Inside: Keith Jarrett and Gary Peacock, Jazz Calendar

Earshot J Seattle, September 1988 \ Mirror and Focus for the Jazz Community | ^ and at Cornish. Privately, he studied with Dave PASSING ON THE TRADITION Coleman, Sr, whom he credits with developing his musicality. Sarin spent a year at the Univer­ Seattle's New Jazz Generation sity of Washington, where the emphasis was on Last year, a young guitarist from Kirkland to him for getting me to switch to bass. His jazz big band and fusion, but left in search of small named Brad Schoeppach splashed onto the band kept me in school. He instilled a lot of self- ensemble playing. Silverman and Schoeppach Seattle jazz scene. Amazed by his youth, polish confidence in us and I knew early on that my life introduced him to Granelli and Clayton. "Just and intensity, I wrote a story on him for Earshot was going to be playing music." being around Jerry is an education,'' says Mike. (7/87) that was the beginning of some exciting Silverman continued to study everywhere "I got to play with Julian Priester — he's a discoveries. Schoeppach's trio featured an­ he could, first with Dan Dean and Jerry Gray— legend!—and Hadley Caliman and Jim Knapp. other 22-year-old — Aaron Playing with experienced musicians is crucial Alexander, a creative drum­ to your development." mer who wowed me with his sophistication and the way he "You need to play, to hang left a lot of space in his playing. Not long after hearing Alexan­ out, to learn about the past der, I caught Linda Dowdell's from veteran players before trio and there was Mike Sarin, another drummer whose adept you can put your own sound brush work and layered sound together/' —Mike Sarin knocked me out. Dowdell's bassist, John Silverman, also In 1986 Sarin attended Dave Holland's showed a skill and depth of workshop in Banff. Playing with Holland and tone that belied his 23 years. At alto saxophonist Steve Coleman was a chal­ Michael Bisio's record release lenge. "Jazz education is school can only go so party last spring, I discovered far," he observes. "You need to play, to hang tenor saxophonist Mike West, Brad Schoeppach, Mike West, Mike Sarin out, to learn about the past from veteran pi ayers plopping out these wonderfully round notes and "a fantastic teacher who set impossible tasks, before you can put your own sound together." improvising all over his horn. like learning ten standards in ten keys in one Twenty-five-year-old Mike West agrees. Clearly, anew jazz generation had grown up week!" said Silverman, shaking his head in dis­ He played the Still Life Coffeehouse's festival in the Seattle area. Intensely curious about these belief — then two years at the University of with Michael Bisio's Quartet, featuring visiting extraordinary young players, all indigenous to Washington. In 1986, Silverman attended the saxophonist Carter Jefferson, a gig touted as the area, I conducted a series of interviews to Bud Shank Workshops at Port Townsend. He one the year's best. "Carter was very respect­ find out what drew them to jazz and how they became a student of Cornish drummer Jerry ful," comments Mike. "He could have blown us had excelled so early. In the process, I learned Granelli and took a free ensemble class with away." West's father was a professional drum­ that Seattle is a fertile spawning ground for vocalist Jay Clayton. "I had thought you didn't mer. Their music room at home was the scene of young jazz musicians that has provided strong need a music degree — you just got out there many jam sessions where friends, visiting mu­ public school jazz programs (at least in the and played it. Suddenly (at Cornish) I realized sicians and Mike's younger brother, Pat, a past), including competitions that allowed stu­ the need to be a complete musician — to know trumpeter and vocalist, sat in. "I played drums dents from all schools to meet; a wealth of theory and piano. Jim Knapp was an enormous before I walked and improvised on alto before internationally-known resident players as influence on me, too." I could read music," recalls West. mentors; and a steady diet of quality live music, Three years ago, Silverman switched to A multi-instrumentalist with a passion for from Out to Lunch concerts to Jazz Alley's acoustic bass and began studies with Gary classical music as well as jazz, West studied parade of great groups. The jazz tradition is Peacock. "Gary has such a beautiful sound. He violin and bassoon in elementary school, then being passed on here from one generation to the and Jerry have been my strongest musical influ­ transferred to Roosevelt High to play under next. ences." Waldo King. He studied privately with Jabo "My older sister took me to hear Waldo Mike Sarin is another Granelli protege. Ward, Johnny Jessin and Bert Wilson. West King's Roosevelt High School jazz band, and I Twenty-three in August, Sarin grew up on graduated from Western Washington Univer­ was hooked," says John Silverman, who played Bainbridge Island listening to his