October 2011 EARSHOT JAZZ in ONE EAR a Mirror and Focus for the Jazz Community

Home , Alan Pasqua, Allison Miller (drummer), Barrett Martin, Bill Green (musician), Bill Ramsay, Bob Hammer

ear11_program_cover_4c.pdf 9/16/11 12:07:51 AM

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K October 14 - November 6, 2011

PHOTO BY ANDREW MEDINA PROGRAM NOTES

Festival Tickets On Sale NOW! On the Horizon: Call for Festival Volunteers Tickets for the 23rd Annual Earshot Chuck Deardorf and Friends Would you like be a part of making Jazz Festival are on sale now. Earshot November 19, 8pm Seattle’s largest annual jazz festival a members receive a $2 discount on all PONCHO Concert Hall, 710 E Roy St success once again? Volunteers provide shows. For the true jazz enthusiasts, $20 general, $15 seniors, $10 students general support for the Earshot Jazz the Jazz Festival Gold Card offers the & alumni Festival in our office during the day or best deal: providing more than 30% Veteran bassist and Cornish professor at the concerts in the evening. Volun- savings off the regular price and pre- Chuck Deardorf leads a stellar group teer driving and production opportu- ferred seating at most events. The Gold featuring Los Angeles-based guitarist nities may also be available. For more Card grants admission to all festival Bruce Forman to celebrate his criti- information or to sign up, please visit events. The pass is $300 for Earshot cally acclaimed CD Transparence on the festival volunteer signup website at members ($350 general public); avail- the Origin label. For more info, please earshot.edoceo.com or call (206) 547- able only through Earshot Jazz. For visit www.cornish.edu. 6763 for more information. a complete list of performers, show times, and ticket information keep reading, visit www.earshot.org, or call (206) 547-6763. Free Seminar on Copyright Law Musicians Association of Seattle in- vites you to a free seminar focused on copyright and trademark law. In- tellectual property attorney Ted Roe will moderate this free event. Roe has worked regularly with the entertainment industry in Seattle and Portland, and has valuable knowledge and experience to share on this subject. The event takes place Monday, October 3, from 7pm to 8pm at Musicians’ Asso- ciation of Seattle – Conference Room (3209 Eastlake Ave. E). Space is limited, so please RSVP with your contact information to local76@local76-493. org or call (206) 441-7600. Local Music History Event at the New Orleans In his book Before Seattle Rocked, Se- attle historian and local musician Kurt E. Armbruster presents Seattle’s diverse music scenes, including jazz and blues, from the 1890s to the 1960s. Join the author at the New Orleans Creole Restaurant on October 29, 8pm, for a Celebration of Seattle’s Mu- sic Heritage, featuring the Olde Seattle Rhythm Band and Overton Berry.

2 • EARSHOT JAZZ • October 2011 EARSHOT JAZZ IN ONE EAR A Mirror and Focus for the Jazz Community

Executive Director John Gilbreath Jazz It Up! Bobby II in Kirkland, The October schedule is as follows: Managing Director Karen Caropepe Nov 10 October 2 features the idiosyncratic Ken Wiley but always entertaining Degenerate Earshot Jazz Editor Danielle Bias Emcee (KPLU’s “The Assistant Editor Schraepfer Harvey Art of Jazz”), vocalists Stephanie Art Ensemble; on October 9, Blue Porter and Bernie Jacobs, and the Monster presents a little night music Contributing Writers Nathan Bluford, John Full Circle Jazz Ensemble will de- from Vashon Island; then on Octo- Ewing, Steve Griggs, Schraepfer Harvey, Bob Hammer ber 16th, Eric Apoe & They provid- David Marriott, Peter Monaghan, Abi liver some of ’s arrange- Swanson ments in production at the Kirkland ing a cinematic view of the world we Performance Center on Thursday Nov are living through; on October 23rd, Calendar Editor Schraepfer Harvey 10, 2011 from 7:30 p.m. to 9:30 p.m. Steve Roden improvises soundscapes; Calendar Volunteer Tim Swetonic Pianist and arranger Bob Hammer and finally on October 30th, Oosik Photography Daniel Sheehan Layout Karen Caropepe has had a major hand in the Ameri- showcases the work of Evan Schiller Mailing Lola Pedrini can jazz scene for over sixty years, hav- on electronics and Branden Harper on ing worked with legends such as Gene the drum kit. Send Calendar Information to: Krupa, Lionel Hampton, and Charles 3429 Fremont Place #309 Centrum Presents Big Band in Seattle, WA 98103 Mingus, who referred to Bob as his October “Beethoven.” Tickets for this special fax / (206) 547-6286 Big Band returns to Centrum in concert are $25 and available at www. email / [email protected] October as the Wheeler Theater plays brownpapertickets.com. Board of Directors Kenneth W. Masters host to Grammy-winning bassist/ (president), Richard Thurston (vice- Jim Wilke’s Jazz NW October composer/arranger John Clayton and president), Renee Staton (treasurer), Hideo Lineup the Centrum Big Band, on Saturday, Makihara (secretary), Clarence Acox, Bill Broesamle, George Heidorn, Femi Lakeru, Jim Wilke’s Jazz Northwest pro- October 8 at 7:30 PM. The concert Lola Pedrini, Paul Toliver, Cuong Vu gram features the artists and events is the culmination of a 3-day inten- of the regional jazz scene. The radio sive workshop, where seasoned players Earshot Jazz is published monthly by program airs every Sunday on 88.5 from across the Northwest descend on Earshot Jazz Society of Seattle and is KPLU at 1pm and is also available on- Fort Worden State Park to study under available online at www.earshot.org. line in an archived podcast. October 2 the tutelage of John Clayton, and de- Subscription (with membership): $35 is excerpts from concerts recorded by velop their skill and experience in this 3429 Fremont Place #309 Wilke in the last six months, including enduring art form. Joining Clayton on Seattle, WA 98103 SRJO Tentet, Marc Seales Trio, and the faculty is baritone saxophonist Bill phone / (206) 547-6763 the Legacy Quartet w/ Clarence Acox; Ramsay and trumpeter Jay Thomas. fax / (206) 547-6286 October 9 is a review of the 2011 Ear- Applications are still being accepted Earshot Jazz ISSN 1077-0984 shot Jazz Festival with John Gilbreath; for the Big Band Workshop. For more Printed by Pacific Publishing Company October 16 features Stefon Harris and information, visit the Centrum web- © 2011 Earshot Jazz Society of Seattle the Gerald Clayton Trio from Jazz site at www.centrum.org. Port Townsend. Garfield Jazz Sails to Lopez MISSION STATEMENT Sonarchy’s October Lineup The Garfield High School Jazz Band Earshot Jazz is a non-profit arts and service Sound wiz Doug Haire is the pro- returns for their 4th annual perfor- organization formed in 1984 to cultivate a support ducer and mixer of Sonarchy, recorded mance on Lopez Island on Saturday, system for jazz in the community and to increase live in the studios at Jack Straw Pro- October 8th at 2:30 in Woodmen awareness of jazz. Earshot Jazz pursues its ductions in Seattle. This hour-long Hall. The concert benefits the Lopez mission through publishing a monthly newsletter, presenting creative music, providing educational broadcast features new music and School Music Advocacy Foundation programs, identifying and filling career needs for sound art by Pacific Northwest artists. which works to enhance the existing jazz artists, increasing listenership, augmenting Now into its 16th year of airing on K-12 music program at Lopez Schools. and complementing existing services and KEXP 90.3 FM, Sonarchy is broadcast For details, visit www.LiveMusicOn- programs, and networking with the national and international jazz community. every Sunday evening at midnight. Lopez.com.

October 2011 • EARSHOT JAZZ • 3 4 • EARSHOT JAZZ • October 2011 EARSHOT JAZZ FESTIVAL 2011 seattle’s jazz festival / october 14 - november 6

Welcome to the 2011 Earshot Jazz Festival

We are delighted that you’ve joined some of the world’s most important newsletter, work to provide educa- us. Each year, Earshot festivals bring artists and have presented Seattle’s tional opportunities and advance- some of the world’s great artists into amazing jazz musicians in a world- ments to the field, and present the creative contact with Seattle audi- class festival setting. Golden Ear Awards program each ences in a monstrous series of main This festival offers a chance for year to recognize the achievements stage concerts, club dates, educa- Seattle audiences to catch up with of Seattle’s jazz artists. tional opportunities, and jazz films, old friends and meet new ones, and This festival relies on creative col- offering many chances to engage put themselves in the path of some laborations with individuals and or- fully with America’s most fascinat- of the great creativity of our day. It ganizations. We are very grateful to ing contribution to world culture. is an opportunity for us all to rede- the kind people at Cornish College We are proud to present absolute fine our perceptions and possibilities of the Arts, the Chapel Performance jazz masters like Keith Jarrett, Gary for music, and to pull alongside the Space, Seattle Art Museum, the Tri- Peacock, and Jack DeJohnette; in- ever-expanding universe of jazz. In ple Door, and Tula’s jazz club for their ternational stars like Brad Mehldau, all, more than 300 artists participate enthusiastic welcome of Earshot fes- Eric Vloeimans, and The Bad Plus; in 60-some events over 24 days, in tival events and their commitment tributes to the jazz legacies of Col- venues around the city. to jazz overall. We are pleased to be trane, Mingus, Dorsey, and Sinatra; Earshot Jazz programs are known back at the Northwest Film Forum showcases of tomorrow’s stars; and for celebrating the continuum of jazz for some rare jazz films. Thanks to exciting generative projects of scores around the world while shining a regular collaborators like the Seattle of important artists from around the most positive light on Seattle’s place Repertory Jazz Orchestra, Nonse- world and around our own commu- in the global jazz community. The quitur, SAM, and especially Cornish nity. Jazz Journalists Association recog- College of the Arts. Special thanks We are fortunate to live in this re- nized us as “Jazz Heroes” at their to our major funders, including the markable city. The overall quality New York awards this year. Last year of life we’ve come to expect here Earshot Jazz was honored with the Paul G. Allen Family Foundation includes an absolutely vibrant cul- ASCAP/CMA Award for Adventurous and the National Endowment for the tural community that stretches easily Programming, while four years ago Arts, and a huge thanks to George across the spectrum, from the tradi- we received the Seattle Mayor’s Arts Heidorn for his support. Thanks to tional to the alternative, in every as- Award in recognition of our enduring participating radio stations KPLU, pect of artistic expression. Within our contributions to our own community. KBCS, and to the many interns and world-renowned music scene exists The Earshot Jazz Festival is the volunteers who help us each year. a valued jazz sensibility that contin- biggest undertaking of the Earshot And, as always, thanks to you, the ues to draw national attention. In the Jazz organization, but it is far from listening, concert-going audience. context of that vibrancy, Earshot Jazz our only activity. We present other Enjoy! Give us your feedback. Let’s produces one of the most distinc- concerts and events throughout keep jazz alive and thriving in Seattle tive jazz festivals in the country. For the year, and collaborate on outside and the Pacific Northwest! two incredible decades Earshot Jazz concert initiatives like the Art of Jazz Welcome to the 2011 Earshot Jazz Festivals have enriched this commu- at the Seattle Art Museum. We also Festival! nity with one-of-a-kind concerts by publish the monthly Earshot Jazz -John Gilbreath, Executive Director

October 2011 • EARSHOT JAZZ • 5 to the sponsors, staff, and more than 80 volunteers THANK YOU! who make the Earshot Jazz Festival possible

FESTIVAL STAFF MAJOR SUPPORT SPONSORS IN KIND JOHN GILBREATH, Executive Director

KAREN CAROPEPE, Managing Director

SCHRAEPFER HARVEY, Production Manager & Volunteer Coordinator

DANIELLE BIAS, Program Editor

PETER MONAGHAN, Brochure Copy

SCHRAEPFER HARVEY, Program Assistant Editor

DANIEL SHEEHAN, Festival Photography

CARL LIERMAN, Poster & Brochure Design

SUSAN PASCAL, Festival Web Site

EDOCEO.COM, Volunteer Form Hosting

LOLA PEDRINI, Everything Else

CO-PRESENTERS

Central District Forum

Cornish College of the Arts

Edmonds Center for the Arts

Kirkland Performance Center

KPLU 88.5FM NPR

Lucid Jazz Lounge

Nonsequitur

Northwest Film Forum

Seattle Repertory Jazz Orchestra

SEEDArts

The Triple Door Nonsequitur Tula’s Restaurant & Jazz Club

6 • EARSHOT JAZZ • October 2011 TICKETS and info (206) 547-6763 / www.earshot.org

TICKETS ON SALE SITES + ADDRESSES Please Note All events are all-ages, except some University Jazz Walk shows. Venues are located in Seattle unless otherwise noted TRIPLE DOOR: Advance tickets available at 206-838-4333 & www.thetripledoor. net. Full dinner menu available. BENAROYA HALL 200 University Street (downtown) TULA’S RESTAURANT & NIGHTCLUB: Reservations (but not advance tickets) available at 206-443-4221. Full dinner menu available. BRECHEMIN AUDITORIUM Room 126, School of Music, UW FOR CONCERTS AT THE FOLLOWING VENUES, TICKETS ARE AVAILABLE AT THEIR BOX OFFICES: CHAPEL PERFORMANCE SPACE Benaroya Hall, Edmonds Center for the Arts, Kirkland Performance Center, Good Shepherd Center, 4th Floor, Northwest Film Forum, and Seattle Repertory Jazz Orchestra 4649 Sunnyside Ave N (Wallingford)

FOR ALL OTHER SHOWS: EDMONDS CENTER FOR THE ARTS Tickets are on sale through Brown Paper Tickets at 1-800-838-3006 and 410 Fourth Ave N, Edmonds www.brownpapertickets.com/producer/9678. KIRKLAND PERFORMANCE CENTER DISCOUNTS 350 Kirkland Avenue, Kirkland

DISCOUNT TICKETS available: NORTHWEST FILM FORUM Earshot Jazz Members and Senior Citizens save $2 on most concerts 1515 Twelfth Avenue (Capitol Hill) $2 STUDENT discounts also available (present current ID at venue) PONCHO CONCERT HALL TICKET PACKAGES available only through the Earshot Jazz office: 710 E Roy Street (Kerry Hall, Cornish Save 10% when you buy tickets to at least five separate concerts College of the Arts, Capitol Hill) 15% Save 15% when you buy tickets to eight or more separate concerts RAINIER VALLEY CULTURAL CENTER 3515 S Alaska Street (Southeast JAZZ FESTIVAL GOLD CARD available only through the Earshot Jazz office: Seattle) A special pass is available for entrance to all festival events that is 30% more than 30% savings off regular price. Also, preferred seating at SEATTLE ART MUSEUM DOWNTOWN most events. $350 general, $300 Earshot Jazz members 1300 First Avenue (downtown) FREE EVENTS SEATTLE ASIAN ART MUSEUM All events are free and open to the public. See www.earshot.org for updates 1400 East Prospect St (Volunteer and details. Park) ELSPETH SAVANI / CORREO AEREO MASTERCLASS W/ BOOM TIC BOOM TOWN HALL SEATTLE Friday, October 14, Rainier Valley Thursday, October 27, PONCHO 1119 Eighth Avenue (at Seneca) Cultural Center, 7PM Concert Hall, Cornish College, 12PM THE TRIPLE DOOR CRAIG TABORN & GUST BURNS MASTERCLASS W/ MALCOLM GOLDSTEIN 216 Union Street (downtown) Saturday, October 15, UW Brechemin Wednesday, November 2, PONCHO Auditorium, 8PM Concert Hall, Cornish College, 1PM TULA’S RESTAURANT AND NIGHTCLUB 2214 Second Avenue (Belltown) MASTERCLASS W/ SHUNZO OHNO SRJO JAZZ4KIDS CONCERT Monday, October 24, PONCHO Presented by Seattle Repertory Jazz UNIVERSITY DISTRICT JAZZ WALK Concert Hall, Cornish College, 12PM Orchestra, Saturday, October 29, Venues for the walk listed on 4:30PM, Benaroya Hall. Free, but www.udistrictjazzfestival.com advance tickets recommended.

October 2011 • EARSHOT JAZZ • 7 EARSHOT JAZZ 2011 FESTIVAL LINEUP

Schedule subject to change. Please check www.earshot.org for updates.

FRIDAY, OCTOBER 14 WEDNESDAY, OCTOBER 19 SUNDAY, OCTOBER 23 Roosevelt & Mountlake Avram Fefer Trio featuring Jay Thomas / Shunzo Ohno Terrace High School Jazz Chad Taylor & Michael Bisio Group Bands Chapel Performance Space, 8PM Tula’s, 8PM Town Hall Seattle, 7PM Matt Slocum Trio The Campbell Brothers: Sacred Endangered Blood Tula’s, 7:30PM Steel Town Hall Seattle (downstairs), 9PM Triple Door, 7:30PM THURSDAY, OCTOBER 20 Elspeth Savani / Correo Aereo MONDAY, OCTOBER 24 Rainier Valley Cultural Center, 7PM Tommy Dorsey Orchestra Kirkland Performance Center, 7:30PM Thomas Mapfumo & Blacks Human Spirit Beat Kaestli Group Unlimited Tula’s, 8PM Triple Door, 7:30PM Tula’s, 7:30PM SATURDAY, OCTOBER 15 Nelda Swiggett’s Stringtet FRIDAY, OCTOBER 21 Trio BraamDeJoodeVatcher Chapel Performance Space, 7:30PM Seattle Asian Art Museum, 8PM Johnaye Kendrick Quartet Wessell Anderson Quartet Tula’s, 7:30PM Craig Taborn & Gust Burns Tula’s, 7:30PM UW Brechemin Auditorium, 8PM Brad Mehldau, solo piano Masterclass with Shunzo Ohno Benaroya Hall, 8PM PONCHO Concert Hall, Cornish College, Human Spirit 12PM Tula’s, 8PM SATURDAY, OCTOBER 22 TUESDAY, OCTOBER 25 SUNDAY, OCTOBER 16 Celebrating Coltrane & Mingus: Garfield High School w/ Eric Vloeimans’ Gatecrash We Four / Sonando Wessell Anderson Seattle Art Museum, 8PM Town Hall Seattle, 8PM Triple Door, 7PM Emi Meyer’s Japan Trio Evan Flory-Barnes Cory Weeds Group Tula’s, 7:30PM Acknowledgement of a Tula’s, 7:30PM Celebration: Inheritance, TUESDAY, OCTOBER 18 Authenticity & Healing WEDNESDAY, OCTOBER 26 Rich Halley Trio + 1 Kirkland Performance Center, 8PM Cory Weeds Group Chapel Performance Space, 8PM Jay Thomas / Shunzo Ohno Tula’s, 7:30PM Matt Slocum Trio Group Julian Waterfall Pollack Trio Tula’s, 7:30PM Tula’s, 8PM PONCHO Concert Hall, Cornish College, 8PM

8 • EARSHOT JAZZ • October 2011 THURSDAY, OCTOBER 27 TUESDAY, NOVEMBER 1 SUNDAY, NOVEMBER 6 Allison Miller’s Boom Tic Keith Jarrett, Gary Peacock, Seattle Repertory Jazz Boom Jack DeJohnette Orchestra “An Evening with Ol’ PONCHO Concert Hall, Cornish College, Benaroya Hall, 8PM Blue Eyes: The Music of Frank 8PM Sinatra” WEDNESDAY, NOVEMBER 2 Hardcoretet Kirkland Performance Center, 3PM Tula’s, 7:30PM SWOJO Plays the Music of University District Jazz Walk Robin Holcomb Masterclass w/ Boom Tic Several University District Venues Seattle Art Museum, 8PM Boom Bill Anschell Trio PONCHO Concert Hall, Cornish College, Grace Kelly Quintet Tula’s, 7:30PM 12PM Tula’s, 7:30PM

FRIDAY, OCTOBER 28 Tribute to Jim Knapp Triple Door, 7:30PM Scrape w/ Jay Clayton PONCHO Concert Hall, Cornish College, Masterclass w/ Malcolm EARSHOT JAZZ 8PM Goldstein FILMS Travis Shook Trio PONCHO Concert Hall, 1PM Tula’s, 8PM THURSDAY, NOVEMBER 3 For more information visit SATURDAY, OCTOBER 29 Grace Kelly Quintet www.nwfilmforum.org/live/page/ series/1905 Travis Shook Trio Tula’s, 7:30PM $9 General, $6.50 students/seniors, Tula’s, 8PM FRIDAY, NOVEMBER 4 $6 NWFF & Earshot members The Bad Plus / Das Kapital Robin Holcomb & Talking play Hans Eisler Pictures / Kate Olson & Gary AND I RIDE, AND I Town Hall Seattle, 8PM Prince Duo RIDE Jay Clayton Group / Jerry Seattle Asian Art Museum, 7:30PM (Frank Vialle, France, 2009, DigiBeta, 105 min) Granelli Trio University District Jazz Walk Friday, October 28 through Sunday, PONCHO Concert Hall, Cornish College, Several University District Venues October 30, 7PM 8PM Chad McCullough/Bram Bill Charlap & Renee Rosnes NE CHANGE RIEN Weijters Group Edmonds Center for the Arts, 7:30PM (Pedro Costa, 2009, Portugal/ Tula’s, 8PM France, 35mm, 100 min) Seattle Repertory Jazz Friday, October 28 through Orchestra “An Evening with Ol’ SATURDAY, NOVEMBER 5 Thursday November 3, 7 & 9PM Blue Eyes: The Music of Frank Burn List / Operation ID IN MY MIND Sinatra” Seattle Art Museum, 8PM (Gary Hawkins, USA, 2010, Benaroya Hall, 7PM DigiBeta, 100min) Malcolm Goldstein Tuesday, November 1, 7 & 9PM SRJO— Jazz4Kids Concert Chapel Performance Space, 8PM Benaroya Hall, 4:30PM University District Jazz Walk BLACK FEBRUARY Several University District Venues (Vipal Monga, 2010, USA, DigiBeta, SUNDAY, OCTOBER 30 59 min) Jerry Granelli Trio Chad McCullough/Bram Wednesday, November 2, 7 & Tula’s, 7:30PM Weijters Group 8:30PM Tula’s, 8PM

October 2011 • EARSHOT JAZZ • 9 EARSHOT JAZZ 2011 CONCERT PREVIEWS

FRIDAY, OCTOBER 14, TOWN HALL SEATTLE, 7PM Roosevelt & Mountlake Terrace High School Jazz Bands $15 general, $13 members/seniors, $7 students. Ticket stub good for admission to following show, Endangered Blood Being selected to participate in Jazz at Lincoln Center’s annual Essentially Ellington competition in New York is a prestigious honor that has been be- stowed upon Seattle-area bands many times in the competition’s 16-year history. This year, 110 schools applied to the competition; 15 were invited to compete, including the Roosevelt and Mountlake Terrace High School Jazz Bands. Those two bands will take the stage, playing some of the swinging Count Basie tunes that got them second and third place, respectively, in the competition. The Roosevelt High School Jazz Band remains a titan of big band excellence. They have been to the Es- Mountlake Terrace High School Jazz Band, directed by Darin Faul (right). Photo by Frank Stewart for Jazz at Lincoln Center. sentially Ellington competition 12 of the last 16 years. Praised far and wide for their strong ensemble playing, the band performs under the direction of Scott Brown, a dedicated teacher and accomplished jazz artist. Brown is himself a trombonist with the Seattle Repertory Jazz Orchestra and recipient of the 2007 KCTS Golden Apple Award for Excellence in Education. The Mountlake Terrace High School Jazz Band of the Edmonds School District is led by Darin Faul, a classical trumpeter. Faul demands excellence from his students, and they have clearly accepted the challenge. Many of the band’s soloists also received awards at the Ellington competition, and the rhythm section was dubbed “outstanding.” – Danielle Bias Roosevelt High School Jazz Band, directed by Scott Brown (right). Photo by Frank Stewart for Jazz at Lincoln Center.

