A MirrorMirror andand FocusFocus fforor tthehe JJazzazz CCommunityommunity February 2009 Vol.Vol. 25, NNo.o. 2 EARSHOT JAZZSeattle,Seattle, WWashingtonashington

Seattle Improvised Music Festival Wilson Shook, Wally Shoup, Gust Burns Photo by Daniel Sheehan around town, or work the door for Notes festival events, contact Gust Burns at EARSHOT J A Z Z [email protected]. Volun- A Mirror and Focus for the Jazz Community Affordable Health Care teers receive free entry to shows. Th e new Artist Clinic at Country Doc- Executive Director: John Gilbreath tor Community Clinic is off ering artist- Jack Straw Production Classes Earshot Jazz Editor: Elaine M. Hayes and musician-focused offi ce hours every Jack Straw Productions, the nonprofi t Contributing Writers: Paul Harding, Wednesday from 5:30-8:30 pm as part sound-arts organization, is holding Schraepfer Harvey, Elaine M. Hayes, Molly of the Artist Trust’s Washington Artist classes this winter that will cover basic M. Conant, Peter Monaghan, Kimberly M. Health Insurance Project (WAHIP). studio recording techniques, an intro- Reason, Chris Robinson, Peter Walton, Rik Under WAHIP, low-income and unin- duction to Pro Tools, and advanced Pro Wright sured artists and musicians can qualify Tools. Th e workshops are designed for Photography: Daniel Sheehan for low-cost health services. During aspiring and professional musicians, Layout: Karen Caropepe the program’s trial fi rst year, a limited sound artists, writers, journalists, docu- Mailing: Lola Pedrini number of subsidies are available on a mentarians, and fi lmmakers. All classes Program Manager: Karen Caropepe fi rst-come, fi rst-served basis. will be held in the professional record- Calendar Volunteers: Tim Swetonic, Rik Country Doctor Community Clinic is ing studios at Jack Straw Productions, Wright located at 500 19th Ave. E. in Capitol with instructors from various fi elds of Send Calendar Information to: Hill. Artists of all disciplines are encour- sound production. 3429 Fremont Place #309 aged to call (206) 299-1600 to make an For more information, call (206) 634- Seattle, WA 98103 appointment. 0919 or e-mail workshops@jackstraw. fax: (206) 547-6286 email: [email protected] For more information about WAHIP org. Early registration is recommended and program eligibility, visit www. and registration for each class closes Board of Directors: Paul Harding wahip.org. Th is website also includes a one week before the class date. Classes (president), Genesee Adkins (vice list of resources for musicians in need include: Beginning Pro Tools, Febru- president), Lola Pedrini (treasurer), Hideo of health insurance. Makihara (secretary), Clarence Acox, Fred ary 25-27, $250 members/$285 non- Gilbert, Rush Green, George Heidorn, Paul members; Studio Recording Workshop, Toliver, Cuong Vu Seattle OnHold Submissions March 12 & 13, $135/$160; and Earshot Jazz is published monthly by Th e Offi ce of Arts and Cultural Aff airs Intermediate Pro Tools, March 18-20, Earshot Jazz Society of Seattle and is seeks locally produced music for Seattle $250/$285. available online at www.earshot.org. OnHold. Th is program treats callers to Subscription (with membership): $35 local music when they call the city and CityArtist Project Grants 3429 Fremont Place #309 are placed on hold. More than 10,000 Th e Offi ce of Arts and Cultural Aff airs Seattle, WA 98103 city phone lines feature the music, and is now accepting applications from per- tel: (206) 547-6763; fax: (206) 547-6286 listeners can buy the music they hear forming artists for the 2009 CityArtist Earshot Jazz ISSN 1077-0984 on iTunes, CD Baby, and Amazon. Projects. Th e program provides support Printed by Pacifi c Publishing Company. com. Th e OnHold website also off ers to individual Seattle artists to conceive, ©2008 Earshot Jazz Society of Seattle a free podcast of local music and in- develop, and present new, in-progress, cludes links to the websites of featured or fi nished works. Funding awards up Mission Statement musicians. to $10,000 are available. Musicians in all genres are encouraged Applications are due by 11:00 pm on Earshot Jazz is a non-profit arts and to submit recordings for consideration. service organization formed in 1986 to Tuesday, February 17. For more infor- cultivate a support system for jazz in the Visit www.seattle.gov/html/OnHold mation, an online application, and ap- community and to increase awareness for application requirements. Playlists plication guidelines, visit www.seattle. of jazz. Earshot Jazz pursues its mission rotate quarterly. gov/arts/funding/individual.asp. through publishing a monthly newsletter, Th e Offi ce of Arts and Cultural Af- presenting creative music, providing Call for SIMF Volunteers fairs is off ering opportunities for artists educational programs, identifying and Th e Seattle Improvised Music Festival to receive feedback on drafts of their filling career needs for jazz artists, increasing listenership, augmenting and needs help as it prepares for its annual applications from project managers complementing existing services and festival. If you can provide lodgings programs, and networking with the national for visiting musicians, put up posters continued on page 13 and international jazz community.

2 • Earshot Jazz • February 2009 In One Ear

We are sad to report the passing of Baker adds the ambient textures of a descriptions appearing above. Th e show drummer Th eodore “Teo” Sutton Jr. fretless electric guitar. airs on KEXP 90.3 FM from midnight on January 15, at the VA Medical Center On February 28, the Andrew Oliver to 1 am every Saturday night (in other in Tomah, Wisconsin. Originally from Kora Band combines elements of jazz words, the fi rst hour of Sunday). Philadelphia, Sutton was a sideman on and traditional West African music to If you miss the show, you can always the Seattle free-jazz scene during the late create a soul-stirring sound. With An- fi nd it for two weeks on KEXP’s website. 1980s. He performed with trumpeter drew Oliver on piano; Kane Mathis Th is month’s shows will also be available Barbara Donald, saxophonist Hadley on kora and guitar; Jim Knodle on one week after they air as podcasts at Caliman, and bassist Michael Bisio and trumpet; Brady Millard-Kish on bass; www.kexp.org/podcasting.asp. can be heard on Bisio’s 1987 album, and Mark DiFlorio on drums. Do you want to take your band to In Seattle. Here, Sutton’s complex, yet Sound wiz Doug Haire produces the people? Call Doug Haire at 206- subtle drumming created the perfect Sonarchy and comes up with the band 634-1019. backdrop for Bisio’s improvisations. Teo Sutton was 64.

Congratulations to the Washington Blues Society (WBS) who celebrates its twentieth anniversary this month. And to top it off , they will receive the 2009 Keeping the Blues Alive Award from the Blues Foundation, a national organization. Th e award, which will be presented on February 7 in Memphis, honors WBS for its ongoing eff orts to support and promote the blues through- out our state. To learn more about WBS and their activities visit www.wablues. org.

Sonarchy, recorded live in the studios of Jack Straw Productions, a sound- arts nonprofit, kicks off the month with Matt Shoemaker on February 7. Employing microphones, recorders, computers, and acoustic instruments, Shoemaker creates compositions that uniquely imagine a space encrypted to the point of vanishing. On February 14, Manghis Kahn per- forms African and Caribbean inspired jazz with Yaw Amponsah on Ashanti drums and djembe; Tony Grasso on trumpet; Viren Kamdar on cajon and congas; and Tim Carey on bass. On February 21, the Baker-Moore Duo presents a complex meditation on sound. Dean Moore reveals the interior world of gongs and metal, while Tom

February 2009 • Earshot Jazz • 3 Passing Chuck Smart

He moved to the Seattle area in the late 1980s, settling in the Kitsap pen- insula, where Dawn grew up. He came to public attention, especially the jazz-loving public, as a host on KBCS-FM, 91.3, and at Bud’s Jazz Records, on 1st and Jackson. He also participated in world- percussion programs and performed with several ensembles mixing perfor- mance poetry with multi- media jazz and world mu- sic. Chuck Smart was one of the pioneers of digital Self portrait digitally enhanced by Chuck Smart mixed-media visual art in this region. He developed Our old friend Chuck Smart passed a remarkably organic vocabulary using away on December 29. Th e Seattle- the computer to reimagine the potential area artist and frequent Earshot Jazz for photographic collages that often contributor was 67-years-old and died related to his passions for music, travel, from pancreatic cancer, in hospice care, cultural exploration, and personal ex- with his brother, Sydney, and his wife, pression. Chuck provided the artwork Dawn, at his side. for the 1996 Earshot Jazz Festival, cover Chuck Smart self-identified as an art for several Earshot Jazz publications, artist without hesitation. His broad and travel stories on the Havana Jazz and deeply held cultural sensibilities Festival, among other things. were expressed with equal parts joy Chuck could tell a story. I won’t go and bone-chilling seriousness, through into them here. He had a singular music, travel, poetry, and visual art, and personal style; evident in the way he seemed to revolve around an axis of jazz dressed, spoke, created, and processed music, which, in turn, revolved around musical and interpersonal information. his particular power cell of drums and He was an artist. And the world needs percussion. artists. Chuck grew up in Cleveland and was -John Gilbreath schooled in music and performing arts at the Cleveland Institute of Music and A memorial gathering will be held on the Karamu House Th eater for Dance Friday, February 6, 2009, from 5-9pm as and Music. He taught and served as the part of the First Friday Art Walk, in the Associate Dean of Students at Antioch space that Chuck shared with collaborator College in Yellow Springs, Ohio, for Ann Sweet, Studio 608, at 608 4th Street, sixteen of the most turbulent years of Bremerton (about a fi ve-block walk from American racial, academic, and cultural the ferry dock). evolution.

