“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
July brings the promise of sunny, warm weather, and with any luck, more of a return to normalcy. While attendance has been respectable at area jazz events, good weather tends to draw people outside in the Pacific Northwest. There is no shortage of great gigs to attend in July, as well as three prominent jam sessions in Greenwood, Columbia City and Pioneer Square. Here is a sampler of what lies ahead, and of course, we hope you will dig yet deeper.
Tue & Wed July 5&6, 7:30 PM/ Jazz Alley
Vocalist Sara Gazarek is an international star in the jazz world and of course, a local jazz hero as a native Seattleite. Her recent work with the vocal supergroup, säje, also had a strong tie to her hometown, teaming with among others, Johnaye Kendrick. She has received two Grammy nominations and is heralded as a vocal artist of the highest caliber on a world-wide scale. She returns to Jazz Alley joined by pianist Stu Mindeman, bassist Alex Bobeham, drummer Jonathan Pinson and alto saxophonist Lenard Simpson. https://www.jazzalley.com/www-home/artist.jsp?shownum=6343
Sam Hirsch Trio
Sun July 10, 7:30 PM/ Royal Room
Pianist Sam Hirsch ascends from Los Angeles for a trio date at the Royal Room featuring bassist Luca Alemanno and drummer Kevin Kanner. Hirsch is a classic Cedar Walton style player, and his trio reflects that vibe. He was a regular at the now shuttered Blue Whale and currently appears at Sam One in LA. The Royal Room is a perfect blend of intimate and relaxed for Hirsch’s appearance. Supporting the efforts of the Royal Room to host jazz is highly recommended for the overall health of the scene here in Seattle. https://theroyalroomseattle.com/event/sam-hirsh-trio/?instance_id=3939
Monday Jam Session at the Royal Room/ Royal Room Collecgtive Music Ensemble
Mon July 11, 18, 25- RCME at 7:30 PM/ Jam Session at 9 PM/ Royal Room
Mondays at the Royal Room have turned the traditional jazz day of rest, into a looked forward to weekly jam and hang. When the RRCME performs, you’re bound to see such Seattle jazz luminaries as Hans Teuber, David Marriott, Jr., Geoff Harper, Eric Eagle, Mark Taylor, Samantha Boshnack and Haley Freedlund. The Wayne Horvitz led ensemble plays his originals and arrangements of the compositions of Thelonious Monk. Horvitz’ unique conducting skills literally moves the band in different directions in a very spontaneous manner.
At 9 PM, trumpeter Thomas Marriott leads an all-ages jam session that has been attracting many of the top players in town, as well as young up and comers looking for an opportunity to play with established professionals. There is a sign up sheet, and all those included are given the chance to play on stage. The session includes a great community vibe that brings together the disparate parts of the Seattle jazz scene. Marriott leads a band to begin with for two or three tunes, before jumping into the open jam. He has done a spot on job placing different combinations on stage. Unlike the Owl jam, under 21 musicians can participate, as long as they do not enter the bar area. It is a great opportunity for the jazz community at large to get to know each other, and share fellowship. https://theroyalroomseattle.com/event/royal-room-collective-music-ensemble-2/?instance_id=3696
Spanish Harlem Orchestra
Thu July 14- Sun July 17, 7:30 PM & 9:30 PM/ Jazz Alley
Always a pleasure to welcome the Oscar Hernandez– led Spanish Harlem Orchestra to Jazz Alley. One of the premier latin jazz ensembles on the planet, SHO carries the great legacy of salsa dura (hard salsa) and the sounds of the barrio (Spanish Harlem). The 13 piece band has been the recipient of three Grammys, and has Seattle connections in lead vocalist Carlos Cascante and trumpeter Thomas Marriott. Trombonist Doug Beavers is another known quantity in Seattle, having performed with Marriott and recorded on the Origin Records label. Not a dance gig, but an interesting way to highlight the music itself. Considering the personnel, that in itself should be a pleasure and not to be missed.https://www.jazzalley.com/www-home/artist.jsp?shownum=6334
Buster Williams Something More Quartet
Fri July 15, 6 & 8:30 PM/ Triple Door Mainstage
The great Buster Williams makes a rare Seattle appearance at this stage of his career, landing at the Triple Door with a top shelf quartet. Pianist George Colligan, drummer Lenny White and saxophonist Bruce Williams join the trailblazing bassist best known for his work with Miles Davis, Herbie Hancock and Joe Farrell. Now 80 years old, Williams continues to be one of the most influential bassists in jazz history, both as a player and as an educator. With so many musical lives touched by his mastery, these two shows should sell out quickly. https://thetripledoor.net/event/4582902/591257020/buster-williams-something-more-quartet
Dmitri Matheny Group CASCADIA Album Release Celebration
Sat July 23, 8:30 PM/ Royal Room
In celebration of his new album, Cascadia, fluegelhorn specialist Dmitri Metheny hits the Royal Room with a quartet featuring pianist Bill Anschell, bassist Phil Sparks and drummer Mark Ivester’ Metheny benefited from the mentorship of flugelhorn master Art Farmer, and has sailed steady on that course throughout his career. Of course, it is always a pleasure to see Anschell in action, not only as a top shelf soloist, but for his sparse, harmonically brilliant comping. Sparks is a longtime anchor of the Seattle scene, as is drummer Ivester. This should be an extremely satisfying evening of modern, straight ahead jazz expressed through new compositions. https://theroyalroomseattle.com/event/dmitri-matheny-group-cascadia-album-release-celebration/?instance_id=3848
Seattle Jazz Fellowship: Fellowship Wednesdays at Vermillion/ Julian Speaks
Wed July 20, 27/ Vermillion Art Gallery & Bar
Julian Speaks! each week at 5:30 PM
There is no better way for musicians and fans alike to gain insight and wisdom into jazz music and jazz history, than to spend time with one of the true masters of the art. Such is the case with Julian Speaks, an opportunity to spend an hour with iconic trombonist Julian Priester, listening to records and engaging in discussion. Priester spent decades on the road and in the studio with artists such as Sun Ra, Herbie Hancock, Booker Little, Max Roach, Abbey Lincoln and Duke Ellington, and contributed a legacy of recordings as a leader on the Riverside and ECM labels. His warmth, openness and humility is exceeded only by his wisdom. Julian Speaks takes place from 5:30-6:30 PM, preceding Fellowship Wednesdays at Vermillion.
