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March 2021 A Mirror and Focus for the Jazz Community Volume 37, No. 03 ,

Seattle JazzED Pushing Forward in Epic Times

Jazz Prep for Beginners Trumpet class led by Samantha Boshnack (top right) Screen capture courtesy of Seattle JazzED Letter from the Director

The Sound at the End of

EXECUTIVE DIRECTOR theFirst of all, Tunnelwe hope that you and your loved John Gilbreath MANAGING DIRECTOR ones are safe and healthy. Beyond that, here’s Karen Caropepe hoping that the longer, warmer, and brighter MARKETING & DEVELOPMENT ASSOCIATE days of spring will shine some much-needed Lucienne Aggarwal rays of optimism on the funky scenario into EARSHOT JAZZ EDITOR which these historic times have delivered us. Lucienne Aggarwal With this March issue of Earshot Jazz, we’re EARSHOT JAZZ COPY EDITOR finding hope in the jazz artists and audiences Caitlin Carter here in the Puget Sound region, delivering news CONTRIBUTING WRITERS Paul de Barros, Ian Gwin, Paul Rauch, Jonathan that celebrates the past, present, and future Shipley of one of the most dynamic and resilient jazz CALENDAR EDITORS scenes in America. Carol Levin and Jane Emerson We’re delighted to begin this issue with a John Gilbreath photo by Bill Uznay PHOTOGRAPHY cover profile of Seattle JazzED. This city’s Daniel Sheehan L AYO U T jazz education programs have always been nationally respected. So much so, Karen Caropepe that they’ve helped to build the civic value system for jazz here. But Seattle DISTRIBUTION JazzED has taken the best of Seattle’s existing programs to a whole new level. Karen Caropepe, Dan Dubie & Earshot Jazz Check Paul Rauch’s profile of JazzED’s investment in a jazz future of inclusion, volunteers accessibility, and swing. SEND CALENDAR INFORMATION TO: March always brings the annual Golden Ear and Seattle Jazz Hall of Fame [email protected] BOARD OF DIRECTORS Awards to Seattle. In addition to its core mission of recognizing outstanding Chris Icasiano (President), Sheila Hughes (Vice accomplishments by our own resident artists each year, the awards are also a President), Chris Nutter (Secretary), Augusto great opportunity for the long view, to take stock of the overall face and sound Cardoso, John W. Comerford, Maurice James, Danielle Leigh, Ruby Smith Love, Diane Wah of this incredible community, especially through these difficult times. EMERITUS BOARD MEMBERS These individual artists are the standard-bearers for our communal energies. We Clarence Acox, Sue Coliton, Taina Honkalehto, encourage you to join us online at our YouTube channel on March 12, 7:30pm, Hideo Makihara, Peter Monaghan, Kenneth W. streaming from the Royal Room, with music by Alex Dugdale FADE Quartet. Masters, Lola Pedrini, Richard Thurston, Paul Toliver, Cuong Vu We’re also super excited to be launching an amazing schedule of weekly lives- Founded in 1984 by Paul de Barros, Gary tream concerts, produced under all safety protocols from two major venues, and Bannister, and Allen Youngblood. Earshot Jazz providing some much-needed churn in the stagnant waters of paid gigs for Seattle is published monthly and is available online at artists! We’ll be weekly on Friday nights from the Royal Room, and bi-weekly on earshot.org. Saturday nights from Town Hall Seattle. Check the schedules in this issue, and Subscription (with membership): $35 3417 Fremont Ave N, #221 warm up the old hi-fi set for some great Seattle jazz, every week from Earshot Seattle, WA 98103 Jazz with more details at earshot.org. (206) 547-6763

See? I told you we have good news. One can almost begin to imagine a gradual Earshot Jazz ISSN 1077-0984 easing of our shared circumstances here in the Puget Sound region. The Sound Printed by Yakima Herald-Republic at the end of the tunnel! ©2021 Earshot Jazz Society of Seattle As always, we invite you to join us. It is so fantastic that this monthly magazine is still distributed free of charge all around the greater Seattle area. Shoutout to MISSION STATEMENT Dan Dubie, our distribution czar. You can also make a membership donation To ensure the legacy and progression and receive it by US Mail. And you can always find us at earshot.org! See you at of the art form, Earshot Jazz cultivates the Golden Ear Awards Party!! a vibrant jazz community by engaging Thank you!! audiences, celebrating artists, and JOHN GILBREATH, EXECUTIVE DIRECTOR supporting arts education.

