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
October is arguably the busiest and most noteworthy month on the Seattle jazz calendar. Of course, much of this has to do with the Earshot Jazz Festival adding to an already active scene. I do recommend researching the festival as a whole at https://www.earshot.org/, but I have highlighted a number of the performances here, along with an impressive amount of stellar events around the city this month, including those at Jazz Alley and the Royal Room. While the Earshot Jazz Festival does bring in an impressive array of artists from around the world, it features Seattle musicians as well, including the 2022 Resident Artist, Alex Dugdale. As always, we encourage you to get out and experience jazz as it should be– through live performance.
Greta Matassa/ Robert Vaughn
Sat Oct 1, 7 PM/ Egan’s Ballard Jam House
Small club, big time indeed. Seattle’s Greta Matassa will double bill with guitarist/vocalist Robert Vaughn at the tiny Ballard jazz spot. Matassa’s pedigree goes without saying, being one of the city’s jazz legends, while Vaughn was MIA from Seattle stages for many years, as he worked a steady gig in Idaho. Matassa began to bring him back to Seattle audiences as a guest at her long-running Tula’s residency. Vaughn opens in trio with bassist Clipper Anderson and drummer Mark Ivester. Matassa plays the second set adding tenor saxophonist Alexey Nikolaev and guitarist Brian Monroney with Vaughn guesting. http://www.ballardjamhouse.com/schedule.html
Royal Room Collective Music Ensemble/ Monday Night Jazz Jam with Thomas Marriott
Oct 3,10,17,24,31- 7:30 PM, Jam at 9 PM/ Royal Room
Monday nights at the Royal Room have become a thing in Seattle, with Wayne Horvitz’ ensemble performing interpretations of his original compositions, and those of Thelonious Monk. At 9PM, Thomas Marriott leads an open, all-ages jam session that places an emphasis on the mentorship cycle. Younger players have the opportunity to play with more experienced players, and everyone gets to play. Marriott has done an excellent job of curating the event that tends to include many of the top shelf players in town. https://theroyalroomseattle.com/event/royal-room-collective-music-ensemble-2/?instance_id=3708
Photo Credit: Lisa Hagen GlynnPhoto Credit: thewimn.com
Grace Kelly CD Pre-Release
Tue Oct 4- Wed Oct 5, 7:30 PM/ Jazz Alley
In a month dominated by the Earshot Jazz Festival, Jazz Alley has a few nuggets to feast on as well. Grace Kelly pays her annual visit to the esteemed venue, in celebration of her 14th album, All I Need. The fiery altoist is joined by pianist Adam Bravo, bassist Cooper Appelt, and drummer Julian Allen. https://www.jazzalley.com/www-home/artist.jsp?shownum=6362
Ron Weinstein and Friends
Wed Oct 5, 9:30 PM/ Seamonster Lounge
The closing of Vito’s due to the fire on the fourth floor above it has impacted the jazz community in Seattle more than many anticipated. Ron Weinstein’s Sunday night gig there was a staple on the Seattle scene for many years, with Weinstein featured on piano. He often features top players in his trio, including bassist Jeff Johnson. You can catch Weinstein on his Wednesday night gig at the Seamonster in Wallingford in what many consider his true natural environment- performing on Hammond B-3 organ.https://www.facebook.com/Seamonsterlounge/events/?id=100049077476160&sk=events
Photo Credit: jazziz
Esthesis Quartet
Sun Oct 9, 7:30 PM/ The Forum at Town Hall
Pianist/vocalist Dawn Clement and flutist Elsa Nilsson have deep roots in Seattle, both as students at Cornish College of the Arts, with Clement’s tenure there including a long term professorship. Swedish born, New York City resident Nilsson took advantage of her time in Seattle by performing live with many of the city’s most renowned players. Clement performed regularly with Julian Priester, Johnaye Kendrick and others, culminating her tenure in Seattle as Resident Artist at the 2017 Earshot Jazz Festival. Nilsson has spent her time wisely in New York, rapidly becoming recognized as a unique and innovative trailblazer of her instrument. Her presence on the front line of Esthesis Quartet exudes a physical strength, brilliance of tone and deep compositional wisdom.
