Featured Jazz Performances for April

Spring has arrived, and with it a plethora of worthy dates for the northwest jazz fan. Challenge your musical being and try something new this month! 

Orrin Evans & the Captain Black Big Band- Tue, Wed Apr 2,3, 7:30 PM/ Royal Room

Pianist/composer/bandleader Orrin Evans has been on quite a roll the past year. He took over the piano chair of the Bad Plus from Ethan Iverson, and along the way, received a Grammy nomination for his record Presence (Smoke Sessions, 2018). Presence features a sized down version of Evans’ Captain Black Big Band, a nine-piece powerhouse featuring some of the best players on the New York and Philadelphia scenes. These performances at the Royal Room will feature trumpeter Josh Lawrence, trombonist David Gibson, alto saxophonist Caleb Curtis, and drummer Anwar Marshall among others. Seattle based trumpet ace Thomas Marriott joins for these dates, adding considerable local intrigue. These shows should prove to be a true highlight of the 2019 year of jazz in Seattle. https://www.strangertickets.com/events/92228105/orrin-evans-and-captain-black-big-band-presented-by-earshot-jazz


Rick Mandyck Quartet with Bill Anschell, Phil Sparks, & John Bishop- Wed Apr 3, 7:30 PM/ Tula’s

Tenor saxophonist Rick Mandyck is back with a vengeance after a 14 year hiatus, performing with 3 fellow Seattle jazz greats- pianist Bill Anschell, bassist Phil Sparks, and drummer John Bishop have all made their mark prominently as leaders and side musicians in performance and on multiple recordings. Mandyck’s style steeped in the oral tradition is providing some of the most inspired playing in town, making this a can’t miss opportunity for Seattle area jazz fans. http://tulas.com/generalinfo.html


Alex Dugdale Fade Quintet- Fri Apr 5, 7:30 PM/ Tula’s

Saxophonist Alex Dugdale brings a brand of high energy hard bop to the stage at Tula’s, interpreting originals and standards on both tenor and alto. As well, Dugdale is the city’s premier tap artist, applying it to non- traditional tap fair as essentially another solo instrument. John Hansen- piano; Cole Schuster- guitar; Greg Feingold- bass; Max Holmberg- drums. http://tulas.com/generalinfo.html


Bill Anschell Quartet- Sat Apr 6, 7:30 PM/ Tula’s

Pianist Bill Anschell leads a stellar quartet, performing his originals, as well as those of his bandmates. He has developed a special chemistry with bassist Chris Symer and Brad Boal, and welcomes saxophonist Brent Jensen and his melody inspired playing on alto and soprano. Anschell is a true original, and one of the greats in the annals of Seattle jazz history. http://tulas.com/generalinfo.html


Brian Monroney Quartet- Sun Apr 7, 7:30 PM/ Tula’s

Sunday evenings are getting to be a thing at Tula’s. In this edition, veteran guitarist Brian Monroney leads a quartet featuring saxophonist Alexey Nikolaev. A rock solid rhythm section featuring bassist Dean Schmidt and drummer Brad Boal set the foundation for Monroney and Nikolaev to be full expressive in extended forms. http://tulas.com/generalinfo.html

Monterey Jazz Festival on Tour featuring Cecile McLorin Salvant, Christian Sands, Bria Skonberg, Melissa Aldana, Yasushi Nakamura, and Jamison Ross- Sun Apr 7, 7:30 PM/ Moore Theatre

As the longest continually occurring jazz festival in the world, MJF has always provided a platform for younger generations of artists. That reality hits the stage at the Moore on this evening featuring a variety of new generation artists, most notably Cecile McLorin Salvant.

One of the most acclaimed vocalists of her generation, and perhaps the most celebrated since the heyday of Billie Holiday, Ella Fitzgerald, and Sarah Vaughn, McLorin Salvant has received 3 consecutive Grammys for best jazz vocal album. This collection of on-the-rise artists under the music directorship of Christian Sands on the stage at the historic Moore Theatre is a true highlight of the Seattle jazz calendar for 2019. https://www.stgpresents.org/calendar/4169/monterey-jazz-festival-on-tour


Benny Golson Quartet- Tue, Wed Apr 9, 10, 7:30 PM/ Jazz Alley

To have a jazz living legend in Seattle is always a cause for celebration. In Benny Golson’s case, it is a rare opportunity to get to know a legend that is in many ways underappreciated.

One of the great saxophonists and composers of the modern jazz era, Golson’s career dates back to the 1950’s as a member of Art Blakey’s Jazz Messengers, and bands led by Tadd Dameron and Dizzy Gillespie. At 90 years young, Golson has written compositions and performed with the likes of Count Basie, John Coltrane, Miles Davis, Ella Fitzgerald, Dizzy Gillespie, Benny Goodman, Lionel Hampton, Shirley Horn, Quincy Jones, Peggy Lee, Carmen McRae, Anita O’Day, Itzhak Perlman and Oscar Peterson. https://www.jazzalley.com/www-home/artist.jsp?shownum=5029

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Sullivan Fortner Trio- Wed Apr 10, 7 PM & 8:30 PM/ Royal Room

Pianist Sullivan Fortner has made his mark as a leader, and recently, as an accompanist for vocalist Celine McLorin Salvant. Seattle jazz fans know him from his time with Roy Hargrove and their 5 day runs at Jazz Alley. Fortner is joined by his Hargrove bandmate, bassist Ameen Saleem, as well as top tier drummer Jeremy Clemons. Earshot jazz presents this great opportunity to see one of the premier pianists in jazz in the intimate confines of the Royal Room in Columbia City. https://www.earshot.org/event/sullivan-fortner-trio-late-show/


