A Mirror and Focus for the Community March 2019 Vol. 35, No. 03 EARSHOT JAZZSeattle, Washington

Samantha Boshnack Photo by Daniel Sheehan LETTER FROM THE DIRECTOR EARSHOT JAZZ A Mirror and Focus for the Jazz Community March On, March On Executive Director John Gilbreath Managing Director Karen Caropepe Programs Manager Tara Peters Marketing & Development Associate Lucienne First of all, we’re hoping that March On will set the tempo for our exodus Aggarwal from this funky winter. Within the context of this March issue of Earshot Jazz, March On acknowledges the steady progression of jazz here in Se- Earshot Jazz Editors Lucienne Aggarwal & Tara Peters attle, with an appreciation of multiple rhythm cycles that spark the fires making this one of the deepest and most dynamic jazz scenes in America. Contributing Writers Halynn Blanchard, Paul As a musical title, March On, March On is most widely associated with de Barros, Peter Monaghan, Paul Rauch, the great Oliver Nelson’s 1961 recording, Screaming the Blues, on which Carlos Snaider Nelson mines the tension of the times by matching wits with fellow saxo- Calendar Editors Casey Adams, Jane phone genius, Eric Dolphy. Check out Paul de Barros’ fascinating piece Emerson, & Tara Peters on Dolphy in this issue. We’re proud to feature Paul’s work again in these Photography Daniel Sheehan pages. Layout Tara Peters Distribution Karen Caropepe, Dan Dubie & March always brings the annual Golden Ear and Seattle Jazz Hall of Earshot Jazz volunteers Fame Awards to Seattle. In addition to its core mission of recognizing outstanding accomplishments by our own resident artists each year, the Send Calendar Information to: [email protected] awards are also a great opportunity for the long view, to take stock of the overall face and sound of this incredible community. For those who Board of Directors Danielle Leigh have been attending the event for years, and for anyone researching the (President), John W. Comerford (Vice President), Jon Perrino (Secretary), Sheila accumulated documentation through the Earshot Jazz archives, the overall Hughes, Chris Icasiano, Maurice James, progression and quality here is remarkable. Chris Nutter, Gail Pettis, Ruby Smith Love, It has been fun to see the positive support for this year’s awards on social Diane Wah media. Those individual artists are the standard bearers for our communal energies. We encourage you to get out to support them, and plan to join us Emeritus Board Members Clarence Acox, Taina Honkalehto, Hideo Makihara, Peter March 11, 7pm at the Royal Room. You’ll find a ballot in this issue and, as Monaghan, Kenneth W. Masters, Lola always, you’re welcome to think outside the box of existing nominees and Pedrini, Paul Toliver, Cuong Vu make your voice heard. We’re also launching a fascinating series of Spring concert events, kicking Founded in 1984 by Paul de Barros, Gary off on March 2, with a string trio of sorts by the bassist Stephan Crump Bannister, and Allen Youngblood. Earshot Jazz is published monthly and is available and two of the leading guitarists in jazz, Liberty Ellman and Jamie Fox. online at earshot.org. We continue March 10 and 12 with two exciting programs of jazz biog- raphies, presenting their authors, Maxine Gordon (Dexter Gordon) and Subscription (with membership): $35 Elaine Hayes (), in creative conversations alongside exciting 3429 Fremont Place #309 musical performances by Seattle-area artists. You can find details on these Seattle, WA 98103 events, and many more, in this March issue. phone / (206) 547-6763 As always, we invite you to join us. It is so fantastic that this monthly Earshot Jazz ISSN 1077-0984 magazine is distributed free of charge all around the greater Seattle area. Printed by Pacific Publishing Company I know there are many people who read the magazine and maybe think © 2019 Earshot Jazz Society of Seattle about coming out to some event. Let this be the month that you March On out the door to hear some live jazz and meet the artists. See you at the MISSION STATEMENT Golden Ear Awards Party!! To ensure the legacy and progression Thank you!! 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 • March 2019 NOTES U Seattle-Kobe Female Jazz Vocalist High School Jazz Band Competition CALL FOR ARTISTS Audition and Festival, taking place May 9-11. The 15th Annual Seattle-Kobe Female Essentially Ellington is a prestigious Jazz: The Second Century program at Jazz at Lincoln Center, Jazz Vocalist Audition is accepting ap- Deadline May 31 plications with a deadline of March New York which aims to elevate mu- 6. The Seattle-Kobe Sister City Asso- sicianship, broaden perspectives, and Earshot Jazz seeks submissions ciation will hold auditions in May at inspire performance. For more details for the 2019 edition of the Jazz: Dimitriou’s Jazz Alley to choose two visit academy.jazz.org. The Second Century concert se- ries. The juried series brings the winners: one high school student and Sudden Valley Jazz Kicks Off 2019 progression of Seattle jazz into one adult vocalist from the greater Se- Season attle area. creative motion on the concert The 9th season of the Sudden Val- The winners will perform as guest stage. One-hundred years into ley Jazz, organized by Bellingham’s singers at the Kobe Shinkaichi Jazz the art-form, what sonic shapes Friends of the South Whatcom Li- Vocal Queen Contest in Japan later does jazz take in its second cen- brary, kicks off on March 30 with a this year. The prize includes round- tury? Projects that probe this salute to Jazz at the Philharmonic, trip tickets to Osaka and lodging for question to expand the conven- starring Greta Matassa and the Ju- four nights. Applicants must submit tions of the jazz form are invited lian MacDonough All-Stars (Mac- two song samples and a fee of $20 with for consideration. Donough on drums, Tony Foster on their application. More information at Seattle-area individual artists or piano and Michael Glynn on bass, and seattlekobe.org. groups are eligible to apply. Sub- special guests). missions must include a recorded SMASH Membership 2019 Open Next, on April 27, is Bossa Nova sample of a project that can be Enrollment Brazil, starring Nilza Lessa and Marco performed in a concert setting. Seattle Musicians Access to Sus- de Carvalho and backed by Jeff John- We encourage applicants to in- tainable Healthcare (SMASH) is a son (bass) and Jeff Busch (drums). clude a statement that speaks to nonprofit organization that connects After a summer reprieve, the series their musical interpretation of musicians to healthcare providers by continues on October 12 with Bru- the meaning of jazz and the pro- offering subsidized preventative doc- beck Plays Brubeck, honoring Dave gression of the art form. tor visits at nonprofit healthcare clin- Brubeck’s centennial with a perfor- The submissions are evaluated ics throughout King County. SMASH mance led by his son, Dan Brubeck through a blind-jury process. also provides hearing screenings and (drums), with Steve Kaldestad (saxo- Jury members reflect the diverse custom molded earplugs to help pre- phone), Miles Hill (bass), and Miles Seattle jazz community and in- vent hearing loss. Black (piano). Wrapping up the series clude past Second Century art- 2019 Member enrollment is now on November 9 is Ron Jones’ Jazz ists. A list of past Jazz: The Sec- open. The application is free and con- Forest, a 12-piece jazz recordings or- ond Century artists and ensem- fidential. To be eligible, you must live chestra. bles can be viewed at earshot.org. in King County, perform, record, or Sudden Valley Jazz performances 2019 Second Century artists compose music, and earn income at take place at 3pm in the Sudden Val- and ensembles perform across or under SMASH’s income limit. Visit ley Dance Barn in Bellingham. Seat- four Thursdays in July and are smashseattle.org for more informa- ing is limited, and drinks are available paid a competitive fee for the tion. for purchase at the concert. Both series performance. tickets ($70) and single concert tickets Please send submissions Washington Schools to Compete at ($20) are available at fswl.org. by May 31 electronically to Essentially Ellington Competition Seattle JazzED Summer Jazz Prep [email protected] or by Congratulations to Roosevelt High, Camp mail to Earshot Jazz, 3429 Fre- Garfield High, and Mount Si High jazz mont Place N, #309, Seattle, WA bands for being chosen to compete in Registration is now open for Seattle 98103. the 24th Annual Essentially Ellington JazzED’s Summer Jazz Prep Camp.

March 2019 • EARSHOT JAZZ • 3 The camp is offered at a sliding scale Paul Hoskin, SIMF founder and a key enter the audio industry. There are with a full tuition waiver option and is figure in Seattle’s freely improvised two workshops available this month: available to students entering 4th, 5th, music history, is now scheduled for March 8, Microphone workshop; and and 6th grades in the fall. No prior ex- March 15. Music and Dance curated on March 9, Basic Field Recording perience required. by Stephanie Skura has been moved to workshop. Space is limited. To regis- The camp is scheduled for June 24-28 June 20. ter call Jack Straw Cultural Center at but please note these dates are in flux Both events take place at the Cha- 206-634-0919. For more information due to the recent Seattle Public School pel Performance Space in the Good email [email protected] or visit snow days. Participating students are Shepherd Center. $5–20 suggested jackstraw.org. required to attend Meet Your Instru- donation at the door. For further up- 4Culture Arts Projects Grants ment Day prior to camp on April 28. dates, follow SIMF on social media or More information at seattlejazzed.org visit nseq.org. Artists and art groups seeking fund- ing to create and share their work are Seattle Improvised Music Festival Jack Straw Cultural Center 2019 encouraged to apply for 4Culture Arts Reschedules Some Events Winter Audio Workshops Projects grants by March 6, 5pm. The Seattle Improvised Music Fes- Jack Straw Audio Workshops pro- The grants support project needs from tival, which ran February 6–10, has vide the opportunity to improve ex- June 1, 2019 through June 1, 2021. rescheduled some events due to the isting studio skills or obtain hands- Projects Grants can be used to help inclement weather. The tribute to on-learning to assist those wishing to artists create new work, interpret ex- isting work, pursue professional de- velopment opportunities, and pay for equipment. The competitive grants are offered in fixed amounts and the ap- plications are reviewed and selected U by artist panels. Visit 4culture.org for SPECIAL ANNOUNCEMENT more information. Office of Arts and Culture Artists Earshot Jazz Receives Leadership Award Roster for Seattle Public Schools Earshot Jazz is honored to announce that we have received a Leadership Artists and art organizations who are Grant for Arts Organizations from the Doris Duke Charitable Foundation interested in partnering with Seattle (DDCF). The DDCF made the announcement this February, naming 16 Public Schools to increase student ac- arts organizations nation-wide receiving awards for their established work cess to the arts, broaden the range of and potential continued impact within their communities. art disciplines studied by students, and The Leadership Award, which is available by invitation only, provides create connections between communi- flexible, multi-year funds that increase Earshot’s readiness and capacity ty and schools are encouraged to apply to successfully meet current challenges and address future circumstances. for inclusion on the Community Arts The mission of the Doris Duke Charitable Foundation is to improve the Partner Roster. quality of people’s lives through grants supporting the performing arts, The roster is maintained by the Se- environmental conservation, medical research and child well-being, and attle Office of Arts and Culture to through preservation of the cultural and environmental legacies of Doris help schools find creative resources. Duke’s properties. The Leadership Grants for Arts Organizations program Art partners mentor students and, in reflects DDCF’s ongoing effort to direct grant funding to align more close- some cases, provide professional de- ly with the reality of American ethnic and cultural diversity. velopment opportunities for school The grant supports Earshot’s self-defined, long-term goals for growing teachers. Arts partners remain on the community impact. Says Doris Duke Charitable program director for the roster for two years. Applications are arts, Maurine Knighton, “It’s imperative we recognize that organizations’ due on March 13 and are available at capacity to inspire and make valuable contributions are not tied to where creativeadvantageseattle.org. they’re located or the size of their budgets.” We are proud to receive this recognition for our creative legacy in Seattle and to be a part of this exciting group of national organizations.

