April 2020 Vol

A Mirror and Focus for the Jazz Community April 2020 Vol. 36, No. 04 EARSHOT JAZZSeattle, Washington

Artist Impact COVID-19 Cover art by Reed Olsen EARSHOT JAZZ LETTER FROM THE DIRECTOR A Mirror and Focus for the Jazz Community

Executive Director John Gilbreath Every Day, A New Normal Managing Director Karen Caropepe Programs Manager Tara Peters Development Manager Errin Patton Marketing & Development Associate Lucienne If there is any positive outcome for today’s unexpected and game-chang- Aggarwal ing environment, it may be the demonstration that we are all connected, Earshot Jazz Editors Lucienne Aggarwal & even, or especially, outside of the economic construct and the internet; and Tara Peters that each individual is equally important, and equally vulnerable. We may Contributing Writers Kelly Clingan, Ian also need the reminder that we are not really in charge of this giant ma- Gwin, Bryan Lineberry, Gus Marshall, Peter chine, that, for the most part, has kept the world on its wobbly path year Monaghan, Kate Olson, Nate Omdal after year. This thing seems to be going off the rails in unimaginable ways. It is difficult to be optimistic. Calendar Editors Carol Levin, Jane Emerson, & Tara Peters In this issue you’ll find an artist-centric focus on the well-being of in- Photography Daniel Sheehan dividual musicians, who have seen an already less-than-robust gig envi- Layout Tara Peters ronment all but evaporate. With the prognosis for the Covid-19 epidemic Distribution Karen Caropepe, Dan Dubie & seeming more bleak and long lasting with each new announcement, the Earshot Jazz volunteers outlook for artists who rely on a gig economy and healthy jazz-education Send Calendar Information to: programs is not good. But artists can bring a lot of creativity to bear on [email protected] the problem. Board of Directors Danielle Leigh We, at Earshot Jazz, have resolved to keep supporting initiatives to sup- (President), Chris Icasiano (Vice President), Chris Nutter (Secretary), Augusto Cardoso, port and sustain Seattle artists. On the plus side, we’re beginning a new Sheila Hughes (Treasurer), John W. series of Saturday evening jazz concerts this month, in collaboration with Comerford, Maurice James, Kenneth W. Town Hall Seattle. Offering a high-quality audio and video stream origi- Masters, Gail Pettis, Ruby Smith Love, nating from the stage in The Forum, downstairs at Town Hall, the series Diane Wah features Seattle artists in an equally high-quality concert setting, with a Emeritus Board Members Clarence Acox, Sue great piano and no physical audience. All measures will be taken to assure Coliton, Taina Honkalehto, Hideo Makihara, that the participating artists and production personnel are healthy, and Peter Monaghan, Kenneth W. Masters, Lola remain so, with a stage big enough to guarantee 6’ in distancing between Pedrini, Paul Toliver, Cuong Vu participants. You’ll find a tentative schedule in this issue, with all events Founded in 1984 by Paul de Barros, Gary occurring within the guidelines that public health restrictions currently Bannister, and Allen Youngblood. Earshot allow. Jazz is published monthly and is available You can also look to the April 4 concert with Marina Albero as a forum online at earshot.org. to announce the winners of this year’s Golden Ear and Seattle Jazz Hall Subscription (with membership): $35 of Fame Awards, which had to be cancelled last month. We look forward 3417 Fremont Ave N, #221 to getting that eagerly anticipated news out into the world, though the Seattle, WA 98103 individual winners will be unable to be on site to deliver their acceptance phone / (206) 547-6763 speeches. We hope you’ll join us online to celebrate the accomplishment Earshot Jazz ISSN 1077-0984 within our widely respected jazz community. Printed by Yakima Herald-Republic And, bearing this newly revealed interconnectivity in mind, we once © 2020 Earshot Jazz Society of Seattle again have the opportunity to make decisions based on our horizontal humanity. As one recent piece by Agnes Callard concluded: At times like this, MISSION STATEMENT when a window opens, and all of humanity sees the End rushing at us from the To ensure the legacy and progression future, it behooves the humanists (the artists) to be the ones who refuse to shut of the art form, Earshot Jazz cultivates our eyes. We’re going to have to take better care of each other. a vibrant jazz community by engaging Be well, be careful, and keep us posted. audiences, celebrating artists, and —John Gilbreath, Executive Director supporting arts education.

2 • EARSHOT JAZZ • April 2020 NOTES

Earshot Jazz Spring Concerts Postponed Due to COVID-19 concerns and official health agency recommendations and limitations, Earshot Jazz spring concerts through May have been postponed or canceled. Individual ticket holders will be notified with further information and options. We look forward to sharing more information with you as it becomes available. For Earshot’s evolving response to COVD-19, please visit our dedicated response page at earshot.org-earshot-jazz-and-covid-19. Edmonds-Woodway High: Jazz Success at Lionel Hampton Jazz Festival Congratulations to Edmonds-Woodway High School instrumental winners at the 2020 Lionel Hampton Jazz Festival. Awards include outstanding AAAA division, outstanding combo featuring EJ Brannan, Rylan Fischer, Lauren Bui, Jai Lasker, Roni Flynn and Talli Kimani. Also celebrated were instrumental division winners Talli Kimani (piano), Nahome Yohannes (tenor sax), Jai Lasker (guitar), EJ Brannan (drums), Alex Aaby (bari sax). Overall festival sweepstakes best band went to EWHS Jazz 1 and Avista Schol- arship Award winners were runner up Jai Lasker and winner Nahome Yohannes (for $1000 and $1500 college scholarship awards to University of Idaho respec- tively). This is the third straight year for EWHS Jazz Ensemble I under the direc- tion of Jake Bergevin to win the Festival Sweepstakes award. Chris Swenson named Office of Film and Music Acting Director The Office of Film & Music (OFM) recently announced that Chris Swenson will serve as OFM Acting Director until the new Inclusive Creative Industries Director is hired later this year. Having worked with the OFM since 2008, following a 17-year career in the film and music industries, Swenson is well placed to execute his position. Save the Date for GiveBig The tenth annual GiveBIG day is May 6. On Washington state’s largest single giving day support Earshot by participating in this community giving event. You can help with a donation at any level. Find more information at 501com- mons.org/services/givebig North Bend Jazz Walk Possible Postponement and Live-streaming at Boxleys The 2020 North Bend Jazz Walk which is scheduled for April 25, is most likely to be postponed at the time of press. Jazz Clubs NW, which organizes the walk and concerts at Boxley’s, a club in North Bend, is working hard to keep jazz performances going. From Boxley’s they offer live-streaming on both Facebook and Youtube. Visit jazzclubnw.com for details. Special offer for Bellevue Jazz and Blues Headliner shows The 13th annual Bellevue Jazz and Blues Festival is planned for May 27–31. Tickets to Bellevue Jazz and Blues headliner shows go on sale 3/18. Earshot subscribers will get a $15 discount to both shows using promo code EARSHOT

CONTINUED ON PAGE 23

April 2020 • EARSHOT JAZZ • 3

The Bass Church INT hMEMORIAMe Bass Church The Bass Church The Northwest double bass specialists The Northwest double bass specialists The Northwest double bass specialists / / / / / www.basschurch.com Williamwww.bass chO.urch .“Bill”com Smithwww.basschurch.com

Sales, Rentals, Sales, Rentals, Sales, Rentals, Bill Smith, a distinguished clarinetist Repairs, Restorations, Repairs, Restorations, Repairs, Restorations, and composer in both jazz and new mu- Lessons Lessons Lessons

sic, died on February 29 from complica- Convenient North Seattle Location Convenient North Seattle Location Convenient North Seattle Location

tions of prostate cancer. He was 93.

(206)784-6626 Bill(206)784-6626 made so much music that he had (206)784-6626 9716 Phinney Ave. N. two9716 personas. Phinney Ave. As N. William O. Smith, 9716 Phinney Ave. N. Seattle, WA. 98103 Seattle, WA. 98103 Seattle, WA. 98103 ~by appointment only~ he ~bywas appointment an acclaimed only~ innovator in “new ~by appointment only~ music” who pioneered the use of many untapped sounds of the clarinet.

