March 2018 Vol

Home , Brad Shepik, Dmitri Matheny, Geri Allen, Mike Pride (musician)

A Mirror and Focus for the Jazz Community March 2018 Vol. 34, No. 03 EARSHOT JAZZSeattle, Washington

Matt “Spekulation” Watson Photo by Daniel Sheehan Letter from the Director Earshot JazZ A Mirror and Focus for the Jazz Community

Executive Director John Gilbreath The Greater Good Managing Director Karen Caropepe Earshot Jazz Editor Caitlin Peterkin

Contributing Writers Halynn Blanchard, Ian When Bill Frisell says, “Music is good,” he’s Gwin, Andrew Luthringer, Peter Monaghan, talking about all music, and the greater good. Paul Rauch John Coltrane famously said, “I just want to be a force for good.” And Charlie Haden is Calendar Editors Jane Emerson, Rochelle House & Caitlin Peterkin quoted as saying, “We’re here to bring beauty Photography Daniel Sheehan to the world and make a difference on this Layout Karen Caropepe planet. That’s what art forms are about.” Distribution Karen Caropepe & Earshot Jazz The duo of Charles Lloyd and Billy Higgins volunteers broke it down further at a legendary Earshot concert at the old MOHAI in 1997. Charles is always connected to the metaphysical value of his work, Send Calendar Information to: 3429 Fremont Place N, #309 but it was Billy Higgins who got my attention that night, saying, “We’re Seattle, WA 98103 all in service to this music; and the music, ultimately, serves our existence.” email / [email protected] I don’t want to get too lofty about all of this, but I do know that I need these occasional reminders for myself—for my work in music, and for the Board of Directors Danielle Leigh work of this organization. Just the day-to-day details of getting the work (President), John W. Comerford (Vice President), Sue Coliton (Secretary), Viren done can swirl us so far into a consuming spiral, that it’s hard to pull back Kamdar (Treasurer), Sheila Hughes, Chris far enough for a long view. And even then, the times that we live in can Icasiano, Ruby Smith Love, Jon Perrino, make it seem that the world is getting further from service to good and Diane Wah beauty, rather than closer. Jazz isn’t going to save the world; but art makes it a better place, while the Emeritus Board Members Clarence Acox, creativity it brings to life works on the answers. Billy Bragg says, “Our own Hideo Makihara, Kenneth W. Masters, Lola cynicism is our worst enemy.” Beauty has to be the antidote to ugly, cre- Pedrini, Paul Toliver, Cuong Vu ation the antidote to destruction. And good—our own individual practice Founded in 1984 by Paul de Barros, of it—can wipe that “Mr. Yuck” scowl off our new public image. Gary Bannister, and Allen Youngblood. Earshot Jazz is beginning its 34th year in service to the music, and to the Earshot Jazz is published monthly by artists, audiences, educators, and citizens of this expanding community. Earshot Jazz Society of Seattle and is Like the music we serve, this organization remains responsive to its envi- available online at www.earshot.org. ronment, and keeps a supportive focus on both its legacy and momentum. Subscription (with membership): $35 While cultivating a healthy future for jazz in Seattle, the Earshot organi- 3429 Fremont Place #309 zation has become a valued part of its history. The jazz legends who have Seattle, WA 98103 performed under the Earshot banner—including Ornette Coleman, Tony phone / (206) 547-6763 Williams, Floyd Standifer, Jaki Byard, Sun Ra, Don Lanphere, Carla Bley, ISSN 1077-0984 Charlie Haden, Hadley Caliman, Geri Allen, and so many others—have Earshot Jazz Printed by Pacific Publishing Company paved the way for today’s masters and tomorrow’s innovators. © 2018 Earshot Jazz Society of Seattle We are a listener-supported, non-profit organization. Please join us. If you’ve got ideas, we need to hear them. If you’ve got financial, or other, re- sources to share, we can put them to use, supporting the creative potential M i ss i o n S t a t e m e n t in jazz, “America’s greatest gift to world culture.” To ensure the legacy and progression Everyone is invited. As Thelonious Monk said, “The piano ain’t got no of the art form, Earshot Jazz cultivates wrong notes.” a vibrant jazz community by engaging –John Gilbreath, Executive Director audiences, celebrating artists, and supporting arts education.

2 • Earshot Jazz • March 2018 notes U CALL FOR ARTISTs Call for Artists: Fremont Bridge Preservation have been set. Grants are Composer-in-Residence available to artists and art groups, re- The Seattle Office of Arts & Culture siding in King County, who are creat- (ARTS), in partnership with the Se- ing and presenting work in dance, the- Jazz: The attle Department of Transportation ater, music, media, literature and the Second Century (SDOT), is looking for a composer visual arts. The Arts Projects deadline for individuals and groups is March 7. and/or musician to be an Artist-in Deadline May 30 Residence in the 101-year-old Fremont More at 4culture.org. Earshot Jazz seeks submissions Bridge’s northwest tower. The com- Seattle JazzED Summer Jazz Prep from Seattle-area individual art- missioned artist will be tasked with Camp an in-depth exploration of the historic ists and ensembles for the 2018 Registration is now open for Seattle bridge’s role and meaning for the city Jazz: The Second Century series. JazzED’s Summer Jazz Prep Camp. of Seattle and create music in response The series brings the progression The free music camp runs June 25-30 to this residency. of jazz into creative motion on and is open to students entering 4th, The residency runs from June the concert stage. Projects that 5th, and 6th grades in the fall, with through August 2018, and the winner question and expand the conven- no prior experience required. Partici- receives a $5,000 residency budget, tions of the jazz form are wel- pating students are required to attend plus another $5,000 for sound project, come. Choose Your Instrument Day prior presentation, and documentation. The Seattle-area individual artists to camp on April 22, where they will application deadline is March 20. For or groups, in any instrument select from flute, clarinet, saxophone, more information, including how to combination, are eligible. Sub- trumpet, trombone, or upright bass. apply, visit seattle.gov/arts. missions must include a recorded More information at seattlejazzed.org. sample of a project that can be Randy Halberstadt Premieres New North City Jazz Walk Accepting performed in a concert setting. Septet Submissions We encourage applicants to in- Multi-talented pianist Randy Hal- clude a letter that speaks to their The North City Jazz Walk committee berstadt, known both for fluid trio musical interpretation of the is accepting submissions for musicians work with vocalists and for his big- meaning of jazz and of the next for the 2018 event, which will be held band tenure with the Seattle Repertory stage of jazz music. Tuesday, August 14, in Shoreline. Jazz Orchestra, creatively explores the Individual artists or ensembles Artists should send an e-mail, with challenging middle ground of writing are selected by a blind-jury pro- links to their website and/or samples for a new septet of top Seattle artists cess. Second Century artists and of their music, to musicdirector@ on March 7 at The Royal Room. ensembles perform during July northcityjazzwalk.org. Tonight’s debut performance by 2017, and are paid a competitive this septet of Halberstadt (piano), 14th Annual Seattle-Kobe Female fee for the performance. Chuck Deardorf (bass), Adam Kessler Jazz Vocalist Audition Please send submissions elec- (drums), Jay Thomas (trumpet/flugel- The Seattle-Kobe Sister City Associa- tronically to 2ndcentury@ear- horn/flute), Ben Thomas (vibes), Dave tion announces the 14th annual Seat- shot.org or by mail to Earshot Marriott (trombone), and Mark Taylor tle-Kobe Female Jazz Vocalist Audi- Jazz, 3429 Fremont Place N, Dead- (alto sax) will set the tone for a new tion on March 19 at Dimitriou’s Jazz #309, Seattle, WA 98103. line to apply is May 30. recording project, Open Heart, slated Alley. The SKSCA will send one high You for a fall release on Origin Records, as school student and one adult female can direct questions and com- well as for a feature appearance at the jazz vocalist from the greater Seattle ments to Earshot Jazz at (206) 2018 Earshot Jazz Festival. area to Kobe, Japan, in May to be a 547-6763 or [email protected]. A list of past Jazz: The Second Cen- 4Culture Project Grants guest singer at the 19th annual Kobe Shinkaichi Jazz Vocal Queen Contest. tury artists and ensembles can be The deadlines to apply for a 4Culture viewed online at earshot.org. Project grant in Arts, Heritage, and Continued ON PAGE 17

March 2018 • Earshot Jazz • 3

The Bass Church ITn honee B earass Church The Bass Church The Northwest double bass specialists The Northwest double bass specialists The Northwest double bass specialists Paul Rucker Named 2018 Arts Abe Beeson hosts The New Cool, www.basschurch.com www.basschurch.com www.basschurch.com Innovator Awardee Saturdays, 3pm, featuring 21st cen- Musician, composer, and visual art- tury jazz inspired and informed by the sounds of today, hip-hop, funk, elec- ist Paul Rucker was recently named tronic & punk rock, followed by Rob- Sales, Rentals, a recipient Sales, of the Rentals, 2018 Arts Innova- Sales, Rentals, Repairs, Restorations, tor Award Repairs, by Artist Restorations, Trust, along with in Lloyd’s Repairs,Jazz CalienteRestorations,, 5pm, where Lessons poet and educator Lessons Quenton Baker. jazz meets Latin Lessons rhythms. Convenient North Seattle Location FundedConvenient by The North Dale Seattle and Location Leslie Chi- Jim Wilke’sConvenient North Jazz Seattle Northwest Location , Sun-

huly Foundation, the AIA comprises days, 2pm, features the artists and (206)784-6626 two(206)784-6626 unrestricted awards of $25,000 events(206)784-6626 of the regional jazz scene. For 9716 Phinney Ave. N. 9716 Phinney Ave. N. 9716 Phinney Ave. N. Seattle, WA. 98103 thatSeattle, recognize WA. 98103 Washington State art- JazzNWSeattle, WA. podcasts 98103 of archived pro- ~by appointment only~ ists~by of appointment all disciplines only~ who demonstrate grams,~by appointment see jazznw.org. only~

