A Mirror and Focus for the Community March 2020 Vol. 36, No. 03 EARSHOT JAZZSeattle,

Julia Tai Photo by Daniel Sheehan EARSHOT JAZZ LETTER FROM THE DIRECTOR A Mirror and Focus for the Jazz Community

Executive Director John Gilbreath Rhythm and Harmony Managing Director Karen Caropepe Programs Manager Tara Peters Development Manager Errin Patton Marketing & Development Associate Lucienne Aggarwal Earshot Jazz Editors Lucienne Aggarwal & We each get out of bed, put our nose down, Tara Peters and do the work that’s in front of us; day after

Contributing Writers Whitney Bashaw, Paul day. We have to. And whether we’re artists or de Barros, Ian Gwin, Bryan Lineberry, Uber drivers, students or teachers, code writ- Rayna Mathis, Paul Rauch ers or construction workers; we all need the occasional long view to put our lives into per- Calendar Editors Carol Levin, Jane Emerson, & Tara Peters spective, to get a sense of our own history, and Photography Daniel Sheehan to find an appreciation of ourselves and those Layout Tara Peters around us. Distribution Karen Caropepe, Dan Dubie & This monthly Earshot Jazz magazine, now, Earshot Jazz volunteers incredibly, in its 36th year of publication, ea- Send Calendar Information to: gerly reflects the day-to-day activity in this [email protected] jazz community; with news, previews, profiles and opportunities that are Board of Directors Danielle Leigh generally focused on the current period of time. And the hard-working (President), Chris Icasiano (Vice President), Chris Nutter (Secretary), Augusto Cardoso, Earshot administrative team, already working in an environment of dead- Sheila Hughes (Treasurer), John W. lines, application cycles, tight budgets, and recurring program initiatives; Comerford, Maurice James, Kenneth W. does the work beautifully; day after day, month after month. Masters, Gail Pettis, Ruby Smith Love, But we, too, can be mindful of the long view, realizing that we are es- Diane Wah sentially writing history every month. Taken as a single body of work, the Emeritus Board Members Clarence Acox, Sue 400 monthly issues of Earshot Jazz are a living document of one of the Coliton, Taina Honkalehto, Hideo Makihara, most vibrant jazz communities in the country. By the way, that means Peter Monaghan, Kenneth W. Masters, Lola that close to two million individual copies have been distributed free of Pedrini, Paul Toliver, Cuong Vu charge around the city through the years. As a major acknowledgement of Founded in 1984 by Paul de Barros, Gary that history, the Andrew W. Mellon Foundation is supporting a three-year Bannister, and Allen Youngblood. Earshot process to digitize all 35 years of Earshot Jazz back issues, and all issues Jazz is published monthly and is available going forward, creating an interactive, open resource that will be available online at earshot.org. to all, in perpetuity. Subscription (with membership): $35 As another marker of this incredible community, this month marks the 3417 Fremont Ave N, #221 30th year of the Golden Ear and Jazz Hall of Fame Awards. Held Seattle, WA 98103 annually since 1990, the process is intended to celebrate the accomplish- phone / (206) 547-6763 ments of Seattle artists over the previous year, and to memorialize those Earshot Jazz ISSN 1077-0984 individuals whose dedication has helped to define Seattle’s jazz legacy. Printed by Yakima Herald-Republic Please join us at the Royal Room March 9 to enjoy some incredible music © 2020 Earshot Jazz Society of Seattle and to meet some incredible musicians. Find details alongside a ballot (and please vote) and a list of the entire Seattle Jazz Hall of Fame … so far … MISSION STATEMENT on pages 4 & 5. To ensure the legacy and progression As always, we welcome your feedback, participation, and financial sup- of the art form, Earshot Jazz cultivates port! Join us! a vibrant jazz community by engaging –John Gilbreath, Executive Director audiences, celebrating artists, and supporting arts education.

2 • EARSHOT JAZZ • March 2020 NOTES

Five Seattle-Area Bands Call for Artists to Join the initiative, the Creative Advantage aims Chosen for Essentially Ellington Community Arts Partner Roster to provide equitable access to arts edu- Competition The Creative Advantage Community cation for all students in Seattle Public Congratulations to the 18 finalist Arts Partner Roster is looking for art- Schools. The application deadline is bands who will compete in the 25th ists to join their rolls. As an arts part- March 11. For application and details Annual Essentially Ellington High ner, you will have the opportunity to about the program visit creativeadvan- School Jazz Band Competition & Fes- work with students and teachers in tageseattle.org. tival. We’re proud that five bands from Seattle Public Schools. The application Tacoma Jazz Walk 2020 our local area will be competing: Gar- is open to teaching artists, community On March 7, from 6pm till mid- field High School(dir. Jared Sessink); arts organizations and cultural institu- night, Tacoma Jazz Walk will present Roosevelt High School (dir. Scott tions. Artists accepted will remain on Brown); Mount Si High School (dir. the roster for two years. A city-wide William Leather); Mountlake Ter- CONTINUED ON PAGE 19 race High School (dir. Darin Faul); Seattle JazzED Ellington Ensemble (dir. Kelly Clingan). The 2020 Es- sentially Ellington Competition and Festival will be held May 7–9 at Rose Hall, Lincoln Jazz Center, New York. The competition concludes with a concert and awards ceremony featur- ing the top three bands and the Jazz at Lincoln Center Orchestra with Wyn- ton Marsalis. For more information see academy.jazz.org. New Show on King FM: Second Inversion–“Rethink Classical” Second Inversion is proud to launch a new weekly radio show highlighting the ways classical music has expanded and evolved in the 20th and 21st cen- turies. Hosted by Maggie Molloy, the show will air Saturday nights from 10–11pm on Classical KING FM 98.1 and for listeners outside Seattle the show can be streamed. Each week’s episode features a different theme or trend in new music, drawing connec- tions between classical music of the past, musical genres of the present, and sounds of the future. Sounds explored range from artists such as John Cage, Pamela, and Meredith Monk, among others. For more details visit king.org

March 2020 • EARSHOT JAZZ • 3 GOLDEN EAR AWARDS 2019 Golden Ear Awards Ballot Cast your ballot by March 3!

Each year, the Golden Ear Awards recognize and celebrate the outstanding achievements of the previous year in Seattle jazz. In the process, Seattle jazz fans and performers take stock of and show gratitude for the region’s vibrant jazz ecology. The awards are determined by a combination of nominations and popular vote. Nominees are selected by a broad range of Earshot Jazz readers, past Golden Ear recipients, jazz performers, audience members, and industry professionals. Those with the majority of nominations are included on the ballot below. Vote online at earshot.org, by email to [email protected], or mail your selections to Earshot Jazz, 3417 Fremont Ave N. #221, Seattle, WA 98103, by March 3. The Golden Ear Awards party takes place March 9 at the Royal Room, featuring the Marina Albero Ensemble.

NW Recording of the Year Alternative Jazz Group of the NW Jazz Instrumentalist of ††Ann Reynolds, Joy Year the Year ††Greta Matassa, Portrait ††Bad Luck ††Bob Antolin ††Kiki Valera, Vivencias en Clave ††Christian Pincock’s Scrambler ††Joe Doria Cubana ††Comfort Food ††Marina Albero ††Marina Albero, A Life Soundtrack ††Smacktalk ††Ray Larsen ††Xavier Lecouturier, Carrier ††sunking ††Thomas Marriott ††Other______††Other______††Other______NW Acoustic Jazz Ensemble of NW Concert of the Year NW Vocalist of the Year the Year ††Kiki Valera y su Son Cubano ††Carlos Cascante ††Bill Anschell Standards Trio (October 26, Town Hall Seattle) ††Greta Matassa ††Kate Olson’s KO Ensemble ††Marina Albero CD Release ††Jacqueline Tabor ††Marco de Carvalho Trio (December 17, The Royal Room) ††Johnaye Kendrick ††Marina Christopher’s Marina and †† Birthday Celebration ††Kelley Johnson w/ Thomas Marriott, Rick the Dreamboats ††Other______††MMJB: Rick Mandyck, Thomas Mandyck, , Eric Revis, Marriott, Jeff Johnson, John Gary Bartz, & Kassa Overall (May Seattle Jazz Hall of Fame 24, Tula’s) Bishop ††Jim Knodle ††Odeya Nini + Abbey Blackwell ††Other______††Michael Brockman & Kelsey Mines (November 15, Emerging Artist of the Year Chapel Performance Space) ††Robin Holcomb ††Steve Peters ††Abbey Blackwell ††SRJO: Meets Duke ††Suzanne Weghorst ††Kelsey Mines Ellington (October 5, Benaroya Hall) ††Other______††Rob Granfelt ††Other______††Sidney Hauser Check opposing page for a list of Hall of Fame inductees. Correction: Bill ††Xavier Lecouturier Ramsay was inducted in 1997 and has ††Other______been removed from the 2019 ballot.

