Seattle Jazz Scene: Live Jazz Previews for March

Martin Budde Trio

with Trevor Ford & Evan Woodle

Thu Mar 21, 7:30 PM / Seattle Jazz Fellowship- 109 S. Main St. 

Celebrating the release of his new trio album Backburner, on the Origin / OA2 label, guitarist Martin Budde leads a formidable trio for two sets at SJF. Drummer Evan Woodle would seem the perfect foil here, with his broad ranging style that features shimmering cymbal work. Bassist Trevor Ford has a definitive richness of tone, adventurous spirit and the ability to flat out swing. Things are lined up for the unknown to have interesting properties and open possibilities for an interesting musical journey. 

Budde’s tunes have a folk-like quality to them, stemming from his musical upbringing around the folk and bluegrass scene in his native Alaska. His playing is more John Abercrombie than any folk adventurist however, using that harmonic framework to create open spaces to probe in this wide open trio.  https://seattlejazzfellowship.org/events

Marcus Miller

Thu – Sun Mar 21 – 24, 7:30 & 9:30 PM / Jazz Alley

Bassist Marcus Miller is one of the true titans of the electric bass. With a career that now spans more than four decades, he has stayed on the course of change that was set in motion by his decade-long tenure with Miles Davis in the 1980’s. He has made an indelible mark with his compositional skills as well, penning tunes for records, film and television. No word on the band yet, but safe to assume this will be a fusion performance with a killin’ band. Stay tuned. https://www.jazzalley.com/www-home/artist.jsp?shownum=7511

Photo Credit: Lisa Hagen Glynn

Beserat Tafesse Quartet

with Chris Icasiano, Matt Williams & Michael Glynn

Fri – Sat Mar 22 & 23, 7:30 PM / Seattle Jazz Fellowship- 109 S. Main St. 

It’s been awhile since we’ve seen a trombonist as an out and about bandleader in Seattle. Not since David Marriott’s Triskadekaband have we seen a band fronted by a trombonist as a regular part of the local club scene. It’s been fun watching Beserat Tafesse rise from a mildly tentative, highly trained musician, to a confident, clear voice and an aggressive, active bandleader. His powerful, full sound serves his melody based approach to soloing, utilizing on point long tones and rapid fire bursts. 

Tafesse’s skillset in forming a band seems to be on the rise as well. Bad Luck and Fleet Foxes drummer Christopher Icasiano, Seattle first call bassist Michael Glynn and innovative pianist Matt Williams are so much more than a supporting rhythm section. Each brings a spirit of adventure to the stage, with a full weekend to explore where the quartet can go. https://seattlejazzfellowship.org/events

Photo Credit: Lisa Hagen Glynn

Orrin Evans Trio 

featuring Robert Hurst & Mark Whitfield, Jr. 

Tue Mar 26, 7:30 PM / Seattle Jazz Fellowship- 109 S. Main St. 

Orrin Evans is one of the most noted and influential pianists in jazz over the past twenty years. With fourteen albums released as a leader, he has shown us his artistry via piano trio, quartet and quintet settings, and large ensemble with his Captain Black Big Band. His friendship with trumpeter Thomas Marriott has enabled him to visit Seattle and become a friend of the local scene here. In this trio setting, he teams up with the great Robert Hurst on bass, and sensational young drummer, Mark Whitfield, Jr.

It can’t be overemphasized that to see musicians of this artistry in an intimate space like 109 S. Main is an extraordinary opportunity for Seattle jazz fans. Be sure to get there early to guarantee a spot. There is a cover, and SJF memberships do not apply to this date. https://seattlejazzfellowship.org/events

Photo Credit: Jim Levitt

Jackson Cotugno Quartet

with Tim Kennedy, Stefan Schatz & Paul Gabrielson

Thu Mar 28, 7:30 PM / Seattle Jazz Fellowship- 109 S. Main St.

It has been a lot of fun to see the rise of tenor saxophonist Jackson Cotugno on the Seattle scene. The young tenorist is on a lot of gigs these days, as well as leading his own quartet. Cotugno has benefited greatly from the oral tradition in the music, putting himself in positions to play with the majority of the major voices in Seattle jazz. His sound is old, comping favorably with pre-bop masters like Coleman Hawkins and Ben Webster, but his spirit is adventurous and open minded, more taking cues from post-bop masters. 

Cotugno is building his sound and approach among some of the best players in the city. Pianist Tim Kennedy, bassist Paul Gabrielson and drummer Stefan Schatz are top tier players that set the bar high for him, a challenge he takes on with great verve. The two set evening should be swingin’, and a delve into the adventurous spirit represented by its four participants. https://seattlejazzfellowship.org/events

Omar Sosa Quarteto Americanos

Tue – Wed Mar 27 & 28, 7:30 PM / Jazz Alley

Omar Sosa has been on a fascinating musical journey for quite some time now. He has created his sound by his real life adventures in Cuba, Africa, The United States, and during the pandemic shutdown, Spain. What we haven’t witnessed for thirty years is a tour like the current one, featuring American musicians. San Francisco cats, in bassist  Ernesto Mazar Kindelan, drummer Josh Jones and saxophonist Sheldon Brown join Sosa in a band that features improvisation within jazz, latin and world forms. The performance will feature compositions from earlier in Sosa’s career, when he first arrived in San Francisco in the mid 1990’s. The ensemble more closely resembles a traditional jazz setup than in the recent past, giving newer fans a glimpse into something more experienced fans remember well from when Sosa first crossed the threshold into American jazz. His performances are always all in, honest and emotive.

 https://www.jazzalley.com/www-home/artist.jsp?shownum=7510

Photo Credit: Jim Levitt

Susan Pascal Quartet

with Bill Anschell, Chris Symer & John Bishop

Fri – Sat Mar 29 & 30, 7:30 PM / Seattle Jazz Fellowship- 109 S. Main St. 

Vibraphonist Susan Pascal has been a strong presence in Seattle jazz for quite some time, going back to establishing herself with a lengthy residency at the now shuttered Belltown jazz spot, Tula’s. While being one of the few vibes masters around town, she has always managed to put together outstanding bands. Her status as a strong female bandleader over the past twenty years has served as quantifiable inspiration for up and coming female players. 

Pianist Bill Anschell is a major headliner in the city himself, and has performed with Pascal during the majority of her tenure as a bandleader. Drummer John Bishop is one of the most original percussion masters ever to rise in Seattle. Bassist Chris Symer is an exceptionally musical bassist, always offering melodic input into the mix aside from hanging on to the groove. Pascal’s vibe (pun intended) as a leader is one of equal partnership within the musical conversation. With these four conversationalists, it should be a fascinating narrative. https://seattlejazzfellowship.org/events

Opinion/Editorial: The Time to Act is Now to Support Local Seattle Jazz

“Our mission is to build community, provide access to the mentorship cycle, incentivize excellence and to lower the barriers to access jazz for both performers and listeners.”

This quote from the original mission statement of the Seattle Jazz Fellowship states in no uncertain terms, the focus of the Seattle 401(c) 3 non-profit that has guided its journey from its point of inception in October 2021. This was when the fellowship initiated its “Fellowship Wednesdays” weekly affair at Vermillion Art Bar on Capitol Hill. While the non-profit has engaged in a variety of special events, the Wednesday series has presented live jazz featuring Seattle resident musicians with occasional out of town guests now for more than two years. It has provided a stage for Seattle jazz musicians to perform original music for an appreciative listening audience and be paid respectfully. While only one night a week, it has been a beacon of hope for the Seattle jazz scene that has lost its collective mainstages largely due to gentrification. The business model that guided jazz dinner clubs like the New Orleans Creole Restaurant in Pioneer Square and the iconic Tula’s Jazz Club in Belltown became obsolete. The price tag for the consumer became sky high, while the numbers needed to manage a successful business became impossible. An alternative was needed if the resident jazz scene in Seattle was to survive.

On Tuesday November 21, SJF founder Thomas Marriott announced that the December 6 edition of Fellowship Wednesdays would be the last staged at Vermillion, as the fellowship would be moving into its own space in Pioneer Square beginning in late January of 2024. The venue will be a pop-up affair in the historic Globe building near the intersection of First Avenue and Main St., smack dab in the middle of the neighborhood that not long ago was the heartbeat of Seattle nightlife. Programming will increase to “several” nights a week according to Marriott, increasing employment opportunities for musicians, and live jazz access for listeners. The non-profit’s logical next step is a large one, and will require a significant increase in support from the Seattle music community at large. Most importantly, it will require an “all in” support network from Seattle jazz musicians themselves. In an interview I conducted with Marriott that culminated in an All About Jazz article in February 2022, he stated, “It takes everybody showing up. It takes people getting off the bench and off the sidelines and saying,’I’m going to show up to this person’s gig because it’s good for all of us.’” 

Photo Credit: Jim Levitt

In essence, this is a calling to step up to the plate and hit it out of the park. The time is NOW. What is required is not a burden, but an act of love and respect for jazz music in Seattle, and the artists that provide the sounds. It is a call to the jazz audience to not only support the music with your dollars, but to show up and join in the fellowship and broad sense of community this music provides. 