innovation in their practice. 90.3 KEXP, late-night Sundays, Both Rucker and Baker create work features Jazz Theater with John Gil- that draws heavily on research, bring- breath, 1am. Full schedule informa- The Bass Church ingT historicalhe B andas contemporarys Church socio- tionT ish availablee Ba at kexp.org.ss Church The Northwest double bass specialists culturalThe N issuesorthwes t d andoubl e b narrativesass specialists of the 91.3T he KBCS Northwes,t d featuresouble bass s pe creativecialists and improvised music on Flotation Device www.basschurch.com Black w Americanww.bass ch experienceurch.com sharply www.basschurch.com into focus. Themes embedded in their with John Seman and Jonathan Law- art making align with the critical son, Sundays at 10pm. The Monday thinking and activist movements that night lineup includes The Caravan

have been amplified by the current with John Gilbreath at 7pm, Straight Sales, Rentals, Sales, Rentals, Sales, Rentals, No Chaser with David Utevsky at Repairs, Restorations, political Repairs, climate, Restorations, while adding to the Repairs, Restorations, larger discourse that critiques the idea 9pm, Giant Steps with John Pai at Lessons Lessons 11pm, and The Lessons Shape of Modern Jazz Convenient North Seattle Location of a post-racialConvenient NorthAmerica. Seattle Location Convenient North Seattle Location

with Gordon Todd at 1am Tuesdays. First presented in 2010, the Arts In- (206)784-6626 novator(206)784-6626 Award is given to artists who Shows(206)784-6626 can be streamed anytime at 9716 Phinney Ave. N. 9716 Phinney Ave. N. kbcs.fm.9716 Phinney Ave. N. Seattle, WA. 98103 areSeattle, originating WA. 98103 new work, experiment- Seattle, WA. 98103 ~by appointment only~ ing~by with appointment new only~ ideas, taking risks, and 91.7~by appointment KSVR only~ Mount Vernon, Doctor pushing the boundaries in their re- Dee hosts two nights of jazz, Fourth spective fields. Corner Jazz, featuring recordings of live performance in Northwest Wash- “Every Artist Trust grant has been a major contributor to where I am now,” ington, Sundays, 6-7pm, and The The Bass Church saysT Rucker.he B “Asa s Is continue Chur toch create Doctor’sThe Den,Ba s Mondays,s Chu rc 8-10pm.h The Northwest double bass specialists The Northwest double bass specialists The Northwest double bass specialists more ambitious work through more 102.9 KLOI-LP Lopez Island, Mon- www.basschurch.com challengingwww .projects,basschu unrestrictedrch.com sup- days &w wFridays,w.bas s3pm,chur cJoyh.c Springom with port from organizations like Artist Gary Alexander, classic jazz and the Trust is invaluable.” Great American Songbook. Hollow Earth Radio, hol-

Jazz Radio Sales, Rentals, Sales, Rentals, lowearthradio.org,Sales, Rentals, Fridays at 6pm, Repairs, Restorations, 88.5 Repairs, KNKX Restorations, hosts Saturday Jazz biweekly, Repairs,Black Restorations, Roots Radio , hosted Lessons Matinee, Jazz Lessons Sunday Side Up, Ken by Jordan Leonard, Lessons promotes jazz as Convenient North Seattle Location Convenient North Seattle Location Convenient North Seattle Location Wiley’s the Art of Jazz, and Jazz a dynamic genre rooted in the Black

Northwest, in addition to its weekday American experience. (206)784-6626 (206)784-6626 (206)784-6626 9716 Phinney Ave. N. NPR9716 andPhinney late-night Ave. N. and prime-time Hollow9716 Phinney Earth Ave. RadioN. is Seattle’s free- Seattle, WA. 98103 jazzSeattle, programs. WA. 98103 Full schedule and info formSeattle, online WA. 98103 radio station that supports ~by appointment only~ ~by appointment only~ ~by appointment only~ at knkx.org. Continued ON PAGE 17

4 • Earshot Jazz • March 2018 Golden Ear Awards 2017 Golden Ear Awards Ballot Cast your ballot by March 26!

Each year, the Golden Ear Awards members, journalists, and industry You’re Invited! recognize and celebrate the outstand- professionals. There are eight Golden Join us Monday, April 2, at The ing achievements of the previous year Ear Award categories, including induc- Royal Room in Columbia City for the in Seattle jazz. In the process, Seattle tion into the Seattle Jazz Hall of Fame. awards party. The Delvon Lamar Or- jazz fans and performers can take stock Please vote online at earshot.org, by gan Trio get the night going at 7pm, of and show gratitude for the region’s email to [email protected], or mail with the awards ceremony beginning vibrant jazz ecology. Nominees this your selections to Earshot Jazz, 3429 at 8pm hosted by Jim Wilke. year were selected by a poll of Earshot Fremont Pl. N., #309, Seattle, WA We look forward to seeing you there! Jazz readers, jazz performers, audience 98103, by March 26.

NW Recording of the Year Alternative Jazz Group of the NW Jazz Instrumentalist of Bad News Botanists, Venomous Year the Year Nightshade Afrocop Joe Doria duende libre, duende libre Bad News Botanists Dawn Clement Greg Ruby & The Rhythm Rik Wright’s Fundamental Forces Jimmy James Runners, Syncopated Classic Tim Kennedy Trio Tim Kennedy Happy Orchestra, Baba Ivan Arteaga’s CMD Eric Verlinde Hunter Gather, Getting to Know Other ______Other ______You Other ______NW Concert of the Year NW Vocalist of the Year NW Acoustic Jazz Ensemble of Art of Jazz: Dawn Clement Nikki Dee Group (November 9, Seattle Art the Year LaVon Hardison Museum) Leah Natale 200 Trio Industrial Revelation Plays Björk Birch Pereira Phil Parisot (December 20, The Neptune) SassyBlack David Marriott’s Triskaidekaband Mo’ Jam #205 feat. Alexey Other ______EntreMundos Nikolaev (December 4, Nectar Pearl Django Lounge) Seattle Jazz Hall of Fame SRJO with Christian McBride Other ______Casey MacGill, Seattle Swing Icon (June 17, Benaroya Hall, Patty Padden, Enduring Jazz Emerging Artist of the Year Nordstrom Recital Hall) Drummer Seattle Improvised Music Festival Willie Bays Skerik, Dark Lord of Sax – Nicole Mitchell (Feb 3, Chapel Marina Christopher Performance Space) Hans Teuber, Seattle Jazz Brendan McGovern Stalwart Other ______Cole Schuster Suzanne Weghorst, Owner of Frank Vitolo Egan’s Ballard Jam House Other ______Other ______

March 2018 • Earshot Jazz • 5 PROFILE Spekulation: A Jazz Hang Crossover

By Andrew Luthringer Spekulation is an East Coast-bred, Seattle-based producer/remixer, video artist, political provocateur, and (for- mer) MC. A revered figure on the Northwest hip-hop scene, and well- known to a vibrant cross-section of forward-thinking jazz and creative music fans, Spekulation recently dropped his first proper release since 2016. The Crossover Event is a brilliant in- strumental journey touching on a wide swath of inspiration: freewheel- ing horn bursts, film score and electronic textures, funk, soul and time- less groove, and even comic books. Definitely not a mixtape of bite-sized random beats in search of a context or a willing rapper, the work is a tightly conceptualized and coherent album journey, cinematic in scope and deep in the pocket. Seasoned with an un- deniable jazz vibe, The Crossover Event pairs Spekulation’s nuanced produc- Matt Watson photo by Daniel Sheehan tion with brilliant solos and textural contributions supplied by a choice were verse-chorus-bridge kind of situ- together in one way or another, so I cross-section of Seattle’s most forward- ations, but set up so that whatever you knew their sounds would work. But thinking creative instrumentalists. play over it, if it works in one place, it yeah, it was cool to keep them com- Not merely a studio dweller, Spekula- will work in another place, so I could pletely in the dark! tion can bring the vibe alive onstage in just have a bunch of people record over Besides hip-hop, was jazz also a fo- grand fashion. Upcoming shows will it. Everybody got exactly the same files cus for you growing up? feature a superb 10-piece band with from me. …It was super low key. The records, the hip-hop I grew up accompanying remixed animation and The contributors didn’t know what listening to, is all sampled from jazz video, a jazz-groove-superhero-samurai the others were doing? music. So, once I hit 16 and started throw down. Yeah, nobody had heard any of the digging back through that stuff, I was Earshot Jazz: The Crossover Event other’s parts, and nobody was ever in like, “Oh, this is where it’s coming was entirely recorded in various the same room. …A lot of the horn from.” home studios, by e-mailing audio players I worked with were nice enough What were the defining artists/al- files back and forth. How did you to do layers. Kate Olson in particular bums for you? structure the process? did two saxophones and a flute for ev- Nas’ Illmatic was the main one. A lot Spekulation: I set up the frame- ery song, which is an amazing glue to of Pete Rock and CL Smooth, Tribe work: 4-bar loops or 16-bar loops, that get! …And all the people had played

6 • Earshot Jazz • March 2018 Called Quest, De La Soul…That stuff with.” I find people that know how was like church for me. to pull that off, and get that, and you How did you tap into the Seattle don’t have to explain to them…there’s jazz scene, and make it a part of a mantra thing that happens. your creative process? In 2016, you retired from rapping. I moved here 11 or 12 years ago and Your decision puts a focus on issues went to a jazz hang (The Hang at Lo- that are a struggle for thinking peo- Fi). …That’s where I met that circle of ple on all sides, not just in music, people. I started out sampling their but in the culture at large. The am- stuff …trying to figure out where the bivalence of appropriation, issues of thing I liked came from, and how to cultural imperialism… do it. …They were all so accessible, I believe even more today, that white and were stoked about being sampled, people should not rap, period. I made and didn’t have the East Coast “You’re the decision for myself, and people trying to steal my stuff” vibe. should do whatever they want, but if Both in recordings and your live I was writing a textbook, that would work, you put a big focus on inte- be the title of it [laughs]. Production grating hip-hop production tech- for me is a little bit different, but the niques with live instruments. What rapping in particular, and putting my are the challenges in that? face, my body and my voice in the For me, it’s a matter of figuring out middle of something…It takes away, whether you’re playing hip-hop with it’s a robbery of something. jazz instrumentalists, or you’re play- It’s more about building a space, if ing jazz that does a hip-hop thing. that makes sense, than taking up the The jazz that does a hip-hop thing space. …That’s kind of what I’m about doesn’t interest me in the least. The right now, setting things up, so other hip-hop with jazz players is the thing people can do a thing. I want to do. Figuring how to get the I feel like I got to have some very sound right and get the feel of being good conversations with people over at a hip-hop show, but still making the last year or so, some of who are the jazz kids feel comfortable enough like, “You’re an idiot,” some who are that they can just show up and blow, very upset because I’m attacking the that’s been my main mission in all thing they do, and some of who are this. Keeping the blindfold on them like, “I’m glad you finally got the hell long enough that they’re tricked into out of here!” [laughs] doing the thing that they’re comfort- For more information on Spekulation, able doing, but the subwoofer is still visit spekulationmusic.com. To hear his really getting worked, and there’s a music, including The Crossover Event, lot of noise! [laughs] It’s about finding visit spekulation.bandcamp.com. that balance. This record is the closest I’ve come to that. – Is there a stylistic heritage in both The Crossover Event genres that makes that a special Live challenge? Saturday, March 3, 9pm There’s an appreciation for the loop Columbia City Theater that a lot of jazz kids don’t have, be- 4916 Rainier Ave S cause in jazz it needs to be different every time. I’m like, “No, it has to be Tickets ($10) and info at exactly the same every time, except for columbiacitytheater.com. one little part that you can have fun