4 • EARSHOT JAZZ • March 2020 SEATTLE JAZZ HALL OF FAME INDUCTEES

1990 Bud Young 2000 2005 2010 2015 Ernestine Bud Shank Gary Steele Chuck Deardorf Ruby Bishop Anderson 1995 Chuck Stentz Mack Waldron Wayne Horvitz Sonny Booker Al Hood Jerome Gray Woody Woodhouse Randy Halberstadt 2001 2011 Chuck Metcalf 1996 Floyd Standifer John Dimitriou 2006 Overton Berry 2016 Norm Bobrow Julian Priester Jim Knapp Jeff Johnson Bill Anschell 1991 William O. (Bill) KPLU Jovino Santos Jay Clayton Buddy Catlett Smith 2002 Neto Don Lanphere Paul de Barros 2007 2017 1997 John Bishop 2012 Patty Padden 1992 Lola Pedrini 2003 Dean Hodges Scott Brown Skerik Jabo Ward Bill Ramsay Ronnie Pierce Dave Peck Jim Wilke Jay Thomas 2008 2018 1998 KBCS 91.3 2013 Bob Hammer 1993 Jan Stentz 2004 Phil Sparks Bill Frisell Helen and David Fred Greenwell Leon Vaughn Gaye Anderson Bert Wilson Marriott Sr. Melody Jones Hadley Caliman 2009 Wally Shoup 1999 Robert Knatt Marc Seales 2014 1994 Vonne Griffin Stuart Dempster Amy Denio Clarence Acox Red Kelly Greta Matassa

PREVIEW >> Golden Ear Awards Party & Seattle Jazz Hall of Fame Induction ft. Marina Albero Monday, March 9, 7pm Beloved radio host Jim Wilke emcees Royal Room the night’s events, with presentations 5000 Rainier Ave S by special guests in the community. Marina Albero sets the vibe, lead- It’s our favorite party of the year, and ing her ensemble through two sets of you’re invited! Each year since 1990, music that bookend the awards pre- the Golden Ear Awards recognize and sentation. Named the 2018 Golden celebrate the outstanding achieve- Ear Emerging Artist of the Year, Al- ments of the previous year across the bero has been an ever-present figure Seattle jazz scene with an evening of on the Seattle scene since moving here performance and presentations. in 2014. She is celebrated for her work Through a democratic nomination on , psalterium, vibraphone, and and voting process, Seattle jazz fans as a . In 2019, Albero re- and performers take stock and show leased her multi-volume album, A Life gratitude for the region’s vibrant jazz Soundtrack. Her ensemble features ecology. Join us as we honor the win- Jeff Johnson (bass), D’Vonne Lewis ners during the awards party on Mon- (drums), and Jeff Busch (percussion). day, March 9, at the Royal Room in the rich Arts & Cultural district of Tickets by sliding-scale donation. Ad- Columbia City. vance tickets are available at earshot.org. For dinner & seating reservations, email MARINA ALBERO PHOTO BY LISA HAGEN GLYNN [email protected]

March 2020 • EARSHOT JAZZ • 5

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 Waltwww Tianen.basschurch.com www.basschurch.com

Sales, Rentals, Seattle trumpet Sales, Rentals,player Walt Tianen, Sales, Rentals, Repairs, Restorations, who died Repairs, January Restorations, 4 at the age of 91, en- Repairs, Restorations, Lessons joyed a long and Lessons lively career that took Lessons Convenient North Seattle Location Convenient North Seattle Location Convenient North Seattle Location him across several continents as well

as through many of the high points of (206)784-6626 (206)784-6626 (206)784-6626 9716 Phinney Ave. N. Seattle9716 Phinney jazz history. Ave. N. That included the 9716 Phinney Ave. N. Seattle, WA. 98103 late-‘40sSeattle, WA.Jackson 98103 Street scene; the in- Seattle, WA. 98103 ~by appointment only~ ~by appointment only~ ~by appointment only~ augural, 1955 band at Norm Bobrow’s downtown jazz club, the Colony; ‘60s jam sessions at Chuck and Joni Met-

Open to All - Free calf’s storied Madrona redoubt; stints The Bass Church as aT professionalhe Ba sclassicals Ch umusicianrch in The Bass Church The Northwest double bass specialists the 1950s;The Nort hw andest d o graduateuble bass spe ci workalists with The Northwest dWALToub TIANENle bass PAINTING special iBYsts ENNO TIANEN th Season 18www.basschurch.com the fabledwww founder.bassc hofu rthech .Universitycom of www.basschurch.com Washington’s ethnomusicology division, Robert Garfias. “He was delightful,” remembered pianist/vocalist Joni Metcalf, whose late hus-

band, Chuck, was one of Tianen’s closest friends. “Very sweet, with a good sense

Sales, Rentals, of humor and Sales, a good Rentals, friend.” Sales, Rentals, Repairs, Restorations, Born Repairs,in 1928 into Restorations, a family of Finnish immigrants Repairs, on Michigan’s Restorations, Upper Penin- Lessons sula, Tianen bounced Lessons around several states before graduating Lessons from high school Convenient North Seattle Location in WallaConvenient Walla, North in Seattle1946. Location A year in the Air ForceConvenient was followedNorth Seattle Locationby a period in

Seattle when he met and Ray Charles. Tianen also recalled seeing (206)784-6626 a very(206)784-6626 young Ernestine Anderson being coaxed(206)784-6626 onto the stage at the Washington 9716 PhinneySunday, Ave. N. Mar 1, 6pm 9716 Phinney Ave. N. 9716 Phinney Ave. N. Seattle, WA. 98103 SocialSeattle, Club, WA. 98103 at 23rd Ave. and E. Madison St.Seattle, In WA.1959, 98103 Tianen earned a B.A. in ~by appointment only~ music~by appointment at the only~University of Washington. Fellow~by appointment trumpet only~ player Marv Thomas,

Randy Oxford Band who would later buy Parnell’s jazz club, recalled working with Tianen in Gor- Randy Oxford, trombone don Greene’s at the Spanish Castle, in Tacoma. Thomas was studying Lissa Ramaglia, bass and vocals pharmacy at the time, and recalled mixing Squirt with grain alcohol lifted from Miranda Kichpanich, vocals the chem lab and sharing it on the bandstand with Tianen and trombonist Dick TheEddie B Mendoza,ass C drumshur ch The Bass Church The Bass Church The Northwest double bass specialists Thorlakson.The Northwest double bass specialists The Northwest double bass specialists Rafael Tranquilino, and vocals “We were happy campers!” recalled Thomas. www.basschurch.com www.basschurch.com www.basschurch.com Willy Straub, guitar and vocals In the late ‘50s and early ‘60s Tianen could be found working variously with the Northwest Jazz Workshop and the UW Wind Sinfonietta. In 1962, he held SAVE THE DATE: April 5 down a chair in the house big band at the Seattle World’s Fair, which also in- Sidney Hauser SmackTalk cluded Chuck Metcalf and trombonist Dave Tuttle. In the ‘60s, Tianen and his Sales, Rentals, Sales, Rentals, Sales, Rentals, 100Repairs, Minutes Restorations,of professional jazz first wifeRepairs, lived twoRestorations, doors down from the Metcalfs Repairs, in a Restorations,huge Tudor house that Family friendly concert / Free parking Lessons Tianen at one Lessonspoint shared with members of the Black Panthers.Lessons

Convenient North Seattle Location “ThoseConvenient were Norththe goodSeattle Locationold days,” recalled Joni. Convenient“The booze North Seattleand Locationfood would be at

Seattle First Baptist Church one place, the jam session at the other. Walt and Carol and several other couples 1111 Harvard Avenue (206)784-6626 had(206)784-6626 a dinner club every other month and they(206)784-6626 would cook this fantastic dinner 9716(Seneca Phinney Ave.and HarvardN. on First Hill) with9716 different Phinney Ave. wineN. with every course.” 9716 Phinney Ave. N. Seattle, Seattle,WA. 98103 WA (206) 325-6051 Seattle, WA. 98103 Seattle, WA. 98103 ~by appointment only~ After~by appointment getting only~ his music degree, Tianen taught~by appointment in Mercer only~ Island and Seattle www.SeattleJazzVespers.org/GO/SJV schools, then returned to UW, where in 1971 he got a masters in ethnomusicol-

