INSIDE: Summer Festivals, Ditto Tavern, Wally Shoup
Vol. 7, No. 6 Seattle, Washington July1991 Budding Lighthouse All-Stars
Ito saxophonist Bud Shank wears so many hats these days that - he has little time to la Is don his yachting cap and indulge in his favorite hobby. This month he is over seeing the eighth annual Bud Shank Workshop, which pre cedes Jazz Port Townsend. Enrollments in the hundreds now, and students come from around the world to learn from the internation ally known jazz faculty. Shank is also an in-de- mand soloist (see review of his recent recording with a string quartet), the leader of his own quartet, and a reor ganizing force behind the Lighthouse All Stars in part nership with trumpeter/com- poser/arranger Shorty Rogers. Shank's busy perfor mance schedule took him from Denver in late May to the four-day "Back to Photo: The Lighthouse All Stars perform at Jazz Port Townsend July 26-28. Lto R Shorty Rogers, Bud Shank, (Cont'd p.5) Pete Jolly, Conte Condoli, Larance Marable, Monty Budwig, Bob Cooper and Bill Perkins.
ROOTS: Nous, was reviewed in last month's Roots of Jazz Project, which will culmi issue, and Mel Torme's recent Night at nate in the publication later this year of the Concord Pavilion features the Wess Jackson Street After Hours: A History of Bill Ramsay orchestra on several cuts. Ramsay will Jazz in Washington. be on the faculty of the Bud Shank T Workshop in July. BR: All through high school in Centralia I Tacoma's Bill Ramsay continues to be Born in Centralia in 1929, Ramsay was playing in Saturday night bands— one ofthe most in-demand players around. paid early dues in the Northwest before most steadily at a place called Woody's His exemplary reading skills and ability to fit movingto Los Angeles in the '40s, where Nook on Highway 99. My father had a a wide variety of musical settings on alto, he played with Shank before returning tavern with music on weekends, and I tenor and baritone have landed him stints to the lively Tacoma club scene of the would hang out by the back window with Goodman, Basie and, currently, Frank '50s. The following excerpts are from an and poke my head in to play with the Wess, with whom he is appearing in Japan interview conducted by Joe Murphy in band, lest the liquor inspectors raided this month. The band's latest album, Entre March and April of 1989 for Earshot's (Cont'd p.4) i««g«
fad to come along. I guess that makes for a CENTRUM better show—but please not at the ex PORT TOWNSEND I bring to your attention a matter that pense of America's great music. Write to: I feel should be of concern to all jazz fans. National Academy of Recording Arts and The Bobs In the June 8 magazine section ofthe P-I, a Sciences, Inc., 303 N. Glenoaks Blvd., Suite 140, Burbank,CA. 91502 July 13, 7:30 pm tiny mention was made of the new rulings by the "Grammy Awards." Three jazz cat —Patrick Stolz "Sometimes funny, sometimes egories are to be eliminated and replaced poignant, always wickedly by one. Individual awards will no longer be I enjoy receiving Earshot and planning clever...this is a must-see show" given to the best female, male and en trips to hear artists in Seattle—to the ex Los Angeles Daily News semble performers. The new award will be treme of driving down after work and for best jazz vocal performance. home again for the Denney Goodhew/ Jazz Ralph Towner concert. I don't have to tell you that some ofthe Port Townsend world's finest musicians go unrecognized. I take exception to the writer who talked July 26-28 Jazz is already sorely represented by the about jazz videos and the artist not being a good entertainer. Musicians are musicians. Lighthouse All Stars, Nat "Grammies." The new ruling only exacer bates the problem. I encourage readers to The entertainment is the music, not jokes or Adaerley, Larry Coryell, Hal dancing or "entertaining." Gal per Trio, ROD McConnell & appeal to the Academy to reinstate these awards. There now is an award for every Glad to see someone still doing reviews Workshop Big Band, Dick on LP—or at least stating the format still Oatts, Clayton/Hamilton Jazz exists. I find the sound of LP richer and Orchestra, Pete Christlieb, NAT 1 O N A L easier to listen to over time. It is more Jiggs Whigham, & morel realistic—maybe not as convenient or trendy. If you could mention on reviews KPIU available formats, it would help everyone. —Doug Spence, Lion's Bay, B.C.
Selections in "Waxin' Your Ears" are re Leo Kottke & viewed on CD unless otherwise noted, and most David Bromberg are available on cassette tape. Fewer and fewer PUBLIC RADIO August 31/2 & 7 pm labels press LPs. Locally, Bud's Jazz Records keeps abreast of the LP market.—Ed.
McCurdy Pavilion Earshot Jazz "A Mirror and Focus for the Jazz Community" Fort Worden State Park 3429 Fremont PI., #308, Seattle, WA 98103 Ihe Clear ©1991 Earshot Jazz Call General information, (206) 547-6763. Choice Editor: Sandra Burlingame 1-800733-3608 Asst. Editor: Andrew Freund Art Director: Al Tietjen SUIMIVIHK AJR 1^; FESTIVALS Calendar Editor: Bob Mariano, 788-3079 Advertising Mgr: Jeff Ferguson, 365-2029 Staff Writers: Joseph Murphy, Bruce EARSHOT JAZZ LIFETIME MEMBER Greeley and Gary Bannister. Contributors: Daniel Brecker, Brad Burns, Keith Cirillo, Paul de Barros, Mike Dennis, David Dickerson, Ted Dzielak, Andrew Havlis, Roberta Penn, Taina ELEANORE ALDRICH, G.R.I. Honkalehto, Eric Hoffman, Herb Levy, Steve Robinson, Fred Wardenburg, •viii 111 i i 11111 0 9 4 Associate Broker 1-794-3777 Bruce Phares and Ken Wiley. Proofreading: Mark Solomon Rare & used LPs, 78's, CDs 788-2036 Mailing: Lola Pedrini Jazz, Big Band, Dixieland Professional real estate services Computer Assistance: Rich Minorjaina by a committed jazz fan. Honkalehto Earshot Board of Directors: Kris Bain, Alan (206) 522-8189 Cairns, Ralph Davis, John Gilbreath, Peter Davenport, Joseph Murphy, Lola 6504 Ravenna Ave. NE Windermere Pedrini, Jeff Ross, Leon Vaughn, Irene Seattle, WA 98115 <> Real Estate m Ward and Bud Young. Director: Sue Fawver Earshot Jan is printed by WE ALSO MAIL ORDER Monroe Pacific Media Group 121 JsL Lewis - Momac, WA £8272 2321 Third Ave., Seattle, WA WALLY SHOUP; Dropping Veils