March 2018 • Earshot Jazz • 7 Catching up With  Syrinx Effect: Finding New & Fresh Narratives

By Paul Rauch Catching up with Kate Olson and Naomi Moon Siegel is like running at a full sprint, finally catching up for a few out of breath words, before blast- ing off as a projectile of immersed energy. Their eclectic duo Syrinx Effect seems to be a residence of new focus, to strip away the preconceptions and impulses of their different projects. The intersection of saxophone, trombone, and an unexplored electronic canvas has provided an abstract poetic base to pursue textural and melodic outbursts, influenced by the ambient sounds of the world around them. “I love the combination of free improvisation with poignant melodies and lush layers and harmonies,” says Siegel. “I am inspired by free improvisation with amazing musicians who listen like Kate Olson.” Olson and Siegel met at the renowned Racer Sessions and developed a musical relationship that has produced three experimentally constructed EPs.

On February 9, Syrinx Effect released Kate Olson and Naomi Moon Siegel photo by Daniel Sheehan their first full-length album, A Sky You Could Light a Match On, on vinyl that is a core component of her overall “When I was at the U.M., I got to and download. The record has a free- sound and approach. study with Geri Allen, and that was flowing feel to it, utilizing melodies, Her musical education path led Ol- really inspiring,” recalls Olson. One counterpoints, and image-conjuring son first to classical music, and then lesson from Allen struck a prominent textural landing spots. Drummer Eric jazz, following an upbringing that saw chord in Olson’s musical outlook, Eagle joins to add another layer to the her formative years in Wyoming. She when Allen stated, “You want to play sonic mix. received a classical undergraduate de- pretty all the time because that’s what “We are showcasing our ability to gree, eventually ending up at the Uni- society tells you you’re supposed to be, write folk melodies, to have beautiful versity of Michigan, earning an M.M. but life isn’t pretty all the time—you sounding counterpoint, intentional in Improvisation. It was there that Ol- have to play the dark parts.” counterpoint, using the full range of son studied in part with Geri Allen, an Meanwhile, Siegel’s jazz roots, re- our instruments. To create a bigger influential component of her mentor- vealed on A Sky You Could Strike a sound,” says Olson, in part revealing ship in Ann Arbor. Match On, took shape while at the her background in classical saxophone prestigious Oberlin Conservatory,

8 • Earshot Jazz • March 2018 where she earned a degree in Jazz Wyoming where I was always the only What is to come further down the Trombone Performance. During her girl,” she says. road for Syrinx Effect is up in the air, senior year there, the rumblings of Siegel, in her time both in Seattle and dependent on the collective musical what was to come musically for her now her new home in Missoula, Mon- experiences of both members of this began to rise to the collective surface. tana, has taken an active approach to multifarious duo. “My senior year I attended a week- gender equity in music. “It’s fun to have a partner to lose your long workshop at the School for Im- “I’ve been spending the last 18 ego with. To be on the same page with provised Music which opened up my months working on addressing in- just one other musician. One stream of music world tremendously and helped tersectional gender issues in jazz and input,” says Olson. me find access to my individual voice music education via facilitating work- That same page is forever turning more than the bebop, and mainstream shops and presentations with musi- over, finding new and fresh narratives jazz that was emphasized at school,” cians, music educators, and music to express in unity. recalls Siegel. students,” says Siegel. “I’m currently in For more on Syrinx Effect, and to hear The duo appeared at the Earshot Jazz the process of exploring having this so- their new album A Sky You Could Festival in October in a night that cial justice work in music be a part of Strike a Match On, visit syrinxeffect. showcased their multi-genre talents, my creative process and serve for more com. opening at the Columbia City Theater music making.” for New York-based, Seattle-bred saxophonist Roxy Coss. While the work of Olson and Siegel within Syrinx Ef- fect is thought of as being somewhere out on the edge, an adventure in the avant-garde, Coss, on the other hand, is considered an innovative voice in a more post-bop sense. In art, things are not always what they seem, and that Jazz reality was put on display that eve- Port townsend John Clayton, artistic director ning within the warm, brick confines of that historic neighborhood venue. workshoP What the audience saw was strong musicianship, the artists drawing from and Festival different quadrants of the jazz tradi- July 22-29, 2018 tion, intersecting at points that unify all forms within the jazz universe— Coaching, rehearsals, master the emotional cry of the blues. classes, theory, special topics Beyond breaking down genre barri- and 60 performances— ers, Olson and Siegel are clearly seen as including yours. positive role models for young, aspir- this year honoring ing female musicians, in a time when Blue note legend gender barriers appear to be falling in lee Morgan with the jazz community. Featured artists. Olson’s upbringing in the Midwest Terell Stafford, Jeff Hamilton, and Wyoming did not put her in Stefon Harris, Matt Wilson, the most progressive environment to Jazzmeia Horn, George Cables, chance upon the art form, yet still, she Gary Smulyan, Taylor Eigsti, has emerged in a positive and strong Tamir Hendelman, Graham Dechter, Katie Thiroux, Marcus and Jean way. Baylor plus 20 more. Special track “A lot of my success is due to the fact Stefon Harris for music educators. that I am completely oblivious to gender roles, and gender bias. I grew up in apply aT Open to instrumentalists and vocalists CENTRuM.ORG/Jazz high school-aged and older.

March 2018 • Earshot Jazz • 9 PREVIEW >> Evan Flory-Barnes: On Loving the Muse & Family

March 1–3, 8pm March 4, 5pm Merrill Wright Mainstage On the Boards, 100 W Roy St

$23 advance / $30 week of show “It is a rare thing in this day and age for an accomplished artist younger than 40 to speak so openly and di- rectly about spirituality, authenticity, individuation and how we can respond to the hate of our day with ‘soulful loving defiance,’” writesSouth Seattle Em- erald’s Paul E Nelson of Evan Flory- Barnes. “What a model we have in our midst, reflecting the beauty that we sense is original to Seattle.” Photo by Shasta Brew Soulful originality is, of course, a de- imagined, that reveals the artist’s inner fining attribute of this Son of Seattle, relational and emotional world. And don’t miss…. the great bassist/composer Evan Flory- A graduate of Garfield High School, Barnes, and he brings that and much Thursday, March 1 Evan Flory-Barnes has been perform- Studio Supper with Tarik Abdullah more to his latest project, “On Lov- ing and composing music with a wide ing the Muse and Family,” presented Family-style, pre-opening night variety of artists, in Seattle and be- dinner. Pay-what-you-can sliding March 1 through 4 at On the Boards. yond, over the course of his career. Based on the model of late-night va- scale; attendees must have a tick- Perhaps best-known as a member of et to the evening’s performance. riety shows used by Nat King Cole the genre-defying Seattle supergroup and Dean Martin, Flory-Barnes uses Reservations must be made in ad- Industrial Revelation (Ahamefule J. vance; info at ontheboards.org. this format to delve into the relation- Oluo, trumpet; Josh Rawlings, keys; ships—both familial and otherwise— D’Vonne Lewis, drums), Flory-Barnes Friday, March 2 that have shaped his life and career. Post-show conversation with Evan remains an active collaborator in the Flory-Barnes Fittingly, the performance features an Northwest music scene. He is well- extended family of Seattle musicians, versed in a variety of genres across the Saturday, March 3 including The True Loves, the Seattle musical spectrum, including classical WTFJH? Saturdays Girls Choir, and The Traumatics, as and free improvisation to hip-hop and Lobby and FUBAR will be open well as a full orchestra. hard-bop, and brings a demonstrative for audience members to connect Also featuring self-reflexive mono- passion, joy, presence, virtuosity, and and talk about the performance. logue songs, and with a musical range spirituality to every endeavor—and Sunday, March 4 encompassing soul, country western, this performance will be no exception. Childcare available and ensemble choir, “On Loving the –Ed., courtesy of On the Boards Childcare is available during Muse and Family” is a celebration Sunday performances for kids ages of life, philosophy, and psychology Tickets are $23 in advance, $30 2–10. Must reserve in advance. through music—an intimate evening week of the show, and are available at More info at ontheboards.org. with a cast of characters, both real and ontheboards.org.