6 • EARSHOT JAZZ • March 2020 ogy, writing his thesis on 10th century Korean court music. He also worked with Garfias on a film about the great blues player, Son House. Tianen’s love of world music was reflected in the international approach he took with Metcalf on an impressive tome, The Chromatic Universe: A Handbook of Tonal Relationships for and Improvisers, which Metcalf later published. An inveterate world traveler, Tianen spent three years in Kenya developing a school music curriculum, after which he taught at the American school in Vientiane, Laos, joining Garfias for a music festival in nearby Myanmar. In 1976, he met his future wife Mrs. Workinesh Tianen while teaching in Addis Ababa, Ethiopia. They married the following year and went to Ka- bul, Afghanistan. When Clark Terry came through on a State Department tour, they met him at the ambassador’s home. “Clark showed him some pointers on the trumpet,” recalled Mrs. Tianen. “We stayed there until 1979, then we came back here and in 1980 he got a job for Exxon teaching in Libya. We traveled to India and all over South- east Asia. Sometimes they’d send him to Hong Kong to buy instruments.” When the couple finally returned to Seattle in 1981, Tianen spent the rest of his career teaching in the Seattle Public Schools. “He just really loved people,” said Mrs. Tianen, “and people kind of re- ciprocated. Everybody said he was a good man.” Tianen is survived by his wife; sons Deino and Enno and daughter Maija; and numerous nieces and nephews. A memorial celebration of Tianen’s life will be held from 2-6 p.m. Feb- ruary 29 at the Eritrean Community Center, 1954 S. Massachusetts Street, in Seattle. Jay Thomas is organizing music for the celebration. –Paul de Barros

March 2020 • EARSHOT JAZZ • 7 PROFILE Julia Tai: Push and Pull

By Bryan Lineberry “My favorite music is the music I haven’t yet heard.” –John Cage The words evoke a spirit of fire shared by those who are ever-inspired to pro- pel themselves forward into the musi- cal worlds of the unexplored and the unexpected. It’s a spirit that helps light the way for others to enjoy new jour- neys and adventures, and feel that the world must still hold beauty yet to be found. This fire is especially radiant and blazing in the living, breathing, and evolving practices of jazz and clas- sical music; stewarded by those who understand the need to preserve and hand-down their historical legacies yet champion the urgency to nurture their growth. To esteemed Seattle conductor Julia Tai, the words of John Cage are espe- cially resonant. Conductor to Seattle Modern Or- chestra—the only large ensemble in JULIA TAI PHOTO BY DANIEL SHEEHAN the Pacific Northwest solely dedicated to the music of the 20th and 21st cen- SMO Co-Artistic Director Jérémy Jol- formances that will engage a menu turies—Tai offers these words in our ley co-founded the ensemble shortly of cherished Seattle spaces and part- conversation as a reflection of the spirit thereafter with their inaugural season, nerships. Earshot Jazz lovers might that continues to feed her as a guide mutually inspired to bring a consistent remember SMO from this past 2019 for both audience and musician alike presence and elevation of contempo- Earshot Jazz Festival, when they per- in these uncharted territories. rary classical music to Seattle. They formed at Town Hall featuring impro- Born in Taipei, Taiwan, Julia Tai soon found a home at the Chapel Per- visational and compositional pioneers has been steeped in classical music her formance Space in Wallingford’s Good Darius Jones and Wayne Horvitz. entire life, beginning her violin stud- Shepherd Center—one of Seattle’s The concert kicked off SMO’s current ies at age four and piano at eight. She most beloved sanctuaries for hosting 10-show 2019-2020 Season epic, and received her Bachelor and Master of new & creative music, known for its embodied all the wondrous intersti- Music degrees from the University of stain glass windows, warm resonance, tial space between classical and jazz as Southern California Thornton School and high ceilings that can invoke a forms of new music. of Music and her Doctor of Musical sense of intimate sonic spirituality. Tai loves working in that in-between Arts degree in orchestral conducting Now in their 10th year, SMO is space and is drawn towards composers from UW. celebrating their milestone with a whose work has been highly informed Tai’s journey with SMO began after year about town with a series of per- by the practice of jazz, who incorpo- graduating from UW in 2010. She and

8 • EARSHOT JAZZ • March 2020 rate improvisational and chance ele- This deep engagement process with premiere contemporary ensemble by ments in the performance of the work, new music also feeds directly into her expanding their vision of the contem- like Horvitz, Earle Brown, and George love of more traditional classical music porary spirit to a host of new spaces Lewis. For the conductor, the impro- formats. across the city. vised portions of these pieces can look In addition to being the Co-Artistic In addition to their features at Town like a deconstructed score waiting to Director of Seattle Modern Orchestra, Hall, their 2019-2020 Season includes be pieced together, where phrases and she also is the Music Director of Phil- performances at some of the hippest sections of a composition are broken harmonia NW—a regional chamber venues around: home base Chapel out into ‘cells’ for the conductor to orchestra with 45–50 members that Performance Space, National Nordic have as a structural palette, and to be perform for more fixed instrumenta- Museum, Folio: The Seattle Athenae- shared with musicians in the ensemble tion and structured musical scores. um Library, Foster/White Gallery, in a two-way set of communication. Though Philharmonia NW stays en- Fremont Abbey Arts Center, BASE: These compositions allow Tai to not gaged in presenting and commission- Experimental Arts + Space, and The only steep herself in some of the more ing works by living composers, they Royal Room. improvisational and freeing qualities When talking with Julia, one gets of jazz, they also highlight another the same sense of talking with any one of the joys she finds in conduct- “Together you devout artist, who give a strong pres- ing: Working in vulnerable spaces of ence of focus and purpose yet are so the unknown where mutual trust is create the power” busy with doing the actual work that paramount. Where the musicians on reflecting back on accomplishment stage at times become the ones guid- can feel a bit jarring. When I ask ing you through their own influence about what Tai would like her impact on the musical direction of the piece. also feature pieces by the revolution- in music and the world-at-large to be She refers proudly to the trust she has ary vanguards of previous generations. through her work—a question that felt earned with her ensembles to allow for In particular she uses Beethoven as largely unconsidered during our con- this push and pull to exist in an honest an example—SMO will be perform- versation before now—the words she way that elevates the music itself to its ing Beethoven’s 250th with Kirkland offered were expansive, beautiful, and highest levels. Choral Society April 18 at Benaroya resonant: “A lot of people think that you’re Hall. Through the practice of her “I really hope that me being this Tai- God or something, and you’re just up work as a guide in new music, talking wanese female conducting Mahler is there on a pedestal, but it’s very dif- with living composers, and the over- a different experience than the people ferent. You have to be in the middle all process of critically diving into the who have come before me… and peo- of things. The most fulfilling experi- unfamiliar, she comes to find radiant ple can see that a successful conduc- ence of conducting is when you feel undiscovered treasures in Beethoven’s tor can come in many different forms. such deep connections with the musi- music that allow her to have a renewed That music-making, the ultimate of cians. For me that’s what I look for, is sense of awe in his work and the lega- fulfilling people’s lives and hearts, can what I live for. It’s almost like together cy he gifted. It’s a mutually-fulfilling come in so many different forms. And you create the power as opposed to the component of being able to work in that goes the same not just musically, power coming from one individual.” both Seattle Modern Orchestra and but [for] society as well.” When Tai critically engages with Philharmonia NW. a new work by a living composer, in “I love Mozart and Brahms and all order to fully internalize and be able that repertoire. But I also love explor- Celebrating 10 Years of SMO to communicate the unfamiliar pro- ing new sounds, new pieces, new com- Friday, March 27, 8pm cesses, musicality, and conduction of posers. So I am glad to have those two the piece, she likes to use the composer different channels. When I learn new The Forum at Town Hall directly as a resource to find out what things, I go back to the old repertoire Featuring works by John Cage, they’re thinking when they’re writ- differently.” Tom Baker, Huck Hodge (World ing the piece. With the help of their Tai is now finally ready to admit that Premiere), Kate Soper, and insight, she can better navigate to the she and SMO are no longer “new kids more. Tickets and information at core musicality in the piece with the on the block” and as part of this sea- seattlemodernorchestra.org ensemble and understand its intent. son, SMO are staking their claim as a