mother's jazz sity where he pursued a teaching career and trumpet at Eckstein Middle School and studied records. "I got my first taste of being in a played tenor in the big band. He also took up guitar privately. Silverman auditioned for the minority in fourth grade when I brought Teddy flute and clarinet, which he plays with the legendary King, innovator of Seattle's public Wilson's'Blues Waltz' to school as my favorite Mazeltones, a popular Klezmer group. "It keeps school jazz programs (Earshot, 12/87) and was record," says the soft-spoken Sarin. "Everyone you adept at playing in minor keys!" West says accepted, even though the band already had a else brought Elton John.' Sarin played in school with a big grin. guitar player. "That Waldo is a beautiful per­ jazz bands and sought out as much live jazz as Mike works at a dry dock and plays with the son,." says Silverman. "I'll be forever grateful possible—in concerts, Out to Lunch programs (Continued on page 2) Continued from page I big band, The Jazz Police. He went to the Port In One Ear... Townsend Jazz Festival this year just to hear Kim Ewing has packed in her jazz shows at the Pete Christlieb, the great tenor player from Los Club Baccarat...Rhoda Mueller's winding up Angeles. "Pete evokes the whole history of the for a reopening of the Rainbow, very horn in his playing,'' effuses Mike. "He doesn't soon.. .Julian Priester just returned from New copy licks. He recreates them, keeping his own York, where he played a capacity house tribute voice all the time, but reminds us of the great with Max Roach at Alice Tully Hall. "Max players." • Roach, the Man and His Music," was part of a West's respect for the tradition is typical of five-concert series directed by Wynton Mar­ his generation. Says Aaron Alexander: "You John Silverman salis. Featured with Max were Billy Harper, have to have humility and appreciate all the a week. When he returned to Seattle 18 months Abbey Lincoln... Judith Broadhurst, prime great players before you. Jazz is an evolving art later he faced up to his drug use. "That's behind mover behind thenascent Jazz Alliance in Port­ that is always reaching back into the tradition." me now," he says, "and I'm putting my life in land, has left the Rose City for the shores of Alexander and Silverman just returned from order, working, playing when I can, and prac­ California, where she'll be raising money and the Banff workshop where Aaron performed a ticing every day. I'm reaching for virtuoso corporate support for Kuumbwa, the thriving concertof his ownmusic. "I'mexploring time," level, working on the technical things that hold Santa Cruz jazz center...Recognize the voice he says thoughtfully, "working on Julian's me back." behind the new United Way commercial on theory of interposing time signatures." Says Alexander, West, Silverman and Sarin all TV? You're right, it's Ernestine Anderson Silverman of the Banff workshop: "The kids plan careers in jazz, but they accept the instabil­ ..Jay Granelli has been tapped by John Clay­ from Cornish were really strong on the concep­ ity and financial insecurity of their choice. S ays ton to study bass down in Los Angeles. Jay tual stuff — better than the Berklee and North West, "I've got to keep the music fun and not leaves at the end of the year...The Frank DeMi- Texas State students." feel pressure to make money from it. If you have ero Jazz Camp on the campus of Puget Sound Alexander began on Suzuki violin at three, to depend on it for a living, the lack of rewards Christian College in Edmonds hosted 140 high playing in a chamber group and youth sym­ can be frustrating." Schoeppach's group, Bor­ school vocal jazzers, 40 rhythm players and 25 phony. At nine, he got his first drum sticks and ders has recorded a demo tape. Schoeppach teachers. The week-long event (Aug 15-20) practice pad. As a teen-ager he and guitarist recently received a Seattle Arts Commission also featured a performance by Take Six, the a John Schott listened to vintage jazz records grant for a septet performance. "Banff helped cappella sextet out of Nashville that has been together, but the beginnings of substance abuse me to look at music as a legitimate career," says blowing everyone away...If you are interested began to plague him. He dropped out of Alexander, "instead of as a kind of vice." in the formation of a Washington Blues Soci­ Roosevelt to attend Nova High School, but re­ Sarin is already supporting himself with his ety, a democratic, non-profit organization in­ mained in Waldo King's jazz band and played music. "I never planned it, it just evolved," he tending to support, preserve and promote the in a rock group on the side. At 15, he began says. "All the gigs are not great, and sometimes blues in our state, call 784-3640...Nearly 200 studies with Granelli, whom he credits as his I think I should get another job so I could be organizations offering some 10,000 different strongest musical influence. "Jerry is a wonder­ more