Drummer Tina Raymond is a well known quantity on the international jazz scene both as a musician and clinician. Her use of African polyrhythms and classical percussion techniques in her playing is free flowing and original. Bassist Emma Dayhuff has a presence and depth of talent that continues to evolve in a myriad of notable ways. One of only five women to participate in the Herbie Hancock Institute of Jazz Performance, the Chicago based Dayhuff is performing and recording while continuing to pursue her DMA at the University of Wisconsin in Madison. https://earshot.secure.force.com/ticket#/events/a0S2L00000SaF9YUAV
Dave Weckl Tom Kennedy Project featuring Stu Mindeman with special guest Eric Marienthal
Tue Oct 11- Wed Oct 12, 7:30 PM/ Jazz Alley
Drummer/bandleader Dave Weckl has found a home at Jazz Alley, a venue that seems to be a jazz fusion flash point. Teaming up with bassist Tom Kennedy and pianist Stu Mindeman, Weckl’s high energy music is open ended and invites new congregants with each iteration of the band. This time around, saxophonist Eric Marienthal joins the band for this two night run. https://www.jazzalley.com/www-home/artist.jsp?shownum=6359
Kurt Rosenwinkle Quartet
Wed Oct 12, 7:30 PM/ Triple Door
Guitarist Kurt Rosenwinkle is a generational voice and a messenger at the leading edge of modern jazz for more than thirty years. Much the same could be said for all four members of this stellar quartet. Bassist Eric Revis, pianist Taylor Eigsti and drummer Gregory Hutchinson join the Philly born Rosenwinkle for what should be an explosive evening of music. At the time of this writing, the show was nearly sold out, so make haste if you plan to attend. https://tickets.thetripledoor.net/orderticketsvenue.asp?p=4180
Photo Credit: Lisa Hagen Glynn
Thomas Marriott and the Fellowship ‘Ceptet with Johnaye Kendrick
Thu Oct 13, 7:30 PM/ The Forum at Town Hall
The Fellowship ‘Ceptet led by trumpeter Thomas Marriott, is an outgrowth of another Marriott project–The Seattle Jazz Fellowship, a 501(c) 3 non-profit dedicated to the resident jazz scene in Seattle. Marriott prioritizes a blend of musicians that crosses generational lines. The personnel has changed a bit between performances due to a variety of factors. For example, bassist Grace Kaste has performed with the band during her senior year at Roosevelt High School, but had to opt out of this performance as she attends Columbia University in New York. Marriott has tapped bassist Trevor Ford in her absence.
Pianist Marina Albero joins the band a year removed from being the Resident Artist of the 2021 Earshot Jazz Festival. Alto saxophonist Mark Taylor stands with Marriott and Albero as a veteran presence in the band, as is the case with drummer D’Vonne Lewis. Trombonist Beserat Taffesse is on the leading edge of new, young faces on the Seattle scene. Tenor saxophonist Jackson Cotugno is a young saxophonist with a modern approach that features an older, Ben Webster style sound. Then of course, there is Marriott, on the cusp of releasing his fourteenth album as a leader, and perhaps the most notable Seattle jazz musician on an international scale. Vocal artist Johnaye Kendrick is a musician whose instrument is voice. Her approach blends dynamic range with a strong melodic sense, perfect pitch and open ears. The author of two albums as a leader is also a member of the Grammy-nominated vocal supergroup, saje. Kendrick’s instrument adds a whole new dimension to the ‘Ceptet, who will feature her addition for the first time with this appearance at the 2022 Earshot Jazz Festival.https://www.earshot.org/event/fellowship-ceptet-featuring-johnaye-kendrick/
Photo Credit: Lisa Hagen Glynn
Entremundos Quarteto
Fri Oct 14, 8 PM/ North City Bistro
Entremundos seems to be the house band at North City Bistro, having frequented the venue from the very beginnings of the band. Brazilian vocalist Adriana Giordano and pianist Eric Verlinde have developed great repor during that time, blending their own immersions in jazz, Brazilian and Latin Jazz into an interesting fusion. Drummer/percussionsit Jeff Busch can handle the kit in all of the band’s variant forms, which is truly the joining force that allows the band’s unique sound to happen. Bassist Dean Schmidt is the center point of the band, holding down the bottom end solidly and colorfully. A gem aside from the torrent of Earshot dates this month. https://northcitybistro.com/
Meridian Odyssey
Sat Oct 15, 7:30 PM/ The Forum at Town Hall
The band Meridian Odyssey, a gathering of young jazz artists with ties to Seattle, represents the new wave of jazz in the Pacific Northwest. Performing primarily original compositions, the music speaks to life as a young professional artist in a time in history transformed by a worldwide pandemic.
The storyline authored by the band includes being sequestered at the familial home of guitarist Martin Budde in Big Lake, Alaska in the thick of the pandemic lockdown. The music tells the story of six close friends, finding solace in the natural world, while creating music they would go on to record in an airplane hangar belonging to Budde’s father. Those recordings resulted in two albums released on the highly regarded Origin Records label. The aptly titled Second Wave arrived in 2021, followed by the recently released Earthshine in 2022.
Drummer Xavier Lecouturier has released his own album of original compositions on Origin, the 2019 offering, Carrier. Pianist Dylan Hayes released Songs For Rooms and People in 2020 with his electric band. Trumpeter Noah Halpern had recently graduated from Julliard, and was being alluded to as one of the rising trumpet stars of his generation. In the same way, recent Manhattan School of Music grad Ben Feldman had made headway into the New York scene as a bassist and bandleader, performing with such notables as Dave Liebman and Stefon Harris. Saxophonist Santosh Sharma, a dynamic tenor player in the tradition of John Coltrane, had enthusiastically added the dimension of being a notable practitioner of the EWI. Then there’s guitarist Budde, who chanced upon this collection of talent while a student at Cornish College of the Arts in Seattle. Aside from contributing his family home in Alaska, Budde offers memorable compositions and a playing style heavily steeped in melodicism.
featuring Khari Cabral Simmons, Thomas Marriott, Eric Verlinde & Landon Anderson
Sun Oct 16, 1:30 PM/ Royal Room
An opportunity to get your funk on while the afternoon sun is pouring through the west facing windows at the Royal Room, instead of the light of the moon. After the set, dinner in Columbia City before returning to the Royal Room for Naomi Moon Siegel. Sounds like a plan.