4 • Earshot Jazz • February 2009 Passing Milton Flynn: One Last Bow

BY KIMBERLY M. REASON It is often said that people take their fi nal bows during the holidays, a myth that rings remarkably true for some of the most cherished members of Seattle’s jazz community. A year ago in November, singer-leg- end Woody Woodhouse passed away after a series of major illnesses. Two months later, Floyd Standifer, veteran trumpeter, alto saxophonist, vocal- ist and grand elder of the Seattle jazz scene, succumbed to cancer. And this December, one week to the day before the death of famed singer and actress Eartha Kitt, Milton Flynn, longtime Seattle jazz afi cionado and man-about- town, died at 86 from complications due to congestive heart failure. Flynn, as he was widely known to those who knew him, will be greatly missed. Known as much for his deep ties to jazz artists far and wide as he was for Milton Flynn with Larry Fuller his famously trite play on words, Flynn was a lifetime mainstay on the local and kept music library, complete with per- Flynn’s paternal grandmother assumed national jazz scene. A Wednesday night sonal stories and anecdotes of his rela- primary guardianship over him. regular at the New Orleans Creole Res- tionships with each performer. Still, Genevieve Johnson returned taurant, frequent patron of Tula’s and Flynn exclusively favored straight- home as often as her show schedule al- Jazz Alley, and an annual contributor ahead jazz – bebop, blues, and swing. lowed. Her periodic visits dazzled her to the Seattle Repertory Jazz Orchestra In fact, he eschewed fusion and free- son, who found himself deeply drawn (SRJO), Milton Flynn belonged to a form jazz, he said, because those genres to her glamorous lifestyle. “She was like venerable set of die-hard loyalists who didn’t swing. He had such a well-honed, a star,” Flynn would later tell his grand- spent every waking moment living, discerning ear that Floyd Standifer daughter, Andrea Allen. “She’d show up breathing, and being a part of jazz. affectionately nicknamed him “The in a big, fancy car, all dressed up with His music collection included home- Critic” – a moniker that stuck. some good-looking man friend ... and recorded cassette tapes of old radio Born on May 17, 1922, in Shreveport, then she’d always take me on a big shop- shows, bootleg recordings of rare, live Louisiana, Flynn was the only child of ping trip. We’d be gone all day. Before concerts, and years-old videotapes of licensed barber and ordained Baptist she went back on the road, she would legendary artists in their early days minister Milton M. Flynn, Sr., and leave money with my grandmother to (imagine a twenty-seven-year-old Mar- professional dancer Genevieve Johnson, help take care of me.” lena Shaw in a svelte, shimmering black who worked under Josephine Baker at Flynn’s big break came in his early pantsuit throwing down her trademark the Cotton Club in New York. Th e rela- teens, when he sang in his school’s talent soulful phrasing with the Count Basie tionship between his father and mother show – and won. Afterward, a big band orchestra, or Billie Holiday at her prime was short lived, however, and between leader in the audience approached him singing “Fine and Mellow” with Lester the Reverend’s church duties and his about an opportunity to go on the road. Young). Visitors were frequently treated mother’s out-of-town commitments, “By that time, the show biz bug had bit to Flynn’s uncataloged, but reverently

February 2009 • Earshot Jazz • 5 me,” Flynn said. “I knew from then on that all I wanted to do was sing.” He left �������� ����������� school to join the medicine show tour, ��������������������������������� which traveled extensively throughout the United States. From New York to Los Angeles, Flynn sang with grown men who were sometimes jealous of the “very special boy” (as he was often introduced onstage) for pulling down the same pay as they did. As much as he enjoyed performing, Flynn was enthralled most by the thicket of celebrities circling in his orbit. During his time on the road, he met and befriended a reference book of jazz luminaries, from Charlie Parker and Billie Holiday to Duke Ellington, �������� ����������������� Count Basie, and Blue Mitchell. Known as “the cool kid,” Flynn spent all of his ������� ����������������� time hanging out with band members, ��������� ����������������� eventually becoming the confidant of legends. “Charlie Parker was the smart- ������ est cat I ever met,” Flynn would later ��������������������������� say. “He could talk quantum physics or cats and dogs – it didn’t matter. He was not only a musical genius, he was ����������������������������������� brilliant about everything.” Tenor saxophone player Hadley Cali- ����������������������������� man says of Flynn: “He was in the scene back when all the sessions were going on down in San Francisco and L.A. He �������������������� knew Dexter Gordon, Milt Jackson, Stanley Turrentine. He knew all the old �������������������������������������� cats, and he knew the young ones. He knew everybody.” Jazz Alley Manager Rob Perry, who ����������������������������������������������������� met Flynn years later, tells it this way: ��������������������������������������������� “When Milton first started coming to Jazz Alley, he would tell me that he ��������������������� was here to see people he knew – Ray Brown, Cedar Walton, Stanley Tur- rentine. I’d say to myself, ‘Okay, so this guy thinks he knows these people.’ And then they’d come in and the moment they saw Milton, their faces would break into a big smile and they’d give him a big hug. Obviously they were very glad to see him. After that, when- ever Milton said he knew someone, I’d take him on his word.”

6 • Earshot Jazz • February 2009 Flynn was in. So “in” that his rarifi ed ing with Nate Breedlove,” remembers access would later inspire pianist Larry Caliman. “I stayed with him a whole Fuller, another longtime friend and semester. He was just wonderful.” confi dant, to compose the tune “In “We grew up singing, eating and Like Flynn” for Fuller’s Easy Walker jamming with big-named musicians,” album. says Allen. “Back then, we kids didn’t Flynn’s associations lasted longer than know just how phenomenal it all was his singing career, though, and by 1945 – but we fi gured it out later,” she laughs. he enlisted in the U.S. Army at Fort “Stanley Turrentine, Kenny Burrell, McClellan in Anniston, Alabama, for Clark Terry, Red Halloway, Sonny Stitt, two years of basic training. He moved to Blue Mitchell, Ernestine Anderson, California and then to Texas, where he Mel Brown – they all came and stayed completed his high school equivalency. with my grandparents. It was the place After a brief marriage, Flynn relocated to go. Th ere were always famous people to Seattle in 1966 and began working stopping by and staying for two or three at the Bon Marche Department Store. days, however long they were in town. He met Nellie Pankey through a mu- They never stayed in hotels. They’d tual friend six years later, and soon an- come over and my grandparents would Open to All - Free nounced his desire to marry her. Pankey throw big parties. Th e musicians would demurred, noting they should get to take out their instruments and play all know one another better. “Well, can’t night, and Grandpa would sit in and we be engaged to be engaged?” Flynn tell jokes. It was a very fun and happy joked, charming her. environment.” “We really hit it off ,” says Nellie. “I Flynn’s jokes and verbal turn arounds liked that Milton was kind, under- were as legendary as his friendships, if standing, and soft spoken.” When they not for the conventional wisdom that married later that year, Flynn began he was the one most often amused inviting his cohorts to their home. “I by his notoriously corny sleights of wasn’t interested in jazz before I met tongue. During Standifer’s Wednesday Milton,” Nellie now says, “so I wasn’t 100 minutes of professional jazz star struck when they all started coming night gigs at the New Orleans, for ex- Sunday, February 1, 6 pm to the house. I would cook for them ample, it was typical for Flynn to lean and entertain them, and found them to over, tug on his tablemate’s sleeve, and The Legacy Band be very nice and friendly people. Th ey peer intensely into his companion’s Clarence Acox, Bill Anschell, eyes. “Floyd SIT-a-fer,” he would say were always so kind to me; we all were Phil Sparks, Jon Goforth, and guests emphatically over the music, as if his like family. Th ey added a fun element Tribute to Floyd Standifer and Don Lanphere to my life that I didn’t have before.” For life depended on the revelation. Th en the next three decades the Flynn’s tri- he’d lean back and break into almost Sunday, March 1, 6 pm level house in Madrona became home soundless laughter, his body convuls- Randy Oxford & Friends to almost every jazz icon who came ing over the sheer joy of it. “Reggie with vocalist Patti Allen through town. COME-ings” he’d say another night, Tribute CD Release Party honoring Lil’ Bill of Marlena Shaw recalls: “When I fi rst playing off of the Seattle singer’s last the Bluenotes and his 70th birthday met Milton and Nellie, they invited name, Goings. One evening during a me to stay at their home while I was set break, Flynn approached Standifer Family friendly concert performing at Jazz Alley. Th ey ended to share his latest. Th e band leader, Held in the Gothic Sanctuary of up boarding my bass player and drum- clearly weary after a long day, told his mer. How’s that for the kind of a guy friend point-blank: “Look man, I’m Seattle First Baptist Church he was? Always supportive of the people not in the mood for that right now.” Seneca and Harvard on First Hill in jazz.” Unruffled, Flynn walked away, gig- Seattle, WA (206) 325-6051 “He provided lodging for me when I gling and shaking his head at his own, www.SeattleFirstBaptist.org/SJV moved to Seattle, back when I was play- untold joke.

February 2009 • Earshot Jazz • 7 “Th ere was no clock with Milton,” New Orleans patron and former disc “Milton was a funny guy,” says Gar- says Joan Smallwood, a dear friend of jockey and “Fancy Free” program host field High School Jazz Band leader Flynn’s and SRJO volunteer for many for KRAB radio (Seattle’s community- Clarence Acox. “He had a joke for every years. “He’d call me at midnight to tell supported jazz and noncommercial occasion. I’d love to tell you a lot of me a joke. Once, he sent me handcuff s station from 1963 to 1984). “Just to them, but I can’t,” he laughs. “Th ey’re padded with red fur for Valentine’s show you: One time here recently, I not printable.” Day. Another time, he sent me a bi- called to ask him if he knew who was While Flynn’s wit may have veered kini – I laughed so hard, I couldn’t going to pick him up from the hospital. from the off -color to the dubiously fun- believe it. What am I going to do with He said he hoped –” (and here Vic- ny, his love for music was contagious. a bikini? Of course, Nellie knew all tor starts laughing so hard he has to “My grandfather loved jazz,” says Allen. about his pranks – we all did. I have stop to catch his breath) “– he said he “He had the whole house wired for mu- so many fond memories of the times hoped it wouldn’t be Bonney-Watson sic long before it became the thing to we shared.” [the funeral home],” Victor fi nishes, do. Th at way, when he got out of his car “Kicks, he was nothin’ but a bunch of delivering Flynn’s punch line. “Th at’s after listening to music there, he could kicks,” says Randall Victor, longtime just how he was.” turn it on right away once he got into the house. Sometimes, we’d be talking and he’d stop me. ‘You hear that?’ he’d say, referring to a song playing over the system. ‘Just ... beautiful!’” “He was an avid fan,” says Caliman. “And he could sing and play the piano. You’d go to his house and he’d be at the piano singing Ivory Joe Hunter tunes.” Acox agrees: “I know of no one with more passion for jazz than Milton Flynn. He truly loved the music and the musicians who played it.” “Milton often off ered to volunteer for Jazz Alley – to help out with whatever the musicians needed,” says Perry. “I never took advantage of his off ers be- cause I wanted him to come in and just enjoy himself. He clearly loved being with the musicians, and he was such a gentleman that I always made sure to take care of him.” Flynn could never get enough of being with musicians. Whenever a visiting celebrity or big band came to town, he’d regularly worked his way behind the scenes to shoot the breeze with the likes of Clark Terry, Monty Alexander, or Gerald Wilson. One night, after socializing backstage with members of the SRJO at the Nordstrom Recital Hall during intermission, Flynn began walking across the stage back to his seat. Just as he approached the top steps lead- ing down to the auditorium the lights dimmed, signaling that the music was