selective. But the more you play, the more awards, fellowships, residencies and commis­ ful and progressive teacher who really cares opportunities there are for great moments." sions worth nearly $25 million are featured in about the music," says Aaron. Opportunities. That's what these kids have Money for Artists: A Guide to Grants and Awards for Individual Artists. The book tells Alexander went to Cornish where Jim had, growing up in the Seattle area with public where almost 300 different types of grants are Knapp encouraged him to compose and ar­ school music programs, professionals like and how to get them with all the information range. He left to go on the road with a show Knapp, Granelli, Priester and Peacock within needed: organization and award names, award band, a vocal quartet that performed six nights arm's reach, and a constant flow of greats through nightclubs and workshops. But what types, addresses, art forms supported, eligiblity Earshot Jazz Seattle doesn't offer is a support system strong requirements, contacts, applications proce­ enough to keep these young players here. dures and deadlines. For more information on Vol. 4 No. 8 Money for Artists, $16.95 for hardcover and ©1988 Earshot Jazz Within a year, they all plan to leave. Seattle is a greatplace to learn how to play jazz, but not big $9.95 for paper, please call (212) 245- The monthly magazine Earshot Jazz is edited enough to afford a living wage for a young 4510...The Washington Jazz Society will hold by Paul de Barros. Staff writers: Sandra Burlin­ musician on the way up. its annual Fall Cruise on October 1 aboard the game and Joseph Murphy. Contributors: Herb Goodtime Two, departing from Pier 56 at the Levy, Ted Dzielak, Dale Stirling, Sheba Burney, All the more reason to get out and hear this Roberta Penn, Ken Wiley, Susan Golden, Wally new generation now. Some of the spots you'll foot of Seneca Street at 8:30 p.m., returning at Shoup, Gary Bannister, Bruce Kochis, Nancy find them playing are the Speakeasy (5210 12:30 a.m. Call 324-2794...Thanks to Lofur­ Curtis, Taina Honkalehto and Sheila Espinoza. Roosevelt Way) on Friday nights, at the new no's restaurant for providing board meeting Calendar editor: Bob Mariano (364-9357). Edito­ Melody Tavern Wednesday nights or the bar up space for Earshot Jazz-Recognition for North­ rial assistance and proofreading: Jeff Thomas and front at the Baccarat Club. At Bumbershoot, western composer/leaders Michael Bisio and Joan Ashcroft. Desktop publishing by Vicki Rich Halley came in the form of positive album Angelini. Mailing, Adrienne Weaver. Computer you can hear Borders, 9/2; Brad Schoeppach Assistance, Rich Minor. Advertising Manager, plays with Ohio Howie and the Temple of reviews in this month's CODA magazine, from Jeff Ferguson (328-6199). Boom the same date; and Linda Dowdell's Trio Canada ... Jamel Nance, the Seattle drummer Earshot Board of Directors: Lola Pedrini, is on, 9/3. Dowdell also performs with Sarin and who made a smashing debut with Jack Gary Bannister, Bruce Kochis, Sandra Burlin­ Silverman at the Broadway Performance Hall, Walrath at the Baccarat Club earlier this sum­ game, Judy de Barros, Paul de Barros, Cherrie 9/16-17. mer, is now playing with Chuck Metcalf at the Adams, Mark Solomon, Anthony Greenwald and New Orleans Sunday nights... Bob Mariano. Sandy Burlingame General Information, (206) 285-8893. Address all correspondence to PO Box 85851, THE BEST Seattle, WA 98145-2858. Earshot Jazz is printed by Murray KPltr Publishing Company of Seattle, 2312 Third Ave. FM88 AND IN-DEPTH NEWS LIVE Oregon living on the edge. He's a great ballad singer, which I love, and he Meany Hall performs a wide variety of music. Mark and I have great rapport." July 31 Their rapport was obvious all week at Jazz Alley. On their own, the After sixteen albums and at least as many years together as a group, Seales Trio captured the audience nightly with anew opener for each set. the musicians of Oregon still hold true to that tricky balance between The trio's rendition of "Secret Love" was tender and thoughtful. A still- sustaining the group's core sound and venturing, with risks, into new unnamed Seales original mingled dense harmonies with flowing areas. At the Meany Hall concert with their new member, percussionist rhythms. Toker's crisp underpinnings and Deardorfs swinging bass lines Trilok Gurtu, guitarist Ralph Towner, bassist Glen Moore and reed and provided perfect accompaniment to Seales' airy style. This was a well- electronic wind instrument player Paul McCandless confidently cele­ balanced, well-integrated threesome. brated their past, probed the present and swung into the future. The small Murphy was loose, telling stories and enjoying the trio. After deliv­ crowd of dedicated listeners responded to the group's explorations with ering "Here's That Rainy Day" as a straight ballad he embellished the rapt attention, knowing nods and swaying heads, answering each tune lyrics with a staccato rap on