ough Marlboro high, edge of mm I Scotch wearing thin, moving ilfltl downtown toward Swan Cafe to hear this free improv guy. As I enter I see Wally Shoup up there on stage, on sax. Charley Rowan on keyboards, Eric Amrine on gui tar, too. A collision of sound. Like a Manhattan steamroller careening down dark alleys, like a sonic wash over noise, like the staccato fuzz in my brain rounding the bend toward oblivion. And more, I sense much more. A widening of forms. I'm hooked, I'm enthralled. Wally and I sit down together later in the week. He is careful to make a distinc tion between jazz and free music. "I don't think of myself as a jazz player. I'm a jazz aficionado, and I respect what the jazz people do, but I take improvisation just as seriously." I've got to grasp what he so eloquently does, this free improv thing. But how do you define it? Can you circumscribe the contours of intuition? Or lay bare the internal logic of non-logic? "When it's successful for the audience," Shoup says, "it's about dropping veils. Not asking 'Do I like this? Do I not like this? Is this valid?' These questions keep you from experienc ing the free flow of sounds. more skilled musicians he played with rim of consciousness when I stepped into "When I first heard free music, I couldn't weren't going to wait for him to learn the the Swan the week before. Something I figure out what kind of thinking was going idioms. "Allof asudden," hesays, "I heard heard down through the breathing, jump on when they were playing. Butthen there this music that made sense to me. And I ing, jittery sax, the voice of that sax. "It's was one point when I said, 'To hell with it.' could find my way through. If I could find this experience," Shoup says, "being in Andallofasuddenlshutmyeyesandlgot other players who were turned on too...." the middle of this experience where more this bevy of weird but interesting images And he did, particularly in a burgeoning narrow, more limited ways of thinking are, that would go along with the music, all of improv scene of in the late '70s and early for awhile, pulled away." a sudden the music started making sense. '80s in Birmingham, Alabama, where he —Andrew Havlis They weren't trying to sound like a specific was drawn through his correspondence idiom. Maybe they were sounding like a with Transm useq. The p layers were mostly door closing with a little creak." disaffected artists tired of limitations or sick It is music difficult to describe other of old Jefferson Airplane being as cutting than in negative terms: nonlinear, discon edge as most people would go. Five years ago Shoup came to Seattle to perform in Jazz Bass tinuous, non-idiomatic. The power and sense derive from that. It resonates like a duo with a dancer and found his place in dream. the growing free improv scene here. Pos Lessons Shoup got into free improv through a sibilities. Free improv represented possi circuitous route in the early '70s, when he bilities on many levels. had a radio show in Colorado Springs. Still I can't help but marvel at Shoup's Bored with what was currently available dedication to his art. It is largely Acoustic or Electric for play, he wrote to independent labels unrewarded, both in terms of fiscal benefit from experienced for their releases. A record by a British and popularity. Shoup, in fact, thinks that group called the Music I mprovisation Com maybe only ten or twenty percent of the professional pany appeared at his doorstep and then audience ever clicks in with the musicians another by a Tuscaloosa group called to "go along for the ride." It is difficult bassist Transmuseq. The music thrilled him both music to grasp as a listener. It requires the as a listener and performer. suspension of all immediate, evaluating Doug Miller Shoup was in his late '20s when he response. So for Shoup, the performer, picked up the sax. He realized he couldn't where does the gratification come from? 527-0912 match the greats like Charlie Parker. And The answer is something that I felt on the come down to sit in with them. We all the place. nity to play with musicians coming from JM: What players influenced you then? New York, Chicago and all over. did. BR: There was a sax player from Chehalis JM: Later you started playing in civilian JM: What was the music like in those by the name of Bill Fahey who was a very bands? places? good player. He was my first personal BR: On Saturday nights we would play the BR: Mostly the current, popular material influence. There were also good players Evergreen Ballroom, north of Olympia. with bands ranging from six to nine like Waldo King and Chuck Stentz from It had one of the finest natural shells for pieces. There was quite a bit of Mafia Olympia. I think one of my first strong a band anywhere. The acoustics were control in those days, and a lot of the influences was Corky Corcoran from superb. There were some fine musicians clubs were owned by families. The god Tacoma. I could emulate his sound right on that band—Chuck Stentz, Art Dahl, father of the Northwest was a Tacoma down to where even he couldn't tell the Traf Hubert, Buzzy Bridgeford on drums. resident by the name of Vito Catone. difference later on when I got to know Trumpeter Neil Friel was in and out of Many times playingthe NewYorkerwas him. the band. like a B movie. The place would be full of JM: What was significant about people, and a couple of Vito's boys would come in and clear his sound? the place out, lay a table out in BR: Well, it was a big, full- front of the bandstand. Then bodied sound that was promi Vito and hisfamily would come nent and popular in those in. We'd end up playing "Come days. The Webster/Hawkins Back to Sorrento" all nightlong, sound—more Ben Webster but he would send lots of heavy for him. I think he [Corky] tips to the band, so we didn't had asound all his own, which care a bit. could only come through on JM: Eventuallyyou puttogether an Otto Link mouthpiece, a big band? which I couldn't afford then. BR: Around 1958 I went out JM: You moved to Los Angeles and boughtsome arrangements after high school? for a band of mostly Tacoma BR: Yeah, I lived down there musicians. Then I felt I needed five or six months and came some stronger players, so I back to go to junior college in brought in Don Smith on lead Centralia and then into the trumpet, Jerry Grey on piano army and the army band. I and Chuck Metcalf on bass. was stationed at Madigan JM: How did you get involved Army Hospital with the 359th in the show band stuff? band there. Most of the mu BR: I started playing with the sicians were either kids my Seattle Symphony occasionally age or old career soldiers, so when they needed a saxo there wasn't much inspira phone. I still do work quite a bit tion until two or three years with them, which is always a later when musicians came thrill, because I love sitting down through Fort Lewis like Eric in the middle of 60 strings—just Dolphy, Pony Poindexterand