Featured Performances for October

With the Earshot Jazz Festival kicking in this month, the jazz calendar in October is extensive to say the least. It is like a jazz New Year, as the city submerges into its creative side as winter approaches. Tula’s features a stellar month as well, adding to the many choices one encounters this autumn.

OLYMPUS DIGITAL CAMERA

LaVon Hardison CD Release Party with Eric Verlinde- Wed Oct 3, 7:30 PM/ Tula’s

Pianist Eric Verlinde continues his monthly residency at Tula’s with the vibrant presence of LaVon Hardison. A jazz singer of great style, Hardison will be debuting music from her new CD, There Will Be Trouble. With a background in theatre and opera, Hardison brings a multi-dimensional approach to the blues/jazz tradition. Verlinde is a perfectly matched accompanist, with the intimacy of the fine listening room at Tula’s being the preferred destination for this performance.

http://tulas.com/generalinfo.html

Susan Pascal Quartet- Fri Oct 5, 7:30 PM/ Tula’s

Vibraphonist Susan Pascal has developed an uncommon chemistry with her longtime quartet, that produces spontaneous outbursts of musical heaven. Pianist Bill Anschell and bassist Chuck Deardorf are themselves two of the major artists in the Seattle jazz lineage, with drummer Mark Ivester gathering the energy and pushing it forward.

http://tulas.com/generalinfo.html

Thomas Marriott Quintet- Sat Oct 6. 7:30 PM/ Tula’s

With 10 albums to his credit as a leader and an eleventh on the way, trumpeter Thomas Marriott has impacted the state of jazz in Seattle more than anyone over the past decade. His decision to perform with a regular quintet in 2018 has produced results onstage that has captivated Seattle jazz audiences since their debut in late 2017.

The return from a 14-year hiatus of tenor saxophonist Rick Mandyck has produced a buzz in itself, a story well told in this piece at All About Jazz. https://www.allaboutjazz.com/rick-mandyck-the-return-from-now-rick-mandyck-by-paul-rauch.php

Marriott brings in Mandyck, and teams him with 21-year-old drummer Xavier Lecouturier, defining the music of this rare quintet in three generations. Lecouturier has been causing quite a stir with his DXL Quintet at Tula’s as well.

Pianist Tim Kennedy seems to have exploded creatively in the past two years, with wonderful results as a leader and sideman. He currently has a residency at Tula’s, every first Tuesday. Bassist Geoff Harper plays with a probing intelligence that is a perfect fit for the spontaneous give-and-take that Marriot requires as a bandleader.

If you have yet to see this quintet perform, this is a must see opportunity.

http://tulas.com/generalinfo.html

Seattle Repertory Jazz Orchestra- Sat Oct 6, 7:30 PM/ Recital Hall- Benaroya Hall

The Village Vanguard has since 1935, been ground zero for live jazz recordings, and has housed some of the great performances in jazz history. SRJO pays tribute to that heritage, performing the music of Thad Jones, Miles Davis, Cannonball Adderly, Sonny Rollins and more. The Vanguard upholds the big band tradition with weekly Monday night performances from the house band there that evolved from the great Thad Jones/ Mel Lewis Orchestra. For one night, SRJO brings that vibe to the wonderful sounding room at Benaroya.

https://www.srjo.org/

Regina Carter- Sun Oct 7, 6:00pm/ Triple Door

To say that Regina Carter carries on a great tradition of jazz violinists would be an oversight. The Detroit born violinist was bred in the classical tradition, to the extent of studies with famed practitioners of the instrument such as Yehudi Menuhin, and Itzhak Perlman. While studying at the New England Conservatory, she had a musical revelation and pursued jazz studies.

Carter’s style can more be compared to jazz violin pioneer John Blake than most, but her soulful approach more depicts ties to horn players such as saxophonist Stanley Turrentine and trumpeter Blue Mitchell. She will be joined by longtime collaborators Chris Lightcap (bass), and Alvester Garnett (drums). Pianist Xavier Davis rounds out the quartet.

https://www.earshot.org/event/regina-carter-early-show/

Racer Sessions- Sundays 8-10 PM/ Cafe Racer

The Racer sessions take place each Sunday evening, curated by a different artist each week. The well-regarded sessions were inspired by the UW program led by trailblazing trumpeter Cuong Vu, and have continued to pursue a wide scope of improvisational forms in that spirit. At publishing time, the October sessions had yet to be announced, but visit the website to see the schedule. A must for any jazz fan looking to expand their musical horizons.

http://www.racersessions.com/

Helen Sung- Mon Oct 8, 7:30 PM/ Chapel Performance Space

Pianist Helen Sung is a bit of a latecomer to the world of jazz piano. She has spent her musical life in two distinct worlds, first as an aspiring classical pianist, followed by a stunning conversion to jazz during undergraduate studies at the University of Texas. This lead to graduation from the Thelonious Monk Institute at the New England Conservatory, an unexpected change of direction rooted in her inspired, newly acquired love of the art of jazz.