The son of legendary Blue Note artist, the late, great Grant Green, Grant Green Jr. falls more on the side of soul and funk than did his iconic father. A founding member of the Detroit based Masters of Groove, Green partners with a cadre of Seattle musicians, including newcomer Khari Cabral Simmons. Simmons is a noted electric bassist perhaps best known for his work with India Aire, but as well as a bandleader that creates soulful, r&b tinged instrumental and vocal music. For his part, the bassist is slowly making himself known in his chosen city of Seattle after his move from Atlanta. His mastery of the electric bass is clearly portrayed no matter what groove he is occupying. Trumpeter Thomas Marriott is an artist that has gained international renown for his work, including fourteen albums relased as a leader. Pianist Eric Verlinde is an artist with broad view of jazz music, his keyboard mastery spreading out over jazz, Latin and soul music, with a special gift for accompanying vocalists. Landon Anderson is a groove based drummer who can tie all of these different musical elements together. October 16 is shaping up to be a standout date on the live music calendar for October. https://theroyalroomseattle.com/event/soul-jazz-matinee-with-grant-green-jr/?instance_id=4063
Kharic Cabral SimmonsPhoto Credit: Earshot Jazz
Naomi Moon Siegel Ensemble
Sun Oct 16, 8 PM/ Royal Room
Missoula based trombonist/composer Naomi Moon Siegel comes back to her roots in Seattle, leading a sextet of the city’s finest. Always adventurous in an original way as both a musician and composer, she performs with some familiar faces in pianist Marina Albero, bassist Kelsey Mines, drummer Christopher Icasiano, guitarist Sean Woolstenhulme and trumpeter Ray Larsen. Siegel’s compositions straddle the folk-jazz medium, written with space for the spontaneous composition of her bandmates. https://earshot.secure.force.com/ticket#/events/a0S2L00000SaGloUAF
Photo Credit: OREL CHOLLETTE
Marquis Hill: New Gospel Revisited
Tue Oct 18, 7:30 PM/ Langston Hughes Performing Arts Center
Trumpeter Marquis Hill explores the entire history of jazz with a modern outlook and traditional approach. In his New Gospel Revisited project he stakes out that territory with mates Jahari Stampley on piano, bassist Joshua Griffin, and drummer Jeremiah Collier. The band will be revisiting music from Hill’s album, New Gospel.https://earshot.secure.force.com/ticket#/events/a0S2L00000SaHZyUAN
The Bad Plus
Tue Oct 18- Wed Oct 19, 7:30 PM/ Jazz Alley
The Bad Plus has been going through personnel changes after the departure of founding pianist Ethan Iverson, but bassist Reid Anderson and drummer Dave King have kept the progressive jazz vision alive. At first, the piano trio format was preserved with the addition of pianist Orrin Evans. Evans’ departure ushered in a completely different approach, with guitarist Ben Monder and saxophonist Chris Speed joining to form an eclectic quartet in the spirit of the band historically. In other words, expect the unexpected. https://www.jazzalley.com/www-home/artist.jsp?shownum=6337
Photo Credit: Brooke Wilson
Jacqueline Tabor & Marina Albero: Don’t Explain
Thu Oct 20, 7:30 PM/ The Forum at Town Hall
Barcelona born pianist Marina Albero has been performing in Seattle since her arrival here in 2014, but it wasn’t until the lockdown during the worldwide pandemic that she became close friends with blues based jazz vocalist Jacqueline Tabor. The music presented here speaks to the truth of today’s modern civil rights movement, told through the voices of Billie Holiday and Nina Simone. The music sheds light on the courage of these two great American artists, a story told by two of the city’s most dynamic musical voices. https://earshot.secure.force.com/ticket#/events/a0S2L00000SaHyxUAF
Photo Credit: Earshot Jazz
Bad Luck/ Kin of the Moon
Thu Oct 20, 9 PM/ Clock-Out Lounge
The explosive duo of drummer Christopher Icasiano and saxophonist Neil Welch takes off on Beacon Hill, at the Clock Out Lounge. Welch’s mastery of his instrument and applied electronics seems bent on a collision course with Icasiano’s relentless approach on drum kit. In the end, there is a symphonic and sonic intelligence to what they do. There is nothing remotely similar to an hour long Bad Luck set. Kin of the Moon is a classically based eclectic ensemble with a wide array of musical interests. A cross-pollination of flute, viola and electronics could be the default instrumentation, but the band utilizes ten instruments, voice and electronics. Violist Heather Bentley, flutist Leanna Keith, and vocalist/composer Kaley Lane Eaton are conservatory trained musicians who each serve on the faculty of the Cornish College of the Arts. Whatever the case, this is a well placed billing and a night to remember in the south end.https://www.earshot.org/event/bad-luck-kin-of-the-moon/
Photo Credit : Alan Jackman
Miguel Zenon Quartet
Fri Oct 21, 7:30 PM/ The Forum at Town Hall
One of the premier ensembles in modern jazz, alto saxophonist Miguel Zenon returns to Seattle with his quartet featuring pianist Luis Perdomo, drummer Henry Cole and bassist Luca Alemanno. Zenon’s music is very much in the moment and open to interpretation, making a ninety minute set with them a journey into the depths of modern jazz. The presence of these particular musicians by nature is guided by the music of Puerto Rico, yet the original approach of this well grounded foursome creates a post-bop hybrid that speaks for itself.https://earshot.secure.force.com/ticket#/events/a0S2L00000SaI1cUAF