lost love, feeling blue and listening to the rain. with prolonged applause. He slid into the wordless rhythmic sound of raindrops, picked up by Ralph Towner remains the inspirational force of the group. Most of Toker's brushes, then Deardorfs bass, and the trio swung into a samba the tunes played, both old and new, were penned by him. The show version of the song, to the delight of the audience. opened with a new song by Towner, sounding in the vein of what would "Mark is great to work with because he's such a good musician be called, by most, the Oregon sound: a romantic, yet intellectually himself. He plays piano and does a lot of his own arranging," said Seales. challenging melody stated by guitar and oboe over eclectic rhythms. The The admiration is mutual, for Seales has been a frequent accompanist free-improvisational "Opening" followed, but the group lacked direction since that first gig in 1984, both locally and at Cates, the singers' room during this segment ("We were sweating bullets," Moore dryly remarked outside Washington, DC, where Murphy performs yearly. Among their later) until Towner led them into his lyrical "Yet To Be." highlights were a performance at Broadway Performance Hall in 1985 Towner's new dedication to synthesizers generated new excitement and a subsequent recording at Seattle's London Bridge Studio, played on and possibilities. Their addition allows a broader group sonance and the Jim Wilke's Jazz After Hours. Seales, who teaches piano and jazz emergence of a more urban elan. This was most successfully demon­ workshop at the University of Washington, has appeared with Frank strated on Moore's bluesy "Leather Cats," which featured McCandless on Morgan, Art Farmer, Cleanhead Vinson, and recently at Port Townsend soprano sax and Towner on synth playing a unison line in close, siren-like with Jan Stentz. "I like playing for singers. It's a different kind of harmony. Underneath, Gurtu reeled out a driving, Blakey-like beat on challenge to work within their parameters." cymbals as Moore did a slow, coy walk. "Ecotopia" was less enjoyable. While the rehearsed bands that come through town are always a treat, It suffered the same problem common to much of fusion and synthesizer- there is a special thrill in hearing Seattle's top players connect with a spark based music: The boredom produced by programmed synth lines and plug like Mark Murphy. sparse chord changes could not be transcended by the otherwise fine Sandy Burlingame soloing. The music received spicing and drive from the diversely talented Gurtu. Sitting on a raised platform in the middle of the stage and presents surrounded by cymbals, tablas, electric and acoustic drums and various percussion accoutrements — from shakers to bells and blocks — Gurtu cooked up rhythms ranging from ragas to sambas to bop and rock and more. On "Waterwheel" and the group's war-horse, "Witchi Tai To," Gurtu's exuberant tabla solos left the audience and, seemingly, musicians 3 azz spellbound. At one point, Towner was so taken by the rhythms rippling from Gurtu's fingers that he impulsively commenced tapping a respon­ sive beat on the guitar's body. Gurtu urged him on. At first shy, Towner with then responded in playful dialogue. Towner's and the other musicians' willingness to take risks, to look to the future, resulted in a rewarding evening of music. Andre Thomas Ted Dzielak Quddy Catlett Mark Murphy with the Marc Seales Trio Jazz Alley ^ema Silvers July 18-23 For his Jazz Alley stand, internationally renowned vocalist Mark Murphy appeared with the Marc Seales trio, featuring Chuck Deardorf on bass and Jack Toker on drums. Murphy loves performing in Seattle: "If Tuesday • Wednesday • Thursday Marc, Chuck and Jack couldn't handle me, there are three others that 8:00 p.m.- 1:00 a.m. could! You have players three-deep here and excellent vocal programs. I wonder if Seattle audiences don't take for granted the quality and depth Across from Sea-Tac Airport of musicianship here." In the Sea Tac Office Building Pianist and Tacoma native Marc Seales played his first gig with the 18000 Pacific Highway South singer in 1984 at the University District's Jazz Alley. In the middle of a ballad, Murphy smoothly segued into "Street of Dreams," to the aston­ Seattle, WA 98188 ishment of his trio. Seales, bassist Steve Allen and drummer Doug Gore (206) 243-9500 exchanged perplexed glances among themselves, grinned and laid out. Seattle's most popular 24 hour Gourmet Dining Murphy finished a cappella and with a wave of his hand brought the trio • Open 7 days a week • back in to finish up the original song together. "He's unpredictable," says Seales with his famous smile. "Anything can happen — you're always fywffi rftwutd tkc Sound

