Benjamin Hunter Standing at the Crossroads of Music and Community
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Earshot Jazz is a 501(c)(3) nonprofit organization February 2021 A Mirror and Focus for the Jazz Community Volume 37, No. 02 Seattle, Washington Benjamin Hunter Standing at the Crossroads of Music and Community Photo by Daniel Sheehan Letter from the Director Black History is NOW! As we celebrate Black History Month, especially EXECUTIVE DIRECTOR this February, it’s important to consider the word John Gilbreath “history” in active terms. More than just a study of MANAGING DIRECTOR the past, history offers an opportunity to consider Karen Caropepe today’s realities in a larger arc with tomorrow’s MARKETING & DEVELOPMENT ASSOCIATE possibilities. It can be a call to action. Realizing Lucienne Aggarwal EARSHOT JAZZ EDITOR our own active role in history, we can more easily Lucienne Aggarwal understand our responsibility to it. And with a year EARSHOT JAZZ COPY EDITOR like 2020 still looming large in our rearview mirrors, Caitlin Carter the road ahead is equally clear. Black history is in CONTRIBUTING WRITERS front of us, not behind, and we all have work to do. John Gilbreath photo by Bill Uznay Paul de Barros, Ian Gwin, Rayna Mathis, Paul, Jazz music is a cultural treasure of Black America. Rauch, Jonathan Shipley CALENDAR EDITORS Simply put: no Black America, no jazz. Carol Levin and Jane Emerson And jazz has an equally fluid relationship to history. To consider jazz as some- PHOTOGRAPHY thing that has already happened does it a grave disservice. Jazz history is a living Daniel Sheehan history, and its deepest threads have always been about Black experience and L AYO U T Black innovation. Creative Black Music, Liberation Music, Black American Music Karen Caropepe (BAM), Black Arts, and what the Art Ensemble of Chicago advanced as “Great DISTRIBUTION Black Music” have inspired and powered the art form through the years, in spite Karen Caropepe, Dan Dubie & Earshot Jazz volunteers of cultural appropriation, white privilege, and the unbalanced power dynamics SEND CALENDAR INFORMATION TO: of the marketplace. [email protected] The Earshot Jazz organization is proud to have presented Seattle concerts by BOARD OF DIRECTORS many of the legends of the Black avant-garde. In its early years, with the artistic Chris Icasiano (President), Sheila Hughes (Vice President), Chris Nutter (Secretary), Augusto vision of co-founder Gary Bannister, Earshot stepped right in with concerts by Cardoso, John W. Comerford, Maurice James, Cecil Taylor, Don Cherry, Sun Ra, Michele Rosewoman, Bobby Hutcherson, Butch Danielle Leigh, Ruby Smith Love, Diane Wah Morris, James Blood Ulmer, Don Pullen, Jimmy McGriff, Horace Tapscott, An- EMERITUS BOARD MEMBERS drew Hill, Henry Threadgill, and the World Saxophone Quartet, among others. Clarence Acox, Sue Coliton, Taina Honkalehto, Hideo Makihara, Peter Monaghan, Kenneth W. Over the ensuing years, Earshot has offered Seattle stages to vanguard artists Masters, Lola Pedrini, Richard Thurston, Paul like the Art Ensemble of Chicago, Ornette Coleman, William Parker, David S. Toliver, Cuong Vu Ware, Sam Rivers, Pharoah Sanders, Amina Claudine Myers, Dewey Redman, Founded in 1984 by Paul de Barros, Gary Steve Coleman, Billy Bang, Wayne Shorter, David Murray, Kahil El’Zabar, Carmen Bannister, and Allen Youngblood. Earshot Jazz is published monthly and is available online at Lundy, and Wadada Leo Smith. Earshot has presented artists close to the African earshot.org. diaspora, such as Abdullah Ibrahim, Randy Weston, Somi, Bheki Mseleku, Omar Subscription (with membership): $35 Sosa, and Hugh Masekela, as well as jazz poets Amiri Baraka, James McBride, 3417 Fremont Ave N, #221 Ishmael Reed, Paul Harding, and Kamau Daáood. Seattle, WA 98103 (206) 547-6763 Earshot continues its commitment to creative Black arts by presenting for- ward-looking artists of the movement, often for their first time in Seattle, like Earshot Jazz ISSN 1077-0984 Printed by Yakima Herald-Republic Jason Moran, Christian Scott aTunde Adjuah, Darius Jones, Marquis Hill, Burnt ©2021 Earshot Jazz Society of Seattle Sugar, Nicole Mitchell, Matthew Shipp, Jazzmeia Horn, Joel Ross, Makaya McCraven, Brandee Younger, Ambrose Akinmusire, Craig Taborn, and many others. As always, we invite your suggestions and support. Now, more than ever. MISSION STATEMENT Finally, and I think bears repeating: Happy New Year! We have a long way to go, To ensure the legacy and progression to be sure, but it finally feels as if we’re unstuck, and at least inching it forward. of the art form, Earshot Jazz cultivates Congratulations! Let us know how we can help. a vibrant jazz community by engaging Be safe out there. audiences, celebrating artists, and supporting arts education. –JOHN GILBREATH, EXECUTIVE DIRECTOR 2 EARSHOTJAZZ February 2021 SPECIAL NOTES ANNOUNCEMENT rent, utilities, and other business expenses. Correction Applicants can apply for two grants: an initial In the January 2021 edition of Earshot Seattle Jazz Artist Relief Jazz, we published an album review with grant, which will provide 