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: Brian Blade, Kate Olson, Jovino Santos Neto, Logan Richardson, Jazzmeia Horn, Bill Frisell, Ryan J. Lee, Maria Schneider. Middle: Regina Carter, Jasnam Daya Singh, Tia Fuller, Wayne Horvitz, Burniss Travis, Roosevelt High School Jazz Band, Myra Melford, Joel Ross. Bottom Row: Dawn Clement, Johnaye Kendrick, Jay Thomas, Jen Shyu, Keyon Harrold, Caroline Davis, Donovan Kranzler-Lewis, Mark Turner.

2 • EARSHOT JAZZ • October 2020 2020 EARSHOT JAZZ DIGITAL FESTIVAL Feeling the Spirit

Welcome to the 2020 edition of the time, president Earshot Jazz Festival. We’re proud to Barack Obama celebrate Seattle’s place in the dy- referred to jazz namic world of jazz with a festival as “fearless and that reflects both the circumstances true” and an and the spirit of these extraordinary “honest reflec- times. tion of who Building this year’s program on we are in this the tangible pillars of Listen, Learn, time.” All of and Improvise; we’ve also focused the artists on the artistic expression on the essen- this year’s festi- tial fourth corner of jazz’s founda- val bring a great tion: Feel. Beneath the technical depth of skill brilliance that we’ve come to expect and expressive in today’s artists, the essence of the spirit to the music is in the personal expression stage, though of the artist and its impact on the few have so rig- listener. As Langston Hughes said, orously shown “Jazz is a heartbeat—its heartbeat is the world who yours.” they are, as The iconic saxophonist, John Col- our featured trane, came to represent a musical Resident Art- We are enormously grateful to all movement in the 1960s that opened ist, Ahamefule J. Oluo. We are de- of our partners in this endeavor. We jazz as a path toward spiritual tran- lighted to present several of Aham’s are committed to all of the health scendence in a time of great cultural recent projects in this year’s festival and safety protocols that will en- unrest. That path continued with the schedule, and we look forward to the sure the safety of festival artists and pianist and harpist , arrival of his feature film, Thin Skin. production crews. We are also com- and burns brightly to this day in We hope you’ll check out all of the mitted to pay all artists a respectful and the project he’ll artists on the festival this year. Check wage and to encourage attendees to bring to this year’s festival, with the the complete schedule in the follow- contribute to individual artists and harpist and the ing pages, and be sure to check for buy recordings directly from artists quartet (see page 8). The incredible updates daily on earshot.org. whenever possible. young saxophonist Lakecia Benja- Earshot Jazz is Seattle’s non-profit And please consider a gift to Ear- min carries that tradition further jazz support organization and a trea- shot Jazz this fall. Your donations forward with her ensemble, named sured part of this city’s incredible help us keep ticket prices low and after a Coltrane composition, Pur- cultural scene. Building on our 31- bring incredible artists into creative suance (see page 9). Their opening year legacy as one of the most organ- engagement with the community weekend concerts will set the tone ic, forward-thinking, and inclusive through workshops and panels. and the spirit of this year’s festival. festivals in the country, this year’s Keep in touch and give us your In his introduction to the Jazz Day schedule puts our mission into tangi- feedback. Have fun and enjoy! Jazz program at the White House, in what ble motion and focuses on the spirit lives right here! now seems to be an almost utopian of Seattle’s incredible jazz legacy. –John Gilbreath, Executive Director

October 2020 • EARSHOT JAZZ • 3 EARSHOT JAZZ 2020 FESTIVAL LINEUP

FRIDAY OCTOBER 16 John Hollenbeck: Epigraphs Ab Baars Solo 8:30pm, $10–25 8:30pm, $10–25 Ravi Coltrane Quartet 7pm, $10–25 SUNDAY OCTOBER 25 FRIDAY NOVEMBER 6 SATURDAY OCTOBER 17 Triple Solo: Marina Albero, Jeff Film: Uprooted: The Journey of Johnson, D’Vonne Lewis Jazz Dance Community Panel: Impact of 7pm, $10–25 7pm, $0-25, nwfilmforum.org COVID-19 on Black Jazz & Blues Musicians Eugenie Jones Benjamin Hunter Group 2pm, Free 8:30pm, $10–25 7pm, $10–25

Lakecia Benjamin: Pursuance WEDNESDAY OCTOBER 28 Fred Hersch Solo plus Jade Solomon Curtis 8:30pm, $10–25 7pm, $10–25 Jazz: The Second Century 7pm, Free SATURDAY NOVEMBER 7 SUNDAY OCTOBER 18 THURSDAY OCTOBER 29 Community Panel: The Beth & Ahamefule J. Oluo: The Music Kelly Show, Special Edition from Susan Elnah Jordan & Eric Verlinde 2pm, Free 7pm, $10–25 7pm, $10–25 SRJO Nonet: Birth of the Cool WEDNESDAY OCTOBER 21 Ahamefule J. Oluo Jazz Quartet 7:30pm, tickets at srjo.org 8:30pm, $10–25 Jazz: The Second Century SUNDAY NOVEMBER 8 7pm, Free FRIDAY OCTOBER 30 Ravi Coltrane Quartet THURSDAY OCTOBER 22 Film: Charles Lloyd: Red Waters, 7pm, $10–25 Black Sky Amy Denio & Tarik Abouzied 7pm, $10–25 Ahamefule J. Oluo Virtual Reality 7pm, $10–25 House Party Bill Frisell Solo 8:30pm, $10–25 New American Standard: Ayesha 8:30pm, $10–25 Brooks, Wayne Horvitz, Ha Yang Kim SATURDAY OCTOBER 31 Even More Earshot 8:30pm, $10–25 Community Panel: Toll of Online More info on page 6 & 18 FRIDAY OCTOBER 23 Jazz Education: Equity, Practical Challenges, & Teacher Burnout BIMA Within/Earshot Johnaye Kendrick Quartet 2pm, Free Concerts streaming from the 7pm, $10–25 Bainbridge Island Museum of Art, SUNDAY NOVEMBER 1 Tarbaby plus two panel discussions. All 8:30pm, $10–25 & John Clayton programs free, online, and all-ages. 7pm, $10–25 SATURDAY OCTOBER 24 Weekly Playlists Reggie Goings Quartet Follow Earshot Jazz on spotify and Community Panel: Seattle JazzED 8:30pm, $10–25 enjoy weekly playlists curated by Anti-Racist Study Group local artists released every Sunday 2pm, Free THURSDAY NOVEMBER 5 morning during the festival. Jovino Santos Neto Quinteto Thomas Marriott’s Ship 7pm, $10–25 7pm, $10–25 Schedule subject to change.

4 • EARSHOT JAZZ • October 2020 SUPPORT PROVIDED BY:

MAJOR SUPPORT

MEDIA SPONSORS

AND YOU!

Thank you to the to the sponsors and individual donors who make the Earshot Jazz Festival possible. We are committed to advancing and celebrating the art form of jazz in Seattle. Join us today by making a donation at earshot.org/donate.

Earshot Jazz is a 501(c)(3) nonprofit organization.

October 2020 • EARSHOT JAZZ • 5 TICKETS and info at earshot.org LEARN

TICKETS Sunday Morning Playlists Tickets to concerts sold separately. At the time of purchase, you will recieve a Sponsored by Michael Goodheim confirmation email with a url to access the concert stream. Another email with the event url will be sent out shortly before the event begins. Free, spotify Weekly playlists curated by local art- Tiered ticketing for concerts are available at the following levels. Choose the level that ists and DJ’s released every Sunday works for you! We’ve provided some recommendations below: morning on spotify during the festival. • $10 – We recommend this option if you have been significantly impacted financially Guest curators include Eva Walker, by the COVID-19 pandemic. Gabriel Teodros, Noel Brass Jr., and • $15 – Our most popular option! We recommend this option if your financial situation SassyBlack. Walker hosts Audioasis on has had little to no impact by COVID-19. KEXP and is one half of the band The • $25 – We recommend this option if your economic situation has not been impacted Black Tones. Teodros is a musician, by COVID-19. DJ, and speculative fiction writer. He • $50 Household – We recommend this option if your economic situation has not been hosts the Early show on KEXP. Noel impacted by COVID-19 and multiple people in your household intend to stream with Brass Jr. is a keyboardist and leader of a single link. the trio Afrocop. SassyBlack is a sing- • Free – A limited number of free tickets are available on a first-come, first-served er, songwriter, and producer known basis at earshot.org. If you are in a position to select the $10 option, please leave for creating electronic psychedlic soul” these for those most in need. sounds. Festival Gold Card Pass Films A special pass is available for streaming access to all festival events. The 2020 Digital Festival Gold Card rate is $350 ($300 Earshot Jazz members) for access to over 20 Friday, October 30, 7pm concerts and events. Benefits include automated url access to all festival events. Charles Lloyd: Red Waters, Black Becoming a Gold Card holder is a fantastic way to enjoy ease of access and show your support to Earshot Jazz and the artists we serve. Sky Sponsored by Richard Thurston FESTIVAL STAFF EARSHOT JAZZ BOARD OF DIRECTORS $10–25, details at earshot.org John Gilbreath – Executive Director A concert film of the sax titan’s re- Caropepe – Managing Director Chris Icasiano (President) Sheila Hughes (Vice President) markable multimedia work about his Tara Peters – Programs Manager great-grandmother Sallie Sunflower Lucienne Aggarwal – Marketing & Chris Nutter (Secretary) Development Associate Augusto Cardoso Whitecloud’s refusal to walk the “Trail of Tears.” Performed with strings, cho- Halynn Blanchard – Production Manager John W. Comerford rus, and an ensemble that includes Peter Monaghan – Brochure Editor Maurice James guitarist Bill Frisell. Lucienne Aggarwal and Danielle Leigh Tara Peters – Program Editors Gail Pettis Friday, November 6, 7pm Josh Manley – Video Editor Ruby Smith Love Uprooted: The Journey of Jazz Daniel Sheehan – Photography Diane Wah Dance Carl Lierman – Brochure Design $0–25, presented by Northwest Film CO-PRESENTERS EMERITUS BOARD MEMBERS Forum, details at nwfilmforum.org Bainbridge Island Museum of Art Clarence Acox Lola Pedrini Available to viewers in Langston Sue Coliton Richard Thurston state for 24 hours. Jazz dance’s history Northwest Film Forum Taina Honkalehto Paul Toliver and artistic roots in the expression of Seattle Repertory Jazz Orchestra Hideo Makihara Cuong Vu enslaved peoples strengthen the art Peter Monaghan form, turning its practice into a meta- Kenneth W. phor for resistance and a struggle for Masters acceptance.

