EARSHOT JAZZ - Noel Brass Jr. Photo by Daniel Sheehan
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EARSHOT JAZZ
A Mirror and Focus for the Jazz Community February 2020 Vol. 36, No. 02
Seattle, Washington
Noel Brass Jr.
Photo by Daniel SheehanEARSHOT JAZZ
A Mirror and Focus for the Jazz Community
LETTER FROM THE DIRECTOR
Executive Director John Gilbreath
Managing Director Karen Caropepe
Jazz Age, 2.0
Programs Manager Tara Peters
Development Manager Errin Patton
Marketing & Development Associate Lucienne
Aggarwal
Earshot Jazz Editors Lucienne Aggarwal & In the 100 years since 1920’s America ushered in what grew to be called
Tara Peters “The Jazz Age,” both the country and the music have grown, and remained
the same, in unimaginable ways. Through the years, jazz has become a
Contributing Writers Whitney Bashaw, Ian
global language while remaining a solid signifier of America’s deep hu-
Gwin, Gus Marshall, Rayna Mathis, Paul
Rauch, Carlos Snaider
manity and unstoppable creative spirit. As Duke Ellington said: “Put it
this way: Jazz is a good barometer of freedom... In its beginnings, the Unit-
Calendar Editors Carol Levin, Jane Emerson, ed States of America spawned certain ideals of freedom and independence
& Tara Peters
Photography Daniel Sheehan
through which, eventually, jazz was evolved, and the music is so free that
Layout Tara Peters many people say it is the only unhampered, unhindered expression of com-
Distribution Karen Caropepe, Dan Dubie & plete freedom yet produced in this country.”
Earshot Jazz volunteers Yes, actual “freedom and independence” may still feel like elusive ideals
Send Calendar Information to: on day-to-day social and economic levels, but if the incredibly good health
jazzcalendar@earshot.org of jazz is still a reliable barometer for human potential, then we have good
Board of Directors Danielle Leigh cause for optimism. There is no better place to catch a Doppler overview
(President), Chris Icasiano (Vice President), of today’s jazz forecast than in New York City, especially in the January
Chris Nutter (Secretary), Sheila Hughes deluge of showcases, meetings, and concerts as part of the Association of
(Treasurer), John W. Comerford, Maurice Performing Arts Presenters (APAP) and Chamber Music America (CMA)
James, Kenneth W. Masters, Gail Pettis,
Ruby Smith Love, Diane Wah
conferences in mid-Town Manhattan; the Jazz Congress at Jazz at Lincoln
Center; and the NYC Winter JazzFest, which puts up close to 200 perfor-
Emeritus Board Members Clarence Acox, Sue mances across the East and West Village and Brooklyn. All of this within
Coliton, Taina Honkalehto, Hideo Makihara, a two-week period. And, of course, Seattle jazz is brilliantly represented in
Peter Monaghan, Kenneth W. Masters, Lola
that larger context by performing artists, fans, and industry professionals.
Pedrini, Paul Toliver, Cuong Vu
The Earshot Jazz organization is proud to serve as a broad platform for
Founded in 1984 by Paul de Barros, Gary Seattle’s well-respected jazz community. Reflecting the vibrancy of the
Bannister, and Allen Youngblood. Earshot art form locally and nationally, Earshot is coming into 2020 having just
Jazz is published monthly and is available
completed the best year in our 35-year history. We are so grateful to our
online at earshot.org.
national funders, and to everyone in this community of artists, educators,
Subscription (with membership): $35 fans and supporters. Thank you for your incredible support!
3417 Fremont Ave N, #221 This issue carries many opportunities for you to join us. In addition to
Seattle, WA 98103 news, previews, profiles, and promotion of jazz events going on around the
phone / (206) 547-6763 city this month, we invite you to cast your thoughtful ballot for this year’s
Earshot Jazz ISSN 1077-0984 Golden Ear and Seattle Jazz Hall of Fame Awards. And please plan to join
Printed by Yakima Herald-Republic us at the awards party at the Royal Room on March 9, with Jim Wilke as
© 2020 Earshot Jazz Society of Seattle Master of the Ceremonies, and world class music by Marina Albero.
So, dig in and enjoy this issue. As always, you can find additional and
updated information online at earshot.org. All of it is made possible by
MISSION STATEMENT your individual donations.
To ensure the legacy and progression
of the art form, Earshot Jazz cultivates
Thank you!
a vibrant jazz community by engaging –John Gilbreath, Executive Director
audiences, celebrating artists, and
supporting arts education.
2 • EARSHOT JAZZ • February 2020NOTES
FACE Foundation Call for 4Culture Arts Project Grant at least 18 years old, and a resident of
Applications Applications Open King County. Numerous application
FACE Foundation, in collabora- Individuals and groups from any ar- workshops are available at various lo-
tion with the Cultural Services of tistic discipline may apply for 4Cul- cations throughout February. The ap-
the French Embassy in the U.S., ture’s Arts Project grant to fund their plication deadline is March 4. For de-
is requesting applications for their project. Apart from the project’s ar- tails visit 4culture.org
2020–2021 Jazz & New Music Pro- tistic rationale, one of the core crite- Nicholas-Salas Harris named as
gram. The program awards three dif- ria for this project is its availability to PDX Jazz Artistic Director
ferent grants: creative grants, residency the public. This year’s round of fund-
PDX Jazz, the largest organization
grants, and touring grants for eligible ing supports project needs after June
presenting jazz in Oregon, has an-
projects jointly conceived with French 1, 2020 till June 1, 2022, with com-
and American musicians. Funding is petitive grants in fixed amounts from
offered to American or French non- $2,500 to $8,500. Applicants must be CONTINUED ON PAGE 19
profit organizations who represent
individual artists or ensembles. The
application deadline is March 2. Visit
face-foundation.org for more details
and application.
KNKX Piano Starts Here Series
Continues in 2020
The Piano Starts Here series present-
ed by KNKX, highlights the work of
some of the most prolific and talented
composers and pianists. The year-long
series brings together Seattle’s finest
pianists to perform the works of famed
pianists. Hosted by Alex Guilbert, the
series will explore the music of Keith
Jarrett, Ragtime jazz, the music of
Dave Brubeck and John Lewis, among
others. All shows will start at 7:30PM
and are held at the Royal Room. For
tickets and details visit theroyalroom-
seattle.com
North City Jazz Walk Accepting
Submissions
The North City Jazz Walk committee
is accepting submissions for musicians
for the 2020 event, which will be held
Tuesday, August 11 in Shoreline. Art-
ists should send an email, with links to
their websites and/or samples of their
music to musicdirector@northcity-
jazzwalk.org.
February 2020 • EARSHOT JAZZ • 3GOLDEN EAR AWARDS
2019 Golden Ear Awards Ballot
Cast your ballot by March 3!
Each year, the Golden Ear Awards recognize and celebrate the outstanding achievements of the previous year in Seattle
jazz. In the process, Seattle jazz fans and performers take stock of and show gratitude for the region’s vibrant jazz ecology.
The awards are determined by a combination of nominations and popular vote. Nominees are selected by a broad range
of Earshot Jazz readers, past Golden Ear recipients, jazz performers, audience members, and industry professionals. Those
with the majority of nominations are included on the ballot below.
Vote online at earshot.org, by email to vote@earshot.org, or mail your selections to Earshot Jazz, 3417 Fremont Ave N.
#221, Seattle, WA 98103, by March 3. The Golden Ear Awards party takes place March 9 at the Royal Room, featuring
the Marina Albero Ensemble.