By Bob Mariano Rebirth, 9/2; We Three, Woody Woodhouse with the (Please send October calendar information by Olympic Jazz Quartet, Linda Dowdell Music Group, 9/14/88 to Earshot Jazz, PO Box 85851. Seattle, WA 98145) Michael Bisio Quartet, Blue Sky, 9/3; Laurette Langille, Note: Information listed below was accurate when we Joshua Breakstone Quartet. Dave Friesen and John received it, but post-deadline changes are possible. Stowell, 9/4. Please call ahead to verify. • Lamonts/ Levi's Blues Stage: Albert Collins, 9/2; Etta James, Lloyd Jones Struggle, Tito Puente Latin Jazz Allstars, Hamblin and Fanucci, Colin James, 9/5. Special Events: The 1988 Cornish College Festival black tie fundraiser Bumbershoot — Jazz, Etc. takes place 9/9. Call 323-1400, ext 466 for information. • Miller High life Mainstage: Oyelami Troup, Je Ka Jo, Sweet Honey In The Rock, a quintet of black women Miriam Makeba, Hugh Masekela, 9/3; Sisters in Song, singers, performs a concert benefiting Puget Sound Sane Chaka Khan, 9/4. on 9/10 at The Paramount. Call 527-8050 or 628-0888. • Opera House: Bumberdrum (with Zakir Hussain, Alia The Blue Heron Center for the Arts, located at 99th Ave SE Rakha, Billy Cobham, Tito Puente, and Samulnori), Peggy and SW 196th in Vashon, will sponsor Jazz Improvisation Stern Group. Sonny Rollins, 9/5 Workshops every other Sunday from 3 to 5 PM beginning • KPLU Jazz Stage: Borders, Saxquatch, Michael Powers 9/11. Participants should have a knowledge of major Group, Mizue Murakami Quartet, 9/2; Lyric Jam, Gumbo scales. Call 463-9209 or 463-5131 for more informatin. Jazz, Olive Street, Allen Youngblood Quintet, 9/3; Scott Linda Dowdell presents a concert titled "Coming and Lindenmuth Group. Ohio Howie and the Temple of Boom, Going" on 9/16-17 at the Broadway Performance Hall. Going Overboard, Rich Halley and the Lizard Brothers, 9/4; Featured is acoustic and electric music performed on solo Paul Plimley Trio, Circular Cowboys, Jonathan Pugh piano, and in trio with Michael Sarin on drums and John Quartet, Tor Dietrichson with Tambo, 9/5. Silverman on bass. Call 32-DANCE or 628-0888 for tickets. • KNUA Umbrella Stage: Alex DeGrassi, Puget Sound Jazz Ensemble with Greta Goehle, 9/2; Bochinche, 9/4; Belja Flor, Seattle, Saxophone Quartet, Obo Addy and Kukrudu, Concerts: 9/5. Kenny G, Puyallup Fair, 628-0888,9/12. • Caffe Starbucks: Olympia Marimba Duo, Bert Wilson and Stanley Jordan, Parkers, 9/13. Robert Cray Band, Featuring the Memphis Horns, Par- mount Theater, 9/16-18. John Lee Hooker opens on the 16th, and Dr. John opens on the 17th. Spyro Gyra, Paramount Theatre, 628-0888,9/24. FIVE DAY JAZZ CRUISE In Vancouver: Abdullah Ibrahim Quartet, Vancouver East featuring Dizzy Gillespie, Cultural Center, 604-280-4444 or 604-682-0706,9/19. Leonard Feather, Stacey Rowles, Sandy Graham, Seattle Clubs: Gerald Wiggins Sr. and Acorn Lounge (Executive Inn, 200 Taylor N, 448-9444), Linda Dowdell, 8/31-9/10; Randy Halberstadt, 9/14-10/1; the World's Greatest Jazzwomen Eddie Creed, 10/5-22. Backstage (2208 NW Market St, 789-6953) The Dumi & Minanzi III & Guests, 9/2; Changes featuring Bert Wilson, Round trip from Seattle Allen Youngblood, 8c Marc Smason, 9/14; Reilly 8c Moloney, $ 9/15; Uncle Bonsai, 9/16-17; Tuck and Patti and the Michael Powers Group, 9/22. 489 Ballard Firehouse (5429 Russell Ave, 789-6953) James ($850 Value) Harmon Band with Doug Hammond and Jan Fanucci, 9/3; Doug Hammond and Jan Fanucci with Silent Partners, 9/4; C J Chenier and the Red Hot Louisiana Band, 9/17; Junior for more information call Wells, 9/21; Duffy Bishop and the Rhythm Dogs, 9/22-24; Queen Ida and the Bon Temps Zydeco Band, 9/25; Moment's Notice Almighty Dread, 9/26. Dimitriou's Jazz Alley (Sixth and Lenora, 441-9729) Don (206) 343-0403 Lanphere Quintet featuring Jay Clayton, 9/6-10; Abdullah Ibrahim Quartet, 9/12-17; Ahmad Jamal Trio, 9/19-10/1. Four Seasons Hotel, Garden Court (411 University, 621-1700) Fred Radke Big Band, Fri-Sat. Hollywood Underground (323 2nd Ave S, 628-8964) AlomeM Bochinche, Wed. The Latona (6423 Latona Ave NE, 525-2238) Jim Jackson, 9/2; M J Williams, 9/3; John Alkins, 9/7; Sura Dorsey, 9/9; specializing in discount last-minute vacations Gary Westcott and Grant Dermody, 9/10; Brad Schoep­ pach, 9/16; George Koehler Trio, 9/17; Afro Sound Quartet, 9/21; Howard Schanzer and Patricio Morales, 9/23; Boots Houlihan and Barry Vye, 9/30. DIMITRIOU'S THE WEST Lofurno's (2060 15th Ave W, 283-7980) Jam Session, Sun- COAST'S Mon; Melody Jones, Tue-Thu; jazz with various artists, Fri- PREMIER JAZZ Sat; Roadside Attraction with Greta Goehle, 9/6. New Melody Tavern (5213 Ballard Ave NW, 782-3480) CLUB Clank, 9/7; New Art Orchestra, 9/14; Elyra Cambell and Kenny Mandell, 9/21; Metaphonics, 9/28. • Aug. 29-Sept. 3 New Orleans Restaurant (114 First Ave S, 622-2563) Bob Bud Shank — Marcos Silva Quintet Jackson Quartet, Mon; File Gumbo ZydccTue; Floyd Live Album Recording Stadifer Group, Wed and Fri; Ham Carson, Thur; Maia Santell and House Blend, Sat; Chuck Metcalf Quartet, Sun. • Sept. 5 Labor Day — Closed Nick & Sully's (2043 Eastlake Ave E, 325-8813) Phil Sheeranjazz guitarist, Fri-Sat. •Sept. 6-10 Old Timer's Cafe (620 First Ave, 623-9800) Lonnie Williams Don Lanphere Quintet and Astral