Darelle Holden - A Mirror and Focus for the Jazz Community - Photo by Daniel Sheehan - Earshot Jazz
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CELEBRATING BLACK HISTORY MONTH Earshot Jazz is a 501(c)(3) nonprofit organization
A Mirror and Focus for the Jazz Community February 2022
Volume 38, No. 02
Seattle, Washington
Darelle Holden
Photo by Daniel Sheehan
Letter from the Director
Black History is Now
Black History Month is, among
other aspects, a time to celebrate the
cultural treasure of Black America. EXECUTIVE DIRECTOR
John Gilbreath
Jazz was born in the Black American
MANAG I NG DI RECTOR
experience and will gratefully carry Karen Caropepe
that bloodline forward through history.
M A R K E T I N G & D E V E L O P M E N T A S S O C I AT E
The two cannot be separated. As we’ve Lucienne Aggarwal
said before: no Black America, no jazz. EARSHOT JAZZ E DITOR
A celebration of Black History Month Rayna Mathis
is also an invitation for each of us to CONTRIBUTING WRITERS
evaluate and activate the word “history” Halynn Blanchard, Alex Chadsey, Angela Dane,
Rebecca Jane, Andrew D. Meyer, Paul Rauch,
in our own lives. In traditional American M.V. Smith
history books, at least in my school days, John Gilbreath photo by Bill Uznay CALE N DAR E DITO RS
Black people and Black experiences, Jane Emerson and Carol Levin
when not misrepresented, were almost Unfortunately, history has also deliv-
PHOTOGRAPHY
entirely omitted. Yet the culture we live ered this ongoing COVID pandemic, Daniel Sheehan
with today is so clearly enriched by Black which does not seem inclined to go L AY O U T
America. The diminishment of Black away any time soon. These circum- Karen Caropepe
history undermines the richness of all stances are still impacting the live DISTRIBUTION
performance environment, with can- Karen Caropepe, Dan Dubie, and Earshot Jazz
history. As Dr. Martin Luther King Jr. volunteers
famously said, “Injustice anywhere is celled or postponed concerts, and
S E N D C A L E N D A R I N F O R M AT I O N T O :
a threat to justice everywhere. We are audiences understandably reluctant jazzcalendar@earshot.org
caught in an inescapable network of to gather in clubs and concert halls. BOAR D OF DI R EC TORS
mutuality, tied in a single garment of With so many great concerts scheduled Chris Icasiano (President), Sheila Hughes
for this month, we encourage you to (Vice President), Augusto Cardoso, John W.
destiny.” History unfolds every day. Comerford, Arlene Fairfield, Maurice James,
It is the story of many stories and we double check with venue websites for Ruby Smith Love, Jazmyn Scott, Diane Wah,
each have a role in it. updated concert information. Marcos Zuñiga
Jazz history is also a living history, Here at Earshot, we were so looking E M E R ITU S BOAR D M E M B E RS
forward to presenting concerts by Clarence Acox, Sue Coliton, Taina Honkalehto,
and its deepest threads have always Hideo Makihara, Kenneth W. Masters, Peter
been tied to Black experience and Black the power trio of Harriet Tubman, Monaghan, Lola Pedrini, Richard Thurston, Paul
innovation. The recent release, We Are and saxophonist Lakecia Benjamin Toliver, Cuong Vu
Sent Here by History, by London-based alongside her band, which we’ve had Founded in 1984 by Paul de Barros, Gary
saxophonist, Shabaka Hutchings, can to postpone. The good news (at this Bannister, and Allen Youngblood. Earshot Jazz is
writing) is that we’re going ahead with published monthly and available at earshot.org.
easily apply to our own jazz continuum
and the lineage from Seattle’s Jackson the February 26 duo concert with Subscription (with membership): $60
drummer Chad Taylor and the excit- 3417 Fremont Ave N, #221, Seattle, WA 98103
Street and historically Black Central (206) 547-6763
District, to the proliferation of today’s ing tenor saxophonist James Brandon
Lewis. Lewis’ recent recording, Jesup Earshot Jazz ISSN 1077-0984
jazz scene. Printed by Wenatchee World
The Earshot Jazz organization is Wagon, which was inspired by the life ©2022 Earshot Jazz Society of Seattle
entering its 38th year of service in work of George Washington Carver,
documenting and embellishing the topped nearly all national media lists M I S S I O N S TAT E M E N T
depth and breadth of jazz in Seattle, for Best Jazz Recording of 2021. To ensure the legacy and progression
and in honoring Black culture as its These are heavy times. We hope you of the art form, Earshot Jazz cultivates
source. As always, we welcome your can stay safe, stay aware, and stay in- a vibrant jazz community by engaging
input, support, and participation. spired. Let us know how we can help. audiences, celebrating artists, and
–John Gilbreath, Executive Director supporting arts education.
2 EARSHOTJAZZ February 2022
Support for Earshot Jazz IN MEMORIAM
Bob
provided by:
Hammer
BY PAUL RAUCH
Bob Hammer, celebrated composer/
arranger/pianist, who had a long and
successful career in New York and Los
Angeles before coming to the Pacific
Northwest, passed on December 26
at the age of 92. Born Howard Robert
Hammer in Indianapolis, Indiana, Ham- Bob Hammer photo courtesy of Vito’s
mer played with many of the greats of
the golden age of jazz in the 1950s and and arranged for several Las Vegas pro-
1960s, including Charles Mingus, Bud ductions from 1967-1982, before moving
Freeman, and Woody Herman. to Los Angeles in 1983.
Hammer began performing at age 15 Since arriving in Seattle, Hammer
before studying at Michigan State Univer- was best known for his innovative work
sity and the Manhattan School of Music. with the Full Circle Jazz Ensemble. The
He worked as an arranger for Mingus on band released The Wheels Are Turning in
several recordings, including the iconic 2017, to critical acclaim. The ensemble
albums The Black Saint and the Sinner reflected his love for jazz from bebop
Lady and Mingus Mingus Mingus Mingus to Latin, often with vocals and a dance
Mingus. His career included tours and rhythm. His arrangements bore the
recording dates with Johnny Hartman, mark of his musical pedigree, groomed
Gene Krupa, Clark Terry, Elvin Jones and through decades of working with the
others. He also had a stint as arranger masters of the genre.
for the Merv Griffin Show. During the Hammer was blessed with his loving
1960s, he studied with composer Henry wife Arlene; his five children: Susan,
Brant alongside Julian Priester. He wrote Robert, Mandy, David and Peter; and,
12 grandchildren.
Music education designed for adults
Combos. Classes. Lessons.
Online or In-Person
www.jazznightschool.org (206) 722 6061
A 501(c)(3) community nonprofit, Jazz Night School does not discriminate on the basis of
race, color, gender, or national or ethnic origin in administration of its educational policies. Photo by Richard Walker
February 2022 EARSHOTJAZZ 3
GOLDEN EAR AWARDS
Each year, the Golden Ear Awards recognizes and celebrates the outstanding achievements of the
previous year in Seattle jazz. We acknowledge that the last two years have taken a devastating toll on our
community; many artists have struggled to perform and create under these challenging circumstances
and venues have struggled to re-open. Show your support for the resilience of our community by voting
online at earshot. org, emailing vote@earshot.org, or mailing your selections to Earshot Jazz, 3417
Fremont Ave N, #221, Seattle, WA 98103. Ballots are due March 5. And join us on March 14 at the Royal
Room for the Golden Ear Awards Party. Stay tuned for more details!