Naomi Moon Siegel Band- Thu Apr 11, 5:30 PM/ Seattle Art Museum

Trombonist Naomi Moon Siegel celebrates the release of her new album, Live at Earshot. Siegel’s work is eclectic in nature, pushing the boundaries of modern jazz music with her distinct sense of tonality, and melodic approach to improvisation. Currently residing in Montana, Siegel is a Seattle vet, and no doubt will create a great band from her many musical experiences here. https://www.earshot.org/event/art-of-jazz-naomi-moon-siegel-band/


Kate Olson Ensemble- Fri Apr 12, 9 Pm/ Vito’s & Thu Apr 18, 5PM/ Triple Door MQ

It has been a lot of fun watching Kate Olson evolve as an artist in Seattle over the past few years. In many ways, she entered the Seattle jazz scene through the side door, frequenting the Racer sessions, playing experimental dates in various configurations. All the while, listeners could hear a voice emerging from her forays into the creative abyss, and her Kate Olson Ensemble is where that voice is most clearly heard. In April we have these two dates to see the band in a casual setting.

Pianist Alex Guilbert, drummer Brad Gibson, and bassist Chris Symer provide the vehicle for her current voice to travel with. Symer, whose highly musical approach is a pleasure to witness under any set of circumstances, is a particularly intriguing pairing with the eclectic saxophonist. Both possess a melodic sense that seems to be a perfect match.http://www.kateplayssax.com/music


Jacqueline Tabor Jazz Band- Sat Apr 13, 7:30 PM/ Tula’s

On the heels of her Golden Ear award as NW Jazz Vocalist of the Year, Jacqueline Tabor brings her soulful interpretation of jazz classics to Tula’s. Pianist Eric Verlinde, noted for his fine work with vocalists joins, along with bassist Osama Afifi, guitarist Cole Schuster, and drummer Max Holmberg.

Tabor recently released a new album The Lady in the Gown which will be available at the show.http://tulas.com/generalinfo.html


Richard Cole Quartet- Sun Apr 14, 7:30 PM/ Tula’s

Saxophonist Richard Cole always brings an eclectic edge to the proceedings, and tends to be in the acquaintance of a killer band. On this occasion he hits with bassist Chuck Deardorf, pianist Bill Anschell, and drummer Brad Boal. Cole plays mostly originals, with a nod to a few classics. There is a formidable amount of musical kinship over many years on this bandstand. The results as well should be formidable.http://tulas.com/generalinfo.html

Helen Sung Presents Sung With Words with guest vocalist Johnaye Kendrick- Tue & Wed Apr 16-17, 7:30 PM/ Jazz Alley

Pianist Helen Sung has earned her stripes in the jazz world by lending her talents to jazz luminaries such as Wayne Shorter, Regina Carter, and Cecile McLorin Salvant. Her current tour is in support of her new release Sung With Words, a work melding the worlds of music and poetry. This two day run is of local intrigue as well, with Seattle residents Michael Glynn (bass), and Johnaye Kendrick (voice) in the band. Drummer Kendrick Scott and saxophonist John Ellis lend their voices as well. Sung and Kendrick represent two emergent souls in the modern jazz universe. https://www.jazzalley.com/www-home/artist.jsp?shownum=5042

Jeremy Bacon Quartet- Tue Apr 16, 7:30 PM/ Tula’s

Recent New York converts Jeremy Bacon and Stefan Schatz are joined here with Seattle vets Rick Mandyck and Paul Gabrielson. Schatz will be performing with the Jazz at Lincoln Center Orchestra with Wynton Marsalis in the near future. This is an interesting convergence of musical spirits, with a variety of interesting stories. Mandyck is a Seattle saxophone legend, who is back now full force after a lengthy hiatus. The Seattle scene is in a sense just getting to know both Bacon and Schatz. Gabrielson has been playing with the best players in the business for three decades and carries a pedigree of his own. http://tulas.com/generalinfo.html


Duende Libre- Wed Apr 17, 7:30 PM/ Tula’s

Duende libre is an eclectic trio that enables jazz as a conduit to explore global forms. Like more traditional piano trios, the band is a three way conversation between component parts that act as equal partners. Pianist Alex Chadsey is a driving force behind the expanded concept of exploring global pathways of sound, joined exquisitely by uber bassist Farko Dosumov, and percussion wizard Jeff Busch.

The band explores an interesting choice of standards, but focuses largely on original works. Chadsey has always been a genuine jazz expressionist willing to lead a band into uncharted territory. In choosing Dosumov and Busch as bandmates, he has assured that his vision can move forward unabated. http://tulas.com/generalinfo.html



Jovino Santos Neto Quinteto- Fri Apr 19, 7:30 PM/ Tula’s

Since his arrival in Seattle from Brazil some 25 years ago, pianist/composer/arranger Jovino Santos Neto has been electrifying audiences around Seattle, and the world. During this time, bassist Chuck Deardorf and drummer Mark Ivester have been firmly in the fold, creating an innate chemistry that is unmatched in ensembles around the city. Vibraphonist Ben Thomas works as one mind with Jovino, and percussionist Jeff Busch contributes his global rhythmic conceptions via his amazing stash of instruments collected over the years from around the world. The result is superb musicianship, and ardent positivity as Jovino introduces his own brilliant compositions, as well as those of his mentor, the great Hermeto Pascoal. http://tulas.com/generalinfo.html


Peter Daniel Funk Jazz Quartet with Andy Coe, Joe Doria, & Xavier Lecouturier- Thu Apr 25, 7:30 PM/ Tula’s

Saxophonist Peter Daniel could not have chosen a better quartet to deliver his brand of funk jazz in his debut as a leader at Tula’s. Guitarist Andy Coe and Hammond B-3 organ master Joe Doria always deliver in this format, with young drummer Xavier Lecouturier adding an exciting element to the mix. Daniel is more known for his appearances as a sideman at venues like the Seamonster, but this performance gives his audience an opportunity to focus on his playing in a listening environment unencumbered by the ear-splitting conversation at other venues. This gig should help relieve Daniel of a tag that often is associated with him- underappreciated. http://tulas.com/generalinfo.html

The Spring Quartet- Jack DeJohnette, Esperanza Spalding, Joe Lovano, & Leo Genovese- Fri Apr 26, 8 PM/ Moore Theatre

STG presents this all-star quartet at the historic Moore Theatre, a stage that has been presenting performing arts in Seattle since 1907. Drummer Jack DeJohnette, and saxophonist Joe Lovano have expanded the jazz tradition as much as anyone in the music today. Together with Esperanza Spalding on bass and Leo Genovese on piano, Spring Quartet concerts are a free-wheeling foray into expansive musical ideas.