In jazz, he was just as renowned, pri- marily for his long association with The Bass Church DaveT Brubeck.he Bass Church The Bass Church The Northwest double bass specialists The Northwest double bass specialists The Northwest double bass specialists Their friendship went way back. When www.basschurch.com Smithw attendedww.bas sJuilliardchurch .Schoolcom of Mu- www.basschurch.com sic in 1945, at age 18, a regular Manhat-

tan gig enabled him to wander among BILL SMITH BY VIRGINIA PAQUETTE SMITH jazz clubs hearing the likes of Charlie Park- Sales, Rentals, er, Billie Holiday, Sales, Rentals, and Coleman Hawkins. Sales, Rentals, Repairs, Restorations, But Bill Repairs, disliked Restorations,Juilliard’s approach to clarinet andRepairs, composition, Restorations, so he returned Dear Loyal RLessonsoyal Roo m Patrons, to California to Lessons study with eminent modernist Darius Milhaud Lessons at Mills College WConveniente at the R oNorthyal R Seattleoom h Locationope you are Convenient North Seattle Location Convenient North Seattle Location in Smith’s hometown, Oakland. Dave Brubeck enrolled there, too, and he and all navigating this diﬃcult time in Smith became lifelong friends and collaborators. (206)784-6626good health an d spirits. Moving (206)784-6626 (206)784-6626 9716for wPhinneyard, w eAve. pla nN. t o assess the Smith9716 Phinney was Ave.an N.original member of the Brubeck9716 Phinney octet, Ave. whichN. began working Seattle,situa tWA.ion a 98103t the end of each week and theSeattle, Bay WA.Area 98103 in 1947 and evolved into Brubeck’sSeattle, WA.highly 98103 successful quartets and ~byc aappointmentncel even only~ts a m onth out until we ~by appointment only~ ~by appointment only~ start hearing better news. other combos. Visit theroyalroomseattle.com or follow us on social media for the most Smith played on and wrote for the Octet’s first recordings in the late 1940s up to date information. and early 1950s. Around 1960, he and Brubeck recorded three albums of Smith If you would like to help, donations originals: The Riddle , Near-Myth, and Brubeck à la Mode. made to The South Hudson Music TProhjecet arBe greaatlsy sap pCrechiateud.r Fcinhd BillT movedhe B toa Seattless C inh u1966,rch and for overT 30h eyears B taughtass Cat htheu Universityrch inTfoh eo Nno trhthew oersgt adonuizbalet iboanss a snpdec liianlikstss to of WashingtonThe Northwest dwhileouble b aco-directingss specialists with trombonistThe Nor tStuarthwest do uDempsterble bass specia lithests UW’s donate at www.sh mproject.org. www.basschurch.com Contemporarywww.ba sGroup.schurch.com www.basschurch.com Love and health to you all. Academe did not make Smith stuffy, nor anything near it. Smith’s work was -The Royal Room frequently arresting—as in his many pieces for two clarinets played simultane-

ously, in emulation of the ancient Greek aulos—and often humorous, as in a

Sales, Rentals, 1981 work Sales, for horn Rentals, and voice that bids any audience Sales, to provideRentals, a drone note Repairs, Restorations, “ideally Repairs, in F.” Restorations, Repairs, Restorations, Lessons Bill rejoined Lessonsthe Brubeck Quartet in 1982, and for some Lessons years recorded and Convenient North Seattle Location played Convenientup to 100 North gigs Seattle a yearLocation while continuing toConvenient teach. North Seattle Location

He had equal standing in jazz and new music. New-music critic Eric Salzman (206)784-6626 wrote(206)784-6626 in 1964 after hearing Bill perform one(206)784-6626 of his clarinet pieces, with an array 9716 Phinney Ave. N. 9716 Phinney Ave. N. 9716 Phinney Ave. N. Seattle, WA. 98103 of Seattle,technical WA. 98103 innovations amid “pure whistlingSeattle, harmonies; WA. 98103 tremolo growls and ~by appointment only~ burbles;~by appointment ghosts only~ of tones,” and much else: “Completely~by appointment only~ impossible except that it

happened.”

4 • EARSHOT JAZZ • April 2020 In jazz, Bill was a pioneer of what came to be known as “Third Stream,” merging jazz and classical music. In a 1986 interview, Dave Brubeck said: “Bill Smith, I still think, is one of the most important jazz players. He opened up all kinds of new fields, elec- tronically, way before anybody else.” In a just-published biography, Dave Brubeck: A Life in Time, Philip Clark refers to Smith as the “fifth Beatle” of the “classic” Brubeck quartet, and ac- claims Smith’s clarinet tone for having “no trace of the swing-era sweetness of Artie Shaw or Benny Goodman” but instead “relentlessly inventive notes, projected with an attractively shrill tone, as if he were dispatching urgent news.” In 2008 Smith fulfilled a long-time goal by creating a “jazzopera,” Space in the Heart, and performing it at the 2008 Earshot Jazz Festival and in 2010 at Symphony Space in New York with the Pocket Opera Players, the company of pianist and prominent composer of microtonal music, John Eaton. Fur- thering new music experimentation, in the mid 1960s, Eaton and Bill col- laborated on developing uses for Paul Ketoff’s SynKet, an early music syn- thesizer. Until very late in life, Bill traveled often to Italy to play with colleagues Your gift today supports innovative jazz there, as he had since winning the programming for our community. As we all prestigious Rome Prize for composition in 1957. pull together in these trying times, thank you He is survived by his wife of 42 years, Seattle visual artist Virginia Paquette for sustaining Seattle’s incredible cultural Smith, four children from a first mar- community. riage, three grandchildren, and gen- erations of friends in music in Seattle and far afield. His family is planning a memorial www.givebigwa.org/earshotjazz concert for what would have been Bill’s 94th birthday, on 22 September Early Giving opens April 22 2020, and ask that remembrances be sent to the International Clarinet As- sociation (clarinet.org), “In Memory of William O. Smith.” Thank you for your support! –Peter Monaghan

April 2020 • EARSHOT JAZZ • 5 U COVID-19 IMPACT RESOURCES CALL FOR ARTISTS WASHINGTON STATE COVID-19 tion Fund to invest in arts and cultural RESOURCE WEBSITE organizations to mitigate revenue loss. Jazz: The Second The state has created a website desig- COVID-19 INFORMATION RESOURCES FROM CITY OF Century nated for all its COVID-19 related information including: resources avail- SEATTLE able to families, workers, and business- The Office of the Mayor has created es; health recommendations; statistics; a COVID-19 community resources Deadline May 31 emergency actions; and more. Visit page to help those in need. The page, Earshot Jazz seeks submissions coronavirus.wa.gov for resources and which is updated regularly, features infor the 2020 edition of the Jazz: information. formation and links for City of Seattle The Second Century concert se- MEDICAL AND HEALTHCARE program and services as well as links ries. The juried series brings the INFORMATION to business and community programs. progression of Seattle jazz into The links cover healthcare support, creative motion on the concert For those who need to access medi- immigration-related information, food stage. One-hundred years into cal and healthcare information pro- support, utility bills support, as well the art-form, what sonic shapes vided by government organizations as worker support and internet access does jazz take in its second cen- there are many sources. Locally those among others. To access this infor- tury? Projects that probe this who reside in King County may search mation online visit seattle.gov/mayor/ question to expand the conven- for coronavirus information at king- covid-19#bills. To contact the Office tions of the jazz form are invited county.gov. If you are in King County of the Mayor, call 206 684 4000. for consideration. and believe you were exposed to CO- VID-19 call (206) 477-3977 between KING COUNTY CREATIVE CO- Seattle-area individual artists VID-19 HANDBOOK or groups are eligible to apply. 8am to 7pm. If you believe you are King County Creative has created a Submissions must include a re- experiencing life threatening symp- handbook for Creative Industries. The corded sample of a project that toms, call 9-1-1. For Washington State handbook is being rapidly updated to can be performed in a concert Department of Health information, bring together resources to take care of setting and a written statement visit doh.wa.gov. For general questions yourself and family; to support the arts between 250–350 words. about COVID-19 in Washington and culture community; and to pre- Submissions are evaluated State call the Coronavirus call center pare for recovery. Access the handbook through a blind-jury process. at 800-525-0127. For Centers for Dis- at handbook.kingcountycreative.com. Jury members reflect the diverse ease Control and Prevention (CDC) Seattle jazz community and information visit cdc.gov. ARTS AND CULTURE LEADERS include past Second Century MAYOR DURKAN ANNOUNCES OF COLOR EMERGENCY FUND artists. INITIAL $1.1 MILLION ARTS The Arts Administrators of Color 2020 Second Century artists RECOVERY PACKAGE Network has created an emergency and ensembles perform across On March 17, Mayor Jenny Durkan fund. Applications are accepted via four Thursdays in July and are announced $1.1 million in City of google form. Google “Arts and Culture paid a competitive fee for the Seattle Funding to invest directly in Leaders of Color Emergency Fund” to performance. Applications are creative workers and arts and cultural quickly access the form. accepted between April 1–May organizations financially impacted 31. Artists will be notified by LOCAL ARTIST AND MUSIC by COVID-19. The recovery package TEACHER RELIEF GOFUNDME mid-June of the results. consists of two main initiatives: the Currently there are two gofundme For eligibility requirements and first is $100,000 in immediate relief fundraisers set up by local Seattle art- application process, visit earshot. for artists and creative workers through ists asking for public funding and in org/jazz-the-second-century- two private artist relief funds and the turn providing financial support for series. second is a $1 million Arts Stabiliza- those in need. Ijeoma Oluo, a writer