being surrounded by all that Billy Tolles. Walter Benton, a sound. marvelous drummer, was Bill Ramsay there and Leo Wright, a sax JM: What playing experience player who later went with Dizzy. The JM: So you were in the service...? do you value the most? first band I played with was led by a BR: '48-'52—but I was working five or six BR: You mean any place? warrant officer named Gerardo Del Rio, nights a week. Pacific Avenue at that JM: Yeah. who was Cuban. His jazz experience time had probably four or five joints that BR: Well, I think I got my initial thrill and was nil because he had come out of the had live music every night. I was work shock—notto putaside Benny Goodman Xavier Cugat band. If he heard anyone ing a club called Thirteen O Six and right or anyone else—playing my first night play a flatted fifth or sharp ninth, he up the street at Pirate's Cove was Freddie with the Count Basie Orchestra, just would just freak out, break batons and Greenwell. That was the best jazz club. going in cold with no rehearsal. Seeing go into a holy rage. At this time there The after hours scenes were atthe Broad all those guys that I'd known about for was still segregation in the army. They way and the Congo Club, which is where years—Freddie Green and people like had black units and white units, the I first heard the Mastersounds. They that. I don't remember playing one note, black NCO club and the white NCO were based in Seattle and consisted of because I was floating. club. The black club, called the Wash Monk Montgomery on electric bass, JM: You went with the band in '83? ington Avenue club, had great jam ses Buddy Montgomery on vibes—these BR: Yeah, they were in Yakima, and the sions every Sunday. That's where I met were Wes' two younger brothers—with baritone player's mother took ill, so he Eric and all those fine musicians. Eric and Bennie Barth on drums and Richie had to leave, and they gave me a call. I I became good buddies there and started Crabtree on piano. That band wassome- took a black suit and a toothbrush and playing the after hours scenes together. thing else, doing the latest bebop and my horn and was gone. That club also gave me my first opportu originals. Ernestine Anderson used to —Joseph Murphy people who didn't live through that era or Lighthouse All-Stars Europeans and Asians, for instance, who (Cont'd frpm p. 1) came to jazz later and only read about the Balboa" festival, honoring the 50th anni music in books aren't prepared for us." versary of the debut of the Stan Kenton The current Lighthouse All Stars, who band at Balboa's Rendezvous Ballroom. use the name with Rumsey's blessing, are "The response to this festival was over culled from the musicians who played the whelming," says Shank. "This kind of trend-setting club: Rogers, flugelhorn; enthusiasm for jazz in the L.A. area is ConteCondoli, trumpet; BobCooper, tenor unheard of! A group of 50 even flew over sax; Shank, alto; Bill Perkins, baritone sax; from London." A friend, who attended Pete Jolly, piano; Monte Budwig, bass; and the festival, described the music as so Larance Marable, drums. Marable, who compelling that "it was hard to listen and often played the Lighthouse's Sunday mati breathe at the same time." Shank per nees, appeared with Jimmy Witherspoon formed with his quartet, as a featured at Seattle's Jazz Alley in May and talked soloist on Manny Albam's piece written with drummer and Earshot writer Mike for the occasion, with the Lighthouse All Dennis. "The East Coast media of the '50s Stars on a sold-out harbor cruise, and with considered their musicians more aggres the Kenton alumni band. sive," said Marable. "The critics looked Shank spenttwo years and two months down on the 'West Coast sound,' which with the Kenton band before being drafted became a label to avoid because it had a in 1952. "Stan managed to delay my discriminatory connotation." entry into the service for 14 months," Perhaps the new All Stars can set the laughs Shank. "My association with the critical record straight. But they are no band was short-lived compared to the revivalists. Their music is new and their role it's played in my life. And I never even playing is better than ever. They swing A R T I S T S' rings around players half their age, and took any solos—Art Pepper played them WORK all. But the friendships I made—with they have the added finesse that comes Shorty, Bob [Cooper], the late Shelly only with experience. The response of fans AND Manne, Harry Betts, and Milt Bernhart, and reviewers (March '91 issues of down WORKING have lasted a lifetime." beat and Vazz Times) has been overwhelm ARTISTS Those friendships from the Kenton ingly enthusiastic. "Offers of performance years flourished throughoutthe '50s along dates have come in from all overthe world," with the musicatbassist Howard Rumsey's said Marable. famous Hermosa Beach club, the Light After the Kenton bash the group began house, which hosted many great jazz art a tour which includes Chicago's Ravinia ists and generated innovative, driving Festival, Ronnie Scott's in London, the North ROGER SCIIKKIIIER music. The energy of that music often Sea Festival in Holland, the Hollywood went unacknowledged. Contemporary Bowl and California's Monterey Festival. PHOTOGRAPHER Records has reissued the 1954 recording Local fans can catch them at the Port of Rumsey's Lighthouse All Stars (see Townsend Jazz Festival, July 26-28. The February '90 Earshot), and RCA has com group has also recorded six new tunes by 6 2 2 ' 3 5 2 5 piled three great recordings by Roger's Rogers for an upcoming album. nonet and his orchestra into one CD called —Sandra Burlingame Short Stops. "So much damage was done by critics of the time who put down the 'cool' school and virtually overlooked the rest of West Coast jazz," says Shank. "Young COMPACT DISCS Thanks For Discriminating Listeners NEW & RENEWING MEMBERS: Bainbrige Island—Peter Manning: Bellevue—Greg Let JAZZ DELIVERS be your ears. Reitan; Bremerton—i. Michael Vaughn; • Personalized monthly selections • Olympia—Bob Meyer; Seattle—R. G. Gal {formerly Robert R. Meador Productions) loway, Nelda & Cliff Swiggett, Lisa De • Newsletter • Special Orders • • Hard-to-find CDs. • Gabriele, Ed Waldron, Kay Clayton, Bill Hode, • SIXTCOM TRACK RECORDING Glenn Goodrich, Alice Hoff, Jerry Crowder, • LNG TO DIGITdt Q-TRrfCK Jack Brownlow, Bea Kumasaka, Eddie K. Ito, • rtMDI PRODUCTION (206) 325-4123 Reed Carlson, Alan Lau. FAX (206) 324-8124 Specializing in jazz recording NEW & RENEWING SUBSCRIBERS: Se Jazz Delivers • 602 E. Harrison attle—Pat Smith (Q06) 5Q3-78QO Seattle, WA 98102 14th Annual July 13 — 14 --.CITY OF BEL