All four create pathways as soloists that are molded and shaped by DeJohnette’s intuitive feel, and Genovese’s spontaneous harmonic articulation. A big plus is seeing Spalding leaving her current focus on more pop oriented vocal music, and engaging with these jazz masters purely as a bassist. Her joy is infectious, covering the tunes with a celebratory veneer. This is most certainly a can’t miss opportunity on the 2019 jazz calendar in Seattle. https://www.stgpresents.org/calendar/4228/the-spring-quartet-jack-dejohnette-joe-lovano-esperanza-spalding-leo-genovese

Marc Seales Group- Sat Apr 27, 7:30 PM/ Tula’s

Marc Seales brings something new and exciting each month to his residency at Tula’s. The first call jazz pianist in Seattle since the early 80’s, Seales always delivers with sublime virtuosity. There is always a shroud of mystery around the gig, being that he doesn’t disclose the members of his band prior to performance. His choices however are always on point, whether in a more electric setting with his brother Jesse, or in duet form with the likes of Steve Rodby or Tom Collier. This writer has been attending Seales performances for over 30 years, never being disappointed, always leaving the club well inspired.http://tulas.com/generalinfo.html



2019 Ballard Jazz Festival Announces Headliners

“Not all events improve with age, but the Ballard Jazz Festival is an exception…a distinct and essential event.” -The Stranger

Origin Music Productions announces the headliners and schedule for the 17th Annual Ballard Jazz Festival, coming up May 29-June 1st. 

Ernie Watts

May 31: Returning again to the spectacular Nordic Museum for the mainstage concert on Friday, May 31st, they’ll feature a double-bill with saxophone icon ERNIE WATTS performing with NEW STORIES. In honor of the Nordic Museum, the New York-based Norwegian guitar virtuoso Lage Lund will be performing with his trio. 

June 1st: Saturday evening’s BALLARD JAZZ WALK moves it’s headquarters into The Cathedral, an exciting new venue that’s positioned right in the heart of Ballard. Featured are: DAWN CLEMENT, JOHNAYE KENDRICK, JAY THOMAS, GAIL PETTIS, XAVIER LECOUTURIER/DYLAN HAYES, OVERTON BERRY, JACQUELINE TABOR, 200 TRIO, RICK MANDYCK, NATHAN BREEDLOVE, and many more…

 

May 29-30: The festival opens with two themed nights at Conor Byrne Pub – Celebration of the Drum & Guitar Summit, which will feature LAGE LUND, KATHY MOORE and JOHN STOWELL. A relaxed, low-key start to the festival every year, but a quintessential Seattle jazz hang!
Tickets on sale starting April 1st- more complete information will be available at www.ballardjazzfestival.com or call 206-219-3649.

CD Review- Chuck Deardorf: Perception

Before the tech revolution that has ushered in an era of unprecedented growth and global recognition, the city of Seattle was a bit of an outpost in the world of jazz. Since the 1920s, the city has enjoyed a vibrant and innovative jazz scene, often resulting in local musicians backing major international touring artists. The emerald city has spawned such renowned jazz icons as Quincy Jones, Ray Charles, Larry Coryell and Ernestine Anderson as well. 

In the 1970s and early 1980s, bassist Chuck Deardorf was often on call to perform with touring artists at the city’s vaunted jazz spots, Parnell’s and Jazz Alley. Major artists such as Kenny Burrell, Chet Baker, Larry Coryell, and Eddie “Cleanhead” Vinson would be the fortunate recipients of his solid sense of time, marvelous articulation, and innovative solo work. To continue reading, follow this link:
https://www.allaboutjazz.com/perception-chuck-deardorf-origin-records-review-by-paul-rauch.php

Jim Levitt Photos- Roy McCurdy at Tula’s

This past January 17, Tula’s celebrated the release of the Jim Wilke recording from 1966, Cannonball Adderly- Swingin’ In Seattle. The original drummer from that 1966 engagement at Seattle’s Penthouse Jazz Club was Roy McCurdy. Joined by Vancouver saxophonist Cory Weeds, trumpeter Thomas Marriott, pianist Marc Seales, and bassist Michael Glynn, McCurdy played to a full house with the same splendid snap that he employed in’66. Our friend Jim Levitt captured the vibe of the room that night with his usual expertise, and shares those views with us here at seattlejazzscene. Enjoy!

