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Home , Arto Lindsay, A History (1982–1985), A History (1986–1989), Back East, Badi Assad, Brad Jones (bassist)

October 4 — November 6, 2019 PROGRAM Since 1984, Earshot has been ’s major ambassador of jazz – presenting jazz masters and important new artists, supporting the local scene, and educating young and old about the joys of jazz – all thanks to contributions from folks like you. Make a donation TODAY www.earshot.org/donate 206-547-6763

All photos by Daniel Sheehan taken at the 2018 Earshot Jazz Festival. Top: , Kate Olson, Jovino Santos Neto, , Jazzmeia Horn, , Ryan J. Lee, Maria Schneider. Middle: Regina Carter, Jasnam Daya Singh, Tia Fuller, Wayne Horvitz, Burniss Travis, Roosevelt High School Jazz , Myra Melford, Joel Ross. Bottom Row: Dawn Clement, Johnaye Kendrick, Jay Thomas, Jen Shyu, Keyon Harrold, Caroline Davis, Donovan Kranzler-Lewis, .

2 • EARSHOT JAZZ • October 2019 2019 EARSHOT JAZZ FESTIVAL Welcome to Earshot Jazz Feast-ival!

The table is set, the flavors are var- of some of the most impor- ied and rich, and the is hot. tant jazz artists of our time. From the tantalizing appetizer of Yes, there are artists from Brian Blade and Life Cycles, to the 15 different countries, and satisfyingly sinful desert of Chick many of the top names on Corea with the entire Seattle Sym- the New York scene, but it phony , this is a feast for is the connections to Se- every appetite. And you don’t have attle’s own, acclaimed jazz to be a sophisticated jazz gourmet to history that resonate most enjoy this banquet; you can pull up deeply here. a chair for the entire affair, or come We’ll directly connect to and go as your tastes move you, but the past, present, and fu- we guarantee that you’ll discover ture of jazz in Seattle’s Cen- new delicacies that will expand your tral District through three palate and leave you hungry for important presentations: more. Gary Hammon’s In Case Earshot Jazz is Seattle’s non-profit You Didn’t Know reveals jazz support organization. We’re the essence of Black artists not happen without the artists at its proud to be a valued part of this city’s in the development of Seattle jazz; core, and it cannot continue without incredible cultural scene; celebrat- while the Folks Project of D’Vonne the educators, students, parents, and ing Seattle’s place at the table with Lewis, Evan Flory-Barnes, and Dar- civic leaders whose dedication to the the past, present, and future of jazz. rius Willrich carries the tradition importance of arts education and As the National Endowment for forward through contemporary in- creative individual expression will the Arts 50th anniversary magazine fluences in performance and discus- only benefit our collective culture. pointed out in a recent profile titled, sion led by Dr. James Gore of the “Seattle’s Earshot Jazz, Improvising Jackson Street Music Program; both We are enormously grateful to all with the Community,” this organiza- at Langston Seattle. Supporting the of our partners in this endeavor. tion is widely respected for “think- future of that continuum is the Jazz Thank you all!! ing globally and acting locally.” Our Up Jackson Street program we’ll help And that means you, too. Please goal is to increase the overall sustain- to mount at Town Hall Seattle, to consider a gift to Earshot Jazz as part ability of jazz by nourishing the civic benefit the long-standing connec- of our Access Inspiration campaign appetite for this music, through pro- tion between the Central District’s this fall. Your donations help us keep gramming that cultivates, sources, Middle School and ticket prices low, offer low and no- and serves the creative abundance of Garfield High School, and help to cost student tickets, and bring in- our students and artists. ensure equity and inclusion as those credible artists into creative engage- Growing from our 30-year legacy programs move forward in these ment with the community through as one of the most organically for- challenging times. workshops and panels. ward-thinking and inclusive festi- Of course, there are many cooks Keep in touch and give us your vals in the country, this year’s spread in this festival kitchen. This event is feedback. Have fun and enjoy! Jazz serves up a bold lineup of interna- only sustained successfully through lives right here! Bon Appétit! tional masters and locally sourced the combined energies of literally –John Gilbreath, Executive Director pleasures, alongside a robust menu hundreds of participants. It could

October 2019 • EARSHOT JAZZ • 3 EARSHOT JAZZ 2019 FESTIVAL LINEUP

FRIDAY OCTOBER 4 THURSDAY OCTOBER 10 MONDAY OCTOBER 14 Kris Davis’ Diatom Ribbons w/ Wally Shoup Darius Jones & Val Royal Room, 7:30pm Chapel Performance Space, 7:30pm Jeanty Seattle Art Museum, 8pm Jazz Up Jackson Street: A Benefit DakhaBrakha for Washington Middle School & Triple Door, 7:30pm SATURDAY OCTOBER 5 Garfield High School Town Hall Great Hall, 7pm TUESDAY OCTOBER 15 Seattle Jazz Showcase: Marina Albero / Jacqueline Tabor / Gringa Seattle Modern Orchestra w/ Mandyck, Johnson, Bishop Seattle Art Museum, 5:30pm Darius Jones & Wayne Horvitz Town Hall Forum, 7pm Town Hall Forum, 7:30pm FRIDAY OCTOBER 11 DakhaBrakha SUNDAY OCTOBER 6 Tribute to Lifetime Triple Door, 7:30pm Royal Room 6:30pm & 9:30pm Trio Here to Play featuring Orrin Evans Trio w/ Jeff Tain Royal Room, 7:30pm Langston Hughes Performing Arts Watts Institute, 7:30pm Town Hall Forum, 8pm WEDNESDAY OCTOBER 16 Bria Skonberg SATURDAY OCTOBER 12 Little Big Town Hall Forum, 7:30pm Columbia City Theater, 7:30pm Julian Lage Trio MONDAY OCTOBER 7 Columbia City Theater, 8pm Knife Knights / Darius Jones / Stas Thee Boss Tinariwen Afro-Electric: Val Jeanty & Ravish Langston Hughes Performing Arts Benaroya Hall, 7:30pm Momin / Fay Victor & Myra Institute, 7:30pm Trey McLaughlin & The Sounds of Melford Zamar Town Hall Forum, 7:30pm THURSDAY OCTOBER 17 Triple Door, 7:30pm Makaya McCraven Chucho Valdés Jazz Batá Royal Room, 7pm & 9:30pm Town Hall Great Hall, 8pm TUESDAY OCTOBER 8 / The SUNDAY OCTOBER 13 FRIDAY OCTOBER 18 Westerlies Youn Sun Nah Clarice Assad Triple Door, 7pm Triple Door, 7:30pm Chapel Performance Space, 8pm WEDNESDAY OCTOBER 9 DJ J-Justice / Afrocop w/ visuals Cécile McLorin Salvant w/ Aaron by blazinspace Diehl Trio / Trio Subtonic: Galen Timbre Room, 9pm Town Hall Great Hall, 8pm Clark, Dan Balmer, D’Vonne Lewis Nectar Lounge, 8:30pm

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4 • EARSHOT JAZZ • October 2019 SATURDAY OCTOBER 19 Dreamstruck: , Seattle Jazz Showcase: Bill , Harvey Sorgen Anschell Standards Trio / LaVon Joel Ross ‘Good Vibes’ Town Hall Forum, 7pm Hardison / Tarik Abouzied, Joe Seattle Art Museum, 8pm Doria, Cole Schuster Thomas Marriott with Friends Town Hall Forum, 7pm Roosevelt w/ Jay from Philly / Stuart MacDonald Thomas EWA Trace Generations Roosevelt High School, 7:30pm SUNDAY NOVEMBER 3 Royal Room, 7pm & 9:30pm Seattle Repertory Jazz SUNDAY OCTOBER 20 SUNDAY OCTOBER 27 Orchestra: “Jazz of the Harlem Shai Maestro Trio / Wayne Renaissance” Kassa Overall & Sullivan Fortner Kirkland Performance Center, 2pm Horvitz & Sara Schoenbeck Langston Hughes Performing Arts Seattle Art Museum, 7:30pm Institute, 7:30pm Gary Hammon: “In case you DJ OCnotes / Smacktalk w/ Sasha Berliner didn’t know” Langston Hughes Performing Arts Visuals by OCnotes Royal Room, 7:30pm Timbre Room, 9pm Institute 7:30pm DJ Nathan Womack / sunking & MONDAY OCTOBER 21 guest emcee Kassa Overall w/ MONDAY NOVEMBER 4 Visuals by Scott Keva James Travis Laplante Anton Schwartz Timbre Room, 9pm Town Hall Forum, 7:30pm Chapel Performance Space, 7:30pm Briggan Krauss MONDAY OCTOBER 28 TUESDAY NOVEMBER 5 Chapel Performance Space, 7:30pm SPL Playback: Lori Goldston / Plays Hallel Hound Dog Taylor’s Hand WEDNESDAY OCTOBER 23 Triple Door, 7:30pm Royal Room, 7:30pm / Kelsey Mines & Emmet Cohen Trio Carlos Snaider TUESDAY OCTOBER 29 Town Hall Forum, 7:30pm Chapel Performance Space, 7:30pm Quartet WEDNESDAY NOVEMBER 6 Jay Thomas EWA Seattle Art Museum, 7:30pm Town Hall Forum, 7:30pm Amendola vs. Blades w/ Skerik, WEDNESDAY OCTOBER 30 Jeff Parker, and Triple Door, 7:30pm THURSDAY OCTOBER 24 Egberto Gismonti & Allison Town Hall Great Hall, 7:30pm w/ Miller’s Parlour Game Seattle Symphony Orchestra Options: , Bennie Benaroya Hall, 7:30pm Town Hall Forum, 7:30pm Maupin, Folks Project Langston Hughes Performing Arts Langston Hughes Performing Arts Institute, 7:30pm Satellite Series Institute, 7:30pm FRIDAY NOVEMBER 1 Earshot at Large FRIDAY OCTOBER 25 Flat Earth Society More info on page 30 Tyshawn Sorey Town Hall Forum, 8pm Town Hall Forum 8pm SATURDAY NOVEMBER 2 BIMA Within/Earshot Bainbridge Island Museum of Art SATURDAY OCTOBER 26 Seattle Repertory Jazz Seattle Women’s Jazz Orchestra Orchestra: “Jazz of the Harlem Earshot on Vashon w/ Rosana Eckert Renaissance” Vashon Center for the Arts Benaroya Hall, 7:30pm Rainier Arts Center, 7:30pm Sunday Night DJ Series Kiki Valera y su Timbre Room Town Hall Great Hall, 8pm Schedule subject to change.

October 2019 • EARSHOT JAZZ • 5 to the sponsors, staff, and more than 80 volunteers THANK YOU! who make the Earshot Jazz Festival possible

INSTITUTIONAL SUPPORT

SPONSORS

IN-KIND SPONSORS

6 • EARSHOT JAZZ • October 2019 TICKETS and info (206) 547-6763 / earshot.org

TICKETS & DISCOUNTS SITES & ADDRESSES Tickets to concerts sold separately. Bainbridge Island Museum of Art All events are all-ages except: Columbia City Theater, Nectar Lounge, Timbre Room, Triple Door after 9pm, and the Royal Room after 10pm. 550 Winslow Way E, Bainbridge Island Earshot Jazz members and senior citizens (60+) receive $2 discount on most shows. To receive the student and military/veterans discount, present current ID at venue. Benaroya Hall 200 University St, Seattle Ticket Packages available online for most Earshot Jazz presented concerts with discount code at checkout: Chapel Performance Space • Save 10% on Earshot Jazz concerts when you buy tickets to five or more separate 4649 Sunnyside Ave N, 4th floor, concerts with discount code SAVE10 Good Shepherd Center, Seattle • Save 15% on Earshot Jazz concerts when you buy tickets to eight or more separate Columbia City Theater concerts with discount code SAVE15 4916 Rainier Ave S, Seattle Jazz Festival Gold Card Kirkland Performance Center A special pass is available for entrance to all festival events: $550 general, $500 350 Kirkland Ave, Kirkland members. Available at earshot.org and 206-547-6763. Benefits include: • More than 50% savings off regular price Langston Hughes Performing Arts Institute • Preferred seating for most events 104 17th Ave S, Seattle FESTIVAL STAFF EARSHOT JAZZ BOARD OF Nectar Lounge (21+) DIRECTORS John Gilbreath – Executive Director 412 N 36th St, Seattle Karen Caropepe – Managing Director Danielle Leigh (President) Rainier Arts Center Tara Peters – Programs Manager Chris Icasiano (Vice President) 3515 S Alaska St, Seattle Lucienne Aggarwal – Marketing & Chris Nutter (Secretary) Development Associate Sheila Hughes (Treasurer) Roosevelt High School Errin Patton – Development Manager John W. Comerford Auditorium Halynn Blanchard – Production Manager Maurice James 1410 NE 66th St, Seattle Peter Monaghan – Brochure Editor Kenneth Masters Lucienne Aggarwal and Gail Pettis Royal Room Tara Peters – Program Editors Ruby Smith Love 5000 Rainier Ave S, Seattle Daniel Sheehan – Festival Photography Diane Wah Carl Lierman – Poster & Brochure Design Seattle Art Museum 1300 1st Ave, Seattle CO-PRESENTERS Timbre Room Bainbridge Island Museum of Art Seattle Art Museum 1809 Minor Ave, Seattle 88.5 FM KNKX Seattle Public Library Town Hall Seattle Jackson Street Music Project Seattle Repertory Jazz Orchestra 1119 8th Ave, Seattle Jazz Up Jackson Seattle Symphony Orchestra Langston Seattle Theatre Group Triple Door LetterOne Seattle Women’s Jazz Orchestra 216 Union St, Seattle Live at Benaroya Hall Town Hall Seattle Vashon Center for the Arts Nonsequitur Triple Door 19600 Vashon Hwy SW, Vashon Roosevelt High School Jazz Band Vashon Center for the Arts Boosters Washington Middle School Royal Room

October 2019 • EARSHOT JAZZ • 7 EARSHOT JAZZ 2019 FESTIVAL PREVIEWS

FRIDAY, OCTOBER 4, SEATTLE ART MUSEUM, 8PM Kris Davis’ Diatom Ribbons w/ Terri Lyne Carrington & Val Jeanty

TERRI LYNE CARRINGTON, KRIS DAVIS, VAL JEANTY PHOTO COURTESY COMPANY OF HEAVEN The opening night concert synchro- connection between the process of defines as “Afro Electronica.” Jeanty nizes—to the day—with the highly composition and the experience of na- has spent the last decade in New York anticipated release of Diatom ture: “Changing your proximity to the City sharpening her unique and re- Ribbons by rising pianist Kris Da- same object or idea can dramatically vered talents. On Jeanty’s contribu- vis. This album is the first recorded alter your experience of it, often yield- tions to Diatom Ribbon, Davis says collaboration to place the ceaselessly ing unexpected and inspiring results.” “her hip-hop influence, being able to inventive Davis next to superlative Three-time Grammy Award-winning shape the music using words and also drummer Terri Lyne Carrington and Terri Lyne Carrington is well known ‘nature’ sounds and percussion—it the Haitian exponent of Vodou elec- for her multifaceted career confront- opened a whole new palette for me to tronica and drumming Val Jeanty. ing a wide array of social justice issues consider when I was conceptualizing Her first release since being named a through her art and education, includ- this project.” 2017 DownBeat Rising Star, Diatom ing founding the Institute of Jazz and Seattle audiences would be remiss Ribbons marks Davis’ 14th studio al- Gender Justice at Boston’s Berklee to miss this performance. As the New bum as a leader. It is the realization of College of Music. Her newest project York Times states, “One method for nearly two decades of collaboration, a as a leader, Social Science, features deciding where to hear jazz on a given homage to giants, and a compo- pianist Aaron Parks and emcee Kassa night has been to track down the pia- sitional and improvisational marvel. Overall. nist Kris Davis.” Inspired by the micro and macro Sound artist Val Jeanty incorporates $10–33. For details visit earshot.org. zigzag patterns of unicellular micro- Haitian traditional ritual music with algae called diatoms, Davis drew a electronic instruments into a genre she

8 • EARSHOT JAZZ • October 2019 SATURDAY, OCTOBER 5, TOWN HALL FORUM, 7PM Seattle Jazz Showcase: Marina Albero / Jacqueline Tabor / Bishop, Mandyck, Johnson

JACQUELINE TABOR BY CHRISTINE QUETOLA JOHN BISHOP BY DANIEL SHEEHAN MARINA ALBERO BY LISA HAGEN GLYNN In the first of two Seattle Jazz Show- tious sound refutes the notion of musi- is chant-like, possessing elements of cases, three divergent voices merge for cal categorization, strongly communi- spirituality. an evening reflective of both today’s cating the unity that music can bring Trailblazing Johnson is an vibrant jazz scene, and the rich history to humanity. icon to those hip enough to know. His of jazz music in Seattle. Vocalist Jacqueline Tabor conjures use of chordal clusters and lush vibrato Marina Albero burst on the scene in images of the blues, and of the gospel are markers of his true originality. His Seattle in 2014 with a thrilling duo per- roots from which American jazz mu- compositions are transcendent, pro- formance on vibraphone at the Ballard sic blossomed. Riding the wave of her viding for this perfectly matched trio, Jazz Festival with legendary most recent release, The Lady In The an open canvas. jazz pianist Chano Domínguez. From Gown, Tabor has been engaging jazz Drummer and Origin founder John that point forward, audiences in Se- audiences around the Northwest with Bishop has been described as having attle have been the fortunate recipients her original interpretations of jazz clas- an approach that is symphonic in na- of her music that reflects the astonish- sics. Her audacious, bold musical per- ture, projecting a rhythmic wash of ing diversity of her life in music. The sonality has created a strong following sound that moves time and space to daughter of legendary Catalan musi- for her much anticipated dates in area its outer boundaries. Playing here with cian/ Mariano Albero, she clubs and concert halls. the same trio with whom he recorded has been performing since early child- Origin Records recording artists his 2005 release on Origin, Nothing If hood. Her music connects the differ- Rick Mandyck (tenor ), Not Something, Bishop’s imagination ent strands of her life including experi- Jeff Johnson (), and John Bishop will set the outermost parameters of ences with her family band, along with (drums) reinterpret the art of the trio this session. her training in percussion, classical in sonic fashion. Mandyck recently Between sets, Stuart MacDonald’s piano, flamenco, and American jazz. returned to music after a 14-year hia- Trace Generations project pairs Seattle While her prodigious talents are large- tus due to injury. While his sound jazz veterans with up-and-comers. ly focused on piano, she’s known for evokes images previously illuminated $10–25. For details visit earshot.org. pioneering new sounds and techniques by and , on the hammered dulcimer. Her infec- his approach to melodic improvisation

October 2019 • EARSHOT JAZZ • 9 SUNDAY, OCTOBER 6, LANGSTON HUGHES PERFORMING ARTS INSTITUTE, 7:30PM Jamaaladeen Tacuma Trio feat.Gary Bartz

JAMAALADEEN TACUMA BY SOUND EVIDENCE Co-presented with Langston. his musical identity morphed into a release, Coltrane Rules: Tao of a Music Welcomed by Rainier Avenue Radio. state of originality. Warrior. Focusing mainly on alto, his In a collision of jazz innovation, “Ornette thought of the music as be- sound, approach, and musical soul is electric bass pioneer Jamaaladeen ing compositional improvising with more drawn from the great tenor play- Tacuma, and transcendent saxophon- each instrument being equal in its ers, with Coltrane standing front and ist Gary Bartz are joined by highly- own right, with everything stemming center. Bartz’ 45-year association with regarded drummer Ronnie Burrage from the composition. The improvis- Coltrane’s pianist, the great McCoy to form a musical conversation with ing you did was based on that,” recalls Tyner, has further strengthened his tie ever-expanding boundaries. Perform- Tacuma. to that legacy. Bartz was awarded the ing at the historic Langston Hughes Saxophonist Gary Bartz’ personal BNY Mellon Jazz 2015 Living Legacy Performing Arts Institute provides legacy is tied to jazz legends, hav- Award, presented at a special ceremo- the evening with a true neighborhood ing performed with , Ab- ny at The Kennedy Center. vibe. bey Lincoln, , Mc- Tacuma and Bartz both have placed A legendary avant-garde bassist, Coy Tyner and before he tap roots into a diverse spiritual amal- Tacuma speaks or sings through his joined & the Jazz Messen- gam of the jazz tradition. Their com- instrument with sophistication and gers. By 1970, he was a foundational bined fusion on this evening repre- intelligence, all the while immersed member of ’ band, per- sents not a look into their storied past, in his deep roots in the forming with him famously at the Isle but a deep journey into the unknown, music idiom. He has performed with of Wight Festival in August of 1970. of what ‘s next to come. , , and Bartz has a sound steeped in the ex- $10–33. For details visit earshot.org. The Roots, but it was his time with perience of playing with these mas- ’s Prime Time that ters, as is aptly displayed on his 2012

10 • EARSHOT JAZZ • October 2019 SUNDAY, OCTOBER 6, TOWN HALL FORUM, 7:30PM Bria Skonberg

Welcomed by KNKX. A sparkling performer who deftly combines traditional jazz chops and old-school entertain- ment savvy inspired by , the Canadian trumpeter/vocalist has been charac- terized by the Wall Street Journal as “poised to be one of the versatile and imposing musicians of her generation.” Skonberg won a Juno Award (Canada’s Grammy) in 2017 for her debut re- lease, Bria. She also represented the this year on an all-star tour with Cécile McLorin Salvant and others, which came through Seattle this past April. Her trib- ute at the Monterey festival in 2018 to the great player Valaida Snow, “High Hat,” was the high point of a set that showcased her grace- ful mastery of early jazz. Skonberg, 36, is practically local, having grown up in the Fraser Valley town of Chilli- wack, BC. She got a music degree at Capilano College, in North Vancouver, then moved to New York in 2010, where she studied with the great trad trumpet player Warren Vaché. A ma- jor player in the revival back east, she is a co-founder of New York’s Hot Jazz Festival. A longtime favorite at Jazz Port Townsend, where she also has served as an instructor, Skonberg was voted a “rising star” by the critics at Down- Beat magazine. Skonberg sings in a slightly raspy, full-throat- ed alto and knows how to spin a lyric with just the right emotional sass. Seattle jazz patriarch has said of Skonberg, “It’s such a groove watching my skol sister follow in the path of Pops, Louis Armstrong, the one who started it all…She even follows his motto, ‘Play it, don’t say it!’” Skonberg has appeared at the Apollo Theater alongside and has performed at the , Jazz & Her- itage Festival and the Montreal Jazz Festival. On November 1, Skonberg will release a new al- bum, Nothing Never Happens. $10–33. For details visit earshot.org.