10 • Earshot Jazz • March 2018 PREVIEW >> DeMiero Jazz Fest 2018

Dee Daniels Photo by Devon Cass René Marie Photo by John Abbott

Thursday, March 1, 7pm workshops, and master classes. These munity College, while Saturday night North Sound Conference Center daytime events are free to the public. welcomes special guests Seattle Jazz March 2–3, 7pm On Thursday, March 1, at 7pm, the Singers. Tickets for Friday and Satur- Edmonds Center for the Arts festival presents a special concert fea- day performances are available at ed- Edmonds, WA turing student choirs working with mondscenterforthearts.org. professional jazz artists at the North In a span of two decades, 11 record- The month of March opens with a Sound Conference Center. Tickets are ings and countless stage performances, celebration of vocal jazz in Edmonds available at demierojazzfest.org. vocalist René Marie has cemented her as it welcomes the 2018 DeMiero Jazz World-renowned vocalist René Ma- reputation as not only a singer but Festival, running Thursday, March 1, rie headlines the evening concerts on also a composer, arranger, theatrical through Saturday, March 3. Now in its March 2 and 3 at Edmonds Center for performer and teacher. Guided and 42nd year, the non-competitive vocal the Arts. She is joined by song styl- tempered by powerful life lessons and jazz festival features an all-star lineup ist and Festival Artistic Director Dee rooted in jazz traditions laid down by of Grammy-nominated and regional Daniels, with the All-Star Jazz Festi- Ella Fitzgerald, Dinah Washington vocalists in evening performances, as val Band of Bruce Forman (guitar), and other leading ladies of past gen- well as over 60 school and community Dwayne Broadnax (drums), Josh erations, she borrows various elements jazz choirs during the daytime festival. Nelson (piano), and Paul Beaudry of folk, R&B and even classical and Attendees can observe the future of (bass), and student scholarship win- country to create a captivating hybrid vocal jazz as students from elementary, ner Jaidyn Lam. Friday night only style. Her body of work is musical, but high school, college, and community sees a special appearance by vocalist it’s more than just music. It’s an explo- choirs work with world-class profes- Greta Matassa and the Soundsa- ration of the bright and dark corners of sionals during the two days of clinics, tion jazz choir from Edmonds Com- Continued ON PAGE 17

March 2018 • Earshot Jazz • 11 PREVIEW >> Darius Jones, in solo performance

Tuesday, March 13, 8pm Chapel Performance Space 4649 Sunnyside Ave N

Presented by Earshot Jazz Upon arriving in New York in 2005 from Richmond, Virginia, alto saxophonist Darius Jones quickly established himself as an expansive force, a player with sufficient range, imagina- tion, and expressiveness that he could credibly declare: “This is jazz, now.” In some regards, however, his is a jazz where the term “jazz” is a bit beside the point. As the variety and range of his musical associations in and around New York attests, Jones is steeped in many streams of musical tradition, but bound by none. Yes, he has schooled himself in the Darius Jones photo by Kholood Eid alto styles of innumerable jazz fore- bears. Johnny Hodges is among many To that end, he has gathered up, The outcome of all that is that his noted—and, indeed, he cites Duke into his craft, sounds of many kinds. playing can just as often be bluesy or Ellington’s lyrical star sideman as “my Growing up in Richmond, he listened swinging, playful or intense, whis- favorite saxophonist of all time” for his keenly, and widely, adapting whatever pering or howling, and much else. command of vibrato, glissandos, and he heard to his own quest. From his He lives out his soul musicianship other techniques. Also audible in his southern childhood and youth, he has broadly, with sometimes direct, some- playing are the likes of more overtly brought the passionate commitment of times oblique reference to jazz tradi- “free” innovators like Albert Ayler. church worship, but also the worldly tions. For example, again as he told All Jones has parsed out and recombined and inner struggles of the great blues About Jazz in 2011, although he had the technical and aesthetic DNA of the innovators and the entertaining blus- embraced the spirit, techniques, and free-jazz stream, where novel sounds ter of the juke joints, or their modern- concepts of “free jazz,” he is not a “free have been devoutly sought, and their day variants. jazz” player, with all the limitations demands on audiences rarely dodged. He also cites as inspirations the likes that that categorization ironically en- And yet he has said that he thinks of of vocalists Betty Carter, from jazz, tails. But nor, Jones said of himself, himself not so much as a “jazz musi- and Patti LaBelle, from R&B, as well could he be located in the ranks of cian,” but rather as a “soul musician.” as Parliament and Funkadelic and hip- modern-day “standard” saxophonists; He means that in a particular sense. hopper Ol’ Dirty Bastard of Wu-Tang rather, he said, “there is a third cate- As he told All About Jazz in 2011: “I Clan. Many others, too, from many gory, and I’m about to show you what think it is important that music has musical streams, with a particular it is!” the healing force or power, that music embrace, he has said, of the “raw and He would do that with a guiding can touch you, that you can feel it.” beautiful, rough and black.” principle: “I want to be free. I want to create a universe that’s my universe.”

12 • Earshot Jazz • March 2018 His grand project has come in mul- Darius Jones Trio with bassist Adam whose lyrics explore the struggles of tiple forms. His collaborations in and Lane and drummer Jason Nazary. In human communication and evoke the around New York have been varied 2012, Book of Mæ’bul (Another Kind of Brigitte of the title. She is the blind and seemingly tireless. He has a work- Sunrise), followed; it saw Jones team- and love-blind mother of D’Troy·t, a ing trio with bassist Adam Lane and ing with three more individualists, character whose wickedness Jones will drummer Jason Nazary. From early pianist Matt Mitchell, bassist Trevor evoke in the next installment of his in his New York days, he has been in Dunn, and drummer Ches Smith. Man’ish Boy project. a “noise-jazz” quartet, Little Women, The Oversoul Manual of 2014 was As all that suggests, the musical uni- which includes another saxophonist Jones’ suite for a four-voice “jazz clas- verse of Darius Jones is no rehearsal of of rising reputation, Travis Laplante sical chamber vocal ensemble,” The received jazzisms. (Battle Trance). He is a member of the Elizabeth-Caroline Unit. And most –Peter Monaghan smoldering collective quartet Grass recently, on Le Bébé de Brigitte (Lost in Tickets for Darius Jones are $15 adult, Roots with drummer Chad Taylor, Translation) (2015), Jones augmented $13 Earshot members and senior citi- bassist Sean Conly, and baritone saxo- his quartet of Mitchell, Smith, and zens, $10 students and military and are phonist Alex Harding; they released a Conly with French vocalist Emilie avaialble at earshot.org. powerful album, Grass Roots, in 2013. Lesbros to create a bilingual album Then he has appeared from time to time with the likes of uncompromis- ing drummer William Hooker, and the more readily accessible but edgy Mara Rosenbloom Quartet. His list of associations goes on: Eric Revis Quar- tet, Oliver Lake Big Band, William Parker Orchestra, Mike Pride’s From Bacteria to Boys, and more. Jones has released two acclaimed al- bums of improvisations with one of the freshest—and, again, uncompro- mising—pianists of the day, Matthew Shipp. Certainly the most striking component of Jones’ project, however, is his projected nine-disc Man’ish Boy series, now five discs in, on the New York label, AUM Fidelity, where Jones’ labelmates include the likes of Shipp, Parker, David S. Ware, Craig Taborn, and Joe Morris—heavyhitters, all. Throughout his Man’ish Boy project, Jones has regarded jazz with both folk- ish homage-to-the-elders and futur- istic slants that have won over many critics. Those hailed the first release as proof of a “singular artistry” in such terms as intensely soulful, hollering, keening, preaching, lush, propulsive, and fearless but disciplined. That en- thusiasm has greeted all five of the releases in the series, to date. After Man’ish Boy, in 2011, came Big Gurl (Smell My Dream) featuring the

March 2018 • Earshot Jazz • 13 PREVIEW >> Sarah Elizabeth Charles & SCOPE

Friday, March 23, 8pm It was these experiences PONCHO Concert Hall through which Free of Form 710 E Roy St began to take shape. While her sophomore album, In- Presented by Earshot Jazz ner Dialogue was highly in- and Cornish Presents trospective, her latest release Earshot Jazz and Cornish brings to light her incisive so- Presents are pleased to wel- ciopolitical analysis. Charles come vocalist/composer tells NPR: “Three or four Sarah Elizabeth Charles & years ago, that work started SCOPE to Seattle on Friday, to become much more a March 23, in support of her part of my creative process recently released third al- and much more of a direct bum, Free of Form. The New inspiration for my composi- York-based artist brings to tion…. It just made sense for the PONCHO stage her me to look outward.” SCOPE project. Courage and empathy Following two phenomenal are major themes carried releases—2012’s debut RED throughout the album, as and 2015’s Inner Dialogue— Charles said to DownBeat: Free of Form has marked Sar- “Free of Form is evidence of ah Elizabeth Charles as a vo- the courage that doing this calist on the rise—and one type of work has given me. with a message. With her Sarah Elizabeth Charles photo by Matthew Pandolfe I’ve been working with a lot veteran band of Jesse Elder of people who come from all (keys), Burniss Earl Travis II (bass), Manner Effect, and others, Charles has different backgrounds and and John Davis (drums), along with performed at many venues throughout have been faced with various things in trumpeter and co-producer Christian her career, such as The White House, their life that line up on all ends of the Scott, Charles delivers an eclectic set Carnegie Hall, The Kennedy Center, spectrum….The level of empathy nec- of compositions, both original and re- and the Blue Note. She has worked essary to engage in the environment interpretations (including a haunting and studied with artists including that I’ve been lucky enough to engage rendering of The Cranberries’ “Zom- George Cables, Geri Allen, Nicholas in, on all sides, has just really brought bie”), that showcase her supple vocal Payton, and Carmen Lundy. my attention to a completely different prowess and powerful, contemplative In addition to performing, Charles space.” lyricism. Through ambient wander- is an active educator. She works as a Do not miss this chance to hear ings, looped and layered vocals, som- teaching artist with Carnegie Hall’s this “soulfully articulate” (New York ber percussion, and nuanced melodies, Sing Sing Correctional Facility, Lul- Times), boundary-pushing artist. Charles nimbly touches on subjects in- laby Project, and Future Music Project Tickets for Sarah Elizabeth Charles cluding the Black Lives Matter move- Youth workshops, and is developing & SCOPE are $18 adult, $16 Earshot ment, the criminal justice system, an early childhood music education members and senior citizens, $10 stu- both home and abroad, and more. program with Rise2Shine, a non-prof- dents and military and are avaialble at As the active vocalist in a number it organization based in Haiti. earshot.org. of bands, including SCOPE, Ajoyo,

14 • Earshot Jazz • March 2018 PREVIEW >> Chris Speed Trio with Dave King & Chris Tordini

The Royal Room 5000 Rainier Ave S Sunday, April 1, 8:30pm (doors open 8pm)