Drummer Roy McCurdy, who toured extensively with Cannonball Adderley, headlines an all-star quintet at Tula’s Jazz Club in Seattle. Cory Weeds, alto sax; Thomas Marriott, trumpet; Marc Seales, piano; Michael Glynn, bass; Roy McCurdy, drums
Drummer Roy McCurdy, who toured extensively with Cannonball Adderley, headlines an all-star quintet at Tula’s Jazz Club in Seattle. Cory Weeds, alto sax; Thomas Marriott, trumpet; Marc Seales, piano; Michael Glynn, bass; Roy McCurdy, drums
Drummer Roy McCurdy, who toured extensively with Cannonball Adderley, headlines an all-star quintet at Tula’s Jazz Club in Seattle. Cory Weeds, alto sax; Thomas Marriott, trumpet; Marc Seales, piano; Michael Glynn, bass; Roy McCurdy, drums
Drummer Roy McCurdy, who toured extensively with Cannonball Adderley, headlines an all-star quintet at Tula’s Jazz Club in Seattle. Cory Weeds, alto sax; Thomas Marriott, trumpet; Marc Seales, piano; Michael Glynn, bass; Roy McCurdy, drums
Drummer Roy McCurdy, who toured extensively with Cannonball Adderley, headlines an all-star quintet at Tula’s Jazz Club in Seattle. Cory Weeds, alto sax; Thomas Marriott, trumpet; Marc Seales, piano; Michael Glynn, bass; Roy McCurdy, drums
Drummer Roy McCurdy, who toured extensively with Cannonball Adderley, headlines an all-star quintet at Tula’s Jazz Club in Seattle. Cory Weeds, alto sax; Thomas Marriott, trumpet; Marc Seales, piano; Michael Glynn, bass; Roy McCurdy, drums
Drummer Roy McCurdy, who toured extensively with Cannonball Adderley, headlines an all-star quintet at Tula’s Jazz Club in Seattle. Cory Weeds, alto sax; Thomas Marriott, trumpet; Marc Seales, piano; Michael Glynn, bass; Roy McCurdy, drums
Drummer Roy McCurdy, who toured extensively with Cannonball Adderley, headlines an all-star quintet at Tula’s Jazz Club in Seattle. Cory Weeds, alto sax; Thomas Marriott, trumpet; Marc Seales, piano; Michael Glynn, bass; Roy McCurdy, drums
Drummer Roy McCurdy, who toured extensively with Cannonball Adderley, headlines an all-star quintet at Tula’s Jazz Club in Seattle. Radio personality Jim Wilke, who recorded the Cannonball Adderley Quintet, including Roy McCurdy, in 1966-67, talks about the release of the album, just released in 2018. Cory Weeds, alto sax; Thomas Marriott, trumpet; Marc Seales, piano; Michael Glynn, bass; Roy McCurdy, drums
Drummer Roy McCurdy, who toured extensively with Cannonball Adderley, headlines an all-star quintet at Tula’s Jazz Club in Seattle. Cory Weeds, alto sax; Thomas Marriott, trumpet; Marc Seales, piano; Michael Glynn, bass; Roy McCurdy, drums

CD Review: Thomas Marriott- Romance Language

Trumpeter Thomas Marriott has established his jazz credentials over the years through a collection of beautifully inspired and well received albums on the Origin Records label. His formidable chops, extensive vocabulary, respect for tradition and penchant for musical adventurism has put him into the conversation concerning the top practitioners of his instrument in modern times. Marriott has the rare ability to look deeply into the matter at hand, whether it be through interpretation of classic repertoire, or performing his deeply reflective and emotive original compositions. To continue reading, follow this link
https://www.allaboutjazz.com/romance-language-thomas-marriott-origin-records-review-by-paul-rauch.php

CD Review: Jay Thomas with The Oliver Groenewald Newnet- I Always Knew

Jay Thomas has lived the jazz life. He has endured, overcome, and continued to artistically thrive through all the ruminations of a path chosen by few. While much of his life may form a parallel story to those of many, Thomas’ version, his personal adjunct to its litany, is a story of artistic triumph that opened doors seldom walked through. It is a musical legacy in Seattle, unmatched in the colorful history of jazz in his hometown, documented by a number of recordings on several small labels. He as well is among the few musicians in jazz to be featured on both trumpet and saxophone, and in his case, play them both with virtuosity. His skills are as well applied fondly to the flute, and clarinet. To continue reading, follow this linkhttps://www.allaboutjazz.com/i-always-knew-jay-thomas-with-the-oliver-groenewald-newnet-origin-records-review-by-paul-rauch.php

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Randy Halberstadt: Open Heart

Pianist Randy Halberstadt has a new record on Origin, after an eight year hiatus from the studio. It features many of the top names in Seattle jazz, including Mark Taylor, Ben Thomas, Jay Thomas, David Marriott, Jr., and Chuck Deardorf. Read the review and buy the CD!

Seattle based pianist Randy Halberstadt has been a major figure on the jazz scene in the Pacific Northwest for several decades, applying his talents as a pianist, composer, educator, and author. He has four previous releases as a leader, most recently with Flash Point (Origin, 2010). So yes, it has been some time since we last heard from the multidimensional pianist…..to continue reading, follow this link:https://www.allaboutjazz.com/open-heart-randy-halberstadt-origin-records-review-by-paul-rauch.php

Johnaye Kendrick: Flying

Once, maybe twice in a generation, a singer enters the world of jazz and captivates the genre so dominated by jazz instrumentalists. There are qualities in the voice, delivery, the exquisite phrasing, and inexhaustible ability to deliver a narrative in such a way that expresses the jazz and blues tradition in a special and personal way. Johnaye Kendrick is one of those singers. Upon graduating from the Thelonious Monk Institute of Jazz, then sequestered at Loyola University in New Orleans, Kendrick was hired by trumpeter Nicholas Payton, who remarked, “Johnaye has the potential to be a vocalist of the highest order, the likes of which we have seen seldom since the grande dames of the golden era of jazz roamed the earth. She’s got it!”  Continue reading here-

https://www.allaboutjazz.com/flying-johnaye-kendrick-johnygirl-review-by-paul-rauch.php

John Coltrane Birthday Celebration: Charles Owens Interview

The annual John Coltrane Birthday Celebration at Tula’s has become a symbolic jazz new year of sorts. It is performed in a time of transition in the northwest, when we begin to seek a bit more shelter both without and within.

The music of Coltrane is a spiritually unifying force of nature, a gust of wind to push our humanity ever forward to each new day.