S E AT T L E JA Z Z H A L L O F
2 0 2 1 G O L D E N E A R AWA R D S B A L L OT FA M E I N D U CT E E S
1990: Ernestine Anderson, Al Hood, Chuck
NW Recording of the Year NW Jazz Instrumentalist of the Year Metcalf, Floyd Standifer
1991: Buddy Catlett, Don Lanphere
□ Jim Knapp Orchestra It’s Not Busi- □ Thomas Marriott
1992: Jabo Ward, Jim Wilke
ness, It’s Personal □ Abbey Blackwell
1993: Fred Greenwell, Melody Jones
□ Meridian Odyssey Second Wave □ John Hansen
1994: Clarence Acox, Bud Young
□ Alex Dugdale The Dugout □ Marina Albero
1995: Jerome Gray
□ Ann Reynolds Inspired by Women □ D’Vonne Lewis
Composers 1996: Norm Bobrow, William O. (Bill) Smith
□ Other______________________
□ Ronan Delilse Write To Me A Coda 1997: Lola Pedrini, Bill Ramsay
□ Other______________________ NW Vocalist of the Year 1998: Jan Stentz, Leon Vaughn
1999: Vonne Griffin, Red Kelly
NW Acoustic Jazz Ensemble of □ Johnaye Kendrick
2000: Bud Shank, Chuck Stentz
the Year □ Darelle Holden
2001: John Dimitriou, Julian Priester
□ Jacqueline Tabor
□ Meridian Odyssey 2002: Paul de Barros
□ Greta Matassa
□ The Jim Knapp Orchestra 2003: Ronnie Pierce, Jay Thomas
□ Reggie Goings
□ Fade Quartet 2004: Gaye Anderson, Hadley Caliman,
□ Other______________________ Robert Knatt
□ Marina Albero Trio
2005: Gary Steele, Mack Waldron, Woody
□ Scenes NW Concert of the Year Woodhouse
□ Other______________________ 2006: Jim Knapp, KPLU
□ Marina Albero Trio with Ganesh Ra-
Alternative Jazz Group of the Year jagopalan, Nov 5, Town Hall Seattle 2007: John Bishop, Dean Hodges
□ Neil Welch, the ink around it release, 2008: KBCS 91.3, Phil Sparks
□ Royal Room Collective Music En- Nov 11, Chapel Performance Space 2009: Marc Seales, Stuart Dempster
semble □ säje, Jul 6, Jazz Alley 2010: Chuck Deardorf, Wayne Horvitz
□ Ari Joshua Band □ The Jim Knapp Orchestra, CD Re- 2011: Overton Berry, Jeff Johnson, Jovino
□ Earthtone Skytone lease, Dec 19, Town Hall Seattle Santos Neto
□ Delvon Lamarr Organ Trio □ Elnah Jordan & Eric Verlinde, Oct 2012: Scott Brown, Dave Peck
□ The Tiptons 15, BIMA
2013: Bill Frisell, Bert Wilson
□ Other______________________ □ Other______________________
2014: Amy Denio, Greta Matassa
Seattle Jazz Hall of Fame 2015: Ruby Bishop, Sonny Booker, Randy
Emerging Artist of the Year Halberstadt
□ Ari Joshua □ John Hansen 2016: Bill Anschell, Jay Clayton
□ Xavier Lecouturier □ Reggie Goings 2017: Patty Padden, Skerik
□ Leanna Keith □ Marv Thomas 2018: Bob Hammer, Helen and David
□ Milo Petersen Marriott Sr., Wally Shoup
□ Dylan Hayes
□ Geoff Harper 2019: Michael Brockman, Suzanne Weg-
□ Trevor Ford horst, Gary Bannister
□ Other______________________ □ Other______________________
2020: Robin Holcomb, Moc Escobedo,
Hans Teuber
4 EARSHOTJAZZ February 2022
NOTES
Issue Correction Seattle-based individual artists/cura- Jazz Foundation of America
We would like to amend a couple of name tors in the research, development, and Emergency Fund
errors in the previous issue. The correct presentation of their work. The 2023 ap- In this time of the COVID-19 pan-
spellings are as follows: Jun Iida and Haley plication is open to dancers/choreogra- demic, the Jazz Foundation of America
Freedlund. In addition, we would like to phers, musicians/composers, or theater- continues to connect with hundreds
properly credit Peter Monaghan for his makers (including playwriters). Artists of jazz and blues musicians to provide
preview of the Jim Knapp Celebration who practice traditional/ethnic and compassionate counsel and offer direct
of Life event at Jazz Alley. multi-disciplinary art forms are always financial support. JFA’s mission and pur-
welcome, as long as a primary art form is
Earshot Jazz COVID Policy one of the eligible disciplines listed. The
pose was built on providing emergency
Update assistance in times of crises, such as
deadline to submit is April 20 by 5pm these. In response, they established the
In light of ongoing COVID-19 concerns, PT. For questions or inquiries, please COVID-19 Musicians’ Emergency Fund
the health and safety of audiences, contact Project Manager, Irene Gómez,
artists, staff, and volunteers remain a at irene.gomez@seattle.gov. CONTINUED ON PAGE 16
top priority for us. Earshot Jazz will
now require proof of vaccination with
current ID for entry to all venues where
an Earshot Jazz event is being produced.
Earshot Jazz will no longer accept neg-
ative tests for entry. Proof of vaccination
is required for any adults or children
attending an in-person concert. Accept-
able vaccination proof includes a valid
ID, along with a vaccination card which
includes the name of the individual, as
well as the date and type of vaccine. A
photo or scan of the vaccination card is
acceptable, as is a printed record from
the vaccine provider, or a digital record
from MyIRMobile.com, or other app.
We will continue to enforce a masking
requirement at all times, unless actively
eating or drinking at venues where food
and beverages are served. We ask that
any individual who is not feeling well,
suspects they might be ill, or who has
come into contact with the virus, to
stay home. Our policy may change as
health and government agencies issue
new guidelines, and accordingly we will
update this policy. We appreciate your
cooperation. For the full policy update,
please visit earshot.org/earshot-jazz-and-
covid-19. Please direct any questions to
info@earshot.org.
2023 CityArtist Applications
The Seattle Office of Arts & Culture is
now accepting applications for the 2023
CityArtist program. CityArtist supports
February 2022 EARSHOTJAZZ 5
PROFILE
Darelle Holden: Three Generations
of Seattle’s First Family of Jazz
BY PAUL RAUCH
So often, one tends to view history as
something that has happened and come
to some kind of conclusion. In fact, his-
tory is a strand in time and space that
continues to plummet downhill somewhat
recklessly, with no end in sight. What
happens along the way is what casts
history into a continuous storyline that
spans generations.
Perhaps history can best be viewed
through the lens provided by the arts,
with each creative and artistic impulse
acting as a signpost of its time within that
continuum, drawing from the lessons of
the past with a firm hold on the present
and a sharp eye towards the future. In
Seattle, jazz music has been a harbinger
of a modern age, dating back to the fully
integrated jazz club scene on Jackson
Street and Central Seattle beginning
in the 1920s. In that time, pianist/clar-
inetist Oscar Holden arrived in town,
Darelle Holden photo by Daniel Sheehan
having taken over leadership of a band
previously led, but still including, pianist Indeed, Seattle is about as far as one can her aunt Grace Holden, a noted pianist
Jelly Roll Morton, the self-proclaimed travel from Chicago and still be on dry and vocalist. Grace Holden was a female
“inventor of jazz.” land. Nonetheless, Oscar Holden would pianist in the early bands formed by
The Nashville born and raised Holden, go on to be known as the “Patriarch of Quincy Jones, and was a back-up singer
like many Black artists of that time, fled Seattle Jazz,” and rightfully so. He played with Ray Charles. There was a lot for
the Jim Crow South, and headed for on The Hill on Jackson Street almost young Darelle to wrap her head around.
