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-

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.


Featured Performances for September

The month of September is incredibly exciting for Seattle area jazz fans. Considering that it is the ramp up month to the Earshot Jazz Festival, it is ample evidence of the vitality of the Seattle jazz scene. The selections are numerous this month, so happy wading!

Tim Kennedy: The Music of Wayne Shorter- Tue Sept 4, 7:30 PM/ Tula’s

Pianist Tim Kennedy convenes four of the top players in town to pay homage to the compositions of the great Wayne Shorter. The band will focus on the music from two classic Shorter albums, Speak No Evil, and Adam’s Apple. Eclectic bass talent Evan Flory-Barnes, and drummer Tarik Abouzied join Kennedy, along with trumpeter Thomas Marriott. The quartet will perform the music of perhaps the greatest small ensemble composer in the history of jazz, in a not-to-be-missed leadoff to an amazing month of jazz in Seattle.

Larry Fuller Trio- Tue Sept 4- Wed Sept 5, 7:30 PM/ Jazz Alley

Seattle jazz fans got to know Larry Fuller through his tenure with SRJO, and as pianist for the great Ernestine Anderson. This performance is celebratory not only for the return of Fuller to Seattle, but for the fact that Jazz Alley is actually presenting jazz music! Fuller brings his New York-based trio to the alley with bassist George DeLancey, and drummer Jason Tiemann.

Eric Verlinde Trio with Special Guest Hans Teuber- Wed Sept 5, 7:30pm/ Tula’s

Pianist Eric Verlinde continues his monthly residency at Tula’s with his trio featuring bassist Dean Schmidt, and drummer Jeff Busch. Verlinde welcomes multi-reedist Hans Teuber to the fold for this performance, giving area fans a chance to see Teuber before he begins his next run at Teatro Zinzanni. There is no musician in Seattle that can turn a good night to a special evening like Teuber. Add the intimate ambience of Tula’s and you have the best of reasons to attend.

Reunion Quartet with Jay Thomas, John Bishop, John Stowell & Bruce Phares- Thu Sept 6, 7:30 PM/ Tula’s

35 years in the making, four of Seattle’s finest reunite for an evening of jazz at Tula’s. Guitarist John Stowell is an international phenomenon. Drummer John Bishop has recorded and toured with dozens of international voices in jazz, including the groundbreaking Hal Galper Trio. Jay Thomas is a Seattle jazz legend, featured on both trumpet and saxophone. Bruce Phares has as well performed with a variety of jazz legends, among them James Moody, Larry Coryell, George Cables, and Ernestine Anderson.

Over this period of time each has made a prominent imprint on the music, and its culture here in Seattle. Their contributions have as well put a worldwide spotlight on the vibrant jazz scene here, and throughout the Pacific Northwest. 

Jovino Santos Neto Quarteto- Fri Sept 7, 7:30 pm/ Tula’s

Jovino has played with the same band since his arrival in Seattle 25 years ago, creating a comfort zone for eclectic creativity like no other band in the city. He applies the musical wisdom he was gifted by Brazilian legend Hermeto Pascoal to this band that includes bassist Chuck Deardorf, a Seattle jazz institution himself. Drummer Mark Ivester, and percussionist Jeff Busch create the rhythmic undertow as one mind. Jovino will be the resident artist at the 2018 Earshot Jazz Festival.

Greta Matassa Quintet- Sat Sept 8, 7:30 pm/ Tula’s

Greta Matassa has been thrilling Seattle jazz audiences for more than 25 years, and in the process has through recording and live performances established herself as the most important jazz singer to come out of Seattle since the great Ernestine Anderson. In terms of the pure instrument that is her voice, and  her advanced technique, there is none better. She as well has an intuitive relationship with her long time band that includes bassist Clipper Anderson, pianist Darin Clendenin, and drummer Mark Ivester. Uber talented saxophonist Alexey Nikolaev joins for this special performance.

Tim Fitzgerald Quartet featuring Anton Schwartz- Tue Sept 11, 7:30pm/ Tula’s

Continuing an amazing month, Tula’s brings in Chicago based guitarist Tim Fitzgerald to team up with saxophonist/composer Anton Schwartz for an evening featuring the music of the late great Wes Montgomery.