NW Recording of the Year Alternative Jazz Group of the NW Jazz Instrumentalist of
Ann Reynolds, Joy Year the Year
Greta Matassa, Portrait Bad Luck Bob Antolin
Kiki Valera, Vivencias en Clave Christian Pincock’s Scrambler Joe Doria
Cubana Comfort Food Marina Albero
Marina Albero, A Life Soundtrack Smacktalk Ray Larsen
Xavier Lecouturier, Carrier sunking Thomas Marriott
Other___________________ Other___________________ Other___________________
NW Acoustic Jazz Ensemble of NW Concert of the Year NW Vocalist of the Year
the Year Kiki Valera y su Son Cubano Carlos Cascante
Bill Anschell Standards Trio (October 26, Town Hall Seattle) Greta Matassa
Kate Olson’s KO Ensemble Marina Albero CD Release Jacqueline Tabor
Marco de Carvalho Trio (December 17, The Royal Room) Johnaye Kendrick
Marina Christopher’s Marina and Miles Davis Birthday Celebration Kelley Johnson
the Dreamboats w/ Thomas Marriott, Rick
Other___________________
MMJB: Rick Mandyck, Thomas Mandyck, Orrin Evans, Eric Revis,
Marriott, Jeff Johnson, John Gary Bartz, & Kassa Overall (May Seattle Jazz Hall of Fame
Bishop 24, Tula’s)
Bill Ramsay
Other___________________ Odeya Nini + Abbey Blackwell
Jim Knodle
& Kelsey Mines (November 15,
Emerging Artist of the Year Chapel Performance Space) Michael Brockman
SRJO: Count Basie Meets Duke Robin Holcomb
Abbey Blackwell
Ellington (October 5, Benaroya Steve Peters
Kelsey Mines
Hall) Suzanne Weghorst
Rob Granfelt
Other___________________ Other___________________
Sidney Hauser
Check earshot.org for a list of Hall of
Xavier Lecouturier
Fame inductees.
Other___________________
4 • EARSHOT JAZZ • February 2020JAZZ TRAVELS
The Bass Church T
The Northwest double bass specialists
Part of a Larger Dialouge www.basschurch.com
Sales, Rentals,
Each January, New York City comes alive with Winter JazzFest, Jazz Congress
Repairs, Restorations,
at Lincoln Center, and the Association of Performing Arts Professionals (APAP)
Lessons
conference, described as “the world’s largest performing arts marketplace.” This Convenient North Seattle Location
buzzing week is a reflection and celebration of the global jazz scene: never still
and as diverse as the music itself. Halynn Blanchard, Earshot Jazz’s Production (206)784-6626 (20
Manager, reports back on her week-long immersion into this rich environment. 9716 Phinney Ave. N. 9716
Seattle, WA. 98103 Seat
~by appointment only~
Earshot Jazz: Describe what the NYC-Seattle connection means to you ~by a
Halynn Blanchard: There is a larger dialogue happening among people who
own “jazz” as a thread in their identity. We are musicians and artists; seekers and
listeners; writers; archivists; educators and students; and visionaries and volun-
teers. All of us with our toes in jazz could submit a hundred separate reflections The Bass Church T
on what jazz means, where we see it going, and what its priorities should be. Jazz The Northwest double bass specialists T
is a language for society. www.basschurch.com
Being a representative for Seattle jazz while in New York, I recognize we have
our own microcosm here. We are valuable and thriving. We can share our stories
and expand our ecosystem. A fairly accessible way to tangibly engage with what
is happening in New York City, is to visit and listen. Sales, Rentals,
EJ: Which talk was the most impactful to you and why? Repairs, Restorations,
HB: The eloquent NYC guitar mainstay Mark Whitfield was one of the panel- Lessons
Convenient North Seattle Location
ists challenged to answer the question of how to pay homage to players you’ve
studied and emulated, while discovering and remaining true to your own sound. (206)784-6626 (206
Whitfield says he was told “When you start to trust yourself, you’re gonna re- 9716 Phinney Ave. N. 9716
Seattle, WA. 98103 Seatt
ally play something...You won’t get to the essence of what you can offer as an ~by appointment only~ ~by a
artist, until you get to the essence of who you are...Often, we get rewarded for
plagiarism, in getting from A to B. You have to have confidence to be yourself.
Your spirit will start to shine and you’ll be rewarded for the right things. Honor
your own thumbprint, your own destiny.”
EJ: Which performance was the most impactful to you and why?
The Bass Church T
The Northwest double bass specialists T
HB: This year’s Winter JazzFest offered a new weekend “marathon” lineup in
Brooklyn. The weekend prior, a two-day marathon packed ten Manhattan ven- www.basschurch.com
ues. Centered in Williamsburg, six spaces hosted groups from Keyon Harrold,
Wayne Horvitz & Sara Schoenbeck, Mwenso & The Shakes, Kneebody + Mark
Guiliana, Sasha Berliner and DJ Quantic. For myself and the bouncing room Sales, Rentals,
in the Music Hall of Williamsburg, Brooklyn’s own Phony Ppl stole the show. Repairs, Restorations,
The fearless five-man band is known for their fun, impossibly engaging shows.
Lessons
Convenient North Seattle Location
EJ: What else did you learn at Winter JazzFest that you hope to apply to
your own practice or community?
(206)784-6626 (206
HB: Jazz needs women, and not the other way around. One thing that would 9716 Phinney Ave. N. 9716
help is not having just one token woman in a band. The process to outgrow Seattle, WA. 98103 Seatt
~by a
~by appointment only~
CONTINUED ON PAGE 23
February 2020 • EARSHOT JAZZ • 5PROFILE
Noel Brass Jr.: Open Soul Policy
By Gus Marshall posed young Noel early
and often to a wide array
Noel Brass Jr. is a genuine
of exceptional music. At
practitioner of true sponta-
home, Duke Ellington,
neous creation. He is a key-
Gabor Szabo, and Nat
boardist and humble purist,
King Cole were a com-
whose tireless dedication to
mon source of familial
the art of impermanent in-
entertainment, and a
spiration has bestowed him
mainstay of dinnertime
with a remarkable sense of
accompaniment.
improvisational patience.
At the same time, other
“I’m kind of starting off
less-than-conventional
sketching, or molding
sounds were also on the
clay, building little musical
radar of the budding
monuments almost, tone
musician. “I listened to
poems, architecture,” says
lots of punk and jazz,”
Brass in reference to his cre-
says Brass. “Hip-hop
ative process. This patient
and new wave, every-
building is on full display
thing was given a listen.”
throughout Brass’ soul-
Early on Brass began
ful and contemplative solo
to hone his craft and
exploration Broken Cloud
grow his ears, embrac-
Orchestra (Wax Thema-
ing his aptitude for im-
tique 2017), an outstand-
provisational perfor-
ing achievement in acces-
mance and composition.
sible ambience and spiritual
In 2004, Brass took a
minimalism.
train from Chicago to
Sparse synthesized mo-
Seattle. Curious to check
tifs are delicately draped
out a new city and a new
over a tasteful reverberat-
scene, he hit the ground
ing Fender Rhodes, evok-
running, and within a
ing imagery of a somber NOEL BRASS JR. PHOTO BY DANIEL SHEEHAN
few months assembled the
soundscape on a foreign plan-
Like the paint strokes. That’s why I like psychedelic jazz trio Af-
et. Meditative premonitions slowly
ambient movements. It doesn’t have to rocop. A weekly Saturday night gig
morph, breathe, and are allowed time
be a grandiose statement all the time: it at the small Ballard pub The Step-
to grow before they are meticulously
can just be a feeling, transporting you ping Stone, allowed Brass—along
sculpted and sketched into existence.
somewhere else. There’s a lot of differ- with founding bassist Quintin Mus-
“The element of what I want to bring
ent planets; why not visit a bunch?” grove and drummer Justin Hills—to
is that transformative, kind of other-
Hailing from the Midwest, Noel build a strong musical foundation.
worldly improvisation,” explains Brass.