Photo Credit: Lisa Hagen Glynn

You can purchase a membership using the link below. If your personal income allows you to make a donation beyond standard membership, now is the time to do so. If your working life puts you in contact with personal and/or corporate entities that are possibly willing to support this venture, now is the time to begin that conversation. We can create something beautiful and long-lasting if we so wish–it’s up to us as a community. Do we want local, fair paying gigs in an inclusive environment that welcomes the public without typical financial barriers to access? The answer is definitely yes. It is now officially in our hands.

Buy a membership, volunteer your time, make a donation, show up–this is what is required of you. The exploding moment we have all been waiting for is here. Nobody is going to show up and be the savior of the local Seattle jazz scene–we are collectively just that. Marriott has set the foundation. It’s “go time” to take it from there and build our community. https://seattlejazzfellowship.org/membership

Photo Credit: Jim Levitt
Photo Credit: Lisa Hagen Glynn
Photo Credit: Jim Levitt

In Pictures: Thomas Marriott Quartet at the 2023 Earshot Jazz Festival

The Seattle based trumpeter hits hard with George Colligan, Eric Revis and Roy McCurdy

Photographs from Jim Levitt

Thomas Marriott photo: Jim Levitt

Seattle trumpet star Thomas Marriott made his return to the Earshot Jazz Festival in 2023, clearly on his own terms. While the festival focused mainly on artists outside of the mainstream of modern jazz, Marriott layed it down on no uncertain terms that this evening would be innovative within form, a post-bop adventure featuring some of the hardest hitting jazz artists on the national scene.

While I cannot provide the sounds of the eighty minute set for you, I can present the beautiful work of veteran jazz photographer Jim Levitt to provide a context of the energy emanating from the stage at The Forum at Town Hall Seattle on the evening of October 12, 2023. I have chosen not to review the concert in words, which as you can imagine would include accolade after accolade. The images describe the essence of the powerful performance in ways that words simply cannot.

The band Marriott put together for this performance is emblematic of the work he has done over the past few years. Bassist Eric Revis appeared on his 2022 release, Live From the Heatdome, and perfectly fits into the paradigm of the trumpeter’s current “musical state of mind.” With a quarter century behind him with the Branford Marsalis Quartet and a long history as a composer/bandleader, Revis shares a common vision with Marriott of musical adventurism within the context of modern jazz. Pianist George Colligan is known on an international scale as the pianist of ensembles led by Jack DeJohnette, Ravi Coltrane, John Scofield and others. The Portland based musician has been a frequent visitor to the Seattle scene in general, including several other iterations of Marriott’s quartet/quintet projects. Drummer Roy McCurdy has spent extended periods of time touring and recording with Cannonball Adderly, Sonny Rollins and a slew of historic others. At eighty six years of age he is a wonder, engaged fully in his hard driving, swinging style that can explode in the moment, or drift into sublime subtlety. The quartet brought to light Marriott’s artistry, both in terms of creative spirit and ardent virtuosity. Enjoy these images and allow them to serve as motivation to not only witness live jazz, but to be an active participant in the energy, power and spirit of the music!

Many thanks to the uber talented, uber dedicated Jim Levitt. His images continue to bring to life the grace and fire of the Seattle jazz scene!

Pianist George Colligan
The quartet
The great Roy McCurdy
Bassist Eric Revis
Trumpeter Thomas Marriott muted
Thomas Marriott and Roy McCurdy
Pianist George Colligan and bassist Eric Revis
Thomas Marriott mans the flugelhorn for “Front Row Family”
Thomas Marriott and Roy McCurdy
Trumpeter Thomas Marriott, bassist Eric Revis and drummer Roy McCurdy
George Colligan
Thomas Marriott Quartet
L to R: George Colligan, Eric Revis, Thomas Marriott, Roy McCurdy

In Photos: Maria Schneider Orchestra at Town Hall Seattle

Photo Credit: Jim Levitt

When the Covid-10 pandemic shut down the world as we know it in the spring of 2020, the jazz scene in Seattle retreated into isolation, including dates that would have seen top touring bands appear in the city. Perhaps most notable of these missing dates was the Earshot Jazz presentation of the seven time Grammy winning Maria Schneider Orchestra, slated to appear in the Great Hall at Town Hall Seattle. It served then, as a large measure of social healing when the orchestra at last appeared in the historic hall on February 28, 2023, some three years delayed by the hundred year pandemic. An enthusiastic house of seven hundred patrons greeted the full New York ensemble, led by NEA Jazz Master, Maria Schneider, herself.

While hosting jazz legend is not a foreign entity to the city of Seattle, the receivership of the entirety of an eighteen member ensemble such as this is a rarity indeed. The price tag for a national tour of a large ensemble of this magnitude is indeed high, making such a phenomena practically non-existent. With Earshot picking up the tab, the Seattle audience needed to do its share by purchasing tickets, which in fact, it did. The stage was set for a historic evening that seemed to arrive at the perfect time, hastening our recovery from post-pandemic lethargy.

Schneider led the band through her highly visual compositions, including those on her Pulitzer nominated most recent release, Data Lords, and her pastoral masterpiece, The Thompson Fields. The band roster was full of some of the genre’s most notable stars, most of whom have been constants in Schneider’s band for more than a decade. The band in full: Saxophones: Rich Perry (tenor), Dave Pietro (alto), Steve Wilson (alto), Donny McCaslin (tenor), Scott Robinson (bari); Trombones: Ryan Keberle, Keigth O’Quinn, Marshall Gilges, George Flynn (bass); Trumpets: Mike Rodriguez, Greg Gisbert, Michael Dudley, Nadje Noordhuis; Accordion: Julien Labro; Guitar: Ben Monder; Piano: Gary Versace; Bass: Jay Anderson; Drums: Johnathan Blake; Sound Engineer: Fred Vogler.

Captured vividly by ace stage photogs Jim Levitt and Lisa Hagen Glynn, one can almost hear Schneider’s highly visual melodies emanating from the images. Many thanks to Jim and Lisa for generously and graciously lending us their time and talents. While many decades of Seattle’s vibrant jazz history is shrouded in mystery in lacking photographic documentation, the current era of Seattle jazz bears no such distinction. Jim and Lisa seem to be everywhere, and at the same time, respectfully hidden in the shadows of a performance. They have perfected the art of non-intrusion as far as the audience is concerned. Their colorful and emotive images add a dimension to written documentation of the scene that brings the events and characters of subject to vivid life. If you attended the concert, allow these images to refresh your memory. If unable to attend, witness some of the energy and beauty that filled the Great Hall on this one, very special evening.

Drummer Jonathan Blake (Jim Levitt)
Steve Wilson (Clarinet), Donny McCaslin (tenor saxophone)- (Jim Levitt)
Guitarist Ben Monder (Jim Levitt)
Baritone Saxophonist Scott Robinson (Jim Levitt)
Saxophonist Steve Wilson on soprano (Jim Levitt)
Photo Credit: Jim Levitt
Rich Perry tenor solo (Jim Levitt)
The rhythm section- Julien Labro (acordion), Ben Monder (guitar), Johnathan Blake (drums), Jay Anderson (bass). (Jim Levitt)
The Maria Schneider Orchestra (Jim Levitt)
Maria Schneider (Jim Levitt)
Trumpeter  Nadje Noordhuis (Jim Levitt)
Steve Wilson soprano solo (Jim Levitt)
Donny McCaslin and Maria Schneider (Jim Levitt)
Pianist Gary Versace (Jim Levitt)
Maria Schneider (Jim Levitt)
Trombonist Ryan Keberle (Jim Levitt)
Ryan Keberle solo (Jim Levitt)
Trombonist Marshall Gilges (Lisa Hagen Glynn)
Acordionist Julien Labro (Lisa Hagen Glynn)
Maria Schneider (Lisa Hagen Glynn)
Saxophone section: L to R- Dave Pietro, Steve Wilson, Donny McCaslin, Scott Robinson (Lisa Hagen Glynn)
All eyes on the director (Lisa Hagen Glynn)
Alto saxophonist Dave Pietro (Lisa Hagen Glynn)
Maria Schneider (Lisa Hagen Glynn)
The Maria Schneider Orchestra at Town Hall. Best shot of the lot! (Lisa Hagen Glynn)
Alto saxophone master, Steve Wilson (Lisa Hagen Glynn)
Drummer Johnathan Blake (Lisa Hagen Glynn)
Pianist Gary Versace (Lisa Hagen Glynn)
Guitarist Ben Monder (Lisa Hagen Glynn)
Maria Schneider and Earshot director, John Gilbreath (Jim Levitt)

Thomas Marriott Album Release: “Live From the Heatdome”

The Thomas Marriott Quartet featuring Orrin Evans, Essiet Essiet and Mark Whitfield, Jr. play to a full house at Jazz Alley

Photo Credit: Jim Levitt

Night after night, week after week, jazz performances take place in the city of Seattle that inspire the local jazz community. They take place in clubs, dive bars, theaters and concert halls, featuring national and international jazz artists as well as prominent resident artists from the dynamic Seattle jazz scene. On occasion, an individual jazz performance serves as a signpost of things to come. The September 26 performance of the Thomas Marriott Quartet at Jazz Alley was all of the above. Marriott had assembled a stellar quartet to celebrate the release of his fourteenth album as a leader, Live From the Heatdome (Imani, 2022).