An evening spent at Austin’s Bass Concert Hall would change her musical horizons entirely, causing her to question everything she had learned up to that point. A friend had invited her to a Harry Connick Jr. concert in the hall, witnessing his piano style in the New Orleans tradition.

“In the middle of that show, he sat down and played some solo jazz piano, and I remember feeling like I had been hit by lightning,” she said. “I didn’t know you were allowed to play the piano like that.”

She continued to open eyes and ears by winning the prestigious Mary Lou Williams Jazz Piano Competition at Kennedy Center, and settled in New York City to subsequently perform with the likes of Ron Carter, Wayne Shorter and Wynton Marsalis.

Sung has released six highly acclaimed albums since, with Anthem For a New Day (Concord, 2014) topping jazz radio charts, and earning her accolades throughout the jazz community. Her deft touch and ability to direct musical imagery with her melody inspired improvisational approach reflects her bridging of the two distinct musical worlds that has been her musical universe from a very young age.

Solo performance brings out the artistry and imagination of a pianist in a very honest way. It exposes the artist’s vulnerabilities and brings to the forefront the nuances of style and grace. Sung has ascended to the heights of that creative space, to the benefit of her ever-increasing audience.

https://www.earshot.org/event/helen-sung/

Amy Denio- Wed Oct 10, 8 PM/ Chapel Performance Space

Saxophonist/vocalist Amy Denio is like a study in musical innovation. She brings her compositions, unique saxophone style and 4-octave voice to the edge of imagination, always finding something original to share with her audience. A prolific composer of over 400 pieces, Denio colors her acoustic output with electronics, creating a rich texture of sounds. For Seattle music fans, Earshot provides the opportunity to discover her profound sense of innovation in a setting that accentuates the experience.

https://www.earshot.org/event/amy-denio/

John Scofield’s Combo 66 Ft. with Gerald Clayton, Vincente Archer, Bill Stewart- Thu Oct 11- Sun Oct 14, 7:30 & 9:30 PM/ Jazz Alley

It what may be the premier performances at Jazz Alley this year, modern jazz guitar icon John Scofield leads a band featuring pianist Gerald Clayton, bassist Vincente Archer and drummer Bill Stewart. To commemorate his 66th year, Scofield has written 12 compositions and formed this all-star combo to perform them.

Scofield’s aesthetic covers a large stylistic canvas, and like a musical chameleon, bobs and weaves through a variety of emotive colors. He expresses himself in a vernacular that includes bebop, jazz-funk, soul, and rock. His performance and recording resume is unparalleled in jazz today, including Miles Davis, Dave Holland, Phil Lesh, Tony Williams, and Joe Henderson, to name but a few.

https://www.jazzalley.com/www-home/artist.jsp?shownum=4944

Greta Matassa “Light Out Of Darkness” Ray Charles Tribute- Fri Oct 12, Sat Oct 13, 7:30 PM/ Tula’s

The great Ray Charles developed his unique craft on the Jackson St. jazz scene in Seattle in the 1940’s and 50’s, setting a standard for jazz and blues vocalists here that continued with Ernestine Anderson, and in current times, with Greta Matassa. It seems appropriate then, that a tribute to Charles should include Matassa, a master of jazz vocals both in terms of narrative and improvised form. Matassa has an innate sense of swing and blues derivative stylings, and possesses an instrument that removes many of the limitations other singers encounter. She is unmatched as an entertainer as well, relating to her audience in a very personal and original way.

http://tulas.com/generalinfo.html

Samantha Boshnack: Seismic Belt- Fri Oct 12, 7:30 PM/ Royal Room

Trumpeter/composer Samantha Boshnack is a musical visionary in a very real sense. Her writing always leads the listener down a visual storyline projected as a musical narrative. Her previous two projects told the heroic story of Nellie Bly, and united the sounds of five continents in five concertos. Festival-goers will witness her latest project, Seismic Belt, a project that interprets life, culture, and cohabitation around the Ring of Fire.

Boshnack wrote the eight-movement piece while in residency at 18th Street Arts through their annual Make Jazz Fellowship in Los Angeles. This is award is sponsored by the Herb Albert Foundation to support promising, emerging composers. Other recipients have included Marquis Hill and Tomeka Reid.