Brass Jr. grew up in the suburban city Shortly after Afrocop’s inception,
“Where you feel like you’re getting it
of Joliet, Illinois, 40 miles southwest Brass met current drummer (and now
from a different source...being open,
of Chicago. Growing up in a middle longtime collaborator and co-conspir-
being patient, not rushing your ideas.
class, Baptist, pro-union family ex- ator) Andy Sells, through a Seattle
6 • EARSHOT JAZZ • February 2020Drum School gig substitute service. ideas, you can leave the band, if some- lenge, to listen, and staying connected
“Once I met Andy though, it kind of one else has ideas, come sit in with us. to the overall themes.”
changed the dynamic and structure, Not everybody gets that idea. It’s very The aural soundscapes being teased
because Andy had been playing in the democratic, it’s for people who have out in real-time at Afrocop’s hypnotic
city for years, and I didn’t know too ideas. But it’s not just like, here, let me live performances are often comple-
many people that were already invest- come in and play a bunch of solos.” mented through visual landscapes that
ed in the city. And that to me was a The “open soul policy” also serves play off of the sonic themes created by
big deal, because I needed that kind of as an optimistic attempt to keep the live visual artist blazinspace. Afrocop
backing to push forward and come up music fresh, honest and uninhib- and blazinspace’s collaborations have
with better ideas,” says Brass. ited by ego. It is a clever approach been explored at venues ranging from
The weekly gig challenged the group to the inevitable loss of free flow- Vito’s to Lofi to a recent appearance at
as individuals and shaped them as ing creativity. While enacted to en- the Timbre Room as part of the Ear-
a unit. “Every Saturday, we would courage a spirit of constant creative shot Jazz Festival’s DJ Series.
play all night. And you have to come manifestation, in the end it all boils As a leader, Brass embraces the chal-
up with a shit ton of ideas when you down to communication and trust. lenges and the connectivity that comes
are improvising all night, especially “There’s limitations to everything, from sustained improvisation, re-
if you don’t have any heads or any- right?” asks Brass. “Sometimes com- sulting in the communal building of
thing. We were just coming up with munication is key: you have to work ideas. “Overall, I see more benefits if
stuff, and I always thought that’s together at all times. Even if you’re you give someone a skeleton of chords.
where I wanted to push the band.” going in a place where it’s unfamiliar, That way you’re working between
With the addition of Carlos Tullos on we’re all traveling in that same realm. those ideas, but if you know the hab-
bass and baritone guitar in 2011, Brass A lot of times we have to just carry on, its of each other, as [Afrocop has] been
began to reach out and explore what even though you get into weird mo- playing together for a long time, you
he refers to as ‘psychedelic gospel lean- ments of sound, and the vibe is almost become more fine-tuned and more
ings’, and the group began to take on a spookier: you can’t explain it, it’s just of a moving machine together, rather
more intentional approach. strange, surreal almost. You’re uncov- than sluggish pieces on their own. And
While traveling through the often ering, excavating almost, and then you those individual sounds and those in-
murky waters of spur-of-the-moment see further truths that you don’t even dividual voices from the trio really get
composition, Brass and company de- know about,” muses Brass. to shine. Not just in solos, but working
veloped a unique mantra, a life jack- “That’s the beauty I guess, and the together for the greater purpose.”
et of sorts. “We call it an open soul scary part of it: you’re just traveling Afrocop performs at Vito’s on Saturday,
policy,” declares Brass. “That is kind along until different things shift you February 29, 9pm. Free. 21+
of what Afrocop is about. We keep it to say otherwise. That can be a chal-
that way, just so if someone runs out of
February 2020 • EARSHOT JAZZ • 7PREVIEW >>
Westerlies Fest
February 6–9
Various venues, Seattle
Shake off the winter blues, a wind is
blowing in on brass. The Westerlies, a
Seattle-grown, New York-based brass
quartet are gearing up for their second
annual Westerlies Fest in February, of-
fering four days of music, poetry, and
education.
Named for their eastward movement,
The Westerlies craft a genre-shifting
big band experience with Riley Mul-
herkar and Chloe Rowlands on trum-
pet and Andy Clausen and Willem de
Koch on trombone.
“There’s something special in the
way that Seattle as a city values mu- CELISSE HENDERSON PHOTO BY CHRISTOPHER BOUDEWYNS TROY OSAKI PHOTO COURTESY OF THE ARTIST
sic education,” de Koch said. Wanting De Koch expresses the impact visiting
to give back to the city that cultivated An important component to the fes-
tival for the band is the public school musicians had on him as a student and
their musical talent and trajectory, The performer and how it helped shape his
Westerlies have developed their own workshops for the music departments.
They reached more than 500 local stu- future. “It was important for us to see
festival in Seattle, bringing together what it could be like to be a profession-
the musicians they work with from dents through eight in-school concerts
at their inaugural festival. al musician at an early age…I think it
both coasts. made that pathway seem much more
Seattle Jazz and Culture Festival 2020
February 8th - March 1st
Celebrating Jazz in Seattle and its Culture
Jazz In The City’s (JITC) inaugural Seattle Jazz and Culture
Festival features a variety of jazz and jazz influenced artists at
two venues: The Triple Door in downtown Seattle and the Frye
Art Museum auditorium on First Hill.
More information available at jazzinthecity.com.
8 • EARSHOT JAZZ • February 2020attainable,” de de Koch said,
Koch says. “So is making the
I think for us, Sunday pro-
we’re trying to gramming free
do our part as and open to all.
best we can to Sunday, Febru-
nourish that ary 9, will bring
music education a community-
and try to have focused work-
some sort of rep- shop and jam
resentation for session with the
what these other band. The West-
students might erlies will host a
want to do.” listening ses-
The festival is sion with their
hosted in four favorite music
venues: Town and unpack it in
CHLOE ROWLANDS, ANDY CLAUSEN, RILEY MULHERKAR, WILLEM DE KOCH BY SHERVIN LAINEZ
Hall Seattle, conversation.
The Chapel Per- might enjoy and take local Seattle art- The festival is
formance Space, The Royal Room, ists that we believed in and give them the biggest undertaking of the band’s
and Nickerson Studios at Seattle Pa- a bigger platform in the city to present charitable arm, de Koch says, but
cific University. their music.” band members are involved in edu-
While a small festival, the lineup is Celisse performs at The Royal Room cational projects throughout the year.
eclectic with performances by soul on Thursday, February 6; Holcomb at The group gained nonprofit 501(c)(3)
and blues singer/guitarist Celisse Hen- The Chapel Performance Space on Fri- status in March 2017, giving them in-
derson, singer-songwriter Robin Hol- day; and Kay and Kaye at Town Hall stitutional backing to broaden their
comb, poet Troy Osaki, and spoken- on Saturday. The Westerlies will close impact.
word duo Sarah Kay and Phil Kaye. out the festival on Sunday, February 9. A full pass to the four-day event is
The Westerlies perform at each show, The first Westerlies Fest took place in an affordable $50, while individual
as well. September of 2018, and the group has concerts are $25 a piece and $15 for
As de Koch explains, The Westerlies learned a bit since then. To avoid being students.
see this as an opportunity “to show- stretched thin, they are holding their –Whitney Bashaw
case friends of ours from New York in-school workshops on separate days
from the concerts. One major change, For tickets visit westerliesfest.org.
