Golden Ear Awards

A Mirror and Focus for the Jazz Community May 2020 Vol. 36, No. 05 EARSHOT JAZZSeattle, Washington

Golden Ear Awards Gone virtual! (Top: Jacqueline Tabor and Kelsey Mines; Middle: Kiki Valera and Kate Olson; Bottom: Michael Brockman and Bob Antolin) EARSHOT JAZZ LETTER FROM THE DIRECTOR A Mirror and Focus for the Jazz Community

Executive Director John Gilbreath The month of May ... or May not Managing Director Karen Caropepe Programs Manager Tara Peters Development Manager Errin Patton Marketing & Development Associate Lucienne Normally on this page, at this time of year, we’d be talking about longer, Aggarwal warmer days, lush growth, and a full schedule of summer music festivals; Earshot Jazz Editors Lucienne Aggarwal & on top of which we’d have a healthy two pages of Jazz Around the Sound Tara Peters calendar listings. Thank God that the warmth, the beauty, and the music Contributing Writers Paul de Barros, are still here, because everything else is upside down. Just one month ago Meredith Cooper, Francesco Crosara, Zach already feels like last year, and the future itself is suddenly provisional, Frimmel, Grant Grays, Ian Gwin, Wayne rather than probable. Horvitz, Kelsey Mines, Reed Olsen, Paul The complexity of social distancing under these dire circumstances is Rauch, Carlos Snaider, Nicole Walters beginning to play out in small and large ways all around us; even without Calendar Editors Carol Levin, Jane Emerson, the daily political circus. On the one hand, having to be physically distant & Tara Peters in the middle of a shared historical experience, somehow makes us feel Photography Daniel Sheehan more connected; on the other, and I think we’re all feeling this to some Layout Tara Peters Distribution Karen Caropepe, Dan Dubie & extent, we’ve been introduced to a whole new way to perceive ourselves as Earshot Jazz volunteers individuals at risk, and to frame our own mortality and our own survival in a more singular and tangible light. In the end, we have to live and die Send Calendar Information to: [email protected] alone, but mostly we don’t have to think about it every day. As Agnes Cal- lard also said last month, “The End is not actually here, but the thought Board of Directors Danielle Leigh (President), Chris Icasiano (Vice President), of it certainly is.” Chris Nutter (Secretary), Augusto Cardoso, No, you didn’t pick up a copy of Psychology Today. I’m just trying to work Sheila Hughes (Treasurer), John W. through this mess, like everyone else. I could blow some sunshine, but, Comerford, Maurice James, Kenneth W. mostly, I’m not feeling it, and I imagine that you can relate. We’ve never Masters, Gail Pettis, Ruby Smith Love, Diane Wah been here before, and we don’t have anyone to show us a way through. Be- ing an artist in a creative community or being engaged in work that aligns Emeritus Board Members Clarence Acox, Sue with our personal values, is great, but it doesn’t help when both the wolves Coliton, Taina Honkalehto, Hideo Makihara, and the reaper are at the door. Peter Monaghan, Kenneth W. Masters, Lola Pedrini, Paul Toliver, Cuong Vu Social distancing, online binging, and a living with “clear and present danger,” are probably pushing us too much into our own heads. But I Founded in 1984 by Paul de Barros, Gary imagine that all of the healthcare and human services workers, God bless Bannister, and Allen Youngblood. Earshot them, are probably not struggling with existential dilemmas right now. Jazz is published monthly and is available online at earshot.org. There is definitely work to be done, and we are all in service. Thanks to our editorial team, Tara and Lucienne, for believing that this Subscription (with membership): $35 magazine can be in better service in our community by being connected 3417 Fremont Ave N, #221 to it more organically. Where you see the print distribution of Earshot Seattle, WA 98103 phone / (206) 547-6763 Jazz is a bit thinner than usual this month, you’ll see the earshot.org site becoming more robust, with enhanced connections to the experiences and Earshot Jazz ISSN 1077-0984 expressions of the artists, educators, and many “worthy constituents” of this community. MISSION STATEMENT We wish you well. Each of you. To ensure the legacy and progression —John Gilbreath, Executive Director of the art form, Earshot Jazz cultivates a vibrant jazz community by engaging audiences, celebrating artists, and supporting arts education.

2 • EARSHOT JAZZ • May 2020 NOTES

Bellevue Jazz & Blues Festival Ballard Jazz Festival Postponed stream free of charge, but Nonsequitur Postponed The 2020 Ballard Jazz Festival has strongly encourages listeners to sup- In response to on-going COVID-19 been moved to the fall. This annu- port the artists with music purchases health concerns, the 2020 Bellevue al festival is now set for November or donations. To find out more visit Jazz & Blues Festival has been post- 11–14. The Schedule of Events is as waywardmusic.org poned until fall. This annual festival follows: Wednesday, November 11: Washington Nightlife Music will now take place October 28–No- Celebration of the Drum; Thursday, Association Needs Your Help vember 1. Their featured artist, Bobby November 12: Guitar Summit; Fri- With music venues across Washing- Rush, will now be performing on Fri- day, November 13: The Ballard Jazz ton state closed, venues are struggling day, October 30. Earshot subscribers Walk; Saturday, November 14: Main- to stay afloat. Washington Nightlife (email and print) will still get a 50% stage Concert. For information see Music Association (WANMA) is ask- discount to his show using promo ballardjazzfestival.com. ing people to sign a petition to inform code EARSHOT at checkout. Tickets Wayward in Limbo Audio Stream Washington Senators and U.S Repre- are on sale now, and the 50% discount sentatives that music venues need cash will be live until 8/31. Here is the site to With the Chapel at Good Shepherd assistance, tax relief and insurance re- purchase Bobby Rush tickets: brown- Center, Wallingford closed indefinite- visions, rent and mortgage forgiveness papertickets.com/event/4543867 ly due to the COVID-19 pandemic, the Wayward Music Series moves and reduction, and assistance for the Lake Chelan Wine & Jazz Festival from the concert hall to the liv- workforce. WANMA venues include Postponed ing room. In place of their usual ten The Royal Room, The Triple Door, The 3rd annual Lake Chelan Wine monthly concerts, Nonsequitur is cu- Real Art Tacoma, Showbox Market & Jazz Festival has been moved to rating and commissioning ten Seattle and SoDO, The Vera Project, Neu- September 24–27. This event offers a artists each month to create a series of mos, and many others. For informa- musical tour through the Lake Chelan streaming audio sessions of exclusive tion please visit wanma.info. Wine Valley, featuring 30 jazz perfor- material. Many of these will be essen- ArtsFund announces New mances. For tickets and more informa- tially “live” performances recorded at President and CEO tion visit chelanwinejazz.com. home for this occasion. Others may create a mix of pre-recorded material Michael Greer has been selected as Couth Buzzard Festival Future that has not been previously released ArtsFund’s new president and CEO. Uncertain elsewhere. The tracks are available to CONTINUED ON PAGE 23 The Couth Buzzard book store where the annual festival is typically held, is currently closed until at least May 4. Couth Buzzard Books asks their sup- porters to watch and donate to artists who normally perform on their prem- ises. For more details go to buonobuz- zard.com. TD Vancouver Jazz Festival Canceled Coastal Jazz will not produce a 2020 festival. If you have purchased a ticket to any shows, they will be in touch with options. Coastal Jazz hope to re- instate the festival in 2021. Visit coast- aljazz.ca for more details.