4 • EARSHOT JAZZ • March 2019 GOLDEN EAR AWARDS 2018 Golden Ear Awards Ballot Cast your ballot by March 7!

Each year, the Golden Ear Awards recognize and celebrate the outstanding achievements of the previous year in Seattle jazz. In the process, Seattle jazz fans and performers take stock of and show gratitude for the region’s vibrant jazz ecology. The awards are determined by a combination of nominations and popular vote. Nominees are selected by a broad range of Earshot Jazz readers, past Golden Ear recipients, jazz performers, audience members, and industry professionals. There are eight Golden Ear Award categories, including induction into the Seattle Jazz Hall of Fame. Vote online at earshot.org, by email to [email protected], or mail your selections to Earshot Jazz, 3429 Fremont Pl. N., #309, Seattle, WA 98103, by March 7. The Golden Ear Awards party takes placeMarch 11 at the Royal Room, featuring Alex Dugdale’s Fade Quintet.

NW Recording of the Year Alternative Jazz Group of the NW Jazz Instrumentalist of ††Bad Luck, Four Year the Year ††Duende Libre, Drift ††Afrocop: Noel Brass Jr. ††D’Vonne Lewis ††Jacqueline Tabor, Lady in the ††Bad Luck ††Joe Doria Gown ††High Pulp ††Marina Albero ††Johnaye Kendrick, Flying ††Kin of the Moon ††Thomas Marriott ††Randy Halberstadt, Open Heart ††Matrio (Tom Baker, Greg ††Tim Kennedy ††Other______Campbell, James Falzone, Ha- ††Other______Yang Kim) NW Acoustic Jazz Ensemble of ††Other______NW Vocalist of the Year the Year ††Birch Pereira NW Concert of the Year ††200 Trio ††Beth Fleenor ††Bill Anschell Standards Trio ft. ††Bad Luck Record Release ††Jacqueline Tabor (September 28, Columbia City Jeff Johnson and D’Vonne Lewis ††Johnaye Kendrick Theater) ††Jovino Santos Neto Quinteto ††Kate Voss ††D’Vonne Lewis and Friends: ††Randy Halberstadt’s Open Heart ††Other______Band Tribute to Dave Lewis (October 21, Langston Hughes Performing ††Thomas Marriott Quintet Seattle Jazz Hall of Fame Arts Institute) ††Other______††Bob Hammer ††Jovino Santos Neto Big Band & Emerging Artist of the Year Quinteto (November 2, Seattle ††Jim Knodle Art Museum) ††David Marriott Sr. and Helen ††Elena Maque ††Maria Schneider with Seattle Marriott ††Marina Albero Repertory Jazz Orchestra ††Suzanne Weghorst ††Max Holmberg (November 3, Benaroya Hall) ††Wally Shoup ††Sidney Hauser ††Neil Welch: Concepcion Picciotto ††Other______† †Xavier Lecouturier (Octoer 23, Chapel Performance Check earshot.org for a list of Hall of ††Other______Space) Fame inductees. ††Other______

March 2019 • EARSHOT JAZZ • 5 PROFILE Samantha Boshnack: Shifting Ground

By Paul Rauch Samantha Boshnack is an artist who is difficult to define. While the enter- tainment industry and its fans con- tinually relegate artists to rigidly de- fined categories, Boshnack remains an outsider to the very identifiable genres she draws from. In the jazz world in which we reside, the very fact that she is a player enables fans and journalists alike to pigeonhole her with comparisons to bebop and post- bop players whose art centers around their prodigious skills as improvising soloists. Others may draw conclusions based on her abilities as a composer and session player, placing her into categories related to classical music. Still those who lean more towards the avant-garde claim her for their own, citing her inclination both as a com- poser and player to reside on the out- side limits of melodic sensibility, and time. SAMANTHA BOSHNACK PHOTO BY DANIEL SHEEHAN Ultimately, Boshnack identifies as a jazz composer and artist. While her exposed the atrocities of mental health nack. In 2012, she composed the three music may not swing, it has a definite institutions during the late nineteenth movements of “The Exploding Suite” groove. She enjoys being a bandleader century. The piece and subsequent re- for the Sam Boshnack Quintet, which with purpose. “I love working with lease, Nellie Bly Project (ARC, 2017), she dedicated to Mount Saint Helens. jazz musicians and the freedom it graphically expresses the courage and Since then, Boshnack has been in- brings,” she says. selflessness of Bly’s historic actions. spired to “continue to explore writing Boshnack’s latest work, Seismic Belt Boshnack writes with purpose and music based upon these natural won- (Orenda, 2019), places the artist in a passion, with an uncanny way of ex- ders.” light that may be best described as a pressing a narrative. She is a musi- The idea that spawned Seismic Belt, project artist. Her creative timeline cian, a composer, a feminist, an activ- was first touched on with her quin- over the past four years has seen her ist, and most certainly, a storyteller. tet album, Exploding Syndrome (Self- write five concertos for five instruments “One of the greatest joys of living in Released, 2014). Boshnack’s fascina- representing five continents, on her the Northwest is hiking the incredible tion with volcanoes first came to light groundbreaking album, B’shnorkestra: mountains of this region. Even after when she suddenly found herself co- Global Concertos (Self-Released, 2016). being here for almost 16 years, these existing within the ring of fire follow- She told the story of journalist Nellie snowcapped giants still amaze me. ing her move to Seattle from upstate Bly and her courageous activism that I never saw anything like this in my New York. The fully realized concept home state of New York,” muses Bosh- resulted from a three month “Make

6 • EARSHOT JAZZ • March 2019 Jazz” residency at the 18th Street Arts Sciences in Santa Monica, California Center in Santa Monica, CA. With at the conclusion of her residency at the basic premise of the piece already the 18th St, Arts Center with a Los conceived, the residency required Angeles ensemble. The Seattle debut Boshnack to compose and perform the took place at the Royal Room during piece within a strict time frame. The the 2018 Earshot Jazz Festival. Violin- pressure of the time constraint offered ist Lauren Elizabeth Baba was the con- a new challenge for Boshnack. The stant, flying in from Los Angeles for creative process however, was famil- the Seattle performance, adding a vital iar, with conception being established textural quality to the music. Her neo- before finding the right sounds and folk approach blends with Boshnack’s rhythmic qualities of the music itself. fluttering, vibrant tonality to create Boshnack skillfully weaves melo- contrasting sounds that grind and join dies, improvised solos, and pulses of gracefully before drifting apart again. varying intensity to express arcs, plate Seismic Belt is an exploration of na- movements, and explosive volcanic ture and our risks within our relation- activity. Seismic Belt has many jagged ship to it. The opening movements of edges, abrupt explosions of improvisa- the piece harmonically express seismic tion, angular melodic passages, and activity. The second half of the work uneven endings. draws from the stories, myths, and “I am interested in creating intri- challenges of the cultures inhabiting cately woven soundscapes that harbor the Ring. Boshnack draws from her deep grooves and explosive improvi- personal experience of choosing to live sations, with many layers of melodies in the shadow of Tahoma. built upon a strong bass undercur- Art plays an important role in our rent,” says Boshnack. lives in that it expresses individuality, This may seem to some to be an ex- creativity, and feeling. It enables em- tremely abstract concept, and a huge pathy, awareness, and most of all, our risk artistically. That being said, Bosh- humanity. At the forefront of artistic nack encapsulates that concern stating movement in any culture are those that simply, “There is an element of risk dare to put their vision in action in the and faith when it comes to living on form of tangible, accessible art. While the Ring.” Boshnack does not perform live all The musical expression of seismic ac- that often, the performances she does tivity demonstrates aptly Boshnack’s engage in have a lasting impact on the courageous nature as an artist. While overall consciousness of our commu- most art springs from the well of hu- nity. Her recordings are like a dynamic man emotion and experience, Seismic footprint on a path to understanding. Belt largely expresses the volatility and Her embrace is large, exposing a heart movement of the very earth we walk that reflects the inclusiveness of her be- upon. ing. We in this city on the Ring, are “This project explores the similarities fortunate recipients. between this style of composition and the Ring’s seismic activity. It experi- Samantha Boshnack performs ments with the friction of these geo- graphic shifts, which can be peaceful at the Washington Center Black or disruptive, to create a new harmonic Box Theater in Olympia on topography that honors this huge force March 8 and celebrates the CD of nature,” explains Boshnack. release of Seismic Belt on March Boshnack first performedSeismic Belt 14 at the Royal Room. at Crossroads School for the Arts and

March 2019 • EARSHOT JAZZ • 7 >> The Bass Church PREVIEWThe Bass Church The Bass Church The Northwest double bass specialists The Northwest double bass specialists The Northwest double bass specialists

www.basschurch.com Stephanwww.bassch uCrump:rch.com Rosettawww.bas scTriohurch.com