2 EARSHOTJAZZ March 2021 Support for Earshot Jazz NOTES provided by: information about the current recipients “First Sundays Concerts” can be found at artisttrust.org. Series Presents The Mark Lewis Quartet Bainbridge Community Piano Association Office of Arts and Culture Youth Arts Grant Application presents the Mark Lewis Quartet. Post- The City of Seattle’s Youth Arts Grant poned due to COVID-19, the Mark Lewis application is now open. Designed to sup- Quartet concert has been rescheduled for port equitable access to arts and cultural Sunday, March 7, at 4pm PST as a virtual learning for Seattle’s middle and high concert. The event will feature Mark Lewis school-aged youth, the program is held (saxophone), Bill Anschell (piano), Clipper outside school hours. Individual teaching Anderson (bass), and Mark Ivester (drums). artists and organizations are encouraged Ticket holders will be able to view the to apply to the program. Projects must take concert for three weeks. For tickets visit place between September 2021–August firstsundaysconcerts.org. 2022, and recipients will receive $6,000 distributed over a year. The application KNKX Receives Doris Duke deadline is March 22, 2021. Follow this Award link for more details: seattle.gov/arts. Local jazz radio station KNKX 88.5FM has been selected as one of five radio stations 4Culture 2021 Project Grants for the Doris Duke Charitable Foundation’s 4Culture Project Grants will open for newly formed Jazz Media Lab Award, application on March 17, with an April 28 launched in January 2021. The three-year deadline. The three project grants cover the award program, targeted at the country’s disciplines of arts, heritage, and preserva- most dynamic and forward-thinking non- tion. Workshops and videos are available profit jazz radio stations, aims to bolster to help applicants. Follow this link for each radio stations’ individual strength more details: 4culture.org/project-grants. and collective resilience as essential players in the jazz ecosystem. KNKX, along with Best of the Blues Awards KMHD Portland, KUVO Denver, WBGO Ballot Available Newark, and WRTI Philadelphia, will each The Washington Blues Society ballot is receive grants of up to $275,000 over three available for the “Best of the Blues Awards” years. As well as being used for core support, program. Voting is available for members the program will also provide the resources to advance strategies to diversify the radio CONTINUED ON PAGE 6 stations’ listening bases and invest in new media platforms. For more information about this award visit ddcf.org. Help promote the Seattle Jazz community! Artist Trust Announces 2020 Earshot Jazz Editor Fellowship Awardees The Earshot Jazz magazine is looking In February, Artist Trust announced the for a new editor. This is a part-time nine recipients of the 2020 Fellowship contract position. Visit earshot.org Awards, which includes artists across genres for more information. from around Washington state. Each re- cipient receives an unrestricted cash award Earshot Jazz Writers of $10,000. This year’s recipients include Earshot Jazz is looking for freelance jazz musician, composer, and community writers to contribute to the Earshot organizer Benjamin Hunter. We congrat- Jazz magazine. Assignements include ulate all the awardees. The next cycle of special features, profiles, previews, the Fellowship awards opens in October and reviews. Visit earshot.org or 2021, with a deadline of November 8. More write to [email protected] for more information.

March 2021 EARSHOTJAZZ 3 PROFILE JazzED: Pushing Forward in Epic Times

Screen capture of Virtual Girls Jazz Day led by instructor Kelly Clingan (top row, second box from the left) courtesy of Seattle JazzED BY PAUL RAUCH from the aforementioned schools, as well De Koch, a professional with an extensive Jazz education in Seattle has proliferated as several quality middle school programs, background in arts management, believed generously over the past thirty years, with opportunity for students at the majority of she could make a difference. She understood nationally acclaimed programs at Garfield Seattle schools was rudimentary at best. that the life-transforming experiences of and Roosevelt High Schools leading the The music and culture, which had largely her own children meant so much less when charge. The two Seattle programs, led by been sustained by the oral tradition, now viewed through the lens of social injustice. Clarence Acox and Scott Brown, respective- fell into the hands of educators—and the Assisted by Acox and other parents, she ly, have seen their meteoric rise validated inequity of school music programs in the city. formed JazzED in 2010, with an aim to with success at the prestigious Essentially Current JazzED Executive Director Laurie provide equal opportunities across the Ellington competition at Lincoln Center. de Koch was a band parent and a front board for students from grades 4 to 12. Acox and Brown have been the beneficia- row witness to both the success of the It gave all Seattle area students access ries of ardent parental support, leading to programs, and the obvious challenges they to play in ensembles, receive top quality benefits for the students previously viewed faced going forward. instruction, and integrate themselves in as unattainable, including opportunities “My own children were fortunate enough the jazz tradition. The program grew to to travel to and perform in Europe. to be in the band programs at Washington over 1,000 students and reached 6,000, With a vibrant jazz history, an active Middle School and Garfield High School, including JazzED sponsored assemblies and innovative modern scene, and the they were getting opportunities left and in area schools. best high school programs in the country, right. That included traveling to Europe. Still, as the program grew and proliferated, it would seem that jazz music in Seattle I noticed that despite the fact that we the marks of systemic racism were obvious, would easily swing into the 21st century were in these very ethnically, culturally, with the top-level ensembles appearing with ease. For students, jazz would remain economically diverse schools, the band largely white and male. a great source of personal expression in room tended to look pretty white, pretty “We’ve always been an organization both a musical and cultural sense. Yet aside male, and pretty resourced,” she recalls. committed to equity, so we’ve been doing that work from the beginning. We’ve been