BRIA SKONBERG BY DARIO ACOSTA

October 2019 • EARSHOT JAZZ • 11 MONDAY, OCTOBER 7, TRIPLE DOOR, 7:30PM Trey McLaughlin & The Sounds of Zamar

Presented by Triple Door. to educating and empowering young to be gospel. You’ll hear something of The dynamic gospel , Trey folks to “seek higher educational goals everything with this show…rock-and- McLaughlin & The Sounds of Zamar, and other positive life experiences.” roll, jazz, contemporary pop and R&B grace The Triple Door stage for an en- Uniquely but unmistakably a gos- and some theatrical and classical ele- chanting and uplifting evening. pel choir, Trey McLaughlin & The ments as well.” (South Coast Today). In McLaughlin, founder and leader of Sounds of Zamar masterfully arrange 2012, the ensemble released their de- The Sounds of Zamar is a jack of many harmonies and ballads that whisk the but album, Limitless. trades, including vocalist, educator, listener through an active spiritual The ensemble has found a global au- composer, performer, and master cli- journey. The 26-piece choir, formed dience, leading to tour stops in Paris, nician. For the Augusta, Georgia- in 2009, has performed with modern France; Krakow, Poland; and Menorca born McLaughlin, community reigns gospel pioneers including William and Rajadell, . supreme McDowell, Kierra “Kiki” Sheard, The Sounds of Zamar speak to the McLaughlin serves as Director of Richard Smallwood, VaShawn Mitch- power of unification. Come prepared Worship and Arts at Tabernacle Bap- ell, Earnest Pugh, and James Fortune. to feel invigorated, revitalized, and re- tist Church of Augusta, as well as the “A lot of people call us gospel because stored. Artistic Director and Student Direc- of the message,” says McLaughlin, $46–55. Tickets available through tor at Creative Impressions, the choral “But our concerts don’t sound like Triple Door. For details visit earshot.org. nonprofit from his youth committed anything most people would consider

MONDAY, OCTOBER 7, BENAROYA HALL, 7:30PM Tinariwen

Presented by Live at Benaroya Hall. other north African traditions, as well up arms as Tuareg rebels. In 2012, Performing entrancing North Afri- as Western styles that inspired them: several members fled to the American can , Tinariwen are the be- from electric bands like Led Zeppe- Southwest when a rebellion in north- loved -bards of two generations lin and the Experience ern resulted in a rival group seek- of exiled Tuaregs of West Africa. The to neo-folk icons like , and ing to impose fundamentalist sharia band’s name translates as the people of country star Kenny Rogers. law, and to target music like Tinari- the desert. In Tinariwen’s case, it’s the Tinariwen’s fame and fortunes in- wen’s. of northern Mali. creased after a 1991 peace accord and Their recent, ninth album Amad- While exiled in , Ibrahim Ag the establishment of Mali as a demo- jar, meaning “the unknown visitor” Alhabib, a self-taught musician who cratic state, but political and military speaks of inner exile and journeying, cobbled together a guitar, formed the troubles have recurrently caught up but Tinariwen’s musical path is now band in 1979 among fellow exiles with them. That has created a résumé more triumphant and liberated than there and in . Tinariwen went on that very few globally popular bands troubled. They recorded the album to become “a grassroots voice of rebel- could lay claim to, one with both while encamped for 15 days in the lion” (AllMusic). musical and military components. In desert near , the ancient The band performs swirling tradi- the early 2000s, they opened for the seat of Berber life in West Africa. Ac- tional melodies and rhythms of their Rolling Stones—it was a natural pair- companied on some tracks by the likes desert roots, normally played on the ing, as the American blues within the of , the violinist in Nick shepherd’s flute, one-string fiddle, and Stones’ rock shared West African roots Cave’s bands, they captured soaring tindé drum, but adapted to electric gui- with Tinariwen’s Tuareg riffs. But at in a few live takes, without ef- tars and thrillingly merged with music times some members of the band have fects, under the stars. from elsewhere. It includes strains of had to lay down their to take $42–62. For details visit earshot.org.

12 • EARSHOT JAZZ • October 2019 TUESDAY, OCTOBER 8, TRIPLE DOOR, 7PM Gerald Clayton Quartet / The Westerlies

Presented in cooperation with Western Clayton “a poet of the piano.” Clayton Jazz Festival) and bassist Joe Sanders. Jazz Presenters Network and NEA. plays with muscular energy and har- Drummer Kendrick Scott “one of the Welcomed by KBCS. monic density and is comfortable in finest drummers of his generation” The flowering of pianist Gerald Clay- traditional settings as well as coloring rounds out the band (JazzTimes). ton, son of the great bassist, compos- outside the lines. Opening the show for Clayton are er, and producer The Westerlies, John Clayton, the Seattle-born, has been espe- New York-bred cially astonishing of to witness. The trumpeters Riley 35-year-old pia- Mulherkar and nist and composer Chloe Rowlands has been catch- and trombonists ing ears on the Willem de Koch West Coast since and Andy Clau- he was a teenager, sen. when he debuted The Westerlies at the Monterey have recorded two Jazz Festival and for the worked as a side- Vancouver, B.C. man at Los Ange- label Songlines, les’ Jazz Bakery. Wish the Children Born in Hol- Would Come On land, Clayton Home: The Music grew up in L.A.. of Wayne Horvitz He received a B.A. and The Westerlies. at the University The great trum- of Southern Cali- peter Dave Doug- fornia’s Thornton las featured them School of Music, on his album studying with Little Giant Still Billy Childs, and Life. The band is was subsequently set to release its mentored by Ken- third full-length ny Barron at New GERALD CLAYTON BY KEITH MAJOR album, Wherein York’s Manhattan Lies The Good, in School of Music. early 2020, a year In 2006, Clayton came in second at This past summer, Clayton offered that will also bring the group back to the Institute piano the Northwest debut of his music the- Seattle, in February, for the second competition and his first album, Two ater epic, “Piedmont Blues, A Search annual Westerlies Fest, which includes Shade (2010), netted the first of for Salvation,” at Jazz Port Townsend. concerts, a workshop, and school per- Grammy nominations. His excellent 2017 album, Tributary formances. Clayton has gone on to work with a Tales, features two stunning musicians $10–37, available through the Triple host of A-list artists, including Diana who will appear here with his quartet: Door. For details visit earshot.org. Krall, Roy Hargrove, and saxophone alto saxophonist Logan Richardson legend Charles Lloyd, who once called (who appeared at last year’s Earshot

October 2019 • EARSHOT JAZZ • 13 WEDNESDAY, OCTOBER 9, NECTAR LOUNGE, 8:30PM Kneebody / Trio Subtonic: Galen Clark, Dan Balmer, D’Vonne Lewis

SHANE ENDSLEY, BEN WENDEL, NATE WOOD, ADAM BENJAMIN BY ROBBIE SUHARLIM “One of the smarter bands blender- masterful command of their instru- Becca Stevens. While their Earshot ap- izing postbop, , hip-hop and ments and inventive explorations of pearance remains the foursome, Knee- classical music” (New York Times), sound, round out the Grammy-nomi- body is sure to be at the height of their Kneebody returns to the Earshot nated outfit that, year after year, dem- musical game, continuing to push stage in anticipation of their latest onstrates a keen “ability to appeal to boundaries and exemplify collabora- release, Chapters, out October 18 on a diverse audience while confounding tive musicianship in the 21st Century. Edition Records. anyone trying to put them in a single Opening the evening is Trio Sub- Since the departure of bassist and stylistic box” (Earmilk). tonic, a groove-heavy local outfit that founding member Kaveh Rastegar ear- After nearly two decades of perform- blends genre-bending with slow- lier this year, the now-quartet of some ing together, this collective creative burning underground . Com- of today’s most dazzling, innovative spirit shines whether playing in their prised of keyboardist Galen Clark, musicians continues to slam in pin- longstanding ensemble form or when guitarist Dan Balmer, and drummer point ensemble work powered by the collaborating with fellow genre-bend- D’Vonne Lewis, these musicians have extraordinary drummer/multi-instru- ing artists, including producer Daede- “made their mark on the Northwest mentalist Nate Wood, who “has been lus in an incredible “display of bionic independent and jazz music scenes” stunning audiences with [his] multi- jazz” (Vice). In the continuing spirit (KNKX). tasking wizardry for years” (WBGO). of collaboration, Kneebody’s new al- 21+ $10–22. For details visit Saxophonist Ben Wendel, trumpeter bum Chapters will also feature guest earshot.org. Shane Endsley, and keyboardist Adam appearances from artists including Benjamin, each bringing their own , Gerald Clayton, and

14 • EARSHOT JAZZ • October 2019 THURSDAY, OCTOBER 10, TOWN HALL GREAT HALL, 7PM Jazz Up Jackson Street: A Benefit for Washington Middle School & Garfield High School Presented by Jazz Up Jackson Street. both regionally and nationally. How- to ensure that all students can partici- What would happen if you put an ever, the student musicians in these pate fully. Attending Jazz Up Jackson instrument in the hands of every 6th programs have historically underrepre- helps push forward the ongoing work grader? Washington Middle School sented the diversity in the schools and of building equity and creating more wants to find out. It’s one of the initia- neighborhood. sustainable and demographically rep- tives behind Jazz Up Jackson Street— To counter this, Washington Midde resentative music programs at these a community celebration benefit- School is striving for a five-year goal schools. ing public school music programs at of reaching more equal demographic Jazz has been an important part of Washington Middle, Garfield High, representation across their music pro- Seattle’s school music community for and elementary feeder schools. grams, particularly in advanced en- well over 40 years, and the greater Se- The evening showcases performanc- sembles. The first step—enrolling all attle community long before during es by future jazz greats from the two 6th grade Washington Middle School the height of Jazz on Jackson street. school bands, and special guest alumni students in a performing ensemble for And it’s community that’s at this dis- artists. the 2019-2020 school year. tinctly American art form’s core— The school music programs in the Proceeds from Jazz Up Jackson ticket come celebrate its power and potential. Central District and the channel flow- sales and donations will help in the $5–100. For details visit earshot.org. ing between them have a long history necessary purchase of new instru- of excellence that has been recognized ments, method books, and sheet music THURSDAY, OCTOBER 10, SEATTLE ART MUSEUM, 5:30PM Art of Jazz: Clave Gringa

Co-presented by the Seattle Art family; not simply a loved one, but one Museum and KNKX. who is ‘especially loved.’” Fusing American jazz with Cuban Reynolds formed Clave Gringa with and Afro-Cuban music is the Seat- musicians either from or experi- tle-based band Clave Gringa, led by enced in its diverse musical forms and composer, vocalist, and pianist Ann styles. For the group’s name, she fused Reynolds. Reynolds regularly visits “gringa,” the female form of “gringo,” the island to immerse herself in its rich and “clave,” which refers to both a music scene. Her musical exploration consisting of reaps rich rewards, as she recreates Cu- two wooden sticks commonly used in ban music forms such as son, danzón, Cuban music, as well as to a rhythmic mambo, and rumba with flair and el- pattern. egance. “Cuban is really about Her latest release, Joy, came out ear- getting people to dance,” says Reyn- lier this year. Net praises the olds, a dancer herself. Expect to hear release, “Afro-Cuban forms such as originals and the band’s take on Cu- ‘son cubano’ ‘danzón’ and ‘guaguancó’ ban classics, from the charm of the ANN REYNOLDS BY DANIEL SHEEHAN are worked into this sublime music as cha-cha-cha to deep veins of less fa- if they were written by a native of the miliar AfroCuban rhythms. trumpet, Steve Smith on , and region… the ‘feel’ comes only to those For her 2019 festival appearance, Ricardo Guity on drumkit/. who don’t simply inhabit the art, but Reynolds is joined by ubiquitous bass- Free. For details visit earshot.org. embrace it as one does a member of the ist Kelsey Mines, Daniel Barry on

October 2019 • EARSHOT JAZZ • 15 THURSDAY, OCTOBER 10, THE ROYAL ROOM, 7:30PM Wally Shoup

Wally Shoup has long been a devoted Early in his career, Shoup set a bench- Alabama, that he first plied his trade. explorer of the outer edges of impro- mark for non-idiomatic freely impro- He came to Seattle in 1985 and with vised music—except, of course, that vised music that was in the British cellist Brent Arnold formed Project for a musician like Shoup, the outer mode championed by the likes of gui- W. Its 1994 album of the same name edges are at the core, or the vanguard, tarist , saxophonist Evan was “the stuff of legend,” as Andrew of where he locates his vital musical Parker, and others associated with the Bartlett wrote for Earshot Jazz. practice. For decades, the alto saxo- Music Improvisation Company. But Also in the 1990s, Shoup was one phonist has pursued his own aesthetic Shoup’s playing was also laced with fourth of the juggernaut quartet Stack- so impressively that earlier this year he the strains of his Southern upbringing pole. Comprised of drummer Gregg was elected to the Seattle Jazz Hall of amidst blues, R&B, and jazz. Keplinger, bassist Geoff Harper, and Fame. It was in , Georgia, Dennis Rea, it seared, and then and Birmingham, unleashed and uncompromising, into the memory of many an astonished Seattleite. By the time the eponymous Stack- pole appeared in 2001, Shoup had won national notice. His CD with Sonic Youth guitarist Thurston Moore and idiosyncratic Japanese drummer Toshi Makihara had appeared the year before, and in 2003 and 2004 the fabled released three of his albums with such collaborators THE MARQUEEN HOTEL as Moore, Arnold, Makihara, and re- 600 QUEEN ANNE AVE. NORTH nowned American free improvisers, MARQUEEN.COM saxophonist Paul Flaherty and drum- Step back in time at the MarQueen Hotel mer Chris Corsano. where historic charm, romantic ambiance and warm personal hospitality await you. Located in the area’s oldest Shoup has long been an organizer neighborhood, our hotel in Queen Anne, Seattle offers distinctive boutique accommodations for leisure and business travelers alike. and instigator of free improv, , and other approaches to music-mak- ing, including organizing installments INN AT QUEEN ANNE 505 FIRST AVE. NORTH of the Seattle Improvised Music Festi- INNATQUEENANNE.COM val, the longest running such gather- ing in the country. A quaint and comfortable hotel in Queen Anne - for the budget conscious traveler. The Inn at Queen Anne offers the simple charm Some of Shoup’s exploratory range is of a European inn, with all of the convenience of a full-service hotel. on show during this evening, a trib- Our small historic Seattle hotel features the old world characteristics of coved ceilings, arched entryways and period furnishings. ute to his tireless pursuit of a personal musical expression. He appears with three of his projects: with Dom Chia- THE TIN LIZZIE LOUNGE (INSIDE THE MARQUEEN HOTEL) vereni (electric bass) and Al Hashimo- 600 QUEEN ANNE AVE. NORTH THETINLIZZIELOUNGE.COM to (drums); with Tom Scully (electric guitar) and Casey Adams (drums); and Tin Lizzie Lounge is a prohibition style neighborhood speakeasy, with Bob Rees (vibes), John Seman located in the historic MarQueen Hotel. Our full bar is stocked with delicious local spirits and brews. Serving lunch, dinner, and (bass), and Mark Ostrowski (drums). happy hour. We are open late night, and offer live music accompa- $10–19. For details visit earshot.org. nied by delicious cocktails and food.

16 • EARSHOT JAZZ • October 2019 FRIDAY, OCTOBER 11, ROYAL ROOM 6:30PM (EARLY SHOW) 9:30PM (LATE SHOW) Tribute to Tony Williams Lifetime Presented by the Royal Room. take to the Royal Room stage in hom- Tony Williams Lifetime was a pow- age to this groundbreaking music. As er fusion trio formed in 1969 upon one would expect, this trio will infuse Williams’ departure from the Miles their tribute with their signature soul- Davis Quintet. It featured organ- oriented and funk sound, staying true ist and electric guitarist to themselves as well as honoring the John McLaughlin, and in later incar- unique approach of the original Life- nations, ex-Cream bassist . time band. Emergency was the original trio’s debut Emergency was an interpretive work album, which was initially rejected by in its time, a radical departure from jazz listeners as being too heavily rock the jazz world, a groundbreaking in- influenced. novation in the rock world. That as- That attitude changed in time, with pect of the work continues for this the now 50-year-old recording being performance, as this formidable Se- looked upon as a jazz, rock, and fusion attle trio takes on Williams’ vision a classic. Three Seattle musicians—or- half century after its making. ganist Joe Doria, drummer D’Vonne $15–20. For details visit earshot.org. D’VONNE LEWIS BY DANIEL SHEEHAN Lewis, and guitarist Cole Schuster—

FRIDAY, OCTOBER 11, TOWN HALL FORUM, 8PM Orrin Evans Trio w/ Jeff “Tain” Watts

Welcomed by KNKX. playing in the dynamic and ground- Across over 25 albums as a leader or breaking quintet of co-leader, endless miles on the road, in the 1980’s. His 25-year association and countless hours in the studio, pia- with saxophonist Branford Marsa- nist Orrin Evans has always followed lis yielded a treasure trove of record- an original path. While the past year ings, as well as a three-year stint as the has seen him receive accolades as both drummer on The Tonight Show with the newest member of , Jay Leno. Watts’ solo projects tend and leader of his Captain Black Big to be adventurous in a polyrhythmic Band, his brilliance as a pianist and sense, as are his musical partnerships composer has been plainly evident over the years with the likes of McCoy from the very beginning of his career. Tyner, Geri Allen, and Evans is also a widely respected to name but a few. bandleader with a gift for find- The is perhaps the most ing young, meteoric talent. With a expressive format in jazz. It strips the Grammy-Award nomination for his music down to its core elements, mak- ORRIN EVANS BY JIMMY KATZ Presence album , and his newfound ad- ing rhythmic and melodic movement invention. The often percussive na- venture in The Bad Plus, Evans’ pro- and shapes more pliable and movable. ture of Evans’ playing, and the iconic digious talents are finally being recog- In the wrong hands, it can sound like rhythmic impulses of Watts should nized broadly, and given their due. a retread of piano trios since the dawn result in many revolutions around a Drummer Jeff “Tain” Watts may be of . In the right hands, as in common center. the best known drummer in jazz. He those of Evans, it can be a potent force $10–33. For details visit earshot.org. gained great visibility at a young age, illuminating paths of imagination and

October 2019 • EARSHOT JAZZ • 17 SATURDAY, OCTOBER 12, THE ROYAL ROOM, 7PM (EARLY SHOW) & 9:30PM (LATE SHOW) Makaya McCraven

One of the most talked-about mu- ed with Sons of Kemet sax man Sha- where many musical languages were sicians in jazz, 36-year-old, genre- baka Hutchings. The New York Times spoken fluently. By 2012, The Chicago bending drummer Makaya McCraven has called McCraven, “one of the best Reader was calling McCraven “one has been doing what few jazzers can arguments for jazz’s vitality.” While of the city’s most versatile and in de- do these days—draw a young crowd. that may be true, McCraven does not mand drummers.” Since then, he has Deeply steeped in hip-hop, produced five albums: Split straight-ahead jazz, the Decisions (2012), In the Mo- avant-garde, and R&B, ment (2015). Highly Rare McCraven has been called (2017), Where We Come “urgent and fresh” by Roll- From (CHICAGOxLON- ing Stone, which rightly DON Mixtape) (2018) and dubbed his work “brainy Universal Beings (2018). .” McCraven In the Moment, composed wowed crowds at his Ear- of meticulously edited, shot concert at the Royal looped and altered tapes of Room this past April, his band’s live performanc- seemingly inspired by the es, was a breakthrough. It hard-hitting rock drum- was named album of the ming of Tony Williams of week on BBC 6 Radio and the late ‘60s and early ‘70s, wound up on 2015 “best as well as hip-hop and Afri- of” lists at the Los Ange- can drumming. les Times, the NPR Music Born in Paris and raised Jazz Critics Poll, and Apple in Western Massachusetts, Music. Universal Beings was McCraven was mentored as named one of the best al- a young man by jazz avant- bums of 2018 by the New gardists and York Times. , who played Though editing and elec- with his father, drummer tronics are significant parts Stephen McCraven. of his process, McCraven By middle school, he’d is fanatically committed formed a band with friends to the sound and feel of which backed up his moth- live music bouncing off the er, Agnes Zsigmondi’s walls and the crowd. At his Jewish folk songs. In high MAKAYA MCCRAVEN BY DAVID MARQUES spring performance in Se- school, Makaya led a band attle, he created an intense that played jazz-influenced hip hop see himself as part of any movement vibe that recalled the spirit if not the and once opened a show for Digable meant to make jazz “more relevant” letter of Pharoah Sanders, hooking Planets, the groudnbreaking hip-hop by mixing it with club beats. On the up ferociously on the one with bassist group founded by now Seattle-based contrary, he approaches the genres as Junius Paul. Personnel for this festival Ishmael Butler (Butler performs with equally primary. gig have not yet been announced, but his latest project, Knife Knights, on After a stint at the University of Mas- you can count on McCraven and his October 16 at the Langston Hughes sachusetts, he moved with his wife to band to set the vibe. Performing Arts Institute). Chicago and found his aesthetic home $10–29. For details visit earshot.org. McCraven attracted a lot of early at- at the jam sessions at the Velvet Lounge, tention in the U.K. and has collaborat- ’s fabled southside club,

18 • EARSHOT JAZZ • October 2019 SATURDAY OCTOBER 12, COLUMBIA CITY THEATER, 8PM Julian Lage Trio

Presented by Seattle Theatre Group. From an early age, guitarist Julian Lage has wowed audiences as someone “who can enact thoughts and impulses as they receive them” (The New York- er). For his newest album, Love Hurts, recorded with Dave King (drums) and Jorge Roeder (bass), he makes his own explorations of American music in the 1960s and 70s. Among his many proj- JULIAN LAGE BY NATHAN WEST ects as a leader, Love Hurts completes his trilogy of Americana recordings, following Arclight (2016), and Modern Lore (2018). Classically trained at the San Fran- cisco Conservatory of Music and a graduate of , Lage has developed from a Mozartian prodigy to mature maestro, matching minds in high-profile duos with exper- imental guitarist , bluegrass EATS & DRINKS guitarist Chris Eldridge, and pianist . He’s joined Gary Bur- ton, , Kris Davis, and oth- RESTAURANT REVIEWS, HAPPY HOUR ers, with what DownBeat describes as an “incisive musicality and clean fret- HANGOUTS, RECIPES AND MORE. work [that] go a long way to bridging aesthetic divides.” For his Seattle performance, Lage is joined by King on drums and in-de- NEWSLETTER mand New York bassist Chris Tordini. King’s energies overflow across New Interested in incredible edibles and refreshing York’s downtown scene, in projects beverages? Visit st.news/eatsanddrinks including The Bad Plus and Broken Shadows with saxophonist Tim Ber- ne. He and Tordini collaborated with saxophonist/clarinetist , whose album Platinum on Tap (Intakt) was a DownBeat Editor’s Pick in 2017. Tordini, longtime low-end theorist with drummer/composer Tyshawn So- rey, has played and recorded in bands led by Steve Lehman, Ari Hoenig, Jim Black, and others. 21+ $22–25. For details visit earshot.org.