6 • EARSHOT JAZZ • April 2020 and activist, has helped organize the SMASH HEALTHCARE RE- Seattle Foundation, a community “Seattle Artist Relief Fund Amid SOURCES 501(C)(3) foundation, is hosting a COVID-19 ” which aims to provide The Seattle Musicians Access to Sus- COVID-19 Response Fund with do- financial assistance to artists and other tainable Healthcare (SMASH) is a nations totaling over $13 million. The creatives who can no longer work and nonprofit organization dedicated to fund is a coalition of philanthropy, support themselves due to current gov- keeping Seattle’s music community government, and business partners ernment restrictions. Priority may be thriving. They offer both healthcare and will provide flexible resources to given to artists from communities that and dental services. SMASH subsidiz- organizations working with local com- have been historically and systemically es preventative healthcare visits, and munities who are disproportionately economically disadvantaged in the Se- provides low or no-cost preventative impacted by COVID-19 and the eco- attle area. dental care. For details visit smashse- nomic consequences of this outbreak. Likewise, Nate Omdal, a bassist, attle.org Seattle Foundation is not accepting composer, and activist has set up the requests for grants; instead grants will “Seattle Music Teacher’s Fund” SEATTLE FOUNDATION CO- be administered by United Way of which aims to provide financial relief VID-19 RESPONSE FUND King County in collaboration with to teachers whose lesson have been canceled. Read Omdal’s op-ed on page X CONTINUED ON PAGE 15 for further resources. For links to both fundraisers visit gofundme.com ARTIST TRUST COVID-19 ART- IST RELIEF FUND The Artist Trust Artist Relief Fund will provide rapid response grants supporting the critical needs of artists whose livelihoods have been impacted by COVID-19. These unrestricted cash grants are intended to support working artists with lost wages and earnings, reimbursement for travel loss, and help with rent and mortgage payments, living expenses, and medical expenses. Applications for grants are accepted on a rolling basis and se- lected weekly. Grant amounts range from $500–5,000. To be eligible artists must live in Washington state and be 18 years or older. For more information visit artisttrust.org MUSICIANS’ ASSOCIATION OF SEATTLE EMERGENCY RELIEF FUND Local 76-493 members who are in good standing and are experiencing hardship may be eligible for support. The fund will contribute towards bill payment and will also offer non-in- terest-bearing loans. Members should contact [email protected] or call 206 441 7600. Further details are available at local76-493.org.

April 2020 • EARSHOT JAZZ • 7 LETTER FROM THE EDITOR

Creating in Crisis

In her essay Arts Advocacy, Toni sparse room. Cutting through the Morrison writes: heavy air, Kennedy cracked the ten- “Whenever anyone begins to think sion with his quick wit and bright about arts advocacy, a complex ob- tone. “Hey everybody, we’re BAN- stacle presents itself at once: artists Demic,” he opened, “We have a tip have a very bad habit of being re- jar up here that’s about as empty silient, and it is that resilience that as our gig calendars. If you have a deceives us into believing that the steady income, feel free to contrib- best of it sort of gets done anyhow— ute to ours.” The crowd chuckled and the ‘great’ of that ‘best’ sort of and many complied throughout lasts anyhow. The public and even the night, gleefully throwing what academic perception is that nothing, they had to offer in the jar with a neither social nor personal devasta- broad grin of appreciation, keeping ART BY REED OLSEN tion, stops the march and production at arm’s distance. spite of it, we sometimes forget that of powerful and beautiful artworks.” The illustrations you see on the what [artists] do is in spite of dis- The global COVID-19 pandemic cover of this month’s Earshot Jazz tress—not because of it.” has offered an unprecedented and magazine and on the following pag- I have been endlessly inspired by wholly unique experience of both es were created by Reed that night, the number of creative pivots in social and personal devastation. Al- a reminder of the fleeting beauty spite of COVID-19, from livestream most overnight, musicians, perform- and ephemerality of live music. No concerts and music lessons, to DIY ing artists, and the many invisible two performances are ever the same. hair cutting tutorials, to mutual aid hands behind Seattle’s brilliant cre- They also serve as a reminder that movements to sew face masks for ative gig economy found themselves we are all connected to a broader health workers. out of work, suddenly and indefi- art network, a network that binds us I also know that this water we’re in nitely. through our humanity. is draining, the ebb and flow of cre- On the evening of March 11, the We are all braving the unknown ation and inspiration to make waxes day the first of many Washington and I’d be misleading you if I said and wanes and the mental exhaus- state mandates limiting events and that I’m not feeling the weight of the tion, stress, and pressure to produce gatherings was announced by our world right now, which has already is not inconsequential. calm and cautious governor, myself changed dramatically since that Creating in crisis—there’s two and good friend Reed—a visual art- night and the time I am writing this, ways to read that. ist who, like many, supplements his on March 20, 2020, and exponen- On March 9, Earshot sent out a income in the service industry— tially so by the time you are reading short and hastily made Impact Sur- went out to Vito’s, knowing it would this, sometime in April. vey for artists, educators, presenters, be one of the few opportunities to I’m uncertain about a lot, but what and venue representatives to share feel the effects of live music together. I do know is that our perspective is their experiences with us. The fol- Those effects, we all know well, are forever altered. Morrison reminds lowing pages include those responses healing in their immediacy and their us, continuing in Arts Advocay: and offer ideas on how we can show intimacy. “Accustomed to their grief, their our support now—in this moment Braving the unknown, pianist Tim single-minded capacity for it and of uncertainty and social distancing. Kennedy and his group played to a their astonishing perseverance in

8 • EARSHOT JAZZ • April 2020 The city of Seattle and numer- be found on page 6. I’m proud of our ernment mandates, but I know, and ous organizations—including Arts city’s response to this moment and you—Earshot Jazz reader know— Fund, Artist Trust, 4Culture, and I ask, how can we take this display that the arts and music are classified the Seattle Foundation—have re- of arts advocacy and weave it into essential to our humanity. Now is sponded in big, tangible ways, pro- systemic change? I don’t have the the time to live our values. Let’s do viding immediate, mostly unre- answers, but I know this is an op- our part to provide immediate relief, stricted emergency relief support in portunity to examine ourselves, our and imagine a new future of a sup- the form of grants, rent moratori- sector, and our society. portive net together—because yes, ums, and more. An incomplete list The arts and music may not be clas- there is a future. of our region’s growing resources can sified “essential” business under gov- –Tara Peters

FEATURE Community Responses to COVID-19

A dedication to The Seattle JazzED 2019-2020 Ellington Ensemble. Submitted by Kelly Clingan, your proud teacher:

Poem by Kat Sherrell

Band is where we are more than the sum of our parts playing together

Always listening performers and audience with our ears and hearts

Never would you think horns and drums make the same sound KELLY CLINGAN BY MICHAEL CRAFT but we need them both

Dare to play each day because it don’t mean a thing if it ain’t got you

April 2020 • EARSHOT JAZZ • 9 FEATURE The Health of the Musical Ecosystem

By Kate Olson It’s a dark, dire metaphor. Musicians, like When I was a high frogs, are something of an school saxophonist, ea- indicator species. To con- gerly applying to college tinue the metaphor, we music programs, a private don’t want to see a society instructor said to me, “If in which musicians slowly there’s anything else [oth- die out, unable to survive er than music] you could the changing environ- do with your life...you ment. It shouldn’t take a should do that instead.” disastrous pandemic for I was hurt, assuming us to recognize and com- he meant I wasn’t good pensate musicians for the enough to make it beyond value they provide in our high school levels of musi- lives. cianship. Now, almost 20 Musicians, though, are years later, I understand more driven than the vi- that he was warning me as rus. We are fighting not a concerned parent would. only for our financial sur- Being a career musician is vival, but for the rights to about more than just lik- our identities as performing to play the horn. It’s a ers, artists, and builders of commitment to an identi- community. In just a few ty. It’s giving your life over days, live streams, social to a promise to protect networks, online payment beauty, community, and sites and other technolo- creativity, even when the gies have been harnessed financial rewards aren’t so into a dynamo of connec- grand. tion, support, and love. To quote a trope in the The struggle is far from jazz scene, there are three over, and listeners can do reasons to take the gig: more to support the musi- the music, the money, or KATE OLSON BY DANIEL SHEEHAN cians they appreciate: buy the hang. The coronavirus their records, donate to their and ensuing quarantines are immunity, but our livelihoods are at Patreon accounts, tune in to threatening all these facets of our live- stake. Imagine a frog who is no longer their online shows and share their so- lihood--our desire to make music to- able to croak, or eat flies, or jump from cial media streams. gether, our financial solvency, and our lilipad to lilipad… imagine the mal- Perhaps, when this is all over, we’ll need to exist in a family of artists and aise felt by that frog as it slowly starves, be able to look back with pride at how listeners who support us. wasting away in silence… we are that we protected beauty and artistry and The music community is a vulnerable frog. The psychological and emotional community, and came out stronger population right now. We might not toll of social isolation (all introvert and more vibrant on the other side. be over the age of 60 or have depressed jokes aside) is profound to the artist.