The stage at Jazz Alley has seen the best of the best since its opening in 1980 as an intimate bistro in the University District. For the first six years of the club, it was common to see an artist of international prominence perform with a supporting cast of Seattle jazzers such as Chuck Deardorf, Dean Hodges, Marc Seales and Jerry Granelli among others. After moving to its more spacious digs downtown in 1986, full touring bands were and are featured, with Seattle based performances becoming less common. Over the years, there have been periods when Monday nights were reserved for the local scene, either in the form of an individual artist’s show, or a jam session that featured top Seattle players such as Hadley Caliman and Don Lanphere. Taking on Marriott’s album release was a rarity that needed support from the Seattle jazz community. That support was received in abundance with the club nearly full house. 

Photo Credit: Jim Levitt

Marriott has had a musical connection with Philadelphia based pianist Orrin Evans since a chance meeting at a jazz festival in Idaho over a decade ago. Live From the Heat Dome is the fourth release from the trumpeter that features Evans. His appearance, along with legendary bassist Essiet Essiet and sensational drummer Mark Whitfield, Jr., gave the performance a huge kickstart, with Marriott delivering a top flight performance of original tunes and a triad of well chosen standards. 

The quartet started with Marriott’s “Tale of Debauchery,” extracted from his Urban Folklore (Origin, 2014) album that featured Evans on piano. On this evening, it served as a vehicle for Marriott to find his sound and cadence, serving up a long solo that began with longer tones and finished with a flurry of rapid fire runs. Evans, Essiet and Whitfield were immediately playful with the tune, something that would continue throughout the ninety minute set in plenitud. 

Orrin Evans and Thomas Marriott. Photo Credit: Jim Levitt

“Front Row Family,” an ode to Marriott’s uber-supportive family over the years, was a mood changer that featured his ultra refined trumpet tonality that served as a warm invite for the audience to join in the intimacy of the moment. Essiet’s solo was a telltale sign of his unique artistry, his exquisite sound framing intricate passages and chordal brilliance. Marriott for his part appeared to be just getting started, not quite unleashing the hounds, so to speak. 

“Mo-Joe,” Marriott’s homage to vibraphonist Joe Locke pushed the set forward into an uptempo, swinging foray into his post-bop, modernist leanings. His solo and that of Evans were telltale statements of their deep connection to the blues and the swing rhythm that defines the Black American art form they so ably express. Just as strongly, Evans launched into a quiet, beautifully harmonic intro to Marriott’s “Chick’s Lullaby,” serving as a beautiful interlude of quiet focus and meditative thought. In a tune dedicated to his wife, Marriott’s muted soliloquy was embracingly romantic and had a magical impact on the audience, roping them into the emotional aspect of the performance.

Photo Credit: Jim Levitt

Essiet’s thunderous intro to Wayne Shorter’s “General Assembly,” served as a passageway to melodic freedom for the quartet, with Marriott’s searing solo setting the bar high for his positively respondent bandmates. Evans has always had a percussive aspect to his playing that has supplied a degree of separation between him and the majority of pianists in modern jazz. His solo seemed to ignite Whitfield on drums, whose focused intensity and supportive dynamics were unabashedly a highlight of the entire performance. In essence, Shorter’s thunderous composition seemed to light the fuse for the next few tunes. Easing into Vernon Duke’s classic, “I Can’t Get Started,” the quartet seemed to settle into a comfortable place with Evan’s playfully daring solo and Essiet’s beautifully pensive offering leading the way. 

Jazz great Julian Priester stageside at Jazz Alley Photo Credit: Jim Levitt

“The Joint Chiefs,” which appears on Live From the Heatdome, and “Both Sides of the Fence,” the title track from Marriott’s 2007 release, operated at an elevated degree of intensity and featured Whitfield’s spirited playing. Marriott and Evans exchanged glancing blows back and forth with the young drummer, the spirited response of the near capacity crowd seemingly lifting the roof off the place. The finale, Duke Ellington’s “Things Ain’t What They Used to Be,” was a fitting ending for the band, wrapping up their fourth consecutive night on a high. The foursome had spent two nights at Frankie’s in Vancouver, followed by a night in Bellingham. They had earned their repose. 

Thomas Marriott Photo Credit: Jim Levitt

Jazz Alley has never been much of a “hang” spot after a gig since the U District days when it was all of that. This evening was an exception, with an audience that represented a broad cross-section of the Seattle jazz community. It seemed everyone wanted a piece of the trumpeter, a prime indicator of the love and respect that Marriott inspires in his home town. With community elders like Julian Priester, Jim Wilkie and Marvin Thomas in the room and many of the city’s prominent jazz musicians as well, the respect factor was plainly evident. As far as the love factor, that was something felt upon entering the room, was elevated by the performance, and expressed with warm embraces post-show. For anyone that has spent any amount of time on the Seattle jazz scene, and at Jazz Alley in particular, this was a beautiful and welcoming sight. Let’s hope it portends to a re-ignited relationship between Seattle’s best jazz musicians, and its city’s most renowned stage. 

On the hang: Thomas Marriott, Lisa Chick, Orrin Evans. Photo Credit: Jim Levitt

Seattle Jazz Fellowship Presents: Orrin Evans & The Captain Black Big Band

“While the nonprofit has been acknowledged for providing a place for the resident Seattle jazz to thrive, it is equally important to note the Fellowship’s work in caring for the music itself.”

The Seattle Jazz Fellowship, a 501(c)(3) nonprofit founded by trumpeter Thomas Marriott, was created in response to the loss of viable jazz stages showcasing the vibrant resident jazz scene in Seattle. While local jazz musicians and fans alike mourned the downfall of longtime resident haunts such as the New Orleans club and Tula’s Jazz Club, Marriott and a supportive group of like-minded community members sought an alternative to the traditional jazz supper club personified by the aforementioned institutions. Gentrification of the downtown core of the city had driven rents to such a level that sustaining a club that could also serve as a community hub had become difficult at best. Food and liquor sales became the life blood of these attempts, driving up the price of access to jazz fans, while wages for musicians hung at early 1980’s levels. Worse yet, musicians had to rely on the door or ticket receipts to be paid at all. Like many jazz scenes around the country not based in New York City, the best musicians had to leave town to have any hope of earning a living as a professional jazz musician. The story of the Seattle Jazz Fellowship (SJF) and its guiding principles first appeared in All About Jazz in February, 2022, in the article Seattle Jazz Fellowship: A New Beginning For Live Resident Jazz . To continue reading, click here https://www.allaboutjazz.com/seattle-jazz-fellowship-presents-orrin-evans-and-the-captain-black-big-band-captain-black-big-band

Seattle Jazz Fellowship’s Saturday Jazz Matinee

The jazz non-profit hits it out of the park presenting piano great George Cables and his trio, with the Fellowship ‘Ceptet

Photo Credit: Lisa Hagen Glynn



Trumpeter and Seattle Jazz Fellowship founder Thomas Marriott is always on the lookout to bring to life ideas that further the goals of the Fellowship. The principle of lowering barriers to access was practiced in booking The George Cables Trio alongside the non-profit’s Fellowship ‘Ceptet for a 1 PM jazz matinee, a promotional risk of sorts. The Saturday tilt would allow more students to attend, as well as families. Then there are those that are reticent about venturing out at night, when most of the music takes place on the Seattle jazz scene, or for that matter, any local jazz scene. 

The show was made possible by a generous donation from Bob and Sue Frause, friends of Marriott’s late parents David and Helen Marriott. The Marriotts were hugely influential in their support for jazz in Seattle, and the Frause family wanted to both support the Fellowship and memorialize David and Helen in some way. Cables was a favorite of theirs, and a dear friend. There was never any doubt as to who their son wanted to bring in to perform. Cables would add drummer Jerome Jennings from New York, and Seattle jazz legend Chuck Deardorf on bass, a long-time friend. Marriott decided to include a key mentorship project of the Seattle Jazz Fellowship in the billing–the Marriott led Fellowship ‘Ceptet.

Photo Credit: Jim Levitt

“We decided to include the ‘Ceptet in the event and to keep the price of the ticket down (and make it early) so we could use the event to further our goals of building community, increasing mentorship, incentivizing excellence and lowering barriers to access,” says Marriott.

The 1 PM start turned out to be agreeable to the Seattle jazz public, as the room filled to capacity in anticipation of two superb sets. The sun washed through the club’s windows looking out onto Rainier Ave, shadows cast across the room seldom seen before by patrons more accustomed to the club’s typical late night persona. The crowd was decidedly cross-generational, with families and students not normally associated with evening sessions at the club in attendance. They came for the music, as the Royal Room itself was not quite accustomed to an afternoon happening. The kitchen was closed, and one bartender was left to attend to the needs of a full house.

