A Mirror and Focus for the Jazz Community Vocalist Kelly Harland Has Been Keep- for All of Those Eastside Jazz Fans Look- Executive Director: John Gilbreath Ing Busy

A MirrorMirror andand FocusFocus fforor tthehe JJazzazz CCommunityommunity March 2008 Vol.Vol. 24, NNo.o. 3 EARSHOT JAZZSeattle,Seattle, WWashingtonashington

Beth Winter photo by Daniel Sheehan plication and more information. All ap- six artists are selected by a panel of peers Notes plications must include work samples in to present a 12-minute excerpt of their order to be considered. Th e deadline for work during the showcase. Jazz: The Second Century music submissions is March 14, 2008. Northwest on Tour is a comprehensive list of performing artists in the region Vancouver Deadline Earshot Jazz is now accepting recorded used by presenters booking local talent. submissions for “Jazz: Th e Second Cen- Th e application deadline for the Van- Th e 2008 volume will be printed and tury.” Th is series, now in its second year, couver Creative Music Institute is March distributed this summer. features ensembles that actively and cre- 15. Th is educational workshop is open For more information and to download atively imagine the future of jazz in the to emerging and innovative musicians st an application visit www.artsnw.org. 21 century. Any use of instruments or concentrating on improvisation, new creative expression will be considered, compositional practices, and new tech- Events Listings and News Items as will any interpretation of the mean- nologies. Th is year’s artists-in-residence Please send gig listings to ing of jazz. are Barry Guy and Maya Homburger, [email protected]. Eight ensembles will be selected by a and the faculty includes Evan Parker, Also send links to your own websites, blind jury process to participate in four Benoit Delbecq, Raymond Strid, Ken so we can update our links page. concerts to be held at the Chapel Perfor- Morrison, and Giorgio Magnanensi. Please format your gig listings in keep- mance Space on consecutive Th ursdays Th e event runs June 16-22, and over- ing with the way they appear in the during the month of August. laps with the 2008 Vancouver Inter- calendar in this issue. Applicants are encouraged to include a national Jazz Festival. For details, visit In addition, if you have news of your brief written statement explaining how http://www.vcmi.ca/. jazz projects, or of anything at all relat- their work embodies the future of jazz. ing to your career, please feel free to Send submissions by May 15, electron- Arts Northwest Juried email them to [email protected], as ically to [email protected]; or by mail to Showcase and Booking Guide we are always looking for items to use Earshot Jazz, 3429 Fremont Place N, Applications for the Arts Northwest in In One Ear and as fodder for feature #309, Seattle, WA 98103-8650. 2008 Juried Showcase and the North- articles in this publication. west on Tour guide are due March 6. Th e Bumbershoot Applications Art of Jazz Series Juried Showcase, which will take place Bumbershoot is now accepting ap- at the Northwest Booking Conference Th is month’s presentation in the Art plications for presenters at the 2008 on October 13-16, in Eugene, Oregon, of Jazz series is the sweet, swinging B- festival. Interested musicians, writers, provides an excellent opportunity for 3 organ jazz of the Joe Doria Trio, on visual artists, dancers, thespians, and performers to make themselves known March 13. Doria is joined by Byron performance artists should visit www. to presenters in the Northwest. Twenty- Vannoy on drums and Chris Spencer bumbershoot.org/apply.htm for an ap- on guitar. Music begins at 5:30 in the Brotman Forum of the Seattle Art Mu- seum. Admission to the concert is free Newport at Newcastle: with museum admission. Distribute This Magazine Do you have an hour or two per A Jazz Gala month to help distribute this publication? We’re looking for volunteers who An Evening with April 18, 2008 can take Earshot Jazz to venues, cafés, The Golf Club at Newcastle record and book stores, and other loca- WYCLIFFE Mixer • Dinner tions in their neighborhoods. Music • Auctions In particular, we are looking for help GORDON in Wallingford, First Hill, Pike Place & the Newport H.S. For more information or to Market, and Pioneer Square. Also, we Jazz Ensembles order tickets, visit: need a new distribution volunteer in www.newportband.org/jazzgala Queen Anne. To ﬁ nd out more, please contact [email protected]; Karen: 547-6763.

2 • Earshot Jazz • March 2008 EARSHOT J A Z Z In One Ear A Mirror and Focus for the Jazz Community Vocalist Kelly Harland has been keep- For all of those Eastside jazz fans look- Executive Director: John Gilbreath ing busy. A second edition of her book ing for a regular hangout, you now have Earshot Jazz Editor: Elaine M. Hayes A Will of His Own, a powerful collection one. Th is month the Vertigo Lounge Contributing Writers: Michael Allison, of essays about her autistic son Will, has and Grill in Bellevue launches “Live Andrew Bartlett, Paul Harding, Elaine M. been revised and re-printed. Th e latest at Vertigo,” a new series featuring lo- Hayes, Josie Holtzman, Molly M. Manor, edition includes three new essays about cal jazz musicians, Th ursdays through Peter Monaghan, Lloyd Peterson, Kimberly Will as he becomes a teenager and is Saturdays, 7-10 pm. M. Reason, Chris Robinson available online. Musical Director and host Neal Photography: Daniel Sheehan On the musical front, Harland has Golden hopes to bring new fans to jazz, Layout: Karen Caropepe been in the studio recording her new and with that goal in mind, has created Mailing: Lola Pedrini album Long Ago and Far Away: Songs a series highlighting straight-ahead and Program Manager: Karen Caropepe of Jerome Kern. Produced by Chuck smooth jazz, with a special emphasis Send Calendar Information to: Deardorf and backed by pianist Bill upon vocalists. March’s inaugural lineup 3429 Fremont Place #309 Mays, who did double duty as the ar- includes favorites such as Gail Pettis, Seattle WA 98103 ranger, the CD will be released later Greta Matassa, Gayle Cloud, Randy fax: (206) 547-6286 this spring. Halberstadt, and Overton Barry, who email: [email protected] Th is year’s Grammy Awards treated also contributed to the concept and Board of Directors: Genesee Adkins jazz well, with a collection of Seattle organization of the series. (president), Paul Harding (vice-president), musicians playing an important sup- For more information, and a full Fred Gilbert (treasurer), Hideo Makihara porting role. Local recording and schedule, visit www.jazzatvertigo.com. (secretary), Clarence Acox, George production company, Seattlemusic, Sonarchy, recorded live in the studios Heidorn, Th omas Marriott, Lola Pedrini, provided musicians for a 40-piece of the sound-arts nonprofi t, Jack Straw Cuong Vu string orchestra and recorded portions Productions, kicks off the month with a Earshot Jazz is published monthly by of Terrence Blanchard’s A Tale of God’s performance by PK and What Army on Earshot Jazz Society of Seattle and is Will (A Requiem For Katrina), which March 1, featuring 15 players fl oating available online at www.earshot.org. won a Grammy for Best Large Jazz between compositions and improvisa- Subscription (with membership): $35 3429 Fremont Place #309 Ensemble Album. Blanchard, who has tions. With Paul Kemmish on bass and Seattle, WA 98103 collaborated with Seattlemusic in the Jessical Lurie on sax and conducting. T: (206) 547-6763 past, spent a day in Seattle working on continued on page 4 F: (206) 547-6286 the project.

Earshot Jazz ISSN 1077-0984 �� Printed by Pacifi c Publishing Company. �� ©2007 Earshot Jazz Society of Seattle �� Mission Statement �� Earshot Jazz is a non-profi t arts and ❃ service organization formed in 1986 to cultivate a support system for jazz in the �� community and to increase awareness �� of jazz. Earshot Jazz pursues its mission �� through publishing a monthly newsletter, ❃ presenting creative music, providing educational programs, identifying and �� fi lling career needs for jazz artists, �� increasing listenership, augmenting ❃ and complementing existing services and programs, and networking with �� the national and international jazz �� community. �� Andy Smull

March 2008 • Earshot Jazz • 3 Midge Lanphere (1921-2008)

Midge Lanphere, the widow of one During a marriage of 50 years, Midge drug-addled scene, and had returned to of the region’s most renowned jazzmen played a key role in Don’s jazz life, be- Wenatchee. There, Don worked in his – the late, great saxophonist, Don Lan- ginning with his inspired but troubled father’s music store while continuing to phere – and a much-loved ﬁgure on the early years. battle addiction. In the late-1960s, he Seattle jazz scene, has died. She passed While still in his early 20s, he fell into and Midge became born-again Chris- away on February 13 in Wenatchee, drug addiction in New York where, dur- tians, and Don began to play again, where she had settled after Don died ing the late 1940s and early 1950s, he mostly in Seattle, where he would settle in October, 2007. recorded or played with bebop legends and work for many years. She is survived by her son, Dick Parr, like Charlie Parker, Woody Herman, Fats Among lasting testimonies to their and her sisters, Dorothy Tillman and Navarro, Max Roach, and Artie Shaw. love are two of Don’s albums, Don Pauline Craig, all of Wenatchee. But by 1960, he and Midge, his Loves Midge (1984) and Don Still Loves second wife, had shied away from the Midge (1997).

In One Ear, from page 3 On March 8, the electric string quartet Moraine plays avant-rock, modern jazz, improv, and deconstructed Chinese traditional music. Featuring Alicia Allen, Ruth Davidson, Kevin Millard, Dennis Rea, and Jay Jaskot. On March 15, Synth Club performs dance music featuring Sean Horton on laptop, Daniel Spils and Stev Scalfati on synthesizers, and Reggie Watts on synthesizers and vocals.. On March 22, The Teaching presents their instant responses to groove, melody and harmony. With Josh Rawlings on rhodes piano, percussion, and vocals; Jeremy Jones on drums and vocals; and Evan Flory-Barnes on bass and vocals. Finally, on March 29, the Monktail Creative Music Concern presents their Raymond Scott Project, an innovative re-imagining of popular Loony Tunes from the 1940s. Sound wiz Doug Haire produces the show and comes up with the band descriptions appearing above. Sonarchy airs on KEXP 90.30 FM from midnight to 1:00 am every Saturday night (in other words, the ﬁrst hour of Sunday). Do you want to take your band to the people? Call Doug Haire at 206- 634-1019.

4 • Earshot Jazz • March 2008 Earshot Jazz is organizing a beneﬁt Andrew D’Angelo Needs concert for Andrew D’Angelo, on a date yet to be ﬁnalized, but most likely in April. Check www.earshot. Help from his Friends org for updates.