Chicago. His flight was about more than continuously, perhaps most famously at Her love for music and her obvious nat-
music, as Holden simply wanted to live a the legendary Black and Tan club on the ural vocal talents eventually led her to
better life and start a family in a suitable corner of 12th and Jackson. He would Boston to study at the Berklee College
social environment. His granddaugh- settle his family into a house directly of Music. Her personal musical identity
ter, current Seattle songstress Darelle across from Washington Hall, where began to take form.
Holden, grew up hearing the stories of they would end up performing over the “When I went to Berklee, I really start-
how her family landed in Seattle, some course of three generations. ed listening to jazz singers. I got into
perhaps more accurate than others, but Darelle Holden is the daughter of Oscar Carmen McRae, Nancy Wilson, Sarah
all colorfully vivid. Holden’s son, Dave Holden, who himself Vaughn, the best of the best. I tried to
“He didn’t talk much about the past, so is a significant figure in Seattle music copy everything they did. That’s how we
there are some stories about it. One of history. She would grow up around her learned,” she recalls. To that point, her
them was that he got involved somehow father’s music both in Seattle and Los familial ties artistically had created a
with the mafia in Chicago, as you would Angeles, and bear the musical influences solid foundation for her talents to ascend
as a musician in those days,” she says. of a family of musicians that included rapidly. “Growing up, through osmosis,
6 EARSHOTJAZZ February 2022
I picked up all that
stuff. It really is a part
of our DNA.”
Like her father,
Darelle would eventu-
ally move long-term to
Los Angeles to give the
music business her best
shot. In many ways,
her personal style had
taken on the character
of the “Seattle sound,”
an amalgamation of
Black music forms that
contained elements of
soul, funk, rhythm and
blues, and of course,
modern jazz. The music
of her father acted as Oscar Holden in 1919 photo courtesy of Dave Holden
a defining springboard
creatively. It was akin opportunity to spend time with her as
to a hard rain falling on Jackson Street, a now mature performer. Most regret-
with the waters of her musical imagi- tably, she never managed to perform or
nation picking up the sediment of the record with her father. Yet her phrasing,
city’s variable forms that settled into a tone, and placement bore the marks of
personal, identifiable style. That being her family, qualities that were gifted
said, the stress of making an actual from her grandfather, the great Oscar
viable living as a performer led her to Holden. “The unfortunate thing is, I
several engagements as a backup singer really didn’t get to gig and play with my
with the likes of Earth, Wind and Fire, father,” she says.
Stevie Wonder, Bobby Caldwell, and most As part of the 2021 Earshot Jazz Fes-
notably, a seventeen year association with tival, Darelle Holden, the third genera-
singer Tom Jones. The Jones gig neces- tion stakeholder of her family’s historic
sitated a move to Las Vegas for a period musical lineage, was called to perform
of time. Fondly, she recalls that time: at the Langston Hughes Performing
I was on the road with Tom Jones Arts Institute, her first gig in Seattle’s
for about 17 years. I loved it. I historically Black Central District. The
loved the lifestyle. I loved making performance would be a stone’s throw
music on a high level every night. from her family’s legendary digs in the
I liked the people I worked with CD, across from Washington Hall. Her
Earshot performance seemed to her to
and I liked turning the audience’s
be a somewhat surreal reemergence into
mind around. Those people who
Seattle jazz culture.
were not aware of Tom’s soul, tone,
Indeed, the performance recast the
feel, and innate funkiness would
Holden name into the historical time-
be surprised at how hip he was
line of Seattle jazz. Her soul-tinged set
and how funky the band was. That
reconnected her with the Seattle family
was a joy.
heritage that had been her creative partner
Her years away from Seattle also amount- all of the years she spent in Boston, Los
ed to less time with her family, as her Angeles, and Las Vegas. Darelle recalls
father returned to Seattle and continued the Earshot performance vividly:
to perform. Despite the artistic parallels I was trippin’ thinking that my
to her aunt Grace, she never had ample grandfather raised his kids a cou-
February 2022 EARSHOTJAZZ 7
ple blocks from there. Across from being much like that of Art Tatum. His
Washington Hall, he worked there son, Dave, captured the Seattle sound
and played with all of the cats who mostly as a Hammond B-3 player, a sound
were coming through town. All the common on Jackson Street in the 1950s
cats were hanging out there, at
and 60s. His daughter Darelle has used
the house. How amazing that I’m
her soulful, jazz-based vocal style to
making music in the neighborhood
where my family has been making embellish the legacy of her remarkable
music forever. I was trippin’, I won’t family. “It was the first thing I used to
lie, I was really overwhelmed. I express myself and get a reaction,” she
felt a lot of responsibility. I was remarks with a glancing smile. The pride
honored and felt the presence of in her familial ties are obvious and held
my ancestors. It was a deep night close by the soulful songstress. One can
for me. only imagine that pride would reside in
the heart of her grandfather, if he could Dave Holden photo by Madeline Crowley
Those who heard Oscar Holden play
in Seattle often referred to his sound as only see her now.
Open to All - Free
son
th Sea
20
Sunday, Feb 6, 6pm
Miranda Kitchpanich
Band
SAVE THE DATE: Mar 6
Ranger and the Rearrangers
100 Minutes of professional jazz
Family friendly concert
Distance seating, masks required
Free parking Polyclinic Garage
Seattle First Baptist Church
1111 Harvard Avenue
(Seneca and Harvard on First Hill)
Seattle, WA (206) 325-6051
SeattleJazzVespers.org
8 EARSHOTJAZZ February 2022
FEATURE
The Black Heritage
Society of Washington
BY ANGELA DANE treasured aspect of the Central District,
The Black Heritage Society of Washing- had the entire community concerned over
ton (BHS) was founded in 1977 in Seattle, its return, including Johnson-Toliver who
starting in a basement collecting items advocated and spoke various times to its
that could potentially be shared with the importance to the rapidly gentrifying
city, before their relationship with the neighborhood. With luck on their side,
African American Museum. The BHS has the conservators were pleased to find
the largest collection in the state of African that not much damage had occurred
American history, ranging from turn of and after some work, will be reinstating
the sculpture in front of the library later history. Waldron’s home still stands in the
the century documents to recordings of
this month with a community celebra- Squire Park neighborhood in the Central
oral histories by past residents. Stephanie
tion. Gregory X’s son, whose father was District. Similarly, Greg Ruby, local jazz
Johnson-Toliver’s (current President of the
the lead artist on the pole, will present musician and educator, has provided a
BHS) own family goes back more than
and speak about X’s legacy during the free resource with text and images about
100 years in the Pacific Northwest. The
re-installation. The pole steps outside Waldron for those interested in learning
BHS has been partners with the Muse-
um of History and Industry (MOHAI) of the BHS comfort zone as collectors more about Seattle’s early jazz scene.