Photo Credit: Jim Levitt

The Fellowship “Ceptet opened, featuring a line-up that spoke well to the non-profit’s premise. Marriott, along with drummer John Bishop, pianist Marc Seales and alto saxophonist Mark Taylor are four of the finest jazz musicians to emerge from the Seattle scene historically. Tenor saxophonist Jackson Cotugno, trombonist Beserat Tafesse and bassist Grace Kaste represented the new wave of jazz artistry in the city, with Kaste still a senior at Roosevelt HIgh School. All three would demonstrate to the audience that their inclusion was merited in terms of artistic facility. 

The band played a selection of Marriott originals, and a cover of Thelonious Monk’s “Ask Me Now.” Throughout the seven tunes selected, the band offered crisp arrangements and imaginative soloing. Immediately noticeable was the rhythm section, with Seattle stalwarts Bishop and Seales working seamlessly with Kaste. Kaste performed with the refinement and elegance of a veteran, much to the delight of Deardorf, her mentor since the age of thirteen in attendance. The front line responded to the strong vibe in the room with fire, queued by Marriott’s leadership, and most importantly his brilliant solo work. Taylor, who has been somewhat invisible the past few years from live performance in Seattle, played beautifully, with his trademark, original style on alto. Cotugno continued a somewhat meteoric visibility on the Seattle scene offering a modern approach, with a pre-bop sound that speaks to Ben Webster. Tafesse, who has been ever-present post-pandemic at area jam sessions, was in a way introduced to the jazz public at large, providing harmonic depth and spirited soloing. 

Photo Credit: Jim Levitt

The set had a dynamic arc from start to finish. opening with “Fellowship Blues,” and delving into Marriott’s “Human Spirit,” and O.D.A.A.T (One Day at a Time). The Monk interlude was lush and spacious. It stood out in terms of arrangement, featuring a commonality between Marriott and his saxophone counterparts in Taylor and Cotugno–all three produce a rich tonality that fares well in moments of intensity, or those of melancholy. By the time the band arrived at Marriott’s “Stupor in D,” and “The Tale of Debauchery,” they had found a connective spirit that resonated well with an audience that was pleasingly dialed in. 

Pianist Cables at 78 years of age, still not only performs at a high and inspired level, but maintains the prowess he has demonstrated throughout his career without any signs of slowing down. His playing is crisp, brilliantly articulated and radiating with the joy that is an integral part of his personality both on and off the bandstand. 

The trio offered in depth interpretations of Wayne Shorter’s “Speak No Evil,” and Bill Strayhorn’s gorgeous “Lotus Flower,” with Cable’s playing accented perfectly by Deardorf’s seemingly effortless style. Jennings played as though delighted to be in the presence of the two jazz elders he would converse with over the ninety minute set. 

Photo Credit: Jim Levitt
Photo Credit: Jim Levitt

The standards “Too Close For Comfort,” and “Who Can I Turn Too” brought the audience to Cables’ romantic side, perhaps prepping them emotionally for his two originals he silently dedicated to his late wife. “Song For Helen,” and “My Muse” brought more than melancholy to the audience. Cables’ lush harmonies and sweeping, melodic runs spoke to fond remembrance, joy and gratitude. It reminded the attentive audience that they were in the company of one of the true giants of jazz music. The elders in the audience could think back to seeing the master as a sideman with the likes of Dexter Gordon and Art Pepper. With that, came the realization that Cables had joined the two saxophone icons as a true master of the form. His graciousness and humility was a true gift to the younger members of the audience, many of them musicians themselves. As young bassist Kaste learned on the bandstand, and many of her contemporaries witnessed in the audience, true mentorship and the process of paying dues in this music is done in the presence of the masters of the form. For this one afternoon, those lessons were communicated with unusual clarity. 

Photo Credit: Jim Levitt

The matinee portends good things for SJF, for what is to come down the road. With their weekly “Fellowship Wednesdays” commencing on April 20, the non-profit moves front and center in support of the resident jazz scene in Seattle. 


Seattle Jazz Fellowship Photo Gallery: Alex Claffy Quintet and The Fellowship ‘Ceptet at the Royal Room

The Seattle Jazz Fellowship, the city’s 501 (c) (3) jazz non-profit, has taken a hiatus from their weekly dates at Vermillion until April 20, when the Wednesday night program will re-ignite for another six week run. In the meantime, the organization founded by Thomas Marriott has turned its focus to presenting performances featuring the Fellowship ‘Ceptet, a rotating gathering of the best of the Seattle jazz scene. The seven piece ensemble opened for New York based bassist Alex Claffy and his quintet on Tuesday, February 8 at the Royal Room in Columbia City. 

The ‘Ceptet performed compositions by trumpeter Marriott, along with a Thelonious Monk classic. Marriott was joined by a front line of altoist Alex Dugdale, tenorist Jackson Cotugno and trombonist David Marriott, Jr.. Pianist Marina Albero, bassist Trevor Ford and drummer D’Vonne Lewis held down the rhythm section.

Claffy’s quintet featured Portland born and raised tenorist Nicole Glover, and trumpeter Benny Benack III. The New York based band was all in on the hang in Seattle as well, attending both the Monday night jam at the Royal Room, and the Tuesday night jam at the Owl ‘n Thistle. 

Photographers Jim Levitt and Lisa Hagen Glynn were there to document the event with their stellar photographic skill sets. Enjoy the results! To further explore the goings on with the Seattle Jazz Fellowship, visit their website at https://seattlejazzfellowship.org/

Photo Credit:
Lisa Hagen Glynn
Photo Credit: Lisa Hagen Glynn
Saxophonist Jackson Cotugno
Photo Credit:
Lisa Hagen Glynn
l to r: Alex Dugdale, Thomas Marriott, Jackson Cotugno, David Marriott
Photo Credit: Lisa Hagen Glynn
l to r: Nicole Glover, Alex Claffy
Photo Credit:
Lisa Hagen Glynn
Bassist Alex Claffy
Photo Credit:
Lisa Hagen Glynn
pianist Marina Albero
Photo Credit: Lisa Hagen Glynn
Trunmpeter Benny Benack III
Photo Credit:
Lisa Hagen Glynn
Photo Credit:
Lisa Hagen Glynn
Guest drummer Ted Poor
Photo Credit:
Jim Levitt
Drummer D’Vonne Lewis
Photo Credit: Jim Levitt
Pianist Marina Albero
Photo Credit:
Jim Levitt
Trumpeter and SJF founder Thomas Marriott

Jazz Returns to Seattle’s Central District: Two Evenings of Black Brilliance

Giveton Gelin                                                          Lisa Hagen Glynn photo

There is a miracle on the corner of 12th Avenue and Jackson St. in what is now Seattle’s “Little Saigon.” In what was a traditional African American and Jewish community before the influx of Vietnamese, Cambodian and Laotian immigrants after the war in Southeast Asia in the early 1980’s, this urban crossroads was the main pulse of an integrated nightclub scene in the 1930’s, ’40s and ’50s that featured dozens of late-night jazz clubs that not only housed the city’s thriving African American musicians, but attracted many musicians after hours from their respective gigs Downtown that featured only white audiences. 

A fully integrated jazz nightclub scene was a rarity on a national scale, perhaps only fully realized along Jackson Street in Seattle, and Central Avenue in Los Angeles. The respective scenes attracted Black musicians from the Jim Crow south, in search of work and the ability to achieve artistry untethered by the tyranny experienced in southern music cities such as Atlanta, Memphis and New Orleans. Even Jelly Roll Morton lived a spell in Seattle, as early as 1919. Neither prohibition, nor the Great Depression could cap the enthusiasm of the city’s bottle clubs along Jackson Street, many of which were operated by Black entrepreneurs. The most notable of these club owners was E. Russell “Noodles” Smith, who along with partner Burr “Blackie” Williams would operate the legendary Black and Tan nightclub in the basement of the aforementioned “miracle” on the corner of 12th and Jackson. In 1920, they opened The Entertainers Club in the upstairs portion of the building, and the late night Alhambra club in the basement. The downstairs nightspot then was renamed the Black and Tan, noted for its integrated, black and white clientele. Smith had arrived in Seattle in 1909, and had a sharp eye for business. With the town rife with cash from the shipyards and lumber mills following the Great War, Jackson Street was able to withstand the onslaught of prohibition, and later as mentioned, the Great Depression. To continue reading, click this link
https://www.allaboutjazz.com/jazz-returns-to-seattles-central-district-two-evenings-of-black-brilliance-immanuel-wilkins




Seattle Jazz Fellowship: One Small Step at Vermillion, One Giant Step for the Seattle Jazz Scene

Xavier Lecouturier Group performs at the first Seattle Jazz Fellowship “Fellowship Wednesday” event, at Vermillion Art Bar.Matt Williams, vibes;Noah Halpern, trumpet;Martin Budde, guitar;Dylan Hayes, piano;Xavier Lecouturier, drums;  Jinm Levitt photo

History and historical change happens incrementally. An able writer could expound exponentially about the life changes that added up to Louis Armstrong being the first great messenger of jazz music, step by step, before ever mentioning Duke Ellington. In the history of jazz in Seattle, one evening last week has the huge potential of being the first incremental phase of live, local jazz moving forward in the new jazz century, in such a way that allows more meaningful access for the fans, and a creative outlet for artists that compensates them fairly. It has the potential of uniting in a meaningful way, the musicians of this very social art form, and the patrons that support it. For those patrons, it as well allows them to put their hard earned dollars more directly into the musician’s pockets, impacting the creative process in such a way that positively leads to innovation in the music itself. For those of us who love the music, and see it as an integral part of our lives and culture, October 20, 2021 is the date where a giant step was taken towards a goal of vibrance and stability for the Seattle jazz scene. It was the first live incarnation of the Seattle Jazz Fellowship, and its weekly affair at Vermillion on Capitol Hill.

