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Home , Burnt Sugar, Carter Jefferson, David Friesen, Hadley Caliman, Jon Faddis, Kenny Dorham

A Mirror and Focus for the Community November 2018 Vol. 34, No. 11 EARSHOT JAZZSeattle, Washington

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

Falling Up! Executive Director John Gilbreath Managing Director Karen Caropepe Programs Manager Tara Peters Marketing & Development Associate Lucienne What an incredible festival!! The music has been so deep and rich, with Aggarwal each day offering a fresh experience, remarkably different than the night Earshot Jazz Editor Caitlin Peterkin

before. Thank you all—musicians, audiences, media, funders, educators, Contributing Writers Lucienne Aggarwal, and YOU—for making this 30th anniversary Earshot Jazz Festival the Levi Gillis, Ian Gwin, Steve Kohl, Andrew best ever. Luthringer, Peter Monaghan, Paul Rauch Duke Ellington once said, “Jazz is a good barometer of freedom. In its Calendar Editors Casey Adams, Jane beginnings, the of America spawned certain ideals of free- Emerson & Caitlin Peterkin dom and independence through which, eventually, jazz was evolved, and Photography Daniel Sheehan the music is so free that many people say it is the only unhampered, unhin- Layout Tara Peters dered expression of complete freedom yet produced in this country.” And Distribution Karen Caropepe, Dan Dubie & Earshot Jazz volunteers though it may seem like the country is actually becoming more polarized and less focused on ideals of actual freedom, it’s clear that jazz is bringing Send Calendar Information to: 3429 Fremont Place N, #309 the good news about a future that is full of potential for both individual , WA 98103 expression and harmony. email / [email protected] About twelve days into this year’s festival, I had a clear dream image that Board of Directors Danielle Leigh all of the weight had come off of the word JAZZ. Pinned to the floor at (President), John W. Comerford (Vice first—by a society in apparent cultural decline, by stark economic realities, President), Jon Perrino (Secretary), Viren and even by the limits of expectations that its own history has projected Kamdar (Treasurer), Sue Coliton, Sheila onto its future—JAZZ suddenly took off, falling up into the sky and open- Hughes, Chris Icasiano, Maurice James, Chris Nutter, Gail Pettis, Ruby Smith Love, ing up wide over the gusts of ideas, expressions, permission, and potential Diane Wah that were flying up from every direction. (Okay, I get a little delirious after a couple of weeks and a couple of dozen concerts, but the image is still Emeritus Board Members Clarence Acox, there for me, and I’m grateful for it.) This is a remarkably fertile time for Taina Honkalehto, Hideo Makihara, Kenneth W. Masters, Lola Pedrini, Paul jazz, and we’re happy to be able to share it with you here in Seattle. Toliver, Of course, in coming to our work every day we have to negotiate the Founded in 1984 by Paul de Barros, intersection of Art and Commerce. Looking both ways before proceeding, Gary Bannister, and Allen Youngblood. it’s clear that Art Boulevard is wide and busy, constantly flowing, with no Earshot Jazz is published monthly by beginning or end in sight. Commerce Street, on the other hand, often only Earshot Jazz Society of Seattle and is runs for a few blocks at a time, and is busy with detours, dead ends, pot available online at www.earshot.org. holes, and barricades. A festival like ours, however rich artistically, typi- Subscription (with membership): $35 cally offsets only 50% of its costs through ticket-sales income. And before 3429 Fremont Place #309 artists are engaged and venues are secured, funding for each year has to be Seattle, WA 98103 phone / (206) 547-6763 in place. We need your help. If you’ve been moved by the music, or seen it hit home in your favorite Earshot Jazz ISSN 1077-0984 Printed by Pacific Publishing Company student, please join us in this work. Become a member, drop us a sugges- © 2018 Earshot Jazz Society of Seattle tion, and join us in our upcoming annual campaign. Support what you love. Jazz already has a home in Seattle, but there are a lot of new citizens here. Let’s build continuous and positive additions on this jazz community, MISSION STATEMENT this cultural community, this civilization. To ensure the legacy and progression Thank You!! of the art form, Earshot Jazz cultivates –John Gilbreath, Executive Director a vibrant jazz community by engaging audiences, celebrating artists, and supporting arts education.

2 • EARSHOT JAZZ • November 2018 NOTES

Arts Innovator Awards ing sound is a pioneering voice in the Applications for 2019 Jack Straw contemporary world music movement Artist Residencies Now Available Funded by the Dale and Leslie of the late 20th century. Chihuly Foundation, the Arts The Jack Straw Artist Residency Pro- The Jackson Street Music Program is grams offer established and emerging Innovator Award is an unrestricted a volunteer organization that teaches award of $25,000 given annually artists in diverse disciplines an op- youth about the business of the mu- portunity to explore the creative use to two Washington State artists of sic industry. More information at any discipline. The award recognizes of sound in a professional atmosphere jacksonstreetmusicprogram.org. through residencies in our recording artists who demonstrate innovation Tickets for the event can be pur- in their art practice. Applications studios and participation in our vari- chased online at thetripledoor.net. For ous presentation programs. Applica- are due November 12. Learn more more information about this event, tions for the 2019 program are now at artisttrust.org. visit jazzinthecity.com. available at jackstraw.org, with a dead- Jazz in the City Presents: On the Horizon line of November 1. Artists may apply Hiroshima to only one program per year. Delvon Lamarr Organ Trio Jazz in the City presents multi- December 31, 7 & 10:30pm Help the Jazz Around the Sound Grammy Award-nominated jazz band, Triple Door, 216 Union St Calendar Hiroshima, in a fundraising event for Join celebrated B-3 organist and Please email news and an- the Jackson Street Music Program on bandleader Delvon Lamarr in his last nouncements about jazz gigs, con- Saturday, November 10, at the Triple Seattle performance before he moves certs, and community events to Door. to Austin, Texas, in 2019! Lamarr jazzcalendar@ earshot.org. Hiroshima, a group whose music leads his organ trio with Jim- News’n’Notes falls between R&B, pop, world music, my James and drummer Doug Port in and jazz, has long had its own niche. a celebratory night of soul, jazz, , Email news about Seattle-area jazz The band integrates traditional Japa- and rock to ring in the New Year with artists and events for Earshot Jazz nese instruments into their musical two hard-hitting sets at the Triple Notes to [email protected]. blend and has created a rich sound Door. both unique and relatable; the result- ON THE RADIO  88.5 KNKX hosts Saturday Jazz events of the regional jazz scene. For with Gordon Todd at 1am Tuesdays. Matinee, Jazz Sunday Side Up, Ken JazzNW podcasts of archived pro- Shows can be streamed anytime at Wiley’s the Art of Jazz, and Jazz grams, see jazznw.org. kbcs.fm. Northwest, in addition to its weekday 90.3 KEXP, late-night Sundays, 91.7 KSVR Mount Vernon, Doctor NPR and late-night and prime-time features Jazz Theater with John Gil- Dee hosts two nights of jazz, Fourth jazz programs. Full schedule and info breath, 1am. Full schedule informa- Corner Jazz, featuring recordings of at knkx.org. tion is available at kexp.org. live performance in Northwest Wash- Abe Beeson hosts The New Cool, 91.3 KBCS, features creative and ington, Sundays, 6-7pm, and The Saturdays, 3pm, featuring 21st cen- improvised music on Flotation Device Doctor’s Den, Mondays, 8-10pm. tury jazz inspired and informed by the with John Seman and Jonathan Law- 102.9 KLOI-LP Lopez Island, sounds of today, hip-hop, funk, elec- son, Sundays at 10pm. The Monday Mondays & Fridays, 3pm, Joy Spring tronic & punk rock, followed by Rob- night lineup includes The Caravan with Gary Alexander, classic jazz and in Lloyd’s Jazz Caliente, 5pm, where with John Gilbreath at 7pm, Straight the Great American Songbook. jazz meets Latin rhythms. No Chaser with David Utevsky at Jim Wilke’s Jazz Northwest, Sun- 9pm, with John Pai at days, 2pm, features the artists and 11pm, and The Shape of Modern Jazz CONTINUED ON PAGE 23

November 2018 • EARSHOT JAZZ • 3 PROFILE Gary Hammon: Last of the Tribe

GARY HAMMON PHOTO BY DANIEL SHEEHAN

By Steve Kohl at Garfield High School. In 1969 he descending flats in order to shift the went on to attend the New Real Book standard toward a slower I first meet Gary Hammon on a sun- Conservatory as part of its first intake and more mysterious mood. I also ny autumn day at the Ethiopian Com- of black students. After a career that notice his generosity as a bandleader: munity Center down on Rainier Av- took him coast to coast and through how he will encourage his fellow play- enue South. He’s playing a gig to help almost every modern musical genre, ers through their solos, often uttering the Center mark the end of its season. Gary returned to Seattle 15 years ago a “Yes sir!” at the end of a bar, or how Surrounded by the smell of incense in order to devote himself to the full- occasionally he will end his own solos and roasting coffee Gary sways, his time care of his ailing parents. His on the upbeat in order to stir the mel- body relaxed, a contented smile on his forthcoming concert at the Langston ody, keep the rhythm simmering, and lips. He’s listening to Erik Esvelt, his Hughes Performing Arts Institute will create new opportunities for his band longtime collaborator, lay down the mark the opening of a new chapter for mates to riff off. melody for Hancock’s “Cantaloupe this singular tenor saxophonist. To his left sit the elders of the com- Island” on his . Gary traces Listening to Gary play that after- munity. Their placement is not lost on Erik’s vector, uses the first couple of noon, I am immediately struck by his Gary when he and I sit down to talk beats of his own solo to lean softly into easy, almost lazy, style and his sooth- the following day: “I learnt a lesson his tenor sax, raise the reed to his lips, ing, tender tone: how he chooses to that afternoon. You have to respect and blow. break down the center of the major your Elders. It’s important. They were Born and raised in the Central Dis- II-V-I progressions of Joe Hender- honored by the young people that day. trict, Gary took up tenor sax while son’s “” with a series of