Seattle-raised jazzman Andrew scene. He has worked with many lead- (Skirl Records) just days after Andrew’s D’Angelo is experiencing a health crisis ing players including Mark Dresser, surgery alerted him to his medical con- after being diagnosed with a cancerous Erik Friedlander, and Bobby Previte. dition. He earlier released three albums brain tumor. On January 25, the saxo- He is a member of the Matt Wilson with his trio Morthana with Norwegian phonist and composer suffered a major Quartet and Icelandic, New York-based musicians Anders Hana and Morten seizure in Brooklyn, New York, where guitarist Hilmar Jensson’s band Tyft. He Olsen. he lives. Tests revealed a large tumor in also leads his own trio with drummer More information: www.andrewdan- his brain. After surgeons removed most Jim Black and bassist Trevor Dunn; it gelo.com. of the tumor, they determined that the released its debut album, Skadra Degis growth was cancerous. He will have to undergo a long and difficult battle over the next several years if he is to regain his health. Andrew has been frankly discussing his experiences on his website, www. 2214 Second Ave, Seattle, WA 98121 2214for reservations Second Avenue, call (206) Seattle, 443-4221 WA 98121 www.tulas.com ��TULAS.COM�� andrewdangelo.com. He speaks there SUNDAY MONDAY TUESDAY WEDNESDAY THURSDAY FRIDAY SATURDAY of the difficulties he faces in affording 1 the extensive treatment he will need. Greta Matassa Like many musicians, he has no health Quintet w/ Susan insurance. And already he has amassed Pascal large medical bills. 8:30pm $15 Friends have established a fund for 2 3 4 5 6 7 8 Reggie Goings VOCAL JAM BIG BAND JAZZ Andrew, to help with the costs of his Hadley Caliman Randy Katie Thomas Kelley with Jay King surgery and recovery; for details, see Quintet Greta Halberstadt Marriott Johnson 3-7 $8 Thomas Vocal Vocal Tribute to Quartet http://www.andrewdangelo.com/do- Jim Cutler Matassa Showcase Lee Morgan 8:30pm $15 8pm $8 Big Band Showcase Jazz Orch. 8pm $5 8pm $7 8pm $10 8:30pm $15 nate.php. 8pm $5 In an extraordinary display of concern 9 10 11 12 13 14 15 and affection for D’Angelo, friends have Jazz Police JAZZ JAM BIG BAND JAZZ BIG BAND JAZZ BIG BAND JAZZ Randy Mark also planned benefit concerts in several Big Band w/ Darin Emerald BCC Jazz Brian Kirk’s 3-7 $5 Clendenin City Jazz Orchestra SCCC Halberstadt Taylor cities in the United States and abroad, Jim Cutler Trio w/ Hal Sherman Jazz Ens. Quartet Quartet Orchestra 8pm $7 8:30pm $15 8:30pm $15 Jazz Orch. 8pm $8 7:30pm $6 including in New York, Brooklyn, and 8pm $5 8pm $5 the Boston area, as well as in cities in the 16 17 18 19 20 21 22 Garfield Jazz VOCAL JAM BIG BAND JAZZ Beth Winter LATIN JAZZ Hadley Netherlands, Belgium, Italy, Iceland, 3pm $5 Greta with Cornish Caliman and Norway. More are certain to be Jay Thomas Roadside CD Release w/ Matassa Big Band Kelly Vocal Sonando held, including one in Seattle, which Attraction Showcase 8pm $10 Joe Locke & Quartet 4-7 $5 Johnson 8pm $8 Tom Marriott 8:30pm $15 8pm $8 8pm $10 Earshot Jazz is planning. Jim Cutler JO 8:30pm $20 8pm $5 Andrew, born in 1965 in Colorado, is 23 24 25 26 27 28 29 a key member of Brooklyn’s avant-garde Fairly Honest JAZZ JAM Jubilee Greta Andrienne Jazz for Peace Bill 5pm $35 Jazz Band w/ Darin A non-profit Matassa Wilson jazz community. He first won wide no- 3-7 $5 band: Anschell Susan Clendenin indie jazz w/ Jazz Vocal Pascal tice in Boston as a member of Human Ed Lee Trio a hint of Brazil Trio Workshop Showcase 8:30pm $15 Quartet Jazz Band 8pm $8 8pm $5 8pm $10 8pm $10 Feel with his longtime friends Jim Black 8pm $5 8:30pm $15 and Chris Speed – friends from his early 30 31 days in Seattle – and Kurt Rosenwin- Rich Wetzel JAZZ JAM & Groovin Higher w/ Darin kel. In 1986, he moved to Brooklyn 4pm $5 Clendenin Jim Cutler JO Trio and joined New York’s progressive-jazz 8pm $5 8pm $8

March 2008 • Earshot Jazz • 5 Beth Winter: The Woman Behind the Scenes BY ELAINE HAYES

On a recent Wednesday night I found myself at Tula’s surrounded by the en- thusiastic friends, family, and regulars of a collection of young women who got up on stage to sing. We were all there to hear a vocal showcase featuring local college students. Backed by a skilled trio of professional jazz musicians, each singer welcomed her audience then performed two carefully rehearsed numbers. As the evening progressed, it became clear that some singers were more technically advanced than others. Some had developed a confident and sophisticated stage presence, while others worked to find their own voice and musical identity. Regardless of their skill level, however, each displayed an admirable courage and commitment to learning the craft of singing jazz. The woman behind this evening is Beth Winter with some of her students. Back row: Patrick Douglas, Brent Buhler, Brigid Roney. Middle row: Claire Weaver, Beth Winter, one of the region’s most Lia Brown, Sarah Mutinelli, Cassia DeMayo. Front row: Shalane Miller, Beth Winter, Kelly Ash. Photo by Daniel Sheehan. popular jazz singers and an adjunct as- sistant professor of vocal jazz at Cornish When we spoke, Winter reminded actually get all of the skills and tools College. Winter began her musical came, “I learned by going out to clubs. they need for the craft of being a wind reer singing rock and roll and rhythm I did not go to a jazz school. I learned instrument – a musician – not just a and blues before receiving a BA in by pounding the pavement. It was still singer.” Classical Vocal Performance from the that era. There weren’t that many jazz Students who pursue the vocal jazz University of Maryland. Seeking greater schools. A lot of the stuff that they are major at Cornish must go through a musical freedom and more challenging being taught here are tools that I did not systematic course of study that includes melodies and harmonies, Winter then know, that I learned by the seat of my music theory and history courses, key- turned to jazz. After eightyears of sing- pants while I was living in New York.” board-skills classes, participation in ing in New York City, she joined the Most of Winter’s Cornish students both vocal and instrumental ensembles, faculty of Cornish in 1988. Here she are women, and the majority of her master classes and group lessons as well leads a studio of aspiring jazz vocalists. students have recently graduated from as junior and senior recitals. But much An integral part of their training takes high school. Although many have ex- of the work begins during their private place at Tula’s during their monthly tensive experience participating in their lessons with Winter. showcases. high-school jazz choirs and musical- One of the first skills that Winter Unlike a typical night at Tula’s, vo- theatre productions, few have received teaches her students is correct vocal cal showcases provide an instructive any formal vocal training. According to technique. Drawing upon her classical glimpse into contemporary, university- Winter, “They come in here and they training, she instructs her students in based jazz education and the training just want to sing or they have been in the bel canto breathing style – a tech- involved in becoming a jazz singer. bands. And they come here and they nique of breathing from the diaphragm

6 • Earshot Jazz • March 2008 that allows the vocalist to create a full, Students are encouraged to listen they polish their stage presence, learn supported tone while minimizing the widely. “As much as we can, we turn how to banter, and master remaining risk of injury. Once a vocalist accesses them onto places where they can dis- cool under pressure – even when the her lower abdominal muscles, the throat cover for themselves. And they get to unexpected happens. They also learn becomes a tunnel for the sound to come listen to each other,” Winter says. This how to behave in a club, how to talk through, the head functions as an echo is an important step. By listening, stu- to club managers, and how to become chamber, and the bones of the face and dents not only increase their knowledge savvy businesswomen. In short, they observe, as Winter puts it, “how the entire show is run.” “If you have technical skills, then you can color your Throughout our conversation, Winter improvisational canvas with so many more colors. It is emphasizes the importance of a strong technical foundation. She explains: “If all about expressing a mood, a feeling, a message.” you have technical skills, then you can color your improvisational canvas with so many more colors. It is all about teeth are resonators. This technique of jazz and its history, they also come to expressing a mood – a heartfelt mood requires extraordinary muscle control understand that they belong to a larger – you know, a feeling, a message.” and coordination, a process that Winter tradition of artistic creation. With this So, the question becomes, how does a likens to “learning a choreographed awareness they can craft richer perfor- student of jazz learn how to improvise? dance step.” In this context, the voice mances. For Winter and her vocalists, this starts is an instrument and by showing her As students improve their vocal tech- on day one. But, they don’t begin by students how to use their bodies to cre- nique and knowledge of jazz standards, scatting with their own syllables imme- ate sound, Winter quite literally helps they also learn other skills essential for diately. Instead they first must learn how them find their voices. jazz musicians. For example, Winter to make subtle variations to a standard. Meanwhile, students build their rep- teaches them the little details, like how This often takes place during group les- ertoire by singing standards. Winter to hold a microphone properly, as well sons where a half dozen students pass devotes the beginning of each semester as the big things, like how to lead a around a microphone while backed by to laying down tunes on tapes called jazz ensemble. She shows them how to a rhythm section. “First we’ll sing it as “minus ones.” Each tape includes choose repertoire and transpose a tune written so everybody has that melody multiple recordings of the same song. so that they can find a key that comple- deep inside their core,” Winter explains. In a typical “minus one,” for example, ments their vocal range. They learn “Rhythmically it may bend a little. Then Winter begins by singing the tune how to establish the tempo and overall we will go around [the room]. I will just straight with a piano accompaniment. mood of a piece by counting off a tune sing the first line and change it a little Next the pianist plays the melody in the right hand. Finally, the pianist plays “I am a huge believer in ‘You are not just chick singers.’ three choruses of chords – the basic harmonic foundation for the song. I really stress that ‘You are musicians.’” Students then take these tapes into the practice room and use them to not only learn the melody of the tune, but correctly. They also learn musical form bit – not come in on 1. Then I’ll say to also how their voice interacts with the – the way that a tune is organized and the second singer, ‘Just change it a little accompaniment. structured. Without an understanding bit.’ Then the next one does it.” Winter explains: “The goal is to make of form, musicians do not know when Through this process students learn them make the song their own. But it to improvise and can loose their place how to rephrase and parse melodies, is really important that they learn how in an arrangement. which in turn helps them find their own Duke Ellington sang the song, not how But there are some things that cannot voice and personal style. When they Sarah Vaughan did, although that is be learned in the classroom. On-the- become more experienced, they begin valuable, too; but they get to learn the job training at clubs like Tula’s gives to scat. Vocalists often start by imitating true history of the repertoire. You learn students important opportunities to the scat solos of past jazz greats – say, all of the pitches that Billy Strayhorn perform with professional musicians in Ella Fitzgerald or Sarah Vaughan. But wrote.” front of “real” patrons. In this context Winter is wary of taking this approach