FESTIVAL
SCHEDULE OF EVENTS Festival Twilight Concert 6:00 pm Michael Powers Group Saturday, July 13, 1991 7:00 pm The Rhythm Boys 8:00 pm Bellevue Jazz Festival All-Star FREE Youth Band
Bellevue Jazz Festival Sunday, July 14, 1991 FREE
Stage I: Stage II: 12:00 pm Festival Youth Band 1:00 pm Marc Smason & Changes 1:30 pm The Local 493 Reunion 2:30 pm Aaron Alexander - Band Timebone 3:00 pm Don Lanphere Sextet 4:00 pm Becca Duran & The Jay 4:30 pm CHRISTOPHER HOLLYDAY Thomas Group 6:00 pm FIVE BLIND BOYS OF 5:30 pm N.W. Saxophone Quartet ALABAMA 7:00 pm Sonando 7:30 pm Roadside Attraction
Both events will be held at the Bellevue Downtown Park, located at 10201 N.E. 4th St., directly south of Bellevue Square. Ethnic food booths, jazz festival clothing cmd posters on sale c\n Although Oregon's Ottercrest, year will beheld for the first time in the new and fusion. The concerts are held in the Earshot's World Jazz Fest, Vancouver's du 1500-seat McCurdy Pavilion, transformed natural amphitheater of Celebrations Maurier and Victoria's Jazz Fest are behind from a 1920s balloon hangar. Friday and Meadow. us, there are still festivals to come. Saturday nights feature music in clubs Both the Bellevue and Gig Harbor fes The BellevueJazz Festival (July 13-14), scattered around the Victorian seaport tivals are in outdoor settings with food now in its 14th year, moved from its town. booths on site. Plan on spending the day, Community College site to the city's down Gresham, Oregon's Mt. Hood Festival but don't forget the umbrella and sun town park in 1988, and this year the (August 2-4), like Port Townsend, is pre block. —Sandra Burlingame festival has moved up a week to mid-July. ceded by a week-long workshop. Now in For the first time, two national acts, with its tenth year, Mt. Hood offers bigger Our advertisers support out the traditional Northwest artist con venues and a bigger roster, which translate Jazz by advertising in nection, are on the line-up. into bigger crowds. So plan ahead. Earshot. Support Earshot The Port Townsend Jazz Festival (July Gig Harbor's Festival (August 10-11) Jazz Advertisers. Give 26-28) follows a week of workshops un benefits Interaction/Transition, an organi der the auspices of Bud Shank, who brings zation that assists ex-felons in reentering them your business - let in national players to perform and serve on society. The festival offers a "blues day" them know you saw it in the faculty. Main stage performances this and a "jazz day," spiced with a little salsa Earshot • EARSHOT JAZZ 1991-92 CONCERT SERIES •••••••• Deadline: 5:00 p.m. Friday, August 9, 1991 , IMPORTANT NOTICE: If you appeared on World Jazz Fest'9f; you are ineligible for this series. However, if you applied forEa^shpt Group Name Jazz Northwest '9Q-'91 or performed on thatseries, your application willbereconsidered'for the '91 ~'92 series. Should you Wish to r—^ r—i Contact Person supplement that application with a new tape or inform us of personnel changes, please do so arid enclose this application. 2 Address 2 Phone The Earshot Jazz Concert Series Is designed to showcase the music of Northwest artists in a concert setting. Any style of jazz Is L. -A Brief Project Description eligible, with an emphasis on originality. Bands based In Washing ton, Oregon or British Columbia are eligible. Concerts will run from -I -•I October through February. Please submit this form, a recorded sample of the work you intend to perform (preferably Oh audio cassette), appropriate printed support materials and a photograph. Personnel Describe your presentation as accurately as possible and Include only personnel you feel reasonably sure of using. Should you anticipate personnel unavailability, tell us who your "subs" are. You are encouraged to design a special project for your group. Contact Person: Gary Bannister | | Mail to: Earshot Jazz, 3429 Fremont PI. #308, Seattle 98103 AUGUST 10 & 11 TICKETS Ticketmaster SATURDAY SUNDAY LOCATION 628-0888 Celebrations Meadow Or Call the Festival BLUES JAZZ on Peacock Hill in office for information •Katie Webster •Joe Williams Gig Harbor, WA and tickets: •Charles Brown •Freddie Hubbard Food Fair and 627-1504 or •Max Roach outside Tacoma •Dee Daniels Beer Garden 800-540-0217 *m •Charles White •Clarence Acox Advance Band Quintet HOURS Noon to 8:00 p.m. Tickets: $25 day •Bochinche •Skywalk T/CJCtS V&ST&* PLUS MORE TO BE 628-0888 THE RAINIER BEER «A FREDERICK 1 NELSON • PEACHES ANNOUNCED TOWER RECORDS/VIDEO • THE WHEREHOUSE GIG HARB AU TICKETS SUUECT TO AGENCY CONVENIENCE SPONSORED BY: RAINIER BREWING CO.'CAMMARANO BROS.'KPLU-FM'SEATTIE MARRIOT HOTEL'SEATTIE WEEKIY«EASTSIDE WEEK OA0Q Q t> 0 gjjfl ft A BENEFIT FOR INTERACTION/TRANSITION Waterfront, 8pm. Lyle Lovett,7/19; Ladysmith Black Mambazo JAZZ w/Boukman Eksperyans,7/26; Dizzy Gillespie, Miriam Makeba, r Lionel Hampton Big Band, 8/9. (628-0888 or 441-FEST) Around The Sound • "Black Stage Views,", choreographed by Kabby Mitchell III, 7/ 'jipliifb Marrai»|:: 16- 8-24, Bathhouse Theatre (524-9108) • Fourth Annual Winthrop Rhythm & Blues Festival, Winthrop, 7/ JULY1991 25-26.(509-996-2111) Please send August calendarinformation by 7/14/91 to EARSHOT CONCERTS JAZZ, 3429 Fremont PI #308, Seattle, WA, 98103 • Michael Powers Group, Ivar's Celebration, Myrtle Edwards Park, Note: The information below was accurate when we received it, 7/4,2-3:30pm; "Bellevue On The Town" series, Skyline Tower but post-deadline changes are possible. Please call ahead to Building, 7/12,12-1:30pm; Peter Kirk Park, Kirkland, 7/18,7- verify. 