8 • Earshot Jazz • February 2009 about to begin. The crowd reciprocated with warm, anticipatory applause – and Flynn, absconding with the cue, took a showman’s gracious bow. The audience gaped at him for a moment, stunned – and then burst into laughter. That was Flynn. Whether relishing a hot solo or delivering a perfectly-timed gag, Milton Flynn lived in the moment, enjoying a life consumed completely by his love for jazz and the people – his family, friends, fellow musicians, and jazz fans – who had the joy and privilege of sharing it with him. “He was a true friend,” says Gaye Anderson, owner of the New Orleans. “He’d drop in at the most unexpected times and just brighten my day. He’d bring me roses and hot peppers – and I mean hot, hot peppers – from his garden. The four of us would go out together and have a friggin’ blast.” “I’m going to really miss him,” says Victor. “We talked every day. I don’t have anybody left I can talk music to, now. Rene Strange, Milton – everybody I was close to are gone.” Describing why their friendship was so special, Caliman offers personal insight into the roots of jazz and its profound impact on race, culture, and self-identity. “Me and Milton – we were close in age, so we had a lot to talk about,” he recalls. “We shared be- ing black at a time when nobody white could play jazz. It gave us a false sense of superiority. Black musicians didn’t just dominate the scene; we were the scene. Bird, Duke Ellington, Lionel Hamp- ton, Lester Young – we were it. We all had a strong sense of pride. Cities that had cohesive black communities always had musicians. Families were large and ate dinner together. We were all very close. Those were special times – times you just don’t see anymore.” A memorial celebrating the life of Milton Flynn will be held on Sunday, February 15 from 3:00-6:00 pm at the New Orleans Creole Restaurant at 114 First Ave. S. in Seattle.

February 2009 • Earshot Jazz • 9 10 • Earshot Jazz • February 2009 Venue Profile Gallery 1412 Th ere is a long-standing tradition of website, schedule performances, and experimental music in the Emerald run shows. In exchange, all members City, and this month’s Seattle Impro- are able to use the space for rehearsals vised Music Festival, now in its twenty- and concerts. fourth year, is one of many testaments “We provide a kind of DIY (do it to the city’s active and thriving scene. yourself) art environment,” says Jesse Another is performance venues like Canterbury, clarinetist and collective Gallery 1412, which has devoted itself member. “We don’t off er a lot of sup- to the presentation of adventurous, port in terms of lighting, fancy staging, underground art. carefully designed acoustics, or person- Gallery 1412 got its start in 2005 nel to do things other than open the when Gust Burns, Nathan Levine, and door and turn on the lights. We don’t Tom Swaff ord took over the lease for the sell any sort of refreshments or any kind Polestar Music Gallery, established by of merchandise other than artists’ work. Henry Hughes in 2002. After Hughes But we do off er the basics – a small, but moved on to new projects, the trio of adequately sized room with a PA and a co-founders quickly recruited other decent piano. Th ere’s not much for an like-minded musicians to keep the space audience to do at the Gallery other than might not otherwise be heard. And as open and available for experimental experience art, which in many cases is Canterbury reminds, “if there’s not an artists throughout the region. Unlike really ideal. Artists presenting at the outlet, I think artists are less willing to Polestar, which focused exclusively Gallery can be confi dent that they’ll invest the time and eff ort in creating upon music and sound art, Gallery have pretty complete control over the something in the fi rst place.” 1412 broadened its scope to include presentation of their work, in addition It is not easy keeping a performance dance, poetry, and visual arts. Th e gal- to being sure that they’ll have a very space like Gallery 1412 open. “We are lery specializes in the non-mainstream attentive audience, even if it’s relatively always on the brink of crumbling away,” and non-commercial, with a preference small.” explains Burns, “yet we are always fi ne for work that crosses boundaries and Co-founder Tom Swaff ord, a compos- and always still here.” In fact, they con- defi es categorization. er and violinist now based in Brooklyn, tinue to grow and mature. Th e Gallery, While discussing Gallery 1412 and its agrees: “I think the idea of developing which celebrated its fourth anniversary mission, pianist Gust Burns explains: creatively without worrying about in December, presents two to three “What sets us apart from other spaces drawing a crowd is what makes Gallery concerts a week, often more, and for that have similar programming phi- 1412 special. Also, the fact that it is a the fi rst time they have an executive losophies (i.e. the Chapel [Performance quiet, intimate space for listening and director: up-and-coming saxophonist Space], grand though it is) is that we designated specifi cally for adventurous and improviser Wilson Shook. are also absolutely grass roots. We are music makes it an excellent place to Th at said, Burns is quick to urge peo- running on the ground. Th ere is no foster the growth of a creative, artistic ple to come out and support the Gal- money. We are doing this ourselves. community.” lery and its artists: “We need your help So it is a real cooperative spirit. We are “Th is is the place where new music in this endeavor. Come to a concert. experimental musicians creating a space gets developed,” says Burns. “The Come to many concerts. Support this for our and others’ work.” musicians who perform here are in the totally autonomous, cooperative venue Th e emphasis upon we is important, process of making the next steps – they run by Seattle’s most truly adventurous because Gallery 1412 is a collective and represent the very farthest reaches of experimental musicians.” has been since its inception. Gallery Seattle’s experimental rhizomes.“ - Elaine Hayes members contribute monthly dues to With its bare-bones approach and pay for rent and other bills. A smaller non-commercial philosophy, Gallery Gallery 1412 is located at 1412 18th committee of members also contributes 1412 fi lls an essential niche within the Ave (18th Ave and Union St) in Seattle. their time. Th ey help clean and main- Seattle music community. It provides a For a complete listing of upcoming events, tain the space, buy supplies, update the space for the presentation of music that visit www.gallery1412.org.

February 2009 • Earshot Jazz • 11 Preview 2009 Seattle Improvised Music Festival February 13-15 & 20-22 Chapel Performance Space & Gallery 1412

French percussionist Lê Quan Ninh, For a full schedule of events, and bios or Seattle’s own stalwart of unfettered of the performers, see www.seattleim- sound, saxophonist Wally Shoup, or the provisedmusic.com. live electronics and guitar of Portland’s Doug Th eriault. Friday, February 13 But you won’t get many opportunities, Chapel Performance Space in our town, or this country, to hear (1) Greg Kelley / Doug Theriault / Kel- the Berlin clarinetists Michael Th ieke vin Pittman Trio; Liz Tonne, solo and Kai Fagaschinski, or the French/ (2) Greg Kelley / Gust Burns / Mara Lebanese alto saxophonist Christine Lê Quan Ninh, photo by daniel.theunynck-www.jazzaddict.com Sedlins / Mark Collins / Wilson Sehnaoui. Shook, quintet; Andrew Drury, solo Th e Seattle Improvised Music Festival Some of the performers may simply (3) Christine Sehnaoui, solo; a large is now in its twenty-fourth year, mak- knock your socks off , or off er surpris- ensemble ing it easily the most long-toothed such ing sonorities and tonalities – like, Liz event in North America. Tonne, a vocal sound artist who draws Saturday, February 14 from sources as varied as jazz and bird- Th at’s a remarkable achievement, but Chapel Performance Space the event’s real bona fi des are its lineups, song, and uses, she says, “techniques (1) Greg Kelley, solo; Christine which year after year off er plenty for taken from bel canto, wheezing, and the Sehnaoui / Liz Tonne / Mara Sed- anyone curious about non-idiomatic, mimicry of machinery.” lins, trio freely improvised music – music created As for Th e International Nothing, the (2) Kelvin Pittman, solo; Wally Shoup / in the moment, without the assurance German clarinet duo of Kai Fagaschin- Greg Kelley / Andrew Drury, trio of existing structures and styles. ski and Michael Th ieke, since 2002 (3) Doug Theriault, solo; a large en- Th is year’s event will take place on they have been developing what they semble February 13, 14, 15, 20, 21, and 22 at describe as “a kind of pipe-organ style” the Chapel Performance Space (Wall- in which they seek to make their two Sunday, February 15 ingford) and Gallery 1412 (at 18th and instruments sound like one, or more Union on Capitol Hill). Performers than two, using looped sounds. Gallery 1412 will come from as far away as Lebanon, As some gruff , moon-calf philosopher (1) Kelvin Pittman / Andrew Drury, Be not France, and Germany, as well as from once put it (Caliban, that is): duo afeard; the isle is full of noises, / Sounds and New York, Massachusetts, Connecticut, (2) Christine Sehnaoui / Greg Kelley sweet airs, that give delight and hurt not. Oregon. And, from Seattle. / Doug Theriault / Gust Burns, some free events Th e festival includes showcased per- Also on tap are . On quartet formances from visiting soloists and the two Saturdays, February 14 and 21, (3) a large ensemble ensembles as well as nonce groupings at noon, Gallery 1412 will host hands-on of performers who have never before improvisation workshops led by festival Friday, February 20 performers. On the Sundays, February played together. Chapel Performance Space Highlights? Always hard to predict. 15 and 22, also at noon, local and visit- (1) International Nothing (Kai Fagas- The nature of the performances is ing improvisers hold panel discussions, chinski / Michael Thieke, duo) such that little-known performers may again at Gallery 1412. (2) Rachel Thompson / Jonathan Zorn, whip up something just as thrilling As for the music, there are full evenings’ duo as better-established ones. You may lineups, all starting at 7pm, as below. (3) Lê Quan Ninh & guest, duo gravitate to exciting visitors like the

12 • Earshot Jazz • February 2009 Notes, from page 13

on February 2 and 5. Visit the website above for times and locations. Space is limited and an RSVP is required for the workshops and individual meetings.