Each year, event organizer Matt Jorgensen brings in special guests to offer their interpretations of Coltrane’s art. This year saxophonist Charles Owens is our guest, arriving from Charlottesville, VA. along with New York-based bassist Ben Shapiro. The two will form a quartet with Jorgensen on drums and pianist Marc Seales. In a way, it continues a tradition that began on Jackson St., and continues to this day of welcoming great players from yonder scenes and surrounding them with the best the Seattle jazz scene has to offer.

Owens was so kind as to answer a few questions, and provide some insight as to who he is as an artist, and what we might anticipate at this year’s performances.

You spent 12 years on the scene in New York City and moved to Charlottesville VA. Talk about your reasons for the change, and how that transition has been for you musically.

The year 2002 was a big one for me. I got married, turned 30, and my wife became pregnant with our first child. I was looking for a better life for myself and my family, I was looking for some space and some quiet. I grew up in VA and my mom has some property out in the country. So we moved out there to get our footing and then shortly thereafter moved to Charlottesville. Being in VA as a musician has been beautiful! I am a big part of the scene in Cville but also in Richmond which is a short drive away. I play and record with guys in Butcher Brown like Devonne Harris (DJ Harrison) Corey Fonville, Andrew Randazzo, Morgan Burrs, and Marcus Tenney as well as guys like Kelli Strawbridge on drums Cameron Ralston (Matthew E White) on bass.  Also, there’s a great bunch of cats in Richmond that are in a band called Future Prospect. I love to gig with them. Cleandre Foster, Brandon Lane, Jacob Ungerleider, Trey Sorrels. In Charlottesville, I have the pleasure of playing with guys like Dane Alderson who’s the bass player in the Yellowjackets and John D’earth who is a master trumpeter and improviser. He was really close with many people in the Brecker generation in NY. All of these people and more have indeed changed my playing. Virginia has a laid back, funky, and soulful vibe. Virginia music is greasy and sexy and hot. It’s got its own special sauce that everybody needs to experience. I treasure what its done to my saxophone playing, improvising, writing and arranging.

You are often linked stylistically to John Coltrane, Sonny Rollins, and Wayne Shorter. How do you use those voices to create and impact your own voice as a player?

Well, those men had a huge hand in creating Charles Owens the improvising saxophonist, so the voices have created, and continue to impact my sound. I don’t just study their playing but I also study the spirit in which they bring forth their truth. These men played in a way that spoke to humans through key facets of their humanity. Their music appeals to people on a visceral level because they are accessing the most truthful regions of their muse, and bringing to fruition sublime improvised musical art. I want to create at this level 100% of the time.

You are coming to Seattle to be featured at the annual John Coltrane Birthday Celebration at Tula’s Jazz Club. First off, how did this association with Seattle come to be?

I was lucky enough to attend the New School for Social Research (Jazz performance and composition)  in NYC alongside the amazing Seattle drummer Matt Jorgensen and the great Seattle based bassist Ben Shapiro. Matt and I had been talking for a while about playing together again and when the Coltrane celebration came up, we all thought it would be a perfect fit and opportunity for us to make it happen. I’m so grateful! This will be my first time in Seattle and I’m thrilled.

Coltrane was a primal force that forged so many creative pathways through the music. How will you approach this performance as a saxophonist? Will it be more of a repertory approach, or will you seek more personal insights into the music?

I’ve been playing Coltrane’s music since I was a teenager. These songs are simply part of the Black American Music Canon. We will certainly choose compositions that span his career and make sure that the repertoire is varied in tempo, tone, and timbre. I will approach this music saxophonistically the same way I approach all music. I will be calm, clear and confident. I will gain my inspiration from a mix of spirituality, intellect, and passion. I will treat this and every opportunity to play music for my fellow humans as a sacred and rarified privilege. I will have an open heart and mind and proceed without fear.

With so much material to choose from, how do you go about selecting a set of music from the vast Coltrane library?

For me, it’s the compositions that have meant the most to me personally over the years and also the ones that I enjoy improvising on. But we will also rely on the tried and true method of putting a good set together which is to not have songs with a varied tempos, feels and forms.  We want to produce a different mood and vibration on every song so as to make it a rich and satisfying experience for us and the audience. Luckily we have a wide range of genius material from which to choose. We will also put in a couple of songs from the American songbook that were favorites of Coltrane’s.

You performed “A Love Supreme” in Charlottesville last year at UVA. In preparing for, and performing this music, did it at all impact your personal view of this classic?

It had a huge impact on my personal view of the album. I actually performed the suite in Richmond two years before the Charlottesville performance. I never dreamed I would be in a place where I could convincingly perform the Suite. So when the opportunity arose I made sure to prepare thoroughly. I studied the transcriptions heavily and memorized passages that I thought were classic parts and then improvised other parts. This was his ultimate opus. He is thanking God for his life and acknowledging that to him God is the only thing he is doing anything for forever.

This is going to be your first visit to Seattle. The city is noted for its eclectic music scene.  What have you learned about Seattle, and what do you anticipate encountering on the scene here?

I know little about the music scene in Seattle other than every musician I’ve played with from there has been great. Matt Jorgensen, Shawn Schlogel, and Max Holmberg.

Coltrane transitioned his sound towards the end of his life, employing what he saw as a spiritual approach, a soul cleansing series of cries and vocalized effects. Some in the audience did not receive the music in the same light in which Coltrane created and performed it. What is your personal perception of this period of Coltrane’s sound, and what impact did it have on your approach to playing?