who we think our Seattle audience
February 2020 • EARSHOT JAZZ • 9PREVIEW >>
Seattle Jazz and Culture Festival
February 8–March 1 Marsalis brings his time-tested quar-
Triple Door & Frye Art Museum tet on the heels of their Grammy
nominated 2019 release, The Secret
Jazz in the City takes a giant leap for-
Between the Shadow and the Soul. Pia-
ward in presenting the inaugural Se-
nist Joey Calderazzo, bassist Eric Re-
attle Jazz and Culture Festival 2020,
vis and drummer Justin Faulkner have
with performances at the Triple Door
formed an intrinsic bond with the in-
and Frye Art Museum Auditorium.
trepid saxophonist over time, making
Produced by Dr. James Gore and Ariel
these Triple Door dates highlights on
Media, the festival will run from Feb-
the 2020 jazz calendar in Seattle. The
ruary 8th–March 1st, with the aim
quartet will perform over four nights
of celebrating the bilateral influence
from February 20–22.
of jazz music on art and culture. The
Seattle’s own Kassa Overall returns
festival builds on the Jazz in the City
from New York on March 1 at the
free, bi-monthly performance series at
Triple Door to perform his music that
the Frye Art Museum. The program-
lives on the cutting edge of post-bop
ming displays the global absorption of
modernism, and hip-hop. His Seattle
America’s quintessential art form, per- KASSA OVERALL PHOTO COURTESY OF THE ARTIST
appearance is in celebration of his just-
formed by both local and visiting jazz,
released second full-length album I The dynamic duo of bassist Evan
and jazz-influenced artists.
Think I’m Good. Since the release of Flory-Barnes and drummer D’Vonne
Featured festival artists include, the
his 2019 album, Go Get Ice Cream and Lewis plus soul jazz singer/songwriter
Branford Marsalis Quartet, Mark
Listen to Jazz, he has gained acclaim Darrius Willrich make Folks Project.
Guiliana, Folks Project, Eugenie
internationally for his genuine sound- They perform at the Triple Door on
Jones, Kassa Overall, Laila Biali, Tuck
ing amalgam of contemporary forms. February 12 in celebration of their
and Patti, Stanton Moore, and the Pa-
album Folks Project Live at the Triple
tricia Barber Trio.
10 • EARSHOT JAZZ • February 2020Door. Willrich’s soulful approach 1920’s and 30’s which flourished dur- To honor this history and inspire
brings an interesting dynamic to the ing Prohibition. future generations, Dr. James Gore
trio, rounded out by Lewis and Flory- While unions and union jobs for founded the Jackson Street Music
Barnes who are well-known as leaders musicians were under the grasp of Program, which provides experiential
in evolving cutting edge music in Se- segregation, the clubs on Jackson St. learning programs to youth including
attle. provided sanctuary for musicians and the Youth Air radio show, free concert
The festival sheds light on, and cele- music patrons alike. Many of the great tickets to Jazz in the City concerts, in-
brates Seattle’s rich jazz history, which African American musicians perform- ternships, lectures, and more.
began with African American musi- ing for all white audiences downtown, Pushing its programing to the next
cians at the turn of the twentieth cen- would make their way to the hill, to level, Jazz in the City’s Seattle Jazz and
tury. Seattle’s first jazz musicians ar- jam long into the night in the base- Culture Festival celebrates a legacy of
rived in Vaudeville shows, in the mili- ment clubs along Jackson St. The story an art form and culture unique and vi-
tary, or on tour with jazz giants such as of that musical and cultural explosion tal to the history of our city and adds a
Jelly Roll Morton. The culture evolved is told aptly by Paul de Barros in his new chapter to its continuum.
into the Jackson St. Jazz District in the book, Jackson Street After Hours: The –Paul Rauch
Roots of Jazz in Seattle.
For details visit jazzinthecity.com.
February 2020 • EARSHOT JAZZ • 11PREVIEW >>
Tim Berne and Matt Mitchell
Thursday, February 13, 7:30pm
Royal Room
5000 Rainier Ave S
Both virtuoso instrumentalists, com-
posers, and bandleaders in their own
right, saxophonist Tim Berne and like-
minded pianist Matt Mitchell have
been collaborating for over a decade.
As in the dynamic relationship be-
tween Charles Mingus and drummer
Dannie Richmond, their elective af-
finities are nothing short of explosive.
Listeners can catch them at work Feb-
ruary 13th at the Royal Room.
“I’m a very blue-collar composer, not
a white collar one,” Berne once said
of himself. Taking to heart his early MATT MITCHELL AND TIME BERNE PHOTO BY PIERRE NADLER
teacher Julius Hemphill’s impeccable
tone, compositional fluency, and do-it- the very beginning. A graduate of the the 2017 solo release Førage, released
yourself ethic, Berne started his early Eastman School of Music, Mitchell on Berne’s own Screwgun records.
career in New York’s downtown scene has worked as a sideman for the likes Digging through the melodies that
in the early eighties. The patient inten- of Rudresh Mahanthappa, Linda May inspired him, Mitchell scrupulously
sity of his playing prompted NPR to Han Oh, and released four recordings came to his own interpretations. “The
call him “a master of slow cooking,” as a leader on Pi records. The New way Matt improvises on this record is
whose long form improvisations ex- York Times has praised him as a “pia- the epitome of melodic/thematic im-
pand and contract “like a road novel, nist of burrowing focus and an indis- provisation that I really like,” Berne
full of picaresque or elliptical episodes, pensable fixture of the contemporary said of the release, “No one could’ve
with heroes who end up far from where vanguard.” gone into the same level of detail…”
they started.” Mitchell first came into contact with In 2018, the duo released Angel Dusk,
Now a respected leader in new mu- Berne in the late 90’s, contacting him also on Screwgun. A sparse, uniquely
sic, he brings the harmonic and con- for copies of his scores, yet it was only lyrical exploration of their chemistry,
trapuntal force of his work in projects later, in 2009 when the two played the album documents Mitchell’s mas-
such as Sun of Goldfinger, a scalding together after which Berne promptly terful mix of various voices and Berne’s
trio with guitarist/producer David hired Mitchell. “My association with quick shifts in texture, as well as their
Torn and drummer Ches Smith, a Tim is a very proud and rewarding respective music’s mesmerizing unison
member of Berne’s critically acclaimed one for me,” Mitchell has said, “one passages. “He might even know it even
group Snakeoil, which since 2012 has that seems to have no end in sight, better than I do at this point,” Berne
been recording on the esteemed ECM fortunately.” has said of Mitchell’s interpretations.
label. With their group Snakeoil, the pia- Perhaps because by this point, every-
Pianist Matt Mitchell, has shared nist approached Berne’s ornate multi- one knows the score.
