Ron Carter Clinic – May 28

Bassist Ron Carter, who is playing with his Golden Striker Trio (guitarist Russell Malone and pianist Mulgrew Miller) at Jazz Alley May 27-30, is going to hold an informal clinic and performance at the University of Washington Friday, May 28, from 1:30 to 3:30 in the Brechemin Auditorium. The clinic is free and open to the public. Brechemin, upstairs in the Music Building, seats about 200 people.

With the passing of Ray Brown, Carter can safely be called the greatest living jazz bassist. A part of jazz history, he was a member of the Miles Davis Quintet with Herbie Hancock, Wayne Shorter and Tony Williams.

The UW jazz department has hosted several jazz greats for workshops lately, including Bill Frisell and Pat Metheny. Frisell jammed with faculty members Marc Seales and Cuong Vu; Metheny just answered questions. Carter is expected to play, although it’s unclear if he’s going to play with anyone.

His visit was arranged by faculty member and instructor Barry Lieberman, who teaches bass and is a member of the Seattle Symphony.

“We had a lot of great jazz people come through here with hardly any notice,” said Joanne De Pue, with the UW School of Music. “This one’s going to be great. When we had Pat Metheny, a lot of fans and superfans showed up. We love it when the public comes.”

Good One KPLU …

Just wanted to post a quick comment about our disappointment in KPLU. On Monday, May 17, we posted a link to the New York Times article on the passing of legendary pianist Hank Jones.

How did KPLU choose to honor a National Endowment for the Arts Jazz Master (1989), National Medal of Arts winner (2008) and Grammy Lifetime Achievement recipient (2009)? KPLU played a total of 2 tracks from Hank Jones. By comparison, that same day they played 3 cuts by Diana Krall.

Dear KPLU,
We deserve better!

Sincerely,
The Seattle Jazz Community

Thursday Jazz

TULA’S JAZZ CLUB: Sonando

JAZZ ALLEY: Bob James and Earl Klugh

TRIPLE DOOR: Skerik’s Syncopated Taint & Charlie Hunter Trio

EGAN’S BALLARD JAM HOUSE:
7pm – Jon Sheckler Group with Jon Sheckler (drums), Nate Parker (bass), Mack Grout (piano) and Eli Meisner (guitar)
9pm – Judd Wasserman and The Elderly, acoustic duo William Ransom and Whitney Lyman

BARCA: Clark Gibson Trio

HI-FIDELITY LOUNGE: Ray Ohls Trio
2711 6th St, Bremerton, 8:30pm

NEW ORLEANS: Ham Carson Quintet

SORRENTO HOTEL: Overton Berry

THAIKU: Jon Alberts, Jeff Johnson & Tad Britton

Wednesday Jazz

TULA’S JAZZ CLUB: Corey Christiansen Quartet CD Release for Outlaw Tractor

NEW ORLEANS: Legacy Quartet w/Clarence Acox

EGAN’S BALLARD JAM HOUSE:
7pm – The Hooky Band with Brian Kent (tenor sax), Mark Bullis (bass), Gregg Robinson (piano) and Lionel Cramer (drums)
9pm – “Ahmad Jamal the Music of”, with Geoff Harper (bass), Ryan Burns (keys) and John Wicks (drums)

THAIKU: Ron Weinstein Trio

LUCID JAZZ LOUNGE: Jon Sheckler Acoustolectric Trio

Jason Parker Quartet at Lucid – May 21

The Jason Parker Quartet returns from their west coast tour with a performance at Lucid Jazz Lounge on Friday, May 21.

FRIDAY, MAY 21 – LUCID JAZZ LOUNGE
5241 University Way NE
Seattle
9:30pm, No cover


JASON PARKER QUARTET

featuring:
Jason Parker – trumpet
Josh Rawlings – piano
Evan Flory-Barnes – bass
D’Vonne Lewis – drums

Tuesday Jazz

TULA’S JAZZ CLUB: Roadside Attraction

JAZZ ALLEY: Pinetop Perkins with Willie Big Eyes Smith

NEW ORLEANS: Holotradband

DULCES LATIN BISTRO: Eric Verlinde

THE MIX: Don Mock

OWL ‘N THISTLE: Jam w/ Eric Verlinde & Jose Martinez

Hank Jones, Versatile Jazz Pianist, Dies at 91

from The New York Times:

Hank Jones, whose self-effacing nature belied his stature as one of the most respected jazz pianists of the postwar era, died Sunday at a hospice in Manhattan. He was 91.