Presented by Earshot Jazz The riveting trio of Chris Speed, Dave King, and Chris Tordini is a showcase for three New York veterans at the peak of their form. They deploy their considerable chops judiciously, creating a unit where Speed’s tenor sax is in pinpoint balance with Tordini’s kneading bass and the shifting, propulsive percussion of King, best known from the Bad Plus trio. As heard on two CD releases, Re- ally OK in 2014 and Platinum on Tap in 2017, the Speed/King/Tordini trio turns far more to earlier jazz styles than Speed is often thought to do. And yet, the band’s sound is thoroughly of-the- moment thanks to sustained inven- tiveness and the dynamics among the Chris Speed photo courtesy of the artist three players. Speed explores his tenor sax’s low- with many different combinations Bloodcount. (Jim Black did, too.) Like to-mid range of acoustic power, but of emerging-generation jazz leaders. Human Feel, the quartet (sometimes the high end of its expressiveness. In Indeed, he first came to attention quintet) balanced gamely between grainy, somewhat plangent, serpen- here while growing up on the East- established jazz expectations and un- tine lines punctuated by light staccato side. There he met later-frequent col- leashed avant-garde gestures. It could gusts, Speed’s contributions create laborators, drummer Jim Black and be as sinewy or singing or muscular as embracing invitations to his listeners’ saxophonist Andrew D’Angelo, with it was pulsing and corpuscular. attention—as gifts offered rather than whom he and guitarist Kurt Rosen- On tenor sax and clarinet, Speed provocations imposed. winkel would form Human Feel in would become one of the most-sought The effect is most winning. Playing Boston in the late 1980s. That quartet accompanists on the New York scene. generally mid-volume, Speed draws recorded a series of acclaimed, fresh al- He worked with the likes of trumpeter listeners to the intricacies of state- bums beginning in 1992, when Speed Dave Douglas, pianist Myra Melford, ments that, from a less-evolved solo- moved to New York, two years after saxophonist John Zorn, and bassist ist and composer, might appear oddly graduating from New England Con- Mark Dresser. He maintained ties to underdetermined. servatory. his Seattle roots in the band Pachora, Speed and his vast and varied talents In Manhattan, Speed joined alto which included Jim Black and another are, of course, well known to Seattle and baritone saxophonist Tim Berne’s Seattle-reared musician, guitarist Brad jazz audiences. He has visited often, fully committed and much-praised Shepik, a graduate of Cornish College.

March 2018 • Earshot Jazz • 15 The popular quartet, with Icelandic the innovative chamber-jazz group, He has toured and recorded in Clau- bassist Skúli Sverrisson, epitomized a John Hollenbeck’s Claudia Quintet. dia Quintet and others bands with the mid-nineties to mid-noughties fasci- You can also hear it on Speed’s duo likes of saxophonists Greg Osby, Steve nation on the New York scene with recording Ruins (2014) with Italian Lehman, and Andrew D’Angelo, and Eastern European strains. drummer Zeno de Rossi, or on Lama- drummers Ari Hoenig, Jim Black, and All those associations brought Speed çal (2013), where he sat in with Portu- Tyshawn Sorey. His playing is “mus- often to Seattle, where his appearances guese trumpeter Susana Santos Silva’s cular, yet sympathetic,” as Audiophile have comprised a sort of highlight reel trio, Lama. But you can also go back Audition aptly described it, with richly of his impressive progression. and hear it emerging on his 1999 quar- hued timbre, measured power, and In 2008, for example, he returned tet album with trumpeter Cuong Vu, ever-supportive invention. with an intrepidly explorative quar- Deviantics, even when the album is at The “nimble” Speed/King/Tordini tet Endangered Blood, another col- its most up tempo and up beat. trio, wrote Peter Margasak in Chicago laboration with Jim Black, formed to It has something of the worshipful Reader, who rated Platinum on Tap his raise money for a then seriously ail- saint John Coltrane and also of Albert fifth-favorite album of 2017, embraces ing D’Angelo. When the band visited Ayler in quieter moments of his utter- jazz tradition while it tweaks it. Speed again in 2016, Earshot Jazz co-found- ing in tongues. Certainly Speed quests has “never been a grandstanding player and Seattle Times jazz critic Paul into that sort of expressive territory. er, but now he’s so far beyond the need de Barros aptly summed up Speed’s Speed can count on robust uplift in to show off that he just lives in the mu- “eclectic interests, which include off- the Speed/King/Tordini trio. Since sic like a second skin.” kilter time signatures; the shadowy 2000, as the drummer of Bad Plus, In London Jazz News, Brian Marley moods and rich reed colors of Duke Dave King has been an unlikely phe- was similarly complimentary: “Even Ellington’s ‘jungle band’ period … ; nomenon in jazz: something of a rock when Tordini and King are busily Ornette Coleman’s skittering energy; star. He’s solidified that standing be- pushing and pulling the music around and the ceremonial repetitions of min- yond the Bad Plus, too, in bands al- in interesting ways,” he wrote, Speed imalism.” most too many to tally—with Bill “delivers his improvisations with wry It is perhaps the “shadowy moods” Frisell, John Zorn, Tim Berne, Craig insouciance in a style reminiscent at that are most prominent in the Speed/ Taborn, not to forget his own Dave times of Lester Young. Surely you can’t King/Tordini trio. In fact, Speed’s de- King Trucking Co. (with Chris get more jazzlike than that.” velopment of a yearning, searching, Speed), and with multiple other units –Peter Monaghan gently proferred style has been long beyond jazz. Tickets for Chris Speed Trio are $18 coming, including in a series of collab- Thanks to his invention, flair, and adult, $16 Earshot members and senior orations that have drawn less attention command, King is one of the busiest citizens, $10 students and military and to him than his signature bands. You players in New York jazz circles. Chris are avaialble at earshot.org. hear it, for example, in his work with Tordini is rapidly becoming another.

ART OF JAZZ

STUART MACDONALD: TRACE GENERATIONS THU MAR 8, 5:30 - 7:30 PM

Saxophonist and educator Stuart MacDonald hosts an inter-generational live performance, pairing jazz veterans with up-and-coming talent.

Seattle Art Museum Brotman Forum Sponsored by: 1300 First Avenue Free

Seating is limited and available on a first-come, first-served basis. visitsam.org/performs

16 • Earshot Jazz • March 2018 Notes, from page 3 In One Ear, from page 4

More information and how to audi- the local music communities in the tion at seattlekobe.org/jazz-exchange- greater Pacific Northwest and tries to program. create an open, encouraging stage for underrepresented voices. More at face- Submissions must be in by April 30. book.com/blackrootsradiojl and hol- Write Earshot Jazz lowearthradio.org. The Earshot Jazz magazine reflects In One Ear News and shares the many ways that jazz Email news about Seattle-area jazz intersects with lives in the Northwest. artists, for In One Ear, to editor@ear- Earshot Jazz is seeking submissions shot.org. from writers: Please email story pitch- es, comments, news and announce- ments to [email protected].

DeMiero, from page 11

the human experience, and an affirma- Open to All - Free tion of the power of the human spirit. DeMiero Jazz Fest Artistic Director Dee Daniels has been part of the local jazz scene since the late 1970s, where she frequently performed at Edmonds Community College, Soundsation Jazz Camp, and the DeMiero Jazz Fes- tival. A favorite of students and directors, she was frequently requested back because of her passion, caring, and de- votion. Jaidyn Lam is the recipient of the Sunday, March 4, 6 pm 2018 Dee Daniels Vocal Jazz Scholar- ship; this is the second year this award Michael Clune and the has been presented. With a vocal range Sleep Till Noon Band from C#3 to D6, Lam recently earned Michael Clune (vocals, keyboard, flute, guitar) the Outstanding High School Vocalist Ken Alvers (guitar, pedal steel) Award at the 2017 Reno Jazz Festival Paul Murcski (bass) and Bob Rose (drums) and Outstanding Soloist Award at Bel- Betsy Haber (vocals, guitar) levue College’s 2017 Pacific Vocal Jazz & special guest Brandon Vance (violin) Festival. SAVE THE DATE: –Ed., courtesy of DeMiero Jazz Fest Next concert on April 1 Evening concerts start at 7pm Friday and Saturday nights at the Edmonds 100 Minutes of professional jazz Center for the Arts. Tickets are $25 for Family friendly concert / Free parking students and $35 for adults, and are available at edmondscenterforthearts. Seattle First Baptist Church org. 1111 Harvard Avenue (Seneca and Harvard on First Hill) To learn more about the non-profit fes- Seattle, WA (206) 325-6051 tival, including volunteering and donat- ing, visit demierojazzfest.org. www.SeattleJazzVespers.org/GO/SJV