May 2020 • EARSHOT JAZZ • 3 U IN MEMORIAM CALL FOR ARTISTS / / / / / Judy Cites (1937-2020) Jazz: The Second

Century When Earshot kicked off its first concert series at the New City Theatre in 1987, it was a big deal when Judy Cites Deadline May 31 volunteered to teach us all how to run Earshot Jazz seeks submissions the box office. Most of us were ama- for the 2020 edition of the Jazz: teurs, but Cites was a pro who worked The Second Century concert se- for the concert production company ries. The juried series brings the Northwest Releasing, had managed progression of Seattle jazz into world tours for trumpeter Chuck creative motion on the concert Mangione, and would later head up stage. One-hundred years into the Seattle Symphony Orchestra ticket the art-form, what sonic shapes operation. does jazz take in its second cen- Judy passed away April 13 at home JUDY CITES COURTESY OF JIM WILKE tury? Projects that probe this with her husband, radio host and Seat- question to expand the conven- tle jazz legend Jim Wilke, after a two-year tions of the jazz form are invited bout with a lung condition. She was 83. for consideration. “She was my road mother and confidant,” Mangione wrote in an email. “I Seattle-area individual artists don’t know how I would have survived without her.” or groups are eligible to apply. Almost everyone in Seattle jazz knew Judy. She was always there with Jim at Submissions must include a re- Jazz Port Townsend, or Jazz Alley—a vivacious, smiling, open-hearted woman corded sample of a project that who always asked how you were doing, and actually meant it. can be performed in a concert Born in Oak Park, Ill. Cites grew up in Tacoma and was working in the Seattle or livestream setting and a writ- music business by the 1960s. Back then, she and Jim would run into each other ten statement between 250–350 at the old Penthouse, in Pioneer Square, but they didn’t get together until 1980. words. Their first date—natch—was at Jazz Alley. Submissions are evaluated “I was doing a show on KUOW one night and she left a message that she had through a blind-jury process. been listening while she was driving across the bridge,” recalled Wilke. “I had Jury members reflect the diverse been playing Bill Evans. I called her back and she said, ‘Hey, there’s a new jazz Seattle jazz community and club in the U District, let’s check it out.’ include past Second Century Judy loved theater as well as jazz and she and Jim used to attend the Oregon artists. Shakespeare Festival every year with their longtime friend Marianne Lewis, who 2020 Second Century artists also worked for the symphony. and ensembles perform across “She loved the jigsaw puzzle component of putting a house together so it always four Thursdays in July and are looked full, even if it wasn’t,” recalled Lewis. “She also really loved taking care paid a competitive fee for the of people.” performance. Applications are Wilke prepared a beautiful radio tribute to Judy’s favorite music, “Songs for accepted until May 31. Jude,” which you can listen to at knkx.org/post/songs-jude. For eligibility requirements and Cites is survived by Wilke, her sisters Mary Jane Schulz, Lucinda Bumps and application process, visit earshot. Sandy Cites and stepsons Chris and Barrett Wilke. Remembrances in Judy’s org/jazz-the-second-century- name can be sent to The Seattle Times Fund for the Needy, The Seattle Sym- series. phony, Seattle Public Libraries, or your favorite performing arts organization. –Paul de Barros

4 • EARSHOT JAZZ • May 2020 CONGRATULATIONS Jay Thomas Named 2020 Seattle Jazz Hero by the Jazz Journalists Association

of living the jazz life. It provides a per- fect counterbalance to what a student may receive in academia, giving them the freedom to apply concepts in a per- sonalized setting. Thomas has frequently traveled to Ja- pan to perform since his chance meeting with tenor saxophonist Yasuhiro Kohama in Japan in 1997. While “looking for a good flute” in Nagoya, he stepped into a music store in Na- goya, and left with a long-term friend- ship and musical relationship. Thomas has invited Japanese musicians to perform in Seattle, including sensational young pianist, Yuki Hirate. This bridge built on jazz music came to fru- ition in the fall of 2019, when he was honored as the Artist in Residence of JAY THOMAS BY DANIEL SHEEHAN the 2019 Earshot Jazz Festival. Thom- as performed with Kohama, Hirate, Jay Thomas has established himself to younger generations. He passes on and friends, and was interviewed in as a genuine Seattle jazz legend, a leg- knowledge gained from his years of depth by Paul de Barros. The interview acy built on a half century of musical paying dues with the likes of Machito, gave Thomas a microphone and an au- accomplishment. He now has official James Moody, Cedar Walton, George dience to share his stories and insights stature as a hero, being the recipient of Cables, and Gary Smulyan. derived from a career that now spans a 2020 Jazz Hero Award from the Jazz One of the rarest of birds, Thomas six decades. Journalists Association. Thomas is be- has overcome the demands of embou- Thomas released a career defining -al ing recognized not only for his contri- chure and mastered both the trumpet bum in 2018 in partnership with com- butions as a musician, but as an educa- and saxophone. Add flute into the poser/arranger Oliver Groenewald. I tor and architect of a musical bridge mix, and Thomas’ set up on stage will Always Knew (Origin, 2018) features between Seattle and Nagoya, Japan. include up to six instruments. As an Thomas’ lush, melodic soloing, sup- Past local recipients have included educator, his versatility has enabled ported by Groenewald’s 10 piece Matt Jorgensen, John Bishop, Jim him to reach out to a broader spec- “Newnet.” The album allowed jazz Wilke, Julian Priester, Mack Waldron, trum of Seattle area jazz students. fans around the world to learn what Wayne Horvitz, and Karen Caropepe Most importantly, his private students we in Seattle have always known— and John Gilbreath of Earshot Jazz, receive mentorship in the oral tradi- that Mr. Thomas is a remarkable mu- respectively. tion, emphasizing ear training. In a sician, and a jazz hero to generations Thomas provides a crucial link be- time when jazz education largely takes of Seattle jazz students and fans alike. tween Seattle’s fertile jazz scene of place in the conservatory, Thomas of- –Paul Rauch the 1960’s and its future as a mentor fers an approach steeped in fifty years

May 2020 • EARSHOT JAZZ • 5 GOLDEN EAR AWARDS The 2019 Golden Ear & Seattle Jazz Hall of Fame Awards