Saturday, March 2, 8pm The Trio’s eponymous 2006 release, Sales, Rentals, Chapel Performance Sales, Rentals, Space Rosetta, was Sales, one Rentals, of Crump’s earliest Repairs, Restorations, Repairs, Restorations, projects Repairs, as a leader. Restorations, The project began Starting off their spring concert se- Lessons Lessons as an outlet for Lessons Crump to process the Convenient North Seattle Location ries, EarshotConvenient Jazz North isSeattle pleased Location to pres- Convenient North Seattle Location loss of loved ones in the wake of 9/11,

ent Brooklyn bassist Stephan Crump to acknowledge the fragility of life (206)784-6626 and(206)784-6626 his Rosetta Trio on Saturday, (206)784-6626 9716 Phinney Ave. N. by weaving intricate fragments into March9716 Phinney 2. Ave. N. 9716 Phinney Ave. N. Seattle, WA. 98103 Seattle, WA. 98103 somethingSeattle, WA. beautiful,98103 much like a ro- ~by appointment only~ Many~by appointment astute only~ jazz listeners will rec- ~by appointment only~ setta. In short, to make sense from the ognize Crump from his long-standing senseless. collaboration with pianist Vijay Iyer. Crump, Ellman, and Fox have a pal- More recent, notable collaborators in- pable synergy that lives beyond their clude alto saxophonist Steve Lehman, first, sublime collection. The trio’s The Bass Church pianistTh Jamese B Carney,ass C guitaristhurch Mary The Bass Church The Northwest double bass specialists The Northwest double bass specialists follow-upThe No rt album,hwest dou blReclamatione bass specialists (Sun- Halvorson, drummer Tyshawn Sorey, nyside Records, 2010), reaches further www.basschurch.com and trumpeterwww.ba sAdamschur O’Farrill.ch.com www.basschurch.com still into deeply personal themes of Crump was born in Memphis, Ten- home (“Memphis”), government pow- nessee and received early training in er (“Overreach”), land abuse (“Per- classical piano and alto saxophone Sales, Rentals, Sales, Rentals, nambuco”), Sales, and Rentals, relationships with before discovering the bass guitar at Repairs, Restorations, Repairs, Restorations, technology Repairs, (“Here Restorations, not here”). age 13. He spent his formative high Lessons Lessons The Rosetta Lessons Trio’s most recent al- school years playing rock and Convenient North Seattle Location Convenient North Seattle Location bum, ConvenientThwirl North (Sunnyside Seattle Location Records,

throughout the Memphis scene. His 2013), marks an arrival of the group appreciation for funk, groove, and folk (206)784-6626 (206)784-6626 coming(206)784-6626 into their most realized form. 9716 Phinney Ave. N. (nurtured9716 Phinney by Ave. his N. working relationship 9716 Phinney Ave. N. Seattle, WA. 98103 Seattle, WA. 98103 AsSeattle, Crump WA. states,98103 the album signals “a with his wife, folk singer Jen Chapin), ~by appointment only~ ~by appointment only~ special~by appointment period only~ of breakthrough on our continue to influence his music in journey. Although the group’s chemis- surprising ways. Crump went on to try was immediate upon our first gath- receive a Bachelor of Music from Am- erings, there are subtleties and depth herst College, studying under Lewis now to the way the band functions, The Bass Church SpratlinTh e and B workingass C withhur luminarch - The Bass Church The Northwest double bass specialists the wayThe N o werthw e feelst do u theble b as musics special ist together,s The Northwest double bass specialists ies Max Roach, Frank Foster, and that could come only from years of www.basschurch.com Ray Drummond.www.basschurch.com www.basschurch.com work.” The trio’s relationship contin- Led by Crump on acoustic bass, the ues to develop, and with it comes the Rosetta trio is a “string ensemble for celebration of their latest album, Out- the new century” (Donald Elfman, All liers (Papillon Sounds, 2019). Seattle Sales, Rentals, About Jazz Sales,), with Rentals, Liberty Ellman on Sales, Rentals, audiences are lucky to reap the reward Repairs, Restorations, acoustic Repairs, guitar and Restorations, Jamie Fox on elec- Repairs, Restorations, of this ongoing work. Lessons tric guitar. The Lessons lack of drums is unex- Lessons Convenient North Seattle Location Convenient North Seattle Location –EditorConvenient North Seattle Location pected, and the ensemble embraces the

rhythmic flexibility and challenges it Tickets are $15 adults, $13 Earshot (206)784-6626 (206)784-6626 (206)784-6626 9716 Phinney Ave. N. presents.9716 Phinney The Ave. result N. is a sound that sits Jazz9716 membersPhinney Ave. andN. seniors, $10 stu- Seattle, WA. 98103 withinSeattle, the WA. liminal 98103 space of jazz, avant- dentsSeattle, and WA. military 98103 and are available at ~by appointment only~ ~by appointment only~ ~by appointment only~ garde, and contemporary folk. earshot.org.

8 • EARSHOT JAZZ • March 2019 >> The Black/White Chord Shape System PREVIEW for Jazz Piano and Improvisation A Fresh Vision & Language for the Organization of Jazz Chord Voicings and Improvisation Maxine Gordon Book Reading Detailing the Pedagogical Legacy of the great Jerome Gray!

by Larry Kee and Tribute to Dexter Gordon and 417 pages spiral bound

Hadley Caliman Now $34.95 at Amazon.com Maxine Gordon Book Reading Gordon learned the clarinet and saxo- “Also works for Sunday, March 10, 3pm phone in middle school, and by high horns!” Elliot Bay Book Company school, was playing in a band with – J. Gray 1521 10th Ave Chico Hamilton and Buddy Collette. By the 1940’s, still a teenager, he was [email protected] Society Red and Little Dex: Tribute playing in Hampton’s band. Louis to Dexter Gordon and Hadley Armstrong hired the then 21-year-old Caliman w/ guest Maxine Gordon in 1944. With a natural air of intel- Open to All - Free Sunday, March 10, 7pm lect and sophistication, Dexter soon Royal Room became known as “Society Red.” While in L.A., in and out of trouble th Season 5000 Rainier Ave S 15 with the law, Gordon mentored the Maxine Gordon debuts her highly young Hadley Caliman, who later be- praised book on jazz legend Dexter came known as “Little Dex.”Caliman Gordon next month, and in an inter- was an active force on the Seattle scene view with Ahamefule J. Oluo, shares throughout the 1990s and 2000s, and memories about the late, beloved Seat- served on the music faculty at Cornish tle saxophonist and educator, Hadley College of the Arts for two decades, Caliman. Caliman is further remem- retiring in 2003. bered in music by friends and col- Maxine Gordon reads from Sophisti- Sunday, March 3, 6 pm laborators, old and new, in a quintet cated Giant at Elliot Bay Book Com- including trumpeter Nathan Breed- pany at 3pm on March 10. Later that Jeff Kashiwa: love, saxophonist Gary Hammon, night, the celebration continues at with drummer Jamael Nance and the Royal Room with an interview The Coastal Access Band bassist Phil Sparks. Artists influenced between Gordon and Seattle favor- Jeff Kashiwa, saxophones/flute by Gordon and Caliman are invited to ite Ahamefule J. Oluo. Following the Allen Hinds, guitar share the celebration later in the set. conversation, two sets of music are Dave Hooper, drums Sophisticated Giant: The Life and presented in honor of Dexter’s protégé, Dave Kochanski, piano Legacy of Dexter Gordon (University Hadley Caliman, who mentored many of California Press) details the life and great musicians himself. SAVE THE DATE musical legacy of Gordon, from the –Editor April 7: Dmitri Matheny Quartet perspective of the late saxophonist’s wife. NPR calls Gordon’s book “illu- The book reading at Elliott Bay Books 100 Minutes of professional jazz minating” and JazzTimes applauds it is free and open to the public. Admis- Family friendly concert / Free parking as a “a must-read for jazz fans.” sion to the music tribute at the Royal Born in 1923, Dexter Gordon grew Room is by sliding scale donation of Seattle First Baptist Church up comfortably in Los Angeles as the $15/$10/$5. Tickets do not guar- 1111 Harvard Avenue son of a doctor and had the fortune antee seating at Royal Room shows. (Seneca and Harvard on First Hill) Seattle, WA (206) 325-6051 to meet two of his father’s patients, For tickets and information, visit earshot.org. Duke Ellington and Lionel Hampton. www.SeattleJazzVespers.org/GO/SJV

March 2019 • EARSHOT JAZZ • 9 PREVIEW >> Golden Ear Awards Party & Seattle Jazz Hall of Fame Induction

Monday, March 11, 7pm of Alex Dugdale’s crackling, straight- Royal Room ahead Fade quintet, featuring John 5000 Rainier Ave S Hansen on piano and the 200 Trio members Cole Schuster (guitar), Greg It’s our favorite party of the year, and Feingold (bass), and Max Holmberg you’re invited! Each year, the Golden (drums). Named a 2017 Golden Ear Ear Awards recognize and celebrate Emerging Artist of the Year, Dugdale the outstanding achievements of the has been ascending ever since, recently previous year across the Seattle jazz celebrating 13 years performing saxo- scene with an evening of performance phone and tap dancing with the Se- and presentations. attle Repertory Jazz Orchestra and Through a democratic nomination appearing on the cover of the Febru- and voting process, Seattle jazz fans ary issue of Earshot Jazz. Bookending and performers take stock and show the awards ceremony with two hard- gratitude for the region’s vibrant jazz hitting sets, Fade is sure to set the tone ecology. Join us as we honor the win- for a night of celebration and ultimate ners during the awards party on Mon- community hang. day, March 11, at the Royal Room in Columbia City, the city of Seattle’s Tickets by sliding-scale donation newest official Arts & Cultural dis- of $15/$10/$5. Advance tickets are trict. available at earshot.org. Tickets do Beloved radio host Jim Wilke emcees not guarantee seating at Royal Room the night’s events, with presentations shows. For dinner reservations, email [email protected] by special guests in the community. ALEX DUGDALE PHOTO BY DANIEL SHEEHAN Get ready to get down to the sounds

