Noel Brass Jr

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A Mirror and Focus for the Jazz Community February 2020 Vol. 36, No. 02 EARSHOT JAZZSeattle, Washington

Noel Brass Jr. Photo by Daniel Sheehan EARSHOT JAZZ LETTER FROM THE DIRECTOR A Mirror and Focus for the Jazz Community

Executive Director John Gilbreath Jazz Age, 2.0 Managing Director Karen Caropepe Programs Manager Tara Peters Development Manager Errin Patton Marketing & Development Associate Lucienne Aggarwal Earshot Jazz Editors Lucienne Aggarwal & In the 100 years since 1920’s America ushered in what grew to be called Tara Peters “The Jazz Age,” both the country and the music have grown, and remained the same, in unimaginable ways. Through the years, jazz has become a Contributing Writers Whitney Bashaw, Ian global language while remaining a solid signifier of America’s deep hu- Gwin, Gus Marshall, Rayna Mathis, Paul Rauch, Carlos Snaider manity and unstoppable creative spirit. As Duke Ellington said: “Put it this way: Jazz is a good barometer of freedom... In its beginnings, the Unit- Calendar Editors Carol Levin, Jane Emerson, ed States of America spawned certain ideals of freedom and independence & Tara Peters Photography Daniel Sheehan through which, eventually, jazz was evolved, and the music is so free that Layout Tara Peters many people say it is the only unhampered, unhindered expression of com- Distribution Karen Caropepe, Dan Dubie & plete freedom yet produced in this country.” Earshot Jazz volunteers Yes, actual “freedom and independence” may still feel like elusive ideals Send Calendar Information to: on day-to-day social and economic levels, but if the incredibly good health [email protected] of jazz is still a reliable barometer for human potential, then we have good Board of Directors Danielle Leigh cause for optimism. There is no better place to catch a Doppler overview (President), Chris Icasiano (Vice President), of today’s jazz forecast than in New York City, especially in the January Chris Nutter (Secretary), Sheila Hughes deluge of showcases, meetings, and concerts as part of the Association of (Treasurer), John W. Comerford, Maurice Performing Arts Presenters (APAP) and Chamber Music America (CMA) James, Kenneth W. Masters, Gail Pettis, Ruby Smith Love, Diane Wah conferences in mid-Town Manhattan; the Jazz Congress at Jazz at Lincoln Center; and the NYC Winter JazzFest, which puts up close to 200 perfor- Emeritus Board Members Clarence Acox, Sue mances across the East and West Village and Brooklyn. All of this within Coliton, Taina Honkalehto, Hideo Makihara, a two-week period. And, of course, Seattle jazz is brilliantly represented in Peter Monaghan, Kenneth W. Masters, Lola Pedrini, Paul Toliver, Cuong Vu that larger context by performing artists, fans, and industry professionals. The Earshot Jazz organization is proud to serve as a broad platform for Founded in 1984 by Paul de Barros, Gary Seattle’s well-respected jazz community. Reflecting the vibrancy of the Bannister, and Allen Youngblood. Earshot art form locally and nationally, Earshot is coming into 2020 having just Jazz is published monthly and is available completed the best year in our 35-year history. We are so grateful to our online at earshot.org. national funders, and to everyone in this community of artists, educators, Subscription (with membership): $35 fans and supporters. Thank you for your incredible support! 3417 Fremont Ave N, #221 This issue carries many opportunities for you to join us. In addition to Seattle, WA 98103 news, previews, profiles, and promotion of jazz events going on around the phone / (206) 547-6763 city this month, we invite you to cast your thoughtful ballot for this year’s Earshot Jazz ISSN 1077-0984 Golden Ear and Seattle Jazz Hall of Fame Awards. And please plan to join Printed by Yakima Herald-Republic us at the awards party at the Royal Room on March 9, with Jim Wilke as © 2020 Earshot Jazz Society of Seattle Master of the Ceremonies, and world class music by Marina Albero. So, dig in and enjoy this issue. As always, you can find additional and MISSION STATEMENT updated information online at earshot.org. All of it is made possible by To ensure the legacy and progression your individual donations. of the art form, Earshot Jazz cultivates Thank you! a vibrant jazz community by engaging –John Gilbreath, Executive Director audiences, celebrating artists, and supporting arts education.

2 • EARSHOT JAZZ • February 2020 NOTES

FACE Foundation Call for 4Culture Arts Project Grant at least 18 years old, and a resident of Applications Applications Open King County. Numerous application FACE Foundation, in collabora- Individuals and groups from any ar- workshops are available at various lo- tion with the Cultural Services of tistic discipline may apply for 4Cul- cations throughout February. The ap- the French Embassy in the U.S., ture’s Arts Project grant to fund their plication deadline is March 4. For de- is requesting applications for their project. Apart from the project’s ar- tails visit 4culture.org 2020–2021 Jazz & New Music Pro- tistic rationale, one of the core crite- Nicholas-Salas Harris named as gram. The program awards three dif- ria for this project is its availability to PDX Jazz Artistic Director ferent grants: creative grants, residency the public. This year’s round of fund- PDX Jazz, the largest organization grants, and touring grants for eligible ing supports project needs after June presenting jazz in Oregon, has an- projects jointly conceived with French 1, 2020 till June 1, 2022, with com- and American musicians. Funding is petitive grants in fixed amounts from offered to American or French non- $2,500 to $8,500. Applicants must be CONTINUED ON PAGE 19 profit organizations who represent individual artists or ensembles. The application deadline is March 2. Visit face-foundation.org for more details and application. KNKX Piano Starts Here Series Continues in 2020 The Piano Starts Here series presented by KNKX, highlights the work of some of the most prolific and talented composers and pianists. The year-long series brings together Seattle’s finest pianists to perform the works of famed pianists. Hosted by Alex Guilbert, the series will explore the music of Keith Jarrett, Ragtime jazz, the music of Dave Brubeck and John Lewis, among others. All shows will start at 7:30PM and are held at the Royal Room. For tickets and details visit theroyalroomseattle.com North City Jazz Walk Accepting Submissions The North City Jazz Walk committee is accepting submissions for musicians for the 2020 event, which will be held Tuesday, August 11 in Shoreline. Art- ists should send an email, with links to their websites and/or samples of their music to musicdirector@northcity- jazzwalk.org.

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

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

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

4 • EARSHOT JAZZ • February 2020

JAZZ TRAVELS The Bass Church The Bass Church The Bass Church The Northwest double bass specialists The Northwest double bass specialists The Northwest double bass specialists

Part of a Larger Dialouge www.basschurch.com www.basschurch.com www.basschurch.com

Sales, Rentals, Sales, Rentals, Sales, Rentals, Each January, New York City comes alive with Winter JazzFest, Jazz Congress Repairs, Restorations, Repairs, Restorations, Repairs, Restorations, at Lincoln Center, and the Association of Performing Arts Professionals (APAP) Lessons Lessons Lessons conference, described as “the world’s largest performing arts marketplace.” This Convenient North Seattle Location Convenient North Seattle Location Convenient North Seattle Location buzzing week is a reflection and celebration of the global jazz scene: never still and as diverse as the music itself. Halynn Blanchard, Earshot Jazz’s Production (206)784-6626 (206)784-6626 (206)784-6626 Manager, reports back on her week-long immersion into this rich environment. 9716 Phinney Ave. N. 9716 Phinney Ave. N. 9716 Phinney Ave. N. Seattle, WA. 98103 Seattle, WA. 98103 Seattle, WA. 98103 Earshot Jazz: Describe what the NYC-Seattle connection means to you ~by appointment only~ ~by appointment only~ ~by appointment only~

Halynn Blanchard: There is a larger dialogue happening among people who own “jazz” as a thread in their identity. We are musicians and artists; seekers and listeners; writers; archivists; educators and students; and visionaries and volunteers. All of us with our toes in jazz could submit a hundred separate reflections The Bass Church The Bass Church The Bass Church on what jazz means, where we see it going, and what its priorities should be. Jazz The Northwest double bass specialists The Northwest double bass specialists The Northwest double bass specialists is a language for society. www.basschurch.com www.basschurch.com www.basschurch.com Being a representative for Seattle jazz while in New York, I recognize we have our own microcosm here. We are valuable and thriving. We can share our stories and expand our ecosystem. A fairly accessible way to tangibly engage with what is happening in New York City, is to visit and listen. Sales, Rentals, Sales, Rentals, Sales, Rentals, EJ: Which talk was the most impactful to you and why? Repairs, Restorations, Repairs, Restorations, Repairs, Restorations, HB: The eloquent NYC guitar mainstay Mark Whitfield was one of the panel- Lessons Lessons Lessons Convenient North Seattle Location Convenient North Seattle Location Convenient North Seattle Location ists challenged to answer the question of how to pay homage to players you’ve studied and emulated, while discovering and remaining true to your own sound. (206)784-6626 (206)784-6626 (206)784-6626 Whitfield says he was told “When you start to trust yourself, you’re gonna re- 9716 Phinney Ave. N. 9716 Phinney Ave. N. 9716 Phinney Ave. N. Seattle, WA. 98103 Seattle, WA. 98103 Seattle, WA. 98103 ally play something...You won’t get to the essence of what you can offer as an ~by appointment only~ ~by appointment only~ ~by appointment only~ artist, until you get to the essence of who you are...Often, we get rewarded for plagiarism, in getting from A to B. You have to have confidence to be yourself.