March 2018 • Earshot Jazz • 17 FOR THE RECORD

owed by the brilliance of her piano played by soprano saxophonist Kate playing, Clement’s vocal prowess re- Olson and trombonist Naomi Moon veals perfect intonation and an hon- Siegel. The duo evolved from the re- esty that is joyful and hopeful. nowned Racer Sessions, a weekly im- The idea of piano and drums in prov jam session in Seattle. duet may seem unusual, but then Through their first two recordings, again, what is not unusual and won- and by live performances including derful about drummer Matt Wilson? the 2017 Earshot Jazz Festival, Syr- On their complete deconstruction of inx Effect has been somewhat cast as Thelonious Monk’s “Bemsha Swing,” an avant-garde affair. On A Sky You Dawn Clement Clement personifies Monk’s carefree Could Strike a Match On, the duo playfulness in some sort of perfect ca- offers folk melodies, baroque-like in- Tandem dence of intuition that somehow finds terludes, a New Orleans romp, and a Origin its way through, leaving along the way haunting melody so dense it evokes a trove of special moments. visual imagery. On her latest release, Tandem, Seat- In selecting a vocal-based duet with Olson’s “The Bank Robber Song” tle-based pianist Dawn Clement ex- bassist Michael Glynn of the standard is a tempo-changing New Orleans plores the on-the-edge vulnerability “My Ideal,” Clement makes a statement romp, bouncing between a second-line of the duo, in intimate conversations of delicacy and emotional vulnerabil- march, a mounting ambient frenzy, with some of her closest musical allies ity, grounded in the intimate phrasings and a dense, lazy stretch of the blues. over the past 20 years. She is joined by of Glynn. It sums up the spirit of Tan- The solos are jubilant, tapping deeply legendary trombonist Julian Priester, dem neatly. As Clement states in words into the jazz roots of both musicians. saxophonist Mark Taylor, drummer and spirit, “When you trust each other, Drummer Eric Eagle enters the fray, extraordinaire Matt Wilson, bassist anything can happen.” while both Olson and Siegel play Michael Glynn, and transcendent vo- –Paul Rauch acoustically, without electronic assis- calist Johnaye Kendrick. tance. There is an organic, free-flowing With Priester, the mood is pensive, resonance about the piece that is joyful playful, free. On “Improvisation #3,” and playful, the acoustic approach al- Priester and Clement stretch bound- lowing more rhythmic elasticity. aries, explore pure soundscapes in an Siegel’s “Redwood Cry” expresses the edgy solitude. “That’s what we do, natural echoplex of sound that is a for- Priester and I,” says Clement. est of tall trees, the multiplicity of am- Brad Shepik’s composition, “Sugar bient sounds bouncing between giant Cliff,” is covered brilliantly by Clem- redwoods, captured within an aerody- ent and alto saxophonist, Mark Taylor. namic canopy. Siegel’s use of pedals is Clement blends perfect vocal phrasing dynamic, creating a broad switchback and stunning articulation on piano for melodic improvisation. with Taylor’s freely melodic playing. Syrinx Effect Both Olson and Siegel solo with ar- Clement clearly sees piano and voice dent tonality, and expansive imagina- as one instrument here, and the result A Sky You Could Strike a tion. The varied landscape of sound is one of uncommon emotional sincer- Match On they create to serve harmonically facili- ity and beauty. tates the considerable talents of both so- “I Think of You” features vocal art- Self-released loists to draw from roots in classical and ist Johnaye Kendrick, who doubles on Syrinx Effect is a Seattle-based duo jazz forms, from their fascination with harmonium. Intertwining melodies that utilizes looping, distortion pedals, simpler folk melodies, and the ultimate and harmonies resonate between the and electronics to create sonic land- tie-in to an abstract view of the blues. two voices and the winding muscular scapes of sound. Solos are beautifully –PR playing of Clement. Often overshad-

18 • Earshot Jazz • March 2018 warm expression. Though also accom- Explain.” Here, Rainard runs like panied by percussionists Adrian Van Django himself, while Goessl bends Batenburg and Sam Esecson, Voss strings and rumbles like a true trucker and Goessl especially shine when their on Sun Records-inspired tunes like chemistry as a duo takes center stage, the genius “I Don’t like I Did Be- such as on “S’wonderful,” recovering fore,” where listeners can also savor the many shades of affection and pas- Van Batenburg’s tricky but firm brush sion within these songs, and, appar- work. Contributions by saxophonists ently, between the music of these two Saul Cline and Kate Olson, vocalists performers as well. Jimmie Herrod and Kate Voss, organ- –Ian Gwin ist Joe Doria, and others, complete the Sundae + Mr. Goessl Gin Joints’ high-level studio ensemble. Since Dream Man, Pereira has found When You’re Smiling himself more as a songwriter, hemming Self-released the dress of Tin Pan Alley sentiment to a modern cut, as when contemplat- Perhaps because they are so vital, ing the common whims of weather, standards are often jazz’s Achilles’ relationships, and age on the redeem- heel: if poorly interpreted, then you’re ing triplet-punch ballad “Could it be unfaithful to tradition; if too plainly, Something Else.” Though his urbane, then you lack personality. almost introverted takes on standards Voted Best Jazz Act of 2017 by Seat- like “St. James Infirmary”—staged by tle Weekly, Sundae + Mr. Goessl—our the album’s roomy production—have local Les Paul-Mary Ford combo of their own hazy shade of blue. award-winning vocalist Kate Voss and Birch Pereira & the Gin Rather than pure novelties, the vari- tireless guitarist Jason Goessl—strikes Joints ous 45 rpm pictures of the Gin Joints, the perfect balance between tradition whether washed by mournful country and inspiration in their fifth release, Western Soul swells (as on the finale “If You Ever When You’re Smiling. Self-released Change Your Mind”) or painted with The album’s pared-down treatment palm tree montuno figures (as on of such classics like “My Blue Heav- Somewhere in the dusty crossroads “Carioca”) all restate the positive ide- en” and “Bye Bye Blues” doesn’t yearn between the southern cradle of the als and attitudes of roots music that, nostalgically for the sound of a studio blues and the ballrooms of music city in their own way, have made silver- past, but channels the seamless musi- wanders Birch Pereira: bass producer, tongued musicians such as Pereira so cianship and well-turned performanc- composer, teacher, and mastermind of inspired to begin with. es of the early studio era. (Though Birch Pereira & the Gin Joints, whose –IG “standards” doesn’t exclude gems like sophomore release Western Soul is out Sonny Bono’s spy-film nugget “Bang this March. The Gin Joints’ latest ef- Bang.”) fort further expands the jumped- CD Release Party! Goessl, of course, knows the guitar up jukebox sound of 2016’s Dream from Freddie Green to Grant Green, Man, Golden Ear Award-winner for Sunday, March 11, 7:30pm audible, for example, when he vaunts Northwest Jazz Recording of the Year. Triple Door, 216 Union St his impressive pedal point arrange- Back again is Pereira’s own “Mil- ment of “Embraceable You.” Voss’s Join Birch Pereira & the Gin lion Dollar Quartet”: guitarist Jason Joints and Sundae + Mr. Goessl voice, too, remains unaffected while Goessl, drummer Adrian Van Baten- consistently inventive: her careful at- on March 11, for a double album burg (alternating with David Bush), release celebration at the Triple tention to intonation, such as her un- lead guitarist Daniel Rainard, and expected coloring of vowels, itself re- Door! trumpeter Raymond Larsen. Tickets are $20 advance/$25 tunes familiar expressions. Larsen, along with Jacob Zimmer- When You’re Smiling is music that day of show, and are available at man on clarinet, really play “hot” on thetripledoor.net. anybody with two ears can appreciate, swing numbers like “A Love I Can’t brimming with bright optimism and

March 2018 • Earshot Jazz • 19 Jazz Around The Sound March 03 Thursday, March 1 TP Christiaan van Hemert w/Victor Horky’s Silk OB Evan Flory-Barnes: On Loving the Muse and BC Adam Kessler, Phil Sparks and Guests, 9pm Road Swing, 7:30pm Family, 5pm CH Bonnie Whiting & James Falzone: Second TU Kelley Johnson, 7:30pm RR JazzED: Quincy Jones & Melba Liston Utterances, 8pm VC Los Buhos – Farewell to Dad , 4pm Ensembles, 4:30pm EC DeMiero Jazz Festival, 7pm VI Jovino Santos Neto, 9pm SY Victor Janusz, 10am EG Jacob Zimmerman Group, 7pm Saturday, March 3 TB Kevin Connor & Swing 3PO, 5pm FT Mark Lewis Cool Jazz Trio, 8pm TU Duende Libre, 7:30pm AK Christiaan van Hemert w/Victor Horky’s Silk JA Peabo Bryson, 7:30pm TU Katie King Student Jazz Showcase, 3pm Road Swing, 7:30pm MH Herbie Hancock, 7:30pm VI Lennon Aldort, 6pm CM Birch Pereira Trio, 7pm MQ Victor Horky & His Silk Road Swing, 5pm VI Ron Weinstein Trio, 9:30pm CR LaVon Hardison, 3pm NC Duende Libre, 7pm EC DeMiero Jazz Festival, 7pm Monday, March 5 NI Nitelite Sessions, 8pm EL Frank S Holman III, 6pm CC Cider Jam Mondays, 9:30pm OB Evan Flory-Barnes: On Loving the Muse and FW Flavor of New Orleans, 7:30pm EL Tom Kellock, 6pm Family, 8pm HS Jazz Brunch, 10:30am MQ Frank Kohl Trio, 5pm OS Jonas Myers, 7pm JA Peabo Bryson, 7:30pm, 9:30pm MT Jazz Night, 9pm RR Thollem/DuRoche/Stjames Trio, 8pm OB Evan Flory-Barnes: On Loving the Muse and NL Mo Jam’ Mondays, 8:30pm SB Proud & Nasty, 9:30pm Family, 8pm RR Royal Room Collective Music Ensemble, TU Dan Kramlich’s 90’s Jazz Grunge Trio with Chris Symer, Max Wood, 7:30pm OS Shawn Schlogel Trio, 8pm 7:30pm VI Casey MacGill, 5:30pm SB 700 Funk, 10pm RR The Salute Sessions, 10pm VI Nate Omdal Ensemble, 9pm SB Cubano Y Latino, 7pm RY Ann Reynolds’ Clave Gringa, 8pm SY Victor Janusz, 10:30am Tuesday, March 6 Friday, March 2 TU Bill Anschell Standards Trio with Jeff EL Paul Richardson, 6pm CP Global Rhythms: Summit in Seattle, 7:30pm Johnson, Byron Vannoy, 7:30pm HD Emma Caroline Baker w/ Homestretch, 8pm CZ Jump Ensemble Jazz 1st Fridays, 7:30pm VI Max Holmberg Trio, 9:30pm JA Veronica Swift with the Benny Green Trio, EC DeMiero Jazz Festival, 7pm VI The Tarantellas, 6pm EL Tom Kellock, 6pm 7:30pm HS Michel Navedo & Brazil Novo, 7pm Sunday, March 4 MQ Duende Libre, 5pm JA Peabo Bryson, 7:30pm AB Jazz at the Beaver with Max Holmberg and the OW Tuesday Jazz Night, 9pm LA 1-2-3 Totusek, Jones, Sparks, 5pm 200 Trio, 9pm RR Casa de la Trova hosted by SuperSones MQ Happy Orchestra Trio, 9pm CZ Choro Music Open Jam Hosted By Stuart featuring Julio Jauregui, 8pm MQ Swing 3PO, 5pm Zobel, 2pm RR The Automat with Darren Loucas, Geoff OB Evan Flory-Barnes: On Loving the Muse and DT Darrell’s Tavern Jazz Jam, 8pm Harper, and Eric Eagle, 10pm Family, 8pm EL Tom Kellock, 6pm SB 5 Stories Jazz, 8pm RR Darto // Bad Luck // Zen Mother, 9pm FB Seattle Jazz Vespers: Michael Clune and the SB Joe Doria Presents, 9:30pm RR Yuki Aoki Quintet, 6pm Sleep Till Noon Band, 6pm SY Justin Kausal-Hayes, 5pm SB Funky 2 Death, 10pm HS Sunday Jazz Brunch, 10:30am TD Dee Dee Bridgewater, 7:30pm SY The Dave Holo Trio, 5pm JA Peabo Bryson, 7:30pm TU Tim Kennedy Band, 7:30pm