10 • EARSHOT JAZZ • April 2020 Worker Advocacy

By Nate Omdal As the effects of COVID-19 continue to force a near total cancelation of the ways most musicians earn a living, many of us find ourselves without answers going forward. To make matters worse, many musician workers will not qualify for the extension of Washing- ton State unemployment benefits. Many of the hours we work (and pay taxes on) fall under “1099 miscella- neous income” and as such is not counted by the state. In order to qualify for WA Unemployment, the worker must log at least 680 hours of W-2 work. 1099 hours will not qualify. Many labor and worker groups across the state, including the Musicians Association of Seattle Local 76-493, are calling on all levels of government to find the broadest and most inclusive revision to the state’s emergency unemployment package. It is my opinion that the use of 1099 employment has been abused by many employers who are in fact large enough to offer a W2 wage. Many of the readers of Earshot would easily represent the group of subcontractors and workers who should reasonably be able to utilize the 1099 system for the gigs, weddings and events we all play. However, this quarantine is proving the need to have some kind of formalization of our workplaces. If you have any questions about ongoing worker advocacy efforts, please feel free to contact me at [email protected] and I will be happy to help you however I can. Thanks, and stay safe!

April 2020 • EARSHOT JAZZ • 11 FEATURE COVID-19 Impact on Seattle Jazz Community Survey Responses

We know the mounting concern around COVID-19 has already had profound effects on our community that will continue to be felt for a long time to come. Below are a selection of survey responses, offering individual experiences and recommendations for how the public can offer support during this time. Thank you to all who provided responses. We’re here, and we’re listening. Please Note—This survey was created on March 9, 2020 and we realize the current situation and public health recommendations—as well as the situations of the individuals who provided responses—may have changed since that time. Responses have been edited for clarity and length.

How has your work been impacted by mounting concern around COVID-19?

• One of the schools I teach at has Many of my peers have had of that is upcoming? Everyone’s been closed, and although I will cancelled gigs and are/have lost a banging their head against a wall. be paid for my time, it involves substantial part of their income. No good solutions. We just try and some creative restructuring of –Anonymous, Artist/Musician/ take everything one step at a time my teaching plans. I will also Performer and keep oneself and other folks be losing (so far) roughly $900 • Performances have been cancelled. calm in the process. So work at all in performance income, not to Cannot commit to gigs in the levels in general just feels totally mention decreased tips due to foreseeable future. unfocused and ungrounded. decreased attendance. –Anonymous, Artist/Musician/ –Anonymous, Artist/Musician/ –Kate Olson, Artist/Musician/ Performer, Venue Representative Performer, Venue Representative Performer, Educator • The uncertainty of whether to • All gigs out of town have been hold events and shows or not canceled. I’ve had to eat the cost “Music is a has destabilized my grounding. of hotels, airline tickets, and in Particularly in April and May some cases sidemen fees. I’ve lost as well. Though I am not in nearly all the promotion for my healing tool.” immediate danger of financial new album as well as thousands of instability unlike many of my peers, the reorientation of what should and should not be “Support out of • 90% of my gigs are cancelled for practiced/held/worked towards, on March and first week of April. I the balance between the physical love.” also had a weekend cancelled in health and health of the mind/ May already. spirit of not just myself but broader –Marina Albero, Artist/Musician/ communities, feels in constant dollars in income. I’m effectively Performer flux. What should one’s work go out of work until April 20th with • I recently performed a church towards in the future? How far out no income until then. service that was livestreamed, there should we actually be planning –Thomas Marriott, Artist/Musician/ were 5 people in the audience. and what should we be letting go Performer

12 • EARSHOT JAZZ • April 2020 How have you responded to social distancing recommendations?

• I wash my hands often and –Anonymous, Artist/Musician/ • During the early stages of this aggressively, and I am avoiding Performer, Educator quarantine-esque and its resulting physical contact (hugs, • Working half days in clean isolating environment, I have felt handshakes, etc). environment, half days at home. it necessary to be very proactive in –Kate Olson, Artist/Musician/ –Anonymous, Radio Promoter/ maintaining my mental health, and Performer and Educator Presenter the way that looks is being outside • Keeping hand sanitizer in my purse my apartment with my friends/ • Basic precautionary measures and community and the general public. and taking more supplements. a positive outlook are my go-to –Marina Albero, Artist/Musician/ –Anonymous, Artist/Musician/ antidotes. Music is important Performer, Venue Representative Performer to our health so we should look • Trying to do live streaming of to maintain it in mindful ways • Keeping a low profile, but not a no music, which does not generate through it all. profile. income, but it keeps the music –Anonymous, Artist/Musician/ –Thomas Marriott, Artist/Musician/ alive. Performer, Educator Performer

How can individuals—especially those practicing social distancing—support you during this time?

• Buy online merch. I’ll be releasing a digital album of music composed for dancers specifically for this purpose in the next few days. –Kate Olson, Artist/Musician/ Performer and Educator • Listen to the radio! –Anonymous, Radio Broadcaster • This is something we are discussing but do not have the bandwidth to pursue. Not requesting a ticket refund would help, if a show is not cancelled but you do not feel comfortable going. –Anonymous, Venue Representative • Attend rescheduled shows when they happen later. –Steve Peters, Promoter/Presenter, Venue Representative • Follow on social media, contribute to funding campaigns. –Anonymous, Artist/Musician/ Performer, Educator • Support the public radio station during upcoming (delayed) fund drive. –Anonymous, Promoter/Presenter

April 2020 • EARSHOT JAZZ • 13 • I will be creating some new –Anonymous, Artist/Musician/ “Listen to the jazz videos to post online. Keep Performer, Venue Representative in touch through social media • Buy albums, pay money for live and be ready to resume live jazz streams, buy a musician lunch. Radio!” attendance as soon as it is safe. How can institutions help during –Francesco Crosara, Artist/Musician/ this time? Wherever possible, • Consider reaching out to the artists Performer increase wages for local musicians you know and support. • Emotional support goes above and when the shows come back, even –Anonymous, Artist/Musician/ beyond, honestly. if that means canceling high- Performer, Educator –Haley, Artist/Musician/Performer, dollar / high profile guest artists or • Invent more ways to stream and Educator, Promoter/Presenter, Venue headliners to make more budgetary connect online. Find ways to Representative dollars available to local artists. replace artist and venue revenues. • By remaining calm and –Thomas Marriott, Artist/Musician/ –Anonymous, Artist/Musician/ understanding of the variables in Performer Performer, Venue Representative constant flux.

What else would you like us to know?

• Music is a healing tool. Panic is When your identity is tied to your • Take this situation seriously to not. craft, not being able to practice preserve everyone’s health to avoid –Anonymous, Artist/Musician/ your craft is very depressing. escalations like in China and in Performer, Educator –Kate Olson, Artist/Musician/ Italy, where I have family and • There is a real emotional and Performer, Educator friends who are going through psychological toll when musicians • My loss as today is moving around a very tough period, where and artists aren’t allowed to $5,500 and counting. That’s why uncertainty is the order of the day. practice their craft in the I’m trying to launch an emergency Better safe than sorry, this is not a communities to which they’ve plan of live-streaming for the media hoax. become accustomed. Yes, the quarantine times. Hope we all find –Francesco Crosara, Artist/Musician/ financial strain is real, but there is the connections to keep connected Performer also a higher level of anxiety, stir- and working. • Support out of love, not fear! craziness, and general frustration at –Marina Albero, Artist/Musician/ –Anonymous, Artist/Musician/ what we feel is out of our control. Performer Performer, Educator

Can’t stop the music: Livestream The Quarantine Sessions Sundays, 7pm Connections Facebook Live An initiative created by Marina Albero. Available to the We live in a remarkable time where we can find con- public with “tip tickets” to support the artists. nection even while social distancing through technol- LiveConcerts Stream ogy. These are just a few of many livestream initiatives. Various dates and times Are you planning a livestream event? Add it to our Jazz Facebook Live and Twitch Around the Sound Calendar online at earshot.org/events/ With the motto “Direct to you, Direct to Artists” Live- community/add. Enter venue “Livestream Event.” Concerts Stream offers high quality streaming to you with a built-in donation platform that goes straight to You can also tag us @earshotjazz and we will amplify the artists. Recent concerts include livestreams from your event on our social media channels. Vito’s featuring Kiki Valera, Joe Doria, and more.