4 EARSHOTJAZZ March 2021 working as an organization in this time to away—they were the families who need better than most, but not well enough to rethink our own model and maybe change the most, were going to be affected the cover the cost,” says Luna. a system that keeps having the same out- most, due to lack of resources and things Education Director Kelly Clingan weighs puts,” says de Koch. to do,” recalls Luna. in on JazzED’s response to 2020. Clingan emphasizes that even though the alternative “The families who need the most, were going access has been a challenge, it’s also been a major positive. “It’s been super fun,” she to be affected the most.” –Ricardo Luna says unabashedly. She has tailored the pro- gramming to meet the epic circumstances The epic consequences of COVID-19 Luna managed to provide instruments, faced by our community, both before and beginning in March 2020 presented a either by delivering them in person or by during the pandemic. The racial reckon- mountain of challenges for the program mail. Virtual programs proved to be via- ing American society is experiencing has previously unimagined. It provided cause ble, and will continue to present positives further informed JazzED’s programming, for innovation as JazzED shifted to an moving forward post-pandemic. The tuition such as teaching awareness of the social online presence. “We just dove in without standards already established proved their responsibility musicians inherit in times looking back,” states de Koch. JazzED identified two daunting issues: “We’ll be really digging into using music as one was the severe economic hardship that COVID triggered, and the second was the challenge of serving beginner a tool, not only for individual expression, students. Despite digital access increas- ing the reach of the program, questions but for social change.” –Kelly Clingan remained about the viability of instructing beginner students on Zoom. While the long-term value, as students continued to of social change. The “Virtual Protest program operates on a no-questions-asked access programs. The program’s founda- Songs Project,” for example, familiarizes sliding scale, the pandemic deepened the tional principles, though severely tested, students with songs by artists including financial challenges already experienced by were successful in assisting families during Nina Simone, Marvin Gaye, and more. area families. Another obstacle was how to those uncertain times. The project includes “a deep dive into what physically get instruments into students’ “Part of the initiative is to break through was happening in society at the time the hands. Youth Development Director Ricardo those barriers and systemic problems song was composed, and what was going Luna donned the superhero cape for this where families felt they needed to come on in the life of that artist,” says Clingan. one, diving into a three-week experimental to somebody and ask—you take that away “We’ll be really digging into using music as launch for beginner students. and just put it on an application and it’s a tool, not only for individual expression, “The first thing we thought about were done. We found that more families came but for social change.” the families who would drop out as soon and joined us who were kind of in the She also addressed the essential tool of as this pandemic hit and resources went middle—they were economically doing listening to jazz, of introducing students to

March 2021 EARSHOTJAZZ 5 the art form’s formidable recorded history. Looking further ahead, JazzED is teaming come and feel they are a part of something After all, you can’t learn to swing without with Community Roots Housing in the that is their home where they share power experiencing the vibe and cadence of classic creation of a new building that will house in this place, that they see themselves there recordings played by the masters. the program, as well as provide affordable as a part of a community. All of that in “One of the very first things we did in housing in the Rainier Valley. Being con- this time of inequity being highlighted, is COVID times was to launch an online guided structed on the former site of the Imperial really important. This building has given listening series of some of the great albums Lanes Bowl, fundraising for the project has people a way to really plug in and be a part that our teachers talk through. We coupled been undaunted by the worldwide pandemic. of something helpful.” it with some lesson plans and worksheets Indeed, 2020 proved to be a record year For the second year running, JazzED’s for teachers to use,” she remarks proudly. for the program in those terms. The plans most important fundraising event will be Moving forward in 2021 will be a read for the new space provide ample hope for presented virtually. “Soundtrack for the and react scenario for JazzED. They are the future, emboldened by the consistent Future Virtual Gala” will be streamed planning digital programs for this summer, generosity of the Seattle community. That live from the Royal Room on March 18 at with the hope of hybrid opportunities for generosity of spirit is front and center for 7pm. Student stories, live performances, live programming dependent on the state of Executive Director de Koch. new videos, and Virtual Fund-a-Need the pandemic. The aim is for full, in-person “This is a story of hope,” she says. “This will highlight the evening. Information programming in September. building will be a community gathering for this important event is available at place where our kids and their families can seattlejazzed.org/gala.

NOTES, FROM PAGE 3

only. The awards ceremony, which is the 30th annual, will take place on April 18. The voting deadline is March 9, 2021. For information visit wablues.org.

COVID-19 Artist Trust Relief Fund Washington State artists of all disciplines who have been affected by COVID-19 financially and have not yet received funding from the Artist Trust COVID-19 Relief Fund are invited to apply. Priority is given to individuals who are dispropor- tionately affected by COVID-19, including artists from historically marginalized communities, BIPOC artists, artists who are immunocompromised, artists who identify as LGBTQ, artists with immigrant status, and artists living with or having disabilities. Artists interested in applying can do so from March 5 at the Artist Trust website. The application deadline is March 26, with funding to be distributed in early April. The grant amount will be $1,000 per person. For details visit artisttrust.org.

Seattle Jazz Artist Relief Fund The application period for the second round of SJARF is now closed. Earshot Jazz will distribute funds early this month. It was an honor to administer this program and bring much needed support to the commuinty. We thank the Raynier Institute and Foundation for making this program possible.