10 • EARSHOT JAZZ • October 2011 FRIDAY, OCTOBER 14, TOWN HALL SEATTLE (DOWNSTAIRS), 9PM Endangered Blood

$14 general, $12 members/seniors, $7 students Tenor saxophonist Chris Speed and drummer Jim Black met while high- school students in Seattle, left for the East Coast, and have become two highly influential players and composers in New York City’s heady mix of recombinations of jazz. Their Endangered Blood, originally formed in 2008 for a benefit concert for their ill friend and band mate, saxophonist Andrew D’Angelo, another Seattle transplant to New York, combines the tried and trusted with a dash of the new. Steeped in tradition, their quartet also urges the art form ahead, with the muscle power and hearty stew of imagination necessary to find fresh veins in a genre now well Endangered Blood (left to right): Oscar Noriega, Trevor Dunn, Jim Black, Chris Speed. over 100 years in development. That, thanks to the monster bassist Trevor projects with musical polymath John your pleasure, vexing you on purpose.” Dunn and alto saxophonist and bass Zorn and vocal contortionist Mike He believes that Endangered Blood has clarinetist Oscar Noriega. Patton. come, instead, to a place that is “less Four players like that, and you have Oscar Noriega’s association with jagged and self-consciously transgres- something of a supergroup of avant- Speed and Black goes back 20 years in sive, more studied and self-possessed. jazz that promises “fast, looping, dy- New York jazz circles. A measure of his It’s gone deeper into harmony and odd namically even and entwining lines, standing has been his longtime collab- or changing meters; it’s more exact in laying bebop over clanky grooves” orations with pianist Satoko Fujii and every way.” (NY Times). his recent work with Paul Motian, Lee In All About Jazz, Mark Corroto Various members of Endangered Konitz, and Tim Berne’s new quartet, agreed: “Endangered Blood signals a Blood have fueled the creative fire in Los Totopos. sort of watershed in the evolution of bands like Alas No Axis, Human Feel, Together, Endangered Blood ex- creative music that was once called Yeah No, and Electric Masada, to plores jazz from its New Orleans roots, jazz. The dust has cleared, and what’s name just a few core drivers of innova- through mid-century innovations left is an idiosyncratic and very enter- tion in New York over the last decade from the likes of Thelonious Monk, to taining sound.” or two. its beckoning future. Along the way, In East Bay Express, Neal Clevenger Speed (Pachora, Claudia Quintet) it slows to pick up some great musi- chimed in: “If rangy counterpoint and and Black have worked together in cal developments from Eastern Europe bracing metric destabilization are the not only their own bands but also in and elsewhere. order of the day, Endangered Blood stand-out projects like Uri Caine’s en- In the New York Times, Ben Ratliff also shows little interest in throwing sembles and Tim Berne’s Bloodcount. wrote earlier this year that Endangered out the jazz baby with the bath water: As for Trevor Dunn, he is certainly Blood exemplifies 1990s “new jazz” af- Forms, heads, and solos abound.” among the leading bassists of his gen- ter it has moved on from “intense po- “This project deserves attention from eration, as attested by his stints with lyphony, liturgical melodies, and the jazz fans of every stripe,” wrote Chris the legendary West Coast avant-rock clank: drummers playing roughed-up Barton of the LA Times. bands Mr. Bungle and Fantomas, and rhythm, rushing time and forestalling – Peter Monaghan

October 2011 • EARSHOT JAZZ • 11 FRIDAY, OCTOBER 14, RAINIER VALLEY CULTURAL CENTER, 7PM Elspeth Savani / Correo Aereo

Free leased Flights of Mind – Pensamientos Presented by SEEDArts en Vuelo as a bandleader. Savani is Elspeth Savani’s current focus in Lat- also an outreach educator, bringing in music traditions melds with a bit of programs and performances such as a contemporary pop and modern jazz. bilingual, multi-media children’s show For more than a decade, Savani has di- and a large-scale Cuban dance and rected and performed with Orchestra music retrospective to introduce Latin Zarabanda, a modern 10-piece band music to audiences throughout the evocative of Old Havana. She’s a Wes- Northwest. Savani sings tonight with leyan music grad, with focuses there Julio Jauregui, piano; Jeff Norwood, on West African drumming and South bass; Jeff Busch, drum set/percussion; Indian vocal music. She’s recently re-

Elspeth Savani photo by Auston James and Stuart MacDonald, tenor saxophone. Correo Aéreo (Air Mail) is a world music duo performing traditional music of Venezuela, Mexico and Argen- tina. Abel Rocha and Madeleine Sosin combine their vocal and instrumental mastery for a journey into acoustic traditional song. The duo met in Santa Fe in 1991, and toured in the United States and Mexico shortly after. They’re Aus- tin Music Award winners, performed at South By Southwest’s (SXSW) first World Music Showdown, and have been featured in documentary films, PBS television and on NPR Radio. Correo Aéreo tours nationally and internationally and appears regularly in Seattle, where the duo is now based. Rocha plays Venezuelan and Mexican harp, guitar, cuatro, quinta and vocals. Sosin plays violin, maracas, bombo, ja- rana, quijada, and sings. This concert is followed by a public discussion with the artists: “Women in Jazz: Breaking the Glass Ceiling.” Ap- petizers provided by Tutta Bella Neo- politan Pizzeria. – Schraepfer Harvey

12 • EARSHOT JAZZ • October 2011 FRIDAY, OCTOBER 14 & SATURDAY, OCTOBER 15, TULA’S, 8PM

The Bass Church The Bass Church The Bass Church Human Spirit The Northwest double bass specialists The Northwest double bass specialists The Northwest double bass specialists

www.basschurch.com $15 general, $13 members/seniors, $7 www.basschurch.com www.basschurch.com students A seven-time Earshot Jazz Gold Ear

Award winner with collaborations Sales, Rentals, Sales, Rentals, Sales, Rentals, with Brian Lynch and Charlie Hunter Repairs, Restorations, Repairs, Restorations, Repairs, Restorations, to his credit, trumpeter Thomas Mar- Lessons Lessons Lessons riott stands out among today’s cream Convenient North Seattle Location Convenient North Seattle Location Convenient North Seattle Location of the crop. With 14 albums as leaders, longtime collaborators Marriott, (206)784-6626 (206)784-6626 (206)784-6626 Mark Taylor (sax) and Matt Jorgensen 9716 Phinney Ave. N. 9716 Phinney Ave. N. 9716 Phinney Ave. N. Seattle, WA. 98103 Seattle, WA. 98103 Seattle, WA. 98103 (drums) have been a “three-headed ~by appointment only~ ~by appointment only~ ~by appointment only~ monster” defining the “New West Coast Jazz” of Seattle’s Origin Re- cords. With them are two East Coast stars, pianist Orrin Evans, and bassist Essiet Essiet. Both nights will be The Bass Church The Bass Church The Bass Church The Northwest double bass specialists The Northwest double bass specialists The Northwest double bass specialists recorded for an up-coming release on Origin Records. www.basschurch.com www.basschurch.com www.basschurch.com Marriott adeptly and frequently takes the classic instrumentation of Thomas Marriott photo by Steve Korn trumpet, saxophone and rhythm section to a new level with his unique Reviewing the studio recording of Sales, Rentals, Sales, Rentals, Sales, Rentals, blend of energy, beauty and intrigue. Human Spirit (Origin), released earlier Repairs, Restorations, Repairs, Restorations, Repairs, Restorations, His sets often feature explorations of this year, in All About Jazz, C. Michael Lessons Lessons Lessons Convenient North Seattle Location Convenient North Seattle Location Convenient North Seattle Location music by well-known composers like Bailey wrote: “Marriott’s trumpet

sound is as solid as it is round. Even at Duke Ellington and Miles Davis; each (206)784-6626 (206)784-6626 (206)784-6626 set is equally memorable for his com- high velocity, Marriott holds his notes 9716 Phinney Ave. N. 9716 Phinney Ave. N. 9716 Phinney Ave. N. together, a squeak or squawk being Seattle, WA. 98103 Seattle, WA. 98103 Seattle, WA. 98103 pelling originals. It is this ability to ~by appointment only~ ~by appointment only~ ~by appointment only~ cover a diversity of styles and genres rare or non-existent. But Marriott is while still maintaining originality that not the only principal here: alto saxo- has become Marriott’s calling card. phonist Mark Taylor, an Origin Arts

Marriott received his bachelor of arts mainstay, provides saxophone wares degree from the University of Wash- that are all over the map, from straight The Bass Church The Bass Church The Bass Church bop to beyond, wailing plaintively on The Northwest double bass specialists The Northwest double bass specialists The Northwest double bass specialists ington; then, after winning the prestigious Carmine Caruso Jazz Trum- ‘Hiding in Public,’ while hitting a sim- www.basschurch.com www.basschurch.com www.basschurch.com pet Competition Award, he moved mer on the minor-key blues ‘Yakima.’ to New York City and immediately Gary Versace … provides the roux began to play with there. During this that holds this rich assembly together. time on the East Coast, he completed Human Spirit works in all quarters, Sales, Rentals, Sales, Rentals, Sales, Rentals, three world tours with Maynard Fer- hitting on all cylinders while deliver- Repairs, Restorations, Repairs, Restorations, Repairs, Restorations, guson’s Big Bop Nouveau Band. He ing a bang-up good jazz time.” Lessons Lessons Lessons then worked with other artists such Marriott and company’s perfor- Convenient North Seattle Location Convenient North Seattle Location Convenient North Seattle Location

as Chico O’Farrell, Les Brown, Joe mance tonight will no doubt hit on all Locke, Ritchie Cole and Eric Reed. cylinders once again to provide a fast- (206)784-6626 (206)784-6626 (206)784-6626 9716 Phinney Ave. N. 9716 Phinney Ave. N. 9716 Phinney Ave. N. Since returning to Seattle, he has be- paced evening of music to help kickoff Seattle, WA. 98103 Seattle, WA. 98103 Seattle, WA. 98103 come a driving force in the city’s thriv- the festival’s opening weekend. ~by appointment only~ ~by appointment only~ ~by appointment only~ ing jazz scene. – Danielle Bias

October 2011 • EARSHOT JAZZ • 13 SATURDAY, OCTOBER 15, SEATTLE ASIAN ART MUSEUM, 8PM Trio BraamDeJoodeVatcher

Support provided by the Consulate General of the Netherlands $18 general, $16 members/seniors, $10 students One of the great New Dutch Swing outfits, Trio BraamDeJoodeVatcher comprises three titans of European creative music who are as unpredict- able as they are technically stunning: Michiel Braam (piano), Wilbert de Joode (double bass) and American-in- Amsterdam Michael Vatcher (drums). While the American jazz world’s focus is understandably within its own Michiel Braam, Wilbert de Joode and Michael Vatcher shores, the fact is that Europe has pro- duced as much genre-expanding music All three members of the trio are their sound by such measures as add- over the last few decades as the form’s great, intuitive improvisers, and all ing a fourth player to each appearance home continent. With an admixture three have the chops to make much by their 2010 project, Trio BraamDe- of folk strains and fresh perspectives, of the moment by moment eddies that JoodeVatcher Quartet, and they were European players and composers have flow among them. BraamDeJoode- players of vastly varied styles and his- constantly refreshed the art form. No- Vatcher is a collective in the true sense: tories – Fred Anderson, Paul Dunmall, where has that been more true than in the three players drive each other for- Taylor Ho Bynum, Mats Gustafsson, the Netherlands. ward, and have each other’s backs. Nils Wogram. It was no mistake that Eric Dol- Their cohesion, at once locked in Critics greeted the results enthusias- phy looked, late in his career, to two and liberating, stems in part from tically. In Chicago Reader, Peter Mar- emerging masters, pianist Misha Men- their long musical association, which gasak noted: “Braam has no problem gelberg and drummer Han Bennink, dates back to 1990. It was then that reconciling historical impulses with to bring new growth to his already the two Dutchmen and Vatcher, an more contemporary gestures, and like reimagined jazz. And no two players American expatriate, got together to fellow Dutch pianist Misha Mengel- have had a greater influence on what play the music of Thelonious Monk. berg, he’s fond of exploding a hard- has since emerged from Amsterdam, Soon, they were playing only Mich- swinging line with a burst of dissonant which has now long been one of the iel Braam’s compositions. Typifying clusters and spiky runs; Vatcher and de great hotbeds of musical art. his approach were the 18 miniatures Joode take similar delight in upending For ensuring its continued good he wrote for Change This Song; they the flow of the tunes. Onstage, any health for years to come, we can thank could be played in any order, mood or of them might call out a new song in the likes of pianist Michiel Braam, style. To emphasize the group’s play- midstream, which gives their concerts double bassist Wilbert de Joode, and ful approach, Braam created 18 titles thrilling tension – but even if someone drummer Michael Vatcher. Together that were all anagrams of “change this manages to pull the rug out from un- they comprise one of the freshest small song.” (In Braam’s untiring quest for der the others, they always regain their ensembles in jazz. They typify a - Eu fresh sounds and ideas, he later re- footing, deftly and elegantly.” ropean simultaneous devotion to the corded all 18 pieces again, on Hosting “Trio BraamDeJoodeVatcher is one whole tradition of jazz and wariness of Changes, but this time with a Wurlitzer of Europe’s strongest groups, due in no tired jazz tropes that continue to un- organ backed by a drummer and elec- small part to Braam’s excellent com- derpin so much American jazz prod- tric bassist.) posing,” Andrey Henkin wrote in All uct. Their take is at once savvy, experi- Among tours of Europe, North About Jazz. mental, and alert to audiences’ wishes America, Japan and Indonesia, the – Peter Monaghan to be both transported and embraced. three masters ensured the freshness of

14 • EARSHOT JAZZ • October 2011 SATURDAY, OCTOBER 15, UW BRECHEMIN AUDITORIUM, 8PM Craig Taborn & Gust Burns

Presented by the UW School of Music, played and recorded with many lu- piano. He performs on both tradition- Nonsequitur and Earshot Jazz minaries, including Roscoe Mitchell, al piano – playing the keyboard – and Free Wadada Leo Smith, Tim Berne, Steve “inside piano,” or re-assembled and Two leaders of East and West coast Coleman, Carl Craig, Dave Douglas altered piano soundboard and strings, piano innovation debut a collaborative and Rudresh Mahanthappa. Taborn with or without electronics. two pianos project. Both contribut- leads the Craig Taborn Trio, Junk He has long-standing collaborations ing compositions and combining their Magic, and the Ancients and Moderns with top improvisers, including Wally respective approaches to post-jazz vir- ensemble, and is a member of pro- Shoup, Jeff Johnson, Tim DuRoche, tuosity and musicality, Taborn and gressive noise/punk band The Gang and many others. He has performed Burns supply a contemporary voice to Font and the instrumental pop group and recorded with Keith Rowe, Radu the tradition of two-piano jazz impro- Golden Valley. Malfatti, Andrea Neumann, Tetuzi visation. Seattle-based pianist and composer Akiyama, Stéphane Rives, Jason Kahn, Born in Minnesota, Craig Taborn Burns continues to develop new routes Michael Pisaro, John Edwards, Adam has been performing piano and elec- into improvisation on the piano, work- “Doseone” Drucker, Jack Wright, and tronic music in the jazz, improvisa- ing with diverse areas of music, such many others. Burns was also director tional and creative music scenes for 20 as silence, density, structure and alter- of the Seattle Improvised Music Festi- years. Jazz Times has called him “[p] native narrative approaches, extending val from 2003-2011 and co-founder of erhaps the most influential keyboard traditional piano technique, and de- Gallery 1412. sideman of the past 15 years.” He has veloping new techniques for inside the – Danielle Bias SUNDAY, OCTOBER 16, SEATTLE ART MUSEUM, 8PM Eric Vloeimans’ Gatecrash Support provided by the Consulate and four Edison Awards for accom- General of the Netherlands. Welcomed plishment in jazz performance and by Community Radio, KBCS, 91.3FM. recording. $18 general, $16 members/seniors, $10 “He’s got the technical command students you’d expect of a conservatory-trained The stellar Dutchman’s Gatecrash virtuoso, and the kind of expressive chain-links lazy lounge, hard-core potency that can only be learned on beats, spaced-out moods and Zap- the improvising bandstand, but what’s Eric Vloeimans photo by Merlijn Doomernik paesque meters. most impressive about his music is that Eric Vloeimans has joined the ranks it’s so deliciously good-natured,” wrote Jeroen van Vliet on keyboards, Gulli of European jazzmen altering the art Alex Varty of Vancouver’s Georgia Gudmundsson from Iceland on bass form with a mixture of dazzling skill Straight. and effects, and emerging drum star and soaring imagination. Whether Vloeimans’ Gatecrash quartet is win- Jasper van Hulten – all of whom in- performing original compositions or ning rave reviews for its “lush, exuber- flect the band’s sound with surprise. making use of a wide variety of oth- ant melody,” and its “warm, plaintive, Reviewers have cited Gatecrash’s “pol- ers’, he draws from a rich palette to sometimes soaring, sometimes con- ished, sophisticated, under-the-radar achieve a distinctive personal style, at templative” sound – “one part jazz, one music, exceptionally conceived and once sonically polished and stylisti- part late-19th-century Romanticism, played,” and its leader’s “melodic style cally daring. That, and also technical- with influences from the pampas of Ar- evocative of late-period Miles Davis.” ly dazzling. Those attributes have won gentina to the Portuguese coast.” The results are “breathable, seriously him numerous Dutch and European It derives those qualities from locked- unpretentious, fun, beautiful, profound awards, including the prestigious Bird in intuitive cooperation among its four and just plain good” (All About Jazz). Award at the North Sea Jazz Festival members – Vloeimans, soundscapist – Peter Monaghan

October 2011 • EARSHOT JAZZ • 15 SUNDAY, OCTOBER 16, TULA’S, 7:30PM Emi Meyer’s Japan Trio

$12 general, $10 members/seniors, $6 students Born in Kyoto, Japan, and raised in Seattle, Emi Meyer’s culturally rich heritage has shaped the unique jazz-inspired pop sound heard on her three albums to date, including one recorded entirely in Japa- nese. Meyer began her musical career early in life, starting with classical piano at the age of 6 and eventually expanding to jazz “for the spontaneity it offered.” It was her jazz background that paved the way for her win at the 2007 Seattle-Kobe Jazz Vocalist Competition – a contest between residents of Seattle and its sister city of Kobe, Japan. Following her win, Meyer had the first of many performances in Japan, where she has subsequently enjoyed a great deal of success, and she credits the competition with giving her the courage to ultimately pursue her musical ambitions. With the release of her first album, Curious Crea- ture, Emi was invited to perform at the legendary Sundance Film Festival and shot to the very top of the Japanese jazz charts after her single “Room Blue” was chosen Single of the Week on iTunes. She continues to evolve as an artist, and her latest work, Suitcase of Stones, is a refreshingly unique blend of jazz, pop and soul, using powerful lyrics carried effortlessly along by her signature melodies. The record was mixed and mastered by Husky Huskolds, who has worked with the likes of Norah Jones and Yael Naim. Japan Times praised Meyer’s performance on Suitcase of Stones, citing Meyer’s “gift for belting out warm, wistful songs with a hint of nostalgia.” Fresh from a string of charity concerts to support the country that has given her so much, Meyer is joined for this Earshot Jazz Festival performance by Motoki Yamaguchi (drums) and Masanori Hattori (bass). – Danielle Bias Emi Meyer photo by Ken Goto

16 • EARSHOT JAZZ • October 2011 TUESDAY, OCTOBER 18, CHAPEL PERFORMANCE SPACE, 8PM Rich Halley Trio +1

$12 general, $10 members/seniors, $5 For over two decades, Halley was the Halley also appears with the Outside students leader of the Lizard Brothers sextet; he Music Ensemble, a four-horn, two- The Portland saxophonist percussionist group that per- and composer returns with his forms acoustically in outdoor Tap Rack Bang Trio, featur- settings. He has performed with ing four veterans of progres- Andrew Hill, Bobby Bradford, sive jazz: Vancouver bass stal- Vinny Golia, Tony Malaby, Ju- wart Clyde Reed, and Oregon lius Hemphill, Michael Bisio, drummer Carson Halley, plus Oliver Lake, Obo Addy, Rob acclaimed trombonist Michael Blakeslee and Bert Wilson. Vlatkovich. Described as both Bassist Reed is one of the “freewheeling and satisfying” founders of the NOW Orches- by DownBeat magazine, Halley tra and has performed with has released more than a dozen Bradford, Golia, Wadada Leo critically acclaimed recordings Smith, George Lewis, Barry and performs in settings that Guy, Marilyn Crispell, Peter range from solo improvisations Brotzmann and many leading to large group explorations. Canadian musicians. Drummer Signal to Noise points out that Halley studied with Bradford “Halley has a knack for writ- at Pomona College and later ing open melodic themes full began playing with his father. of aggressive swing that provide He brings contemporary musi- effective structures for free- cal sensibilities to the group and wheeling exploration. [Drum- Rich Halley photo by Bob Pyle has performed with a variety mer Dave] Storrs and Reed are of musicians in jazz and rock masters at propelling the pieces along has also led the Multnomah Rhythm groups, including Golia, Shakespeak, with an elastic sense of time, moving Ensemble, a group that combined new The Wayward Trio and Ruby Star- back and forth from pulsing groove to jazz with multi-media. The founder fruit. open freedom with relaxed authority.” of Oregon’s Creative Music Guild, – Danielle Bias

Presented in collaboration with Earshot Jazz

ART OF JAZZ Jon Jang In conjunction with Seattle Art Museum’s exhibition Luminous: The Art of Asia, internationally renowned Jon Jang presents a special solo piano concert. Thursday, October 13, 5:30–7:30 pm Seattle Art Museum, Downtown 1st Avenue & Union Street All ages Art of Jazz Seating is limited and available Sponsors: on a first-come, first-served basis. seattleartmuseum.org

October 2011 • EARSHOT JAZZ • 17 TUESDAY, OCTOBER 18 & WEDNESDAY, OCTOBER 19, TULA’S, 7:30PM Matt Slocum Trio

$12 general, $10 members/seniors, $5 student The award-winning New York drummer and the expansive Dan- ny Grissett (piano) and Darek Oles (bass) appear in support of After the Storm (2011), Slocum’s inspired recent release. At 29, Slocum is emerging as a leading jazz artist of his genera- tion. His original works on After the Storm show a level of compositional depth, recently recognized with composition grants from the American Music Center, the Puffin Foundation, and the Meet the Composer Foundation. Slocum has been featured on more than twenty recordings and has performed or recorded with artists such as Shelly Berg, Seamus Blake, Alan Broadbent, Steve Cardenas, Bill Cunliffe, Taylor Eigsti, Larry Koonse, Lage Lund, Wynton Matt Slocum Marsalis, Linda Oh, Alan Pasqua, Jerome Sabbagh, Jaleel Shaw, Walter Smith III, Dayna Stephens, Ben Wen- del, Gerald Wiggins, Anthony Wilson and the Dallas Symphony Orchestra. His jazz trio work has earned a reputation as some of the most modern yet swinging in jazz today. Slocum was born in St. Paul, Min- nesota, and began playing the drums, after piano, at age 11. He attended the University of Southern California on a full scholarship, where he met classmates and collaborators Gerald Clayton and Massimo Biolcati. Now in New York, Slocum continues he growth of his artistry on the drums. Slocum has been frequently noted as a musical drummer. “The man has found his drumming voice, and at an early age!” Peter Erskine says. While Slocum has a deep understanding of the jazz tradition, his intuitive and interactive musical language on the drums avoids the predictable. He possesses a personal voice on the instrument and is a propulsive, melodic and dynamic accompanist and soloist. And like his band mates, Slocum’s identifiable touch and sound is greatly attuned to needs of the music. – Compiled by Schraepfer Harvey

18 • EARSHOT JAZZ • October 2011 WEDNESDAY, OCTOBER 19, CHAPEL PERFORMANCE SPACE, 8PM Avram Fefer Trio featuring Chad Taylor & Michael Bisio

$15 general, $13 members/seniors, $7 Paris, he found many new sources of students inspiration and growth, including a vi- Praised by All About Jazz for his “un- brant African and Arabic music scene deniably spiritual feel for the music,” and a wealth of American expatriate Avram Fefer musicians. takes the stage His own bands with a formi- were featured dable trio, fea- regularly in turing drummer many of Paris’ Chad Taylor top jazz clubs, (known for his and he per- Open to All - Free work with the formed with fel- Chicago Un- low ex-pats Jack derground) and Gregg, Bobby th Season former Seattle Few, Graham 10 bassist Michael Haynes, Archie begins Oct 2 Bisio (of the Shepp, Kirk Matthew Shipp Lightsey, Oliver Trio). Fefer has Johnson, John led or co-led Avram Fefer Betsch, Sunny bands through Murray and Ra- ten highly regarded albums. With a sul Siddik, among others. He is fea- distinctive voice on alto, tenor and so- tured on diverse recordings, including Sunday, Oct 2, 6 pm prano saxophones, as well as bass clari- by rap originators the Last Poets (Scat- net, he brings depth, intelligence and terap/Home), and with jazz legend Danny Quintero soulfulness to every situation he’s in. Archie Shepp on drummer Steve Mc- Tonight’s concert will feature many se- Craven’s Song of the Forest Boogeraboo. and his Quartet lections from his latest release, Eliyahu Since moving to New York, Fefer has Clarence Acox, Overton Berry, (NotTwo Records, 2011), a fine col- continued to indulge his passion for Phil Sparks, and Tony Randalone lection of memorable and infectious a wide variety of music but has par- compositions, brimming with impro- ticular success with the sax-bass-drum Sunday, Nov 6, 6 pm visation and soulful grooves. trio format and continues to use this Fefer was born near San Francisco, as one of his primary musical vehicles. Greg Ruby but his family eventually settled in the As a section player and soloist, Fefer Seattle area. After several years in the has been featured in a number of large and his Quintet hands of inspirational high school jazz ensembles, including Adam Rudolph’s band director Leo Dodd, Fefer went Organic Orchestra, the David Murray 100 Minutes of professional jazz on to receive a liberal arts degree at Big Band, Butch Morris Orchestra, Family friendly concert | Free parking Harvard University and studied music Joseph Bowie Big Band, Mingus Big at Berklee College and the New Eng- Band, Frank Lacy’s Vibe Tribe, and Seattle First Baptist Church land Conservatory. He then moved the Rob Reddy Octet. Fefer also has 1111 Harvard Avenue (Seneca and Harvard on First Hill) to Paris, France (1990-95), where he a thriving private teaching practice in Seattle, WA (206) 325-6051 began his career as a saxophonist, downtown Manhattan. www.SeattleJazzVespers.org/GO/SJV composer, bandleader and teacher. In – Danielle Bias