Your spirit will start to shine and you’ll be rewarded for the right things. Honor your own thumbprint, your own destiny.” The Bass Church The Bass Church The Bass Church EJ: Which performance was the most impactful to you and why? The Northwest double bass specialists The Northwest double bass specialists The Northwest double bass specialists HB: This year’s Winter JazzFest offered a new weekend “marathon” lineup in www.basschurch.com www.basschurch.com www.basschurch.com Brooklyn. The weekend prior, a two-day marathon packed ten Manhattan venues. Centered in Williamsburg, six spaces hosted groups from Keyon Harrold, Wayne Horvitz & Sara Schoenbeck, Mwenso & The Shakes, Kneebody + Mark

Guiliana, Sasha Berliner and DJ Quantic. For myself and the bouncing room Sales, Rentals, Sales, Rentals, Sales, Rentals, in the Music Hall of Williamsburg, Brooklyn’s own Phony Ppl stole the show. Repairs, Restorations, Repairs, Restorations, Repairs, Restorations, The fearless five-man band is known for their fun, impossibly engaging shows. Lessons Lessons Lessons

Convenient North Seattle Location Convenient North Seattle Location Convenient North Seattle Location EJ: What else did you learn at Winter JazzFest that you hope to apply to

your own practice or community? (206)784-6626 (206)784-6626 (206)784-6626 HB: Jazz needs women, and not the other way around. One thing that would 9716 Phinney Ave. N. 9716 Phinney Ave. N. 9716 Phinney Ave. N. help is not having just one token woman in a band. The process to outgrow Seattle, WA. 98103 Seattle, WA. 98103 Seattle, WA. 98103 ~by appointment only~ ~by appointment only~ ~by appointment only~

CONTINUED ON PAGE 23

February 2020 • EARSHOT JAZZ • 5 PROFILE Noel Brass Jr.: Open Soul Policy

By Gus Marshall posed young Noel early and often to a wide array Noel Brass Jr. is a genuine of exceptional music. At practitioner of true sponta- home, Duke Ellington, neous creation. He is a key- Gabor Szabo, and Nat boardist and humble purist, King Cole were a com- whose tireless dedication to mon source of familial the art of impermanent in- entertainment, and a spiration has bestowed him mainstay of dinnertime with a remarkable sense of accompaniment. improvisational patience. At the same time, other “I’m kind of starting off less-than-conventional sketching, or molding sounds were also on the clay, building little musical radar of the budding monuments almost, tone musician. “I listened to poems, architecture,” says lots of punk and jazz,” Brass in reference to his cre- says Brass. “Hip-hop ative process. This patient and new wave, every- building is on full display thing was given a listen.” throughout Brass’ soul- Early on Brass began ful and contemplative solo to hone his craft and exploration Broken Cloud grow his ears, embrac- Orchestra (Wax Thema- ing his aptitude for im- tique 2017), an outstand- provisational perfor- ing achievement in acces- mance and composition. sible ambience and spiritual In 2004, Brass took a minimalism. train from Chicago to Sparse synthesized mo- Seattle. Curious to check tifs are delicately draped out a new city and a new over a tasteful reverberat- scene, he hit the ground ing Fender Rhodes, evok- running, and within a ing imagery of a somber NOEL BRASS JR. PHOTO BY DANIEL SHEEHAN few months assembled the soundscape on a foreign plan- Like the paint strokes. That’s why I like psychedelic jazz trio Af- et. Meditative premonitions slowly ambient movements. It doesn’t have to rocop. A weekly Saturday night gig morph, breathe, and are allowed time be a grandiose statement all the time: it at the small Ballard pub The Step- to grow before they are meticulously can just be a feeling, transporting you ping Stone, allowed Brass—along sculpted and sketched into existence. somewhere else. There’s a lot of differ- with founding bassist Quintin Mus- “The element of what I want to bring ent planets; why not visit a bunch?” grove and drummer Justin Hills—to is that transformative, kind of other- Hailing from the Midwest, Noel build a strong musical foundation. worldly improvisation,” explains Brass. Brass Jr. grew up in the suburban city Shortly after Afrocop’s inception, “Where you feel like you’re getting it of Joliet, Illinois, 40 miles southwest Brass met current drummer (and now from a different source...being open, of Chicago. Growing up in a middle longtime collaborator and co-conspir- being patient, not rushing your ideas. class, Baptist, pro-union family ex- ator) Andy Sells, through a Seattle

6 • EARSHOT JAZZ • February 2020 Drum School gig substitute service. ideas, you can leave the band, if some- lenge, to listen, and staying connected “Once I met Andy though, it kind of one else has ideas, come sit in with us. to the overall themes.” changed the dynamic and structure, Not everybody gets that idea. It’s very The aural soundscapes being teased because Andy had been playing in the democratic, it’s for people who have out in real-time at Afrocop’s hypnotic city for years, and I didn’t know too ideas. But it’s not just like, here, let me live performances are often comple- many people that were already invest- come in and play a bunch of solos.” mented through visual landscapes that ed in the city. And that to me was a The “open soul policy” also serves play off of the sonic themes created by big deal, because I needed that kind of as an optimistic attempt to keep the live visual artist blazinspace. Afrocop backing to push forward and come up music fresh, honest and uninhib- and blazinspace’s collaborations have with better ideas,” says Brass. ited by ego. It is a clever approach been explored at venues ranging from The weekly gig challenged the group to the inevitable loss of free flow- Vito’s to Lofi to a recent appearance at as individuals and shaped them as ing creativity. While enacted to en- the Timbre Room as part of the Ear- a unit. “Every Saturday, we would courage a spirit of constant creative shot Jazz Festival’s DJ Series. play all night. And you have to come manifestation, in the end it all boils As a leader, Brass embraces the chal- up with a shit ton of ideas when you down to communication and trust. lenges and the connectivity that comes are improvising all night, especially “There’s limitations to everything, from sustained improvisation, re- if you don’t have any heads or any- right?” asks Brass. “Sometimes com- sulting in the communal building of thing. We were just coming up with munication is key: you have to work ideas. “Overall, I see more benefits if stuff, and I always thought that’s together at all times. Even if you’re you give someone a skeleton of chords. where I wanted to push the band.” going in a place where it’s unfamiliar, That way you’re working between With the addition of Carlos Tullos on we’re all traveling in that same realm. those ideas, but if you know the hab- bass and baritone guitar in 2011, Brass A lot of times we have to just carry on, its of each other, as [Afrocop has] been began to reach out and explore what even though you get into weird mo- playing together for a long time, you he refers to as ‘psychedelic gospel lean- ments of sound, and the vibe is almost become more fine-tuned and more ings’, and the group began to take on a spookier: you can’t explain it, it’s just of a moving machine together, rather more intentional approach. strange, surreal almost. You’re uncov- than sluggish pieces on their own. And While traveling through the often ering, excavating almost, and then you those individual sounds and those in- murky waters of spur-of-the-moment see further truths that you don’t even dividual voices from the trio really get composition, Brass and company de- know about,” muses Brass. to shine. Not just in solos, but working veloped a unique mantra, a life jack- “That’s the beauty I guess, and the together for the greater purpose.” et of sorts. “We call it an open soul scary part of it: you’re just traveling Afrocop performs at Vito’s on Saturday, policy,” declares Brass. “That is kind along until different things shift you February 29, 9pm. Free. 21+ of what Afrocop is about. We keep it to say otherwise. That can be a chal- that way, just so if someone runs out of