Ben Wendel Quartet
Wed Oct 26- 6:30 & 9 PM/ Royal Room
Since his arrival with the band Kneebody, saxophonist Ben Wendel has been thrilling Emerald City jazz fans with his ultra-modern approach to an ever-changing modern jazz vision, accompanied by some of the most adventurous musicians in jazz. His appearance at the Royal Room is no exception. Pianist Fabian Almazan, bassist Harsh Raghavan and drummer Nate Wood are a select group of intrepid travelers that should be a perfect match for Wendel’s adventurous compositions. All of this in the community vibe in Columbia City at the Royal Room. https://earshot.secure.force.com/ticket#/events/a0S2L00000SaI21UAF
Photo Credit: Daniel Sheehan
Anat Cohen Quartetinho
Thu Oct 29, 7:30 PM/ Town Hall- Great Hall
Clarinetist Anat Cohen is one of the most inspired and exuberant musicians in jazz, no matter which iteration of her band within which she performs. She plucks a select few from her Triple Helix Tentet to perform at Town Hall, with Vitor Goncalves (accordion & piano), Tal Mashiach (bass & 7-string guitar), and James Shipp (percussion, vibraphone, & electronics). Cohen will perform on clarinet and bass clarinet. https://earshot.secure.force.com/ticket#/events/a0S2L00000Sa0bKUAR
Joachim Mencel Quartet
Sun Oct 30, 7:30 PM/ The Forum at Town Hall
Polish piano icon Joachim Mencel makes a rare appearance in the Pacific Northwest with his Earshot set featuring guitarist Pete McCann. bassist Ugonna Okegwo and drummer Allan Mednard. Mencel is also an eclectic practitioner of the hurdy gurdy, but let’s not get ahead of ourselves here. Mencel has a unique piano voice, one that invites introspection and imagination. That in itself is worth your time and interest. Then, he somehow makes an ancient voice such as the hurdy gurdy make sense in twenty first century improvised music. Mencel has recently released Brooklyn Eye (Origin, 2020) on the Seattle based Origin Records label. His US based quartet is all about modern jazz, with Mencel’s European overtones included brilliantly in the conversation.
Opening will be M.O.M., an eclectic trio featuring bassist and drummer François and Louis Moutin, identical twins. along with versatile Haitian-Canadian multi-horn player, Jowee Omicil. https://www.earshot.org/event/joachim-mencel-quartet-m-o-m/
“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
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 LevittPhoto 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.
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 GlynnPhoto Credit: Lisa Hagen Glynn Saxophonist Jackson CotugnoPhoto Credit: Lisa Hagen Glynn l to r: Alex Dugdale, Thomas Marriott, Jackson Cotugno, David MarriottPhoto Credit: Lisa Hagen Glynn l to r: Nicole Glover, Alex ClaffyPhoto Credit: Lisa Hagen Glynn Bassist Alex ClaffyPhoto Credit: Lisa Hagen Glynn pianist Marina AlberoPhoto Credit: Lisa Hagen Glynn Trunmpeter Benny Benack IIIPhoto Credit: Lisa Hagen GlynnPhoto Credit: Lisa Hagen Glynn Guest drummer Ted PoorPhoto Credit: Jim Levitt Drummer D’Vonne LewisPhoto Credit: Jim Levitt Pianist Marina AlberoPhoto Credit: Jim Levitt Trumpeter and SJF founder Thomas Marriott
Pianist Dylan Hayes leads a tribute to Jim Knapp, for Seattle Jazz Fellowship.
Dylan Hayes, piano;
Jay Thomas, trumpet and sax;
Michael Glynn, bass;
Xavier Lecouturier, drums;
It was 5 PM on a crisp Wednesday afternoon on December 1, and thirty people sat casually in the brick lined digs of Vermillion Art Gallery and Bar on Capitol Hill, intently listening to the soft spoken musings of jazz legend, Julian Priester. The historic trombonist was playing selections from his storied career that continually over the course of seven decades has stood at the progressive forefront of the music. This afternoon it was his work with Dave Holland and Herbie Hancock that was featured. His historical and cultural anecdotes were thrilling to hear, providing weekly attendees a unique perspective on the music that they had become passionate about.
There are a variety of ways to enjoy jazz music performed at its highest level of artistry in Seattle. Many of those options include a cover and a high end price tag for dinner and drinks. Those venues tend to lack a major component of jazz culture- the hang. It is during that time before, between and after sets that cultivates community and enables fellowship.
The Seattle Jazz Fellowship weekly offers Priester’s free listening session, and two sets featuring two separate ensembles of the finest resident jazz musicians in Seattle for a reasonable cover. Vermillion serves fine drinks at a very reasonable price. If you need to eat, you can pop over to Mario’s for a slice, or head around the corner to grab a burrito. The music is the focus, and because of the organization’s non-profit status, it can book and curate music that is not ruled by the age old “butts in the seats” mentality, but with the idea of artistry in music first and foremost. At the front door, vaccination status is checked, and a twenty dollar cover charged. Fellowship founder Thomas Marriott remarked at one point, “It’s a twenty dollar cover, if you can swing it.” The important thing to Marriott and the Fellowship, is that you are there in the first place, that the evening is treated as a sacred place of music for the entire community.