Bumbershoot Applications Bumbershoot is now accepting ap- plications for presenters at the 2009 festival, which runs September 5-7. Interested musicians, writers, visual artists, dancers, thespians, and per- formance artists should visit www. bumbershoot.org/apply.htm for more information. All applications must Michael Thieke, by Marion Innocenzi 2006 include work samples in order to be considered, and applicants to the Saturday, February 21 Sunday, February 22 music program must apply through Chapel Performance Space Gallery 1412 Bumbershoot’s partner site, Sonicbids, (1) Lê Quan Ninh, solo; Andrew Drury (1) Michael Thieke / Jonathan Zorn, an online service that matches bands / Tari Nelson-Zagar / guest, trio duo; Michael Thieke / Jonathan and promoters. The deadline for music (2) Lê Quan Ninh / Gust Burns / Zorn / Mark Collins / Wilson Shook, submissions is March 23. Michael Thieke, trio; special guest, quartet solo (2) Kai Fagaschinski / Rachel Thomp- Call for Newsletter Volunteers (3) Lê Quan Ninh / special guest / son, duo; Kai Fagaschinski / Rachel We are looking for volunteers who can Jonathan Zorn / Rachel Thomp- Thompson / Gust Burns / Mara deliver this publication to venues, shops, son / Kai Fagaschinski / Michael Sedlins, quartet and cafes in their neighborhood. Thieke, sextet (3) a large ensemble We are also in need of volunteers who can help build the calendar that appears All shows begin at 7:00 pm. Admission is $10-25 on a sliding scale. Gallery 1412 in this publication using press releases (1412 18th Ave, at Union St. & 18th Ave) and Chapel Performance Space (4649 that come to our office and listings from Sunnyside Ave. N, in Wallingford) host all events. venue and artist websites. If you would like to be a part of ei- ther of these projects, please contact [email protected] or call (206) 547- Call for Vocalists - New Jazz Venue at Local Color 6763. Local Color in the Pike Place Market is now offering live jazz Event Listings & News Items Friday and Saturday nights, and is looking to book quality vocalists Please send gig listings to backed by top-talent ensembles. The spacious, centrally-located [email protected]. Be sure to venue offers validated parking, wine, beer, espresso, and light format your gig listings to keep with the fare. The house provides a sound system (including one mic), appearance of this issue’s calendar. Also, if you have news of your jazz keyboard and drum kit. Vocalists interested in being considered projects, or of anything at all related for bookings should send a website link with music samples to: to your career, please feel free to e-mail [email protected] or a demo CD to Frank Albanese, them to [email protected], as we are always looking for items to use in “In 1606 Pike Place, Seattle, WA 98101-1529, 206.714.2450. One Ear” and as fodder for feature For more information on Local Color, go to www.LocalColorSeattle.com. articles in this publication.

February 2009 • Earshot Jazz • 13 Preview Friends of Frank February 23-28 Edmonds Center for the Arts DeMiero Jazz Festival

For the past thirty-three years, the sion of founder and namesake, Frank Friends of Frank DeMiero Jazz Festival DeMiero, the festival aims to create has teamed up with Edmonds Com- supportive learning environments that munity College, Edmonds Center for reward participation and encourage the Arts, and area school districts to students to pursue their personal goals, present a six-day celebration of music, be they in music or elsewhere. arts, education, and community. Th is While the public is welcome to at- year’s event features performances and tend all of the daytime and nighttime workshops by Sara Gazarek, John Piz- events, the evening concerts are likely zarelli, and Carmen Bradford. to be of the greatest interest to jazz During the fi rst three days of the fes- afi cionados. tival, guest artists travel throughout the Sara Gazarek region and teach in-school workshops to students and music educators. Th en Thursday, February 26 the festivities shift to Edmonds, where Vocalist Sara Gazarek, a graduate of students from more than forty elemen- Roosevelt High School’s award-winning tary, middle, and high school jazz choirs jazz program and a regular participant Sara Gazarek and bands converge to participate in a in the Friends of Frank DeMiero Jazz Festival (both as a student and won the fi rst-ever Ella Fitzgerald Chari- collection of artistic experiences. Dur- table Foundation Outstanding Jazz ing the day, students receive instruction educator), captivates audiences with her gorgeous voice, which can be light Vocalist Award at the Essentially Elling- from jazz musicians and perform for ton Festival in 2000. In 2003, she was their peers, and at night, they attend and lilting one moment then sassy and swinging the next. Although steeped awarded the Down Beat Student Music concerts showcasing the musicians they Award for Best Collegiate Vocalist and just worked with. in the jazz tradition, she is not afraid to embrace the music that moves her performed with Oleta Adams, Karrin Unlike other festivals of its kind, the Allyson, and Diane Schuur as the “as Friends of Frank DeMiero Jazz Festival generation. A rising star, Gazarek fi rst gained at- yet undiscovered talent” in the Con- places a premium upon non-competi- cord Jazz Festival tour. And in 2004, tive performances. Following the vi- tention as a high school senior when she

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14 • Earshot Jazz • February 2009 she graduated from the University of began playing the guitar at the age of winning albums. Bradford picked up a South California with a degree in Jazz six and cites Erroll Garner, Les Paul, third Grammy in 1991 for her collabo- Studies. and Django Reinhardt as important ration with guitarist George Benson on In 2007 she released her second studio influences. his album Big Boss Band (Warner Bros, album, Return to You, a collection of Pizzarelli specializes in updating clas- 1990), and a fourth in 1996 for her par- contemporary standards. The album sics, and critics have praised his creative ticipation on The Benny Carter Songbook has garnered praise from critics and was take on the works of Nat “King” Cole (Music Masters), an all-star tribute to ranked the third-best jazz CD of 2007 on Dear Mr. Cole (RCA 1994) and P.S. the legendary saxophonist. by NPR/KPLU. Mr. Cole (RCA 1998), Frank Sinatra Bradford made her solo debut in 1992 on Dear Mr. Sinatra (Telarc 2006), with Finally Yours (Evidence Records), John Pizzarelli The Beatles onJohn Pizzarelli Meets the which was followed by With Respect Friday, February 27 Beatles (RCA 1998), and others. His (Evidence Records) in 1995. In response most recent release, With a Song in My to her 2004 release, Home With You Heart (Telarc 2008), pays tribute to (Azica Records), a collection of intimate Richard Rodgers. duets with pianist Shelly Berg, Chris- All told, Pizzarelli has appeared on topher Loudon of JazzTimes Magazine more than forty albums, twenty-three proclaimed: “Bradford remains a force of these as a leader. Along the way he to be reckoned with – a virtual tornado has worked with the likes of George of talent and imagination.” Shearing, Rosemary Clooney, Buddy She has performed in more than forty DeFranco, Christian McBride, and countries and recorded with Frank Sina- Benny Green. tra, Lou Rawls, Tony Bennett, James Brown, Willie Nelson, Herbie Han- Carmen Bradford cock, Wynton Marsalis, Nancy Wilson, Saturday, February 28 and many others. Los Angeles-based singer Carmen All evening shows begin at 7:00 pm. John Pizzarelli, by Andrew Southam Bradford has been immersed in music her entire life. Daughter of trumpeter General Admission is $30 for a one-day Guitarist, vocalist, and bandleader Bobby Bradford and vocalist Melba pass, $80 for a 3-day pass. VIP and John Pizzarelli has established himself Joyce, she was discovered by Count Premium packages are also available. as one of the premier contemporary Basie in the early 1980s and performed Edmonds Center for the Arts (410 Fourth interpreters of the American songbook. with his band for nine years. During her Avenue, Edmonds). For tickets and more Following in the footsteps of his father, tenure with the Count Basie Orchestra, information visit www.frankdemierojazz- fellow guitarist Bucky Pizzarelli, John she appeared on two Grammy award- festival.com.

February 2009 • Earshot Jazz • 15 Earshot Jazz Spring Series 2009

Bill Frisell Toshiko Akiyoshi, by Daniel Sheehan Habib Koite, by Dirk Leunis

This year we are proud to present a March 7 & 8 April 5 series of concerts that celebrates the progression of jazz in the world. We’ll Toshiko Akiyoshi with the Seattle Steve Coleman’s Five Elements travel from the uniquely American gui- Repertory Jazz Orchestra One of the foremost seekers and great tarists Bill Frisell and Russell Malone, NEA Jazz Master pianist and com- alto saxophonists in jazz to the big band arrangements of NEA poser with Seattle’s all-star big band. The Triple Door, 7:30 pm Jazz Master Toshiko Akiyoshi, to the March 7, Benaroya Hall, Nordstrom Tickets: 206-838-4333, www.triple- West African soul of Habib Koite, back Recital Hall, 7:30 pm door.com to Steve Coleman’s Five Elements, and March 8, Kirkland Performance Cen- wind up with three of Europe’s most ter, 3:00 pm April 28 important saxophonists. This series Tickets: www.srjo.org showcases Earshot’s adventurous pro- Peter Brotzmann Trio with Eric gramming at its best. More information March 31 Revis & Nasheet Waits coming at www.earshot.org. The German sax giant teams with Habib Koite & Bamada young American jazz stars February 25 Africa’s hardest working and tightest Cornish College of the Arts, Poncho band Concert Hall, 8:00 pm Bill Frisell & Russell Malone The Triple Door, 7:00 & 9:30 pm Tickets: 206-547-6763, www.earshot. The New York Times recently pro- Tickets: 206-838-4333, www.triple- org claimed: “It’s hard to find a more door.com fruitful mediation on American music April 30 than in the compositions of guitarist April 3 Bill Frisell.” For this concert, the Seattle The Thing (Mats Gustafsson w/ treasure pairs with up-and-coming gui- Ab Baars Trio w/ Ken Paal Nilssen-Love & Engebrigt tarist Russell Malone, who is making Vandermark Hâker Flaten) his mark in the jazz world by blazing Amsterdam’s top improvisers with Norway’s most ferocious and refined his own, decidedly unique trail into Chicago’s MacArthur-winning sax improvisers “The Great American Songbook.” Not titan Cornish College of the Arts, Poncho to be missed. Seattle Art Museum, downtown audi- Concert Hall, 8:00 pm The Triple Door, 7:00 & 9:30 pm torium, 8:00 pm Tickets: 206-547-6763, www.earshot. Tickets: 206-838-4333 & www.triple- Tickets: 206-547-6763, www.earshot. org door.com. org