February 2020 • EARSHOT JAZZ • 7 PREVIEW >> Westerlies Fest

February 6–9 Various venues, Seattle Shake off the winter blues, a wind is blowing in on brass. The Westerlies, a Seattle-grown, New York-based brass quartet are gearing up for their second annual Westerlies Fest in February, of- fering four days of music, poetry, and education. Named for their eastward movement, The Westerlies craft a genre-shifting big band experience with Riley Mul- herkar and Chloe Rowlands on trumpet and Andy Clausen and Willem de Koch on trombone. “There’s something special in the way that Seattle as a city values mu- CELISSE HENDERSON PHOTO BY CHRISTOPHER BOUDEWYNS TROY OSAKI PHOTO COURTESY OF THE ARTIST sic education,” de Koch said. Wanting De Koch expresses the impact visiting to give back to the city that cultivated An important component to the festival for the band is the public school musicians had on him as a student and their musical talent and trajectory, The performer and how it helped shape his Westerlies have developed their own workshops for the music departments. They reached more than 500 local stu- future. “It was important for us to see festival in Seattle, bringing together what it could be like to be a profession- the musicians they work with from dents through eight in-school concerts at their inaugural festival. al musician at an early age…I think it both coasts. made that pathway seem much more

Seattle Jazz and Culture Festival 2020 February 8th - March 1st Celebrating Jazz in Seattle and its Culture

Jazz In The City’s (JITC) inaugural Seattle Jazz and Culture Festival features a variety of jazz and jazz influenced artists at two venues: The Triple Door in downtown Seattle and the Frye Art Museum auditorium on First Hill. More information available at jazzinthecity.com.

8 • EARSHOT JAZZ • February 2020 attainable,” de de Koch said, Koch says. “So is making the I think for us, Sunday pro- we’re trying to gramming free do our part as and open to all. best we can to Sunday, Febru- nourish that ary 9, will bring music education a community- and try to have focused work- some sort of rep- shop and jam resentation for session with the what these other band. The West- students might erlies will host a want to do.” listening ses- The festival is sion with their hosted in four favorite music venues: Town CHLOE ROWLANDS, ANDY CLAUSEN, RILEY MULHERKAR, WILLEM DE KOCH BY SHERVIN LAINEZ and unpack it in Hall Seattle, conversation. The Chapel Per- might enjoy and take local Seattle art- The festival is formance Space, The Royal Room, ists that we believed in and give them the biggest undertaking of the band’s and Nickerson Studios at Seattle Pa- a bigger platform in the city to present charitable arm, de Koch says, but cific University. their music.” band members are involved in edu- While a small festival, the lineup is Celisse performs at The Royal Room cational projects throughout the year. eclectic with performances by soul on Thursday, February 6; Holcomb at The group gained nonprofit 501(c)(3) and blues singer/guitarist Celisse Hen- The Chapel Performance Space on Fri- status in March 2017, giving them in- derson, singer-songwriter Robin Hol- day; and Kay and Kaye at Town Hall stitutional backing to broaden their comb, poet Troy Osaki, and spoken- on Saturday. The Westerlies will close impact. word duo Sarah Kay and Phil Kaye. out the festival on Sunday, February 9. A full pass to the four-day event is The Westerlies perform at each show, The first Westerlies Fest took place in an affordable $50, while individual as well. September of 2018, and the group has concerts are $25 a piece and $15 for As de Koch explains, The Westerlies learned a bit since then. To avoid being students. see this as an opportunity “to show- stretched thin, they are holding their –Whitney Bashaw case friends of ours from New York in-school workshops on separate days For tickets visit westerliesfest.org. who we think our Seattle audience from the concerts. One major change,

February 2020 • EARSHOT JAZZ • 9 PREVIEW >> Seattle Jazz and Culture Festival

February 8–March 1 Marsalis brings his time-tested quar- Triple Door & Frye Art Museum tet on the heels of their Grammy nominated 2019 release, The Secret Jazz in the City takes a giant leap for- Between the Shadow and the Soul. Pia- ward in presenting the inaugural Se- nist Joey Calderazzo, bassist Eric Re- attle Jazz and Culture Festival 2020, vis and drummer Justin Faulkner have with performances at the Triple Door formed an intrinsic bond with the in- and Frye Art Museum Auditorium. trepid saxophonist over time, making Produced by Dr. James Gore and Ariel these Triple Door dates highlights on Media, the festival will run from Feb- the 2020 jazz calendar in Seattle. The ruary 8th–March 1st, with the aim quartet will perform over four nights of celebrating the bilateral influence from February 20–22. of jazz music on art and culture. The Seattle’s own Kassa Overall returns festival builds on the Jazz in the City from New York on March 1 at the free, bi-monthly performance series at Triple Door to perform his music that the Frye Art Museum. The program- lives on the cutting edge of post-bop ming displays the global absorption of modernism, and hip-hop. His Seattle America’s quintessential art form, per- KASSA OVERALL PHOTO COURTESY OF THE ARTIST appearance is in celebration of his just- formed by both local and visiting jazz, released second full-length album I The dynamic duo of bassist Evan and jazz-influenced artists. Think I’m Good. Since the release of Flory-Barnes and drummer D’Vonne Featured festival artists include, the his 2019 album, Go Get Ice Cream and Lewis plus soul jazz singer/songwriter Branford Marsalis Quartet, Mark Listen to Jazz, he has gained acclaim Darrius Willrich make Folks Project. Guiliana, Folks Project, Eugenie internationally for his genuine sound- They perform at the Triple Door on Jones, Kassa Overall, Laila Biali, Tuck ing amalgam of contemporary forms. February 12 in celebration of their and Patti, Stanton Moore, and the Pa- album Folks Project Live at the Triple tricia Barber Trio.

10 • EARSHOT JAZZ • February 2020 Door. Willrich’s soulful approach 1920’s and 30’s which flourished dur- To honor this history and inspire brings an interesting dynamic to the ing Prohibition. future generations, Dr. James Gore trio, rounded out by Lewis and Flory- While unions and union jobs for founded the Jackson Street Music Barnes who are well-known as leaders musicians were under the grasp of Program, which provides experiential in evolving cutting edge music in Se- segregation, the clubs on Jackson St. learning programs to youth including attle. provided sanctuary for musicians and the Youth Air radio show, free concert The festival sheds light on, and cele- music patrons alike. Many of the great tickets to Jazz in the City concerts, in- brates Seattle’s rich jazz history, which African American musicians perform- ternships, lectures, and more. began with African American musi- ing for all white audiences downtown, Pushing its programing to the next cians at the turn of the twentieth cen- would make their way to the hill, to level, Jazz in the City’s Seattle Jazz and tury. Seattle’s first jazz musicians ar- jam long into the night in the base- Culture Festival celebrates a legacy of rived in Vaudeville shows, in the mili- ment clubs along Jackson St. The story an art form and culture unique and vi- tary, or on tour with jazz giants such as of that musical and cultural explosion tal to the history of our city and adds a Jelly Roll Morton. The culture evolved is told aptly by Paul de Barros in his new chapter to its continuum. into the Jackson St. Jazz District in the book, Jackson Street After Hours: The –Paul Rauch Roots of Jazz in Seattle. For details visit jazzinthecity.com.