Berne’s attention to detail and radi- part writing by adapting the full score –Ian Gwin
cal commitment to musical ideas since to piano. Mitchell recorded a version
Tickets available at earshot.org.
of this improvised counterpoint on
12 • EARSHOT JAZZ • February 2020PREVIEW >>
Jamie Branch FLY or DIE
Tuesday, February 18, 7:30pm
Royal Room
5000 Rainier Ave S
The modern era of jazz and impro-
vised music has ushered in a new
generation of prophetic voices and
community-driven sounds that are
quick to dispel any question that the
art form remains a living one. Trum-
peter and bandleader Jamie Branch is
certainly high on this list, and Seattle
will be graced by her mind-expanding
quartet on February 18th at the Royal
Room in Columbia City. Get ready for
a concert with sounds that are deeply
of this time, addressing the pain of our
sociopolitical climate while carrying a JAIMIE BRANCH PHOTO BY DAWID LASKOWSKI
celebratory torch that we all need to
get through it all. Chad Taylor, who trace their roots ly Chicago sound in New York that
A Chicago-bred trumpeter and re- back to Chicago with Branch. launched her onto a global stage. The
cent transplant to New York City, The ensemble offers a combination of sequel is the development of that pro-
Branch has struck a formula in her pizzicato (plucked) cello and bass lock cess through years of touring Europe
creative expression that carries forward in with drums to create playful, warp- and beyond. Part collectivist sonic an-
the spirit of protest and raw commu- ing grooves that echo rhythms from them, part political lament on Ameri-
nal sound in jazz and the avant-garde, around the world, with Branch at the can empire, part celebration of roots
without losing sight of a spirit and helm guiding us all to other-worldly and personal history, FLY or DIE II
message that is wholly for the present sonic experiences. sees Branch deepen her unique sound-
moment. Her distinctive style of free- If “fly” and “die” are to be under- forward compositional process, as well
jazz is a synthesis of Chicago Creative stood as opposites, wherein musical as documents her expansion into new
Music, punk, hip-hop, post-rock, ska, freedom and transgression always ex- expressive modalities. Along with her
and much more. In October 2019, ist in proximity to criminal ways of ever-shining trumpet shouts that move
Branch released FLY or DIE II: bird the world that would otherwise bring between raucous beauty and trickster-
dogs of paradise, the much-anticipated about its destruction, Branch’s FLY or like melodies, the album features
sequel to her 2017 debut album Fly or DIE quartet fearlessly embraces such Branch’s first ventures into singing, as
Die, which took the jazz world and be- liminality with no-nonsense musical well as a wide use of electronics. The
yond by storm. FLY or DIE II features rejoicing. Sacrificing nothing and risk- album is an undeniable celebration
the same instrumentation of trumpet, ing everything, FLY or DIE is a call to of the legendary Chicago jazz scene,
cello, bass, and drums, yet the new outdo the demons of the world with which Branch herself has described as
version of the band features young the most abundant, spirited celebra- having a “punk aesthetic.” Bring big
cellist Lester St. Louis in the place of tion of life through community-mind- ears and zero pretenses to this one.
Tomeka Reid, alongside the original ed music. –Carlos Snaider
bassist Jason Ajemian and drummer The first Fly or Die album evokes
Tickets available at earshot.org.
Branch’s presentation of a distinctive-
February 2020 • EARSHOT JAZZ • 13PREVIEW >>
188 Sullivan: Charlie Parker’s New York in the ‘50’s
STUART MACDONALD PHOTO BY DANIEL SHEEHAN D’VONNE LEWIS PHOTO BY DANIEL SHEEHAN BONNIE WHITING PHOTO COURTESY OF THE ARTIST
Monday, February 24, 7:30pm that Bird lives through the next cen- composer Wayne Horvitz for Seattle
Royal Room tury with a night of tributes and origi- Modern Orchestra (SMO), conducted
5000 Rainier Ave S nal music. by Julia Tai. The piece takes its inspira-
The night will explore different fac- tion from Parker’s brief encounter with
It’s hard to overestimate the impor-
ets of Parker’s life and work. Soprano another great New York modernist,
tance of Charlie “Bird” Parker, the co-
Angela Brown, who plays Parker’s the French composer Edgar Varèse.
inventor of bebop whose extravagant
mother Addie in Yardbird, will bring Himself drawing deeply from the
skill as a composer and alto-saxophon-
the opera’s drama back to the club by classical tradition, Parker was enam-
ist shaped the very soul of jazz to come.
performing a short spoken-word piece ored of then-down-and-out Varèse,
As Miles Davis once stated: “You can
“Discography,” written by Wimberly, whose bombastic rhythm-centered
tell the history of jazz in four words:
the opera’s librettist for vocals and compositions formed the beginnings
Louis Armstrong, Charlie Parker.”
small jazz ensemble. of modern electronic music. Accord-
One hundred years after his birth, the
Despite Parker’s tragic death in 1955 ing to legend, Parker followed the
Seattle Opera presents Charlie Parker’s
after a heroin overdose, he had already composer through Greenwich Vil-
Yardbird, a one-act opera written by
triumphed with his music. Besides lage, begging the composer for lessons
composer/saxophonist Daniel Schny-
his recorded work, often imitated but in composition. Though they ended
der and poet/playwright Bridgette
seldom duplicated, his compositions up meeting at the composer’s apart-
Wimberly. The opera follows Kansas-
have since become classics, and will be ment—188 Sullivan Street—Parker
born Parker, who, stuck in limbo after
featured by a quartet led by drummer died in 1955 after Varèse left for Paris
his death, returns to the famous New
D’Vonne Lewis (last year’s Golden Ear to begin his early work for orchestra
York club Birdland (named in his hon-
instrumentalist of the year), featuring and tape, Déserts.
or) to compose a final masterpiece.
Stuart MacDonald (sax), Tim Kenne- Though Horvitz doubts the two mu-
On February 24th, presented in as-
dy (piano), and Michael Glynn (bass). sicians wouldn’t have gone further
sociation with the Seattle Opera and
The night will also feature a premiere than mutual admiration if Bird had
KNKX, the Royal Room will prove
of “188 Sullivan,” written by pianist/ lived longer, he does point out that
14 • EARSHOT JAZZ • February 2020Varèse later became involved in jam-
sessions with musicians like Charles
Mingus and Hal Overton.
“The cross pollination of ideas and
aesthetics is impossible to avoid, and
we’d be poor human beings if we
tried,” Horvitz explains of the affini-
ties between the modes of classical and
jazz music. Earle Brown, another com-
poser of that era influenced by New
York’s crossing currents, was featured
by SMO in last fall’s Earshot Jazz Fes-
tival, in addition to George Lewis,
Tyshawn Sorey, and Horvitz.
“James Falzone with be the featured
improvising soloist, but the other mu-
sicians will be making contributions
as well, improvising within certain
parameters and within the constructs
of ‘conduction.’” Horvitz said of the
piece, which features himself (elec-
tronics), Falzone (clarinet), Bonnie
Whiting (percussion), and Cristina
Valdés (piano). Conduction refers to
the conducting of an improvised en-
semble, often with a different set
of signals than standard classical
conducting.
Conductor Julia Tai emphasizes im-
provisation as a characteristic of jazz
that has returned into contemporary
classical music. “My role as a conduc-
tor is to understand and shape the
piece, while giving musicians enough
space to come up with their own ma-
terial,” she explains, reveling in the
music of the moment. “It’s going to be
really fun, and it’ll be different every
time!
–Ian Gwin
Visit theroyalroomseattle.com for tickets
and information.
Seattle Opera’s production of
Charlie Parker’s Yardbird runs
from February 22–March 7.
Visit seattleopera.org for details.