8:30pm; Shoreline Community Center, 7/24, 7-8:30pm; Mountlake Terrace Park, 7/27, 3-4pm; Luther Burbank Park, SUMMER JAZZ FESTIVALS Mercer Island, 7/28, 6-7:30pm. • Bellevue Jazz Festival, Bellevue Central Park, south of Bellsquare, • Percy Bronson Big Band, Seattle Center, Mural Amphitheater, 7/ downtown Bellevue. No charge, but donations accepted to 4, 1-2pm. defray costs. (451-4106) A Preservation Hall Jazz Band & guests, Chateau Ste Michelle Saturday, 7/13: 6pm, Michael Powers Group; 7pm, Rhythm Winery, Woodinville, 7/7, 2pm. (628-0888) Boys w/Kelley Johnson; 8pm, Festival Youth Band. A Kent Stevenson Trio, Century Square Building, 7/10,12-1pm Sunday, 7/14: (Two alternating stages) 12 noon, Festival Youth A Michael Tomlinson, Michael Powers, Chateau Ste Michelle Band; 1pm, Marc Smason & Changes; 1:30pm, Local 493 Winery, Woodinville, 7/14,1pm. (628-0888) Reunion Band; 2:30pm, Timebone; 3pm, Don Lanphere A Mantis, Bite Of Seattle Jazz Stage, 7/20, 5-8pm. Sextet; 4pm, Becca Duran/Jay Thomas Group; 4:30pm, A Changes, Liberty Bay Waterfront Park, Poulsbo, 7/21, 3-4pm. Christopher Hollyday; 5:30pm, Northwest Saxophone (297-2283) Quartet; 6pm, Clarence Fountain & The Five Blind Boys of A Jazz Police, Marina Park Pavilion, Kirkland, 7/24, 7-8:30pm. Alabama; 7pm, Sonando; 7:30pm, Roadside Attraction. A Babtunde Olatunji, UW HUB Ballroom, 7/24. (376-5180) •Jazz Port Townsend, FortWordenStPark, Port Townsend. (800- A Inner City Jazz Quartet, Century Square, 7/24, 12-1pm. 733-3608) A Wynton Marsalis, Ernestine Anderson, Marcus Roberts, & Joey Friday, 7/26: Noon, Free Concert, Franklin Court; 8:30pm- DeFrancesco, "An Afternoon of Jazz, Wine, & Art", Chateau 12:30am, "Jazz in the Clubs" w/George Cables Trio, Chuck Ste Michelle Winery, Woodinville, 7/28, noon. (628-0888) Easton Quintet, Bobby Shew Quartet, Gary Barone/Jeff A Count Basie Orchestra w/Roosevelt High School Jazz Band, 5th Clayton Quintet, Jay Thomas/Bill Ramsay Sextet w/Becca Ave Theater, 8/1, 8pm. (283-2661) Duran, & Combos from the Bud Shank Workshop. A Robert Cray Band w/Memphis Horns, Chateau Ste Michelle Saturday, 7/27: Mainstage, 2pm—Larry Coryell Quartet, Hal Winery, Woodinville, 8/1, 7pm. (628-0888) GalperTrio, Rob McConnell Workshop Big Band; 7:30pm— Peggy Stern Trio, Lighthouse All Stars. 10pm-1:30am, "Jazz SEATTLE CLUBS in the Clubs" w/George Cables Trio, Rob Thomas Quintet, A B&O ESPRESSO (204 Belmont E, 322-5028) Klaus Lendzian, Pete Christlieb/Jiggs Whigham Quintet, Jay Thomas/Bill Tue. Ramsay Sextet w/Becca Duran, Don Lanphere Quartet, Jay A CRYSTAL STAR (5445 Ballard Ave NW, 782-3888) Victory Clayton w/Dave Peck Trio, Workshop Big Band. Music Open Mic, Thur, 7pm; Improvisational Theater w/ Sunday, 7/28: Mainstage, 11 am—Nat Adderley Quartet, Dick Roberta Maguire bi-weekly on Wed; Marc Smason & Julie Oatts Quartet, Clayton/Hamilton Jazz Orchestra, Work Wolf, Sunday brunch 7/21,11 am-1 pm. shop All Stars. A THE DITTO (2303 5th Ave, 441 -3303) Room To Move, 7/11, • Britt Festival, Jacksonville Oregon. (800-882-7488) Rick Mandyck & Nicholas Quitevis, 7/18; One Hand Clapping, Saturday, 7/6: 7:30pm, Preservation Hall Jazz Band. 7/25. Friday, 7/26: 7:30pm, Wynton Marsalis, Marcus Roberts. A THE DOWNUNDER (2407 1st Ave, 728-4053) Jazz Wed. Sunday, 7/28: Dizzy Gillespie, Mark Whitfield. A EDGEWATER INN (2411 Alaskan Way, 728-7000) Jazz Jam w/ • Mt Hood Festival of Jazz, Mt Hood Community College, Primo Kim & Mike Dennis, Thur, 8:30-12:30. Gresham Oregon. (503-666-3810, 628-0888) A FOUR SEASONS HOTEL, GARDEN COURT (411 University, Friday,8/2,5pm: Robert Cray, John Lee Hooker, Curtis Salgado, 621-1700) Fred Radke Band, Fri-Sat, 9pm-1am. Lloyd Jones. A HOLLYWOOD UNDERGROUND (323 Second Ave S, 628- Saturday, 8/3,1pm: David Sanborn, Cleo Laine, John Dankworth 8964) Reggie Goings Quartet, Sun, 8-12. Quartet, Clark Terry & Red Holloway, Chick Corea Akoustic A JAZZ ALLEY (2033 Sixth Ave, 441 -9729) Phil Sheeran Quintet, Band, Bobby Watson & Horizon. 7/1 -6; Steve Allen Trio, 7/8-13; 7/15-20, TBA; 7/22-27, Milt Sunday, 8/4,1pm: Blue Notes, Jon Hendricks & Family, Take 6, Jackson Quartet. Al Jarreau. A KOKEB RESTAURANT (926 12th Ave, 322-0485) African & A Gig Harbor Jazz Festival, Celebrations Meadow, Gig Harbor, Reggae, Fri-Sat. noon to 8pm. (627-1504, 800-540-0217, 628-0888) A LA RIVE GAUCHE (2214 Second Ave, 441 -8121) Pierre Savoye, Saturday, 8/10: Blues w/Katie Webster, Charles Brown, Dee Fri. Daniels, Bochinche, Charles White Band. A LATONA (6423 Latona Ave NE, 525-2238) Michael Powers Sunday, 8/11: iazz w/Joe Williams, Max Roach, Skywalk, Group, 7/17, w/Shauna Rogers, 7/26,9-12pm. Kelley Johnson Freddie Hubbard. w/John Hansen & Steve Luceno, 7/19; Beth Winter w/Larry Fuller, 7/28; Call for additional schedule. SPECIAL EVENTS A LOFURNO'S (206015th Ave W, 283-7980) Jazz Jam, Sun-Mon; • Phil Sheeran, Album Release Party, Jazz Alley, 7/1 & 7/2. Melody Jones, Tue-Thur; Jazz w/various artists, Fri-Sat. • Cellular One Summer Nights At The Pier, Pier 62/63, Seattle A NEW ORLEANS RESTAURANT (114 First Ave S, 622-2563) 8 Weekly Listings: New Orleans Quintet, Mon; File Gumbo Zydeco, Earshot Profile Tue; Floyd Standifer Group, Wed; Ham Carson Quartet, Thur; Chuck Metcalf Quartet, Sun. A OK HOTEL (212 Alaskan Way S, 621-7903) Percussion Jam, Tue A OLD TIMERS CAFE (620 First Ave, 623-9800) Lonnie Williams, Tue-Wed A PACIFIC NORTHWEST BREWING CO (322 Occidental Ave S, 621 -7002) Reggie Goings Group, Tue, 8-11 pm; Jazz Police w/ Greta Goehle, 7/14 & 7/28,4-8pm; Changes, 7/17. A PATTI SUMMERS (94 Pike, 621-8555) Jazz, Fri-Sat. A PAZZO'S (2307 Eastlake Ave E, 329-6558) Jazz w/Bradley Leighton & Bill Orr, Sun, 9-12pm A PIER 70 RESTAURANT & CHOWDER HOUSE (Pier 70, Alaskan ::.•:-:•••:>::: Way & Broad St, 728-7071) Jazz Wed. A PINK DOOR (1919 Post Alley, 443-3241) Julie Cascioppo, Tue- Wed A RAMAON POSTTHAI CUISINE (83 Spring St, 340-9047) Lester Iwana Band, Sat, 8-11pm; Michael Powers Group, Thur A THE RE-BAR (1114 Howell, 233-9873) World Beat Night, Wed. A SEATTLE SHERATON HOTEL (1400 6th Ave, 621-9000) Steve Rice, Wed & Fri-Sun; Benet Fleck, Mon-Tue & Thur. ASETTEBELLO RESTAURANT (1525 E. Olive Way, 323-7772) Phil Sheeran, Mon-Tue, 6:30-10:30pm. A SORRENTO HOTEL FIRESIDE ROOM (900 Madison, 622- 6400) Dehner Franks, Wed-Sat. A SWINGSIDE CAFE (4212 Fremont Ave N, 633-4057) Jazz Tue, A THIRTEEN COINS (18000 Pacific Hwy S, 243-9500) Jack Perciful, Tue; Thirteen Coins Trio, Wed-Thur; Murl Allen Sand ers, Fri-Mon. , ^ _ , Kelley Johnson A TROLLEYMAN PUB, RED HOOK ALE BREWERY (3400 Phinney Ave N, 548-8000) Jazz Mon, 8pm. Kelley Johnson Quintet, 7/8. Kelley Johnson admits, "Having my heart 'smushed' did a OF REGIONAL INTEREST lot for me musically. It really taught me to sing songs like The A ANTIQUE SANDWICH (51st & N Pearl, Tacoma, 752-4069) Masquerade is Over.'" Kelley's singing is about the raptures Victory Music Open Mic, Tue, 7pm. found in asong's melody and lyric, and it is about capturing the A BARB'S SOUL CUISINE (302 W 4th, Olympia, 786-9835) Jazz spirit in a room and the truth in a moment's emotions. Fri-Sat. An elegant, witty musician, Kelley brings so much polish to A BEN MOORE'S RESTAURANT (112 W4th, Olympia, 357-7527) a gig that one of Seattle's most stylish restaurants, the Dahlia Jan Stentz, Fri, 7-1 Opm. Lounge, is instituting a jazz policy to present Kelley to its A CI SHENANIGAN'S (3017 Ruston Way, Tacoma, 752-8811) Pat customers. And yes, Kelley Johnson is a musician. Dahlia Byrd, Tue-Sat, 8:30pm-1:30am. patrons will encounter an accomplished musical storyteller A COLUMBIASTREET PUB (200 W4th Ave, Olympia, 943-5575) with a naturally clear, light voice with little vibrato. Butthey will Michael Powers Group, 7/27, 9-12pm. also find a singer who likes to function as another horn in the A CONWAY TAVERN (1667 Spruce, Conway, 445-4733) Jazz band, an adventuress who "goes for it"—for those peaks that Sun, 5-8:30pm: Art Foxall & Overton Berry, 7/14; Jazz Jam, 7/ only a risk-taking improviser with assured technique can reach. 