6 • EARSHOT JAZZ • October 2020 COMMUNITY CONVERSATIONS presented by Earshot Jazz

Saturday, October 17, 2pm Impact of the Coronavirus on Black Jazz & Blues Musicians Sponsored by Seed IP Free, details at earshot.org This panel discussion—moderated by Tony Benton, founder and station manager of Rainier Avenue Radio— will take a look at how the coronavi- rus specifically impacted Black musi- cians. Systemic racism was already a constant. The coronavirus and the additional focus on race related issues exacerbated the challenges and ob- stacles faced by Black musicians in the KELLY CLINGAN BY MICHAEL CRAFT ANITA “LADY A” WHITE PHOTO COURTESY OF THE ARTIST entertainment industry and in life in general. This panel discussion will take ally then sign up now to read Stamped Dmitri Matheny—as they navigate a look at these issues through the eyes from the Beginning: The Definitive issues surrounding equitable access to of Wadie Ervin, Eugenie Jones, Anita History of Racist Ideas in America education, workarounds for not being “Lady A” White, Delvon Lamarr, and by Ibram X. Kendi. For more info or able to play together, and how the de- Michael Powers. to participate, visit seattlejazzed.org/ mands of teaching music online have Saturday, October 24, 2pm studygroup changed throughout the course of the Seattle JazzED Anti-Racist Study Saturday, October 31, 2pm COVID-19 pandemic. Group The Toll of Online Jazz Education: Saturday, November 7, 2pm Free, details at earshot.org Equity, Practical Challenges, and The Beth and Kelly Show On the date of their final class, youth Teacher Burnout in a Digital Age Free, details at earshot.org facilitators Jahnvi Madan and Alexis Sponsored by Brad Pearce, Built in Dubbed “the Beth and Kelly Show” Kim, along with Education Direc- Georgetown by colleagues, we’re teaching soulmates tor Kelly Clingan, discuss the first Free, details at earshot.org who love to talk shop and laugh along ever Seattle JazzED Anti-racist Study As almost everything moves online, the way. We don’t have all the answers, Group. If you want to deepen your un- jazz educators (many of whom are also but we do have a ton of experience and derstanding of racism in America and performers) are tasked with taking in- are willing to ask questions and make how it developed over time; if you’re struction into the virtual world. This mistakes. Subversive in approach, we pretty sure your high-school history panel—moderated by saxophonist explore solutions and highlight allies class only presented one side of the sto- and educator Kate Olson—will dis- as we continue to move our practice ry; if you want to be a more informed cuss the experiences of multiple edu- forward. Join us in this Special Edi- community member, parent, friend, cators—including Leanna Keith and tion for Earshot Jazz as we discuss jazz FOR ALL of our music students. LET’S GET SOCIAL! Follow @earshotjazz for up-to-date information on livestream concerts and events. Use the hashtag #earshotjazz to share your content and connect virtually.

October 2020 • EARSHOT JAZZ • 7 EARSHOT JAZZ 2020 FESTIVAL PREVIEWS

FRIDAY, OCTOBER 16, 7PM SUNDAY, NOVEMBER 8, 7PM Ravi Coltrane Quartet

Sponsored by Seed IP pianist McCoy Tyner and saxophonist nist’s role—comping with beautiful $10–25 , both of whom were harmonic voicings, and soloing utiliz- Saxophonist Ravi Coltrane comes major players in his father’s career. ing bold single tones, and dynamic, to the 2020 Earshot Jazz Festival via Over the past thirty years, he has de- cascading runs. She has abundant fa- Birdland in , perform- veloped a personal sound that is musi- miliarity with bassist Rashaan Carter, ing with a quartet much in the spirit of cally very independent of his father’s, who brings a dynamic all his own to his parents, John and Alice Coltrane. but with the same spirit of adventure the proceedings. As a child, young Ravi was shy, and and introspection that nurtured the Carter fits perfectly into diverse played in school musical communities band, eventually lean- that shade from Wal- ing towards photography lace Roney to María rather than music. Ear- Grand. The same could lier, upon his father’s death be said for drummer Al- when he was just two years lan Mednard, who has old, his mother had moved earned his jazz stripes the family to Los Ange- with the likes of Jer- les, where she established emy Pelt, Aaron Parks, herself as a musical force and Kurt Rosenwinklel. of her own. Featured on This musical threesome piano, and as a pioneering serves as a perfect vehi- spirit of the harp, she took cle for Coltrane’s prob- the flame she had nurtured ing, biting solos on both together with her legend- tenor and soprano saxo- ary husband, and moved phones. forward. Eventually, a re- Ravi Coltrane will inspired Ravi began to play RAVI COLTRANE BY DEBORAH FEINGOLD never fully escape the saxophone in high school, de- shadow of his parents, but spite the suffocating scrutiny he continues to create his he was likely to face as the son of an musical identity of both his parents. own legacy, embraced by the love and iconic master like his father. That same spirit resides in his current music they endowed him. This current As a professional, Ravi appeared on quartet, which features eclectic harp- incarnation of his quartet, is perhaps over thirty albums before releasing his ist Brandee Younger. While engaging the perfect instrument to fully express first album, Moving Pictures (RCA, the stylistic lineage of Alice Coltrane his familial pride and the freedom it 1997), an effort produced by saxo- and , she is noted for allows him. phonist . Coleman was her work with drummer/producer –Paul Rauch a major influence in the developing Makaya McCraven. Younger’s most The Ravi Coltrane Quartet’s perfor- style of the young Coltrane. Along the recent release as a leader, Soul Awak- mance will be streamed twice in the fes- way, Ravi worked with major artists ening (Self-Produced, 2019), features tival—on Friday, October 16 and Sun- such as and Herbie Han- Coltrane on saxophone. In this quar- day, November 8; both at 7pm. Tickets cock. Most notably, he performed with tet setting, Younger replaces the pia- sold seperately.

8 • EARSHOT JAZZ • October 2020 SATURDAY, OCTOBER 17, 7PM : Pursuance plus Jade Solomon Curtis

Sponsoredy Brad Pearce, Built in Georgetown $10–25 Emerging saxophone star and prolific bandleader Lake- cia Benjamin was 11-years old with a saxophone in her hands and a dare to dream bigger. Her musical path flows through the Latin music and dance of her early neighbor- hoods to four continents as a sideman for soulful A-listers (, Missy Elliot, , ) and to The White House to perform President Barack Obama’s 2009 Inauguration. Her wide-spanning career has culmi- nated, so far, with an ambitious ode to her roots music, Pursuance: The Coltranes (2020). A post-bop homage that would shine on logistical grounds alone, Pursuance is unique in equally represent- ing compositions of Alice and and credit- ing some forty musicians. The music is a riveting fit for Benjamin’s talents: her saxophone tone is not dissimilar to John’s; her spirit not disconnected from Alice’s. Benjamin brings a three-generational jazz cast to Pursu- ance. , who played with both John and Alice and proved invaluable as a co-producer and mentor. After launching Pursuance at Jazz at Lincoln Center in March 2020, this significant achievement should have carried momentum for an anticipated spring tour, where she would have joined us in person. But adapting through changes as Lakecia did in the making of this work, she cuts through, with pursuance, to meet us in a new sonic moment. Tonight, from New York, the band is: Lakecia Benja- min– saxophone; Zaccai Curtis– piano; – bass; and E.J. Strickland– drums. Adding to the night, dancing solo from Langston is cho- reographer and dancer Jade Solomon Curtis. Solomon Curtis gained attention as a celebrated soloist of Donald Byrd’s Spectrum Dance Season for four seasons. She is a multi-award winner, including the first SeattleDance’s Dance Crush Award for performance/choreography for Black Like Me, which led to further development and funding from the National Dance Project. –Halynn Blanchard

LAKECIA BENJAMIN BY ELIZABETH LIETZELL

October 2020 • EARSHOT JAZZ • 9 SUNDAY OCTOBER 18, 7PM Ahamefule J. Oluo: The Music from Susan