Wendy Oxenhorn, executive director of the Jazz Foundation of America, confirmed Mr. Jones’s death.

Mr. Jones spent much of his career in the background. For three and a half decades he was primarily a sideman, most notably with Ella Fitzgerald; for much of that time he also worked as a studio musician on radio and television.

His fellow musicians admired his imagination, his versatility and his distinctive style, which blended the urbanity and rhythmic drive of the Harlem stride pianists, the dexterity of Art Tatum and the harmonic daring of bebop. (The pianist, composer and conductor André Previn once called Mr. Jones his favorite pianist, “regardless of idiom.”)

But unlike his younger brothers Thad, who played trumpet with Count Basie and was later a co-leader of a celebrated big band, and Elvin, an influential drummer who formed a successful combo after six years with John Coltrane’s innovative quartet, Mr. Jones seemed content to keep a low profile.

Continue reading at The New York Times.

Monday Jazz

TULA’S JAZZ CLUB: Jazz Jam w/ Darin Clendenin Trio

NEW ORLEANS: New Orleans Quintet

AMORE: Ronnie Pierce Jazz Ensemble

POGGIE TAVERN: Better World w/ Marc Smason & Joanne Klein

TOST: Michael Shrieve’s Spellbinder

Corey Christiansen at Tula’s May 19

Guitarist Corey Christiansen returns to Seattle after his performance at The Ballard Jazz Festival to celebrate the release of his new CD, Outlaw Tractor, at Tula’s Jazz Club on Wednesday, May 19 at 7:30pm.

WEDNESDAY, MAY 19
TULA’S JAZZ CLUB

2214 2nd Ave, Seattle
7:30pm, All Ages

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

Corey Christiansen – guitar
Mark Taylor – saxophone
Chuck Deardorf – bass
Matt Jorgensen – drums

ABOUT COREY CHRISTIANSEN:
Following up on 2008’s Roll With It, Corey Christiansen’s critically acclaimed Origin debut, the dynamic guitarist returns with a vengeance on Outlaw Tractor, another grooving, soul-jazz offering featuring his working band, including New York organist Pat Bianchi, saxophonist David Halliday and drummer Matt Jorgensen. Moving easily from the funky “When You Want” and “Outlaw Tractor” to the driving “Big Kids” and “Starstepper,” Christiansen’s soulful compositions and precise yet earthy guitar talents define an album that’s destined to become a classic. One listen to Outlaw Tractor and you’ll understand why All About Jazz called Christiansen’s Origin debut, “one of the most satisfying soul-jazz recordings of the year.”

Once an orthodontist, Gail Pettis now evokes smiles with music

from The Seattle Times:

Call it a midlife crisis or call it an epiphany. Either way, Gail Pettis got bit by the jazz bug and reinvented herself as one of the most sensuously swinging new singers on the American scene.

One day she’s tuning up smiles at her successful orthodontic practice in Issaquah, and the next she’s spreading grins from the bandstand, where she’s forged deep creative ties with some of Seattle’s deepest players.

“I enjoyed the patients, but I was looking for a change,” Pettis says. “At the time I wouldn’t have said, ‘I’m leaving my practice to pursue music,’ but it turns out that’s what happened.”

For jazz fans outside the Seattle area, Pettis seemed to emerge out of nowhere in 2007 with the release of her luminous debut CD “May I Come In?” on OA2 Records. She confirmed her status as an exceptional interpreter of the American Songbook with the January release of “Here In the Moment.” Soulful and understated, her voice caresses each melody, transforming even the most familiar standards into highly personal narratives.

Continue reading at The Seattle Times.

I/O Jazz Awards

The nominees for the I/O Jazz Awards have been posted for voting on the Lucid website. Make sure and go online and vote. The I/O Jazz Awards will be held Monday, May 31 at Benaroya Hall’s S. Mark Taper Foundation Auditorium.