4 • EARSHOT JAZZ • November 2018 You have to know where you came it, you can still remain at the school, “Where I learned to play was in the from to know where you’re going.” but jazz will not be a credit.’ And Isaac streets, the streets of New York, the “Jazz is an expression of self” Stern, and Arthur Fiedler were there streets of Boston. You learn how to from the Boston pops. The place was make a living. And through Harold That sense of history and purpose is packed. And our band played, and the Vick, that’s what I learned. Because very much part of Gary and his mu- rest is history.” when Harold couldn’t do the Apollo, sic. He has played with most of the I ask Gary about what he picked up he called me to do it…if he couldn’t greats. In fact, it would be easier for at NEC: “Oh I didn’t learn a whole do Manny’s Car Wash, he’d call me. a writer to list whom he hasn’t played lot about playin’ but I learned classi- He said: ‘So you want to be able to be with. Among his collaborators and cal ways. I learned classical harmony. I a musician? Don’t stay in your com- mentors are “Big” John Patton, Bar- bara Donald, Sonny Simmons, , , John Stubble- “You have to know where you came from to know field, Hadley Caliman, , where you’re going.” , , and local legend Joe Brazil. He’s also led learned how to interpret. Kenny Dor- fort zone. Play everything you can.’ his own outfits at such storied spots as ham, Jaki Byard, Jackie McLean, and So what’s taken me out of my comfort Wally’s in Boston and Manny’s Car Ray Copeland, those cats all encour- zone is playing around all those major Wash in . When Gary aged us to stick with it. musicians. They’re not here anymore, recounts any aspect of his life, or his “I had Mary Lou Williams as a but they inspired me. Those guys own evolution as a jazzman, he does so teacher, and she was responsible for changed my life. They made me realize with great humility, leading not with Monk and a lot of people writing. And that the music is bigger than me. And himself but with the men and women Melba Liston, and also the First Lady it is. Just when you think you know who have supported him. And, after of , Barbara Donald. They something, there’s always going to be his mom and dad, that list begins in were all big. They weren’t always nice someone who comes along and can do earnest for Gary with Kenny Dorham, to me, but they liked me. They saw the it better. the trumpeter, singer, and , potential in me and they wanted me to “These days, you have kids that are and Gunther Schuller, the former di- do more, not take things for granted trying to be the next ‘Trane and they rector of the New England Conserva- and really learn and they’d always tell don’t understand that he got to his tory of Music: me about how much potential I had. sound through working with others. “Kenny Dorham fought for me. “Carmen McRae tried to get me to Jazz is a collective effort. ‘Trane was And Gunther. They really wanted me. just be a writer. She was funny. She in all kinds of bands around all kinds There were twenty-five of us black kids didn’t want me to starve as a jazz mu- of great musicians. He didn’t walk that first year, out of a school of 900. sician. When she realized that it was around and ask, ‘What school did you It was pretty crazy. Gunther’s idea was too late. She looked in my eyes and go to?’ Because his music wasn’t cre- to bring more people of color to that she said, ‘Oh my god, you’re going to ated in the school. It was created in the school. He’d bring Ornette Coleman, do this. All I can say to you is good streets of New York.” , and Jimmy Lyons. He’d luck.’ She said, ‘Boy, you don’t know bring these guys in and have them play “It’s all about finding your own what you’re getting yourself into.’ I voice” a Duke Ellington Suite. He’d do some said, ‘Well, you did it too.’ And she pretty interesting things and people said, ‘That’s why I’m trying to stop you Gary himself is now an educator at would be like, ‘Wow,’ ‘Boom.’ from doing it!’” Ballard High School and the irony is “At the time I arrived at NEC, it was Gary pauses to laugh with the mem- not lost on him: still all classical. We would study and ory before continuing: “Yeah. Kenny, Jacki, Barbara. They’d play jazz down in the trash room in the “You gotta understand that jazz is an all be smiling now. I was inspired to basement. We would do everything in expression of self. You can bring all the become an educator by other cats that smelly trash room. Then in ‘72, classical technique and all the classical that were doing it already, like Charli we had to put on a big performance, approach you want, but that’s not the Persip (The New School), Larry so jazz could become an elective. We whole thing. Keith Jarrett has plenty Ridley (Rutgers), you know, those had to prove ourselves in Jordan Hall. of technique, but he’s also very expres- guys were always pushing me on this, Gunther came and told us, ‘If you don’t sive. and, a couple other alums, make it, if this program doesn’t make Billy Taylor (U Mass, Howard, and

November 2018 • EARSHOT JAZZ • 5 Yale), and (Queens Col- what I want to be paid, not what they ECA SPECIAL ENGAGEMENT lege, New York), they all were very in- think I need to be paid, because that’s spiring to me.” the way it was. It’s not that way any- I ask Gary for an example of how more because somebody came into their inspiration impacts his own work this town while I was away and broke teaching. Without missing a beat, Gary down and deprogrammed everybody, answers: “So take this young guy I was but they’re not deprogramming me, playing with on Saturday. I’m going to because I’m not having it. You have work with him because he has great got to stand up and take a stand. potential. And first, I want him to not I’m the way I am because I got paid. double up so much. I told him: ‘You Quincy got paid. We all got paid. Peo- don’t have to fill up the space when it’s ple who make money out of jazz, they just the bass and two horns. We’ll do owe something to jazz. It’s time to try that. We’re the keyboard now. And if to restructure everything and go at it you let us alone, we’ll really take you another way.” in some places that you haven’t been; I ask Gary how the gig at Langston and harmonically it’ll be all right. And fits into his broader goals for the jazz he’ll be like, ‘Wow.’ scene in Seattle, and for himself: TUESDAY, JANUARY 29 “Young people are taught now that “When I heard about the gig with you have to play amazing notes, and Nathan (Breedlove), I sat down with the teacher might mention Miles Da- Booker (T. Washington) and I said, vis. And when I hear that I laugh, and well, this is an opportunity for me to say to the kids: ‘But I knew Miles. He get back in this, because if I can get in might start playing a phrase today and this, I’m going to help everybody and finish it tomorrow. You have to under- I mean, I’m really going to help them. stand that. He knew he couldn’t play “We’re calling it ‘Last of the Tribe,’ as fast as Kenny Dorham or Dizzy or because we are. Everybody’s gone. Charlie, so he listened and he found People need to understand that it takes his way into his own style.’ And that’s a village to play this music. Tickets & Information: what I try to teach kids: it’s all about “And the audience that night, I’d like interpretation, finding your own voice. for them to know that when they come ec4arts.org | 425.275.9595 “The elders I walked with. If they to hear a concert with me, that every- 410FOURTHAVENUENORTH EDMONDSWA98020 heard me playing something exactly body’s involved, you know? I grew up like they played it, they’d say, man, here, and Booker grew up here, we’re that’s my shit, man. Don’t play my homeboys. I wanna welcome my folks Tuesday, January 29, 2019 shit. So, you play your own. You got and folks that I don’t know; and when 7:30 pm | $39–$74 to take chances. You hearing me? I’m they come in, I want them to feel com- Troy ‘ Shorty’ Andrews has still taking chances. I’m still not afraid fortable because we’re going to make God-given talent, natural charisma, to move forward.” them a part of something that they’re and a relentless drive to bridge music’s past and future. In the last four years, “What do I have to lose?” going to enjoy, that they’ll go home Andrews banked his fifth White House and say, ‘Yes, that was nice what they gig; backed Macklemore and Madonna Reflecting on the state of the scene did.’ at the Grammys; opened tours for today, and the hand-to-mouth con- “I don’t come to play for me, I come Daryl Hall & John Oates and Red Hot ditions so many of Seattle’s jazz mu- to play for them…I come to present Chili Peppers; inherited the esteemed sicians find themselves working in, annual fest-closing set at the New something that I’ve been working Orleans Jazz & Heritage Festival in Gary’s voice shifts to a more sober on, and that’s all…I’m presenting me the tradition of Crescent City greats tone: to you…because what do I have to like the Neville Brothers and Professor “In order to make it as a jazz musi- lose? I’m an elder now, so there’s noth- Longhair; and released Trombone cian, you have to stop thinking about ing to lose anymore. So there’s plenty Shorty, a children’s book about his life survival. I’m not going to chase down that was named a Caldecott Honor to gain. It’s going to be a real nice Book in 2016. gigs. When I come out, I’m going to night.” be respected and I’m going to get paid

6 • EARSHOT JAZZ • November 2018 THURSDAY, NOVEMBER 1 EARSHOT JAZZ FESTIVAL IN NOVEMBER Chad McCullough & Bram Weijters Quartet THURSDAY, NOVEMBER 1, ROYAL ROOM, 7:30PM The Royal Room, 7:30pm Chad McCullough & Bram Weijters The Triple Door, 7:30pm Harriet Tubman: The Band Quartet Langston Hughes Performing Arts Institute, 8pm Seattleite John Bishop, FRIDAY, NOVEMBER 2 drummer of choice for Nate Chinen in Conversation with a multitude of visiting Maria Schneider leaders, brings three of Cornish College of the Arts, 12pm his longtime musical Now’s the Time: A Benefit for friends to town. He and Initiative 1631, feat. Nate Chinen Chicago-based Chad The Royal Room, 7pm McCullough worked together at the inter- national Seattle label, Revisited Band Origin Records, that The Triple Door, 7pm & 9:30pm Bishop so ably runs with Jovino Santos Neto Big Band & fellow drummer Matt Quinteto Jorgensen, while Mc- BRAM WEIJTERS, CHAD MCCULLOUGH, JOHN BISHOP, AND PIET VERBIST Seattle Art Museum, Plestcheeff Auditorium, PHOTO COURTESY OF THE ARTIST Cullough was building a 8pm reputation as one of the city’s finest trumpeters and flugelhornists around. SATURDAY, NOVEMBER 3 About a decade ago, McCullough met pianist/keyboardist Bram Weijters at a Playing Changes: Reading with workshop in Banff. Even before graduating in jazz from Antwerp Conser- Nate Chinen vatory and then in jazz composition and arranging at the Conservatory, Elliott Bay Book Company, 5pm Weijters had become an accomplished and eclectic musician in his childhood Jay Clayton & Dawn Clement w/ and youth. He trained classically in piano, but also taught himself percussion, including by playing drums in several alternative rock bands. He also experi- The Royal Room, 7:30pm mented with tape recorders and electronic circuits, influences still heard in his open-eared music, today. Tia Fuller Quartet Then, Bishop recalls, he and McCullough “were going to MIDEM in Cannes Seattle Art Museum, Plestcheeff Auditorium, 8pm every year, so we figured out that we could stop off in Belgium and do some gigs with Bram and his favorite bass player, Piet Verbist. We’ve been doing Belgian Maria Schneider with Seattle tours every year for the past eight years now….Antwerp is a little home away Repertory Jazz from home for us now. We’ve recorded two albums in Seattle and the most re- Benaroya Hall Illsley Ball Nordstrom Recital Hall, 7:30pm cent one in 2014 in Brussels.” McCullough and Weijters also released a duo album last year. Reviewing Ab- SUNDAY, NOVEMBER 4 stract Quantities, Bird is the Worm wrote: “Together they make music that fea- Maria Schneider with Seattle tures fine tunesmithing and expertly paced and sparkling execution that rivets Repertory Jazz Orchestra attention. Whether melodic and savored, or upbeat and driving, it all progresses Kirkland Performance Hall, 2pm with tightly sprung restraint and release.” Jane Bunnett and Maqueque Their sound is at once classic and of-the-moment, as Harold Taylor of KUCI, The Triple Door, 6pm & 8:30pm Irvine observed: “Like Robert Glasper, , The Bad Plus, and Kris Bow- ers, sometimes they use traditional jazz instrumentation and structure to en- : Snowy Egret Seattle Art Museum, Plestcheeff Auditorium, hance melodies and beats that might resonate for audiences weaned on acid jazz 8pm and hip-hop.” $18 adults, $16 Earshot members & seniors, $10 students & military/veterans