Boshnack’s travels have led to her fascination with volcanoes and the cultures that surround them. “While in residence there, I composed eight movements of Seismic Belt,
a suite about the Ring of Fire, which is located in the basin of the Pacific Ocean. The area is home to most of the world’s volcanoes and hosts many of its earthquakes. Seismic Belt explores the seismic activity along the Ring of Fire, experimenting with the friction of geographic shifts to create a new harmonic topography. This music examines our relationship with the Earth, including the elements of risk and faith in that uneasy cohabitation. Movements of the work draw on influences from some of the cultures and people living on the Ring, in places such as Chile, Japan, Alaska, Iceland, Western Samoa, and Russia,” she explains.

This performance will be the Seattle debut of Seismic Belt and will feature a collection of Seattle based players. Pianist Alex Chadsey has been a mainstay of Boshnack’s projects, as has drummer Max Wood. Saxophonist Chris Credit will play both tenor and baritone saxophones, creating a striking balance with violinist Begin Scarseth and bassist Troy Shiefelbein. Lauren Elizabeth Baba will make the trip up from Los Angeles and join on both violin and viola.

”I debuted the music in two concerts in LA with an all-star LA band I put together. This Earshot concert will be the Seattle debut of Seismic Belt, with an incredible line-up of Seattle musicians and one special guest from my Los Angeles band- Lauren Elizabeth Baba. In March 2019 the live recording of the final LA concert will be released on Orenda Records,” says Boshnack.

While prolific as a composer, and ever imaginative in conceiving her work, Boshnack doesn’t perform live all that often or rather, as often as the jazz community at large would like. In many ways, this performance represents a high water mark for this project, performed in her chosen home city, in the shadow of Tahoma in repose.

https://www.earshot.org/event/samantha-boshnack-seismic-belt/

David Sanborn Quintet- Wed Oct 17, 7:00 & 9:30 PM/ Triple Door

It’s good to see David Sanborn getting back to jazz in recent years, after a prolific period centered more on pop forms that borrowed from the jazz language. While this period garnered 6 Grammys, and 9 gold or platinum albums, his forceful, yet subtle approach seemed to be lost to true jazz aficionados. Sanborn brings a top-shelf band to town featuring uber talented trombonist Wycliffe Gordon, bassist Ben Williams, pianist Andy Ezrin, and drummer Billy Kilson.

https://www.earshot.org/event/david-sanborn-jazz-quintet-early-show/

Frank Catalano Quartet- Fri Oct 19, Sat Oct 20, 7:30 PM/ Tula’s

Tula’s continues a tradition well established in historic Seattle clubs such as the Black & Tan, Parnell’s, The Penthouse, and Jazz Alley (the old club on University Way)- bringing in an international artist and surrounding that artist with top Seattle talent.

Chicago based saxophonist Frank Catalano received an early break in his career, performing with the likes of Miles Davis, Randy Brecker, and Elvin Jones. In Seattle, he will perform with pianist Bill Anschell, bassist Phil Sparks, and drummer D’Vonne Lewis, top-shelf players all. Catalano’s style is a soulful blend leaning towards the blues, and is facilitated by his marvelous technique.

http://tulas.com/generalinfo.html

George Colligan Trio with Buster Williams & Lenny White- Sat Oct 20, 7& 9:30 PM/ Royal Room

Portland-based pianist George Colligan plays with many of the greats, and these shows are no exception, performed in the intimate confines of the Royal Room. Bassist Buster Williams was first introduced to Seattle audiences in 1967, standing in for Ron Carter in the Miles Davis Quintet at the Penthouse in Pioneer Square. His career has been an upward ascent since, as has that of drummer Lenny White. Gaining a stellar reputation with Miles Davis, and Chick Corea’s Return to Forever, White is known as one of the founding fathers of fusion jazz.

Colligan’s energetic style features astounding technique, and ardent musicality. The opportunity to see him in a trio of this quality, in a small venue, is something not to be missed.

https://www.earshot.org/event/george-colligan-buster-williams-lenny-white-trio-late-show/

Tribute to Dave Lewis featuring D’Vonne Lewis and Friends- Sun Oct 21, 8 PM/ Langston Hughes PAC

Drummer/composer/bandleader D’Vonne Lewis is like a whirlwind- seamlessly flowing from project to project, from gig to gig like no other musician in Seattle. While he may be the most in demand player on the Seattle jazz scene, he manages to uphold a standard of artful creativity, as well as a family tradition of musicianship that spans four generations.

Lewis’ grandfather, Dave Lewis, was a transformative figure in the history of music in Seattle, both for his impact as a musician, and as a pioneering force to integrate music in Seattle. On this evening at Langston Hughes Performing Arts Center, his grandson pays tribute to his musical and sociological impact in a very personal way.