The seventh edition of “Fellowship Wednesdays at Vermillion” featured young pianist/arranger Dylan Hayes performing a set of his quartet arrangements of the music of recently departed composer Jim Knapp, followed by the Nathan Breedlove Quartet. Hayes was joined by Seattle jazz icon and Knapp associate, Jay Thomas, first-call bassist Michael Glynn and drummer Xavier Lecouturier. Thomas, a 55 year veteran of the Seattle scene, played brilliantly, putting a shine on Hayes’ perfect arrangements. The focus and drive of the band revealed what has been a commonality with all fourteen sets presented thus far by the SJF–that the musicians bring their “A” game to the set, that the vibe of the room was one that invites and appreciates artistry.
l to r: Xavier Lecouturier, Michael Glynn, Dylan Hayes Jim Levitt photoJay Thomas Jim Levitt photol to r: Xavier Lecouturier, Michael Glynn, Jay Thomas Jim Levitt photo
Between sets, the hang was thick, with many of the city’s top musicians present, as well as a jazz audience that spanned generations. New players on the scene, now especially unknown due to the pandemic, emerge and become acquainted with their new community. Younger players are mentored by the more experienced players. The audience is able to interact with the musicians in a meaningful way. They are truly a part of the performance, of the evening’s activities. The room itself has a warm glow, an intimate, welcoming vibe. The all ages policy invites younger players and fans, and allows parents to share the music with their children.
Just before hitting the stage for his set, veteran trumpeter Nathan Breedlove informed us that Delfeayo Marsalis would be dropping by. Indeed he did, playing most of the set with this assemblage of veterans that included pianist Ron Perrillo, bassist Phil Sparks and drummer Brian Kirk. Marsalis and Perrillo played both dynamically and melodically, with the live nature of the room projecting the sound through the narrow gallery to the rear of the club, through the doors, and out into the Capitol Hill night. Marsalis’ presence brought the striking realization that in only seven total nights of operation, the hang at Vermillion was gaining significant notoriety for all the right reasons.
Delfeayo Marsalis Jim Levitt photol to r: Brian KIrk, Phil Sparks, Nathan Breedlove Jim Levitt photoBrian Kirk Jim Levitt photol to r: Nathan Breedlove, Phil Sparks, Delfeayo Marsalis
With the playing of the last note of the evening, the room was electric, the vibration of the music still stirring in the room and in the souls of all those that attended. Old friends and new acquaintances were united in fellowship, which of course, is the point. SJF wants you to be there, to help create a sacred place for the music. One departs the room with an overwhelming sense of community, a true feeling of belonging to something sacred, historic and sustainable. With current economnic times in direct conflict with the proliferation of art, the model presented by Marriot and the SJF is proving to be one that promotes artistry and accessibility. It is a foundational source of fellowship as its name portends, within the framework of a community that has sustained itself over a century of time. The ambitions of the group to expand to five nights a week in a permanent home is the light that shows the way to the present and future of the Seattle jazz scene. The music, the gathering of friends and the emotional and spiritual high experienced by those fortunate enough to attend speaks loudly and clearly to that.
Scroll down to On the Scene: Live Jazz Previews for December to see the full schedule of the Seattle Jazz Fellowship. Next week: Iconic jazz vocal artist Greta Matassa, and Latin Jazz piano firebrand Julio Jauregui lead their respective bands to the Vermillion stage. https://seattlejazzfellowship.org/
Nathan Breedlove Jim Levitt photoPhil Sparks (b), Ron Perrillo (p) Jim Levitt 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
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/
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 photoRoy McCurdy Lisa Hagen Glynn photo Lisa Hagen Glynn photoL to R- Thomas Marriott, Ray Vega Lisa Hagen Glynn photoL to R- Ray Vega, Orrin Evans, Thomas MarriottRoy McCurdy, Michael Glynn Lisa Hagen Glynn photoThe rhythm section- Orrin Evans, Roy McCurdy, Michael GlynnL to R- Orrin Evans, Thomas Marriott, Michael Glynn, Ray Vega, Roy McCurdy
The third week of September turned out to be quite the week for jazz in Seattle. On Tuesday September 21, Herbie Hancock appeared at the Paramount Theatre, performing a thrilling two hour set with bassist James Genus, flutist Elena Pinderhughes and drummer Justin Tyson. The following night, The Cookers were at Jazz Alley, and I went not only to hear some great jazz music, put to pay homage to a group of jazz elders that are hugely influential in the music I had come to be passionate about. This was personal and I wasn’t alone in that feeling. Pianist George Cables is not only one of the great jazz pianists of our time, he is a man with tremendous humility and humanity. Eddie Henderson is on the list of most underappreciated trumpeters historically, with his brilliant melodic sense and tonal elegance. Drummer Billy Hart is still, at age eight one, a force of nature. Mr. Cecil Mc Bee? The master bassist is on records I have come to treasure that date back to the early sixties. Just seeing the great McBee enjoying a glass of wine after the gig was a bit of a surreal experience in itself for an admittedly over-the-top jazz fan like myself.