AHAMEFULE J. OLUO BY NAOMI ISHISAKA OKANOMODÉ BY MICHAEL B. MAINE

$10–25 all engagements are on hold until it’s dience on an holistic journey through Since March, Ahamefule J. Oluo— safe to reconvene. the heart, mind, body, and logos of this year’s Festival Resident Artist— In the meantime, this event showcas- Ahamefule Oluo through tension- has been creatively churning in his es the up-close footage and immersive based storytelling and arrangements, Pacific Northwest cabin studio (with jazz excellence while performing Susan honeyed melodies of hope, and sinu- tawdry Internet connection), honing at On the Boards in Seattle. Susan is soidal tempos that match the undulat- his craft as one of Seattle’s jazz com- titled after Ahamefule Oluo’s mother. ing tempests of his episodic experience posers, trumpeters, comedians, and Oluo’s opus honors her as the support- and relationships. experimental luminaries. Susan is ive-but-complex, white, Midwestern The orchestral energy of Susan is vis- one of Oluo’s most immersive, dark- wife who married a Nigerian chief, but ceral and powerful with a range of de- humored, and autobiographical jazz who was left to raise Oluo and his sib- lightful and diminished euphoria that performances to date that features the lings single-handedly. rises and crashes with the narrative, unparalleled vocalists okanomodé and If Now I’m Fine, Oluo’s 2014 avant- which all offer their own rawness as Tiffany Wilson, saxophonist Skerik, comedy jazz-opera, was an intimate vulnerable as Ahamefule Oluo himself and pianist Marina Albero. Through exhibition of his own persistence to allows. the ensemble’s max-flavored com- not give up on himself despite a series –Zach Frimmel positions, Oluo’s memoiristic stand- of dishearteningly unfortunate events, up comedy, and personally painful then Susan is about his and his moth- Ahamefule J. Oluo: 2020 punchlines in Susan, Oluo has not er’s persistence to better understand Festival Resident Artist only introduced his own neologism their intersectional identities and nu- for performance, but has also begun to ances. As a second storyline, Oluo also Thursday, October 29, refine it. chronicles his empirical exploration to 8:30pm Oluo says his 2020 has been “as good visit his extended family back in his Ahamefule J. Oluo Jazz Quartet as it can be, given the circumstanc- biological-but-mostly-absent father’s es” as this year was supposed to be a village back in Nigeria. Sunday, November 8, 8:30pm (much deserved) banner year for Su- The mellifluous compositions from Ahamefule Oluo Virtual Reality san to finally take it on the road after Susan—like “Man from Obibi” from House Party five years of incubating. But obviously Industrial Revelation’s 2015 Liberation 2020 touring is not happening now as & the Kingdom of Nri—take the au-

10 • EARSHOT JAZZ • October 2020 THURSDAY, OCTOBER 22, 7PM Amy Denio & Tarik Abouzied

$10–25 Multi-instrumentalists Amy Denio and Tarik Abouzied are two steady lights in the Seattle music commu- nity. Denio, an eclectic vocalist and prolific performer on various instru- ments, combines her astounding skill with her radical curiosity in groups like , a Balkan punk band, and the all-female Tiptons Sax Quartet. Abouzied, an accomplished drummer, bassist, and composer, is an on-call session musician and leader of various local groups, including award- winning Happy Orchestra. TARIK ABOUZIED BY DANIEL SHEEHAN AMY DENIO BY DANIEL SHEEHAN Abouzied makes music from the heart, which also grooves to the bone. merge into a rhythmic bouillon that cians sponsored by the Seattle Com- An outspoken member of the music can be heard on 2020’s release Wabi- posers Alliance. community and generous educator, he Sabi. These influences come naturally Collaborating together since 2015, leads the 12-piece Happy Orchestra, to Denio, who in addition to her stud- both share an inclusive, forward- whose 2017 debut Baba was nomi- ies in Western music, has also studied looking aesthetic, from composing to nated for the Earshot Golden Ear NW vocal music in India, performed in recording. For their performance— Jazz Recording of the Year award. festivals in Japan, Taiwan, and Brazil, broadcast live from the Royal Room— He has occasionally filled in on and elsewhere. Denio and Abouzied will perform a set drums for the Tipton Sax Quartet, a Denio recently lent her composition- of compositions and improvisations group Denio founded in 1987. Their al skills to a film scoring commission based on their experiences in various variety of influences, from classical by Kino Lorber, as well as releasing a musical traditions. composition to traditional jazz ar- recording of her chamber suite, Truth –Ian Gwin rangements, Afro-Cuban to Klezmer, is Up for Grabs, a piece for 21 musi-

October 2020 • EARSHOT JAZZ • 11 THURSDAY, OCTOBER 22, 8:30PM The New American Standard

$10–25 Naked City in the nineties is the same ditional and new Balinese music as a Any young musician approaching producer for Bill Frisell’s Have a Little member of Gamelan Galak Tika, and the rich tradition of jazz music must be Faith (1992); the adjunct professor at has collaborated and performed with faced with the concept of “a standard.” Cornish is the same programmer of neominimalist composers like Evan In line with its normal usage, where it the Royal Room in Columbia City; Ziporyn and legends like Cecil Taylor. denotes a certain accepted quality or the composer of orchestral concertos Brooks, hailing from the Puget commonly recognized norm, the mu- is the same scientist of the processed Sound area, is an accomplished singer sical standard is a song as a template piano for the The Snowghost Sessions who managed to turn around Shaki- for improvisation, often sourced from (2016). ra’s chair on the television series The the early history of American music. In other words, the standard for a Voice. Her voice continues to draw But what do these songs mean for us postmodern musician can be set. Cel- heads in local venues, including the now? What sources, from prior and list Ha Yang Kim and guitarist Ayesha Royal Room, where she’s collaborated present legacies, can be held as “stan- “Musicbox” Brooks, both with their with local blues outfit the Jelly Roll- dards?” Who writes the book, some- own very different sources of tradition ers, in tributes to Aretha Franklin, and times called “the Great American and takes on contemporary music, join with Horvitz on stirring tributes to the Songbook?” Horvitz on stage to set the standard. Grateful Dead. As her art indicates, it’s Pianist and composer Wayne Hor- Born in Korea, Kim made an early a living voice that declares the present: vitz, as a longtime member of the start as a classical cellist, but has sur- for the New American Standards trio, avantgarde, is no stranger to the de- passed any precocity: the founder of the book remains unwritten. bate surrounding standards. The pia- Odd Appetite, a contemporary en- –Ian Gwin nist who restitched genre tropes for semble that performs newly commis- John Zorn’s composition workshop sioned work, she has performed tra-

FRIDAY, OCTOBER 23, 7PM Johnaye Kendrick Quartet

$10–25 Kendrick’s ability to take the expe- her virtual audience shares that excite- Johnaye Kendrick’s arrival in Seattle rience of life, and express it lyrically ment. was tied to the opportunity of a full as a composer of personal, original Kendrick’s career is a balance point professorship at Cornish College of tunes, has resulted in two highly ac- between mentorship, artistry, and the Arts. A lot of life had happened to claimed recordings during her time in family. Sometimes an artist comes her since leaving her native San Diego Seattle. In 2014 she released Here on along that is so original, so comfort- for Michigan, a journey that eventu- her Johnygirl label, followed by Flying able being themselves, that their music ally led to the prestigious Theloni- in 2018. Kendrick is a complete musi- becomes art that endures. Kendrick ous Monk Institute in New Orleans. cian, with perfect pitch and extraordi- only hopes that her music creates a While there, she performed regularly nary range. spark along the way. She offers, “I just with NOLA royalty, Ellis Marsalis Joining Kendrick for this perfor- try to take all that and do my best with and Nicholas Payton. Payton’s support mance are bassist Chris Symer, drum- it, and create the best representation of was well known, exclaiming, “Johnaye mer D’Vonne Lewis, and pianist John myself, my people, the times. It’s just a has the potential to be a vocalist of Hansen. It has been some months little gift I put down, and hope some- the highest order, the likes of which since Kendrick last performed for an one picks up and appreciates.” we have seen seldom since the grande audience of any kind, something she is –Paul Rauch dames of the golden era of jazz roamed eagerly looking forward to. No doubt the earth. She’s got it!”

12 • EARSHOT JAZZ • October 2020 FRIDAY, OCTOBER 23, 8:30PM Tarbaby

ERIC REVIS BY DANIEL SHEEHAN BY JIMMY KATZ ORRIN EVANS BY JIMMY KATZ

$10–25 member to the critically acclaimed trio Coming to prominence playing with The story of theTar Baby, a folk story The Bad Plus. Possessing a forward- Betty Carter, Eric Revis has made his adapted in the tales of Uncle Remus thinking harmonic style that parallels name as a powerful yet thoughtful in 1881, goes something like this: Br’er fellow Philedelphian McCoy Tyner, percussionist, stating in an interview, fox builds a doll from tar. His friend, Evans has been paying his dues tour- “There may be an air of robustness Br’er rabbit, comes by and argues with ing and recording as a leader since around my music, but there is a lot of the doll. But the more he struggles, the the mid-nineties. His gigantic group sensitivity and intellectual content.” deeper he gets stuck in the sticky ploy. The Captain Black Big Band, a multi- A key member of ’ Bassist Eric Revis, describing his generational project that ambitiously band and frequent collaborator with Tarbaby trio with pianist Orrin Ev- ventures through the plural heritage of Armen Nalbandian, Revis released ans and drummer Nasheet Waits, in jazz, has earned praise for its “audacity his eighth album as leader Slipknots a JazzTimes article relates the idiom of spirit” (NPR). Through a Looking Glass, an elastic that ‘since sprung from this problem Evans named the band after a brand study in concentrated rhythm, on Py- to “the idea of swinging, playing with of tobacco he smoked with his father roclastic records this year. conviction, with reckless abandon.” after a conversation with Nahseet Their collective daring as experimen- Those elements, essentially, of the jazz Waits, after the latter discovered his talists and independent leadership has tradition that some in the modern era father, the percussionist , driven the trio since their eponymous who favor “pensive” jazz would rather also smoked. Another New York Na- 2009 debut. “This is a strong postbop not stick their foot in, are exactly the tive, Waits began his career extend- collective with plenty of moves at its elements that the band Tarbaby rel- ing this legacy in Mac Roach’s group command: advanced rhythmic calcu- ishes. M’Boom, followed by a stint with lus, sly harmonic implication, cohesive Authored by a collective, the trio reedman Antonio Hart, in addition elasticity, brute force,” writes the New co-leads by the excellence and expe- to tenure with Andrew Hill and Fred York Times. rience of its members. Readers might Hersch. –Ian Gwin be familiar with Evans as the newest

