Featured Jazz Performances For February

Jazz in Seattle in the month of February is Tula’s/Jazz Alley- centric. Tula’s, in eliminating some of its Sunday big band dates has upped their game to a six night a week calendar of stellar performances. Jazz Alley has taken a respite from their fill-the-seats R&B mindset, and is serving up a heaping serving of live jazz reminiscent of its jazz roots in the community. Don’t stop here- find something new to enjoy each month, and dig the opportunities a jazz fan has in Seattle this month!

Ashlin Parker Quintet with Rex Gregory, Matt Jorgensen, Dan Kramlich, and Greg Feingold- Fri Feb 1, 7:30 PM/ Tula’s

New Orleans trumpeter Ashlin Parker comes to Tula’s and reunites with saxophonist Rex Gregory, himself a New Orleans transplant currently living in Seattle. Parker is a regular with legendary New Orleans musicians Ellis Marsalis, Jason Marsalis and Nicholas Payton. Drummer/composer Matt Jorgensen, pianist Dan Kramlich, and bassist Greg Feingold round out this stellar quintet.  http://tulas.com/generalinfo.html

Sara Gazarek + Horns- Seattle Only New Album Preview- Fri, Sat, Sun Feb 1,2,3- 7:30 PM/ Jazz Alley

Seattle’s own Sara Gazarek returns home to Jazz Alley to perform music from her highly anticipated nwe release, Thirsty Ghost. She will as well feature her arrangements of classics from the Great American Songbook.https://www.jazzalley.com/www-home/artist.jsp?shownum=5012

Bill Anschell Standards Trio with Jeff Johnson & D’Vonne Lewis- Sat Feb 2, 7:30 PM/ Tula’s

Three of Seattle’s top musicians convene for an evening of spontaneous improvisation, led by pianist Bill Anschell. Anschell does not work from a playlist, so the band must listen and interpret on the spot. Jeff Johnson is one of the great trio bassists in the history of the genre, while D’Vonne Lewis is one of the most intuitive and original drummers on the scene today. The intimate listening environment of Tula’s fits this trio perfectly. http://tulas.com/generalinfo.html


Rex Gregory Sextet with Johnaye Kendrick- Wed Feb 6, 7:30 PM/ Tula’s

Saxophonist Rex Gregory has burst on to the scene in Seattle over the past year after relocating from New Orleans. He makes his debut as as leader at Tula’s, convening a top shelf band to do so. Johnaye Kendrick, an acquaintance from her time in New Orleans joins Gregory, reason in itself to attend this debut performance. Trumpeter Jared Hall adds an eclectic element, as does bass stylist Chris Symer. Pianist Gus Carns, and drummer/composer Xavier Lecouturier have been leading a surge of fine young musicians entering the fray here in Seattle over the past few years. This is a can’t miss night at Tula’shttp://tulas.com/generalinfo.html

Overton Berry & Bruce Phares- Thu Feb 7, 7:30 PM/ Tula’s

Pianist Overton Berry has been thrilling jazz fans in Seattle since his time as musical director of the ‘62 World’s Fair. His association with bassist Bruce Phares goes back nearly 40 years. Mr. Berry still plays with style and grace, and is a true entertainer, Reservations recommended as OB’s faithful followers are sure to fill the room. email hidden; JavaScript is required http://tulas.com/generalinfo.html


Manhattan Transfer- Thu Feb 7- Sun Feb 10, 7:30, 9:30 PM/ Jazz Alley

The 10- time Grammy winners come to Jazz Alley for four nights in celebration of their new release, The Junction. It may seem that another MT run at JA is getting a bit worn out, but this iconic group continues to perform at a high level after all these years. https://www.jazzalley.com/www-home/artist.jsp?shownum=4993

Ray Vega & Thomas Marriott- East/West Trumpet Summit- Fri Feb 8- Sat Feb 9, 7:30 PM/ Tula’s