October 2011 • EARSHOT JAZZ • 19 THURSDAY, OCTOBER 20, KIRKLAND PERFORMANCE CENTER, 7:30PM Tommy Dorsey Orchestra

$32-$35 In big band history, the Tommy Dorsey Orchestra is recognized as one of the best all-around. Tommy Dors- ey, “the Sentimental Gentleman of Swing,” was a master at creating warm, sentimental and always musical moods – at superb dancing and listening tempos. Dorsey sustained these moods through the arrangements of the likes of Paul Weston, Axel Stordahl and Sy Oliver, and he showcased singers who could project them brilliantly. Nick Hilscher, a young veteran of big band experience, picks up the baton for this performance with the Tommy Dorsey Orchestra. Tommy Dorsey Orchestra Though he might have been ranked second at any given moment to Benny The band’s music was character- notable jazz soloist. He was vastly ad- Goodman, Artie Shaw, Glenn Miller ized by smooth, well-crafted arrange- mired by other musicians, however, for or Harry James, Dorsey (1905-1956) ments played with great precision and, his technical skill on his instrument. was consistently one of the most pop- at times, with excellent jazz solos by His tone was pure, his phrasing was ular bandleaders of the swing era that Bunny Berigan, Yank Lawson, Buddy elegant, and he was able to play an al- lasted from 1935 to 1945. He provided Rich, and others. One of its most suc- most seamless legato line; as a player of showcases to vocalists like Frank Sina- cessful recordings was Boogie Woogie ballads, he has rarely been surpassed. tra, Dick Haymes and Jo Stafford, (1938), an orchestral adaptation of a (Biographical information on Dorsey and he employed inventive arrangers piano piece by Pine Top Smith; other courtesy of The New Grove Diction- such as Oliver and Bill Finegan. The hits included lively swing versions of ary of Jazz, Oxford University Press, biggest-selling artist in the history of “Marie” and “Song of India” (1937), 2000.) RCA Victor Records until the arrival both with brilliant solos by Berigan. In 1956, Dorsey’s unexpected death of Elvis Presley, Dorsey studied trum- However, Dorsey’s orchestra was shocked the music world. A year and pet with his father, a part-time musi- known primarily for its renderings of a half later, following some legal pro- cian, and later changed to trombone. ballads at dance tempos, frequently ceedings with his estate, a new Dorsey With his brother Jimmy he was leader with singers such as Jack Leonard and Orchestra was formed, under the di- of Dorsey’s Novelty Six and Dorsey’s Sinatra. rection of trombonist Warren Coving- Wild Canaries, then in the early 1920s After the collapse of the swing-band ton, who led it until the fall of 1961 played with the Scranton Sirens. Later movement in the late 1940s, Dorsey and then went out under his own that decade, he moved to New York, struggled to keep his band intact. name. At that time, tenor saxophon- where he was in demand as a player Eventually he brought in his brother ist Sam Donahue was hired to lead the in studio and pit orchestras. In 1934 Jimmy and the two ran another ver- band, which he did, featuring Frank he founded with Jimmy the success- sion of the Dorsey Brothers Orchestra Sinatra, Jr., as its lead male vocalist, ful but short-lived Dorsey Brothers (1953-6), which had some success, until the Dorsey name was dropped in Orchestra. After a public argument in particularly in its television appear- 1965. Another trombonist, famed stu- 1935, the two separated, and Tommy ances. Although Dorsey recorded, dio musician Urbie Green, conducted organized a dance orchestra of his especially in the 1920s, with Bix Bei- a Dorsey group in New York City from own, which quickly became one of the derbecke and other major jazz players, late 1966 into early 1967. For a num- most popular of the swing era. he was not in his day recognized as a ber of years afterwards, there was no

20 • EARSHOT JAZZ • October 2011 Tommy Dorsey Orchestra at all. In THURSDAY, OCTOBER 20, TULA’S, 7:30PM April 1974, trombonist and respected big band sideman Murray McEachern was approved to reform a Dorsey band, Beat Kaestli Group but, after two years with the group, he suffered a debilitating stroke. The band $14 general, $12 members/seniors, $7 was on hiatus for about a year, until students in 1977, popular bandleader and trom- Beat Kaestli is an internationally ac- bonist Buddy Morrow agreed to direct claimed vocalist, songwriter, arranger the band and remained at the helm for and producer. Germany’s Jazz Thing a remarkable 30 years! It was only with eloquently described him this way: Beat Kaestli “With his unique voice, flowing be- Morrow’s death at the age of 91 last Frahm, Billy Drummond, Magos tween a dark timbre and fragile bril- year that the Tommy Dorsey Orches- Herrera and Hendrik Meurkens. liance, he easily joins the ranks of the tra was, again, without a front man. In 2005, Kaestli was the chosen vo- modern jazz crooners [Harry Con- In April 2011, Hilscher was se- calist for the Glenn Miller Orchestra, nick Jr., Michael Buble, Kurt Elling], lected to lead the band. Perhaps best thrilling audiences in concert halls but his distinct principle of sparseness known as a former vocalist with the across the USA. Since the release of his sets him apart from the rest.” Kaestli Glenn Miller Orchestra under Larry acclaimed CD Happy, Sad and Satisfied has forged jazz, R&B, gospel, musical O’Brien’s direction, Hilscher had in 2006, he is touring the world exten- theater, and Latin jazz into a personal also been singing with Morrow and sively with his own projects, showcas- style based in European song. the Dorsey orchestra. Morrow served ing his music in renowned clubs and at In 1993 he moved from Switzerland as a great encourager and mentor to festivals across the US, Europe, Mex- to New York, leaving behind a prom- Hilscher, bringing out the best in his ico, Central America and Canada. In ising singing career in his homeland, performances and musicianship. Since 2007 he earned the Ella Fitzgerald and was awarded a scholarship to the 2005, Hilscher has been the featured Foundation Scholarship to complete Manhattan School of Music. While vocalist with the Tommy Dorsey Or- his master’s degree from the Aaron honing his craft alongside noteworthy chestra and was the featured vocalist Copland School of Music, which was jazz performers, such as Jane Monheit, for a 100th birthday celebration of followed by the release of his lauded Jason Moran and Stefon Harris, he im- Tommy Dorsey with the Julliard Jazz 2009 European song tribute Far From mersed himself in Manhattan’s fiercely Orchestra in 2005, under the direc- Home. Last year was highlighted by competitive music scene, emerging as tion of Victor Goines. Hilscher is car- his major jazz label debut, an eclectic a seasoned performer. He performs rying on the tradition as director of array of American standards, Invita- with artists like Esperanza Spalding, the Tommy Dorsey Orchestra. tion, on the Chesky label. Jon Hendricks, Gregoire Maret, Joel – Compiled by Danielle Bias – Danielle Bias

PRESENTS VALLEY VIbES JAZZ CONCERT AND CONVERSATION FRIDAY / OCTObER 14 / 7PM RAINIER VALLEY CULTURAL CENTER 3515 S. Alaska St., Seattle, 98118 FREE ADMISSION ELSPETH SAVANI Donations accepted at the door AND CORREO AEREO FOR MORE INFORMATION Plus, a post-concert reception and conversation, “WoMeN iN JAzz: Please call 206.760.4286 BreAkiNg the glASS CeiliNg” with elspeth Savani and Madeleine Sosin. Mark your calendars for more Valley Vibes 2nd Friday, Jun-Nov 2011

October 2011 • EARSHOT JAZZ • 21 FRIDAY, OCTOBER 21, TULA’S, 7:30PM Johnaye Kendrick Quartet

$14 general, $12 ous Monk In- members/seniors, stitute of Jazz, a $7 students graduate program Jazz vocalist which focuses on Johnaye Kendrick jazz performance began studying and composition. music at age six. While attending Not only is she the Thelonious an accomplished Monk Institute, singer and violin- Kendrick worked ist, she has con- with many jazz siderable writing legends, includ- skills, resulting in ing Terence dozens of original Blanchard, Wayne compositions, sev- Shorter, Herbie eral of which she Hancock, Dani- has performed in lo Perez, Kurt venues from Paris Rosenwinkel and to Kalamazoo. Brian Blade. She Her vocals recall Johnaye Kendrick photo by Scott Myers received a mas- Sara Vaughan and ter’s degree in jazz Vocalist, and was featured on an hon- Dinah Washington, but interpreted in studies from Loyola University, and an ors recital with pianist Fred Hersch. her own dynamic style. artist’s diploma from the Thelonious In the summer of 2005, she was a fea- A San Diego native, Kendrick re- Monk Institute. tured soloist in a piece composed and ceived a Bachelor of Music from West- After graduating from the institute, directed by legendary bassist Rufus ern Michigan University in 2005. Kendrick was immediately hired by Reid for the International Society of During her time at Western Michi- trumpeter Nicholas Payton, who raves, Bassists Conference. gan, she received a DownBeat Student “Johnaye has the potential to be a vo- In the fall of 2007, Kendrick was Music Award as an Outstanding Jazz calist of the highest order; the likes of accepted to the prestigious Theloni- which we have seen seldom since the grande dames of the golden era of jazz roamed about the earth. She’s got IT!” In addition to her many travels with the Nicholas Payton Sextet, Kendrick is also the featured vocalist with the Ellis Marsalis Quartet and the New Orleans Jazz Orchestra. The orchestra won a Grammy Award in the 2009 Best Large Jazz Ensemble Album cat- egory for their latest release, Book 1, on which Kendrick was the featured vocalist. Kendrick currently resides in Seattle and serves as the Assistant Pro- fessor of Jazz Voice at Cornish College of the Arts. – Danielle Bias

22 • EARSHOT JAZZ • October 2011 FRIDAY, OCTOBER 21, ILLSLEY BALL NORDSTROM RECITAL HALL AT BENAROYA HALL, 8PM Brad Mehldau

Welcomed by KPLU 88.5FM NPR on September 27, 2005. An exciting Coleman, and Philip Glass, performed $32 general, $30 members/seniors, $16 double live trio recording entitled Brad by the two pianists in arrangements by students Mehldau Trio Live (Nonesuch) was re- Zimmerli. Jazz pianist Brad Mehldau has released on March 25, 2008, to critical Mehldau has performed around the corded and performed extensively acclaim. On March 16, 2010, None- world at a steady pace since the mid- since the early 1990s, with 1990s. Mehl- his trio and as dau’s most con- a solo pianist. sistent output His perfor- over the years mances convey has taken place a wide range in the trio for- of expression. mat. Starting There is often in 1996, his an intellec- group released tual rigor to a series of five the continu- records on ous process Warner Bros. of abstraction entitled The that may take Art of the Trio. place on a giv- During that en tune, and a same period, certain density Mehldau also of information. released a solo That could be piano record- Brad Mehldau photo courtesy of Suntory Hall followed by a ing entitled stripped down, Elegiac Cycle, and a record called Places such released a double-disc of origi- emotionally direct ballad. Mehldau that included both solo piano and trio nal work entitled Highway Rider, the favors juxtaposing extremes. He has songs. Elegiac Cycle and Places might highly anticipated follow up to Largo. attracted a sizeable following over the be called “concept” albums. They are The album was Mehldau’s second col- years, one that has grown to expect a made up exclusively of original ma- laboration with renowned producer singular, intense experience in his per- terial and have central themes that Jon Brion and featured performances formance. hover over the compositions. Other by Mehldau’s trio, as well as percus- In addition to his trio and solo proj- Mehldau recordings include Largo, a sionist Matt Chamberlain, saxophon- ects, Mehldau has worked with a num- collaborative effort with the innova- ist Joshua Redman, and a chamber ber of great jazz musicians, including a tive musician and producer Jon Brion, orchestra led by Dan Coleman. On rewarding gig with saxophonist Joshua and Anything Goes – a trio outing with February 22, 2011, Nonesuch released Redman’s band for two years, record- bassist Larry Grenadier and drummer Live in Marciac – a two CD release ings and concerts with Pat Metheny, Jorge Rossy. with a companion DVD of the 2006 Charlie Haden and Lee Konitz, and His first record for Nonesuch, Brad performance. On September 20, 2011, recording as a sideman with the likes Mehldau Live in Tokyo, was released Nonesuch Records released Modern of Michael Brecker, Wayne Shorter, in September 2004. After ten reward- Music, a collaboration between pia- John Scofield, and Charles Lloyd. For ing years with Rossy playing in Me- nists Brad Mehldau and Kevin Hays more than a decade, he has collabo- hldau’s regular trio, drummer Jeff and composer/arranger Patrick Zim- rated with several musicians and peers Ballard joined the band in 2005. The merli. The album features pieces writ- whom he respects greatly, including label released its first album from the ten by each of the three musicians as the guitarists Peter Bernstein and Kurt Brad Mehldau Trio – Day is Done – well as works by Steve Reich, Ornette Rosenwinkel and tenor saxophon-

October 2011 • EARSHOT JAZZ • 23 ist Mark Turner. Mehldau also has SATURDAY, OCTOBER 22, TOWN HALL SEATTLE, 8PM played on a number of recordings outside of the jazz idiom, like Willie Nel- Celebrating Coltrane & Mingus: son’s Teatro and singer-songwriter Joe Henry’s Scar. His music has appeared We Four in several movies, including Stanley (Javon Jackson, Mulgrew Miller, Nat Reeves & Jimmy Cobb) Kubrick’s Eyes Wide Shut and Wim Wender’s Million Dollar Hotel. He also composed an original soundtrack Sonando for the French filmMa Femme Est Une Co-presented with the Central District Actrice. Mehldau composed two new Forum for Arts & Ideas works commissioned by Carnegie Hall Welcomed by KPLU 88.5FM NPR for voice and piano, The Blue Estuar- $22 general, $20 members/seniors, $10 ies and The Book of Hours: Love Poems students to God, which were performed in the John Coltrane remains one of jazz spring of 2005 with the acclaimed clas- music’s most revered artists, nearly 44 sical soprano Renee Fleming. These years after his death. For this concert, songs were recorded with Fleming and the collective We Four proves that the released in 2006 on the Love Sublime saxophonist’s music can still electrify record; simultaneously, Nonesuch re- audiences with its combination of po- leased an album of Mehldau’s jazz tent swing and spiritual depth. Featur- compositions for trio entitled House ing legendary drummer Jimmy Cobb, on Hill. A 2008 Carnegie Hall com- the 82-year-old provides much of this mission for a cycle of seven love songs band’s heat. Cobb is joined in We Four for Swedish mezzo-soprano Anne So- by tenor saxophonist Javon Jackson, fie von Otter premiered in 2009. Love pianist Mulgrew Miller and bassist Pe- Songs, a double album that paired the ter Washington, a new band of highly newly commissioned song cycle, with esteemed New York jazz players, all a selection of French, American, Eng- of whom feel a special connection to lish and Swedish songs that Mehldau John Coltrane. Javon Jackson and von Otter performed together, An NEA Jazz Master, Cobb’s playing was released in late 2010 (on the Naïve on Coltrane recording sessions is un- Shaw’s Quintet, three with the Mercer label) to unanimous praise. forgettable. He famously played with Ellington Orchestra and over six years Mehldau was appointed as curator Coltrane in the Miles Davis band of with the Tony Williams Quintet. He of an annual four-concert jazz series the late 1950s, including on Kind of is featured on over 400 recordings at London’s prestigious Wigmore Hall Blue. Not to be overlooked is his stand- total and has composed nonstop. In during its 2009-10 and 2010-11 sea- out performance on the recording of 1985 Miller made his first recording as sons, with Mehldau appearing in at one of Coltrane’s most renowned bal- a leader for producer Orrin Keepnews’ least two of the four annual concerts. lads, “Naima,” a tune likely to be performer label, Landmark, and later re- In late January 2010, Carnegie Hall formed tonight. Cobb’s inspirational corded on the RCA Novus label. He announced the 2010-11 season-long work with Davis, Coltrane, Cannon- tours throughout the world and is also residency by Mehldau as holder of ball Adderley and company spanned a member of the Contemporary Piano the Richard and Barbara Debs Com- 1958 until 1962 and included work on Ensemble, a unique group consisting poser’s Chair at Carnegie Hall – the Sketches of Spain, Someday My Prince of four pianists performing simulta- first jazz artist to hold this position Will Come, Live at Carnegie Hall, Live neously on four grand pianos with since it was established in 1995. Previ- at the Blackhawk, Porgy and Bess, and a rhythm section. Other innovative many, many other landmark Miles projects include his duos with Dan- ous holders include Louis Andriessen Davis recordings. ish jazz bassist Niels-Henning Orsted (2009-2010), Elliott Carter (2008- Miller is a most excellent pianist who Pedersen. 2009), and John Adams (2003-2007). has worked steadily as a musician, Jackson came into international – International Music Network including three years with Woody prominence as a member of Art Blakey

24 • EARSHOT JAZZ • October 2011 and the Jazz Messengers. He has also forming in every major jazz venue in panded nonet with guests Thomas toured and recorded with Elvin Jones, the world. Marriott (trumpet) and Mark Taylor Betty Carter, Cedar Walton, Ron We Four’s repertoire will explore (sax) will bring a Latin slant to the Carter, Dr. Lonnie Smith, Curtis many of the classic tunes associated restless genius of Charles Mingus. Fuller, Stanley Tur- Sonando received the rentine and many Earshot Golden Ear others. As a record- Award for Best Acous- ing artist, Jackson tic Jazz Band of 2007, has appeared on and leader Hoadley has over 125 record- performed with a long ings and has devel- list of Northwest Latin oped a formidable bands, including Ex- career as a leader, presión Latina, Yerba- recording and tour- buena, The Puentes ing throughout the Brothers and Grupo world. His cur- Son. His love of Latin rent musical group, music brought him to The Javon Jackson Cuba in 1983, 1990, Band, incorporates 1993 and 1996, where many styles, includ- he studied piano and ing jazz, funk, R&B Sonando arranging with Cesar and rock. Pedroso and Nelson Reeves was introduced to the elec- with Coltrane, including “Impres- Diaz, and Cuban tres guitar with An- tric bass by his grandfather, Russell sions,” “Giant Steps,” “Mr. PC,” “Cen- tonio Perez and Guillermo “Boulet” Jackson. By 1979, he was in New York tral Park West,” “Fifth House,” “Like Matalear. He currently plays piano City, performing in small jazz clubs Sonny,” “Blues to Elvin” and “Count- and tres in Sonando, Cambalache, and at jam sessions. He soon after down,” in addition to original material Charanga Danzón, The Susan Carr toured the US and Japan with Sonny inspired by John Coltrane. Ensemble and Wesito & Friends. He Stitt and worked with Jackie McLean, Opening for We Four will be Sonan- also teaches piano, tres and Afro- including teaching alongside McLean do, founded in 1990 by Fred Hoadley Cuban jazz ensembles at Musicworks at the University of Hartford. Influ- and Lary Barilleau for the purpose of Northwest and Music Center North- enced most by bassists Sam Jones, Paul exploring new directions in the blend- west. Chambers and Ron Carter, Reeves is a ing of Afro-Cuban rhythms and jazz. – Danielle Bias gifted musician, who can be seen per- For this festival performance, an ex-

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October 2011 • EARSHOT JAZZ • 25 SATURDAY, OCTOBER 22, KIRKLAND PERFORMANCE CENTER, 8PM Evan Flory-Barnes: Acknowledgement of a Celebration: Inheritance, Authenticity & Healing

Evan Flory-Barnes conducts Acknowledgment of a Celebration at the 2009 Earshot Jazz Festival. Photo by Daniel Sheehan.

Commissioned as part of a national se- An oboe moans. French horns herald so audience members can watch all the ries of works from Meet the Composer’s an opening melody. Acknowledgement activities on stage. Commissioning Music/USA program of a Celebration, a ten movement, fif- This staging will feature lighting Welcomed by Community Radio, ty-five minute opus commissioned by design unavailable in previous venues KBCS, 91.3FM Meet the Composer, rises into the air. and additional rehearsal time to en- $22-$25 So begins the initial scene from a hance musical subtleties. Additionally, Evan Flory-Barnes stands six foot video recording of the 2009 premier this concert will draw on a wider rep- three, in suit and tie, in front of a thir- of Celebration. Copies of this DVD ertoire and include Flory-Barnes per- ty-five member chamber orchestra at and audio CDs will be available at forming new compositions on bass. Seattle’s Town Hall. He scans the mu- this year’s Earshot Jazz Festival perfor- But there’s more than music in this sicians. Left. Right. He rubs his palms mance of the piece. performance. With roots in the hip- together. No baton. He smiles broadly The commission for Celebration hop band Maroon Colony, Garfield and adjusts his jacket. He glances requires four public performances. Orchestra, and University of Wash- down at the score. His head tips back. It premiered November 8, 2009, at ington jazz program, Celebration com- His eyes close. He whispers in a slow Town Hall and was restaged in 2010 bines rhythmic loops, orchestral in- tempo, “One, two, three, four ...” as he at Benaroya Hall. Flory-Barnes’ alma strumentation, and melodic improvi- conducts with both hands, fingers gen- mater, Garfield High School, is be- sation to propel a group of male break tly closed. The count off is more like a ing considered for the final yet to be dancers and female modern dancers in jazz ensemble leader starting a familiar scheduled performance. spontaneous choreography. ballad than a conductor launching a If you missed past performances of In the second movement, dancers symphony debut. Celebration, grab this opportunity to lie on the ground while an oboe and Violas and cellos sway back and forth experience it live in the most intimate cello solo over a slow drum pulse and in unison between two notes. A celeste venue to date. Only thirteen rows of bowed chords. One by one, feet and chimes like an old fashioned clock. seats separate the back wall from the legs rise, twist slow motion in the air, Glissandos rise from a harp. Dense stage at the Kirkland Performance bodies upended on heads and hands. chords drift in from wind instruments. Center. The seating slopes to the stage Another movement matches a break

26 • EARSHOT JAZZ • October 2011 dancer with a modern dancer in a con- the Girl Obscured, The End of Old Mitchell, and Nora Jones – a modern tact version of Brazilian capoeira. Yet Days, Letting Go of What Isn’t Yours song writer through an Ethiopian fil- another section has side-by-side break to Begin With, Marching Towards the ter.” Deep throated, dark and musky dancers hypnotically stepping in uni- Now, An Alarm Call to Presence, A vocals croon of flirty love and loss to son then breaking into solos. Hero Driven by His Tears, Requiem catchy grooves. The scale of this work transcends the for a Love Misunderstood, Return to a Flory-Barnes’ next project is to record leadership of a single artist. While Flo- Home Unseen. musical portraits of women in his life. ry-Barnes cultivates a growing reputa- Chances to hear Flory-Barnes in Based on relationships spanning the tion as composer, collaborator and cat- the Pacific Northwest are becoming intimately personal to distantly iconic, alyst, violist Brianna Atwell handles more precious as his career begins to he will animate his muse with female personnel and logistics for Celebration. take flight. Frequently on the road energy. Puns on women’s names will Dancer Emma Klein organizes the with Meklit Hadero, recent tours took form titles so each subject will rec- gravity defying sliding, tumbling and him from Bumbershoot all the way to ognize their portrait. If we are lucky, spinning performers. Ryan Price leads Kenya and Ethiopia. “Meklit’s music some of this material may be included the technical direction for the Kirk- is deep and simple. We can stretch it in the Kirkland performance. land performance space. and grow. She’s like Nina Simone, Joni – Steve Griggs This group of four artists convened on the Kirkland stage in mid Septem- ber to work out the exact number of apply online at musicians and dancers that would fit WWW.CORNISH.EDU/MUSIC in the available space. They walked or call 800.726.ARTS around, imagining the placement of various instruments – basses near cellos, drums at the back on a riser, maybe tympani? They huddled around a por- table DVD player to watch the recording of the premier and discuss lighting design. There is lots of work to do in the next month. The final touches will be tweaked at the dress rehearsal on the day of the concert. The full title of the piece is Acknowl- edgment of a Celebration: Inheritance, Authenticity and Healing. Flory-Barnes explains the autobiographic title as the inner process to open one’s heart to life, family and self. This enables a compassionate, loving response to JAZZ AT negativity. “My mother provided lessons of unconditional love and my father provided a way to practice those lessons.” Flory-Barnes father, a Viet- CORNISH. nam veteran, struggled with substance abuse and died when his son was six- teen. “There were times I wanted to remove ‘Barnes’ from my last name,” he says. Hints of the narrative arc in Celebra- Cornish College of the Arts offers tion can be traced by the movement a bachelor of music in composition, titles – Please Know This, A Boy’s instrumental or vocal performance. Dream A Man’s Majesty, Dance of