October 2019 • EARSHOT JAZZ • 19 SATURDAY, OCTOBER 12, TOWN HALL FORUM, 7:30PM Afro-Electric: Val Jeanty & Ravish Momin / Fay Victor & Myra Melford

Welcomed by KBCS. ing from avant-saxophon- Turning Jewels Into ist Kalaparusha Maurice Water is the transforma- McIntyre to pop-icon tive project between In- Shakira. dian-born drummer and Jeanty was raised in Bi- producer Ravish Momin zoton Fontamara, Haiti. and Haitian percussion- Speaking on her practice, ist and spinner of “Vodou Jeanty told Voices from electronica,” Val Jeanty Haiti, “I use these elec- (Val-Inc). The two met in tronic tools, but the mu- in 2017 sic is spiritual…It’s the at Pioneer Works, while kind of sound that gives Momin was an artist-in- your spirit freedom to residence, and have since roam.” recorded two EPs, Which Through improvisation- Way Is Home? (2018) and al traditions rooted in jazz Map of Absences (2019). and Indian , While the duo’s process VAL JEANTY AND RAVISH MOMIN BY ED MARSHALL Jeanty and Momin reflect is forward-thinking— phasizes the ancient relationship of on “the regressive state of plumbing the creative depths of digital ritual to creation. human rights, deepening refugee cri- potential through techniques like out- Momin received private instruction ses and the worsening impacts of cli- fitting acoustic drums with Sensory from master-drummer Andrew Cyril- mate change worldwide” and imagine Percussion triggers and using Force le while working as a civil engineer in a better, free-flowing future. Sensing Resistor drum pads—the re- New York in the late 1990s. In 2003, Opening: Avant-garde vocalist Fay sulting layers of electro-acoustic beats Momin switched focus full time to Victor and pianist Myra Melford. create a hypnotic that em- being a professional musician and has $10–33. For details visit earshot.org. since worked with such legends rang-

EARSHOT JAZZ PRESENTS ’S SACRED MUSIC

Seattle Repertory Jazz Orchestra + vocalists Stephen Newby & Nichol Veneé Eskridge + NW Chamber Chorus + special guest tap dancer Alex Dugdale

$19-$48 Saturday, December 28, 7:30pm earshot.org Town Hall Seattle 1119 8th Ave, Seattle

20 • EARSHOT JAZZ • October 2019 SUNDAY, OCTOBER 13, TIMBRE ROOM, 9PM DJ J-Justice / Afrocop w/ visuals by blazinspace

Arguably, there’s no one more quali- Then, it’s a spacey synth-and-beats jazz-ish trio has garnered plenty of at- fied to kick-off this Sunday night DJ journey with Seattle composer and tention, The Stranger comments that series than Seattle’s J-Justice, who has keyboardist Noel Brass Jr. and his Brass Jr.’s kaleidoscopic tone poetry dedicated twenty years to “music with Afrocop trio: Carlos Tullos (bass and is a range from beatific to strident, soul”—from house to boogie, baritone guitar) and Andy Sells (drums touching on the crucial work of Chick to jazz, to hip-hop. J-Justice and percussion). Corea and during their has become an indispensable partici- The trio explores ambient realms that Miles Davis tenures, , pant in Seattle nightlife. Best known veer toward intuition, and sublime and Wolfgang Dauner. as a founding member of acclaimed dreamy movements. The improvisa- A favorite from last year’s festival, DJ crew SunTzu Sound and co-host tional aspects of jazz are as much an Afrocop is back with loud splashes of the 91.3 KBCS Friday night radio element of inspiration as are elements of light and color by “Video Jockey” show “City Soul,” J-Justice is driven of punk, , gospel, afro- blazinspace. by a faithful following in Seattle and beat, funk, soul, and psych. 21+. $10–16. For details visit beyond. “We make people feel psychedelic,” earshot.org. says keyboardist Noel Brass Jr. The SUNDAY, OCTOBER 13, TRIPLE DOOR, 7:30PM Youn Sun Nah

Welcomed by KBCS. The daughter of a choir conductor and a musical actress, South Korean singer Youn Sun Nah is at home on stage. Through worldwide tours, gold records, and accolades from the gov- ernments of France and Korea, she is celebrated by audiences and critics alike. Her education includes time spent in France at the National Institute of Music at Beauvais. It was through competitions and festivals where she YOUN SUN NAH BY SEUNG YULL NAH steadily garnered accolades playing in a trio with guitarist Ulf Wakenius, ac- jazz singer should give this album a personality and wide experience, unit- cordionist Vincent Peirani, and bassist listen.” ing traditions from Korea, French Simon Tailleu. She is joined by producer Tomek Mi- chanson, and her own take on hits that Her newest release, Immersion, con- ernowski (guitars, piano, ) range from to Nine Inch tinues her eclectic approach covering and Brad Jones (bass). Miernowski Nails. She’s able to move “seamlessly... everything from American folk music, shares Sun Nah’s showbiz savvy, hav- between impressionistic high drama, to Leonard Cohen, to the Supremes. ing produced and performed for TV abstract improv, or a folk artist’s can- Of her 2013 release Lento, Medium and radio and worked with the likes of did simplicity” (The Guardian). wrote that “there are moments... that Mos Def, Chris Thile, and others. $10–39. For details visit earshot.org. take the listeners breath away...every Youn Sun Nah sings with stylistic abandon that reflects her expansive

October 2019 • EARSHOT JAZZ • 21 MONDAY, OCTOBER 14, CHAPEL PERFORMANCE SPACE, 7:30PM Darius Jones

the process, the better. It doesn’t mat- ter what you want to call it, I just want to feel it in my soul.” In the ever-growing catalogue of Jones’ ambitious, intentional, and vul- nerable exploration, we do indeed wit- ness the epic transcription of an open soul. Perhaps this is no more evident than his ongoing album cycle. His 2009 debut album as a leader, Man’ish Boy (A Raw & Beautiful Thing), marked the start of the Man’ish Boy album cycle that is set to be completed after the 9th album is released. We are currently on album number five, Le bébé de Brigitte (Lost in Translation), released in 2015. On this evening of the festival, Jones will be performing a solo set in the in- timate sonic sanctuary of The Chapel Performance Space. In the perpetual unveiling of his own story and re- lentless pursuit of truth, his extensive command of musicality and human- ity promises to reveal something to all who attend. In the words of Jones, “When we get outside our comfort zones we feel DARIUS JONES BY PETER GANNUSHKIN the discomfort from the unknown be- cause we don’t know where we belong, Welcomed by Rainier Avenue Radio. stood. He is equally at home in a clas- where to step. In that lack of know- Over the past decade, Darius Jones sic avant-garde setting with open air to ing, we actually begin to surprise our- has created a recognizable voice as a fly as he is composing focused vocal selves. We begin to open up, and our critically acclaimed saxophonist and chamber ensemble compositions. perspective widens. We see and under- composer by embracing individual- At any in time, he is able to call on stand things we didn’t before. I believe ity and innovation in the tradition of the rich melodic histories of soulful that this makes us more patient and African-American music. He has been blues and church traditions and then compassionate, which can break down recognized not only for his dynamic seamlessly transition to powerful split- barriers of hatred and fear.” emotional and technical range on the tones reminiscent of Pharoah Sanders Seattle/New York poet and jazz , but for his compo- and . thinker, Paul Harding, will take the sitional and improvisational breadth He tells Avant Music, “I love good stage with Darius Hones after the mu- and depth that pulls uncompromis- music and I want to create good mu- sic set for an interview and discussion. ingly from every corner of his self in sic. For me, there is no style. There is $10–23. For details visit earshot.org. search for more pure and absolute no genre. There is no One Way. This is ways to communicate and be under- just a love thing, and the more organic

22 • EARSHOT JAZZ • October 2019 MONDAY OCTOBER 14, & TUESDAY OCTOBER 15, TRIPLE DOOR, 7:30PM DakhaBrakha

Presented by Triple Door. From Ukraine comes the inimitable DakhaBrakha, which evolved from avant-garde theater accompaniment to create its own brand of “ethnic chaos” music. The quartet’s name means “give and take” in old Ukrainian, and its mem- bers certainly live up to that. They IRYNA KOVALENKO, MARKO HALANEVYCH, NINA GARENETSKA, OLENA TSYBULSKA BY VITALIY VOROBYOV formed in 2004 at the behest of in- novative theater director Vladyslav Troitskyi at the Kyiv Center of Con- temporary Art (DKAH). Those the- atrical origins remain evident in their flamboyant performances, as they transform the folk traditions of their nation. They add music of nearby re- gions, and crank it all up with instru- ments from around the world. “We want people to know as much as possible about our corner of the SERENADE world,” says Marko Halanevych. A vocalist and player of the darbuka (drum), tabla, and accordion, he grew up amidst , made his mark YOUR in the theater of DAKH, and draws on his rural upbringing still in his sing- ing and playing. Like Halanevych, Iryna Kovalenko performs at the FINANCES DAKH theater, and in the band sings and plays percussion, accordion, and With a members-first approach, BECU is piano. So too does Olena Tsybulska, Washington’s largest credit union. Join us. a specialist in folkloric wedding songs at the National University of Ukraine. becu.org/about-membership On and vocals is the self-taught Nina Garenetska. With its taut balance of the avant- garde theater and village celebration, the band swirls far away from the Soviet era of ideologically straitened pseudo-aesthetic folklore. It’s a band that has to be seen live to truly savor its daring, riveting bravura. Federally insured by NCUA $45–55. For details visit earshot.org.

October 2019 • EARSHOT JAZZ • 23 TUESDAY, OCTOBER 15, THE ROYAL ROOM, 7:30PM Here to Play

Open to All - Free

th Season 18 NEIL WELCH, GREGG KEPLINGER, KELSEY MINES BY HALEY FREEDLUND Three Seattle musicians are possessed by the free-jazz spirit and aesthetics of late-era John Coltrane and compelled to breathe life into their own, endlessly searching, music. Never rehearsing, always playing. Called Here to Play, the virtuosic trio of expansive power and energy is com- prised of Kelsey Mines (upright bass), Gregg Keplinger (drum set and hand- hammered metal), and Neil Welch (tenor sax/electronics). Keplinger and Welch have always shared this inescapable spirit. Keplinger was Sunday, Oct 6, 6pm a witness to Coltrane’s “Live in Seattle” sessions at the Penthouse—a singular experience that forever seared an impression on the percussionist. Welch—stal- wart of Seattle’s improvised music scene and half the duo of Bad Luck—has long Eugenie Jones Quartet channeled the raw intensity and advanced techniques of Coltrane’s tenor partner Eugenie Jones, vocals Pharoah Sanders. Mines, with her anchoring and surgical force, transforms the Peter Adams, piano music into something truly special. Eric Hollander, bass As drum, bass, and sax goes, Here to Play brings the traditional trio to a - Jamal Nance-drums ern sound. SAVE THE DATE: Mines—who draws her own influences from the likes of Abbey Blackwell, Next concert on Nov 3 , Larry Grenadier, Stephan Crump, and Carmen Rothwell— Chava Mirel Quartet combines her extensive palette of harmony and technique with Welch’s use of and electronics to lay a rich and dense conceptual framework for 100 Minutes of professional jazz the group. In this foundation, freedom is found by all. It allows Keplinger to Family friendly concert / Free parking color the rhythmic propulsion without restraint, Mines to deeper into and around the energy center, and Welch to embody the liberating, unrestrained Seattle First Baptist Church improvisational might that came to define late-era Coltrane. 1111 Harvard Avenue It’s a group that is built for the transcendent moments of live performance. (Seneca and Harvard on First Hill) This festival performance also serves as an album-release for their self-released Seattle, WA (206) 325-6051 album, Here to Play. www.SeattleJazzVespers.org/GO/SJV $10–23. For details visit earshot.org.

24 • EARSHOT JAZZ • October 2019 TUESDAY, OCTOBER 15, TOWN HALL FORUM, 7:30PM Seattle Modern Orchestra w/ Darius Jones & Wayne Horvitz

Welcomed by KBCS. The demands of the music being perience. It requires reaching beyond With co-artistic directors Julia Tai performed not only require the high- one’s own preconceptions into the un- and Jérémy Jolley at the helm, there are est caliber of musicianship, but, due to familiar to gain a better understand- few better equipped to present the ever the core nature of improvisation, also ing of others through their music. But deep and broad imagination of con- require a sincere belief in the power of perhaps there is not a better time for temporary music than Seattle Modern surprise to transcend expectation. It’s engaging in new music than now, for Orchestra—the only large ensemble in a practice that does not always come as Jolley says, “The exploration of new the Pacific Northwest solely dedicated easily for musicians or audience mem- music is a state of empathy.” to the music of the 20th and 21st cen- bers who might prefer the protection $10–23. For details visit earshot.org. turies. of controlling their own emotional ex- SMO and Earshot Jazz are collabo- rating for the first time to present an exceptional evening of composition and performance. In addition to fea- turing compositions by Anthony Brax- ton, Earle Brown, George Lewis, and Tyshawn Sorey, the evening will also feature the highly distinguished per- formers and Darius Jones (Alto Sax) and Wayne Horvitz (piano). Jones has firmly established himself as an iconic voice in music today, be- ing hailed by the New York Times as “the most visceral and distinctive alto saxophonist of this era.” His sound pulls directly from the heart and is un- compromising in its display, shifting from the rich melodic history of soul- ful blues and church traditions one moment and into the powerful Earth- shattering split-tones of Pharoah Sand- ers the next. Horvitz—a Seattle treasure and 2016 Doris Duke Performing Artist Award winner—is a prolific and her- alded composer who has spent a career blurring the lines of contemporary jazz and classical music in both com- position and performance. SMO will be commissioning and performing a world premiere of Horvitz’ entitled Vagabond: Constructions for Chamber Orchestra and Improvisers (2019).

October 2019 • EARSHOT JAZZ • 25 WEDNESDAY, OCTOBER 16, COLUMBIA CITY THEATER, 7:30PM Aaron Parks Little Big

AARON PARKS, DAVID “DJ” GINYARD, GREG TUOHEY, TOMMY CRANE BY DENEKA PENISTON Welcomed by KNKX. ter Fellow from the American Pianists decade of his career. His color-rich Forward-thinking Seattle-born, Association. Parks has appeared on electro-acoustic quartet Little Big sees NYC-based pianist Aaron Parks leads three Blue Note albums by Blanchard, impressive members backing Parks: his fresh quartet, Little Big, into excit- including Blanchard’s 2007 Grammy Greg Tuohey (guitar), David “DJ” ing . At age 34, Parks is 17 Award-winning opus A Tale of God’s Ginyard Jr.(bass), and Tommy Crane years into a distinguished career, and Will (A Requim for Katrina). (drums). Each player brings their var- continues to prove himself as not just The young pianist worked with gui- ied experiences from jazz, improvised an in-demand accompanist, but a bril- tarist steadily be- music, electronica, R&B, indie pop, liant leader. tween 2008–2015. Of Parks, Rosen- alt-country, and much more to this Parks entered the public eye during winkel says, “When I think of the “genre-fluid” music, which creates a his time playing with trumpeter Ter- word ‘genius,’ I think of a connection world of its own. ence Blanchard. The New York Times to nature, that nature can express itself Aaron Parks Little Big’s self-titled has praised Parks for being “a step undisturbed through human activ- 2018 release on the Ropeadope label ahead of everyone else.” At just 15, ity. I feel that in Aaron’s playing. He picks up where 2008’s Invisible Cin- the Seattle-raised pianist was a triple- illuminates natural shapes and fig- ema left off: “Like that disc, this is the major in math, computer science, and ures. His intuitive understanding is product of a piano-and-guitar quartet music at the University of Washing- so strong and powerful that it’s always playing -and electronica- ton. That same year, Parks was selected informing his technique, which is influenced postbop. Time, though, to participate in the GRAMMY Jazz homegrown. He has a high-level intel- has altered Parks’ music: less osten- Band, which led to a move to New lect, which serves to embrace and give tation, more gravitas. It’s the beauty York to attend the Manhattan School headroom to his daydreams.” (Down- and vision of the older album, filtered of Music at age 16. Beat). through maturity” (JazzTimes). At 18, while a member of Blanchard’s Parks is increasingly stepping out 21+. $10–33. For details visit band, he earned the title of Cole Por- as a leader as he approaches the third earshot.org.

26 • EARSHOT JAZZ • October 2019 WEDNESDAY, OCTOBER 16, LANGSTON HUGHES PERFORMING ARTS INSTITUTE, 7:30PM Knife Knights / Darius Jones / Stas Thee Boss

DARIUS JONES BY PETER GANNUSHKIN ERIK BLOOD, MARQUETTA MILLER, ISHMAEL BUTLER, OCNOTES BY OCNOTES Co-presented with Langston. tiualized show with Erik Blood, the between Butler and Blood was inevi- After more than a decade of collabo- Tacoma-born, Seattle-based engineer, table. ration, local mystic minds Ishmael producer, , and film com- Knife Knights effortlessly fuses am- Butler and Erik Blood have released poser—and the beginning of a new bient synths and drums with elements their first full-length album, 1 Time partnership. of rap and R&B; forever pushing the Mirage, together under the moniker Blood has had his hand in projects definitions of genres and the envelope Knife Knights. from Seattle luminaries as varied as the of music itself. Butler is well known as one part of Moondoggies, THEESatisfaction, Ta- Butler and Blood are two of Seattle’s , the future-forward cocat, and Champagne Champagne, “most legendary contemporary artists” hip-hop duo that’s been at the outer and has released two solo albums, (KEXP) and together revel in creative frontier of the genre since their forma- Touch Screens (2014) and Lost in Slow candor. For their festival appearance, tion in 2009. Prior to Palaces, Butler is Motion (2016). As the engineer behind Butler and Blood are joined in Knife known as the founder of the Grammy- Shabazz Palaces, Blood has been an Knights by OCnotes and Marquetta Award winning hip-hop trio, Digable undeniable force in shaping the sound Miller. Planets, formed in 1987 in Brooklyn, and vision. Opening: New York based alto saxo- New York. After the disbanding of Butler seems to be in a constant state phonist, Darius Jones and South Se- Planets in the early 90s, Butler re- of becoming. His “single-take ingenu- attle’s own hip-hop artist and Knife turned to Seattle and performed brief- ity came from studying intuitive mae- Knights collaborator, Stasia Irons, bet- ly under the name Cherrywine, after stros Miles Davis and ” realiz- ter known by her stage name Stas Thee a chance encounter led to guitar les- ing that “the magic is in the moment” Boss. sons and mentorship from Thaddeus (). With their shared affinity $10–27. For details visit earshot.org. Turner. for hip-hop, rock, ambient Fast-forward to 2003 and another soundscapes, and in-the-moment im- chance encounter—this time at a Spir- provisation, a proper collaboration

October 2019 • EARSHOT JAZZ • 27 THURSDAY, OCTOBER 17, TOWN HALL GREAT HALL, 8PM Chucho Valdés Jazz Batá

Sponsored by BECU. The powerful Cuban piano virtuoso Chucho Valdés has been on a roll the past decade, issuing one outstanding concept album after another, in- cluding last year’s Jazz Batá 2. Valdés appears at the Earshot Jazz Festival with his quartet, an elegant, creative band that has more “air” in it than many Valdés projects and features the woody, full-bodied bass of Yelsy He- redia, the restrained percussion of Yaroldy Abreu Robles, the percolating batá drums and pining chants of Dreiser Durruthy Bombalé, and, not least, the dazzling accuracy, wild flourishes and percussive clang of Valdés’ piano. Jazz Batá 2 explores the Yoruban drum music from Nigeria that informs much Cuban culture, through the Afro-Cuban faith Santeria. Valdés’ return to batá—so called because of the two-head- ed, hourglass-shaped Nigerian drum of the same name —is a return to his own roots as well as the roots of Cuban music. His breakthrough 1972 al- bum was titled Jazz Batá. Back then, bringing Yo- ruban elements forward in Cuban music, so com- mon today, was not only avant-garde, but frowned on by the government. Born in 1941 near Havana, Valdés graduated from the Conservatorio Municipal de Música de la Habana when he was 14 and a year later formed his first . In 1959, he debuted with his fa- ther’s band, Sabor de Cuba, then joined Orquesta Cubana de Música Moderna. One of the singers they backed in those days was Omara Portuondo, who would gain fame outside Cuba through the Buena Vista Social Club recordings. Until the late ‘90s, Valdés had worked primarily as a sideman, but in 1998 he launched a solo ca- reer, which has showcased his extraordinary virtu- osity, as well as his composer’s pen and knack for concept albums. All this has not gone unnoticed. He has won six Grammy awards, was given a Life- time Achievement Award from the Latin Record- ing Academy, and in 2018 was inducted into the Latin Hall of Fame. $18-60. For details visit earshot.org.