6 EARSHOTJAZZ March 2021 FEATURE Talking Seattle Jazz with Jazztalk Seattle

Max Holmberg photo by @monkifoto Josh Hou photo by Rosanna Sze This story begins as all good stories do: “We started out talking about records,” Capitol Cider, and Owl & Thistle that have with a teenager studying Latin percussion Hou says. The podcast is a few years in regular jam sessions. Holmberg says, “I in Kuala Lumpur. The teenager was Josh now. “We were listening to records and even like that there are many different venues, Hou, whose podcast with Max Holmberg discussed things that we were practicing. each with their own crowd and vibe.” One is Jazztalk Seattle, a monthly podcast on Pretty soon we transitioned to inviting might play Count Basie classics. Another SoundCloud where they talk about Seattle’s guests on to talk about their projects and might play music heard in smoky bars in jazz scene with local musicians. But, back recently released records.” Recent guests Kuala Lumpur. All of this cross-pollination, to Kuala Lumpur. “My percussion teacher to Jazztalk Seattle have included Alex genre-bending, and world-expanding has was playing a gig in a smoky bar where he Dugdale, Jacqueline Tabor, Max Walker, been taking place in Seattle, and cham- brought in a full band to play a tribute Frank Vitolo, and many others. “I really pioned on the Jazztalk Seattle podcast. to Mongo Santamaría...I needed to play love to be able to dig deep,” Hou says of the Though they’ve been at it for some time, like that.” Play, he did and does—both podcast. “It’s nice to find out what other there’s so much more they want to do. accordion and keyboards. musicians are up to, what inspires them.” For example, Hou would love to interview For Holmberg, his love of jazz began Both Hou and Holmberg are inspired by accordionists he admires, like Richard during childhood: his mom would play Seattle’s local scene. “Jazz musicians in Galliano and Toninho Ferragutti. For Count Basie’s music a lot. “My mom was a Seattle tend to be open-minded in their Holmberg, it would be jazz legends like pianist and singer and encouraged me to approach to jazz,” notes Holmberg. “This Keith Jarrett, Pat Metheny, and Kenny G. get into playing music.” Play, he did and has given birth to a thriving avante-garde “They have each strongly approached their does—drums and percussion. scene.” Hou concurs: “A lot of musicians music in their own way.” Their musical backgrounds, and their are happy to play in various musical con- COVID continues but, perhaps, there’s enjoyment of listening to jazz (for Hou his texts, which leads to some interesting a finish line on the horizon. Vaccines are first jazz albums were Dave Brubeck and genre-bending projects.” beginning to be rolled out. Both Hou Eddie Palmieri; for Holmberg it was the Alas, much of these projects are in quar- and Holmberg are excited about rolling likes of Oscar Peterson and Papa Jo Jones), antine with COVID still raging. Audiences out new episodes (Kate Voss and Jason led the two to think that, perhaps, they are part of Zoom calls and Facebook live Goessl episodes are out now). And, also, could talk about what they loved and what events. Both podcasters miss the live aspects celebrating the diverse landscape of Seattle they were already immersed in: Seattle’s of shows and miss the places in Seattle that jazz. –Jonathan Shipley jazz community. showcase jazz talent, like Angry Beaver,

March 2021 EARSHOTJAZZ 7 PREVIEWPresented by Earshot Jazz Earshot Jazz Announces New Weekly Livestream Series at Royal Room Earshot Jazz is excited to announce a new weekly livestream series: Earshot Jazz Live from the Royal Room. We’ll be presenting music that celebrates some of Seattle’s most talented ensembles. March lineup is below and April lineup will be announced soon. Concerts are offered free of charge. Checkearshot.org for streaming details and more info.

Alex Dugdale FADE Quartet (Cole Schuster, Greg Feingold, Alex Dugdale, and Max Holmberg) photo by Daniel Sheehan their contributions to the Seattle jazz Seattle pianists Eric Verlinde were festi- Friday, March 5, 7:30PM PST community this past year. val favorites—don’t miss their upcoming D’Vonne Lewis Limited Edition Helping us to celebrate is the super-charged, performance. Longtime musical partners, World-class drummer D’Vonne Lewis, who hard-driving sound of the Alex Dugdale they’ve honed their deep musical connec- burns the stew of jazz, funk, and R&B, leads FADE Quartet featuring the multi-talented tion, seamlessly melding jazz, gospel, and Limited Edition—an extraordinary ensemble composer, instrumentalist, and tap-dancer rhythm and blues. This night promises of Seattle talents, featuring saxophonist Dugdale, along with his solid crew—bassist to be extra special as Jordan celebrates Cliff Colón, bassist Farko Dosumov, and Greg Feingold, guitarist Cole Schuster, and her birthday and Verlinde celebrates his vibist Jacques Willis. Expect deep grooves, drummer Max Holmberg. The FADE Quar- wedding anniversary. lots of love, and a scintillating ride. tet’s livestream performance will bookend the Golden Ear Awards ceremony. Golden Friday, March 26, 7:30PM PST Friday, March 12, 7:30PM PST Ear and Seattle Hall of Fame recipients will RAE Golden Ear Awards Party w/ be accepting their awards in a pre-recorded Bassist Abbey Rae Blackwell has been a Alex Dugdale FADE Quartet video segment. bright, emerging force on Seattle’s creative Come join the party as we celebrate jazz scene for several years. Working here the outstanding achievements of Seat- Friday, March 19, 7:30PM PST with drummer Evan Woodle and keyboard- tle jazz artists in 2020. Acknowledging ist, Matt Williams, her music seamlessly the difficult circumstances that artists Elnah Jordan and Eric Verlinde Powerful soul and blues vocalist Elnah combines lyrical melody with unexpected and community organizers have been Jordan and one of the most in-demand harmonies, creating an avant-garde under- struggling under, we thank everyone for current that is focused yet laid back.

8 EARSHOTJAZZ March 2021 PREVIEWPresented by Earshot Jazz Earshot Jazz Live at The Forum Earshot Jazz and Town Hall Seattle are excited to announce the reboot of the livestream collaboration: Earshot Jazz Live at the Forum. We’ll be presenting resident and nationally known artists every other Saturday night starting in March. Tickets start at $15. For more information go to earshot.org.