14 • EARSHOT JAZZ • April 2020 Resources, from page 7 on how to apply for the Cultural Relief the impact on arts and cultural orga- Fund once it has launched. nizations, Americans for the Arts have the King County Pandemic Commu- MUSICIANS FOUNDATION created an economic impact survey nity Advisory Group. Grants will be that can be found at americansforth- given to organizations already work- Based out of New York but serving earts.org. To study the impact on art- ing with the local community. In the musicians nationally, the Musicians ists, Artist Trust have provided a sur- initial stages, priority will be given to Foundation assists performers, educa- vey that can be accessed at their CO- organizations that work with resident’s tors, and composers. The foundation is VID-19 page at artisttrust.org. without health insurance, healthcare urging people to give donations to di- and gig economy workers, residents rectly help more musicians receive aid. SRJO ARTISTS TO PROVIDE with limited English, and communi- The foundation will soon be launching FREE ON-LINE MUSIC LES- ties of color. The fund expects to make a CV19 Emergency Aid Grant Pro- SONS TO LOCAL STUDENTS an initial round of grants in the next gram to give eligible applicants modest In response to the cancelation of few weeks. To donate to this fund or grants of up to $200. Check out their Seattle Repertory Jazz Orchestra’s to find out more information visit se- website at musiciansfoundation.org for (SRJO) rehearsals and performances attlefoundation.org more details. and the need in the community for 4CULTURE RELIEF GRANTS RECORDING ACADEMY MUSI- continued education, SRJO ensemble CARES musicians will offer their talents to In light of the ongoing health crisis, school students forced to stay home MusiCares Foundation is part of 4Culture has pivoted their funding due to mandated school closures. The the Recording Academy, and it pro- focus and will be offering a Cultural SRJO’s regular Jazz Scholars teaching vides a safety net of critical assistance Relief Fund of $1 million. Full details staff will be bolstered by the addition for musicians in times of need. They and timeline are not yet finalized, but of leading artists from the award- are accepting donations and applica- these are details currently available at winning ensemble. Participating mu- tions for assistance. MusiCares may the time of press: funds will be avail- sicians such as pianist Randy Halber- grant short-term financial assistance able for cultural organizations and stadt, saxophonist Mark Taylor, and for needs such as rent, car payments, practitioners affected by COVID-19 drummer D-Vonne Lewis and others insurance premiums, utilities, medical closures and cancellations; deadlines will teach free, private lessons to stu- and dental expenses, therapy and oth- will be rolling and funding rounds will dents using live online technology to er personal expenses. For more details take place multiple times throughout both children and youth from under- visit grammy.com/musicares. the year with simplified application served communities. For more infor- processes. Stay tuned via email, 4Cul- COVID-19 IMPACT SURVEYS mation visit srjo.org ture’s website at 4culture.org, and so- Organizations are asking people to cial media channels for information contribute to impact surveys. To study

April 2020 • EARSHOT JAZZ • 15 PREVIEW >>

Earshot Jazz Live at The Forum at Town Hall Seattle Presented by Earshot Jazz and Town Hall Seattle

7:30pm Livestream Free — Donations welcome

APRIL 4 MARINA ALBERO BY LISA HAGEN GLYNN Important Note Marina Albero Group, Plus the announcement of the Seattle Jazz Award In light of evolving restrictions Recipients—The recent Barcelona on gatherings, these livestream transplant brings Spanish inflections events are subject to change. Fitelson Agency to stunning jazz piano technique and Please check earshot.org for up- a fascinating approach to the ham- dates. Thanks for your support liFe insurAnce mered dulcimer. This special evening and understanding during this also includes the much-anticipated an- unprecedented time! Life Member Million Dollar Round Table nouncement of the annual Golden Ear and Seattle Jazz Hall of Fame Award “How Much Are Your recipients. Tomorrows Worth?” APRIL 11 Jacqueline Tabor—This soulful, award-winning jazz vocalist has been gaining AGE $500,000 (DB) $1,000,000 wider recognition through her work as featured vocalist with the Seattle Reper- Male 30 $14.52 (M) $21.56 (M) tory Jazz Orchestra. Tonight, she unveils a new ensemble of Seattle jazz masters. 40 19.44 30.36 50 43.20 76.90 APRIL 18 60 116.64 217.73 Kate Olson Ensemble—Saxophonist/educator Kate Olson brings a distinctive 70 342.76 629.56 creative spark to every piece of music. Her quartet, often known as the KO En- 80 1,828.36 3,654.14 semble, is fluid and inventive, moving the art form ever forward with distinct Female nods of respect for its traditions. 30 $12.76 $18.92 40 17.60 26.84 APRIL 25 50 36.52 63.80 60 79.64 146.02 Susan Pascal Quartet—Playing smart, accessible jazz in the vein of the legend- 70 216.04 402.60 ary Modern Jazz Quartet, vibraphonist Susan Pascal has been a respected figure 80 1,508.01 3,013.44 on Seattle’s renowned jazz scene for years. Her time-tested quartet includes bassist Chuck Deardorf and drummer Mark Ivester. 1511 3rd Ave, Ste 1010 MAY 2 Seattle, WA 98101-1656 (206) 223-1110 MMBJ—Rick Mandyck, Thomas Marriott, John Bishop, and Jeff Johnson. (206) 517-5680 (10am-noon) Four of the most prominent artists from the evolving pantheon of Seattle-jazz [email protected] greats. Saxophonist Rick Mandyck and trumpeter Thomas Marriott front the unique piano-less rhythm section of John Bishop, on drums, and Jeff Johnson, seattlestu.com on bass.

16 • EARSHOT JAZZ • April 2020 PREVIEW >>

Thomas Marriot: Trumpet Ship Album Release

Thursday, April 23, 8pm The resulting first takes clocked in on the band-stand, and a natural part The Royal Room, close to three hours, and though they of that is acceptance. You have to be 5000 Rainier Ave S had more time to spare, Marriot says, okay with whatever happens.” “we just didn’t use it.” According to –Ian Gwin To celebrate the March 20th release the trumpeter, it’s the trio’s teamwork Tickets and information available at of his new album Trumpet Ship (Ori- built up over a long period playing to- theroyalroomseattle.com. gin), Seattle trumpeter Thomas Mar- gether, their fluency in the idiom and riot will join session regulars Tim mutual trust that made the session ex- Kennedy (piano), Jeff Johnson (bass), citing. Stefen Schatz (drums), and Rick Man- Marriott’s eagerness to collaborate dyck (sax) at the Royal Room for a with artists ranging from standard- Open to All - Free noteworthy launch. bearers like Joe Locke, and Eric Re- The album, a set of originals and rare vis, as well as in-demand groups like favorites, features pianist Orrin Evans th Season Spanish Harlem Orchestra and Del- 18 (now one third of the Bad Plus) along tron 3030 has made him a local artist with his trio: bassist Luques Curtis on the map. His onstage collabora- and drummer Mark Whitfield Jr. tors include veterans like Johnson and In contrast to his last album, 2017’s Mandyck, who can be heard sharing Romance Language (Origin)—a studio their expressive sounds on Marriott’s intensive endeavor with overdubbed prior recordings, and on their own parts and large orchestration—Trum- prolific discographies. Session players pet Ship came about through the quar- like New York born Schatz, and Ken- tet’s long working relationship. Hav- nedy—a member of Tarik Abouzied’s Dear Seattle Jazz Vespers Patrons and ing met Evans ten years ago at a small fusion super group Happy Orchestra, Performers, festival in Idaho, Marriott has played add to the living state of music that regularly with the pianist in his group In light of King county’s recent announce- Marriot’s latest release keeps in orbit. ment to limit public gatherings, especially Captain Black and throughout New “[The album] is very much about be- those that include our senior population, we York. Evans, having recorded with ing in the moment, extemporaneous have decided to cancel our April 5th Seattle Marriott on the latter’s 2014 Origin Jazz Vespers concert with the Smack Talk risk-taking and exploration,” Marriot quintet, held in the beautiful sanctuary of release, Urban Folklore, happened to says, “It’s much more like what we do be passing through Seattle with this Seattle First Baptist on Harvard and Seneca Street on First Hill, Seattle, WA. trio when Marriot struck up the idea During these stressful times, if you need to make a record. Important Note “The session was organized in a short some spiritual support, the church is hold- In light of evolving restrictions ing online serves on Sundays at 11 a.m. time frame, so I knew it was going on Facebook. Check Seattle First Baptist to have to be about the interplay, the on gatherings, this concert is Church’s website for more information. dynamic and the journey,” Marriot subject to change. Please check Thanks for being a loyal patron and we hope explains. “I sketched out a few tunes with the venue online at to see you very soon. the night before, and I brought some theroyalroomseattle.com. Thanks things I had already written but hadn’t Sincerely, for your support and understand- Seattle Jazz Vespers recorded under my own name. We ing during this unprecedented also improvised some of the material time! in the studio.” www.SeattleJazzVespers.org