March 2020 • EARSHOT JAZZ • 9 PREVIEW >> Kassa Overall

Sunday, March 1, 7:30pm The Triple Door 216 Union St

Presented by Jazz in the City Clear your night for a performance you won’t want to miss. Brooklyn- based drummer, producer, rapper, and emcee Kassa Overall returns home to Seattle, appearing on the stage of the historic Triple Door in celebration of his second full-length album. I THINK I’M GOOD—Overall’s debut with the London-based indie label Brownswood Recordings—wres- tles with the political and the personal, KASSA OVERALL PHOTO BY DANIEL SHEEHAN including the targeting and incarcera- tion of Black folks in the American Overall delivers hope and joy through shown in the “I Know You See Me” prison system, mental illness, roman- his art, often keeping a light-hearted single artwork. tic relationships, and more. Creating playful presence to it. He calls his pro- After the success of his debut album, Go Get Ice Cream and Listen to Jazz a space to have an open conversation cess “backpack jazz,” a reference to , about these issues, Overall leans into his DIY mobile studio consisting of a Overall rejects the contentment of the uncomfortable by simply call- laptop, a simple audio interface, and keeping to one sound and continuous- ing it what it is. Yet, there remains an a microphone allowing him to record ly improvises and experiments with his overarching gentleness to his music. anywhere from hotel rooms to friends’ lounges to a bathroom, as humorously CONTINUED ON PAGE 18

10 • EARSHOT JAZZ • March 2020 PREVIEW >> Ted Poor You Already Know Album Release

Saturday, March 7, 8pm. Columbia City Theater 4916 Rainier Ave. S., Seattle

Presented by Earshot Jazz One of the reasons we love jazz is the sheer joy of the drummer’s propul- sion—call it swing if you like—but there’s also a lineage that runs from Max Roach to Brian Blade that exults in the as an intricate engine of melody, timbre, and even harmon- ic movement. Thirty-nine-year-old drummer Ted Poor, who can swing like mad when he wants to, is an es- teemed member of that lineage. On TED POOR PHOTO BY DANIEL SHEEHAN March 7, Poor teams up with longtime musical partner and fellow Univer- material from—Poor’s exciting new al- “It’s sort of processing the natural sity of Washington professor Cuong bum with ex-Seattle saxophonist An- sound of the drums to play bass, es- Vu at the Columbia City Theater in a drew D’Angelo, You Already Know, his sentially,” said Poor. duo that will showcase such intricate, debut with New Deal, a subsidiary of But it’s the natural sound of each subtle interplay. An added attraction the historic Impulse! label. carefully selected, individual drum is a live light/video show by Portland “Part of my weekly routine is getting and cymbal that is Poor’s specialty. visual artist Abigail Portner, courtesy together with Cuong,” Poor explained On one track of the new album with of a Mellon Faculty Fellowship grant. one morning last month before head- D’Angelo, “At Night,” he creates an ee- This year marks the seventh year ing over to the UW to teach. “We’ve rie, bell-like aura by hitting the thicker at the UW for Poor, who grew up in played together 17 years now and it still of his two hi-hat cymbals in a particu- the Finger Lakes region of New York, feels as fresh as ever. We’re working up lar spot in a particular way. graduated from the Eastman School of some of the songs from the record, but “The drums can do all of these things Music in 2003, then established him- there’s also a lot of new music.” but they rarely have the opportunity self in New York before coming west. You Already Know showcases post- to sing in this way,” said Poor. “All of In addition to his jazz and improv production studio techniques and these details, if they’re not competing work, on display here last year in a contributions from many guest art- with something that’s more direct, lovely concert with pianist Kris Davis, ists whose sounds hover in the back- they’re vaulted to the forefront and our Poor tours and records with Los An- ground, creating what Poor calls a ears are there to receive them.” geles singer-songwriter Andrew Bird, “ghostly halo” that is sometimes more Nicely put, Ted! See you in Colum- and is a regular on Chris Thile’s radio felt than heard. For the Seattle con- bia City! show Live From Here. cert, Poor will add one such electronic –Paul de Barros technique, which sends signals from Poor and Vu have worked together $10-21 This show is 21+Tickets and the kit through a mixer and guitar since 2003 in both trio and quartet information at earshot.org. formats, but this time they present pedal, which pitches the drums down themselves as a stripped-down duo, an octave. much in the spirit of—and including

March 2020 • EARSHOT JAZZ • 11 PREVIEW >> The Royal We with Special Guest Helen Gillet

Saturday, March 7, 8pm Royal Room 5000 Rainier Ave S

Presented by the Royal Room March brings new buddings, new beginnings, and with it, new collabo- rations. Featured special guest cellist Helen Gillet opens the evening with a solo set before joining resident artist collective, The Royal We. Arriving in Seattle by way of New Orleans, Gillet is a singular voice well-versed in many languages. Born in Belgium to a Belgian father and American mother, Gillet spent the first WAYNE HORVITZ PHOTO BY DANIEL SHEEHAN HELEN GILLET PHOTO COURTESY OF THE ARTIST decade of her life in Singapore while traveling frequently between her par- It’s no wonder, then, that her sound writing. She found a community of Boston ents’ homelands. She spent a number evokes a “musical strata” ( Avant-jazz artists at the Velvet Lounge, of years in Chicago and Wisconsin be- Globe). “the dusty epicenter of the Midwest’s The Official -Chi fore adopting New Orleans as home in In many ways, her identity as an free form jazz scene” ( cago Bar Guide 2002. improviser began with her training , Buckingham Books), Trained as a classical cellist with an by North Indian Hindustani cellist which has since closed following the additional degree in Anthropology, Nancy Lesh. This experience launched passing of owner, operator, and jazz Gillet’s interests are deep and broad. her into the overlapping circles of free saxophonist Fred Anderson. improv, jazz, funk, rock, and song

12 • EARSHOT JAZZ • March 2020 Gillet arrived in New Orleans for a there’s this moment where the music sionist Thione Diop, saxophonist Sker- Master’s program at Loyola University transforms and becomes something ik, and drummer Eric Eagle. quickly finding a place in the city’s else. Now I just want it to be as fluid as For Horvitz, The Royal We is an op- rich mixture of sound and culture. possible singing a song and telling my portunity to write and explore pieces Using improvisation, looping, and story” (Boston Globe). that are more open-modal and groove- voice—often singing French chan- The Royal We was born out of the oriented. “Usually my writing is more sons—in solo performance, she creates back lounge of the Royal Room, an compositionally oriented,” says Hor- evocative, layered soundscapes. intimate space for the incubation of vitz, The Royal We is “a way to give Looping serves as a compositional ideas. Led by pianist, composer, and people space to play.” tool allowing Gillet to create harmo- one-part Royal Room owner, Wayne For the March 7 performance Hor- nies and melody with an underlying Horvitz, the group started with Hor- vitz will be joined by Harper, Eagle, chord structure. On this process she vitz and bassist Evan Flory-Barnes and special guests Gillet, Alex Guy on says, “At first you just sound like a playing on Tuesday nights. Frequent viola, plus a special mystery guest. little bit of a robot: Here’s layer one, collaborators include drummer Andy –Tara Peters, Editor here’s layer two. . . It’s very obvious at Roth, bassist Geoff Harper, percus- Tickets and information available at first what I’m doing. But after a while theroyalroomseattle.com.

March 2020 • EARSHOT JAZZ • 13 PREVIEW >> The 35th Annual Seattle Improvised Music Festival

March 11–15 Each night features two 30-minute Various Venues sets with curated duos, trios, or quar- Seattle, WA tets and a 45-minute set in which the featured musician can either perform March marks another trip around the solo or with other musicians. Musi- sun for one of Seattle’s more unique cians for the nightly sets are selected musical experiments, the Seattle Im- by the three-person organizing com- provised Music Festival (SIMF), now mittee—this year Steve Peters, Haley in its 35th year. Freedlund, and Chris Icasiano. In the spirit of improvisation, the fes- Improvisors come from different tival began in 1986 when the late Paul musical backgrounds. The diversity Hoskin set up a show for a group of of musical languages coming together musician friends coming from New creates unexpected results, Peters says, York City during which they got car- to “merge musical perspectives.” Or- ried away by the music. The result was ganizers keep several things in mind a five-hour impromptu improvised set when curating musical groupings, in of revolving musicians, and SIMF was particular varying ages and matching born. HEATHER BENTLEY PHOTO BY ROSEMARY DAI ROSS up musicians who’ve never played to- The festival opens on Wednesday, gether before. Jo McPhee. Local musicians include March 11 at Gallery 1412 and runs Featured artists are a smattering of Marina Albero, Evan Woodle, James through Sunday, March 15, with most musicians pulled from in and outside Falzone, and Heather Bentley, among events taking place at the Chapel Per- the Pacific Northwest and include sax- others. The festival also features a pan- formance Space at Good Shepherd ophonist Sam Newsome, composer/ el discussion led by Reason and an af- Center and a closing improvisational keyboardist Dana Reason, clarinet- ternoon dance/music show curated by jam at Café Race on Sunday. ist Ben Goldberg, and saxophonist choreographer Lorraine Lau.