Marc Seales photo by Daniel Sheehan Jovino Santos Neto photo by Daniel Sheehan Deardorf, drummer Mark Ivester, percus- guitar and vocal performances infused with Saturday, March 13, 7:30PM PST sionist Jeff Busch, and vibist Ben Thomas. messages from the heart. Marc Seales Trio This long-standing Seattle ensemble locks Pianist, composer, and Professor of Jazz in musical mastery, marvelous chemistry, Piano at the , Marc Saturday, April 24, 7:30PM PST and palpable joy with each performance. Seales is the Dean of Seattle jazz pianists; Ayesha Brooks, Wayne acclaimed both locally and international- Horvitz, Ha-Yang Kim ly. His elegant, blues-inflected playing is Saturday, April 10, 7:30PM PST World-renowned composer, pianist, and influenced as much by the Black Church Clinton Fearon master of electronics, Wayne Horvitz as by jazz artists such as Herbie Hancock, As part of Town Hall’s Global Rhythms takes the stage with guitarist and vocalist , and Wynton Kelly. Seales is series, Earshot Jazz co-presents the Ja- Ayesha Brooks, and cellist Ha-Yang Kim. joined by consummate bassist Jeff Johnson maican-born, composer, vocalist, and Brooks, a contestant on The Voice, draws and versatile New York-trained drummer instrumentalist Clinton Fearon. After from varied inspiration from gospel and Stefan Schatz. more than a decade as a member of the jazz, to hip-hop and rock. Kim draws from legendary band the Gladiators, Fearon numerous traditions including Western left Jamaica in 1987 and made his home Saturday, March 27, 7:30PM PST classical, avant-improv, and East Asian in Seattle, where he formed the bands music. This trio, who performed in the Jovino Santos Neto Quinteto The Defenders and Boogie Brown Band. The brilliant pianist and composer com- recent Earshot Jazz Festival, is not afraid Fearon creates imaginative, poetic, music bines jazz and the stylings of his native Brazil to stretch musical boundaries and ride informed by his reggae roots in the hope with his Seattle all-star band: bassist Chuck new sonic waves. of a better world—experience his magical

March 2021 EARSHOTJAZZ 9 10 EARSHOTJAZZ March 2021 PREVIEW Performing the Interim: Wayward in

LimboThe Chapel Performance Continues space, a 100-per- son concert hall on the fourth floor of the century-old Good Shepherd Center in Wallingford, has remarkable resonance. Beside yellow paneled walls, stained-glass windows on either side of the room let in natural light over the wood floors to the low, rounded stage, framed by pillars that curve up into a spacious, white ceiling. Here, for ten nights a month, audiences have gathered to intimately witness artists perform new and for the Wayward Music Series. Now the space is closed indefinitely. Until it opens, Nonsequitur, the nonprofit behind the series, continues to curate and commission music, regularly posting record- ings online via its website and SoundCloud, and encouraging listeners to pay artists directly. Since April, head of Nonsequitur and program curator Steve Peters has in- Melia Watras photo by Michelle Smith-Lewis Michael Jinsoo Lim photo by Michelle Smith-Lewis vited artists to provide at-home recordings his striking compositional voice with a (violist) premiered a collection of graceful, or previously unreleased mixes of material. politically charged work, with guests, cellist hope-inspired pieces with Michael Jinsoo “We are focused on supporting artists Lori Goldston and writer Christopher Lee. Lim (violin). Sound artist Susie Kozawa from the Seattle metro area—Seattle, Peters emphasizes the work of other explored the space in August, and Kyle Tacoma, Olympia, Bellingham, Eastside, younger artists like La Sonora Clandes- Hanson debuted a new bellows technique etc.,” Peters writes over email. “People tina, Pink Void, Nordra, Kole Galbraith, on accordion in January. Other chapel re- who would normally be playing at the and others. In July, composer Marguerite cordings include a stirring reflection on the Chapel, Gallery 1412, the Royal Room, Brown released a cycle of microtonal cham- past by Ahmad Yousefbeigi, Kurdistanian or more underground venues.” Peters has ber pieces; in May, flutist Leanna Keith vocalist in July, and Stephen Fandrich’s also invited formally Seattle-based artists improvised variations around a void on sublime prepared piano variations on a with ties to the local community, such as various instruments. Virtuoso vocal per- Tyvan melody in August. trombonist Naomi Siegel, who released an formances, from Blessed Blood to Haruko “I have no idea what is coming up. It just improvisation with live electronics about Crow Nishimura, have inspired Peters as depends on whoever comes through week by her pregnancy, “Gestation,” on August 7th, well: “I’d also love to hear a real-life duo week,” Peters says on upcoming concerts, two days after recording. of Amelia Love Clearheart and Tamara though listeners can expect releases from Other artists have taken the opportunity Zenobia,” he says. Ha-Yang Kim and Alex Guy, and perhaps to share documents of their practices, Since Nonsequitur’s still paying rent more archival works like the 2009 concert translating the presence of the room into on the chapel, Peters has also overseen with Harold Budd and bassist Keith Lowe, new expressions, often with a meditative recordings in the Chapel for artists not released last month. These recordings, or contemplative aspect. One half of Ma- set up to record at home, as “that room available for free, make up a remarkable miffer and Mára, Faith Coloccia used field loves music,” he writes. These too, have record of the ways, from coding to clarinets, recordings from Vashon Island with her kept to the program’s wide range. In that local artists continue to examine what two-year-old son for a haunting meditation October, clarinetist Angelique Poteat an indefinite time discloses.–Ian Gwin on language and lineage in November. In joined the Artemisia Wind trio to record Visit waywardmusic.org to hear the re- July, guitarist Michaud Savage furthered original chamber pieces and Melia Watras cordings.