10 • EARSHOT JAZZ • March 2019 PREVIEW >>

Queen of Bebop: The Musical Lives of Sarah Vaughan Book Reading by Elaine Hayes

Tuesday, March 12, 7pm Amongst a musical milieu of jazz Kirkland Arts Center legends, including Ella Fitzgerald, 620 Market St Vaughan forged her own path to star- Kirkland dom. Growing up in Newark, New Jersey, she learned piano and cut her Seattle jazz historian and author singing teeth, like many around her, Elaine Hayes discusses her biography, in church choirs. After getting hooked Queen of Bebop: The Musical Lives of on jazz artists, including Count Basie, Sarah Vaughan (Ecco, 2017), with Vaughan would skip school to watch Earshot Jazz Executive Director, John live shows. By the time she was fifteen, Gilbreath on March 12. Following the she was already performing as both reading and discussion, local vocalist a pianist and vocalist at local clubs. Gail Pettis performs a selection of her With courage and self-confidence, interpretations of Vaughan’s songs. in 1942 Vaughan braved the rowdy One of the most celebrated jazz vo- crowds at the Apollo Theater on ama- calists, Vaughan’s storied career is teur night, and her rendition of “Body Queen SARAH VAUGHAN PHOTO BY JAMES KRIEGSMANN outlined lovingly by Hayes in and Soul” earned her an audition of Bebop . The book is “a lively and Hayes first heard Vaughan’s music with Earl Hines, whose band she soon moving portrait of the passionate and while in college. Recalling the dis- joined. tenacious jazz singer. Hayes gracefully covery, Hayes tells NPR’s Ray Suarez She performed over the years with narrates Vaughan’s life [providing] a that she was impressed by Vaughan’s such jazz icons as Charlie Parker, Count detailed look at a fearless singer who unique and masterful voice, which Basie, and Dizzy Gillespie among oth- constantly moved into new musical rang out with a marvelous array of big ers before embarking on a successful territories and left a legacy for younger swoops, scats, vibrato, and harmonic solo career. Vaughan defined her own musicians” (Publishers Weekly). tension. ART OF JAZZ

MARINA ALBERO & JEFF JOHNSON THU MAR 14, 5:30 – 7:30 PM

Boundless virtuosity and spirit from local musicians.

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

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

March 2019 • EARSHOT JAZZ • 11 terms by rejecting the constraints of music genre labels in part by refus- ing attempts to conform to music that managers and record labels chose for her. Instead she created complex music that was sophisticated harmonically New! Daily pick up and delivery in Seattle and rhythmically, but she also made and North Lake Washington areas music that audiences connected with 7 Luthiers, double bass set up and on a deep emotional level. Queen of restoration experts, and makers on site Bebop outlines how Vaughan pushed Free consultation in shop or by appointment in Seattle back against the many gender and race barriers of her lifetime to enjoy a stun- Lessons ning career that spanned decades. Her Since 1964 famous monikers were “Sassy” and 970 5th Ave NW Suite 100 “The Divine One,” epitomizing two of Issaquah WA 98027 www.HammondAshley.com her most important characteristics: her audacity and the awe-inspiring power of her person and her voice. Elaine Hayes has a doctorate in mu- sicology from the University of Penn- on the horizon sylvania. She is an expert on Sarah Vaughan, having pursued extensive research, including oral history gath- ered from interviews with the late Apr 2 & 3: Orrin Evans Captain Black Big Band singer’s friends and colleagues. Hayes is passionate about sharing her knowl- edge through her lectures and writing Apr 10: Sullivan Fortner Trio to preserve the legacy of this artist’s unique story, which reflects not only Apr 13: Miles Okazaki Trickster the history of jazz, but that of the W/ , ANTHONY TIDD, & SEAN RICKMAN American experience. Her blog, Lady Be Bop, focuses on women in music and popular culture, both past and Apr 19: Makaya McCraven present. Bringing the music into the now, Apr 23: Maria Grand: Persephone Gail Pettis pays tribute to Vaughan through a selection of songs, accom- panied by pianist Darin Clendenin. May 7: Satoko Fujii Trio Pettis’ own story is in itself fascinat- W/ NATSUKI TAMURA & ALISTER SPENCE ing, having found Seattle and a career in jazz by way of orthodontics. One Jun 28: Paal Nilssen-Love Large Unit of Seattle’s most sought-after vocal- ists, Pettis draws her audiences in with honest interpretations, attention to lyricism, and captivating storytelling. She’ll offer insights into what she, as a vocalist, gleans from Vaughan’s contri- butions to the art form. –Editor TICKETS AND INFORMATION AVAILABLE AT EARSHOT.ORG Tickets and information available at earshot.org.

12 • EARSHOT JAZZ • March 2019 PREVIEW >> , , : Sun of Goldfinger Friday, March 15, 7pm & 9:30pm Royal Room 5000 Rainier Ave S Sun of Goldfinger is the newest proj- ect of three heavy hitters colliding: David Torn (electric guitar), Tim Ber- ne (alto saxophone), and Ches Smith (drums). This March, the New York- trio makes their Northwest premier of sonic explorations from their debut, self-titled ECM release, an epic three- track recording heavily comprised of improvisation, soaring high sax lines, CHES SMITH, DAVID TORN, TIM BERNE PHOTO BY ROBERT LEWIS / ECM RECORDS and atmospheric soundscapes swelling with Torn and Smith’s looping and Player magazine declared Torn “one of of the jazz vanguard and distorting electronics. music’s Top 50 guitarists, ever.” Matt Maneri. Sun of Goldfinger first came together Tim Berne has long been a pivotal Torn, Berne, and Smith’s first re- in 2010, when Berne invited Torn to figure in bringing together players corded musical collaboration, Sun of join him and a young drummer for from across the spectrum of new ap- Goldfinger, sees three intense 20-plus a gig in Brooklyn. “It was intriguing proaches to jazz and related music. As minute tracks, weaving vast sonic from the start,” Torn recalls. the New York Times put it: “Few musi- tapestries. The trio’s “Eye Meddle” “I’ve had a deep musical relationship cians working in or around jazz over and “Soften the Blow”—spontaneous with Tim since the ‘90s and playing the last 30 years have developed an idi- group compositions—obscure the fact live with him is always special—we omatic signature more distinctive than that only a trio is present. The album’s push each other into new territory. Berne.” The composer, producer, in- centrepiece is Torn’s composition And that drummer turned out to strumentalist, bandleader, and found- “Spartan, Before It Hit,” a kaleido- be Ches, and I thought he was re- er of Screwgun Records has recently scopic epic that showcases an extended ally something, just burning,” says received ample acclaim for both of his ensemble that expands the trio into a Torn. “I’ve never played anything that ECM album releases with his quartet band of ten. sounds or feels quite like this.” Snakeoil, “Berne’s most impressively Reflecting on Sun of Goldfinger, Across a career as a guitarist, com- cohesive group yet” (All About Jazz). Torn says: “This isn’t jazz music or poser, improviser, producer, and An original member of Snakeoil, and rock music. I really can’t put it into soundscape artist, David Torn has now one third of Son of Goldfinger, any genre classification—it’s just mu- worked with innovators in jazz (Jan Ches Smith is eloquent but straight- sic made by people who care deeply Garbarek, The Bad Plus), film music to-the-point. Smith’s playing has been about what we’re expressing and how (, Carter Burwell), the cornerstone to projects led by Terry we’re expressing it, however abstract it and rock (, Jeff Beck, Riley, Marc Ribot, John Tchicai, and may feel on first listen.” ). Torn has released two the experimental rock group Xiu Xiu. –Halynn Blanchard albums on the ECM label, the solo As a leader, Smith recorded Hammered Tickets are $20 adults, $18 Earshot only sky and quartet disc prezens, in (2013) with Mary Halvorson, Tony members and senior citizens, $10 stu- addition to producing records for Tim Malaby, Tim Berne, and Andrea Par- dents and military and are available at Berne and . Guitar kins, and The Bell (2016) with veterans earshot.org.

March 2019 • EARSHOT JAZZ • 13 PREVIEW >> Omar Sosa & Seckou Keita: Transparent Water

March 19, 7:30 pm Triple Door 216 Union St

Presented by Triple Door and KNKX A concert by Omar Sosa is a séance. One by Seckou Keita induces a trance. To attend a performance by Omar Sosa and Seckou Keita, together, is to be transported into a timeless domain of tradition and dream. Cuba-reared Sosa is a pianist (and vocalist) of endless imagination and spiritual abandon. He possesses the technical command of his training in the dual classical-popular approach of his nation, but from there, as a US OMAR SOSA PHOTO BY TOM EHRLICH SECKOU KEITA PHOTO BY ANDY MORGAN resident since the mid-1990s, has been a world traveler—a multiple-worlds ban inland bastion of the island musi- erated electronics—all while retaining traveler. He has created that rare amal- cal nation. From there he has traveled a riveting earthly and spiritual pres- gam of great instrumental accomplish- the world both geographically and ence. ment and open-spirited giving of him- musically, fusing Latin jazz, African His performances and recordings are self to his many devotees. traditions, avant-garde improvisation, expressions of a quest of deliverance His musical vision began with his classical music, and much else—in- raised up by both sinewy, mysterious early years in Camagüey, the Afro-Cu- cluding keyboard and computer-gen-

14 • EARSHOT JAZZ • March 2019 compositions, and improvisational TheGuardian said the album showed abandon. that Keita should be “classed alongside Among his audiences’ many expres- the great Toumani Diabaté as one of sions of appreciation has been a life- the adventurous masters of the kora.” time achievement award from Smith- In this Seattle appearance, Sosa (pi- sonian Associates in the other Wash- ano, fender Rhodes, motif, electron- ington for his contributions to the ics, vocals) and Keita (kora and vo- flourishing of Latin jazz in the United cals), with percussionist and vocalist States. In reality, however, his musical Gustavo Ovalles in support, perform palette merely begins with his Cuban music exemplified by their acclaimed roots. 2017 debut release Transparent Water. “…refreshingly edgy” From Senegal, but London based, This recording is variously described —City Arts Magazine Seckou Keita descends from a tradi- as, “world music meets world jazz,” tion of “griots” in west African court “tradition meets improvisation,” “ music on the 21- or more-stringed spiritual and earthly,” and “stunningly kora harp—often, in Keita’s case, a evocative,” by World Music Central. striking two-kora kora, constructed It’s a lilting, whispering, uplifting something like those double axes that session—a séance, for sure. Sosa and John McLaughlin wielded in the hey- Keita are so sympathetically attuned day of jazz fusion. to each other’s particular talents of In the African courts, over many cen- musicianship and expression that the turies, griots were bards who expressed fusion of their approaches and musi- the history and soul of their people cal roots is total. The results are gentle, through styles passed down from fa- delicate, and embracing. Enchanting. ther to son. (Traditionally, griots have –Peter Monaghan been born to the role.) Like Sosa, Keita Tickets are $30 in advance, $35 day has taken his native traditions out to of show, and $38 for front rows. For encounter and engage wider worlds, tickets and more information, visit with equally captivating results. In thetripledoor.net. 2016, for example, he was awarded the Songlines Best Album Award for his last solo album 22 Strings, as well as a 30+ EVENTS INCLUDING: nomination for Best Artist. Cielo: Cinematic Reverie on the Beauty of the Night Sky smARTfilms: Best of The Port Townsend Film Festival Jon Green & Friends in Concert Spring Into Words: Poetry with Keetje Vermillion Kuipers, Erika Meitner, & Geffrey Davis FIRST THURSDAYS Within the Silence: A Living Voices March 7th, 2019 | 8-11PM Performance on the Japanese Exclusion by