October 2011 • EARSHOT JAZZ • 27 SATURDAY, OCTOBER 22 & SUNDAY, OCTOBER 23, TULA’S, 8PM Jay Thomas / Shunzo Ohno Group

$15 general, $13 members/seniors, $7 in Japan, Ohno’s career hit high gear students when he met the renowned bandlead- Jay Thomas, Seattle’s multi-horn er Art Blakey. He toured with Blakey great collaborates with searing, styl- throughout the United States and set- ish, New York-based Japanese trum- tled in New York City in 1974 (where peter Shunzo Ohno, a veteran of Art he remains) at Blakey’s suggestion. Blakey’s Jazz Messengers. During this period, Ohno main- A native of Seattle, Thomas is excels tained a close friendship and working on trumpet, flugelhorn, alto, tenor, relationship with the bandleader while soprano and flutes. Thomas’ sound is also working with Norman Connors, characterized by warmth, lyricism and Roy Haynes and the Hip Ensemble rhythmic drive. Though his musical while leading his own group. His journey took him to Boston while still original composition “Bubbles” was in high school, then New York, and featured on Connor’s million-selling later to the Bay Area, he returned to recording, “You Are My Starship,” Jay Thomas photo by Daniel Sheehan Seattle in the late 1970s. The Bay Area and became a hit single, attaining gold at that time included many fine musi- status. Today, audiences continue to his mentors Shorter and Hancock, cians. Upon his return, he became a request this favorite tune, “Bubbles.” Ohno joined Buster Williams’ group, frequent member of the house band at The compelling Latin energy in Oh- notably, appearing at the 1st Interna- Parnell’s Jazz Club, working engage- no’s playing can be linked to his tenure tional Jazz Festival in Moscow and ments with jazz artists such as George with the celebrated Machito and his continued to tour with his own band. Cables, Charles McPherson, Diane Afro-Cuban Orchestra, with whom In 1988, he was involved in a serious Schuur and Slim Gaillard and playing he toured Europe and South America. automobile accident, in which his with many other greats as they traveled During his three-and-a-half years with teeth and lips were permanently dam- through Seattle. Thomas can be heard Machito, Ohno recorded the Grammy aged. Undeterred by the painful and on over 60 recordings. Two seminal Award-winning Machito and His Salsa long recovery process, Ohno strength- recordings have Thomas teamed up Big Band (1983), which featured his ened his resolve to find a new approach with jazz greats, Ray Brown (Blues dazzling solos. Following his years to his music and continue playing. He for Dexter, Wolfetones Records) and with Machito’s band, Ohno joined returned to recording and touring, Elvin Jones (Jones for Elvin, Hip City one of his most influential inspira- renewed by such meaningful perfor- Records). Jay has appeared in concert tions, master arranger and composer mances as his appearance in the San with the bands of Mel Lewis, Maria Gil Evans, becoming a key contributor Francisco Jazz Festival with Wayne Schneider, Bill Holman, Frank Wess, on tours, club dates and recordings, Shorter in a tribute honoring the sax Jay McShann and Buddy Tate. A including the 1988 Grammy Award- great. member of one of Japan’s leading big winning Live at Sweet Basil’s. Ohno Adversity struck Ohno again in 1996, bands, where he records and performs made a total of four recordings with when he was diagnosed with life- several times a year, Thomas will feel Evans, who remained a lifelong men- threatening throat cancer. For three right at home with the Shunzo Ohno tor to him. years, he underwent radical treatments group. Returning to Japan with Super to control the disease and embarked Born in Gifu, Japan, Ohno began Sounds, a group that included jazz on the difficult road to recovery. His his musical training at age 13 on the legends Herbie Hancock, Wayne refusal to allow personal struggles and trombone – the only instrument avail- Shorter and Larry Coryell broadened seemingly insurmountable circum- able in his school. He began playing his experience. He performed with Su- stances detract from his development the trumpet at age 17, and by age 19, per Sounds for two years, conducting of talent beyond expectations serves as Ohno was the leading jazz trumpeter separate tours with his own group and an inspiration to others. He has never in Japan. Already working as an ac- giving numerous sold-out performanc- stopped moving in that direction. complished composer and arranger es. Later, in addition to recording with – Compiled by Danielle Bias

28 • EARSHOT JAZZ • October 2011 EARSHOT JAZZ FESTIVAL FILMS presented by the Northwest Film Forum + Earshot Jazz Festival

Once again Northwest Film Forum partners with Earshot Jazz to present some of the finest jazz films in recent memory. This year’s program, the 10th annual, offers a French chanteuse, a tribute to Thelonious Monk , a snapshot of Rodolphe Burger, and the teachings of legendary Lawrence D. “Butch” Morris. Tickets are $6-$10, and series passes are available for $20-$30. Keyword search the Earshot Jazz Film Festival at www.nwfilmforum.org for more information.– Northwest Film Forum

OCTOBER 28-30, 7PM often-cramped isolation against reced- NOVEMBER 2, 7PM & 8:30PM ing darkness as they work their way through calmly sad melodies. Balibar And I Ride, And I herself appears as one compelled, re- Black February peating melodic fragments for minutes Ride at a stretch, encapsulating her experience and memories through song. Less Frank Vialle, France, 2009, DigiBeta, a documentary than an experiment 105 min in pure-cinema aesthetics, Ne Change A snapshot of virtuoso guitarist Ro- Rien takes the time to make space for dolphe Burger and his native Sainte- reflection on what it means to create. Marie-aux-Mines valley. And I Ride, And I Ride is a profile in mirrors as NOVEMBER 1, 7PM & 9PM seen through the attitude of music. No ordinary documentary, it provides no voiceover, interviews, or testimony In My Mind from relatives or stars. Taking on a jazz-like structure, freewheeling and Gary Hawkins, USA, 2010, DigiBeta, Butch Morris photo by Claudio Casanova All About Jazz Italia improvisational, this film offers a po- 100min etic reverie on the nature of the musi- Seattle Premiere! Vipal Monga, 2010, USA, DigiBeta, cian and the musician in nature. In My Mind compares and contrasts 59 min two great concerts separated by half Seattle premiere! OCTOBER 28-NOVEMBER 3 a century but united by the power of Director in attendance! 7PM & 9PM jazz. In 2009, pianist Jason Moran, Black February chronicles an un- now a MacArthur Award recipient, precedented series of concerts per- Ne Change Rien paid tribute to one of his own heroes, formed in New York City by legend- Thelonious Monk. The occasion was ary jazz composer and conductor Pedro Costa, 2009, Portugal/France, the 50th anniversary of Monk’s his- Lawrence D. “Butch” Morris. Butch 35mm, 100 min toric 1959 Town Hall Concert, his put on the series in February 2005 Seattle premiere! first with a large ensemble. Playing in to celebrate 20 years of Conduction, Pedro Costa’s ninth film is a bit of a the same venue, Moran and his Big his revolutionary technique for lead- change of pace for the director, who Bandwagon – which includes Monk’s ing live improvisations. More than a traditionally concentrates on the mar- original French horn player, Robert simple portrait of those 28 days or a ginalized and underserved communi- “Brother Ah” Northern – offer a con- biography of an enigmatic and com- ties of Lisbon. Retaining the distinctive temporary spin on Monk’s iconoclas- plex legend of the avant-garde, Black low-light visual style of his previous tic sound, abetted by collaborating February is a film about how music is films, he turns his camera on French visual artists Glenn Ligon and David made and what it means. It’s about chanteuse-actress Jeanne Balibar, in a Dempewolf. Hawkins’ film includes the struggle of artists trying to distill dreamlike meditation on the process photographer and audiophile Eugene the purest essence of themselves into of creating music. Costa situates Bali- Smith’s newly unearthed images and their work, and the scope of a musi- bar and her band, including the great recordings of Monk’s rehearsals from cal theory that could redefine what it guitar virtuoso Rodolphe Burger, in the Jazz Loft in New York. means to make music.

October 2011 • EARSHOT JAZZ • 29 SUNDAY, OCTOBER 23, TRIPLE DOOR, 7:30PM The Campbell Brothers: Sacred Steel

Welcomed by Community Radio, Chuck Campbell began playing the become the most emotional player of KBCS, 91.3FM lap steel guitar at the age of 12. At the the Campbell Brothers’ musical tour The Campbell Brothers’ Sacred Steel age of 17, he became one of the first d’ force. is African-American gospel music with players to utilize the pedal steel guitar Phillip Campbell began life as a electric steel guitar drummer but quick- and vocal. This tra- ly proceeded to the dition emerged from instrument which the House of God is arguably his most Keith Dominion accomplished, the Church, headquar- bass guitar. It was tered in Nashville, on the bass that he where for over sixty began to explore the years it has been an many genres which integral part of wor- form his eclectic ship and a vital, if musical personality. little known, Ameri- Phil combines the can tradition. As the rhythmic attributes music moves from of the guitar with sanctuary to concert MIDI guitar synthe- hall – including the sis to bring a unique Hollywood Bowl, stylistic blend. the Kennedy Center, Drummer Carl Brooklyn Academy The Campbell Brothers Campbell is the of Music and Symphony Space – secu- in the House of God Church, Keith heartbeat of the Campbell Brothers. lar audiences are now able to appreci- Dominion. Campbell is renowned for Carl and dad, Phil, form the rhythmic ate a performance both devout and his innovative approach to the instru- foundation upon which the Campbell rocking. ment both technically and musically. Brothers soulful gospel is built. For- Pedal steel guitarist Chuck Campbell His use of effects such as distortion mally trained in jazz percussion, Carl and his lap steel-playing brother Dar- and wah pedal and his picking tech- has been able to assimilate the classic ick are two of the finest in this tradi- niques enable him to emulate the rudiments of drumming with his im- tion. Rounding out the band, which human voice in an uncanny fashion, provisational upbringing in church to has been playing together for nearly which evokes images of gospel moan- formulate a style which always finds two decades, is a high-energy rhythm ing and field singing. His inventive itself in the groove. section featuring brother Phil Camp- blending of many styles, along with The fact that Katie Jackson is a part bell on electric guitar and his son Carl- his groundbreaking use of complex of the Campbell Brothers is the result ton on drums. Katie Jackson’s classic, chords and fast picking, formed the of unbelievably good fortune. She just gutsy gospel vocals bring the ensemble musical style which is the most emu- happened to be “available” when the to a level of energy and expression lated among young sacred steel players Campbell Brothers asked her to be the that defies description. The Campbell today. vocalist on their critically acclaimed Brothers present a compelling, rich Darick Campbell first made his mark Pass Me Not disc. Indeed Katie Jack- variety of material from the African- in music as a drummer. For several son has shared the stage with some of American Pentecostal repertoire with years, he was the premier drummer of gospel’s most famous singers, includ- a new twist: the growling, wailing, the General Assembly, the National ing Mahalia Jackson (no relation) and shouting, singing and swinging voice Convocation of the House of God is well renowned throughout the east- of the steel guitar, played as you have Church, in Nashville, Tennessee. His ern United States for performances she never heard it played before. choice of the lap steel is a reflection has given in numerous venues. of the influences he has blended to – Compiled by Danielle Bias

30 • EARSHOT JAZZ • October 2011 MONDAY, OCTOBER 24, PONCHO CONCERT HALL, CORNISH COLLEGE, NOON Masterclass with Shunzo Ohno

Free and open to the public A veteran of both Art Blakey’s and Gil Evans’ bands, trumpeter Shunzo Ohno shares his talent and perspective at this noontime clinic. For further program notes, see Saturday, October 22 & Sunday, October 23, Tu- la’s, 8pm. Shunzo Ohno by Francesco Santucci MONDAY, OCTOBER 24, TRIPLE DOOR, 7:30PM Thomas Mapfumo & Blacks Unlimited

Welcomed by Community Radio, brash youthfulness to the intonations test against the Rhodesian regime. KBCS, 91.3FM of a serene elder.” In Mbare, Mapfumo heard radio for $20 advance, $23 day of show Born in 1945 in Marondera, a small the first time – African jazz from Jo- “Our music speaks for the people. We town south of the Rhodesian capital, hannesburg and Bulawayo, classic big are influenced by the people who are Salisbury (Harare), Mapfumo spent band rumba and R&B and soul. struggling at home. Their voic- Mapfumo began to sing, and es have been silenced. Some- in high school, he joined his one has got to talk,” Thomas first band, the Zutu Broth- Mapfumo explains. Widely ers. For the next ten years, he revered in his homeland as made his way as an itinerant the “Lion of Zimbabwe,” singer, copying American and Mapfumo brings the protest English music such as Elvis, music known as chimurenga Otis Reading and the Roll- (which means “revolutionary ing Stones. In 1973 Mapfumo struggle” in Shona) – which formed the folk-orientated he invented and made popu- Hallelujah Chicken Run Band lar – to Seattle. His composi- and began to explore traditions mix traditional Shona tional folk music, particularly mbira (thumb piano) music the mbira (thumb piano). with Western rock and other With guitarist Joshua Dube, modern genres. Even as they Mapfumo first adapted songs decry social injustice, politi- from the ancient mbira reper- cal oppression, the AIDS crisis toire, working them into the and domestic violence, Map- band’s Afro-rock set. To sing fumo’s uplifting, upbeat and in Shona was unusual, and in danceable songs celebrate the the context of the escalating human spirit and speak to the Thomas Mapfumo war, automatically political. universal need for freedom. As Mapfumo moved on Afropop Worldwide proclaimed that his first ten years living an old-fash- to work first with the Acid Band, “since his first single in 1974, Map- ioned, traditional life in the country- and then with the Blacks Unlimited fumo has shown an unfailing ear for side with his grandparents, removed (1978), everything came together. He a hook, for reaching his people. His from the growing bitterness of the developed his mbira pop sound with voice, once described as a ‘bass whis- cities and townships. When Mapfu- guitarists Jonah Sithole and Leonard per,’ endures, its defiant moral author- mo was 10, he moved to Mbare, the “Picket” Chiyangwa, bassist Charles ity transferred gracefully now from a poorest and toughest black township Makokova, and other innovative of Salisbury and a center of black pro- young players. Mapfumo’s lyrics re-

October 2011 • EARSHOT JAZZ • 31 flected the concerns of the people MONDAY, OCTOBER 24, CHAPEL PERFORMANCE SPACE, 7:30PM around him – hardships in the rural areas, young men heading into the bush to fight, and a rising sense of in- Nelda Swiggett’s Stringtet dignation at white rulers who had sys- tematically devalued Shona culture for four generations. The guerilla fighters had taken the name chimurenga, Sho- na for struggle, and Mapfumo decided to call his new sound “chimurenga music.” In 1980, Robert Mugabe was elected president of a new nation and that same year, Thomas Mapfumo and Blacks Unlimited shared the stage in Salisbury (now called Harare) with Bob Marley and the Wailers. In the Nelda Swiggett’s Stringtet photo by Steve Korn late 1980s, the band began to tour internationally and made landmark re- $15 general, $13 members/seniors, $7 that was it. I was sure what I wanted cordings for Chris Blackwell’s Mango students to do. Records, Corruption (1989) and Cha- Clumps of notes. That’s how pia- “My son Dylan became good friends munorwa (1990). nist Nelda Swiggett describes musical with [Seattle Symphony violist] Rachel In the 1990s, Mapfumo toured and shapes that are the basis of her com- Swerdlow’s triplet boys in the Wash- released his music abroad when pos- positions. But don’t be misled by the ington Middle School concert band sible, but he kept his energies focused word clump. The notes are not disso- years ago. When I set my sights on on home, releasing a cassette of new nant, grating or random. Her music is adding strings, I realized I had wonder- songs every year and playing as often precise without being dry, clean with- ful players right in front of my nose.” as five nights a week during peak sea- out being dull, and light without being Swerdlow and Seattle Symphony cel- son. The state radio briefly refused to fluff. The sound is as clear, direct and list Walter Gray were enthusiastic play critical songs from his 1999 al- crisp as the gaze of her piercing blue about the project. “We’ve been having bum Chimurenga Explosion, notably eyes. And behind those eyes teems a a great time sharing our different areas “Disaster,” which stated the country’s sharp mind that leaves plenty of air of musical expertise. Rachel is nervous predicament in no uncertain terms. within and around those clumps. but excited to be playing jazz for the In April 2000, the situation wors- Swiggett finds material for composi- first time. They’re showing me what ened for the government, and one tion by improvising at the piano. Her incredible sounds and textures can be of the reactions was to issue threats hands strike the keys, she finds pleas- pulled out of the cello and viola.” against Mapfumo and trumped up ing sounds, and figures out harmony The rhythm section is anchored by charges that he had bought stolen cars. and time signature later. But the im- Chris Symer on bass and Byron Van- A few months later, Mapfumo quietly provisations do not grow from the noy on drums. “Chris and Byron have moved his family out of the country to blues like much of jazz. Her roots pen- performed my music with me for sev- Oregon, where they have based their etrate classical music. “I was a serious eral years now. They’re both incred- lives ever since. Mapfumo continues classical pianist growing up, and now ibly musical. Have huge ears. They go to record incendiary music, and al- have my own piano students playing wherever I go. Can swing hard, but though in exile, he remains engaged Bach, Mozart, Beethoven, etc. I’m re- drop to a whisper. That’s why I play and passionately creative. His most re- discovering all that great music as well. with them.” cent release, Rise Up, is a tour de force It’s all fodder for the imagination. But The repertoire for the concert will musically, and full of enough political everything goes through the jazz fil- include “Salute Ledru Rollin” from barbs that it has, once again, earned ter.” Swiggett’s 2010 CD This Time on the honor of being banned on Zimba- For this performance, Swiggett chose OA2 Records, “Last Laugh” and “Tra bwean state radio. to add viola and cello. “I’ve been fan- La La” from her 1999 CD Hands On, – Compiled by Danielle Bias tasizing about writing for strings for plus ten new unrecorded pieces. some time. Once I imagined strings, – Steve Griggs

32 • EARSHOT JAZZ • October 2011 MONDAY, OCTOBER 24, TULA’S, 7:30PM TUESDAY, OCTOBER 25 TRIPLE DOOR, 7PM Wessell Anderson Quartet Garfield High $14 general, $12 members/seniors, $7 stu- often holding a note for a long stretch, dents then taking a breath and modulat- School Jazz Band A former member of the Wynton ing to another one ... In his alto style, Marsalis Septet and charter member there’s no chasm between the chival- with Wessell of the Lincoln Center Jazz Orches- rous croon of Johnny Hodges and the tra, alto saxophonist Wessell “Warm- roguish charisma of Charlie Parker.” Anderson daddy” Anderson Born into a blends traditional musical fam- $18 general, $16 members/seniors, $7 jazz, some bebop ily in Brook- students and swinging lyn, Anderson Wessell Anderson’s dedication to sounds in a blues- played piano jazz education is unwavering. Cur- inflected style from an early rently a faculty member in the jazz that has drawn age, starting to department at Michigan State Uni- flattering com- study classical versity, for over a decade, he served as parisons to Can- music when he a mentor to students across the globe nonball Adderley. was 12. Howev- as a member of Wynton Marsalis’ For over a decade er, two years lat- globe-trotting Jazz at Lincoln Cen- and a half, he was er he switched ter Orchestra. Over the years, he had part of Marsalis’ genres and many opportunities to meet Clar- efforts at Jazz at i n s t r u ment s . ence Acox and the student musicians Lincoln Cen- His father, a who are part of the award-winning ter, but he left in drummer, had Garfield High School Jazz Band dur- 2006 to join the worked with ing the annual Essentially Ellington Wessell Anderson jazz faculty at Cecil Payne High School Jazz Band Competition Michigan State and directed each May in New York. University. his son towards jazz. Hearing records Although he studied with Alvin Ba- Always one of the most popular by Charlie Parker prompted the shift tiste in Louisiana, and his big, vocal- members of Jazz at Lincoln Center, from piano to alto saxophone. An- ized sound and Marsalis association many fans of the venerable institu- derson studied with various teachers, a might lead you to believe he’s from tion were saddened to hear about including several he met through the the trumpeter’s and Acox’s home state Anderson’s stroke in 2007. Following Jazzmobile workshops. of Louisiana, Anderson was actually the stroke, much of the left side of his In 1983, he was heard by Branford born and raised in New York City. body was numb, and many speculated Marsalis, who urged him to pursue his For this concert, though, Anderson as to whether he would play again. studies, this time under Alvin Batiste. will bring his warm sounds to the Musicians who knew Anderson well, Five years later, Anderson joined Wyn- Emerald City as the featured soloist however, were not surprised when he ton Marsalis’ band, touring interna- for this set with the Garfield High returned triumphantly to the band- tionally, with the corresponding gain School Jazz Band under Acox’s direc- stand after just a few months. in reputation and audience awareness tion. In 2010, the band made history His 2010 return to a New York stage that this brought about. Anderson, at the Ellington competition, becom- at Dizzy’s Club Coca-Cola was ap- who also plays soprano and sopranino ing the first band ever to win the plauded by fans and critics alike. Nate saxophones, has also worked with national contest four times. Expect Chinen, reviewing the outing in the Betty Carter, Ted Nash, Marc Cary, a big band set of swinging tunes by New York Times, wrote: “And how did Victor Goines and many others. For legendary composers like Duke El- he sound? Excellent, unchanged. His this concert, he is joined by Seattle’s lington, Billy Strayhorn, Count Basie mellow, sweet-tart tone was a physical top sidemen. and Mary Lou Williams. presence, and he gave it plenty of air, – Danielle Bias – Danielle Bias

October 2011 • EARSHOT JAZZ • 33 TUESDAY, OCTOBER 25 & WEDNESDAY, OCTOBER 26 TULA’S, 7:30PM Cory Weeds Group

$12 general, $10 members/seniors, $6 B3 master Dr. Lonnie Smith, with students the Night Crawlers, and mellow vo- Entrepreneurial Vancouver saxo- calist Paul Anka. As a leader, his The phonist Cory Weeds is an experienced Many Deeds of Cory Weeds (2010), fea- bandleader, producer, club owner and turing organist Joey DeFrancesco, re- voice for jazz in the Northwest. His mained in the JazzWeek charts for 10 show Chasin the Train aired on Van- weeks. Early work in his career with couver’s Co-op Radio, 102.7 FM, and the popular Vancouver band People he’s been heard on the popular CBC Playing Music enchanted Weeds to show Hot Air, a radio program cover- the funkier side of jazz – Maceo Park- Cory Weeds ing all eras of jazz. He’s played with er, Grant Green, Dr. Lonnie Smith. His January 2008 debut recording as a leader featured New York heavy- weights: guitarist Peter Bernstein, organist Mike Ledonne and drummer Joe Farnsworth. He’s at Tula’s with LeDonne, guitarist Oliver Gannon and drummer Jesse Cahill. Cory Weeds’ father introduced him to jazz at a young age, and Weeds played piano for 13 years before making the permanent switch to the alto saxophone in high school. He attended the music program at North Van- couver’s Capilano College for three years before moving to the Univer- sity of North Texas in Denton on a scholarship. Back home, Weeds con- centrated his energies as a performing musician, then branched out. In 2000, Weeds purchased The Cellar, a restaurant and jazz club in Vancouver’s Kitsilano neighborhood, since voted four times in the Top 100 Jazz Clubs Worldwide by DownBeat. With a focus on the promotion of Vancouver and Canadian musicians and as host to the likes of Charles McPherson, Frank Wess, Mulgrew Miller, George Coleman, Lou Don- aldson, Dr. Lonnie Smith, Benny Golson and David Fathead Newman, it’s become an integral part in the advance of jazz in Vancouver and the Northwest. – Compiled by Schraepfer Harvey