April 2020 • EARSHOT JAZZ • 17 FOR THE RECORD

KO Ensemble tion, propped up by the dexterous KO Ensemble Live at the Royal bassist Chris Symer and drummer extraordinaire Brad Gibson. The Room astute and engaging pianist Alex Self-released Guilbert and his insightful ac- companiment grounds each piece A knockout, commonly abbreviated with a delightful sense of balance to as K.O. or KO, is a fight-ending cri- and clarity. Guilbert’s ability to terion in several combat sports, most seamlessly intermingle and meld notably boxing. A full knockout is with Olson’s tonal aesthetic, while considered any legal strike, or combi- maintaining his own personal nation thereof, that renders an oppo- voice, is quite remarkable. nent unable to continue fighting. Light, coherent, and seemingly Enter the no-holds-barred soprano straight forward arrangements are saxophonist Kate Olson and her un- infused with obtuse and irregular contested KO Ensemble. Their debut structural and melodic compo- album, KO Ensemble Live at the Roy- nents, providing a suitable frame- more peculiar melodies confidently al Room, is an honest venture into a work for her articulate improvisational wander about in a state of creative in- contradictory realm of contemporary execution. nocence, untouched by ego and self- post-bop minimalism. Olson’s relaxed and imaginative doubt. Strong, subtle, and squirrely high- original compositions duck back and And at the end of the bout, it’s a win- pitched heads, riffs, and solos float forth, from familiar and comforting, ner by unanimous decision. graciously above a refined rhythm sec- to brash and introspective. While her –Gus Marshall

Christopher Icasiano from a deep well of life experience Provinces and artistic mastery to find an honest and searching extension of self. Origin Records Much of the album is a meditative Chris Icasiano is a Seattle-based textural transportation. Gorgeous Filipino-American percussionist and layers of synth, percussion, slipping composer of great presence in Seattle. and unanchored rhythms juxta- One might know him as drummer of posed against steady drivers on the the iconic Bad Luck, as a social ac- kit, and field recordings. tivist, music organizer and advocate, Provinces is a collection of two and/or around Café Racer for Racer suites, “Provinces” and “Taho”. Sessions. The first suite, “Provinces”, begins Icasiano can find meaning and influ- with Icasiano pushing forth a rapid ence in just about any genre of music, and alternating pulse that main- and for his debut solo album, Prov- tains a high level of tension between textures and harmonies that are both inces, a great many of those influences the high hat and snare. Throughout haunting and touching. You also get converge into a jaw-dropping personal the pulse, he weaves in subtle shifts magical moments like explosions of experience that “explores the complex- in this minimalist and fragile rhyth- grand-finale fireworks in an already ity of cultural identity and commu- mic dynamic to explore unique tonal smoke-filled sky, and a head-nod beat nity as a second-generation immigrant relationships that create their own that you could stay with for an hour in Seattle.” It feels like a monumental melodies. All the while Icasiano sup- while you soak in a perfect summer presentation of someone driven to pull ports his kit work with electronic sonic evening on the town.

18 • EARSHOT JAZZ • April 2020 The second suite “Taho” fits right in with similar artistic concepts of “Provinces” and is dynamic in its own vibrancies. Among them are intensely intimate brushwork, swirling winds, and organ harmonies and progressions that call to mind rich folk practices. What really sets this suite apart is the incorporation of Icasiano’s field recordings from his first ancestral trip to the Phillipines that take these abstract sonic environments and gives them a tangible life-grounding. Provinces is best enjoyed in a committed state of listening and letting the whole thing just take you in to another world. –Bryan Lineberry

Rochelle House local songwriter Rave Holly lends Earth on Fire the gravitas of his hushed bass to a cover of Kurt Cobain’s “Something House Records in the Way.” House’s own delivery of Supported by a cast of Seattle greats, the verse, “underneath the bridge/the jazz singer Rochelle House furthers tarp has sprung a leak” eerily sum- her mons up Seattle’s ongoing homeless- nonviolent vision of collaboration ness crisis, an escalating state of af- and cooperation with her fourth re- fairs matched by layers of scorching lease, Earth on Fire. Founder of the saxophone, courtesy of Kate Olson Neighbor Children’s Choir, a free, and Diop on tama. all-inclusive youth ensemble, House The steady, quiet power of House’s made a splash locally with her first songwriting provides a flexible frame two albums, Dreams of Love and Wa- for Flory-Barnes, Lewis, and Coe to ter, both receiving nominations for match their mellifluous sensibilities. Trumpeter Thomas Marriott joins a brush-backed country swing to a Golden Ear awards. The combination rocksteady reggae. It’s here, too, that of coffeehouse eclecticism and bright- the rhythm section’s soulful strut for a punchy solo that contrasts Coe’s House’s optimism takes on its own eyed songwriting continued through challenge, as she confesses her help- her third release, 2014’s Songs from a twangy backgrounds. Calling to mind singers such as Mavis Staples. House lessness in romance, yet finding an Bookmark. empowerment in the admission itself. Around this time, House’s backing calls attention to the collective (as on the politically charged “We the Peo- “But if it’s not [the one],” she replies band, the New House Orchestra, got in the chorus, building up dignity its start. A group of open-minded Se- ple”) and the individual (on the ro- mantic closer, “Let This Be the One”). not with an ask, but a demand, “send attle musicians willing to step across something better.” boundaries of genre, the band includes The group’s spare arrangements pop –Ian Gwin psych-rock guitarist Andy Coe, prolif- on the latter, settling surprisingly from ic bassist Evan Flory-Barnes, and dedicated drummer D’Vonne Lewis, and has since expanded to include Chris- tianne Karefa-Johnson, aka DoNor- maal, Senegalese percussionist Thione Diop, and others. Their musical per- spectives, representative of the various scenes thriving throughout the city, come together for an all-too-rare syn- thesis that makes Earth on Fire worth any audience’s listen. House fearlessly collaborates with younger members of the hip-hop and alternative scenes: Karefa-Johnson grafts her songwriting skills and an unflappable chorus onto the low- tempo opener “Application,” while

April 2020 • EARSHOT JAZZ • 19 JAZZ AROUND THE SOUND April 04 Important Note

Due to ongoing and evolving official health agency emergency recommendations, mandates, and limitations, a number of concerts and events have been canceled or postponed. Please contact the venue before attending any listed event for more information on the status of their operations. Thank you for your understanding. Some ways to support venues right now: If you’re able, do not ask for a refund if a show is canceled. Purchase a gift card if they are available. Attend a show once they are rescheduled and be sure to tip the wait-staff and performers generously!

WEDNESDAY, APRIL 1 SB How Now Brown Cow, 8pm SATURDAY, APRIL 4 TD Andre Feriante & Troupe de Ville, 7:30pm BP Brian Monroney Trio, 7:30pm VI Marina Christopher, 9pm CM Hopscotch, 7pm EB Eric Verlinde, 6pm EB Eric Verlinde, 6pm EG Elizabeth Jennings’ Leap Into Music FRIDAY, APRIL 3 ES Cara Sandahl, 6pm Student Showcase, 6pm JA Tower of Power (early show), 7:30pm ES Paul Richardson, 6pm CD 1st Friday Jazz w/ Jean Lenke Quartet, JA Tower of Power (late show), 9:30pm JA Cecile McLorin Salvant, 7:30pm 7:30pm MQ Kareem Kandi Band, 8pm MQ Jack Ramsey, 5pm CM Phantoms of Soul, 7pm NC Danny Godinez – Solo Guitar, 8pm NC Jazz Jam w/Darin Clendenin Trio, 7pm CZ Jazz First Fridays, 7:30pm PR Justin Young, 8pm RR Piano Starts Here: The Music of Keith EB Tom Kellock, 6pm SB Latin & Cuban Night, 7pm Jarrett, 7:30pm EG Susan Robinson, 7pm ST Jennifer Mellish Jazz Quartet, 7:30pm SC Steve Kaldestad Quartet, 7pm EG Elnah Jordan, 9pm TD Squirrel Nut Zippers w/ Beckylin & Her TD The Bad Plus, 7:30pm ES Cara Sandahl, 6pm Druthers, 8pm VI Bar Tabac, 9pm FX Secret Jazz Club Show, 7pm TT Rebirth Brass Band (late show), 10pm JA Tower of Power, 7:30pm TT Rebirth Brass Band (early show), 7pm THURSDAY, APRIL 2 LA Happy Hour w/ Phil Sparks, 5pm VI The Tarantellas, 6pm NC Sugartime Trio, 8pm VI Don’t Move, 9:30pm BC Adam Kessler & Phil Sparks, 9pm PR Nancy Erickson, 8pm CM Jazz Night School, 6:30pm RR Latin Music & Dance Night w/ Clave Gringa SUNDAY, APRIL 5 EB Eric Verlinde, 6pm & Buena Vibra, 8pm ES Paul Richardson, 6pm SB Reposado, 8pm AB Beaver Sessions, 9pm JA Tower of Power, 7:30pm TD Squirrel Nut Zippers w/ Beckylin & Her CR Racer Sessions, 8pm NC David Duval Trio, 7pm Druthers, 8pm CZ Choro Jam, 2pm SB Proud & Nasty Jam Session, 10pm