November 2018 • EARSHOT JAZZ • 7 THURSDAY, NOVEMBER 1, TRIPLE DOOR, 7:30PM Raul Midón Presented by Triple Door. touch and feel intensely — and those The singer-songwriter and guitarist are sensations and experiences that ev- with seven acclaimed albums, when eryone can relate to.” not collaborating with Herbie Han- The title of Midón’s 2017 release cock, Stevie Wonder, Jason Mraz, Bad Ass and Blind came from an apt Queen Latifah, and Snoop Dogg, is description of its maker that soul icon — as tonight — “a one-man band who Bill Withers endorsed; the album saw turns a guitar into an orchestra and his Midón collaborating with such top voice into a chorus” (New York Times). jazz players as trumpeter Nicholas A native of New Mexico who was ed- Payton and pianist Gerald Clayton, ucated in the jazz program of the Uni- and it earned the singer his Grammy versity of Miami—and who now lives nomination for “Best Jazz Vocal Per- in Maryland after years in New York formance.” City—Midón has earned acclaim the This past spring, Midón performed world over. in National Public Radio’s popular Ever since being told by some when “Tiny Desk Concert” feature, with he was a child that his blindness meant NPR prefacing the broadcast by say- RAUL MIDÓN PHOTO BY BLAIR ALLEN that “you can’t do this, you can’t do ing: “Raul Midón lives in a world of Grammy Award-winning Dutch en- that,” Midón has lived a life devoted to sound — blind since birth, Midón’s semble that has collaborated with art- beating the odds and shattering stereo- interpretation of his surroundings is ists from and types, learning his own lessons along borderless. He sings with the passion to and . the way. of the best classic soul singers, and Already garnering praise, this album “As someone who has never seen, I’ve his instrumental chops stand along- finds Midón drawing “energy from always felt at a disadvantage in that side the most accomplished jazz musi- the brass and the strings and the or- lyric writing is usually very visual,” he cians.” chestra has an understanding of the says. “People really relate to images, Now, with his new album If You Re- myriad musical influence that this art- and I’ve never seen images. But what ally Want, Midón’s voice and guitar ist brings to fore” (Soultracks). I realized early on is that you have to ride the waves of an actual orchestra: write from what you know, and I hear, the acclaimed , the $27 advance, $30 day of show (front row $35), $25 Earshot members & seniors

ART OF JAZZ

D’VONNE LEWIS PASSAGE THU NOV 8, 5:30 – 7:30 PM

Hear Seattle jazz history with international influences from Senegal, South Africa, and Central America.

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

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

8 • EARSHOT JAZZ • November 2018 THURSDAY, NOVEMBER 1, LANGSTON HUGHES PERFORMING ARTS

The Bass Church CENTER,The B8PMass Church The Bass Church The Northwest double bass specialists The Northwest double bass specialists The Northwest double bass specialists Harriet Tubman: The Band www.basschurch.com www.basschurch.com www.basschurch.com Co-presented with Langston.

The New York power trio

Sales, Rentals, of Brandon Sales, Ross Rentals, (guitars), Sales, Rentals, Repairs, Restorations, Melvin Repairs, Gibbs (bass),Restorations, and Repairs, Restorations, Lessons JT Lewis (drums) Lessons is named Lessons Convenient North Seattle Location for the Convenientslave who North freed Seattle hun Location- Convenient North Seattle Location

dreds of others, and has for (206)784-6626 20(206)784-6626 years engaged her spirit (206)784-6626 9716 Phinney Ave. N. 9716 Phinney Ave. N. 9716 Phinney Ave. N. Seattle, WA. 98103 of Seattle, liberation. WA. 98103 With cre- Seattle, WA. 98103 ~by appointment only~ dentials~by appointment miles only~ long, their ~by appointment only~

“Open Music” invokes forebears like Ornette Cole- man, , Parlia- ment-, and the The Bass Church The Bass Church ,Th JT LEWIS,e B BRANDONas ROSSs PHOTOCh BYu MICHAELrch HALSBAND The Northwest double bass specialists Art EnsembleThe Northwe soft d oChicago.uble bass specialists The Northwest double bass specialists Harriet Tubman formed www.basschurch.com www.basschurch.com www.basschurch.com in 1998, inspired by Tubman’s ideals of freedom. The band’s pursues liberated musical expression in the spirit of musical forebears, with a credo: “Recontex- tualizing musical technology to create innovative compositional and cultural spaces is an important part of the African-American cultural tradition. Harriet Sales, Rentals, Sales, Rentals, Sales, Rentals, Repairs, Restorations, Tubman Repairs, is part Restorations,of our contribution to that tradition.” Repairs, Restorations, Lessons That’s a credo Lessons that has a historic context, the band Lessons says: “Harriet Tubman’s

Convenient North Seattle Location music Convenientreflects Norththe Seattleessential Location impulse of the waveConvenient of energy North that Seattle entered Location and em-

braced our world at that time [the late 1960s]: depth, creativity, communication,

(206)784-6626 spirituality,(206)784-6626 love, individuality, determination,(206)784-6626 expression, revelation. We feel 9716 Phinney Ave. N. that9716 our Phinney choice Ave. toN. perform Open Music has9716 a value Phinney and Ave. relevance N. that connects Seattle, WA. 98103 Seattle, WA. 98103 Seattle, WA. 98103 ~by appointment only~ with~by appointmentthe re-awakening, only~ the new search for~by restored appointment meaningonly~ that we see and experience wherever and whenever we perform.” The trio certainly has personnel able to breathe fresh cultural life into any ears

it reaches. All have long, fabled histories in cutting-edge jazz and many other ar- eas of music. Brandon Ross’s CV includes time with , Cassan- The Bass Church draT Wilson,he B Arrestedass CDevelopment,hurch Oliver TLake,he MuhalBa sRichards Ch Abrams,urch Ar- The Northwest double bass specialists The Northwest double bass specialists The Northwest double bass specialists chie Shepp, and many, many others. Melvin Gibbs is a one-time member of the www.basschurch.com Rollinsw wBandw.b aandssc hArtourc hLindsay’s.com samba-cum-now wwavew.b groups,asschu randch. cmanyom others: Punk-Funk All-Stars, DJ Logic, , Power Tools (with ), and J.T. Lewis, similarly, has been there for major developments in American music, with , Dave Sanborn, Stanley Jordan, , Herbie Sales, Rentals, Hancock, Sales,and Don Rentals, Pullen. Sales, Rentals, Repairs, Restorations, Harriet Repairs, Tubman Restorations, is a band unlike any other. Repairs, As The Restorations, Observer observed last Lessons year: “Going onLessons two decades, Harriet Tubman…have Lessonsbeen a steadfast anchor Convenient North Seattle Location Convenient North Seattle Location Convenient North Seattle Location of NYC’s experimental music scene” bringing “a message of freedom, hope, and

(206)784-6626 protest(206)784-6626 in the form of their soul-baring, politically-tweaked(206)784-6626 fusion of funk, rock, 9716 Phinney Ave. N. jazz,9716 and Phinney dub Ave. that N. is spiritually cleansing as9716 it is Phinney earth-scorching Ave. N. when we most Seattle, WA. 98103 needSeattle, it.” WA. 98103 Seattle, WA. 98103 ~by appointment only~ ~by appointment only~ ~by appointment only~ $22 adults, $20 Earshot members & seniors, $10 students & military/veterans

November 2018 • EARSHOT JAZZ • 9 FRIDAY, NOVEMBER 2, TRIPLE DOOR, 7PM & 9:30PM SHOWS Vernon Reid Band of Gypsys Revisited

