Ear- shot Jazz would like to congratulate all Website: npr.org the participants in this event.

July 2020 • EARSHOT JAZZ • 15 NON-PROFIT ORG EARSHOT JAZZ U.S. POSTAGE 3417 Fremont Ave N, #221 PAID Seattle, WA 98103 PERMIT No. 14010 SEATTLE, WA Change Service Requested

BLACK LIVES MATTER

IN THIS ISSUE... A $35 basic membership in Earshot brings Letter from the Director: the newsletter to your door and entitles you to Black Lives Matter. ______2 EARSHOT JAZZ discounts at all Earshot events. Your member- MEMBERSHIP ship also helps support all our educational Notes______3 programs and concert presentations. Type of membership A Message from Earshot about the Individual ($35) Additional tax-deductible donation ______2020 Jazz: The Second Century Series______4 Household ($60) Patron ($100) Sustaining ($200) Call for artists: Jazz: The Second Other Century Series______5 Sr. Citizen – 30% discount at all levels Canadian subscribers please add $5 additional postage (US funds) Earshot Jazz’s Statement on Regular subscribers – to receive newsletter 1st class, please add $10 Anti-Racist Work______6 for extra postage Community Conversations: Earshot Jazz: Contact me about volunteering ______Invitation to a Conversation on Race, NAME The Protest, and The Music ______7 ______ADDRESS Roots: Segregation in Seattle Jazz Unions____ 10 ______Anti-Racism Work: Racial Equity, Social Justice CITY/STATE/ZIP & Black-Led Organizations, Resource Lists, ______Book Lists, & more______12 PHONE # EMAIL ______Earshot Jazz is a nonprofit tax-exempt organization. Ask your employer if your company has a matching gift program. It can easily double the value of your membership or donation. Mail to Earshot Jazz, 3417 Fremont Ave N, #221, Seattle, WA 98103