March 2008 • Earshot Jazz • 7 too far. “I’m a little concerned when they need – [with] you are going to hear and respect her. She has become an they imitate too much,” she says. “The some wonderful musicians.” This ap- important role model and a source of goal, I believe, is for them to find their proach is a response to long-held stereo- inspiration. But Winter is modest and own unique way of shaping their syl- types that diminish the contributions of quick to praise these young women: lables.” She helps her students accom- vocalists, especially female vocalists, to “They inspire me, too. It is really a win- plish this by encouraging them to listen jazz. By referring to her vocal students as win situation.” to and perform with instrumentalists. musicians, Winter helps place them on This gives them an opportunity to add an equal footing with their instrumental The next Beth Winter Cornish Vocal their own vocal inflections to horn lines, counterparts and gives them a space to Showcase takes place on March 19, 7:30 instead of simply imitating other vocal- create music on their own terms. until midnight at Tula’s Restaurant and ists. This approach also infuses their Winter’s approach seems to be work- Nightclub (2214 Second Ave). Winter singing with an instrumental quality, ing. Her students are confident and can also be heard performing in the Cor- something that many critics and musi- dedicated to becoming serious jazz nish Music Series on April 4, 8 pm, at cians consider a trademark of good jazz musicians. As I observe Winter with her PONCHO Concert Hall (710 E Roy). singing. students, it is obvious that they admire As we talk, Winter consistently refers to the voice as an instrument. This is a deliberate choice on her part. “If I teach them that they are an instrument, then they are less inhibited in some ways because they can get their personality away from it,” she explains. Unlike playing a horn, for vocalists, their body is their instrument and singing is a direct, and often intimate, expression of their body and themselves. This can be an extremely intimidating and vulnerable position to be in. Keeping this in mind, Winter recog- nizes the importance of creating an at- mosphere that puts her students at ease. “The thing is to get them comfortable. To get them to know that this is a safe, fun place. This is fun.” She discourages competitive and diva-like behavior, and instead encourages her students to support one another and bond. By focusing on the positive, her students feel relaxed and their confidence grows. But at the same time, she wants them to get out of their comfort zones and experiment, so they can develop as musicians. Winter insists: “We are supposed to make mis- takes. Messy is good. When you stretch out something really cool happens.” She also takes care to refer to her students as musicians. “I am a huge believer in ‘You are not just chick singers,’” she says. “I really stress that you are musicians. I will introduce every concert – you know it is a psychic thing

8 • Earshot Jazz • March 2008 Preview Hadley Caliman Friday, March 21, 8:30pm with Joe Locke & Thomas Marriott Tula’s Restaurant & Nightclub

Saxophonist Hadley Caliman has been riott, which provides a fi tting introduc- another favorite which Caliman fi rst a fi xture of the Seattle jazz scene for over tion to the ensemble. Following the played with Bobby Hutcherson. Th e 25 years, but in all that time, he has catchy head tune, which features some album also includes four of Caliman’s not released a new solo album. Th at is, delightful unison playing by Caliman own compositions including “Kickin’ until now. Last month Origin Records and Marriott, Caliman launches into On the Inside,” inspired by his fi rst released Gratitude, Caliman’s fi rst re- a fast-paced solo that deftly references daughter while she was still in the cording as a leader in three decades. the head, while building upon it and womb, and the Latin fl avored “Co- To celebrate the event, there will be a mencio” and “Joe Joe Dancer Bossa special CD release party at Tula’s. Nova.” A particular highlight is “Linda,” Born in 1932, Caliman began his ca- a love song to his wife, on track six. A reer during the 1940s playing bebop in slow, impressionistic tune without a Los Angeles, where he became a student clearly defi ned beat, “Linda” provides and lifelong friend of Dexter Gordon. a welcome contrast to the up-tempo During the 1950s he played with Gerald numbers that dominate Gratitude. Wilson’s Big Band, the Bobby Bryant Th e album is well paced throughout; Band, and Mongo Santamaria. And it rarely drags and solos do not go on then in 1970s, he turned to rock n’ roll for too long. Th is is due to not only the and became a sideman for the Grate- energetic and intelligent playing of the ful Dead and Carlos Santana, and also musicians, but also David Marriott’s released four bebop-inspired albums as skillful arrangements and transcrip- a composer and bandleader. tions. His arrangements are layered and Bebop infl uences are still evident in create a depth of texture, which in turn Caliman’s playing, which is also in- taking the listener to new places. His gives the album a solid foundation and fused with hints of John Coltrane. Yet, tone is beautiful and the complex runs larger coherence. Th e unison style of Caliman’s style is uniquely his own. in his solo are executed with ease. Next, playing in the fi rst track, for example, He brings a lyrical and buoyant qual- Locke and Marriott take turns soloing. returns throughout the album helping ity to the tenor, while creating musical Both solos are energetic and propel the to ground the listener and establish the lines that are both engaging and full of listener forward, with Marriott’s solo overall tone and style of Gratitude. momentum. building to an appealing climax. La Gratitude is an extremely enjoyable All of these qualities are on display in Barbera’s drumming swings through- album and with each listening I fi nd Gratitude, a collection of standards and out, and his solo passages demonstrate myself inspired by Caliman’s energetic original compositions by Caliman and the breadth of timbres and textures he is and soulful playing. At the age of 76, Th omas Marriott, who plays trumpet capable of creating. Sparks’s bass playing one would expect Caliman’s career to be and produced the album. Th ey are also grounds the ensemble and blends seam- winding down – he did, after all, retire joined by Phil Sparks on bass, Joe Locke lessly with the whole, only coming to from Cornish in 2003 after 20 years on vibes, and Joe La Barbera on drums. the forefront occasionally to highlight of teaching. But, as this album and his Th is is a well-chosen collection of in- a particularly nice moment. live performances demonstrate, that is struments and musicians. In particular, Th e remaining tracks of the album obviously not the case. He seems to be the use of vibes instead of the expected display a similar level of musicianship playing better than ever. piano adds a light touch to the album, and quality. “Back For More” is fol- -Elaine Hayes and the ensemble as a whole creates a lowed by appealing interpretations of For the March 21 performance, drum- crisp and refreshing feel that comple- Kurt Weill’s “Th is Is New,” Bronislau mer Matt Jorgensen will sit in for the Los ments Caliman’s personal style nicely. Kaper’s “Invitation,” one of Caliman’s Angeles based Joe LaBarbera. Th e quintet Gratitude begins with “Back For favorite standards, Joe Henderson’s “If,” will play material from Gratitude as well More,” a light-hearted number by Mar- and Burton Lane’s “Old Devil Moon,” as other Caliman favorites.

March 2008 • Earshot Jazz • 9 Preview Charles Lloyd Quartet Monday, March 31 with Reuben Rogers, Jason Moran & Eric Harland Triple Door, 7 & 9:30pm

Charles Lloyd frames his music as a vision quest: “For me,” he has said, “the purpose of life is to know God and the struggle of spiritual life will go on as long as I have breath. Th e pursuit and the music are one.” New-age music might have been more ready to adopt such a framework for their art than jazzmen, but the latter surely have a more convincing, substantial claim to it. And, while most jazz musicians have, over the decades, been loath to touch that aspect of their art with a 10-foot- long drumstick, Lloyd has never been that way. Since his emergence on the Los Angeles post-bop scene of the Eric Harland, Jason Moran, Reuben Rogers, and Charles Lloyd 1960s, he has demonstrated just how inside himself the more he draws his au- long history of converting skeptics to compelling jazz can be when cast in dience in. With Jason Moran on piano, believers. Th at is because his distinc- terms of a spiritual undertaking. Eric Harland on drums, and Reuben tive, unabashed philosophy – “Music No more so, than in the quartet he Rogers on bass, Lloyd once again has a is a healing force. It has the ability to presents here, with three towering side- group able to follow his excursions into transcend boundaries, it can touch the men. Th e combo can lay claim, in fact, the music and into the mystic.” heart directly, it can speak to a depth of to being something of a supergroup, as Jazz listeners unfamiliar with Lloyd the spirit where no words are needed. its shows have borne out. Commenting might pause at the way he discusses It is a most powerful form of com- on a performance last May at the Chel- his art; we are, after all, a grizzled mob. munication and expression of beauty.” tenham Jazz Festival, Duncan Heining And yet the tenor saxophonist and – generally does his talking musically, wrote in Jazzwise: “Th e more Lloyd goes ﬂ autist, who is about to turn 70, has a with stunning results.

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10 • Earshot Jazz • March 2008 He also espouses, and brings to life, Reuben Rogers, whose rearing in the work with Charles Lloyd began with the an expansive conception of jazz history: Virgin Islands exposed him to the Afri- ongoing Sangam trio with tabla player Preview “We must go forward, all the great ones can musical diaspora, studied in Boston Zakir Hussain. that went before us insisted on this. For at the Berklee College of Music, and has Harland, as Charles Lloyd has noted, each generation, it is incumbent upon mastered both electric and acoustic bass, plays in the magical, soul-expanding us to rise up and sing the song – the as he has demonstrated in associations spirit of Billy Higgins. journey and pursuit is unending.” with Wynton Marsalis, Roy Hargrove, As for Lloyd, the irony is that while His own journey has been rather un- Joshua Redman, Marcus Roberts, Nich- his public profi le is now far smaller likely. He learned the trade in LA play- olas Payton, Mulgrew Miller, Jackie than during the heyday of his popular- ing with the likes of Chico Hamilton McLean, and Dianne Reeves. ity among rock fans just discovering and Cannonball Adderley, alongside Texas-raised drummer Eric Harland that jazz could be hip, too, he is now other newcomers like Gabor Szabo and has played or recorded with several far more accomplished and substantial Herbie Hancock. “M-Base” artists, including Greg Osby, a musician than he was, then. His quest From that post-bop schooling, he de- Geri Allen, Jason Moran, and Ravi Col- has, indeed, been rewarding. veloped a less-muscular but soulful style trane, as well as with such luminaries as -Peter Monaghan of jazz, one that found large audiences McCoy Tyner and Dave Holland. His even though jazz was, by that time in American cultural history, struggling to Kirkland maintain broad notice. Performance His quartet with Keith Jarrett and Jack Center Year DeJohnette appeared at the famed San A World of Arts...Near You! Anniversary Francisco venue, the Fillmore, and its 10 album, Forest Flower, and its title track Seattle Repertory Jazz Orchestra presents: became commercial hits. During the 1970s Lloyd’s recording Kansas City Suite and public performing were limited. an epic work by Benny Carter He did work with the Beach Boys and a little-noted band of Beach Boy associ- March 9 • 3:00pm ates, Celebration, but he also retreated into a more concertedly spiritual life. In the 1980s, he reemerged as a sideman for French pianist Michel Petrucciani, and BLUESTREET JAZZ from there his public profi le again grew. VOICES Most notably, he and drummer Billy Higgins developed a musical partner- March 21 • 8:00pm ship of transcendental communication, See the newest vocal while Lloyd became a staple of the jazz ensemble in Seattle! ECM label’s aesthetic of meditative entrancement. His current quartet continues that evolution. Formed for a European tour last spring, it has drawn huge praise, FREDA PAYNE such as Heining’s, above. Th e concert “A Tribute to Ella Fitzgerald” in Switzerland was hailed there as “the concert of the century.” May 24 • 2:00 & 8:00pm Lloyd has found three kindred souls. Jason Moran has demonstrated over the last decade that, as much as any For tickets call: 425-893-9900 player currently on the scene, he has the To order on-line: www.kpcenter.org whole of jazz history under his fi ngers, Kirkland Performance Center and has found ways to refresh it for a 350 Kirkland Ave. Kirkland WA 98033 healthy future. View video clips of our performances on our web site!