By Paul Rauch On the evening of April 4, Earshot Jazz presented the annual Golden Ear & Seattle Jazz Hall of Fame Awards, the annual event recognizing the achievements of the vibrant jazz community in Seattle. This year however, the evening was presented under ex- traordinary circumstances. With the community in a statewide stay at home order due to the COVID-19 outbreak, Earshot found a way to continue this tradition via livestream, including two live sets broadcast from The Forum at Town Hall by the Marino Albero Trio. MARINA ALBERO BY LISA HAGEN GLYNN Albero broke the silence of the evening with a riveting solo piece that connected with our community is a a multiplicity of musical streams into a ultimately landed on “My Favorite vital need, and a humbling quest on common, original form. Things.” She was then joined by multi- behalf of Earshot, Town Hall, and the Volume one, “Albero,” is a recording reedist Hans Teuber and drummer Seattle jazz community at large. We made in Spain a decade ago with her D’Vonne Lewis, performing with the celebrate the winners, and recognize historic musical family in Barcelona. appropriate social distancing practiced what Gilbreath described as the “self- The second volume entitled “Agua” is on the large stage at this intimate ven- renewing jazz ecology” that this city is a collection of in-the-moment impro- ue now silent with a virtual audience blessed with. visations. It seems as though Albero in attendance. In these very difficult taps into memories vividly recalled times, Albero addressed her audience NW JAZZ RECORDING OF THE YEAR autobiographically, as dormant musical adventures are suddenly given a with emotional eloquence. Marina Albero, A Life “It’s hard to speak tonight. My big- springboard into her current artistic gest learning is that I need my friends, Soundtrack here and now. Volume three, “Mu- I need my music, and I need you. I Attempts to characterize the music sic is Love,” features Albero with her need humans around me. I need your of pianist Marina Albero seem to get Seattle band, featuring Hans Teuber, ideas, I need laughter. That’s what lost in the details. The Barcelona born D’Vonne Lewis, Jeff Johnson, and we’re trying to do tonight, hoping pianist arrived in Seattle in 2014, her Jeff Busch. She is also joined by her that the music brings us together, and career put mostly on hold while she fo- daughter, vocalist Serena Dominguez makes us feel a little lighter.” cused on her children and new life in Albero, and son, saxophonist Marcel The broadcast was anchored by Ear- a new country. During her time here, Dominguez Albero. Albero fuses jazz, shot Executive Director John Gil- she has found her identity as an artist afro-cuban and flamenco forms, as breath from the non-profit’s digs in that reflects her life in music from her well as the music of her late father, the Fremont, and KNKX voice Abe Bee- origins in Spain, to her new-found ar- great Catalan composer, Maria Albe- son, from his home in West Seattle. tistic identity in Seattle. In this album ro. Her deft touch, musical eloquence, Through the twists and turns of this of three volumes, she gifts her audience and pure energy makes this recording pandemic, the importance of staying with her stunning virtuosity, merging a pure joy.

6 • EARSHOT JAZZ • May 2020 KATE OLSON BY DANIEL SHEEHAN BOB ANTOLIN OF COMFORT FOOD COURTESY OF THE ARTIST KIKI VALERA BY MICHAEL CRAFT

NW ACOUSTIC ENSEMBLE OF THE YEAR ma, while at the same time, ascending intuitive support, and imaginative Kate Olson’s KO Ensemble artistically. soloing. Comfort Food is a live phenomenon, While saxophonist Kate Olson has NW ALTERNATIVE JAZZ GROUP OF THE their inclinations spurred on by the gained notoriety as a trailblazing ar- YEAR vibe of the night, of the venue, and biter of the outer stratosphere of jazz most importantly, their audience. with her solo work, and Syrinx Effect Comfort Food duo with Naomi Moon Siegel, her KO On the Comfort Food Facebook NW CONCERT OF THE YEAR Ensemble has been offering a different page, the band describes itself as side of her musical persona. The en- “Bitches Brew meets Fela Kuti.” Terms Kiki Valera y su Son Cubano, semble has been her most visible live such as Nu-Jazz, reggae fusion jazz, October 26, Town Hall Seattle band over the past few years. and neo-funk are offered as well, but Kiki Valera y su Son Cubano’s Ear- Olson in a way, entered the jazz con- there has been a term out there since shot Jazz Festival performance at Town tinuum through the side door. We first the aforementioned Miles Davis clas- Hall was a great evening for both lis- became acquainted with her through sic was released that covers it all— teners and dancers alike. On the heels the Racer Sessions and the subsequent fusion. of his new release on Origin Records, connections made there. In KO En- Seattle’s Comfort Food (not to be Valera led his band through the music semble, she is featured on soprano confused with the Chicago fusion/ of Vivencias en Clave Cubana (Origin, saxophone and is supported by a ro- noise duo of the same name) is a fu- 2019) with virtuosic precision and in- tating cast of Seattle’s creative musi- sion of musical neighborhoods within fectious pulse. cians, including bassist Chris Symer, a city soundscape. The band is groove Jazz fans may question why a per- pianist Alex Guilbert, and drummer based and is driven by the undercur- former of traditional Cuban Son Brad Gibson. For Olson, the person- rent of well-known Seattle percussion- music would be considered for a jazz nel amounts to steadying influences ists Thione Diop and Ahkeenu Musa. award, much less record for a well-re- that allow her to find her voice in the Bassist Lennox Holness and drummer garded jazz label such as Seattle based music. Symer’s orchestral approach to Paul Huppler push a commotion of Origin. Valera took advantage of his bass adds the elements of eloquence moving parts forward, creating a ve- performance in the Great Hall to pro- and virtuosity, while Guilbert’s sparse, hicle of sound to the benefit of saxo- vide the answer. One of the world’s spatial comping provides ample room phonist Bob Antolin’s winding, angu- renowned practitioners of the Cuban for Olson to expand a melodic idea lar melodic passages. Guitarist Jaiman cuatro, he improvises with the wisdom within an elastic sense of swing. Crunk and keyboardist Yogi McCaw and melodic vision of a great post-bop KO Ensemble bears witness to an are beneficiaries of this sonic rhythm adventurer, all the while never straying artist descending to post-bop terra fir- section as well, themselves creating

May 2020 • EARSHOT JAZZ • 7 KELSEY MINES COURTESY OF THE ARTIST JACQUELINE TABOR BY DANIEL SHEEHAN from the striations of form he has car- bassist in a city with a plethora of great Mines’ innovative spirit, and open ried forward from his heralded musical bassists. mind in terms of convention, is evi- family—la familia Valera Miranda. The daughter of noted jazz educa- dent in whatever musical path she de- The Great Hall was indeed lit up, tor and trumpeter Mike Mines, Ms. cides to travel. She is sharing her broad with the band’s call and response vo- Mines has a diverse résumé. In 2016, knowledge as an educator and mentor cals, and infectious rhythms inspiring she was a recipient of the Holland at Bellevue College, JazzEd, and the a legion of enthusiastic dancers near Scholarship, giving her the opportuni- Lakeside School, as well as mentor- the stage. Valera’s award, along with ty to study double bass with Sorin Or- ing individual students in both double the two received by Barcelona born cinschi at the Prince Claus Conserva- and electric bass at her home studio. Marina Albero, highlights the good toire in Groningen, the Netherlands. fortune of our city to call these inter- Her studies there, and her mastery of NW INSTRUMENTALIST OF THE YEAR national stars our own. Along with classical bass has led to performances Brazilian pianist Jovino Santos Neto, with the Yakima Symphony and Sym- Marina Albero a past multi-Golden Ear recipient, this phony Tacoma. Marina Albero has offered the Se- once remote cultural outpost and its Mines’ foray into the world of jazz is attle jazz scene something new, and vibrant and historic jazz scene now diverse, to say the least. She is current- completely original since her arrival sports a wide and international scope. ly a performing and recording member from Barcelona six years ago. Her mu- of Anne Reynold’s Cuban Jazz ensem- sic reflects her background in classical, NW EMERGING ARTIST OF THE YEAR ble, Clave Gringa, the Naomi Moon jazz, flamenco and Afro-Cuban forms. Siegel Quartet, and Here to Play, an Through it all, her sublime virtuosity Kelsey Mines experimental trio featuring Neil Welch as a pianist, and trailblazing approach Bassist Kelsey Mines was one of three (saxophone, electronics), and Seattle on psalterium has enabled her music strong women nominated for this im- drum legend, Gregg Keplinger. 2019 to continue to move forward, to probe portant award. Along with bassist Ab- saw the release of the band’s self-titled new territory, and seek new challenges. bey Blackwell and saxophonist Sidney album, featuring collective improvisa- Her playing evokes images of jazz Hauser, this recognition lands her di- tion within sonic ebbs and flows. Her piano greats such as Bill Evans, while rectly in the forefront of generational most recent project is a duo with gui- at the same time bearing the influ- change that clearly favors gender equi- tarist Carlos Snaider, earthtonesky- ence of flamenco icons like guitarist ty in jazz music. Mines’ artistic back- tone, which they describe as ‘sound Paco de Lucía. Her formative years in ground, and ability to apply her talents and silence, joy and mystery, devoted Cuba have accented her playing with seamlessly between double bass and to the imperfect perfection of nature flashes of Afro-Cuban rhythms, while electric has made her an in-demand within and among us. Music for the displaying the discipline and deep living.” understanding of melody and form