14 • EARSHOT JAZZ • March 2020 Newsome, from New York City, will perform for the first time this year at SIMF. For him, the possibilities and fluidity of the improvisational form offer freedom. “In a context like the Seattle Impro- vised Music festival, I can do what I do unapologetically—no explanation needed. Instead of feeling like I’m ruf- fling feathers, I’m usually inspired to push the envelope further,” says New- some. “It’s very liberating.” “Being grouped with players you’ve never performed with and maybe never before met, and getting to know each other in front of a live audience, is exciting and scary all wrapped in one,” he continues. “There’s no bigger musi- cal rush.” Jim Knodle will play the same night as Newsome on March 13 and again at Café Racer on March 15, returning to the festival for the first time since the 90s. “I like it when we think and hear the same things in the moment,” Knodle says. “The emphasis on pairing artists from other places with people who live here enriches everyone.” “It’s about total , basically using all of the sound pos- sibilities of the instruments, explor- ing silence and noise,” Peters explains. “It’s a close-knit community who are drawn to this kind of music…those who value spontaneity and boundary- pushing.” As far as preparation for something like an improvisational music festival, Newsome says that’s not really the point. “The only way to prepare for a per- formance like this is to not prepare. Come with no agenda other than to have a good time and to get out of the way of the music.” –Whitney Bashaw $5–20 suggested donation at the door—cash or check only. For more in- formation visit nseq.org

March 2020 • EARSHOT JAZZ • 15 PREVIEW >> Indigo Mist Residency feat.

Wednesday March 18–Saturday “I was figuring out 21, 7:30pm how to make my play- Royal Room ing—how I hear, my 5000 Rainier Ave S sense of melody and the fact that I’m essentially Co-presented by Earshot Jazz coming out of the jazz The improvising collective Indigo tradition—work with Mist returns to the stage March 18–21 someone who loves jazz for a series of four consecutive con- (as much as I love clas- certs, free of charge, recording a follow sical music) but is him- up to their remarkable 2014 release, self, coming out of the That The Days Go By And Never Come European classical art Again (RareNoiseRecords). music tradition,” Vu Initially crossing paths at the Univer- describes, “And I don’t sity of Washington where they both mean “work” as in just teach, the group’s architects—com- collaging two things poser Richard Karpen and trumpeter together that sounds CUONG VU PHOTO BY DANIEL SHEEHAN Cuong Vu—found like musical minds okay to good, but ac- tually making organically holistic and ber of Chris Thile and Andrew Bird’s in one another. As Vu describes it, his bands, joined them while visiting the quick friendship and improvisational original music that is informed by as much of our experiences as we can.” UW from New York as a guest artist bond with Karpen furthered principles for the UW’s Improvised Music Fes- of composition he’d explored during The two were able to turn their ex- plorations of auditory perception and tival. After the group received a grant his mentorship under the late clarinet- from the Royalty Research fund, Poor ist and saxophonist Joe Maneri. experience into a larger project when drummer Ted Poor, a regular mem- (who had already worked with Vu in

16 • EARSHOT JAZZ • March 2020 their trio with bassist Stomu Takeishi) was granted a three-week long residen- PREVIEW >> cy in Seattle, culminating in the first Indigo Mist album. It was Dxarts director Juan Pampin Steve Treseler who later took the helm of the proj- Snow Line Suite ect’s formidable electronic set up, which included 4 iPad players running EP Release live electronics for each musician on Sunday, March 29, 7pm four separate computers, after a per- Royal Room formance in Springs. Along with bassist Luke Bergman (whose role 5000 Rainier Ave S will be filled in by 15-time Grammy Co-presented by Earshot Jazz award winner, and bassist/producer Steve Rodby) the group has since been Over the past three years, the voice of Seattle-based saxophonist/composer playing weekly for at least two years, Steve Treseler has been heard loud and clear not only in Seattle, but on an in- and can even be spotted talking shop ternational scale. His critically acclaimed collaboration with trumpeter Ingrid at their regular lunches at Shultzy’s Jensen, Invisible Sounds: For Kenny Wheeler was named one of DownBeat’s Best Bar on University Avenue. Albums of 2019. As material for a new record, the four Treseler is back with a new EP, this time featuring his original compositions live concerts in March will be record- and those of Denver-based pianist, Annie Booth. Entitled Snow Line Suite, the ed and revised for a concert at Meany piece is a sound portrait of the mountain ranges of the North American west. Hall (April 10th), and recorded again Imagined in a variety of soundscapes, grooves, and melodies, the music unravels with the assistance of mas- like an epic poem, with Treseler’s distinctly personal tenor interspersed with rich ter George Garzone, to ensure the harmony and percussive accents. clear communication of the group’s The EP features a suite written in six movements, with the addition of a sepa- musical conception. rate piece by Booth. It evokes the majesty of the Cascade Range Treseler experi- Vu hopes, “that as many people as enced growing up in the Pacific Northwest, as well as the spectacular heights of possible will come out to help keep us the Continental Divide. on our toes so that we can make the Treseler celebrates the release of Snow Line Suite with a concert featuring an best record that we can.” all Seattle quartet featuring pianist Dan Kramlich, bassist Stanley Ruvinov, and Though JazzTimes described the drummer/percussionist Greg Campbell. group’s recorded tributes to jazz royal- “I’m thrilled to present local musicians with the artistry to interpret the straight- ty Billy Strayhorn and ahead and experimental elements of this music,” says Treseler. as “indiscernible,” the group’s daring Kramlich can best be described as a stylist, a melody-based soloist with a com- reflections on these artist’s legacy have poser’s ear. The 23-year-old Ruvinov is new to the scene, frequently seen at ses- fallen elegantly in line with the latter’s sions around town displaying his solid, groove-based approach. Campbell is a principle that, in music, “there is no highly impactful presence in the Seattle jazz community, both as a performing boundary line.” artist and educator. He is seemingly the perfect fit for this project, with his work For Vu, Indigo Mist represents a on the drum kit accented with the use of bowls, bells, gongs, and pipes. His vital, ongoing collectivity which re- sound has always been somewhat visual in nature, in this case conjuring images mains part and parcel with his relent- of rushing water, high mountain peaks, and birdsongs in the wind. less work practicing, listening, and “Greg contributed ethereal metallic percussion on the Snow Line Suite studio thinking about music, both on and off recording. He will be doing double duty on this gig, playing drum set along with the horn. his arsenal of eclectic percussion,” says Treseler. –Ian Gwin Traversing the peaks and valleys of this career-defining music on his home turf at the Royal Room promises to bring out the best in Treseler, both as an emerg- No cover. To guarantee a good seat, ing composer and firebrand of the tenor saxophone. please make your dinner reservation at theroyalroomseattle.com. –Paul Rauch Tickets and information available at earshot.org.

March 2020 • EARSHOT JAZZ • 17 Overall, from page 10

craft. Balancing jazz and its younger siblings, rap and hip-hop, to deliver heavy topics, Overall engages with and challenges his audiences. He has demonstrated his talent opening for and performing or recording with art- ists including Das Racist, Arto Lind- say, Vijay Iyer, Yoko Ono, Terri Lyne Carrington, Geri Allen, Francis & the Lights, Ravi Coltrane, and Gary Bartz. In anticipation of I THINK I’M GOOD, Overall released three singles this last winter: “Please Don’t Kill Me” featuring vibraphonist Joel Ross and trumpeter, Theo Croker (whose album, Escape Velocity, Overall co- Fitelson Agency produced in 2016). “I Know You See Me” featuring jazz vocalists, Melanie liFe insurAnce Charles and J Hoard, and “Show Me a Prison” featuring J Hoard and a spe- Life Member Million Dollar Round Table cial outro of a voicemail from notori- ous activist and author Dr. Angela Da- vis, who calls to check in on Overall “How Much Are Your and encourages him to “stay strong, Tomorrows Worth?” my brother.” The album cover pictures a young Kassa from his Washington AGE $500,000 (DB) $1,000,000 Middle School days, a nod to the art- Male ist’s pride in his Seattle roots and to 30 $14.52 (M) $21.56 (M) the historically Black neighborhood of 40 19.44 30.36 the Central District where jazz contin- 50 43.20 76.90 ues to thrive off Jackson Street. 60 116.64 217.73 Overall’s show will be the grand fi- 70 342.76 629.56 nale to the inaugural Jazz in the City’s 80 1,828.36 3,654.14 Seattle Jazz and Culture Festival, a Female 30 $12.76 $18.92 festival dedicated to showcasing the 40 17.60 26.84 diversity of Seattle’s arts and culture 50 36.52 63.80 scene and the legacy of jazz and its 60 79.64 146.02 influences. Overall will be joined on 70 216.04 402.60 stage by Paul Wilson (synth/electron- 80 1,508.01 3,013.44 ics), Julius Rodriguez (piano), and old- er brother, Carlos Overall (saxophone). It’s clear how deeply Overall values 1511 3rd Ave, Ste 1010 community—Seattle, it’s time to show Seattle, WA 98101-1656 out for this homecoming! (206) 223-1110 –Rayna Mathis (206) 517-5680 (10am-noon) [email protected] Tickets are $15 advance/$18 day of show for this all-ages event. Visit seattlestu.com thetripledoor.net for more details.