I was insistent on attending the performance as a civilian–I wanted to enjoy these master musicians without checking on a set list, without jotting down notes. I was however, accompanied by photographer Lisa Hagen Glynn, who wanted to document the event with her very fine skills as a live performance photographer. She knew the room well, so her plan of attack would no doubt bring excellent results. As you can see from the photgraphs below, that indeed was the case.
A review might simply point out that Billy Harper is still letting it fly on tenor, that Cables is playing as well, or better than he ever has. It would state the obvious that Hart would set the pace with his physical and articulate style. It would cite McBee as the foundational impulse of the band, playing with understated elegance. It would mention that Donald Harrison would bring a bit of New Orleans with him, acting as a tonal counterpoint to Harper’s snarling, biting attack. David Weiss would fill in the gaps, solo madly and be the band’s designated spokesman.
For the audience, there was a prominent feeling of rebirth, that somehow through the fog of now almost two years of social isolation, these jazz apostles are still on the road, still sharing their gifts with us. We felt not only joyous, but fortunate to be sharing space with them.
Our friend, the iconic trombonist Julian Priester, sat at a table right up against stage left. It occured to me that three members of Hancock’s Mwandishi Band would be in the house, after having seen Hancock the night before. Priester was there unbeknowst to his Mwandishi brothers, Hart and Henderson. As the Cookers were being announced and entering the stage, Hart spotted Priester and got down on his knees to lean over the stage and embrace his old friend. The emotion of the moment was only surpassed by its beauty.
Julian Priester (L) and Bill Hart (R) Lisa Hagen Glynn photo
The hang is always the thing–an unequivocal fact in the jazz community, that somehow felt even more relevant that evening. To be seated with Priester, Hart and Henderson, or sharing a drink with McBee is an honor. Young musicians, such as saxophonist Jackson Cotugno, were able to meet and briefly chat with these legendary and historic musicians. That generational bridge is always something wonderful to behold.
As for my friend Lisa Hagen Glynn, she captured the energy of the evening perfectly. Many, many thanks to her for sharing this treasure trove of jazz history with us. You can catch and support her fine work covering the music scene in Seattle, both inside jazz and out, at her new blogsite https://hardlyraining.com
Tenor saxophonist Billy Harper and bassist Cecil McBee Lisa Hagen Glynn photo
The great Billy Hart Lisa Hagen Glynn photo
Alto saxophonist Donald Harrison Lisa Hagen Glynn photo
Bassist, the great Cecil McBee Lisa Hagen Glynn photo
George Cables with the Cookers at Jazz Alley, 9/22/2021 Lisa Hagen Glynn photoL to R- George Cables, Billy Harper, David Weiss, Eddie Henderson, Cecil McBee, Donald Harrison, Billy Hart at Jazz Alley 9/22/2021 LIsa Hagen Glynn photoCecil McBee (bass) and Eddie Henderson (trumpet) Lisa Hagen Glynn photoBilly Hart drum solo at Jazz Alley with the Cookers- 9/22/2021 Lisa Hagen Glynn photoDr. Eddie Henderson Lisa Hagen Glynn photo
The great George Cables Lisa Hagen Glynn photo
Mwandishi brothers- Julian Priester, Billy Hart, Eddie Henderson Ken Steiner photo
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
There’s a new spot in North Seattle for an intimate evening of jazz. Calluna restaurant, a casual European American restaurant at 5628 University Way NE in the Ravenna neighborhood, will offer live jazz Wednesday-Sunday beginning in September.
Calluna was opened by familiar faces on the jazz scene in Seattle in former Tula’s manager Jason Moore and his partner, Heather Bourne. With Tula’s ending its 26 year run in October of 2019, they were looking to open a restaurant outside of the music business. The restaurant opened in December of 2019, just three months before the world shut down due to Covid-19. After close to two years in their new digs, they realized how much they missed the music. They knew post-pandemic, they had to breathe some life into the intimate, homespun room.
“I missed the music, I missed the culture and the musicians themselves” says Moore. Very much like they did at Tula’s, Moore and Bourne took on the task of renovating their new space, from painting and cleaning, to the huge step of committing finances to a piano and acoustic revisions to the room. Experience told them that a room in Ravenna was going to have to draw people in with something special and welcoming. This isn’t Belltown, and lack of foot traffic in the north end neighborhood makes Calluna a destination venue, needing top end talent and superior ambience to attract a crowd.
L to R Heather Bourne, Jason Moore. Lisa Hagen Glynn photo
Knowing the room was not suitable for more volumnus bands, they decided on a duo/trio format, with solo acts a possibility as well. The recently shuttered New York club, Bradley’s, was cited as an example to follow. While Calluna doesn’t plan on being the late night hang that the iconic Bradley’s was known for, it will offer top tier Seattle jazz musicians performing in duos and trios without drums, just right for the cozy living room vibe that best describes the Ravenna eatery. Moore brought in a Yamaha C-3 piano, and invited the best players in town to join in on the fun.