Jay Thomas Phinney Five/ Fellowship ‘Ceptet
Wed July 20, 7:30 PM
Jay Thomas is one of a very few musicians in jazz history to play reeds and brass with both virtuosity and creativity. His iconic influence on jazz music in Seattle spans more than a half century. He appears in the intimate brick-lined confines of Vermillion with his “Phinney Five,” featuring pianist John Hansen, bassist Phil Sparks, drummer Adam Kessler and trumpeter Michael Van Bebber.
Opening will be the Thomas Marriott led Fellowship ‘Ceptet. Marriott is joined on the front line with trombonist Beserat Taffesse, tenor saxophonist Jackson Cotugno and alto saxophonist Hans Teuber. The dynamic “rhythm section” of pianist Marina Albero, bassist Grace Kaste and drummer D’Vonne Lewis are all sensational soloists as well. The band is a wonderful cross-generational assemblage of inspired artistry. https://seattlejazzfellowship.org/
Rick Mandyck Quartet with Thomas Marriott, Jeff Johnson & John Bishop/ Jona Brown Quartet
Wed July 27, 7:30 PM
Tenor saxophonist Rick Mandyck is simply one of the alltime greats in the Seattle jazz lineage. Just a few notes into a solo, the listener gains an understanding of his mastery. Uncluttered by modern jazz education, Mandyck’s sound is fiercely personal with a pure, emotive projection that sets his sound apart. Yes, that SOUND. For his set at SJF, he performs in a chordless quartet that features long term associates Thomas Marriott, Jeff Johnson and John Bishop. Bassist Johnson and drummer Bishop are a lethal combination, as they have been for years in the band Scenes, and the trios of pianists Hal Galper and Jessica Williams. Marriott is internationally renowned not only for his thirteen albums as a leader, but for his work with such diverse entities as the Captain Black Big Band and the Spanish Harlem Orchestra. The acoustics in the room at Vermillion should have a projectile effect on the overall sound of this quartet.
Pianist Jona Brown began to make his mark in the city appearing at the jam sessions around town. A capable bassist as well, Brown will perform his original music and a few standards in a quartet setting featuring trumpeter Jun Iida, bassist Paul Gabrielson, and drummer Max Holmberg. Brown has not performed much in Seattle, though his session playing has shown wonderful facility and imagination. This presents just one more thing that the SJF has done right- giving a stage to up and coming talent around the city, as well as its more established stars. With Brown and Mandyck as headliners, this is profoundly true.
Joel Frahm Trio
Sun July 24, 7:30 PM/ Royal Room
Wait, seriously? Joel Frahm is playing the Royal Room? In what should be a room full of area saxophone enthusiasts, Frahm arrives in Seattle in the middle of a Canadian trio featuring bassist Ernesto Cervini and bassist Dan Loomis. An unquestioned avatar of technical ability and raw emotion, Frahm is an iconic figure in sax circles around the globe. He is extremely creative and free flowing, his astounding technique facilitating his unabated emotional flow. Without a framework of chordal harmony, that form of release can seek new territory to roam. https://theroyalroomseattle.com/event/joel-frahm-trio/?instance_id=3970
Jovino Santos Neto Quinteto
Sun July 31, 7:30 PM/ Royal Room
It is a stroke of good fortune that Seattle music fans have been able to call Brazilian pianist/composer Jovino Santos Neto one of their own. The Quinteto is the peak aspect of his artistry here in the northwest, bringing the soul of Brazilian music inspired my master Hermeto Pascoal in direct collision course with post-bop jazz. Bass icon Chuck Deardorf is the jazz conduit through which the band flows, pushed along by the seamless percussion of Mark Ivester and Jeff Busch and the brilliant work of Ben Thomas on vibes. Jovino himself is a pianist of the highest caliber, as well improvising on melodica and flute. This band is as close to a sure thing as you can get in Seattle- lift-off is likely to occur. Since the band’s monthly engagement at Tula’s ended with the club’s closure, their performances have been few and far between. Here’s your chance!https://theroyalroomseattle.com/event/jovino-santos-neto-quinteto-2/?instance_id=3855
The jazz non-profit hits it out of the park presenting piano great George Cables and his trio, with the Fellowship ‘Ceptet
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.