for more than 25 years, preserving as of memorabilia and documents (which According to Ruby,
much as possible in the repository that sit on shelves) as the pole is a tangible, This project began with the curiosity
they share in Georgetown. As advocates physical and visible beacon. of wanting to know what Seattle’s
for saving physical places, they are also Further relating to music, the BHS jazz of the 1920s may have sounded
working on preserving various Black contains documents from the turn of like, and grew into a multi-faceted
Panther chapter sites around the city the century, when jazz musicians were endeavor to preserve and celebrate
and public art. already active in Seattle. Incidentally, one of the city’s forgotten musical
Not many are aware of the rich PNW the Society is planning to unearth their giants. Frank D. Waldron: Seattle’s
Black Panther history, whose chapter was travelling exhibit on Seattle writer Paul Syncopated Classic is the complete
active from 1968-1978. It was the first de Barros’s influential book Jackson Street collection of Frank D. Waldron’s
chapter outside of California and the After Hours: The History of the Seattle Jazz music and history. These record-
chapter’s President, Aaron Dixon, was Scene, which through extensive inter- ings, archival photos, biographical
appointed by the Party’s own founder, views, includes contemporary portraits essay, and reproductions of Wal-
Bobby Seale. Dixon was inspired to lead that capture the jazz legacy of Jackson dron’s compositions are intended
after Civil Rights activist Stokely Carmi- Street. The text and image companions to both paint a picture of one of
chael spoke at Garfield High School in to the book are currently crated and Seattle’s eminent early jazz figures
1967. The Seattle chapter created a Free held in the collections at Georgetown. and inspire musicians to perform
Breakfast Program for schoolchildren The BHS is also reaching out to various his work.
and served an estimated 300,000 meals venues relevant to the history of the jazz
over the years they were active and pro- scene, to see about a long-term loan Unfortunately, due to COVID, the BHS’s
vided a free clinic that tested for sickle arrangement to increase the collection’s collections are not open to the public
cell anemia. visibility, perhaps at King Street Station at the moment. However, a digitization
Last year, the Soul Pole, a sculpture or Washington Hall—both locations project is underway to increase access
outside of the Douglass-Truth Library important to Black history in Seattle. to the collections and anyone can sign
on the corner of 23rd and Yesler and For fans of Frank Waldron, founder of up to be notified when the doors open
testament to Black history in Seattle, the first Black school of trumpet as well in the future. To learn more about the
was deinstalled for much needed conser- as guitar and mentor to Quincy Jones, Black Heritage Society of Washington,
vation work. The Soul Pole, being such a the BHS holds documents critical to his please visit bhswa.org/wordpress.
February 2022 EARSHOTJAZZ 9
CATCHING UP
Kassa Overall
BY HALYNN BLANCHARD
Kassa Overall is back in town. One of the
most recognizable Seattle-reared players
turned New York mainstay, Overall is set
to play Barboza on February 13 with a
new band, new material, and new focus:
a third full-length album in the works.
Over the last two years, the producer,
emcee, drummer, and singer has put out
four critically acclaimed projects – Go
Get Ice Cream and Listen to Jazz (2019);
I THINK I’M GOOD (2020); followed
by two pandemic mixtapesSHADES
OF FLU (2020) and SHADES OF FLU
2 (2021), loosely inspired by Madlib’s
Shades of Blue.
The former student of Garfield High
and Oberlin Conservatory of Music has
become known for an expansive sound,
growing list of legendary connections,
and strong Seattle ties. As we catch up in
the New Year, Earshot Jazz learns about
Overall’s process for a new record, about
his newfound fondness of Seattle-native
Kenny G, and the talented cast accom-
panying him for his show in Seattle this
month.
On making music that is for
everybody
Some of my music may have been
alienating. I guess I didn’t realize that
we could become as polarized as we have
become. That’s not just on politics, even Kassa Overal photo courtesy of Outermost Agency
between homies. We become extremely to say that the music I’m currently mak- recognizing someone as having a unique
into what we’re into and not into what ing sounds like Kenny G… You know, I sound, voice, or stylistic approach. I
we’re not. watched Music Box: Listening to Kenny G try to bring that into another medium.
I feel like everybody may be dealing (2021). Actually, it was amazing. [laughs] Usually, I’m first a fan of theirs and what
with [issues of mental health], maybe I never thought I would have so much they do. Part of my sound is me having
more so than when I was dealing with love for Kenny G, but I do. the last cut with the scissors.
it [on I THINK I’M GOOD (2020)]. I
On process of collaboration and On his upcoming Seattle concert,
felt alone in it. Now I don’t feel alone.
production on February 13 at Barboza
I feel like the guy who knows where the
edible plants are by just having been in I’m not the sole creator by any means. Part of the reason I play live is to make
the jungle. What I think I need now is I’m the guy with the ear and the guy to an album. We’ll try out brand new songs
to be woken up. make chaos make sense. The collabora- and off-the-cuff stuff and see what people
I want to make something that we can tion happens more in the studio than feel, what activates people. We’ll also do
all agree on, something communal. Not you would think. One of my skill sets is joints from whatever records.
10 EARSHOTJAZZ February 2022The band is: Tomoki Sanders, an incred-
ible sax player and electronic specialist.
Ian Fink (keys), coming out of Detroit,
who’s studied with Geri Allen for five
years and plays with Kareem Riggins.
Plus, Benji Alliance (percussion), a Hai-
tian-American cat with an Afro-Cuban
feel that I can really lock in with.
Opening is Seattle’s Stas THEE Boss,
plus Vitamin D, one of the best produc-
ers alive. Not just here in Seattle, but
period. I’ve actually known Vitamin D
since I was a little kid. He was the big
homie that we would one day hope to
do something with. Vitamin D has been
doing these mix-tapes called Flips and,
in a sense, it’s similar to Shades of Flu,
but he’s flipping popular songs from
back in the day in a way where you kind
of hear the original, but it’s an entirely
new song. He’s incredible, and he’s going
to make beats live at this show.
If the show gets canceled? Show up!
I’ll perform in front of the building on
top of a van, or on somebody’s porch,
or something!
On unplugging and finding focus
I’m in the midst of making another
full length record and trying to hyper
focus on that. The thing that brings me
back to that childlike focus has been just
cutting stuff out.
Making time for unplugging and getting
deprogrammed from all of it… is a game
changer and super difficult. I think it’s
a personal responsibility. If I can get in
the habit of getting away from my phone
regularly, it becomes addictive being
away from it. I don’t think we realize
the effects, yet, that the social media
epidemic is having, in my opinion. But
I’m sensitive enough to feel how things
affect my body.
I’ve lost [focus] so many times. And
that can be a hopeful thought. I don’t
expect to live in a world where there are
no thorns. There will be stuff and you
have to learn how to navigate.
To keep up with the incredibly thought-
ful artist that is Kassa Overall and his
journey visit kassaoverall.com.
February 2022 EARSHOTJAZZ 1112 EARSHOTJAZZ February 2022
FEATURE
February Tours on the Road
BY M.V. SMITH
In light of the recent resurgence in COVID cases, please double check each venue’s website for the most up to date informa-
tion regarding shows and any related cancellations or postponements. Please adhere to the COVID policies detailed at each
particular venue.
B R A D M E H L DAU Ribot has been a top-flight session guitarist spoken word recitations in a deeply-felt
since the mid-1980s, with performances hybrid of spiritual jazz and the blues. On
Wednesday, February 16, 8pm
gracing albums by Tom Waits, Elvis his most recent record, Deciphering the
Neptune Theatre Costello, and Buddy Miller. Like his Message, McCraven explores the archives
1303 NE 45th St downtown compatriots, Ribot has spent of Blue Note Records, intermingling the
$23-43 his career defying genre boundaries. His performances of frequent collaborators
Pianist Brad Mehldau’s pristine tone projects range from the punk-influenced Joel Ross, Junius Paul, and Jeff Parker,
and sensitive, lyrical interpretations of power trio Ceramic Dog to the Young with excerpts from the original recordings
jazz standards, Romantic classical mu- Philadelphians’ blend of Gamble and by the likes of Kenny Burrell, Art Blakey,
sic, and the alternative rock of his own Huff’s smooth soul and the harmolod- and Horace Silver.
generation have been vastly influential ics of Ornette Coleman’s Prime Time.