February 2020 • EARSHOT JAZZ • 11 PREVIEW >> Tim Berne and Matt Mitchell

Thursday, February 13, 7:30pm Royal Room 5000 Rainier Ave S Both virtuoso instrumentalists, composers, and bandleaders in their own right, saxophonist Tim Berne and like- minded pianist Matt Mitchell have been collaborating for over a decade. As in the dynamic relationship between Charles Mingus and drummer Dannie Richmond, their elective af- finities are nothing short of explosive. Listeners can catch them at work Feb- ruary 13th at the Royal Room. “I’m a very blue-collar composer, not a white collar one,” Berne once said of himself. Taking to heart his early MATT MITCHELL AND TIME BERNE PHOTO BY PIERRE NADLER teacher Julius Hemphill’s impeccable tone, compositional fluency, and do-it- the very beginning. A graduate of the the 2017 solo release Førage, released yourself ethic, Berne started his early Eastman School of Music, Mitchell on Berne’s own Screwgun records. career in New York’s downtown scene has worked as a sideman for the likes Digging through the melodies that in the early eighties. The patient inten- of Rudresh Mahanthappa, Linda May inspired him, Mitchell scrupulously sity of his playing prompted NPR to Han Oh, and released four recordings came to his own interpretations. “The call him “a master of slow cooking,” as a leader on Pi records. The New way Matt improvises on this record is whose long form improvisations ex- York Times has praised him as a “pia- the epitome of melodic/thematic im- pand and contract “like a road novel, nist of burrowing focus and an indis- provisation that I really like,” Berne full of picaresque or elliptical episodes, pensable fixture of the contemporary said of the release, “No one could’ve with heroes who end up far from where vanguard.” gone into the same level of detail…” they started.” Mitchell first came into contact with In 2018, the duo released Angel Dusk, Now a respected leader in new mu- Berne in the late 90’s, contacting him also on Screwgun. A sparse, uniquely sic, he brings the harmonic and con- for copies of his scores, yet it was only lyrical exploration of their chemistry, trapuntal force of his work in projects later, in 2009 when the two played the album documents Mitchell’s mas- such as Sun of Goldfinger, a scalding together after which Berne promptly terful mix of various voices and Berne’s trio with guitarist/producer David hired Mitchell. “My association with quick shifts in texture, as well as their Torn and drummer Ches Smith, a Tim is a very proud and rewarding respective music’s mesmerizing unison member of Berne’s critically acclaimed one for me,” Mitchell has said, “one passages. “He might even know it even group Snakeoil, which since 2012 has that seems to have no end in sight, better than I do at this point,” Berne been recording on the esteemed ECM fortunately.” has said of Mitchell’s interpretations. label. With their group Snakeoil, the pia- Perhaps because by this point, every- Pianist Matt Mitchell, has shared nist approached Berne’s ornate multi- one knows the score. Berne’s attention to detail and radi- part writing by adapting the full score –Ian Gwin to piano. Mitchell recorded a version cal commitment to musical ideas since Tickets available at earshot.org. of this improvised counterpoint on

12 • EARSHOT JAZZ • February 2020 PREVIEW >> Jamie Branch FLY or DIE

Tuesday, February 18, 7:30pm Royal Room 5000 Rainier Ave S The modern era of jazz and improvised music has ushered in a new generation of prophetic voices and community-driven sounds that are quick to dispel any question that the art form remains a living one. Trum- peter and bandleader Jamie Branch is certainly high on this list, and Seattle will be graced by her mind-expanding quartet on February 18th at the Royal Room in Columbia City. Get ready for a concert with sounds that are deeply of this time, addressing the pain of our sociopolitical climate while carrying a JAIMIE BRANCH PHOTO BY DAWID LASKOWSKI celebratory torch that we all need to get through it all. Chad Taylor, who trace their roots ly Chicago sound in New York that A Chicago-bred trumpeter and re- back to Chicago with Branch. launched her onto a global stage. The cent transplant to New York City, The ensemble offers a combination of sequel is the development of that pro- Branch has struck a formula in her pizzicato (plucked) cello and bass lock cess through years of touring Europe creative expression that carries forward in with drums to create playful, warp- and beyond. Part collectivist sonic an- the spirit of protest and raw commu- ing grooves that echo rhythms from them, part political lament on Ameri- nal sound in jazz and the avant-garde, around the world, with Branch at the can empire, part celebration of roots without losing sight of a spirit and helm guiding us all to other-worldly and personal history, FLY or DIE II message that is wholly for the present sonic experiences. sees Branch deepen her unique sound- moment. Her distinctive style of free- If “fly” and “die” are to be under- forward compositional process, as well jazz is a synthesis of Chicago Creative stood as opposites, wherein musical as documents her expansion into new Music, punk, hip-hop, post-rock, ska, freedom and transgression always ex- expressive modalities. Along with her and much more. In October 2019, ist in proximity to criminal ways of ever-shining trumpet shouts that move Branch released FLY or DIE II: bird the world that would otherwise bring between raucous beauty and trickster- dogs of paradise, the much-anticipated about its destruction, Branch’s FLY or like melodies, the album features sequel to her 2017 debut album Fly or DIE quartet fearlessly embraces such Branch’s first ventures into singing, as Die, which took the jazz world and be- liminality with no-nonsense musical well as a wide use of electronics. The yond by storm. FLY or DIE II features rejoicing. Sacrificing nothing and risk- album is an undeniable celebration the same instrumentation of trumpet, ing everything, FLY or DIE is a call to of the legendary Chicago jazz scene, cello, bass, and drums, yet the new outdo the demons of the world with which Branch herself has described as version of the band features young the most abundant, spirited celebra- having a “punk aesthetic.” Bring big cellist Lester St. Louis in the place of tion of life through community-mind- ears and zero pretenses to this one. Tomeka Reid, alongside the original ed music. –Carlos Snaider The first Fly or Die album evokes bassist Jason Ajemian and drummer Tickets available at earshot.org. Branch’s presentation of a distinctive-

February 2020 • EARSHOT JAZZ • 13 PREVIEW >> 188 Sullivan: Charlie Parker’s New York in the ‘50’s

STUART MACDONALD PHOTO BY DANIEL SHEEHAN D’VONNE LEWIS PHOTO BY DANIEL SHEEHAN BONNIE WHITING PHOTO COURTESY OF THE ARTIST

Monday, February 24, 7:30pm that Bird lives through the next cen- composer Wayne Horvitz for Seattle Royal Room tury with a night of tributes and origi- Modern Orchestra (SMO), conducted 5000 Rainier Ave S nal music. by Julia Tai. The piece takes its inspira- The night will explore different fac- tion from Parker’s brief encounter with It’s hard to overestimate the impor- ets of Parker’s life and work. Soprano another great New York modernist, tance of Charlie “Bird” Parker, the co- Angela Brown, who plays Parker’s the French composer Edgar Varèse. inventor of bebop whose extravagant mother Addie in Yardbird, will bring Himself drawing deeply from the skill as a composer and alto-saxophon- the opera’s drama back to the club by classical tradition, Parker was enam- ist shaped the very soul of jazz to come. performing a short spoken-word piece ored of then-down-and-out Varèse, As Miles Davis once stated: “You can “Discography,” written by Wimberly, whose bombastic rhythm-centered tell the history of jazz in four words: the opera’s librettist for vocals and compositions formed the beginnings Louis Armstrong, Charlie Parker.” small jazz ensemble. of modern electronic music. Accord- One hundred years after his birth, the Despite Parker’s tragic death in 1955 ing to legend, Parker followed the Seattle Opera presents Charlie Parker’s after a heroin overdose, he had already composer through Greenwich Vil- Yardbird, a one-act opera written by triumphed with his music. Besides lage, begging the composer for lessons composer/saxophonist Daniel Schny- his recorded work, often imitated but in composition. Though they ended der and poet/playwright Bridgette seldom duplicated, his compositions up meeting at the composer’s apart- Wimberly. The opera follows Kansas- have since become classics, and will be ment—188 Sullivan Street—Parker born Parker, who, stuck in limbo after featured by a quartet led by drummer died in 1955 after Varèse left for Paris his death, returns to the famous New D’Vonne Lewis (last year’s Golden Ear to begin his early work for orchestra York club Birdland (named in his hon- instrumentalist of the year), featuring and tape, Déserts. or) to compose a final masterpiece. Stuart MacDonald (sax), Tim Kenne- Though Horvitz doubts the two mu- On February 24th, presented in as- dy (piano), and Michael Glynn (bass). sicians wouldn’t have gone further sociation with the Seattle Opera and The night will also feature a premiere than mutual admiration if Bird had KNKX, the Royal Room will prove of “188 Sullivan,” written by pianist/ lived longer, he does point out that

14 • EARSHOT JAZZ • February 2020 Varèse later became involved in jam- sessions with musicians like Charles Mingus and Hal Overton. “The cross pollination of ideas and aesthetics is impossible to avoid, and we’d be poor human beings if we tried,” Horvitz explains of the affini- ties between the modes of classical and jazz music. Earle Brown, another composer of that era influenced by New York’s crossing currents, was featured by SMO in last fall’s Earshot Jazz Fes- tival, in addition to George Lewis, Tyshawn Sorey, and Horvitz. “James Falzone with be the featured improvising soloist, but the other musicians will be making contributions as well, improvising within certain parameters and within the constructs of ‘conduction.’” Horvitz said of the piece, which features himself (electronics), Falzone (clarinet), Bonnie Whiting (percussion), and Cristina Valdés (piano). Conduction refers to the conducting of an improvised ensemble, often with a different set of signals than standard classical conducting. Conductor Julia Tai emphasizes improvisation as a characteristic of jazz that has returned into contemporary classical music. “My role as a conductor is to understand and shape the piece, while giving musicians enough space to come up with their own ma- terial,” she explains, reveling in the music of the moment. “It’s going to be really fun, and it’ll be different every time! –Ian Gwin Visit theroyalroomseattle.com for tickets and information.