October 2020 • EARSHOT JAZZ • 13 SATURDAY, OCTOBER 24, 7PM Jovino Santos Neto Quinteto

$10–25 and drummer Mark Ivester. Over the ist himself, is reticent about defining Seattle has been fortunate to count course of the next few years, he would his evolving sound. “If I started to Brazilian pianist/composer Jovino add vibraphonist Ben Thomas, and describe my sound, I would almost Santos Neto as a permanent resident. percussionist Jeff Busch to the mix. feel an obligation to sound how I de- Though his association with Cornish That original formation of musical scribed. I learned that from Hermeto,” College of the Arts was influential in souls, known as the Jovino Santos he says. his decision, it was the raw beauty of Neto Quinteto, remains intact and Santos Neto was named Artist in the Pacific Northwest that was the ini- committed both on stage and in the Residence for the 2018 Earshot Jazz tial attraction. On tour with Brazilian studio. The marvelous chemistry they Festival, composing and performing master Hermeto Pascoal, the band was have developed over time have made new music for Big Band, with an all- on a ferry bound for Victoria, B.C. them what is known in the industry as star, all-Seattle cast. This year’s offer- from Seattle, when Santos Neto was a “sure thing”—sure to play pulsing, ing will be just the quinteto, pent-up taken with what surrounded him. “On dynamic Brazilian jazz, which leaves by eight months of inactivity. After a the ferry, I just looked around at the their audience in a profoundly joyous quarter century of thrilling audiences water and the islands and thought it state. around the world, watch for the band was so beautiful. I remember thinking Santos Neto is a skilled arranger to explode out of the gate, and find that I could live in this place. It hit me and composer as well, something he that intimate relationship they have in a place where still today I cannot say developed from his association with formed with their dedicated audience. objectively why,” he remarks. Pascoal. His unique fusion of tradi- In the time of COVID-19, their ardent By 1993, he had taken up residence tional Brazilian music and jazz is not positivity will provide much needed in Seattle, still connected to Pascoal performed with preservation in mind, joy. as the default curator of his musical but innovation, with a quarter century –Paul Rauch legacy. Almost immediately, he began of growth in the Pacific Northwest playing with bassist Chuck Deardorf adding to its core identity. The art-

SATURDAY, OCTOBER 24, 8:30PM John Hollenbeck: Epigraphs

$10–25 A four-time Grammy nominee, Hol- playing is groove-based and accessible. John Hollenbeck is a composer lenbeck has written and performed Within the confines of this approach without category, an abstract concep- many commissioned works, including are intricacies that could be described tualist who often applies his skills to a career defining piece in 2001 inspired as orchestral in nature. non-abstract objects in music. Also a by, and written for his mentor Brook- For the festival, Hollenbeck will per- versatile drummer and percussionist, meyer, “Processional and Desiderata” form with Montreal based guitarist Hollenbeck applies a keenly objective for Wind ensemble and Orator. Like Roman Munoz, in a duo enhanced thought process to every nuance of his most of his large ensemble pieces, the by epigraph-chanting vocalists Sarah artistic personality. He is profoundly music relates to the label of “New Mu- Rossy and Jeanne Laforest. The music influenced by trombonist/composer/ sic,” or “Modern Classical” as much as is of a mystical nature that evolves in arranger Bob Brookmeyer and com- it does to jazz within the industry. a constant state of change. Hollenbeck poser/choreographer Meredith Monk. While so much attention is directed fans will not be surprised by the musi- Whether directing his Large En- to Hollenbeck’s elite credentials as a cal about-face. He has a special disdain semble, or writing and performing in composer and arranger, his qualities for repetition, a quality that has kept the innovative Claudia Quintet, Hol- as a master drummer and percussion- his conceptions fresh and inspired over lenbeck’s wit and personality always ist are often overlooked. Much like his the course of his career. seems to shine through. persona as a composer, Hollenbeck’s –Paul Rauch

14 • EARSHOT JAZZ • October 2020 SUNDAY, OCTOBER 25, 7PM Triple Solo: Marina Albero, Jeff Johnson, D’Vonne Lewis

D’VONNE LEWIS BY DANIEL SHEEHAN JEFF JOHNSON BY DANIEL SHEEHAN MARINA ALBERO BY LISA HAGEN GLYNN

$10–25 The open nature of the jazz and im- the experience of living in Seattle dur- It was six years ago that pianist Ma- provised music scene in Seattle pre- ing the worldwide pandemic. Like all rina Albero pulled up stakes in her na- sented open arms for Albero to find of us, Albero has experienced great tive Barcelona, and moved her family herself as an artist. Live performances change in 2020, living isolated from to Seattle. She arrived with prodigious at clubs like Tula’s, the Triple Door, the music community where she talent as a pianist, vibraphonist, and and the Royal Room have become thrives not only musically, but socially. practitioner of the psalterium, or ham- full house celebrations, as Albero has Her performance will reflect that de- mered dulcimer. developed a following of dedicated tachment from normal life, and the The daughter of legendary Catalan fans. 2019 culminated in her first healing music can provide both physi- musician/composer/activist Mariano American release, the triple CD, A Life cally and spiritually. Joining Albero Albero, she had spent a formative three Soundtrack (Self-Released, 2019), a are her longtime Seattle musical col- years in Cuba mastering classical pia- musical roadmap of her journey as an laborators, bassist Jeff Johnson, and no, and in the process, absorbing the artist highlighting Albero’s fluid vir- drummer D’Vonne Lewis. Afro-Cuban rhythms of the island not tuosity, and cross-cultural brilliance. The trio will provide an interactive through playing, but by dancing with Earshot Jazz honored Albero with the portion of the performance, where friends. Those rhythms would become 2019 Golden Ear Award for NW Best they will invite the audience to join integral in her approach as an impro- Recording of the Year along with the them in the art of improvisation! The vising musician, exploring flamenco 2019 NW Instrumentalist of the Year audience is encouraged to have any and jazz forms. A twenty-year part- Award. sort of keyboard at hand, from full pi- nership with flamenco jazz pioneer For this performance, Albero will be ano to smart phone app, to participate. Chano Domínguez, Spain’s most cel- featured on all three instruments— –Paul Rauch ebrated jazz musician, influenced her piano, psalterium, and vibraphone— playing as well. playing music that has risen out of

October 2020 • EARSHOT JAZZ • 15 SUNDAY, OCTOBER 25, 8:30PM Eugenie Jones

$10–25 received a 3.5 star rating by DownBeat. The story behind jazz vocalist Eug- Her personal connection with her mu- enie Jones begins in West Virginia, sic carries with it a defined confidence. where her parents introduced her to She was further honored by Earshot in jazz and soul. Her mother sang of- 2015, by being named NW Vocalist of ten in the church choir, and more the Year. memorably, around their home. With Jones will be joined by a veteran cast an MBA, and a career in marketing, of Seattle players. Pianist Jeremy Ba- Jones would have no notion of singing con moved to Seattle from New York herself, much less professionally, until City in late 2017, and made an imme- her mother’s passing from cancer. The diate impact. Bassist Paul Gabrielson memory of her mother’s voice gave has made his mark in jazz internation- Jones the courage to pursue music a bit ally, and has performed with the best later than some, with a creative spark of the Seattle jazz scene, as well as the that had been lit quite organically, and Seattle Symphony. Drummer Jamael was not to be denied. Nance has roots in the jazz commu- Jones’ music is pure, mainstream nity dating back to performances with jazz, and inevitably draws comparisons Hadley Caliman and Chuck Metcalf. to jazz greats such as Abbey Lincoln Skilled soloists all, the trio is in a good and Nina Simone. Perhaps as a Seattle place, with Jones having a reputation artist, those comparisons should be EUGENIE JONES PHOTO COURTESY OF THE ARTIST to “let the cats play.” made to the great Seattle songstress, With roots that stretch back to An- Ernestine Anderson. When compared What inevitably sets Jones apart derson and the Jackson St. scene of to and Sarah Vaughan from most jazz vocalists, is her talents the 1940’s, Seattle’s tradition of great in an article in Time Magazine in as a songwriter and lyricist. She has jazz singers has continued in current 1958, Anderson replied, ”I wish, they filled her two albums with thoughtful, times, with Jones fitting securely in would let me be just me.” That adage original compositions. Black Lace Blue that timeline. expresses Jones almost perfectly. Tears, was named NW Recording of –Paul Rauch the Year by Earshot Jazz in 2013, and

16 • EARSHOT JAZZ • October 2020 THURSDAY, OCTOBER 29, 7PM Elnah Jordan & Eric Verlinde