Trumpeter Thomas Marriott welcomes the audience to the first “Fellowship Wednesday” at Vermillion Art Bar, on behalf of the Seattle Jazz Fellowship. Jim Levitt photo

Trumpeter Thomas Marriott, one of the most impactful jazz musicians in recent Seattle memory, has envisioned a movement like this for a number of years. During the deepest, darkest days of the Covid-19 pandemic, he put his ideas on paper, effectively charting the future for post-pandemic, live, resident jazz in Seattle. With the eventual goal being a five night a week venture in a permanent home, the Seattle Jazz Fellowship has taken its first incremental step towards that goal, forming a Wednesday night partnership with Vermillion, an art gallery and bar that has mainly hosted music from the city’s avant-garde and improvised music community. Marriott purchased a piano and a PA system, and began operations in Vermillion’s brick lined digs. The room is quite vibrant acoustically, and the music was able to take place without electronic assistance with the exception of light amplification for bass and electric keyboards. The piano was not mic’d. 

The Marc Seales Group opens the first Seattle Jazz Fellowship “Fellowship Wednesday” event, at Vermillion Art Bar. Thomas Marriott, trumpet; Marc Seales, keyboards; Chuck Deardorf, bass; Gary Hobbs, drums;

As a 501(c)3 non-profit, the fellowship cannot charge a cover, but has a twenty dollar suggested donation that includes two sets of music from the best Seattle jazz has to offer. The programming however, actually starts in the afternoon at 5 PM, with a free listening event designed for students and jazz fans alike. Historic trombonist and jazz icon, Julian Priester, spends an hour playing albums he appears on, and discusses the historical aspects of that recording. Mr. Priester has appeared on albums and toured with Max Roach, Abbey Lincoln, John Coltrane, Sun Ra, Herbie Hancock, Duke Ellington and more. His own records on ECM and Riverside will be explored as well. 

On his first go-around, Priester played and expounded on his 1960 Riverside date, Keep Swingin’, and shared wonderful stories about his time with such greats as Roach, Lincoln, and Tommy Flanagan. To sit in a quiet room, talking about a session that took place over sixty years ago with one of the participants was magical, an opportunity not to be missed. Unfortunately, the audience consisted of twenty six musicians, and not a single high school student. The hope is certainly that students will begin to take advantage of this rare opportunity to share time with Priester.

Gary Hiobbs (d), Chuck Deardorf (b)        Jim Levitt photo

At 7 PM, the club opened officially for an hour of hang time prior to the first set. Vermillion had been shuttered since the beginning of the pandemic, and it took a little work to create the space the event required. Many familiar faces checked in, as well as many new, young faces, all covered in masks. Vaccination ID was checked at the door, adding a layer of social comfort to the event. 

Xavier Lecouturier         Jim Levitt photo

From the first note, the room was resonant, the sound projecting out of the bar, and down the long corridor that is the art gallery. People walking through the front door could hear the acoustical brilliance of the room, with the piano of Marc Seales coloring the sound with gorgeous voicings. Drummer Gary Hobbs, up from Portland for the evening, chimed in at first, and then dug in, being his usual swinging self. So appropriately, bassist Chuck Deardorf was on the gig, and sounding better than ever, literally. Deardorf has been a first-call musician in this town since the early seventies, playing often at clubs like the original Jazz Alley in the U District, Parnell’s, The Rainbow and the Pioneer Banque, all of which are swept away into the dustbin of history. Marriott’s trumpet sound was in perfect tune with the physical aspects of the room, his resonant tone rising and projecting immensely. The quartet was in perfect tune with the human vibe in the room, as fifty people filled the tiny, brick lined digs at the Capitol Hill club. 

Noah Halpern                           Jim Levitt photo

A short break between sets provided more time for people to enjoy the fellowship of community, in many cases, greeting long time friends not seen since the pandemic shut down live music eighteen months ago. The diversity of the crowd itself was stunning in terms of age–being so indicative of the long term multi-generational nature of jazz scenes around the globe. Those attracted are not done so by generational trends, or corporatized marketing. The music is the thing, the appreciation of beauty, the immersion into something that elevates us emotionally and spiritually. There were no expensive dinners to buy, no craft cocktails required. Hungry patrons took advantage of Mario’s across the street. Vermillion owner Diana Adams provided drinks and friendly service. It was obvious she was there for the art, the music itself, just as everyone else in her bar. 

Xavier Lecouturier (d), Matt Williams (v), Noah Halpern (t)

Drummer/composer Xavier Lecouturier led his quartet the second set, a bassless ensemble that morphed into a quintet with the last minute addition of trumpeter Noah Halpern. Some of the usual suspects were on the gig, with Meridian Odyssey bandmates Martin Budde (guitar), and Dylan Hayes (piano, keyboards). Vibraphonist Matt Williams, known more prominently as a pianist, but as well highly skilled on vibes, completed the band. With the bassline maintained collectively by Hayes, Budde and Halpern, soloists were free to explore with less visible and audible parameters, creating a unique, orchestral sound. Halpern’s ardent tonality was rich and warm, giving the evening an extraoridinary two trumpet hit. Budde’s playing was free, probing yet thoughtful, as his evolution continues to unfold before us. Lecouturier acted as a leader should, often kicking rhe music in another direction with his confident playing that embraces the entirety of the jazz tradition. Noticeable of course, was like the audience, the group of musicians playing that evening spanned four generations. If you include Priester into the mix, there was sixty five years of separation between the most highly regarded elder, and the youngest player on the gig. There is beauty and value in that beyond measure. 

Guitarist Martin Budde                          Jim Levitt photo

The Seattle Jazz Fellowship could not have hoped for a better result the first time out of the gate. The evening was competing with the Earshot Jazz Festival and Jazz Alley, and received an audience that was attentive, mature, joyous, engaged and aware of the value of masking and being vaccinated. The music was thrilling, the vibe generous and positive and our hosts at Vermillion, kind, helpful and all in on the music.

Gary Hobbs (d), Thomas Marriott (t)

The Seattle Jazz Fellowship offers a weekly opportunity to show your support for local Seattle jazz, hear vibrant and important music and gather in fellowship with friends. Best of all, it won’t cost you half your weekly paycheck to attend. It is an organization for the music, and the community that embraces it. Musicians and patrons alike are equal partners in this most social music. October 20, 2021, mark it down. It is step one of a journey that very well could determine the future of the Seattle jazz scene. https://seattlejazzfellowship.org/


Live Review: East-West Trumpet Summit at Meydenbauer Center Theatre- Oct 9, 2021

Lisa Hagen Glynn photo

Two trumpet quintets in jazz are rare, historically and presently. The alliances most commonly mentioned are the bop era tandem of Fats Navarro and Howard McGhee and their post-bop descendents, Freddie Hubbard and Woody Shaw. The individual players in both these pairings had similar qualities in terms of style and approach.

Ray Vega                   Lisa Hagen Glynn photo

The pairing of Bronx born trumpeter Ray Vega, and his younger partner, Seattle’s Thomas MarriottT, as well have their musical commonalities. It is where the differences lie between the two that provides the intrigue around their recordings and live performances.The age-old belief that the east coast version of jazz is commonly more intense, and the west coast approach more laid back, has not been completely eradicated by modern travel, and in recent times, social media. Vega’s move from the Bronx and New York City to Burlington, Vermont has certainly redefined the “east” portion of the equation, while Marriott is now suddenly the more urban of the two, residing in the city of Seattle. Musical styles aside, the true story of this historic pairing has much more to do with friendship, with mentorship, and a long time friendship and bond that has seen Vega name his youngest son after Marriott. A little background therefore, is necessary to be able to appreciate the magnitude of this latest meeting in Seattle, performing at the Bellevue Blues and Jazz Festival. To continue reading, click on this link:https://www.allaboutjazz.com/east-west-trumpet-summit-at-meydenbauer-center-theatre-thomas-marriott-and-ray-vega

Thomas Marriott              Lisa Hagen Glynn photo
Roy McCurdy                         Lisa Hagen Glynn photo
Lisa Hagen Glynn photo
L to R- Thomas Marriott, Ray Vega                    Lisa Hagen Glynn photo
L to R- Ray Vega, Orrin Evans, Thomas Marriott
Roy McCurdy, Michael Glynn                        Lisa Hagen Glynn photo
The rhythm section- Orrin Evans, Roy McCurdy, Michael Glynn
L to R- Orrin Evans, Thomas Marriott, Michael Glynn, Ray Vega, Roy McCurdy

A Night On the Town with The Delvon Lamarr Organ Trio

DLO 3 on stage with friends at Jazz Alley. Photo Credit: Lisa Hagen Glynn


The stage at the esteemed Seattle jazz club, Dimitriou’s Jazz Alley, holds special meaning for local musicians who are brought up through the traditions of the city’s historically vibrant jazz scene. The majority of the performers who grace the Belltown nightspot’s hallowed podium are national and international touring artists, who over the years have included Dexter Gordon, Art Blakey and the Jazz Messengers, Chick Corea, Branford Marsalis, Betty Carter and Cecile McLorin Salvant to mention but a few. On occasion, the club has set aside nights for its resident jazz elite, including the great Ernestine Anderson.