Traveler, Sun-Wed. featuring Jay Clayton Owl Cafe (5140 Ballard Ave NW, 784-3640) Rhythm Boys, •Sept. 12-17 Tue; Stevie and the Blue Flames, 9/9-10. Parkers (17001 Aurora Ave N, 542-9491) Stanley Jordan, Abdullah Ibrahim Quartet 9/13. Patti Summers (94 Pike, 621-8555) Patti Summers and Gary Steele, Wed-Sat; Floyd Standifer Jazz Jam, Sun. Simonetti's (12255 Aurora Ave N, 365-7600) Zyah Ahmonuel • Sept 19-Oct. 1 and guest Barbara Rollins, Tue-Sat, with Gary Williams, Ahmad Jamal Tamara Burdette and Frank Ferguson, Fri-Sat. The Square on Yesler (111 Yesler, 447-1514) Cara Powers and Lonnie Williams, 9/1-3; J J Williams Trio, 9/15; Andy Shaw, 9/29; Sam Smith and Project Three, 9/30. Co-welcomed by Thirteen Coins Sea-Tac (18000 Pacific Hwy S, 243-9500) Thirteen Coins Trio featuring Buddy Catlett, Verna Silvers NOW SERVING LUNCH and Andre Thomas, Tue-Thu. 6th & Lenora Dinner Reservations Suggested Top of the Pier Restaurant (Alaskan Way 8c Broad St, Pier 441-9729 70,441-1867) Jack Brownlow, Tue-Sat. No Cover Charge Wildrose Tavern (1021 E Pike, 324-9210) Nora Michaels Caberet, with Jamie Sieber, 9/11, with M J Williams, 9/18, with Duffy Bishop, 9/25. September Music Menu. Every night we've got some great music going. Clubs Out of Town: So come sample some of our famous southern Barb's Soul Cuisine (302 W 4th, Olympia, 786-9835) Jazz hospitality. Call 622-2563 for dinner reservations. Jam Session with Steve Munger, Thur; Cloud Wells, 9/7 8c 9/14; Skip Elliot, Michael Moore, and Donnelle Baldwin, MONDAYS SUNDAYS 9/21 8c 9/30. 6:30-9:30p.m. 7:00-10:00p.m. Carnegie's (Seventh and Franklin, Olympia, 357-5550) Jack The Bob Jackson Quartet The Chuck Metcalf Quartet Perciful, Mon-Wed; Robert Jorgensen, Thur-Sat. Trad. New Orleans Jazz & Blues Jazz Governor House Hotel (621 S Capitol Way. Olympia, 352- TUESDAYS 7700) Jack Perciful, Thur; Al Gord, Fri-Sat. 7:00-10:00p.m. File Gumbo Zydeco Band SEPTEMBER 9th Kelly's (1101 Tacoma Ave S, Tacoma, 572-2038) Jazz with Cajun music The Great Excelsior Jazz Red Kelly, Jack Perciful, Bill Ramsey, Billy Hobart and THURSDAYS Band Reunion others, Fri-Sun. 7:00- 10:00p.m. 9:00p.m -LOOa.m Ham Carson Quartet SEPTEMBER 12th Prosito's Italian Restaurant (6th 8c Proctor, Tacoma, 752- New Orleans Grand Opening 0607) Danny Ward, 9/4; Mini Festival; Beija Flor, 9/11; Jay Hot Jazz, Blues & Swing WEDNESDAYS with the Rainier Jazz Band Mabin, 9/12; Michael Powers, 9/13; Michael Bisio Quartet, 7:00-10:00p.m. 6:30p.m -10:30a.m. 9/17; Hume St. Preservation Jazz Band #405, 9/15; Blue Sky, FRIDAYS 9/16; Chuck Metcalf Quintet, 9/17; Bill Ramsey All-Stars, 9:00p.m.-l:00a.m. 9/18; Unnatural Axe, 9/25; Jazz jam with Jay Mabin, Mon; The Floyd Standifer Group Michael Powers Trio, Tue. Swing, m ildjazz & Blues SATURDAYS Maia Santell & House Blend Needed Immediately 9:00p.m.-l:00a.m. NEW ORLEANS Swing, Jazz & Blues CREOLE RESTAURANT Volunteers to distribute Earshot Jazz. 114 First Avenue South Easy neighborhood routes. In Pioneer Square. Become a part of a growing arts organization! Call 285-8893 1 Waxin Your Ears ™¥¥iiiy3 & FMO Productions present BERT WILSON & REBIRTH "The Next Rebirth* Art Foxall and Mark Lewis Art's Back in Town Audio Daddio RS 1014 This record is vacuous. First, a little non-musical consideration: The jacket columns are confusing and very difficult to follow, what with three writers and three topics. There's something on the Cafe Faas (the band's hangout) by Mark Lewis, general liner notes by Bud Young and finally something called Orange Zon — Ron Koning's studio. Reading from the front to the back of the jacket one gets lost with the "continued's." The album features Foxall, who used to work around these parts, on tenor saxophone and vocals; Lewis on alto saxophone and flute; John Butler on guitar; Carlo de Wijs, Hammond organ; Henk Arts, acoustic bass; and Ton Verbeek, drums. Foxall's tenor is pedestrian — a little of the early R&B sound with none of the soul. Even on standards like "Georgia" the lines are yawning. Foxall's singing is tired, monotonous and threadbare. On "Everybody's Blues," a somewhat easy vehicle for laying bare the soul, Foxall sounds like he's reading his blues. Lewis' alto is pinched on his own 'Tell It Like BERT W/tSON-saxophones, bass clarinet It Is." Other places on the album, particularly behind Foxall, he's shy and NANCY CURTIS-flutes ALLEN YOUNGBLOOD-piano CHUCK METCALF-bass BOB MEYER - drums hiding. Drummer Verbeek sounds like he's building a house with a MICHAEL OLSON- percussion hammer and one damnable nail that just refuses to be nailed, ever. Why ALSO AVAILABLE: the incessant accenting of the third beat of the measure? LP -' Kaleidoscopic Visions' Bert Wilson & Rebirth $8 Finally, two items: auciiocassettes $7 1. Lewis' unaccompanied flute solo on "Flamingo" is heart-moving. BEBOP REVISITED featuring Bert Wilson and Chuck Stent; vol I - Olympias Bebop Revisited 2. The cover photograph is balanced and moving (photographer vol 2 - Bebop Revisited plays for Lovers (tazz