Calendar Key

Code Venue ES El Gaucho Seattle OW Owl ‘n’ Thistle AB The Angry Beaver FA Frye Art Museum PR Pacific Room BC Barça FB Seattle First Baptist Church RR The Royal Room BP Bake’s Place Bellevue FX The Factory Luxe RY Rhythm & Rye CC Capitol Cider HD High Dive SB Sea Monster Lounge CD Cellar Door HS Hotel Sorrento SC WJMAC at Sylvia Center for the Arts CH Chapel Performance Space JA Dimitriou’s Jazz Alley SE Seattle Art Museum CM Crossroads Bellevue LA Latona Pub ST Stage 7 Pianos CR Cafe Racer LT Luther’s Table SW Stone Way Café CT Columbia City Theater MT Mac’s Triangle Pub TD Triple Door CZ Couth Buzzard Books MV Marine View Church TH Town Hall DT Darrell’s Tavern NC North City Bistro & Wine Shop TT Tractor Tavern EB El Gaucho Bellevue NL Nectar Lounge VI Vito’s EC Edmonds Center for the Arts OM Ott & Murphy Wine WH Washington Hall EG Egan’s Ballard Jam House OT Oliver’s Twist WS Watershed Pub & Kitchen

20 • EARSHOT JAZZ • April 2020 DT Jazz Jam, 8pm EG Vocal Showcase feat. Lauren Pattie & Julie EB Tom Kellock, 6pm Creswell, 7pm ES Eric Verlinde, 6pm EG Vocal Jam, 9pm CURTAIN CALL HS Jazz Brunch w/ Emma Caroline Baker, ES Paul Richardson, 6pm Weekly recurring performances & jam 10:30am JA Kenny G, 7:30pm JA Tower of Power, 7:30pm RR Gilad Hekselman’s G-Hex Trio, 7pm sessions MV Pearl Django, 5pm SB Benchmark feat. Shawn Mickelson, 8pm VI Lennon Aldort, 6pm SC Jay Thomas Organic Quartet, 7pm MONDAY VI Ron Weinstein Trio, 9:30pm VI Marco De Carvalho Trio, 9pm CC Cider Sessions, 9:30 MONDAY, APRIL 6 THURSDAY, APRIL 9 EB Tom Kellock, 6 BP Ben Wicks, 6pm BC Adam Kessler & Phil Sparks, 9pm ES Eric Verlinde, 6 CC Cider Sessions, 9:30pm BP DHQ: The Darelle Holden Quartet, 8pm NL Mo’ Jam Mondays, 9 EB Tom Kellock, 6pm CM Bellevue School District Jam Session, RR Salute Sessions, 10 ES Eric Verlinde, 6pm 6:30pm MQ Brad Gibson Duo, 5pm CT Ray Larsen Album Release Party, 7:30pm TUESDAY NL Mo’ Jam Mondays, 9pm EB Eric Verlinde, 6pm RR Seattle Academy Jam, 5pm ES Paul Richardson, 6pm EB Eric Verlinde, 6 RR Royal Room Collective Music Ensemble, JA Kenny G, 7:30pm ES Paul Richardson, 6 7:30pm NC Fabulous Canadians +1, 7pm MT Open Mic, 9 RR Salute Sessions, 9:30pm SB Proud & Nasty Jam Session, 10pm TD Mandy Harvey, 7:30pm SE Art of Jazz: MMJB, 5:30pm OT Hot Jazz Hootenanny, 7:30 VI Casey MacGill, 5:30pm OW Jazz Jam, 9:30 TUESDAY, APRIL 7 VI Jennifer Kienzle, 9pm SB Joe Doria Presents, 10 CH Caballito Negro & Left Edge Percussion / WEDNESDAY Bonnie Whiting & UW Percussion Quartet, FRIDAY, APRIL 10 8pm CM Ranger & the Re-Arrangers, 7pm EB Eric Verlinde, 6 EB Eric Verlinde, 6pm EB Tom Kellock, 6pm ES Paul Richardson, 6 ES Paul Richardson, 6pm EG David Arteaga, 9pm JA Kenny G, 7:30pm ES Cara Sandahl, 6pm THURSDAY MT Open Mic, 9pm JA Kenny G (early show), 7:30pm BC Adam Kessler & Phil Sparks, 9 NC Camille Bloom Student Showcase, 7pm JA Kenny G (late show), 9:30pm OT Hot Jazz Hootenanny, 7:30pm LA Happy Hour w/ Phil Sparks, 5pm EB Eric Verlinde, 6 OW Jazz Jam, 9:30pm NC Jovino Santos Neto Quinteto, 8pm ES Paul Richardson, 6 RR Painting the Town Red: The Music of PR Kareem Kandi Band, 8pm SB Proud and Nasty Jam, 10 Billie Holiday in Celebration of her 105th VI Johnny Astro, 9pm Birthday, 7:30pm FRIDAY SB Joe Doria Presents, 10pm SATURDAY, APRIL 11 EB Tom Kellock, 6 WEDNESDAY, APRIL 8 EB Eric Verlinde, 6pm ES Cara Sandahl, 6 EG Julian & Alison, 7pm EB Eric Verlinde, 6pm ES Cara Sandahl, 6pm LA Happy hour w/ Phil Sparks, 5 EC Pink Martini feat. China Forbes, 7:30pm SATURDAY EB Eric Verlinde 6 ES Cara Sandahl, 6 SB Latin & Cuban Night, 7 SUNDAY AB Beaver Sessions, 9 CR Racer Sessions, 8 CZ Choro Jam, 2 (1st & 3rd) CZ Jazz Jam w/ Kenny Mandell, 2 (2nd & 4th) DT Jazz Jam, 8 EB Tom Kellock, 6 ES Eric Verlinde w/ Josephine Howell, 6 HS Jazz Brunch w/ Emma Caroline Baker, 10:30am VI Ron Weinstein Trio, 9:30

April 2020 • EARSHOT JAZZ • 21 JA Kenny G (early show), 7:30pm ES Eric Verlinde, 6pm OW Jazz Jam, 9:30pm JA Kenny G (late show), 9:30pm HS Jazz Brunch w/ Emma Caroline Baker, RR Thursday Collective w/ Marina & the LT Mercedes Nicole, 7:30pm 10:30am Dreamboats & Triple Mood, 7pm NC Camille Bloom & Danny Godinez, 8pm JA Kenny G, 7:30pm SB Joe Doria Presents, 10pm NL Garaj Mahal / Swindler, 8pm OM Dmitri Matheny Duo, 7pm MONDAY, APRIL 13 WEDNESDAY, APRIL 15 PR Jennifer Mellish, 4pm CC Cider Sessions, 9:30pm EB Eric Verlinde, 6pm RR Midwood (Brooklyn klezmer) w/ The Debaucherauntes & Brivele, 8pm EB Tom Kellock, 6pm EG Jay Thomas & the amazing Boogaloo Masters, 7pm SB Evan Flory Barnes, 10pm ES Eric Verlinde, 6pm EG Kenny Mandell Jazzworks Student SB Eléré, 7pm NL Mo’ Jam Mondays, 9pm Showcase, 9pm SB Latin & Cuban Night, 7pm RR Salute Sessions, 9:30pm ES Paul Richardson, 6pm WS How Short, 12pm RY Dmitri Matheny Group, 8pm JA ARTEMIS, 7:30pm WS How Now Brown Cow, 8pm TUESDAY, APRIL 14 NC Jean Chaumont, 7pm RR Big Band Blue – Jazz Night School, 7pm SUNDAY, APRIL 12 EB Eric Verlinde, 6pm SC Marina Albero Trio, 7pm AB Beaver Sessions, 9pm ES Paul Richardson, 6pm CR Racer Sessions, 8pm JA ARTEMIS, 7:30pm THURSDAY, APRIL 16 CZ Jazz Jam w/ Kenny Mandell, 2pm MT Open Mic, 9pm BC Adam Kessler & Phil Sparks, 9pm DT Jazz Jam, 8pm NC Daniela Spielmann, 7pm EB Eric Verlinde, 6pm EB Tom Kellock, 6pm OT Hot Jazz Hootenanny, 7:30pm ES Paul Richardson, 6pm JA Peabo Bryson, 7:30pm NL Emerald Quintet, 8pm SB Proud & Nasty Jam Session, 10pm SB Comfort Food, 8pm FRIDAY, APRIL 17 CH Wayne Horvitz & Sara Schoenbeck, 8pm EB Tom Kellock, 6pm EG Yuki Zea Jazz Quintet, 7pm ES Cara Sandahl, 6pm JA Peabo Bryson (early show), 7:30pm JA Peabo Bryson (late show), 9:30pm LA Happy Hour w/ Phil Sparks, 5pm NC Rod Cook & Toast, 8pm SATURDAY, APRIL 18 CM Eduardo Mendonça, 7pm EB Eric Verlinde, 6pm EC Terrance Simien & The Zydeco Experience / BeauSoleil avec Michel Doucet, 7:30pm EG Anthony Warnke sings Tony Bennett, 7pm ES Cara Sandahl, 6pm JA Peabo Bryson (early show), 7:30pm JA Peabo Bryson (late show), 9:30pm NC Duo Flamenco w/ Eric & Encarnacion, 8pm RR Ranger & the “Re-Arrangers” w/ Gabe Hall- Rodrigues, 5:30pm SB Latin & Cuban Night, 7pm ST Clave Gringa, 7:30pm TH Tigran Hamasyan featuring Arthur Hnatek & Evan Marien, 8pm SUNDAY, APRIL 19 AB Beaver Sessions, 9pm CR Racer Sessions, 8pm CZ Choro Jam, 2pm CZ Kenny Mandell Jazzworks Showcase, 6pm CZ Music Improv Session w/ Kenny Mandell, 7pm DT Jazz Jam, 8pm EB Tom Kellock, 6pm ES Eric Verlinde, 6pm