The elder Lewis made his mark with an instrumental brand of rock and roll that found its way into west coast dance halls in the 50’s and 60’s. His trademark style on the Hammond B-3 organ produced regional hits such as “Little Green Thing.” and “David’s Mood,” but never received acclaim on a national level. His sound is largely unknown to younger generations. For D’Vonne Lewis, this performance not only aims to bridge that generational gap but provides an avenue for him to express his familial respect and love for his grandfather’s legacy.

While he pays tribute to his grandfather in this setting, Lewis is quick to point out that it was his great grandparents who inspired his grandfather to pursue music. He refers to his great grandfather as “Big Pop.”

“ Big Pop was Dave Lewis. Quincy Jones and Jimi Hendrix would come by the house to take lessons with him,” he says. He continues, “Big Pop is the one that really got it started, gave my grandfather lessons. His mom actually played organ in churches, she was a first call organist, all the churches wanted her to play. He started playing piano and then he heard his mom, and she would give him lessons. He would switch over to organ later.”

Seattle B-3 master Joe Doria will take the elder Lewis’ chair for this performance, joined by guitarist Andy Coe, and Lewis on drums. Special guests are anticipated for this performance set in the very neighborhood that spawned the “Seattle sound” of Dave Lewis. For one evening at Langston Hughes, the musical legacy of the Lewis family takes center stage.

https://www.earshot.org/event/tribute-to-dave-lewis-featuring-dvonne-lewis-trio/

Cuong Vu and Indigo Mist featuring George Garzone- Mon Oct 22, 8 & 9:30 PM/ Royal Room

Pioneering trumpeter Cuong Vu teams with tenor saxophonist George Garzone for an evening of music that will lean towards the experimental side. For this performance, they will be joined by electro/acoustic composer Juan Pampin, trailblazing drummer Ted Poor, and bassist/producer Steve Rodby. Rodby, who recently settled in Seattle, is known for his 30 years alongside Pat Metheny, and has garnished 15 Grammys as a bassist and producer. Blending his talents with Cuong Vu seems like a perfect fit.

https://www.earshot.org/event/cuong-vu-and-indigo-mist-featuring-george-garzone/

David Marriott’s Triskaidekaband- Tue Oct 23, 7:30 PM/ Tula’s

Trombonist/composer/arranger David Marriott continues his residency at Tula’s with this monthly performance of his 13 piece band featuring some of the best talent in Seattle. Band members include Thomas Marriott, Geoff Harper, Rich Cole, and Matt Jorgensen. Marriott, one of the finest practitioners of the trombone in modern jazz, challenges the band with new arrangements each month. This is perhaps the most underappreciated gig in the city, each month delivering a first-rate performance and a must for jazz fans of all persuasions.

http://tulas.com/generalinfo.html

Tom Harrell Quartet- Wed Oct 24, 8 PM/ Seattle Art Museum

If seeing legendary trumpeter Tom Harrell at the acoustically brilliant auditorium at SAM doesn’t motivate you to get out of the house, perhaps the inclusion of new wave Cuban pianist David Virelles will. Harrell always seems to have something new to add to his sound, and the presence of Virelles certainly facilitates that notion. Adam Cruz joins on drums with bassist Ugonna Okegwo.

https://www.earshot.org/event/tom-harrell-quartet/

Jared Hall Quintet- Thur Oct 25, 7:30 PM/ Tula’s

Trumpeter Jared Hall has established himself in the past year as one of the most exciting new additions to the scene in quite some time. His monthly residency at Tula’s continues with Hall toting an all-star quintet to the storied Belltown jazz spot. Saxophonist Mark Taylor is featured, along with drummer/composer Phil Parisot, bassist Michael Glynn, and pianist John Hansen. Hall will perform original material, as well as standards.

Fresh from the release of his album Hallways, Hall plays with beautiful tonality, and expert articulation. His solos reflect his original approach to melodic improvisation. As a bandleader, he brings the best of the Seattle scene to this gig monthly.

http://tulas.com/generalinfo.html

Matt Jorgensen +451- Fri, Sat Oct 26 & 27, 7:30 PM/ Tula’s

In many ways, drummer/composer Matt Jorgensen personifies the sound of Seattle jazz. As a world-class drummer/composer, as well as being a founding cornerstone of Origin Records and the Ballard Jazz Festival, Jorgensen has left a lasting imprint on jazz culture in the Pacific Northwest.

Over two nights, Jorgensen presents the music of his four Origin releases with his band, +451. The sound is a unique blend of the double bass, drums, saxophone, and electric keyboards, interpreting Jorgensen’s original compositions, as well as jazz and rock standards.

For the Friday show, Jorgensen presents the music of the first two +451 records, The Road Begins Here, and Quiet Silence. Seattle jazz legend Marc Seales joins on electric keyboards, with alto saxophonist Rex Gregory, tenor saxophonist Rob Davis and bassist Phil Sparks.