18 • EARSHOT JAZZ • March 2020 Notes, from page 3 North City Jazz Walk Accepting Submissions a variety of jazz shows across 12 ven- The North City Jazz Walk committee ues. Some of the artists featured are: is accepting submissions for musicians Jovino Santos Neto, Greta Matassa, for the 2020 event, which will be held Seattle JazzED Girls Ellington Proj- Tuesday, August 11 in Shoreline. Art- ect, Nathan Breedlove, the 322 Band, ists should send an email, with links to Kareem Kandi World Orchestra fea- their websites and/or samples of their turing David Marriott Jr., Francesco music to musicdirector@northcity- Crosara, Michael Glynn, Cassio Vian- jazzwalk.org before April 15. na, Bill Anschell, and many more. Or- der your tickets online before March Correction: Charlie Parker 7 and save $5. Advance tickets range Earshot Jazz would like to correct a from $15–25 and allow entry to all point made in an article in the Feb- venues. Tickets will also be available ruary 2020 edition titled “188 Sulli- on the day at KNKX Public Radio, van: Charlie Parker’s New York in the Tacoma. For information visit taco- ‘50’s.” The article mentions that Char- majazzwalk.com. lie Parker died from a heroin overdose. Jazztalk Seattle Podcasts We would like to correct that state- ment and instead state that Parker’s Drummer Max Holmberg and key- death was caused by pneumonia and a boardist Josh Hou talk about the Se- bleeding ulcer. attle jazz scene including music they listen to and music to check out in Correction: Seattle Jazz Hall of Seattle. Recent talks feature Chris Fame Icasiano, Abbey Blackwell, Nate In the February 2020 edition of Ear- Omdal, Delvon Lamarr, and Dylan shot Jazz, the Golden Ear Awards Bal- Hayes among others. Tune in to find lot listed Bill Ramsay as a nominee for out who’s releasing new music, and the Seattle Jazz Hall of Fame. Ramsay who’s playing in and around Seattle at was inducted into the Hall of Fame in soundcloud.com/jazztalksea. 1997. We have removed his name from USAArtists International Latest the ballot in this issue and online. Application Round Open Mastering the Hustle Artist USAArtists International (USAI) Resource Fair provides grant funding for US artists KEXP, King County Creative, who wish to perform internationally. MoPOP, and The Recording Academy The program aims to expand oppor- partner to present an ongoing Art- tunities and cultural exchange for US ist Education Series: Mastering the artists in various disciplines includ- Hustle. Upcoming offerings include ing music. Artists must be current an Artist Resource Fair on March 21 residents of the Unites States. Grant from 2–4pm at the KEXP Gather- amounts range from $1,000–15,000 ing Space. The fair is free and open and will support numerous expenses to the public and brings together the including travel, visa, accommoda- nonprofits, music venues, government tion, and so on. The current applica- agencies, and other organizations that tion round, which covers projects tak- are here in Seattle to help you get your ing place between July 1 2020–June music heard. Tabling organizations 30, 2021 is now open through April include Washington Lawyers for the 1, 2020. For details visit midatlanti- Arts, The Vera Project, and more. carts.org.

March 2020 • EARSHOT JAZZ • 19 JAZZ AROUND THE SOUND March 03 SUNDAY, MARCH 1 TUESDAY, MARCH 3 EB Eric Verlinde, 6pm ES Paul Richardson, 6pm AB Beaver Sessions, 9pm BP Billy Stapleton-Annie Eastwood, 8pm JA Arturo Sandoval, 7:30pm BW Greta Matassa Quintet, 4pm EB Eric Verlinde, 6pm MO Bill Frisell: HARMONY, 7:30pm CM Gypsy Jazz with Tuba, 12:30pm ES Paul Richardson, 6pm MQ Global Music Nights, 5:30pm CR Racer Sessions: Jenny Ziefel, 8pm JA AGUAS Trio: Omar Sosa & Yillian Cañizares, NC Jeff Busch & Dylan Hayes, 7pm CZ Choro Jam, 2pm 7:30pm OS Jonas Myers, 7pm DT Jazz Jam, 8pm MT Open Mic, 9pm RR Cascadia Big Band, 7:30pm EB Tom Kellock, 6pm OT Hot Jazz Hootenanny, 7:30pm SB Brian James & The Great Unknown, 8pm ES Eric Verlinde w/ Josephine Howell, 6pm OW Jazz Jam, 9:30pm SB Proud & Nasty Jam Session, 10pm FB Seattle Jazz Vespers: Randy Oxford Band, RR After Hours with Arthur & the JRs, 10pm VI Casey MacGill, 5:30pm 6pm SB Jacques Willis & Ryan Burns, 8pm VI Marina Christopher Trio, 9pm HS Jazz Brunch w/ Emma Caroline Baker, SB Joe Doria Presents, 10pm 10:30am FRIDAY, MARCH 6 JA Regina Belle, 7:30pm WEDNESDAY, MARCH 4 PO Jarrad Powell & Friends, 7pm BK Dan Duval Good Vibes Trio, 6:30pm EB Eric Verlinde, 6pm TD Kassa Overall, 7:30pm CA Francesco Crosara & Glenn Young Trio, 6pm EC International Guitar Night, 7:30pm VI Lennon Aldort, 6pm CZ Jazz First Fridays, 7:30pm ES Paul Richardson, 6pm VI Ron Weinstein Trio, 9:30pm EB Tom Kellock, 6pm JA AGUAS Trio: Omar Sosa & Yillian Cañizares, EC DeMiero Jazz Fest, 7pm MONDAY, MARCH 2 7:30pm ES Cara Sandahl, 6pm MQ Ranger and the “Re-Arrangers”, 5pm FX Secret Jazz Club, 6:30pm CC Cider Sessions, 9:30pm NC Jazz Jam w/ Darin Clendenin Trio, 7pm JA Arturo Sandoval (early show), 7:30pm EB Tom Kellock, 6pm PB Hilltop Jazz Project, 7pm JA Arturo Sandoval (late show), 9:30pm ES Eric Verlinde, 6pm RR Jonathan Barber & Vision Ahead, 7:30pm KE Rick Kitaeff/Bruce Barnard Duo, 6:30pm MQ Jeff “Drummerboy” Hayes, 5pm SB Eric Patterson Band, 10pm LA Happy Hour w/ Phil Sparks, 5pm NL Mo’ Jam Mondays, 9pm SB Smack Talk, 11:30pm MQ Swing 3PO, 5pm PB Piano Bar w/ Larry Knapp & Friends, 7pm SC Samantha Boshnack Quintet, 7pm MQ Kareem Kandi Band, 8pm RR Royal Room Collective Music Ensemble, VI Bar Tabac, 9pm OS Shawn Schlogel, 8pm 7:30pm PR Anton Schwartz, 8pm RR Salute Sessions, 9:30pm THURSDAY, MARCH 5 RR Sam Boshnack Quintet / Albero & Giordano, BC Adam Kessler & Phil Sparks, 9pm 7pm SB Minor Element, 8pm

Calendar Key

AB The Angry Beaver ES El Gaucho Seattle OT Oliver’s Twist AL Anacortes Library EW Eleven Winery OW Owl ‘n’ Thistle AU Aurora Borealis EY Eye of the Needle Winery PB Palace Theater & Art Bar BC Barça FB Seattle First Baptist Church PO PONCHO Concert Hall BI Bainbridge Island Museum of Art FX The Factory Luxe PR Pacific Room BK Black Diamond Bakery GA Gallery 1412 PT Paramount Theater BP Bake’s Place Bellevue HD High Dive RR The Royal Room BW Bainbridge Waterfront Community Center HS Hotel Sorrento RY Rhythm & Rye CA Casa Mexico JA Dimitriou’s Jazz Alley SB Sea Monster Lounge CC Capitol Cider KE Kelnero SC WJMAC at Sylvia Center for the Arts CD Cellar Door LA Latona Pub SE Seattle Art Museum CH Chapel Performance Space MM Mexico Magico ST Stage 7 CM Crossroads Bellevue MO Moore Theater TD Triple Door CR Cafe Racer MQ Triple Door MQ Stage & Lounge TP Third Place Commons CT Columbia City Theater MT Mac’s Triangle Pub TT Tractor Tavern CZ Couth Buzzard Books MV Marine View Church TY Three of Cups Winery DA The Dane NC North City Bistro & Wine Shop VI Vito’s DT Darrell’s Tavern NL Nectar Lounge VV Various Venues EB El Gaucho Bellevue NP Neptune Theatre WS Watershed Pub & Kitchen EC Edmonds Center for the Arts OS Osteria la Spiga