for more than three decades. Through Ribot’s Albert Ayler tribute album, N AT E S M I T H
every phase of his career, including his Spiritual Unity, played a vital role in + K I N F O L K W/
trio with Larry Grenadier and Jeff Bal- bassist Henry Grimes’ reemergence after MARQUIS HILL
lard, his genre-bending collaborations a decades-long absence. Like Ayler, Ribot
with maverick pop producer Jon Brion plays with a distinctive tone that can be Wednesday, February 23, 8pm
and bluegrass mandolinist Chris Thile, abrasive, dissonant, or confrontational, Neptune Theatre
Mehldau’s solo piano explorations have but always maintains a commitment to 1303 NE 45th St
remained a constant. Like his predecessor the beauty of melody. $25-28
Keith Jarrett, and peer Craig Taborn, Drummer Nate Smith, a native of Virgin-
Mehldau treasures the solo format as a M A K AYA M C C R AV E N ia’s Hampton Roads region, is renowned
showcase for his formidable technical Monday, February 21, 8pm for his mastery of deep R&B grooves and
facility, and as a laboratory to develop his intricate, complex jazz fusion. A former
Neptune Theatre
distinctive personal style. As he writes in member of Dave Holland’s ensembles
1303 NE 45th St
his liner notes to the 10 Years Solo Live and Chris Potter’s Underground, his
boxed set, Mehldau seeks out “Short,
$23
session resume includes dates with Jon
Like Digable Planets and Guru in the
small songs that get stretched out into Batiste and Alabama Shakes’ Brittany
1990s, or his peers Chris Dave and Karriem
bigger vehicles with grand expressive Howard. His latest album, Kinfolk 2:
Riggins, drummer/producer Makaya Mc-
gestures,” an expansive sensibility that See the Birds, the second installment
Craven explores the connections between
finds room for the cerebral intensity of of a trilogy exploring the sounds of his
jazz and hip-hop. A self-proclaimed “beat
Radiohead, the contemplative folk of Nick childhood, delves into the music he
scientist,” McCraven is a master of the
Drake, and the unabashed yearning of discovered as a teenager pondering a
recording studio as a musical instrument.
Sufjan Stevens. career as a drummer—from Prince’s new
Following the tradition of Miles Davis
wave funk to hip-hop breakbeats and the
M A R C R I B OT and Teo Macero, McCraven’s longstanding
fusion-tinged hard rock of Living Colour
process is to record live improvisations,
Saturday, February 19, 8pm and King’s X. Smith’s opening act is
then later remixing them into cohesive
Triple Door tracks. His critically-acclaimed albums
Chicago-born trumpeter Marquis Hill,
216 Union St winner of the 2014 Thelonious Monk
Highly Rare and Universal Beings helped
$20-25 (now Herbie Hancock) International
put Chicago’s International Anthem label
Emerging from the same adventurous Competition. With his group Blacktet,
on the map. Like arranger Brian Jackson
downtown Manhattan scene as the Mi- Hill has sought the common ground
before him, on We’re New Again, McCra-
croscopic Septet and John Zorn, Marc between post-bop, fusion, and hip-hop.
ven sensitively situates Gil Scott-Heron’s
February 2022 EARSHOTJAZZ 1314 EARSHOTJAZZ February 2022
PREVIEW
Biamp PDX Jazz Festival
February 17–28 Marc Ribot on solo guitar at the Jack at a variety of venues. All this, plus the
Multiple Venues London Revue. Don’t miss memorable spiritual, improvisational, space collages
Portland, OR performances by Gary Bartz, Max Rib- of Carlos Niños and Friends performing
$0-50 ner, MNDSGN, The Rare Pleasures, and unreleased music with a DJ set dance
accompaniment at Mississippi Studios.
BY REBECCA JANE Chicago-based “bleeding edge” drummer,
producer, and beat scientist, Makaya
Portland’s 2022 Biamp PDX Jazz fes-
McCraven, will perform two nights at
tival will offer 11 days of a wide variety
the Star Theater. The festival welcomes
of performances. Like years past, this
Flor de Toloache, the all-female Mariachi
year promises a showcase of music inno-
sensation. Also, don’t miss the intriguing,
vation at its finest. Artists and Grammy
fresh talent of Laufey who combines so-
Award-winning masters will pay tribute
phisticated jazz melodies with slow-burning
to African American history, celebrating
R&B grooves at the Jack London Revue
the heritage of Black music, and honoring
on February 20. February 21–25 offers
jazz’s roots. In Portland today, individual
performances by the highly anticipated
expressions and selfless collaborations
Marquis Hill, Immanuel Wilkins, The
exhibit jazz as a mature institution,
Cookers, Brandee Younger, Sasha Berliner,
America’s gift to world culture.
Eric Krasno, The Mel Brown B3 Organ
Art Blakey once said, “Jazz washes away
Group, and many more.
the dust on everyday life.” These hard
Bringing the festival to a close on Feb-
times we’re living through have kicked up
ruary 28 is a free, all-ages album release
plenty of dust. Let it be washed away by
show at the Alberta Abbey. Portland’s
this festival’s marvelous line-up of music
beloved Blue Cranes, who are never
masters, ranging from the intimacy and
afraid to push music into new territory of
lyricism of a solo piano performance by
collaboration and discovery, will present
Brad Mehldau to the richly emotional
their latest record Voices.
clarinet of Angel Bat Dawid. Vocalist,
PDX Jazz follows all COVID-19 health
Rebecca Kilgore will join pianist Darrell
and safety guidelines as “issued by public
Grant for the inaugural PDX Jazz First
authorities and the venues that host our
Call showcase.
events. Mandatory mask wearing, proof
On day two of the festival, The Ron Carter
of vaccination, a negative COVID-19 test
Trio and Chuck Israels Jazz Orchestra Brandee Younger photo by Daniel Sheehan
and seating limitations will likely apply
will offer legendary performances at the
to performances”. Visit pdxjazz.org for
Newmark Theatre, and the eclectic and
Omari Jazz. They all promise to deliver tickets, as well as, an entire calendar of
brilliant Diane Schuur will perform at
energy, musicianship, and creative force events, jazz education resources, inter-
the Winningstad Theatre. And, prepare
directly to listeners’ hearts and souls views, podcasts, and more.
to be confounded by the technique of
Discount for Earshot Jazz Members
PDX JAZZ IS OFFERING AN EXCLUSIVE DISCOUNT TO EARSHOT JAZZ MEMBERS FOR THE UPCOMING SEATTLE ROBERT
GLASPER SHOW AT THE MOORE THEATRE ON FEBRUARY 27. OUR MEMBERS SAVE $5 PER EACH ADVANCE TICKET PURCHASED.
THE PASSWORD IS “EARSHOT22”. THIS PASSWORD WILL UNLOCK THE DISCOUNTED PRICING ON THE TICKETING PAGE,
WHICH CAN BE PURCHASED UP TO THE DAY OF SHOW. VISIT THE FOLLOWING LINK FOR MORE DETAILS: STGPRESENTS.ORG/
CALENDAR/12757/ROBERT-GLASPER. THIS EVENT IS PRESENTED BY PDX JAZZ AND STG PRESENTS.