Sparks, himself one of the true greats in Seattle jazz history, returns Saturday to present the music from the third and fourth editions of +451 recordings- Hope, and Another Morning. As is the case with the actual recordings, the overall sound of the band changes significantly with keyboardist Ryan Burns replacing Seales, and Origin recording artists Thomas Marriott, and Mark Taylor joining on trumpet, and saxophone respectively.  The shift in personnel impacts the band to such a degree, that attending both evenings is a viable option, as Jorgensen rarely reunites this band.

The intricate drumming of Jorgensen is reason enough to attend these shows, showing a rare instinct to move a given ensemble in multiple directions as a leader.

http://tulas.com/generalinfo.html

Randy Halberstadt Septet Open Heart CD Release Show- Fri Oct 26, 8 PM/ Poncho Concert Hall

Pianist Randy Halberstadt releases his fifth album as a leader, celebrating on his home turf at Cornish, where he recently retired after an amazing 41 year run mentoring young musicians. Halberstadt convenes a septet of the city’s best, presenting a program of original compositions, jazz gems, and as an added interest, his improvisational interpretation of a Chopin nocturne.

Halberstadt’s longtime Cornish associate, bassist Chuck Deardorf is the granite from which this band is built, accentuated by drummer Adam Kessler and vibraphonist Ben Thomas.

Alto saxophonist Mark Taylor, trombonist David Marriott Jr., and trumpeter/saxophonist Jay Thomas constitute as fine a horn section as one could imagine for this special celebration. All three are noted leaders themselves, with multiple recordings between them both as leaders and side musicians. Jay Thomas bears the unusual distinction of being a first-class player on both trumpet, and saxophone.

https://www.earshot.org/event/randy-halberstadt-septet/

Circuit Rider: Ron Miles, Bill Frisell, Brian Blade / These Hills of Glory String Quartet featuring Beth Fleenor- Sun Oct 28, 8 PM/ Recital Hall at Benaroya Hall

While guitarist Bill Frisell and drummer Brian Blade have enjoyed longtime international acclaim, the genius of trumpeter Ron Miles has flown largely under the radar. Together, this trio has the potential to explode in a multitude of directions on a nightly basis.

The beautiful Wayne Horvitz concerto These Hills of Glory will as well be performed by string quartet, also featuring improvising clarinet soloist Beth Fleenor. The Recital Hall at Benaroya is the perfect venue for this performance. Tickets are available at the Benaroya box office, offering the best prices as well.

https://www.earshot.org/event/circuit-rider-ron-miles-bill-frisell-brian-blade-these-hills-of-glory-string-quartet-featuring-beth-fleenor/

Alex Dugdale Fade Quintet- Tue Oct 30, 7:30 PM/ Langston Hughes PAC

Saxophonist and tap master Alex Dugdale is a unique entity. His blend of talents both as an instrumentalist and tap dancer is unlike anything one might conjure up within the broadest view of the international jazz scene. Though not well known outside of the Pacific Northwest, Dugdale’s energetic, free-flowing style on both tenor and alto saxophones, combined with his artistic interpretation of tap sets him apart as a complete jazz artist.

Dugdale, who has occupied both the second alto, and baritone chairs of the Seattle Repertory Jazz Orchestra, burst onto the scene with his skillful tap interpretation as part of the band’s annual concert featuring Duke Ellington’s Sacred Music. While the Ellington classic is a perfect vehicle for more traditional tap fare, Dugdale has been turning heads applying the art form to hard bop, and post-bop modern rhythms.

Dugdale’s saxophone virtuosity highlights his live performances which engage audiences with his high energy, joyous interpretation of hard bop classics and original compositions.

The core group joining Dugdale for this performance will be the members of Seattle’s 200 Trio. Guitarist Cole Schuster, bassist Greg Feingold, and drummer Max Holmberg bring with them an uncommon, intrinsic chemistry. Schuster has been opening ears on the Seattle scene with his organ trio as well, and delivered a stellar performance as part of the Ballard Jazz Festival’s annual Guitar Summit concert.

Long time piano ace John Hansen adds a refined harmonic and melodic sensibility to the band. A constant on the Seattle jazz scene, Hansen has a great sense of swing, and uncanny ability to unite the variant musical impulses of any performance.

This concert grants Dugdale the opportunity to present his music to the community at large, in a classic setting, with the respect his artistic integrity deserves.  