34 • EARSHOT JAZZ • October 2011 WEDNESDAY, OCTOBER 26, PONCHO CONCERT HALL, CORNISH COLLEGE, 8PM Julian Waterfall Pollack Trio

$18 general, $16 members/seniors, $10 stu- du Trocadero in Paris. He was also fea- Pollack has performed numerous dents tured in the 2011 film In Good Time, times at the Blue Note in New York Born into a musical family, New a documentary about the life and City under his own name, and opened York-based pianist and composer Ju- music of Marian McPartland, host of for artists such as Chick Corea and lian Waterfall Pollack started study- NPR’s award-winning program Piano Gary Burton. He also has performed ing piano at age 5 with his mother, a Jazz (on which Pollack first appeared and or recorded with the likes of Josh- concert pianist. Pollack has been rec- as an 18-year-old). Last January, Pol- ua Redman, John Scofield, Miguel ognized by crit- Zenon, George ics around the Garzone, Ari world for his el- Hoenig, Ambrose egant touch and A k i n m u s i r e , maturity, and among others. for his singular Over the years, blend of jazz im- Pollack has also provisation and worked steadily composition that as a concert pia- combines a love nist, performing for today’s popu- in contemporary lar music as well chamber ensem- as a respect for bles and as a so- the tradition of loist. In 2010, he classical music. performed John The San Francisco Adam’s “Hallelu- Chronicle called jah Junction” for him a “ferociously two pianos with assured and cre- Susan Waterfall atively dazzling at the Mendocino pianist, composer Music Festival and arranger” (which the com- and noted that poser attended), “Pollack often as well as George plays with seem- Crumb’s “Mu- ingly impossible sic for a Summer soul and maturity Evening.” Earlier for someone so this year, he also young.” performed Steve The past few Reich’s “8 Lines” years have been Julian Waterfall Pollack photo by Sara Kiesling with the Men- very exciting for docino Music the 23-year-old Festival Chamber Northern Cali- lack was appointed Artistic Director Music Players. Presently, Pollack is an fornia native. Pollack was recently of the Jazz Series at the Mendocino instructor of jazz piano studies at New commissioned to compose and arrange Music Festival in California. In June, York University. for piano at the largest September 11th Pollack was awarded an ASCAP Jazz For this Earshot appearance, he per- ten-year commemoration in the world Composers award for his composition forms with Noah Garabedian (bass) outside of NYC, which took place in “Blackberry,” from his album Infinite and Evan Hughes (drums). front of the Eiffel Tower, at the Place Playground. – Danielle Bias

October 2011 • EARSHOT JAZZ • 35 THURSDAY, OCTOBER 27, PONCHO CONCERT HALL, CORNISH COLLEGE, 8PM Allison Miller’s Boom Tic Boom

Welcomed by Community Radio, really helped me out in my career. founded the Walter Salb Memorial KBCS, 91.3FM I hope that I do the same for other Musical Scholarship Foundation in $22 general, $20 members/seniors, $10 women in the musical community.” honor of her late teacher and mentor. students Raised in the Washington DC area, The foundation awards a promising When not with mainstream artists Miller began playing the drums at the young musician funds directed to- Natalie Merchant, Ani DiFranco, and age of ten, studying with Walter Salb, ward furthering music studies. Miller most recently, singer Brandi is currently on Modern Drum- Carlile, fresh and energetic mer’s 2011 Pro-panel and NYC-based drummer Allison holds an adjunct teaching po- Miller sits among a coterie of sition at Kutztown University. artists excelling in the NYC She gives lessons and master downtown and beyond – Ste- classes throughout the United ven Bernstein, Ben Allison, States. Kenny Barron, Erik Fried- The exciting violinist Jenny lander, Mark Helias, Ellery Scheinman is also a singer, Eskelin, Peter Bernstein, Shei- composer and arranger. She la Jordan, George Garzone, grew up on a homestead in Mike Stern, Rachel Z, Kevin Northern California in a fam- Mahogany, Bruce Barth, ily of folk musicians, stud- Mark Soskin and Harvie S. ied at Oberlin Conservatory, A co-leader in several bands, graduated with a degree in including Honey Ear Trio English literature from Berke- (Steampunk Serenade, Fox- ley, and has been performing haven Records, 2011) and since she was a teenager. She Eskelin/Deutsch/Miller, fea- has taken the #1 Rising Star turing Ellery Eskelin on tenor Violinist title in the Down- and Erik Deutsch on organ, Beat magazine Critics Poll Miller is fierce at the helm of and has been listed as one of her own quartet, Boom Tic their top ten overall violinists Boom. The quartet features for a decade. She has garnered pianist Myra Melford, violin- numerous high-profile arrang- ist Jenny Scheinman and bass- ing credits with Lucinda Wil- ist Todd Sickafoose on com- liams, Bono, Lou Reed, Me- positions primarily by Miller tallica and Sean Lennon, and and Melford. Allison Miller photo courtesy of Smith Banfield has toured and recorded with Miller’s second album re- Bill Frisell, Bruce Cockburn, leased as a leader, BOOM TIC Norah Jones, Madeleine Pey- BOOM (Foxhaven Records, 2010) was and was soon featured in DownBeat roux, Nels Cline, Vinicius Cantuaria, named one of the Top 10 Jazz Albums magazine’s “Up and Coming” section Rodney Crowell, Jimmie Dale Gilm- of 2010 by the Los Angeles Times. It in 1991. Five years later, she moved to ore and Mark Ribot. She has six CDs pays homage to and is inspired by all New York City to study with Michael of original music to date. of the important women in Miller’s Carvin and Lenny White and to pur- A fearless musical adventurer – in life. “Some of my closest friends are sue a career as a freelance drummer, both her composing and playing – extremely smart and powerful wom- composer, producer and teacher. Melford has followed a fascinating en,” Miller says. “I can’t stress enough Miller seeks to pass on the tradition path since determining to forge a ca- the importance of this community. of jazz drumming, even with branches reer in music in 1980. Having studied There’ve been several women who’ve into the realms of pop. In 2008, she classical piano into her teens, she had

36 • EARSHOT JAZZ • October 2011 no real exposure to jazz until college. THURSDAY, OCTOBER 27, PONCHO CONCERT HALL, NOON Improvisation rekindled her early love of the piano, and she plunged in to Masterclass with Boom Tic Boom develop a signature style. At the keyboard, Melford recasts the blues and boogie woogie of her native Chicago, Free and open to the public folds in elements of the music of East- Drummer Allison Miller, violinist Jenny Scheinman, pianist Myra Melford ern Europe and India, and blends them and bassist Todd Sickafoose are Boom Tic Boom. Join us to hear this explosive with the rangy, percussive avant-garde quartet preview their evening concert and share their insights on music making. approach she cultivated in studies with Miller has been featured in DRUM! magazine, DownBeat, JazzTimes, Modern Don Pullen and Henry Threadgill. Drummer and many other publications. The versatile drummer has worked with With more than 30 recordings in her pop artists Natalie Merchant and Ani DiFranco and jazz improvisers Steven catalog – including 19 as leader or co- Bernstein, Ben Allison, Kenny Barron, Erik Friedlander, Sheila Jordan, Mike leader – Melford currently divides her Stern and many others. time between teaching, composition and performance. Since 2004, she has been on the music faculty of the Uni- versity of California, Berkeley, where she has developed and taught a series of courses in contemporary jazz and improvisation-based music for performers and composers. She also lec- tures on innovations in jazz since the 1960s and other topics in contemporary improvised music. A Bay Area native, Sickafoose spent some years in Los Angeles studying bass with Charlie Haden and composition with the great, late Mel Powell. Since then, he’s been recording, performing and producing with a ton of innovative folks and genre benders, including Ani DiFranco, Andrew Bird, Nels Cline, Ron Miles, Trey Anastasio, Yoko Ono, Tin Hat Trio, Adam Levy, Skerik, Stanton Moore, Bobby Pre- vite, Scott Amendola, Will Bernard, Stebmo, Jessica Lurie, Shane Endsley, Erin McKeown, Anaïs Mitchell, Gina Leishman, Carla Bozulich, Noe Ven- able, Etienne de Rocher, James Car- ney, Erik Deutsch, Tony Furtado and Darol Anger. The consistency of his personal voice within wildly diverse collaborations prompted the LA Week- ly in 2004 to call Todd “one of the most comprehensive musical minds of this coast.” Since 2005, Todd has been living in Brooklyn, NY. – Compiled by Schraepfer Harvey and Danielle Bias

October 2011 • EARSHOT JAZZ • 37 THURSDAY, OCTOBER 27, TULA’S, 7:30PM Hardcoretet

$12 general, $10 members/seniors, $6 stu- year’s festival, further dents propels Hardcoretet on With Art Brown on saxophone, Aar- their way to becoming on Otheim on keys, Tim Carey on one of Seattle’s most bass, and Tarik Abouzied on drums, exciting and unique Hardcoretet presents original mate- mixed-genre bands. rial written by each of its members. Their debut album, Brown, Otheim, Carey and Abouzied Experiments in Vibe, re- have all worked on a variety of projects leased in 2009, started over the years, encompassing a broad the group on that path range of genres and sounds. From the with a nomination for free jazz sounds of Speak to the funky Mixed Genre Album of rhythms of Pocket Change, each group the Year at Seattle’s Lu- including members of Hardcoretet has cid I/O Awards. Hardcoretet’s Tarik Abouzied and Tim Carey proved to be prolific in the Seattle Jazz Influenced by artists scene. Hardcoetet members have per- from Miles Davis and John Coltrane Chick Corea’s Return to Forever. Si- formed both nationally and globally, to Soundgarden and Led Zeppelin, multaneously, their modern vibe has and the band has shared the stage with Hardcoretet’s sound is an amalgam of been likened to the works of Chris heavy hitters such as Bill Frisell, Cu- the best aspects of many genres. Com- Potter’s Underground and Kneebody. ong Vu, Mike Stern, John Medeski, bining elements of jazz, rock, soul and Hardcoretet’s compositions, combined Bobby Previte, and Charlie Hunter. improvised music, Hardcoretet’s sound with their vibrant energy, make for a Hardcoretet’s second album, Do It is similar to that of fusion groups like show not to be missed. Live, to be released at Tula’s during this Herbie Hancock’s Headhunters and – Abi Swanson FRIDAY, OCTOBER 28, PONCHO CONCERT HALL, CORNISH COLLEGE, 8PM Scrape w/ Jay Clayton

$18 general, $16 members/seniors, $10 stu- Snoqualmie Falls, or fol- dents lowing a sunset behind Scrape together eight violins, three snowcapped Olympic violas, three cellos, one bass, one harp Mountains. and one guitar, feature a violin solo- When Seattle sampled the ist with equal parts jazz, punk, ambi- new sonic cocktail served ent and classical influences, add one up a year ago by composer mercurial vocalist, sprinkle with lyr- Jim Knapp and his former ics from jazz standards and poetry, student, violinist Eyvind stir gently over original compositions Kang, heads turned, pal- and arrangements, then pour into an ettes whetted, and ears intimate resonant venue. What do you tickled. This performance get? Two sets of transcendent music. of the novel acoustic cham- Jim Knapp photo by Steve Korn Branching from jazz improvisation ber ensemble will add sing- and instrumentation, swing and blues er Jay Clayton, celebrating are replaced with lushness and subtle- her seventieth birthday. Jay lives in The repertoire will emerge from the ty. Imagine composer Gil Evans deep New York but was on the Cornish fac- growing book of music penned by in the Hoh Rainforest, entranced by ulty with Knapp for twenty years. Knapp and Kang. Planned features include Clayton exploring the wide

38 • EARSHOT JAZZ • October 2011 open spaces of “Wild West,” getting FRIDAY, OCTOBER 28 & SATURDAY, OCTOBER 29, TULA’S, 8PM up close and personal with “The Near- ness of You,” and quoting from T. S. Elliot during “From Burnt Norton.” Travis Shook Trio Elliot’s poem “Burnt Norton” asks the question, “Can words or music reach $14 general, $12 members/seniors, $7 students the stillness of a Chinese jar?” and The pianist – a former Seattleite who contemplates “the stillness of the vio- was Earshot Golden Ear Award win- lin, while a note lasts.” Knapp’s string ner for best emerging jazz artist in setting of the poem for Clayton previ- 1992 and 1993 – gained early notori- ously premiered in Zurich. ety with drum legend Tony Williams, For fans of Knapp’s big band mu- vocalist Betty Carter, and his own sic, Scrape’s harmonic vocabulary will brilliant trio releases. Here, he appears sound familiar. Curious students can with Matt Jorgensen (drums) and Es- learn Knapp’s approach through his siet Essiet (bass). book Jazz Harmony, available through A former Sony/Columbia recording the Cornish Music Department of- artist, Travis Shook has been called a fice. The twenty-five chapter guide “man of mystery” by JazzTimes, “pia- compiles concise lessons from Knapp’s nist-in-exile” by Time Out New York, long career as composer, improviser Travis Shook photo by David Jeffery and he has been highly praised by the and teacher. The powerful tools for ar- likes of Tony Williams and Ahmad Ja- ranging music are a must have for ev- mal. Shook’s playing demonstrates an unusually wide scope of feeling from the ery composer. simple to the complex, the conventional to the unconventional, and from the So far, Scrape records its live perfor- softest, most lush ballads, to the fiercest, hard-driving jazz. mances just for documentation, but Born in Orville, California, on March 10, 1969, Shook (who began studying that may change. Knapp recorded the piano at the age of 7) moved to Olympia, Washington, with his parents First Avenue with saxophonist Den- when he was 10 and spent his adolescent years in the Pacific Northwest. At 18, ney Goodhew and cellist Eric Jensen Shook moved to New Jersey to attend William Paterson College, graduating in on the ECM Records in 1980. Knapp 1990 with a BA in jazz performance. He then returned to Washington State and mentored ECM’s producer Manfred spent three years in the band of veteran bassist Buddy Catlett (famous for his Eicher early in Eicher’s career and work with Count Basie and Louis Armstrong, among others). thinks Scrape would fit into the label’s In 1993 – the year Shook moved to New York City – Columbia released his catalog. Plans are also in he works for self-titled debut album, which boasted the late Tony Williams on drums, Bunky a spring concert with guitarist Bill Green on alto sax and Ira Coleman on bass. (But Shook’s association with Co- Frisell. lumbia turned out to be short-lived. When Columbia’s jazz department went The ensemble runs as a cooperative. through a major regime change, Shook was dropped from the label along with The music is conceived and written by Horace Silver, Joey DeFrancesco and many others.) Knapp and Kang. Behind the scenes, Then in 1994, jazz vocal innovator Betty Carter hired Shook as her pianist, and violist Brianna Atwell herds the mu- he ended up touring Europe extensively with her. The future looked promising sicians into place. Concertmaster for Shook, but not long after that European tour concluded, he entered a very Heather Bentley tunes and tweaks dark period of his life and struggled with addiction for a few years, reaching technique. Bassist Jon Hamar anchors sobriety in the late 1990s with the help of his wife, jazz vocalist Veronica Nunn. harmony and grooves. Several musi- In 1999, he and Nunn started their own company, Full Gallop Entertainment, cians contribute solos. which includes his label, Dead Horse Records. They have released a trilogy of Hopefully, Knapp will be present for albums on Dead Horse: Nunn’s debut album, American Lullaby; Shook’s second the concert to share his dry humor and album, Awake; and his third album, Travis Shook Plays Kurt Weill. efficient musical direction. He lost his Reggie Workman, Eddie Harris, Joe Lovano, Toots Thielemans, Rufus Reid, right foot to diabetes on September 16 Chuck Israels, Ernestine Anderson, Branford Marsalis, Benny Golson and Clif- this year and will be working through ford Jordan are among the many jazz greats Shook has played with along the rehabilitation and recovery. way. He maintains a busy performance schedule in New York, and Earshot Jazz – Steve Griggs is pleased to welcome him back to Seattle for tonight’s concert. – Compiled by Danielle Bias

October 2011 • EARSHOT JAZZ • 39 SATURDAY, OCTOBER 29, TOWN HALL SEATTLE, 8PM The Bad Plus / Das Kapital play Hans Eisler

Welcomed by Community Radio, KBCS, Rolling Stone called their amalgam of Tears for Fears and Rush. For All I 91.3FM jazz, pop, rock and avant-garde “about Care, with its intriguing juxtaposition $24 general, $22 members/seniors, $12 stu- as badass as highbrow gets,” while the of rock and classical sensibilities, fol- dents New York Times said the band is “bet- lowed in 2009. Acclaimed, controversial, always ter than anyone at mixing the sensibil- Ten years ago, not one of these mu- brilliant, The Bad Plus – sicians could have predicted bassist Reid Anderson, pia- where The Bad Plus was go- nist Ethan Iverson, drum- ing, how long it would last, mer David King – have or what it might become broken down the walls of along the way. What they jazz convention and created were sure of, though, was a an uncompromising body of fierce sense of commitment work. Few jazz groups in re- that has blossomed into ar- cent memory have amassed tistic success. such acclaim, and few have “We’ve always believed in inspired such controversy. our ideas,” says Anderson. Their beliefs in the band “We’ve always believed in ethos and their personal making music that sounds brand of avant-garde popu- like us, and we always lism have put them at the thought there would be an Ethan Iverson, Reid Anderson, David King of The Bad Plus. Photo by Cameron Wittig. forefront of a new instru- audience for it.” mental music movement, Also on this stellar bill: the drawing audiences both traditional ities of post-60s jazz and indie rock.” pan-European Das Kapital – saxo- and mainstream. While the bulk of Few jazz groups audaciously buck mu- phonist Daniel Erdmann, guitarist their output has been original music, sical trends so well. Hasse Poulsen, drummer Edward they have deconstructed songs in the The threesome has been exchanging Perraud – treat worker’s songs with a pop, rock as well as country and classi- musical ideas since their teenage years. similarly fine musicianship. A German cal music idioms. In the late 80s, Anderson and King saxophonist, a Danish guitarist and a Their eighth release Never Stop is were two Minnesota high schoolers French percussionist form the band. their first album to consist entirely playing in fledgling rock bands and Since forming in 2002, the trio has of originals. Recorded in Minnesota digging records by Coltrane and The made a name for itself on the interna- with a live, stripped-down sound, Police. Anderson met Iverson in 1989. tional jazz scene. Its sound elegantly Never Stop showcases the band’s range All three played together on one oc- blends acoustic and electronic, impro- as well as its three distinct person- casion a year later before going their vised and composed elements. alities. From gentle and melodic to separate ways for ten years. Their latest project is dedicated to fierce and abstract, from swing to 80s They reconvened for a gig in Minne- German composer Hanns Eisler, Ar- techno, Never Stop is tied together by apolis in 2000. Sparks flew, studio ses- nold Schönberg’s favorite student and a group sound that embraces diversity sions for an indie release ensued, and Bertold Brecht’s long-time fellow trav- as strength. suddenly the New York Times called eler. In their approach to Eisler’s mu- “We approached the recording of this their maiden voyage one of the best sic, Das Kapital use the mix of worker’s album more like a jazz record from the releases of 2001. The band signed with song and polytonality as a fulcrum for 50s or 60s,” says King. “To eliminate Columbia, where they released These a repertory project, choosing a fairly studio separation as much as possible, Are the Vistas in 2003, followed quick- dry, European jazz sound for this rep- I set up in the same room as Ethan, ly by Give and then Suspicious Activity? ertoire and yet attempting to work the with Reid in plain sight. It created a In 2007, they released Prog, an album widest possible range of musical influ- really free atmosphere, as if we were which balanced originals with spell- ences into the project. playing a show.” binding covers of Bowie, Bacharach, – Compiled by Danielle Bias

40 • EARSHOT JAZZ • October 2011 SATURDAY, OCTOBER 29, PONCHO CONCERT HALL, 8PM SATURDAY, OCTOBER 29 EDMONDS CENTER FOR THE Jay Clayton Group / Jerry Granelli Trio ARTS, 7:30PM Bill Charlap & Renee Rosnes

Jay Clayton Jerry Granelli photo by Geoffrey Creighton

$18 general, $16 members/seniors, $10 stu- as a teacher. Her educational book, dents Sing Your Story: A Practical Guide for Internationally acclaimed vocalist, Learning and Teaching the Art of Jazz composer and educator Jay Clayton Singing, was published by Advance creates work boldly spanning the ter- Music in 2001. She has taught vo- Renee Rosnes and Bill Charlap photo by Clay Patrick McBride rain between jazz and new music. In cal jazz at New York City College, 1963, she began her career perform- the Banff Center in Canada, the Bud Presented by Edmonds Center for the ing standards in New York. Since Shank Workshop in Port Townsend, Arts then, she has performed and recorded the Naropa Institute in Boulder, Colo- $30-$35, $15 youth throughout the United States, Canada rado, and in music schools in Cologne, Bill Charlap and Renee Rosnes have and Europe with leading jazz and new Berlin and Munich, Germany. She was a unique musical connection. The hus- music artists, including Steve Reich, on the jazz faculty at Cornish College band-and-wife team performs impas- Muhal Richard Abrams, John Cage, of the Arts for twenty years, through sioned, electrifying and sinuous piano Julian Priester, Jane Ira Bloom, Nana 2001. duets. In 2010, when the couple re- Vasconcelos, Stanley Cowell and Clayon kicks off a reunion of - Cor leased Double Portrait, on Blue Note, Bobby McFerrin. She has appeared at nish faculty members with this perfor- DownBeat exclaimed: “The counter- major U.S. venues, including Lincoln mance at the PONCHO Concert Hall point and compatibilities are so per- Center, The Kitchen, Sweet Basil and with pianist, and faculty member, fectly balanced, the selections and ar- Jazz Alley, and at European festivals, Dawn Clement; drum veteran, and rangements so handsome, that Double including North Sea and Montmartre. former faculty member, Jerry Granelli; Portrait is a prize.” Two of the premier Her work in the realms of standard and Granelli’s bassist Simon Fisk. pianists in jazz, they’ve each toured or and free music led to her development For a preview of the Jerry Granelli recorded with a veritable who’s who of of a highly personal, wordless vocabu- Trio, also on tonight’s bill, see Sunday, jazz, including Phil Woods, Tony Ben- lary, often enhanced now by her use of October 30, Tula’s. nett, Wynton Marsalis, Wayne Short- electronics. – Compiled by Schraepfer Harvey er, Joe Henderson and James Moody, Clayton has gained worldwide atten- among others. tion not only as a performer but also

October 2011 • EARSHOT JAZZ • 41 SATURDAY, OCTOBER 29, BENAROYA HALL, 7PM Seattle Repertory Jazz Orchestra – “An Evening with Ol’ Blue Eyes: The Music of Frank Sinatra”

Seattle Repertory Jazz Orchestra photo by Bruce C Moore

Presented by Seattle Repertory Jazz Eyes.” Selections include “Don’t Wor- Caddell is a longtime favorite with Orchestra ry About Me,” “I’ve Got You Under SRJO fans and is heard on record- $15-$39 My Skin” and “The One I Love,” plus ings with Don Lanphere and Clarence Now celebrating its 17th concert other great pieces recorded for the clas- Acox. Quintero is new on the scene, season, the 17-piece Seattle Repertory sic 1966 collaboration of Sinatra with specializing in music of Sinatra, and is Jazz Orchestra (SRJO) is co-directed Quincy Jones and the Count Basie hailed by all as a singer with talent far by saxophonist and arranger Michael band, Sinatra at the Sands. beyond his years. Brockman, long-time faculty member of the UW School of Music and an authority on the music of Duke El- SATURDAY, OCTOBER 29, BENAROYA HALL, 4:30PM lington, and drummer Clarence Acox, award-winning conductor of the Gar- SRJO – Jazz4Kids Concert field High School bands. The SRJO includes many of the region’s best- loved jazz soloists and band leaders, Tickets are free (a processing fee is history as both mentors for individual including trumpeters Jay Thomas and charged for shipping) youth and leaders for several local high Thomas Marriott, bassist Phil Sparks, The Seattle Jazz Repertory Orches- school jazz orchestras, including the saxophonists Bill Ramsay, Travis Ran- tra’s Jazz4Kids concerts are special bands of Garfield High School, Roos- ney and Mark Taylor, and trombonists events that provide children and youth evelt High School and Mercer Island Scott Brown, David Marriott, Bill An- a rare opportunity to hear jazz per- High School, and groups in the Jazz formed live in an excellent concert thony and Dan Marcus, and pianist Studies department of the University hall. Audience members can enjoy a Randy Halberstadt. of Washington and Cornish College. In a celebration of Frank Sinatra’s very close interaction with the per- Advanced tickets are recommended. many recordings with large ensembles, formers, and each concert includes the SRJO presents the big band jazz of demonstrations of instruments by Tickets are free-of-charge for kids and Count Basie, Quincy Jones and Nelson members of the band, hands-on in- the adults they bring with them. There Riddle, featuring guest vocalists Danny strument time for kids and a question is a $1 processing fee to have reserved Quintero and James Caddell singing and answer session with the musicians. tickets mailed, available online at srjo. their favorites in a tribute to “Ol’ Blue The members of the SRJO have a long org/orderjazz4kidstickets.htm.

