A Mirror and Focus for the Jazz Community February 2016 Vol. 32, No. 2 EARSHOT JAZZSeattle, Washington Stuart Dempster Photo by Daniel Sheehan LETTER FROM THE DIRECTOR EARSHOT JAZZ A Mirror and Focus for the Jazz Community Executive Director John Gilbreath As Goes New York…So Goes Managing Director Karen Caropepe Program Manager Caitlin Peterkin Jazz Earshot Jazz Editors Schraepfer Harvey, Caitlin Peterkin And, man, it is so strong! world, was a performance of Seattle Contributing Writers Tarik Abouzied, Halynn Blanchard, Edan Krolewicz, Andrew A trip to New York in January of- trumpeter Aham Oluo’s “Now I’m Luthringer, Jean Mishler fers clear evidence of how brilliant Fine,” which features Seattle art- and multi-faceted jazz has become, ists Samantha Boshnack, D’Vonne Calendar Editor Caitlin Peterkin Calendar Volunteer Soohye Jang and how inextricably linked it is Lewis, Evan Flory-Barnes, and oth- Photography Daniel Sheehan to America’s most vibrant city. The ers. Layout Caitlin Peterkin indisputable center of the jazz uni- And, of course, Earshot Jazz was Distribution Karen Caropepe & Earshot Jazz verse, even in the normal course on the scene as well. It has been my volunteers of life, New York’s jazz scene abso- pleasure to host one of the WJF stag- send Calendar Information to: lutely explodes for two weeks each es since the festival’s inception at the 3429 Fremont Place N, #309 Seattle, WA 98103 winter. Between hundreds of the Knitting Factory, 12 years ago. This email / [email protected] artist showcases for the annual As- year, between the performances at th Board of Directors Ruby Smith Love sociation for Performing Arts Pre- my stage (The New School’s 12 (president), Sue Coliton (vice president), senters (APAP) and Chamber Music St Auditorium) and other concerts Sally Nichols (secretary), John W. America (CMA) conferences go- I saw around the city in and out Comerford, Chris Icasiano, Danielle Leigh, ing on around the city, the massive of WJF, I was fortunate to hear 25 Hideo Makihara, Diane Wah, Viren Kamdar performances by top jazz veterans Emeritus Board Members Clarence Acox, NYC Winter Jazzfest blitzing a doz- Kenneth W. Masters, Lola Pedrini, Paul en Village locations over one week- and exciting emerging artists. Ear- Toliver, Cuong Vu end, and the two-day Jazz Connect shot writer/production manager and Founded in 1984 by Paul de Barros, conference in mid-town Manhat- Seattle jazz saxophonist Levi Gillis Gary Bannister, and Allen Youngblood. tan, any prevailing arguments about was also deep in the mix, gathering Earshot Jazz is published monthly by jazz being in perilous times are eas- ideas and perspectives from several Earshot Jazz Society of Seattle and is available online at www.earshot.org. ily forgotten. And, as always, Seattle Seattle/NYC jazz artists. artists and industry folks are promi- But jazz is alive and thriving on subscription (with membership): $35 nent in the mix. both coasts! You can get a taste of 3429 Fremont Place #309 Seattle, WA 98103 Earshot founder Paul de Barros this exciting breadth of creative ex- phone / (206) 547-6763 was on the Winter Jazzfest scene, pression this month as Earshot hosts compelling concerts – February 11, Earshot Jazz ISSN 1077-0984 and filed a great overview of Seattle Printed by Pacific Publishing Company jazz artists in the NYC WJF for the 16, 20, and 26 – by Seattle’s In- © 2016 Earshot Jazz Society of Seattle January 18 Seattle Times. The en- dustrial Revelation, the compelling tire staff of Seattle’s Origin Records New York trio of the drummer Ches M I ss ION STATEMENT was working the floor of the global Smith, the return of the masterful Earshot Jazz is a non-profit arts and service Jazz Connect conference at St. Pe- bassist Gary Peacock’s trio, and the organization formed in 1984 to cultivate a soul-warming music of Brian Blade’s support system for jazz in the community ter’s “jazz church” on Lexington and to increase awareness of jazz. Earshot Ave, just down the street from the Fellowship Band. Jazz pursues its mission through publishing a site of the late lamented JazzTimes This issue of “listener-supported” monthly newsletter, presenting creative music, Earshot Jazz has all of the details, providing educational programs, identifying and conference. And one of the featured filling career needs for jazz artists, increasing showcases of this year’s APAP con- and much more. We look forward listenership, augmenting and complementing ferences, which draws thousands of to seeing you out there. And thanks! existing services and programs, and networking arts professionals from around the – John Gilbreath with the national and international jazz community. 