16 • Earshot Jazz • February 2009 CD Review

through the music of the game’s short music in the listener’s ear during the “Intro,” each of its seven levels, and its solos, diminish the importance of the triumphant “End Credits.” game’s music. Th ose who either don’t Although Contra is my favorite video know or don’t like Contra will find game of all time, I was horrible at it, so ContraBand’s solos satisfying nonethe- the further into ContraBand I get, the less. Alto saxophonist J. Charles comes less familiar the music becomes. After out guns-a-blazin’ with his fi erce bebop digging the game out to reacquaint my- solos on the up-tempo pieces “Jungle” self, I found that Colon’s arrangements and “Waterfall,” and keyboardist Eric are extremely close to the original’s Verlinde’s less pyrotechnic, more cau- musical and timbral qualities. Th e close tious Fender Rhodes statement on voicings, the blend of alto and tenor “Base” fi ts the tune’s stealthy feel and saxophones, and the use of electronic is appropriate for infi ltrating an enemy Cliff Colon instruments in the rhythm section base. Colon’s and Charles’s simultane- ContraBand re-create, to modern ears, the classic ous, raucous solos on “Snow Field” are low-tech synth music of the video game laden with tension and excitement that Hey Phil! Records genre. Th e sextet eff ectively captures the stems from their entwined wails, trills, game’s side-scrolling forward motion, and quick scalar runs. Th is late ‘80s childhood fl ashback is and as such, replicates the progression Will ContraBand appeal to the Contra brought to you by tenor saxophonist of the game’s narrative; these fellas are uninitiated? Because I’m biased, it’s hard Cliff Colon’s ContraBand. Many men on a mission. ContraBand brings back to say. Will its music be added to the in their late-20s and early-30s – and all of the urgency, excitement, and jazz canon just as popular music has maybe some women too – will rejoice nervousness I felt as a child as I tensely been co-opted by jazz performers for upon discovering Colon’s latest album, clutched the controller, hung on to my generations? Probably not, as it almost which features music from Konami’s last life by a thread, and begged to get borders on kitsch, but when I showed 8-bit Nintendo masterpiece, Contra. to the next level. my brother-in-law the band’s website, Colon adapted the game’s music, writ- For the most part, the excellent he said: “now that’s a band.” He almost ten by Kyouhei Sada and Hidenori arrangements follow the standard got it: it’s a rad band.” Maezawa, to fi t a jazz context by adding head-solos-head form, but the lack of chord changes to its original melody background parts that keep the tune’s - Chris Robinson and harmony lines. Colon’s sextet tears ��������������������� GRETA206-937-1262 MATASSA gretamatassa.com “A marvel of virtuosity” —Los Angeles Times ����� Award-winning vocalist, recording On KBCS hear the `B’ sides and genres found nowhere else on artist and teacher offering private the dial, programmed by volunteers driven by their passion for the music. From jazz to reggae, folk to modern global, hip-hop instruction, workshops and clinics. to blues to electronica, you’ll hear it on KBCS. Greta has coached many winners of the ���������� Lionel Hampton We air social justice-focused programs like Democracy Now!, Jazz Festival Voices of along with locally produced public affairs shows and Kobe Diversity and One World Report. KBCS covers issues, places, and people who don’t always make it to the front page of the Sister City jazz mainstream media. It’s radio that’s handcrafted here at home, by competitions hundreds of volunteers tuned into what’s local and what’s relevant. and helped start the careers of Listener-supported, several of the Non-commercial ������ area’s current Community Radio Our purpose is to entertain, educate, and involve. KBCS is the jazz headliners. only station in the greater Seattle area offering ongoing training For teaching info, performances and cds: ����������� opportunities. Become the media at KBCS. 206-937-1262 GRETAMATASSA.COM

February 2009 • Earshot Jazz • 17

Earshot Jazz Magazine, 1-unit vertical ad height, 3 in. width, 2-3/8 in.

Client: Greta Matassa, 206-937-1262

Designer: Susan Pascal, 206-932-5336

Revised 4-10-08 SUNDAY, FEBRUARY 1 Then the always amiable and engaging Jim WB Jazz w/ RnB, 9:30 Wilke hosts the awards ceremony at 8:00 pm, BA Here. Now., 7:30 WI Ronnie Pierce, 10 followed by a special send-off concert by Das C* Dina Blade & Hans Brehmer Vocal Workshop, Vibenbass as they prepare for their collective THURSDAY, FEBRUARY 5 www.dinablade.com, 1 move to New York City. Nominated for Best AY Jazz Jam, 9:30 C* Elijah Clark Quintet, Poncho Concert Hall Jazz/Experimental act in Seattle Weekly’s (710 E Roy), 8 C* Bryan Smith Trio, Lucid (5241 University Best of 2006, the quartet blends classic jazz Way NE), 9 C* Lee Redfield Trio & Jam Trio, Lucid (5241 sounds with contemporary grooves to create EB Jeni Wren, 9 University Way NE), 7:30 a collection of fresh sounds, ranging from the FB Legacy Band w/ Clarence Acox, 6 atmospheric and moody to downright funky. JA Ramsey Lewis Trio, 7:30 & 9:30 FG Vunt Foom, 9 With Josh Clifford on tenor saxophone, Justin LF Teaching, 9 JA Al Di Meola, 7:30 Sorensen on vibes, Geoff Larson on double MM Sandra Locklear, 8 MN Tim Kennedy, 8 bass, and JC Bockman on drums, they are MY Hans Teuber Trio, 10:30 sure to please. Admission is $15 general, $13 SY Victor Janusz, 10am NO Bob Jackson First Thursday Band, 7 senior/student/Earshot members; $7 working WB Brazilian Jazz, 9:30 OY Who Da Bossa, 6 musicians. Reservations available through TD Marco Bevento Trio, 7:30 Triple Door (216 Union St.) by calling (206) TH HB Radke & Jet City Swingers, 8 MONDAY, FEBRUARY 2 838-4333 or by visiting www.tripledoor.com. C* Better World w/ Marc Smason & Joanne TK Jeff Alberts, Jeff Johnson & Tad Britton, 8 Klein, Poggie, 8 TUESDAY, FEBRUARY 3 TU Susan Carr Ensemble, 8 FG Brendan O’Donnell Trio, 9 WB Brazilian Jazz, 9:30 DC Eric Verlinde, 7 MM Ruby Bishop, 8 DH Tim Kennedy Trio, 9 NO New Orleans Quintet, 6:30 FRIDAY, FEBRUARY 6 JA Strunz & Farah, 7:30 TD Golden Ear Awards w/ Hadley Caliman & Das C* Gail Pettis Quartet, Rockfish Grill (320 Vibenbass, 7 MM Karin Kajita, 8 Commercial Ave, Anacortes), 9 TO Michael Shrieve’s Spellbinder, 9 MX Don Mock, Steve Kim & Charlie Nordstrom, 9 C* Finn Hill Jazz Quartet w/ Kay Bailey, Cafe TU Vocal jam w/ Greta Matassa, 7:30 NO Holotradband, 7 Harlequin (107 Lake Street, Kirkland), 8 WB Brazilian Jazz, 9:30 TU Jay Thomas Big Band, 8 C* Das 3. Jazz Infused Cinema, Lucid (5241 WB City Jazz, 9:30 University Way NE), 10 DL Who Da Bossa, 9 2 GOLDEN EAR AWARDS WEDNESDAY, FEBRUARY 4 EB Dina Blade Trio, 7 It is time, once again, to honor the very best DC Eric Verlinde, 7 GB Trish Hatley Trio, 8:30 in Seattle jazz. Tonight the annual Golden Ear JA Strunz & Farah, 7:30 HA Kay Bailey, 9 Awards take place at the Triple Door, and it is MM Bonnie Birch, 8 HS Jazz & Sushi, 7:30 sure to be an exciting evening filled with great NI Buckshot Jazz, 6:30 JA Ramsey Lewis Trio, 7:30 & 9:30 music. At 7:00 pm veteran tenor saxophonist NO Legacy Band w/ Clarence Acox, 8 LC Jim & Beth Wulff, 7 Hadley Caliman kicks of the evening with PC Susan Pascal & Friends, noon his new quintet featuring Thomas Marriott MM Joseph Rojo, 8 on trumpet, Matt Jorgensen on drums, Phil TK Ron Weinstein Trio, 8 NC Bassic Saxx, 8 Sparks on bass, and Marc Seales on piano. TU Beth Winter Vocal Showcase, 7:30 NO Danny Ward & Reality

Get your gigs listed! To submit your gig information go to www.earshot.org/data/gigsubmit.asp or e-mail us at [email protected] with details of the venue, start-time, and date. As always, the deadline for getting your listing in print is the 15th of the previous month. The online calendar is maintained throughout the month, so if you are playing in the Seattle metro area, let us know!

CALENDAR KEY MN Mona’s, 6421 Latona Ave NE, 526-1188 MX MIX, 6006 12th Ave S, 767-0280 AY Asteroid Cafe, 3601 Fremont Ave N, 547-9000 MY May Thai Restaurant, 1612 N. 45th St, 675-0037 BA BalMar, 5449 Ballard Ave NW, 297-0500 NC North City Bistro & Wine Shop, 1520 NE 177th, Shoreline,365-4447 BP Bake’s Place, 4135 Providence Point Dr SE, Issaquah, 425-391-3335 NI Nijo Sushi, 83 Spring St, 340-8880 C* Concert and Special Events NO New Orleans Restaurant, 114 First Ave S, 622-2563 CH Chapel Performance Space, Good Shepherd Center, 4649 Sunnyside Ave N OY Oliver You, 8516 Greenwood Ave N, 706-4121 DC Dulces Latin Bistro, 1430 34th Ave, 322-5453 PC Plymouth Congregational Church, 1217 6th Ave, 622-4865 DH Dexter & Hayes Public House, 1628 Dexter Ave N, 283-7786 PM Pampas Club, 90 Wall St, 728-1140 DL District Lounge, 4507 Brooklyn Ave NE, 547-4134 SD Seattle Drum School (12510 15th Ave, NE), 364-8815 EB Egan’s Ballard Jam House, 1707 NW Market St, 789-1621 SE Seattle Art Museum, 100 University St, 654-3100 FB Seattle First Baptist Church, 1111 Harvard Ave, 325-6051 SY Salty’s on Alki, 1936 Harbor Ave SW, 526-1188 FG Faire Gallery Café, 1351 E Olive Way, 652-0781 TD Triple Door, 216 Union St, 838-4333 GB El Gaucho Bellevue, 555 110th Ave NE, Bellevue, 425-455-2734 TH 13 Coins Restaurant, 125 Boren Ave N, 382-1313 GT Gallery 1412, 1412 18th Ave TK Thaiku, 5410 Ballard Ave NW, 706-7807 HA Cafe Harlequin, 107 Lake St, Kirkland, 425-296-1616 TO ToST, 513 N 36th St, 547-0240 HS Hiroshi’s Restaurant, 2501 Eastlake Ave E, 726-4966 TU Tula’s, 2214 2nd Ave, 443-4221 JA Jazz Alley, 2033 6th Ave, 441-9729 UM Ugly Mug Coffeehouse, 11425 Rainier Ave S, 772-3151 LC Local Color, 1606 Pike Pl, 728-1717 WB Wasabi Bistro, 2311 2nd Ave, 441-6044 LF Lo_Fi, 429B, Eastlake Ave E, 254-2824 WI Whiskey Bar, 2000 2nd Ave, 443-4490 MM Martin’s Off Madison, 1413 14th Ave, 325-7000 WS Sixth Avenue Wine Seller, 600 Pine St # 300, 621-2669