$10–25 Ohio born and raised Elnah Jordan was introduced to singing as a child in church choir. The interconnectivity between that experience and the blues is what led her to a life dedicated to jazz, performing on the streets of San Francisco, in clubs, and Broadway the- atre, all the while true to her roots at the crossroads of American ethnomu- sicology. She can belt out Bessie Smith as she did in Jon Hendrick’s The Evolu- tion of the Blues, or summon the spirit of Nina Simone. In a club setting, Jor- dan maintains a close connection with ERIC VERLINDE BY DANIEL SHEEHAN ELNAH JORDAN PHOTO COURTESY OF THE ARTIST her audience, interpreting the vibe and energy of the room. In a duo format, that connection feels very personal. linde transitions from Latin Jazz, to aesthetic. His ability to swing hard, or Pianist Eric Verlinde has acquired post-bop seamlessly. His depth as a beautifully articulate a ballad is col- a reputation for versatility and reli- pianist is best witnessed leading his ored by his melodic approach to im- ability in his 20-plus years on the Se- trio featuring bassist Dean Schmidt provisation, attle scene. He may just be the hardest and drummer Jeff Busch. Personality wise, the duo shares a working, most in demand pianist in Together, Jordan and Verlinde show penchant for inviting the audience town. He has gained a reputation of how thin the lines actually are between into the performance. Their instinc- being the pianist of choice for many the blues, jazz, gospel, and rhythm & tive, beguiling music is social music, singers, appearing often with Jose- blues. They do so with a large measure a tonic for these communally chal- phine Howell at El Gaucho, or with of soul, with Jordan’s positive, ener- lenged modern times. –Paul Rauch Brazilian vocalist Adriana Giordano getic style accompanied perfectly by in the Entremundos Quarteto. Ver- Verlinde. His role as a soloist serves as an equal partner to Jordan’s vocal There are things to do in Seattle… You just have to know where to look.

EverOut.com/Seattle

October 2020 • EARSHOT JAZZ • 17 WITHIN/EARSHOT presented by Bainbridge Island Museum of Art

BIMA and Earshot Jazz are excited to partner for the fourth year in a row to present Within/Earshot, an all-digital, three-week long festival celebrating jazz and the diverse talent of the region through concerts and conversations. All events are online and free. For information, visit biartmuseum.org

Seattle’s own Evan Flory-Barnes merges his breadth of musical experi- ences to create an elegant, honest, ap- proachable and magical sound. With deep influences in hip-hop’s boom- bap, classical music’s delicacies, and rock ‘n’ roll’s power, Flory-Barnes’ current Avant-Soul Pop Music fea- tures a deep love of classic soul and ex- perimental pop, featuring talents as a bassist, composer/arranger, and singer- songwriter. CONVERSATIONS A Conversation with Rob Perry Thursday, October 15, 7pm JACQUELINE TABOR BY DANIEL SHEEHAN EVAN FLORY-BARNES BY DANIEL SHEEHAN BIMA will visit legendary jazz club, CONCERTS only Forró band. Members of the en- Jazz Alley, for an online conversa- semble include Adriana Giordano, Jai- tion with long-time general manager, Jacqueline Tabor Jazz Band mie Maschler, Gabe Hall-Rodrigues, Rob Perry, who will share anecdotes, Friday, October 9, 7:30pm Mike Catts, Meese Tonkin, Mike unforgettable moments, and favorite Withey, and Adam Kozie. Their tal- performances spanning his 34-year ca- Kicking of the series is the Jacqueline ent is showcased through exuberant, reer managing this iconic Seattle jazz Tabor Jazz Band. Two-time winner of danceable music. venue. the Earshot Jazz award for Northwest Vocalist of the Year, Jacqueline Tabor Jean Chaumont Group The Future of Jazz Panel is one of Seattle’s most sought-after Friday, October 23, 7:30pm Discussion performers. A fearless frontwoman, Tuesday, October 20, 7pm “Exquisite and enchanting”(WJTU), Tabor’s luscious and polished inter- French guitarist Jean Chaumont’s mu- pretations of jazz standards are in high Washington Hall is home to Seattle’s sic is intentional, candid, and filled demand for good reason—she’s a bold first reported jazz concert, and this with layers of beautiful complexity. and tender performer who irresistibly historic venue will host BIMA’s sec- His acclaimed 2018 release The Beauty draws her listeners in. ond live-streamed conversation on The of Differences was named one of Down- Future of Jazz. Moderated by Brian En Canto Beat’s Best Albums of 2018. One of Kirk (Seattle Central College Profes- Friday, October 16, 7:30pm the freshest jazz voices and players in sor of Jazz), with panelists John Bishop Seattle, Chaumont brings his stun- Anchored in Brazilian classics and (Founder of Origin Records), Carol ning quintet to BIMA this fall. contemporaries of their genre, En Handley (Music Director, KNKX), Canto brings the Pacific Northwest Evan Flory-Barnes and more! a rare link to Brazil. A multi-ethnic Friday, October 30, 7:30pm female-led group, En Canto is Seattle’s

18 • EARSHOT JAZZ • October 2020 JAZZ: THE SECOND CENTURY presented by Earshot Jazz

Night One: Wednesday, Night Two: Wednesday, October 21, 7pm October 28, 7pm Free, details at earshot.org free, details at earshot.org Leanna Keith CHA Leanna Keith is a flutist, composer, CHA is an iconoclastic trio of clas- and improviser. This piece (untitled) sically trained artists who’ve crossed is largely a response to performance into the world of free improvisation. in isolation. Keith’s practice is one of Carol J Levin, Heather Bentley, and listening, which has obvious impli- Amelia Love Clearheart are regular cations in a band setting, but far less participants in Seattle’s dynamic cre- obvious in practice when alone in a ative music scene, joining forces to room. make a bold and unique statement. Josh Hou Ray Larsen LEANNA KEITH PHOTO COURTESY OF THE ARTIST In the months since quarantine be- Ray Larsen is a Seattle-based trum- gan, Hou has discovered remote re- peter and composer. known for his The Jazz: The Second Century cording as a powerful way to create spirited sound and inventive writing. series has always been about music as well as maintain and build This music searches. A single line, exploring the fundamental ques- community. This is a video of a Chi- grasping and imploding and forming tion: “One-hundred years into the nese concerto, reharmonized and re- into something else. A stream of con- art-form, what sonic shape does arranged for jazz trio featuring Sara sciousness with a future to find. jazz take in its second century?” Heng, a guzheng player from Kuala EarthtoneSkytone This question has never felt more Lumpu, all recorded in seperate locat- EarthtoneSkytone is the duo project relevant—or urgent—during sions. from Kelsey Mines (bass, vocals) and these times of physical distanc- Melanie Sehman & Sarah Yates Carlos Snaider (, vocals). This ing, where musicians are being Combining two strikingly different new music, recorded from the artists’ forced to explore new and innova- musical backgrounds, Melanie Sehm- homes, speaks to grounding, resil- tive ways to develop and present an (drums, percussion) and Sarah Yates ience, and change. their art. (double bass) form an improvising duo Things are a little different in this Rae that approaches jazz as an exploration edition of the Jazz: The Second of the ground between their Rae is a trio led by Abbey Blackwell Century series. Working with (bass) featuring Ronan Delisle (guitar) the Racer Sessions team, we’ve diverse musical languages. Francesco Crosara and Evan Woodle (drums). Their proj- adapted the format from a live ect offers lyrical tunes with sometimes concert to a pre-recorded audio Crosara’s personal brand of jazz has jarring harmonies that complement or video performance, which will become more focused in light of the each other, offering relatable melodies be presented as two watch par- COVID-19 pandemic, it reflects the with an avant-garde undercurrent. The ties. Jazz: The Second Century is collective anxiety of the moment while group’s sound has been called “The the continuation of Earshot’s first providing greater introspection in the New Cool” by some, as they weave programming initiative. 2020 purpose of music as a powerful source together grooves and free form impro- marks the first time the series is of comfort and escape. visation in a focused yet laid back way. presented as part of the Earshot Jazz Festival.

October 2020 • EARSHOT JAZZ • 19 THURSDAY, OCTOBER 29, 8:30PM Ahamefule J. Oluo Jazz Quartet

$10–25 cabin studio to stun us with his new he is looking to dust off, which luckily This live performance will be the line-up that satiates a more technical for us comes in the articulate incarna- debut of the Ahamefule Oluo Jazz restraint and acoustic dimension of his tion of Tim Kennedy (piano), Geoff Quartet on an official bill, plus will jazzmanship. Harper (bass), and D’Vonne Lewis be Oluo’s first time performing with When left to his own devices, Oluo (drums) accompanying the trumpeter real-time collaborators since the on- innovates. He adapts. His artistic de- ace himself. set of COVID-19—what a treat! The fault is non-populist. His executive ap- The camaraderie of jazz is inherently multi-Award-winning polymath who proach tweaks conventional assump- collaborative, so COVID-19—the brought us the indelible genius of Now tions of the jazz genre. However, he semi-truck-sized wrench in our 2020 I’m Fine, Susan, Thin Skin, and In- also simultaneously has amassed an lives—put Oluo’s adaptation skills dustrial Revelation emerges from his archive of more relaxed originals that to the test. He optimistically shares, “Unfortunately, remote jamming has been difficult, but what has been great has been the opportunity to work on a small number of things that I wouldn’t normally have been able to work on.” The musical pariah goes on to paint, “There’s a lot of people that I love working with who are normally very busy with always touring...but now they’re not doing that so I’ve had a chance, in a safe way, to bring indi- vidual people out to do songwriting sessions and recording experiments to try things without the expectation of having to make something.” Even before the pandemic, space and time have always been coveted re- sources for artists, which Oluo ratifies, “The only thing that we actually have right now is time... so it’s been really great to use that time to try things I wouldn’t normally try and collaborate with people that I don’t normally get to collaborate with.” It’s newly presented collaborations like this quartet that have surfaced for Oluo in 2020. Even though Oluo has uncompromisingly built his cre- ative career out on the cliff’s edge and thrown caution to the wind, the Aha- mefule Oluo Jazz Quartet cements his ability to engage listeners during chal- lenging times while remaining an eru- dite experimenter. –Zach Frimmel