March 2008 • Earshot Jazz • 11 On Music The Puppy Remembers “The Cooker” Twin ears, we listened to everything. had yet to see, was trumpet player Lee We heard Bob Dylan’s aching rhyme “Th e Cooker” Morgan. He grew up in schemes as well as the Four Tops’ stir- Philadelphia – the city where ‘Trane was ring octaves. Wayne Shorter’s “Speak tutored by Benny Golson and “Philly” No Evil” and Jr. Walker & Th e All Stars’ Joe Jones held court. We called Lee ‘Th e “Shotgun”. We absorbed a young Stevie Cooker’ because he burned that horn. Wonder and Monk in the same sitting. A mix of Cliff ord Brown’s fl awless tone Dug Taj Mahal, Sun Ra, and Martha and Booker Little’s fi erce sensitivity, Lee and Th e Vandellas. Read revolutionary built up a strong and soulful solo every black poets and listened to Gary Bartz’s time he put the trumpet to his lips. Ntu Troop. Th en returned to the Prez, After Bebop a whole generation Paul Harding, photo by Daniel Sheehan Bird, Dexter, ‘Trane, Wayne, and Miles of Hardboppers were born, and Lee for days. Morgan was one of the fi rst gifts we BY PAUL HARDING We traveled all of the labels at a some- received out of the Jazz Messengers. Th e green Volkswagen Bug belonged times reckless, but always Juju pace. Th e After Horace Silver took off and the to the mailman. Stan borrowed the car green car, our Mercury capsule, took glorious Art Blakey took the reins, our when the mailman came to the house to us from my small blue room upstairs favorite Messengers were Lee Morgan court his Aunt Alma. Stan and I became in Mama’s house through any weather, and Wayne Shorter. From a tradition best friends the day his Mom passed neighborhood, or hour. Stan drove. of cookers from Fats Navarro to Fred- while we were still in high school. After We rarely had any money, but when die Hubbard, nobody’s trumpet cut off the funeral, when all the mourners came we did, we usually spent it on music. the ring like Lee. His blistering solos on back to the house to eat, I heard John Too many nights. Too many cats. So “Leeway” and “Th e Rumproller” shook Coltrane coming down the hall from too many blessings. Stan and me up. Stan’s room. Aunt Alma came up to Th e Bug took us to see some great styl- My mother introduced Lee’s horn New York City from Down South to be ists. Freddie “Hubcap” Hubbard played to our house with his hit single “Th e the caretaker of her dead sister’s house. a lot of trumpet when us puppies saw Sidewinder.” Although this puppy was When she married the mailman, tired him. It seemed to me that he really tried light years away from understanding of her nephew stealing their ride, they to please. His notes always cared and the changes and harmonies of bebop, gave the Volkswagen to Stan. Music were never meaningless. I remember there was no need to interpret the soul’s and the green Bug made Stan and me seeing Maynard Ferguson back then response to the music. Lee’s solos and inseparable. and wondering why his name never melodic adventures were no less moving Nobody could do the things Stan came up among the cats. He played the than Aretha’s screams in her solos or a could. He fi lled up grocery bags right damn trumpet! Stan and I fi rst heard Sam Cooke Pop ballad, all adlibbing there in front of the store proprietor the likes of Charles Tolliver, Jimmy from the soul; something not taught or while pushing his cart up and down the Owens, Don Cherry, Nat Adderly and readable, but born. In a couple of notes aisles of a suburban supermarket. Not Kenny Dorham on a bandstand. We it was clear that Lee was born to play one dime to our names and we took were lucky, we saw Dizzy once too. He trumpet, and the soul in Hardbop made home steaks and Lowenbrau. Nobody was amazing. We loved Art Farmer on his birthright clear to us soul starving saw through jive like Stan did. Guilty his eff ervescent, patient, and strong puppies. I think it was Search For Th e as the moon was round, he could talk fl ugelhorn, although I have to admit New Land that took the cake. We had his way out of a traffi c ticket while that I dug Clark Terry even more. Miles to see Th e Cooker. on Orange Sunshine. He played the is a whole other story when it comes to It was a spring night in 1970. Stan piano, saxophone, and trumpet well. just playing the trumpet. drove fast and parked right across the Nobody heard music as fast as my in- But one bad cat we already loved on street from Slug’s, one of our favorite ner brother. record and kept hearing about, but clubs in the East Village. We went early

12 • Earshot Jazz • March 2008 because we only had a few bucks be- raggedy bandstand. She told us not to tween us. We got lucky. Th e bartender worry about the cover and that drinks gave us a break and let each of us have a were on her. schooner. We had learned how to make Slowly but surely the mutter of a small a beer last by sipping. crowd fi lled Slug’s. Everybody smiled; Th e fi rst to arrive, it was not quite dark we were all hip to Th e Cooker and his out, but it was one of those extra warm treacherous horn. spring evenings when the humidity is Suddenly Th e Cooker was standing at unexpected and not resented yet. No our table. He leaned down and kissed sunset in the lower Eastside, the sky was Helen and said something about the the color of old pipes. Too hot to touch. turnout. He did not seem happy when If only Stan could fi gure out a way she introduced us as fans. Or maybe around the fi ve buck cover charge. he was just distracted. Lee mumbled By this time, our jazz circle had boiled something, almost smiled, and then down to just a few. A couple of “sisters” looked away from us to the bandstand. and mostly just us. Disco was killin’ I could not believe the moment. Harold rhythm n’ blues, but nobody seemed Mabern, the piano player, came past the to really care. Donna Summers didn’t table; he had a sincere smile. Bad Bennie take the green Bug where Chaka Chan Maupin was on saxophones. Stan and I 6th SEASON! did. KC & Th e Sunshine Band were not smiled at each other when Bennie took Open to All - Free out his bass clarinet. Seeing Lee Morgan blow his slim body through a fi erce trumpet spoiled the puppy. It’s hard to hear “great” and “brilliant” used so loosely today. Just a few feet away, on a spring night in the lower Eastside, I saw great brilliance. Th e tables were small and the chairs did not always match. Th ere was sawdust Lee Morgan on the fl oor. A few candles and maybe Th e Bar Keys or New Birth. Fusion was a hundred people were lucky to see and Sunday, March 2 at 6pm still new, but except for Miles, already hear Th e Cooker burn up that humble showing a disappointing containment. bandstand. To say that his performance Seattle Women’s Jazz Th e bartender hadn’t asked for any was convincing is an understatement. Orchestra money yet. We tried to contain our His pitch alone provided enough testi- Winning accolades from here to Peru excitement as we sat at the bar near the mony. If Miles was a defensive genius in Musical Director Dr. Daniel Barry door and wondered who Lee would the ring, than Lee was a terrible slugger. have in his band. He had an urge to communicate a feel- Sunday, April 6 at 6pm Th en a “sister” walked in. She had ing from deep inside his gut. What we Susan Pascal Quintet brown skin. I want to say that she was called fi re was probably just his natural Great vibes + Dave Peterson, guitar plain, but I’ve never seen a plain look- passion and energy coming together in and Randy Halberstadt, piano ing “sister.” Cute body? I don’t really a way so patient, free, and emotional. remember. Maybe she was a little short. I don’t recall the green Bug ride back Featuring 100 minutes of professional She had a ‘fro cut short and a nice long home. I only remember Lee Morgan jazz with an inspirational interlude mouth. She smiled at the bartender, cooking that night. leaned over the bar and whispered Two years later on February 19, 1972, Family Friendly Concert something, laughed a little, and then Helen Morgan, the same woman who held in the beautiful sanctuary of greeted us. Happy that we couldn’t wait had been so generous and kind to us, Seattle First Baptist Church to see Lee, she asked if we’d like to join shot Lee Morgan dead on that same Seneca and Harvard on First Hill her. Of course we were thrilled. We bandstand at Slug’s. He was 33. Seattle, WA (206) 325-6051 sat with Helen up close, right by the Earlier that night the little green Volk- www.SeattleFirstBaptist.org/SJV

March 2008 • Earshot Jazz • 13 swagen started heading down to Slug’s Our love for the music had no less strong, and something heartbreaking when suddenly, for some reason, we fervor than a religious man for scripture, continued to feed our dreams from what changed our minds and decided to go and yes, it was as if a prophet had been Lee Morgan cooked… out of the Blues to The East in Brooklyn to see Bartz and sacriﬁced for us. The more I learned and Jazz forever. Pharoah. They played all night when about The Cooker’s technique and ma- Previous installments of Paul Harding’s word came to us that The Cooker was terial, the more the hurt was elongated. Puppy musical memoirs are online at gone. His sudden departure was too The more the puppy came to value his www.earshot.org/Publication/publica- shocking to feel. All the puppy knew gift, the more it hurt, for not only him, tion.html in the March, May, and Sep- was that the average jazz musician was but the art form itself. tember 2006 issues as well as the August said to live to maybe 40. ‘Trane, Prez, Stan and I walked out of The East 2007 issue. Lady Day, Brownie and other giants into a sun too remorseful to push light Thomas Marriott performs a Tribute to had left too soon. So coming this close for a new day. The green Volkswagen Lee Morgan on Friday, March 7, 8:30pm to meeting, touching, and hearing a parked waiting, our walk to it as slow at Tula’s Restaurant and Nightclub (2214 giant was more than we could find and languid as the sunrise. Something Second Ave). Admission $15. words for. sad, something unfair, something