22 • EARSHOT JAZZ • April 2020 FA Kareem Kandi, 2pm EB Eric Verlinde, 6pm HS Jazz Brunch w/ Emma Caroline Baker, EG Lady ‘A’ & her Backporch Blues Showcase, Help the Jazz Around the 10:30am 7pm JA Peabo Bryson, 7:30pm ES Cara Sandahl, 6pm Sound Calendar JA Joey Alexander (early show), 7:30pm MONDAY, APRIL 20 JA Joey Alexander (late show), 9:30pm The Jazz Around the Sound Cal- LT Dan Duval Good Vibes Quartet, 7pm endar is a community powered BP Ben Wicks, 6pm NC Greta Matassa, 8pm resource. CC Cider Sessions, 9:30pm NL Seun Kuti & Egypt 80, 8pm EB Tom Kellock, 6pm RR Oleaje Flamenco, 9pm Submit your gigs online at earshot. ES Eric Verlinde, 6pm SB Latin & Cuban Night, 7pm org/events/community/add. MQ Brad Gibson Duo, 5pm RR Salute Sessions, 9:30pm SUNDAY, APRIL 26 Livestream events accepted! Enter venue “Livestream Event.” TUESDAY, APRIL 21 AB Beaver Sessions, 9pm CR Racer Sessions, 8pm EB Eric Verlinde, 6pm Deadline for inclusion in the print DT Jazz Jam, 8pm version of the calendar is the 15th ES Paul Richardson, 6pm EB Tom Kellock, 6pm JA Halie Loren, 7:30pm ES Eric Verlinde, 6pm of the month prior to publication. MT Open Mic, 9pm HS Jazz Brunch w/ Emma Caroline Baker, For questions or help with sub- OT Hot Jazz Hootenanny, 7:30pm 10:30am OW Jazz Jam, 9:30pm JA Joey Alexander, 7:30pm mitting your events please email RR Rodger Pegues w/ New Linguistics, 8pm [email protected]. SB Joe Doria Presents, 10pm MONDAY, APRIL 27 WEDNESDAY, APRIL 22 CC Cider Sessions, 9:30pm EB Tom Kellock, 6pm EB Eric Verlinde, 6pm ES Eric Verlinde, 6pm EG Vocal Showcase / Vocal Jam, 7pm JA Grit City Jazz Octet feat. LaVon Hardison, Notes, from page 22 ES Paul Richardson, 6pm 7:30pm HD LoCura / Eléré, 8pm NL Mo’ Jam Mondays, 9pm at checkout. Here are the sites to JA Halie Loren, 7:30pm RR Salute Sessions, 9:30pm RR Beau Goss Band, 7pm purchase: Bobby Rush brownpaper- SC Thomas Marriott Quartet, 7pm TUESDAY, APRIL 28 tickets.com/event/4543867 and Kan- SW Roosevelt High Jam Session, 7:30pm dace Springs brownpapertickets.com/ WH From Ragtime to Jazz: History Through EB Eric Verlinde, 6pm Music, 7:30pm ES Paul Richardson, 6pm event/4543845. In light of current JA Shemekia Copeland, 7:30pm events, please check with the organizer THURSDAY, APRIL 23 MT Open Mic, 9pm of this festival bellevuedowntown. NC Adrian Legg, 7pm com, for details about continuation of BC Adam Kessler & Phil Sparks, 9pm OT Hot Jazz Hootenanny, 7:30pm BP DHQ: The Darelle Holden Quartet, 8pm OW Jazz Jam, 9:30pm the program. CM Bellevue School District Jam Session, RR Zoe Lewis and The Wolves, 7pm 6:30pm SB Joe Doria Presents, 10pm New “Peace of Mind” policy for EB Eric Verlinde, 6pm SB Al Hemiola, 8pm Seattle JazzED Summer Camp EG Josh Hou, 7pm ES Paul Richardson, 6pm WEDNESDAY, APRIL 29 Seattle JazzED is moving ahead JA Joey Alexander, 7:30pm with summer camp registration and is RR Thomas Marriott: Album Release, 8pm BP Brian Monroney Trio, 7:30pm SB Proud & Nasty Jam Session, 10pm EB Eric Verlinde, 6pm hopeful that they’ll be able to proceed EG Dina Blade Vocal Student Showcase, 7pm with summer programming as normal. FRIDAY, APRIL 24 ES Paul Richardson, 6pm However, in light of the uncertainty JA Shemekia Copeland, 7:30pm surrounding COVID-19, they’re insti- EB Tom Kellock, 6pm NC Greta Matassa Student Showcase, 7pm EG Greta Matassa Quintet (early show), 7pm SB DX-tet, 10pm tuting a new policy to give you peace EG Greta Matassa Quintet (late show), 9pm SB Johnny & the Moles, 8pm of mind about registering. You may ES Cara Sandahl, 6pm SC Miles Black, 7pm JA Joey Alexander (early show), 7:30pm cancel up to 48 hours before the first day of program for a full refund as JA Joey Alexander (late show), 9:30pm THURSDAY, APRIL 30 LA Happy Hour w/ Phil Sparks, 5pm long as the reason for cancellation is NC Duende Libre w/ Frank Anderson & Chava BC Adam Kessler & Phil Sparks, 9pm health-related. Visit seattlejazzed.org Mirel, 8pm CH Ab Baars, 8pm RR Joe Casalini Trio, 5pm EB Eric Verlinde, 6pm for details. TH Maria Schneider Orchestra, 7:30pm ES Paul Richardson, 6pm JA Take 6, 7:30pm SATURDAY, APRIL 25 SB Proud & Nasty Jam Session, 10pm CM Big Mischief Little Big Band, 7pm

April 2020 • EARSHOT JAZZ • 23 NON-PROFIT ORG EARSHOT JAZZ U.S. POSTAGE 3417 Fremont Ave N, #221 PAID Seattle, WA 98103 PERMIT No. 14010 SEATTLE, WA Change Service Requested

ART BY REED OLSEN

IN THIS ISSUE... A $35 basic membership in Earshot brings Letter from the Director: the newsletter to your door and entitles you to Every Day, A New Normal______2 EARSHOT JAZZ discounts at all Earshot events. Your member- MEMBERSHIP ship also helps support all our educational Notes______3 programs and concert presentations. Type of membership In Memoriam: William O. “Bill” Smith______4 Individual ($35) Additional tax-deductible donation ______Call for Artists: Jazz the Household ($60) Patron ($100) Sustaining ($200) Second Century______6 Other COVID-19 Impact resources______6 Sr. Citizen – 30% discount at all levels Canadian subscribers please add $5 additional postage (US funds) Letter from the Editor: Creating in Crisis______8 Regular subscribers – to receive newsletter 1st class, please add $10 for extra postage Feature: Community Responses Contact me about volunteering to COVID-19______9 ______NAME Feature: COVID-19 Impact on Seattle Jazz ______Community Survey Responses______12 ADDRESS

Preview: Earshot Jazz Live at The Forum at Town ______Hall Seattle______16 CITY/STATE/ZIP ______Preview: Thomas Marriot: Trumpet Ship Album PHONE # EMAIL Release______17 ______For the Record______18 Earshot Jazz is a nonprofit tax-exempt organization. Ask your employer if your company has a matching gift program. It can easily double the value of your Calendar: Jazz Around the Sound______20 membership or donation. Mail to Earshot Jazz, 3417 Fremont Ave N, #221, Seattle, WA 98103