Trumpeter Ray Vega has served as a mentor for Seattle trumpet great Thomas Marriott since Marriott’s time as as young musician testing the waters in New York. Their two releases on Origin Records have been the recipients of critical acclaim. Here, B-3 master Joe Doria and drummer Matt Jorgensen join to create a two trumpet quartet.http://tulas.com/generalinfo.html

Richard Cole Quintet with John Bishop, Marc Seales, Dave Peterson, & Paul Gabrielson- Sun Feb 10, 7:30 PM/ Tula’s

Saxophonist Richard Cole leads a quintet of Seattle’s finest for a can’t miss performance at Tula’s. With Seattle greats Marc Seales (piano), Dave Peterson (guitar), John Bishop (drums), and Paul Gabrielson (bass) in tow, Cole has a perfect canvas to offer his eclectic stylings on tenor, soprano, and bass clarinet.  http://tulas.com/generalinfo.html


Earshot: The Art of Jazz- Kendra Shank with John Stowell- Thu Feb 14, 5:30 PM/ Seattle Art Museum

A Valentine’s homecoming for vocalist Kendra Shank, accompanied by a true master of harmony, guitarist John Stowell. Free admission at this monthly Earshot event. https://www.earshot.org/event/art-of-jazz-kendra-shank/


Valentine’s Day with The Gail Pettis Quintet- Tue Feb 14, 7:30 PM/ Tula’s

What better way to celebrate St. Valentine’s day than in the romantic, intimate setting of Tula’s, serenaded by the elegance of vocalist Gail Pettis? With flugelhorn master Dmitri Matheny offering his jazz noir chops, and the mastery of bassist Jeff Johnson, this promises to be a memorable evening.http://tulas.com/generalinfo.html

Clipper Anderson Quartet- Sun Feb 17, 7:30 PM/ Tula’s

Clipper Anderson is a skilled bass soloist and vocalist, and leads his regular quartet that is often seen backing Anderson’s wife, the great vocalist Greta Matassa. Tasteful pianist Darin Clendenin, drummer Mark Ivester, and uber talented saxophonist Alexey Nikolaev make this a happening event on a Sunday eve. http://tulas.com/generalinfo.html


The Bad Plus- Tue Feb 9- Wed Feb 10, 7:30 PM/ Jazz Alley

By adding pianist Orrin Evans to the trio, The Bad Plus has upped its game, if that is possible. One thing is for sure, Evans’ presence gives jazz fans yet another reason to see this innovative, risk taking trio in action at Jazz Alley. https://www.jazzalley.com/www-home/artist.jsp?shownum=4995

Brian Monroney Quartet- Tue Feb 19, 7:30 PM/ Tula’s

Veteran guitarist Brian Monroney has spent the last two decades backing some of the best in the business, and now unleashes his splendid Seattle quartet for a string of performances at the Belltown jazz spot, Tula’s. Buoyed by the rock solid rhythm section of Dean Schmidt (bass), and Heart drummer Ben Smith, saxophonist Alexey Nikolaev joins Monroney as as soloist in this new and innovative quartet. http://tulas.com/generalinfo.html


Jessica Lurie Ensemble with Andy Coe, Evan Flory-Barnes & Tarik Abouzied- Wed Feb 20, 7:30 PM/ Tula’s

Bi-coastal resident, and native Seattleite Jessica Lurie makes a stop at Tula’s, with an eclectic ensemble featuring guitarist Andy Coe. Drummer Tarik Abouzied, and Living Daylights mate, bassist Evan Flory-Barnes round out this no holds barred quartet. A New York resident for the most part, Lurie doesn’t perform all that often in Seattle. To hear her music in the fine listening room at Tula’s should be a special evening. http://tulas.com/calendar.html

 

Marc Seales Band with Steve Rodby- Fri Feb 22, 7:30 Pm/ Tula’s

Marc Seales welcomes multiple Grammy winning bassist/producer Steve Rodby to Tula’s for this special performance. Drummer Mark Ivester, and mallet magician Tom Collier join to from a quartet with limitless possibilities. Seales’ monthly Tula’s engagements are always a thrill, this month however, has a special element with the addition of long-time Pat Matheny bassist Rodby. http://tulas.com/generalinfo.html