Delvon Lamarr at Jazz Alley. Photo Credit: Lisa Hagen Glynn

Before the worldwide pandemic brought the live performance world to a screeching halt, Jazz Alley began featuring resident artists on Monday nights (the reference to ‘resident’ artists as opposed to ‘local’ was inspired by Seattle jazz great Julian Priester, who explained that the term local could be interpreted as pedestrian). With live music at the club re-igniting in the summer of 2021, the club decided to take a chance on Seattle’s best, booking Thomas Marriott, Greta Matassa, Marc Seales and Ari Joshua with positive results both in terms of performance and attendance. It was quite striking to see a full club in on every note for Seattle veteran pianist Seales for example, with a band that featured Seattleites Marriott and Jeff Johnson. 

The Seattle based Delvon Lamarr Organ Trio took to the Jazz Alley stage to begin a two night, sold out engagement on August 24th, a Tuesday evening with a full house on hand. Many in the audience were about to experience live music for the first time since the pandemic induced shutdown. There was a sense of rejuvenation, of celebration in the room, as Lamarr escorted his mother, brother and sister in law to their table suspended over the stage in the front of the balcony. The soulful R&B and blues guitarist Jimmy James was his usual sharp witted and comical self. “Do you know how to tell if someone is not from Seattle,” he quipped. “When they ask how to get on THE five!” James is all south end Seattle, just as Lamarr’s roots run deep in the Emerald City. New drummer Dan Weiss, who hails from Reno, was getting a full dose of the immensity of the moment, of his Seattle bandmates about to take stage on the city’s most prestigious jazz precipice. The trio had enjoyed a degree of commercial success prior to the shutdown, and had drawn well in their previous visit to the club. 

DLO3 at jazz Alley. Photo Credit: Lisa Hagen Glynn

Seattle’s reputation of being a remote and unique cultural outpost is perhaps a bit outdated in its modern incarnation, but nonetheless steeped in historical accuracy. When Jazz Alley opened, it would often feature a national touring artist accompanied by Seattle musicians. In the seventies and eighties, it was common to see such Seattle stalwarts as Chuck Deardorf and Dean Hodges manning the rhythm section for notables like Kenny Burrell or Mose Allison. The resident artists could be found full time at clubs like The New Orleans, or Tula’s beginning in the nineties. But headliners at the old Jazz Alley on University Way, or the current Belltown location, were clearly the exception, not the rule.

Lamarr is what some might refer to as a “natural” musician, one that has an innate understanding of music as a base point for his personal musical progression. In middle school, he came to play in the band by chance, by clearly showing his teacher and mentor Sam Chambliss his ability. 

“One day I saw a horn on the floor, and didn’t even know what it was. I told Mr. Chambliss, ‘I can play that.’ He said, ‘Good, I’ll put you in band.’ It was a baritone horn. I picked it up and played it naturally right away. I couldn’t read music, so I would just copy the person next to me. Whatever they played, I played,” he recalls. 

Lamarr settled on B-3 after playing drums in the band of Seattle B-3 master, Joe Doria. A year of simply observing his bandleader from behind the kit, allowed him to casually sit down and play the complex instrument.

“I had been watching Joe play it for a year, and literally sat down and played it like I had been playing it my whole life,” says Lamarr.

Lamarr was, and is, a jazz first musician no matter what musical tradition he employs. There is an intuitive eclecticism about his art that transcends form. The influences of his first love, R&B and soul, speaks through his music as well. Taking those elements of his musical personality, and creating a concept that not only would be sufficiently expressive for a genius musician like Lamarr, and as well supply ample opportunity to make a living, eventually became the domain of Amy Novo, Lamarr’s wife, life partner and manager. 

“She literally owns DLO3,” exclaimed Lamarr from the Jazz Alley stage that night. “She came up with the idea, and made it happen in every way. I just have to play music.”

Novo worked tirelessly, while her husband created music that would land them with the esteemed Kurland Agency. They found an audience that, like the music, transcended genre. The potent recipe of jazz, rhythm and blues and rock pulled in a sizable crowd that enabled the band to play venues like the Blue Note in New York, worldwide festivals and of course, Seattle’s Jazz Alley. Guitarist James provided the punch that incorporated that which encompasses all of Lamarr’s stylistic indulgences- the blues. The band’s sound has been represented well on the studio albums Close But No Cigar (Colemine, 2018) and I Told You So (Colemine,2021) for Colemine Records, and the live offering Live at KEXP (Colemine, 2018). 

Guitarist Jimmy James and drummer Dan Weiss at Jazz Alley with DLO3. Photo Credit: Lisa Hagen Glynn

That “sound” has a historical lineage, perhaps unknown to Lamarr at the beginning stages of the band’s development. In the fifties and sixties, Seattle Hammond B-3 artist Dave Lewis had a multitude of hit records with what was being referred to at the time as the “Seattle Sound.” It was instrumental, organ based music, that had markings of  jazz, rhythm and blues and the hybrid form taking hold of the airwaves in those days– rock and roll. Lewis’ band would eventually have a huge impact sociologically by playing north end gigs that were the exclusive domain of white bands. This would put an end to musical segregation in the city, which included separate unions for white and black musicians. The unity exhibited by late night jam sessions on Jackson St., now had legal and ethical legitimacy by practice among venue owners. The “sound” would have an impact on Seattle jazz, as well as artists in all blues based styles, including Jimi Hendrix. DLO3 has received a large degree of popularity and commercial success with their own unique organ based sound, that much like Lewis’ combo, is an open door for guest artists to enter and leave their mark. It is a style that is constantly in motion and inviting new musical notions. Whether performing for a sit down audience at Jazz Alley, or accommodating a dance crowd, the band has the unique ability to satisfy multiple audiences, a luxury seldom afforded by jazz artists. 

Lamarr’s solo work, and his minimalist comping style, are unmistakingly tied to his roots as a jazz musician. His dual persona in a way, is like an artistic aperture allowing the entire blues tradition into the mix. So much is the same, so much is different. “When I play DLO3 music versus swinging jazz, the approach is completely different. I intertwine the soul with jazz and make sense of it,” he explains. It is not, however, groove dance music, no matter how thick and comfortable drummer Weiss makes that pocket seem. Lamarr’s thought processes arrive musically from the jazz lexicon, smothered in blues based soul and funk. “It’s undeniable that music is better when it speaks to somebody’s soul instead of just hearing a beat,” he points out. 

The trio’s open door welcomed in India Arie bassist Khari Simmons, and Polyrhythmic’s guitarist Ben Bloom on this Tuesday evening engagement in Seattle. Relieved of bass line duties, Lamarr is able to ascend as a soloist to new heights, and for two tunes, as a vocalist. Until this opening night in Seattle, Lamarr had never dared to sing in public. He soulfully rendered two new compositions to accommodate this new, very personal revelation. “No Walk in the Park,” and “Can’t Win For Losing,” unmasked the organist’s inner creative sanctum, leaving himself completely vulnerable to an audience that included family, long time friends and some of the city’s top music scribes. That comfortable vibe, that which one feels when surrounded by loved ones, by being home, gathered all the loose ends of the evening into one, enlightened space. The jovial nonchalance of Lamarr’s outward personality, and his deep, soul searching inner musical self came to a singular state of being. This wasn’t another ordinary stop on a long tour–it was Seattle, it was Jazz Alley, this was about neighborhood and being home.

Delvon Lamarr at the Owl jam session. 8/24/21

The afternoon preceding DLO3’s opener at Jazz Alley, Lamar and Novo set up a B-3 at the Owl ‘n Thistle, an Irish dive bar in Seattle’s Pioneer Square, with intentions of returning after the Jazz Alley hit to attend a weekly jam session that has taken place at the Owl for more than two decades. The jam is the social focal point of the Seattle jazz scene, and where Lamarr would come to match his chops with the best players in town. In those days, the young Lamarr would play trumpet and drums at the session. Two weeks prior, he had dropped in at the Owl after a gig at Woodland Park, with Novo and Simmons in tow. He played drums a bit, but mostly just enjoyed the hang tremendously. He realized how shut in socially he could be, between touring and ultimately, due to Covid-19. Knowing that he would be playing the house B-3 at Jazz Alley, he set up his own equipment at the Owl, and arrived around 10 PM, just as the house band led by pianist Eric Verlinde was finishing up its set. The trio played a few tunes for the jam packed (pun intended) audience in the small, brick lined room. Soon, Lamarr was at the organ with a rapidly changing cast of musicians at the open session, clearly enjoying himself. While Lamarr is an affable sort, his normal positive self seemed to play into a state of heightened joy and repose. Novo as well sported a look of knowing she was in the right place at the right time. Normally a whirlwind during a gig, dealing with the business portion of the band, she as well could just revel in the sense of normalcy, of fellowship and community, that was so clearly at hand. 