20 • EARSHOT JAZZ • March 2020 TD Colin James, 8pm ES Eric Verlinde, 6pm VI Jovino Santos Neto, 9pm MQ How Short Jazz, 5pm NL Mo’ Jam Mondays, 9pm CURTAIN CALL SATURDAY, MARCH 7 RR Golden Ear Awards Party feat. Marina Weekly recurring performances & jam Albero, 7pm CD Mission Drift, 8pm sessions RR Salute Sessions, 9:30pm CT Ted Poor “You Already Know” Album TD Hiromi, 7:30pm Release, 8pm MONDAY EB Eric Verlinde, 6pm TUESDAY, MARCH 10 ES Cara Sandahl, 6pm CC Cider Sessions, 9:30 HS Chip Parker feat. Ron Peters & Geoff Cooke, EB Eric Verlinde, 6pm EB Tom Kellock, 6 6pm ES Paul Richardson, 6pm ES Eric Verlinde, 6 JA Arturo Sandoval (early show), 7:30pm JA Sugaray Rayford, 7:30pm NL Mo’ Jam Mondays, 9 JA Arturo Sandoval (late show), 9:30pm MT Open Mic, 9pm MM Francesco Crosara Quartet, 6pm OT Hot Jazz Hootenanny, 7:30pm RR Salute Sessions, 10 NC Tupelo, 8pm OW Jazz Jam, 9:30pm TUESDAY PR Dillon Vado Trio, 8pm RR Fiesta Caribe w/ Dingolay & Mochima, SB Latin & Cuban Night, 7pm 7:30pm EB Eric Verlinde, 6 VI The Tarantellas, 6pm SB Joe Doria Presents, 10pm ES Paul Richardson, 6 VI Thomas Marriott, 9:30pm TD Hiromi, 7:30pm MT Open Mic, 9 VV Tacoma Jazz Walk, 6pm OT Hot Jazz Hootenanny, 7:30 WEDNESDAY, MARCH 11 SUNDAY, MARCH 8 OW Jazz Jam, 9:30 EB Eric Verlinde, 6pm SB Joe Doria Presents, 10 AB Beaver Sessions, 9pm ES Paul Richardson, 6pm AL Anschell, Jensen & Sparks Trio, 2pm GA Seattle Improvised Music Festival (Night 1), WEDNESDAY AU Salsa Night with Eléré, 6pm 8pm EB Eric Verlinde, 6 CR Racer Sessions, 8pm JA Sugaray Rayford, 7:30pm ES Paul Richardson, 6 CZ Jazz Jam w/ Kenny Mandell, 2pm MQ Kate Olson, 6pm DT Jazz Jam, 8pm NC Janet and The CurMudgeons, 7pm THURSDAY EB Tom Kellock, 6pm RR Jazz Night School, 6pm BC Adam Kessler & Phil Sparks, 9 ES Eric Verlinde w/ Josephine Howell, 6pm SC Matt Williams Quintet, 7pm HS Jazz Brunch w/ Emma Caroline Baker, VI Tim Kennedy Trio, 9pm EB Eric Verlinde, 6 10:30am ES Paul Richardson, 6 JA Arturo Sandoval, 7:30pm THURSDAY, MARCH 12 MQ Global Music Nights, 5:30 MV Greta Matassa Quintet, 5pm BC Adam Kessler & Phil Sparks, 9pm SB Proud and Nasty Jam, 10 RR arx duo plus Cristina Valdes, 7:30pm CH Seattle Improvised Music Festival: Panel VI Jeremy Bacon, 6pm FRIDAY Discussion, 6pm VI Ron Weinstein Trio, 9:30pm CH Seattle Improvised Music Festival (Night 2), CA Francesco Crosara & Glenn Young Trio, 6 MONDAY, MARCH 9 8pm CM Bellevue School District Jam Session, EB Tom Kellock, 6 CC Cider Sessions, 9:30pm 6:30pm ES Cara Sandahl, 6 EB Tom Kellock, 6pm EB Eric Verlinde, 6pm LA Happy hour w/ Phil Sparks, 5 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

March 2020 • EARSHOT JAZZ • 21 ES Paul Richardson, 6pm JA Victor Wooten (late show), 9:30pm PR Jennifer Mellish & Friends, 4pm JA Victor Wooten, 7:30pm KE Rick Kitaeff/Bruce Barnard Duo, 6:30pm PR Dmitri Matheny Group, 8pm MQ Global Music Nights, 5:30pm LA Happy Hour w/ Phil Sparks, 5pm RR Electric Circus, 9pm NC High Note Blues Band, 7pm NC Pearl Django, 8pm SB Latin & Cuban Night, 7pm RR Jazz Night School, 6pm RR Jazz Night School, 6pm TP Portage Bay Big Band, 7:30pm SB Automat, 8pm RY Skerik Skerik, 9:30pm TY Wine & Latin Jazz, 6pm SB Proud & Nasty Jam Session, 10pm SB Emma Horton Band, 8pm VI Jerry Zimmerman, 6pm SE Art of Jazz: Johnaye Kendrick, 5:30pm VI Kate Olson Ensemble, 9pm VI Kareem Kandi, 9:30pm VI Casey MacGill, 5:30pm WS Kelsey Alina, 12pm VI Jennifer Kienzle, 9pm SATURDAY, MARCH 14 WS D’Vonne Lewis’ Limited Edition, 8pm FRIDAY, MARCH 13 CH Seattle Improvised Music Festival: Dance & SUNDAY, MARCH 15 Music, 3pm CA Francesco Crosara & Glenn Young Trio, 6pm CH Seattle Improvised Music Festival (Night 4), AB Beaver Sessions, 9pm CH Seattle Improvised Music Festival (Night 3), 8pm CR Seattle Improvised Music Festival (Night 5 & 8pm CM Connections Jazz Ensembles, 12pm Session), 8pm EB Tom Kellock, 6pm EB Eric Verlinde, 6pm CZ Choro Jam, 2pm ES Cara Sandahl, 6pm ES Cara Sandahl, 6pm CZ Music Improv Session w/ Kenny Mandell, HD AriSawkaDoria, 9pm HS Nicole Walters, 6pm 7pm HS Elisha, 6pm JA Victor Wooten (early show), 7:30pm DT Jazz Jam, 8pm JA Victor Wooten (early show), 7:30pm JA Victor Wooten (late show), 9:30pm EB Tom Kellock, 6pm ES Eric Verlinde w/ Josephine Howell, 6pm HS Jazz Brunch w/ Emma Caroline Baker, 10:30am JA Victor Wooten, 7:30pm NL Skerik Band, 8pm NP Leslie Odom Jr., 8pm RR JazzED, 4pm TT Karen Lovely & Stacy Jones: Blues for the Ride, 7pm VI Alex Guilbert, 6pm VI Ron Weinstein Trio, 9:30pm MONDAY, MARCH 16 CC Cider Sessions, 9:30pm EB Tom Kellock, 6pm ES Eric Verlinde, 6pm MQ Marco de Carvalho, 5pm NL Mo’ Jam Mondays, 9pm PB Piano Bar w/ Larry Knapp & Friends, 7pm RR Salute Sessions, 9:30pm TT An Evening With Corey Harris, 8pm TUESDAY, MARCH 17 EB Eric Verlinde, 6pm ES Paul Richardson, 6pm JA Molly Johnson, 7:30pm MT Open Mic, 9pm OT Hot Jazz Hootenanny, 7:30pm OW Jazz Jam, 9:30pm RR Jenny Scheinman & Allison Miller’s PARLOUR GAME, 7pm SB Elsa Nilsson Band, 8pm SB Joe Doria Presents, 10pm WEDNESDAY, MARCH 18 EB Eric Verlinde, 6pm ES Paul Richardson, 6pm JA Molly Johnson, 7:30pm MQ Frank Kohl Trio, 5pm NC Brian Monroney Quartet, 7pm RR Indigo Mist Residency feat. George Garzone, 7:30pm