On the final day of the 1960s, Jimi of transcendent rocking groove that and , and Hendrix recorded one of the great- powered the original Band of Gypsys. produced albums from avant-blues est live albums in the history of rock: As Reid says: “We are not going to play guitar maestro James “Blood” Ulmer. Band of Gypsys. A trio comprised of a note-for-note recreation of the Band Reid also has an activist bent: In 1985, Hendrix along with drummer Buddy of Gypsys, but reinterpret it from an he co-founded (along with journalist Miles and bassist Noel Redding, Band improvisational viewpoint.” ) the vitally important (and of Gypsys outlined a template and set Vernon Reid occupies a revered spot active to this day) non-profit music a standard for modern rock guitar, in the pantheon of modern creative advocacy organization the Black Rock creating a musical shock wave that is . To simply call him “eclec- Coalition, a collective formed to “max- still echoing to this day. As lasting and tic” is to drastically underrepresent imize exposure and provide resources influential as for Black artists much of Hen- who defy con- drix’s work vention.” was with Reid and the his original rest of the Band band, The of Gypsys Re- Jimi Hendrix visited band Experience, share a lot of the earthy, history and have funky, and played together deep-groov- in varying con- ing sound of figurations since the Band of the mid-1980s. Gypsys dug to The quartet is a deeper level, all heavy hit- p r o v i d i n g ters: André “Dré Hendrix with Glo” Lassalle a thick bed of (guitar) has rhythmically CLOCKWISE FROM TOP LEFT: VERNON REID, ANDRÉ “DRÉ GLO” LASSELLE, JAMES “BISCUIT” ROUSE, AND JARED MICHAEL NICKERSON performed with flexible sound PHOTO COURTESY OF THE ARTIST the that pushed Arkestra, Miles him to new heights of freedom and fi- the staggering variety of music he has Davis, and ; James “Bis- ery creativity. made, over a career spanning close cuit” Rouse (drums) served for five Nearly a half century later, iconic to four decades. Best known as the years as the musical director for Lau- guitar master Vernon Reid lands in founder of the multi-platinum rock ryn Hill, and has also worked with Hendrix’s hometown, riding the still- band Living Colour, Reid’s de facto Nile Rogers, Stevie Wonder, and Cha- breaking wave of inspiration from mission has seemingly been to defy ka Khan; Jared Michael Nickerson Band of Gypsys. Powering a blazing the boundary expectations of what a (bass) came out of the legendary Day- quartet of like-minded musicians, black musician, a rock musician, a jazz ton funk scene that spawned the Ohio Reid’s updated project is not merely musician, or an avant-garde musician Players and Slave, and has also worked paying tribute to the original band is supposed to play. with Charlie Musselwhite, , but using it as a launching pad for this Reid came to prominence in the early , Wadada Leo Smith, band’s own sonic interpretations and ’80s as a key member of iconoclastic and many of Vernon Reid’s other proj- high-flying improvisations. Band of and influential drummer Ronald ects, to name just a few. Gypsys Revisited is channeling some- Shannon Jackson’s Decoding Society. $24 adults, $22 Earshot members & thing deep and resonant, tapping into He made a duet album with Bill Frisell seniors, $10 students & military/veterans the same mystically psychedelic well (Smash & Scatteration), worked with

10 • EARSHOT JAZZ • November 2018 FRIDAY, NOVEMBER 2, SEATTLE ART MUSEUM, 8PM Jovino Santos Neto Big Band & Quinteto

In the 25 years since his arrival in “That’s something I’ve never done here, the guys that play with me to- Seattle from his native Brazil, Jovino in Seattle. I’ve done it pretty much all day, my band, I began playing with Santos Neto has captivated Northwest over the world,” Santos Neto says. “I’ve maybe a month after I arrived,” he audiences with his compositional flair been working with big bands since says. “Chuck (Deardorf) and Mark and instrumental dyna- (Ivester), then Jeff (Busch) mism. The pianist/com- came after that, and Ben poser has been chosen as (Thomas) a couple years the Resident Artist at this after. That was really year’s festival. beautiful in that we’re still “I feel very honored and great friends and enjoy extremely appreciative,” playing music together.” he says. “This year is 25 Santos Neto cites the years since I arrived in influence of Jim Knapp Seattle from Brazil with as essential in his progres- my family. It’s a nice sion as a large ensemble milepost.” composer and performer. For this performance, It was the next logical Santos Neto debuts his step after his time with talents as a big band Pascoal. “Since then, I’ve composer, with his long- JOVINO SANTOS NETO PHOTO BY GLENN NELSON done a lot more large en- time quintet serving as semble work, both with the core members of the Hermeto’s big band and band. In a very real and full sense, 1986, with Hermeto.” my own,” he says. Festival patrons will he will put on display his varied mu- At the epicenter of this musical icon’s at last be able to witness this aspect of sical skills that have been honed to a activities has been his Quinteto; he has his musical persona here in Seattle. fine point since his days of studying performed with its four stellar mem- $22 adults, $20 Earshot members & and performing with Brazilian leg- bers since first arriving in Seattle. seniors, $10 students & military/veterans end, Hermeto Pascoal, from whom he “Since I arrived, I’ve hit the ground learned to write for big band. running musically. The moment I got Vermillion FIRST THURSDAYS November 1st, 2018 | 8-11PM

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November 2018 • EARSHOT JAZZ • 11 FRIDAY, NOVEMBER 2, CORNISH COLLEGE OF THE ARTS, 12PM FRIDAY, NOVEMBER 2, ROYAL ROOM, 7PM SATURDAY, NOVEMBER 3, ELLIOTT BAY BOOK COMPANY, 5PM Nate Chinen, Playing Changes: Jazz for the New Century

Building context and connection to and Revenue Alloca- the world-class musical performances tion Initiative) at The we’ve served up, we’re also happy to Royal Room. Chinen provide free and open community will read from his engagement events. This year, our new book, and par- outreach efforts include several events ticipate in an inter- featuring the renowned journalist and view with Seattle jazz author, Nate Chinen. pianist, Wayne Hor- Nate Chinen is a well-established and vitz. The Royal Room respected writer and journalist who event also includes worked for 12 years as the jazz and pop musical performanc- music critic for the New York Times. es by a variety of art- Currently, Chinen works as Director ists in mini-sets from of Editorial Content for WBGO and 7–9pm, followed by a as an advisor on jazz programming for headline performance NPR. He’s a ten-time winner of the from Electric Circus. Helen Dance-Robert Palmer Award On Saturday, No- for Writing Excellence. To much ac- vember 3, in partner- claim, Chinen’s most recent offering is ship with Elliott Bay his book, Playing Changes: Jazz for the Book Company, Nate New Century (Pantheon, 2018). Chinen will once On Friday, November 2, in partner- again read from his ship with Cornish College of the Arts new book and par- as part of their Pivot Convocation ticipate in a Q&A. Series, Earshot Jazz presents Chinen Chinen’s book has in conversation with distinguished received great praise NATE CHINEN PHOTO BY MICHAEL LIONSTAR composer and bandleader, Maria Sch- from many, includ- neider, who was recently awarded an ing jazz legend Her- the changes taking place within it will NEA Jazz Masters Fellowship Award. bie Hancock who notes that “Chinen’s continue to serve it well—solidifying Later the same evening, he will be passion for the art form and deep un- jazz as a global mode of communica- taking part in the Now’s The Time: derstanding and knowledge of jazz tion without bounds—are truly up- A Benefit for Initiative 1631 (The make for a fascinating read. His firm lifting.” Washington Carbon Emissions Fee support of the music and belief that Earshot Jazz: A Conversation Reading and interview with Nate Chinen Reading and Q & A with Maria Schneider and Nate Wayne Horvitz and Nate Chinen at Elliott Bay Book Company Chinen Friday, November 2, 7pm Saturday, November 3, 5pm Friday, November 2, 12pm The Royal Room 1521 10th Ave PONCHO Concert Hall 5000 Rainier Ave S Free and open to the public Cornish College of the Arts, Kerry Hall Cover by donation. All proceeds go to Details: www.elliottbaybook.com 710 East Roy St yeson1631.org KEXP Jazz Theater Conversation: Free and open to the public Details: John Gilbreath and Nate Chinen Details: www.earshot.org www.theroyalroomseattle.com Airs Monday, November 5, 12am

12 • EARSHOT JAZZ • November 2018 FRIDAY, NOVEMBER 3, ROYAL ROOM, 7:30PM Jay Clayton & Dawn Clement Birthday Celebration w/ special guest Julian Priester Many friendships and musical al- ters, Sun Ra, , and with the Duke Ellington Orchestra, liances have formed among faculty . His association became a founding member of Herbie members and students alike within with and Hancock’s Mwandishi Band. Clayton, the walls of Cornish College of the began in 1959, culminating in a tor- Clement, and Priester represent a his- Arts. A perfect reflection of this is the rent of recordings under his leader- toric jazz lineage that has to our great connection between dynamic vocalist ship, as well as under such historic jazz fortune, passed through Seattle. Jay Clayton and pianist Dawn Clem- notables as Roach, Lincoln, Booker $20 adults, $18 Earshot members & ent. Add an iconic figure in jazz in the Little, and Eric Dolphy. He partici- seniors, $10 students & military/veterans person of trombonist Julian Priester, pated in ’s Africa/Brass and a perfect storm of jazz lineage is sessions as well, and, after a brief stint formed. Clement was hired immediately upon graduating from the esteemed arts col- The Triple Door and Jackson Street Music Program present lege, and until her recent move to Den- ver, became a valued mentor to up-and- coming jazz artists over nearly two de- cades. At the same time, she developed an international profile as a recording HIROSHIMA and touring artist. Her latest release, Tandem (Origin, 2018), an album of duo performances with her closest mu- sical collaborators, has gained critical acclaim. Her performances as a mem- ber of Jane Ira Bloom’s band illuminate her ability to take the music into un- charted territory. Clement counts Clayton as a major influence during her time as a student, when the veteran singer was thrilling audiences and enlightening students during her time here in Seattle. With more than 40 recordings to her credit, Clayton has an impressive resume of performances including those with longtime collaborator, minimalist composer Steve Reich. Special guest Julian Priester has been at the center of many of the most im- portant performances and recordings in jazz history. He began by roving the blues clubs of his native Chicago, sit- Saturday, November 10, 2018 ting in with the influx of blues musi- Two Shows: 7:00 & 9:30 pm cians moving north to Chicago from The Triple Door, Seattle, WA the rural south. Before long, Priester was performing with Muddy Wa- Tickets and info at thetripledoor.net

November 2018 • EARSHOT JAZZ • 13 SATURDAY, NOVEMBER 3, SEATTLE ART MUSEUM, 8PM Tia Fuller Quartet