18 • Earshot Jazz • February 2009 PM Brian Nova Quartet, 6 JA Mose Allison, 7:30 TU Jay Thomas Quartet, 8 MM Bonnie Birch, 8 Recurring Weekly Performances WS Victor Janusz, 5 NI Buckshot Jazz, 6:30 NO Legacy Band w/ Clarence Acox, 8 MONDAY SATURDAY, FEBRUARY 7 PC Susan Pascal & Friends, noon FG Brendan O’Donnell Trio, 9 BP Pearl Django, 7:45 TK Ron Weinstein Trio, 8 MM Ruby Bishop, 8 C* Royce Shorter Jr & Friends, Lucid (5241 TU BCC Jazz Orchestra w/ Hal Sherman, 7:30 University Way NE), 9 WB Jazz w/ RnB, 9:30 NO New Orleans Quintet, 6:30 C* Garfield High School Jazz Band, Bellevue WI Ronnie Pierce, 10 TO Michael Shrieve’s Spellbinder, 9 Community College Jazz Festival, BCC (3000 Landerholm Circle SE, Bellevue) THURSDAY, FEBRUARY 12 WB Brazilian Jazz, 9:30 C* Jazz in the Corner, Wayward Coffee House AY Jazz Jam, 9:30 (8570 Greenwood Ave N), 8 TUESDAY C* NW Choro Collective, Westlake Whole Foods DC Eric Verlinde, 7 C* Illuminating Langston, Langston Hughes (2210 Westlake Ave), 5 Performing Arts Center (104 17th Ave S), 6 C* Kirkland Jazz Nights, www. DH Tim Kennedy Trio, 9 C* Dina Blade Trio, Rainier Beach Pool (8825 kirklanddowntown.org, 7 Rainier S0, noon MM Karin Kajita, 8 C* Hochiwichi, Lucid (5241 University Way NE), EB Rooms for Roots American Series: Thornton 9 MX D. Mock, S. Kim, C. Nordstrom, 9 Creek, 11 JA Mindi Abair , 7:30 & 9:30 NO Holotradband, 7 EB Starlings, 9 LF Teaching, 9 EB Manghis Khan, 7 WB City Jazz, 9:30 MM Sandra Locklear, 8 GB Trish Hatley Trio, 8:30 MY Hans Teuber Trio, 10:30 HA Emily McIntosh & Karin Kajita, 8 WEDNESDAY NO Ham Carson Quintet, 7 JA Ramsey Lewis Trio, 7:30 & 9:30 DC Eric Verlinde, 7 OY Who Da Bossa, 6 NO Lonnie Williams Band SE Art of Jazz: Steve Korn Group, 5:30 PC Susan Pascal & Friends, noon PM Brian Nova Quartet w/ Stephanie Porter, 6 TH HB Radke & Jet City Swingers, 8 NI Buckshot Jazz, 6:30 SY Victor Janusz, 10am TK Jeff Alberts, Jeff Johnson & Tad Britton, 8 w/ TU Kelley Johnson Quartet, 8 NO Legacy Band Clarence Acox TU Nelda Swiggett Trio, 7:30 UM Jazz Gitan Americain, 10am TK Ron Weinstein Trio, 8 WB Brazilian Jazz, 9:30 SUNDAY, FEBRUARY 8 WB Jazz w/ RnB, 9:30 BA Here. Now., 7:30 12 ART OF JAZZ: STEVE KORN GROUP WI Ronnie Pierce, 10 C* Craig Hoyer & Marc Smason, Le Pichet (1933 This month’s presentation in the Art of Jazz MM Ronnie Birch, 8 1st Ave), 2:30 series is the straight-ahead jazz of the Steve C* Jacob Stickney, Poncho Concert Hall (710 Korn Group. Seattle-based drummer Steve Korn THURSDAY East Roy St), 8 is known as a musician’s musician because he AY Jazz Jam, 9:30 C* Lee Redfield Trio & Jam Trio, Lucid (5241 always makes musical content and quality his University Way NE), 7:30 first priority. “Steve’s greatest attribute is his LF The Teaching, 9 FG Vunt Foom, 9 sensitivity to the arrangement . . . where he MM Sandra Locklear, 8 succeeds in creating structure and continuity ... JA Ramsey Lewis Trio, 7:30 MY Hans Teuber Trio, 10:30 MN Tim Kennedy, 8 very nice, indeed,” praised Drum Magazine. Music begins at 5:30 pm in the Brotman SY Victor Janusz, 10am NO Ham Carson Quintet, 7 Forum of the Seattle Art Museum (100 TU Jim Cutler Jazz Orchestra, 8 University St), and admission to the concert is OY Who Da Bossa, 6 WB Brazilian Jazz, 9:30 free with museum admission. TH HB Radke & Jet City Swingers, 8 MONDAY, FEBRUARY 9 FRIDAY, FEBRUARY 13 TK J. Alberts, J. Johnson & T. Britton, 8 FG Brendan O’Donnell Trio, 9 BP Lorraine Feather & Shelly Berg, 7:45 WB Brazilian Jazz, 9:30 MM Ruby Bishop, 8 C* Finn Hill Jazz Quartet w/ Kay Bailey, Cafe NO New Orleans Quintet, 6:30 FRIDAY Harlequin (107 Lake Street, Kirkland), 8 TO Michael Shrieve’s Spellbinder, 9 C* Chief Sealth Jazz Band w/ West Seattle Big DL Who Da Bossa, 8 TU Clark Gibson Quartet, 8 Band, www.chiefsealthmusic.org, 6 GB Trish Hatley Trio, 9 TU Jazz Police Big Band, 3 C* Alfonse Somebody & Jr Detectives Hotwire WB Brazilian Jazz, 9:30 Coffee House (17551 15th NE, Shoreline), HS Jazz & Sushi, 7:30 7:30 MM Joseph Rojo, 8 TUESDAY, FEBRUARY 10 C* Fysah Thomas & Company, Lucid (5241 C* Eastside Jazz Club, Sherman Clay Pianos University Way NE), 9 PM Brian Nova Quartet, 6 Bellevue (1000 Bellevue Way NE), 7:30 CH Seattle Improvised Music Festival, 7 WS Victor Janusz, 5 DC Eric Verlinde, 7 DL Who Da Bossa, 9 DH Tim Kennedy Trio, 9 EB Menagerie of Extravagance, 11 SATURDAY EB Ben Fisher, 9 EB Far Corner/Dick Valentine Birthday GB Trish Hatley Trio, 9 EB Eric Elven & Dust Free High, 7 Celebration, 9 PM Brian Nova Quartet w/ JA Mose Allison, 7:30 EB Susan Car Ensemble, 7 MM Karin Kajita, 8 GB Trish Hatley Trio, 8:30 Stepahnie Porter, 6 MX Don Mock, Steve Kim & Charlie Nordstrom, HA Kay Bailey, 9 SY Victor Janusz, 10am 9 HS Jazz & Sushi, 7:30 UM Jazz Gitan Americain, 10am NO Holotradband, 7 JA Mindi Abair , 7:30 & 9:30 TU Emerald City Jazz Orchestra, 7:30 LC Rebekka Goldsmith, 7 SUNDAY WB City Jazz, 9:30 MM Joseph Rojo, 8 BA Here. Now., 7:30 WEDNESDAY, FEBRUARY 11 NC Fred Hoadley Trio, 8 NO Paul Green & Straight Shot FG Vunt Foom, 9 C* Dennis Moss, Tempest Lounge (913 Martin Luther King Jr Way, Tacoma), 8 PM Brian Nova Quartet, 6 SY Victor Janusz, 10am DC Eric Verlinde, 7 TU Hadley Caliman Quartet, 8 MM Tim Kennedy, 8 WS Victor Janusz, 5 EB Vocal jam, 9 WB Brazilian Jazz, 9:30

February 2009 • Earshot Jazz • 19 SATURDAY, FEBRUARY 14 TU Greta Matassa Quintet w/ Gary Scott, 8 WB Brazilian Jazz, 9:30 UM Jazz Gitan Americain, 10am BP Karin Plato Quartet , 7:45 TUESDAY, FEBRUARY 17 C* Gail Pettis, David Joyner & Dennis Hastings, SUNDAY, FEBRUARY 15 DC Eric Verlinde, 7 Music Center, Pacific Lutheran University (12180 Park Ave S, Tacoma), 8 BA Here. Now., 7:30 DH Tim Kennedy Trio, 9 C* OWCHARUK 5, Skylark Cafe (3803 Delridge C* Lee Redfield Trio & Jam Session, Lucid (5241 EB Jump Ensemble, 7 Way SW), 9 University Way NE), 7:30 JA Jane Monheit, 7:30 C* Dina Blade Jazz Ensemble, Rosehedge FG Vunt Foom, 9 MM Karin Kajita, 8 Valentine’s Day Dinner Dance, Arctic GT Seattle Improvised Music Festival, 7 MX Don Mock, Steve Kim & Charlie Nordstrom, 9 Building (700 3rd Avenue) JA Mindi Abair, 7:30 NO Holotradband, 7 CH Seattle Improvised Music Festival, 7 MN Tim Kennedy, 8 TD McTuff, 7:30 EB Julie Cascioppo, 9 SY Victor Janusz, 10am TU Roadside Attraction, 7:30 EB Riverpeople w/ Casey Garland, 7 TU Garfield High School Jazz Band, 3 WB City Jazz, 9:30 GB Trish Hatley Trio, 8:30 TU Jim Cutler Jazz Orchestra, 8 HA Emily Mcintosh & Darrius Willrich, 8 TU Jay Thomas Big Band, 4 17 MCTUFF PRESENTS: THE MUSIC OF JA Mindi Abair, 7:30 & 9:30 WB Brazilian Jazz, 9:30 DAVE LEWIS LC Cheryl McLin, 7 MONDAY, FEBRUARY 16 MM Eric Lane Barnes, 8 The grandfather of the fine Seattle drummer D’Vonne Lewis has been called “The Godfather NO Paul Green & Straight Shot FG Brendan O’Donnell Trio, 9 MM Ruby Bishop, 8 of Northwest Rock & the King of Seattle R&B.” PM Brian Nova Quartet w/ Stephanie Porter, 6 From the late 50’s through the 70’s, Dave Lewis SY Victor Janusz, 10am NO New Orleans Quintet, 6:30 TO Michael Shrieve’s Spellbinder, 9 was a major force in Northwest music. He was TD Sinatra at the Sands, 6:00 & 8:30 signed to A & M Records and released several TU Jazz jam w/ Darin Clendenin Trio, 7:30 TU Pat Johnson, Dee Brown & Jerome Watson, 3 albums, with hits such as “David`s Mood” and “Little Green Thing.” His tasty Hammond B3 organ playing was a huge draw in clubs. Tonight, McTuff, as an organ trio with Joe Doria, Andy Coe, and D’Vonne Lewis, without saxophonist Skerik, pays loving tribute to the funk and polish of the Dave Lewis sound. Triple Door (216 Union St.), 7:30 pm. Tickets: $20 advance, $25 day of show. Call (206) 838-433 for reservations, or visit www.tripledoor.com . WEDNESDAY, FEBRUARY 18 C* Mark Levine Jazz Piano Workshop, Sherman Clay (1624 4th Ave), 10am DC Eric Verlinde, 7 EB Vocal jam, 9 EB Cindy Phillips & Darin Clendenin, 7 JA Jane Monheit, 7:30 MM Bonnie Birch, 8 NI Buckshot Jazz, 6:30 NO Legacy Band w/ Clarence Acox, 8 PC Susan Pascal & Friends, noon TD John Jorgenson Quintet, 7:30 TK Ron Weinstein Trio, 8 TU Alan Keith Group, 7:30 WB Jazz w/ RnB, 9:30 WI Ronnie Pierce, 10