20 • EARSHOT JAZZ • October 2020 FRIDAY, OCTOBER 30, 8:30PM Bill Frisell Solo

Sponsored by Richard Thurston back to New York, in 2017. Over the mer University of Washington profes- $10–25 course of his more than four-decade sor Luke Bergman on baritone guitar, The first time I ever saw Bill Frisell career, the Grammy-winning musi- as well as vocalist Petra Haden and cel- play live was at an intimate, 1986 solo cian has consistently topped readers list Hank Roberts. Frisell recently had performance at the Vancouver Inter- and critics polls and been hailed as a dream come true when he was signed national Jazz Festival, back when the the most important practitioner on his to , which released guitarist was his second still one of album for jazz’s bud- the label this ding secrets. past August, I remember Va l e n t in e, being blown which fea- away by tures bass- his inven- ist Thomas tive use of M o r g a n digital delay, and drum- loops, ef- mer Rudy fects pedals, R o y s t o n . even pure The title n o i s e — a s tune, a well as his M o n k i s h mischievous blues, is es- sense of hu- pecially de- mor and lightful, but disarmingly a perhaps hesitant at- more useful tack, as if he pre-concert were think- playlist is ing out loud. his 2018 As we later solo album found out, for Okeh, that’s exactly Music Is. what he was BILL FRISELL BY DANIEL SHEEHAN The album doing. A lot of showcases his musicians can’t wide range of pull off that kind of spontaneity, but instrument since Jimi Hendrix. He is moods, from country gentleman to Frisell excels at it, so a solo perfor- the subject of a wonderful documen- raucous saboteur, sometimes all in the mance is always something special to tary film by Emma Franz, Bill Frisell: same song, as on “Winslow Homer.” look forward to, though “solo” may be A Portrait, in which he delves deeply Hopefully Frisell will play my favorite misleading, since he no doubt will play into his process. of his early tunes, “Rambler,” which duets (and trios, and quartets) with his Seattleites have had plenty of op- gets a radical rearrangement on Mu- electronically reproduced self. portunities to see him play solo and sic Is, then reappears with its original, Originally from Denver, Frisell made otherwise over the years, including his gentle roll as a bonus track. But what- his reputation on New York’s “down- most recent appearance last spring at ever he plays will be just fine. town” scene in the 1980s and lived the Moore Theatre with the unusual –Paul de Barros in Seattle for 28 years before moving group Harmony, which includes for-

October 2020 • EARSHOT JAZZ • 21 SUNDAY, NOVEMBER 1, 7PM

Gerald Clayton & John Clayton

Sponsored by Seed IP $10–25 Gerald Clayton is among the most inspiring and captivating forces on the jazz scene today. He tirelessly reinvents avenues for creative exchanges with other artists, transforming his music into a celebration of the inherent differences in musical perspectives that promote true artistic synergy. Clayton earned a BA in Piano Performance at USC’s Thornton School of Music under the instruction of piano icon , fol- lowing a year of intensive study with at The Manhattan School of Music. His burgeoning discography has earned him four Grammy nominations. Now a Blue Note artist, the acclaimed pianist and composer recently released his label debut Happening: Live at the with his world-class quintet, featuring Logan Richardson (alto), Walter Smith III (tenor), Joe Sanders (bass), and Marcus Gilmore (drums). As Jazz Times enthuses, “Clayton’s piano contributions, in their wild, free-spilling, lyrical aspiration, are consistently stunning.” The son of treasured bassist and composer John Clayton, he enjoyed a familial apprenticeship from an early age. Clayton honors the legacy of his father and all his musical ancestors through a commitment to artistic exploration and reinvention. Tonight’s concert offers an out- standing opportunity to enjoy this intergenerational musical juncture. Bassist John Clayton is an award-winning composer, arranger, con- ductor, producer and educator. With a Grammy and eight nomina- tions to his name, he has performed with iconic artists Diana Krall, Paul McCartney, Regina Carter, and Dee Dee Bridgewater. He was commissioned by leading ensembles in the US and Europe, including the Northwest Chamber Orchestra, the American Jazz Philharmonic, The Carnegie Hall Big Band, and the Amsterdam Philharmonic. John serves as the musical director of several renowned jazz festivals, including the Jazz Port Townsend Festival, attracting prominent art- ists from across the globe at one of the nation’s premier jazz events. He co-founded the Grammy-nominated Clayton-Hamilton Jazz Orches- tra and the Clayton Brothers Quintet, nominated for two Grammy awards. The quintet (John Clayton, Jeff Clayton, , -Ger ald Clayton and Obed Calvaire) cooks up sweet original compositions and reinvents standards, expressing their love of this true American art form. –Marianne Gonterman

GERALD CLAYTON BY DANIEL SHEEHAN

22 • EARSHOT JAZZ • October 2020 SUNDAY, NOVEMBER 1, 8:30PM Reggie Goings Quartet

REGGIE GOINGS BY JIM LEVITT

$10–25 sophistication of Lou Rawls. His mate Phil Sparks has been a first call Vocalist Reggie Goings was once sound is rooted in the blues, infused bassist in Seattle since his arrival thirty a frequent performer on the Seattle with the revolution of bop, and refined years ago. Sparks has performed regu- jazz scene, performing at venues like by the power of soul. The vibrant sen- larly with Thomas Marriott, Matt Jor- the New Orleans Creole Restaurant sibility he delivers when articulating a gensen +451, and his latest ensemble, or hosting the Seattle Jazz Offering at standard sounds as if he was groomed Nu Trio with Nathan Breedlove and Tula’s for a decade. His musical and on 52nd St., during the rise of Bird Brian Kirk. Like Sparks, drummer Ja- social circles included iconic local art- and Diz. mael Nance goes way back with Go- ists such as Hadley Caliman and Phil Goings will perform with a trio ings, frequenting gigs and sessions that Sparks. In recent years, the soulful whose names have been etched promi- centered on tenor saxophonist Hadley baritone had been less active, until Se- nently in the story of jazz music in Se- Caliman. attle Repertory Jazz Orchestra (SRJO) attle over four decades. Pianist Randy The language Goings draws from is director Michael Brockman invited Halberstadt has been impactful both steeped in history, and expressed by Goings to perform in the band’s trib- as an educator at Cornish College of an artist dedicated to, and humbled ute to another soul legend, the great the Arts, and as a performer at the fin- by, this quintessential art form we call Ray Charles. est venues in town. He has gained a jazz. In a year when the festival is all The performance reminded Seattle reputation as a stylish accompanist for about Seattle artists, having Goings in jazz fans of his blues infused baritone vocalists, including Seattle greats Gre- the house is a perfect fit, at a perfect that acted as a perfect fit for the role. ta Matassa and Gail Pettis. His color- time. Like Charles, his influences are wide ful voicings and harmonic elegance –Paul Rauch ranging, from the pioneering bebop have graced the performances of the sound of Billy Eckstine, to the suave SRJO for many years. His SRJO band-

October 2020 • EARSHOT JAZZ • 23 THURSDAY, NOVEMBER 5, 7PM Thomas Marriott’s Trumpet Ship

$10–25 track on social media in 2019, a hard his Seattle quartet, featuring three of Since his return to Seattle from New charging interpretation of Sonny Sim- the city’s best, presently and histori- York City in 2004, trumpeter Thomas mons’ avant-bop tune. The street date cally. Pianist Marc Seales, bassist Jeff Marriott has recorded eleven albums was set for March 2020, with a tour to Johnson, and drummer John Bishop as a leader or co-leader on the Seattle follow with the session’s quartet intact. join Marriott, who has a lengthy his- based Origin Records label. None Trumpet Ship was received well, upon tory with this dynamic assemblage have been more anticipated than Mar- the March release. It seemed the al- of talent. Considering the nature of riott’s most recent release on Origin, bum and the tour with his Philly based his approach, that inherent intuition Trumpet Ship (2020). The album fo- bandmates would create a highlight in that can only be propagated over time, cuses on first-take quartet offerings Marriott’s career, after two decades of should become immediately apparent. of Marriott originals and standards. consistently high-quality work. But, as All four musicians are counted among Recorded in one three-hour session at the story of 2020 has been told, tour the finest to have appeared on the Studio X in 2016, the album is a cel- plans were dropped due to the world- scene over a century of jazz history in ebration of Marriott’s friendship with wide COVID-19 pandemic. Life for Seattle. For one evening, they will re- Philadelphia based pianist, Orrin Ev- all of us became more internalized. gain the momentum that was brought ans. Joined by bassist Luques Curtis This performance takes advantage of to a grinding halt by the pandemic, and drummer Mark Whitfield, Jr., the opportunity created by this unfor- and give the Earshot audience a per- the session captures the artistry of the tunate turn of events, to flip the script, formance to remember this epic year quartet perfectly. The recordings sat and celebrate Marriott’s original music by. unreleased over the course of three and that is so well presented on the album. –Paul Rauch a half years. Marriott leaked the title To do so, the trumpeter has gathered