Ken Mochizuki

Superhero America: The Comic Book RUBY DUNPHY as Historical Lens with T. Andrew Wahl

Ch ristian Pin cock’s SCRAM BL E R

Tickets, schedule and info at: Seth Alexan der Tro u p www.biartmuseum.org

CULTURAL FUNDING FROM: 1508 11TH Ave – Seattle

March 2019 • EARSHOT JAZZ • 15 PREVIEW >> Thomas Buckner and Rober Dick: Flutes and Voices

Wednesday, March 20, 8pm PONCHO Concert Hall, Cornish College of the Arts 710 E Roy St. The combination of voice and flute in modern music—each with their char- acteristic monophony, purity of sound, and relation to the breath—suggests a playful, enrapturing sound that danc- es among the silence. Yet, when the musicians at play direct their atten- tion to the passage of breath itself and its interactions within their respective resonators, they have the ability to also conjure the rare, liminal spaces found THOMAS BUCKNER PHOTO BY CHRIS BOWEN ROBERT DICK PHOTO BY BEN O’BRIEN inside the strains of voice, breath, and which functions in the same was as a nonsensical signifiers insisting we give sound. Add to this picture two mas- whammy bar does for the guitar. Both meaning to them mirroring the sonic ter improvisers whose voices have been musicians were, and continue to be, repulsion-attraction quality present in preeminent on their respective instru- important contributors to the Down- their improvisations. If “Bones of the ments in our time, and whose musical town music scene in New York. Ex- Tongue” were representative of the en- dialogue has reached telepathic preci- traordinary artists on their own, their tire recording, then using the body as sion, fearless exploration, and remark- synthetic, style-breaking sensibilities an analogy, their music is akin to what able empathy and you have Thomas seem to expand when together. Brent Edwards, writing on Nathaniel Buckner and Rober Dick: Flutes and 2019 marks the ten-year anniversary Mackey’s poetry, calls “endlessly chal- Voices. of their duo collaboration recording, lenging the bodily rhetoric inherent in Baritone vocalist Thomas Buckner is Flutes and Voices. Comprised of eight our expression—the connotative link a celebrated new music vocalist with improvised pieces of great diversity, for joint and articulation.” seemingly limitless technical ability each moment exists beautifully on its Make no mistake, Buckner’s and and musicianship. He has extensive own terms. Buckner’s and Dick’s dia- Dick’s musical dialogue is one of experience with an array of musical logue is ever dynamic in a perpetual joints, abrasion, splayed sound, and idioms, including longtime collabo- state of moving towards, generating perpetual slippage into the unknown. rations with the Association for the an experience verging on timelessness. There remains, however, an undeni- Advancement of Creative Musicians Their non-sequitur titles including able joy in their music. Their richly members Muhal Richard Abrams and “Bones of the Tongue,” “In the Land diverse improvisations teem on excess, Roscoe Mitchell. of the Perfect Days,” “Broadcasted and the uncapped range of human Flutist Robert Dick is an ever-trans- Alive,” and “Certain Gravities” evoke emotions is made manifest, speaking formative master of his instrument, images of the imagined, the utopic, to their love of the craft and their ca- having developed more sonic pos- and the surreal, with hints of irony as maraderie. Seattle audiences may very sibilities on the flute (literally thou- if to demystify the musical processes. well come away with a new expanded sands) than any other before him. The titles seem to reflect a push and sense of connectedness after this one. He is renowned for his invention of pull at work in the music, with the the Glissando Headjoint attachment, –Carlos Snaider

16 • EARSHOT JAZZ • March 2019 PREVIEW >> Orrin Evans and the Captain Black Big Band

Tuesday, April 2 & Wednesday, and enthralling little-big-band jazz in An added treat for Royal Room audi- April 3, 7:30pm the land. ences is that the nonet will be joined Royal Room The band describes itself as “boast- by Seattle-based trumpet ace, Thomas 5000 Rainier Ave S ing a raw, vigorous sound, a raucous, Marriott. unpredictable vibe, and a membership Evans has of late risen to prominence Pianist Orrin Evans leads the Gram- ranging from elders to rising stars,” after joining the power-jazz trio The my-nominated Captain Black in two and that’s all exactly right. Bad Plus in 2017, replacing Ethan nights of some of the most thrilling Iverson, its founding pianist of 18 years. Evans’s tenure there is already affirmed by the trio’s continuing suc- WORKSHOP cess, but his Captain Black Big Band centrum AND at least equally expresses the nature FESTIVAL of his musical vision. He founded it JAZZJohn Clayton, Artistic Director in 2009 as a nimble biggish band for PORT TOWNSEND long-term development of musical ideas—his, and those of other band Live and learn members. Its first tenure was at Chris’ with legends Jazz Cafe in his native Philadelphia; he then brought it to New Yorks’s Smoke of jazz. Jazz & Supper Club as the large unit Coaching, became increasingly tight and assured, rehearsals, master even as it grew more and more supple, classes, theory, surprising, and intrepid. special topics and The results include the band’s third 60 performances— album release, Presence, out late last including yours. year. That followed 2011’s self-title debut and 2014’s Mother’s Touch. Cap- tain Black was named Rising Star Big Band of the Year in the DownBeat Gerald Clayton Critics Poll, in 2013. Around that JULY 21-28 time, the magazine called Mother’s WEEKLONG ARTIST FACULTY: Touch “a sweet summertime power- John Clayton, Anat Cohen, Gerald Clayton, house of a record that slips and slides Obed Calvaire, Jeff Hamilton, Terell Stafford, with breathtaking compositions, ar- Gary Smulyan, Ben Wendel, Matt Wilson, rangements, solos, and grandeur.” René Marie, Clarence Acox, Dan Balmer, , Dawn Clement, Chuck Deardorf, Acclaim like that—and it has con- Alex Dugdale, Chuck Easton, Michael Glynn, tinued with high placing in DownBeat APPLY AT Randy Halberstadt, John Hansen, Chris Symer, polls, ever since—has led to many CENTRUM.ORG/JAZZ Jay Thomas, Eric Verlinde, Jiggs Whigham. other accolades, including such com- Located on the shores of Puget Sound SPECIAL TRACK FOR MUSIC EDUCATORS. missions as a suite honoring Sun Ra’s at Fort Worden State Park in Open to instrumentalists and vocalists centenary, premiered at Jazz at Lincoln scenic Port Townsend, Washington high school-aged and older. Center.

March 2019 • EARSHOT JAZZ • 17 Born in Trenton, New Jersey, Evans names to draw on—Tia Fuller, Jack and drummer Karriem Riggins, and grew up in Philadelphia, the son of an Walrath, Frank Lacy, Ralph Peterson, of course a third is the refreshed Bad opera singer and playwright. He briefly Marcus Strickland and so on. Plus—but it only adds to his growing studied jazz at Rutgers University, but By now the band has settled into a reputation. Last year in the New York dropped out to concentrate on gigging lineup of outstanding performers and Times, Giovanni Russonello summed and, from the mid-1990s, releasing his composers (whose pieces appear along- that up, calling Evans “a viable can- own albums. (He has 25 of those to his side Evans’s in the band’s songbook) didate for jazz’s most resourceful and name, now.) such as those who will appear in Seat- invigorating contemporary pianist.” With early discs like a small-group tle. Among them are David Gibson on –Peter Monaghan Captain Black and Deja Vu, from trombone, Josh Lawrence on trumpet, Tickets and information available at around the turn of the century, he and Caleb Wheeler Curtis on alto sax. earshot.org. Tickets do not guarantee earned high praise from reviewers. The The big band is not the only vehicle seating at Royal Room shows. For dinner New York Times judged that on those for the undoubted expansive talents reservations, contact the Royal Room at albums he “offered magnetic up-tem- of Orrin Evans – another recent ex- [email protected]. po compositions and plangent ballads, pression of those is his dazzling re- usually with a hint of melancholy at lease with bassist Christian McBride every speed.” Evans is steeped in piano-jazz history, and that includes in its championing of innovation. Evans has developed ON THE RADIO his vision of subtle keyboard evolution  in a variety of roles. He has worked with the distinctive likes of saxophon- 88.5 KNKX hosts Saturday Jazz Matinee, Jazz Sunday Side Up, Ken ist David Murray and trumpeter Sean Wiley’s the Art of Jazz, and Jazz Northwest, in addition to its weekday Jones, the trio Tarbaby alongside all- NPR and late-night and prime-time jazz programs. Full schedule and info star bassist Eric Revis and the drum- at knkx.org. Abe Beeson hosts The New Cool, Saturdays, 3pm, featuring mer , and the neo-soul/ 21st century jazz inspired and informed by the sounds of today, hip-hop, acid jazz ensemble Luv Park. funk, electronic & punk rock, followed by Robin Lloyd’s Jazz Caliente, Those all prepared him for stardom 5pm, where jazz meets Latin rhythms. Jim Wilke’s Jazz Northwest, Sun- in The Bad Plus, where his visibility days, 2pm, features the artists and events of the regional jazz scene. For Jazz quickly increased, as evidenced by a NW podcasts of archived programs, see jazznw.org. (belated) personal Rising Star gong 90.3 KEXP, late-night Sundays, features Jazz Theater with John Gilbreath, from DownBeat, last year. But his 1am. Full schedule information is available at kexp.org. Captain Black aggregation emerged 91.3 KBCS, features creative and improvised music on Flotation Device directly from Evans’s multi-year ten- with John Seman and Jonathan Lawson, Sundays at 10pm. The Monday ure in the New York weekly gigs of the night lineup includes The Caravan with John Gilbreath at 7pm, Straight No . While that group Chaser with David Utevsky at 9pm, Giant Steps with John Pai at 11pm, and is renowned in New York jazz circles The Shape of Modern Jazz with Gordon Todd at 1am Tuesdays. Shows can for its consistent, dependably thrill- be streamed anytime at kbcs.fm. ing sound, Evans conceived Captain 91.7 KSVR Mount Vernon, Doctor Dee hosts two nights of jazz, Fourth Black as a Philadelphia seedbed of new Corner Jazz, featuring recordings of live performance in Northwest Wash- ideas for jazz big band, and as a mov- ington, Sundays, 6-7pm, and The Doctor’s Den, Mondays, 8-10pm. ing feast of older and emerging talent. 102.9 KLOI-LP Lopez Island, Mondays & Fridays, 3pm, Joy Spring (He named the band, and that early with Gary Alexander, classic jazz and the Great American Songbook. trio album, after his father’s favorite Hollow Earth Radio, hollowearthradio.org. Fridays at 6pm, biweek- brand of tobacco.) ly, Black Roots Radio, hosted by Jordan Leonard, promotes jazz as a dy- At first Evans peopled Captain Black namic genre rooted in the Black American experience. with students from Philadelphia uni- Rainier Avenue Radio, rainieravenueradio.world. Mondays and Sundays versity jazz programs, bolstered by at 10pm, #MoJamMondays from the Nectar Lounge. Tuesdays at 6pm, some New York veteran friends. He Thursdays and Sundays at 2pm, and Saturdays at 5pm, Jazz from the Cabi- soon had a healthy rotation of bigger nets with Big Poppy.