Saxophonist Tia Fuller has a sound by Nat Reeves, , and Ter- Joshua Redman, and Robert Glasper. direct and intelligent, but articulate in race Martin, and played in working He also collaborated with Thundercat its passion, a “versatile, creative voice groups with Braxton Cook, Jonathan on Kendrick Lamar’s Grammy Award- on alto , so- winning To Pimp a prano, and ,” ac- Butterfly. cording to trumpeter Hailing from Jon Faddis. Having Brooklyn, Mark just released her fifth Whitfield Jr., the album as a leader, Dia- son of guitarist mond Cut, featuring Mark Whitfield, is Jack DeJohnette and a graduate of the Dave Holland, Fuller Berklee who has comes to the Earshot studied with the Festival with her quar- likes of Joe Lovano, tet. Hal Crook, and Fuller grew up in a Ralph Peterson. musical family listen- His current col- ing to the likes of Sar- laborators include ah Vaughan and John Myron Walden Coltrane. After earn- and Yasushi Naka- ing her undergradu- mura. ate degree at Spelman Together they College in Atlanta and promise an evening her master’s degree at of riveting music the University of Col- from a singular orado in Boulder, she figure in jazz. As is now a faculty mem- Ron Savage, chair ber at at Berklee of Music. In musical when Fuller signed performance and re- on there, told cording, her collabora- DownBeat: “It’s not tors have include the typical for any mu- late Ray Charles, Nan- sician to go from cy Wilson, Esperanza playing hardcore, Spalding, and Ralph straightahead jazz Peterson, and she is to playing with one currently a member of the world’s big- and featured soloist of gest pop stars, and Beyoncé’s all-female also have a mas- touring band. ter’s degree. She’s a Fuller’s band in- TIA FULLER PHOTO BY JERRY MADISON complete package.” cludes guitarist An- $26 adults, $24 drew Renfroe, bass- Earshot members ist Chris Smith, and drummer Mark Barber, and others. and seniors, $10 students and veterans/ Whitfield, Jr. A graduate of Juilliard Bassist Chris Smith has played with military and the Jackie McLean Institute of a dizzying variety of artists, includ- Jazz, Renfroe has played in groups led ing Quincy Jones, Jeff “Tain” Watts,

14 • EARSHOT JAZZ • November 2018 SATURDAY, NOVEMBER 3, ILLSLEY BALL NORDSTROM RECITAL HALL, BENAROYA HALL, 7:30PM SUNDAY, NOVEMBER 4, KIRKLAND PERFORMANCE CENTER, 2PM Maria Schneider with Seattle Repertory Jazz Orchestra

Presented in partnership with SRJO. egorization. She blurs the lines among The 2019 NEA Jazz Masters Fel- genres—she is, in fact, one of the few low leads Seattle’s all-star SRJO in musicians to have received Grammys performances of her genre-redefining in multiple genres, in her case in the compositions which combine ethereal, jazz and classical categories. layered sounds with rich density and With that stylistic range, she has re- unexpected rhythms. ceived many, varied commissions. They Schneider is highly experienced and extend from Jazz at Lincoln Center, to accomplished as a band leader, and The Saint Paul Chamber Orchestra, to with her expressive conducting style the Australian Chamber Orchestra, to she promises to lift the polished per- David Bowie. Her collaboration with formance of the SRJO to new heights. Bowie resulted in his single, “Sue (Or Schneider is, says NPR, “a national In A Season of Crime),” and brought treasure.” The New York Times simi- her a 2016 Grammy for best arrange- larly praises her as “a composer and ment: instruments and vocals. orchestrator of penetrating insight” Schneider also has several film cred- MARIA SCHNEIDER PHOTO BY BRIENE LERMITTE and leader of “the pre-eminent large its, but her core love clearly is big band ensemble of our time.” jazz, as will be apparent during her Acox, a nationally recognized direc- Schneider has led her jazz orchestra in SRJO concert featuring compositions tor of bands at Seattle’s Garfield High New York since 1992, producing sev- from her many top-selling jazz albums School, and saxophonist/arranger Mi- en albums, appearing in 80 countries, including Hang Gliding, Last Season, chael Brockman, a longtime faculty and collecting 12 Grammy nomina- and Coming About. member at the University of Washing- tions and five Grammy Awards along The Seattle Repertory Jazz Orches- ton School of Music, the orchestra’s the way. Ever since her orchestra’s first tra includes a host of top players from repertoire is drawn from the 100-year release, in 1994, critics the Seattle region, all dedicated to the history of jazz, from turn-of-the-20th have hailed her music in such terms organization’s mission of promoting century ragtime to turn-of-the-21st as evocative, majestic, magical, heart- appreciation of large ensemble jazz. century avant-garde. stoppingly gorgeous, and beyond cat- Co-directed by drummer Clarence $55 standard, $20 students

November 2018 • EARSHOT JAZZ • 15 SUNDAY, NOVEMBER 4, TRIPLE DOOR, 6PM & 8:30PM SHOWS Jane Bunnett and Maqueque

Supported by the Government of boyfriends up there playing. It seemed Canada. really strange.” Maqueque is a Cuban women’s en- It was a chance encounter with a semble led by soprano saxophonist now-renowned vocalist, Daymé Aro- Jane Bunnett that has thrilled festival cena, that finally prompted Bunnett and concert goers around the world to do something about the situation. since its debut now several years ago. First, she and her husband, trumpet- The group blends scintillating Afro- er Larry Cramer, met Arocena dur- Cuban rhythms, folkloric influences, ing a trip to Havana. At a hotel jam exhilarating jazz, and soulful vocals, session that Bunnett organized for with a leader who has a long history of some Cuban artists, the vocalist sat in exploring Cuban music. and proved so remarkable that a few With Maqueque, Jane Bunnett has months later, when she served as artis- reached a peak in that long embrace tic director for “Funny Girls and Dy- of the island’s culture, particularly its namic Divas,” an annual fundraising Afro-Cuban melodies. It has been a event for Sistering, a Toronto-based glorious history: her longstanding en- social service agency for women, she semble Spirits of Havana, for example, brought Arocena to Toronto to per- has provided early opportunities to form and the singer, Bunnett says, such future greats as Dafnis Prieto, “brought the house down.” Yosvany Terry, and Pedrito Martínez, Bunnett and Cramer scouted Cuba and David Virelles. with Arocena, looking for similar tal- Bunnett has won five Juno Awards ent—outstanding female musicians and several other top honors in her na- in their 20s. The result has been an tive Canada, and has been nominated evolving group of early-career and for three Grammy Awards. Her Cu- more established players. The Seattle ban collaborations have been depicted lineup is Jane Bunnett on soprano sax- in two documentary films about her ophone and flute, virtuoso drummer work, Spirits of Havana and Embrac- Yissy García, Tailin Marrero on bass, ing Voices. Dánae Olano on piano, Melvis Santa, With Maqueque she brings together vocals and percussion, and Mary Paz, some of Cuba’s most outstanding fe- on congas, batás, and vocals. male musicians. She says she formed Arocena’s grandmother, a practi- the group because, during her decades tioner of the Afro-Cuban Yorùbá of visiting Cuba, she observed that religion, provided the band’s name, almost three-quarters of the students which translates to “the spirit of a in the country’s many conservatories young girl.” That, says Bunnett, cap- were female, and yet the jam sessions tures the vibe of the group: “I imagine she attended at night would be almost that’s what I was like as a ten-year- exclusively male. Of the woman mu- old girl. I was very energetic, I could sicians, Bunnett says: “When they be sweet and I could be feisty. That’s finish all their training, you don’t see Maqueque.” them out on the scene. At jam sessions, $24 adults, $22 Earshot members & I would notice some of the young girls seniors, $10 students & military/veter- I had seen at the schools just sitting ans on the sidelines, happy to watch their

16 • EARSHOT JAZZ • November 2018 SUNDAY, NOVEMBER 4, SEATTLE ART MUSEUM, 8PM Myra Melford: Snowy Egret

Pianist Myra Melford brings her Man, with Bill Frisell, Thomas Mor- interludes, and its general tone, which newest release, The Other Side of Air, gan, Jason Moran, and Brian Blade, is jagged but somehow delicate, like to the Earshot Festival with her stellar took on the themes of the Civil Rights eggshells in a careful pile” (New York working ensemble, Snowy Egret. Mel- era, connecting “African-American Times). ford’s ambitious musical vision, a post- blues and gospel roots to the tangled Another former member of Zooid, modern skyscraper built on a bedrock branches of contemporary genre- Stomu Takeishi has a long collabora- of blues, gets decked out by some of bending jazz with rare perceptiveness” tive history with Melford, including the most forward-thinking minds in (The Guardian). their trio Crush with Kenny Wollesen. improvised music: cornetist Takeishi began in Japan as a Ron Miles, guitarist Liberty koto player, moving to the Ellman, bassist Stomu Takei- US in 1984 where he attend- shi, and drummer Tyshawn ed Berklee College of Music, Sorey. and later the New School. “Melford is an explosive Now based in New York, player, a virtuoso who shocks he has performed with Paul and soothes, and who can Motian, , and make the piano stand up Don Cherry, among others. and do things it doesn’t Tyshawn Sorey, another seem to have been designed New York veteran and 2017 for,” writes the San Francisco winner of a MacArthur fel- Chronicle. Born in Chicago, lowship, given for “defying Melford studied with Art distinctions between genres, Lande and Gary Peacock at composition, and improvisa- Cornish College of the Arts, tion,” has worked with Mu- moving from the Northwest hal Richard Abrams, John to New York in 1982. Study- Zorn, and Vijay Iyer. He is ing with Henry Threadgill, “an extraordinary talent who Jaki Byard, and Don Pul- can see across the entire musi- New Yorker len, her force set fire on the MYRA MELFORD PHOTO BY BRYAN MURRAY cal landscape” ( ), New York scene. A professor with six acclaimed record- at University of ings as a bandleader. Having at Berkley since 2004, she has lead Brooklyn-based guitarist Liberty Ell- taught improvisation worldwide, he is numerous boundary-pushing ensem- man wields his rhythm instrument now in ’s former seat bles with artists such as Chris Speed, with a percussive bite matched to as assistant professor of composition Cuong Vu, and , and, Melford’s. Having played with Wa- and creative music at Wesleyan Uni- in 2013, received a Guggenheim Fel- dada Leo Smith, Steve Lehman, and versity. lowship and Doris Duke Charitable John Zorn, Ellman, a former member With compositions written to the Foundation Performing Artist Award. of Melford’s teacher Henry Threadg- voices of the ensemble, Snowy Egret As NPR writes, Denver-based cor- ill’s Zooid, channels the tight order of made its debut in 2012 with perfor- netist Ron Miles, “sings through his Melford’s compositions. Similarly in- mances in New York and Los Angeles. horn,” rounding out the group’s upper quiring, Ellman has produced remixes Balanced on a foundation of history, register. A graduate of the Manhat- and worked in hip-hop with artists it pushes forwards to the new sound- tan School of Music, Miles has spread like Midnight Voices. For his fourth scapes of tomorrow. his cool with artists including Joshua solo album, 2015’s Radiate, “his touch $24 adults, $22 Earshot members & Redman, Fred Hess, Ginger Baker, and vision are omnipresent: in the al- seniors, $10 students & military/veterans and others. His 2017 album I Am A bum’s stuttering funk, its electronic