THURSDAY, NOVEMBER 5, 8:30PM Ab Baars Solo

$10–25 choices and leave behind old habits, to improvisation. Leaping in a trice Earshot fans are no doubt familiar in much the same way Steve Lacy from a lowing caress to a pyrotechnic with stellar second-generation New used to challenge himself by avoiding squall—with judicious silences set- Dutch Swing reed man Ab Baars, or creating certain practice patterns. ting off his phrases—Baars can be a thanks to his many appearances here Baars also plays shakuhachi, that most bit puzzling, at first, until you realize with the ICP Orchestra and his own resistant of Japanese flutes, and tenor snippets of the melody or harmonic small groups, but they may not know saxophone, on which he elicits a col- benchmarks are surreptitiously slip- his estimable solo work, which will be orful, fearless palette that owes a debt ping into his lines. Favorites on And the focus of Baars’ festival show this to Archie Shepp. But whichever horn She Speaks include the hauntingly year, streamed live from his Amster- is in his mouth, Baars exercises con- beautiful “ Blue Saphir” and the dam studio. A 1989 recipient of Hol- summate technical control while let- playful “Blame It On My Youth Cad- land’s most prestigious award, the ting his improvisations fly where they mium Red.” In an email Baars writes Boy Edgar Prize, Baars is a unique might. that he will be using his full arsenal for reed player. He uses an Albert system Baars plays all three instruments on the Earshot show and will play “a few clarinet, which has fewer keys than his solo albums And She Speaks – A new compositions and something by the more modern Boehm system, thus Collection of Ballads (2018) and Time Misha Mengelberg and John Carter.” requiring a variety of alternate finger- to Do My Lions (2008), which reveal –Paul de Barros ings that coax players to make new a subtle, nuanced, abstract approach

24 • EARSHOT JAZZ • October 2020 FRIDAY, NOVEMBER 6, 7PM Benjamin Hunter Quartet

BENJAMIN HUNTER BY AMBER ZBITNOFF

$10–25 nal music exploring the Black dias- ment is part and parcel of my life in “It has given us time to think,” says pora—from West African to the blues; America. It has been my whole life.” the award-winning multi-instru- jazz to . All the musicians have Earshot Jazz’s statement on anti-racism mentalist Benjamin Hunter of the deep music roots in Seattle. Hunter can be found at earshot.org/earshot- COVID-19 pandemic. “Time to be is currently an artist-in-residence for jazz-and-anti-racism. alone with ourselves. Time to reckon On The Boards. Hunter and Estrada There are silver linings in the pan- with that isolation. Time to embrace have a long history together having co- demic, in the tumult in the streets. it.” Hunter plays roots music (on vio- founded Seattle’s Black and Tan Hall. For Hunter, they’re opportunities to lin, mandolin, guitar, percussion, and Hunter and Willrich teach at Seattle’s pay more attention to things that mat- voice) and the isolation has changed JazzEd. Patin is also an educator and ter (family, self-care, storytelling) and the notes of his music. “It’s under- has performed with a wide array of Se- focus on playing, and practicing, and scored for me the importance of the attle’s luminary musicians. writing music. “My goal,’ Hunter says arts and the true value of human con- Coupled with COVID has been the of his music, “is to make something I nection.” Hunter, with a small en- upsurge of the Black Lives Matter am happy with; that comes from my semble, will share that music virtually Movement, certainly something that own authenticity.” Soon Earshot audi- via a livestream concert as part of the has also impacted Hunter’s artistic ences will be able to share in that hap- Earshot 2020 Digital Festival. output. “As an activist and community piness online. COVID or not, connec- Hunter, with Camilo Estrada on organizer for 10 years in this city, I’m tivity continues. bass, Darrius Willrich on keys, and curious to know how BLM has colored –Jonathan Shipley Chris Patin on drums, will play origi- Earshot Jazz. This is to say, the move-

October 2020 • EARSHOT JAZZ • 25 FRIDAY, NOVEMBER 6, 8:30PM Fred Hersch Solo

into our lives, the 15-time Grammy lar tunes such as “Wouldn’t It Be Lov- nominee and 2011 Jazz Journalists As- erly,” from My Fair Lady; the Jimmy sociation Pianist of the Year started Webb classic, “Wichita Lineman”; Joni posting a “Tune of the Day” on Face- Mitchell’s “All I Want”; and – pointed- book, a practice that resulted in the ly, for 1955-born Hersch—Paul Mc- solo CD, Songs From Home which he’ll Cartney’s “When I’m Sixty-Four.” The be sharing with Earshot Festival view- tone is quiet, intimate and thought- ers this year. Hersch has made solo ful, though “After You’ve Gone” gets piano a specialty, releasing a dozen al- a jaunty turn and “Get Out of Town” bums over the years. He also has the a playful one. Duke’s “Solitude” spar- distinction of being the first pianist to kles and Kenny Wheeler’s “Consola- do week-long solo gigs at the Village tion (A Folk Song)” is a rare treat. Vanguard. With a two-handed energy It’s no surprise that Hersch hasn’t that can propel him rhythmically and let adversity get to him. He’s been a crystalline touch that compels lis- living for years with the reality of be- teners to sink sweetly into his quieter ing HIV-positive and back in 2008 moods, Hersch is a master of the form. endured a weeks-long, medically in- FRED HERSCH BY JOHN ABBOTT He’s also a true improviser and story- duced coma to combat a killer case of teller, letting his imagination guide his pneumonia. He and librettist Herschel Sponsored by Michael Goodheim hands where the music wants to go. Garfein collaborated on a gripping $10–25 Hersch describes Songs From Home and witty chamber opera My Coma Pianist Fred Hersch hasn’t let the as “comfort food” for these seques- Dreams about this experience, which pandemic slow him down; in fact, it tered times. Instead of the usual mix aired on YouTube this past summer seems to have fired him up. As soon of Monk, American Songbook and and is highly recommended viewing. as the COVID-19 pandemic careened jazz standards, the set surveys popu- –Paul de Barros

SATURDAY, NOVEMBER 7, 7:30PM SRJO Nonet: Birth of the Cool

Presented by SRJO Brockman, and many others stream- Tickets at srjo.org ing live from Benaroya hall. A rare performance of The original album—which features great jazz from the classic , Lee Konitz, Gerry Mul- 1949 Birth of the Cool re- ligan and J.J. Johnson—was a major cording by Miles Davis, development in post-bebop jazz, and played by an all-star group employed many elements of classical drawn from the SRJO in- chamber music. It quickly became one cluding bassist Phil Sparks, of the most famous and influential al- trumpeter Jay Thomas, bums in all jazz history. saxophonists Alex Dug- Tonight’s selections include “Jeru,” dale and Travis Ranney, “Rocker, “Boplicity,” “Moon Dreams,” trombonist Dan Marcus, and “Godchild” (by Mulligan, Gil Ev- MILES DAVIS PHOTO COURTESY WILLIAM P. GOTTLIEB COLLECTION drummer D’Vonne Lewis, ans, and John Lewis) plus other great co-artistic director Michael works from the “cool school” of jazz.

26 • EARSHOT JAZZ • October 2020 SUNDAY, NOVEMBER 8, 7PM Ravi Coltrane Quartet

$10–25 Encore Performance! Saxophonist Ravi Coltrane performs with a quartet much in the spirit of his parents, John and Alice Coltrane, featuring Bran- dee Younger (harp), Rashaan Carter (bass), and Allan Mednard (drums). More info on page 8.

BRANDEE YOUNGER BY JERRIS MADISON

October 2020 • EARSHOT JAZZ • 27 SUNDAY, NOVEMBER 8, 8:30PM Ahamefule J. Oluo House Party

$10–25 Prepare for the Revelation! Whether you’ve tuned into none, one, or most of this year’s digi- tally streamed festival performances, you haven’t seen a performance quite like Ahamefule Oluo’s Virtual Reality House Party. This 2016-recorded document of Industrial Revelation playing in a living room brimming with house show enthusi- asts, kindred souls, and Nigerian food will give us that euphonious and palpable experience of what it was like to be immersed in a sultry and live mu- sic setting again. Oluo expounds, “The beauty of virtual reality is that you get to feel like you’re immersed some- where, and wouldn’t it be great to be at a really cool party with live music and amazing food and just capture that particular event in a really beautiful way?” Most definitely. The majority of us show-goers are craving these sacred moments again because they offer us—to quote Industrial Revelation’s bio—“human emotion...unbridled energy, excitement, passion, beauty and the enjoy- ment that coincides.” Even though it was recorded in 2016, the footage of this 21:30-minute, unfettered time capsule is just now being unearthed because it was simul- taneously in production while Thin Skin—Oluo’s full-length film adaptation ofNow I’m Fine—was in production. Oluo was just waiting for the right time to release it. He says, “It’s a really beautiful film...it’s something I’ve always been really proud of and I’ve always wanted to find the right place to put it out and now it seems like, in the context of COVID, where it really is impossible to go to a party like that...it just seemed like a really amaz- ing time to put out this little moment from the past.” Oluo concludes by threading his three festival events together by being “as immersive as possible because it’s really one of the main things that’s missing is that kind of connection...right now I think connectiveness is what we need.” Agreed, I think we’re ready for the Revelation. –Zach Frimmel