18 • EARSHOT JAZZ • March 2019 ROOTS Eric Dolphy

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

slipped out through the back win- Angeles drummer Chico Hamilton dow. Dolphy, who would later turn vaulted him to the international stage, heads with his intervallic leaps, un- in 1958. Six years later, he was dead, in usual note choices and phrases that Berlin, due to undiagnosed diabetes. doubled back on themselves, was Dolphy’s penultimate studio engage- already coloring outside the lines of ment as a leader, in New York, on be-bop, according to Ramsay. July 1 and July 3, 1963, yielded two “He was the first horn player I albums: Conversations (1963) and Iron ever heard play ‘outside.’ And ev- Man (1968). All that material is includ- erybody would just kind of scratch ed in the new, 3 CD (or LP) set, plus their head and say, ‘What are you nine previously unreleased tracks. The doing?’” collection also features a newly-discov- Dolphy’s later-famous technical ered version of the Bob James curiosity ERIC DOLPHY PHOTO BY DON SCHLITTEN prowess was also on display. (yes, that Bob James) called “The first time I heard Eric Dol- “Jim Crow,” a long, race-conscious The release of Eric Dolphy Musical phy play was at the NCO club at Mc- art song. But the highlights are Dol- Prophet: The Expanded 1963 New York Chord Field,” recalled then-tenor sax phy’s heart-stopping bass clarinet and Studio Sessions (Resonance), affords a man (now bassist) Gary Steele. “The flute duets with bassist Richard Davis timely opportunity to recall that this tune was ‘Idaho.’ It had a funny bridge (including two new tracks) and Dol- towering master of the reed family and you had to really know what you phy’s roiling a cappella alto outings on spent two years of his all-too-short life were doing to get through it. I walked “Love Me.” Large ensemble pleasures in the Northwest. Though Dolphy’s in and you could hear horn cases slam- include bold solos by an 18-year-old alto saxophone, flute and bass clarinet ming shut all over the room. You knew (his first on record) and solos on classic albums such as Out to if there was a guy playing at that level, a 22-year-old Bobby Hutcherson. Also Lunch and John Coltrane’s Live! At the the best thing for you to do would be of local interest is a brief solo by alto Village Vanguard would later stamp to just sit and listen.” saxophonist Sonny Simmons, a regu- his name indelibly on the pages of jazz Steele and Dolphy both played in the lar for a while on the Olympia scene. history, in the late ‘40s he was a strug- clarinet section in the Tacoma Sym- Dolphy may have returned to the gling young musician in Los Angeles phony. Northwest in 1955, as the late Taco- who decided to enlist in the Army. “He was a good legit clarinet player,” ma tenor saxophonist Chuck Stentz From 1950-52, Dolphy was stationed said Steele. “We played one season, for recalled playing with Dolphy around at Ft. Lewis, where he thankfully sure, maybe two.” that time at a weekend jam. The details missed the Korean War but caught the When Dolphy’s Ft. Lewis hitch are sketchy. A forthcoming biography attention of many regional players. ended, he spent a few days living with by British writer Brian Morton may Fellow reed man Bill Ramsay, a Ramsay to “decide what to do with his help clear up that and other questions. regular on the Tacoma scene, recalled life,” eventually opting for the U.S. Meanwhile, this bountiful release fills playing often with Dolphy at an af- Naval School of Music, in Washing- in a few more blanks in the remarkable ter-hours joint called Ping’s Gardens, ton, D.C. By 1953, he was back in Dolphy timeline. where one night during a raid they L.A., where a high-profile gig with Los –Paul de Barros

March 2019 • EARSHOT JAZZ • 19 JAZZ AROUND THE SOUND March 03 FRIDAY, MARCH 1 TU Frank Catalano Quartet, 7:30pm MT Mac’s Jazz Night, 9pm VI The Tarantellas, 6pm NL Mo’ Jam Monday, 8:30pm CA Jazz Impressions: Francesco Crosara, Osama VI Wayne Horvitz/Snowghost Unplugged, RR Clive Carroll LIVE at The Royal Room, Afifi, Glenn Young, 6pm 9:30pm 7:30pm CH Seattle Composers Salon, 8pm RR The Salute Sessions, 9:30pm CZ Jazz First Fridays, 7:30pm SUNDAY, MARCH 3 EB Tom Kellock, 6pm TUESDAY, MARCH 5 ES Daniel Davison, 6pm AB Jazz at the Beaver with Max Holmberg and JA Joey Alexander, 7:30pm the 200 Trio, 9pm CI Swing It Seattle, 7:15pm JA Joey Alexander, 9:30pm CI Swing It Seattle, 6:15pm CS Central Smoke Jazz Night, 7pm LA Happy Hour Jazz w/ Phil Sparks, 5pm CR Racer Sessions, 8pm EB Eric Verlinde, 6pm MQ Kareem Kandi, 9pm CX Joe Brazil Legacy Band, 7pm ES Daniel Davison, 6pm MQ The Djanogmatics, 5pm CZ Choro Music Open Jam, 2pm JA Chris Potter Circuits Trio featuring James NC Adriana Giordano & EntreMundos Quartet, DT Darrell’s Tavern Jazz Jam, 8pm Francies and Eric Harland, 7:30pm 8pm EB Tom Kellock, 6pm MQ Frank Kohl Trio, 5pm RR The Great Royal Room Mardi Gras ES Eric Verlinde joined by Josephine Howell at NL PolyGras feat Polyrhythmics plus Chris Celebration: Remembering Henry Butler and 7pm, 6pm Bullock Band, 8:30pm his New Orleans, 8pm FB Seattle Jazz Vespers: Jeff Kashiwa—The RR The Great Royal Room Mardi Gras SL Secret Jazz Club Show, 7pm Coastal Access Band, 6pm Celebration: FAT TUESDAY, 6:30pm TU Frank Catalano Quartet, 7:30pm JA Joey Alexander, 7:30pm SB 5 Stories Fusion Jazz, 8pm VI Jovino Santos Neto, 9pm RR JazzED: Melba Liston and SB Joe Doria Presents, 10pm Ensembles, 4:30pm TU Tim Kennedy Quartet, 7:30pm SATURDAY, MARCH 2 RR Lakeside School Jazz Night, 7:30pm TU Brian Monroney Quartet with Alexey WEDNESDAY, MARCH 6 CH Stephan Crump: Rosetta Trio, 8pm Nikolaev, Dean Schmidt, Ben Smith, CM Eugenie Jones, 7pm BP The Billy Stapleton-Annie Eastwood Duo, 7:30pm CN Guitarists Frank Kohl & John Stowell, 3pm 8pm TU Kelley Johnson Student Showcase, 3pm EB Frank S. Holman III, 6pm EB Eric Verlinde, 6pm ES Daniel Davison, 6pm VI Ron Weinstein Trio, 9:30pm ES Daniel Davison, 6pm JA Joey Alexander, 7:30pm VI Scotty Bemis, 6pm JA Chris Potter Circuits Trio featuring James JA Joey Alexander, 9:30pm MONDAY, MARCH 4 Francies and Eric Harland, 7:30pm MQ Sing Low Indigo, 9pm NC Jazz Jam w/Darin Clendenin Trio, 7pm NC Tupelo, 8pm CC Cider Jam Mondays, 9:30pm OP Jim Oliver & Dirk Anderson, 5:30pm OS Jonas Myers Trio, 8pm EB Tom Kellock, 6pm RR A Bit of The EFB Experience, 7:30pm RR Brazilian Carnaval featuring EntreMundos ES Eric Verlinde, 6pm SC Dmitri Matheny Group, 7pm and Tudo Beleza, 7:30pm JA Delvon Lamarr Organ Trio, 7:30pm SW Lisa Sanders with Karen “Brown Sugar” SW Brendan McGovern Quartet, 7pm MQ Brad Gibson Duo, 5pm Hayes, 6pm

Calendar Key

AB The Angry Beaver CZ Couth Buzzard Books PO PONCHO Concert Hall BC Barca DT Darrell’s Tavern PT Paramount Theater BI Bainbridge Island Art Museum EB El Gaucho Bellevue OP Old Alcohol Plant BP Bake’s Place Bellevue EG Egan’s Ballard Jam House OS Osteria la Spiga CA Casa Mexico EL Elliott Bay Book Company RR The Royal Room CC Capitol Cider ES El Gaucho Seattle SB Seamonster Lounge CF Caffe Musica FB Seattle First Baptist Church SC WJMAC at Sylvia Center for the Arts CH Chapel Performance Space KA Kirkland Arts Center SE Seattle Art Museum CI China Harbor JA Dimitriou’s Jazz Alley SL The Slab CJ The Performing Arts Center at Columbia LA Latona Pub SW Stone Way Café Junior High School LT Luther’s Table TD Triple Door CM Crossroads Bellevue MQ The Triple Door MQ Stage and Lounge TL Tin Lizzie Lounge CN Craft 19 Espresso + Creperie MT Mac’s Triangle Pub TU Tula’s CR Cafe Racer MV Marine View Church VI Vito’s CS Central Smoke NC North City Bistro & Wine Shop CX Café Ibex NL Nectar Lounge