8 • EARSHOT JAZZ • May 2020 FRED HOPKINS, HENRY THREADGILL, RITA DEGABRIELE, STEVE MCCALL, GARY BANNISTER COURTESY OF RITA DEGABRIELE MICHAEL BROCKMAN COURTESY OF THE ARTIST of classical training. On psalterium, This marks the second consecutive iconic educator and drummer, Clar- commonly known as hammered dul- Golden Ear Award for Tabor, who ence Acox. cimer, Albero bears the mark of a true throughout her evolution as an artist As well as being a master of wood- innovator. While experimenting with in Seattle has always stayed true to her winds, Brockman is a noted composer, tunings on the diatonic instrument, deep understanding of the blues. As arranger and master of transcription. she has conjured sounds previously an artist who found herself as a singer His studies and performance skills unexplored, while vastly expanding later in life than most, Tabor’s deliv- have been enabled and embellished the harmonic reach of the instrument. ery speaks to her everyday life, her tri- by such jazz luminaries as Jaki Byard, Just last year Albero received the als and tribulations as a worker, and a George Russell, Wynton Marsalis, and Emerging Artist of the Year award, mother. Her intuition for surrounding Quincy Jones. proving that in a city and jazz com- herself with the right talent has accel- Brockman’s contributions as founder munity replete with world class musi- erated her career to the benefit of the of SRJO, and his valued long-term cianship, Albero has added her name Seattle jazz community. commitment to establishing the world into the diverse blend of historic tal- class jazz program at the UW, define ents that have come before her. Much SEATTLE JAZZ HALL OF FAME his credentials as a Seattle Jazz Hall of like her predecessors, her energy, vi- Fame inductee. These contributions sion, and sublime chops have taken her Michael Brockman will have a lasting impact on jazz cul- places that defy geography and style. Michael Brockman’s entrance into ture in Seattle for many generations to the Seattle Jazz Hall of Fame comes come. NW VOCALIST OF THE YEAR as no surprise to anyone remotely en- Suzanne Weghorst gaged with the jazz community here. Jacqueline Tabor His contributions to a large degree are Small place, big time. That is the 2019 went by like a whirlwind for vo- expressed in the major institutions his moniker attached to Egan’s Ballard calist Jacqueline Tabor. It was a year of drive and vision have inspired. Jam House, the tiny jazz spot in the significant opportunity for the Seattle Brockman has been mentoring jazz heart of the Ballard. For nearly 15 singer, on the heels of her well received students at the University of Washing- years, the prominent marquee mark- 2018 release, The Lady in the Gown. ton since his arrival here in 1987. He ing the Market St. institution has dis- Tabor was twice featured in the past has performed frequently in the classi- played the names of hundreds of art- year with the Seattle Repertory Jazz cal realm as well, being featured with ists, from international jazz luminar- Orchestra, first celebrating the Jazz of the Seattle Symphony and Pacific NW ies, to student combos. the Harlem Renaissance, then diving Ballet Orchestra. Since 1995, he has In a time when small businesses, into the legacy of a jazz legend in Trib- co-directed the award-winning Seattle much less jazz clubs, continue to ute to Billie Holiday. Repertory Jazz Orchestra with the struggle in the city of Seattle, Suzanne

May 2020 • EARSHOT JAZZ • 9 Weghorst is all in from Wednesday to lished artists have prospered by clubs Gary Bannister Saturday at Egan’s, presenting shows such as Jazz Alley and Tula’s, Egan’s that reflect wave after wave of new Se- has seen fit to be sure students and un- By Paul de Barros attle talent, as well as sets performed derage musicians have opportunities, a I’m pretty sure it was Gary Ban- by established local artists. The club place to grow and receive feedback and nister who came up with the idea to has never been more important in the inspiration it brings. On occasion, honor local musicians with the Ear- the community, as noted venues such major artists such as Peter Bernstein shot “Golden Ear” awards, so it’s fit- as Tula’s and the New Orleans have and George Colligan have appeared. ting that he was inducted into the Hall closed their doors in recent years. The club as well serves as a vital ven- of Fame this year. Gary was passion- Weghorst follows fellow club propri- ue on the annual Ballard Jazz Walk. ate about jazz, and he put that passion etors Red Kelly (1999), John Dimitri- While the future of the club, and of into practice all his life (he died in ou (2001), Gaye Anderson (2004) and Weghorst’s involvement remains to be 2010), presenting shows, writing re- Mack Waldron (2005) into the Hall of seen, the legacy of both has been well views, releasing albums, teaching jazz Fame. All have provided vital spaces established as essential and historic in history, booking Jazz Alley and deejay- for the evolution of jazz artists and their time. ing a very hip show on the old KRAB their music in our city. While estab- radio. I met Gary in the fall of 1979, when he and three other jazz advocates were putting on avant-garde shows at the Seattle Concert Theatre (now a parking lot). Listening to records with Gary was unique. The music drew him in so deeply that sometimes he felt far away, and yet somehow, he took you with him, so you started hearing the music the way he did. He had a “golden ear,” all right. He later ran a jazz loft with drummer Jeff Ferguson under the viaduct. The concert they presented by Old and New Dreams was one of the best I’ve ever heard, though the earlier ones by Air and the Art Ensemble weren’t too shabby! Jeff played in the Al Hood Quartet, whose album, Not Quiet Rite, came out on Gary’s label, AuRoar; it remains a favorite. In 1984, I called Gary to see if he might want to help start an organization to promote jazz in Seattle. “When do we start?” he said. And that’s pretty much how Earshot was born. I can’t say we always agreed. He sometimes seemed to love what was new at the expense of what was old; I saw Earshot as more ecumenical. But by 1989, with the help of Mark Solomon, Earshot produced a well-rounded festival that, as Earshot readers know, continues to this day. Gary’s legacy lives on in that annual event and every day in the spirit of Earshot Jazz.