February 2022 EARSHOTJAZZ 15NOTES, FROM PAGE 5
to help musicians and their families with
PREVIEW
Presented by Earshot Jazz
James Brandon Lewis
basic living expenses. Musicians can
apply online and will receive a follow up
phone call in 2-3 weeks. The fund also
and Chad Taylor
accepts donations and by doing so you
can be assured your contributions will
directly assist musicians deeply affected
by the pandemic and gives hopes to an
always resilient community. For more Saturday, February 26, 8pm
information visit jazzfoundation.org/ Chapel Performance Space
covid19fund. 4649 Sunnyside Ave N
KEXP Internships $10-20
KEXP is looking for diverse individ- BY M.V. SMITH
uals who are passionate about KEXP’s
mission with a fanatical love of music One of the defining jazz artists
to be interns in the following: Audio of his generation, James Brandon
Production, Drive Time Producer, Live Lewis was voted Rising Star tenor
on KEXP Booking, and Social Media & saxophonist in DownBeat maga- Chad Taylor and James Brandon Lewis photo courtesy of the
zine’s 2020 Critics Poll. Lewis blows artists
Digital Community. These internships
will be hybrid and 6 months with a pay hard, his tone invoking the burly
of $22/hour. Internships are open to urgency of Pharaoh Sanders. Drawing inspiration from the life and career of
anyone 16 or older, regardless of current agricultural innovator George Washington Carver, on his 2021 Jesup Wagon, Lewis
or completed education. People of color, and cornetist Kirk Knuffke intertwine polyphonic melodies with the passionate
women, and LGTBQIA+ individuals are intensity of Albert and Donald Ayler. The drummer on Jesup Wagon,and Lewis’s
strongly encouraged to apply. Applications duo partner for this performance, is Chad Taylor. Amongst other projects, Taylor
close February 15 at 11:59 pm PT. Please is most notably the co-founder of the Chicago Underground ensembles, and a
contact internships@kexp.org with any veteran on both Jaimie Branch’s FLY or DIE and Marc Ribot’s trio with Henry
questions. Grimes. On their 2018 record, Radiant Imprints, Lewis and Taylor interpret the
saxophone/drums duo tradition of John Coltrane and Rashied Ali, adapting
Welcoming Two New Board Coltrane and Ali’s “Seraphic Light” into their own “Radiance.” Lewis and Tay-
Members lor engage in subtle, empathetic dialogue; Taylor’s style inviting comparisons
We are delighted to share that two new to both the shifting textures and polyrhythmic density of Elvin Jones and the
members have joined Earshot’s board! nimble, delicate simplicity of Billy Higgins.
Please help us welcome, Marcos Zuñiga
and Arlene Fairfield. Zuñiga comes to us
after volunteering
Forfor
YourEarshot events for
Consideraton
16 years. He brings his passion for jazz
Best Jazz Instrumental Album
and uplifting Seattle’s Latino community
2021 Grammy Awards
into his new role. Fairfield brings more
David Haney David Haney piano with EBows & mallets
than 20 years of Circadian
experience marketing
Dave Storrs multiple instruments
Bernard Purdie drums
featuring THE CIRCADIAN CONSORT
THE WORLD IN A DAY
World Clock
social and environmental issues to non-
Field Recordings &
Music Interpretations
profit and advocacy groups, corporations,
and foundations. She is also a co-founder
and the Head of Strategy at Feel Good
Action. Both bring so many valuable
David Haney skills,
Bernard Purdie
connections, and resources to Earshot
Dave Storrs
and our community and we are looking
Nathan Breedlove
forward to how we will continue to grow
CIRCADIAN WORLD CLOCK from David Haney and Big Round Records is a captivating
www.cadencejazzworld.com
together! Keep an eye out in upcoming
exploration of nature’s musical landscape. In this groundbreaking recording project,
Big Round Records
Haney challenges participants from around the world to submit 2-3 minute field
recordings, each recorded at the specific hours of the day prescribed by the monastic
issues for a deeper dive of both members
Liturgy of the Hours. These field recordings from the United States, Russia, Brazil,
Parma Recordings
and many other locales make a powerful statement about our interconnectedness
as a species. The soundscapes are interpreted by Haney and his fellow musicians
with piano, mallets, EBows, drums, percussion, didgeridoo, and an assortment
in our Meet the Board series.
of brass and reed instruments, offering performances the likes of which inspire
reverent contemplation.
www.bigroundrecords.com/catalog/br8970 www.davidhaneymusic.com
AVAILABLE NOW FOR PURCHASE OR STREAMING
16 EARSHOTJAZZ February 2022PREVIEW
Tim Berne & Gregg Belisle-Chi Duo /
Gordon Grdina
Thursday, March 3, 7:30pm
Royal Room
5000 Rainier Ave
$20 advance/$25 doors
BY ANDREW D. MEYER
Brooklyn native and stalwart of the
creative music scene, Tim Berne, brings
his powerhouse alto saxophone playing
and relentless curiosity back to the
Northwest, where he was first drawn to
the power of R&B through the music of
Julius Hemphill while attending Lewis
& Clark College in the 1970s. Berne has
been performing internationally since
1982 with various ensembles including
Caos Totale, Fractured Fairy Tales, Blood-
count, and Snakeoil among others. He
has made over 50 recordings as a leader
for labels such as Soul Note, Sony, JMT,
ECM, and Intakt Records. Through his
collaborative approach to improvisation,
his distinct angular and off-kilter melo-
dies, catalog of compositions, and work
as record producer at Screwgun Records, Gregg Belisle-Chi and Tim Berne photo courtesy of the artists
Berne has left an indelible mark on the
modern jazz and creative music scenes. of pause and reflection; music that “oozes diverse as Bartok-inspired chamber jazz
Asian-American guitarist and composer, beauty both in concept and execution, to explorations of Iraqi folk melodies.
Gregg Belisle-Chi, will be touring the West making us luxuriate in its immersive This evening will feature three consum-
Coast with the saxophonist in March. A sonorities” (Part-Time Audiophile). Berne mate improvisers skilled at interpreting
graduate of Cornish College of the Arts, and Belisle-Chi will perform works off diverse repertoires connecting through the
and now based in Brooklyn, Belisle-Chi the latest record during the second set nexus of Tim Berne’s repertoire. These
embarks on a new collaboration with of the night. musicians will doubtlessly move boldly
Berne on their debut duet record, Mars Opening the evening is Vancouver-based through expansive sonorities, touching
(Intakt Records). Belisle-Chi’s 2021 oud/guitarist, Gordon Grdina, with a on fragments of familiar melodies to
release on Relative Pitch Records, Koi, set of Tim Berne compositions from his propel and energize the performance.
is Belisle-Chi’s solo acoustic guitar in- latest record Gordon Grdina : The Music Listeners can expect an unpredictable
terpretations of ten Berne compositions, of Tim Berne : Oddly Enough, on Grdi- and dynamic performance spanning from
which were produced by David Torn and na’s newly launched label AttaBoyGirl soft and textural playing to momentary
Berne himself. Described by the New Records. Grdina moves fluidly between explosions of hard grooves. The Royal
York Times as “a subtle stunner,” his contemporary jazz, free improvisation, Room will present a great opportunity
work draws from the spaces between the and world music stages, lending his to witness light-footed and sensitive
spiritual and the analytical, the ethereal distinctively fresh voice to a range of improvising musicians speaking a col-
and the tactile, inviting listeners to a place projects sifting through sound worlds as lective language. For tickets please visit
royalroomseattle.org.
February 2022 EARSHOTJAZZ 17FOR THE RECORD
Players
Eugenie Jones
OPEN MIC RECORDS, MARCH 2022
ON THE HORIZON BY ALEX CHADSEY
IN-PERSON* & On Players, Eugenie Jones’s new
double album, the singer/songwriter
LIVESTREAM and entrepreneur reveals the scope
and breadth of her artistic vision. At
3-3-22 a time when the pandemic continues
to curtail travel, Jones invites listeners
Tim Berne & Gregg on a whirlwind tour across the United
States with stops in four jazz hubs: New
Belisle-Chi Duo / York City, Dallas, Chicago, and Seattle.