September will bring in a large strand of Seattle’s top jazz musicians, including Bill Anschell, Jeff Johnson, Greta Matassa, Stephanie Porter, Kelley Johnson, Rick Mandyck, and a special John Coltrane birthday celebration with Alex Dugdale. Anschell will square off in a duo with bassist Jeff Johnson, a fine example of the programming at Calluna. The marvelous jazz vocalist Matassa will perform with Clipper Anderson on bass and Alexey Nikolaev on saxophones. The demands the room places on the musicians in terms of intimacy will create an environment unlike what one might experience at a larger venue. The fine food and drink and Moore’s standard and understanding of live jazz performance will be a big plus.
Pianist Bill Anschell, who closed Tula’s, will open Calluna with bassist Jeff Johnson.Bassist Jeff Johnson knkx.org
Calluna adds to nightly opportunities for Seattle jazz fans. From the Royal Room in Columbia City and Egan’s in Ballard, to Jazz Alley and the arrival of the new Seattle Jazz Fellowship, the landscape for live jazz, post-pandemic, is beginning to take shape. For more information on Calluna, and a full music calendar, follow the link below.
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
If you were a young and talented jazz musician in Portland, Oregon, you would make yourself highly visible on the local scene to gain invaluable experience playing with the best the city had to offer. In addition to your more formal studies, you would extend your musical outreach from post-bop modernism to the avant-garde. Most importantly, you would constantly be rubbing musical shoulders with the elders who have mentored you to the point of having professional aspirations.
This is precisely what Portland-based alto saxophonist Nicole McCabe accomplished before her 2020 move to Los Angeles. Along the way she benefited from performing with the great pianist George Colligan, trumpeter Charlie Porter, bassist Jon Lakey, and veteran drummer/producer Alan Jones. For her debut recording Introducing Nicole McCabe (Minaret, 2020), she gathers all four to perform a collection of original tunes, along with two covers. To continue reading, click here https://www.allaboutjazz.com/introducing-nicole-mccabe-nicole-mccabe-minaret
Seattle-based musician Jay Thomas may be considered the oddest of ducks in the jazz universe. By that, I am referring to his fierce musicality expressed both on trumpet and saxophone, as well as most members of the brass and woodwind families. Inspired early in his career by the like minded veteran Ira Sullivan, Thomas in a single night will drift from trumpet to tenor, from flugelhorn to alto, and then double back on flute and soprano. He may as well play a melody in elegant style on tenor, and solo on trumpet and flute within the context of a single tune. While the demands of embouchure for each of these instruments makes Thomas’ methodology remarkable in itself, the fact that he performs with equal world-class virtuosity on each makes him, well, the oddest of ducks in the jazz universe. To continue reading, click this linkhttps://www.allaboutjazz.com/upside-jay-thomas-quartet-mcvouty-records
The jazz life in the twenty-first century requires a diverse and multi-skilled portfolio, requiring a resume previous generations of jazz musicians never fathomed having to deal with. Seattle’s Matt Jorgensen has spent the entirety of his career figuring out what this skill set entailed, and has navigated those waters, well, skillfully.
Jorgensen is a jazz drummer by trade, and has throughout his career composed original tunes. His entrepreneurial skills have manifested in the creation of the highly regarded indie-jazz label, Origin Records, in partnership with fellow drummer John Bishop. The label has now released close to seven hundred albums. A second label, OA2 came soon after, and Origin Classical next. The label in turn spawned the Ballard Jazz Festival, a Seattle jazz scene annual rite of spring each May since 2002. To continue reading, click this linkhttps://www.allaboutjazz.com/20-seattle-jazz-musicians-you-should-know-matt-jorgensen-matt-jorgensen
Rick Mandyck and Thomas Marriott perform at Tula’s. Photo Credit: Jim Levitt
In venturing into writing this series of twenty notable Seattle jazz musicians, I had developed a criteria of sorts in terms of paring the notables down to a mere twenty musicians. I wanted to feature musicians living and working in Seattle in current times. In light of the international reach of All About Jazz, I was to choose artists with an international profile, who had paid dues playing with the best players, or had written and released notable recordings that AAJ readers could access worldwide. In that sense, many fine, largely local players, were not included. On the other hand, I wanted to feature players that have impacted jazz music in Seattle significantly, historically. To continue reading, click this link. https://www.allaboutjazz.com/20-seattle-jazz-musicians-you-should-know-rick-mandyck-rick-mandyck
from All About Jazz Photo Credit: Lisa Hagen Glynn
A jazz fan born and raised in New York City sat in the Village Vanguard one evening, taking in a set from pianist Gerald Clayton and his quintet. He had moved to Seattle half a lifetime ago, and loved to return to his hometown to take in the jazz scene across the city. An old friend approaches, asking why he had not seen him much, for years. “I moved to Seattle, almost 40 years ago,” the gentleman replied. The old friend nodded and remarked, “Seattle, Thomas Marriott, bad dude.” True story.
Seattle is a city with a creative soul. Many great players have left Seattle, on to New York or points abroad, seeking to play with the best, to fully engage in their calling as musicians. For the purpose of this series, those players are not included, as we focus on resident Seattle players. Aaron Parks and Kassa Overall are two examples of world class Seattle musicians who have taken up residence in Gotham. To continue reading, click this linkhttps://www.allaboutjazz.com/20-seattle-jazz-musicians-you-should-know-thomas-marriott-thomas-marriott
The storyline for the Pacific Northwest-based band Scenes began in 1983, when drummer John Bishop and guitarist John Stowell began playing together in Portland and Seattle. When bassist Jeff Johnson arrived in Seattle in 1989, he began playing a weekly trio gig with Bishop and tenor saxophonist Rick Mandyck. Stowell, already frequently traveling abroad to play and teach, would drop by every so often to play.