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14 • Earshot Jazz • March 2008 CD Review

and trumpeter Randy Brecker on four guitar, and electric bass, instead of the of the album’s eight tracks. acoustic instruments used on the rest of Shade is full of strong post-bop playing the album. Th e result is a dramatically and there are more than a few high- diff erent sonic landscape, and while it lights. Cole and Brecker burn up “A is a solid track, it might fi t better on Shade of Joe,” which is dedicated to Joe another record. Henderson, and trade engaging solos on One of my favorite things about Cole’s a relaxed, extended Latin take of “You playing is the way that he constructs Don’t Know What Love Is.” Cole shows his solos. Th ey generally start quietly off his soprano chops on “Don’t Breathe and use longer note values. Cole adds On Me,” which was written by his twin intensity and tension by getting louder brother. Th e album’s fi nal song, “Beauti- and playing faster, and he often inter- ful Love,” begins with an excellent bass jects double time fl urries into his line solo by Jeff Johnson accompanied by near the solo’s apex. His solos grow and Richard Cole drummer John Bishop on brushes. evolve organically and are logical and Th ose who listen to the album with- highly musical. Check out “A Shade of Shade out looking at the track listing may be Joe,” “P.C. Wannabe,” and “Beautiful Origin Records 82492 fooled when pianist Bill Anschell’s “P.C. Love” to see what I mean. Th e rhythm Wannabe” turns out not to be John section players, no matter who they are, When an album is recorded over a Coltrane’s “Mr. P.C.” But “P.C. Wan- are sensitive to the direction Cole takes long span of time with many personnel nabe” does reference Coltrane’s tune. and they follow him. combinations, it can sound like a crazy- Brecker’s solo on “Wannabe” includes Overall, this is a consistently very quilt mish-mash that lacks unity and a couple short quotes of the original good album that features great straight coherence. Saxophonist Richard Cole’s P.C. and Cole begins his solo on the ahead blowing from not only one of new album Shade, however, does not fall same motive that Brecker fi nished with. Seattle’s great saxophonists, but by into this category. Recorded over a span Cole’s playing is inspired on this track Randy Brecker and several other local of more than seven years, and using and Bill Anschell contributes a nice solo favorites as well. sixteen players in various combinations full of block chords in both hands. - Chris Robinson to create groups of anywhere from four Th e only song that doesn’t quite fi t in to eight players, Shade features impas- with the rest of the album is “Red Suit,” For a full list of personnel go to www. sioned playing from Cole throughout which features the Fender Rhodes, richardcole.net.

March 2008 • Earshot Jazz • 15 CD Reviews Some Final 2007 Releases Th e year 2007 fl ew by. CDs came evening of licking the wounds of love. on drums. But the quartet succeeds thick and fast. Taking stock, it’s clear Sometimes she feels that her heart is most clearly in dutiful and competent that it was another bumper year in overfl owing: “Are you somewhere feel- performances with few moments of any Seattle jazz. Here are some of what you ing lonely, or is someone loving you?” particular individuality. Th e disc pres- might have missed, over the last several You know what she’s asking. ents no real distinctive sound to propel months. Daniels receives able, unsurprising it along the well-trodden byways of jazz accompaniment from Tony Foster to something fresh. on piano, Russ Botten on bass, and At some points, the band does gamely Seattleite Greg Williamson on drums. attack its selections, old standbys, but Innovation and nuance comes not from often skills to do more seem yet to them but from Daniel’s voice. It is oddly emerge. At a time when a CD serves as idiosyncratic, and this whole disk has a much as a demonstration to club owners jaunty club-date feel that does not ob- of a band’s capabilities, as anything else, scure emotion in chestnuts like “Can’t many albums indeed off er little more. Hide Love” and “Our Day Will Come,” Still, it can be disheartening to fi nd and in pop tunes of more recent days younger players off ering no more than that serve her well, such as James Taylor’s rehearsals of the tried and tired. suicide-maudlin “Fire and Rain” (with It’s a relief when, at track four, an Dee Daniels, on JazzInIt (Origin), an odd jaunty beat, as if the farewell arrangement of a traditional Jewish displays her usual distinctive warbling, might somehow be a bit of a lark). prayer, Parker’s quartet breaks the mold throaty, vibrato-laden voice. She has not Trumpeter Jason Parker, on Th e Jason briefl y to attempt a more impassioned signed on to the Five-Year Moratorium Parker Quartet (Broken Time) chooses approach, as if they’ve fi nally discovered on Scatting; so, if you’ve developed an oddly to open his disc in plodding, mid-career Coltrane, and something is aversion to the oddness of that vastly dutiful imitation of a million earlier at stake. overused mannerism, you might fi nd jazzmen – on Miles Davis’s “Down” Th at’s more like it; and it’s the high- moments unconvincing. But her deliv- – but he picks up the pace and produces light of the project. A slow, expressive ery of even well-trodden lyrics is, in the fl are, later on. piece ends the disc, and also has appeal main, so personal and from such a store Parker has a solid rhythm section, with because its sentiment is less-rehearsed, of self, so personalized in its delivery, Josh Rawlings on piano, Evan Flory- less locked into a received form, and that the project is ideal to air late in an Barnes on bass, and D’Vonne Lewis credible.

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16 • Earshot Jazz • March 2008 Also on the road to convincing rendi- Credit (tenor), Matt Hopper (double up as a composer of fascinating music tion of received forms is pianist Ryan bass), and Greg Rudolt (drums). They rather than interpreter of his own fas- Burns on his Tree-O (Odd Bird Re- pleasantly saunter, lightstep, and loll, cinating compositions. cords), with Jose Martinez on drums taking their time, making their own The best release of the year by a Seattle- and Geoff Cooke on bass. Much of the time, playing with time. ite might well be Polytheistic Fragments disc sounds like a run through some Some of the album isn’t particularly (Drag City) by Sir Richard Bishop numbers, and some of it not quite trip- tight. It wanders about a bit aimlessly – and it’s not his only outstanding pingly so. In fact, Burns seems more in a variety of ways. But, then, virtually release of the year. The guitarist, pia- adept in composition than in execution; all CDs are too long. nist, and one third of the late Sun City most of the pieces here are his, and little Girls (a self-styled “sir,” in the tradition by little they impress with their mood of musical eccentrics whom no royal and shape. One of two pieces by the would really dub a knight) is hardly a bassist, the quiet “Down in Denver,” is jazz musician, but he’s an improviser winning, too. of sounds and forms, so let’s look at him, here. His album, which has been widely praised at home and abroad, presents an idiosyncratic amalgam of styles, variants of styles, and amalgams of the variants. Primarily an album of acoustic guitar, it effectively injects electric guitar, piano, Among the most promising of young- and percussion in pieces that recall, in er jazzmen in the region is Michael their distinctiveness, singular musicians Owcharuk, who with his regular trio like Don Cherry and John Fahey. of Nate Omdal (bass) and Mike Hams The selections suggest several lands, (drums) has released In Theory in Prac- and beyond that, a journey or quest, On its self-titled album, the quintet tice (Brokentime Records). It’s a disc full in keeping with the organizing theme Motel 5’s name accords well with its of compelling musical ideas, and paced of strange gods that is suggested by its tone, which has something of the me- nicely. The three players set themselves title. andering and interurban about it. Dave technical tasks that appear ahead of Coming to its end ideally wraps up a Knirk plays a fine alto, felt, not flashy, their capabilities, but with adequate ap- year of Seattle recordings. and Chris Spencer also stands out on plication and continued development, – Peter Monaghan guitar. The rest of the band is Chris on that score, Owcharuk need not end �� On KBCS hear the `B’ sides and genres found nowhere else on the dial, programmed by volunteers driven by their passion for the music. From jazz to reggae, folk to modern global, hip-hop to blues to electronica, you’ll hear it on KBCS. �� GRETA MATASSA We air social justice-focused programs like Democracy Now!, along with locally produced public affairs shows Voices of Diversity and One World Report. KBCS covers issues, places, Vocal/Rhythm Section and people who don’t always make it to the front page of the mainstream media. It’s radio that’s handcrafted here at home, by Workshops hundreds of volunteers tuned into what’s local and what’s relevant. Four weeks of 1/2-hour sessions with one of Seattle’s top rhythm sections and Listener-supported, vocalists. Final concert at Tula’s, Seattle’s Non-commercial �� premier jazz club, w/ optional recording. Community Radio Our purpose is to entertain, educate, and involve. KBCS is the Workshops every month. Cost: $250 only station in the greater Seattle area offering ongoing training Limited to 8 vocalists. 206-937-1262 �� opportunities. Become the media at KBCS. gretamatassa.com (see Teaching page)

March 2008 • Earshot Jazz • 17

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Designer: Susan Pascal, 206-932-5336

Revised 1-18-06 Catching Up with Sara Gazarek One of the recent success stories to for Best Collegiate Vocalist. Luckily, I ended signing with that management come out of Roosevelt High School’s at that point my now-management company [that booked me on the East jazz program is vocalist Sara Gazarek. company was searching through that Coast tour] and they hooked me up As a senior, she competed with the magazine looking for a young female with William Morris. They wanted school’s band in the Essen- to find a record label for me tially Ellington Festival that and I was really freaked out takes place each year in New because there are a lot of hor- York City, and won the first ror stories out there about ever Ella Fitzgerald Charitable young people in jazz that are Foundation Outstanding Jazz not well received and kind of Vocalist Award. seen as a marketing plan or as Since then, Gazarek, now a jazz Frankenstein and not just 25, has moved away from accepted. I am in this for the home, graduated from college, long haul. This is a lifestyle and embarked on a solo career that I have chosen, it is a pas- in jazz. Last fall she released sion of mine, and I want to be her second studio album around for a long time. The Return to You, a collection of idea of signing with a major contemporary standards. The company and being thrown album has been well received into this world instead of hav- by critics and selected by ing a slow ride really freaked NPR/KPLU as the third best me out. jazz CD of 2007. Buoyed by So, I went to John Clayton, the success of her recordings who was the bass chair at as well as a busy international USC, and explained the situ- touring schedule, Gazarek has ation; that I was auditioning a growing base of fans. Add to for different labels and we the mix her active teaching kind of had a bite from one of schedule, and it is safe to say the majors and I was terrified. that she is a busy woman. I had been told along the way Below, Gazarek discusses that it was not respectable to her life since leaving Seattle and the singer to join Diane Schuur, Karrin have a quick rise in the music industry. path that she has chosen for herself as Allyson, and Oleta Adams on the road. He shook me and said: “Everybody has a young jazz musician So while I was at college, I went on their own path and there is no road that a month-long tour through the East is more respectable than anyone else’s. What you have been up to since you Coast with those ladies. As long as you do your homework and left Seattle in 2000? It was a perfect, well-rounded educa- maintain the highest level of musician- tion. I learned a ton in the classroom ship that you can, there is no harm in Sara Gazarek: I graduated from Roos- at USC about history, theory, compo- fame. Don’t ever say ‘no’ to fame.” evelt and moved down to Los Angeles to sition, and all of that stuff. And when It just so happened that I didn’t sign study at the Thornton School of Music I was on the road with them I learned with a major. Looking back on that at the University of Southern Califor- about band etiquette and how to deal experience now I am really grateful. nia and I graduated from there with a with the happenings of the lifestyle of The past two and half years that I have degree in Jazz Studies, with an emphasis music. had, the two records that I made with in vocal performance. While I was there, this independent label have had a lot I needed money, like many students, Since then you have released two of national and international acclaim, and was applying for tons of awards studio albums. How did you choose but not on the level I would have if it and scholarships. I ended up getting the a record label? was a major label. That has afforded me 2003 Down Beat Student Music Award