CHUCHO VALDÉS PHOTO BY CAROL FRIEDMAN

28 • EARSHOT JAZZ • October 2019 FRIDAY, OCTOBER 18, TOWN HALL GREAT HALL, 8PM Cécile McLorin Salvant w/ Aaron Diehl Trio

Welcomed by KNKX. habit a lyric without employing scat or what it is without its theatrical origins, 2019 DownBeat Artist of the Year other standard jazz vocal practices. vaudeville, and minstrel shows.” Her and Female Vocalist of the Year, Two years later, her third Mack Av- unflinching performances point us to 30-year-old Cécile McLorin Salvant enue release, Dreams and Daggers, also consider race, sex, gender, and power. is the voice to know in jazz’s second took home a Grammy, as did 2015’s McLorin Salvant has found a match century. A—what Wynton in the Aaron Diehl Trio. Marsalis calls—“once in a The group, still reeling generation or two” singer, from the untimely death of her talent transcends vir- young drummer Lawrence tuosity. Leathers, continues to offer McLorin Salvant’s mete- up hope in the magnifi- oric rise has been uncon- cence of their music. Diehl, ventional. The daughter of 33, is a classically trained a French mother and Hai- pianist and composer cel- tian father, she was raised ebrated for his “melodic in a bilingual household precision, harmonic erudi- amidst the rich cultural tion, and elegant restraint” mix of Miami. Early stud- (New York Times). The pia- ies included piano and nist has been called “The Broadway. Real Diehl” by Wynton Moving to France to Marsalis, after touring study law and opera in with his . He has also 2007, she began studying performed with Wycliffe Baroque voice at the Dar- Gordon, Warren Wolf, and ius Milhaud Conservatory. Matt Wilson, among oth- There, McLorin Salvant ers. began to explore the deep McLorin Salvant and the roots of jazz and American trio’s approach is sophisti- music under the direction cated, with an uncommon of multi-reedist Jean-Fran- wisdom and understanding çois Bonnel. of harmony, yet their style Three years later, she en- is accessible to the listener. tered and won the Thelo- She taps into the audience’s nious Monk International emotions, with a playful, Jazz Competition, which CÉCILE MCLORIN SALVANT BY MARK FITTON often mischievous delivery netted her a recording con- to well-worn, seemingly tract with Mack Avenue Records. Her For One to Love and 2018’s duo with out of touch lyrics, enabling her to first recording, Womanchild (2014), pianist Sullivan Fortner, The Window. transform a tune without altering a gained her international acclaim and a Recording accolades aside, McLorin single word—“her singing amounts to Grammy-nomination. It also marked Salvant’s true genius lies onstage. To a kind of re-writing” (The Nation). the beginning of her working relation- hear her is transporting, to see her is In the new century, now nearing its ship with the Aaron Diehl trio. transfixing. As an artist, she embod- twentieth year, McLorin Salvant is The album and its Grammy-Award ies her work, taking on multiple per- clearly the standard for the next gen- winning follow-up, For One to Love, sonas—“judicious, confiding, theatri- eration of jazz vocalists to aspire to. established her style, showing her full cal, skeptical (Nate Chinen, New York $18–60. For details visit earshot.org. range, and ability to stretch and in- Times)—in just one or phrase alone. She notes, “jazz would not be

October 2019 • EARSHOT JAZZ • 29 WITHIN/EARSHOT presented by Bainbridge Island Museum of Art

BIMA and Earshot Jazz are excited to partner for the third year in a row to present Within/Earshot, a month-long, all-ages festival celebrating jazz and the diverse talent of the region through live perfor- mances, lectures, art exhibitions, and other special events, located a ferry ride away from downtown Seattle on beautiful Bainbridge Island. For ticket information, visit biartmuseum.org

Look folk, jazz, and more. They’re joined by Lorraine Lau on October 25. As part of the Within/Earshot fes- The last concert showcases the Sa- tival, BIMA is proud to present Jazz vani Latin Jazz quartet on October Combo II, an exhibition of portraits 27. Bringing a jazz inflection to tra- by noted Northewest photojournal- ditional Cuban and South Ameri- ist, Daniel Sheehan. The Pulitzer- can rhythms, the songs breathe prize winning photographer has been with deep lyricism, inviting the au- documenting the Seattle jazz scene for dience into a rich and sometimes decades, capturing venues, clubs, and undpredictable musical ladscape. musicians with an impeccable sense of timing and authenticity. Learn Sheehan has captured the spirit of Dive deeper into the history of the such local legends as Clarence Acox, art form with a number of educational Jay Thomas, Buddy Catlett, Ruby events. Returning this year is the pop- Bishop, Overton Berry, and many ular Jazz with Jim lecture series, pre- more. The exhibtion is free of charge sented by James Cauter, professor of and runs from October 5–October 24. JOHNAYE KENDRICK BY DANIEL SHEEHAN music at Seattle Central College. Top- ics covered include Be-Bop, Cool, and Listen of Port Townsend area musicians of- (October 10, 7pm) and Jazz Some of the region’s most inspir- fering standards and contemporary Fusion (October 24, 7pm). ing artists will turn the island inside straight-ahead jazz. Within/Earshot offers up two films. out with a smattering of innovative Next up on October 18 is a night of Buena Vista Social Club follows ag- sounds. piano-driven music with the Bill An- ing Cuban musicians whose talents Starting off the series is celebrated schell Trio. Joining Anschell are fel- had been virtually forgotten following vocalist and educator, Johnaye Kend- low stalwarts on the Seattle scene, Jeff Castro’s takeover of Cuba. the musi- rick on October 5. Offering up origi- Johnson on bass and D’Vonne Lewis cians are brought out of retirement by nal compositions and re-imaginings on drums. Ry Cooder, who travelled to Havana of standards, Kendrick’s infectious Get ready to get down on Saturday, with the goal of bringing the musi- sound has won over audiences in the October 19, with the soulful grooves cians together for sessions. Screen- Northwest and beyond. of Grace Love. The transporting vocal- ings take place October 8 at 2pm and On October 12, BIMA presents Best ist dishes up powerful performances 7:30pm. of the West Sound, a toe- af- rooted in soul. A Great Day in Harlem is a docu- ternoon of free jazz concerts in celebra- Saxophonist Neil Welch and drum- mentary covering a remarkable day in tion of the museum’s fall exhibitions. mer Chris Icasiano have been col- jazz history when some of the great- Best of the West ensembles include laborating for over a decade. Their ex- est players in jazz gathered early one The Cuban Heels, a Bainbridge Island perimental duo, Bad Luck, will “bear morning in in 1958 New York City Latin Jazz band; Sus 4, a Kitsap-based down on you like a cyclone of fire” The( for a photograph commemorating the quartet offering electric jazz and pro- Stranger). Their music defies boundar- golden age of jazz. The screening takes gressive rock; and the Chuck Easton & ies, drawing from electronic, metal, place October 13 at 2pm. George Radebaugh Quartet, a group

30 • EARSHOT JAZZ • October 2019 EARSHOT AT VASHON presented by Vashon Center for the Arts

A new year, new series, a new island. LaVon Hardison. Serving up joyful Ross performs at Vashon on October Earshot Jazz is pleased to partner with and creative reinterpretations of jazz 18 at 7:30pm prior to his performance the Vashon Center for the Arts to offer standards, country, pop, and punk at the Seattle Art Museum on October a new satellite series of concerts at the songs, nothing is off limits for Hardi- 19 at 8pm (see pg. 33). stunning Katherine L. White Hall. son’s imagination, from Katy Perry to October 25, 7:30pm The Vashon Center for the Arts is a the Clash. Hardison also performs as Closing out the series on a high note collaborative and community-based part of the Seattle Jazz Showcase on is multi-instrumentalist Kiki Valera organization that initiates qual- November 2 at Town Hall (see pg. 51). and his quartet, offering son cubano ity arts experiences for all ages and October 18, 7:30pm sounds to move to. Son cubano is one provides opportunities for artists Next up, Chicago-born, New York of the most popular styles of music in to perform and exhibit their work. city-based vibraphonist Joel Ross and Cuba and Valera is one of its foremost For tickets and information, visit his ‘Good Vibes’ ensemble. At just 23 exponents. vashoncenterforthearts.org. years old, the young musician’s star is Valera is most known as a master of October 4, 7:30pm rapidly on the rise. Ross found a men- the Cuban cuatro, a mid-size, 8-string Starting off the series on October tor in the great and has guitar. He makes another festival ap- 4 is 2017 Golden Ear Vocalist of the performed alongside , pearance on October 26 at Town Hall Year and 2016 winner of the Seattle- Makaya McCraven, , Seattle (see pg. 43). Kobe Sister Jazz Vocalist Audition, James Francis, and more. SUNDAY NIGHT DJ SERIES presented by Earshot Jazz at the Timbre Room

Earshot Jazz and the Timbre Room dissonant improvisation, these multi- present an ambitioius new series root- focus events honor current interpre- October 13, 9pm ed in one of the foundations of the tra- etations and impurities along the spec- DJ J-Justice (City Soul, KBCS) dition of jazz: collaboration. trum. Afrocop Over the course of three Sunday Expect appearances by recognizable Visuals: blazinspace nights in October, Earshot Jazz show- guest emcees. Adding texture to the cases a few great Pacific Northwest DJs experience, top Seattle visual artists October 20, 9pm who are excelling as exciting newcom- enhance the intimate, spirited room DJ OCnotes (Sunday Soul, KEXP) ers to jazz. The jazz genre itself is ex- with live projected visuals. Smacktalk panding its horizons and listener base Timbre Room–the upstairs of Krem- Visuals: OCnotes through the reach of modern music werk, a large dance bunker-boasts a distribution. warm sound quality. The room was October 27, 9pm Earshot Jazz engages the musical designed with sound in mind. The perspectives of these local, studied relatively new is a wooden DJ Nathan Womack (Vinyl Interna- giants, each offering their own uniqe haven and hidden gem centered in the tionale, Wax Thematique) spin. Between an early and late vinyl Denny Triangle in downtown Seattle, sunking w/ guest emcee Kassa set, up-and-coming local bands offer with room edge seating, a cozy dance Overall tremendously varying sounds inspired floor, full bar, and tiki patio. Visuals: Scott Keva James The Timbre Room is 21+ by jazz. From moments of world jazz, Concerts begin at 9pm with a DJ set, Doors open at 8:30pm. soul, African blues, and hip-hop, to followed by a live band, and close with Tickets $10–16. garage-leaning experimental tones and a DJ set that runs until late.

October 2019 • EARSHOT JAZZ • 31 FRIDAY, OCTOBER 18, CHAPEL PERFORMANCE SPACE, 8PM Clarice Assad

Presented by Nonsequitur. Assad was born in Rio de Janiero A “serious triple threat” (San Francis- into a musical family: her father Sér- co Chronicle), the Brazilian-American gio Assad and uncle Odair Assad com- virtuoso is a bold composer, brilliant prise a renowned guitar duo, and her pianist, and inventive vocalist all rolled aunt is singer/songwriter Badi Assad. into one. She deftly spans the worlds With family members as guides, Cla- of classical, jazz, and Brazilian music. rice Assad has been performing profes- Classically trained as a pianist, Assad sionally since she was seven. She went set out to create a personal musical id- on to complete degrees in music and iom that reflects Brazil’s musical melt- composition from Roosevelt Univer- ing-pot heritage of African rhythms sity in Chicago and the University of mixed with European melodies and Michigan. harmonies. The result is a dazzling For this concert, in addition to per- harvest of evocative color, rich tex- forming solo works for piano and tures, and captivating stylistic range. voice, she will present three works for CLARICE ASSAD PHOTO COURTESY OF THE ARTIST As a composer, she is prolific. She’s a chamber ensemble of Seattle new- rigado” (2011), for and commissioned music for the likes of music stars, Brandon Vance (), mandolin; and “Rodapião” (2016), Evelyn Glennie, Yo-Yo Ma, and Nadja Alina To (violin), Heather Bentley for string quartet and bass, the latter Salerno-Sonnenberg. Assad has re- (viola), Gretchen Yanover (cello), and played by Assad. leased seven solo albums and has ap- Taina Karr (). $5–20 sliding scale. For details visit peared on or had her works performed They perform “Synchronous” (2015), earshot.org. on another 30. for string quartet and solo oboe; “Ob- SATURDAY, OCTOBER 19, ROOSEVELT HIGH SCHOOL, 7:30PM Roosevelt Jazz Band w/ Jay Thomas EWA

The Roosevelt Jazz Band—regarded lence in big-band jazz. The renowned and has won first place four times, and as one of the nation’s top high school program has put out some of the best second place five times, and third place jazz —takes to their home talent in the Seattle scene today, in- twice. It’s a staggering record! stage with 2019 Festival Resident Art- cluding fellow festival artist D’Vonne As Scott Brown says—can say—ev- ist, Jay Thomas and his EWA (East Lewis. ery year: “We’re going to have a great West Alliance) project with friends From its triumphs at regional and band this year!” from Japan, including tenor saxophon- national annual competitions, the Appearing with the young musicians ist Yasuhiro Kohama, pianist Yuki Hi- ensemble’s trophy case becomes more is Jay Thomas, a celebrated musician rate, alto saxophonist Atsushi Ikeda, and more crowded. Most recently, and educator and this Earshot Festi- explosive drummer Daisuke Kurata, Roosevelt took home the first place val’s Artist in Residence. Known as a Seattle bassist, Phil Sparks, and vocal- prize at this spring’s Essentially Elling- horn and reeds player and one of the ist Maya Hatch—a Roosevelt High ton Competition at New York City’s few remaining links between Seattle’s School grad who enjoys a successful Lincoln Center after a stunning per- storied jazz past and promising future, career in Japan. formance of the challenging Dizzy his appearance with the Roosevelt Jazz Under Scott Brown, a dedicated Gillespie tune, “Things to Come.” Band is sure to provide a rare learning teacher and accomplished jazz musi- A hard-swinging unit that can out- opportunity over the course of an en- cian who has led the program for more pace many of the nation’s college ergetic and inspiring evening. than 30 years, the Roosevelt Jazz Band bands, Roosevelt has competed in the $10–27. For details visit earshot.org. maintains its long tradition of excel- finals at Essentially Ellington 19 times,

32 • EARSHOT JAZZ • October 2019 SATURDAY, OCTOBER 19, SEATTLE ART MUSEUM, 8PM Joel Ross ‘Good Vibes’

Welcomed by Rainier Avenue Radio. agrees, saying “It’s clear that he is a The Chicago-based drummer and Chicago-born, Brooklyn-based vi- maestro at the vibraphone, malleting producer McCraven named a track off braphonist, Joel Ross is one to watch. out repeated patterns and complex of 2018’s Universal Beings—on which At 23 years old, the young vibraphon- phrases that work as melodic state- Ross performs—”Young Genius” in ist is on “his own rock- the vibraphonist’s honor. et-like trajectory” (New The young genius has York Times). stacked up an impressive Ross comes from a mu- list of titles including sical family and began two-time recipient of the playing drums at age Thelonious Monk Insti- three alongside his twin tute National All-Star brother. Admitting his award, a 2013 YoungArts brother is “the better Jazz Finalist, first place at drummer,” Ross took to the 2016 BIAMP PDX mallet percussion. Ross “Jazz Forward” com- began music studies at petition, and winner of the Jazz Institute of Chi- the Keep an Eye Inter- cago, later becoming one national Jazz Award, in of the first students at Amsterdam. More, we’re the city’s first public arts sure, are soon to follow high school, Chicago for this rising talent. High School for the Arts. Ross released his de- Soon after, he found a but album Kingmaker mentor in the great vi- on braphonist, Stefon Har- earlier this year. Upbeat ris, who encouraged Ross melodies and passionate to pursue a two-year fel- notes filled with stories lowship with Harris’ of faith, family, and hope Brubeck Institute Jazz reverberate as slyly into Quintet in Northern the listener’s ears as they California. After com- flow from Ross’ knowing pleting the fellowship, hands. Ross transferred to the 2018 festival attendees New School, where he might recall his lightning would meet the peers flow with Marquis Hill’s that make up his Good Blacktet—this year’s per- Vibes quintet: Imman- formance will be no less uel Wilkins (alto saxo- electrifying. phone), Jeremy Corren JOEL ROSS PHOTO COURTESY OF THE ARTIST Ross performs a (piano), Benjamin Tibe- day before at the rio (bass), and Jeremy Dutton (drums). ments as well as percussive shapes.” Vashon Center for the Arts on For their Earshot performance, bassist Ross has played with such luminar- October 18. More information at Kanoa Mendenhall will perform in ies as Herbie Hancock, Makaya Mc- vashoncenterforthearts.org. place of Tiberio. Craven, Louis Hayes, and recorded on $10–28. For more information visit The “earnest interiority” and “kinetic pianist James Francies’ recent album, earshot.org. magnetism” of Ross’ playing is pal- Flight. pable (Nate Chinen, NPR). Pitchfork

October 2019 • EARSHOT JAZZ • 33 SUNDAY OCTOBER 20, SEATTLE ART MUSEUM, 7:30PM Shai Maestro Trio / Wayne Horvitz & Sara Schoenbeck

“Hearing Shai Maestro is like awakening to a new world” (All About Jazz). The spellbinding Israeli pia- nist performs with breathtaking fluidity, grace, and imagination in a powerful, harmonious trio with Pe- ruvian bassist Jorge Roeder and Israeli drummer Ofri Nehemya Maestro has earned his family name through stellar performances around the world and a series of rivet- ing releases, most recently last year’s The Dream Thief, his fifth album and first on ECM. Maestro began his classical piano training at the age of five. At eight, hearing ’s The Gersh- win Songbook inspired him to become a jazz musi- cian. He won the National Jazz Ensemble Competi- tion, Jazz Signs, in 2002 and 2003, and along the way studied Indian classical music. Early in Maestro’s career, Avishai Cohen, the long- time bassist in Chick Corea’s band, invited him to join his trio. The pianist formed his own trio in 2010. His approach, both steeped in the output of jazz pianists before him and yet highly personal and explorative, is enthralling. His motto: “I always try to remember to embrace history while not trying to be anything or anyone else—to let the music come out of me.” On his approach to the jazz trio: “Our mission is to blur the differences between life and music, and to try to express the rawest form of our being.” Opening: Bassoonist Sara Schoenbeck and key- boardist Wayne Horvitz call their collaboration “a study of the crossroads where texture and meet with and support the expression of melody and song.” Horvitz is, of course, renowned in Seattle and far beyond as a musician and composer who can do it all. Long resident here but a global musician, he has excelled in genre-expanding jazz and various related fields such as theater, and film. Schoenbeck is classically trained and currently on the faculty at Brooklyn Conservatory of Music and Packer Collegiate Institute. the New York Times has called her performances “galvanizing” and “riveting, mixing textural experiments with a big, confident sound.” $10–35. For details visit earshot.org.

SHAI MAESTRO BY GABRIEL BAHARLIA

34 • EARSHOT JAZZ • October 2019 SUNDAY, OCTOBER 20, TIMBRE ROOM, 9PM DJ OCnotes / SmackTalk w/ visuals by OCnotes

Starting off the evening, DJ OCnotes takes the reins on vi- nyl and visuals. Best known for his wildly unpredictable and consistently on-point DJ sets, OCnotes has been the host of “Sunday Soul” on 90.3 KEXP since May 2018. Born Otis Calvin III, OC- WITHIN/ notes has been a vibrant figure on Seattle’s music scene since EARSHOT the turn of the decade, releas- ing over fifty albums, mix JAZZ FESTIVAL tapes, and EP’s over the years. OCnotes records as a solo en- SAT., 10/5 JOHNAYE KENDRICK GROUP tity, but also as one-half of Classic jazz vocal combo. Metal Chocolates with rapper SAT., 10/12 BEST OF THE WEST SOUND JAZZ MINI-FEST Rik Rude, one-third of Indian FREE! Perfomances by The Cuban Heels, Sus 4, Agent with Nicholas Galanin & Chuck Easton/George Radebaugh Quartet. FRI., 10/18 THE BILL ANSCHELL TRIO & Zak Dylan Wass, one-half Jazz pianist returns with his own combo. of FREEKAZOIDZ with SAT., 10/19 GRACE LOVE OCNOTES PHOTO COURTESY OF THE ARTIST Jazz-informed powerhouse soul singer longtime friend Thrills, and is performs an intimate set. a member of the Black Con- FRI., 10/25 BAD LUCK WITH SPECIAL GUEST LORRAINE LAU stellation (Shabazz Palaces’ universe), among other collaborations. Genre-defying supernova of jazz OCnotes juggles performing and DJ’ing with his work as a live visual artist, enhanced by live dance. SUN., 10/27 SAVANI LATIN JAZZ often collaborating with Shabazz Palaces. His visual talents are out front-and- Jazzed-up Latin American rhythms. center of his own beats for this not-to-miss Timbre Room show. MORE JAZZ EVENTS: Smacktalk is a five-piece jazz-fusion collective. With a focus on original mu- 10/5-23 JAZZ COMBO III Exhibition featuring work by photojournalist sic, the group harnesses the powerful capabilities of the saxophone and rhythm Daniel Sheehan and classic jazz album art section to create textural landscapes across a variety of genres. Formed in 2016, 10/8 BUENA VISTA SOCIAL CLUB Professor Jim Cauter helps follow the bouncing SmackTalk is party music for smart people. The ensemble is Natalie Barry (saxo- dots between different musical forms. 10/10 & 24 JAZZ WITH JIM I & II phone), Luca Cartner (drums), Sidney Hauser (saxophone), Ori Levari (keys), Professor Jim Cauter helps follow the bouncing and Seth Thomsen (bass). Their jazz chops fuse with funky soul and indie rock dots between different musical forms. 10/13 A GREAT DAY IN HARLEM Documentary about a photo emblematic of the energy for a brand of modern music all their own. golden age of jazz. SmackTalk is one of several New Cool (88.5 KNKX) favorites attracting a younger audience. Sax frontwoman Barry tells KNKX: “Jazz qualities are ab- solutely appealing to younger listeners, because everyone likes to emotionally connect with the music they’re listening to. I think that jazz tonalities are par- ticularly good at doing that. There’s nothing that says that the jazz scene is only DETAILED INFO & TICKETS: inclusive of people that are hip to complicated chord changes and fast, intricate WWW.BIARTMUSEUM.ORG lines...but jazz influences are exploding and showing up everywhere.” Image: David Baird, Tearing the Veil #13 (detail), 2019. $10–16. For more information visit earshot.org.

WITH SUPPORT FROM:

October 2019 • EARSHOT JAZZ • 35 MONDAY OCTOBER 21, TOWN HALL FORUM,7:30PM Anton Schwartz Sextet

Saxophonist/composer Anton burst onto the Seattle scene a few years Schwartz presents his ideas in har- back. Hailing from Spokane, Hall monic layers that unfold into open spent time studying with the likes of space for interpretation, never straying and Brian Lynch. far from his hard bop roots. His 2017 release Hallways has been Schwartz performs new compositions well received by jazz critics. Bassist for sextet on this evening. Joining is Michael Glynn and drummer Julian in-demand, Los Angeles-based pianist MacDonough form a hard-swinging Josh Nelson. He has a reputation as , the necessary under- an accompanist for vocalists, having current for Schwartz’s contemporary toured and recorded extensively with take on hard bop. Natalie Cole, , and John Schwartz plays tenor with an ardent, Pizzarelli. His keen melodic sense is a grinding style that should be well worthy fit for Schwartz’s compositions. complemented by Hall’s lyrical prose.