March 2021 EARSHOTJAZZ 11 Jim Knapp Throughout the year, Earshot Jazz is proud to be sharing brief excerpts from the forthcoming book, After Jackson Street: Seattle Jazz in the Modern Era, by Seattle’s preeminent jazz writer, Paul de Barros. Picking up where de Barros’ Jackson Street After Hours (Sasquatch Books, 1993) left off, the new book will be published by the History Press of Charleston, S.C., and will feature fascinating interviews with the familiar artists and under-sung heroes who shape the vibrant jazz scene of the Pacific Northwest. In August, 1979, when I was talking and she said, “Oh, my thinking about moving to Seattle, son’s a musician.” “Oh, really?” I happened upon a concert at the “Yes,” she said, “his name is Gary Moore Theatre by the Composers Peacock.” For me, there were three and Improvisors Orchestra (CIO) bass players who were changing featuring guest artists Sam Riv- the way it goes—Charlie Mingus, ers and Dave Holland. “Wow,” Scott LaFaro and the third was I thought, “if that’s the kind of Gary Peacock—so naturally I hung music they play here, Seattle must out a little longer. She said he was be OK!” Forty-two years later, just back from Japan where he’d I am still eternally grateful to been studying oriental medicine. trumpeter, composer and CIO Well that’s nice, I thought, and I founder Jim Knapp, for helping went on with my route. A while me make the decision to live here. later I was at a bookstore and a Knapp started the CIO in 1977, guy walked in and I just knew it six years after he replaced exiting was Gary Peacock. We had coffee faculty member Floyd Standifer and talked about music. So after at Cornish College of the Arts. I got the gig at Cornish to start Featuring top Seattle players such a jazz program, they needed a as reed man Denney Goodhew theory teacher, so I suggested and bassist Chuck Deardorf, Gary. Of course all the students among others, the CIO not only wanted to study bass with Gary showcased artists such as Riv- and eventually he taught that, ers, Holland, Gil Evans, Bob too. He was very influential on Brookmeyer, Ralph Towner and the Cornish scene and helped many others, but served as the establish Cornish as an interna- house organ, if you will, for the Jim Knapp photo by Steve Korn tionally known mecca for jazz luxuriously lyrical compositions Metcalf. Just as my discovery of Knapp music. I think a lot of the (other) of Knapp himself. Over the years, Knapp, came about as a happy accident, so, too, teachers came there because of him. who came to Seattle from his hometown have some of the developments in Knapp’s About that time, I had also gotten to know of Chicago, in 1969, has not only given us career also come by surprise, as you will Dave Holland quite a bit—he came through great music—on stage and on discs such see from the excerpts below, taken from town a lot—and I remember he insisted, as First Avenue (ECM) and Secular Breath- three interviews conducted in 2020, and “Whatever you do, include free music in ing (Origin)—he also assembled and led 2021. –Paul de Barros the curriculum. It’s too easy to just let it an illustrious jazz faculty at Cornish in go by.” And I did it, and I think that’s one the 1970s and ‘80s that included bassist * * * thing that set the Cornish program apart Gary Peacock, trombonist Julian Priester, When I first moved to Seattle I was look- from others. It wasn’t just about teaching pianist Art Lande, drummer Jerry Granelli ing for work, naturally, and one of my jobs “the rules of jazz.” There was always a free and vocalist Jay Clayton, not to mention was as a Fuller Brush Man, going door to ensemble. Seattle stalwarts such as Goodhew, Dear- door. One day, I was on Queen Anne Hill dorf, Dave Peck, Dave Peterson, and Joni and a very nice, elderly lady and I got to CONTINUED ON PAGE 15

12 EARSHOTJAZZ March 2021 MEET THE BOARD Sheila Hughes Continuing our series, Earshot Jazz would like to introduce you to our board members. They’re a group whose work often goes unnoticed by the broader public, but we value their expertise and their dedication to Earshot Jazz. This month, please meet Sheila Hughes.

Sheila Hughes (she/her) Board Treasurer/Finance Committee Chair Board member since 2018, Friend and Fan for 30 years