10 • EARSHOT JAZZ • May 2020 FEATURE

Community Content

As our city remains under social distancing regulations, we continue to be responsive in our content. In April, Earshot Jazz put out a call for content to our community. The following pages include a selection of those responses, with additional digital submissions available for viewing at earshot.org. We’re inviting you to submit again for the June magazine. Art- ists, writers, educators, venue reps, FRANÇOIS MOUTIN BY RUDY ROYSTON and all other members of our community are invited to submit original short works. Selected submissions will be featured in print and/or online—depending on the medium. Selected contributions will be compensated $50. Please note that due to space we are not able to feature and compensate all submissions received. We will contact you if we plan to feature your submission. Contributions can include op-ed commentary, poems, illustrations, photographs, written music, lyrics, video performances, collages, or art of other various medium Work must be original but it doesn’t have to be new. We know creating during crisis can be chal- lenging. Written pieces can be up to 500 words in length. Video or recorded works can be up to 5 minutes in length To submit, fill out the google form available via earshot.org or email [email protected]. Submissions accepted through Friday, May 15. Individuals can submit up to 5 works.

May 2020 • EARSHOT JAZZ • 11 A Quick Guide to Better Home Video Production for Musicians (Without Breaking the Bank)

By Francesco Crosara chie or an audio/video geek. Therefore, • iPad Pro (9.7 inch) mounted on a I will not provide a comprehensive list tripod—better overall camera and au- Let’s face it, we live in strange times. of gadgets or apps available out there. I dio EQ than an iPhone In a matter of days, all working mu- will just share the results of my experi- • Zoom H5 portable recorder with sicians around the globe saw their mentation and describe what works stereo XY microphones mounted on a gigs being cancelled, income streams for me, mostly with gear that I already boom mic stand connected to the iPad coming to a halt, and the prospect own. Please check out the companion with USB to lightning jack of making music from the home in a video “Home Music: Improve your au- • Tripod with iPad mount pure virtual setting for the foreseeable dio” for music samples and additional • 3-flood light floor lamp future. All artists, including the big- details available at earshot.org. • Video editing software: Camtasia gest names, are now reaching out to To produce a very decent music video 2018 (Windows 10), Final Cut Pro 7, their audiences through the medium at home, you need to pay attention to Logic Pro X (Mac OS) of live video. There is a freshness and a few elements, each one important I hope these tips will be useful in immediacy in being able to communi- in its own right: a camera (or tablet, helping you produce superior home cate from the living room in a relaxed smartphone, laptop computer), a high- music videos, continue to create great and intimate atmosphere. In a way, quality recording device (or condenser jazz music and expand your reach to access to musicians has now become microphone) with USB to lightning new audiences anywhere in the world. more “personal” than ever. In response interface, a tripod to keep the shoot to social distancing measures, virtual steady, extra lighting (or dedicated sessions are now becoming the norm, LED lamp). Finally, if you plan to do Digital Companions where musicians collaborate with each video/audio editing/mixing and add other remotely, either in a live setting, Visit earshot.org to view digital credits, you will need a video and au- or with recorded overdubs. companions for the entires by dio editing software. This article is intended to offer a few For reference, here is the setup of my Francesco Crosara and Wayne tips on improving the overall quality “Home Music” series production: Horvitz, plus additional digital of the music videos being broadcasted submissions! from home. For the record, I am a jazz pianist and composer, I am not a te-

12 • EARSHOT JAZZ • May 2020 May 2020 • EARSHOT JAZZ • 13 Night Ride

By Reed Olsen Dr. Bessel van der Kolk, an expert for Shabazz Palaces and or Terror/ on trauma writes in The Body Keeps Cactus. One of the means I had to justify the Score how trauma lives in the The dynamism of the body, the busting ass to live in this city was live physical body. Talk therapy alone spinning wheels and the music allow music. I miss that. I bet we all do. often cannot work it out. The same one to better hold the complex feel- That very real physical release when goes for stress. We live in physical ings needed to cope with the dump- experiencing live music with a crowd bodies that need a physical release. I ster fire of a reality we find ourselves of people in absence leaves some- am continuously reminded how time in. Perhaps I can at least make some thing to be desired. with my physical wellness keeps my s’mores on that fire. Luckily, I still have my wheels... mental resilience buoyant. Daylight We cannot hug or interact with and night rides. I live for that grow- is essential, but my tip for weather- all the people but you get to be out- ing daylight in our lives, which the ing the COVID-19 blues are lone side at a quiet distance, it is almost jubilant sense of blossoming spring night rides and music. like magically flying over the city. in Seattle brings. However, what I I have found Jazz music to be par- The very human made music helps find myself drawing deep sustenance ticularly well suited at letting my me feel both ok with the zeitgeist of from are not days, but the warm mind ease up while my body stays loneliness and also not so alone in eerie night rides home. I have been hot and focused. In the dark with that feeling. The mind moves both reallocated as an essential worker a drum roll you can kinda almost fast and slow. It is like a very strange making food for the emergency too easily dissociate from the over- call and response that in a dream- shelters in a downtown basement taxed tabs open in your brain. The like state almost wakes you up to the kitchen. When my tired hands and rush feels all kinds of good. It keeps reality that we live in this place with body emerge from work the world is my cup filled with an exuberance others all around us. It compels em- dark. Street light rays are scattered to rise up and greet the rapidly ap- pathy. Spinning faster and faster one through the newly emerging pedals. proaching day. For starters, KEXP is tempted to hear “ground control I clock off work and hop on my bi- has some very nice live recordings of to Major Tom…” cycle for what often proves to be a Preservation Hall Jazz Band. Or for longer than needed ride home. more weird and local one can reach

14 • EARSHOT JAZZ • May 2020 Ambientia

By Ian Gwin Over the telephone, muzak played, and though I had been waiting on an extremely urgent matter, I began to appreciate its beautiful simplicity. It reminded me of the way clouds move, surely at a high speed above but barely perceptible from below, curling and unfurling across the sky, sculptures of pure light, inexhaustible in form, sometimes stormy and ominous, or calming, like the declaration of a clear day. Beyond the clouds, slowly pulsing in and out, I heard a quiet tick, almost like the heartbeat of a small animal, except nowhere nearly as fast; as if it was circling flaps I heard, pacing back and forth, the way a hummingbird might hear its own pulse while hovering in the air, suspended in the fervent motion of its miraculous flight. Distractedly, I began to click my nails against the hard surface of the table in time to the rhythm, hoping that the sighing of these long chords, their drawn out breath inducing me to sleep like a child is to the mysterious lyrics of a lullaby, would cease. I imagined that, after a static pause, someone in the greater world would greet me, another disembodied voice, and help extricate me from this splitting headache, so far from the music’s flawless tapestry. And as I tapped along, suddenly stopping, I looked around the room with a strange twinge of shock, at the whole state of affairs, one I had occupied for so long, barely registering the truly distressing state of my immediate surroundings. Perhaps, I quickly wondered, this was merely the result of that eternal music channeled into my ear through the headset’s small microphone, and I laughed to myself how my perception had been affected, not to mention my disposition. This, along with the situation, I felt, had not improved, while noting how nothing significantly changed nor repeated itself in this river of sounds, but flowed on, incessantly, bringing all sorts of associations to mind, until I all but gave up and merely thought of nothing. Once or twice I thought I heard a click, but that must have only been part of the composition. Each time my heart jumped, but the anticipation dissipated, and I nervously continued, until I no longer could tell I was listening. And if it wasn’t for my fright, I would have stayed there, on hold with the department of reality, trying to confirm my deposit had been secured, but it just came out of nowhere, and before the music cut out I brought down the full weight of my foot over the dashing arachnid.