David Marriott, Jr. is the first-call His writing is very much within the ANTON SCHWARTZ BY DANIEL SHEEHAN trombonist in Seattle and a fine com- tradition of the classic bop quintet, poser and arranger. His 13-piece en- tempered with modern flares and so- es, and opens new doors in a post-bop semble Triskaideka band has enjoyed phistication. While many of his con- sense, while still maintaining a foot- a seven-year residency at the recently temporaries seek innovation through hold in the blues and hard bop tradi- closed Tula’s in Belltown. new rhythms, modern technology, tions. For Schwartz and his mates, the Trumpeter and bandleader Jared Hall and fusion forms, Schwartz finds spac- tune is the thing. $10–23. For details visit earshot.org. MONDAY, OCTOBER 21, CHAPEL PERFORMANCE SPACE, 7:30PM Briggan Krauss

Throughout his career, saxophon- With a roving musical imagination ist and composer Briggan Krauss has that has brought him to the guitar, pushed the limits of acoustic perfor- , and media installation, mance and improvisation. An iconic Krauss has counterbalanced his criti- performer, his approach to composi- cally acclaimed recordings as a leader tion has developed into a morphology and sideman—notably on Bill Frisell’s of sound, documented most recently 2004 release Unspeakable—with aca- on this year’s release Art of the Saxo- demic work and installation art. Cur- phone: The Lethe Lounge Sessions (Ilu- rently, he is a professor in the Perfor- so). mance and Interactive Media Arts Krauss’ connection to Seattle is [PIMA] and Sonic Arts MFA pro- strong. He studied at Cornish Col- grams at Brooklyn College. lege of the Arts, worked with guitar- Art of the Saxophone continues a se- ist , and played in pianist ries of landmark recordings that mark Wayne Horvitz’ Pig Pen . his major contribution to solo-saxo- BRIGGAN KRAUSS BY DANIEL SHEEHAN Moving to New York City in 1994, he phone performance. Recorded over ture towel-mute—he uses a repertoire immersed himself in the downtown two days at the Lethe Lounge, Krauss of long tones and multiphonics to rig- scene, stretching sound as part of practically manifests his experimental orously sculpt his sound. The product Steven Bernstein’s Grammy-winning extension of practice. Through various is boundary-pushing. group Sexmob, among other projects. forms of muting—including his signa- $10–23. For details visit earshot.org.

36 • EARSHOT JAZZ • October 2019 WEDNESDAY OCTOBER 23, TOWN HALL FORUM, 7:30PM Jay Thomas EWA

YUKI HIRATE, DAISUKE KURATA, MAYA HATCH, PHIL SPARKS, ATSUSHI IKEDA, JAY THOMAS, YASUHIRO BY HAROLD ROSENCRANTZ Welcomed by KBCS. mension to by Thomas This performance celebrates jazz, in As the 2019 Earshot Jazz Festival and Kohama. a real and tangible sense, as an inter- featured resident artist, Jay Thomas Vocalist Maya Hatch adds a special national music. While jazz was born introduces us to friends from Japan, element to the performance. An alum- from and belongs to the Black Ameri- where he often ventures and performs, nus of the acclaimed jazz program at can experience, the free exchange of in his East West Alliance (EWA). One Roosevelt High School, Hatch attend- multi-cultural musical ideas has de- of the very few who plays both brass ed the New School in New York and fined the last half century of the art and woodwind instruments, Thomas recorded a CD with pianist Gerald form. is equally compelling on trumpet as he Clayton. She toured Japan, where she Thomas will give a pre-concert inter- is on saxophone. He has performed in met Kohama, who in turn asked her view with historical photos beginning Seattle and around the world for the if she knew Thomas. That led to the at 7pm. past half century, with in this three in collaboration on this special $10–29. For more information visit city that dates back to teenage gigs at occasion. earshot.org. the Black and Tan on Jackson Street. In-demand bassist Phil Sparks has Thomas met his current musical col- performed with the Seattle Repertory Jay Thomas: 2019 Festival laborators in Japan while looking for a Jazz Orchestra for 25 years. He is a vis- Resident Artist good flute. He describes his friend Ya- ible presence on the Seattle scene, with suhiro Kohama as the “spiritual center a history dating back to the New Or- Multi-horn player, composer, and of the group,” as well as a “monster sax leans sessions with Floyd Standifer. educator Jay Thomas has been a player.” With Kohama on tenor, and Drummer Daisuke Kurata lived for pivotal figure on the Seattle jazz Atsushi Ikeda on alto, Thomas is in a many years in New York, attending scene since the late 1960s. position to freely drift from trumpet the New School, and receiving men- Jay Thomas EWA perform with to alto, from flugelhorn to tenor and torship from Grady Tate. He has spent the Roosevelt Jazz Band on flute. Young pianist Yuki Hirate dou- time in Cuba studying Latin rhythms. Saturday, October 19 at 7:30pm. bles on trumpet as well, adding a di-

October 2019 • EARSHOT JAZZ • 37 WEDNESDAY OCTOBER 23, CHAPEL PERFORMANCE SPACE, 7:30PM Larry Grenadier / Kelsey Mines & Carlos Snaider

Welcomed by KNKX. Guitarist/vocalist Carlos Snaider Though the bass can sometimes and bassist Kelsey Mines open drop to the background, bassist with their duo, EarthToneSky- Larry Grenadier has always stood Tone. The group combines the out. He’s been a key part of Brad storytelling of song with fresh har- Mehldau’s trio since the early monic and rhythmic concepts, in nineties and has recorded with what Snaider calls “a meditation and Charles Lloyd. of collectivity and community.” His recent work includes the su- A graduate of Harvard Univer- pergroup Hudson, with Jack De- sity, where he studied with Vijay Johnette, John Medeski, and John Iyer, Yosvany Terry, and others, Scofield. Snaider’s incumbent curiosity and Grenadier’s newest album, The serious creativity has flowered in Gleaners (ECM) is a solo-outing projects with performance artist that takes its title from Agnés Josefina Báez, percussionist Ra- Varda’s film, The Gleaners and . I jna Swaminathan, among others. Like the “gleaners” in the docu- Mines, a ubiquitous and adroit mentary—scavengers who gather musician, plays in symphonies the remains of crops after har- and teaches at the university and vest—Grenadier finds his own high school level throughout the way in what he calls a “search for a Northwest. A recipient of the Hol- center of sound and timbre, for the land Scholarship where she studied threads of harmony and rhythm with contrabassist Sorin Orcinschi that formulate the crux of a musi- and a graduate of the University of cal identity.” LARRY GRENADIER BY JUAN HITTERS Washington, her recent work in- The album has been praised by cludes recordings with Neil Welch plores not only the full range of the in- DownBeat as “a purposeful artistic vi- and tours with singer-songwriter ings. strument’s technical , but sion—at points melodic, athletic and $10–27. For details visit earshot.org. also the emotional range of a deeply gut-wrenchingly vulnerable—that ex- sensitive jazz artist.”

38 • EARSHOT JAZZ • October 2019 THURSDAY, OCTOBER 24, LANGSTON HUGHES PERFORMING ARTS INSTITUTE, 7:30PM Folks Project

Co-presented with Dr. James Gore, Revelation, who won a 2014 Stranger Jackson Street Music Program, and Genius Award for music. While In- Langston. dustrial Revelation has taken a step Folks Project is a local collective back, Flory-Barnes and Lewis have joined by the bonds of friendship, kept busy pursuing other projects. In music, and reverence to a city’s sto- 2018, Flory-Barnes debuted his sym- ried past. Familiar folks make up this phonic work at On the Boards, “On project—Darrius Willrich (piano), Loving the Muse and Family,” a mé- D’Vonne Lewis (drums), and Evan lange of music, memoir, comedy, and Flory-Barnes (bass). The project is a storytelling. Lewis is tireless on the love letter to Seattle’s jazz history, es- scene as a sought-after leader and side- pecially Jackson Street and the Central man. He made an impressive showing Area artists who came of it, including at this year’s Jazz Port Townsend. Quincy Jones, Jimi Hendrix, Ernes- The opportunity to perform with big tine Anderson, , Dave names at a national and international Lewis (D’Vonne Lewis’ grandfather), stage often pulls artists away to L.A. EVAN FLORY-BARNES BY DANIEL SHEEHAN Floyd Standifer, Buddy Catlett, and or the other coast, NYC. We’re lucky an ever-changing city. Charles Mud- Anthony Ray (who many would rec- that these folks have stayed in Seattle, ede for The Stranger recommends, “If ognize by his stage name, Sir Mix-A- enriching our community and push- you live in and love this city, this event Lot). ing the dialogue of jazz in our city ever is like going to the church of its deep- Each band member is a titan in Se- forward. est culture and structures of feelings.” attle’s music scene and beyond. Will- Folks project honors the past and As part of the program, Dr. James rich’s time spent playing keys for looks to the future at the historic Gore will lead a discussion with these Grammy-Award winning rap trio Langston Hughes Performing Arts In- contemporary African American jazz Digable Planets led him to perform stitute in the Central District, an his- artists on their experiences and com- at mega festivals including Pitchfork torically Black neighborhood facing munity influences. Music Festival and Sasquatch Music rapid gentrification. Together they ex- $10–23. For details visit earshot.org. Festival. Flory-Barnes and Lewis are plore what it looks and sounds like to one half of the much-loved Industrial thrive and stand resilient in the face of

ART OF JAZZ ANN REYNOLDS’ CLAVE GRINGA THU OCT 10, 5:30 – 7:30 PM

From the charm of the cha-cha-cha to the depth of AfroCuban rhythms, Clave Gringa presents a broad spectrum of Cuban music.

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.

October 2019 • EARSHOT JAZZ • 39 THURSDAY, OCTOBER 24, TOWN HALL FORUM, 7:30PM Jenny Scheinman and Allison Miller’s Parlour Game

CARMEN STAAF, , JENNY SCHEINMAN, ALLISON MILLER BY SHERVIN LAINEZ With signature charisma and a me- we realized that we had found some- alongside Lucinda Williams, Jason lodious groove that’s at once fresh and thing really special,” Miller said. Par- Moran and Bruce Cockburn. rooted, Jenny Scheinman and Allison lour Game was born. A graduate of Garfield High School, Miller’s Parlour Games explores the Jazz Times calls the group “practical- Staaf, who takes after Thelonious frenetic depths of jazz’s history and the ly flawless” in their musical relation- Monk’s explosive improvisational social nature of musicians and their in- ship. Miller and Scheinman’s musical style, has long worked with Miller on struments in conversation. The name is bond is nearly 20 years in the making, other projects—including their release a nod to social games and music born beginning in the early in 2000s when Science Fair, named a Best of 2018 al- from parlors of the twentieth century. they met in Brooklyn. bum by the New York Times—as well Enlisting the talents of Seattle-born Miller, an accomplished drummer, as Herbie Hancock and Wayne Short- pianist Carmen Staaf and bassist Tony composer, and teacher at the New er. Bassist Scherr has played exten- Scherr, the quartet represents a conflu- School, got her start in the D.C. swing sively with Bill Frisell, Sex Mob, and ence of top jazz artists, each bringing scene and has since played with Dr. Maria Schneider. to the stage impressive résumés and Lonnie Smith, Natalie Merchant, Ani The quartet “swings in its own way well-honed, diverse experiences. Difranco, and Brandi Carlile. yet with a consistent sense of com- Staaf and Scherr subbed in Miller’s Scheinman has made a name for her- mitment, embodying what musicians award-winning sextet, Boom Tic self as a critically acclaimed - call ‘the pocket’: a rhythmic feel that Boom (in which Scheinman plays ist wending her way through jazz and is firmly locked in but also relaxed to the violin), for a show and according roots Americana, collaborating exten- the point of elasticity,” says the Wall to Miller, the affinity was immediate. sively with Bill Frisell, and playing Street Journal. “Even the edgiest material swung, and $10–37. For details visit earshot.org.

40 • EARSHOT JAZZ • October 2019 FRIDAY OCTOBER 25, TOWN HALL FORUM, 8PM Tyshawn Sorey Quintet

The prodigious drummer, multi- bands of pianist Vijay Iyer, saxophon- Columbia University with trombon- instrumentalist, composer, and all- ist , and another musi- ist, ethnomusicologist, and electronic- around musical mind presents his cal visionary, Butch Morris. music experimentalist George Lewis. quintet to demon- Sorey composes for strate to us what jazz and performs with is now. new-music ensem- New Yorker critic bles, often working Alex Ross says Sorey at the intersections “transcends the bor- of composition and ders of jazz, classi- improvisation. His cal, and experimen- works have pre- tal music.” miered in settings Sorey, who is the as varied as Lincoln Seattle Symphony’s Center’s Mostly current Composer- Mozart Festival, in-Residence, has Ojai Music Festival, been lauded for his Walt Disney Hall, breathtaking virtu- and the Stone mu- osity and musical sic club in Manhat- vision. New York tan. His large-scale Times says he “plays compositions have not only with gale- included a song force physicality, cycle paying tribute but also a sense of to Josephine Baker. scale and equipoise.” In 2017, Sorey was The Wall Street Jour- named a MacAr- nal notes that Sorey thur Fellow through is, “a composer of one of its “genius radical and seem- grants.” ingly boundless Appearing with ideas.” Sorey, emerging Sorey grew up in talents bassist Nick Newark, NJ, play- Dunston, an “indis- ing makeshift drum pensable player on kits and learning the New York avant- jazz and other mu- garde” (New York sical forms from Times); vibraphonist his father’s records. Sasha Berliner, win- He taught himself ner of LetterOne’s to play piano in a TYSHAWN SOREY BY DANIEL SHEEHAN 2018 Rising Stars church basement, Jazz Award; reeds added at his middle school, In graduate programs, Sorey ap- player Morgan Guerin, who has and then specialized on drums at prenticed with other expansive minds worked with Terri Lyne Carrington, Newark Arts High School. in jazz and related music: at Wesley- Ellis Marsalis, , He attended William Paterson Uni- an University (where he now teaches and many others; and rising piano star versity as a classical trombone major, music and African American Studies Lex Korten. but soon was playing drums with the there), with ; and at $10–35. For details visit earshot.org.

October 2019 • EARSHOT JAZZ • 41 SATURDAY, OCTOBER 26, CHAPEL PERFORMANCE SPACE, 7:30PM Dreamstruck: Marilyn Crispell, Joe Fonda, Harvey Sorgen

Avalanches of chords, earthquakes Veterans orbiting the cosmos of the contours of romance, blues, free play- of hits and rolls, tsunamis of pizzicato experimental scene, the three bring ing, and abstraction.” plucks: these are the warp and woof of “a broad spectrum of moods and col- Exploring the repertoire of players the improvisational trio Dreamstruck, or…” from their instruments, released like Paul Motian and guitarist Bob featuring pianist Marylin Crispell, on their self-titled debut this year. All Windbiel, Dreamstruck recombines bassist Joe Fonda, and drummer/edu- About Jazz calls it a “distinctive and the codes of musical genes spread cator Harvey Sorgen. fascinating interplay that explores the across a spectrum of velocity, impact, and delay. Sorgen is a cunning time- keeper with a big heart. An educator and recipient of multiple grants, he’s played and recorded with the likes of , , , and others. Sorgen has long cultivated his in- terplay with Joe Fonda, a primary member of Anthony Braxton’s iconic groups from 1984-1999. Fonda, a stu- dent of the Berklee College of Music, is a commissioned composer whose creative focus has been paired most recently with and in the trio 3dom Factor; with reedman in his su- pergroup Conference Call; and in his own groups, including the Off Road Quartet. Crispell remains “one of the very few pianists who rise to the challenge of free jazz,” (New York Times). In a ca- reer that boasts six ECM albums, she has been an integral part of ’s group and has played with , Anders Jormin, Wa- Leo Smith, Roscoe Mitchell, and others. As of recent she has expanded her bluesy sound-world with Tyshawn georgetowninnseattle.com Sorey, and in Trio Tapestry, with saxo- phonist , and drummer Carmen Castaldi. $10–29. For details visit earshot.org.

42 • EARSHOT JAZZ • October 2019 SATURDAY OCTOBER 26, TOWN HALL GREAT HALL, 8PM SATURDAY, OCTOBER 26, RAINIER ARTS CENTER, 7:30PM Kiki Valera y su Son Cubano Seattle Women’s Jazz Orchestra w/ Rosana Eckert

Presented by Seattle Women’s Jazz Orchestra. The Seattle Women’s Jazz Orchestra (SWOJO) presents some of the best fe- male jazz artists in the region and pro- vides an invaluable avenue for female composers to showcase their creative work through an annual competition. Commemorating its 7th annual composition contest concert, SWO- KIKI VALERA PHOTO COURTESY OF THE ARTIST JO proudly premiers the 2019 win- Welcomed by KNKX. ning composition, “L’illusionniste” Kiki Valera y su Son Cubano plays from deep within the grain of Cuba’s musical by Seulah Noh. Born in South Korea traditions. Led by Valera, a virtuoso of the eight-stringed guitar “quatro cubano,” but now Boston-based, Noh’s musical the group conjures the tropical metropole of Havana, playing a genre of music background encompasses classical and (son cubano) merged in Eastern Cuba from the songs, instruments, and dances jazz genres. She attended Ewha Wom- of Spain and Africa, and popularized by groups such as Buena Vista Social Club. an’s University in Seoul then went on Son Cubano practically runs in Valera’s blood. The eldest son of Félix Valera to study at Berklee College of Music Miranda, Kiki Valera took on the traditions of his ancestors—subsistence farm- where she received a degree in Jazz Per- ers of Sierra Maestra mountain region—cutting his teeth playing alongside his formance and Jazz Composition. Noh father in the septet La Familia Valera Miranda. Recording and touring interna- is currently pursuing a Masters in Jazz tionally, this family group became, and remains, an important torch holder for Composition at New England Con- the Son Cubano style, collecting and preserving traditional songs. servatory, all while performing with Himself a founder of the Septeto Turquino and former member of the or- her own jazz ensemble, and working chestra Los Kurachi, Kiki Valera has continued the spirit of the tradition, now on her first album with her 18-piece contributing his knowledge to the Pacific Northwest. Here he shares his incred- jazz orchestra. ible chops with Coco Freeman, former singer of NG La Banda and Adalberto SWOJO welcomes special guest Alvarez y su Son; Carlos Cascante, three-time Grammy winning vocalist of the Rosana Eckert, an internationally re- Spanish Harlem Orchestra; and trumpeter Leider Chappotín, the great grand- nowned vocalist, songwriter, arranger, son of the famous Cuban bandleader Felix Chappotín. His band also includes and jazz educator. She invokes an ef- Yanill Nario (bass), Pedro Vargas (bongos), Steve Mostovoy (trumpet), Joe de fortless blend of tradition and origi- Jesus (congas), Alfredo Polier (maracas), and Javier Marú (guitar). nality, sincerity and virtuosity, humor Released this October, their album Vivencias En Clave Cubana (Origin) is a and heart. Her fifth solo album titled memoir of stories from the streets of Havana, the rolling hills and rugged moun- Sailing Home, produced by renowned tains of Cuba. It features original sones, songs written for the “tres,” a three- singer/pianist/arranger Peter Eldridge, course guitar, Cuban , (not to be confused with the Spanish style of the was released in June of this year to rap- same name), a 2/4 time vocal , and , a quick-tempoed turous reviews. “This album should vocal music once sung in brothels and musical theaters. Valera’s creative employ- prove to all that she is a world-class ment of tradition continues the evolution of music almost bigger than the island artist, fluent in many genres, and ab- it emerged from. As his strings begin to buzz, get ready to dance. solutely compelling as a vocalist and $10–33. For details visit earshot.org. composer.” (Jazz History Online). $10–20. For details visit earshot.org.

October 2019 • EARSHOT JAZZ • 43 SATURDAY, OCTOBER 26, THE ROYAL ROOM, 7PM (EARLY SHOW) 9:30PM (LATE SHOW) Thomas Marriott with Friends From Philly / Stuart MacDonald Trace Generations

Se at t le-ba sed trumpeter Thom- as Marriott re- mains at the forefront of the Seattle jazz scene. His sense of com- munity here in Seattle, has been strengthened by paying dues in New York, and his continued travels to Philadelphia as a member of Or- rin Evans’ Cap- tain Black . THOMAS MARRIOTT PHOTO COURTESY OF THE ARTIST For this perfor- mance, Marriott brings in some of the Philadelphia jazz scene’s brightest stars. Bassist Mike Boone is one of the elders of the Philly scene, and has worked alongside , James Moody, Clark Terry, and . Talented young drummer Mekhi Boone is Mike’s thirteen-year-old son. To Marriott, he is emblematic of jazz culture in Philadelphia. “Mekhi represents what I’ve come to love about the jazz community in Phila- delphia, namely that older musicians still consider it their responsibility to edu- cate the younger musicians, and the younger musicians still seek out and listen to the elder musicians,” says Marriott. Tenor saxophonist Victor North rounds out the band. Born in Tacoma, North wandered into Philadelphia jazz culture by way of Alaska. He seems to be at the epicenter of jazz in Philly at all times, meeting Marriott along the way in the Captain Black Big Band. This performance celebrates jazz culture in two great American cities, united on one stage for one evening. It is the product of musical partnerships made through Marriott’s friendship and collaborative efforts with Evans. Veteran saxophonist Stuart MacDonald opens with a quartet of top young players, including pianist Dylan Hayes and drummer Xavier Lecouturier, who often perform together as DX-Tet, and first-call bassist Michael Glynn com- pletes the quartet. $10–29. For details visit earshot.org.