November 2018 • EARSHOT JAZZ • 17 FOR THE RECORD

Chemical Clock Seattle, playing both lo-fi house shows and rock clubs. They Plastic Reality have three previous albums, all Self-released of which are superb (including their trippy, blown-out Christ- “Ode to a Great Band” mas album that sounds like Plastic Reality is Chemical Clock’s fi- it was recorded on someone’s nal album. Let us all mourn the end of phone in the basement of UW). this visionary band. Their music will Many have drawn comparisons live on. It is a gift. between listening to their music Synth wizard Cameron Sharif’s and taking psychedelics, which compositions are held in a weird and may be true—but this most re- deeply intuitive special universe. None cent album has a certain lucid of us (the listeners) have ever been to quality. the universe from which this music On Plastic Reality, threads of comes; only the band has been there. house music run throughout, Each song is a musical story spun from while the layering of sounds group drives forward together, stead- that universe. We get the pleasure of from different musical spheres is con- fast in their collective direction, as in experiencing the stories unfold in stant. Each band member plays at least my personal favorite track, “Donut twists and turns as unfamiliar as they two roles: the first, playing the com- Cat.” This musical interplay is a mysti- are fascinating. position (no small feat when it comes fying pleasure to behold. In short, buy Sharif, Evan Woodle (drums), Mark to Sharif’s pieces); the second, drawing this album. Hunter (bass), and Ray Larsen (trum- from their individual musical worlds And a final toast to Chemical Clock: pet) met while at the University of to add to the collective. The effect is a sincere thank you for the enduring Washington Jazz program, where they a group sound that is constantly be- stories from your universe. May you became the heartbeat of the creative ing stretched and pulled in a malleable return there and live out your days in music scene coming out of the UW at and elegant dance. Sometimes these peace and prosperity. We will be lis- the time. Like many of their compatri- sounds are tugged almost to the brink tening for years to come. ots, Chemical Clock floated between of combustion, as in the track “Pre- –Levi Gillis DIY, jazz, and experimental scenes in historic Treatment.” Other times the

18 • EARSHOT JAZZ • November 2018 FOR THE RECORD

Victor Janusz Band of dark skies and rainstorms, and talks of doubts and que- Café Pluvieux ries about life, with a few iron- Self-released ic lines like, “It’s all in God’s hands or maybe Godot’s.” There Some music transports us to other are some pleasant instrumental times and places and Café Pluvieux interludes in this piece with the is an easygoing but engaging journey piano and double bass making through different destinations and their presence known. moods. Café Pluvieux is the latest of- These first two songs are Ja- fering from the Seattle singer, song- nusz originals, but he mixes writer, and pianist, Victor Janusz. things up with his interpreta- This is his fourth full-length studio tion of some standards like recording, following his most recent Cole Porter’s “Night and Day.” offering, Living in a Blue State (2015). Instead of ’s The title of his new album Café Plu- swooning, smooth tones, Ja- vieux translates as “rainy café,” and as nusz gives us a mid-tempo beat Medearis “MD” Dixson on alto and the name suggests, the album delivers duet between him and his regular tenor saxophone; Spencer Hoveske- somber tunes but unexpectedly bal- vocal accompanist, Arwen Dewey. land on double bass, electric bass, ances the tone out with some upbeat Further cementing the French theme and guitar; Eric Wilcox on drums; numbers. is the classic “Sous le ciel de Paris,” and several others. The final offer- The first song is one of those excep- made famous by Édith Piaf. Chan- ing, an original titled “Le Baiser,” is tions. “Don’t Start the Show Without neling Piaf, Dewey hums and ef- another duet with Dewey singing in Me” is a cabaretesque, playful tune fectively spins out a song of sadness, French. It’s a more mid-tempo piece full of spirited piano and vocals by accompanied by the accordion and that melds some of the sadness and Janusz and even a surprise interlude piano. Meanwhile, Janusz’s version of sweetness that exists in us all wher- with steel drums. The following track, “Over the Rainbow” is refreshing and ever we happen to be. which is also the title track, lives up to purely instrumental. its name: “Café Pluvieux” is a slower, This album also showcases strong –Lucienne Aggarwal moody song that conjures up images Northwest musicians including

EARSHOT JAZZ PRESENTS DUKE ELLINGTON’S SACRED MUSIC

Seattle Repertory Jazz Orchestra + vocalists Stephen Newby & Nichol Veneé Eskridge + NW Chamber Chorus and members of the New Revelations Choir + special guest tap dancer Alex Dugdale

$15-$40 Friday, December 28, 7:30pm earshot.org St. Mark’s Episcopal Cathedral 1245 10th Ave E, Seattle

November 2018 • EARSHOT JAZZ • 19 JAZZ AROUND THE SOUND November 11 THURSDAY, NOVEMBER 1 MQ Happy Orchestra Trio, 9pm RR Jay Clayton & Dawn Clement Birthday MQ The Djangomatics, 5pm Celebration w/ special guest, Julian Priester, BC Adam Kessler, Phil Sparks and Guests, 9pm NC Jacqueline Tabor w/200 Trio, 8pm 7:30pm BI In Her Hands, 7pm PO A Conversation with Maria Schneider & Nate SE Tia Fuller Quartet, 8pm BP Darelle Holden Duo, 8:30pm Chinen, 12pm TU Bill Anschell Quartet, 7:30pm EB Eric Verlinde, 6pm RR Now’s The Time: A Benefit for Initiative VI James Band, 9:30pm ES Alexey Nikolaev, 8pm 1631 w/ Mini-Sets (Nate Chinen reading VI The Tarantellas, 6pm ES Daniel Davison, 6pm and interviews with Wayne Horvitz) & WP Mark Lewis Trio, 6pm FD Cool Blarney, 7pm Electric Circus, 7pm JA Tower of Power – 50th Anniversary Tour, SE Jovino Santos Neto Big Band & Quinteto, SUNDAY, NOVEMBER 4 7:30pm 8pm AB Jazz at the Beaver with Max Holmberg and LH Harriet Tubman: The Band, 8pm SY Mel Brown Trio, 7pm the 200 Trio, 9pm MQ Kareem Kandi Band, 9pm TD Vernon Reid Band of Gypsys Revisited, 7 & CM Dixie Gypsy Project, 12:30pm RR Chad McCullough & Bram Weijters Quartet, 9:30pm CO 322, 9pm 7:30pm TU Fred Radke and Mike Vax – Trumpet CR Racer Sessions, 8pm SB Super Jam, 11pm Legends from Harry James and CZ Choro Music Open Jam Hosted By Stuart TD Raul Midón, 7:30pm , 7:30pm Zobel, 2pm TU Jeremy Bacon Quartet, 7:30pm VI Cole Schuster Organ Trio, 9pm DT Darrell’s Tavern Jazz Jam, 8pm VI Casey MacGill, 5:30pm EB Tom Kellock, 6pm VI Marina Christopher Trio, 9pm SATURDAY, NOVEMBER 3 ES Eric Verlinde joined by Josephine Howell at FRIDAY, NOVEMBER 2 BH Maria Schneider with Seattle Repertory Jazz 7pm, 6pm Orchestra, 7:30pm FB Jovino Santos Neto Quinteto, 6pm BI ¡WEPA!, 7:30pm BI Francesco Crosara & Sus 4, 7:30pm JA Tower of Power – 50th Anniversary Tour, BT Live Jazz Trio, 6pm BT Live Jazz Trio, 6pm 7:30pm CH William O. “Bill” Smith, 7:30pm EB Frank S. Holman III, 6pm KC Maria Schneider with Seattle Repertory Jazz CM George Fremont Trio, 7pm EG Mark Lilly, 7pm Orchestra, 2pm CX Jazz Impressions: Francesco Crosara, Ted EL Nate Chinen Reading and Q&A, 5pm PH Greg Ruby 6, 7:30pm Enderle, Glenn Young, 6pm ES Daniel Davison, 6pm RR The Orbit of Benny Goodman, 7:30pm CZ Jump Ensemble & All About Monk Jazz, JA Tower of Power – 50th Anniversary Tour, SE Myra Melford: Snowy Egret, 8pm 7:30pm 7:30 & 9:30pm SY Victor Janusz, 10am EB Tom Kellock, 6pm NC Adriana Giordano & EntreMundos Quarteto, TD Jane Bunnett and Maqueque (Early Show), 6 EG SwingShift Jazz, 7pm 8pm & 8:30pm ES Daniel Davison, 6pm OS Key Up! Trio, 8pm TU Jazz Police, 4pm JA Tower of Power – 50th Anniversary Tour, PH Greg Ruby 6, 7:30pm TU Jim Cutler Jazz Orchestra, 7:30pm 7:30 & 9:30pm VI Scotty Bemis, 6pm