21; Gillet Quartet, 7/28. Blues 1st & 3rd Tue. Kelley credits influences as diverse as Aretha Franklin, A DANIEL'S BROILER (10500 NE8th St, Bellevue, 462-4662) Jazz Nancy Wilson, Chaka Khan, Betty Carter, Dianne Reeves and Showcase, Sun, 7:30pm. Sonny Rollins—even though she sounds like none of them. A ESPRESSO DEPOT & DELI (202 W Gowe St, Kent, 859-3114) Her idols taught her to let her voice soar, to express herself A KELLY'S (1101 Tacoma Ave S, Tacoma, 572-2038) Jazz w/Red directly, and to sing behind the beat. Her formal training Kelly Barney McClure, Fri-Sat, Jan Stentz last Sat each month. includes a degree in jazz performance from the Wisconsin A PROSITO ITALIAN RESTAURANT (6th and Proctor, Tacoma, 752-0676) Jay Mabin Quartet, Mon, 8:30pm; Michael Powers Conservatory of Music and studies in song construction and Group Tue, 8:30pm; Michael Powers Group w/Korla Wygal, improvisational theory with Seattle educators/pianists Jerry 7/10; Jazz concerts, Sun, 8-11:30pm: Beth Winter, 7/7; Kelley Gray and Marc Seales. Above all, Kelley says, "Lifeisaschool." Johnson Quintet, 8/4. Her art is one of continual emotional discovery at the same A SALTWATER CAFE (403 Madison, Bainbridge Island, 842-8339) time as it builds upon time honored tradition. Jazz Sun w/Harry Holbert-Paul Lewis Quartet, 6:30pm. You can let your heart be "smushed" by Kelley while A SHIPWRECK BAR & GRILL (Camano Island, 629-2178) Jazz dining at the Dahlia any Thursday in July after the Fourth. Also Wed- Tommy Bassen Trio, 7/3; Chris Boscole Trio, 7/10; catch her and her long-established quintet at the Trolleyman Groove Merchants, 7/17; Randy Johnson Trio, 7/24; Bob Pub on July 8, fronting the '40s style swing band, The Rhythm Barbey Trio, 7/31. Boys, at the Bellevue Jazz Festival on the 13th, and in a trio setting at the Latona on the 19th. VANCOUVER, B.C (€04) 682-0706 —Andrew Freund A Clark Terry & George Robert Quintet, Commodore, 7/30. RON ( ' H K N Wy SEGAL (J A L L E R Y MAGAZINE 106.9 FM An Afternoon of Jazz Wine & Art at Chateau Ste. Michelle Winery Wynton Marsalis Ernestine Anderson Marcus Roberts Joey DeFrancesco Sunday July 28th 12 Noon/11am Gates ALSO' -•MLtirowc mmTom Gran t Sat., Aug. 24th • 12 Noon /11am Gates tf#H»4 produced by 7-/cyct=\ iAST(=F1 628-0888 /VOS^ 77V WtEST Michael Schivo WSLCB requires that alcoholic beverages consumedon the premises be purchased at the winery. JAZZIIM' AROUND: In the Crescent City ow in its 22nd year, the New be a fine singer. The Ed Blackwell Project took the stage Orleans Jazz and Heritage Festi Next up were the Harper Brothers, at midnight to open the second concert val has become the Crescent City's whom I had first seen as a quintet with with former Seattleite Carlos Ward on alto. second largest tourist draw after either Javon Jackson on tenor or Justin Although advertised as a tribute to Mardi Gras. While jazz is a small Robinson on alto. This time both saxo Blackwell, we weren't sure that the drum portion of an eclectic program phonists were on board with terrific re mer himself would be there. But he was, in that drew over 300,000 people sults. The band almost shouts, "Blakey a big way, with a lovely lyrical approach to this year, the run-down of con lives!" at every turn. (Both Philip Harper percussion. certs around the city makes jazz fans drool. and Javon are former Messengers, and The last group featured trombonist On the last night of the May festival I Winard Harper, on drums, admits to a Delfeayo Marsalis, Ellis' third son and the caught two concerts back-to-back for a strong Blakey influence.) Particularly en producer of several of his brothers' al marathon evening of jazz that began at joyable were Philip's tour de force on bums. He doesn't often perform, and that's 8:00 p.m. The opener was the septet of "Lover Man" and several of Winard's too bad, because he is a fine trombonist. flutist Kent Jordan, big brother to trum solos. Donald Harrison, another former Messen peter Marlon. Despite two albums on Co Capping the first concert was legend ger, sounded great on alto, and the group lumbia, one solid jazz and one fusion, Kent ary altoist Jackie McLean's set. The man included two stalwarts on the New Or is not as well known as his brother. He's clearly takes no musical prisoners. His aura leans scene—pianist David Torkanowsky changed his style to a slightly softer, more is clearly felt. He is uncompromising, with and bassist James Singleton. Young Ni laid-back sound, and his new group in enviable technical ability, a free flow of cholas Payton is a trumpeter we're going cludes vocalist Rod Harper. Kent is a solid ideas, a hard-edged but not unpleasant to be hearing more from soon. player who seems to be searching for a sound, and overall musicality that is awe- The evening ended with a jam session style that is both musically and financially inspiring. One of my favorite moments in which many of the players, including satisfying. was Jackie's interpretation of Burt pianists, drummers and bassists, switched This enjoyable set was decidedly a Bacharach's "A House Is Not a Home." I mid-tune. As a bonus—as if one were family affair. Jordan's small daughter took was struck by his unusual tone on alto needed—John Raye, the high-energy, ac the stage with the band, sitting to the side (reminiscent of Sonny Rollins'currentsound robatic trumpeter from the Sun Ra Arkestra, ofthe performers (a new approach to child on tenor), and his ability to make a ballad joined the jam that lasted until 4 a.m. care?) and his sister Stephanie proved to sound happy. —Steve Robinson three nights ofthe festival were no Mozarts, business, leading a smoking but subtle EARrational neither were they jazz players. They quintet. He caresses a ballad as soulfully as plunked around on electrified keyboards, anybody in jazz, and despite his contained Behavior electrified ukeleles, electrified trumpets and stage presence, he writes some of the made silly, random whimpers, moans and sexiest music in years, possibly a result of other noises. It made some sort of state