Chuck Deardorf “Perception” CD Release Performance- Sat Feb 23, 8PM/ Poncho Concert Hall- Cornish 

Bassist Chuck Deardorf has long been the first call bassist for touring jazz musicians in Seattle, beginning in the late 70’s at Parnell’s and the old Jazz Alley in the U-district. This show celebrates his second release as a leader on Origin Records, Perception. He is joined by a stellar cast that includes Dawn Clement, Matt Wilson, Hans Teuber, Thomas Marriott, Marc Seales, and Gary Hobbshttps://www.earshot.org/venue/poncho-concert-hall-kerry-hall/

Terence Blanchard E-Collective- Tue Feb 26- Wed Feb 27, 7:30 PM/ Jazz Alley

Master trumpeter Terence Blanchard put this band together with young people in mind. He saw many young musicians not learning theory or the music itself, not having an interest in jazz per se. He aimed to have instrumental music played at its highest level, which in many aficionado’s view would be, well, jazz. Call it what you like, Blanchard is a generational talent, and brings it every night to the bandstand.  https://www.jazzalley.com/www-home/artist.jsp?shownum=5002


David Marriott’s Triskaidekaband- Tue Feb 26, 7:30 Pm/ Tula’s

Trombonist/composer/arranger Marriott brings challenging arrangements for a 13 piece band consisting of some of the finest jazz musicians in the city. The hippest large ensemble in the Pacific Northwest, expect the unexpected from a band that includes Thomas Marriott, Richard Cole, and Matt Jorgensen. http://tulas.com/generalinfo.html


Jared Hall Quintet with Rex Gregory, Matt Jorgensen, John Hansen & Michael Glynn- Thu Feb 28, 7:30 PM/ Tula’s

Trumpeter Jared Hall has burst upon the scene in the past two years, both with his debut release Hallways, and his well received live performances at Tula’s. Hall knows how to put a band together to suit his sound as well. Drummer Matt Jorgensen is himself a well known recording artist and composer. Pianist John Hansen and bassist Michael Glynn define the art of the rhythm section, and saxophonist Rex Gregory brings his roots in New Orleans to the bandstand completing this perfect quintet. http://tulas.com/generalinfo.html

Joey Alexander- Thu Feb 28- Sun Mar 3, 7:30 & 9:30 PM/ Jazz Alley

What else can one possibly say about this 14 year old phenom? He is not just a great 14 year old player- he is bonafide BAD. For this occasion he leads a quartet. If you are not convinced of his ardent virtuosity, a quick check on youtube should convince you! https://www.jazzalley.com/www-home/artist.jsp?shownum=5003


Jim Levitt Photos- Roy McCurdy at Tula’s

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

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

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.

 

Roxy Coss Interview

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

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

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

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

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

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

 

Dawn Clement Interview

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

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

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

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

 

 

Seattle Jazz Scene Update

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

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

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

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

And so the journey begins.

Paul Rauch

 

 

 

Sonarchy Radio schedule for September on KEXP

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

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

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

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

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

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

Seattle-German collective group Chamber 3 performs in the Northwest

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

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

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

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

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

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

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

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

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

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

KPLU adds Jazz Night In America to its Friday Night Programming

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

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

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

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

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

Friday Jazz

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

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

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

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

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

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

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

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

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

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

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

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

Tonight: Spin Quartet at Tula’s

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

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

TULA’S JAZZ CLUB
2214 Second Ave
Seattle

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

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

Tuesday Jazz

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

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

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

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

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

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

Friday Jazz

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

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

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

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

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

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

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

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

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

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

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

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

Eastside Jazz Extravaganza this Saturday

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

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

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

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

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

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

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

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

 

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

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

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

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

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

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

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

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

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

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

Thursday Jazz

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

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

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

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

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

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

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

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

Jazz NW from Vancouver, Seattle, Portland and Port Townsend

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

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

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