“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.
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.
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.
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.
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/
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.
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.
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/
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
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, 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.
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.
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.
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.
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.
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.
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.
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.
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
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.
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
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.
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.
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).
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.
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.
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.
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.
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.
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.
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
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
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.
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.
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
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
The Covid-19 pandemic has been a unilateral blow to the norms of all segments of our culture. For those of us dependent on the gathering of people in clubs, theatres, arenas and the like to make a living, that blow seems especially thunderous. Through the sociological haze of the state wide stay at home order, many musicians have taken to streaming performances, bringing a much needed sense of solace and hope. Music, just as love, can remind us of what it is like to not have it, the vacuity it engenders when it is suddenly taken from us. It is something in our lives that communicates through all perceived boundaries. Kudos locally to Earshot Jazz for their Saturday night series, to the Marina Albero led Quarrantine Sessions, and all musicians worldwide for sharing their music within the quarantine from their very living rooms.
As you can see, this is the first time I have written a word here since April 1. This site has been largely about live performances in recent times, about presenting a means to research what is happening nightly around the city. My agenda today is to bring to your attention, some things that have been brought to my attention. As well, I am providing links to a profile series I am writing for allaboutjazz.com, “20 Seattle Jazz Musicians You Should Know.” This series gives Seattle musicians an internaional spotlight at the much acclaimed site, and is linked to local websites via the musician’s member page at AAJ. I highly recommend to all who do not have such a page, to create one. That way, any CD review, feature article, interview, or profile that mentions your name will be hyperlinked to your page, and from there, anywhere you need it to go. Here is the link to get that started https://news.allaboutjazz.com/download-the-all-about-jazz-musician-starter-guide.php
As we slowly return to normal life over the next months, years, we look forward for hope. We hope to have an Earshot Jazz Festival in October, the rescheduled Ballard Jazz Festival in November. We hope that the venues that generously support the music are there when we are ready to move forward. Most of all, we hope that we are all well, and ready to HANG. The fellowship our community provides to all who care to participate, is what is missed most of all. Here are a few things to ponder……..
As I mentioned, I am in the midst of writing 20 musician profiles for AAJ. So far we have featured Jeff Johnson, Jovino Santos Neto, Brittany Anjou, Xavier Lecouturier, Rex Gregory, Gail Pettis, Christopher Icasiano, Chuck Deardorf, Jay Thomas and Samantha Boshnack. Ten down, ten to go! Here is the link to my articles at AAJ, the overwhelming majority of which cover jazz in Seattle. https://www.allaboutjazz.com/php/contributor_articles.php?id=163817
Roosevelt High School grad Chris McCarthy has been making quite a name for himself in New York. He recently released a new album on Ropeadope Records, and pre-covid, was often seen performing with several noteables, including Jerry Bergonzi and Sasha Berliner. Here is an in depth look at the album……..
CD Review: Chris McCarthy- Still Time to Quit
From 2017 to 2020, composer and pianist Chris McCarthy charted a path as a noted sideman for such notables as Jerry Bergonzi and Jason Palmer. He was often seen performing with vibraphonist Sasha Berliner and in duet with vocalist Clotilde Rullaud. In short, he has gained a reputation for imaginative and supportive playing.
McCarthy’s path has been blazed from a renowned high school program in Seattle, to the cloistered realm of the New England Conservatory, finally landing in the pressure cooker that is the New York jazz scene. His first recording, Sonder (Red Piano, 2017), could easily have categorized him as a project artist, as the music was an amalgam of forms, including spoken word and vocal parts. The music was well written and performed, but in no way did it set a trajectory for what was to come next. To continue reading, click here https://www.allaboutjazz.com/still-time-to-quit-chris-mccarthy-ropeadope
Swedish born flutist/composer Elsa Nilsson spent some years here in Seattle, studying at Cornish College of the Arts. She has become a major force on the New York scene as a musician, activist and organizer. 2020 has seen her release a new solo album, Hindsight, and a new collective recording with her trio SXNE, For Human Beings. The album is a fully improvised suite of five movements. Read the review here:
SXNE: For Human Beings
Flutist Elsa Nilsson voice performing on an instrument that has historically received secondary status in jazz music. Often the second or third instrument for saxophonists such as Eric Dolphy, Charles Lloyd, and Tia Fuller, it would seem even the most passionate fans of the genre have relegated the flute as such. Modern times in jazz have however, cast that notion aside. Flutists covering a wide musical swath through the annals of modern jazz include the eclectic sounds of Nicole Mitchell, the post-bop works of jamie Baum, and the diverse, fearless approach to the instrument by Nilsson, a Swedish born, New York based whirlwind. Continue reading here- https://www.allaboutjazz.com/for-human-beings-sxne-bumblebee-collective