18 JAZZ PIANO WORKSHOP Pianist, author, and noted jazz educator Mark Levine presents the workshop “Playing and Teaching Jazz Piano” at the Sherman Clay Pianos in downtown Seattle (1624 4th Ave). Levine has written three books on jazz piano and jazz theory, including The Jazz Theory Book, which Jazz Times Magazine ranked as its number-one recommendation for a basic jazz library. The one-day workshop begins at 10:00 am and is free, but advanced reservations are required. Contact Ben Klinger at (206) 622-7580 or [email protected] to reserve your spot. For more information about Mark Levine and his books visit www. marklevine.com. THURSDAY, FEBRUARY 19 AY Jazz Jam, 9:30 C* Das 3. Jazz Infused Cinema, Lucid (5241 University Way NE), 9 EB Avi Wisnia, 7 JA Jane Monheit, 7:30 & 9:30

20 • Earshot Jazz • February 2009 LF Teaching, 9 Vega, grace Tula’s stage for two nights of picked up two more Golden Ear awards, one MM Sandra Locklear, 8 dueling trumpets. They are sure to be evenings for Northwest album of the year and another MY Hans Teuber Trio, 10:30 of contrasts as these talented artists bring their for instrumentalist of the year, making a grand NO Ham Carson Quintet, 7 unique styles and musical sensibilities to the total of five Golden Ears. table. This special collaboration, which will be Tula’s is located at 2214 Second Ave in OY Who Da Bossa, 6 recorded by Origin Records for a live album, Belltown. Music begins at 8:00 pm; cover $18. TH HB Radke & Jet City Swingers, 8 will include new originals by both Marriott and Reservations strongly recommended. TK Jeff Alberts, Jeff Johnson & Tad Britton, 8 Vega written especially for the event. TU Sonando, 8 Ray Vega is a veteran of the bands of Tito SATURDAY, FEBRUARY 21 WB Brazilian Jazz, 9:30 Puente, Mongo Santamaria, and Ray Barretto CH Seattle Improvised Music Festival, 7 , and he has recorded with the likes of Joe FRIDAY, FEBRUARY 20 Henderson, the Duke Ellington Orchestra, EB Wally Schnalle CD release, 9 & 11 C* Crossover Concerto w/ Yuri Bashmet & Igor Paul Simon, and Lionel Hampton. His two EB Hayburners, 7 Butman, Benaroya Hall (200 University St), 8 recordings on the Concord-Picante label, as GB Trish Hatley Trio, 8:30 C* Finn Hill Jazz Quartet w/ Kay Bailey, Cafe well as his two albums on the Palmetto label, GT Seattle Improvised Music Festival, 7 Harlequin (107 Lake Street, Kirkland), 8 have earned wide critical praise, including a HA Emily Mcintosh & Darrius Willrich, 8 C* Change Runner, Lucid (5241 University Way four-star rating from Down Beat. JA Jane Monheit, 7:30 & 9:30 NE), 9 Thomas Marriott’s star continues to rise. LC Benjamin Doerr, 7 He followed up the success of his 2007 CH Seattle Improvised Music Festival, 7 MM Karin Kajita & Jim Knodle, 8 release, Both Sides of the Fence, which made DL Who Da Bossa, 9 it into jazz radio’s top ten and received more NO Kim Fields & Mighty Titans of Tone EB JL Stiles, 11 than 3,300 spins nationally, with Crazy: The PM Brian Nova Quartet w/ Stephanie Porter, 6 EB MJ Bishop Farewell Show, 7 Music of Willie Nelson, which was ranked one SY Victor Janusz, 10am GB Trish Hatley Trio, 8:30 of the top albums of 2008 by Jazz Times TU East/West Trumpet Summit w/ Thomas HA Kay Bailey, 9 Magazine. Closer to home, Marriott also Marriott, Ray Vega & New Stories, 8 HS Jazz & Sushi, 7:30 JA Jane Monheit, 7:30 & 9:30 LC Fathia Atallah, 7 MM Joseph Rojo, 8 NC David George Trio, 8 NO Charles White Band PM Brian Nova Quartet, 6 Tula’s Jazz Calendar February 2009 TU East/West Trumpet Summit w/ Thomas Marriott, Ray Vega & New Stories, 8 Tula’s2214 RestaurantSecond Ave, andSeattle, Nightclub WA 98121 Reservations: 206-443-4221 WS Victor Janusz, 5 2214www.tulas.com; Second Avenue, for reservations Seattle, WA call 98121 (206) 443-4221 ��������TULAS.COM����� SUNDAY MONDAY TUESDAY WEDNESDAY THURSDAY FRIDAY SATURDAY 20 CROSSOVER CONCERTO AT BENAROYA 1 2 3 4 5 6 7 Tonight classical music meets jazz as violist BIG BAND JAZZ Beth CLOSED VOCAL JAM Susan Jay Kelley Yuri Bashmet teams up with saxophone with Jay Winter virtuoso Igor Butman, Russia’s premier jazz for Greta Thomas Vocal Carr Thomas Johnson musician, to cross boundaries between the Superbowl Showcase Ensemble Quartet Quartet two genres. The concert, aptly titled Crossover Matassa Big Band 8:00pm $10 8pm $15 8pm $15 8:00pm $5 7:30pm $10 Concerto, features pieces from the classical 7:30pm $8 repertoire of the Moscow Soloists Chamber 8 9 10 11 12 13 14 Orchestra—which, along with its conductor Yuri BIG BAND JAZZ BIG BAND JAZZ Valentine’s Day Bashmet, garnered a 2008 Grammy Award— Jazz Police Pat Johnson and jazz arrangements of Russian classics by Big Band Clark Emerald BCC Jazz Nelda Hadley Dee Brown Tchaikovsky and Rachmaninoff, performed by 3-7 $5 Gibson Swiggett Caliman Jerome Igor Butman and his big band. Also featured Jim Cutler City Jazz Orchestra Watson will be “Jazz Suite for Viola, Saxophone, Piano, Quartet Orchestra w/ Hal Trio Quartet 3-6pm $10 Jazz 8pm $7 7:30pm $10 8pm $15 String Orchestra and Big Band” by pianist and Orchestra 7:30pm $5 Sherman Greta composer Igor Raykhelson. 8pm $5 7:30pm $7 Matassa Igor Butman is one of the most popular jazz Quintet musicians in Russia. For the past decade, he w/ Gary Scott has toured throughout Russia with his Big Band 8pm $18 and regularly appears at Moscow’s top jazz 15 16 17 18 19 20 21 venue, Le Club, where he is artistic director Jay Thomas JAZZ JAM BIG BAND JAZZ LATIN JAZZ East/West East/West and a musical ambassador connecting Russian Big Band with the Alan Trumpet Trumpet and American jazz musicians. Along the way, 4-7 $5 Darin Roadside Keith Sonando Summit Summit he has performed and recorded with Dave Jim Cutler Clendenin Attraction 8pm $10 w/Thomas w/Thomas Brubeck, Chick Corea, Jack DeJohnette, Randy 7:30pm $8 Group Marriott, Marriott, Jazz Trio 7:30pm $5 Brecker, Pat Metheny, Louie Bellson, Grover 7:30pm $8 Ray Vega & Ray Vega & Orchestra New Stories New Stories Washington, Jr., Billy Taylor, Lionel Hampton, 8pm $5 Eddie Gomez and many others. 8pm $18 8pm $18 Fellow Russian Yuri Bashmet is well known to 22 23 24 25 26 27 28 fans of classical music. Hailed by The Times of Fairly Open BIG BAND JAZZ Dorothy Greta London as “without a doubt, one of the world’s Honest Rodes Matassa Susan Greta greatest living musicians,” he has performed World Pascal Matassa Jazz Band Russian The Little Quartet w/ Jazz with top orchestras around the world. 3-7 $5 Big Band Jeff Johnson, Workshop Quartet Quartet Tickets are $35-85 and available by calling Jim Cutler All-Stars 7:30 $5 8pm $15 8pm $15 7:30pm $10 Dave Peterson 7:30pm $10 (206) 292-2787 or visiting www.ticketmaster. Jazz Orch. & Drums com. The concert begins at 8:00 pm; Benaroya 8pm $5 7:30pm $10 Hall (200 University St). MONDAY thru THURSDAY: Make dinner reservations and arrive before 7:00 pm 20 & 21 TRUMPET TITANS AT TULA’S to receive a 10% discount on all food items. Seattle’s own Thomas Marriott and Brooklyn- FRIDAY and SATURDAY: Make dinner reservations and arrive before 7:00 pm based, Latin trumpeter extraordinaire, Ray to receive a $5 discount on your cover charge.