Cecile McLorin Salvant Duo- Tue Sept 11- Wed Sept 12, 7:30 pm/ Jazz Alley

Winner of the 2018 Grammy for Best Jazz Vocal Album, Cecile McLorin Salvant teams up with pianist Sullivan Fortner for two intimate performances at Jazz Alley. Her debut album WomanChild on Mack Avenue Records won her a bevy of honors aside from the Grammy. She now tours supporting her sophomore release, For One To Love, a more intimate and confessional effort that she describes as being, “ Almost like a diary entry.” Fortner, who Seattle jazz fans have come to know through his Jazz Alley performances with Roy Hargrove, would seem the perfect pairing on piano.

Photo: Carolyn Bick

Nu Trio- The Art of Jazz- Thu Sept 13, 5:30 PM/ Seattle Art Museum

Earshot Jazz presents the monthly Art of Jazz series, this month featuring Nu Trio, an ensemble of longtime musical collaborators  Nathan Breedlove, Phil Sparks, and Brian Kirk. Trumpeter Breedlove disappeared off the scene for 15 years before his recent comeback, and has gradually regained the form that made him a dues paid musician in the truest sense within many different communities in the jazz and ska worlds. Bassist Sparks has played with a plethora of local and international artists during his 30 years on the scene in Seattle and is the longtime bassist with the Seattle Repertory Jazz Orchestra. Kirk has been integral in Seattle jazz education at Seattle Central College and came up playing with the likes of stars such as Joe Henderson. This trio plays on the cutting edge of the jazz tradition while dipping into the entirety of that musical heritage. As Breedlove would say, “The spirits are willing.”

DXL Quintet with Xavier Lecouturier- Thu Sept 13, 7:30 PM/ Tula’s

Young drummer/composer Xavier Lecouturier at 20 years of age has earned his stripes on the Seattle scene as drummer for the renowned Thomas Marriott Quintet. His musical maturity and prowess belie his age. Young lions Lucas Winter (guitar), and Gus Carns (piano), are joined by veteran bassist Michael Glynn. Saxophonist Rex Gregory, a recent transplant from New Orleans makes his official Tula’s debut rounding out this superb quintet.

Marc Seales Band- Fri Sept 14, 7:30 PM/ Tula’s

Marc Seales has a performance and recording resume that includes stints with Ernie Watts, Joe Henderson, and Art Pepper. As a leader, his work as a solo artist, and with the trio, New Stories has established him as one of the true pivotal figures in the history of jazz in Seattle. His monthly residency at Tula’s has produced top-tier performances at the storied Belltown club for 25 years. No matter the configuration of the band on a given evening, Seales always delivers.

Christian McBride New Jawn Quartet- Mon Sept 17- Wed Sept 19, 7:30 PM/ Jazz Alley

Six-time Grammy winner Christian McBride returns to Seattle with yet another incarnation for the ever-evolving bassist. His New Jawn Quartet features saxophonist Marcus Strickland, trumpeter Joshua Evans, and drummer Nasheet Waits.

McBride’s passion for swing and his energetic approach to music is like a bridge between a variety of musical communities. Seattle is fortunate to have him in town on a fairly regular basis.

Madeleine Peyroux- Mon Sept 17- Tue Sept 18, 7:30 pm/ Triple Door

A continuing trend, as the Triple Door continues to book acts we are accustomed to seeing perform at Jazz Alley. While it is difficult to define the genre in which Madeleine Peyroux resides, jazz audiences seem to be very comfortable claiming her as one of their own. This is a judgment arising from her typically sold out shows, and rising sales of her recordings. Her sound draws from early jazz, blues, and folk, and expresses clearly her life between American and French cultures. Her performances are intimate affairs reflecting that very unusual personal journey in life.

Thomas Marriott Quintet- Thu Sept 20, 7:30 PM/ Tula’s

When trumpeter Thomas Marriott announced that he would perform with one quintet for 2018, it created quite a buzz around the Seattle jazz scene, knowing it would enable his ability to rehearse and perform his brilliant original compositions. Indeed, it has been fascinating to watch performance by performance, as the band evolves and breathes life into many compositions heard previously only on Marriott’s 10 solo releases on Origin Records. Joined on the front line by Rick Mandyck on tenor saxophone, and backed by the fine-tuned rhythm section of pianist Tim Kennedy, bassist Geoff Harper, and drummer Xavier Lecouturier, this quintet embodies the essence of Marriott’s unique sense of intimacy and intensity.

John Coltrane Birthday Celebration- Fri Sept 21- Sat Sept 22, 7:30 PM/ Tula’s


One of the highlights of the jazz year in Seattle, Matt Jorgensen’s annual autumnal salute to John Coltrane features tenor saxophonist Charles Owens (see the interview with Owens at Jorgensen features different music each year, highlighting the music and career of the legendary saxophonist whose impact reaches spiritual proportions for many in the jazz world.