44 • EARSHOT JAZZ • October 2019 SUNDAY, OCTOBER 27, LANGSTON HUGHES PERFORMING ARTS INSTITUTE, 7:30PM Kassa Overall & Sullivan Fortner

Swing” and reciting a trib- ute to Betty Carter into a stunning performance with Carrington, Esperanza Spalding, and pianist Leo Genovese. Fortner, who turned in a sparkling set at the Royal Room last spring; was fea- tured to good effect on last year’s Blue Note at Sea Jazz Cruise; played in Roy Har- grove’s band for seven years and has also worked with Stefon Harris and Etienne Charles. His with vo- calist Cécile McLorin Sal- vant on her album The Win- dow won a Grammy-Award. Ne w- Orle a n s-r a i sed, Fortner attended the New SULLIVAN FORTNER PHOTO COURTESY OF THE ARTIST KASSA OVERALL BY SPENCER OSTRANDER Orleans Center for the Co-presented with Langston. Overall appeared this past summer at Creative Arts, then got de- Welcomed by Rainier Avenue Radio. Capitol Hill Block Party on the heels grees from Oberlin and the Manhat- Pair a Garfield High School Jazz of his well-received debut full-length, tan School. He has two albums as a Band drummer turned up-and-com- Go Get Ice Cream and Listen to Jazz, leader, Aria and Moments Preserved, ing emcee/ producer with one of the which the New York Times described on Impulse! with more promised from best young pianists in jazz and what as “one of the few genuine-sounding, Mack Avenue. Fortner is an expansive, do you get? An evening of brilliant and full scope amalgams of contemporary harmonically brilliant, virtuosic player creative duets. hip-hop and jazz.” Overall came up lis- with a crisp touch who draws a variety Kassa Overall, whom Time Out New tening to both Ornette Coleman and of influences into his playing. York has called a “renaissance man,” Public Enemy but says it took him a a Fortner appears on two of the best played drums at Garfield in the early while to make the connection. When tracks on Go Get Ice Cream, the dark 2000s, got a degree in music at Ober- he embraced both jazz and hip-hop as “Prison and Pharmaceuticals,” which lin in 2006, came home for a while, equal partners, he says he started to Fortner co-wrote; and “Who’s On the then moved to New York, where he make good music. Playlist,” which Overall produced. No has collaborated with a host of cre- Overall expands and improves prac- telling what this talented, multi-direc- ative artists, including Vijay Iyer, Terri tically everything he touches. At the tional duo might perform in Seattle, Lyne Carrington, Das Racist, Carmen 2018 Detroit Jazz Festival tribute to but whatever they do, it will probably Lundy, and the late Geri Geri Allen, Overall—a laptop “crate include Overall’s talent with his laptop Allen, as well as appearing with Jon digger” par excellence—interpolated as well as his drums. Batiste & Stay Human on The Late Allen’s poem, “Metaphor,” and snip- $10–29. For details visit earshot.org. Show with Steven Colbert. pets of her performing “Bemshaw

October 2019 • EARSHOT JAZZ • 45 SUNDAY, OCTOBER 27, TIMBRE ROOM, 9PM DJ Nathan Womack / sunking w/ Kassa Overall; visuals by Scott Keva James

The last date of the new Ear- shot Jazz Festival DJ-led audio/ visual series. International vinyl expert and 10.2 - Wayne Horvitz record-producer DJ Nathan Snowghost Trio / Blackwell, Horvitz, Womack spins before and after McGreevy and Moore a one-time-only collaborative 10.5 - Skerik Band concert from elusive studio duo sunking, with guest emcee, in- 10.6 - Nancy Wilson Tribute Show with Katrina Kope demand New York frontman and Friends and beatmaker, Kassa Overall. 10.8 - FrancescoJAZZ Quartet: Extra magic comes in the cap- Velocity CD Release tivating shapes and forms of 10.10 - Earshot Jazz Festival monochromatic screen projec- presents: Wally Shoup tions by visual artist Scott Keva

10.11 - Tribute to Tony James. Williams Lifetime Sunking is the collective ex-

10.12 - Earshot Jazz Festival perimental sights and sounds presents: Makaya of bobbygrooves and sous chef. McCraven Originally intended as a studio 10.14 - Indigo Mist (Cuong Vu project to explore the crossings and friends) of avant-garde, hip-hop, jazz, NATHAN WOMACK PHOTO COURTESY OF THE ARTIST 10.15 - Earshot Jazz Festival and , sunk- presents: Here to Play ing has morphed into a full- 10.22 - Carrie Wicks Quintet: fledged band featuring a rotating cast of talent. Their debut, self-titled album CD Release received critical acclaim after its release in February of 2019, “[It] sounds like it 10.26 - Earshot Jazz Festival could’ve come out on the Ninja Tune or Mo Wax labels in 1998; I mean that in presents: Thomas the most positive way possible way,” writes Dave Segal (The Stranger). Marriott w/ Friends Drummer/rapper Kassa Overall is a Seattle-reared revelation on the New York from Philly scene in his own bands and with the likes of Vijay Iyer. “One of the few genuine- 10.27 - Earshot Jazz Festival sounding, full-scope amalgams of contemporary hip-hop and jazz.” (New York presents: Playback: Times Seattle Public Library ) Showcase Wax Thematique label founder and music producer, Nathan Womack has spent the last few years traveling Asia digging for obscure recordings that would otherwise likely be lost forever. In between curating vinyl releases for Wax The- matique, Nathan produces for the Seattle/St. Louis instrumental hip-hop proj- ect, Paces Lift and Ben Bounce. After a year of living and traveling in Asia, Womack returns to the Earshot Jazz festival with newly discovered records and an itch to share them. $10–16. For more information visit earshot.org.

46 • EARSHOT JAZZ • October 2019 SUNDAY, OCTOBER 27, THE ROYAL ROOM, 7:30PM Sasha Berliner

Presented by LetterOne. Berliner has also proven herself to be Indeed, recent performances have seen Welcomed by KBCS. an avid advocate for gender justice. She her leading ensembles through her There must be something in the wa- has put her Non Fiction Writing Mi- own tight, stellar compositions while ter—the Bay Area has produced a spoil nor to good use—which she earned in she fluidly moves her way among vibes of riches in the music world, each art- tandem with her Jazz BFA—publish- and MalletKAT—a MIDI percussion ist infused by the region’s creative and ing a series of personal essays, poems, mallet controller—producing compel- entrepreneurial spirit. At 21 years old, and critiques. She gained attention ling melodies and harmonies. -reared musician, com- with her well-received essay, “An Open When she’s not leading her own group poser, bandleader, or performing solo, and producer Sa- Berliner can be sha Berliner joins seen collaborating the ranks, blasting with musicians in- onto the scene as cluding trumpeter one of today’s most vibrant young art- and vibraphon- ists. ist Warren Wolf. Since earning the On October 25 at 2018 LetterOne Town Hall Seattle, Rising Stars Jazz Berliner appears in Award, having drummer-compos- convinced the jury er Tyshawn Sorey’s with “her musicali- quintet, along with ty, dedication [and] Morgan Guerin, pushing the jazz pianist Lex Korten, envelope forward,” and bassist Nick Berliner has toured Dunston. the country and is In her Royal now set to release Room perfor- her next recording mance, expect project, Azalea, nothing short of this fall—all while sonic brilliance, continuing her SASHA BERLINER PHOTO COURTESY OF THE CELL THEATRE as her new proj- studies at The New ect, Azalea, takes School of Jazz and Contemporary Mu- Letter to (And the Rest its inspiration from rock, funk, alt, sic in New York. of the Jazz Patriarchy).” Berliner is an and more. Drawing her approach to jazz—a po- supporter of the We Have Voice Col- “There’s also a good balance of full- litically charged “multi-inspirational lective–a group of musicians, perform- length songs and interludes that will hybrid”—from the likes of Björk, ers, and scholars who have developed display a harmonic and rhythmic , , the Flam- an accountability policy for discrimi- palette that’s very diverse,” Berliner ing Lips, and more, the vibes and per- nation in performing arts spaces. tells JazzTimes. “It is definitely going cussion phenom notes that she seeks Stemming from that “do-it-all” cre- to take the listener on a journey.” to explore other genres and become dence, Berliner has shaped her career $10–20. For details visit earshot.org. “known as someone who can do all of not solely as a performer, but an arrang- it,” she tells JazzTimes. er and bandleader in her own right.

October 2019 • EARSHOT JAZZ • 47 MONDAY, OCTOBER 28, THE ROYAL ROOM, 7:30PM SPL Playback w/ Hound Dog Taylor’s Hand and Lori Goldston

Presented by Seattle Public Library. Classically trained and rigorously de- The New Foundation, Northwest Film Seattle Public Library is proud to trained, possessor of a restless, semi- Forum, On the Boards, Seattle Inter- present a free concert with Earshot feral spirit, Lori Goldston is a cellist, national Film Festival, Seattle Jewish Jazz, featuring two PlayBack musi- composer, improviser, writer, and Film Festival, Bumbershoot, Crossing cians: Hound Dog Taylor’s Hand and teacher based in Seattle. Her voice as Border Festival, and more. Lori Goldson. a cellist, amplified or acoustic, is full, Hound Dog Taylor’s Hand takes its PlayBack is the library’s streaming textured, committed and original. Her name from the six-fingered blues slide and downloadable local music col- work wanders restlessly across borders guitarist. The group creates spontane- lection launched in 2016. The online that separate genre, discipline, time ous compositions rooted in the lan- platform helps new audiences discover and geography. She performs as a so- guage of the blues and free jazz. Vet- a wealth of today’s local music, care- loist and collaborator throughout the erans of Seattle’s avant-garde-jazz and fully curated by a jury of music com- U.S. and abroad. underground-rock scenes, Hound Dog munity leaders and library staff. 100 Her work has been commissioned by Taylor’s Hand is guitarist Jeffery Tay- albums are made available to the pub- and/or performed at the Kennedy Cen- lor, bassist John Seman, and drummer lic for free each year. Check out the ter, Frye Art Museum, Portland’s Time Mark Ostrowski. collection at playback.spl.org Based Art Festival (TBA), WNYC, Free. For details visit earshot.org.

TUESDAY OCTOBER 29, SEATTLE ART MUSEUM, 7:30PM Avishai Cohen Quartet

ECM recording artist Avishai Cohen (bass), (piano), and has been an impactful voice on the Ziv Ravits (drums). global jazz scene. Cohen’s approach as While his quartet is his main focus, a bandleader brings an ensemble sense Cohen also leads the trio Triveni with to the proceedings, with teamwork an Omer Avital and Nasheet Waits, and essential and intuitive process. The was a member of the SF JAZZ Col- weaving of harmony allows Cohen to lective for six years. In September of soar as a trumpeter, unleashing his ex- this year, he released the album, Play- quisite tone, and unrelenting emotion. ing The Room, with long-time friend His playing can be dark and mournful Yonathan Avishai. He also records and one moment, building to a dramatic tours with The 3 Cohens Sextet, the swell the next, conveying an ability to hit family band with his sister, multi- express strong sentiment lyrically. reedist Anat, and brother, saxophonist Cohen arrives with members of his Yuval. In a sense, the three Cohens Israeli quartet in tow, in the vapor trail from Tel Aviv are akin to the Jones AVISHAI COHEN BY JOHAN JACOBS of acclaim for their 2017 release Cross family of Detroit, and the Marsalis My Palm with Silver, their second on family of New Orleans. vis in his probing curiosity, and bold ECM. Each composition offers hope Festival goers will hear much of the adventurism. What is striking is his and healing to its listeners. It arrives ancestral trumpet legacy of jazz in Co- ability to approach emotional content in a time when cultural and sociologi- hen’s playing. While his music is com- in broad terms without relinquishing a cal narratives are defining modern jazz positionally audacious and original, tether to beauty and colorful imagery. composition. The quartet for the Seat- like most jazz trumpeters, there are $10–33. For details visit earshot.org. tle performance includes Barak Mori unmistakable remnants of Miles Da-

48 • EARSHOT JAZZ • October 2019 WEDNESDAY, OCTOBER 30, TOWN HALL GREAT HALL, 7:30PM Egberto Gismonti

Sponsored by Bainbridge Island Museum of Art. Brazil has one of the deepest, most vibrant musi- cal cultures on the planet, and even among Bra- zilians, Egberto Gismonti stands out as a singular talent. A virtuoso on both guitar and piano, as well as an astounding composer and improvisor, Gismonti is able to seamlessly bridge many different musical realms. He’s fully at home in the classical world, having studied in Paris with the legendary com- positional mentor Nadia Boulanger. Gismonti has navigated a deep immersion into the music and culture of his native Brazil’s rainforest, and the natural world forms a core element of his expres- sive palate. Gismonti’s path through the worlds of modern jazz and improvised music is uniquely idiosyncrat- ic. He first began recording in the late ‘60s and has released a long line of superb albums on the ECM label, starting with Dança das Cabeças in 1976, a revelatory album with a fellow Brazilian iconoclast, percussionist . Over the decades he has played as a solo artist, and in various configurations in groups with other ECM masters including Norwegian saxophonist , the late bassist , guitarist , and percussionist . As a musician, Gismonti has a unique identity, and in solo performances he often achieves a body of sound that scarcely seems like it could come from one player. He taught himself how to play guitar and, because he was accustomed to the wider range of the piano, he felt constricted by the conventional six , so he simply designed his own 8 and 10-string guitars. Gismonti’s music is elemental: the sound of earth, sky and living creatures, rich in technical nuance and skill yet flowing with a seemingly cellular con- nection to the physical world. His appearances in the U.S. are rare, and not to be missed. $10–55. For details visit earshot.org.

EGBERTO GISMONTI BY ROBERTO CIFARELLI

October 2019 • EARSHOT JAZZ • 49 WEDNESDAY OCTOBER 30, LANGSTON HUGHES PERFORMING ART INSTITUTE, 7:30PM Options: Eric Revis, & Nasheet Waits

Co-presented with Langston. Welcomed disparate parts of any musical journey by Rainier Avenue Radio. in any ensemble setting. Three jazz masters spanning two gen- Drummer Nasheet Waits is a New erations, Options features long-time York native who has been active on the collaborators Eric Revis (bass), and scene since very early in his life. He is Nasheet Waits (drums), known for known for his work with pianists Ja- their work together in the trio Tarba- son Moran and Fred Hersch, bassist by with Orrin Evans. They are joined Christian McBride, as well as in the by iconic multi-reedist Bennie Mau- trio Tarbaby with Revis and Evans. He pin, whose résumé includes stints with is the son of drummer , many of the historic masters of jazz. and received an education on the Max Maupin appeared on Miles Da- Roach side of things coming up. Waits’ vis’ game changing album Bitches playing has evolved into a modern Brew, and was a founding member of amalgam of jazz percussion along with Herbie Hancock’s . Also the rare ability to stretch parameters a member of the eclectic Mwandi- and create departure points for soloists shi Sextet, Maupin has collaborated ERIC REVIS BY DANIEL SHEEHAN without losing sight of the journey at with , Jack DeJohnette, Watts to name but a few. His solo hand. , and , among work falls on the eclectic side, with ad- Options Fall 2019 West Coast tour others. venturous playing and composing by marks the ensemble’s debut perfor- Seattle fans are likely to be acquaint- the compelling bassist. Revis’ most re- mance. Festival goers in Seattle will ed with Revis as the long-time bassist cent release, Sing Me Some Cry is a for- bear witness to a group in full explo- of the Branford Marsalis Quartet. He ay into improvisational adventurism. ration mode, in search of a common has performed with Avishai Cohen, In any musical setting, his playing is center. Kurt Rosenwinkel, and Jeff “Tain” bold and daring, lashing together the $10–29. For details visit earshot.org. FRIDAY, NOVEMBER 1, TOWN HALL FORUM, 8PM Flat Earth Society Welcomed by KBCS. fore forming FES, he worked with lead brilliantly. Of 2006’s Psychoscout, The mammoth 18-piece Belgian jug- a host of iconoclasts, from cult band Nic Jones said in All About Jazz that gernaut unleashes jazz of unrivaled X-legged Sally to guitarist it “takes in a kind of homage to Kurt spirit and verve with staggering chops. to revolutionary choreographer Anne Weill, incidental music for old TV de- Wildly innovative, complex, incendi- Teresa De Keersmaeker. tective series, and perhaps a touch of ary, and as tight as a fine classical or- At first as a way to accompany a Henry Cow at its most formal. All that chestra. circus act, he hit upon the big-band makes for listening that could have On this US tour, some 20 years af- format to explore his expansive musi- you laughing out loud or wondering ter its founding, FES presents a special cal vision. The result has been liber- happily over the sheer bravura of it all.” anniversary “best of” repertoire. The ated and inspired. FES has become an For points of comparison, think Vi- Flat Earth conspiracy was hatched in eclectic behemoth, but one so friendly enna Art Orchestra, or Willem Breu- an Antwerp club, Cartoons, by Peter and thrilling that it has won acclaim ker Kollektief. But also think: once- Vermeersch, who describes himself as from audiences both within and far in-a-lifetime opportunity. How often “a no-nonsense artist, former architect, beyond jazz circles. do 18 rip-roaring jazz aces tour from clarinettist, saxophonist, keyboard As a very big big band, FES is anything anywhere close by, let alone Belgium? player, composer, and producer.” Be- but unwieldy, it follows Vermeersch’s $10–37. For details visit earshot.org. SATURDAY NOVEMBER 2, TOWN HALL FORUM, 7:30PM Seattle Jazz Showcase: Bill Anschell Standards Trio / LaVon Hardison / Tarik Abouzied, Cole Schuster, Joe Doria

BILL ANSCHELL BY STEVE KORN LAVON HARDISON BY LISA HAGEN GLYNN TARIK ABOUZIED BY DANIEL SHEEHAN In the second of two Seattle showcas- classics into vehicles for her soulful an intuitive sense no matter what es, three distinct groups display the art approach to modern jazz. Her per- the musical pretense. Guitarist Cole of the trio and the soul of jazz. formances exude a positive glow and Schuster is one third of The 200 Trio Bill Anschell has produced a legacy infectious excitement, which draw and performs with saxophonist Alex of recordings and live performances from her background in the theatri- Dugdale’s group, Fade. He has proven that have firmly established his star as cal arts, and opera. In 2016, Hardison himself over the last few years to be a a pianist and composer. His Standards won the Seattle-Kobe Sister City Jazz first-call player around Seattle and the Trio released their latest album, Shift- Vocalist audition at Jazz Alley, lead- Northwest. His stellar performance at ing Standards, last year on the Origin ing to performances in Kobe, Osaka, the 2017 Ballard Jazz Festival Guitar label. Anschell favors spontaneity, es- and Tokyo, Japan. In 2017, she was Summit put his trio alongside bands chewing a set-list, instead relying on named Earshot Jazz Vocalist of the led by the likes of Brad Shepik and his band’s expertise to deliver unique Year. In 2018, she released her latest al- Dan Balmer. No matter where this interpretations. Standards’ bassist Jeff bum, There Will Be Trouble, which in- trio ventures for this performance, the Johnson has contributed mightily to cludes Hardison’s renditions of songs journey will be soulful and burning on the trio tradition as a member of Hal by The Clash, Katy, Perry, Simon and . Galper’s groundbreaking rubato style Garfunkel, and more. Between sets, saxophonist Stuart trio and The Jessica Williams Trio. Drummer Tarik Abouzied and B-3 MacDonald’s Trace Generations proj- Drummer Byron Vannoy has no fear organist Joe Doria have serious his- ect brings together Seattle veterans in leading the trio down a divergent tory together, notably in Doria’s soul and up-and-comers. path from which it first wandered. jazz trio, McTuff. Drawing from their $10–25. For details visit earshot.org. Vocalist LaVon Hardison is a singer collective experiences in jazz, soul, with a penchant for transforming pop and funk, the pair have developed

October 2019 • EARSHOT JAZZ • 51 SATURDAY, NOVEMBER 2, ILLSLEY BALL NORDSTROM RECITAL HALL, BENAROYA HALL, 7:30PM SUNDAY, NOVEMBER 3, KIRKLAND PERFORMANCE CENTER, 2PM Seattle Repertory Jazz Orchestra: “Jazz of the Harlem Renaissance”

Presented by Seattle Repertory Jazz professionally, and among the first The Seattle Repertory Jazz Orches- Orchestra. generation of blues singers to record. tra includes a host of top players from The Seattle Repertory Jazz Orches- Ivie Anderson is well known for her the Seattle region. Co-directed by tra continues its series celebrating the scat vocalizations and for the many drummer Clarence Acox, a nation- Harlem Renaissance. The orchestra years spent touring with Ellington’s ally recognized, recently retired direc- honors the music by performing it as band. tor of bands at Seattle’s Garfield High it was originally created with original The program includes early hits School, and saxophonist/arranger Mi- instrumentation. Soulful baritone vo- by the Jimmie Lunceford Orchestra chael Brockman, a longtime faculty calist Reggie Goings and sultry alto and work by Cab Colloway and Fats member at the University of Washing- Jacqueline Tabor join the SRJO in a Waller. ton School of Music, the orchestra’s special tribute to Ma Rainey, Ivie An- Special guest speaker Jason Turner repertoire is drawn from the 100-year derson, and others. from the Northwest African American history of jazz, from turn-of-the-20th Ma Rainey—“Mother of the Museum will share insights about the century to turn-of-the-21st Blues”—was one of the earliest Af- history and personalities of this im- century avant-garde. rican-American singers to sing blues portant period in the development of $20–50. For details visit earshot.org. American culture.

SUNDAY, NOVEMBER 3, LANGSTON HUGHES PERFORMING ARTS INSTITUTE,7:30PM Gary Hammon: “In case you didn’t know”

Support provided by 4Culture. Learning saxophone as a student at trumpeters Nathan Breedlove and Co-presented with Langston. Garfield High School, Hammon later Erik Esvelt, and saxophonist Booker Welcomed by Rainier Avenue Radio. studied under Joe Brazil, and played T. Williams Jr., among others. Passing “You gotta understand that jazz is an with many Seattle-based bands includ- on his knowledge to a new generation, expression of self.” ing Dave Lewis, the Black and White Hammon mentors and coaches the Driven by a sense of history and pur- Affair, Chuck Metcalf, and Booker T. award-winning jazz band at Ballard pose, Seattle jazz titan Gary Hammon Williams. In 1969, he went on to at- High School. debuts his brand-new project, “In case tend the New England Conservatory The festival apperance marks the you didn’t know,” at this year’s Earshot as part of its first intake of black stu- project’s debut in its entirety. Ham- Jazz Festival in an evening rooted in dents. After spending decades in the mon is joined by Carter Yasutake Seattle’s Central District jazz legacy. New York and Boston jazz scenes, he (trumpet), Booker T. Williams (saxo- Blending live storytelling and origi- returned to Seattle to “give back to the phone), and special guests. nal compositions, this show is inspired community that raised him.” Ham- As Seattle continues to rapidly by Hammon’s experience growing up mon performed with another great Se- change, it is more vital than ever to in the CD in the ‘60s and ‘70s before attle based saxophonist, Hadley Cali- honor the cultural arts districts and his storied career in New York with man, eventually making a two tenors heroes that brought the city to life: key figures like Big , Ray album Fangs (2005). Gary Hammon’s “In case you ddn’t Charles, , Rahsaan Roland Continuing to enrich the local know,” is an illuminating work of art Kirk, , and many more. scene, Hammon often performs with that does just that. seasoned Seattle stalwarts including $10–23. For details visit earshot.org.