Calendar Key

AB The Angry Beaver CX Casa Mexico HS Hotel Sorrento OS Osteria la Spiga SP Stage 7 Pianos AK Anelia’s Kitchen CZ Couth Buzzard Books JA Dimitriou’s Jazz Alley OW Owl ‘n’ Thistle SY Salty’s on Alki BC Barca DT Darrell’s Tavern LA Latona Pub PA Paramount Theatre TB Tutta Bella Neapolitan BD Black Diamond Bakery EC Edmonds Center for the LE Leif Erikson Lodge PG Paragon Pizzeria “Wallingford” BP Bake’s Place Bellevue Arts MH McCaw Hall PO PONCHO Concert Hall, TD Triple Door CB Century Ballroom EG Egan’s Ballard Jam MQ Musicquarium at the Kerry Hall, Cornish TP Third Place Commons, CC Capitol Cider House Triple Door College of the Arts Lake Forest Park CH Chapel Performance EL El Gaucho Bellevue MT Mac’s Triangle Pub RR The Royal Room TU Tula’s Space at Good FB Seattle First Baptist MV Marine View Church RY Rhythm & Rye VC Victrola Coffee Shepherd Center Church NC North City Bistro & SB Seamonster Lounge VI Vito’s CM Crossroads Bellevue FT Fremont Tavern Wine Shop SC WJMAC at Sylvia Center WK Whisky West CP Cornish Playhouse at FW Federal Way Performing NI NiteLite Lounge for the Arts WW Wildflower Wine Shop Seattle Center Arts & Events Center NL Nectar Lounge SD St. Demetrios Hall in The Old North Bend CR Craft 19 Espresso + GA Gallery 1412 OB On the Boards SE Seattle Art Museum Firehouse Creperie HD High Dive (Downtown)

20 • Earshot Jazz • March 2018 Wednesday, March 7 Saturday, March 10 EL Paul Richardson, 6pm CH BlueStreet Voices Presents Swingin’ in the Curtain Call JA Veronica Swift with the Benny Green Trio, Rain, 7:30pm 7:30pm EL Frank S Holman III, 6pm MQ Adriana Giordano Trio, 5pm HS Eugenie Jones, 7pm weekly recurring performances PG Paragon Hang Jazz Open Mic, 8pm JA Billy Cobham’s Crosswinds Project, 7:30pm, RR Randy Halberstadt “Open Heart” Band – 9:30pm Album Preview, 7:30pm OS Frank Clayton Duo, 8pm MONDAY RR Wayne Horvitz trio featuring Geoff Harper, SB 700 Funk, 10pm 10pm SB Cubano Y Latino, 7pm CC EntreMundos Jam, 9:30 SB Cephalopod, 9:30pm SD Malke & the Boychicks, 11:30 pm EL Tom Kellock, 6 SC JLCO Trumpeter Greg Gisbert, 7pm SY Victor Janusz, 10:30am MT Triangle Pub Jam, 9 TD Dee Dee Bridgewater, 7:30pm TU Thomas Marriott Quintet with Rick NL Mo’ Jam Mondays, 8:30 TU Eric Verlinde Trio, 7:30pm Mandyck, Tim Kennedy, Geoff Harper, Xavier RR The Salute Sessions, 10 VI Bar Tabac, 9pm Lecouturier, 7:30pm WW Future Jazz Heads, 6pm Sunday, March 11 TUESDAY Thursday, March 8 AB Jazz at the Beaver with Max Holmberg and the EL Paul Richardson, 6 BC Adam Kessler, Phil Sparks and Guests, 9pm 200 Trio, 9pm OW Tuesday Jazz Night, 9 EL Paul Richardson, 6pm BP Overton Barry and Bruce Phares Duo, 7pm FT Mark Lewis / Josh Mason, 8pm CC The Kareem Kandi Band at CC, 5pm SB 5 Stories Jazz, 8 JA Billy Cobham’s Crosswinds Project, 7:30pm CZ Open Jazz Jam w/Kenny Mandell, 2pm SB Joe Doria Presents, 9:30 MQ Ranger and the Re-Arrangers, 5pm DT Darrell’s Tavern Jazz Jam, 8pm SY Justin Kausal-Hayes, 5 NI Nitelite Sessions, 8pm EL Tom Kellock, 6pm OS Devon Yesberger, 7pm HS Sunday Jazz Brunch, 10:30am WEDNESDAY SB Kareem Kandi, 9:30pm JA Billy Cobham’s Crosswinds Project, 7:30pm EL Paul Richardson, 6 SE Art of Jazz: Stuart MacDonald: “Trace MQ Brian Nova Jazz Jam, 7pm Generations”, 5:30pm MV Jeff Kashiwa, 5pm PG Paragon Hang, 8 TU Delvon Lamarr’s disORGANized, 7:30pm RR JazzED: Count Basie & Benny Goodman RR Wayne Horvitz trio featuring VI Casey MacGill, 5:30pm Ensembles, 4:30pm Geoff Harper, 10 VI Jennifer Kienzle, 9pm SY Victor Janusz, 10am WW Future Jazz Heads, 6 Friday, March 9 TB Kevin Connor & Swing 3PO, 5pm TD Birch Pereira & The Gin Joints // Sundae + THURSDAY CX Jazz Impressions: Francesco Crosara, Osama Mr. Goessl Double Album Release!, 7:30pm Afifi, Glenn Young, 6pm TU Jazz Police, 4pm BC Adam Kessler & Phil Sparks, 9 EL Tom Kellock, 6pm TU Jim Cutler Jazz Orchestra, 7:30pm EL Paul Richardson, 6 JA Billy Cobham’s Crosswinds Project, 7:30pm, FT Mark Lewis & Friends, 8 9:30pm Monday, March 12 MQ Daniel Rapport Trio, 9pm CC Cider Jam Mondays, 9:30pm NI Nitelite Sessions, 8 MQ Michel Navedo, 5pm EL Tom Kellock, 6pm VI Casey MacGill, 5:30 RR Ponga, 8pm MT Jazz Night, 9pm SB Funky 2 Death, 10pm NL Mo Jam’ Mondays, 8:30pm FRIDAY TU Jovino Santos Neto Quinteto, 7:30pm RR Jordan Wiegert Jazz Quartet // Sonic Nodilus, CX Jazz Impressions: Francesco VI Yada Yada Blues Band, 9:30pm 7:30pm Crosara, Derick Polk, Glenn Young, 6 EL Tom Kellock, 6 LA Happy hour w/ Phil Sparks, 5 SB Funky 2 Death, 10 SATURDAY EL Frank S Holman III, 6 New! Daily pick up and delivery in Seattle SB Cubano y Latina, 7 and North Lake Washington areas 7 Luthiers, double bass set up and SUNDAY restoration experts, and makers on site AB Beaver Sessions, 9 DT Darrell’s Tavern Jazz Jam, 8 Free consultation in shop or by appointment in Seattle HS Sunday Jazz Brunch, 10:30am Lessons MQ Brian Nova Jazz Jam, 7 SY Victor Janusz, 10am Since 1964 TB Kevin Connor & Swing 3PO, 5 970 5th Ave NW Suite 100 VI Ron Weinstein Trio, 9:30 Issaquah WA 98027 www.HammondAshley.com