Owens, currently a resident of Charlottesville, VA, has gained long time prominence on the New York scene, and brings New York bassist Ben Shapiro with him to join Seattle stalwarts, drummer Jorgensen, and pianist, Marc Seales. This is a prepay event that sells out fast.  Call 206-443-4221 for reservations.

Tarik Abouzied: Happy Orchestra Trio- Sat Sept 22, 9 PM/ TD Musicquarium

Tarik Abouzied’s Happy Orchestra can take on many different configurations, but always delivers funk-tinged jazz music presented in an air of positivity unique to the drummer/bassist/composer’s personality. Featuring many of the area’s top improvisers, this trio version features drummer Evan Woodle, keyboardist Joe Doria, and Abouzied on bass. A great opportunity for a late night hang with some of the best players in town.

Clipper Anderson Quartet- Sun Sept 23, 7:30 PM/ Tula’s

Sunday evenings have been a big band night at Tula’s for many years, nice to see a bit of a change up featuring more intimate musical inclinations. Master bassist Clipper Anderson is often seen with the band led by his wife, the great singer Greta Matassa. Here Anderson ventures into his own musical world, filled with original compositions and skillful renditions of jazz classics. Longtime mates Mark Ivester (drums), and Darin Clendenin (piano), join him, along with uber-talented saxophonist, Alexey Nikolaev.

Donny McCaslin/Kneebody- Mon Sept 24, 7 PM/ Triple Door

When two grand adventurers of the tenor saxophone convene in one place, for one special performance, one is left with little choice but to be there in the middle of the creative flow. This performance is an exercise in musical innovation, and anticipatory elation. One of the highlights of the jazz calendar in Seattle for September.

Delvon Lamarr Organ Trio- Tue Sept 25- Wed Sept 26, 7:30 PM/ Jazz Alley

Returning home after extensive touring, DLO3 arrives at Jazz Alley in triumphant fashion. Lamarr’s distinctive organ style is a blend of the jazz sensibilities of the historic greats of the Hammond B-3, filtered through his extensive experience playing multiple instruments in the jazz realm. DLO3 however, is not exactly a jazz gig, but then again, how many performances at Jazz Alley are? This is a great opportunity to welcome home one of the hardest working musicians, and great humans on the scene in Seattle.

James Falzone, clarinet

Gordon Grdina Trio with Matt Shipp and Mark Helias / James Falzone Trio with Wayne Horvitz and Abbey Blackwell / The Nathan Breedlove Quintet- Thu Sept 27, 8 PM/ Royal Room

Gordon Grdina, innovative practitioner of the guitar and oud, leads a triple bill that features three very distinctive bands, heading in original directions. Grdina brings in Matt Shipp, and Mark Helias to form a unique and adventurous trio.

Classical and avant-garde clarinetist James Falzone has been shaking up the musical universe here in Seattle since his arrival as Chair of Music at Cornish College of the Arts. His virtuosity and curiosity are unquestioned. Add the ardent eclecticism of pianist Wayne Horvitz, and that of bassist Abbey Blackwell, and we are set for a few orbits around the outer reaches of the musical universe.

Trumpeter Nathan Breedlove is a dues paid musician in the truest sense, having returned to the scene after a 15 year hiatus. His history with ska revolutionaries, The Skatalites, the Greenwich Village loft scene, and jazz greats Mulgrew Miller, Hadley Caliman, Donald Brown, and Jemeel Moondoc speaks to his post bop/avant-garde sensibilities that make him a unique quantity in the jazz world. Breedlove teams with Seattle saxophone legends Gary Hammon and Booker T. Williams on this evening, along with longtime mates Phil Sparks on bass, and Jamael Nance on drums.

Be sure to make a dinner reservation after purchasing your tickets, as the Royal Room does not guarantee a seat with your ticket purchase.

Jared Hall Quintet- Thu Sept 27, 7:30 PM/ Tula’s

Since his arrival in Seattle, trumpeter Jared Hall has consistently staged fine performances with a variety of the best players in town. His significant chops were well enhanced under the tutelage of trumpet legend Brian Lynch in Miami prior to his arrival, but his voice as a player and composer can only be described as original.

Hall welcomes another newcomer to the scene, saxophonist Rex Gregory on this gig. Add drummer/composer Matt Jorgensen, pianist John Hansen (who is playing out of his mind these days), and bassist Michael Glynn, and you have a quintet that will keep you glued to your seat for two sets. The intimate confines of Tula’s adds to the allure of this Thursday evening getaway.