18 • Earshot Jazz • March 2008 some privacy and the ability to grow and CD does not reflect what we do in live the table on the performance. So it is a develop as a performer. shows. Our live shows are 60% jazz really great time when I am on the road. Do you see yourself staying on an standards that we arrange in a fresh way But it is hard because I have two cats independent label, or at some point or try to put our own spin on, then 20% and a boyfriend at home. It is definitely would you make the transition to a originals, and probably 20% American worth it and now is the time that I want larger label? contemporary standards. to be doing that kind of stuff. Tell me more about your experiences For music samples and updates on Gaza- I definitely would make the transition touring. rek happenings, visit her website www. to a larger label. The only reason why I saragazarek.com. Gazarek’s next perfor- was intimidated in the beginning was For some reason we have a large fol- mance in the area is on Saturday, March because I knew I wasn’t ready. I didn’t lowing in Japan. We are going back 1, at the Friends of Frank DeMiero Jazz have a vision for who I was or what in March, and that will be our fifth Festival, Edmonds Center for the Arts I wanted to say with my music. And time in Japan in the past two and a (410 Fourth Ave N, Edmonds), 7:30. I didn’t have my performance chops half years. It is exciting because it is a together. I didn’t have a stage presence totally different world. Everybody is or banter. I didn’t really know how to really nice there. I know that is kind lead a band. So there were a lot of pieces of a cliché, but they really are. They that weren’t in play at the beginning that are very welcoming and respectful. It is really are now. So, if a major label came the only place I performed where the along I definitely would not close the major fans, not everyone, but major door. I would open it and offer them fans will bring pretty extravagant gifts a drink. to the shows. It is the first time I have Your first album, Yours, was a col- ever had a fan cry when they met me. lection of American Songbook stan- I just wanted to smile and say: “I am a dards, whereas your new CD Return human being. You don’t have to cry. I’m to You branches out more. What are normal.” But of course, I would never some of this album’s influences? do that because you never know how you have moved someone or touched With the first record we wanted to make someone. It’s great. a statement that said: “We are serious I know some Japanese now, which is about this. We are not going anywhere. fun. I can get by and I can have some We are going to be here for a long time.” banter with the audience in their lan- So we wanted to make something that guage. But we are actually going to go had really strong roots and a strong to Tokyo in March as well to Jakarta and foundation in the jazz genre. And I think Manila. I have never been to Indonesia that we accomplished that with Yours. or the Philippines, so I have no idea With the second record, we are all un- how I am going to learn those languages der the age of 30 and we do have other quickly! influences beside jazz, even though we Do you enjoy touring and being on are all completely in love with this art the road? form and have dedicated our lives to it. We did want to show the world that I really do. I think that the fact that my we were younger and we did feel like band is incredibly easy going, that we all there were songs out there that could be have the same sense of humor, and we brought up to the level of musicianship are all friends first makes it really easy. It that jazz is at. So we tried to do that is a really fun time and we always enjoy with the second record. ourselves when we go out and we are not In all honesty, of course, there was up on stage. But when we are on stage, some pressure from the label with the there is a pretty heavy level of trust that upswing of Norah Jones to do more of we have with each other, and I know a pop record. So in all honesty, the new that they are going to bring the most to

March 2008 • Earshot Jazz • 19 SATURDAY, MARCH 1 NO Holotrad Jazz, 7 EB Loose Digits, 9 BP Little Bill and the Blue Notes, 8 OW Bebop & Destruction jam EB Dina Blade & Hans Brehmer, 7 C* John Pizzarelli & Sara Gazarek, Edmonds SR Omdal/Owcharuk Duo, 6 GT Desolation Wilderness, Myello Electronics & Center for the Arts (410 Fourth Ave N, TU Jay Thomas Big Band, 8 Ph0n0n, 8 Edmonds), 7:30 UM Antolin/Bellas Duo, 8 HS Karen Shivers w/ Hammer & Clark, 7:30 EB Hayburners & Eva Tree, 7 WB Louisiana Jazz, 9:30 JA Spyro Gyra, 7:30, 9:30 MM Joseph Rojo, 8 EB Aileen Paron, 9 WEDNESDAY, MARCH 5 JA Duke Ellington Orchestra, 7:30, 9:30 MM Wesley Chase, 6 LF Royce Shorter Jr., Darrius Willrich & Evan EB Vocal Jam w/ Carrie Wicks, 8 NO Rent Collectors, Call for Time Flory Barnes, 9 JA Choklate, 7:30 PM Brian Nova Quartet w/ Stephanie Porter, 8 LS Gail Pettis Trio, 10 MM Bonnie Birch, 8 SR Katrina Wible, 9 MM Wesley Chase, 7 NI Buckshot Jazz, 6:30 SR Cara Hill, 5 MM Victor Janusz, 9 NO Legacy Band w/ Clarence Acox, 8 TU Thomas Marriott: Tribute to Lee Morgan, 8:30 NO CrossRoads Band PC Susan Pascal/Murl Allen Sanders/Phil VT Michael Powers, 7 Sparks, noon PM Brian Nova Quartet w/ Stephanie Porter, 8 SATURDAY, MARCH 8 SR Julie Cascioppo, 9 TU Randy Halberstadt Vocal Showcase, 8 SY Victor Janusz, 10am VT Gail Pettis, Darin Clendenin & Jeff Johnson, 7 BP Greta Matassa, 8 TU Greta Matassa Quintet w/ Susan Pascal, 8:30 WB Jazz & R&B, 9:30 C* Rik Wright, Hotwire Coffee North (17551 WB Eric Verlinde, 6:30 15th Ave NE, Shoreline), 7:30 SUNDAY, MARCH 2 WI Eric Verlinde & Friends, 10 C* SRJO, Benaroya Hall, 7:30 C* Nancy Wilson, jazzvox.com, 7:30 FB Seattle Women’s Jazz Orchestra (SWOJO), 6 THURSDAY, MARCH 6 JA Duke Ellington Orchestra, 7:30 C* Jim Knodle & New Brass Trio w/ Michael MM Tim Kennedy, 8 AY Tim Kennedy & Friends, Call for Time Vlatkovich & Greg Campbell, Chapel Performance Space (4649 Sunnyside Ave N), 8 SY Victor Janusz, 10am C* Seattle Presents...Seattle Youth Symphony Orchestra, City Hall (600 Fourth Ave), noon EB Michael Owcharuk Trio, 9 TD Huun Huur Tu, 7:30 EB Natalie Rose, 9 FL Moraine, 8 TU Reggie Goings-Hadley Caliman Quintet, 3 EB Mercedes Nicole w/ Beth Wulff, Jim Wulff, JA Spyro Gyra, 7:30, 9:30 TU Jim Cutler Jazz Orchestra, 8 Bernie Jacobs & Tim Romain, 7 MM Tim Kennedy Trio, 9 MONDAY, MARCH 3 JA Spyro Gyra, 7:30, 9:30 MM Wesley Chase, 7 JA Holly Cole, 7:30 MM Karin Kajita, 8 NO Dudley Taft & Blues Overkill MM Ruby Bishop, 8 NO Bob Jackson and 1st Thursday Band, 7 PM Brian Nova Quartet w/ Stephanie Porter, 8 NO New Orleans Quintet, 6:30 SB Drunken Masters, 10:30 SR Emily McIntosh & Karin Kajita, 7:30 TU Vocal Jam w/ Greta Matassa, 8 SR Omdal/Owcharuk Duo, 6 SR Julie Cascioppo, 9 WB City Jazz, 9:30 TU Katie King Vocal Showcase, 8 SY Victor Janusz, 10am VT Gayle Cloud, 7 TU Kelley Johnson Quartet, 8:30 TUESDAY, MARCH 4 WB Brazilian Jazz, 9:30 VT Overton Berry Trio, 7 DC Eric Verlinde, 6:30 FRIDAY, MARCH 7 SUNDAY, MARCH 9 DH Tim Kennedy Trio BP Doug Acosta w/ Darin Clendenin, Jon Hamar C* Better World, C & P Coffee Co. (5612 JA Choklate, 7:30 & Ken French, 8 California SW), 3 MM Karin Kajita, 8 C* Water Babies, EMP Sky Church (325 5th Ave N), 6

Get your gigs listed! To submit your gig information go to www.earshot.org/data/gigsubmit.asp or e-mail us at [email protected] with details of the venue, start-time, and date. As always, the deadline for getting your listing in print is the 15th of the previous month. The online calendar is maintained throughout the month, so if you are playing in the Seattle metro area, let us know!