DLO 3 plays the Owl jam session, after their opening night set at Jazz Alley 8/24/21 Photo Credit: Lisa Hagen Glynn

Of course, the evening would end with Lamarr and Novo once again loading one hulk of a musical instrument into their van. There was another night at Jazz Alley to traverse, and whatever else comes literally down the road as things slowly return to normal. There is the uncertainty of the Delta variant, of course, yet over two nights at their city’s most esteemed club, every seat is full, every audience member engaged and content. There is hope in the air, that we will rise above a two year pandemic hiatus, and find our stride musically, and inevitably, socially.

Drummer Dan Weiss in the pocket at Jazz Alley with DLO3 Photo Credit: Lisa Hagen Glynn


A single evening saw the Delvon Lamarr Organ Trio in front of a full house, and then immersed in the hang, that which in the end really matters. A return to normalcy means so much more than audience being reunited with artist. Rising above the fray of a worldwide pandemic, that place where none of us had ever resided, is more about being reunited with each other. Of feeling that embrace. On one Tuesday evening in Seattle, the Delvon Lamarr Organ Trio and family felt the embrace that only home can bring. —Paul Rauch

Photo Review: Marc Seales Quintet at Jazz Alley- 8/17/2021

Pianist Marc Seales. Lisa Hagen Glynn photo

One of the recent positive marks on the Seattle jazz scene is that Jazz Alley, the city’s premier spot for touring acts, has been featuring some resident artists. The shows have been well attended, featuring iconic Seattle artists such as Greta Matassa, Marc Seales, Thomas Marriott and Delvon Lamarr. 

The Seattle jazz community has been well documented in recent years photographically, thanks in large part to veteran jazz photog, Jim Levitt. Long known for his work for the Ballard Jazz Festival, Seattle Repertory Jazz Orchestra and Jazz Port Townsend, Levitt can often be found at a gig near you. He may be hiding behind a curtain, or slithering along the ground like a shutterbug snake. He may find the empty chair at your table, taking a few shots before disappearing again, toting his stuffed to the gills bag of camera equipment. 

Levitt has mentored the next gen photog on the scene, Lisa Hagen Glynn, who as well can often be found working around stages and audiences in several genres of the city music scene, most notably the jazz world where she typically resides. Her initial interest in photographing jazz performances came by attending gigs played by her husband, Seattle first call bassist, Michael Glynn. She has a unique, perhaps innate sense of the moment, often catching musicians at the height of their emotional arc. Her remarkable ability to seem almost invisible, yet find superior angles to shoot, makes her work stand out much in the way of her mentor. Many thanks to Jim and Lisa for bringing the music to life in pictures. 

L to R- guitarist Jesse Seales, drummer Moyes Lucas, bassist Jeff Johnson, pianist Marc Seales and trumpeter Thomas Marriott. Lisa Hagen Glynn photo’

The tall stranger- bassist Jeff Johnson. Lisa Hagen Glynn photo


Thomas Marriott on flugelhorn. Lisa Hagen Glynn photo

Marc Seales and Thomas Marriott. Jim Levitt photo

Jeff Johnson and Marc Seales. Jim Levitt photo

The always expressive Marc Seales. Jim Levitt photo

Drummer Moyes Lucas. Lisa Hagen Glynn photo.


Guitarist Jesse Seales and drummer Moyes Lucas. Lisa Hagen Glynn photo

Marc Seales Quintet at Jazz Alley

All eyes on the leader. Jim Levitt photo


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.

 

Steve Wilson at Tula’s – July 17-18

Tula’s Jazz Club is proud to announce that they will be presenting New York saxophonist Steve Wilson two nights, Friday – Saturday, July 17-18. Make your reservations now to hear this group in the intimate setting at Tula’s Jazz Club (Reservations: 206-443-4221).

Joining Wilson will be an all-start Northwest group featuring Thomas Marriott (trumpet) , Marc Seales (piano), Michael Glynn (bass) and Matt Jorgensen (drums).

JULY 17-18: STEVE WILSON QUINTET
TULA’S JAZZ CLUB
2214 Second Ave
Seattle

Reservations: 206-443-4221
http://tulas.com

About Steve Wilson:
Steve Wilson has attained ubiquitous status in the studio and on the stage with the greatest names in jazz, as well as critical acclaim as a bandleader in his own right. A musician’s musician, Wilson has brought his distinctive sound to more than 100 recordings led by such celebrated and wide-ranging artists as Chick Corea, George Duke, Michael Brecker, Dave Holland, Dianne Reeves, Bill Bruford, Gerald Wilson, Maria Schneider, Joe Henderson, Charlie Byrd, Karrin Allyson, Don Byron, James Williams, and Mulgrew Miller among many others. Wilson has seven recordings under his own name, leading and collaborating with such stellar musicians as Carl Allen, Steve Nelson, Cyrus Chestnut, Greg Hutchinson, Dennis Irwin, James Genus, Larry Grenadier, Ray Drummond, Ben Riley, and Nicholas Payton.

Jason Parker Quartet’s “Homegrown”– CD Release Party March 23rd

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“Homegrown,” the new CD from the Jason Parker Quartet, is a celebration of contemporary Seattle jazz. The recording features original compositions from some of the area’s top artists and reflects the depth of riches in the Seattle jazz community. The release party for “Homegrown,” is scheduled for Monday, March 23rd at Tula’s. Music starts at 7:30pm.

Shortly after release of the band’s previous CD, “Five Leaves Left: A Tribute to Nick Drake,” trumpeter Jason Parker put a call out to local musicians, inviting them to contribute original songs for a new project. The response was enthusiastic – 16 artists submitted – and resulted in this ten-track collection that showcases the compositional talents of Thomas Marriott, Cynthia Mullis, Marc Seales, Jeremy Jones, Josh Rawlings, Troy Kendrick, the late Hadley Caliman and Parker. The recording highlights the diverse sensibilities of its contributors, from the dulcet swing of Parker’s “One Perfect Rose” to the pensive dreamscape of Seale’s “Rue Cler,” and is bolstered by the band’s steady and nuanced performances. Personnel for the CD includes the Jason Parker Quartet, with Josh Rawlings on piano, Evan Flory-Barnes on bass, D’Vonne Lewis on drums and Parker on trumpet, and also special guest Cynthia Mullis on tenor saxophone.

In addition to music from “Homegrown,” the March 23rd performance will also include selections from “Five Leaves Left: A Tribute to Nick Drake,” featuring guest vocalist Michele Khazak. Admission to the show is “pay-what-you-want,” and the first set is all-ages. For reservations, call 206- 443-4221. To purchase the CD, please visit: www.oneworkingmusician.com.

On The Scene with Howard Londner: Three groups at The Royal Room

On The Scene with Howard LonderJanuary 13, 2013
Three Bands (or musical groups) at the Royal Room.

Storm D’Angelo’s All Star Big Band
Storm D’Angelo – tenor sax, bass clarinet
Rubin Hohlbein – trumpet
John Otten – trumpet
David Klein – baritone sax
Lise Ramaley – bass
Daniel Arthur – piano
Quinn Anex-Ries – alto sax, clarinet
Noah Halpern – trumpet
Adam Shimabakuro – guitar
Kenzo Perron – drums
Porter Jones – trombone
Logan Pendergrass – bass trombone

Some of Roosevelt High’s finest, these kids are just great!

They could be tighter (how perfect were you in high school?), so what! These kids played great, were a lot of fun.
Support the kids… they’re doing something positive!

I was especially impressed with, Mr Hohlbein, Mr Arthur, Ms Anex-Ries, and Mr Jones. If Mr Storm D’Angelo was a baseball player he’d be like Ken Griffey Jr. This kid is killer! He composes, plays great, and leads the band with a poise and grace and talent well beyond his years. You better be listening to these kids now, before they head off to NY.

This was the first band of the night, the last band was …

Nelda Swiggett Stringtet
Nelda Swigett – piano, voice, composer
Rachel Swerdlow – viola
Walter Gray – cello
Chris Symer – bass
Byron Vannoy – drums

Tonight’s performance was a tune-up for a CD they will be recording soon.

All the compositions were originals by Ms Swiggett, who played piano and sang well. All the tunes were pleasant, enjoyable.
Ms Swerdlow and Mr Gray are from the Seattle Symphony, so I’ll just shut up about them and you listen. Mr Symer played a great solo bowing (keep bowing, man, it sounds great.). Mr Vannoy and D’vonne Lewis both remind me of my favorite drummer, Ed Blackwell. Byron always has impecable time keeping, and always makes great statements concisely, that is, he doesn’t need a lot of flash and jive, he just plays the right amount of notes the right way! (Byron was my drum teacher, ’till he fired me because I was a lousy drummer and a lousier student.)