I came to love Earshot Jazz quite early in its inception—the organization came on the scene right around the time that I wandered into Seattle and jumped into a funky little arts nonprofit called One Reel. Upon learning of Earshot, I remember thinking, “What a great name!,” having no idea of the connections to come. Like Earshot, One Reel was started by a scrappy team of arts-makers. I joined 6 other folks and worked out of a rodent-infested Sheila Hughes photo courtesy of Sheila Hughes firetrap in Belltown—together we were As hand-crafted festivals, Earshot, Bum- of a lifetime appreciation. Other times it the producing nucleus of Bumbershoot. bershoot, Bite and Folklife were sort of just me out of my seat, like one show My six-month Bumbershoot gig turned Seattle’s OGs, soon joined by EndFest, about which jazz reviewer Jason West said: into a two-decade adventure, as One Reel WOMAD, Sasquatch and lots of other What could be described as R2D2 on herbal grew to take on events like Summer Nights great music events. But Earshot always ecstasy or two elephants making love to a at the Pier, WOMAD, Lake Union Family had a special cool about it, popping up men’s glee club was, according to DJ Spooky, Fourth, and Teatro ZinZanni. around the city, stretching out into new “a musical conversation” between himself But what a different time and town Seattle venues, and always refusing to become a and (Wayne) Horvitz. was in the late eighties, when Earshot was reductive, headline-based event like many Since One Reel, I’ve served as director first conceived. Sort of a scruffy, magical jazz festivals. of Icicle Creek Center for the Arts, Gage and weird place, the city felt wide open One Reel and Earshot’s booking worlds Academy, and now Bainbridge Island and super-inexpensive, like anyone with sometimes touched as we both brought Museum of Art (BIMA), but am still an a half-good idea and some focus could artists like Zakir Hussain, Branford Mar- unapologetic festival-head—I love the get something started, and did. Theaters salis, Arts Ensemble of Chicago, or Sonny special magic that’s created when a critical popped up in alleyways and bars. Bookfairs, Rollins to Seattle, as well as NW faves like mass of explosive talent is squeezed into open mics, and slams were a thing. And the Tiptons, Bill Frisell, Skerik, Greta time and space. So when I got to BIMA and live music was everywhere—seedy haunts, Matassa, Marina Albero, and many, many found a vibrant museum whose jewel box fisherman bars, dance clubs. Places like the more. But what I really loved was that auditorium sat empty most of the time, I Comet, RKCNDY, the Croc, Tugs, Vogue, Earshot found the exciting edges. More reached out to John Gilbreath to see if he’d Rebar, Jazz Alley, OK Hotel, Sit ‘n Spin of a funk, soul, and world music lover, I partner on a Kitsap extension of Earshot and The Cloud Room—they were like a wasn’t jazz educated…and Earshot took me Jazz Festival—the Within Earshot Jazz little string of pearls that lay between One into new territory—Hermeto Pascoal, Los Festival at BIMA was born. Reel’s Belltown office and my apartment Muñequitos De Matanzas, DakhaBrakha, Since joining the Board, it’s been a chal- on Capitol Hill. I was 26 and in love with most recently Jazzmeia Horn and Egberto lenging and always-interesting ride, but this town. Gismonti. Sometimes it was the beginning CONTINUED ON PAGE 15

March 2021 EARSHOTJAZZ 13 FOR THE RECORD tone. His sound is barely amplified and is Frank Kohl characterized by his mastery of the har- monic, melodic, and rhythmic elements Solitude of whatever piece he chooses to interpret. SELF-RELEASED In a sense, his playing is aural, playing In jazz music, solo performances on pi- ideas that come to mind in the moment, ano or guitar are the noblest of ventures. as opposed to relying on set patterns his No other format leaves the artist quite fingers may chance upon. These are the so vulnerable, and represents a task so essential points that draw a listener into daunting. The rewards are rich however, a solo performance, more so than the for once the player achieves a portion of particular tunes chosen to perform. In success in pairing melody and harmony, Kohl’s case, the clarity of his technique is the music can go in any direction that the almost an afterthought, a vessel to carry player wishes. his expressive capabilities. Guitarist Frank Kohl has run the prover- own tunes that he need not feel indebted Kohl composed about half of the album’s bial gamut as a jazz guitarist. His journey to tradition, or past masters. In either case, thirteen tunes, and also included stan- has taken him from his native New York he knows how to create space and pause dards—from Ellington’s “I Got it Bad,” City, to the San Francisco Bay, and since within a tune, surrounding the listener to the Jobim gem, “Once I Loved.” His 1990, to his adopted home in Seattle. All with its beatific qualities. intimate relationship with originals truly the while, he has maintained his precision The great solo guitarists are remarkably comes through, as the lush, memorable playing within the great jazz guitar tradition proficient at interpreting the nuances melodies are strongly stated enough to that includes heavyweights Jim Hall, Grant of bebop and post-bop vocabulary in an stand on their own. “Solitude” and “Still Green, Barney Kessel, and Peter Bernstein. orchestral sense. Solitude presents Kohl Missing You” offer rich melodies steeped With Solitude, the entire sum of Kohl’s at his introspective best, lyrically and in melancholia, accentuated with grace creative intuitions come to light, illuminat- spontaneously setting himself apart from and beauty by Kohl’s colorful voicings, and ed by the oneness of his warm, exquisite common expectations. –Paul Rauch daring connecting runs. It is within his

Evoking the shakuhachi with breathy flute Spontanea harmonics, Mandell adds a spray, like plays of light off water, as Benham’s eddying Quintaphonic guitar effects return their reflections. RIGHT BRAIN RECORDS Schaffer comes in with scratchy cords on Consisting of Scott Schaffer (bass), Carol the mandola, while the group’s caution J. Levin (electric harp), Kenny Mandell (sax- gives way to the stream of events—almost ophones, flutes), Matthew Benham (guitar), imperceptible interactions between players and Colorado-based James Hoskins (cellist), that mount like leaves stuck in water. the improvisation ensemble Spontanea has The quintet’s instruments intertwine only played a handful of times live. Shortly on “Svaha,” a spine-tingling group drone before the pandemic, however, they were like a glance down a chasm. Benham able to record a follow up to their last re- processes industrious shredding as Levin lease, 2020’s spacey Chromasonic (also on picks pentatonic melodies, the swirling Schaffer’s independent label Right Brain improvisors are able to convene intricate plunge wired with Mandell’s percussion Records). Their newest presents another parallels out of nowhere, a higher reason hits, until a slight chord barely marks the superb collection of improvisations—the of the indeterminate. surprising end. Smaller group pieces like quintet’s collective searching, charged with “Primordia Discordia” dissociates this “Dos Espadas,” a slow-branching study in the taut motion of uncertainty, could not process in a clever staging of harmony’s tonal parallels by Mandell and Hoskins, have been more timely. antinomies. Beginning with a sunny dance of demonstrate the well-tuned camaraderie Hoskins sets the scene on the opener, and harp, metal shreds and overblown of the group. “Tres Holas” matches string “Inverted Rainbow,” with a long, melancholy sax squeals enter like an afterthought, only timbres with fretless bass, the electric arco tone. A specialist in Mediterranean to disrupt the tranquil setting with their guitar’s hall of mirrors, and the sudden string music, Hoskins provides a lyrical own jubilations. Like the group’s eclectic plucked splash of Levin’s harp. Ambitious counterbalance to the group’s wanderings. approach to instrumentation and timbre, within the small scale of their pieces, the the group’s sense of humor matches their