May 2020 • EARSHOT JAZZ • 15 myself humming along to the song how seriously would I approach it? Say Yes growing inside me and soon the lyrics What would my next steps be? How began to form from the same nowhere on earth would I even begin? that brought the melody. To be fair, I had some ideas about The song, “Say Yes,” came easily, what to do if I wanted to engage with By Nicole Walters and at the right time considering the Seattle’s jazz music scene. I had begun Sheet music and video available at questions I had entertained just that attending some open mics around earshot.org morning about what I wanted to do town and had only the day prior to with my musical life, how I wanted to writing Say Yes, enrolled in Jazz Night August 18, 2019. The day didn’t be- grow, what I wanted to contribute and School’s Singing with Jazz Trio class. gin much differently than any other. to learn. Beyond that, however, I was clueless I was on my balcony enjoying the I had only recently begun singing about the path forward. morning sun, pulling tarot cards, again after a long hiatus and was at a As I wrote about all of that the mel- drinking tea, and journaling to start crossroads about how much I’d let it ody came and then the lyrics and then my day when a melody dropped into matter to me. I mean, if I was going to my clarity about what I was going to my head and stayed a while. I found enter the world of entertaining again, do…

16 • EARSHOT JAZZ • May 2020 Say yes Yes to the chill Since that warm August 2019 morn- Say yes to me I always will ing I have been nothing but grateful Yes to my love Say yes for all of the opportunities, friend- Yes, and you’ll see No need for no ships, lessons, performances, and Say yes Come love, let’s go creativity that have resulted. I’ve met Don’t disagree Search the unknown some of the kindest, most talented Love, come to me I was going to say yes. I was simply people and have often had the good Yes, and believe going to keep myself open to the po- fortune to perform and collaborate Though it may seem we’re spinning tential of every next step, next oppor- with many of them. in circles tunity, next thing to do. Say yes. Take Saying yes has enriched my life in so Round and around just falling free the class. Meet the person. Call the many beautiful and surprising ways. Love take my hand, let’s dance the venue. Send the invites. Say yes. Be It’s my hope that this song inspires a eternal led. Be surprised. Be grateful. Be will- courageous yes in anyone who needs I’ll follow you, you follow me ing. Say yes, and see what happens. it in the pursuit of his/her/their joy, Say yes I’m glad I did “say yes.” purpose, and dream. Yes to the thrill

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May 2020 • EARSHOT JAZZ • 17 PREVIEW >>

Earshot Jazz Live at The Forum at Town Hall Seattle

Presented by Earshot Jazz and MAY 2 a soulful and welcoming mix of jazz Town Hall Seattle and R&B that calls all folks to the Remembering Lee Konitz—Seattle table. saxophonist Brent Jensen, alongside 7:30pm Livestream bassist Chris Symer and drummer Ste- Free — Donations Welcome MAY 23 fan Schatz, affirms the legacy of the peerless alto saxophonist, Lee Konitz, Kareem Kandi Quartet—Tenor sax- who passed away on April 15 from the ophonist/educator Kareem Kandi has A stay-at-home order is in place Coronavirus. big sound that recalls the tradition the for all individuals, with the ex- great Dexter Gordon, and a love of the ception of essential workforce, MAY 9 music that embellishes the Tacoma re- gion with organized concerts and edu- through at least May 4. The full Bill Anschell Standards Trio—One cation programs descripition of essential work- of Seattle’s finest pianists, in a pris- force includes “artists and musi- tine trio with bassist Chris Symer and MAY 30 cians providing services through drummer D’Vonne Lewis, brings in- streaming.” In light of that al- vention and discovery to jazz “stan- The SRJO Smalltet Plays Monk – lowance, we are pleased to pres- dards” in the style of the great Keith Top-flight members of Seattle’s all-star ent these livestreamed events. Jarrett trios. big band pare down to a nimble small- Everyone in these productions tet to honor Thelonious Monk. SRJO have been paid for their time and MAY 16 co-director Michael Brockman ap- pears with pianist Randy Halberstadt, talent. Donations to Earshot and Folks—Embodying the jazz and bassist Phil Sparks, and others. Town Hall help offset produc- blues legacy of Seattle’s historically tion costs. A tip jar for the band Black Central District, pianist Darrius goes straight to artists. Willrich, drummer D’Vonne Lewis, and bassist Evan Flory-Barnes serve up

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FOR THE RECORD

Frank Kohl anticipates, opens, and supports as the The Crossing next idea bubbles up and is worked out. Kohl’s playing on “O Grande Self-Released Amour” is all candle glow, a bit too New York born and bred guitarist much wine, and the rest of the world Frank Kohl has been a Seattle jazz fix- falling out of focus just as the guitars ture since the early 90s. On his fifth al- gently part and LaSpina presses to the bum, a combination of standards and fore with some truly romantic bow originals, he is joined by John Stowell work on the upright bass. A univer- on guitar and nylon string guitar and sally beloved and often revisited bossa longtime collaborator, composer, and nova, the trio treats it well. bassist Steve LaSpina. Standing tall “The Goodbye” seems to simmer between effusive renderings of tracks over and over a blue memory as the from Jobim and Jerome Kern are orig- guitars converse, asking and answer- inal tunes that showcase Kohl’s agile ing and returning to the question. for a percussionist. Even when show- pure tone, chromatic sense, and the Throughout the album, the sturdy casing their athleticism, the trio man- whole trio’s chops as improvisers of rhythmic and percussive center laid ages to be ever so warm, so harmonic rich lyrical licks. down by LaSpina and the round warm and intimate in the sound they craft. The title track “The Crossing” and outline created by Stowell on the ny- Comforting in much of its familiarity, what follows are lushly illustrative. Ac- lon string guitar provide a field of play the work easily holds your attention cessible and relaxed, melodic droplets in which the tonal and harmonic mas- with sophisticated surprises. From top fall like serene rain as the trio gathers tery of Kohl is allowed to shine effort- to bottom, The Crossing delivers mea- together a groove and graciously allow lessly. There are moments where the sured, moody, unassailable cool. each other to unravel it in turn. One trio strides tightly in step, seamlessly –Meredith Cooper can sense the way each player expertly rhythmic and without ever wanting

Ted Poor tion of desire, of longing, of closeness, You Already Know and of distance, “Emilia” discusses the myriad complexities of emotion. New Deal/Impulse! “Only You” follows with a driving, A patient and reflective ear is needed mesmerizing statement whose repeti- to fully appreciate all that Seattle- tion builds upon itself, growing and based drummer and Assistant Profes- folding and changing textures without sor of Jazz Studies at the University of straying from its original phrase—in- Washington, Ted Poor, offers in his deed, the more it changes, the more it most recent release, You Already Know. stays the same. “To Rome,” which fea- Collaborating with saxophonist An- tures Andrew Bird, displays a variation drew D’Angelo, and featuring guest on Middle Eastern rhythms and chord appearances by multi-instrumentalists structure: its hypnotic percussion, Andrew Bird and Rob Moose, You Al- sparse keys, and droning strings would ready Know is an exploration of texture not be out of place on any sun-caked trance-like atmosphere provides a deep and atmosphere. road toward Caput Mundi. expanse, inviting the listener to find Gentle toms and cymbals spell out The defining feature of You Already that which was once hidden is already the name of the opening track, “Emil- Know is space: what is found between known. ia.” Working with subtle keys and sax- the notes is just as important as what –Grant Grays ophone in a contemplative manifesta- is played. Ted Poor’s hypnotic and