CALENDAR KEY NI Nijo Sushi, 83 Spring St, 340-8880 AY Asteroid Cafe, 3601 Fremont Ave N, 547-9000 NO New Orleans Restaurant, 114 First Ave S, 622-2563 BP Bake’s Place, 4135 Providence Point Dr SE, Issaquah, 425-391-3335 OW Owl ’n’ Thistle, 808 Post Ave, 621-7777 C* Concert and Special Events PC Plymouth Congregational Church, 1217 6th Ave, 622-4865 CM Crossroads Bellevue, 15600 NE Eighth St, Bellevue, 425-644-1111 PM Pampas Club, 90 Wall St, 728-1140 CP C&P Coffee, 5612 California Ave SW, 933-3125 SB Seamonster Lounge, 2202 N 45th St, 633-1824 DC Dulces Latin Bistro, 1430 34th Ave, 322-5453 SD The Lab, Seattle Drum School, 12510 15th Ave NE, 364-8815 DH Dexter & Hayes Public House, 1628 Dexter Ave N, 283-7786 SF Serafina, 2043 Eastlake Ave E, 323-0807 EB Egan’s Ballard Jam House, 1707 NW Market St, 789-1621 SR Sorrento Hotel, 900 Madison, 622-6400 FB Seattle First Baptist Church (1111 Harvard Ave) SY Salty’s on Alki, 1936 Harbor Ave SW, 526-1188 FL Floating Leaves Teahouse, 2213 NW Market St, 529-4268 TC Tutta Bella Neapolitan Pizzeria, 4411 Stone Way N, 633-3800 GT Gallery 1412, 1412 18th Ave TD Triple Door, 216 Union St, 838-4333 HS Hiroshi’s Restaurant, 2501 Eastlake Ave E, 726-4966 TI Third Place Books, 17171 Bothell Way NE, Lake Forest Park, 366-3333 JA Jazz Alley, 2033 6th Ave, 441-9729 TU Tula’s, 2214 2nd Ave, 443-4221 LF Lo_Fi, 429B, Eastlake Ave E, 254-2824 UM Ugly Mug Coffeehouse, 11425 Rainier Ave S, 772-3151 LS La Spiga, 1429 12th Ave, 323-8881 VT Vertigo Lounge & Grill, 989 112th SE, Bellevue , 425-467-6767 MM Martin’s Off Madison, 1413 14th Ave, 325-7000 WB Wasabi Bistro, 2311 2nd Ave, 441-6044 MN Mona’s, 6421 Latona Ave NE, 526-1188 WI Whiskey Bar, 2000 2nd Ave, 443-4490

20 • Earshot Jazz • March 2008 C* Seattle Repertory Jazz Orchestra (SRJO), TU Randy Halberstadt Quartet, 8:30 JA New York Voices, 7:30, 9:30 Kirkland Performance Center (350 Kirkland VT Darren Motademy, 7 MM Karin Kajita, 8 Ave), 3 NO Ham Carson Group, 7 CP Free World w/ Marc Smason, Diane Peterson, SATURDAY, MARCH 15 SB Drunken Masters, 10:30 Ed Petry & Ken Strong, 3 BP Pearl Django, 8 SR Omdal/Owcharuk Duo, 6 JA Spyro Gyra, 7:30 CM Dina Blade Trio, 7 TU Sonando, 8 MM Tim Kennedy, 8 EB Jason Parker Quartet w/ Isabella DuGraf, 9 WB Brazilian Jazz, 9:30 SY Victor Janusz, 10am EB Scot Free, 7 TU Jazz Police Big Band, 3 JA Dr. John, 7:30, 9:30 FRIDAY, MARCH 21 TU Jim Cutler Jazz Orchestra, 8 MM Karin Kajita Trio, 9 BP Isabella Du Graf Quartet, 8 MM Wesley Chase, 7 MONDAY, MARCH 10 NO Two Scoops Moore MM Ruby Bishop, 8 PM Brian Nova Quartet w/ Stephanie Porter, 8 Recurring Weekly Performances NO New Orleans Quintet, 6:30 SR Julie Cascioppo, 9 TU Jazz Jam w/ Darin Clendenin Trio, 8 SY Victor Janusz, 10am MONDAYS WB City Jazz, 9:30 TU Mark Taylor Quartet, 8:30 MM Ruby Bishop, 8 VT Neal Golden & Guest, 7 TUESDAY, MARCH 11 NO New Orleans Quintet DL Daniel Barry & Seattle Women’s Jazz SUNDAY, MARCH 16 Orchestra (SWOJO) double CD release, 7:30 WB City Jazz, 9:30 C* Mostly Messiaen, Seattle Art Museum (1400 DC Eric Verlinde, 6:30 E Prospect St), 2 TUESDAYS DH Tim Kennedy Trio C* Sandra Locklear & Inner Circle, Hyatt EB NONet, 7 Regency Bellevue (900 Bellevue Way NE), 6 DC Eric Verlinde, 6:30 EB Free Jazz Jam Session w/ Neil Welch Trio, 9 C* Gail Pettis, David Joyner & Osama Afifi, DH Tim Kennedy Trio JA Dr. John, 7:30 Dockside Bistro (501 Columbia St NW, MM Karin Kajita, 8 Olympia), 6 MM Karin Kajita, 8 NO Holotrad Jazz, 7 JA Dr. John, 7:30 NO HoloTrad Jazz OW Bebop & Destruction jam MM Tim Kennedy, 8 OW Bebop & Destruction jam SR Omdal/Owcharuk Duo, 6 SY Victor Janusz, 10am UM Antolin/Bellas Duo, 8 TU Emerald City Jazz Orchestra, 8 TU Garfield High School Jazz Band, 3 UM Antolin/Bellas Duo, 8 TU Jay Thomas Big Band, 4 WB Louisiana Jazz, 9:30 WB Louisiana Jazz, 9:30 TU Jim Cutler Jazz Orchestra, 8 WEDNESDAYS WEDNESDAY, MARCH 12 MONDAY, MARCH 17 DC Eric Verlinde, 6:30 EB Vocal Jam w/ Carrie Wicks, 8 MM Ruby Bishop, 8 JA Dr. John, 7:30 NO New Orleans Quintet, 6:30 MM Bonnie Birch, 8 MM Bonnie Birch, 8 TU Vocal Jam w/ Kelley Johnson, 8 NI Buckshot Jazz, 6:30 NI Buckshot Jazz, 6:30 WB City Jazz, 9:30 NO Legend Band w/Clarence Acox, 8 NO Legacy Band w/ Clarence Acox, 8 PC Susan Pascal/Murl Allen Sanders/Phil TUESDAY, MARCH 18 PC Susan Pascal/Murl Allen Sanders/ Sparks, noon DC Eric Verlinde, 6:30 Phil Sparks, noon TU BCC Jazz Orchestra w/ Hal Sherman, 8 DH Tim Kennedy Trio WB Jazz & R&B, 9:30 VT Greta Matassa , 7 EB Bridget Kearney/Victor Noriega Trios, 7 WI Eric Verlinde and Friends, 10 WB Jazz & R&B, 9:30 JA Bettye LaVette, 7:30 MM Karin Kajita, 8 WB Eric Verlinde, 6:30 THURSDAYS WI Eric Verlinde & Friends, 10 NO Holotrad Jazz, 7 OW Bebop & Destruction jam AY Tim Kennedy and Friends, 9:30 THURSDAY, MARCH 13 SR Omdal/Owcharuk Duo, 6 MM Karin Kajita, 8 AY Tim Kennedy & Friends, Call for Time TU Roadside Attraction, 8 NO Ham Carson Quintet, 7 C* Joe Doria Trio, Seattle Art Museum (100 UM Antolin/Bellas Duo, 8 University St), 5:30 WB Louisiana Jazz, 9:30 SB Drunken Masters, 10:30 EB Leah Stillwell & Darin Clendenin, 7 WB Brazilian Jazz, 9:30 EB Moraine, 9 WEDNESDAY, MARCH 19 JA Dr. John, 7:30, 9:30 JA Bettye LaVette, 7:30 FRIDAYS MM Karin Kajita, 8 MM Bonnie Birch, 8 MM Wesley Chase, 6 & Joseph Rojo, 8 NO Ham Carson Group, 7 NI Buckshot Jazz, 6:30 SB Drunken Masters, 10:30 NO Legacy Band w/ Clarence Acox, 8 PM Brian Nova Quartet w/ Stephanie SR Omdal/Owcharuk Duo, 6 PC Susan Pascal/Murl Allen Sanders/Phil Porter, 8 TU Brian Kirk’s SCCC Jazz Ensemble, 8 Sparks, noon SR Cara Hill, 5 VT Primo Kim, 7 TU Beth Winter Cornish Vocal Showcase, 8 SR Katrina Wible, 9 WB Brazilian Jazz, 9:30 VT Darin Clendenin, 7 WB Jazz & R&B, 9:30 FRIDAY, MARCH 14 WB Eric Verlinde, 6:30 SATURDAYS EB Baby Bok Choy, 9 WI Eric Verlinde & Friends, 10 MM Wesley Chase, 7 EB Ginny Snowe & John Miller, 7 w/ THURSDAY, MARCH 20 PM Brian Nova Quartet Stephanie GT Fabrizio Spera, Jack Wright & Gust Burns, 8 Porter, 8 HS Jay Thomas Trio, 7:30 AY Tim Kennedy & Friends, 9:30 JA Dr. John, 7:30, 9:30 C* Jason Parker Duo, Mona’s Bistro & Lounge SR Julie Cascioppo, 9 MM Joseph Rojo, 8 (6421 Latona Ave NE), 9 SY Victor Janusz, 10am MM Wesley Chase, 6 C* Water Babies, ToST Lounge (513 N 36th St), 9 NO Two Scoops Moore C* Seattle Presents...Kane Mathis, City Hall (600 SUNDAYS Fourth Ave), noon PM Brian Nova Quartet w/ Stephanie Porter, 8 MM Tim Kennedy, 8 SR Katrina Wible, 9 EB Miss Rose & Her Rhythm Percolators, 9 SR Cara Hill, 5 EB joie tet, 7 SY Victor Janusz, 10am