Coltrane always pushed himself forward and never seemed to want to stay in the same place for long. This is one of the normal hallmarks of an artist/creative person. It’s really the same old story. An artist becomes popular by doing their art in a certain way. That art lives in the fans heart as sublime. Then the artist pushes themselves to create something new (again) with the same energy, focus, and attitude that they used in the past. The established fan usually reacts in 1 of 2 ways- they move forward with their artist despite the fact that things are different, or they stop and stick with what they like about the artist and pine away for “the old stuff.” This is what happened with Trane. I don’t listen to as much of his avant-garde as I do Crescent, A Love Supreme, Coltrane’s Sound etc., but I still do listen. The thing that has most influenced me from his later work is how much his tone continued to evolve, Listening to his tone on the Olatunji Concert recordings makes me feel that he had transcended the saxophone and turned it into his interstellar voice of his worship. No one has ever evoked the universal power of love through a saxophone like him. I learned a lot from the vocalized effects as well. One of my first gigs in NYC was with Reggie Workman’s ensemble at the Knitting Factory. We were playing free, free, free as a bird. Many of the things I’d heard Trane doing, I did especially on those gigs.

Jazz education has become largely institutionalized in modern times, much like classical music in the twentieth century. So many giants of the form learned through the oral tradition, with mentorship provided by the experienced players of the day. Talk about your own personal experience learning the saxophone and jazz music, and how that experience has impacted your approach as an educator.

I’ve been quite lucky to have great saxophone teachers. Ralph Lalama, Joe Lovano, Grant Sewart, Eric Alexander, Makanda McIntyre, Arnie Lawrence. I’ve never had a “big break” gig with a master. The people that I learned the most about actual improvisation though were John Coltrane, Sonny Rollins, Thelonious Monk, Bud Powell, and Charlie Parker. I learned a lot about swing from Duke Ellington and Count Basie.  I also came up in NYC in the 90’s at my home club, Smalls. I met, and hung out with, listened to, and learned from just about every great jazz musician you could think of that was still around at the time. Smalls was the place where I really learned what the music should sound like, and more importantly, the attitude and ethos one needs in order to be a successful improviser, performer, bandleader, and composer. My first gig in NYC was running the Sunday jam session at the Village Gate. That’s where I first met people like Brad Mehldau, Dwayne Burno, Ben Wolfe, Leon Parker, Gonna Okegwo, Ari Roland, just to name a VERY few. I also learned a lot during my time at the New School. Some of my teachers there included Jim Hall, Buster Williams, Jimmy Cobb, Bernard Purdie, Peter Bernstein, Reggie Workman… I also was lucky enough to take some advanced jazz harmony classes with Kenny Werner. But I also never stop learning and growing and pushing myself to be better. So I woke up this morning with the same attitude towards music and saxophone that I’ve always had. How can I be better? When I educate people on the tradition of Black American Music, I am very careful to point out that the concepts that we cover are intellectual, but this music needs more than just intellectuality. The other essential ingredients are spirituality and passion.

Environment and lifestyle impacts culture on all levels, including music. New York is like an incubator for new talent, and is unquestionably the living gathering place for jazz, convening sounds from all over the world. The energy and whirlwind of cultural activity drives the music and seems to give it an ardent physicality like nowhere else.  Seattle is a touch more relaxed, reflecting the physical beauty and lifestyle of the Pacific Northwest. Talk about the musical environment in Charlottesville, your current residence, and how it differs from other musical scenes you have encountered.

Charlottesville has a wide variety of bands in different genres. It reminds me a lot of other scenes in other cities, just smaller. The energy is, of course, more relaxed and certainly reflects the terrain of the Blue Ridge Mountains. I love the scene here though. Being in Cville and Richmond has taught me that it’s cool to relax and not go for the “touchdown” solo every time. It’s helped me to let go of my ego and not play solos where I’m “checking boxes” i.e the out part, the fast part, the part, the altissimo part, where I trick the audience into clapping more etc… It’s taught me that it’s ok to groove and be sparse and play longer notes. That VA grease!

What projects are you currently engaged in?

I am of course busy with my trio and quartet but I also play in a wide variety of bands here in VA and NYC.

Jack Kilby and the Front Line. Drummer Jack Kilby is about to release his debut album and it’s gonna be amazing. I wrote a song for the Album titled “Love Is A Song Anyone Can Sing.” Jack liked the tune so much that he named the album after it and has taken the concept and run with it. We have a couple of release shows in October and the album is just fantastic. Allyn Johnson, Kris Monson, John D’earth, and Antonio Hart are playing on it.

I am in a band called The ATM Unit that plays every Monday at a club called Rapture here in Cville. The band is lead by Australian electric bass virtuoso Dane Alderson who is also currently in the Yellowjackets. It’s a fusion sound coming out of bands like Yellowjackets, Weather Report, Steps Ahead, etc. It is such a killer band and it’s been a fun challenge learning all the new music.

Reginald Chapman is a great bass trombonist and composer formerly with No BS Brass Band. He has just released a fantastic album called Prototype, and I will be playing his VA release shows in September.

I also play with a ton of great rock, funk, and should bands. I stay very busy with recording sessions, and I have a full studio of wonderful private saxophone, theory and improvisation students. I’m also a pianist and stay busy with solo piano work and duo work with singers.

What can we expect from Charles Owens in the near future in terms of recordings and live performances?

Well, Jack Kilby’s album is on deck next. I just recorded a live album at Smalls with the great Joel Frahm on tenor saxophone, Ari Hoenig on drums and Alexander Claffy on bass. That was released back in April. The next record I want to do will be a trio record with electric bass, drums, and saxophone. I am currently compiling repertoire and testing it out on gigs. My M.O. for recording is to gig with material/band for a year then go to the studio for one day and record it all. I just got a new horn so I will be playing a lot on it before I decide to go back to the studio again.

 

Bongwool Lee: My Singing Fingers

Seattle based Origin Records has released the debut recording of Korean born pianist Bongwool Lee. A young classical piano prodigy in her native Korea, Lee gravitated to jazz, and offers a unique sound and approach to jazz composition and improvisation.