May 2020 • EARSHOT JAZZ • 19 Thomas Marriott ous moods. Within each mood, Trumpet Ship Marriott guides us on a jazz jour- ney co-helmed by the mastership Origin Records of Orrin Evans (piano), Luques Seattle-raised trumpet ace and com- Curtis (bass), and Mark Whitfield poser, Thomas Marriott, returns with Jr. (drums). his twelfth album Trumpet Ship (Ori- In a meeting-of-the-minds fash- gin Records) with hooks poised to ion, Trumpet Ship originated from heal hardship, tempos textured to as- an improvised idea. While Orrin suage aggression, and free-form feels Evans’ trio had a day off touring to champion family and jazz fellow- in Seattle, Evans pitched, “Hey, ship. Similar to how his 2018 Roman- we should make a record!” One tic Language was a dedicated dirge for 3-hour recording session later and his recently passed father, Trumpet five mellifluous originals and three immersive renditions were cut. on the skin after a hotter walk through Ship channels an elegant and eulogis- Miles Davis, Gil Evans, and Wayne tic energy to honor two more recent- There’s a bebop sensibility and moody liveliness on the title track Shorter’s “General Assembly.” Bring- ly passed relatives—his Uncle Paul, ing it full circle with family, Marriott which inspired the “Funny Uncle” “Trumpet Ship,” which references a 1980’s composition by Sonny Sim- concludes with “Song for Samuel” to track, and his dad’s best friend,“Uncle channel his 9-year-old son’s frenetic Jer” Reeves. mons, an avant-saxophonist who brief- ly lived in Olympia, WA. Downbeat and jumping-off-of-everything energy. Thomas Marriott’s chart-topping Throughout the record,Trumpet Ship grooves have landed him features on and slower originals like “Behind the Beard”—satirically inspired by a fa- exhibits both the creative craftsman- NPR, a 20-season run as a soloist with ship and fellowship of jazz that will Seattle Repertory Jazz Orchestra, and mous 2019 headline about a hipster ironically mistaking himself for an- continue to afford Marriott laurels and a 7-time Golden Ear Awardee. Not loyal listeners. only can listeners expect more of his other hipster—demonstrate Marriott’s groove guruship on Trumpet Ship, but playful demeanor and direction as a –Zach Frimmel they’ll experience cool and tempestu- bandleader. It also feels like cool aloe

Raymond Larsen ecosystem, vividly colored with the Songs to Fill the Air sounds and personalities of his fellow musicians from the Northwest. Slow & Steady Records Harkening back to the lush tin- With his fifth album Songs to Fill pan alley extrapolations of 60’s the Air, local composer and trumpet- era studio savants like Van Dyke er Ray Larsen makes a bold step into Parks, Songs (as the title implies), new territory as a singer-songwriter presents an orchestrated suite of and producer. Larsen, a graduate of songs, interspersed with atmo- the UW School of Music and faculty spheric interludes, heavy as clouds. member at Cornish College of the Larsen marks his own debut as a Arts, has employed his precise trumpet songwriter with harmonically sav- tone to the whimsical sonic backdrops vy tunes that tackle the place of a of projects like the psych-prog group person, and of people, in the great- Chemical Clock, and his trio Tyrant er world, bringing his music from Lizard, with guitarist Gregg Belisle- into the present through a quest for followed by a duet between his deco- Chi and bassist Carmen Rothwell. the authentic. rous whistle, and delicate melodies His latest release, begun during a 2018 Flutist Leanna Keith throws open on the piano. After a scene change to residency at Bainbridge Island’s Bloe- the curtain with a flourish in the “Dream Sequenza’s” park of winds and del Reserve, expands the canvas of his springy “Hello World,” as the brave chimes, the tune shifts in modality re- ideas to a climate, a serene and eerie brass of Larsen’s trumpet steps out, vealing, like a watercolor wash, spar-

20 • EARSHOT JAZZ • May 2020 kling ideas from the delicate harp of Sophie Baird-Daniel. Guitarist Luke Support Earshot’s Bergman, who recorded the album with Larsen as producer, doubles the Spring Annual Fund Drive! melody’s dreamy line on the track’s end with a soft fuzz tone. Larsen doesn’t shirk from using the entire studio as a means for song- craft, setting the mood with spare electronic textures and letting horns twist polyphonies on the Ellingto- nian chant “High Low.” The strings “Earshot Serves of Alina To and David Balatero back as Platform for up the Nilsonn-esque meditation on ambition and aspiration “Golden To- Thriving morrow,” where Larsen ponders bit- tersweetly on the professional game of Seattle Scene” “dreaming to see it all / dreaming to —DOWNBEAT, 2019 have it all.” Elsewhere, the descending progression of “Song for the Shifting” sounds out in voice and string like a forest clearing, blurring the bird whistle of his field recordings. Though the trumpeter concludes that “no one knows exactly how they got there,” on his humorous setting to rights of the human species in “World History,” it’s his long-standing rela- tionships with local musicians that really set the stage. Take the spooky “Abraxas,” where reedman Greg Sini- Sasha Berliner photo by Daniel Sheehan baldi lays down an uncannily abstract- ed solo on the EWI, or electronic wind instrument, soaring through a progression prodding via drummer Chris Your gift today supports innovative jazz Icasiano’s impeccable downtempo. As new listens reward with finer de- programming for our community. As we all tail, listeners can remark even more pull together in these trying times, thank you on Songs’ “royal-we symphony,” as Larsen calls it on a slow-rock paean to for sustaining Seattle’s incredible cultural aesthetic universals, “We’re the Mu- sic.” On quiet days, noise approaches community. music. Truly, there must be something in the air, bubbling up from beneath this song’s wavering texture: a community of musicians turning sounds www.earshot.org/donate/ into something larger than themselves. –Ian Gwin Thank You!