42 • EARSHOT JAZZ • October 2011 SUNDAY, OCTOBER 30, TULA’S, 7:30PM Jerry Granelli Trio

$15 general, $13 members/seniors, $7 students In Jerry Granelli’s expansive 45-year-career, he’s been at peak commercial success with Mose Allison and Vince Guaraldi – the pianist behind the classic Peanuts music – and deep in the world of improvisation and musical exploration. JazzTimes calls Granel- li “one of those uncategorizable veteran percussionists who’s done it all.” Born in 1940 San Francisco, Granelli recognized his passion in 1948 when he spent a day with Gene Krupa. Hanging out during the 50s in San Francisco nightclubs, like the Blackhawk, The Jazz Workshop and Jimbo’s Bop City, connected him to the hard bop Jerry Granelli photo by Geoffrey Creighton sounds of Miles, Max Roach, Philly Joe Jones, Elvin Jones and Monk. After two years as a pupil of Joe 600 Queen Anne Ave N Morello’s, Granelli became a highly Seattle, WA 98109 sought-after session player, eventually 206-282-7407 matching up with the Vince Guaraldi Band. 888-445-3076 From the mid 70s through the 90s, www.marqueen.com Granelli focused on teaching, bringing his insider knowledge to hundreds of students at the Naropa Institute in Boulder, then the Cornish College of the Arts, the Conservatory in Halifax, MarQueen Hotel and the Hochschule der Kunst in Ber- lin. A Canadian citizen since 1999, Granelli spent years in Halifax as a keystone in the jazz community there. Seattle’s Along with Halifax’s Jazz East organization, he founded the Creative Mu- sic Workshop, a two-week intensive Lodging Secrets music program that takes place every Two distinct hotels steps away from Seattle Center. summer in conjunction with the At- lantic Jazz Festival. He’s followed up his first – after more than sixty years of performing – solo Inn at Queen Anne drum venture, 1313 (2010), with an exploratory and collaborative trio recording, Let Go (2011), with multi- instrumentalists Simon Fisk (bass and cello) and Danny Oore (saxophones). 505 First Ave N They’re with Granelli tonight at Tula’s. Seattle, WA 98109 Fisk and Granelli also appear with Jay 206-282-7357 Clayton and Dawn Clement Sunday, 800-952-5043 October 29, at the PONCHO Concert www.innatqueenanne.com Hall. – Compiled by Schraepfer Harvey

October 2011 • EARSHOT JAZZ • 43 TUESDAY, NOVEMBER 1, BENAROYA HALL S. MARK TAPER FOUNDATION AUDITORIUM, 8PM Keith Jarrett, Gary Peacock, Jack DeJohnette

Welcomed by KPLU 88.5FM NPR Gary Peacock. Peacock’s earliest Seattle gig for Jim Knapp and after some $25-$88.50 recordings are two tracks from Turn- prodding, agreed to join the faculty at No other ensemble harnesses the ing Point with pianist Bley, saxophon- Cornish. breadth of individual experience, ist John Gilmore and drummer Billy Meanwhile, Jarrett and DeJohnette length of collective productivity, and Elgart, captured at the University of had developed a deep musical relation- depth of creative cohesion as this trio. Washington in May 1968. ship. They spent 1966-68 touring and Keith Jarrett, the pinnacle of improvis- While stationed in Germany, Pea- recording with saxophonist Charles ing pianists, com- Lloyd and 1970- bines childlike 71 with Davis. In wisdom and ma- May 1971, Jarrett ture playfulness, and DeJohnette along with 2012 recorded a duet NEA Jazz Master album Ruta and Jack DeJohnette Daitya. and bassist Gary In January Peacock. 1983, six years Not only does after the first re- bassist Gary Pea- cording of Pea- cock supply har- cock, Jarrett and monic and rhyth- DeJohnette, the mic foundations group recon- for the trio, he vened. Within also provided the a day and a half catalyst for their they recorded first recording eleven standards together. In 1977, and three origi- Peacock recorded Keith Jarrett, Jack DeJohnette, Gary Peacock photo by Rose Anne Colavito nals, enough to six of his compo- fill three albums sitions with Jarrett and DeJohnette on cock left the military to join a band. – Standards Vol. 1, Standards Vol. 2 Tales of Another. At the time, Peacock The club where the band was playing and Changes. Over the next nineteen lived in Seattle and taught music at closed after two weeks. Peacock left years, the trio recorded twenty more Cornish College. for New York. There he played with albums together. Steve Cline wrote about Peacock’s pianist Bill Evans and drummer Paul Peacock and DeJohnette are also ac- Seattle years in “Gary Peacock: Selfless Motian. Peacock subbed for bassist complished pianists. This unites the Surrender” for the November 2003 is- Ron Carter during a West Coast tour group with telepathic communica- sue of Earshot Jazz. Peacock grew up with trumpeter Miles Davis. tion. Every melodic gesture and har- in Yakima. His drums propelled the New York life and rigorous musi- monic shift is felt musically and un- school stage band until his 1954 grad- cal schedules began to take a toll on derstood physically by the others. The uation. Drafted into the military, he Peacock’s health. Seeking personal re- three-sided musical structure – piano focused on learning the piano. Then newal, he moved to Japan and began melody, harmonic bass note, and the bass player quit his unit’s quintet. studying eastern medicine and phi- rhythmic ride cymbal – is solidly flex- He switched to bass. losophy. In Tokyo, he made his first ible and fluidly indestructible. These According to the Discogs website, his recording with DeJohnette, Have You three artists form the most logical first recordings were two 1964 dates Heard? (1970). construct for exploring expressions of – one from Copenhagen, Ghosts with Peacock relocated to Seattle in 1972 the human spirit. saxophonist Albert Ayler, and the oth- to study biology at the University of – Steve Griggs er from West Germany, Paul Bley with Washington. He subbed on a piano

44 • EARSHOT JAZZ • October 2011 WEDNESDAY, NOVEMBER 2, TRIPLE DOOR, 7:30PM Tribute to Jim Knapp

$24 general, $22 members/seniors, $12 Allison, and Jay Thomas, trombonist sounds natural can look pretty com- students Jeff Hay, saxophonists Mark Taylor, plicated on the page and what looks Jim Knapp makes music, mentors Steve Tressler, Stuart MacDonald, Jim simple in a part can make an unex- musicians and likes laughter. For the DeJoie, flautist Paul Taub, French horn pected or counterintuitive musical past forty years, Knapp fed the Seattle player Tom Varner, pianist John Han- statement. Eyes and ears must be deli- jazz scene with his compositions, im- sen, bassist Jon Hamar, and drummer cately balanced, otherwise performers provisations, ensembles and students. Matt Jorgenson. will quickly find themselves in a bind. And he shows no signs of slowing Knapp uses a smaller brass section Leading a volunteer band like this down. This concert is is exhausting – booking an opportunity for the gigs, organizing person- community to give back nel, scheduling rehears- for all of Knapp’s selfless als, tracking down parts. gifts to the Seattle music “I fired myself from environment. my band as leader and All of Knapp’s music rehired myself just as expresses his dry wit, ex- composer. We’re going perimental outlook, and co-op,” Jim Knapp says. meticulous craft. As a Luckily for Knapp, the composition student, one pay is the same. On the of his early works for the other hand, his pay as University of Illinois jazz leader was nothing. band was titled Summer- Although unlikely that time. After quoting the he will perform on this first three notes of the concert, he continues to Gershwin opera tune, practice and play trum- the melody is abandoned pet. His tone echoes for a lush exploration of his speaking voice – a harmonies and textures resonant core with a soft hinted at from just that halo, direct but humble, fragment. profound but gentle, The first half of this wise but playful. concert will feature small – Steve Griggs ensembles of Cornish Knapp is recovering colleagues and friends from having his right foot performing works from amputated in September, his vast portfolio of the result of diabetes and songs. The second half Jim Knapp photo by Steve Korn a broken ankle from a will show off the Jim fall. Although insurance Knapp Orchestra (JKO), a 13- to than most big bands (three trumpets, covered a portion of the medical and 14-piece chamber jazz ensemble. The two trombones) and employs the ver- related expenses, a sizeable amount was repertoire will be drawn from the satility and mellowness of French horn paid out of pocket and dug into precious band’s three recordings On Going as a link to the four reeds. Because of savings. All proceeds from this event Home (1995), Things for Now (1998) the reduced size, every part counts, will go to benefit Knapp’s finances. Your and Secular Breathing (2003). nothing is redundant, and everything support in giving back to him while he The final lineup was unavailable at is exposed. continues to enrich our musical scene is press time but the JKO will likely in- Playing in the band requires great appreciated. clude trumpeters Vern Seilert, Brad reading and listening skills. What

October 2011 • EARSHOT JAZZ • 45 WEDNESDAY, NOVEMBER 2, SEATTLE ART MUSEUM, 8PM SWOJO Plays the Music of Robin Holcomb

$22 general, $20 members/seniors, $11 students The Seattle Women’s Jazz Orchestra (SWOJO) features many of the finest female jazz artists in the region. Showcasing high-intensity jazz, tight harmonies and lush dynamic sounds, the band performs with a fresh energy, stemming from over ten years of thrilling audiences on two continents. Since the first rehearsal in January of 2000, the band has performed at clubs, jazz festivals and concert halls on two continents and performed with many distinguished artists, including Don Lanphere, Ingrid Jensen, Susan Pascal, and many others. SWOJO proudly features the original music of many regional composers and arrangers, including Vern Sielert, Jill Townsend, Hazel Leach, Nelda Swiggett, Roberta Piket, Leigh Pilzer, and their musical director, Dr. Daniel Barry. For this concert, Barry shares conduction of SWOJO with Robin Holcomb in a per- Seattle Women’s Jazz Orchestra, saxophonist Kate Olson, formance of compositions by the Seattle-based composer, pianist and vocalist, photo by Jim Levitt and other remarkable women of jazz. WEDNESDAY, NOVEMBER 2, PONCHO CONCERT HALL, 1PM Masterclass with Malcolm Goldstein

Free and open to the public Pioneering composer/violinist/improviser Malcolm Goldstein shares his perspectives on Charles Ives, John Cage, composition and improvisation at this special masterclass and presentation. See preview November 5, Chapel Performance Space, 8pm. Malcolm Goldstein photo by Sylvia Otte WEDNESDAY, NOVEMBER 2 & THURSDAY, NOVEMBER 3, TULA’S, 7:30PM Grace Kelly Quintet

$18 general, $16 members/seniors, $10 students A 19-year-old jazz wonder, saxophonist/vocalist Grace Kelly “plays with intelligence, wit and feeling,” says one of her many collaborators, Wynton Marsalis. Just five years ago at the age of 14, Grace Kelly garnered the first of her ASCAP Foundation awards and landed an invitation to perform with the Boston Pops. Kelly met this challenge by writing her first full orchestral arrangement and performing it in Boston’s iconic Symphony Hall. Since then, she has garnered accolades for many of the artists she has grown up revering. She has already performed and recorded with the likes of Dave Brubeck, Phil Woods, Harry Con- nick Jr., Jamie Cullum, Frank Morgan, Esperanza Spalding, Chris Potter, Cedar Walton, James Cotton and Terri Lynn Carrington, among many others. Perhaps her most intensive connection has been with Lee Konitz, whom Kelly has studied with since age 13. Lately acclaimed for her recordings of “gospel jazz,” she is joined by Jason Palmer (trumpet), Doug Johnson (piano), Evan Gregor (bass) and Jordan Perlson (drums). Grace Kelly photo by Jimmy Katz

46 • EARSHOT JAZZ • October 2011 FRIDAY, NOVEMBER 4-SUNDAY, NOVEMBER 6, UNIVERSITY DISTRICT VENUES University District Jazz Festival

Event passes are $15-$35 In and around Seattle’s University Lounge, Fourno’s, Café Solstice, Agua Presented by LUCID Jazz Lounge, District, this three-day event brings to- Verde and others. the annual U-District Jazz Walk has gether local artists inspired by a broad Event passes are $15-$35, and por- grown in its third year to become a tableau of genres – from funk and jazz tions of the proceeds go to Savor the three-day festival, held November 4-6. to bop and Bach. The Teaching, Grav- Sound, The Seattle Musicians Foun- The opening event is Friday, Novem- ity, Moraine, brunch performances, a dation, and creating a scholarship for a ber 4, 8pm, at the Neptune Theatre. Cornish College Latin ensemble di- student at Cornish College of the Arts. Lucky Brown and the Trophybucks, rected by Jovino Santos Neto and the Details can be found at www.udistric- Elnah Jordan & Ricardo Guidi and Racer Sessions are among additional tjazzfestival.com. Manghis Khan are among the per- events on this year’s lineup. Venues – Abi Swanson, Schraepfer Harvey formers on opening night. include Tempero Do Brasil, District

FRIDAY, NOVEMBER 4, SEATTLE ASIAN ART MUSEUM, 7:30PM FRIDAY, NOV 4 & SATURDAY, NOV 5, TULA’S, 8PM Robin Holcomb & Talking Pictures Chad McCullough/ Kate Olson/Gary Prince Duo Bram Weijters Welcomed by Community Radio, KBCS, 91.3FM Group $16 general, $14 members/seniors, $8 students The work of outstanding pianist, $14 general, $12 members/seniors, $7 composer and vocalist Robin Hol- students comb has been called “remarkable” Seattle trumpeter Chad McCullough (CMJ), “entrancing” (Billboard), “sen- and Antwerp-based pianist Bram sitive, descriptive, adventuresome and Weijters memorably recorded lyrical, full of soul” (Washington Post). Her subtle, often driving jazz last year on work evokes thoughts and moods of Imaginary Sketches (Origin). The al- many facets – country, rock, Baptist bum builds on several internation- hymns and Appalachian folk tunes, al collaborations to document the and according to the New York Times, unique blend of their compositional “the music that results is as elegantly and performance styles. From the near simple as a Shaker quilt, and no less stand-still tempo of Weijters’ “Another beautiful.” She will perform with the Dark Ballad” to the spiraling search of lineup from her entrancing recent CD, “Imaginary Folk Song” to the burn- The Point of It All: Ron Samworth ing, and aptly titled, “Speeding,” the (guitar), Wayne Horvitz (keyboards), musical chemistry heard on Imaginary Dylan van der Schyff (drums), Peggy Sketches is constantly twisting and Lee (cello) and Bill Clark (trumpet). turning. McCullough’s warm lyricism Opening for Holcomb will be Kate has a great counterpart in Weijters’ Olson, a recent arrival to Seattle and subtlety and drive. For this perfor- instantly one of its most outstanding mance with Piet Verbist on bass and saxophonists. She will offer a set that Matt Jorgensen on drums, the group is both nuanced and highly expressive will set a mood and tone of the eve- with Washington DC-based guitarist ning that is both uniquely their own Gary Prince. Robin Holcomb photo by M. Wilson and incredibly inviting.

October 2011 • EARSHOT JAZZ • 47 SATURDAY, NOVEMBER 5, SEATTLE ART MUSEUM, 8PM Burn List / Operation ID

Welcomed by Community Radio, KBCS, 91.3FM $16 general, $14 members/seniors, $8 students Burn List, a new collaboration from Seattle’s scorching new music scene, features trumpeter and University of Washington music professor Cuong Vu, tenor saxophonist Greg Sinibal- di, keyboardist Aaron Otheim and drummer Chris Icasiano. Having been on the forefront of the Emerald City scene as established veterans, Vu Burn List’s Aaron Otheim, Cuong Vu, Chris Icasiano and Greg Sinibaldi and Sinibaldi each offer unique com- approach to the music and group im- influenced compositions. Rob Hanlon positional approaches and styles that provisation. soon joined on keyboards. With their have helped shape the newest genera- What began as duets between mem- current lineup complete, Operation tion of musicians in the city. Icasiano bers Ivan Arteaga (saxophone/clarinet) ID oriented themselves toward a more and Otheim are in part, products of and Jared Borkowski (guitar) in a Uni- through-composed musical landscape, those contributions, and they form versity of Washington basement quick- transitioning from a purely instrumen- Burn List’s pared-down rhythm sec- ly expanded to include Evan Woodle tal outfit into one that more and more tion combination of keyboard and on drums and David Balatero on bass, incorporates solo and group vocals by drums, pushing to create a new sonic playing improvisation-heavy, free jazz- all five members of the band.

SATURDAY, NOVEMBER 5, CHAPEL PERFORMANCE SPACE, 8PM SUNDAY, NOVEMBER 6 KIRKLAND PERFORMANCE Malcolm Goldstein CENTER, 3PM Seattle Repertory Presented by Nonsequitur Jazz Orchestra $5-$15 sliding scale “An Evening with Ol’ Blue Eyes: Composer and violinist Malcolm Goldstein has been active in the pre- The Music of Frank Sinatra” sentation of new music and dance in Presented by Seattle Repertory Jazz New York since the early 1960s, as co- Orchestra founder of the Tone Roads Ensemble $15-$39 and as participant in the Judson Dance Today in this encore matinee at the Theater, the New York Festival of the Kirkland Performance Center, the Avant Garde and the Experimental Seattle region’s all-star jazz aggrega- Intermedia Foundation. For nearly Malcolm Goldstein photo by Sylvia Otte tion tributes everyone’s favorite blue- five decades, he has toured extensively eyed songster with the big band jazz throughout North America and Eu- violin playing,” extending the range of of Quincy Jones, Count Basie and rope, presenting solo violin concerts tonal and sound-texture possibilities Nelson Riddle, accompanied by guest and appearing as soloist with new mu- of the instrument and revealing new vocalists. sic and dance ensembles. His “sound- dimensions of expressivity. Goldstein See additional program notes Satur- ings” improvisations have received will play solo and with a Seattle en- day, October 29, Illsley Ball Nordstrom international acclaim for “reinventing semble. Recital Hall at Benaroya Hall, 7pm.

48 • EARSHOT JAZZ • October 2011 SUNDAY, NOVEMBER 6 TULA’S, 7:30PM PREVIEW >> Bill Anschell Trio Northwest Jazz Festivals Fall 2011

Compiled by Schraepfer Harvey Autumn travel can bring you to fine locales for jazz festivals in Pacific North- west. Whether in rural Oregon, the near crest of the Rockies in Idaho and Montana, or in the city and on the coast of Washington State, jazz festivals this fall mix local artists and big-name touring stars, and include workshops or other education initiatives in the programming. These festivals stretch jazz presentation out to the corners of our geographical reaches. And we’re grateful for the continued support of this art near and far, rural and urban. Enjoy!

Glacier Jazz Stampede Cornet Chop Suey, Bob Draga, Yve Evans, October 6-9 Louis Ford & His New Orleans Flairs, Forever Red Lion Hotel, additional venues, Plaid, Joe Fos Trio, Jim Fryer & the Usuan Kalispell, MT Suspects, High Sierra Jazz Band, High Yerba Buena Stompers, Big Mama Sue’s Street, Tom Hook, Bruce Innes trio, Ivory & Follies, Blue Street Jazz Band, Don Gold, Kings of Swing, and many more. Lawrence Orchestra, Flathead Ragtime www.sunvalleyjazz.com Society Orchestra, Grand Dominion, Ivory (877) 478-5277 & Gold, La Nota Jazz & Blues, Sandy Bill Anschell photo by Daniel Sheehan Sanderson Trio, Rocky Mountain Rhythm Earshot Jazz Festival Kings, Swinging on High Big Band, Titan Hot October 14-November 6 Admission by donation 7, St Louis Rivermen, Uptown Lowdown. Various venues, Seattle, WA Nearly 10 years have passed since Se- www.glacierjazzstampede.com Keith Jarrett/Gary Peacock/Jack DeJohnette, attle native Bill Anschell returned to (406) 755-6088 Brad Mehldau, The Bad Plus, We Four: the Emerald City after spending 25 Celebrating John Coltrane, Evan Flory- years studying, composing and per- Medford Jazz Jubilee Barnes’s Acknowledgement of a Celebration, forming across the country and around October 7-9 Myra Melford, Allison Miller, Julian Waterfall the world. The pianist, composer and Medford, OR Pollack, Jim Knapp, Jay Clayton, Jerry arranger has played and recorded with Bob Draga, Carolyn Martin’s Swing Band, Granelli, Grace Kelly Group, Seattle a host of jazz greats, including Floyd Cornet Chop Suey, Gator Beat, Sister Swing, Repertory Jazz Orchestra, and many, many Standifer, Richard Davis, Ron Carter, High Sierra Jazz Band, High Street Band, more. Benny Golson, Nnenna Freelon and The Midiri Brothers, The Mixers, Oregon www.earshot.org Russell Malone. In 2005, Anschell Coast Lab Band, Sister Swing, Sother (206) 547-6763 received the Golden Ear Award for Oregon Jazz Orchestra, Tom Rigney and Flambeau, and more. Jazz at the Beach Northwest Jazz Instrumentalist of the November 4-6 Year, and in 2006 his trio was named www.medfordjazz.org (541) 770-6972, (800) 599-0039 Ocean Shores, WA the Best Northwest Acoustic Jazz En- Shanghai Woolies, No Inhibitions Jazz Band, semble. He will lead a festival close- Sun Valley Jazz Jamboree Electric Park Jazz Band, Slipped disk, Hume out celebration with a standards trio October 12-16, Sun Valley, ID Street Preservation Jazz Band, Black Swan, for Seattle, featuring bassist Chris Sy- Bill Allred’s Classic Jazz Band, The Big Bang Tom Rigney & Flambeau, Company B, mer and drummer Jose Martinez. The Jazz Band, Blackstick, Blue Renditions, Blue Klyntel festivities also include food, drink, Street Jazz Band, Boise Straight Ahead, http://www.osjazz.com/festival.html gratitude and good cheer. The Cannibals Happy Jazz, John Cocuzzi, (360) 289-4094

October 2011 • EARSHOT JAZZ • 49 JAZZ AROUND THE SOUND october 10 SATURDAY, OCTOBER 1 SUNDAY, OCTOBER 2 WEDNESDAY, OCTOBER 5 BH Seattle Symphony: Gershwin “An American in BP Michael Gotz brunch, 10am BX Randy Halberstadt, 7, 9 Paris”, 8 BX Danny Kolke Trio, 6, 8 C* WWU Faculty Jazz Collective w/ Mike Allen (Blue BX Barney McClure w/ Greta Matassa, 7, 9 CR Racer Sessions, 8 Horse Gallery, 301 W Holly St, Bellingham), 7 C* Leah Natale & Her Jazz Orchestra (Fremont DT Kevin McCarthy session, 8 DL Peter Daniel 3, 8 Abbey, 4272 Fremont Ave), 7 FB Danny Quintero Quartet, 6 JA Gary Burton Quartet ft. Julian Lage, Scott Colley, EB Katy Bourne Quartet: An Evening of Cole Porter, 7 GB Primo Kim, 6 Antonio Sanchez, 7:30 JA Michael Franks, 7:30, 9:30 JA Michael Franks, 7:30 NO Legacy Band w/ Clarence Acox, 8 LB Sunga Rose w/ Fred Van Doren, 7 LO Steve O’Brien Quartet brunch, noon SF Passarim, 8 NO Hammon-esvelt Quintet, CD release, 4 PG Prohibition Grille jam w/ Bob Strickland, 5 TK Ron Weinstein Trio, 8:30 SF Leo Raymundo Trio, ft. Sue Nixon, 9 SF Alex Guilbert Duo, 11am TU Smith/Staelens Big Band, 7:30 SY Victor Janusz, 9:30am SF Jerry Frank, 6:30 VI Jerry Zimmerman, 7 TU Stephanie Porter Quartet, 7:30 SY Victor Janusz, 9:30am VI The James Band, 9:30 TU Reggie Goings Jazz Offering, 3 THURSDAY, OCTOBER 6 VI Ruby Bishop, 6 TU Jim Cutler Jazz Orchestra, 8 BC Clark Gibson w/ Phil Sparks, 9 VI Ron Weinstein Trio, 9:30 BX Aria Prame Duo, 7, 9 1 COLE PORTER SONGBOOK WITH VI Ruby Bishop, 6 C* The Schwa, (Arabica Lounge, 1550 E Olive Way), 8 FG Steve O’Brien Quintet, 9 VOCALIST KATY BOURNE MONDAY, OCTOBER 3 JA The Family Stone, 7:30, 9:30 Jazz vocalist Katy Bourne performs “An Evening of Cole AM JT/TK Quartet session, 8:30 LJ The Hang, 9:30 Porter” as a benefit for the Trevor Project, Saturday, GB Primo Kim, 6 NO Ham Carson Quintet, 7 October 1, at Egan’s Ballard Jam House, 7pm. Cole NO New Orleans Quintet, 6:30 TK Jon Alberts, Jeff Johnson, Tad Britton, 8:30 Porter classics such as “Night & Day” and “I Get a SY Victor Janusz, 9:30am TU Greta Matassa student recital, 7 Kick Out of You,” as well as more obscure material TU Greta Matassa jam, 7:30 VI Ron Weinstein Trio, 9 from the great American composer, feature on the VI Ruby Bishop, 6 WA Killerbees, 8 evening’s setlist. Bourne’s band is Randy Halberstadt WR Spellbinder, 9:30 on piano, Clipper Anderson on bass and Steve Korn FRIDAY, OCTOBER 7 on drums. Bourne’s recent CD release As the Fates TUESDAY, OCTOBER 4 BP Gail Pettis, 7:45 Decide is on the Pony Boy Records label. For more CG Suffering F#ckheads, 8 BX Bryant Urban Blue Oasis, 7, 9 information about Bourne, visit www.katy-bourne. GT Sound of the Underbrush session, 8 C* Jose “Juicy” Gonzales Trio (Scotch and Vine, com. The Trevor Project is a national organization that JA Gary Burton Quartet ft. Julian Lage, Scott Colley, 22341 Marine View Dr S, Des Moines), 8 provides crisis intervention, suicide prevention and Antonio Sanchez, 7:30 C* Gary Scott Trio (Baker Street Books, 32709 advocacy for lesbian, gay, bisexual, transgender and MX Mock, Kim, Willis, 8 Railroad Ave, Black Diamond), 7 questioning youth. The suggested price of admission NO Holotradband, 7 EB Dorothy Rodes/Eric Verlinde/Chuck Kistler, 7 is $15.00. To make reservations, call 206-789-1621 OW Owl ’n’ Thistle jam w/ Jose Martinez & Eric HS Jazz & Sushi: Young Lizards, 7:30 Verlinde, 10 JA The Family Stone, 7:30, 9:30 or send an email to [email protected]. For SB McTuff, 10 KC António Zambujo, 7:30 information, visit www.ballardjamhouse.com. TU Jay Thomas Big Band, 7:30 LB Trish Hatley w/ Hans Brehmer, 7 NC Double Scotts On The Rocks, 8