Much has been written about the different creative processes engaged between classical and jazz musicians, more specifically, as applied to the collective worlds of jazz and classical piano. New York based pianist Bongwool Lee has an intimate relationship with these perceived differences. Born and raised in Seoul, Korea, she was exposed by her parents to a variety of music at a very early age, winning her country’s acclaimed Samik Competition at age seven. Considered a prodigy in the classical world, Lee’s focus shifted to jazz upon hearing Oscar Peterson on the radio. After graduating as a music major from Dongduk Women’s University, she relocated to New York City, where she engaged in jazz studies at the Manhattan School of Music earning a Master’s degree. More importantly, she engaged in and began to flourish on the heralded jazz scene in Gotham. Continue reading here

https://www.allaboutjazz.com/my-singing-fingers-bongwool-lee-origin-records-review-by-paul-rauch.php

CD Review- Chamber 3: Transatlantic

Chamber 3 began as a trio effort started by German guitarist Christian Eckert, and Seattle based drummer Matt Jorgensen, who forged a friendship while studying at the New School in New York in the early nineties. Over the years, they engaged in many projects and tours together, culminating in this project that includes German tenor saxophonist Steffen Weber. The band added a fourth member in the person of Seattle bassist Phil Sparks for their last release, Grassroots (OA2, 2017), and returns the same lineup for the new Origin release, Transatlantic (OA2, 2018).

Continue reading here https://www.allaboutjazz.com/transatlantic-matt-jorgensen-origin-records-review-by-paul-rauch.php

Photos: Hans Teuber & Jeff Johnson- The Art of Jazz, SAM

Lisa Hagen Glynn has been doing some great work out on the music scene in Seattle, photographing performances. These were taken on May 10, during a riveting duo performance by Hans Teuber and Jeff Johnson. The performance was part of the Art of Jazz series at SAM, presented by Earshot Jazz. Thanks to Lisa for the wonderful shots!

CD Review: Bill Anschell- Shifting Standards (Origin)

Seattle based pianist Bill Anschell has created a tremendous body of work over the past 30 years, as a composer, musical director, and pianist. He returned to Seattle in 2002 after 25 years abroad and formed a relationship with Origin Records, releasing more than a dozen records both as a leader and co-leader. Whether composing and performing original pieces, or interpreting standards ranging from Cole Porter to Lennon/McCartney, Anschell has consistently upheld a rare standard of excellence.

Anschell’s musical personality can perhaps be best experienced within the confines of Tula’s Jazz Club, an intimate jazz spot in Seattle’s Belltown neighborhood. He typically performs with two separate combos, a quartet that performs his own works, and a standards trio featuring trailblazing bassist Jeff Johnson, and wonderfully talented drummer D’Vonne Lewis. The trio has been performing on and off since 2007, and have achieved an intuitive, almost telepathic musical relationship that produces moments only attained through the one-mindedness of the piano trio format. They perform in the area of 80 standards, never play from a set list, and are subject to the momentary whims of Anschell’s inventive curiosity. At long last, the trio has released a definitive collection of standards aptly titled Shifting Standards on the Origin label. To continue reading, please follow this link-

https://www.allaboutjazz.com/shifting-standards-bill-anschell-origin-records-review-by-paul-rauch.php

Roxy Coss Interview

Seattle born and bred, New York based saxophonist Roxy Coss has seen her star ascend in recent years. From 2012-2014 she gained international visibility touring with trumpeter Jeremy Pelt. She has been on a torrid recording pace as well, with the objective of releasing an album a year. Her past two releases Restless Idealism (Origin, 2016), and Chasing the Unicorn (Posi-Tone, 2017) have established her place in the upper echelon of saxophonists in jazz today.

Coss has also played a major role in the fight for gender equality in jazz, forming the organization Women In jazz Organization (WIJO). You can check out their website here: http://wearewijo.org/

On March 30, Coss will release a new album on the Posi-Tone label that expresses both her ardent musicality, and activism. Entitled The Future Is Female, the album stands as an important statement in support of modern feminism, and most specifically, to gender equality in jazz. In November 2017, just after she recorded the record, I had the opportunity to interview her while she was in town for the Earshot Jazz Festival. The result was compelling.

All About Jazz: You have recently released a new CD, Chasing the Unicorn (Posi-Tone, 2017), just a year after the release of Restless Idealism (Origin, 2016). Albums are like a snapshot of a timeframe, how has that musical image changed in a year?

Roxy Coss: More back story is it was recorded more than a year apart, even though they were released a year apart, so there was actually more time between recordings, almost two years. When I worked with Jeremy Pelt, he taught me a lot about the industry. His release schedule is every year, and I saw that really work for him, so that’s my goal right now, to continue now that I have the momentum going. From my experience, I’ve seen how important it is to keep getting contact out there, regardless of what it is. The more stuff you put out there, the more chances of someone hearing you.

read the entire interview here at All About Jazz: https://www.allaboutjazz.com/roxy-coss-standing-out-roxy-coss-by-paul-rauch.php

 

Dawn Clement Interview

Dawn Clement is like a primal force of nature. From being the mother of three young children, to her professorship at Cornish College of the Arts, to her performing career as a touring and recording artist, she maintains a musical standard of excellence achieved by very few. Her piano style is strong and versatile, whether she is playing at the most intense tempo, or in more tender and vulnerable moments colored in alluring sincerity.

On February 20th, she officially released her new CD Tandem on Origin Records. The album is a series of duo performances with some of her closest musical collaborators over the past 20 years. The project was celebrated in earnest that evening at Tula’s, with Clement performing in duo, trio, quartet, and full quintet with Dr. Julian Priester, Johnaye Kendrick, Mark Taylor, Michael Glynn and Byron Vannoy. The audience was populated heavily with many of the top jazz musicians in town, a gesture of great respect for the artist Clement has become, and has been throughout this new century. The performance was inspired, memorable, the vibe in the room during the performance and after hang, warm and welcoming.