20 • EARSHOT JAZZ • March 2019 TD Herb Alpert & Lani Hall, 7:30pm SUNDAY, MARCH 10 TL Emma Caroline Baker, 7pm TU Bren Plummer Quartet Live at Tula’s, AB Jazz at the Beaver with Max Holmberg and CURTAIN CALL 7:30pm the 200 Trio, 9pm weekly recurring performances VI Bar Tabac, 9pm CC Kim Maguire, 6pm CI Swing It Seattle, 6:15pm THURSDAY, MARCH 7 CR Racer Sessions, 8pm CX Joe Brazil Legacy Band, 7pm MONDAY BC Live Jazz with Adam Kessler, Phil Sparks, CZ Open Jazz Jam with Kenny Mandell, 2pm and guests, 9pm DT Darrell’s Tavern Jazz Jam, 8pm CC Cider Jam Mondays, 9:30 EB Eric Verlinde, 6pm EB Tom Kellock, 6pm EB Tom Kellock, 6 EG Max Holmberg Showcase Jam, 7pm EL Book Reading: “Sophisticated Giant: The ES Daniel Davison, 6pm Life and Legacy of Dexter Gordon,” by ES Eric Verlinde, 6 JA | No More Water | The Maxine Gordon, 3pm Fire Next Time: The Gospel According to ES Eric Verlinde joined by Josephine Howell at MT Mac’s Triangle Jazz Night, 9 James Baldwin, 7:30pm 7pm, 6pm RR The Salute Sessions, 10 MQ Swing 3PO, 5pm JA Meshell Ndegeocello | No More Water | The OS Jonas Myers, 7pm Fire Next Time: The Gospel According to TUESDAY RR Dolphin Midwives, Josh Medina, Crystal James Baldwin, 7:30pm Quartez, 8pm MV Tom Braxton, 5pm EB Eric Verlinde, 6pm TD Herb Alpert & Lani Hall, 7:30pm RR JazzED: Count Basie and Benny Goodman, ES Daniel Davison, 6 TU Calixto Oviedo Latin Jazz Band with Thomas 4:30pm Marriott, 7:30pm RR Society Red & Little Dex: Tribute to Dexter SB 5 Stories Jazz, 8 TU Northwest School, 6pm Gordon & Hadley Caliman w/guest Maxine SB Joe Doria Presents, 9:30 VI Casey MacGill, 5:30pm Gordon, 7:30pm VI Marina Christopher Trio, 9pm SW North Seattle Youth Jam, 5:30pm WEDNESDAY TU D’Vonne Lewis Quartet, 7:30pm FRIDAY, MARCH 8 VI Lennon Aldort, 6pm EB Eric Verlinde, 6 BP The Darelle Holden Quartet, 9pm VI Ron Weinstein Trio, 9:30pm ES Daniel Davison, 6 CA Jazz Impressions: Francesco Crosara, Steve Luceno, Glenn Young, 6pm MONDAY, MARCH 11 THURSDAY EB Tom Kellock, 6pm CC Cider Jam Mondays, 9:30pm BC Adam Kessler & Phil Sparks, 9 ES Daniel Davison, 6pm EB Tom Kellock, 6pm JA Meshell Ndegeocello | No More Water | The ES Eric Verlinde, 6pm EB Eric Verlinde, 6 Fire Next Time: The Gospel According to MT Mac’s Jazz Night, 9pm ES Daniel Davison, 6 James Baldwin, 7:30pm NL Mo’ Jam Monday, 8:30pm JA Meshell Ndegeocello | No More Water | The RR Golden Ear Awards Party ft. Alex Dugdale’s ES Alexey Nikolaev, 8 Fire Next Time: The Gospel According to Fade Quintet, 7pm SB Seamonster Super Jam, 10 James Baldwin, 9:30pm RR The Salute Sessions, 9:30pm LA Happy Hour Jazz w/ Phil Sparks, 5pm VI Casey MacGill, 5:30 MQ Birch Pereira, 5pm TUESDAY, MARCH 12 MQ Nancy Erickson, 8pm FRIDAY NC Danny Godinez, 8pm CI Swing It Seattle, 7:15pm TD Herb Alpert & Lani Hall, 8pm CS Central Smoke Jazz Night, 7pm EB Tom Kellock, 6 EB Eric Verlinde, 6pm TU Jovino Santos Neto Quinteto, 7:30pm ES Daniel Davison, 6 VI Kate Olson Ensemble, 9pm ES Daniel Davison, 6pm JA Tuck and Patti, 7:30pm LA Happy hour w/ Phil Sparks, 5 SATURDAY, MARCH 9 KA Book Reading: “Queen of Bebop: The Musical Lives of Sarah Vaughan,” by Elaine SATURDAY CN Jeremy Shaskus with Jeremy Bacon, 3pm Hayes w/ special guest Gail Pettis, 7pm EB Frank S. Holman III, 6pm NC Frank Kohl & John Stowell, 7pm EB Frank S Holman III, 6 ES Daniel Davison, 6pm RR Natalie Paige // Larsen Gardens // Jordan ES Daniel Davison, 6 JA Meshell Ndegeocello | No More Water | The Lowe, 7pm Fire Next Time: The Gospel According to SB 5 Stories Fusion Jazz, 8pm SUNDAY James Baldwin, 7:30pm SB Joe Doria Presents, 10pm JA Meshell Ndegeocello | No More Water | The TU Kent Ridge HS opening for Emerald City AB Beaver Sessions, 9 Fire Next Time: The Gospel According to Jazz Orchestra, 7pm James Baldwin, 9:30pm CR Racer Sessions, 8 NC Eric & Encarnación, 8pm WEDNESDAY, MARCH 13 DT Darrell’s Tavern Jazz Jam, 8 OS Shawn Schlogel Trio, 8pm RR The Yuki Aoki Jazz Quintet, 5pm BP The Billy Stapleton-Annie Eastwood Duo, EB Tom Kellock, 6 8pm TU Freddy Hubbard Tribute presented by ES Eric Verlinde with Josephine EB Eric Verlinde, 6pm Jory Tindall with Jared Hall, Bill Anschell, Howell, 6 Michael Glynn, Matt Jorgensen, 7:30pm EG Vocal Showcase featuring Kathleen Donnelly VI Jerry Zimmerman, 6pm and Leah Stillwell, 7pm VI Ron Weinstein Trio, 9:30 VI Kareem Kandi, 9:30pm ES Daniel Davison, 6pm

March 2019 • EARSHOT JAZZ • 21 JA Tuck and Patti, 7:30pm NC Ranger & the Re-Arrangers, 7pm PT Hot Java Cool Jazz, 7pm NC Radim Zenkl, 7pm NL OG McTuff, 8pm RR Tim Berne, David Torn, Ches Smith: Sun of SB Evan Flory-Barnes, 10:30pm RR Samantha Boshnack’s Seismic Belt Live Goldfinger (early show), 7pm SC Kate Olson and the KO Ensemble, 7pm in Santa Monica CD Release// Abbey RR Tim Berne, David Torn, Ches Smith: Sun of TL Emma Caroline Baker, 7pm Blackwell’s “Rae”, 8pm Goldfinger (late show), 9:30pm TU Liberty HS opening for Jim Sisko’s Bellevue TU Clipper Anderson Quartet, 7:30pm TU Bill Anschell Quartet with Brian Monroney, College Jazz Orchestra, 7:30pm VI Casey MacGill, 5:30pm Chris Symer, Brad Boal, 7:30pm VI Brazil Novo, 9pm VI Jennifer Kienzle, 9pm SATURDAY, MARCH 16 THURSDAY, MARCH 14 FRIDAY, MARCH 15 EB Frank S. Holman III, 6pm SE Art of Jazz: Marina Albero and Jeff Johnson, CA Jazz Impressions: Francesco Crosara, Rick EG Helene Smart, 7pm 5:30pm White, Glenn Young, 6pm EG Joanne Klein, 9pm BC Live Jazz with Adam Kessler, Phil Sparks, CF Tobi Stone-Ann Reynolds Duo, 7pm ES Daniel Davison, 6pm and guests, 9pm CH SIMF: Paul Hoskin Tribute, 8pm JA Catherine Russell, 7:30pm BP The Darelle Holden Quartet, 8pm EB Tom Kellock, 6pm JA Catherine Russell, 9:30pm EB Eric Verlinde, 6pm ES Daniel Davison, 6pm LT Dan Duval Good Vibes Quartet, 7pm EG Alex Dugdale, 7pm JA Catherine Russell, 7:30pm OS Clave Gringa Trio, 8pm EG Elena Maque Band, 9pm JA Catherine Russell, 9:30pm RR JazzED: Welcome to Spring Quarter Jam ES Daniel Davison, 6pm LA Happy Hour Jazz w/ Phil Sparks, 5pm Session, 4:30pm JA Catherine Russell, 7:30pm NC Lorrie Ruiz Band, 8pm TU Greta Matassa Quintet with Alexey Nikolaev, Darin Clendenin, Clipper Anderson, Mark Ivester, 7:30pm VI Johnny Astro, 9pm VI The Tarantellas, 6pm SUNDAY, MARCH 17 AB Jazz at the Beaver with Max Holmberg and the 200 Trio, 9pm CR Racer Sessions, 8pm CX Joe Brazil Legacy Band, 7pm CZ Choro Music Open Jam, 2pm CZ Music Improv Session w/ Kenny Mandell, 7pm DT Darrell’s Tavern Jazz Jam, 8pm EB Tom Kellock, 6pm ES Eric Verlinde joined by Josephine Howell at 7pm, 6pm JA Catherine Russell, 7:30pm RR Amendola vs Blades, 8pm RR JazzED: Dizzy Gillespie and Creative Orchestra, 4:30pm TU Katie King, 3pm TU Xavier Lecouturier Group, 7:30pm VI Lennon Aldort, 6pm VI Ron Weinstein Trio, 9:30pm MONDAY, MARCH 18 CC Cider Jam Mondays, 9:30pm EB Tom Kellock, 6pm ES Eric Verlinde, 6pm MQ Brad Gibson Duo, 5pm MT Mac’s Jazz Night, 9pm NL Mo’ Jam Monday, 8:30pm RR The Salute Sessions, 9:30pm TUESDAY, MARCH 19 CS Central Smoke Jazz Night, 7pm EB Eric Verlinde, 6pm ES Daniel Davison, 6pm JA Antonio Sanchez & Migration, 7:30pm NC Adrian Legg, 7pm SB 5 Stories Fusion Jazz, 8pm SB Joe Doria Presents, 10pm