March 2008 • Earshot Jazz • 21 C* Honk Fest West!, www.honkfestwest.com TU Jazz Jam w/ Darin Clendenin Trio, 8 C* Sandra Locklear & Inner Circle, Mark C* Bluestreet Jazz Voices, Kirkland Performance WB City Jazz, 9:30 Restaurant & Bar (914 SW 152nd, Burien), 6 Center (350 Kirkland Ave), 8 GT Free World w/ Marc Smason, Diane Peterson, EB Don Berman Quartet, 7 TUESDAY, MARCH 25 Ed Petry, Ken Strong & Greg Campbell, 8 EB Honk Fest West, 9 DC Eric Verlinde, 6:30 HS Todd Hymas CD release, 7:30 HS Monkstone Theocracy, 7:30 DH Tim Kennedy Trio, Call for Time JA Eddie Palmieri Latin Jazz Band, 7:30, 9:30 JA New York Voices, 7:30, 9:30 EB Jump Ensemble, 7 MM Joseph Rojo, 8 LF Water Babies & Pocket Change, 9 JA Eddie Palmieri Latin Jazz Band, 7:30 MM Wesley Chase, 6 MM Wesley Chase, 6 MM Karin Kajita, 8 PM Brian Nova Quartet w/ Stephanie Porter, 8 MM Joseph Rojo, 8 NO Holotrad Jazz, 7 SR Katrina Wible, 9 NO Lil’ Bill & Bluenotes OW Bebop & Destruction jam SR Cara Hill, 5 PM Brian Nova Quartet w/ Stephanie Porter, 8 SR Omdal/Owcharuk Duo, 6 TU Bill Anschell Trio, 8:30 SR Katrina Wible, 9 TU Jubilee, 8 VT Neal Golden & Guest, 7 SR Cara Hill, 5 UM Antolin/Bellas Duo, 8 TU Hadley Caliman CD release w/ Joe Locke & WB Louisiana Jazz, 9:30 SATURDAY, MARCH 29 Thomas Marriott, 8:30 BP Karin Plato, 8 VT Randy Halberstadt, 7 WEDNESDAY, MARCH 26 C* Rik Wright, World Cup Espresso (5200 EB Vocal Jam w/ Carrie Wicks, 8 Roosevelt Way NE), 7:30 SATURDAY, MARCH 22 JA Eddie Palmieri Latin Jazz Band, 7:30 C* Liberty High School Jazz Band w/Thomas BP Ezra Weiss Quartet w/ Billy Hart & Heidi MM Bonnie Birch, 8 Marriott, Carco Theatre (1717 Maple Valley Krenn, 8 NI Buckshot Jazz, 6:30 Highway, Renton), 7:30 EB Way Downs, 11 NO Legacy Band w/ Clarence Acox, 8 JA Eddie Palmieri Latin Jazz Band, 7:30, 9:30 EB Ben Fowler Quintet, 9 PC Susan Pascal/Murl Allen Sanders/Phil MM Alma Villegas & Cheryl Serio, 9 EB Speak, 7 Sparks, noon MM Wesley Chase, 7 JA New York Voices, 7:30, 9:30 TD The Bobs w/ Bob Malone, 7:30 NO Charles White Band MM Matt Woodburn & Jim Blackburn, 9 TU Greta Matassa Jazz Workshop, 8 PM Brian Nova Quartet w/ Stephanie Porter, 8 MM Wesley Chase, 7 WB Jazz & R&B, 9:30 SR Julie Cascioppo, 9 NO Lil Bill & Bluenotes WB Eric Verlinde, 6:30 SY Victor Janusz, 10am PM Brian Nova Quartet w/ Stephanie Porter, 8 WI Eric Verlinde & Friends, 10 TU Susan Pascal Quartet, 8:30 SR Julie Cascioppo, 9 TU Jazz for Peace, 5 SR Emily McIntosh & Karin Kajita, 7:30 THURSDAY, MARCH 27 VT Hans, Trish & Larry Trio, 7 AY Tim Kennedy & Friends, 9:30 SY Victor Janusz, 10am SUNDAY, MARCH 30 TU Greta Matassa Quartet, 8:30 EB Dave Anderson Quartet, 7 C* Sandra Locklear & Inner Circle, Hyatt VT Overton Berry Trio, 7 JA Eddie Palmieri Latin Jazz Band, 7:30, 9:30 MM Karin Kajita, 8 Regency Bellevue (900 Bellevue Way NE), 6 SUNDAY, MARCH 23 NO Ham Carson Group, 7 JA Eddie Palmieri Latin Jazz Band, 7:30 C* Verndoggie, Blue Moon (712 NE 45th St), 8:30 SB Drunken Masters, 10:30 MM Tim Kennedy, 8 JA New York Voices, 7:30 SR Omdal/Owcharuk Duo, 6 SY Victor Janusz, 10am MM Tim Kennedy, 8 TD Matt Jorgenson + 451, 7:30 TU Rich Wetzel & Groovin’ Higher, 4 SY Victor Janusz, 10am TU Andrienne Wilson Vocal Showcase, 8 TU Jim Cutler Jazz Orchestra, 8 TU Fairly Honest Jazz Band, 3 VT Trish Hatley, 7 MONDAY, MARCH 31 TU Ed Lee Jazz Band, 8 WB Brazilian Jazz, 9:30 MM Ruby Bishop, 8 MONDAY, MARCH 24 FRIDAY, MARCH 28 NO New Orleans Quintet, 6:30 JA Seattle-Kobe Female Jazz Vocalist Audition, 7 BP Kat Parra w/ Murray Low, Peter Barshay & TD Charles Lloyd Quartet, 7:30, 9:30 MM Ruby Bishop, 8 Paul van Wageningen , 8 TU Jazz Jam w/ Darin Clendenin Trio, 8 NO New Orleans Quintet, 6:30 WB City Jazz, 9:30

22 • Earshot Jazz • March 2008 Steve Grandinetti, MSEd – Jazz drum Andy Shaw – Jazz vocal instruction. Jazz Instruction set instruction. Studied with Justin Toured with Jon Hendricks of Lambert, To be included in this listing, which runs Di CioCio. Centrum Blues Festi- Hendricks and Ross. Strong emphasis on some months, free of charge, send up to 25 val faculty member. 360-385-0882, singing technique. Live piano accompa- words, to [email protected]. Please also let us [email protected] niment. www.seriousaboutsinging.com; (206) 362-1392. know if your details or availability changes. Tony Grasso – Trumpet technique, Clipper Anderson – NW top bassist, composition, improvisation. All lev- Marc Smason – Trombone, jazz vo- studio musician, composer. PLU faculty. els. 15 years teaching experience. cal & dijeridu. Professional trombon- Private students, clinics, all levels, acous- [email protected], 206-940- ist/vocalist since 1971. Has taught in tic/electric. $45/hr. (206) 933-0829 or 3982 schools and privately. (206) 760-1764, [email protected] [email protected] Kelley Johnson –Jazz at Lincoln Cen- Jon Belcher – Jazz drum set instruc- ter/US State Dept Touring Jazz Artist and Charlie Smith – Now accepting stu- tion. Studied with Alan Dawson. Author Clinician. Lessons & Workshops in jazz dents for jazz composition and arranging, Drumset Workouts books 1 & 2. Web voice, musicianship, improvisation. www. theory, and piano. Leader and arranger site: www.drumsetworkouts.com. (360) kelleyjohnson.com (206) 323-6304. for Charlie Smith Circle. 206.679.0844; [email protected] 665-0860, [email protected] Greta Matassa – Award winning, Earshot Don Berman - Drum instruction tailored Best Jazz Vocalist. Private instruction and David L. Smith - Double bass and to your needs. Tension-free technique, workshops. (206) 937-1262 www.greta- electric bass. Teaching private students, brushes, independence, swinging, rhyth- matassa.com, [email protected] all styles/levels. BM Eastman School of Music, MM University of Miami. (206) mic understanding, ethnic rhythms, Pascal Louvel – www.SeattleGuitarT- 280-8328; [email protected] fun! Oberlin grad. (206) 932-3475. eacher.com GIT grad, Studied with R. [email protected] Ford and N. Brown, (206) 282-5990 Ev Stern’s Jazz Workshop: 12 years of jazz ensembles, classes, lessons. All ages, Dina Blade – Jazz singing instruc- Wm Montgomery – Instruction in jazz instruments, levels. evstern.com; (206) tion. Private or group lessons. Safe piano, improv (all instruments), ear 782-2331; [email protected] and supportive: beginners welcome. training, theory, composition. Seattle [email protected]; (206) 524- (Magnolia Village). (206) 282-6688, Tobi Stone – Saxophone/Clarinet instruc- 8283. Listen: www.dinablade.com [email protected] tion. All ages/levels. Attention to tone, technique, theory, improvisation. BM, 12 Samantha Boshnack – Experienced Dennis Moss – Jazz guitar instruction. years teaching/performing. www.tobis- trumpet technique & improvisation in- BM from Cornish. Possible areas to ex- tone.com, (206) 412-0145. structor w/ music degree. All ages, levels. plore: improv, technique, reading, theory, Home studio in Ballard. (206) 789-1630 ear training, composition and arranging. Andre Thomas – Intermediate to ad- or [email protected] (206) 784-1372 [email protected] vanced techniques for the modern drummer as applied to jazz and bebop. (206) Mark Bullis – Bass & guitar. BA music. Nile Norton, DMA — Jazz Vocal In- 419-8259 Harmony, technique, & improvisation. struction. All levels accepted. Check out Accepting students all levels and ages. website www.mcnw.org/classesetc.htm for Jay Thomas – Trumpet, saxes, ﬂute, (206) 232-7821 Nile’s classes. Contact: (206) 919-0446; improv (any instrument). Covering tunes, Ryan Burns – MJ451 and Bebop & De- [email protected] harmonic structures, phrasing, building melodic shapes, reading and technique. struction. Piano instruction, Seattle/Ta- Susan Pascal – Jazz vibraphone im- Free consultation: (206) 399-6800. coma. email: [email protected]. provisation and technique, beginning Darin Clendenin – Providing nstruction through advanced. 206-932-5336 Byron Vannoy MFA – Jazz drum set in jazz piano. Beginning – advanced, ages [email protected], www.susanpas- instruction as well as rhythmic improvisa- 8 to 80, 31 years playing experience, 18 cal.com tional concept lessons for all instruments. All ages/levels accepted. (206) 363-1742 years teaching experience. (206) 297-0464 Ronnie Pierce – Instruction in sax, byron_vannoy @hotmail.com Anna Doak – Double bass instructor clarinet, ﬂute. (206) 467-9365 or (206) (206) 784-6626, [email protected]. 374-8865 Garey Williams – Jazz Drum Instruc- tion. www.gareywilliams.com; (360) 307- Professional performing/recording bassist. Bob Rees (percussionist/vibraphonist) 9099 or [email protected] Professor of double bass at WWU, teaches – drums/percussion/mallet instruction; privately out of North Seattle studio (206) 399-1668. Beth Winter – Vocal Jazz Teacher, technique and repertoire. Cornish Jazz Becca Duran – Earshot Vocalist of 2001; Murl Allen Sanders – jazz piano and Instructor has openings for private voice. MA. Learn to deliver a lyric; study tone, accordion instructor interested in working (206) 281-7248 phrasing, improvisation... All ages/levels with motivated intermediate level young welcomed. Other languages also encour- people. (206) 781-8196. aged. 548-9439; www.beccaduran.com.

March 2008 • Earshot Jazz • 23 payment accepted the15th through payment to ofthemonthprior publication. $10Classiﬁeds cost 25words orless,50centsperadditionalword. for Copy and com; (315)287-2852 wide shipping. www.cadencebuilding. Good service/prices. videos, books. Over World 1500labels, domestic&imports. Jazz records: Classiﬁeds Jazz Educators Jazz Calendar Catching upwithSara Gazarek CD Reviews: SomeMore Releases from 2007 CD Review: Richard Cole’s Shade On Music:The Puppy Remembers “The Cooker” Preview: Lloyd Charles Quartet Preview: Hadley Caliman Profile: BethWinter Andrew D’Angelo needshelpfrom hisfriends Midge Lanphere (1921-2008) In OneEar Notes In thisissue... Cover Photo: BethWinter, photo by DanielSheehan. ______westockover 40,000items: CDs, LPs, DVDs, ______23 20 18 12 10

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