The band has a blend of third stream music with a touch of Stephan Grappelli.

The large group of musicians playing between these two bands call themselves Scrape.

Mostly classiacal folks, with jazz’s own Chris Symer on bass, and Gregg Belisle-Chi on guitar. Exquisite harmonies, interesting compositions (these aren’t quick little ditties). All of the compostions except two were by local jazz trumpeter, educator, and composer, the great Jim Knapp. If you want to hear classical music without paying the high ticket prices classical music usually charges … come see this band. A couple of drinks and a donation, and you’ll still be money ahead.

Thank you to all the musicians and composers tonight.
Thank you.

Shout Out: Jazz Now! Seattle

By Katy Bourne

It is with great enthusiasm that I send a virtual high five and a holler out to Seattle jazz musicians Jason Parker and Dave Marriott for their spanking new podcast Jazz Now! Seattle. Jazz Now! Seattle is a weekly podcast that features music from local artists in the Seattle community. The mission of the podcast is twofold: (1) To put the spotlight on Seattle musicians and their projects and to help publicize their performances. (2) To present the thriving Seattle jazz scene to the rest of the world. Now in its fifth week, Jazz Now! Seattle has already been downloaded 1000 times

Jason and Dave are working jazz musicians and both have backgrounds in broadcasting. Jason is a trumpeter, blogger, bandleader and one half of the production and booking company J & J Music. Jason worked in radio for several years and is the former musical director for KMTT radio in Seattle. He is an occasional guest host on KPLU. Dave is an award-winning trombonist and plays with a variety of groups including the Seattle Repertory Jazz Orchestra, the Emerald City Jazz Orchestra and his own band Septology. Dave was also the force behind the “original” Seattle jazz podcast “Seattle JazzScene.” Jason and Dave combine their experience and knowledge with sheer enthusiasm to create podcasts that offer a unique view of Seattle jazz. They highlight music from “every corner of the jazz spectrum in Seattle.”  So far, the podcasts have included a wide-range of music from artists such as Richard Cole, Wayne Horvitz, Matt Jorgenson, McTuff, Zubatto Syndicate, Gail Pettis, Nelda Swiggett and many, many more. The podcasts are presently focused on artists that are appearing in the Earshot Jazz Festival, which runs until November 7th. In Dave’s words, “We’re both fans of the scene that we’re a part of.”

Jason and Dave record new episodes every Monday and spend the rest of the week editing and also going through music for future podcasts. For two musicians who already have their hands in numerous other ventures, their efforts on behalf of the local scene are amazing. While it would be easier to stay focused solely on their own pursuits, Jason and Dave choose to cheer on other artists and help them get attention for their music. Jason and Dave are true ambassadors for Seattle jazz, and our community is all the better for it. If you haven’t already, I highly recommend checking out Jazz Now! Seattle. While you’re at it, maybe send a message of thanks to Jason and Dave for their time, work and generosity. They deserve it.

“We’ve figured out a way to make something that’s going to be a good contribution.”
– Dave Marriott

For more information, visit: http://jazznowseattle.com/

Weekend of Rising Stars at Bake’s Place

Trumpeter Riley Mulherkar and vocalist Siobhan Brugger are the featured performers for “A Weekend of Rising Stars,” which takes place July 16 & 17 at Bake’s Place.

The Pacific Northwest is home to some of the most outstanding high school jazz programs in the country and has long been the starting point for some of the brightest musicians and vocalists entering the national jazz scene today. In recognition of the wealth of emergent talent in our own backyard, Bake’s is dedicated to supporting these new artists and providing them an opportunity to perform. “We are excited about the talent of these up and coming young people,” says owner Craig Baker. This weekend marks the first of what will be a regular series at Bake’s.

Trumpeter Riley Mulherkar graduated in June from Garfield High School, where he was a member of the prestigious Garfield Jazz band. The band recently took top honors at the Essentially Ellington Competition in New York, and Mulherkar was named the Ella Fitzgerald Outstanding Soloist. Over the past few years, Mulherkar has received numerous awards and accolades, including being recognized as an “outstanding soloist” in DownBeat magazine’s 30th Annual Student Musician Awards. Mulherkar will be attending the Julliard School of Music in the fall. Joining Riley on the bandstand will be Gus Carns on piano, Carmen Rothwell on bass, Zach Para on drums and Carl Majeau on tenor sax. Riley and his band will be performing on July 16.

Siobhan Brugger has been singing jazz standards since she was 12 years old and has appeared at jazz clubs in Edinburgh, Scotland and Kobe, Japan. She has received numerous accolades including:winner of the 2009 Downbeat Magazine Best High School Jazz Vocalist, two –time winner of the “Outstanding Alto Soloist” award at the Lionel Hampton jazz Festival, winner of the student division of the Seattle-Kobe Jazz Vocalist competition, selection for the 2008 All-State Jazz Choir and also a two-time finalist for the Gibson/Baldwin Grammy Jazz Festival. She is a longtime student of Greta Matassa and her performed at such great venues as Dimitriou’s Jazz Alley and Bake’s Place. Siobhan is presently a student at USC, where she is continuing her education in jazz studies. Siobhan’s band features Devon Yesberger on piano, Chris Copland on drums, Colleen Gilligan on bass and Daniel Hipke on guitar. Siobhan will be appearing on July 17.

For both of these performances, dinner service starts at 6pm and the show starts at 7:45pm. For reservations, please call 425-391-3335 or send an email to [email protected]. For more information, please visit www.bakesplace.org.

Bad Monkey Bistro: Live Jazz in South Lake Union


Situated between the glittering high rises of the downtown core and the busy waters of Lake Union, the South Lake Union neighborhood is Seattle’s new mecca for contemporary urban living. With all the hustle and bustle there, it is the perfect location for a spanking new live music venue; welcome the Bad Monkey Bistro

Last Friday, my teenage son Emmett and I dropped by to check things out. We had just come from the last day performances of the University of Washington jazz workshop and were looking to grab a bite to eat. The room was popping with activity and felt immediately inviting. We landed during happy hour; the bar was full of cheerful, chatting patrons, and a pianist was playing away in the dining room, where we were seated.

The layout of the space allows it to successfully accommodate both sports fans and music lovers; this is certainly not easy to do, and many establishments fail at this particular kind of multi-tasking. As you walk in, there is a sports bar with high tables and stools to the immediate right. Straight on is the dining room with traditional tables and chairs and also the piano. Adjacent to the bar is an enclosed room-the “Socialing Lounge”- with leather chairs and a fireplace. On the other side of the bar is an area with a pool table. Both the bar and the Socialing Lounge have large, flat screen TV’s, which were turned on but with the sound muted. I appreciated the respect shown to Martin Ross, who happened to be the pianist working that set. Although the bar was very busy, it in no way detracted from the music. I felt like the balance was well executed. Hats off to Bad Monkey for that.

The musical setting at the Bad Monkey is a combination of piano bar and jazz joint. The glass top on the table with surrounding stools certainly indicates the former. Martin Ross played a variety of music from “Popsicle Toes” to Tom Wait’s boozy anthem “My Piano Has Been Drinking.” While we were having dinner, a trio of giggling women came in and sat around the piano. Ross engaged them accordingly, mixing song with playful banter. Bad Monkey has live music a few nights a week. They have two sets; a 4-7pm set for happy hour and an 8-11pm set for the dinner service. In addition to solo piano, they present jazz combos from a variety of genres, with or without vocalists, depending on the particular group.

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The owners of the Bad Monkey Bistro are Daniel Poe Gale and Christopher Williams. Even though he was clearly busy taking care of customers, Daniel kindly took a few minutes to chat it up with us. He told us a little bit about the history of the building, which used to be an office for a paper manufacturing company. When they were remodeling the space, they used much of the original wood, especially in the bar area. We talked a little bit about the music; Daniel is clearly a piano aficionado and is very enthusiastic about the potential of the room and about musical things to come. (Sidebar: It came up in the conversation that Emmett plays guitar and performs with his own jazz group. Daniel offered him a gig on the spot. I found his openness surprising yet refreshing.) There is no question that he is committed to creating a welcoming scene for live jazz at the Bad Monkey. You gotta love that.

Our dinner was yummy. I had the smoked salmon pasta, which was creamy and smooth and full of lightly cooked, fresh vegetables. Emmett had the calamari stuffed with artichoke, garlic and crab, which he gobbled up in mere minutes. Our waitress was sweet and laid back. The Bad Monkey experience is probably best done when you’re in the mood to kick back, relax and hang awhile. The vibe seems to lend itself to that, and that’s just fine.

The Bad Monkey Bistro is located at 400 Boren Ave. N., Seattle, WA 98109, on the corner of Boren and Harrison. Please note that it can be slightly tricky to find because there are actually two Boren Avenues that run parallel to each other. Construction in the area can add to the confusion. However, don’t let this dissuade for one minute. There are directions on the website (http://www.badmonkeybistro.com/), and once you arrive, there is plenty of available street parking. The Bad Money Bistro is open daily from 10am to 2am, serving lunch, dinner and late night bites. There is a happy hour menu as well. Phone is 206-467-1111.

By Katy Bourne