45% of 2019 gross incorrect information. The Postponed Parade earned revenue, and a supplemental grant. Fund—Second Round Once the Small Business Administration album review credited Geoff Harper as the Seattle Jazz Artist Relief Fund is a has established regulations to administer soloist on the song “Shoreline”—Michael program, administered by Earshot the program, applications are anticipated Glynn is the correct soloist. We apologize Jazz, that will provide direct financial to be accepted on or after April 1, 2021. for this error. relief to individual jazz artists most For more details visit nivassoc.org. affected by the COVID-19 pandemic. SMASH Healthcare Thanks to the generosity of the Raynier Seattle Musicians Access to Sustainable Paycheck Protection Program Institute and Foundation, Earshot Healthcare provides comprehensive health- Included in Economic Aid Act Jazz will be able to make 30 $1,000 care, emphasizing prevention and wellness, With the passing of the COVID-19 stimulus gifts directly to individual artists in bill, which includes more funding for the to musicians in the local community. this second round. Musicians can join SMASH for free and PPP, the Small Business Administration access free and low-cost care including has released information about how to Only applicants who are in the Greater mental health therapy, hearing screenings, apply for the program. First priority goes to Seattle area, are at least 18 years of as well as preventative dental services first-time PPP borrowers, including minori- age, and are experiencing extreme and healthcare. To be eligible musicians ty-owned, veteran-owned, woman-owned, financial hardship due to the impact and music teachers must live in King or and businesses in underserved markets. At of COVID-19 will be considered. We surrounding counties and meet income least 60% of PPP funds must be used for ask that applicants self-evaluate to guidelines. SMASH also accepts donations. payroll while the remaining funds can be determine whether they are experi- Visit smashseattle.org for details. used for mortgage interest, rent, utility, and encing dire financial emergencies in covered operations expenditures. Additional order to make space for those who Save Our Stages Act Passed uses for this round of funding include cer- are most in need. Due to the unprec- A $15 billion package was signed by the tain operational expenses for computing, edented nature of the COVID-19 U.S. Congress on December 27, 2020, as human resources, accounting, supplier pandemic, we define “dire financial part of a $900 billion COVID-19 stimulus costs pursuant to a contract for goods, and emergencies” as the lack or imminent bill (Economic Aid Act) that sets funding personal protective equipment. To find the endangerment of essentials such as aside for independent venues including live nearest advisor in Washington state, visit housing, medicine, caretaking, and music venues and promoters, theatrical the website wsbdc.org/contact-an-advisor; food. We are asking those artists who producers, performing arts organizations, email [email protected]; or phone are currently employed or not facing nonprofit museums, and motion picture 833-4WA-SBDC. severe circumstances to refrain from theaters. Grants may be used for payroll, CONTINUED ON PAGE 15 applying. Round two of the Seattle Jazz Artist Relief Fund will open on February 1, with guidelines and applications available on earshot.org. The applica- tion opens on February 1 and closes February 28, with the goal to deliver the funds in early March. Individuals who received funding in the first round are eligible to apply again. Understanding that today’s conditions are untenable for many populations, we realize that this fund is limited in scope. However, we are sincerely grateful to the Raynier Institute and Foundation for their generosity and making this emergency support pro- gram possible for Seattle jazz artists. February 2021 EARSHOTJAZZ 3 THANK YOU! Thank you to all the generous donors who have supported Earshot the past year, either by donating back tickets, giving via GiveBIG or one of our Fund Drives, or donating during our livestreamed concerts. This list acknowledges donations made between May 21 and December 31, 2020. We are humbled and grateful for your investment in our jazz community, and we thank you for being part of our Earshot family. Please contact [email protected] with questions or corrections. Jeffrey Adams Joni Brill Robin Dearling and Gary Ulrich Ganz Doug Hawkins John Adams Elizabeth and Michael Akerman Jania Garcia Colleen Hayward Scott Adams Brockman Cheryl Deboise Edward Gardner Jan Hazelton Andrew and Caroline Don Brown Tara Decoster Stephanie Garriga Ellen and Dave Hecht Adamyk Frank Brown R. Jill DeMarco Jessica Garrison Charles Hendrick Marina Albero Leslie Brown Greg Denton Maridee Garvey Cathy Hendrickson Carol J. Allen Judith Bryant Fernando Dingler Chieko Gaylord Kimberly and Philip Kevin Allen Kathy and Wally Bubelis Julie Dirr Steve Germiat Hendrickson Kenneth Anderson and Jeffrey Burk Raymond Monnat and Karen Giese Dan Hensley Sarah Potter Mary A.