 

 

 

 

 

 

 

 

 

 

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.

http://tulas.com/generalinfo.html

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.

https://www.jazzalley.com/www-home/artist.jsp?shownum=4941

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.

http://tulas.com/generalinfo.html

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.

http://tulas.com/generalinfo.html 

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.

http://tulas.com/generalinfo.html

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.

http://tulas.com/generalinfo.html

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.

http://tulas.com/generalinfo.html

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.

https://www.jazzalley.com/www-home/artist.jsp?shownum=4950

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.”

https://www.earshot.org/event/art-of-jazz-nathan-breedlove-nu-trio-with-phil-sparks-and-brian-kirk/

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.

http://tulas.com/generalinfo.html

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.

http://tulas.com/generalinfo.html

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.

https://www.jazzalley.com/www-home/artist.jsp?shownum=4942

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.

https://tickets.thetripledoor.net/eventperformances.asp?evt=936

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.

http://tulas.com/generalinfo.html

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 seattlejazzscene.com). 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.

http://tulas.com/generalinfo.html

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.

http://thetripledoor.net/Calendar/Events/Musicquarium-New/September/Happy-Orchestra-Trio.aspx?date=2018-09-22

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.

http://tulas.com/generalinfo.html

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.

https://tickets.thetripledoor.net/eventperformances.asp?evt=1474

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.

https://www.jazzalley.com/www-home/artist.jsp?shownum=4943

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.

http://www.theroyalroomseattle.com/2018-09.php

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.

http://tulas.com/generalinfo.html

 

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.

Friday Jazz

TULA’S JAZZ CLUB: John Coltrane Birthday Celebration featuring Rob Scheps
2214 Second Avenue, 206-443-4221, 7:30pm

JAZZ ALLEY: Monty Alexander with John Clayton and Jeff Hamilton 40th Anniversary Celebration!
2033 6th Ave, 206-441-9729, 7:30 & 10:00pm

TRIPLE DOOR MAINSTAGE: Madeleine Peyroux
TRIPLE DOOR MUSICIQUARIUM: Birch Periera and the Gin Joints; Joe Doria Trio
216 Union Street, Seattle, 206-838-4333

LATONA PUB: Phil Sparks Trio
6423 Latona Avenue NE, 5:00 – 7:00pm, No Cover, 21+

BOXLEY’S: Blues Walk Kick Off Party with Paul Green
101 West North Bend Way, North Bend, WA, 425-292-9307, 7:00pm

SERAFINA: Frank Reynolds Duo
2043 Eastlake Ave E, 206-323-0807, 9:00pm

DUOS LOUNGE: Jeff Ferguson’s Triangular Jazztet
2940 SW Avalon Way, 206-452-2452, 7:30pm

GRAZIE: Michael Powers
23207 Bothell-Everett Hwy, Bothell, 425-402-9600, 7:00pm

VITO’S: Yada Yada Blues Band
927 9th Ave, Seattle, 206-682-2695, 8:00pm

THE ROYAL ROOM: Lache Cercel/ The m9/ The Gypsy Entertainers
5000 Rainier Ave South, Seattle

NORTH CITY BISTRO: Greta Matassa
1520 NE 177th St, Shoreline, 206-365-4447, 8:00pm

SHUGA JAZZ BISTRO: Off The Hook Band
317 Main Avenue South, Renton, 8:30pm

Tonight: Spin Quartet at Tula’s

Chad McCullough’s Spin Quartet is in town tonight performing at Tula’s. The group is finishing up a week-long tour.

Tuesday, September 22 at 7:30pm
THE SPIN QUARTET

TULA’S JAZZ CLUB
2214 Second Ave
Seattle

Chad McCullough – trumpet
Geof Bradfield – saxophone
Clark Sommers – bass
Dana Hall – drums

Check out the Spin Quartet’s music at Origin Records.

Tuesday Jazz

TULA’S JAZZ CLUB: The Spin Quartet featuring Chad McCullough
2214 2nd Ave, 206-443-4221, 7:30pm

JAZZ ALLEY: Kyle Eastwood Band
2033 6th Ave, 206-441-9729, 7:30pm

THE ROYAL ROOM: Jimmie Herrod Sings The Carpenters/ Delvon Lamarr Trio
5000 Rainier Ave South, Seattle, 8:00pm

OWL ‘N THISTLE: Jam w/ Eric Verlinde
808 Post Ave, 206-621-7777, 10:00pm

SEAMONSTER LOUNGE: McTuff
2202 N 45th St, (206) 992-1120, 10:00pm

THE PINK DOOR: Casey MacGill Trio
1919 Post Alley, Seattle, 8:00pm

Friday Jazz

TULA’S JAZZ CLUB: Stephanie Porter Quintet
2214 Second Avenue, 206-443-4221, 7:30pm

JAZZ ALLEY: Hiromi: The Trio Project
2033 6th Ave, 206-441-9729, 7:30 & 10:00pm

LATONA PUB: Phil Sparks Trio
6423 Latona Avenue NE, 5:00 – 7:00pm, No Cover, 21+

BOXLEY’S: Leslie Kolke: Student Showcase
101 West North Bend Way, North Bend, WA, 425-292-9307, 7:00pm