AHAMEFULE J. OLUO BY NAOMI ISHISAKA

28 • EARSHOT JAZZ • October 2020 October 2020 • EARSHOT JAZZ • 29 NOTES

Errin Patton Leaves Earshot Jazz CMA announces Rhiannon Giddens Royal Room Continues Staycation It is with great sadness that we say as Keynote Speaker Festival goodbye to our colleague Errin Patton. Chamber Music America announced The Royal Room, in partnership Serving for one year as Earshot’s first that multi-instrumentalist, singer- with South Hudson Music Project and Development Manager, Errin’s posi- songwriter, and 2017 MacArthur Fel- Live Concerts Stream, will continue tion was eliminated due to the finan- low, Rhiannon Giddens will deliver to host the Staycation Online Festival cial strain on our organization from the keynote address at its 2021 Virtual through the end of 2020. Artists in COVID-19. We wish Errin all the best Conference, Power and Privilege: Eq- October include Birch Pereira, Marina in her new career endeavors. uity in the Arts. CMA’s Virtual Con- Christopher, Willem de Koch, among Changes on the Earshot Jazz Board ference will take place January 11–15, others. Concerts will be streamed live 2021. For conference details see con- from their stage, following all Wash- In August, Danielle Leigh, Board ference.chamber-music.org ington State Department of Health President stepped down from her po- Guidelines. Airing Fridays and Sun- sition that she held admirably for the Jack Straw Artist Residency Application day, with the occasional Wednesday, past few years. Stepping up as the new Thursday or Saturday, any proceeds Board President is Chris Icasiano. Jack Straw Artist Residency applica- raised during the events will go to the Well known as a local drummer and tions are now open. Applications are artists. For details about the schedule composer, Icasiano works solo and in offered to established and emerging visit theroyalroomseattle.com. numerous ensembles and is one half of artists in diverse disciplines and pro- the duo Bad Luck. He is a co-founder vide an opportunity to explore the Fall Classes at Seattle JazzED of grassroots arts organizations Table creative use of sound in a professional This Fall Seattle JazzEd classes will and Chairs and Racer Sessions. He atmosphere through residencies in continue online. Offerings include is committed to anti-racist and anti- Jack Straw’s recording studios and par- Virtual Protest Songs Project, grades sexist organizing within Seattle’s DIY ticipation in their various presentation 5–12: Virtual Ellington Ensembles, and art communities in order to cre- programs. Artists may apply to only grades 9–12; Virtual Jazz Prep En- ate more accessible and safer spaces. one program per year. The deadline sembles, grades 4–8, plus a free, all- Before being elected Board President, is Monday November 2. Contact Jack ages Anti-racist Study Group which Chris Icasiano served as the Board Straw via email [email protected] or will study from Stamped by Ibram X. Vice President. Replacing Icasiano in visit their website at jackstraw.org for Kendi as well as the teen version. All that position is Sheila Hughes (who more details. classes begin in October and tuition is most recently served as the treasurer). New Podcast from Jack Straw and on a sliding scale. For more informa- Chris Nutter will remain as board Sec- tion visit seattlejazzed.org. SCAC retary. “Opening Doors” a podcast about Vera Project’s Digital Equity Drive Shannon Halberstadt Leaves Artist accessibility in arts and civic life, cre- Vera Project’s “Equip the Kids: A Trust ated by Jack Straw and the Seattle Digital Equity Drive for Video and Shannon Halberstadt, CEO of Artist Cultural Accessibility Consortium, Audio” is requesting donations of re- Trust, resigned from her position, on launched on September 15th. Episode cording interfaces, old laptops/desk- August 31st. After helming the orga- 1 featured an interview with Kameko tops, microphones, midi keyboards, nization for six years Halberstadt indi- Thomas, founder of Vonem Creative instruments and more. Donations will cated that it was the right time for her Media. Their first season aims to -am help address the need to get music and to leave the organization and create plify the voices of Black, Indigenous, art equipment into the hands of young room for new voices and organization- and People of Color with disabilities, people who do not have access to these al strategies. Longtime Development and to learn how race and disability vital creative tools. This need is more Director, Kristina Goetz will serve as impact their access to arts and culture. pertinent than ever in this age of digi- acting director. Listen to the series and subscribe at tal streaming. For details visit Vera soundcloud.com/OpeningDoorsPod Project’s social media on Facebook, or wherever you get your podcasts.

30 • EARSHOT JAZZ • October 2020 Instagram or Twitter or visit this link ty, and opportunity to BIPOC people bit.ly/vera-gear-drive. working in all aspects of film, includ- ing commercial, non-commercial, EARSHOT JAZZ Seattle–King County BIPOC A Mirror and Focus for the Jazz Community Production Network non-profit, and hobby projects, and to help build up a robust ecosystem of The BIPOC Production Network has creators who are generally underrepre- Executive Director John Gilbreath produced a living document that pro- Managing Director Karen Caropepe sented or under-served in mainstream Programs Manager Tara Peters vides a resource list for people in film media. Anyone interested in joining production who identify as a Black, Marketing & Development Associate Lucienne this list or accessing this list, should Aggarwal Indigenous Person of Color (BIPOC) follow this link bit.ly/bipocproduction Earshot Jazz Editors Lucienne Aggarwal & and live or work in the greater Seattle or email bipocfilmnetwork@gmail. Tara Peters and South Sound area. It is intended com. to provide visibility, access, communi- Contributing Writers Halynn Blanchard, Paul de Barros, Zach Frimmel, Marianne Gonterman, Ian Gwin,Paul Rauch, Jonathan In Memoriam: Gary Peacock: 1935–2020 Shipley Gary Peacock, the world-renowned bassist, and musical innovator died at Calendar Editors Carol Levin, Jane Emerson, the age of 85, on September 4, at his home in upstate New York. With a ca- & Tara Peters reer that spanned seven decades, the prolific artist played with such greats Photography Daniel Sheehan as Albert Ayler, Paul Bley, Bill Evans, Marilyn Crispell, and , Layout Tara Peters among others. Peacock made his mark in the jazz world with his work in Distribution Karen Caropepe, Dan Dubie & Earshot Jazz volunteers Keith Jarrett’s Standards Trio alongside Jack DeJohnette. Peacock was born in Burley Idaho in 1935, and grew up in Yakima, Wash- Send Calendar Information to: ington, before attending high school at the Westlake College of Music in [email protected] Los Angeles. After being drafted in the army and deployed to Germany, Board of Directors Chris Icasiano Peacock settled on the bass. His career as a bassist picked up on his return (President), Sheila Hughes (Vice President), Chris Nutter (Secretary), to Los Angeles and was cemented once he moved to New York. In the late Augusto Cardoso, John W. Comerford, 70’s and early 80’s Peacock moved to Seattle where he worked at Cornish Maurice James, Danielle Leigh, Gail Pettis, College of the Arts. Whilst residing in Seattle he had a profound influence Ruby Smith Love, Diane Wah on the local jazz scene. Emeritus Board Members Clarence Acox, Sue A progressive and innovative master of his art, Peacock has recorded a Coliton, Taina Honkalehto, Hideo Makihara, dozen albums as a bandleader and collaborated on more than 50. His vir- Peter Monaghan, Kenneth W. Masters, Lola tuosic reputation and versatile approach to music has influenced countless Pedrini, Richard Thurston, Paul Toliver, bass players and delighted legions of fans. Cuong Vu Founded in 1984 by Paul de Barros, Gary Bannister, and Allen Youngblood. Earshot Jazz is published monthly and is available online at earshot.org.

Subscription (with membership): $35 3417 Fremont Ave N, #221 Seattle, WA 98103 phone / (206) 547-6763 Earshot Jazz ISSN 1077-0984 Printed by Yakima Herald-Republic © 2020 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.

October 2020 • EARSHOT JAZZ • 31 NON-PROFIT ORG IN THIS ISSUE... EARSHOT JAZZ U.S. POSTAGE 3417 Fremont Ave N, #221 PAID Seattle, WA 98103 PERMIT No. 14010 SEATTLE, WA 2020 Earshot Jazz Digital Festival: Change Service Requested Feeling the Spirit ______3 Earshot Jazz 2020 Festival Lineup_____ 4 Festival Support ______5 Tickets and Information______6 Community Conversations______7 Earshot Jazz 2020 Festival Previews___ 8 Ravi Coltrane Quartet______8 Lakecia Benjamin: Pursuance plus Jade Solomon Curtis______9 Ahamefule J. Oluo: The Music from Susan ___ 10 Amy Denio & Tarik Abouzied ______11 The New American Standard ______12 Johnaye Kendrick Quartet______12 Tarbaby ______13 Jovino Santos Neto Quinteto______14 John Hollenbeck: Epigraphs______14 A $35 basic membership in Earshot brings Triple Solo: Marina Albero, Jeff Johnson, the newsletter to your door and entitles you to D’Vonne Lewis______15 EARSHOT JAZZ discounts at all Earshot events. Your member- MEMBERSHIP ship also helps support all our educational Eugenie Jones______16 programs and concert presentations. Type of membership Elnah Jordan & Eric Verlinde______17 Individual ($35) Additional tax-deductible donation ______WITHIN/EARSHOT______18 Household ($60) Patron ($100) Sustaining ($200) Jazz: The second century______19 Other Sr. Citizen – 30% discount at all levels Ahamefule J. Oluo Jazz Quartet______20 Canadian subscribers please add $5 additional postage (US funds)

Bill Frisell Solo______21 Regular subscribers – to receive newsletter 1st class, please add $10 Gerald Clayton & John Clayton______22 for extra postage Contact me about volunteering Reggie Goings Quartet______23 ______NAME Thomas Marriott’s Trumpet Ship______24 ______Ab Baars Solo______24 ADDRESS ______Benjamin Hunter Quartet______25 CITY/STATE/ZIP

Fred Hersch Solo______26 ______PHONE # EMAIL SRJO Nonet: Birth of the Cool______26 ______Ravi Coltrane Quartet______27 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 Ahamefule J. Oluo House Party______28 membership or donation. Notes______30 Mail to Earshot Jazz, 3417 Fremont Ave N, #221, Seattle, WA 98103