2 • Earshot Jazz • February 2016 NOTES OneBeat Artist Applications by late February and participate in a OneBeat is now accepting artist ap- live audition at Dimitriou’s Jazz Alley plications for its 2016 program. One- on Monday, March 28. Two winners Beat brings musicians (ages 19-35) feature as guest vocalists at the 17th from around the world to the U.S. for Annual Kobe Shinkaichi Jazz Vocal one month each fall to collaboratively Queen Contest held in early May, in write, produce, and perform original Seattle’s sister city, Kobe, Japan. Appli- music, and develop strategies for arts- cation deadline is February 6. More at based social engagement. Applications seattlekobe.org. are due February 5. Seattle Office of Arts & Culture Now in its fifth year, OneBeat is Youth Arts Projects cultivating a groundbreaking inter- national network of leading artistic, Youth Arts is an annual funding pro- technological, and social innovators in gram for arts education, beyond the music. For more information on One- regular school day, for Seattle middle Beat, and how to apply for its artist and high school youth. Funds and program, visit 1beat.org. technical assistance from this program help experienced teaching artists lead Seattle-Kobe Female Jazz training programs and projects in all Vocalist Auditions arts disciplines – from visual arts to The Seattle-Kobe Sister City Asso- theater to dance and film. Youth Arts ciation sends one high school-aged prioritizes youth or communities with and one adult female jazz vocalist limited or no access to the arts. Fund- from Greater Seattle to Kobe, Japan, in May 2016. Finalists are selected CONTINUED ON PAGE 23 IN ONE EAR Harold Wayne Thompson: 1936- 1981. A Portland Trail Blazers enthu- 2016 siast, Thompson served as beat writer for The Oregonian, and authored the Harold Wayne Thompson, the cel- book BlazerMania: This Is Our Story. ebrated writer and 2015 Portland Jazz “Wayne was such a professional, intel- Master, passed away January 10, 2016, ligent, and passionate guy filled with at Good Samaritan Hospital in Port- kindness,” says PDX Jazz President Joe land, Oregon, at the age of 79. Thomp- Maita. “Portland was so lucky to expe- son, an indefatigable jazz warrior and rience his presence, and we were very lifelong jazz advocate, was an original fortunate to have his counsel.” member of the Jazz Journalist Asso- ciation, and honored by his esteemed Save KPLU Campaign Launches colleagues as their 2014 Jazz Hero. He A fundraising campaign, led by was a freelance jazz writer who wrote KPLU itself, has launched, after Pa- album notes for several major record cific Lutheran University announced labels; an editor/publisher for Jazz So- it was selling the radio station to ciety of Oregon’s Jazzscene Magazine KUOW back in November. In order from 1987-2006; and TIME Magazine to “Save KPLU,” the community needs correspondent for Oregon from 1973- CONTINUED ON PAGE 23 February 2016 • Earshot Jazz • 3 PROFILE Stuart Dempster: Putting the “Play” Back into Playing Music By Andrew Luthringer The Seattle area has no shortage of exceptional musicians and compos- ers, spanning many genres, who have made compelling contributions to the artistic life of the region and beyond. But a shortlist for the very top echelon of achievers must surely include Stuart Dempster. Even a succinct summary of Demp- ster’s accomplishments – spanning contemporary improvisation, extend- ed instrumental techniques, global experimentalism, and cutting-edge compositional commissions, across the realms of education, performance, and recording – could still comprise a full- length documentary. Dempster’s résumé includes big band jazz and a stint as principal trombonist in the Oakland Symphony. His perfor- mance journey includes crossed paths and collaborations with many icons of the 20th century experimental and “new music” scenes: John Cage, Merce Cunningham, Lou Harrison, Pauline Oliveros, and Terry Riley (Dempster participated in the 1968 recording of Riley’s seminal monument of mini- malism, In C). He also was inducted into the Seattle Jazz Hall of Fame in 2009. His influence as an educator is also broad and deep. Since 1968, he has been on the faculty of University of Washington, and his book The Mod- ern Trombone: A Definition of Its Idi- oms is an unparalleled bible for play- ers, an indispensable treasure trove of information on the instrument’s capa- bilities, including extended techniques and “Theatrical Implications.” STUART DEMPSTER PHOTO BY DANETTE DAVIS 4 • Earshot Jazz • February 2016 For all his accomplishments, what is meanor and support of us young ‘uns, most singular about Dempster is his and look back on that ever so brief ability to connect with listeners and meeting with fondness and respect. I find the elemental joy and wonder in still feel that deeply…” musical communication. With a twin- Dempster’s supportive and nurtur- kle in his eye, he can easily transfix an ing presence is felt similarly deeply by audience with nothing more than a generations of musicians in the Pacific conch shell. Northwest, and his upcoming Cornish I recently spent time with Dempster College of the Arts residency (and de at his home, and while he was simulta- facto 80th birthday celebration) called neously making tea, rustling through StuART Fest will be a chance to ex- sheet music, telling stories (in multiple plore and celebrate his contributions.