22 • EARSHOT JAZZ • March 2019 TD Omar Sosa & Seckou Keita: Transparent TU Susan Pascal Quartet with Bill Anschell, EB Eric Verlinde, 6pm Water, 7:30pm Chuck Deardorf, Mark Ivester, 7:30pm ES Daniel Davison, 6pm TU Justin Young, 7:30pm VI Afrocop, 9:30pm JA Joey DeFrancesco Trio with special guest VI Jerry Zimmerman, 6pm Pharoah Sanders CD RELEASE! In The Key WEDNESDAY, MARCH 20 of The Universe, 7:30pm SUNDAY, MARCH 24 TU Jared Hall Quartet with Tal Cohen, Michael EB Eric Verlinde, 6pm Glynn, John Bishop, 7:30pm EG Bruce Phares, 7pm AB Jazz at the Beaver with Max Holmberg and VI Casey MacGill, 5:30pm EG Elnah Jordan with Eric Verlinde, 9pm the 200 Trio, 9pm VI Emma Caroline Baker, 9pm ES Daniel Davison, 6pm BI Momentum Festival: Jon Green & Friends, JA Antonio Sanchez & Migration, 7:30pm 7pm FRIDAY, MARCH 29 NL Karl Denson’s Tiny Universe, 7:30pm CR Racer Sessions, 8pm PO Thomas Buckner & Robert Dick: Flutes & CX Joe Brazil Legacy Band, 7pm CA Jazz Impressions: Francesco Crosara, Derick Voices, 8pm CZ Open Jazz Jam w/ Kenny Mandell and Polk, Glenn Young, 6pm RR KNKX presents: Piano Starts Here, Friends, 2pm EB Tom Kellock, 6pm Emissaries of Latin and Jazz- The Music DT Darrell’s Tavern Jazz Jam, 8pm EG Valerie Piacenti, 7pm of Gonzalo Rubalcaba/Danilo Perez/Michel EB Tom Kellock, 6pm ES Daniel Davison, 6pm Camilo, 7:30pm ES Eric Verlinde joined by Josephine Howell at JA Joey DeFrancesco Trio with special guest SB Unsinkable Heavies, 10pm 7pm, 6pm Pharoah Sanders CD RELEASE! In The Key SC Milo Petersen Quartet, 7pm JA Victor Wooten, 7:30pm of The Universe, 7:30pm TL Emma Caroline Baker, 7pm RR JazzED: Louis Armstrong and Nina Simone JA Joey DeFrancesco Trio with special guest VI Brad Gibson Presents, 9pm Choir, 4:30pm Pharoah Sanders CD RELEASE! In The Key TU Clipper Anderson Quartet, 7:30pm of The Universe, 9:30pm THURSDAY, MARCH 21 TU Greta Matassa Student Showcase, 3pm LA Happy Hour Jazz w/ Phil Sparks, 5pm VI Lennon Aldort, 6pm NC Magic Circle w/Thione Diop, 8pm BC Live Jazz with Adam Kessler, Phil Sparks, VI Ron Weinstein Trio, 9:30pm RR Feria (de Andalucía) featuring Oleaje and guests, 9pm Flamenco, 8:30pm BP The Darelle Holden Quartet, 8pm MONDAY, MARCH 25 TU Evan Flory-Barnes Quartet, 7:30pm EB Eric Verlinde, 6pm VI Joe Doria Trio, 9pm EG SRJO Jazz Scholars with the Chief Sealth CC Cider Jam Mondays, 9:30pm High School Combo, 6:30pm EB Tom Kellock, 6pm SATURDAY, MARCH 30 ES Daniel Davison, 6pm ES Eric Verlinde, 6pm JA Victor Wooten, 7:30pm MT Mac’s Jazz Night, 9pm CH BlueStreet Voices, 7:30pm NC Carrie Wicks & Nick Allison, 7pm NL Mo’ Jam Monday, 8:30pm EB Frank S. Holman III, 6pm NL Karl Denson’s Tiny Universe, 7:30pm RR The Salute Sessions, 9:30pm ES Daniel Davison, 6pm PO Pivot Convocation: The Practice of Practice, JA Joey DeFrancesco Trio with special guest 12pm TUESDAY, MARCH 26 Pharoah Sanders CD RELEASE! In The Key SB Jazz Abbey, 8pm of The Universe, 7:30pm CS Central Smoke Jazz Night, 7pm TU Axiom Quartet with Phil Parisot, Alexey JA Joey DeFrancesco Trio with special guest EB Eric Verlinde, 6pm Nikolaev, John Hansen, Michael Glynn, Pharoah Sanders CD RELEASE! In The Key ES Daniel Davison, 6pm 7:30pm of The Universe, 9:30pm JA Shemekia Copeland, 7:30pm VI Casey MacGill, 5:30pm NC Alma y Azucar, 8pm NC Songwriter Showcase, 7pm VI Marina Albero Trio, 9pm OS Ronan Delisle Duo, 8pm SB 5 Stories Fusion Jazz, 8pm TU Marc Seales Group, 7:30pm SB Joe Doria Presents, 10pm FRIDAY, MARCH 22 VI D’Vonne Lewis Passage, 9:30pm TU David Marriott’s Triskaideka-Band, 7:30pm VI Jerry Zimmerman, 6pm CA Jazz Impressions: Francesco Crosara, Osama WEDNESDAY, MARCH 27 Afifi, Glenn Young, 6pm SUNDAY, MARCH 31 EB Tom Kellock, 6pm EB Eric Verlinde, 6pm EG Elizabeth Arnold, 7pm AB Jazz at the Beaver with Max Holmberg and EG Vocal Jam, 9pm ES Daniel Davison, 6pm the 200 Trio, 9pm EG Vocal Showcase, 7pm JA Victor Wooten, 7:30pm CR Racer Sessions, 8pm ES Daniel Davison, 6pm JA Victor Wooten, 9:30pm CX Joe Brazil Legacy Band, 7pm JA Shemekia Copeland, 7:30pm LA Happy Hour Jazz w/ Phil Sparks, 5pm DT Darrell’s Tavern Jazz Jam, 8pm NC Brian Monroney Trio, 7pm TU Thomas Marriott Quintet, 7:30pm EB Tom Kellock, 6pm RR Washington Middle School Jazz Band, 7pm VI Yada Yada Blues Band, 9:30pm ES Eric Verlindew joined by Josephine Howell at SB Cole Schuster Organ Band, 10pm 7pm, 6pm SC Jared Hall Quartet featuring Tal Cohen, 7pm SATURDAY, MARCH 23 JA Joey DeFrancesco Trio with special guest TL Emma Caroline Baker, 7pm Pharoah Sanders CD RELEASE! In The Key CJ Commencement Bay Jazz Festival, 10am TU South Whidbey opens for pH Factor Big of The Universe, 7:30pm EB Frank S. Holman III, 6pm Band, 7:30pm RR JazzED: New Works Ensemble, 4:30pm ES Daniel Davison, 6pm VI Ben von Wildenhaus, 9pm TU Randy Halberstadt Sextet with Jay Thomas, JA Victor Wooten, 7:30pm Mark Taylor, David Marriott, Chuck Deardorf, JA Victor Wooten, 9:30pm THURSDAY, MARCH 28 D’Vonne Lewis, 7:30pm NC Chris Stevens Band, 8pm BC Live Jazz with Adam Kessler, Phil Sparks, VI Lennon Aldort, 6pm OS Shawn Mickelson Duo, 8pm and guests, 9pm VI Ron Weinstein Trio, 9:30pm BP The Darelle Holden Quartet, 8pm

March 2019 • EARSHOT JAZZ • 23 NON-PROFIT ORG EARSHOT JAZZ U.S. POSTAGE 3429 Fremont Place N, #309 PAID Seattle, WA 98103 PERMIT No. 14010 SEATTLE, WA Change Service Requested

SAMANTHA BOSHNACK PHOTO BY DANIEL SHEEHAN

IN THIS ISSUE... A $35 basic membership in Earshot brings the newsletter to your door and entitles you to Letter from the Director: March On, March On_ ____ 2 EARSHOT JAZZ discounts at all Earshot events. Your member- Notes______3 MEMBERSHIP ship also helps support all our educational programs and concert presentations. Jazz: The 2nd Century Call for Artists______3 Type of membership

2018 Golden Ear Awards Ballot______5 Individual ($35) Additional tax-deductible donation ______PROFILE: Samantha Boshnack: Shifting Ground_ __ 6 Household ($60) Patron ($100) Sustaining ($200) Other PREVIEW: Stephan Crump: Rosetta Trio______8 Sr. Citizen – 30% discount at all levels PREVIEW: Maxine Gordon Book Reading and Tribute Canadian subscribers please add $5 additional postage (US funds) to Dexter Gordon and Hadley Caliman ______9 PREVIEW: Golden Ear Awards Party & Seattle Jazz Regular subscribers – to receive newsletter 1st class, please add $10 Hall of Fame Induction______10 for extra postage Contact me about volunteering PREVIEW: Queen of Bebop: The Musical Lives of ______Sarah Vaughan Book Reading by Elaine Hayes____ 11 NAME PREVIEW: Tim Berne, David Torn, Ches Smith: Sun of ______Goldfinger______13 ADDRESS

PREVIEW: Omar Sosa & Seckou Keita: ______Transparent Water______14 CITY/STATE/ZIP

PREVIEW: Thomas Buckner and Rober Dick: Flutes ______and Voices______16 PHONE # EMAIL

PREVIEW: Orrin Evans and the Captain Black Big ______Band______17 Earshot Jazz is a nonprofit tax-exempt organization. Ask your employer if your On the Radio______18 company has a matching gift program. It can easily double the value of your membership or donation. Roots: Eric Dolphy______19 Mail to Earshot Jazz, 3429 Fremont Pl N, #309, Seattle, WA 98103 Jazz Around the Sound______20