May 2020 • EARSHOT JAZZ • 21 ROOTS Marv Thomas, Seattle Jazz Elder

Anyone who listens to Seattle jazz I remember we’d go walking across the knows trumpeter and saxophonist Jay campus and Freddie would light up a Thomas, but how many fans know that joint and I’d get sort of nervous. The his 91-old father, Marv Thomas, once teacher who had the stage band and played trumpet with some of the best the marching band was (trumpeter) bands in town and later ran the Pio- Bill Cole. He’d been on Les Brown’s neer Square jazz club, Parnell’s? A cou- band. Bill Cole was so good. Jesus! He ple of months ago, Marvin sat down at was just a great guy, great player. He Jay’s Wallingford home to talk about later taught up at Western.” his long career in Seattle jazz. In 1979, after a successful career as “In 1942, when I was a sophomore a pharmacist and a budding one in at Franklin High School, I had this real estate, Thomas bought Parnell’s, little band called Aristocrats of Swing. which had opened three years earlier. I even remember the two tunes we “He always had it in his head that he played at graduation. One was ‘Too- wanted a jazz club,” says Jay. “It was La-Loo-Ra-Loo-Ral’—that was Char- not a business decision, it was an emo- MARV THOMAS COURTESY OF THE ARTIST lie Spivak—and the other one, believe tional decision.” it or not, was ‘Flat Foot Floogie.’ Who “Yeah,” agrees Marv. “And it was fun Max Roach, Abbey Lincoln and Art could have known that Slim Gaillard the three years I had it! Roy had a for- Pepper. (who had the hit on ‘Floogie’) would mula that was pretty good – musicians Impressive—but, in the end, not later become a good friend? from Los Angeles, mainly – but we dug profitable. In September, 1982, Thom- “We were cool little cats. We had in from a different source, more East as sold the club to a foursome fronted our barber that we went to downtown Coast. We had Dizzy’s birthday down by Ernestine Anderson, who renamed and we had tailored suits. I saw Lester there. Joe Williams. Freddie (Hub- it Ernestine’s. By the end of 1984, it Young up at the Washington Social bard). The bartender was Roy’s son-in- was gone. (and Athletic) Club. He came out with law, Jimmy Manolides. He was a big Parnell’s served as an important in- his little sideways dance and his horn fan of Slim Gaillard, so Slim came in. cubator for young local musicians, in- was like that (poses sideways). It was With Freddie, we sometimes had to go cluding the owner’s son. really something. down to the hotel and drag him out of “That’s how I went to New York the “We used to go down to the Trianon his room. But one thing about Fred- second time,” recalls Jay. “I went down (Seattle’s premier swing ballroom). I die, once he got there, he didn’t leave there and played one night with Red remember being down there the night anything on the bandstand.” Rodney and Ira Sullivan and Red talk- Neil Friel sat in with Les Brown. He Most of the booking was done by ed to Marvin and said I should come was just a teenager, but he got close Mark Solomon, who later became Ear- back east.” with Zoot’s brother, Ray Sims, who shot’s first board president. A partial And so it goes. From the Trianon played trombone with Les. That band! list of musicians who came through Ballroom in the 1940s to Pioneer You’d stand out in front and they’d includes Ornette Coleman, Mose Al- Square in the ‘80s to today’s vibrant, play their theme and your hair would lison, Anita O’Day, Archie Shepp, diverse scene, Marvin and Jay Thomas just stand on end. Chet Baker, Houston Person, Phil form a family through line of Seattle “When I finished high school, I Woods, Sheila Jordan, Bob Dorough, jazz history. enrolled at the University of Wash- Sonny Stitt, Zoot Sims, Les McCann, –Paul de Barros ington. (Tenor saxophonist) Freddie Joe Henderson, Diane Schuur, Woody (Greenwell) was in some of my classes. Shaw, Art Farmer, George Shearing,

22 • EARSHOT JAZZ • May 2020 Notes, from page 3 lion, consisting of $5 million in seed Whipsmart Resources List funding from The Andrew W. Mellon Washington State’s Whipsmart, a Greer has been Executive Director of Foundation matched with $5 million new creative economy-focused non- Oregon Ballet since 2017. Prior to that in initial contributions from an ar- profit that gives creative professionals he served as the Executive Director of ray of foundations across the United the tools they need to succeed, has as- the Portland Ballet in Maine. He has States. For application details visit art- sembled a resource list that provides also served as a Trustee on the Oregon istrelief.org a comprehensive list of resources for Arts Commission, Cultural Advocacy Cares Act Includes Gig Workers creatives that will be updated in real Coalition, and the United Way of time by a dedicated staff member to On March 27, Congress passed the Greater Portland. Michael holds a BA ensure that the information is timely “CARES” Act which expands unem- in Economics from Hampshire Col- and relevant. Visit bewhipsmart.org ployment benefits to gig workers. The lege and a Master’s in Education Pol- for access to their resources list. icy, Organization & Leadership from law will need to be interpreted and University of Illinois. As a former pro- implemented at the state level. So in Seattle’s First COVID-19 Walk-Up fessional dancer and experienced exec- the coming weeks, there will be many Testing Site Opens utive, Michael’s leadership experience more details that need to be discussed On April 22nd, Seattle’s first walk-up spans both the for-profit and nonprofit and communicated to the public. The site to test for the coronavirus opened sectors. Greer will assume the role Washington State Employment Secu- in Rainier Beach. The mobile center is on June 8 of ArtsFund from Interim rity Department (ESD) will be shar- aimed at people who don’t have a doc- CEO Susan M. Coliton, a long-time ing details as quickly as possible about tor or other access to testing. Located arts executive and consultant who was how to access these benefits. For both at the Atlantic City Boat Ramp across asked by the board to serve in this role. gig worker who meets the typically re- from Rainier Beach High School in quired 680 hours of work, and those SFJazz Announces New CEO South Seattle, the center will oper- who worked less than 680 hours you ate two days a week on Wednesdays SFJazz announces that Greg Stern should apply as soon as you can. Any- and Saturdays from 10am-3pm. The will succeed Don Derheim, as the one who is receiving or will be receiv- street address is 8702 Seward Park organization’s new CEO on June ing weekly unemployment benefits, Ave South, Seattle, WA, 98118. No 15. Stern, a longtime SFJazz patron either through regular State unem- appointment is necessary, and registra- and also a member of their board of ployment or through the expanded tion will be on-site. The testing site is trustees from 2008–2017, has a back- CARES Act will receive an additional staffed with medical personnel from ground in advertising and marketing $600 per week. Make sure to sign up Harborview Medical Center. There having founded advertising services for the COVID-19 action alerts at esd. will also be translated flyers and tele- agency Butler, Shine, Stern & Partners wa.gov. phonic interpreters available in several in Sausalito. Working closely with languages. For more information call longtime friend and SFJazz founder 206 520 2285. and executive artistic director Randall Kline, Stern plans to steward the organization into its 38th year. Artist Relief Emergency Fund A coalition of national arts grant makers, consisting of Academy of American Poets, Artadia, Creative Capital, Foundation for Contempo- rary Arts, MAP Fund, National Youn- gArts Foundation, and United States Artists, announces the launch of Artist Relief, which will provide rapid, unre- stricted $5,000 relief grants to assist artists facing dire financial emergen- cies due to the impact of COVID-19. The fund will launch with $10 mil-

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

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IN THIS ISSUE... A $35 basic membership in Earshot brings Letter from the Director: the newsletter to your door and entitles you to The month of May ... or May not______2 EARSHOT JAZZ discounts at all Earshot events. Your member- MEMBERSHIP ship also helps support all our educational Notes______3 programs and concert presentations. Call for Artists: Jazz the Type of membership Second Century______4 Individual ($35) Additional tax-deductible donation ______In Memoriam: Judy Cites Household ($60) Patron ($100) Sustaining ($200) (1937-2020)______4 Other Jay Thomas Named 2020 Seattle Jazz Hero Sr. Citizen – 30% discount at all levels by the Jazz Journalists Association______5 Canadian subscribers please add $5 additional postage (US funds) Feature: The 2019 Golden Ear & Seattle Jazz Hall of Fame Awards______6 Regular subscribers – to receive newsletter 1st class, please add $10 for extra postage Feature: Community Content______11 Contact me about volunteering A Quick Guide to Better Home Video ______Production for Musicians (Without Breaking NAME the Bank)______12 ______Waiting______13 ADDRESS Night Ride______14 ______Ambientia______15 CITY/STATE/ZIP

Say Yes______16 ______Songs for timelessness______16 PHONE # EMAIL Preview: Earshot Jazz Live at The Forum at Town Hall ______Seattle______18 Earshot Jazz is a nonprofit tax-exempt organization. Ask your employer if your For the Record______19 company has a matching gift program. It can easily double the value of your membership or donation. Roots: Marv Thomas, Mail to Earshot Jazz, 3417 Fremont Ave N, #221, Seattle, WA 98103 Seattle Jazz Elder______22