Calendar Key

LA Happy Hour Jazz w/ Phil Sparks, 5pm AB The Angry Beaver DT Darrell’s Tavern OW Owl’n’Thistle BC Barca DY Doyle’s Public House PH Phinney Neighborhood Center BD Black Diamond Bakery EB El Gaucho Bellevue PO PONCHO Concert Hall BH Benaroya Hall EG Egan’s Ballard Jam House RA Rainier Arts Center BI Bainbridge Island Museum of Art EL Elliot Bay Book Company RE Resonance at SOMA Towers BP Bake’s Place Bellevue ES El Gaucho Seattle RR The Royal Room BT Brass Tacks FB First Baptist Church RY Rhythm & Rye CC Capitol Cider FD Foodshion SB Seamonster Lounge CE The Cellar at Nordo JA Dimitriou’s Jazz Alley SC WJMAC at Sylvia Center for the Arts CH Chapel Performance Space KC Kirkland Performance Center SE Seattle Art Museum CM Crossroads Bellevue LA Latona Pub SL The Slab CN Craft 19 Espresso + Creperie LH Langston Hughes Performing Arts Institute SY Salty’s on Alki CO The Crocodile MQ The Triple Door Musicquarium TD Triple Door CR Cafe Racer MT Mac’s Triangle Pub TU Tula’s CT The Cottage MV Marine View Church VI Vito’s CU Columbia City Theater NC North City Bistro & Wine Shop WA Watershed Pub & Kitchen CX Casa Mexico NL Nectar Lounge WP Westside Pizza CZ Couth Buzzard Books OS Osteria la Spiga WW Whisky West

20 • EARSHOT JAZZ • November 2018 MONDAY, NOVEMBER 5 JA Boney James, 7:30 & 9:30pm MQ Lushy, 8:30pm CC Cider Jam Mondays, 9:30pm OS Jacob Zimmerman 3, 8pm CURTAIN CALL EB Tom Kellock, 6pm PH Greg Ruby 6, 7:30pm ES Eric Verlinde, 6pm weekly recurring performances RR Cyrille Gosselin Band and Guests, 8pm MQ Adam Williams Trio, 5pm TD Hiroshima, 7 & 9:30pm MT Jazz Night, 9pm TU Susan Pascal Quartet with Bill Anschell, NL Mo Jam’ Mondays, 7:30pm Chuck Deardorf, Mark Ivester, 7:30pm RR The Salute Sessions, 10pm MONDAY VI Jerry Zimmerman, 6pm TUESDAY, NOVEMBER 6 VI Kareem Kandi, 9:30pm CC Cider Jam Mondays, 9:30 EB Eric Verlinde, 6pm WA 322, 8pm EB Tom Kellock, 6 WP Mark Lewis & David Friesen, 6pm ES Daniel Davison, 6pm ES Eric Verlinde, 6 JA Karrin Allyson CD Release Celebration – SUNDAY, NOVEMBER 11 Some of that Sunshine, 7:30pm TUESDAY AB Jazz at the Beaver with Max Holmberg and OW Jazz w/ Eric Verlinde, 10pm the 200 Trio, 9pm EB Eric Verlinde, 6 SB 5 Stories Jazz, 8pm CR Racer Sessions, 8pm SB Joe Doria Presents, 9:30pm ES Daniel Davison, 6 CT Elaine Skeffington & Brad Benefield, 11am TU Tim Kennedy Band, 7:30pm CZ Open Jazz Jam with Kenny Mandell, 2pm OW Tuesday Jazz Night Jam, 9 WEDNESDAY, NOVEMBER 7 DT Darrell’s Tavern Jazz Jam, 8pm SB 5 Stories Jazz, 8 EB Eric Verlinde, 6pm EB Tom Kellock, 6pm SB Joe Doria Presents, 9:30 ES Daniel Davison, 6pm ES Eric Verlinde joined by Josephine Howell at JA Karrin Allyson CD Release Celebration – 7pm, 6pm WEDNESDAY Some of that Sunshine, 7:30pm JA Boney James, 7:30pm EB Eric Verlinde, 6 NC Jazz Jam w/ Darin Clendenin Trio, 7pm MV Lavon Hardison Quartet, 5pm SC Joe Doria and McTuff, 7pm PH Greg Ruby 6, 7:30pm ES Daniel Davison, 6 TU Jim Sisko Bellevue College Jazz Orchestra, RR Pacific MusicWorks Underground Presents: 7:30pm Avant (Baroque) Garde, 8pm THURSDAY VI Bar Tabac, 9pm SY Victor Janusz, 10am BC Adam Kessler & Phil Sparks, 9 TU Kelley Johnson Showcase, 4pm THURSDAY, NOVEMBER 8 TU Steve Griggs, 7:30pm EB Eric Verlinde, 6 BC Adam Kessler, Phil Sparks and Guests, 9pm VI Lennon Aldort, 6pm ES Daniel Davison, 6 BP Darelle Holden Duo, 8:30pm VI Ron Weinstein Trio, 9:30pm ES Alexey Nikolaev, 8 CE Jacqueline Tabor, 8pm EB Eric Verlinde, 6pm MONDAY, NOVEMBER 12 FD Cool Blarney, 7 ES Alexey Nikolaev, 8pm CC Cider Jam Mondays, 9:30pm SB Super Jam, 11 ES Daniel Davison, 6pm EB Tom Kellock, 6pm FD Cool Blarney, 7pm ES Eric Verlinde, 6pm SY Mel Brown Trio, 7 JA Karrin Allyson CD Release Celebration – MQ Adam Williams Trio, 5pm FRIDAY Some of that Sunshine, 7:30pm RR The Salute Sessions, 10pm NC Dan Duval Good Vibes Quartet, 7pm TD Still Dreaming with Joshua Redman, Ron BT Live Jazz Trio, 6 RR An Evening with Jazz Underground, 8pm Miles, Scott Colley and Brian Blade, 6pm EB Tom Kellock, 6 SB Super Jam, 11pm TUESDAY, NOVEMBER 13 ES Daniel Davison, 6 SL Secret Jazz Club Show, 7pm EB Eric Verlinde, 6pm SY Mel Brown Trio, 7pm LA Happy hour w/ Phil Sparks, 5 ES Daniel Davison, 6pm TU Anton Schwartz Sextet, 7:30pm JA Cherry Poppin’ Daddies, 7:30pm VI Casey MacGill, 5:30pm SATURDAY MQ Barrelhouse Gang, 5pm VI Jennifer Kienzle, 9pm NC Casey MacGill, 7pm BT Live Jazz Trio, 6 FRIDAY, NOVEMBER 9 OW Jazz w/ Eric Verlinde, 10pm EB Frank S Holman III, 6 BT Live Jazz Trio, 6pm RR Invisible Bird – Scott Amendola, Shane ES Daniel Davison, 6 CM Seattle Jazz Network, 7pm Endsley (Kneebody), and Dave Devine, PH Greg Ruby 6, 7:30 EB Tom Kellock, 6pm 7:30pm ES Daniel Davison, 6pm SB 5 Stories Jazz, 8pm WP Mark Lews & Friends, 6 JA Boney James, 7:30 & 9:30pm SB Joe Doria Presents, 9:30pm LA Happy Hour Jazz w/ Phil Sparks, 5pm TU Emerald City Jazz Orchestra, 8pm SUNDAY MQ Marina Christopher Trio, 9pm WEDNESDAY, NOVEMBER 14 AB Beaver Sessions, 9 NC Elspeth Savani , 8pm BP The Billy Stapleton-Annie Eastwood Duo, CR Racer Sessions, 8 TD , 7:30pm 8:30pm TD Sundae & Mr. Goessl, 5pm DT Darrell’s Tavern Jazz Jam, 8 EB Eric Verlinde, 6pm TU Thomas Marriott Quintet, 7:30pm ES Daniel Davison, 6pm EB Tom Kellock, 6 VI Kate Olson Ensemble, 9pm JA Cherry Poppin’ Daddies, 7:30pm ES Eric Verlinde with Josephine SATURDAY, NOVEMBER 10 NC Leif Totusek, 7pm Howell, 6 BT Live Jazz Trio, 6pm SB Comfort Food, 10pm PH Greg Ruby 6, 7:30 EB Frank S. Holman III, 6pm SC The Emmet Cohen Trio, 6:30 & 7pm ES Daniel Davison, 6pm TU Axiom Quartet, 7:30pm VI Ron Weinstein Trio, 9:30 VI Brazil Novo, 9pm

November 2018 • EARSHOT JAZZ • 21 WW Jeff Ferguson’s Triangular Jazztet, 7pm VI Kate Voss and the , 9pm JA Taj Mahal Trio, 7:30 & Mahal Trio, 9:30pm MQ The Whopperjohns, 8:30pm THURSDAY, NOVEMBER 15 FRIDAY, NOVEMBER 16 NC Lorrie Ruiz Band, 8pm BC Adam Kessler, Phil Sparks and Guests, 9pm BD Dan Duval Good Vibes Trio, 6:30pm PH Greg Ruby 6, 7:30pm BP Darelle Holden Duo, 8:30pm BT Live Jazz Trio, 6pm TU Greta Matassa Quintet, 7:30pm EB Eric Verlinde, 6pm EB Tom Kellock, 6pm VI Marina Albero Trio, 9pm ES Alexey Nikolaev, 8pm ES Daniel Davison, 6pm VI The Taranetellas, 6pm ES Daniel Davison, 6pm JA Taj Mahal Trio, 7:30 & :30pm WP Mark Lewis & Milo Petersen, 6pm JA Cherry Poppin’ Daddies, 7:30pm LA Happy Hour Jazz w/ Phil Sparks, 5pm MQ Ranger and the Re-Arrangers, 5pm MQ Birch Pereira & the Gin Joints, 5pm SUNDAY, NOVEMBER 18 NC Greta Matassa Student Showcase, 7pm MQ The Hot McGandhis, 8:30pm AB Jazz at the Beaver with Max Holmberg and NL The Midnight Hour Feat. Ali Shaheed NC Danny Godinez, 8pm the 200 Trio, 9pm Muhammad (A Tribe Called Quest) and TU Stephanie Porter Quintet, 7:30pm CR Racer Sessions, 8pm Adrian Younge, Unsinkable Heavies, 8pm VI Jovino Santos Neto, 9pm CZ Choro Music Open Jam Hosted By Stuart RE Dmitri Matheny Group featuring Holly Pyle, Zobel, 2pm 7:30pm SATURDAY, NOVEMBER 17 CZ Music Improv Session w/ Kenny Mandell, RR Casa de la Trova hosted by Supersones with BT Live Jazz Trio, 6pm 7pm Special Guests, 8pm CH A Night 4 Drummers, 7pm DT Darrell’s Tavern Jazz Jam, 8pm SB Super Jam, 11pm CZ Soul Jazz Night, 7:30pm EB Tom Kellock, 6pm SY Mel Brown Trio, 7pm DY 322, 9pm ES Eric Verlinde joined by Josephine Howell at TU Cole Schuster Organ Trio, 7:30pm EB Frank S. Holman III, 6pm 7pm, 6pm VI Casey MacGill, 5:30pm ES Daniel Davison, 6pm JA Taj Mahal Trio, 7:30pm