GET YOUR GIGS To submit your gig information go to www.earshot.org/Calendar/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 LISTED! throughout the month, so if you are playing in the Seattle metro area, let us know! Calendar Key

AA Seattle Asian Art Museum, 1400 E Prospect St, ED Edmonds Center for the Arts, 410 4th Ave N, OW Owl ’n’ Thistle, 808 Post Ave, 621-7777 206-654-3100 Edmonds, 425-275-9595 PG Prohibition Grill, 1414 Hewitt Ave, Everett, 425- AM Amore Restaurant, 522 Wall St, 770-0606 FB Seattle First Baptist Church, 1111 Harvard Ave, 258-6100 AV Agua Verde, 1303 NE Boat St, 545-8570 206-325-6051 PL Cafe Paloma, 93 Yesler Way, 405-1920 BC Barca, 1510 11th Ave E, 325-8263 FG Faire Gallery Cafe, 1351 E Olive Way, 652-0781 PO PONCHO Concert Hall, Kerry Hall, 710 E Roy St BH Benaroya Hall, 200 University St, 215-4747 GB El Gaucho Bellevue, 555 110th Ave NE, Bellevue, RV Rainier Valley Cultural Center, 3515 S Alaska St. BP Bake’s Place, 4135 Providence Point Dr SE, 425-455-2734 SB Seamonster Lounge, 2202 N 45th St, 633-1824 Issaquah, 425-391-3335 GT Gallery 1412, 1412 18th Ave SE Seattle Art Museum, 1300 First Ave, 654-3100 BX Boxley’s, 101 W North Bend Way, North Bend, HS Hiroshi’s Restaurant, 2501 Eastlake Ave E, 726- SF Serafina, 2043 Eastlake Ave E, 206-323-0807 425-292-9307 4966 SR Sorrento Hotel, 900 Madison St, 622-6400 C* Concert and Special Events JA Jazz Alley, 2033 6th Ave, 441-9729 SY Salty’s on Alki, 1936 Harbor Ave SW, 526-1188 CC Columbia City Theater, 4916 Rainier Ave S, 206- KC Kirkland Performance Center, 350 Kirkland Ave, TD Triple Door, 216 Union St, 838-4333 722-3009 Kirkland, 425-828-0422 TK Thaiku, 5410 Ballard Ave NW, 706-7807 CG Copper Gate, 6301 24th Ave NW, 706-3292 LB Lakeside Bistro, 11425 Rainier Ave S, 772-6891 TO Town Hall Seattle, 1119 8th Ave, 652-4255 CH Chapel Performance Space, Good Shepherd LJ Lucid Jazz Lounge, 5241 University Ave NE, 402- TU Tula’s, 2214 2nd Ave, 443-4221 Center, 4649 Sunnyside Ave N 3042 VI Vito’s, 927 9th Ave, 682-2695 CR Cafe Racer, 5828 Roosevelt Way NE, 523-5282 LO The Lookout, 757 Bellevue Ave E, 860 2752 VL Vino at the Landing, 800 N 10th Pl, Renton, 425- DL District Lounge, 4507 Brooklyn Ave NE, 547-4134 MX MIX 6006 12th Ave S, 767-0280 282-0382 DT Darrell’s Tavern, 18041 Aurora Ave N, Shoreline, NC North City Bistro & Wine Shop, 1520 NE 177th, WA Waid’s Haitian Cuisine & Lounge, 1212 E 542-2789 Shoreline, 365-4447 Jefferson St, 206-328-6493 EB Egan’s Ballard Jam House, 1707 NW Market St, NO New Orleans Restaurant, 114 First Ave S, 622- WR White Rabbit, 513 N 36th St, 588-0155 206-789-1621 2563

50 • EARSHOT JAZZ • October 2011 NO Thomas Marriott’s Flexicon, 8 VI Ron Weinstein Trio, 9:30 SB Ask the Ages w/ Suffering F#ckheads, 10 SF Kiko de Freitas, 9 VI Ruby Bishop, 6 SE Art of Jazz: Jon Jang, 5:30 SR Katy Bourne Trio, 7:30 TK Jon Alberts, Jeff Johnson, Tad Britton, 8:30 TU Greta Matassa Quartet, 7:30 MONDAY, OCTOBER 10 TU Lisa Fox Quintet, 7:30 VI Casey MacGill, 8 AM JT/TK Quartet session, 8:30 VI Michel Navedo & Jimmie Herrod, 9 GB Primo Kim, 6 WA Killerbees, 8 7 MUSICAL SOUL OF THE PORTUGUESE NO New Orleans Quintet, 6:30 TU Johnaye Kendrick vocal showcase, 7:30 FRIDAY, OCTOBER 14 IN KIRKLAND WR Spellbinder, 9:30 BP Jackie Ryan With Anton Schwartz, 7:45 Fado is unmistakably the music of the seafaring BX Milo Petersen Trio, 7, 9 Portuguese and often deals with themes of departure, TUESDAY, OCTOBER 11 EB Jose “Juicy” Gonzales & Annie Roodzant-Reed, 9 destiny, and longing. Traditional fado combines soaring CG Suffering F#ckheads, 8 HS Jazz & Sushi: Kistler/Ranney Quartet, 7:30 and expressive vocals with Portuguese guitar, and JA Oregon, 7:30 JA Manhattan Transfer, 7:30, 9:30 António Zambujo blends this folk music of Portugal with MX Mock, Kim, Willis, 8 LB Phil Westbrook, 7 jazz improvisations and Brazilian grooves. Zambujo NO Holotradband, 7 NC Greta Matassa & Darin Clendenin , 8 was born in Beja in September 1975. He grew up OW Owl ‘n’ Thistle jam w/ Jose Martinez & Eric NO Thomas Marriott’s Flexicon, 8 listening to the cante Alentejano that would later Verlinde, 10 PL Better World w/ Joanne Klein, Marc Smason, influence his musical education. At the age of eight SB McTuff, 10 Craig Hoyer, Michael Barnett, 7:30 he began studying the clarinet at the Baixo Alentejo TU Emerald City Jazz Orchestra, 7:30 RV Valley Vibes: Elspeth Savani / Correo Aereo, 7 Regional Conservatory. However, from a very young WEDNESDAY, OCTOBER 12 SF Djangomatics, 9 TO Earshot Jazz Fest (EJF): Endangered Blood, 9 age he fell in love with fado. His influences were BX Pearl Django, 7, 9 TO Earshot Jazz Fest (EJF): Roosevelt & Mountlake Amália Rodrigues, Maria Teresa de Noronha, Alfredo C* WWU Faculty Jazz Collective w/ Mike Allen (Blue Terrace High School Jazz Bands, 7 Marceneiro, Joao Ferreira Rosa, Max and others. After Horse Gallery, 301 W Holly St, Bellingham), 7 TU EJF: Human Spirit, 8 completing clarinet studies, he moved to Lisbon, C* Mark Walker clinic (Drum Exchange, 4501 VI Jovino Santos Neto, 8 where he was added to the cast at the prestigious Interlake Ave N), See calendar preview Clube do Fado in the quarter of Alfama. He’s an DL Peter Daniel 3, 8 award-winning fado vocalist with three well-received SATURDAY, OCTOBER 15 JA Oregon, 7:30 AA EJF: Trio BraamDeJoodeVatcher, 8 CDs to his name, including Outro Sentido, which he NO Legacy Band w/ Clarence Acox, 8 BP Jackie Ryan With Anton Schwartz, 7:45 followed with a long stint of touring around the globe. TK Ron Weinstein Trio, 8:30 Zambujo appeared at the Cool Jazz Fest in 2009 and TU SCCC Jazz Ensemble, 7 was on the list of the 10 Best International Concerts VI Jerry Zimmerman, 7 of the Year, selected by the newspaper O Globo, in the company of musicians such as Elton John, Burt 12 MASTER DRUM CLINIC IN CURTAIN CALL Bacharach, Terence Blanchard, Youssou N’Dour and weekly recurring performances Angelique Kidjo. On October 7, 7:30pm, Zambujo is at WALLINGFORD the Kirkland Performance Center, following the 2010 The Drum Exchange (4501 Interlake Ave N) brings MONDAY release of his fourth CD, Guia. Tickets are $22-$25, Mark Walker to the Wallingford neighborhood for a and include a free Portuguese wine tasting at 6:30 pm. master clinic on Wednesday, October 12. The clinic is AM JT/TK Quartet, 8:30 More about Zambujo at www.antoniozambujo.com. For free and reservations are required. Call 206-545-3564 GB Primo Kim, 6 tickets, visit www.kpcenter.org. to reserve a spot. Mark Walker is a versatile drummer NO New Orleans Quintet, 6:30 and percussionist on the international touring and WR Spellbinder, 9:30 SATURDAY, OCTOBER 8 recording scene. In 2001, he was appointed Associate TUESDAY BX Bernie Jacobs Quartet, 7, 9 Professor at Berklee College of Music in Boston, where MX Mock, Kim, Willis, 8 C* Big Band at Centrum w/ John Clayton (Wheeler he has created new curricula, served on the education NO Holotradband, 7 Theater, Port Townsend), 7:30 committee, and taught drummers, percussionists, OW Jam w/ J Martinez & E Verlinde, 10 CH Jarrad Powell, 8 and ensembles. He has also served on the faculty SB McTuff Trio, 10 JA The Family Stone, 7:30, 9:30 at Drummers Collective in New York City and has WEDNESDAY LB Mia Vermillion, 7 conducted master classes, clinics, and workshops in DL Peter Daniel 3, 8 SB DOA Trio, 10 South America, North America, and Europe, both as SF Jose Gonzales Trio, 9 NO Legacy Band w/ Clarence Acox a solo artist and with such groups as Oregon, Paquito TK Ron Weinstein Trio, 8 SY Victor Janusz, 9:30am D’Rivera Quintet, the Caribbean Jazz Project, Sakesho, VI Jerry Zimmerman, 7 TU Susan Pascal Quartet, 7:30 Lyle Mays Quartet, Chucho Valdes, Bill Watrous, and TU Seattle Teen Music, 2 others. He also wrote for the all-star instructional drum THURSDAY VI Darrius Willrich, 9:30 set book Killer Grooves, published by Carl Fischer. His BC Clark Gibson w/ Phil Sparks, 9 VI Ruby Bishop, 6 solo projects include the sample/loop discs Chameleon LJ The Hang, 9:30 NO Ham Carson Quintet, 7 SUNDAY, OCTOBER 9 Drums, Vol 1 & 2 (Sonic Emulations) and Ritmo (Sampleheads). Walker has won TK Alberts, Johnson, Britton, 8 BP Michael Gotz brunch, 10am De Las Americas three Grammy Awards and earned several Grammy WA Killerbees, 8 BX Danny Kolke Trio, 6, 8 nominations for his work with some of the artists listed C* Matt Jorgensen (Marine View Church, 8469 FRIDAY Eastside Dr NE, Tacoma), 5 above. Additionally, he won the grand prize for Jazziz HS Jazz & Sushi, 7:30 C* Our House Jazz Quintet w/ Bill Anschell KITH magazine’s “Percussion On Fire” competition in 1996. NO Thomas Marriott’s Flexicon, 8 dinner & auction (Woodmark Hotel, 1200 For more information about Mark Walker, visit www. SATURDAY Carillon Point), 5:30 wiggage.com/markwalker.html. For more information SY Victor Janusz, 9:30am CR Racer Sessions, 8 about The Drum Exchange, visit the shop in Wallingford VI Ruby Bishop, 6 or go online: www.drumexchange.com. Walker’s clinic DT Kevin McCarthy session, 8 SUNDAY is sponsored by Yamaha, Paiste, Remo, Vic Firth, LP, GB Primo Kim, 6 BP Michael Gotz brunch, 10am Creative Music Adventures and The Drum Exchange. JA The Family Stone, 7:30 BX Danny Kolke Trio, 6, 8 LJ TransLUCID: Fundamental Forces, 7 THURSDAY, OCTOBER 13 CR Racer Sessions, 8 LO Steve O’Brien Quartet brunch, noon BC Clark Gibson w/ Phil Sparks, 9 DT Kevin McCarthy session, 8 SF Jerry Frank, 6:30 BX Okoberfest Alpenfolk, 7, 9 GB Primo Kim, 6 SF Pasquale Santos, 11am JA Manhattan Transfer, 7:30, 9:30 SY Victor Janusz, 9:30am SY Victor Janusz, 9:30am LJ The Hang, 9:30 TU Jim Cutler Jazz Orchestra, 8 TU Jazz Police, 3 NO Ham Carson Quintet, 7 VI Ruby Bishop, 6 TU Jim Cutler Jazz Orchestra, 8

October 2011 • EARSHOT JAZZ • 51 BX Kelly Eisenhour Quartet, 7, 9 PG Prohibition Grille jam w/ Bob Strickland, 5 NO Holotradband, 7 C* Marc Smason Trio (Gilbert’s Deli, 10024 Main SE EJF: Eric Vloeimans’ Gatecrash, 8 OW Owl ‘n’ Thistle jam w/ Jose Martinez & Eric St, Bellevue), 11am SF Anne Reynolds & Tobi Stone, 6:30 Verlinde, 10 C* EJF: Craig Taborn & Gust Burns (UW Brechemin SF Alex Guilbert Duo, 11am SB McTuff, 10 Auditorium), 8 SY Victor Janusz, 9:30am TU EJF: Matt Slocum Trio, 7:30 JA Manhattan Transfer, 7:30, 9:30 TU Jay Thomas Big Band, 4 LB Dina Blade w/ Marco de Carvalho, 7 TU EJF: Emi Meyer’s Japan Trio, 7:30 WEDNESDAY, OCTOBER 19 SF Leo Raymundo Trio, ft. Sue Nixon, 9 VI Ruby Bishop, 6 BX Darin Clendenin & Friends, 7, 9 SY Victor Janusz, 9:30am VI Ron Weinstein Trio, 9:30 C* WWU Faculty Jazz Collective w/ Mike Allen (Blue TU EJF: Human Spirit, 8 Horse Gallery, 301 W Holly St, Bellingham), 7 VI The Nightcaps, 9:30 MONDAY, OCTOBER 17 CH EJF: Avram Fefer Trio ft. Chad Taylor & Michael VI Ruby Bishop, 6 AM JT/TK Quartet session, 8:30 Bisio, 8 GB Primo Kim, 6 DL Peter Daniel 3, 8 SUNDAY, OCTOBER 16 NO New Orleans Quintet, 6:30 JA Louis Prima Jr., 7:30 BP Michael Gotz brunch, 10am TU Darin Clendenin Trio jam, 7:30 NO Legacy Band w/ Clarence Acox, 8 BP Sinatra At The Sands With Joey Jewell & Trish WR Spellbinder, 9:30 TK Ron Weinstein Trio, 8:30 Hatley, 6:45 TU EJF: Matt Slocum Trio, 7:30 BX Danny Kolke Trio, 6, 8 TUESDAY, OCTOBER 18 VI Tango Ahora, 9 CR Racer Sessions, 8 BH Seattle Symphony, Cuong Vu, Hey Marseilles, 7:30 VI Jerry Zimmerman, 7 DT Kevin McCarthy session, 8 CG Suffering F#ckheads, 8 GB Primo Kim, 6 CH EJF: Rich Halley Trio +1, 8 THURSDAY, OCTOBER 20 GT Ken Ueno & Paul Hoskin, 8 GT Sound of the Underbrush session, 8 BC Clark Gibson w/ Phil Sparks, 9 JA Manhattan Transfer, 7:30 JA Louis Prima Jr., 7:30 BX Syd Potter Quartet, 7, 9 w/ LO Steve O’Brien Quartet brunch, noon MX Mock, Kim, Willis, 8 CC 3 Glorias, Flamenco en Vivo Savannah Fuentes, 8 JA The Jazz Crusaders, 7:30, 9:30 KC EJF: Tommy Dorsey Orchestra, 7:30 LJ The Hang, 9:30 NO Ham Carson Quintet, 7 PO Theater: Oo Bla Dee, 8 Earshot Jazz pr E s E n t s TD The Schwa, 9 TK Jon Alberts, Jeff Johnson, Tad Britton, 8:30 TU EJF: Beat Kaestli Group, 7:30 WA Killerbees, 8 Seattle Repertory Jazz Orchestra FRIDAY, OCTOBER 21 BH EJF: Brad Mehldau, 8 + vocalists Everett Greene & Nichol Eskridge BP Tom Grant, 7:45 BX Shunzo Ohno & Jay Thomas 4, 7, 9 + NW Chamber Chorus C* Jose “Juicy” Gonzales Trio (Scotch and Vine, 22341 Marine View Dr S, Des Moines), 8 C* Kareem Kandi Band (Royal Lounge (311 Capitol Way N, Olympia), 7 C* Chris Morton Trio (Baker Street Books, 32709 Duke ellington’s Railroad Ave, Black Diamond), 7 HS Jazz & Sushi: Yujiro Trio, 7:30 JA The Jazz Crusaders, 7:30, 9:30 LB Phil Westbrook, 7 NO Thomas Marriott’s Flexicon, 8 Sacred MuSic PL Better World w/ Joanne Klein, Marc Smason, Craig Hoyer, Michael Barnett, 7:30 PO Theater: Oo Bla Dee, 8 SF Tim Kennedy Trio, 9 TU EJF: Johnaye Kendrick Quartet, 7:30 Monday VI Casey MacGill, 8 deceMber 26, 2010 SATURDAY, OCTOBER 22 AV el Mundo Mejor w/ Marc Smason, Brian Flanagan, Jeff Davies, 12:30 BX Katy Bourne Quartet, 7, 9 7:30pM C* Marc Smason Quartet (Capitol Music Center, 1006 NE 50th St), 4 Town Hall Seattle JA The Jazz Crusaders, 7:30, 9:30 1119 Eighth Ave (at Seneca) KC EJF: Evan Flory-Barnes’ Acknowledgement of a Celebration, 8 LB Coreena Brown w/ Jimmy Holden, 7 $34 / $26 PO Theater: Oo Bla Dee, 8 Tickets available at SF Alex Guilbert Trio, 9 brownpapertickets.com SY Victor Janusz, 9:30am 1.800.838.3006 TO EJF: Celebrating Coltrane & Mingus: We Four (J.Jackson, M.Miller, N.Reeves, J.Cobb) / Sonando, 8 Earshot Jazz TU EJF: Jay Thomas / Shunzo Ohno Group, 8 p: 206.547.6763 VI Ruby Bishop, 6 w: www.earshot.org SUNDAY, OCTOBER 23 BP Michael Gotz brunch, 10am

