Thomas Marriott CD Release Party Tuesday Night at the Triple Door
Trumpeter Thomas Marriott hits the road this weekend performing for two nights at The Cellar in Vancouver, BC, before returning home for his CD Release Party next Tuesday, May 12, at The Triple Door.
TUESDAY, MAY 12 – THE TRIPLE DOOR
216 Union Street
Seattle, WA 98101
Tickets: 206-838-4333
featuring:
Thomas Marriott – trumpet
Mark Taylor – saxophone
Bill Anschell – piano
Jeff Johnson – bass
John Bishop – drums
From Freddie Hubbard’s burner “Take it to the Ozone,” to the moody and spare reading of Elvis Costello’s “Almost Blue,” Flexicon‘s unified yet eclectic mix further solidifies Marriott’s standing as one of the finer voices in jazz today both as a trumpeter and producer. Along with his band of saxophonist Mark Taylor, pianist Bill Anschell, bassist Jeff Johnson, drummer Matt Jorgensen and special guest Joe Locke on vibes, Marriott visits jazz classics such as Spring Is Here and Detour Ahead, pop tunes from Costello and John Barry, and a trio of thoughtful originals.
from AllAboutJazz.com: Marriott’s first solo suggests he should be mentioned in the same breath with Wynton Marsalis and Terence Blanchard in terms of purity of tone and control of his instrument.




The Pacific Jazz Institute at Dimitriou’s Jazz Alley presents tenor saxophonist Eric Alexander for two nights. Band members are Eric Alexander (tenor saxophone), David Hazeltine (piano) and Chuck Deardorf (bass) and Matt Jorgensen (drums).
Saxophonist Mark Taylor was announced Northwest Instrumentalist of the Year at the 2009 Earshot Jazz Awards. Such esteemed recognition may be due to his high profile supporting roles on Origin Records releases by Thomas Marriott and Matt Jorgensen + 451. For Spectre, his first recording as a leader in six years, the Seattle, Washington-based Taylor presents an inventive set of original, progressive jazz. The quartet setting features Taylor on soprano and alto sax, pianist Gary Fukushima, bassist Jeff Johnson, and drummer Byron Vannoy.

Why are there no new musical instruments? It’s as if the electric guitar was the ultimate innovation, the last nail in the coffin of music’s social supremacy.