Gordon Grdina The album also boasts an impressive
cadre of 32 musicians, including jazz
AT ROYAL ROOM luminaries Julian Priester, Jay Thomas,
Reggie Workman, and Bernard Purdie,
3-14-22 along with rising stars Delvon Lamarr
and Shaun Martin of Snarky Puppy.
Golden Ear Awards The material on Players is equally
wide-ranging, from the uptempo swing of the Gershwins’ perennial classic “I Got
Party w/ D’Vonne Rhythm” to the soulful Meters-inspired funk of “But I Do” (one of 10 originals
Lewis Limited Edition by Jones on the album). Several tracks in particular stand out: “Ey Brother”, a
tribute to the legacy of the Central District’s storied Black & Tan club featuring
AT ROYAL ROOM tenor saxophone standout Alex Dugdale; “One More Night to Burn”, a simmering
down-tempo lament reminiscent of Peggy Lee’s “Fever” and featuring stellar bass
3-26-22 work by the great Lynn Seaton; the two tracks Jones recorded with the Delvon
Lamarr Organ Trio; and, especially Jones’s rendition of Nina Simone’s “Do I Move
EEE You?” which closes out the album.
Jones is at her best when speaking directly to the personal journey that recon-
“Eubanks Evans nected her with music later in life. Born into a family of singers in West Virginia, it
wasn’t until the passing of her mother in 2008 that she found her musical calling.
Experience” The journey hasn’t been easy, but as Jones reminds us in her poignant original,
w/ Kevin Eubanks (guitar) and “There Are Thorns,” nothing worthwhile in life ever is: “If you’re looking for me/
Orrin Evans (piano) There will be thorns/But you’ll find me/Among the blooms.”
AT TOWN HALL FORUM The top-flight Dallas rhythm section (Shaun Martin, Lynn Seaton, Quincy Davis,
and Jose Aponté) lay down an impeccable cha cha cha rhythm on this track that
Recent changes to Earshot percolates just below the surface, allowing plenty of room for Jones to deliver her
Jazz COVID-19 policy: Proof deeply personal and heartfelt message.
of vaccination with current ID The scope and breadth of Players ultimately reflects, and perhaps embodies,
required. Earshot Jazz will no Jones’s many facets as a singer, songwriter, producer, entrepreneur, and legacy
longer accept negative tests activist. Players gives us, as listeners, a glimpse into Jones’s world, a world where
for entry. Face coverings are many rewarding moments await, “among the red rose blooms.”
also required.
Players is independently produced and recorded on Jones’s own Open Mic Re-
cords label. The record is scheduled to release on March 11, followed by an album
TICKETS AND INFORMATION
release show at the Royal Room on March 12. To stay up to date with Jones and
AVAILABLE AT EARSHOT.ORG her projects, visit eugeniejones.com.
Photo courtesy of Max Pixel
18 EARSHOTJAZZ February 2022MEET THE BOARD
Jazmyn Scott
Earshot Jazz would like to introduce you to our board
members. They’re a group whose work often goes
unnoticed by the broader public, but we value their
expertise and their dedication to Earshot Jazz. Each month
you’ll meet someone new—in February, please meet
Jazmyn Scott.
1. What is your name, board position, Earshot is an anti-racist organization
and preferred pronouns? committed to equity on all fronts. Jazmyn Scott photo by Michael B. Maine
My name is Jazmyn Scott, pronouns I’m also really proud of the festival
are she/her, and I am a general board exhibitions, and museums that feature
itself. Putting on a month-long festival
member. photography and multi/mixed-media arts.
at multiple venues is no small feat and
I studied photography in my youth and
2. How long have you served on the organization, professionalism, and
have been featured in gallery showcases
the Earshot Jazz board and please execution is exceptional. The Earshot
mention any other EJ board positions and an exhibition at Bumbershoot. I
staff and volunteers really go above and
you’ve held if any? used to shoot for several local artists
beyond to make certain all aspects of the
I’m a new board member and officially and musicians and one of my images
festival are successful and I commend
joined in August 2021. was used for a local hip-hop group’s
them for their hard work and dedication.
album cover. In addition, my work has
3. What led you to join the Earshot I know first-hand how challenging it can
Jazz board? also been used for event fliers and other
be and they pull it off each year with
As the Director of Programs & Part- promotional purposes.
such grace.
nerships at LANGSTON, I’ve been able 6. 2020/2021 has been challenging,
5. Tell us a little about your is there any other organization or
to work with the Earshot team for over background-professional inspirational person you’d like to
four years to co-present concerts during qualifications, job, interests, talents? highlight that stood out to you?
the annual festival. Over the past year, I am the Director of Programs & Part- Well if I may toot my own horn, I’m
I’ve deepened my relationship person- nerships for LANGSTON, Seattle’s hub incredibly proud of the work Tim Lennon
ally and professionally with Earshot by for Black arts and culture; Co-founder of (Executive Director of LANGSTON) and
having the opportunity to participate 50 Next: Seattle Hip-Hop Worldwide, a I have done while in the midst of the pan-
more in the selection and development digital “time capsule” highlighting Seattle demic. We administered the Seattle Artist
of programming. When John Gilbreath and Northwest Hip-Hop; and, co-curator Relief Fund, which ended up making us
presented the idea of potentially joining of The Legacy of Seattle Hip-Hop which the largest supporter of individual artists
the board this past summer, I thought exhibited at the Museum of History & in Washington, raising and granting over
it was a fabulous idea given my relation- Industry and won the 2016 American $1.1M to over 2,100 artists and culture
ship with and love for the local music Association for State & Local History workers between March 2020 and April
community and the growing relationship (AASLH) Leadership in History award. 2021. Despite being unable to open our
between our two organizations. In addition to serving on the Earshot doors to the public for in-person events
4. Tell us something you’re proud of board, I am also the Vice President of until September 2021, we were still able
that Earshot has achieved. The Residency board and participate in to produce or present over 67 distinct
I’m really proud of the work Earshot is several com munity arts advisory boards. programs (including the Earshot Jazz
doing internally to recognize and make I love all things arts, especially music. I Festival), and connect our artists with
changes in the areas where growth is was raised in a household filled with arts an overall combined streaming/in-person
needed for true racial equity within the and culture and both parents had careers live audience of over 4,200 during our
organization. This is an ongoing process in radio broadcast, so music was and is events in 2021. The work never stopped
that has not yet been fully achieved, but a constant part of my life. I particularly or slowed down and I’m proud of the
I’m proud to play a part in ensuring that enjoy the experience of live music and impact we’ve made, especially during
I also enjoy visiting small art galleries, these times.