Seattle Opera’s production of Charlie Parker’s Yardbird runs from February 22–March 7. Visit seattleopera.org for details.

February 2020 • EARSHOT JAZZ • 15 PREVIEW >> 17th Annual Biamp PDX Jazz Festival

February 19–March 1 Various Venues, Portland, OR The 2020 Biamp PDX Jazz Festival charges into its 17th year filled with powerful, grooving, soul shaking talent from all over the PNW and beyond. In celebration of Black History Month, from Wednesday, February 19 through Sunday, March 1, music lov- ers can expect to drown in the sounds of the evolution of jazz from its Afri- can roots, to its birth in America, and now to an upholding of these tradi- tions in our very own southern cousin. Over 100 ticketed events will be offered during the festival, with a lineup DAN TEPFER PHOTO BY JOSH GOLEMAN KENNY GARRETT PHOTO COURTESY OF THE ARTIST drawing audiences from all over the country. equally. Gather at any of the nearly 15 kick off the festival on Wednesday, fol- Historically, the Biamp PDX Jazz different venues in Portland to witness lowed by a much-anticipated perfor- Festival has been all about taking history unfold right before your eyes. mance by percussion duo-led, Ghost- chances and challenging the jazz world Come and join this musical revolution Note and R&B singer, Liv Warfield to embrace some of the most dynamic starting with the avant-garde pianist, the next night. The father-son piano- artists on the scene, and this year is composer, found-sound mixer, and drummer team of Terry and Gyan no different. Local artists share the producer Mark de Clive-Lowe and Riley kick off the first weekend of the stage with the seasoned and the rising, jazz trumpeter, Jaimie Branch, who festival, followed by NEA Jazz Master,

16 • EARSHOT JAZZ • February 2020 legendary saxophonist, and musical innovator Archie Shepp, and the in- destructible 15-person Brooklyn-based afrobeat collective Antibalas (Span- ish for bullet-proof) with guest performance by Seattle’s own The True Loves. Performances from Branford Marsalis, Larry Carlton and Stanley Jordon start the opening weekend off strong. The festival’s first full week hits the ground running with performances by Omar Sosa & Yilian Cañizares: Aguas Trio featuring Gustavo Ovalles, David Sanborn Jazz Quin- tet, Tuck & Patti, Terrace Martin, Eric Gales with Ron Artis II and the OMAR SOSA AND YILIAN CAÑIZARES PHOTO BY DAWID LASKOWSKI Truth, Kat Edmonson and Halie Loren, and Miguel Zenón Quartet. Just when you think this jazz-packed Machines, and Kenny Garrett and Highlighting local Portland-based festival couldn’t get any better, closing María Grand. musicians is an essential element to the weekend features drummer, Stanton The Biamp PDX Jazz Festival was Biamp PDX Jazz Festival’s mission. Moore and his trio and the New Or- originally founded as a cultural tour- Coming into the spotlight this year leans based four-piece NOLATET on ism initiative highlighting jazz educa- is alternative jazz band, Blue Cranes, the Friday lineup. Cruising into the tion and outreach programs for Port- and vocalist, Jimmie Herrod, who Saturday headliner spot presented at land’s schools and community. Stay- will be performing with master vocal- the Portland Art Museum is bassist/ ing true to its foundation, this year ist, Kandace Springs during open- vocalist/past member of Young Jazz the festival is focusing on an education ing weekend. The much adored piano Giants, Thundercat with guest per- initiative in close collaboration with performances once again make a mes- formances by vocalist, Georgia Anne Portland State University. merizing mid-week return. Seizing Muldrow and jazz pop duo, Brown –Rayna Mathis the keys first up are NEA Jazz Master Calculus. Closing weekend events Tickets, full schedule, and more in- Kenny Barron and John Medeski, also feature performances by Don- formation available at pdxjazz.com or followed by James Francies and Aar- ald Harrison, Mike Clark & Wil 503-228-5299. on Goldberg later in the week. Blades Trio, Dan Tepfer: Natural

Seattle Drum School of Music We offer quality private instruction for instrumentalists and vocalists of all ages and experience levels. We are pleased to welcome new instructors to our staff:  Alex Dugdale (saxophone, clarinet, trumpet)  Darrius Willrich (piano, voice)  Qiuchen Wang (vibraphone, marimba, piano, drums) *Gift Certificates available NOW for the holidays* For more information, please contact us directly at: (206) 364-8815 - [email protected] - www.seattledrumschool.com

February 2020 • EARSHOT JAZZ • 17 PREVIEW >> Miguel Zenón Quartet

Saturday, February 29, 8pm Town Hall Forum 1119 8th Ave Alto saxophonist Miguel Zenón ar- rives for a February 29th date in Se- attle. Zenón possesses the usual accolades associated with someone of his stature in music, including multiple Grammy nominations and recordings both as a leader and sideman. He is held in high regard for his prodigious virtuosity and artistry and is well- known as a founding member of the SFJAZZ Collective, whom he spent 14 years with. Accolades aside, Zenón’s true legend HENRY COLE, MIGUEL ZENÓN, HANS GLAWISCHNIG, LUIS PERDOMO PHOTO COURTESY OF THE ARTIST is the propagation of new ideas in music, which he does by expressing his modernism. Make no mistake—this is Caracas-born pianist Luis Perdomo Puerto Rican heritage through jazz in not music rising from Afro-Caribbean draws parallels to his bandmates with such a way that creates new form. Latin jazz forms. Zenón’s composi- his vision that traverses world cul- Throughout his illustrious career, the tions for this eclectic ensemble venture ture. Perdomo’s current residency in musician/composer has created music into a very modern aesthetic of jazz. the quartets of Zenón and Ravi Col- that touches the jazz tradition in such Zenón’s alto style is punctuated by trane illuminates perfectly his stylis- a way that is as unique to America’s his bright, ornate tone ignited by a true tic tendencies. Perdomo’s intelligent, quintessential art form as the rich cul- sense of intellectual curiosity. His solos empathic playing is truly the tie that ture of Puerto Rico is to American cul- can begin in a very ordinary sense and binds this quartet as one. ture at large. slowly build into something extraordi- Austrian-born bassist Hans Glawis- For his date at Town Hall, Zenón nary. By rite of his own compositional chnig has pushed the envelope of Latin celebrates his traditional quartet fea- attributes and stylistic innovation, he Jazz to its extreme limits in ensembles turing pianist Luis Perdomo, bass- continually challenges his intrinsic led by David Sánchez and, most nota- ist Hans Glawischnig and drummer sensibilities as a player. bly, the great Ray Barretto. His expe- Henry Cole. The quartet has a 15-year Drummer Henry Cole is the under- rience in the center of this Latin ex- history to draw from, most recently lying driving force behind this eclec- plosion of creativity and deep roots in stated on their latest album Sonero: tic foursome. Cole is at the forefront Euro-Post Bop eclecticism make him a The Music of Ismael Rivera, which pays of percussive innovation, embracing dynamically perfect foil for Cole. The tribute to the legendary Puerto Rican cross-cultural 21st century rhythms. result is a supporting and balanced vocalist and interpreter who revolu- His pioneering style is enhanced by rhythm section for Zenón to freely tionized Latin-American music in the his history with Chano Domínguez, take flight. 50’s, 60’s, and 70’s. Sonero marks Ze- Gary Burton, Quincy Jones, and Fabi- –Paul Rauch nón’s 11th album as a leader. an Almazan. Cole’s sees music as “one Tickets available at earshot.org. The quartet plays jazz on the cut- world,” reaching beyond styles with a ting edge of Latin roots and post-bop message of determination and unity.