February 2020 • EARSHOT JAZZ • 15PREVIEW >> 17th Annual Biamp PDX Jazz Festival February 19–March 1 Various Venues, Portland, OR The 2020 Biamp PDX Jazz Festival charges into its 17th year filled with powerful, grooving, soul shaking tal- ent from all over the PNW and be- yond. In celebration of Black History Month, from Wednesday, February 19 through Sunday, March 1, music lov- ers can expect to drown in the sounds of the evolution of jazz from its Afri- can roots, to its birth in America, and now to an upholding of these tradi- tions in our very own southern cousin. Over 100 ticketed events will be of- fered during the festival, with a lineup DAN TEPFER PHOTO BY JOSH GOLEMAN KENNY GARRETT PHOTO COURTESY OF THE ARTIST drawing audiences from all over the country. equally. Gather at any of the nearly 15 kick off the festival on Wednesday, fol- Historically, the Biamp PDX Jazz different venues in Portland to witness lowed by a much-anticipated perfor- Festival has been all about taking history unfold right before your eyes. mance by percussion duo-led, Ghost- chances and challenging the jazz world Come and join this musical revolution Note and R&B singer, Liv Warfield to embrace some of the most dynamic starting with the avant-garde pianist, the next night. The father-son piano- artists on the scene, and this year is composer, found-sound mixer, and drummer team of Terry and Gyan no different. Local artists share the producer Mark de Clive-Lowe and Riley kick off the first weekend of the stage with the seasoned and the rising, jazz trumpeter, Jaimie Branch, who festival, followed by NEA Jazz Master, 16 • EARSHOT JAZZ • February 2020
legendary saxophonist, and musical
innovator Archie Shepp, and the in-
destructible 15-person Brooklyn-based
afrobeat collective Antibalas (Span-
ish for bullet-proof) with guest per-
formance by Seattle’s own The True
Loves. Performances from Branford
Marsalis, Larry Carlton and Stanley
Jordon start the opening weekend off
strong.
The festival’s first full week hits the
ground running with performances
by Omar Sosa & Yilian Cañizares:
Aguas Trio featuring Gustavo
Ovalles, David Sanborn Jazz Quin-
tet, Tuck & Patti, Terrace Martin,
Eric Gales with Ron Artis II and the
OMAR SOSA AND YILIAN CAÑIZARES PHOTO BY DAWID LASKOWSKI
Truth, Kat Edmonson and Halie
Loren, and Miguel Zenón Quartet. Just when you think this jazz-packed Machines, and Kenny Garrett and
Highlighting local Portland-based festival couldn’t get any better, closing María Grand.
musicians is an essential element to the weekend features drummer, Stanton The Biamp PDX Jazz Festival was
Biamp PDX Jazz Festival’s mission. Moore and his trio and the New Or- originally founded as a cultural tour-
Coming into the spotlight this year leans based four-piece NOLATET on ism initiative highlighting jazz educa-
is alternative jazz band, Blue Cranes, the Friday lineup. Cruising into the tion and outreach programs for Port-
and vocalist, Jimmie Herrod, who Saturday headliner spot presented at land’s schools and community. Stay-
will be performing with master vocal- the Portland Art Museum is bassist/ ing true to its foundation, this year
ist, Kandace Springs during open- vocalist/past member of Young Jazz the festival is focusing on an education
ing weekend. The much adored piano Giants, Thundercat with guest per- initiative in close collaboration with
performances once again make a mes- formances by vocalist, Georgia Anne Portland State University.
merizing mid-week return. Seizing Muldrow and jazz pop duo, Brown –Rayna Mathis
the keys first up are NEA Jazz Master Calculus. Closing weekend events Tickets, full schedule, and more in-
Kenny Barron and John Medeski, also feature performances by Don- formation available at pdxjazz.com or
followed by James Francies and Aar- ald Harrison, Mike Clark & Wil 503-228-5299.
on Goldberg later in the week. Blades Trio, Dan Tepfer: Natural
Seattle Drum School of Music
We offer quality private instruction for instrumentalists and vocalists
of all ages and experience levels.
We are pleased to welcome new instructors to our staff:
Alex Dugdale (saxophone, clarinet, trumpet)
Darrius Willrich (piano, voice)
Qiuchen Wang (vibraphone, marimba, piano, drums)
*Gift Certificates available NOW for the holidays*
For more information, please contact us directly at:
(206) 364-8815 - info@seattledrumschool.com - www.seattledrumschool.com
February 2020 • EARSHOT JAZZ • 17PREVIEW >>
Miguel Zenón Quartet
Saturday, February 29, 8pm
Town Hall Forum
1119 8th Ave
Alto saxophonist Miguel Zenón ar-
rives for a February 29th date in Se-
attle. Zenón possesses the usual acco-
lades associated with someone of his
stature in music, including multiple
Grammy nominations and recordings
both as a leader and sideman. He is
held in high regard for his prodigious
virtuosity and artistry and is well-
known as a founding member of the
SFJAZZ Collective, whom he spent 14
years with.
Accolades aside, Zenón’s true legend
HENRY COLE, MIGUEL ZENÓN, HANS GLAWISCHNIG, LUIS PERDOMO PHOTO COURTESY OF THE ARTIST
is the propagation of new ideas in mu-
sic, which he does by expressing his modernism. Make no mistake—this is Caracas-born pianist Luis Perdomo
Puerto Rican heritage through jazz in not music rising from Afro-Caribbean draws parallels to his bandmates with
such a way that creates new form. Latin jazz forms. Zenón’s composi- his vision that traverses world cul-
Throughout his illustrious career, the tions for this eclectic ensemble venture ture. Perdomo’s current residency in
musician/composer has created music into a very modern aesthetic of jazz. the quartets of Zenón and Ravi Col-
that touches the jazz tradition in such Zenón’s alto style is punctuated by trane illuminates perfectly his stylis-
a way that is as unique to America’s his bright, ornate tone ignited by a true tic tendencies. Perdomo’s intelligent,
quintessential art form as the rich cul- sense of intellectual curiosity. His solos empathic playing is truly the tie that
ture of Puerto Rico is to American cul- can begin in a very ordinary sense and binds this quartet as one.
ture at large. slowly build into something extraordi- Austrian-born bassist Hans Glawis-
For his date at Town Hall, Zenón nary. By rite of his own compositional chnig has pushed the envelope of Latin
celebrates his traditional quartet fea- attributes and stylistic innovation, he Jazz to its extreme limits in ensembles
turing pianist Luis Perdomo, bass- continually challenges his intrinsic led by David Sánchez and, most nota-
ist Hans Glawischnig and drummer sensibilities as a player. bly, the great Ray Barretto. His expe-
Henry Cole. The quartet has a 15-year Drummer Henry Cole is the under- rience in the center of this Latin ex-
history to draw from, most recently lying driving force behind this eclec- plosion of creativity and deep roots in
stated on their latest album Sonero: tic foursome. Cole is at the forefront Euro-Post Bop eclecticism make him a
The Music of Ismael Rivera, which pays of percussive innovation, embracing dynamically perfect foil for Cole. The
tribute to the legendary Puerto Rican cross-cultural 21st century rhythms. result is a supporting and balanced
vocalist and interpreter who revolu- His pioneering style is enhanced by rhythm section for Zenón to freely
tionized Latin-American music in the his history with Chano Domínguez, take flight.
50’s, 60’s, and 70’s. Sonero marks Ze- Gary Burton, Quincy Jones, and Fabi- –Paul Rauch
nón’s 11th album as a leader. an Almazan. Cole’s sees music as “one
The quartet plays jazz on the cut- Tickets available at earshot.org.
world,” reaching beyond styles with a
ting edge of Latin roots and post-bop message of determination and unity.
18 • EARSHOT JAZZ • February 2020Notes, from page 3 gram aims to provide Seattle’s Middle Festival (SIMF) brings together the
and High School aged youth with most innovative improvisers from the
nounced the appointment of Nicholas equitable access to arts and cultural eclectic scene. Now in its 35th year,
Salas-Harris as their Artistic Director. learning, increasing opportunities for SIMF is the longest-running festival
Originally from Illinois, Salas-Harris young people from diverse racial and in the United States dedicated solely to
moved to the Northwest in the early socio-economic backgrounds. Recipi- music that is completely improvised.