February 2022 EARSHOTJAZZ 19JAZZ AROUND THE SOUND
FEBRUARY02
Tuesday, February 1 JA Bobby Rush & Jontavious Willis, 7:30pm ES Martin Ross, 5:30pm
ES Paul Richardson, 5:30pm RR Lazuli Shoals / Rare Elephant, 7:30pm EB Eric Verlinde, 5:30pm
EB Eric Verlinde, 5:30pm CU Tim Kennedy w/ Hans Teuber & Andy AQ Jerry Frank, 5:30pm
Coe, 7:30pm ET Sandy Harvey, 6pm
ET Douglas Barnett, 5:30pm
MT Open Jam Night, 8pm VI Jerry Zimmerman, 6pm
AQ Martin Ross, 5:30pm
VI Jovino Santos Neto, 8pm CM Gypsy Jazz with Tuba, 7pm
TD SuperBlue: Kurt Elling feat. Charlie
Hunter, 7:30pm CC Cider Jazz Jam, 9pm JA WAR (early show), 7:30pm
JA Bobby Rush & Jontavious Willis, 7:30pm Thursday, February 3 CU Jovino Santos Neto Trio w/ Chuck
OW Jazz Jam, 9:30pm Deardorf & Ben Thomas, 7:30pm
ES Paul Richardson, 5:30pm
NC The New Rhythmatics, 8pm
Wednesday, February 2 EB Eric Verlinde, 5:30pm
VI Tim Kennedy Trio, 9pm
ES Paul Richardson, 5:30pm ET Sandra Locklear, 5:30pm
JA WAR (late show), 9:30pm
EB Tom Kellock, 5:30pm AQ Jerry Frank, 5:30pm
ET Douglas Barnett, 5:30pm JA WAR, 7:30pm Sunday, February 6
AQ Martin Ross, 5:30pm CU Peter Daniel, Marina Albero & Marina WF Greta Matassa, 4pm
Christopher, 7:30pm VI Jerry Zimmerman, 5pm
TF Wolfgang Muthspiel, Scott Colley & Brian
Blade (In-person & livestream), 7pm VI Jacqueline Tabor, 8pm DT Jazz Jam, 6pm
AU Critical Mass Big Band, 7pm Friday, February 4 FB Jazz Vespers: Miranda Kitchpanich, 6pm
TD SuperBlue: Kurt Elling feat. Charlie ES Martin Ross, 5:30pm CR Racer Sessions: Insect Revenge, 7pm
Hunter, 7:30pm JA WAR, 7:30pm
EB Tom Kellock, 5:30pm
AQ Jerry Frank, 5:30pm RR Jared Hall Quartet feat. Tal Cohen, 8pm
WEEKLY ET
CM
Sandy Harvey, 6pm
The Three Guitars, 7pm
VI
AB
Ron Weinstein Trio, 8pm
Beaver Sessions, 9pm
JAMS & BB Christopher Icasiano, 7pm Monday, February 7
SESSIONS JA
CU
WAR, 7:30pm
Jared Hall Trio w/ Tal Cohen & Michael
RR Royal Room Collective Music Ensemble,
7:30pm
SESSIONS GENERALLY OPEN WITH A Glynn, 7:30pm NL Mo’ Jam Mondays, 7:30pm
HOUSE SET BY FEATURED GUESTS. NC Brian Monroney Quartet, 8pm RR Jazz Jam Session hosted by Thomas
PLAYERS ARE ENCOURAGED TO VI D’Vonne Lewis, 9pm Marriott, 9pm
ARRIVE EARLY TO SIGN UP. Saturday, February 5 Tuesday, February 8
SUNDAYS
DT 6PM, DARRELL’S TAVERN
AB 9PM, BEAVER SESSIONS
CR 7PM, RACER SESSIONS
(BIWEEKLY - CHECK CALENDAR)
CR 7PM, FOUNDATION SESSIONS
(4TH SUNDAY)
MONDAYS
NL 7:30PM, MO’ JAM MONDAYS
RR 9PM, JAZZ JAM SESSION
(EXCEPT 2/14)
TUESDAYS
OW 9:30PM, OWL ‘N THISTLE
WEDNESDAYS
MT 8PM, MAC’S TRIANGLE PUB
CC 9PM, CIDER JAZZ JAM SESSION
20 EARSHOTJAZZ February 2022ES Paul Richardson, 5:30pm VI Marina Christopher, 8pm RR Tangoheart: A Piazzolla Valentine, 7pm
EB Eric Verlinde, 5:30pm JA Mindi Abair, 7:30pm
Friday, February 11
ET Douglas Barnett, 5:30pm CR Amy Denio & Julie Slick, 7:30pm
ES Martin Ross, 5:30pm
AQ Martin Ross, 5:30pm MO Kronos Quartet, 7:30pm
EB Tom Kellock, 5:30pm
JA Highway 99 All Stars, 7:30pm BB Kassa Overall, 8pm
AQ Jerry Frank, 5:30pm
RR Alex Claffy Quintet w/ The Fellowship VI Ron Weinstein Trio, 8pm
ET Sandy Harvey, 6pm
‘Ceptet, 8pm AB Beaver Sessions, 9pm
TP Hopscotch, 7pm
OW Jazz Jam, 9:30pm
CM Midnight Hour, 7pm Monday, February 14
Wednesday, February 9 JA Mindi Abair (early show), 7:30pm VI Brad Gibson Presents, 7pm
ES Paul Richardson, 5:30pm CU Stephanie Porter w/ Tony Foster, Michael
EB Tom Kellock, 5:30pm Barnett, & Steve Yusen, 7:30pm
ET Douglas Barnett, 5:30pm CH Tristan Gianola: Millennial Sunset, 8pm Calendar Venue Key
AQ Martin Ross, 5:30pm NC Gail Pettis Quartet, 8pm
AB The Angry Beaver
AU The Northwest Jazz Conspiracy, 7pm JA Mindi Abair (late show), 9:30pm
AQ AQUA by El Gaucho
SC Tal Cohen Quartet, 7pm Saturday, February 12 AU Aurora Borealis
RR Sam Weber, 7pm
ES Martin Ross, 5:30pm BA Brechemin Auditorium (UW)
JA Highway 99 All Stars, 7:30pm
EB Eric Verlinde, 5:30pm BB Barboza
CU Bruce Phares & Jeremy Bacon, 7:30pm
AQ Jerry Frank, 5:30pm BP Bake’s Place (Belleuve)
NP Ladysmith Black Mambazo, 8pm
ET Sandy Harvey, 6pm CC Capitol Cider
MT Open Jam Night, 8pm
VI Jerry Zimmerman, 6pm CH Chapel Performance Space
VI Bar Tabac, 8pm
CM Climate Change, 7pm CL Crocodile
CC Cider Jazz Jam, 9pm
JA Mindi Abair (early show), 7:30pm CM Crossroads Bellevue
Thursday, February 10 CU Stephanie Porter w/ Tony Foster, Michael CR Cafe Racer
ES Paul Richardson, 5:30pm Barnett, & Steve Yusen, 7:30pm CU Calluna
EB Eric Verlinde, 5:30pm NL North Mississippi All Stars, 8pm DT Darrell’s Tavern
ET Sandra Locklear, 5:30pm RR Electric Circus, 8pm EB El Gaucho Bellevue
AQ Jerry Frank, 5:30pm NC Greta Matassa Quintet Valentine’s Show, EC Edmonds Center for the Arts
8pm
NC Adriana Giordano & Marina Albero, 7pm EG Egan’s Ballard Jam House
VI The James Band, 9pm
JA Highway 99 All Stars, 7:30pm ES El Gaucho Seattle
JA Mindi Abair (late show), 9:30pm
PT Jazz at Lincoln Center Orchestra with ET El Gaucho Tacoma
Wynton Marsalis, 7:30pm Sunday, February 13 FB Seattle First Baptist Church
CU Mercedes Nicole, 7:30pm CM Honky Tonk Sweethearts, 12:30pm JA Dimitriou’s Jazz Alley
EC Ensemble Mik Nawooj, 7:30pm VI Jerry Zimmerman, 5pm JV JazzVox House Concert
NS How Now Brown Cow, 8pm DT Jazz Jam, 6pm MO Moore Theater
RR Mike Clark, 8pm MT Mac’s Triangle Pub
NC North City Bistro & Wine Shop
ND North Star Diner
NL Nectar Lounge
NP Neptune Theatre
NS Northshore Performing Arts Center
OW Owl N’ Thistle
PT Paramount Theatre
RR The Royal Room
SB Sea Monster Lounge
SC Sylvia Center for the Arts
TD Triple Door
TF Town Hall Forum
TH Town Hall
TP Third Place Commons
UE Urban Elk
VI Vito’s
WF Waterfront Park Community Center
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