52 • EARSHOT JAZZ • October 2019 MONDAY, NOVEMBER 4, CHAPEL PERFORMANCE SPACE, 7:30PM Travis Laplante

Travis Laplante is a saxophonist, wants. He’ll often walk into a room composer, and qigong practitioner. with no agenda except to become one His tornado of a performance with with the room and the audience. Gerald Cleaver at last year’s festival the inspiration for perform- was one of the great Earshot shows. He ing live and recording seven consecu- returns, this time solo, for what is sure tive nights of pure improvisation in to be a breathless showing. southern Vermont—a brutal process Laplante has made a name for him- of emptying to discover moments of self through his imaginative compo- magic and crushing vulnerability. The sitions and fierce playing style, end- result are self-churning moments of lessly fueled by circular breathing. His humility and growth with profound mystifying and transporting playing new depth, compiled on Laplante’s qualities align with his belief that mu- album, human, set to be released in TRAVIS LAPLANTE PHOTO COURTESY OF NEW AMSTERDAM sic “should be played and heard with October on New Amsterdam Records. experience of music, The Chapel Per- every cell of the body.” Laplante returns to share the sincere formance Space. Heavily influenced by Daoism and joys and intimacy of solo improvisa- $10–27. For details visit earshot.org. the practice of qigong, Laplante seeks tion with Earshot audiences in one to empty the ego of its own desires and of Seattle’s most sacred spaces for the

TUESDAY, NOVEMBER 5, TOWN HALL FORUM, 7:30PM Emmet Cohen Trio

Welcomed by KNKX. is frequently colored with wit,” says A young piano virtuoso and compos- DownBeat. er from New York, Emmet Cohen has Adding to his burgeoning discogra- emerged on the jazz scene as one of his phy, Cohen released his latest album generation’s key figures. as a leader, Dirty In Detroit this year. With his fluid technique, innovative The rising star’s résumé already com- tonal palate, and an extensive reper- prises stints with some of jazz’s most toire, Cohen plays with the command esteemed elders, including drummers and passion of an artist fully devoted and , and bass- to his medium. ist . Earlier this year, Cohen received the When he’s not leading his trio, Co- prestigious American Pianists Awards hen is an in-demand sideman, hav- and the Cole Porter Fellowship in Jazz ing appeared with , EMMET COHEN BY JOHN ABBOTT from the American Pianists Associa- , Jimmy Heath, Too- tion. “Favoring swinging phrasing and tie Heath, and Christian McBride, thing different to the foundation of concise melodic arcs colored by rich among others. Connecting deeply jazz. I love connecting with the ances- harmonic vocabulary, the tasteful with the music of Louis Armstrong, tors through music.” Tokyo native and pianist never lets his nimble, cleanly Duke Ellington, Earl ‘Fatha’ Hines, former Seattle bassist Yasushi Naka- articulated technique overflow into Fats Waller, James P. Johnson and mura and New York based drummer clutter. His music’s uplifting attitude Willie ‘The Lion’ Smith,’ Cohen says Evan Sherman complete the trio. $10–27. For details visit earshot.org. “All of [these artists] brought some-

October 2019 • EARSHOT JAZZ • 53 TUESDAY NOVEMBER 5, TRIPLE DOOR, 7:30PM Yemen Blues Plays Hallel

Presented by Triple Door. James, Blind Lemon Jefferson, and to Nir (Cello), Yonatan Voltzok (trom- “Music shows us how to be a hu- the music of . bone), and Asa Kook (trumpet). The man being in this world,” says bassist From opera-singing, acting, dancing, world-renowned violinist Navid Kan- Ravid Kahalani, aptly describing the and tours with the Israeli singer-song- delousi joins them on violin and Per- universal mind- sian four string set behind his kamancheh. globe-trotting K a h l a n i ’ s big band, Yemen lyrics can be Blues. heard in his First formed in language of or- 2010 with bass- igin, Yemenite ist Omer Avital Arabic, his in New York, mother tongue, Yemen Blues ig- Hebrew, as nited audiences well as in Mo- by incorporating roccan and mid-career Miles French Cre- Davis’ sprawling ole. His new- multi-national est composi- vision, the lo- tions use words comotive halle- and images lujahs of Duke found in the Ellington, and Tehillim, the the power of an- Hebrew-la n- cient Arabic and guage psalms. Hebrew song, all Hallel is a in a gumbo-beat Jewish Prayer of Yemenite and recitation from West African in- Psalms 113– fluences. 118, spoken by Called “ridicu- observant Jews lously charismat- on holy days as ic” by National an act of praise Geographic, Ka- RAVID KAHALANI COURTESY OF THE ARTIST and thanksgiv- halani leads his ing. ensemble with boundless creativity writer Idan Raichel, his search led him “It doesn’t matter where you come and energy. His journey began in Is- to New York, where his otherworldly from, your language is my language,” rael, where he grew up in a traditional chops found worldly-wise partners. Kahalani sings in the song “Um Min Yemenite family, learning synagogue Yemen Blues embodies Kahalani’s for- Al Yaman.” True missionaries of mu- chants, traditional Arabic music, and ward vision with a super group of musi- sic, Yemen Blues mixes praise, lament, mastering the three-string bass, or cians from around the world including and celebration in a multi-dimensional gimbri. He was drawn to the musical Rony Iwryn (percussion), Shanir Blu- ritual held on the stage’s sacred gather- diaspora of America in artists like Skip menkranz (bass, oud), Nikki Glaspie ing. (drums), Salit Lahav (flute, sax), Yoed $32–40. For details visit earshot.org.

54 • EARSHOT JAZZ • October 2019 WEDNESDAY, NOVEMBER 6, TRIPLE DOOR, 7:30PM Amendola vs. Blades w/ Skerik, Jeff Parker & Cyro Baptista

Presented by Triple Door. Drummer/composer Scott Amendo- la, and Hammond B-3 organ master Wil Blades are long time collaborators. The two can lay down grooves with an almost telepathic bent. For this show- ing at the Triple Door, the duo are joined by experimental guitarist Jeff Parker, eclectic world percussionist Cyro Baptista, and Seattle’s dark lord of the saxophone, Skerik. Amendola creates a balanced array of sounds from his drums and electron- ics, as his ecordings and performances with the likes of Bill Frisell, Pat Mar- tino, and attest. He SCOTT AMENDOLA BY LENNY GONZALEZ has formed over the years an uncom- mon alliance with Blades, creating in ther towards the outermost orbits of Amendola vs. Blades’ newest al- Amendola vs. Blades an explorative soul-jazz. bum, Everybody Wins, expanding sound on the edge of the funk/soul Baptista’s Brazilian and world percus- upon their first release, titled sim- universe. sion add adventurous, textural sounds. ply, Greatest Hits. The band’s Earshot The music is groove based, but hard- Skerik—who’s playing escapes catego- performance culminates a West Coast ly dance-centric, or for that matter, ry—is free to feel his way through the tour in support of their new release, straight ahead. Incorporating guitar- music, in an environment that flexes giving Seattle fans the opportunity to ist Parker from the his core impulses as an interpreter of hear the band at its peak. band Tortoise pushes the sound fur- jazz, rock, funk, soul, and the vast un- $25–28. For details visit earshot.org. known.

The Black/White Chord Shape System for and Improvisation A Fresh Vision & Language for the Organization of Voicings and Improvisation Detailing the Jazz Pedagogy Legacy All ages and levels. of the Great Jerome Gray!

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417 pages spiral bound

Now $34.95 Want to play? You can. at Amazon.com www.jazznightschool.org • (206) 722 6061 Earshot Jazz reader discount available, email A nonprofit 501(c)(3) organization, Jazz Night School does not discriminate on the basis of race, color, gender, national or ethnic origin in administration of its educational policies. [email protected] before you buy!

October 2019 • EARSHOT JAZZ • 55 WEDNESDAY, NOVEMBER 6, BENAROYA HALL, 7:30PM Chick Corea Rhapsody in Blue with the Seattle Symphony

Presented by Seattle Symphony Corea is a relentlessly creative spirit, combines the sounds of Spain, Cuba, Orchestra. continually reinventing his approach and Brazil, with whispers of Gershwin NEA Jazz Master Chick Corea has to music in the process. His foray into and Ravel. attained living legend The evening is highlight- status after five decades ed by Corea’s interpreta- of unparalleled creative tion of the beloved Gersh- output. He is the fourth win classic, “Rhapsody in most nominated artist in Blue.” The piece resonates the history of the Gram- from the opening mys, with 63 nominations trill and unfolds into the resulting in 22 awards. classical rhapsodic piano Whether delving into passage that has seen and straight ahead or avant- heard interpretation from garde, probing the intri- classical and American cacies of or fusion, jazz masters alike. or exploring the world of The piece is consid- children’s music, Corea ered the quintessential has touched an astonish- American masterpiece ing number of musical that bridges the worlds of bases in his career, includ- European classical music ing some forays into sym- and American jazz. Origi- phonic works both as an nally commissioned by interpreter and composer. bandleader Paul White- What is most astonishing, man in 1924, the piece is the consistent standard cemented Gershwin’s rep- of excellence both in the utation as a serious com- studio and in concert. poser. It began the con- Since embarking on a versation of renewing im- solo career in 1966, Corea provisation as a classical has been at the forefront element. The symphony of jazz, both as a pianist orchestra scoring was in- forging new ground with troduced in a 1942 perfor- his acoustic jazz ensem- mance, though completed bles and as a pioneering much earlier. electric keyboardist with The Seattle Symphony , the will perform under the Elektric Band, and now baton of guest conductor, the electro/acoustic Vigil. CHICK COREA PHOTO COURTESY OF THE ARTIST Steven Mercurio. Innova- Corea took over the pi- tive in its approach to pro- ano chair in Miles Davis’ band from classical composing includes the mas- gramming and frequency of recording, Herbie Hancock in 1968. Between terful “Piano concerto #1,” an original the orchestra appears to be a prime fit then and 1970, he appeared on the he recorded with the London Philhar- for this much-anticipated partnership. groundbreaking Davis recordings monic. In this festival performance, $67-127. For details visit earshot.org. , , Corea partners with the Seattle Sym- , and Live-Evil. phony to perform this concerto, which

56 • EARSHOT JAZZ • October 2019 October 2019 • EARSHOT JAZZ • 57 JAZZ AROUND THE SOUND October 10 TUESDAY, OCTOBER 1 FX Crosswinds Project feat. Randy JA Billy Cobham’s Crosswinds Project feat. Brecker (early show), 7:30pm , 7:30pm BP Billy Stapleton/Annie Eastwood Duo, 8pm JA Billy Cobham Crosswinds Project feat. Randy KP SRJO: Count Basie Meets Duke Ellington, EB Eric Verlinde, 6pm Brecker (late show), 9:30pm 2pm ES Daniel Davison, 6pm LA Happy Hour w/ Phil Sparks, 5pm LH Jamaaladeen Tacuma Trio feat. Gary Bartz, JA Eliane Elias, 7:30pm NC Stephanie Porter, 8pm 7:30pm MT Open Mic, 9pm RX Secret Jazz Club Show, 7pm MO Keb’ Mo’ Solo, 7pm OT Hot Jazz Hootenanny, 7:30pm SE Kris Davis’ Diatom Ribbons w/ Terri Lyne RR Eland Jordan, 4pm OW Tuesday Jam, 9:30pm Carrington & Val Jeanty, 8pm RR Katrina Kope & Friends: Nancy Wilson SB Joe Doria Presents, 10pm VC LaVon Hardison, 7:30pm Tribute, 7:30pm WEDNESDAY, OCTOBER 2 VI Jovino Santos Neto, 9pm TF Bria Skonberg, 7:30pm VI Lennon Aldort, 6pm EB Eric Verlinde, 6pm SATURDAY, OCTOBER 5 VI Ron Weinstein Trio, 9:30pm ES Daniel Davison, 6pm BH SRJO: Count Basie Meets Duke Ellington, JA Eliane Elias, 7:30pm 7:30pm MONDAY, OCTOBER 7 RR Wayne Horvitz: The Snowghost Sessions CM Eugenie Jones, 7pm BH Tinariwen, 7:30pm / Blackwell, Horvitz, McGreevy & Moore, DA The Real Imposters, 8pm CC Cider Sessions, 9:30pm 7:30pm EB Frank S. Holman III, 6pm EB Tom Kellock, 6pm SC Bellingham Jazz Walk 2019, 6pm EG Dorothy Rodes, 7pm ES Eric Verlinde, 6pm VI Marco de Carvalho Trio, 9pm ES Daniel Davison, 6pm JA Jontavious Willis, 7:30pm WW Jeff Ferguson’s Triangular Jazztet, 7pm JA Billy Cobham Crosswinds Project feat. Randy NL Mo’ Jam Mondays, 9pm THURSDAY, OCTOBER 3 Brecker (early show), 7:30pm RR Salute Sessions, 10pm JA Billy Cobham Crosswinds Project feat. Randy TD Trey McLaughlin & The Sounds of Zamar, BC Adam Kessler, Phil Sparks & guests, 9pm Brecker (late show), 9:30pm 7:30pm BP Darrelle Holden Quartet, 8pm LT Hip Shot, 7pm EB Eric Verlinde, 6pm RR Skerik Band, 8:30pm TUESDAY, OCTOBER 8 EC Los Lobos, 7:30pm SB Latin & Cuban Night, 7pm BI Buena Vista Social Club Film, 2pm ES Daniel Davison, 6pm TF Seattle Jazz Showcase: Jacqueline Tabor, BI Buena Vista Social Club Film, 7:30pm JA Billy Cobham Crosswinds Project feat. Randy Marina Albero, Mandyck/ Johnson/ Bishop, BP Billy Stapleton/Annie Eastwood Duo, 8pm Brecker, 7:30pm 7pm EB Eric Verlinde, 6pm NC Trish, Hans & Phil, 7pm VI The Tarantellas, 6pm ES Daniel Davison, 6pm NF Jeremy Shaskus & Rob Sheps, 7pm VI Suffering F-ckheads, 9:30pm JA Jimmy Webb, 7:30pm SB Proud & Nasty , 10pm MT Open Mic, 9pm VI Casey MacGill, 5:30pm SUNDAY, OCTOBER 6 NC Naomi Moon Siegel Quartet w/ Marina Albero, VI Marina Christopher, 9pm AB Max Holmberg & the 200 Trio, 9pm 7pm FRIDAY, OCTOBER 4 CR Racer Sessions, 8pm OT Hot Jazz Hootenanny, 7:30pm CZ Choro Music Open Jam, 2pm OW Tuesday Jam, 9:30pm BI Johnaye Kendrick Group, 7:30pm DT Darrell’s Sunday Jam, 8pm RR FrancescoJAZZ Quartet: Velocity CD Release, BP Mark Dufresne Band, 9pm EB Tom Kellock, 6pm 7:30pm CM Clave Gringa, 7pm ES Eric Verlinde w/ Josephine Howell, 6pm SB Joe Doria Presents, 10pm EB Tom Kellock, 6pm FB Seattle Jazz Vespers: Eugenie Jones, 6pm TD Gerald Clayton Quartet / The Westerlies, 7pm ES Daniel Davison, 6pm

Calendar Key

AB The Angry Beaver FX The Factory Luxe RA Rainier Arts Center BC Barça JA Dimitriou’s Jazz Alley RH Roosevelt High School Performing Arts Theatre BH Benaroya Hall KP Kirkland Performance Center RR The Royal Room BI Bainbridge Island Museum of Art LA Latona Pub SB Sea Monster Lounge BP Bake’s Place Bellevue LH Langston Hughes Performing Arts Institute SC WJMAC at Sylvia Center for the Arts CC Capitol Cider LT Luther’s Table SE Seattle Art Museum CM Crossroads Bellevue MO Moore Theater ST Stage 7 CR Cafe Racer MQ Triple Door MQ Stage and Lounge SW Stone Way Café CT Columbia City Theater MT Mac’s Triangle Pub TD Triple Door CZ Couth Buzzard Books MV Marine View Church TF Town Hall Forum DA The Dane NC North City Bistro & Wine Shop TH Town Hall DT Darrell’s Tavern NF New Frontier Lounge TR Timbre Room EB El Gaucho Bellevue NL Nectar Lounge UP University Place Civic Center EC Edmonds Center for the Arts OT Oliver’s Twist VI Vito’s EG Egan’s Ballard Jam House OW Owl ‘n Thistle VC Vashon Center for the Arts ES El Gaucho Seattle PN Phinney Neighborhood Center WW Whisky West FB Seattle First Baptist Church PT Paramount Theater

58 • EARSHOT JAZZ • October 2019 WEDNESDAY, OCTOBER 9 CM 2nd Act: Sonny Byers Band, 7:30pm CT Julian Lage Trio, 8pm EB Eric Verlinde, 6pm EB Frank S. Holman III, 6pm CURTAIN CALL ES Daniel Davison, 6pm ES Daniel Davison, 6pm JA Jimmy Webb, 7:30pm JA Manhattan Transfer (early show), 7:30pm weekly recurring performances NL Kneebody / Trio Subtonic: Galen Clark, Dan JA Manhattan Transfer (late show), 9:30pm Balmer, D’Vonne Lewis, 8:30pm LT Mercedes Nicole, 7pm SC Naomi Moon Siegel Quartet, 7pm NC Hopscotch, 8pm MONDAY VI Thomas Marriott, 9pm RR Makaya McCraven (Early Show), 7pm WW Hartman Friction, 7pm RR Makaya McCraven (Late Show), 9:30pm CC Cider Sessions, 9:30 THURSDAY, OCTOBER 10 SB Latin & Cuban Night, 7pm EB Tom Kellock, 6 TF Afro-Electric: Val Jeanty & Ravish Momin / BI Jazz with Jim Lecture, 7pm ES Eric Verlinde, 6 Fay Victor & Myra Melford, 7:30pm NL Mo’ Jam Mondays, 8:30 BC Adam Kessler, Phil Sparks & guests, 9pm VI Jerry Zimmerman, 6pm BP Darrelle Holden Quartet, 8pm VI Kareem Kandi, 9:30pm RR Salute Sessions, 10 CH Don’t Move, 8pm EB Eric Verlinde, 6pm SUNDAY, OCTOBER 13 TUESDAY ES Daniel Davison, 6pm AB Max Holmberg & the 200 Trio, 9pm JA Manhattan Transfer, 7:30pm BP Billy Stapleton & Annie East- BI A Great Day in Harlem Film, 2pm wood, 8 MQ Mochima, 5pm CR Racer Sessions, 8pm NC Danny Godinez & Lorrie Ruiz, 7pm CZ Open Jazz Jam w/ Kenny Mandell, 2pm EB Eric Verlinde, 6 RR Wally Shoup, 7:30pm DT Darrell’s Sunday Jam, 8pm ES Daniel Davison, 6 SB Jean Chaumont Band, 8pm EB Tom Kellock, 6pm OT Hot Jazz Hootenanny, 7:30 SB Proud & Nasty Jam Session, 10pm ES Eric Verlinde w/ Josephine Howell, 6pm SE Art of Jazz: Clave Gringa, 5:30pm JA Manhattan Transfer, 7:30pm OW Jazz Jam, 9:30 TH Jazz Up Jackson Street: A Benefit for MV Ann Reynolds and Clave Gringa, 5pm SB Joe Doria Presents, 10 Washington Middle School & Garfield High PN Duo Violão + 1, 7pm School, 7pm PT Postmodern Jukebox, 8pm WEDNESDAY VI Casey MacGill, 5:30pm TD Youn Sun Nah, 7:30pm VI Jennifer Kienzle, 9pm TR DJ J-Justice and Afrocop, 9pm EB Eric Verlinde, 6 FRIDAY, OCTOBER 11 VI Jonas Myers, 6pm ES Daniel Davison, 6 VI Ron Weinstein Trio, 9:30pm WW Triangular Jazztet CH Amy Denio: Truth is Up For Grabs, 8pm CM Ranger & The Re-Arrangers, 7pm MONDAY, OCTOBER 14 (1st, 3rd, 5th) EB Tom Kellock, 6pm CC Cider Sessions, 9:30pm THURSDAY ES Daniel Davison, 6pm CH Darius Jones, 7:30pm JA Manhattan Transfer (early show), 7:30pm EB Tom Kellock, 6pm BC Adam Kessler & Phil Sparks, 9 JA Manhattan Transfer (late show), 9:30pm ES Eric Verlinde, 6pm LA Happy Hour w/ Phil Sparks, 5pm BP The Darelle Holden Quartet, 8 NL Mo’ Jam Mondays, 9pm EB Eric Verlinde, 6 MQ The Hot McGandhis, 9pm RR Indigo Mist, 7:30pm RR Tribute to Tony Williams Lifetime (Early RR Salute Sessions, 10pm ES Daniel Davison, 6 Show), 6:30pm TD DakhaBrakha, 7:30pm OS Shawn Schlogel, 7 RR Tribute to Tony Williams Lifetime (Late Show), 9:30pm TUESDAY, OCTOBER 15 SB Proud and Nasty Session, 10 TF Orrin Evans Trio w/ Jeff Tain Watts, 8pm BP Billy Stapleton/Annie Eastwood Duo, 8pm VI Afrocop, 9pm FRIDAY EB Eric Verlinde, 6pm SATURDAY, OCTOBER 12 ES Daniel Davison, 6pm EB Tom Kellock, 6 JA Christian Sands, 7:30pm ES Daniel Davison, 6 BI Best of the West Sound, 12pm MT Open Mic, 9pm CH Amy Denio: Truth Is Up For Grabs, 8pm KE Rick Kitaeff & Bruce Barnard, 6:30 LA Happy hour w/ Phil Sparks, 5 SATURDAY EB Frank S Holman III, 6 ES Daniel Davison, 6 MQ Move On Up, 9 SB Latin & Cuban Night New! Daily pick up and delivery in Seattle SUNDAY and North Lake Washington areas AB Max Holmberg & 200 Trio, 9 7 Luthiers, set up and CR Racer Sessions, 8 restoration experts, and makers on site CZ Choro Jam, 2 (1st & 3rd) Free consultation in shop or by CZ Jazz Jam, 2, (2nd & 4th) appointment in Seattle DT Darrell’s Tavern Jazz Jam, 8 Lessons EG Tom Kellock, 6 ES Eric Verlinde w/ Josephine Since 1964 Howell, 6 970 5th Ave NW Suite 100 VI Ron Weinstein Trio, 9:30 Issaquah WA 98027 www.HammondAshley.com

October 2019 • EARSHOT JAZZ • 59 NC Jonathan Ng Quartet, 7pm JA Madeleine Peyroux, 7:30pm OT Hot Jazz Hootenanny, 7:30pm SE Shai Maestro Trio / Wayne Horvitz & Sara OW Tuesday Jam, 9:30pm Schoenbeck, 7:30pm RR Here to Play, 7:30pm TR DJ OCnotes: Smacktalk, 9pm The Bass Church SB JoeT Doriahe Presents,Bas 10pms Church VI TAlexh Guilbert,e B 6pmass Church The Northwest double bass specialists TD DakhaBrakha,The Northwe 7:30pmst double bass specialists VI RonTh Weinsteine Northwes tTrio, dou b9:30pmle bass specialists