Dawn Clement is a voice in jazz that needs to be heard.  Read the full interview at All About Jazz here:

https://www.allaboutjazz.com/dawn-clement-here-in-the-moment-dawn-clement-by-paul-rauch.php

 

 

Seattle Jazz Scene Update

Over the course of the next few weeks, I will be in full exploration mode here at seattlejazzscene.com. The aim is to bring the page up to date in terms of jazz calendar, feature articles and reviews chronicling jazz music in Seattle, festival and event previews, and all things relevant to highlighting the music and its performers. Just for fun, I plan to go full on guerilla mode at times, publishing directly from jazz events in the area.

I want the vibe to be welcoming to the entire jazz and improvised music community. The growth and overall health of the scene is dependent on participation and a true sense of community between musicians, fans, writers, promoters, club owners, record companies, radio stations, and all of those who love the music and sees it as a vibrant part of our culture.

Once fully integrated, jazz fans in Seattle will be able to enter the site and learn who is playing around town on a daily basis, and stay up to date on what is happening in and around the scene.

If you are interested in submitting articles, reviews, photographs, calendar entries, etc, contact me per email at email hidden; JavaScript is required. Please no self promotions.

And so the journey begins.

Paul Rauch

 

 

 

Sonarchy Radio schedule for September on KEXP

Sonarchy is recorded live in the studios at Jack Straw Cultural Center in Seattle. This hour long broadcast features new music and sound art made in the pacific northwest. Sonarchy is now into it’s 21st year of airing on KEXP, Seattle (90.3 fm). Listen for the broadcast every Sunday evening at midnight (PST). The show can be heard live at KEXP.org and furthermore is available in its entirety for two weeks following the broadcast in several streaming audio formats. This months shows will also be available as podcasts shortly after they air. Go to kexp.org/podcasting/podcasting.asp for a vast permanent archive to choose from.

Doug Haire is the producer and mixes these live shows. Sonarchy would not be possible without the efforts and funding provided by Jack Straw Cultural Center. For more about this non-profit organization with a mission to support the sonic arts go to jackstraw.org Thanks for your interest and good music to you!

Sept 4: John Butcher – saxophones, Torsten Muller – bass and Dylan van der Schyff – drums. a spectacular hour of free improvisation. This show recorded in 2008

Sept 11: Swindler
A funk, jazz and groove fusion band. Mike Saskor – guitar, Willow Goodine – keys, Rob Cochran – bass and Chris Martin – drums.

Sept 18: Martin Bland’s Randomized Controlled Trials
Original recordings edited, processed and put onto cdr’s then performed by 6 cd players in shuffle mode. The results are highly entertaining and unique to each performance.

Sept 25: Stuart McLeod and Braintrust
Music for guitar orchestra featuring 4 guitars, 2 basses and Stuart on drums, brainwave sensors and compositions. A massive sound for radio.

Seattle-German collective group Chamber 3 performs in the Northwest

Chamber 3, the group co-led by Seattle drummer Matt Jorgensen and German musicians Christian Eckert and Steffen Weber, will be performing around the Seattle area July 29 – August 6.

Chamber 3’s latest CD on OA2 Records is entitled Grassroots. They will be recording a new CD while in Seattle too.

Thursday, July 28: Triple Door Musicquarium, 9:00pm
216 Union Street, Seattle, 206-838-4333

Friday, July 29: Bellevue 6th Street Fair, 10:30am – Noon
NE 6th Street and 106th Avenue NE, Downtown Bellevue

Friday, July 29: The Latona Pub, 5:00pm
6423 Latona Ave NE, Seattle

Saturday, July 30: Scotch and Vine, 8:00pm
Chamber 3 performing with Jose Gonzales
22341 Marine View Dr S, Des Moines, WA

Wednesday, August 3: Ted Brown Music, 6:00pm
6228 Tacoma Mall Blvd, Tacoma, WA 98409

Thursday, August 4: Piccola Cellars, 7:30pm
112 West 2nd Street, North Bend, WA 98045

Friday, August 5: Edison City Ale House, 8:00pm
Chamber 3 performing with Kareem Kandi
5602 S Lawrence St, Tacoma, WA

Saturday, August 6: Tula’s Jazz Club, 7:30pm
2214 Second Avenue, Seattle, WA

KPLU adds Jazz Night In America to its Friday Night Programming

KPLU is excited to announce a new addition to its Friday night lineup beginning February 26.

(From 7:30 to 8 p.m., Abe Beeson hosts KPLU’s Evening Jazz as per usual.) Then from 8 to 9 p.m., KPLU will air NPR’s Jazz Night in America. The show features storytelling with concert performances, connecting jazz enthusiasts and potential new fans with artists and venues—and each other—through radio broadcasts, an array of live signature videocasts, and on-demand video of jazz events from today’s great artists and venues, hosted by jazz bassist Christian McBride. Over the last year, KPLU partnered with Jazz Night on bringing two Northwest performances to the fore: trumpeter Ingrid Jensen and saxophonist Steve Treseler’s tribute to jazz composer Kenny Wheeler at the Royal Room in March 2015; and pianist/composer Wayne Horvitz’s paean to poet Richard Hugo during the 2015 Earshot Jazz Festival.

“I’ve been listening to and watching NPR’s Jazz Night in America for many months now,” said KPLU Director of Content Matt Martinez,”and I think it’s the perfect show to put on our schedule: a mix of live jazz performances and rich storytelling.”

February 26’s show puts the spotlight on jazz-fusion stars and Grammy Award winners Snarky Puppy. The show teams up with the band’s bassist and bandleader Michael League for an exclusive conversation about his compositional process, and features a live hometown concert at The Prophet Bar in Dallas.

KPLU’s Evening Jazz will continue from 9 p.m. to midnight.