his work on Spike Lee's Mo' Better Blues ment, and I suppose it wasn't "bad," but and brand new Jungle Fever. Pride of Place: It might have required life is short. I improvised myself, leaving —Andrew Freund the cancellation of several national acts, after twenty minutes. but no matter. Jazz Alley and five beautiful The Wages of a Double Life: UW local players, the Clarence Acox Quintet, professor of composition William O. Smith did each other proud during the first week is also Bill Smith, clarinetist with the Dave of June. Trumpeter Ed Lee, tenor saxo Brubeck Quartet. Both Smiths joined forces State-of-the-Art. phonist Michael Brockman, pianist Randy and wrote a "Jazz Set for Violin and Wind Halberstadt, bassist Phil Sparks and their Quintet" that the University's Soni 'Electric violins and alios great, lilting drummer/composer/leader Ventorum and the violinist Aloysia with standard audio or made music that would shine in any set Friedmann performed in May. The piece 9dWl capability. 4,5, and 6 ting, in any company, in any era. There had a bluesy piquancy, a swinging under string models with choke of was an electricity between Acox's band tow, bits of gypsy violin and sections that and the hip, appreciative audiences, full of recalled Bernstein and the Stravinsky of hardwoods and solid color musicians, who came to enjoy and support "L'Histoiredu Soldat." The "Jazz Set" was finishes. their brethren. Kudos to John Dimitriou. warmly received, but Smith was unable to We want more, we want more! take the traditional composer's bow at a Life is an Improvisation: I was world premiere. He was up in Alaska, reminded at the Swan Cafe's Improvising gigging with Brubeck. JENSEN Musicians Festival that jazz and improvisa Mo' Better Terence: Terence Musical tory music can be two different things. Blanchard has it all, as the world seems to Historians inform us that Mozart impro be figuring out. Seattle's jazzerati were Instruments vised much of the piano parts during per there in force the evening I went to hear 782-3158 formances of his piano concerti, and while him at the New Orleans. Blanchard is a the musicians I saw at the Swan on one of typical '90s retro-bopper—dapper, but all idea after idea, and disparate styles Taylor meant. Shank has a rare, intrinsic, PHIL SNYDER JAZZ that, after a year and a half of musical ability and an empathetic sense of QUINTET weekly woodshedding, fit to ensemble interplay that make her live per gether into a cohesive unit. formance an absorbing experience. For Prosito In only their fourth out me "everything stopped." May 26 ing before the public, Phil Shank's current quartet consists of pia and his band blazed their nist Bob Nixon, bassist Jeff Johnson and They call themselves the Phil way through three rich sets of Luis Peralta on drums and percussion. The Snyder Jazz Quintet, but their show tunes, unstandard standards, ensemble's harmonic sensitivity and aware Prosito date was so dynamic and and memorable originals by Snyder ness of each other complement Shank's virtuosic that they might want to re and friends. Like Prosito, Tacoma's won own cognizance of her band's colors and name the group "The Five Aces." derful jazz haven, their music eschewed textures. She phrases musically ratherthan Let's name these aces right away: Phil frills in favor of intense dedication, and the in terms of the text, much as a trumpeter Snyder, drumsand leader (propulsive, loud, audience responded with constant rapt or saxophonist might. Her melodic call and polyrhythmic, heavy into cymbalism); Steve attention. response with Peraltadisplays her ability to Luceno, bass (melodic, hornlike); John Even playing tunes as hauntingly ro feel and interpret the music. Hansen, piano (responsive, thoughtful); mantic as " I Have Dreamed " or" Falling in Shank employsduetformats with strik Hans Teuber, alto and soprano saxes (bop Love with Love," this was never decorous ing effect. Johnson accompanied her on supreme, the prettiest soprano); and Rich dinner music. Belying his urbane personal electric upright bass for Monk's "Round Cole, tenor and soprano saxes (wailing, ity, Snyder was a dynamo, a dominant Midnight," followed by a Shank/Peralta Coltranesque). All have energy to burn, leader whose powerful, unfussy playing duet introduction to a warm bossa version repeatedly forced each player and the of "You Stepped Out of a Dream." ensemble to dig down, whether the indi "Autumn Leaves" began as a straight vidual tune was a ballad or burner. ballad with Shank singing the original July Jazz Snyder's band was also intellectually French lyrics from the Jacques Prevert poem stimulating. Luceno exploded the concept for which Joseph Kosma wrote music. Highlights of the bass solo with fascinating, complex After a smooth excursion through the explorations that synthesized melody and melody, the group segued into swing time time. Hansen built his improvisations from with Shank continuing the English lyrics, July 3 the ground up, often taking a phrase from loosely translated by Johnny Mercer. She • Christine Lakeland • one of the saxes, repeating it, turning it uses her microphone skillfully, placing it at over, developing parallel themes to the different proximities for dynamic control July 4 song's original melody. Beyond everything and contrast. She added acoustic guitar to • Tom McFarland • else, each tune was asymposium in comple the floating vocalese on her composition, July 5,6 mentary saxophone styles. Teuber seems "Paris Bossa," which also featured an ex the sort of soloist whose implosive fervor pressive solo by Nixon, whose textures •Freddie James & Rockin 88's « reflects an intense identification with a and melodic lyricism shape a distinctive July 11-14 song's original lyrics or mood, while Cole, and personal piano impressionism. He is a • Cash McCall • who can start out as cool as Paul Desmond, sensitive and economic accompanist, al July 19,20 seems always on the verge of free blow ways letting the music breathe and leaving ing, or stepping beyond. room for Peralta's beautiful brush and • Lonnie Williams • This is the best kind of jazz—impas mallet work. —David Dickerson July 26 sioned music with a future that is heavily • Guitar Slim • grounded in jazz's past and present. —Andrew Freund DITTO TAVERN July 27 Thursday nights • Muskrat Rabble • (Happy Birthday, Pete Leinonen!) Virginia Woolf wrote of the need for a KENDRA SHANK room of one's own—a play room, a space Mon - Fri lunchtime piano QUARTET for creation where growth and develop with Ron Weinstein ment could