2000’s to study at Evergreen State ents will receive a total of $12,000 dis- More information at nseq.org
College. He has nation-wide jazz ex- tributed over two years. The deadline DeMiero Jazz Festival
perience with the DC Jazz Festival is February 24. Details and applica- March 5–7
as a Producer and Talent Buyer; as a tion can be found at seattle.gov/arts. Edmonds, WA
co-founder of the New Orleans Jazz Led by vocalist and Artistic Direc-
festival and the Soul’d Out Festival On the Horizon
tor Sara Gazarek, the DeMiero Jazz
in Portland; and in 2017 he opened The 35th Annual Seattle Improvised Festival celebrates jazz musicians and
the Jack London Revue in Portland. Music Festival vocalists. 2020 artists are yet to be an-
At PDX, Salas-Harris will shape the March 11–15 nounced. For more information visit
creative programming of the Biamp First organized by the late Paul demierojazzfest.org.
PDX Jazz festival as well as PDX sea- Hoskin, the Seattle Improvised Music
sonal events We congratulate Nicholas
Salas-Harris on his appointment. Open to All - Free
Artists Trust Fellowship Awards
son
Grant th Sea
The applications for the 2020 Fel- 18
lowship Awards open on February 10.
The application deadline is March 9.
These merit-based awards of $10,000
for practicing artists of exceptional
talent and ability, who live in Wash-
ington, are given to eight artists of any
discipline. Visit artitstrust.org to learn
more.
Sunday, Feb 9, 6pm
Northwest Music Mondays at Jazz
Alley
KNKX and Jazz Alley have an-
Clave Gringa Quintet
nounced a new programming initia- Ann Reynolds, piano and vocals
tive: Northwest Music Mondays at Daniel Barry, trumpet
Jazz Alley. The program highlights Dean Schmidt, bass
resident artists on the last Monday Steve Smith, congas
of each month. The program seeks to Ricardo Guity, percussion and vocals
help alleviate the loss in opportunities
for resident artists after the closing of SAVE THE DATE: March 1
Tula’s last year. On February 24, the Randy Oxford Band
Marc Seales Quintet performs. Tick-
ets are $16. For more information visit 100 Minutes of professional jazz
jazzalley.com. Family friendly concert / Free parking
Office of Arts & Culture Youth Arts Seattle First Baptist Church
Grant Applications Open 1111 Harvard Avenue
(Seneca and Harvard on First Hill)
Youth Arts Grants fund teaching
Seattle, WA (206) 325-6051
artists and organizations that provide
out-of-school arts training. The pro- www.SeattleJazzVespers.org/GO/SJV
February 2020 • EARSHOT JAZZ • 19JAZZ AROUND THE SOUND
February
SATURDAY, FEBRUARY 1 HS Jazz Brunch w/ Emma Caroline Baker,
10:30am
02
SC Alexis Cole w/ Cory Weeds, 7pm
VI Bar Tabac, 9pm
BH SRJO: Tribute to Billie Holiday (matinee), JA WAR, 7:30pm
3pm VI Lennon Aldort, 6pm THURSDAY, FEBRUARY 6
BH SRJO: Tribute to BIllie Holiday (evening), VI Ron Weinstein Trio, 9:30pm
7:30pm BC Adam Kessler & Phil Sparks, 9pm
BP DHQ : The Darelle Holden Quartet, 8pm
CM Portage Bay Big Band, 7pm MONDAY, FEBRUARY 3 EB Eric Verlinde, 6pm
CN Brent Jensen / Chris Symer Duo, 3pm
EB Frank S. Holman III, 6pm CC Cider Sessions, 9:30pm ES Paul Richardson, 6pm
ES Cara Sandahl, 6pm EB Tom Kellock, 6pm JA Big Bad Voodoo Daddy, 7:30pm
JA WAR (early show), 7:30pm ES Eric Verlinde, 6pm NC Greta Matassa Student Showcase, 7pm
JA WAR (late show), 9:30pm NL Mo’ Jam Mondays, 9pm NP Dweezil Zappa, 8pm
NC Passarim, 8:30pm RR Salute Sessions, 9:30pm OS Shawn Schlogel, 7pm
OS Shawn Schlogel Trio, 8pm PR How Now Brown Cow, 6pm
PR Kim Maguire: Jazz of Broadway & Film, 8pm
TUESDAY, FEBRUARY 4 RR The Westerlies feat. Celisse Henderson,
RG Greta Matassa Quintet feat. Alexey Nikolaev, BP Billy Stapleton-Annie Eastwood Duo, 8pm 7:30pm
7:30pm EB Eric Verlinde, 6pm SB Proud & Nasty Jam Session, 10pm
RR Oleaje Flamenco, 8:30pm ES Paul Richardson, 6pm VI Emma Caroline Baker, 9pm
SB Latin & Cuban Night, 7pm JA Martin Taylor & Frank Vignola, 7:30pm
SB The New Triumph, 10pm MT Open Mic, 9pm
FRIDAY, FEBRUARY 7
VI The Tarantellas, 6pm OT Hot Jazz Hootenanny, 7:30pm BP Mark DuFresne Band, 9pm
VI Don’t Move, 9:30pm OW Jazz Jam, 9:30pm CA Francesco Crosara & Glenn Young Trio, 6pm
RR Bartender, 7pm CH The Westerlies & Robin Holcomb, 7:30pm
SUNDAY, FEBRUARY 2 SB Joe Doria Presents, 10pm CM Polly O’Keary & The Rhythm Method, 7pm
AB Beaver Sessions, 9pm CZ Jazz First Fridays, 7:30pm
CM Swingnuts, 12:30pm
WEDNESDAY, FEBRUARY 5 EB Tom Kellock, 6pm
CR Racer Sessions, 8pm EB Eric Verlinde, 6pm ES Cara Sandahl, 6pm
CZ Choro Jam, 2pm ES Paul Richardson, 6pm JA Big Bad Voodoo Daddy (early show), 7:30pm
DT Jazz Jam, 8pm JA Martin Taylor & Frank Vignola, 7:30pm JA Big Bad Voodoo Daddy (late show), 9:30pm
EB Tom Kellock, 6pm NC Jazz Jam w/ Darin Clendenin Trio, 7:30pm LA Happy Hour w/ Phil Sparks, 5pm
ES Eric Verlinde w/ Josephine Howell, 6pm RR Genghis Barbie, 7:30pm MQ Ranger & the “Re-Arrangers”, 5pm
SB Evan Flory-Barnes, 10pm MQ Greta Matassa Trio, 8pm
NC Kiki Valera & Cubache, 8:30pm
Calendar Key
AB The Angry Beaver HR Historic Roxy Theatre OT Oliver’s Twist
AT Admiral Theatre HS Hotel Sorrento OW Owl ‘n Thistle
BC Barça JA Dimitriou’s Jazz Alley PB Palace Art Bar
BH Benaroya Hall KR Knife Room PR Pacific Room Alki
BP Bake’s Place Bellevue LA Latona Pub PS Pink Salt
CA Casa Mexico LE Leif Erickson Hall RG Rockfish Grill