February 2009 • Earshot Jazz • 21 Practice This! Two Years, Twenty Tips

It’s been two years since the fi rst edi- mistake, try a diff erent combination rations a conversation, fresh and new. tion of Practice Th is! appeared in Ear- of notes, play something you might (Hans Teuber, October 2007) shot Jazz, so we thought it was time to normally play but in reverse, play some- 10. Instead of changing the melody of compile some golden nuggets from the thing soft instead of loud. (Paul Rucker, the tune and improvising a new melody, many talented musicians who have lent December 2007) which is the common practice among us their time, insight, and knowledge. 6. Attack your weaknesses. (Bill An- jazz improvisers, you can start with just If making practicing a priority was one schell, April 2007) changing the rhythm of the melody. of your New Year’s resolutions, you’d 7. You can get bogged down with (Greta Matassa, November 2007) be hard pressed to fi nd a better place to patterns and scales and all the nuts and 11. Practice staying out of the upper start than this group of tips and ideas: bolts of playing an instrument and for- register of the instrument until you get the bigger picture of playing music, need to create excitement in the solo. 1. Practice everything in all twelve which is to convey something to the Going from low to high is one of the keys. (Bill Anschell, April 2007) listener. For most musicians, style is the easiest ways to create excitement. (Rick 2. Th e fi rst step is to familiarize your- way they get their message across. (Mark Mandyck, January 2007) self with the chord tones in a linear Taylor, July 2007) 12. Focus less on note choices and fashion throughout the range of your 8. When improvising, I like to use more on playing with a good time feel instrument. (Chris Spencer, March the intervals in the melody of a tune (and remember that swing feel is trip- 2007) to play off of. If the last two notes of a let based). (Dave Anderson, October 3. Th e key to using a scale is to learn tune’s melody are an interesting inter- 2008) them in every key and to get comfort- val, rather than just using the last two 13. Try devoting part of your practice able enough with them to play them notes as a starting place to improvise, I time to developing a direct line of com- starting on any note of the scale and on can think of the interval between those munication between what you hear and every chord tone. (Jay Th omas, Febru- two notes as a starting point. (Dawn the physical act of playing your instru- ary 2007) Clement, June 2007) ment. (Steve Treseler, August 2008) 4. As a daily exercise, take your in- 9. One way to practice using space 14. Explore the full range of grooves strument and create sounds you have is to try to play things that you don’t and feels, instrumentation, and musical never produced before. (Neil Welch, already hear in your head, that is not possibilities you have at your disposal. December 2008) already lodged in your mind. Th en, you (Th omas Marriott, June 2008) 5. We know our own comfort zone, can make each of your musical collabo- 15. Start recording yourself on some so with the risk of possibly making a level. Record with your voice, or pri-

Make music Seattle Drum School CENTRALto your life. TWO NEW CLASSES at the Georgetown location STUDY with instructor Wayne Horvitz, Saturdays, February 21st–March 28th

Introduction to Improvisation 10:30 - 11:45 Course covers basic theory and practice for learning to improvise over chord structures. Class is geared towards the intermediate player who wants to develop as a soloist. $175 for 6 weeks jazz Beginning Composition for the Young Musician 12:00 - 1:15 at Seattle Central Class is geared towards the intermediate musician who wants to make Community College. composition a part of their musical life. $175 for 6 weeks Call now to reserve your space (206) 763-9700 Contact Brian Kirk at 206.587.4164 Seattle: 12510 15th Ave NE - 206.364.8815 www.seattlecentral.edu

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22 • Earshot Jazz • February 2009 UM Jazz Gitan Americain, 10am C* Alfonse Somebody & Jr Detectives, Wayward mary instrument, or whatever makes Coffee House (8570 Greenwood N), 8 you feel comfortable. (Kevin Nortness, SUNDAY, FEBRUARY 22 C* Finn Hill Jazz Quartet w/ Kay Bailey, Cafe May 2008) BA Here. Now., 7:30 Harlequin (107 Lake Street, Kirkland), 8 C* Lee Redfield Trio & Jam Session, Lucid (5241 C* John Pizzarelli, Edmonds Center for the Arts 16. Anyone can improvise by stretch- University Way NE), 7:30 (410 4th Ave N, Edmonds), 7 ing the time and playing in different FG Vunt Foom, 9 C* Fysah Thomas & Company, Lucid (5241 JA Jane Monheit, 7:30 University Way NE), 9 tempos, but it’s important to keep your MN Tim Kennedy, 8 DL Who Da Bossa, 9 place in the tune and maintain a sense SY Victor Janusz, 10am EB Sunship, 7 TU Jim Cutler Jazz Orchestra, 8 EB Passarim, 11 of the pulse with the rest of the band. TU Fairly Honest Jazz Band, 3 EB Speak w/ Alex Pinto, 9 (Steve Korn, May 2007) WB Brazilian Jazz, 9:30 GB Trish Hatley Trio, 8:30 HA Kay Bailey, 9 17. Whatever a band is trying to do, all MONDAY, FEBRUARY 23 HS Jazz & Sushi, 7:30 the members have to work together to FG Brendan O’Donnell Trio, 9 JA Jeff Lorber, Christian Scott, Kyle Eastwood, achieve that specific goal. (Marc Seales, MM Ruby Bishop, 8 7:30 & 9:30 NO New Orleans Quintet, 6:30 LC Jeni Wren, 7 August 2007) TO Michael Shrieve’s Spellbinder, 9 MM Joseph Rojo, 8 18. Be sure to practice the tunes you TU Open World Russian All-Stars, 7:30 NC Doug Reid Qaurtet, 8 WB Brazilian Jazz, 9:30 NO Voices Of Seattle w/ Elnah Jordan, Katie King like in a variety of styles and tempos. And Reggie Goings, 8 (Marc Fendel, April 2008) TUESDAY, FEBRUARY 24 PM Brian Nova Quartet, 6 DC Eric Verlinde, 7 TU Susan Pascal Quartet, 8 19. Remember that by intentionally DH Tim Kennedy Trio, 9 WS Victor Janusz, 5 doing these things when you practice, EB Jason Parker Quartet, 7 you are training your intuitive ear to JA Elaine Elias, 7:30 27 SLAVAK CHRISTMAS RESCHEDULED! MM Karin Kajita, 8 hear this way; the idea is not to think MX Don Mock, Steve Kim & Charlie Nordstrom, 9 One of the many concerts cancelled last December during our extreme winter weather NO Holotradband, 7 this way while improvising, but to was “Slava! Ukrainian Carols and New Christmas spontaneously create the same drama. TU LIttle Big Band, 7:30 Music,” pianist Michael Owcharuk’s ambitious WB City Jazz, 9:30 project to celebrate his cultural heritage and (David Marriott, September 2008) put on a free concert in the spirit of the holiday WEDNESDAY, FEBRUARY 25 season. Fortunately, the concert has been 20. Gravitate towards what it is you DC Eric Verlinde, 7 rescheduled, and while Christmas, and thank like and investigate that. Be open to new EB Vocal jam, 9 goodness, the snow, has passed this innovative things and to experiencing new forms EB Dave Anderson Quartet, 7 project merits a special trip. JA Elaine Elias, 7:30 Owcharuk commissioned seven composers, of expression. (Stuart MacDonald, MM Bonnie Birch, 8 Jim Knodle, Peter Stevens, William Falconer, Michael Catts, Josh Rawlings, Nate Omdal, NI Buckshot Jazz, 6:30 September 2007) and himself, to each write an original holiday NO Legacy Band w/ Clarence Acox, 8 tune and a new arrangement of a traditional PC Susan Pascal & Friends, noon Ukrainian carol. The composers have a Wow! I don’t know about you, but TD Bill Frisell & Russell Malone, 7 & 9:30 seven-piece band to write for and can use the I’m inspired to practice just writing this TK Ron Weinstein Trio, 8 instruments in any combinations they see fit. TU Dorothy Rodes, Dave Peterson, Jeff Johnson, With Beth Fleenor on clarinets, Jim Knodle article! If you’d like to read any of the 7:30 and Jason Parker on trumpet, Cara Sawyer on complete articles, or to play the cor- TU Dorothy Rodes Quartet w/ Jeff Johnson, French horn, Nate Omdal on bass, Cody Rahn Dave Peterson & Drums, 7:30 on drums, and Michael Owcharuk on piano responding audio and video clips, they WB Jazz w/ RnB, 9:30 and accordion. The results should be a lot of fun, and who says you can’t have Christmas WI Ronnie Pierce, 10 are all available online at http://www. in February! earshot.org. We’d love to hear your sug- THURSDAY, FEBRUARY 26 Trinity Episcopalian Church on First Hill (609 8th Ave) has generously donated their space gestions – if there is a local artist you’d AY Jazz Jam, 9:30 for the rescheduled performance. The concert C* Sara Gazarek, Edmonds Center for the Arts begins at 7:00 pm and it is free. like to have discuss practice strategies (410 4th Ave N, Edmonds), 7 and techniques, let us know! Until next C* Trio Subtonic, Lucid (5241 University Way SATURDAY, FEBRUARY 28 NE), 10 BP David Lanz , 7:00 month, here are our twenty tips from EB Red Dress, 7 & 9 C* Carmen Bradford, Edmonds Center for the JA Jeff Lorber, Christian Scott, Kyle Eastwood, two years of Practice This! to get you Arts (410 4th Ave N, Edmonds), 7 7:30 & 9:30 EB Jim Knodle & Distract Band, 11 going in 2009. LF Teaching, 9 EB Lisa Marshall & Dirty Girls, 9 MM Sandra Locklear, 8 - David Marriott EB Tom Baker Quartet, 7 MY Hans Teuber Trio, 10:30 GB Trish Hatley Trio, 8:30 NO Ham Carson Quintet, 7 Practice This! is an educational project or- HA Emily McIntosh & Karin Kajita, 8 OY Who Da Bossa, 6 ganized by David M. Marriott, Jr. for Earshot JA Jeff Lorber, Christian Scott, Kyle Eastwood, TH HB Radke & Jet City Swingers, 8 7:30 & 9:30 Jazz with sponsorship from The Seattle Drum TK Jeff Alberts, Jeff Johnson & Tad Britton, 8 LC Maggie Laird, 7 School. Each month new lesson by a differ- TU Greta Matassa Jazz Workshop, 7:30 NO Mark Defrense Band ent local jazz artist will appear for students WB Brazilian Jazz, 9:30 PM Brian Nova Quartet w/ Stephanie Porter, 6 to learn from and for non-musician readers FRIDAY, FEBRUARY 27 SY Victor Janusz, 10am to gain insight into the craft of improvising. C* Michael Owcharuk: Slava! Ukrainian Carols, TU Greta Matassa Quartet, 8 An expanded video version of the lesson Trinity Episcopalian Church (609 8th Ave) UM Jazz Gitan Americain, 10am can be linked to from www.earshot.org.

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