18 • EARSHOT JAZZ • February 2020 Notes, from page 3 gram aims to provide Seattle’s Middle Festival (SIMF) brings together the and High School aged youth with most innovative improvisers from the nounced the appointment of Nicholas equitable access to arts and cultural eclectic scene. Now in its 35th year, Salas-Harris as their Artistic Director. learning, increasing opportunities for SIMF is the longest-running festival Originally from Illinois, Salas-Harris young people from diverse racial and in the United States dedicated solely to moved to the Northwest in the early socio-economic backgrounds. Recipi- music that is completely improvised. 2000’s to study at Evergreen State ents will receive a total of $12,000 dis- More information at nseq.org College. He has nation-wide jazz ex- tributed over two years. The deadline DeMiero Jazz Festival perience with the DC Jazz Festival is February 24. Details and applica- March 5–7 as a Producer and Talent Buyer; as a tion can be found at seattle.gov/arts. Edmonds, WA co-founder of the New Orleans Jazz On the Horizon Led by vocalist and Artistic Direc- festival and the Soul’d Out Festival tor Sara Gazarek, the DeMiero Jazz in Portland; and in 2017 he opened The 35th Annual Seattle Improvised Festival celebrates jazz musicians and the Jack London Revue in Portland. Music Festival vocalists. 2020 artists are yet to be an- At PDX, Salas-Harris will shape the March 11–15 nounced. For more information visit creative programming of the Biamp First organized by the late Paul demierojazzfest.org. PDX Jazz festival as well as PDX sea- Hoskin, the Seattle Improvised Music sonal events We congratulate Nicholas Salas-Harris on his appointment. Open to All - Free Artists Trust Fellowship Awards Grant th Season The applications for the 2020 Fel- 18 lowship Awards open on February 10. The application deadline is March 9. These merit-based awards of $10,000 for practicing artists of exceptional talent and ability, who live in Wash- ington, are given to eight artists of any discipline. Visit artitstrust.org to learn more. Sunday, Feb 9, 6pm Northwest Music Mondays at Jazz Alley KNKX and Jazz Alley have an- Clave Gringa Quintet nounced a new programming initia- Ann Reynolds, piano and vocals tive: Northwest Music Mondays at Daniel Barry, trumpet Jazz Alley. The program highlights Dean Schmidt, bass resident artists on the last Monday Steve Smith, congas of each month. The program seeks to Ricardo Guity, percussion and vocals help alleviate the loss in opportunities for resident artists after the closing of SAVE THE DATE: March 1 Tula’s last year. On February 24, the Randy Oxford Band Marc Seales Quintet performs. Tick- ets are $16. For more information visit 100 Minutes of professional jazz jazzalley.com. Family friendly concert / Free parking Office of Arts & Culture Youth Arts Seattle First Baptist Church Grant Applications Open 1111 Harvard Avenue Youth Arts Grants fund teaching (Seneca and Harvard on First Hill) Seattle, WA (206) 325-6051 artists and organizations that provide out-of-school arts training. The pro- www.SeattleJazzVespers.org/GO/SJV

February 2020 • EARSHOT JAZZ • 19 JAZZ AROUND THE SOUND February 02 SATURDAY, FEBRUARY 1 HS Jazz Brunch w/ Emma Caroline Baker, SC Alexis Cole w/ Cory Weeds, 7pm 10:30am VI Bar Tabac, 9pm BH SRJO: Tribute to Billie Holiday (matinee), JA WAR, 7:30pm 3pm VI Lennon Aldort, 6pm THURSDAY, FEBRUARY 6 BH SRJO: Tribute to BIllie Holiday (evening), VI Ron Weinstein Trio, 9:30pm 7:30pm BC Adam Kessler & Phil Sparks, 9pm CM Portage Bay Big Band, 7pm MONDAY, FEBRUARY 3 BP DHQ : The Darelle Holden Quartet, 8pm CN Brent Jensen / Chris Symer Duo, 3pm EB Eric Verlinde, 6pm EB Frank S. Holman III, 6pm CC Cider Sessions, 9:30pm ES Paul Richardson, 6pm ES Cara Sandahl, 6pm EB Tom Kellock, 6pm JA Big Bad Voodoo Daddy, 7:30pm JA WAR (early show), 7:30pm ES Eric Verlinde, 6pm NC Greta Matassa Student Showcase, 7pm JA WAR (late show), 9:30pm NL Mo’ Jam Mondays, 9pm NP Dweezil Zappa, 8pm NC Passarim, 8:30pm RR Salute Sessions, 9:30pm OS Shawn Schlogel, 7pm OS Shawn Schlogel Trio, 8pm PR How Now Brown Cow, 6pm PR Kim Maguire: Jazz of Broadway & Film, 8pm TUESDAY, FEBRUARY 4 RR The Westerlies feat. Celisse Henderson, RG Greta Matassa Quintet feat. Alexey Nikolaev, BP Billy Stapleton-Annie Eastwood Duo, 8pm 7:30pm 7:30pm EB Eric Verlinde, 6pm SB Proud & Nasty Jam Session, 10pm RR Oleaje Flamenco, 8:30pm ES Paul Richardson, 6pm VI Emma Caroline Baker, 9pm SB Latin & Cuban Night, 7pm JA Martin Taylor & Frank Vignola, 7:30pm SB The New Triumph, 10pm MT Open Mic, 9pm FRIDAY, FEBRUARY 7 VI The Tarantellas, 6pm OT Hot Jazz Hootenanny, 7:30pm BP Mark DuFresne Band, 9pm VI Don’t Move, 9:30pm OW Jazz Jam, 9:30pm CA Francesco Crosara & Glenn Young Trio, 6pm RR Bartender, 7pm CH The Westerlies & Robin Holcomb, 7:30pm SUNDAY, FEBRUARY 2 SB Joe Doria Presents, 10pm CM Polly O’Keary & The Rhythm Method, 7pm AB Beaver Sessions, 9pm CZ Jazz First Fridays, 7:30pm CM Swingnuts, 12:30pm WEDNESDAY, FEBRUARY 5 EB Tom Kellock, 6pm CR Racer Sessions, 8pm EB Eric Verlinde, 6pm ES Cara Sandahl, 6pm CZ Choro Jam, 2pm ES Paul Richardson, 6pm JA Big Bad Voodoo Daddy (early show), 7:30pm DT Jazz Jam, 8pm JA Martin Taylor & Frank Vignola, 7:30pm JA Big Bad Voodoo Daddy (late show), 9:30pm EB Tom Kellock, 6pm NC Jazz Jam w/ Darin Clendenin Trio, 7:30pm LA Happy Hour w/ Phil Sparks, 5pm ES Eric Verlinde w/ Josephine Howell, 6pm RR Genghis Barbie, 7:30pm MQ Ranger & the “Re-Arrangers”, 5pm SB Evan Flory-Barnes, 10pm MQ Greta Matassa Trio, 8pm NC Kiki Valera & Cubache, 8:30pm

Calendar Key

AB The Angry Beaver HR Historic Roxy Theatre OT Oliver’s Twist AT Admiral Theatre HS Hotel Sorrento OW Owl ‘n Thistle BC Barça JA Dimitriou’s Jazz Alley PB Palace Art Bar BH Benaroya Hall KR Knife Room PR Pacific Room Alki BP Bake’s Place Bellevue LA Latona Pub PS Pink Salt CA Casa Mexico LE Leif Erickson Hall RG Rockfish Grill CC Capitol Cider MC McCaw Hall RR The Royal Room CH Chapel Performance Space MO Moore Theater SB Sea Monster Lounge CK Clock-Out Lounge MQ Triple Door MQ Stage & Lounge SC WJMAC at Sylvia Center for the Arts CL Crocodile MT Mac’s Triangle Pub SE Seattle Art Museum CM Crossroads Bellevue MV Marine View Church SF SIFF Uptown Theatre CN Craft 19 Espresso + Creperie NC North City Bistro & Wine Shop SL The Slab CR Cafe Racer NF New Frontier Lounge ST Stage 7 Pianos CZ Couth Buzzard Books NL Nectar Lounge SW Stone Way Café DT Darrell’s Tavern NP Neptune Theatre TC Trinity Parish Church EB El Gaucho Bellevue NS Nickerson Studios, Seattle Pacific TD Triple Door EC Edmonds Center for the Arts University TH Town Hall ES El Gaucho Seattle NU Neumos VI Vito’s FA Frye Art Museum OM Ott & Murphy Wine WS Watershed Pub & Kitchen FB Seattle First Baptist Church OS Osteria la Spiga