22 • EARSHOT JAZZ • March 2020 SB Nowsterday, 8pm DT Jazz Jam, 8pm ES Cara Sandahl, 6pm SC Trio Linguae: Woods/Stowell/Black, 7pm EB Tom Kellock, 6pm JA Monty Alexander (early show), 7:30pm VI Brad Gibson Presents, 9pm ES Eric Verlinde w/ Josephine Howell, 6pm JA Monty Alexander (late show), 9:30pm HS Jazz Brunch w/ Emma Caroline Baker, KE Rick Kitaeff/Bruce Barnard Duo, 6:30pm THURSDAY, MARCH 19 10:30am LA Happy Hour w/ Phil Sparks, 5pm JA Eddie LeVert, 7:30pm MQ The Djangomatics, 5pm BC Adam Kessler & Phil Sparks, 9pm RR JazzED, 4pm MQ Happy Trio, 8:30pm CH Falzone/Miller/Whiting, 8pm VI Max Cannella, 6pm PT Hot Java Cool Jazz, 7pm CM Chinook Middle School Jazz Combos, 7pm VI Ron Weinstein Trio, 9:30pm RR Planet Fly / Reposado, 8:30pm EB Eric Verlinde, 6pm TP Ranger & the Re-Arrangers, 7:30pm ES Paul Richardson, 6pm MONDAY, MARCH 23 VI Frank Vitolo Ensemble, 9pm JA Eddie LeVert, 7:30pm MQ Global Music Nights, 5:30pm CC Cider Sessions, 9:30pm SATURDAY, MARCH 28 NC Downtown Mountain Boys, 7pm EB Tom Kellock, 6pm RR Indigo Mist Residency feat. George Garzone, ES Eric Verlinde, 6pm CH BlueStreet Voices & The Offbeats, 7:30pm 7:30pm NL Mo’ Jam Mondays, 9pm EB Eric Verlinde, 6pm SB Comfort Food, 8pm RR Royal Room Collective Music Ensemble, ES Cara Sandahl, 6pm SB Proud & Nasty Jam Session, 10pm 7:30pm EW Rik Wright’s Fundamental Forces, 1pm TD Sundae & Mr Goessl: Album Release, RR Salute Sessions, 9:30pm JA Monty Alexander (early show), 7:30pm 7:30pm TP SCCC Capitol Hill Jazz Collective, 7:30pm JA Monty Alexander (late show), 9:30pm VI Casey MacGill, 5:30pm MQ The Hot McGandhis, 8pm VI Kim Maquire, 9pm TUESDAY, MARCH 24 NC Magic Circle, 8pm SB Latin & Cuban Night, 7pm EB Eric Verlinde, 6pm FRIDAY, MARCH 20 TD Brian Nova Big Band w/ Billy Valentine, 8pm ES Paul Richardson, 6pm BP DHQ: Darelle Holden Quartet, 8pm JA Delvon Lamarr Organ Trio, 7:30pm SUNDAY, MARCH 29 CA Francesco Crosara & Glenn Young Trio, 6pm MT Open Mic, 9pm CH Sound Sky Trio & Ronan Delisle, 8pm NC Casey MacGill Trio, 7pm AB Beaver Sessions, 9pm CM Greta Matassa, 7pm OT Hot Jazz Hootenanny, 7:30pm CR Racer Sessions, 8pm EB Tom Kellock, 6pm OW Jazz Jam, 9:30pm DT Jazz Jam, 8pm ES Cara Sandahl, 6pm RR Seattle Academy Jam, 5pm EB Tom Kellock, 6pm EY Wine & Latin Jazz, 6pm RR Tristan Gianola Trio/Authentic Luxury/Don ES Eric Verlinde w/ Josephine Howell, 6pm HS Bess & Amber, 6pm McGreevy, 7:30pm HS Jazz Brunch w/ Emma Caroline Baker, JA Eddie LeVert (early show), 7:30pm SB Joe Doria Presents, 10pm 10:30am JA Eddie LeVert (late show), 9:30pm TD Jane Monheit, 7:30pm JA Monty Alexander, 7:30pm KE Rick Kitaeff/Bruce Barnard Duo, 6:30pm RR Steve Treseler “Snow Line Suite” EP LA Happy Hour w/ Phil Sparks, 5pm WEDNESDAY, MARCH 25 Release, 7pm MQ Puddle Stompers, 5pm ST The SRJO Rhythm Section, 5pm EB Eric Verlinde, 6pm NC Lee Oskar & Friends, 8pm TD Ottmar Liebert & Luna Negra, 7:30pm ES Paul Richardson, 6pm RR Elnah Jordan & Eric Verlinde, 6pm VI Tim Kennedy, 6pm JA Delvon Lamarr Organ Trio, 7:30pm RR Indigo Mist Residency feat. George Garzone, VI Ron Weinstein Trio, 9:30pm NC Greta Matassa Student Showcase, 7pm 9pm RR Collier & Seales Duo w/ Valerie Rosa, VI Michael Owcharuk Ensemble, 9pm MONDAY, MARCH 30 7:30pm SATURDAY, MARCH 21 SB DX-tet, 10pm CC Cider Sessions, 9:30pm SC D’Vonne Lewis’ Limited Edition, 7pm EB Tom Kellock, 6pm BI Evan Flory-Barnes, 7:30pm VI Bar Tabac, 9pm ES Eric Verlinde, 6pm DA The Real Imposters feat. Lisa Fox, 8pm JA Anton Schwartz & Josh Nelson, 7:30pm EB Eric Verlinde, 6pm THURSDAY, MARCH 26 MQ Marco de Carvalho, 5pm ES Cara Sandahl, 6pm NL Mo’ Jam Mondays, 9pm BC Adam Kessler & Phil Sparks, 9pm JA Eddie LeVert (early show), 7:30pm RR Salute Sessions, 9:30pm CM Bellevue School District Jam Session, JA Eddie LeVert (late show), 9:30pm TD Ottmar Liebert & Luna Negra, 7:30pm 6:30pm MQ Marina Christopher, 8pm EB Eric Verlinde, 6pm NC Paul Miranda Syndicate, 8pm TUESDAY, MARCH 31 ES Paul Richardson, 6pm RR Indigo Mist Residency feat. George Garzone, JA Monty Alexander, 7:30pm EB Eric Verlinde, 6pm 7:30pm MQ Global Music Nights, 5:30pm ES Paul Richardson, 6pm SB Latin & Cuban Night, 7pm NC Kate Voss, 7pm JA Cecile McLorin Salvant, 7:30pm TP Two Scoops Combo, 7:30pm RR Red Rose Combo, 7:30pm MT Open Mic, 9pm VI The Tarantellas, 6pm SB Wartux, 8pm NC Songwriter Showcase, 7pm VI Wayne Horvitz, 9:30pm SB Proud & Nasty Jam Session, 10pm OT Hot Jazz Hootenanny, 7:30pm SUNDAY, MARCH 22 VI Casey MacGill, 5:30pm OW Jazz Jam, 9:30pm RR Kenji Wagner Quartet/Gabe Suman Quintet, AB Beaver Sessions, 9pm FRIDAY, MARCH 27 7:00pm CR Racer Sessions: Sound Sky Trio, 8pm SB Joe Doria Presents, 10pm CA Francesco Crosara & Glenn Young Trio, 6pm CZ Jazz Jam w/ Kenny Mandell, 2pm TD , 7:30pm EB Tom Kellock, 6pm

March 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

JULIA TAI PHOTO BY DANIEL SHEEHAN

IN THIS ISSUE... A $35 basic membership in Earshot brings Letter from the Director : Rhythm the newsletter to your door and entitles you to and Harmony______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 2019 Golden Ear Awards Cast your ballot by March 3!______4 Individual ($35) Additional tax-deductible donation ______Household ($60) Patron ($100) Sustaining ($200) Seattle Jazz Hall of Fame Inductees______5 Other In Memoriam: Walt Tianen______6 Sr. Citizen – 30% discount at all levels Canadian subscribers please add $5 additional postage (US funds) Profile: Julia Tai: Push and Pull______8 Regular subscribers – to receive newsletter 1st class, please add $10 Preview: Kassa Overall______10 for extra postage Contact me about volunteering Preview: Ted Poor Album You Already Know ______Release______11 NAME

Preview: The Royal We with Special Guest ______Helen Gillet______12 ADDRESS ______Preview: The 35th Annual Seattle Improvised CITY/STATE/ZIP Music Festival______14 ______Preview: Indigo Mist Residency feat. George PHONE # EMAIL Garzone______16 ______Earshot Jazz is a nonprofit tax-exempt organization. Ask your employer if your Preview: Steve Treseler Snow Line Suite EP company has a matching gift program. It can easily double the value of your Release______17 membership or donation. Calendar: Jazz Around the Sound______20 Mail to Earshot Jazz, 3417 Fremont Ave N, #221, Seattle, WA 98103