TF Seattle Modern Orchestra w/ Darius Jones & www.basschurch.com Wayneww Horvitz,w.ba 7:30pmsschurch.com MONDAY,www OCTOBER.basschu r21ch.com CC Cider Sessions, 9:30pm WEDNESDAY, OCTOBER 16 CH Briggan Krauss, 7:30pm CT Aaron Parks Little Big, 7:30pm EB Tom Kellock, 6pm EB Eric Verlinde, 6pm ES Eric Verlinde, 6pm Sales, Rentals, ES Daniel Davison, Sales, 6pm Rentals, NL Mo’ Jam Sales,Mondays, Rentals, 9pm JA Christian Sands, 7:30pm RR Salute Sessions, 10pm Repairs, Restorations, LH Knife Repairs, Knights / Darius Restorations, Jones and Stas Thee TF Anton Repairs, Schwartz Sextet,Restorations, 7:30pm Lessons Boss, 7:30pm Lessons TUESDAY, OCTOBER Lessons 22 Convenient North Seattle Location MQ SweetspotConvenient Combo, North 5pm Seattle Location Convenient North Seattle Location NC Jazz Jam w/ Darin Clendenin Trio, 7pm BP Billy Stapleton/Annie Eastwood Duo, 8pm

SB Shawn Schlogel Band, 8pm EB Eric Verlinde, 6pm (206)784-6626 SB (206)784-6626Ari Band, 10pm ES (206)784-6626Daniel Davison, 6pm 9716 Phinney Ave. N. SC 9716East-West Phinney Septet Ave. N.feat. Jay Thomas, 7pm JA 9716Leo PhinneyKottke, Ave.7:30pm N. Seattle, WA. 98103 UP Seattle,Michael WA. Martinez, 98103 12:30pm MTSeattle, Open Mic,WA. 981039pm ~by appointment only~ VI ~byBrad appointment Gibson Presents,only~ 9pm NC~by Dreams appointment Come only~ True Band, 7pm WW Jeff Ferguson’s Triangular Jazztet, 7pm OT Hot Jazz Hootenanny, 7:30pm OW Tuesday Jam, 9:30pm THURSDAY, OCTOBER 17 RR Carrie Wicks Quintet: CD Release, 8pm

BC Adam Kessler, Phil Sparks & guests, 9pm SB Joe Doria Presents, 10pm BP Darrelle Holden Quartet, 8pm EB Eric Verlinde, 6pm WEDNESDAY, OCTOBER 23 The Bass Church ES TDanielhe Davison, Ba 6pmss Church CH TLarryh Grenadiere Ba / Kelseyss C Mineshu &r Carlosch The Northwest double bass specialists JA MadeleineThe Nort hPeyroux,west dou b7:30pmle bass specialists The Northwest double bass specialists Snaider, 7:30pm SB Comfort Food, 8pm EB Eric Verlinde, 6pm www.basschurch.com SB Proudw w& wNasty.ba Jamssc hSession,urch .10pmcom ES Danielww Davison,w.bas 6pmschurch.com TH Chucho Valdés Jazz Batá, 8pm JA Leo Kottke, 7:30pm VI Casey MacGill, 5:30pm NC Vianni-Bergeron, 7pm VI Emma Caroline Baker, 9pm SB DX-tet, 10pm SC Mike Allen Quartet, 7pm FRIDAY, OCTOBER 18 TF Jay Thomas EWA, 7:30pm Sales, Rentals, Sales, Rentals, Sales, Rentals, BI Bill Anschell Trio, 7:30pm VI D’Vonne Lewis Trio, 9pm Repairs, Restorations, CH Clarice Repairs, Assad, 8pm Restorations, WW Hartman Repairs, Friction, Restorations, 7pm Lessons CM Joe Blue & The Lessons Roof Shakers, 7pm Lessons EB Tom Kellock, 6pm THURSDAY, OCTOBER 24 Convenient North Seattle Location Convenient North Seattle Location Convenient North Seattle Location ES Daniel Davison, 6pm BI Jazz with Jim Lecture, 7pm

JA Madeleine Peyroux, 7:30pm BC Adam Kessler, Phil Sparks & guests, 9pm (206)784-6626 LA (206)784-6626Happy Hour w/ Phil Sparks, 5pm BP(206)784-6626 Darrelle Holden Quartet, 8pm 9716 Phinney Ave. N. NC 9716Rod PhinneyCook & Ave.Toast, N. 8pm EB9716 Eric Phinney Verlinde, Ave. 6pm N. Seattle, WA. 98103 ST Seattle,Yoginis WA. Indian 98103 Jazz Project, 7:30pm ES Seattle,Daniel WA. Davison, 98103 6pm ~by appointment only~ SW~by Aureole, appointment 7pm only~ JA ~byBoney appointment James, only~ 7:30pm TH Cécile McLorin Salvant w/ Aaron Diehl Trio, LH Folks Project, 7:30pm 8pm NC Chris Stevens Band, 7pm VC Joel Ross ‘Good Vibes,’ 7:30pm SB Proud & Nasty Jam Session, 10pm VI Michael Owcharuk Trio, 9pm TF Jenny Scheinman/Allison Miller Parlour Game

w/ Carmen Staaf & Tony Scherr, 7:30pm SATURDAY, OCTOBER 19 VI Jacqueline Tabor, 9pm The Bass Church BI TGraceh eLove, B 7:30pmass Church The Bass Church The Northwest double bass specialists EB FrankThe S.No Holmanrthwest d oIII,ub l6pme bass specialists FRIDAY,The N OCTOBERorthwest doub le25 bass specialists ES Daniel Davison, 6pm BI Bad Luck w/ Lorraine Lau, 7:30pm www.basschurch.com JA Madeleinewww Peyroux,.bassc h7:30pmurch.com CM Purpleww Passionw.ba sSwingschu Band,rch .7pmcom RH Roosevelt Jazz Band w/ Jay Thomas EWA, EB Tom Kellock, 6pm 7:30pm ES Daniel Davison, 6pm SB Latin & Cuban Night, 7pm JA Boney James (early show), 7:30pm

SB Big Tooth, 10pm JA Boney James (late show), 9:30pm SE Joel Ross ‘Good Vibes’, 8pm LA Happy Hour w/ Phil Sparks, 5pm Sales, Rentals, Sales, Rentals, Sales, Rentals, VI The Tarantellas, 6pm NC Sugartime Trio w/ Kim Maguire, 8pm Repairs, Restorations, Repairs, Restorations, TF Tyshawn Repairs, Sorey Quintet, Restorations, 8pm SUNDAY, OCTOBER 20 Lessons VC Kiki Valera Quartet, Lessons 7:30pm Lessons AB Max Holmberg & the 200 Trio, 9pm VI Lushy, 9pm Convenient North Seattle Location Convenient North Seattle Location Convenient North Seattle Location CM Little Bill & Rod Cook, 12:30pm

SATURDAY, OCTOBER 26 CR Racer Sessions, 8pm (206)784-6626 CZ (206)784-6626Choro Music Open Jam, 2pm CH(206)784-6626 Dreamstruck: Marilyn Crispell, Joe Fonda, 9716 Phinney Ave. N. CZ 9716Music Phinney Improv Ave. Session N. w/ Kenny Mandell, 9716Harvey Phinney Sorgen, Ave. 7:30pm N. Seattle, WA. 98103 Seattle,7pm WA. 98103 CMSeattle, Hopscotch, WA. 98103 7pm ~by appointment only~ DT ~byDarrell’s appointment Sunday only~ Jam, 8pm EB~by Frank appointment S. Holman only~ III, 6pm EB Tom Kellock, 6pm EG Mark Christian Miller, 9pm ES Eric Verlinde w/ Josephine Howell, 6pm ES Daniel Davison, 6pm

60 • EARSHOT JAZZ • October 2019 JA Boney James (early show), 7:30pm JA Boney James (late show), 9:30pm LT Wendy Bradbury, 7pm NOTES NC Eric & Encarnacion, 8pm RA Seattle Women’s Jazz Orchestra w/ Rosanna Eckert, 7:30pm RR Thomas Marriott w/ Friends from Philly (Early Chamber Music America Presenter tails can be found at chamber-music. Show), 7pm Consortium Application Deadline RR Thomas Marriott w/ Friends from Philly (Late org. Show), 9:30pm Not-for-profit U.S-based presenters SB Latin & Cuban Night, 7pm Chamber Music America National TH Kiki Valera y su Son Cubano, 8pm may now apply for the 2020 Presenter Conference Registration VI Jerry Zimmerman, 9pm Consortium for Jazz. The presenters Early registration is now open for can engage up to three professional SUNDAY, OCTOBER 27 CMA’s 2020 National conference. The U.S. jazz ensembles to perform at the AB Max Holmberg & the 200 Trio, 9pm conference takes place at the Westin BI Savani Latin Jazz, 7:30pm presenter’s venue. Presenters must be CC Forman-Finley Band w/ Cherrie Adams, 6pm New York at Times Square on January organization-level members of CMA. CR Racer Sessions, 8pm 16–19 and includes performances by CZ Open Jazz Jam w/ Kenny Mandell & Friends, The application deadline is October 2pm ensemble music professionals, oppor- 11.The Presenter Consortium for Jazz DT Darrell’s Sunday Jam, 8pm tunities to hear speakers and network EB Tom Kellock, 6pm is funded by the Doris Duke Chari- ES Eric Verlinde w/ Josephine Howell, 6pm JA Davina & the Vagabonds, 7:30pm table Foundation. Application and de- CONTINUED ON PAGE 63 LH Kassa Overall & Sullivan Fortner, 7:30pm RR Sasha Berliner, 7:30pm TR DJ Nathan Womack: sunking & guest emcee Kassa Overall, 9pm VI Tim Kennedy, 6pm VI Ron Weinstein Trio, 9:30pm MONDAY, OCTOBER 28 CC Cider Sessions, 9:30pm EB Tom Kellock, 6pm ES Eric Verlinde, 6pm NL Mo’ Jam Mondays, 9pm RR Playback: Seattle Public Library Showcase, 7:30pm RR Salute Sessions, 10pm TUESDAY, OCTOBER 29 BP Billy Stapleton/Annie Eastwood Duo, 8pm EB Eric Verlinde, 6pm ES Daniel Davison, 6pm JA Davina & the Vagabonds, 7:30pm MT Open Mic, 9pm NC Songwriter Showcase, 7pm OT Hot Jazz Hootenanny, 7:30pm OW Tuesday Jam, 9:30pm SB Joe Doria Presents, 10pm SE Avishai Cohen Quartet, 7:30pm WEDNESDAY, OCTOBER 30 EB Eric Verlinde, 6pm ES Daniel Davison, 6pm LH Options: Eric Revis/Bennie Maupin/Nasheet Waits, 7:30pm MQ The Djangomatics, 5pm NC Greta Matassa Student Showcase, 7pm SB The High Council, 10pm SC Charlie Porter Quintet, 7pm TH Egberto Gismonti, 7:30pm VI Wally Shoup, 9pm WW Jeff Ferguson’s Triangular Jazztet, 7pm THURSDAY, OCTOBER 31 BC Adam Kessler, Phil Sparks & guests, 9pm BP Darrelle Holden Quartet, 8pm EB Eric Verlinde, 6pm ES Daniel Davison, 6pm JA ConFunkShun, 7:30pm SB Proud & Nasty Jam Session, 10pm SB The High Council, 10pm VI Marina Albero Trio, 9pm

October 2019 • EARSHOT JAZZ • 61 ON THE RADIO EARSHOT JAZZ  A Mirror and Focus for the Jazz Community 88.5 KNKX hosts Saturday Jazz Matinee, Jazz Sunday Side Up, Ken Wiley’s the Art of Jazz, and Jazz Northwest, in addition to its weekday Executive Director John Gilbreath NPR and late-night and prime-time jazz programs. Full schedule and info Managing Director Karen Caropepe Programs Manager Tara Peters at knkx.org. Abe Beeson hosts The New Cool, Saturdays, 3pm, featuring Development Manager Errin Patton 21st century jazz inspired and informed by the sounds of today, hip-hop, Marketing & Development Associate Lucienne funk, electronic & , followed by Robin Lloyd’s Jazz Caliente, Aggarwal 5pm, where jazz meets Latin rhythms. Jim Wilke’s Jazz Northwest, Sun- Earshot Jazz Editors Lucienne Aggarwal & days, 2pm, features the artists and events of the regional jazz scene. For Jazz Tara Peters NW podcasts of archived programs, see jazznw.org. 90.3 KEXP Contributing Writers Whitney Bashaw, , late-night Sundays, features Jazz Theater with John Gilbreath, Halynn Blanchard, Paul de Barros, 1am. Full schedule information is available at kexp.org. Marianne Gonterman, Ian Gwin, Bryan 91.3 KBCS, features creative and improvised music on Flotation Device Lineberry, Andrew Luthringer, Rayna with John Seman and Jonathan Lawson, Sundays at 10pm. The Monday Mathis, Peter Monaghan, Paul Rauch night lineup includes The Caravan with John Gilbreath at 7pm, Straight No Calendar Editors Carol Levin, Jane Emerson Chaser with David Utevsky at 9pm, with John Pai at 11pm, and & Tara Peters The Shape of Modern Jazz with Gordon Todd at 1am Tuesdays. Shows can Photography Daniel Sheehan be streamed anytime at kbcs.. Layout Tara Peters Distribution Karen Caropepe, Dan Dubie & 91.7 KSVR Mount Vernon, Doctor Dee hosts two nights of jazz, Fourth Earshot Jazz volunteers Corner Jazz, featuring recordings of live performance in Northwest Wash- Send Calendar Information to: ington, Sundays, 6-7pm, and The Doctor’s Den, Mondays, 8-10pm. email / [email protected] 102.9 KLOI-LP Lopez Island, Mondays & Fridays, 3pm, Joy Spring with Gary Alexander, classic jazz and the Great American Songbook. Board of Directors Danielle Leigh (President), Chris Icasiano (Vice President), Hollow Earth Radio, hollowearthradio.org. Fridays at 6pm, biweek- Chris Nutter (Secretary), Sheila Hughes ly, Black Roots Radio, hosted by Jordan Leonard, promotes jazz as a dy- (Treasurer), John W. Comerford, Maurice namic genre rooted in the Black American experience. James, Kenneth W. Masters, Gail Pettis, Rainier Avenue Radio, rainieravenueradio.world. Mondays and Sundays Ruby Smith Love, Diane Wah at 10pm, #MoJamMondays from the Nectar Lounge. Tuesdays at 6pm, Emeritus Board Members Clarence Acox, Sue Coliton, Taina Honkalehto, Hideo Makihara, Thursdays and Sundays at 2pm, and Saturdays at 5pm, Jazz from the Cabi- Lola Pedrini, Paul Toliver, Cuong Vu nets with Big Poppy. Founded in 1984 by Paul de Barros, Gary Bannister, and Allen Youngblood. Earshot Jazz is published monthly by Earshot Jazz Society of Seattle and is available online at www.earshot.org.

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Earshot Jazz ISSN 1077-0984 Printed by Pacific Publishing Company © 2019 Earshot Jazz Society of Seattle

MISSION STATEMENT To ensure the legacy and progression of the art form, Earshot Jazz cultivates a vibrant jazz community by engaging audiences, celebrating artists, and supporting arts education.

62 • EARSHOT JAZZ • October 2019 Notes, from page 61 National YoungArts Foundation Jazz For All Ages Opportunity Competition The September issue of Earshot Jazz with industry leaders and peers. Visit National YoungArts Foundation en- featured jazz opportunities in the Seat- chamber-music.org for registration de- courages young artists in the visual, tle area for those under age 21. Thank tails. literary, and performing arts to apply you to a reader who submitted another Sue Coliton named ArtsFund’s to win cash rewards of up to $10,000, opportunity that was not included: Interim CEO master classes, mentoring opportuni- Ev Stern’s Jazz Workshop. Created in 1994, the Maple Leaf workshop is a Emeritus Earshot Jazz board mem- ties, and national recognition. Appli- community open to musicians of all ber Sue Coliton has been appointed cations in the jazz category are accept- ages, levels, and abilities. The work- ArtsFund’s Interim CEO, replacing ed for instrumental and composition shop offers a combination of weekly the previous interim CEO, Sandy Mc- work, and open to both U.S. citizens ensembles tailored to your interests, Dade. Coliton, a respected executive and permanent residents 15-18 years of instruments, ability, and schedule, as active in Seattle’s arts community for age. The application deadline is Octo- well as private lessons, performances, decades, led the Paul G. Allen Fam- ber 11. For details visit youngarts.org jam sessions, concerts, and more. ily Foundation’s philanthropic pro- Learn more at evstern.com. grams for 15 years, directed the west coast office of the Nonprofit Finance Fund, and has provided consultation for many arts organizations, including ArtsFund. She will steward the orga- nization until a permanent President & CEO is appointed. Jack Straw Artist Residency Programs Application The Jack Straw Artist Residency Pro- grams offer established and emerging artists in diverse disciplines an op- portunity to explore the creative use of sound. Residencey artists receive free recording and production time with an engineer. Possible projects in- clude recording a music CD, sound for a gallery installation, and music design for digital media work. An ap- plication workshop is available on Oc- tober 2. The application deadline is November 1. Details can be found at jackstraw.org. New Work by Lowe Multi-disciplinary artist Naima Lowe presents new music, video, sculpture, and drawing on the risks and pleasures of being Black and valu- ing love in her exhibition, “Aren’t They All Just Love Songs Anyway?” The opening and reception is on October 4, 7pm at the Jack Straw New Media Gallery. The show runs through De- cember 13. For more information see jackstraw.org.

October 2019 • EARSHOT JAZZ • 63 Welcome to Earshot Jazz Feast-ival!______3 NON-PROFIT ORG Earshot Jazz 2019 Festival Lineup______4 EARSHOT JAZZ U.S. POSTAGE Festival Support & Tickets______6 3417 Fremont Ave N, #221 PAID Kris Davis’ Diatom Ribbons w/ Terri Lyne Carrington & Val Jeanty______8 Seattle, WA 98103 PERMIT No. 14010 Seattle Jazz Showcase: Marina Albero / SEATTLE, WA Jacqueline Tabor / Bishop, Mandyck, Johnson ______9 Change Service Requested Jamaaladeen Tacuma Trio feat.Gary Bartz______10 Bria Skonberg______11 Tinariwen______12 Trey McLaughlin & The Sounds of Zamar______12 Gerald Clayton Quartet / The Westerlies______13 Kneebody / Trio Subtonic: Galen Clark, Dan Balmer, D’Vonne Lewis______14 Art of Jazz: Clave Gringa______15 Jazz Up Jackson Street: A Beneft for Washington Middle School & Garfield High School______15 Wally Shoup______16 Orrin Evans Trio w/ Jeff “Tain” Watts ______17 Tribute to Tony Williams Lifetime______17 Makaya McCraven______18 Julian Lage Trio______19 Afro-Electric: Val Jeanty & Ravish Momin / Fay Victor & Myra Melford______20 DJ J-Justice / Afrocop w/ visuals by blazinspace______21 Youn Sun Nah______21 Darius Jones______22 DakhaBrakha______23 Here to Play______24 Seattle Modern Orchestra w/ Darius Jones & Wayne Horvitz______25 Aaron Parks Little Big______26 Knife Knights / Darius Jones / Stas Thee Boss______27 Chucho Valdés Jazz Batá______28 Cécile McLorin Salvant w/ Aaron Diehl Trio______29 BIMA: WITHIN/EARSHOT______30 Earshot At Vashon______31 Sunday Night DJ Series______31 Clarice Assad______32 Roosevelt Jazz Band w/ Jay Thomas EWA______32 Joel Ross ‘Good Vibes’______33 A $35 basic membership in Earshot brings Shai Maestro Trio / Wayne Horvitz & Sara Schoenbeck______34 the newsletter to your door and entitles you to DJ OCnotes / SmackTalk w/ visuals by OCnotes______35 EARSHOT JAZZ discounts at all Earshot events. Your member- Anton Schwartz Sextet______36 MEMBERSHIP ship also helps support all our educational Briggan Krauss______36 programs and concert presentations. Jay Thomas EWA______37 Larry Grenadier / Kelsey Mines & Carlos Snaider______38 Type of membership Folks Project ______39 Individual ($35) Additional tax-deductible donation ______Jenny Scheinman and Allison Miller’s Parlour Game______40 Tyshawn Sorey Quintet______41 Household ($60) Patron ($100) Sustaining ($200) Dreamstruck: Marilyn Crispell, Joe Fonda, Harvey Sorgen______42 Other Kiki Valera y su Son Cubano______43 Seattle Women’s Jazz Orchestra w/ Rosana Eckert______43 Sr. Citizen – 30% discount at all levels Thomas Marriott with Friends From Philly / Canadian subscribers please add $5 additional postage (US funds) Stuart MacDonald Trace Generations______44

Kassa Overall & Sullivan Fortner______45 Regular subscribers – to receive newsletter 1st class, please add $10 DJ Nathan Womack / sunking w/ Kassa Overall/ Visuals by Scott Keva James______46 for extra postage Sasha Berliner______47 Contact me about volunteering SPL Playback w/ Hound Dog Taylor’s Hand and Lori Goldston______48 ______Avishai Cohen Quartet______48 NAME Egberto Gismonti______49 Options: Eric Revis, Bennie Maupin & Nasheet Waits______50 ______Flat Earth Society______50 ADDRESS Seattle Jazz Showcase: Bill Anschell Standards Trio / LaVon Hardison / Tarik Abouzied, Cole Schuster, ______Joe Doria______51 CITY/STATE/ZIP Seattle Repertory Jazz Orchestra: “Jazz of the Harlem Renaissance”______52 Gary Hammon: “In case you didn’t know”______52 ______Travis Laplante______53 PHONE # EMAIL Emmet Cohen Trio______53 ______Yemen Blues Plays Hallel______54 Amendola vs. Blades w/ Skerik, Jeff Parker & Cyro Baptista______55 Earshot Jazz is a nonprofit tax-exempt organization. Ask your employer if your Chick Corea Rhapsody in Blue with the Seattle Symphony______56 company has a matching gift program. It can easily double the value of your Jazz Calendar______58 membership or donation. Notes______61 Mail to Earshot Jazz, 3417 Fremont ave N, #221, Seattle, WA 98103 On the Radio______62