20 • EARSHOT JAZZ • February 2020 PB Marc Smason & Friends, 8pm NC Songwriter Showcase – Flight of the Mics, PR Maggie Laird, 7pm 7pm RR J Dilla Tribute feat. Vitamin D & Carlos OT Hot Jazz Hootenanny, 7:30pm CURTAIN CALL Overall Quartet, 8:30pm OW Jazz Jam, 9:30pm Weekly recurring performances & jam VI Jovino Santos Neto, 9pm RR Seattle Academy Jam, 5pm sessions RR Dan Rosenboom & Bad Luck, 8pm SATURDAY, FEBRUARY 8 SB Joe Doria Presents, 10pm AT Georgia On My Mind: Celebrating the Music TD Laila Biali, 7:30pm MONDAY of Ray Charles, 7:30pm WEDNESDAY, FEBRUARY 12 CC Cider Sessions, 9:30 CM Dan Duval Good Vibes Quartet, 7pm EB Tom Kellock, 6 EB Frank S. Holman III, 6pm EB Eric Verlinde, 6pm ES Cara Sandahl, 6pm ES Paul Richardson, 6pm ES Eric Verlinde, 6 JA Big Bad Voodoo Daddy (early show), 7:30pm JA Sonny Landreth & Marcia Ball, 7:30pm NL Mo’ Jam Mondays, 9 JA Big Bad Voodoo Daddy (late show), 9:30pm SC Laila Biali Trio, 7pm RR Salute Sessions, 10 MO Gregory Porter, 8pm SW Roosevelt Jazz Jam Session, 7pm NC Gail Pettis & Jovino Santos Neto, 8:30pm TD The Folks Project feat. D’Vonne Lewis, TUESDAY OS Jonas Myers Trio, 8pm Darrius Willrich, Evan Flory-Barnes, 7:30pm EB Eric Verlinde, 6 PR Jennifer Mellish & Friends, 4pm VI The Diamonics, 9pm ES Paul Richardson, 6 RR Greta Matassa Quintet feat. Alexey Nikolaev, 5pm THURSDAY, FEBRUARY 13 MT Open Mic, 9 SB Latin & Cuban Night, 7pm BC Adam Kessler & Phil Sparks, 6pm OT Hot Jazz Hootenanny, 7:30 TD Patricia Barber, 8pm EB Eric Verlinde, 6pm OW Jazz Jam, 9:30 TH The Westerlies, Sarah Kaye & Phil Kaye, Troy ES Paul Richardson, 6pm SB Joe Doria Presents, 10 Osaki, 7:30pm JA Mindi Abair, 7:30pm VI Jerry Zimmerman, 6pm NC Julian Smedley Quartet, 7pm WEDNESDAY VI Kareem Kandi, 9:30pm PS Greta Matassa Group, 7pm EB Eric Verlinde, 6 WS Daniel Rapport, 12pm RR Tim Berne & Matt Mitchell, 7:30pm ES Paul Richardson, 6 WS Pocket Change, 8pm SB Deems & Side B, 8pm SB Proud & Nasty Jam Session, 10pm THURSDAY SUNDAY, FEBRUARY 9 SE Art of Jazz: Alex Dudgdale, 5:30pm BC Adam Kessler & Phil Sparks, 9 AB Beaver Sessions, 9pm VI Jennifer Kienzle, 9pm CM Momentum Jazz Quartet, 12:30pm EB Eric Verlinde, 6 CR Racer Sessions, 8pm FRIDAY, FEBRUARY 14 ES Paul Richardson, 6 CZ Jazz Jam w/ Kenny Mandell, 2pm CA Francesco Crosara & Glenn Young Trio, 6pm SB Proud and Nasty Jam, 10 DT Jazz Jam, 8pm CM Scott Cossu, 7pm EB Tom Kellock, 6pm EB Tom Kellock, 6pm FRIDAY ES Eric Verlinde w/ Josephine Howell, 6pm ES Cara Sandahl, 6pm CA Francesco Crosara & Glenn FB Seattle Jazz Vespers: Clave Gringa Quintet, JA Mindi Abair Valentine’s Day Celebration Young Trio, 6 6pm (early show), 7:30pm EB Tom Kellock, 6 HS Jazz Brunch w/ Emma Caroline Baker, JA Mindi Abair Valentine’s Day Celebration (late ES Cara Sandahl, 6 10:30am show), 9:30pm JA Big Bad Voodoo Daddy, 7:30pm KR Valentine’s Day with Emma Caroline Baker, LA Happy hour w/ Phil Sparks, 5 MV Geoffrey Castle Band, 5pm 8pm SATURDAY NS The Westerlies, 4pm LA Happy Hour w/ Phil Sparks, 5pm TD Patricia Barber, 7pm MQ The Djangomatics, 5pm EB Frank S Holman III, 6 VI Jonas Myers, 6pm NC Greta Matassa Quintet Valentines Show, ES Cara Sandahl, 6 VI Ron Weinstein Trio, 9:30pm 8:30pm SB Latin & Cuban Night, 7 RR Tangoheart: A Piazzolla Valentine, 7:30pm MONDAY, FEBRUARY 10 VI Marina Albero, 9pm SUNDAY CC Cider Sessions, 9:30pm AB Beaver Sessions, 9 EB Tom Kellock, 6pm SATURDAY, FEBRUARY 15 CR Racer Sessions, 8 ES Eric Verlinde, 6pm CK Spekulation & 45th St Brass, 9pm CZ Choro Jam, 2 (1st & 3rd) MQ Bartender, 5pm CM Orkestyr Farfeleh, 6:30pm NL Mo’ Jam Mondays, 9pm EB Frank S. Holman III, 6pm CZ Jazz Jam w/ Kenny Mandell, 2 RR Salute Sessions, 9:30pm ES Cara Sandahl, 6pm (2nd & 4th) TD Albert Castiglia, 7:30pm HR Pearl Django and Gail Pettis, 7pm DT Jazz Jam, 8 JA Mindi Abair (early show), 7:30pm EB Tom Kellock, 6 TUESDAY, FEBRUARY 11 JA Mindi Abair (late show), 9:30pm ES Eric Verlinde w/ Josephine BP Billy Stapleton-Annie Eastwood Duo, 8pm LE Radio Rhythm Orchestra, 8pm Howell, 6 EB Eric Verlinde, 6pm MQ The Hot McGandhis, 8:30pm ES Paul Richardson, 6pm NC Johnny Pinetree & the Yellin’ Degenerates, HS Jazz Brunch w/ Emma Caroline JA Sonny Landreth & Marcia Ball, 7:30pm 8:30pm Baker, 10:30am MT Open Mic, 9pm OM Dmitri Matheny Duo, 7pm VI Ron Weinstein Trio, 9:30 PR Susan Carr, 7pm

February 2020 • EARSHOT JAZZ • 21 RR The Unknowns / Ranger & The Re-Arrangers, JA Mindi Abair, 7:30pm NC Norbert Stachel, 7pm 6:30pm RR Satoko Fujii Kaze, 7pm OT Hot Jazz Hootenanny, 7:30pm SB Latin & Cuban Night, 7pm VI Alex Guilbert, 6pm OW Jazz Jam, 9:30pm VI The Tarantellas, 6pm VI Ron Weinstein Trio, 9:30pm RR Jaimie Branch: Fly or Die, 7:30pm VI Tim Kennedy Trio, 9:30pm SB Joe Doria Presents, 10pm MONDAY, FEBRUARY 17 SUNDAY, FEBRUARY 16 CC Cider Sessions, 9:30pm WEDNESDAY, FEBRUARY 19 AB Beaver Sessions, 9pm EB Tom Kellock, 6pm EB Eric Verlinde, 6pm CM New Age Flamenco, 12:30pm ES Eric Verlinde, 6pm ES Paul Richardson, 6pm CR Racer Sessions, 8pm MQ Puddle Stompers, 5pm JA Jack Broadbent, 7:30pm CZ Choro Jam, 2pm NL Mo’ Jam Mondays, 9pm RR pH Factor w/ UW Studio Big Band, 8pm CZ Music Improv Session w/ Kenny Mandell, RR Flatbed Buggy, 7pm SB John Pinetree & the Yellin Degenerates, 8pm 7pm RR Salute Sessions, 9:30pm SB Freddy Fuego 6tet, 10pm DT Jazz Jam, 8pm TD Joep Beving, 7:30pm SC Xavier Lecouturier Quartet, 7pm EB Tom Kellock, 6pm TD Mark Guiliana, 7:30pm EC Seattle Repertory Jazz Orchestra: Count TUESDAY, FEBRUARY 18 VI Brad Gibson Presents, 9pm Basie Meets Duke Ellington, 7pm BP Billy Stapleton-Annie Eastwood Duo, 8pm ES Eric Verlinde w/ Josephine Howell, 6pm EB Eric Verlinde, 6pm THURSDAY, FEBRUARY 20 FA Jazz in the City | Eugenie Jones, 2pm ES Paul Richardson, 6pm BC Adam Kessler & Phil Sparks, 9pm HS Jazz Brunch w/ Emma Caroline Baker, JA Kandace Springs, 7:30pm BP DHQ : The Darelle Holden Quartet, 8pm 10:30am MT Open Mic, 9pm EB Eric Verlinde, 6pm ES Paul Richardson, 6pm JA David Sanborn Quintet, 7:30pm NC Sundae + Mr Goessl, 7pm NF Rob Scheps Band w/ John Hansen, Paul Gabrielson, Reade Whitwell, 7pm NP Antibalas Afrobeat Orchestra, 7pm RR Kathryn Claire/Tekla Waterfield, 7:30pm SB Comfort Food, 8pm SB Proud & Nasty Jam Session, 10pm SF SIFF Film Night: Bird, 6:30pm TD Branford Marsalis Quartet, 7:30pm VI Jacqueline Tabor, 9pm FRIDAY, FEBRUARY 21 CA Francesco Crosara Trio, 6pm CH Unit Structures, 8pm EB Tom Kellock, 6pm ES Cara Sandahl, 6pm HS Katrina Kope, 6pm JA David Sanborn Quintet (early show), 7:30pm JA David Sanborn Quintet (late show), 9:30pm LA Happy Hour w/ Phil Sparks, 5pm MQ Jacqueline Tabor, 5pm NC Ann Reynolds & Clave Gringa, 8:30pm NL Ghost-Note / Jojo Mayer & Nerve, 9pm PR Mercedes Nicole, 8pm RR Mardi Gras in New Orleans: The music of Dr. John & Art Neville, 8pm SL Secret Jazz Club, 7pm TD Branford Marsalis Quartet (early show), 7pm TD Branford Marsalis Quartet (late show), 10pm VI Michael Owcharuk Trio, 9pm SATURDAY, FEBRUARY 22 CH Alex A Faide / Daniel McManus, 8pm CL Brazilian Carnaval, 8pm CN Rob Scheps / John Hansen Duo, 3pm EB Frank S. Holman III, 6pm ES Cara Sandahl, 6pm HS EntreMundos Quarteto, 6pm JA David Sanborn Quintet (early show), 7:30pm JA David Sanborn Quintet (late show), 9:30pm MQ Happy Trio, 8:30pm