CC Capitol Cider MC McCaw Hall RR The Royal Room
CH Chapel Performance Space MO Moore Theater SB Sea Monster Lounge
CK Clock-Out Lounge MQ Triple Door MQ Stage & Lounge SC WJMAC at Sylvia Center for the Arts
CL Crocodile MT Mac’s Triangle Pub SE Seattle Art Museum
CM Crossroads Bellevue MV Marine View Church SF SIFF Uptown Theatre
CN Craft 19 Espresso + Creperie NC North City Bistro & Wine Shop SL The Slab
CR Cafe Racer NF New Frontier Lounge ST Stage 7 Pianos
CZ Couth Buzzard Books NL Nectar Lounge SW Stone Way Café
DT Darrell’s Tavern NP Neptune Theatre TC Trinity Parish Church
EB El Gaucho Bellevue NS Nickerson Studios, Seattle Pacific TD Triple Door
EC Edmonds Center for the Arts University TH Town Hall
ES El Gaucho Seattle NU Neumos VI Vito’s
FA Frye Art Museum OM Ott & Murphy Wine WS Watershed Pub & Kitchen
FB Seattle First Baptist Church OS Osteria la Spiga
20 • EARSHOT JAZZ • February 2020PB Marc Smason & Friends, 8pm NC Songwriter Showcase – Flight of the Mics,
PR Maggie Laird, 7pm
RR J Dilla Tribute feat. Vitamin D & Carlos
7pm
OT Hot Jazz Hootenanny, 7:30pm CURTAIN CALL
Overall Quartet, 8:30pm OW Jazz Jam, 9:30pm Weekly recurring performances & jam
VI Jovino Santos Neto, 9pm RR Seattle Academy Jam, 5pm
RR Dan Rosenboom & Bad Luck, 8pm
sessions
SATURDAY, FEBRUARY 8 SB Joe Doria Presents, 10pm
AT Georgia On My Mind: Celebrating the Music TD Laila Biali, 7:30pm MONDAY
of Ray Charles, 7:30pm CC Cider Sessions, 9:30
CM Dan Duval Good Vibes Quartet, 7pm
WEDNESDAY, FEBRUARY 12
EB Tom Kellock, 6
EB Frank S. Holman III, 6pm EB Eric Verlinde, 6pm
ES Cara Sandahl, 6pm ES Paul Richardson, 6pm ES Eric Verlinde, 6
JA Big Bad Voodoo Daddy (early show), 7:30pm JA Sonny Landreth & Marcia Ball, 7:30pm NL Mo’ Jam Mondays, 9
JA Big Bad Voodoo Daddy (late show), 9:30pm SC Laila Biali Trio, 7pm RR Salute Sessions, 10
MO Gregory Porter, 8pm SW Roosevelt Jazz Jam Session, 7pm
NC Gail Pettis & Jovino Santos Neto, 8:30pm TD The Folks Project feat. D’Vonne Lewis, TUESDAY
OS Jonas Myers Trio, 8pm Darrius Willrich, Evan Flory-Barnes, 7:30pm EB Eric Verlinde, 6
PR Jennifer Mellish & Friends, 4pm VI The Diamonics, 9pm
ES Paul Richardson, 6
RR Greta Matassa Quintet feat. Alexey Nikolaev,
5pm THURSDAY, FEBRUARY 13 MT Open Mic, 9
SB Latin & Cuban Night, 7pm BC Adam Kessler & Phil Sparks, 6pm OT Hot Jazz Hootenanny, 7:30
TD Patricia Barber, 8pm EB Eric Verlinde, 6pm OW Jazz Jam, 9:30
TH The Westerlies, Sarah Kaye & Phil Kaye, Troy ES Paul Richardson, 6pm SB Joe Doria Presents, 10
Osaki, 7:30pm JA Mindi Abair, 7:30pm
VI Jerry Zimmerman, 6pm NC Julian Smedley Quartet, 7pm WEDNESDAY
VI Kareem Kandi, 9:30pm PS Greta Matassa Group, 7pm
WS Daniel Rapport, 12pm
EB Eric Verlinde, 6
RR Tim Berne & Matt Mitchell, 7:30pm
WS Pocket Change, 8pm ES Paul Richardson, 6
SB Deems & Side B, 8pm
SUNDAY, FEBRUARY 9
SB Proud & Nasty Jam Session, 10pm THURSDAY
SE Art of Jazz: Alex Dudgdale, 5:30pm
BC Adam Kessler & Phil Sparks, 9
AB Beaver Sessions, 9pm VI Jennifer Kienzle, 9pm
CM Momentum Jazz Quartet, 12:30pm EB Eric Verlinde, 6
CR Racer Sessions, 8pm FRIDAY, FEBRUARY 14 ES Paul Richardson, 6
CZ Jazz Jam w/ Kenny Mandell, 2pm CA Francesco Crosara & Glenn Young Trio, 6pm SB Proud and Nasty Jam, 10
DT Jazz Jam, 8pm CM Scott Cossu, 7pm
EB Tom Kellock, 6pm EB Tom Kellock, 6pm
FRIDAY
ES Eric Verlinde w/ Josephine Howell, 6pm ES Cara Sandahl, 6pm CA Francesco Crosara & Glenn
FB Seattle Jazz Vespers: Clave Gringa Quintet, JA Mindi Abair Valentine’s Day Celebration Young Trio, 6
6pm (early show), 7:30pm EB Tom Kellock, 6
HS Jazz Brunch w/ Emma Caroline Baker, JA Mindi Abair Valentine’s Day Celebration (late
10:30am ES Cara Sandahl, 6
show), 9:30pm
JA Big Bad Voodoo Daddy, 7:30pm KR Valentine’s Day with Emma Caroline Baker, LA Happy hour w/ Phil Sparks, 5
MV Geoffrey Castle Band, 5pm 8pm
NS The Westerlies, 4pm SATURDAY
LA Happy Hour w/ Phil Sparks, 5pm
TD Patricia Barber, 7pm MQ The Djangomatics, 5pm EB Frank S Holman III, 6
VI Jonas Myers, 6pm NC Greta Matassa Quintet Valentines Show, ES Cara Sandahl, 6
VI Ron Weinstein Trio, 9:30pm 8:30pm SB Latin & Cuban Night, 7
RR Tangoheart: A Piazzolla Valentine, 7:30pm
MONDAY, FEBRUARY 10 VI Marina Albero, 9pm SUNDAY
CC Cider Sessions, 9:30pm AB Beaver Sessions, 9
EB Tom Kellock, 6pm SATURDAY, FEBRUARY 15
ES Eric Verlinde, 6pm
CR Racer Sessions, 8
CK Spekulation & 45th St Brass, 9pm
MQ Bartender, 5pm CZ Choro Jam, 2 (1st & 3rd)
CM Orkestyr Farfeleh, 6:30pm
NL Mo’ Jam Mondays, 9pm EB Frank S. Holman III, 6pm CZ Jazz Jam w/ Kenny Mandell, 2
RR Salute Sessions, 9:30pm ES Cara Sandahl, 6pm (2nd & 4th)
TD Albert Castiglia, 7:30pm HR Pearl Django and Gail Pettis, 7pm DT Jazz Jam, 8
JA Mindi Abair (early show), 7:30pm EB Tom Kellock, 6
TUESDAY, FEBRUARY 11 JA Mindi Abair (late show), 9:30pm
ES Eric Verlinde w/ Josephine
BP Billy Stapleton-Annie Eastwood Duo, 8pm LE Radio Rhythm Orchestra, 8pm
Howell, 6
EB Eric Verlinde, 6pm MQ The Hot McGandhis, 8:30pm
ES Paul Richardson, 6pm NC Johnny Pinetree & the Yellin’ Degenerates, HS Jazz Brunch w/ Emma Caroline
JA Sonny Landreth & Marcia Ball, 7:30pm 8:30pm Baker, 10:30am
MT Open Mic, 9pm OM Dmitri Matheny Duo, 7pm VI Ron Weinstein Trio, 9:30
PR Susan Carr, 7pm
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