14 EARSHOTJAZZ March 2021 collaborative concentration. Levin, who KNAPP, FROM PAGE 12 HUGHES, FROM PAGE 13 often adds effects to her instrument, eas- ily fits the harp’s to Mandell’s classically (In the early ‘70s) there was a band in last year eclipsed all. The COVID-related avant-garde blowing. Seattle led by a drummer named Joe devastation that’s ripped apart Seattle’s For the remarkable last track “Quintaria,” Field called Matrix. I played trumpet. It music scene continues to stun, with those the group follows through a delicately drift- was an interesting band that had both most hurt being individual artists, venues, ing, uneasy mood, faint as semi-darkness classical and jazz players. Ron Simon and neighborhood businesses. Rebuilding before day’s end: as a broad cello melody played bass guitar—he was principal that special ecology is going to be critical slowly glistens, odd sounds set in like shapes bassist in the Seattle Symphony—and to the survival of all musicians, especially in the dusk. It’s only from a long-sustained there was violin and viola, all electric, next generation—and Earshot plans to and developed intimacy that the quintet amplified. It was a pretty good band. It be a part of that effort. can summon, so gradually and carefully, the was kind of like what I thought baroque And 2020’s cultural shift to dismantle diffused gestures of this lasting instant, to orchestras must have been like, in Bach systemic racism and social injustice has show time coherent by its dispersal. Here, and Handel’s time, which I thought was raised serious issues and opportunities as in the natural world, the conditions and an interesting time in music. It dissolved for every cultural organization. Earshot relationships that make this perception when Joe moved out of town, but the is no exception to that, and has a special possible are a precious epiphany. –Ian Gwin Composers and Improvisors Orchestra responsibility since it’s dedicated to was kind of my version of that band. The advancing Jazz, a Black American art- CIO was more jazz—it had acoustic bass, form. The organization moved quickly to whereas that band was more of a rock self-education and community activism, band—but I liked the instrumentation. but as a board and staff we’re all painfully And it was Joe’s idea. aware of how much more needs to be The story about how First Avenue (a done to truly embody anti-racism. I’m free-improvising trio with Goodhew and humbled to be working alongside a board cellist Eric Jensen) came together is inter- of directors and staff who are challenging esting. Eric was on the faculty at Cornish the organization from the inside out, and he wanted to do this Stockhausen and who intend to rebuild Earshot with piece that had this elaborate setup of laser focus on racial equity and social equipment and precise timings of this and justice and intentionality of commit- that, so we were sitting in his living room ment. I see Earshot Jazz as learning, trying to figure this stuff out and I said, stumbling, failing, and moving forward. “Why don’t we just improvise? It’ll sound I know I speak for all of us when I say just as good!” So we did, and we had such we’d welcome the support and help from a great time playing together, cello and anyone who shares in this passion—it’s trumpet—and Denney was just a natural an exciting and urgent time. addition—that that became the trio.

March 2021 EARSHOTJAZZ 15 NON-PROFIT ORG U.S. POSTAGE 3417 Fremont Ave N, #221 PAID PERMIT No. 14010 Seattle, WA 98103 SEATTLE, WA Change Service Requested

Jazz Prep for Beginners Trumpet class led by Samantha Boshnack (top right) Screen capture courtesy of Seattle JazzED IN THIS ISSUE

Letter from the Director: MembershipYour membership helps support all our community programs and The Sound at the End of the Tunnel 2 concert presentations. It also brings the magazine to your door and entitles you to discounts at Earshot events. Notes 3 Become a member today! q Individual Membership $60/yr JazzED: Pushing Foward in Epic Times 4 q Household Membership $96/yr q Patron Membership $150/yr Talking Seattle Jazz with Jazztalk Seattle 7 q Sustaining Membership $300/yr q Preview: Earshot Jazz Announces New Discounted Membership $36/yr available for ___ Senior Citizens ___ Students ___ Veterans Weekly Livestream Series at Royal Room 8 Other q Preview: Earshot Jazz Live at The Forum 9 To receive newsletter First Class mail please add $10 q Additional Donation included for $______Preview: Performing in the Interim: NAME

Wayward in Limbo Continues 11 ADDRESS

Roots: Jim Knapp 12 CITY/STATE/ZIP Meet the Board: Sheila Hughes 13 PHONE # EMAIL

Earshot Jazz is a nonprofit tax-exempt organization. Ask your employer if your companyhas a For the Record: Frank Kohl 14 matching gift program. It can easily double the value of your membership or donation. Mail: Earshot Jazz, 3417 Fremont Ave N, #221, Seattle, WA 98103 For the Record: Spontanea 14 Online: earshot.org/membership