22 • EARSHOT JAZZ • February 2020 NC Danny Godinez, 8:30pm MT Open Mic, 9pm RR Mike Clark / Wil Blades / Skerik, 9pm PR Xavier Lecouturier, 7pm NC Sky Valley Prairie, 7pm VI Lushy, 9pm RR Ain’t No Heaven Seven Dixieland Band, 5pm NL Polyrhythmics, 8pm SB Latin & Cuban Night, 7pm OT Hot Jazz Hootenanny, 7:30pm SATURDAY, FEBRUARY 29 ST The Marina Albero Quartet, 7:30pm OW Jazz Jam, 9:30pm CH Michaud Savage, 8pm TC La Banda Gozona, 7:30pm RR Fat Tuesday, 5:30pm CM Route 66 Big Band, 7pm TD Branford Marsalis Quartet (early show), 7pm SB Joe Doria Presents, 10pm CN Dmitri Matheny Duo, 3pm TD Branford Marsalis Quartet (late show), 10pm TD Soulsha: Afro-Celtic Funk, 7:30pm EB Frank S. Holman III, 6pm VI Jerry Zimmerman, 6pm ES Cara Sandahl, 6pm VI The James Band, 9:30pm WEDNESDAY, FEBRUARY 26 JA Regina Belle (early show), 7:30pm EB Eric Verlinde, 6pm JA Regina Belle (late show), 9:30pm SUNDAY, FEBRUARY 23 ES Paul Richardson, 6pm NC Duende Libre, 8:30pm AB Beaver Sessions, 9pm JA Kat Edmonson, 7:30pm NU March Fourth / Cumbieros, 8pm CR Racer Sessions, 8pm NC Darelle Holden, 7pm RR Mike Dillon Band feat. Brad Houser & Brian CZ Jazz Jam w/ Kenny Mandell, 2pm NP Ladysmith Black Mambazo, 8pm Haas, 8pm DT Jazz Jam, 8pm SB DX-tet, 10pm SB Latin & Cuban Night, 7pm EB Tom Kellock, 6pm SC Phil Parisot Trio, 7pm TH Miguel Zenón Quartet, 8pm ES Eric Verlinde w/ Josephine Howell, 6pm VI Wally Shoup Quartet, 9pm VI Jerry Zimmerman, 6pm HS Jazz Brunch w/ Emma Caroline Baker, VI Afrocop, 9:30pm 10:30am THURSDAY, FEBRUARY 27 JA David Sanborn Quintet, 7:30pm BC Adam Kessler & Phil Sparks, 9pm PR Alex Ashley, 6pm BP DHQ : The Darelle Holden Quartet, 8pm VI Tim Kennedy, 6pm EB Eric Verlinde, 6pm Jazz Travels, from page 5 VI Ron Weinstein Trio, 9:30pm ES Paul Richardson, 6pm JA Regina Belle, 7:30pm this trend has to be methodical and MONDAY, FEBRUARY 24 NC Birch Pereira & the Gin Joints, 7pm CC Cider Sessions, 9:30pm PR Jonas Myers Trio, 7pm intentional. EB Tom Kellock, 6pm RR Seattle Meets Tokyo: Kevin McHugh, Beloved Seattle multi-instrumen- ES Eric Verlinde, 6pm 7:30pm talist Marina Albero contributed to JA Marc Seales Quintet, 7:30pm SB Proud & Nasty Jam Session, 10pm this conversation while attending Jazz MQ Sundae + Mr. Goessl, 5pm VI Kristin Chambers, 9pm NL Mo’ Jam Mondays, 9pm Congress after concluding a New York RR 188 Sullivan: Charlie Parker’s New York in FRIDAY, FEBRUARY 28 Times-praised run of “Susan” with the ’50s, 7:30pm CA Francesco Crosara & Glenn Young Trio, 6pm composer/trumpeter Ahamefule J. RR Salute Sessions, 9:30pm LA Happy Hour w/ Phil Sparks, 5pm Oluo at the Public Theater. TD Tuck & Patti: Tribute to Ella, 7:30pm CM Critical Mass Jazz Band, 7pm “What I would like for all of us to EB Tom Kellock, 6pm TUESDAY, FEBRUARY 25 ES Cara Sandahl, 6pm think about, is how words impact,” BP Billy Stapleton-Annie Eastwood Duo, 8pm JA Regina Belle (early show), 7:30pm says Albero. She recommends chang- EB Eric Verlinde, 6pm JA Regina Belle (late show), 9:30pm ing recurring language to create more ES Paul Richardson, 6pm MC Big Opera Party: Bird, 6pm positive implications. Choose to keep JA Kat Edmonson, 7:30pm NC David Arteaga w/ Paul Miranda Trio, 8:30pm evolving. Albero poses we turn our “advice” into “insight” and “help” to “support.” Further, she challenges us to find a synonym to use in place of “mistake.” What else can we do to center women in jazz? Allow women to be in creative spaces without asking permission. Recognize the women that have come before us. When we teach students about great jazz musicians, teach them about great women jazz musicians. And be conscious of intersectionality, especially in our own communities. Black women and women of color will have different experiences than white women. –Editor

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

NOEL BRASS JR. PHOTO BY DANIEL SHEEHAN

IN THIS ISSUE... A $35 basic membership in Earshot brings Letter from the Director: the newsletter to your door and entitles you to Jazz Age, 2.0______2 EARSHOT JAZZ discounts at all Earshot events. Your member- MEMBERSHIP ship also helps support all our educational Notes______3 programs and concert presentations. Type of membership 2019 Golden Ear Awards Ballot Cast your ballot by March 3!______4 Individual ($35) Additional tax-deductible donation ______Household ($60) Patron ($100) Sustaining ($200) Jazz Travels: Part of a Larger Dialouge______5 Other Profile: Noel Brass Jr.: Sr. Citizen – 30% discount at all levels Open Soul Policy______6 Canadian subscribers please add $5 additional postage (US funds)

Preview: Westerlies Fest______8 Regular subscribers – to receive newsletter 1st class, please add $10 for extra postage Preview: Seattle Jazz Contact me about volunteering and Culture Festival______10 ______NAME Preview: Tim Berne and Matt Mitchell______12 ______Preview:Jamie Branch FLY or DIE ______13 ADDRESS ______Preview: 188 Sullivan: Charlie Parker’s New York CITY/STATE/ZIP in the ‘50’s______14 ______Preview:17th Annual Biamp PHONE # EMAIL PDX Jazz Festival______16 ______Earshot Jazz is a nonprofit tax-exempt organization. Ask your employer if your Preview: Miguel Zenón Quartet______18 company has a matching gift program. It can easily double the value of your membership or donation. Jazz Around the Sound______20 Mail to Earshot Jazz, 3417 Fremont Ave N, #221, Seattle, WA 98103