lovers, that is) unknown). vol 3 - Bebop Revisited live at the Bellevue jazz Festival '87 OUTRAGEOUSNESS1" Bert Wilson with Bob Meyer drums Ken Wiley prices include sales tax shipping & handling String Trio of New York with Jay Clayton | FMO Productions, 222 N. Percival, Olympia,WA90502 West Wind Replete with chamber music connotations, "S tring Trio of New York" is an ironic name for a daring group of players that stretches the KNUA Welcomes boundaries of jazz-inspired string music. This multi-faceted trio weds Windham Hill Recording Artists bop, B artok and Hendrix with such verve, better-known modernists seem stodgy by comparison. For some, this diversity may not play, but this set, with Jay Clayton, is remarkably unified as well as adventurous. With the departure of highly lauded violinist Billy Bang it becomes I TUCK & PATTI apparent that the foundation of this group was not B ang's fractured gypsy sty lings but bassist John Lindberg's imaginative writing for strings. As with Michael Powers — opening act evidenced in the dense orchestral architecture of "Anticipations" and the subtle modal inflections of "Waltz Fore Two," Lindberg has a deep September 22 at 8:30 understanding of string tone and timbre as well as of his playing partners. Tickets $8 in advance The sonorous crescendo on "Anticipations" packs all the wallop of a B artok quartet at full stride—riding out to the edge where blues and folk $9 at the door melodies merge. While Lindberg's craftsmanship impresses, his cohorts more than hold up their end. Guitarist James Emery and violinist Charles Bumham Changes with Bert Wilson, each contribute two compositions, with Emery doing bravissimo work on Allen Youngblood Hendrix classics "Drifting" and "Manic Depression" and Burnham providing a finesse lacking in Bang's bravura approach. and Marc Smason On Emery's composition "Interstices," Jay Clayton does a beautiful Wednesday Sept. 14 at 8:30 job picking up the counterpoint, echoing the melody in minor variation and craftily filling the role of second violin with stunning similitude. The $5.00 boppish "Naturals Know" occasions some of her finest recorded vo- calese: skittering in perfect unison lines and breaking out in fiery staccato scat. Although Jay's chameleon-like ability to mold to the setting and her penchant for understatement have sometimes kept her light under a bushel basket, this set brings her out front in a sympathetic setting with most gratifying results. BACKSTAGE This date touches more bases than New York Yankees first baseman 789-6953 Don Mattingly but scores just as often. Just don't expect chamber music. 2208 N.W. Market St. Joseph Murphy Tor Dietrichson Global Village Now available in selected outlets or Global Pacific Records by mail order from Sassabrass Music Global Village is an ethnomusically and rhythmically diverse work, P.O. Box 24836 Stn. C, Vancouver, B.C. Canada V5T4E9 a fine debut album for world class percussionist Tor Dietrichson, who $11.95, p.p.d LP or High Output Chrome Cassette. lives in Seattle. The album features a number of other talented artists and Featuring Paul Horn, players from Skywalk was greatly influenced by the production and engineering skills of Steven and Mark Hasselbach on trumpet, flute, trombone Kindler. The title cut, with its African rhythms, has received the most air and electronic valve instrument play nationally and locally. Along with Tor, it features Kindler on violin, Kim Atkinson and Isaac Epps. Kindler programmed a DX7 synthesizer in the style of Jan Hammer for this cut. "Shadow Puppets," an intricate work featuring David Friesen on Oregon bass, Zakir Hussain (the tabla master who tutored Dietrichson), Kindler on violin, and Epps on gonza, evokes the haunting silhouettes of Indonesian shadow puppets. "Carnival Rhumba" features a dynamite Joaquin Lievano on electric guitar, paying tribute to Carlos Santana, one of Tor's musical idols. Kindler and Epps also add to the energy of the Latin rhythms on this cut. Global Village was released in 1987 through the Global Pacific label, MARK HASSELBACH which recently became associated with CBS. Dietrichson now has a S-O-L-A-R W-l-N-D-S II seven album recording contract with the label. At this point, he is looking forward to the release of his second album early next year and to Keith Jarrett Trio performing with local musicians. He has lots of company. (Keith Jarrett, Jack De Johnette, Gary Peacock) Sheila Espinoza Still Live ECM Records ECM 1360/61 The Fents Still Live is the third album capturing the latest persona of Keith The Other Side Jarrett: player of the standard repertoire. The standards formula provides Passport Jazz (JP 88031) a needed structure to Jarrett, a musician who in the past had difficulty The Fents hooked me right on the first listen. They are a tight group editing his art. But Jarrett, Seattle bassist Gary Peacock and drummer of players — among them, Seattle-raised drummer Moyes Lucas — with Jack De Johnette never become tethered