March 2018 • Earshot Jazz • 21 RR The Salute Sessions, 10pm Friday, March 16 TB Kevin Connor & Swing 3PO, 5pm RY En Canto, 8pm BD Friday Night Jazz with the Dan Duval / Good TU Jim Cutler Jazz Orchestra, 7:30pm Tuesday, March 13 Vibes Trio, 6:30pm Monday, March 19 CH Darius Jones, Solo Saxophone, 8pm CX Jazz Impressions: Francesco Crosara, Steve CC Cider Jam Mondays, 9:30pm EL Paul Richardson, 6pm Luceno, Glenn Young, 6pm EL Tom Kellock, 6pm JA Janiva Magness, 7:30pm EL Tom Kellock, 6pm JA Fourteenth Annual Seattle-Kobe Female Jazz MQ KO Ensemble, 5pm HS Chip Parker & Hans Brehmer, 7pm Vocalist Audition, 6:30pm OW Tuesday Jazz Night, 9pm JA Elvin Bishop’s Big Fun Trio, 7:30pm, 9:30pm MQ Marco de Carvalho Trio, 5pm RR Arthur Migliazza // Carol J Bufford, After MQ Kareem Kandi, 9pm MT Jazz Night, 9pm Hours Stomp, 7:30pm SB Funky 2 Death, 10pm NL Mo Jam’ Mondays, 8:30pm RR The Automat with Darren Loucas, Geoff SY The Dave Holo Trio, 5pm RR Birthday Bash for Elnah Jordan, 7:30pm Harper, and Eric Eagle, 10pm TU Greta Matassa Sextet with Alexey Nikolaev, RR The Salute Sessions, 10pm SB 5 Stories Jazz, 8pm Susan Pascal, Darin Clendenin, Clipper RY Royal Room Collective Music Ensemble, 8pm SB Joe Doria Presents, 9:30pm Anderson, Mark Ivester, 7:30pm SY Justin Kausal-Hayes, 5pm Tuesday, March 20 Saturday, March 17 EL Paul Richardson, 6pm TD Squirrel Nut Zippers, 7:30pm CX Francesco Crosara And Dan Duval: Piano- TU Emerald City Jazz Orchestra, 7:30pm JA Fred Hersch and Anat Cohen Duo, 7:30pm vibraphone Jazz Duet, 6pm OW Tuesday Jazz Night, 9pm Wednesday, March 14 EL Frank S Holman III, 6pm RR The Automat with Darren Loucas, Geoff EL Paul Richardson, 6pm HS LaVon Hardison, 7pm Harper, and Eric Eagle, 10pm JA Janiva Magness, 7:30pm JA Elvin Bishop’s Big Fun Trio, 7:30pm, 9:30pm RR The Walking Hat Trio, 8:30pm PG Paragon Hang Jazz Open Mic, 8pm NC Kiki Valera & Cubaché, 8pm SB 5 Stories Jazz, 8pm RR Wayne Horvitz trio featuring Geoff Harper, OS Clave Gringa, 8pm SB Joe Doria Presents, 9:30pm 10pm RR Electric Circus, 9pm SY Justin Kausal-Hayes, 5pm SC Steve Kaldestad Quartet, 7pm SB 700 Funk, 10pm TU LineUp! Dawn Clement & Mark Taylor, TD Squirrel Nut Zippers, 7:30pm SB Cubano Y Latino, 7pm 7:30pm TU Jim Sisko’s Bellevue College Orchestra / TU Susan Pascal Quartet with Bill Anschell, Bothell High School, 7:30pm Chuck Deardorf, Mark Ivester, 7:30pm Wednesday, March 21 WW Future Jazz Heads, 6pm EL Paul Richardson, 6pm Sunday, March 18 JA Fred Hersch and Anat Cohen Duo, 7:30pm Thursday, March 15 AB Jazz at the Beaver with Max Holmberg and the MQ The Djangomatics, 5pm BC Adam Kessler, Phil Sparks and Guests, 9pm 200 Trio, 9pm PG Paragon Hang Jazz Open Mic, 8pm EL Paul Richardson, 6pm CM Sunday Brunch: Larry Murante, 12:30pm RR Piano Starts Here: In Memoriam (Two FT Mark Lewis / Randy Halberstadt, 8pm CZ Choro Music Open Jam Hosted By Stuart generations of the avant-garde) – The Music JA Elvin Bishop’s Big Fun Trio, 7:30pm Zobel, 2pm of Geri Allen/Muhal Richard Abrams, 7:30pm MQ 200 Trio, 9pm CZ Music Improv Session w/ Kenny Mandell, 7pm RR Wayne Horvitz trio featuring Geoff Harper, NI Nitelite Sessions, 8pm DT Darrell’s Tavern Jazz Jam, 8pm 10pm OS Shawn Schlogel, 7pm EL Tom Kellock, 6pm SB Unsinkables, 9:30pm SB Tim Kennedy Presents, 9:30pm HS Sunday Jazz Brunch, 10:30am SC Jonathon Doyle, 7pm TU Dmitri Matheny Group with Alex Dugdale, Bill JA Elvin Bishop’s Big Fun Trio, 7:30pm TU Ron Jones’ Jazz Forest, 7pm Anschell, Phil Sparks, Mark Ivester, 7:30pm MQ Brian Nova Jazz Jam, 7pm WK Jeff Ferguson’s Triangular Jazztet, 7pm VI Casey MacGill, 5:30pm RR JazzED: Dizzy Gillespie & Creative Music, WW Future Jazz Heads, 6pm 4:30pm SY Victor Janusz, 10am

22 • Earshot Jazz • March 2018 Thursday, March 22 EL Tom Kellock, 6pm SB Cole Schuster Organ Band, 9:30pm BC Adam Kessler, Phil Sparks and Guests, 9pm HS Sunday Jazz Brunch, 10:30am SC Spike Wilner Quintet, 7pm EL Paul Richardson, 6pm JA Burt Bacharach, 7:30pm TD Herb Alpert and Lani Hall, 7:30pm FT Mark Lewis / Overton Berry, 8pm MQ Brian Nova Jazz Jam, 7pm TU Ph Factor Big Band / South Whidbey Island JA Burt Bacharach, 7:30pm PO Cornish Presents: Deceptive Cadence – High School, 7:30pm MQ Son Jack Jr & Michael Wilde, 9pm Celebrating Paul Taub’s 38 Years at Cornish, WW Future Jazz Heads, 6pm NI Nitelite Sessions, 8pm 7pm Thursday, March 29 OS Jonas Myers, 7pm RR JazzED: Nina Simone Choir & Louis Armstrong Ensemble, 4:30pm BC Adam Kessler, Phil Sparks and Guests, 9pm SB Marina and The Dreamboats, 9pm EL Paul Richardson, 6pm TU Jared Hall Quintet with Mark Taylor, John SY Victor Janusz, 10am TB Kevin Connor & Swing 3PO, 5pm FT Mark Lewis / Norm Bellas, 8pm Hansen, Ben Feldman, Matt Jorgensen, GA A Stick And A Stone & Indira Valey, 7pm 7:30pm TU Clipper Anderson Quartet, 7:30pm TU Greta Matassa Student Showcase, 3pm JA Ruben Studdard, 7:30pm VI Casey MacGill, 5:30pm NI Nitelite Sessions, 8pm WW Rochelle House with Tim Kennedy, Geoff Monday, March 26 OS Jonas Myers, 7pm Harper and Greg Williamson, 7:30pm CC Cider Jam Mondays, 9:30pm TD Herb Alpert and Lani Hall, 7:30pm Friday, March 23 EL Tom Kellock, 6pm TU Thomas Marriott with Spike Wilner, 7:30pm CM Little Sara & the Nightowls, 7pm MT Jazz Night, 9pm VI Casey MacGill, 5:30pm CX Jazz Impressions: Francesco Crosara, Derick NL Mo Jam’ Mondays, 8:30pm Friday, March 30 Polk, Glenn Young, 6pm RR Cornish College of The Arts Presents: Voice Studio of Johnaye Kendrick and the Piano CB The Second Annual Jazz Shout, 6:30pm EL Tom Kellock, 6pm CX Jazz Impressions: Francesco Crosara, Steve HS Kay Bailey, 7pm Studio of Peter Mack, 5pm RR The Salute Sessions, 10pm Luceno, Glenn Young, 6pm JA Burt Bacharach, 7:30pm EL Tom Kellock, 6pm PO Sarah Elizabeth Charles Group, 8pm Tuesday, March 27 HS Sundae + Mr. Goessl, 7pm RR Ranger and the “Re-Arrangers”, 7:30pm EL Paul Richardson, 6pm JA Ruben Studdard, 7:30pm, 9:30pm SB Funky 2 Death, 10pm JA Marcia Ball, 7:30pm PA Hot Java Cool Jazz, 7pm TU Richard Cole, 7:30pm OW Tuesday Jazz Night, 9pm RR En Canto, 9pm Saturday, March 24 RR Brittany Anjou Trio w/ D’vonne Lewis + Evan SB Funky 2 Death, 10pm EL Frank S Holman III, 6pm Flory-Barnes, 7pm TD Herb Alpert and Lani Hall, 8pm JA Burt Bacharach, 7:30pm RR The Automat with Darren Loucas, Geoff TU Stephanie Porter Quintet, 7:30pm LE An evening with the Overton Berry Ensemble, Harper, and Eric Eagle, 10pm SB 5 Stories Jazz, 8pm Saturday, March 31 7:30pm EL Frank S Holman III, 6pm OS The Walking Hat Trio, 8pm SB Joe Doria Presents, 9:30pm SY Justin Kausal-Hayes, 5pm JA Ruben Studdard, 7:30pm, 9:30pm SB 700 Funk, 10pm OS Rick Mandyck, 8pm SB Cubano Y Latino, 7pm TD Antonio Zambujo, 7:30pm TU David Marriott’s Triskaidekaband, 7:30pm RR Greg Campbell Presents: A Tribute to Henry SP TROVADORO, 7:30pm Threadgill w/ Kuhn, Sewelson, Horvitz, and TU Marc Seales Band, 7:30pm Wednesday, March 28 Cline, 8pm Sunday, March 25 EL Paul Richardson, 6pm SB Cubano Y Latino, 7pm AB Jazz at the Beaver with Max Holmberg and the JA Marcia Ball, 7:30 am SB The New Triumph / 700 Funk CD Release, 200 Trio, 9pm NC Dan Duval / Good Vibes Quartet, 7:30pm 10pm CZ Open Jazz Jam With Kenny Mandell & PG Paragon Hang Jazz Open Mic, 8pm TD Herb Alpert and Lani Hall, 8pm Friends, 2pm RR Wayne Horvitz trio featuring Geoff Harper, TU Kareem Kandi Band, 7:30pm DT Darrell’s Tavern Jazz Jam, 8pm 10pm

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

COVER: Matt Watson photo by Daniel Sheehan

In this issue... A $35 basic membership in Earshot brings the newsletter to your door and entitles you to Earshot JazZ discounts at all Earshot events. Your member- Letter from the Director: The Greater Good____2 MEMBE r s h IP ship also helps support all our educational programs and concert presentations. Notes______3 Type of membership Call for Artists: The Second Century Series_ __3 Individual ($35) Additional tax-deductible donation ______Household ($60) Patron ($100) Sustaining ($200) In One Ear______4 Other Sr. Citizen – 30% discount at all levels 2017 Golden Ear Awards Ballot______5 Canadian subscribers please add $5 additional postage (US funds)

Spekulation: A Jazz Hang Crossover______6 Regular subscribers – to receive newsletter 1st class, please add $10 for extra postage Syrinx Effect: Finding New & Fresh Narratives_8 Contact me about volunteering ______Evan Flory-Barnes: On Loving the Muse & NAME Family______10 ______ADDRESS DeMiero Jazz Fest 2018______11 ______Darius Jones, in solo performance______12 CITY/STATE/ZIP ______Chris Speed Trio______15 PHONE # EMAIL For the Record______18 ______Earshot Jazz is a nonprofit tax-exempt organization. Ask your employer if your company has a matching gift program. It can easily double the value of your Jazz Calendar______20 membership or donation. Mail to Earshot Jazz, 3429 Fremont Pl N, #309, Seattle, WA 98103