Open to All - Free

th Season 17

Sunday, November 4, 6 pm

Jovino Santos Neto Quinteto Jovino Santos Neto (piano/flute/melodica) Ben Thomas (vibraphone) Chuck Deardorf (bass) Mark Ivester (drums) Jeff Busch (percussion)

SAVE THE DATE: 12/02 Sara B. Rose

100 Minutes of professional jazz Family friendly concert / Free parking Seattle First Baptist Church 1111 Harvard Avenue (Seneca and Harvard on First Hill) Seattle, WA (206) 325-6051

www.SeattleJazzVespers.org/GO/SJV

22 • EARSHOT JAZZ • November 2018 PH Greg Ruby 6, 7:30pm NC Susan Pascal Quartet, 8pm ES Daniel Davison, 6pm RR Evan Flory-Barnes: on Loving the Muse TU Evan Flory-Barnes Bet Trio with Tim Kennedy JA Whitney Mongé and Naomi Wachira, and Family Kickstarter Donor Appreciation and Brad Gibson, 7:30pm 7:30pm Concert, 7:30pm VI Yada Yada Blues Band, 9:30pm OW Jazz w/ Eric Verlinde, 10pm TU Jim Cutler Jazz Orchestra, 7:30pm SB 5 Stories Jazz, 8pm TU Katie King Showcase, 3pm SATURDAY, NOVEMBER 24 SB Joe Doria Presents, 9:30pm VI Lennon Aldort, 6pm BT Live Jazz Trio, 6pm TU David Marriott’s Triskaidekaband, 7:30pm VI Ron Weinstein Trio, 9:30pm CN The BrandonLee Cierley Trio (BC3), 3pm EB Frank S. Holman III, 6pm WEDNESDAY, NOVEMBER 28 MONDAY, NOVEMBER 19 ES Daniel Davison, 6pm EB Eric Verlinde, 6pm CC Cider Jam Mondays, 9:30pm JA Taj Mahal Trio, 7:30 & 9:30pm ES Daniel Davison, 6pm EB Tom Kellock, 6pm MQ Daniel Rapport Trio, 9pm JA Whitney Mongé and Naomi Wachira, ES Eric Verlinde, 6pm NC duende libre, 8pm 7:30pm MQ Adam Williams Trio, 5pm OS New Age Flamenco, 8pm SB Cole Schuster Organ Trio, 10pm RR The Salute Sessions, 10pm PH Greg Ruby 6, 7:30pm TU pH Factor Big Band, 7:30pm VI Crack Sabbath, 9pm RR Barrett Martin Group, 8pm VI Ben von Wildenhaus, 9pm RR Orca Concert Series: Trio Pathetique, 5pm WW Jeff Ferguson’s Triangular Jazztet, 7pm TUESDAY, NOVEMBER 20 TU Evan Flory-Barnes Bet Trio with Thomas EB Eric Verlinde, 6pm Marriott and Kate Olson, 7:30pm THURSDAY, NOVEMBER 29 ES Daniel Davison, 6pm VI Afrocop, 9:30pm BC Adam Kessler, Phil Sparks and Guests, 9pm JA Taj Mahal Trio, 7:30pm VI Jerry Zimmerman, 6pm BP Darelle Holden Duo, 8:30pm MQ Brad Gibson Trio, 5pm WP Mark Lewis & Bill Anschell, 6pm EB Eric Verlinde, 6pm NC Carrie Wicks & Nick Allison, 7pm ES Alexey Nikolaev, 8pm OW Jazz w/ Eric Verlinde, 10pm SUNDAY, NOVEMBER 25 ES Daniel Davison, 6pm SB 5 Stories Jazz, 8pm AB Jazz at the Beaver with Max Holmberg and JA Steve Gadd Band ft. Kevin Hays, Jimmy SB Joe Doria Presents, 9:30pm the 200 Trio, 9pm Johnson, Michael Landau and Walt Fowler, TU Mark Taylor’s LineUp!, 7:30pm CR Racer Sessions, 8pm 7:30pm CZ Open Jazz Jam with Kenny Mandell & NC Endemic Ensemble, 7pm WEDNESDAY, NOVEMBER 21 Friends, 2pm NC Steve Messick’s Endemic Ensemble, 7pm EB Eric Verlinde, 6pm DT Darrell’s Tavern Jazz Jam, 8pm RR K.O. Ensemble and Thomas Marriott ES Daniel Davison, 6pm EB Tom Kellock, 6pm Quintet, 7:30pm JA Taj Mahal Trio, 7:30 & 9:30pm ES Eric Verlinde joined by Josephine Howell at SB Super Jam, 11pm MQ Victor Horky & His Silk Road Swing, 5pm 7pm, 6pm SY Mel Brown Trio, 7pm RR KNKX Presents: Piano Starts Here: JA Taj Mahal Trio, 7:30pm TU Alex Dugdale Jazz Band, 7:30pm Individualism with Grace – The Music of PH Greg Ruby 6, 7:30pm VI Casey MacGill, 5:30pm Andrew Hill/, 7:30pm TU Clipper Anderson Quartet, 7:30pm VI Random Guys, 9pm TU Richard Cole Band, 7:30pm TU Greta Matassa Student Showcase, 3pm VI Brad Gibson Presents, 9pm VI Lennon Aldort, 6pm FRIDAY, NOVEMBER 30 VI Ron Weinstein Trio, 9:30pm BT Live Jazz Trio, 6pm THURSDAY, NOVEMBER 22 CU KEXP presents: Meklit, 8:30pm Check with venue for holiday hours. MONDAY, NOVEMBER 26 EB Tom Kellock, 6pm BC Adam Kessler, Phil Sparks and Guests, 9pm CC Cider Jam Mondays, 9:30pm ES Daniel Davison, 6pm SY Mel Brown Trio, 7pm EB Tom Kellock, 6pm JA Steve Gadd Band ft. Kevin Hays, Jimmy FRIDAY, NOVEMBER 23 ES Eric Verlinde, 6pm Johnson, Michael Landau and Walt Fowler, MQ Adam Williams Trio, 5pm 7:30 & 9:30pm BT Live Jazz Trio, 6pm RR The Salute Sessions, 10pm LA Happy Hour Jazz w/ Phil Sparks, 5pm EB Tom Kellock, 6pm TU Jacqueline Tabor Jazz Band, 7:30pm ES Daniel Davison, 6pm TUESDAY, NOVEMBER 27 VI Thomas Marriott Band, 9pm JA Taj Mahal Trio, 7:30 & 9:30pm EB Eric Verlinde, 6pm LA Happy Hour Jazz w/ Phil Sparks, 5pm

Radio, from page 3

Hollow Earth Radio, to create an open, encouraging stage Rainier Avenue Radio will also be hollowearthradio.org, Fridays at 6pm, for underrepresented voices. More at broadcasting live during several Ear- biweekly, Black Roots Radio, hosted hollowearthradio.org. shot Jazz Festival events from the by Jordan Leonard, promotes jazz as Rainier Avenue Radio, lobby of Langston Hughes Performing a dynamic genre rooted in the Black rainieravenueradio.world, Mondays Arts Institute. Rainier Avenue Radio American experience. and Sundays at 10pm, #MoJamMon- is an independent media resource that Hollow Earth Radio is Seattle’s free- days from the Nectar Lounge; Tues- provides opportunities for the com- form online radio station that sup- days at 6pm, Thursdays and Sundays munities of Rainier Valley. ports the local music communities in at 2pm, and Saturdays at 5pm, Jazz the greater Pacific Northwest and tries from the Cabinets with Big Poppy.

November 2018 • EARSHOT JAZZ • 23 NON-PROFIT ORG EARSHOT JAZZ U.S. POSTAGE 3429 Fremont Place N, #309 PAID Seattle, WA 98103 PERMIT No. 14010 SEATTLE, WA Change Service Requested

GARY HAMMON PHOTO BY DANIEL SHEEHAN

IN THIS ISSUE... A $35 basic membership in Earshot brings the newsletter to your door and entitles you to Letter from the Director: Falling Up!______2 EARSHOT JAZZ discounts at all Earshot events. Your member- MEMBERSHIP Notes______3 ship also helps support all our educational programs and concert presentations. On the Radio______3 Type of membership Profile: Gary Hammon: Last of the Tribe______4 Individual ($35) Additional tax-deductible donation ______Earshot Jazz Festival in November______7 Household ($60) Patron ($100) Sustaining ($200) Chad McCullough & Bram Weijters Quartet______7 Other Sr. Citizen – 30% discount at all levels Raul Midón______8 Canadian subscribers please add $5 additional postage (US funds) Harriet Tubman: The Band______9 Regular subscribers – to receive newsletter 1st class, please add $10 Vernon Reid Band of Gypsys Revisited______10 for extra postage Jovino Santos Neto Big Band & Quinteto______11 Contact me about volunteering ______Nate Chinen, Playing Changes: Jazz for NAME the New Century______12 ______Jay Clayton & Dawn Clement Birthday ADDRESS Celebration w/ special guest Julian Priester______13 ______CITY/STATE/ZIP Tia Fuller Quartet______14 ______Maria Schneider with Seattle Repertory Jazz PHONE # EMAIL Orchestra______15 ______Jane Bunnett and Maqueque______16 Earshot Jazz is a nonprofit tax-exempt organization. Ask your employer if your Myra Melford: Snowy Egret______17 company has a matching gift program. It can easily double the value of your membership or donation. For the Record______18 Mail to Earshot Jazz, 3429 Fremont Pl N, #309, Seattle, WA 98103 Jazz Around the Sound______20