52 • EARSHOT JAZZ • October 2011 BX Danny Kolke Trio, 6, 8 SF John Sanders Gypsy Reeds, 9 SUNDAY, OCTOBER 30 CR Racer Sessions, 8 TU EJF: Travis Shook Trio, 8 BP Michael Gotz brunch, 10am DT Kevin McCarthy session, 8 SATURDAY, OCTOBER 29 BX Danny Kolke Trio, 6, 8 GB Primo Kim, 6 CR Racer Sessions, 8 AV el Mundo Mejor w/ Marc Smason, Brian JA The Jazz Crusaders, 7:30 DT Kevin McCarthy session, 8 Flanagan, Jeff Davies, 12:30 LO Steve O’Brien Quartet brunch, noon GB Primo Kim, 6 BH EJF: SRJO Jazz4Kids Concert, 4:30 PO Theater: Oo Bla Dee, 2 JA John Scofield Jazz Quartet, 7:30 BH EJF: SRJO “An Evening with Ol’ Blue Eyes”, 7 SF Anne Reynolds & Tobi Stone, 6:30 LO Steve O’Brien Quartet brunch, noon BP Kelly Harland Band, 7:45 SF Pasquale Santos, 11am PG Prohibition Grille jam w/ Bob Strickland, 5 BX Janette West Group, 7, 9 SY Victor Janusz, 9:30am SF Jerry Frank, 6:30 C* Jose “Juicy” Gonzales Trio (909 Coffee and Wine, TD EJF: The Campbell Brothers, 7:30 SF Danny Ward, 11am 909 SW 152nd St, Burien), 8:30 TU Easy Street Big Band, 4 SY Victor Janusz, 9:30am ED EJF: Bill Charlap & Renee Rosnes, 7:30 TU EJF: Jay Thomas / Shunzo Ohno Group, 8 TU Fairly Honest Jazz Band, 3 JA John Scofield Jazz Quartet, 7:30, 9:30 VI Ron Weinstein Trio, 9:30 TU EJF: Jerry Granelli Trio, 7:30 LB Butch Harrison, 7 VI Ruby Bishop, 6 VI Ron Weinstein Trio, 9:30 PO EJF: Jay Clayton Group / Jerry Granelli Trio, 8 VI Ruby Bishop, 6 MONDAY, OCTOBER 24 SB Barrett Martin Group, 10 AM JT/TK Quartet session, 8:30 SF Leo Raymundo Trio, ft. Sue Nixon, 9 MONDAY, OCTOBER 31 CH EJF: Nelda Swiggett’s Stringtet, 7:30 SY Victor Janusz, 9:30am AM JT/TK Quartet session, 8:30 GB Primo Kim, 6 TO EJF: The Bad Plus / Das Kapital play Hans Eisler, 8 GB Primo Kim, 6 NO New Orleans Quintet, 6:30 TU EJF: Travis Shook Trio, 8 NO New Orleans Quintet, 6:30 PO EJF: Masterclass w/ Shunzo Ohno, noon VI Ruby Bishop, 6 TU Joiephonic Explorations, 7:30 TD EJF: Thomas Mapfumo & Blacks Unlimited, 7:30 WR Spellbinder, 9:30 TU EJF: Wessell Anderson Quartet, 7:30 WR Spellbinder, 9:30 TUESDAY, OCTOBER 25 CG Suffering F#ckheads, 8 JA René Marie, 7:30 MX Mock, Kim, Willis, 8 NO Holotradband, 7 OW Owl ‘n’ Thistle jam w/ Jose Martinez & Eric Tula’s Jazz Calendar OCTOBER 2011 Verlinde, 10 Tula’s Restaurant and Nightclub Reservations: 206-443-4221 22142214 Second Ave, Avenue, Seattle, Seattle, WA 98121 WA 98121 octoberTULAS.COM 2011 SB McTuff, 10 www.tulas.com; for reservations call (206) 443-4221 TD EJF: Garfield High School w/ Wessell Anderson, 7 SUNDAY MONDAY TUESDAY WEDNESDAY THURSDAY FRIDAY SATURDAY TU EJF: Cory Weeds Group, 7:30 1 VI Wally Shoup Trio, 9 TULA’S EARLY ARRIVAL DISCOUNTS (Note, no discounts during Earshot Jazz events.) MONDAY thru THURSDAY: Stephanie WEDNESDAY, OCTOBER 26 Make dinner reservations and arrive by 7:00 pm to receive a 10% discount on all food items. Porter BX Chris Morton, 7, 9 FRIDAY & SATURDAY: Make dinner reservations and arrive by 7:00 pm to receive a $5 discount on your cover charge. Quartet C* WWU Faculty Jazz Collective w/ Mike Allen (Blue 7:30PM $15 Horse Gallery, 301 W Holly St, Bellingham), 7 2 3 4 5 6 7 8 DL Peter Daniel 3, 8 Reggie Goings JAZZ JAM BIG BAND JAZZ BIG BAND JAZZ Greta Seattle JA René Marie, 7:30 Greta Teen Music Jazz Offering hosted by Jay Smith/ Matassa 2-5PM $5 NO Legacy Band w/ Clarence Acox, 8 3-7PM $8 Matassa Susan PO EJF: Julian Waterfall Pollack Trio, 8 Jim Cutler Greta Thomas Staelens Student Jazz Quartet Pascal TK Ron Weinstein Trio, 8:30 Matassa Big Band Big Band Recital 7:30PM $15 Orchestra 7:30PM $10 7:30PM $5 7:30PM $10 Quartet TU EJF: Cory Weeds Group, 7:30 8PM $5 7PM $10 7:30PM $15 VI Jerry Zimmerman, 7 9 10 11 12 13 14 15 THURSDAY, OCTOBER 27 Jazz Police Johnaye BIG BAND JAZZ BIG BAND JAZZ EARSHOT JAZZ EARSHOT JAZZ BIG BAND Kendrick Emerald Lisa Fox Human Human BC Clark Gibson w/ Phil Sparks, 9 3-7PM $5 SCCC Jazz BX Marcus Brothers 2, 7, 9 Vocal City Jazz Quintet Spirit Spirit Jim Cutler Ensemble 7:30PM $10 8PM $15 gen. 8PM $15 gen. JA John Scofield Jazz Quartet, 7:30, 9:30 Jazz Orch. Showcase Orchestra 7PM $5 $13 mem/seniors, $13 mem/seniors, 7:30PM $10 7:30PM $5 LJ The Hang, 9:30 8PM $5 $7 students $7 students NO Ham Carson Quintet, 7 16 17 18 19 20 21 22 Jay Thomas JAZZ JAM EARSHOT JAZZ EARSHOT JAZZ EARSHOT JAZZ EARSHOT JAZZ EARSHOT JAZZ PO EJF: Hardcoretet, 7:30 BIG BAND w/ Darin Matt Matt Beat Johnaye Jay Thomas/ PO EJF: Allison Miller’s Boom Tic Boom, 8 4-7PM $5 Slocum Slocum Kaestli Kendrick Shunzo PO EJF: Masterclass w/ Boom Tic Boom, noon EARSHOT JAZZ Clendenin Trio Trio Group Quartet Ohno SB Suffering F#ckheads, 10 Emi Meyer’s 7:30PM $14 gen. 7:30PM $14 gen. 7:30PM $14 gen. 7:30PM $14 gen. Trio $10 mem/seniors, $10 mem/seniors, $12 mem/seniors, Group TK Jon Alberts, Jeff Johnson, Tad Britton, 8:30 Japan Trio 7:30PM $10 $12 mem/seniors, 8PM $15/12/7 7:30 $12/$10/$6 $7 students $7 students $7 students $7 students TU EJF: Hardcoretet, 7:30 23 24 25 26 27 28 29 WA Killerbees, 8 Easy Street EARSHOT JAZZ EARSHOT JAZZ EARSHOT JAZZ EARSHOT JAZZ EARSHOT JAZZ EARSHOT JAZZ JAZZ BAND FRIDAY, OCTOBER 28 4-7PM $5 Wessell Cory Cory Travis Travis EARSHOT JAZZ Anderson Weeds Weeds Hardcoretet Shook Shook BX Frank Kohl Trio, 7, 9 7:30PM $12 gen. C* Katy Bourne & Randy Halberstadt (Scotch and Jay Thomas/ Quartet Group Group $10 mem/seniors, Trio Trio Shunzo Ohno 7:30PM $14/12/7 7:30PM $12/10/6 7:30PM $12/10/6 $6 students 8PM $14/12/7 8PM $14/12/7 Vine, 22341 Marine View Dr S, Des Moines), 8 8PM $15/12/7 C* Doug Ostgard, Steve Allen (Baker Street Books, 30 31 32709 Railroad Ave, Black Diamond), 7 Fairly Honest JAZZ BAND Joiephonic Tula’s Restaurant & Jazz Club HS Jazz & Sushi: Karen Shivers Quartet, 7:30 3-7PM $5 JA John Scofield Jazz Quartet, 7:30, 9:30 Featured in Downbeat Magazine’s EARSHOT JAZZ Explorations LB Murl Allen Sanders, 7 7:30PM $5 Guide of 100 Great NC Pearl Django, 8 Jerry International Jazz Clubs. NO Thomas Marriott’s Flexicon, 8 Granelli Trio 206-443-4221 tulas.com PO EJF: Scrape w/ Jay Clayton, 8 7:30PM $15/13/7

October 2011 • EARSHOT JAZZ • 53 THANK YOU! EARSHOT JAZZ 2011 DONORS

($500 and above) David Clarke John Bloom Mark T. Hanson Ann Reynolds 4Culture of King County Sophia Smith & Dinnen Laura May Booker Alan Hashimoto Lucy Rock ArtsFund Cleary Michael Borovina Robert Hauge Richard Rodseth California Community Carol Levin & Steve Samantha Boshnack Steve Holman James Roll Deutsch Foundation Geary Britton-Simmons Paul Hoskin Lee Roth Kay & David Earle Consulate General of the Don Brown Elizabeth Huebner Dr. David N. Rudo DDS Netherlands David & Jane Emerson Frank Brown Cynthia Hughen Chamber Music America Joey Meyer & Terry Furlong James Russell David Brunet Jack Hunden Doris Duke Charitable Jayne Stevenson & Steve Murl Allen Sanders Foundation Goettsch William Bruzas Ralph Hurvitz R. H. Sanders George E. Heidorn Bill Karp & Susan Guralnick Mary A. Burki May Icasiano Dolores Scharman Femi Lakeru Chuck & Kathy Hamilton Patrick Campbell Tony Icasiano Erik Schwab Ken & Kara Masters Robin Holcomb & Wayne Don Cannon Janelle Jacobs Anton Schwartz Microsoft Corporation Horvitz Augusto Cardoso Jo Jeffrey Michael Sentkewitz Mid-Atlantic Arts Pam & Dwight Jewson Meg & Michael Carrico Susan Jenkins Chris Sharpe Foundation Eddie Griffiths & Phyllis Edward Cesarone Denise Joines Scott Shimel Johnsen Meet the Composer Troy Chapman Christine Kline Mike Simpson Nicholas & Laurel Johnson National Endowment for Will Chen Motoe Kodera Bill Smith the Arts Frederick F Kellogg III Dave Chidley Richard Kost Dennis A. Smith Paul G. Allen Family Julie Kesler Darin Clendenin Michael Krohn Foundation Laurence Spangler Nancy & Bob Kimberly Beverly Coco Chad Kuipers Plum Creek Foundation Timothy Spelman Steve Landau Stephanie Cooper Diana Lee Seattle Office of Arts & John Suggs Lance McDonald Lawrence Cousins Mark Levensky Cultural Affairs Jacqueline D. Tabor Hal & Susan Mozer Ron & Erica Cowan Mark Lewin Olivia Taguinod Thomas Newhof Steve Coyne Todd Lien ($100 to $499) Jim & Nancy Taylor Kemi Nakabayashi & Jim Aura Cuevas Jessica Lurie Alexander Barnett Mark Taylor Norton David Darwent Thomas Marriott Anne Brown Mark S. Taylor Ray Stark & Lynn Traceigh Patrick Davenport Ofer Matan Raman Chandrasekar Schwendiman Mark Terry Jerry Davis Chad McCullough Peter S. Davenport Dave & Joan Shannon Debbie Todd Jane DeBrock Yvonne Freitas McGookin David Dugdale Steve Smith Douglas Tourtelot Victor Doperalski Linda McKay Joseph Galagan Paul Yager & Teresa Janet Upegui Sparkman Dan & Donna Duval Dennis McMahon Rush Green Murray Urquhart Dick Stapleton Jenny Eichwald Jeff Miller Dean & Carolyn Jacobsen David Utevsky Nelda Swiggett P. Elster Sharon Montoya-Welsh Lawrence Jacobson Ron Van Der Veen Deborah Taylor Brian & Jill Estes Jamie Moran Mark Jaffe Byron Vannoy Jim & Nancy Kenagy Ernest & Sharon Umemoto Mark Fefer Dan E. Morris Toni French Lan Mosher Harry Vye Hideo Makihara Robin Updike Scott Gelband Gary Mozel Fletch Waller Barbara Metch Annet & Werner Vogels Wendy Gelbart Meredith Neal Bob Walton Stephen & Uta Meyer Mark Stifelman and Loretta Vosk Brooks Giles III Glenn Nelson Eric Walton Megan Millard Jonathan Wenger Allison Gillett David Nemens James Walton Essie Jacobs & Chuan Nguyen Dr. Howard Gillis Bud Nicola Phil Wenzel Samuel R. Pettis (Up to $49) John Giuliani Jeff Olson John Whitton Charles Shell Jeffrey D. Brennan Chris Gompert Michael Peskura David J. Wight Wesley Moore & Sandra Ed Alejandro Marianne Gonterman Dorothy M Peterson Dana Ruth Wilber Walker Hester Angus Mireille Gotsis Robert Pillitteri Deborah Wilson Walter Wallace Bill Anschell Libby Graham Stuart Porteous Peter A. Wilson Fronda Woods Jim Arthur Bruce Greeley Jon Pugh Michael Winans Bruce Bagamery Bill Green Fred Pursell Henry Witherspoon ($50 to $99) Diane Bell Donald R. Gunderson Ruth Quinet Richard Wright Lisa Stone & Paul Agid Don Berman Jeffrey Hall Jon Quitslund Janice Yamanchi Nick Ericson & Cindy Bee Emilie Berne Sylvia Hall Dennis Rea Glenn Young Kathleen P. Carey Sue Billings Erik Hanson Paul Reese Winifred Young Earshot Jazz is Seattle’s nonprofit music, arts and service organization formed in 1984 to support jazz in the community. Earshot Jazz publishes a monthly newsletter, presents creative music, produces educational programs, assists jazz artists, and networks with the national and international jazz community.

54 • EARSHOT JAZZ • October 2011 JAZZ INSTRUCTION Osama Afifi - Upright/electric bass instruction. Ed Hartman – YAMAHA Performing Artist. Jazz, Murl Allen Sanders – jazz piano & accordion Worked with Kurt Elling, Nnenna Freelon, Tribal Latin, percussion lessons (drumset, vibraphone, instructor interested in working with motivated Jazz, Yanni, Vanessa Paradis. (253) 229-1058 congas) @ The Drum Exchange. FREE intro. les- intermediate level young people. (206) 781-8196 son. (206) 545-3564, [email protected] www.myspace.com/osamaafifi Greg Sinibaldi – Improvisation/composition using Clipper Anderson – NW top bassist, studio musi- Kelley Johnson – Earshot Best Jazz Vocalist, 12-tone technique, all instruments & levels, cian, composer. PLU faculty. Private students, International Vocal Competition Winner. Lessons ensemble coaching, workshops. (206) 675-1942; clinics, all levels, acoustic/electric. $45/hr. (206) & workshops, voice, & improvisation. www.kelley- [email protected] johnson.com (206) 323-6304 933-0829 or [email protected] Marc Smason – Trombone, jazz vocal & dijeridu. Dave Anderson -- Improvisation instruction/coaching, Diane Kirkwood - Recording Artist/Jazz Vocal- Professional trombonist/vocalist since 1971. Has any level/instrument, from saxophonist/composer in ist. Private Vocal Coach/Performance & Audition taught in schools & privately. www.marcsmason.com Greenlake neighborhood. (206) 553-9957, davean@ Coach. Students/Adults (425) 823-0474 or [email protected] Bill Smith – Accepting students in composition, comcast.net, www.daveandersonjazz.com improvisation and clarinet. (206) 524-6929, Jon Belcher – Jazz drum set instruction. Studied Scott Lindenmuth - Jazz Guitar Instruction. Impro- [email protected] visation, theory, technique. Beginning through with Alan Dawson. Author Drumset Workouts Charlie Smith – Accepting students for jazz com- books 1 & 2. Web site: www.drumsetworkouts. advanced. (425)776-6362, www.scottlindenmuth. com, [email protected] position and arranging, theory and piano. Leader com. (253) 631-7224, [email protected] and arranger for Charlie Smith Circle. (206) 890- Emilie Berne - Vocal instruction in cabaret, jazz, Pascal Louvel – www.SeattleGuitarTeacher.com GIT 3893 [email protected] musical theater, song writing. All levels. Over 30 grad, Studied with R. Ford and N. Brown, (206) 282-5990 David L. Smith - Double bass and electric bass. years teaching experience. (206) 784-8008 Teaching all styles & levels. BM Eastman School Dina Blade – Jazz singing instruction. Closet sing- Greta Matassa – Award winning, Earshot Best Jazz of Music, MM Univ. of Miami. (206) 280-8328; ers and beginners welcome. dinablade@dinablase. Vocalist. Private instruction and workshops. (206) [email protected] com or (206) 524-8283 937-1262 www.gretamatassa.com, gretamatassa@ home.com Amy Stephens – Jazz piano, theory, improv, Samantha Boshnack – Experienced trumpet tech- composition, classical piano also. BM/BM, MM nique & improvisation instructor w/ music degree. Yogi McCaw – Piano/Improvisation/Composition/ Indiana Univ., 10+ yrs teaching experience.(206) All ages, levels. Home studio in Ballard. (206) Home Recording. North Seattle. (206) 783-4507 240-7632, [email protected] or [email protected] 789-1630 or [email protected] Ev Stern’s Jazz Workshop: 18 years of jazz en- Ryan Burns – piano, fender rhodes, guitar and bass Wm Montgomery – Instruction in jazz piano, improv sembles, classes, lessons. All ages, instruments, instruction. University of Puget Sound and Seattle (all instruments), ear training, theory, composi- levels. evstern.com; (206) 661-7807; evstern@ Drum School. [email protected] tion. Seattle (Magnolia Village). (206) 282-6688, comcast.net [email protected] Julie Cascioppo – Coaching to improve your perfor- Jacob Stickney – saxophone. Rhythm, sight-read- mance on all levels. with Jazz/cabaret singer Julie Dennis Moss – Jazz and Brazilian guitar instruction. ing, musicianship, harmony, arr. & composition. Cascioppo. www.juliesings.com 206-286-2740 BM from Cornish. All ages/levels. In-home lessons [email protected] also possible. [email protected], www. Frank J. Clayton – Basic to advanced double bass, dennismossmusic.com Tobi Stone – Saxophone/Clarinet. All ages/levels. drums and ensemble. 23 yrs playing and perform- Attention to tone, technique, theory, improvisation. ing in NYC. Studies at Berklee, Manhattan and Cynthia Mullis – Saxophone instruction with a BM, 10 years teaching/performing. Member Reptet Juilliard schools. (206) 779-3082 creative, organic approach to Jazz style, theory, & Tiptons. (206) 412-0145 technique. BM, MA, NYC professional. 206-675- Darin Clendenin has openings for students in jazz 8934. Email: [email protected] Ryan Taylor – Guitarist with extensive performance/ piano. Beginning – advanced, ages 8 to 80, 31 teaching background. For information, ryan-tay- years playing experience, 18 years teaching experi- Nile Norton, DMA – Vocal Jazz coaching, all levels. [email protected] or call (206) 898-3845 ence. (206) 297-0464 Convenient Pioneer Square studio location. Recording and transcriptions. www.npnmusic.com, Andre Thomas – Intermediate to advanced tech- Anna Doak – Double bass instructor 784-6626, [email protected], (206) 919-0446 niques for the modern drummer as applied to jazz [email protected]. Professional performing/re- and bebop. (206) 419-8259 cording bassist. Professor of double bass at WWU Ahamefule J. Oluo – Trumpet instruction all levels. Studied at Cornish, member of Monktail Creative Jay Thomas – accepting select students on trum- Becca Duran – Earshot Vocalist of 2001; MA. Music Concern. 849-6082, [email protected] pet, saxophone, flute. Special focus on improvisa- Learn to deliver a lyric; study tone production, tion and technique. (206) 399-6800 Susan Palmer – Guitar instruction. Teacher at phrasing, improvisation, repertoire. All languages. Yakup Trana – Cornish graduate, professional 548-9439; www.beccaduran.com Seattle University and author of “The Guitar Lesson Companion” book, CD and videos. Email: guitarist. Guitar instructions for all levels; (425) Hans Fahling – Jazz guitar instruction, as well as [email protected] 221-3812, [email protected] jazz ensembles for all instruments. Contact: (206) Susan Pascal – Jazz vibraphone improvisation and Byron Vannoy MFA – Jazz drum set instruction & 364-8815, email: [email protected], web rhythmic improvisational concept lessons for all site: www.fahlingjazz.com technique, beginning thru advanced. 206-932-5336 [email protected], www.susanpascal.com instruments. All ages and levels accepted. (206) William Field – Drums, all styles. Member of AFM 363-1742, [email protected] Local 76-493. City of Seattle business license dba Ronnie Pierce – Instruction in sax, clarinet, flute. (206) 467-9365 or (206) 374-8865 Debby Boland Watt – Vocal instruction in Jazz, Im- Sagacitydrums. (206) 854-6820 provisation & Bobby McFerrin’s Voicestra. Cornish Curtis Forbes – Guitarist, Berklee graduate, degree in Bren Plummer -- Double Bass Instruction: Jazz and BM: Vocal Jazz & MFA: Improv & Comp (243) composition available for private lessons in guitar, classical. BM (NEC), MM, DMA (UW). Experienced 219-5646 or www.debbywatt.com composition, arranging, theory. (206) 931-2128 or freelance jazz and orchestral player. brenplum- [email protected] (206)992-9415 Patrick West – Trumpet Instruction. 20 + years ex- [email protected] perience teaching. All ages and levels accepted. David George – Instruction in trumpet. Brass and Josh Rawlings – Piano & vocal instruction in jazz/ Emphasis on Technique and improvisation. (425) jazz technique for all students. Home studio in popular. Flexible rates/schedule. All ages welcome. - 971-1831 (425) 941-1030 or [email protected] Shoreline. Cornish graduate. (206) 545-0402 or Garey Williams – Jazz Drum Instruction. (206) [email protected] Bob Rees – Percussionist/vibraphonist. All ages. 714-8264 or [email protected] Emphasis on listening, rhythm, theory, & improv. Steve Grandinetti, MSEd – Jazz drum set instruc- Greg Williamson – drums and rhythm section; jazz tion. Studied with Justin Di CioCio. Centrum Degrees in developmental music & perc. performance. 417-2953; [email protected] and big band; private studio for lessons, clinics Blues Festival faculty member. 360-385-0882, and recordings; (206) 522.2210, greg@ponyboy- [email protected] Steve Rice – Jazz piano instruction, North Seattle; records.com [email protected], (206) 365-1654 Tony Grasso – Trumpet technique, composition, Beth Winter – Vocal Jazz Teacher, technique and improvisation. All levels. 15 years teaching experi- Gary Rollins - Guitar and bass guitar instruction. repertoire. Cornish Jazz Instructor has openings for ence. 940-3982; [email protected] 30+ years teaching. Student of Al Turay. Mills private voice. (206) 281-7248 Music, Burien, Shoreline. (206) 669-7504. garyleerollins.com

To be included in this listing, send up to 15 words, to Earshot Jazz, 3429 Fremont Pl N #309, Seattle WA 98103; fax (206) 547-6286; [email protected].

October 2011 • EARSHOT JAZZ • 55 NON-PROFIT ORG IN THIS ISSUE... EARSHOT JAZZ U.S. POSTAGE 3429 Fremont Place N, #309 PAID Notes ______2 Seattle, WA 98103 PERMIT No. 14010 In One Ear______3 SEATTLE, WA Welcome to the 2011 Earshot Jazz Festival______5 Festival Staff and Sponsors ______6 Change Service Requested Festival Ticket Information and Venues ______7 Festival Schedule ______8 Roosevelt & Mountlake Terrace High School Jazz Bands______10 Endangered Blood______11 Elspeth Savani / Correo Aereo______12 Human Spirit______13 Trio BraamDeJoodeVatcher______14 Craig Taborn & Gust Burns______15 Eric Vloeimans’ Gatecrash______15 Emi Meyer’s Japan Trio______16 Rich Halley Trio +1______17 Matt Slocum Trio______18 Avram Fefer Trio featuring Chad Taylor & Michael Bisio______19 Tommy Dorsey Orchestra______20 Beat Kaestli Group______21 Johnaye Kendrick Quartet______22 Brad Mehldau______23 Celebrating Coltrane & Mingus: We Four / Sonando______24 Evan Flory-Barnes: Acknowledgement of a Celebration______26 Jay Thomas / Shunzo Ohno Group______28 Earshot Jazz Festival: Films______29 The Campbell Brothers: Sacred Steel______30 Masterclass with Shunzo Ohno______31 Thomas Mapfumo & Blacks Unlimited______31 Nelda Swiggett’s Stringtet______32 Wessell Anderson Quartet______33 Garfield High School Jazz Band with Wessell Anderson______33 Cory Weeds Group______34 Julian Waterfall Pollack Trio______35 Allison Miller’s Boom Tic Boom______36 Masterclass with Boom Tic Boom______37 A $35 basic membership in Earshot brings Hardcoretet______38 the newsletter to your door and entitles you to Scrape w/ Jay Clayton______38 EARSHOT JAZZ discounts at all Earshot events. Your member- Travis Shook Trio______39 MEMBERSHIP ship also helps support all our educational The Bad Plus / Das Kapital play Hans Eisler______40 programs and concert presentations. Jay Clayton Group / Jerry Granelli Trio______41 Type of membership Bill Charlap & Renee Rosnes______41 Seattle Repertory Jazz Orchestra – $35 Individual $300 Individual Lifetime “An Evening with Ol’ Blue Eyes: The Music of Frank Sinatra”_____ 42 SRJO – Jazz4Kids Concert______42 $60 Household $100 Patron $200 Sustaining Jerry Granelli Trio______43 Other Keith Jarrett, Gary Peacock, Jack DeJohnette______44 Sr. Citizen – 30% discount at all levels Tribute to Jim Knapp______45 Canadian and overseas subscribers please add $8 additional postage SWOJO Plays the Music of Robin Holcomb______46 (US funds) Masterclass with Malcolm Goldstein______46 Grace Kelly Quintet______46 Regular subscribers – to receive newsletter 1st class, please add $5 for University District Jazz Festival______47 extra postage Robin Holcomb & Talking Pictures / Kate Olson/Gary Prince Duo__ 47 Contact me about volunteering Chad McCullough/Bram Weijters Group______47 ______Burn List / Operation ID______48 NAME Malcolm Goldstein______48 Seattle Repertory Jazz Orchestra – ______“An Evening with Ol’ Blue Eyes: The Music of Frank Sinatra”_____ 48 ADDRESS Bill Anschell Trio______49 Northwest Jazz Festivals Fall 2011______49 ______CITY/STATE/ZIP Jazz Calendar ______50 2011 Earshot Jazz Donors ______54 ______Jazz Instructors ______55 PHONE # EMAIL CLASSIFIEDS ______Jazz records: we stock over 34,000 items: CDs, LPs, DVDs, videos, Earshot Jazz is a nonprofit tax-exempt organization. Ask your employer if your books. Over 1500 labels, domestic & imports. Worldwide shipping. company has a matching gift program. It can easily double the value of your membership or donation. Good service/prices. www.cadencebuilding.com; (315) 287-2852. Classifieds cost $10 for 25 words or less, 50 cents per additional word. Copy Mail to Earshot Jazz, 3429 Fremont Pl N, #309, Seattle, WA 98103 and payment accepted through the 15th of the month prior to publication.