The quartet wouldn’t get around to record until 2001, releasing Scenes on the Origin Records label Bishop had created with drummer Matt Jorgensen in 1997. Shortly thereafter, Mandyck exited the music scene, unable to play due to illness and injury. Scenes would continue to perform over two decades as a trio, releasing five more albums on Origin. On occasion, they would be joined by multi-reedist Hans Teuber, but generally the trio evolved outside of what would commonly be associated with a guitar trio. They developed an intuitive, free sound that in many ways encapsulates the Origin sound, steeped in the remoteness of the Pacific Northwest, embellished by connections in Chicago, New York and Europe. The trio developed as an equal partnership, with Johnson and Bishop having as much to say as Stowell. They largely performed Stowell’s vignette style pieces, and Johnson’s wide-open comps, designed for more free form conversation.
For their seventh release, Scenes once again becomes a quartet, with Mandyck returning to form after a long hiatus. He contributes five original compositions, all much like Johnson’s, enabling his mates to recreate at their whim. Mandyck’s distinct sound, very much lifted from the John Coltrane tradition, has a clarity and dynamic sense very much his own. With the addition of two of Johnson’s pieces, and the title track penned by Claudine Francois, Trapeze (Origin, 2020) reaches out towards the edge and defines itself within the risks and rewards the free spirit indulges.
Two of Mandycks’s pieces, “House of Ra, ” and the angular “The Reckoning,” produce the most open-ended playing on the album, particularly from guitarist Stowell. Long known for his colorfully melodic voicings, and precision playing, he spools out his solos to great melodic, spatial lengths. Johnson’s soloing incorporates fleet single note passages with exploding chordal clusters, all refined by his elegant vibrato. One of the true originals of the double bass, Johnson, in tandem with Bishop, possesses the unique ability to interpret time in the moment, and obliterate linear expectations. Intertwined with Stowell’s sparse comping, the harmonic and rhythmic firmament is fertile ground for Mandyck to play strong, rich, melodic passages in the open space.
Johnson’s “Highwaymen” swings ever so gently, while his “Pause” elicits a gorgeous interpretation of the tender melody from Mandyck. Both tunes draw strong reference to Johnson’s resume as a composer, with melody fragments that seem to be suspended in time. Every note Mandyck plays on “Pause” could be referred to as “the melody.” Much like Coltrane’s “Naima,” the melody itself is so spiritually bound, that any interpretation must in itself possess an essence of beauty that can rival that of the source. Mandyck’s playing fits that description perfectly.
The tandem of Johnson and Bishop has been well established in the groundbreaking trios of Hal Galper, Jessica Williams and Chano Dominguez, to name but a few. Both have a performance resume that includes dozens of tours and hundreds of albums. That special connection is truly “the enabler” on Trapeze.
Over the course of 30 years of friendship and of playing music together, much is revealed. Scenes, always seems to find a new and unique destination every time in the studio. It as well translates night to night on the bandstand. The addition of Mandyck is in fact, no addition at all. That sound has always been in the air.
“That was the sound that we always envisioned ourselves being. We just went through 20 years of wandering off in some other directions, doing different things. I think that connection with Rick just feels like home,” says Bishop. – Paul Rauch
Over the course of forty weeks, All About Jazz has given front page treatment to twenty of Seattle’s bright lights in the jazz universe. This unprecedented coverage highlights artists making a splash on the national and international scene. As we begin to rise from the scorched earth created by the worldwide pandemic, we attempt to keep the home fires burning here in Seattle, by celebrating a host of our outstanding artists. This time around the block, we feature drummer/record company owner/graphic artist/ festival promoter John Bishop, and pianist/composer Marina Albero.
John Bishop
To say that John Bishop has had a profound impact on the life of jazz music in the Pacific Northwest, and more specifically, the city of Seattle, would be a sizable understatement. His influence has cast a spotlight on the vibrant Seattle scene on an international scale. As a musician, record label owner, festival presenter, graphic designer and educator, he has contributed mightily to the profound sense of community that exists presently and historically in his home city and abroad. Photo Credit: Lisa Hagen Glynn Follow this link to continue reading.https://www.allaboutjazz.com/20-seattle-jazz-musicians-you-should-know-john-bishop-john-bishop
Marina Albero
A lot can happen in life over six long years. The past six years in the life of Marina Albero have been eventful to the point of being a revelation. She arrived here with her then partner, flamenco jazz pianist Chano Dominguez, and their two children, aged 12 and 15. It was a fresh start, with the hope of finding more work in America than was being afforded them in Europe. The children were to start school in a new country, speaking their third language, behind Catalan and Spanish. Marina would play in the house band at Teatro Zinzanni and tend to the everyday needs of their children, while Chano continued to tour internationally, as he had for a quarter century. Photo credit: Lisa Hagen Glynn Follow this link to continue readinghttps://www.allaboutjazz.com/20-seattle-jazz-musicians-you-should-know-marina-albero-marina-albero