by the traditional tunes either; sensibilities grounded in tradition. Still Live takes you on an intellectual and emotional trek where the The opening, tongue-in-cheek cut of The Other Side,"Where's My familiar and the neoteric coexist. Producer?" sets the stage for the entire mood of this debut album. Like a Jarrett's weaving in and around Rogers and Hart's "My Funny Valen­ gang of spoiled rock stars, Lucas and bassist Laurence Cottle demand tine" opens the double album. Jarrett plays his familiar, soaring right- attention with their strutting beat. Then guitarist Ted Hall escalates the hand runs while Peacock's melodic phrases keep the tune on its feet. mockpouting with a screaming solo. Once they've captured your interest, "Autumn Leaves" reveals in full the driving interaction possible between pianist Adam Holzman (who performed here recently with Chick Corea's the three players: Peacock uses the rhythmic pulse of the tune as a Elektric B and) reveals the coy, melodic side of the musical monsters with stepping stone to free improvisation as De Johnette thumps a Latin beat lovely lines that cool off the scenario. These guys are obviously having on the bass drum. Jarrett then uses parallel chords, helping to build sonic a good time, but they are also dead serious about the music. tension until all three players break through together into near-silence. "Back in the Saddle" opens like a big Broadway production then smoothly lopes into funk rock on "Sixty Ways to Skin a Yak." "My Body's "When I Fall In Love" finds Jarrett staying close to the chorda! path a Temple" turns spacy with the guitars and synthesizers laying down the of the tune, while on Kern and Hammerstein's "The Song Is You" he complexities of modem man in layers of sound. The Fents continue their broodingly ruminates before moving into a rapid interpretation. "Come tight musical theatrics as they paint action-packed pictures full of here- Rain or Come Shine" begins as a slow meditation on the melody. Peacock and-now funk tinted with sweet melodies. "The Scenery Man" is one of articulates his beautifully felt lyricism here and on "Late Lament," where those artistic personalities who's been in LA way too long "Rubber he offers complimentary phrases to Jarrett's. On "You and the Night and Discipline Helmet" is a sensuous but scary motorcycle ride; and the rock­ the Music" the trio moves seamlessly from chordal improvisation to an ing "I Don't Want My MTV" (a take-off on Dire Straits' hit "I Want My ostinato pulse featuring De Johnette's dancing cymbal sounds. MT V") shows the world of television guitarists that the aural medium can My only complaint with Still Live is that, at times, the music — be mightier than the visual. That's the case here, at any rate. especially the playing of Jarrett — borders on the repetitious; the release should have been a single album. But all told, Still Live presents keen and Roberta Penn original communication between these three artists. Ted Dzielak

11 RECORDS 1C mta Al\ID ELECTRONIC MUSIC BY UNDA DOWDELL

NAME ADDRESS SALISHTODGE Circle type of donation At Snoqualmie Falls. Newsletter Supporting Member Patron Lifetime Presents: $15 $25 $75 $150 Bobby Randall - Piano & Mike Bisio - Bass Thanks to our new and renewing members: Rachel Paschal, JAZZ IN THE ATTIC LOUNGE Whit Symmes, Slugger Hooning, Ross Day, Ron King, Mal­ Wed. thru Sun. colm Edwards, Alan Mulkey, Jane Lambert and Roger & Doris Pearson. Plus Special Guest Artists: Thanks to the following people who have made a donation to Sept. 2 & 3 Saxophonist Gary Hammon receive Earshot Jazz: Elyra Campbell, Carolyn Horsfall, Sept. 9 & 10 Saxophonist Hans Teuber David Baily and Harold Golden. Sept. 16 & 17 Vocalist Jay Clayton Deepest thanks to our new patron: Wesley Neep. Sept. 23 & 24 To be announced NOTICE: Third Class mail is not forwarded! If you change Sept. 30 & Oct. 1 Saxophonist Jim Coile your address, please let us know so we can get your magazine Wed. and Thurs. 6:30 - 11:30 pm to you as soon as possible. Thanks! Fri. and Sat. 7:30 to 12:30 pm (with guest artists) Sun. 6:30 to 10:30 pm CALL FOR PROPOSALS The Salish Lodge is located at the beautiful Earshot Jazz, a non-profit volunteer service organization dedicated to Snoqualmie Falls, 37807 Snoqualmie-Fall cultivating a support system for jazz in the community, has several City Road. Fine dining 7 nights a week. 91 programs currently in place: Earshot Jazz newsletter, New Jazz, New City concert series, Roots of Jazz project for the Washington Centen­ hotel rooms, each complete with a fireplace nial and a flexible Workshop Program. Do you have ideas for projects and Jacuzzi. For reservations phone that we should undertake to further fulfill our mission? 1-888-4230 or 1-800 826-6124 If so, please contact our Program Development Committee, c/o Mark Solomon, 547-0990

NON-PROFIT ORGANIZATION Earshot Jazz U.S. POSTAGE PAID P.O. Box 85851 PERMIT NO. 14010 Seattle, WA 98145-2858 SEATTLE, WA Address Correction Requested