SERAFINA: Tim Kennedy Trio
2043 Eastlake Ave E, 206-323-0807, 9:00pm

DUOS LOUNGE: Jeff Ferguson’s Triangular Jazztet
2940 SW Avalon Way, 206-452-2452, 7:30pm

GRAZIE: Hook Me Up
23207 Bothell-Everett Hwy, Bothell, 425-402-9600, 7:00pm

VITO’S: New Triumph
927 9th Ave, Seattle, 206-682-2695, 8:00pm

THE ROYAL ROOM: Joe Doria Trio / Swindler
5000 Rainier Ave South, Seattle

SEAMONSTER LOUNGE: Funky To Death
2202 N 45th St, (206) 992-1120, 10:00pm

NORTH CITY BISTRO: Elspeth Savani Latin Jazz
1520 NE 177th St, Shoreline, 206-365-4447, 8:00pm

SHUGA JAZZ BISTRO: Peter “2Saxy” Jordan
317 Main Avenue South, Renton, 8:30pm

Eastside Jazz Extravaganza this Saturday

The Eastside Jazz Extravaganza is taking place this Saturday in Bellevue.

Saturday, September 19, 2015
Theatre Resonance At Soma Towers
288 106th Avenue
Bellevue WA 98004

This year they are delighted to present The Seattle Repertory Jazz Orchestra’s own QUINTET, featuring the Co-Leaders Michael Brockman & Clarence Acox, plus Bill Anschell on Piano, Thomas Marriott on Trumpet and Phil Sparks on Bass. Come and hear these magnificent Musicians perform in a Quintet setting in the wonderful new RESONANCE Theatre.

Seattle’s own songstress Stephanie Porter and her group will also be performing at the Extravaganza with Stephanie on vocals, Darrin Clendenin on piano, Dan O’Brien on bass and Steve Yusen on drums. A longtime figure in the Northwest jazz scene, Stephanie is an outstanding jazz vocalist with a clear sultry tone and a bright and appealing stage presence.

From Cooksie Kramer … here are a few details to be aware of:
1. Tickets will be available at the Door. But you should consider booking online to ensure your reservation because seating is limited and going fast.

2. Please arrive early we have a Super Trio performing in the foyer before the Concert at 7 pm, featuring Bob Hammer on the Keys (Bob Has played and arranged for Charles Mingus), Michael Barnett on Bass. (Michael has been Peter Nero’s Bassist for more than 18 years) and of course our own Lionel Kramer on his Yamahas.

3. Another reason for arriving early is that Parking in the building under the Theatre is also limited The first two hours are free, thereafter $2 per hour. However, the garage is monitored. To avoid a ticket, make certain to stop at the parking kiosk after you have parked your vehicle to print a receipt. Enter your stall number, select the appropriate time you anticipate being parked, print the receipt and leave it on the dash of your vehicle. As the Extravaganza will probably run more than 2 hours you will need to pay the extra charge of $2 per hour. There is also street parking beside and around the building

4. Finally another great reason for arriving early is that the Restaurant alongside the Theatre on the same level called La Bu La Authentic Sichuan Restaurant is offering 10% discount on your meal. Simply show your ticket and enjoy a great meal at 10% off!

 

$10 Jazz Alley Special: Louis Hayes and the Cannonball Legacy Band on September 28

Louis Hayes and the Cannonball Legacy Band ft. Vincent Herring, Jeremy Pelt, Rick Germanson and Michael Glynn
September 28, 2015

Dimitriou’s Jazz Alley
2033 6th Avenue
Seattle, WA, 98121

FALL SPECIAL – $10.00 (includes $4.00 service fee)

The Pacific Jazz Institute at Dimitriou’s Jazz Alley welcomes the return of Louis Hayes and the Cannonball Legacy Band for one night only. Band members are Louis Hayes (drums), Vincent Herring (alto sax), Jeremy Pelt (trumpet), Rick Germanson (piano) and Michael Glynn (bass). Show time at 7:30pm, doors open at 6:00pm.