flower. Richard Pauletti's Ditto see Jazz Calendar for weekly listings • Prosito, Tacoma Tavern has become such aplace for Seattle's Call 622-2563 for dinner May 19 creative musicians. reservations. Says drummer Jeff Ferguson, "We're • he first time Cecil Taylor saw Carmen only dealing with a small audience, and yet Amaya dance, he remarked, "It was as it does give people the opportunity to hear though everything stopped for me. I mean original jazz bands and follow the develop everything stopped. That, to me, is the ment of individual musicians." highest kind of compliment that can be Free jazz has usually meant Cecil Tay paid to another artist—to make somebody lor, Ornette Coleman, perhaps Coltrane CREOLE RESTAURANT else lose all sense of time, all sense of his and Dolphy, unemployment, dissonance 114 First Avenue S. own existence outside ofthe performance." and a few hands clapping for over four In Pioneer Square. The first time I heard Kendra Shank decades. Yet followers of this unmelodic and her quartet, I understood just what explosion have grown by the tens of thou- 12 sands worldwide since Ornette began his corded him. A brilliant mentor, Brown's r musical voyages. infectious love and respect for the tradi On June 6, One Hand Clapping played tion is evident, and the musical alchemy two rich and energetic sets. Co-leader Kenny was at its best this night when dedicated Mandell, who just returned from Europe, work became play. It is limiting to refer to played both tenor and soprano saxes with these young men and women merely as a firm sense of structural development. high school musicians, because their per dahlia lounge "O.H.C." was from the git-go a jumping formance was outstanding for any age presents "welcomehome" statementon which bass group. ist Dennis Staskowski's powerful and clas The festivities opened with Basie's "The Kelley sically beautiful solos were mixed with Hit's On," and like a giant jet the band Johnson deeply brooding, moving bow work. kept going higher and higher. Halfway with John Hansen - piano The quartet's offering of Ornette's into tenor player Stuart MacDonald's su Stephen Luceno - bass "Peace" was a mixture of warm and rever perb solo, the eighteen-piece band was in ent phrasing that paid homage to Coleman's full flight. Tom Swafford's Basiesque pi tapestry of sounds, shapes and emotions. ano work was full of the humor of the Mandell's "The End of Grey" found co- great man himself. leader and alto saxophonist Scott Raffel on The evening's fare was full of gems: a baritone, riding out musical ideas that were rousing "All of Me," Ted Heath's ar enthusiastically accepted by a relatively rangement of "Autumn Leaves," and large audience. Raffels artistry is ever fresh Jimmy Forrest's haunting "Bag of and vibrant, and his playing is filled with Dreams," featuring MacDonald again in a sweet, flying statements. His original tune, poignant reading. Lyle Mays' "F.M." of "McCall on the Rue" was laced with spark fered a change of pace and featured gui ing elements of spiritual declarations. tarist Noah Anderson playfully inserting Ferguson is an inventive drummer, con some domesticated, homogenized and stantly playing with new ideas, always taste disinfected Jimi Hendrix licks into this con fully appropriate, and always an attentive trolled fusion number. listener who provides structure and sup The evening's special guest was tenor port. saxophonist and teacher Don Lanphere, This collaborative musical enterprise who traded delicious solos with Swafford continued on June 13 when the Circular and MacDonald on Woody Herman's "Sig Cowboys took the stage with Eric Ring on Ep." Lanphere's reading of Harold Arlen's piano and electric keyboards, Jim Knodle "Last Night When We Were Young" was on trumpet, Doug Lilla on bass and Pete full of the deep, tender affection that the Turner on drums. Knodle, a superb artist, ballad deserves. Nextup was the Roosevelt poured out ideas that would have made trio— Swafford on piano, Peter Sams on Thursdays Miles smile, again. Ring was playfully swift bass and Dave Berkson at the drums— in 7-10 pm In June & July and devilish. Lilla's bass and Turner's high their first performance, offering up strong 1904 Fourth Avenue volume drumming were an integral part of arrangements of "Well You Needn't" and Seattle the Cowboys' ability to go their own way, "Summertime." 682-4142 together. The short but dynamic vocal jazz set V The Ditto Tavern is booked Thursdays showcased a hot "Jumpin' with Sym through August with exciting groups pre phony Sid," headlining the talents of Der senting creative music. Spread the word. rick Grace and Amy Dussault. Obviously —Daniel Brecker the art of Lambert, Hendrix and Ross is alive and well in the '90s. The group did an a cappella version of "Comin' Home," ROOSEVELT JAZZ BAND and Allison Malcolm was featured on "I Got the World on a String." These 23 & VOCAL ENSEMBLE young men and women raise the hope MOHAI that vocal jazz may one day reach the large audience that it's always been de June 3 nied. The evening was full of personal and Seattle's Neighborhood Velebratingthe Outstanding Performance collective triumphs, and the packed house Jazz Pub featuring Awards given by down beat to the 1989- was moved to pleasure and pride. The jazz 90 editions of Roosevelt High School's Jazz band will be performing with the Count Northwest Microbrews, Band and Vocal Ensemble, the 1990-91 Basie Orchestra under the direction of Winey Foody and Jazz in a editions presented "Jazz Night" at the Mu Frank Foster on August 1 at the Fifth Lively Setting seum of History and Industry. Both the Avenue Theater. See you there. One more band and singers were directed by Scott time 65th & Latona • 525-2238 Brown, who deserves every accolade ac —Daniel Brecker 13 I The I the Bass Place C ount featuring The Clevinger Bass "Proven Excellence" 4,5, & 6 string models Acoustic Bass Cases Basie also available at 525-3995 The 5th Avenue A Nightclub & Bistro Theatre with a great late-night menu Presents Thursday, August 1,1991 BuzzArndt Group 8:00 PM FEATURING Reggie Goings and I 2407 First Ave. between Battery & Wall The Roosevelt^^C^Band FREE PARKING 72&4053 Advance - $20.00 & $25.00 Day of Show - $22.00 & $27.00 Group Rates Available Roosevelt/Basie Concert Information • 283-2661 ill Yes! I want to attend! Please send me more information. RECORDS Name Earshot Jazz NON-PROFIT 3429 Fremont Pl. #308 ORGANIZATION r U.S. POSTAGE Seattle, WA 98103 PAID PERMIT No. 14010 Address Correction Requested SEATTLE, WA Time dated material. 16