After developing his skills in the fertile musical ground of Detroit in the 1950’s with the likes of Yusef Lateef, Kenny Burrell, Doug Watkins and others, drummer Louis Hayes found himself at the tender age of 18 in New York as a member of the great Horace Silver Quintet. His first recording with Horace, the classic Six Pieces Of Silver would introduce him to the jazz world as a new force to be acknowledge Louis continued to enhance his reputation with Horace from 1956 until 1959 when he joined Cannonball Adderley where he propelled the quintet to joyous musical heights and timeless recordings through 1965. He has had numerous honors and awards, including: The Down Beat New Star Award – 1961, State Of Louisiana Special Recognition Award -1986, State Of Michigan Special Tribute 1996, The Society of the Culturally Concerned Appreciation Award – 1996, Spirit Of Detroit Award -2004, Life Time Achievement Award From Bakers Keyboard Lounge – 2004, United States House Of Representatives Special Tribute – 2004. His current endeavors primarily involve the leadership of The Cannonball Legacy Band, which pays tribute to the gifted art form of that heritage and The Jazz Communicators which is Louis’ desire to continue bringing exciting musical alternatives to audiences around the world. His latest release Live at Cory Weeds’ Cellar Jazz Club (2014) made it to #1 on the Jazz Week Charts for two weeks.

Grammy Award winning saxophonist Vincent Herring has developed into a virtuoso with a voice that is uniquely intense and vigorous with energy and direction. He is considered one of the premier saxophonists of his generation. Vincent first toured Europe and the United States with Lionel Hampton’s big band. As he developed his musicianship he began to work with Nat Adderley a liaison that continued for nine years. In addition to the legends and peers he has worked with Vincent is inspired by a collage of diverse musical influences, which is reflected in his original band called Earth Jazz Agents. Vincent is also involved in Jazz education. He is currently on staff at William Patterson University in New Jersey.

Jeremy Pelt has become one of the preeminent young trumpeters within the world of jazz. Forging a bond with the Mingus Big Band very early on, as his career progressed, Pelt built upon these relationships and many others which eventually lead to collaborations with some of the genre’s greatest masters. These projects include performances and recordings with Cliff Barbaro, Keter Betts, Bobby “Blue” Bland, and many others.

Rick Germanson has been a highly in-demand pianist on the New York City Jazz scene for over a decade. A native of Milwaukee, Wisconsin, Rick moved to New York City on the heels of winning the grand prize at The American Pianists’ Association Jazz Piano Competition in 1996. His accomplishments have garnered much adoration from the media and led to him being chosen as Best of New Talent in 2004 by All About Jazz NYC.

Born in Seattle, Michael Glynn began playing bass at the age of 11. Beginning his jazz studies with former Count Basie and Louis Armstrong bassist Buddy Catlett, Michael starting working professionally while still a student at Garfield High School. Michael graduated summa cum laude with a Bachelor of Arts and Bachelor of Music in Jazz Studies from the University of Washington, where he studied under Doug Miller and Barry Lieberman. He’s performed with jazz legends including Dave Grusin, Benny Green, the Cab Calloway Orchestra and many more.

Thursday Jazz

TULA’S JAZZ CLUB: Fred Hoadley’s Sonando
2214 Second Avenue, 206-443-4221, 7:30pm

JAZZ ALLEY: Hiromi: The Trio Project
2033 6th Ave, 206-441-9729, 7:30 & 10:00pm

BOXLEY’S: Boxley’s Pro-Am Big Band
101 West North Bend Way, North Bend, WA, 425-292-9307, 7:00pm

VITO’S: Brazil Novo
927 9th Ave, Seattle, 206-682-2695, 9:00pm

BARCA: Phil Sparks/Adam Kessler Trio
1510 11th Ave, Seattle, 206-325-8263, 9:00pm

THE ROYAL ROOM: Leni Stern Trio/ Ben Von Wildenhaus
5000 Rainier Ave South, Seattle, 206-906-9920

EGAN’S BALLARD JAM HOUSE:
7pm – Mike Buchman and Steve Wacker
9pm – The Sky is a Suitcase
1707 NW Market Street, Seattle, (206) 789-1621

SHUGGA JAZZ BISTRO: Chris James Quartet
317 Main Avenue South, Renton, 7:30pm

Jazz NW from Vancouver, Seattle, Portland and Port Townsend

Each Sunday, Jazz Northwest presents music by resident and visiting musicians in the Pacific Northwest. This week’s show includes Triology from Vancouver BC, Wayne Horvitz and the Royal Room Music Collective Ensemble, Dave Frishberg from Portland, and New York based saxophonist Steve Wilson playing in downtown Port Townsend during the jazz festival in July. Jazz Northwest airs Sundays at 2 PM on 88.5 KPLU and streams at kplu.org

There’s more, of course, plus our roundup of some of the best bets for live jazz in the coming week. Next Saturday, Steve Griggs presents a new extended work Listen to Seattle featuring the words of Chief Seattle at the Duwamish Longhouse.

Next week on Jazz Northwest (9/27), a full-length concert with the outstanding Brazilian group Trio da Paz, with Romero Lubambo, Nilson Matta, and Duduka Da Fonseca recorded at this summer’s Jazz Port Townsend. Jazz Northwest is recorded and produced by Jim Wilke exclusively for 88.5 KPLU. Programs are archived at http://jazznw.org.