Outstanding Vocalist: Alisha Roney, Greta Matassa, Emily McIntosh, Flora McGill, Bridgid Roney

Outstanding Instrumentalist: Eric Verlinde, Evan Flory-Barnes, Alexey Nikolaev, Randy Halberstadt, Scott Morning

Rising Star (16-25): Jon Sheckler, Andy Clausen, Brendan O’Donnel

Contribution to The Community: Faire Gallery Cafe, Clarence Acox, Ev Stern

Free-Jazz Band of The Year: Speak, Bad Luck Band, Operation ID

Straight Ahead Album of the Year: Straight Ahead by Hadley Caliman, Unreal Reality by Industrial Revelation, Spectre by Mark Taylor

Latin Jazz Album of the Year: Manghis Khan (Live at Sonarchy), Live at Caramoor (Jovino Santos), Sambatuque – Brazilian Songbird

Mixed Genre Album of the Year: Hardcoretet – experiments in vibe, Guardian Ear, Gravity – Grimy

Band of the Year: The Fabulous Party Boys, The Teaching, McTuff

Most Dynamic Concert: Acknowledgment of a Celebration, Soul Kata at the Triple Door, Lucid Anniversary w/ the Teaching

Outstanding Stage Presence: Jason Parker, Mark Sampson, Owuor Arunga

Composition of the Year:
Con Miki (Tim Carey), Acknowledgement of a celebration (Evan Flory Barnes), Beautiful Brooklyn (The Teaching)

Outstanding Lyricist: Katrina Kope, Darrius Willrich, Michele Khazak

Friday Jazz

TULA’S JAZZ CLUB: Gail Pettis Quartet

NEW ORLEANS: Thomas Marriott’s Flexicon

JAZZ ALLEY: Eddie Palmieri Latin Jazz Band

EGAN’S BALLARD JAM HOUSE: AMA, with Amy Denio, Madeleine Sosin and Abel Rocha

BAKE’S PLACE: Greta Matassa with special guest Patti Wicks

LATONA PUB: Phil Sparks Trio

LUCID: Jazz Committee

JAZZ VOX: Kelley Johnson & Keith Ganz

EL GAUCHO BELLEVUE: Trish Hatley Trio

SERAFINA: Djangomatics

Thursday Jazz

TULA’S JAZZ CLUB: Dave Marriott Quartet

JAZZ ALLEY: Eddie Palmieri Latin Jazz Band

NEW ORLEANS: Ham Carson Quintet

SEATTLE ART MUSEUM: Art of Jazz: Rochelle House

TRIPLE DOOR MAINSTAGE: Sex Mob Plays Sexotica w/ DJ Olive

SORRENTO HOTEL: Overton Berry

THAIKU: Jon Alberts, Jeff Johnson & Tad Britton

BARCA: Clark Gibson Trio

Wednesday Jazz

TULA’S JAZZ CLUB: Smith/Staelens Big Band

NEW ORLEANS: Legacy Quartet w/Clarence Acox

JAZZ ALLEY: Joey DeFrancesco

LUCID JAZZ LOUNGE: Dave Gagnon Trio

THAIKU: Ron Weinstein Trio

DULCES LATIN BISTRO: Eric Verlinde

EGAN’S BALLARD JAM HOUSE:
7pm – Vocal Jam hosted by Julie Olson. Backed by Chris Morton (piano) Dan O’Brien (bass) and Robert Rushing (drums)
9pm – Vocal Showcase hosted by Julie Olson. Vocalists are Emily McVicker, Paul Richter and Grace Scrobisz. Backed by Chris Morton (piano) Dan O’Brien (bass) and Robert Rushing (drums)

Tuesday Jazz

TULA’S JAZZ CLUB: Emerald City Jazz Orchestra

JAZZ ALLEY: Joey DeFrancesco Trio

NEW ORLEANS: Holotradband

MIX: Don Mock

MARTIN’S ON MADISON: Karin Kajita

OWL ‘N THISTLE: Jam w/ Eric Verlinde & Jose Martinez

Garfield High jazz band takes first place at Essentially Ellington

from The Seattle Times:

Performing in perhaps the strongest field of bands in the history of the event, Garfield won the Essentially Ellington high-school jazz-band competition for an unprecedented fourth time Monday night at New York’s Lincoln Center.

Led by director Clarence Acox, the Garfield band played with trumpeter Wynton Marsalis in Alice Tully Hall with other top-placing bands (Foxborough High School, from Foxborough, Mass., and Dillard Center for the Arts, from Fort Lauderdale, Fla.) before the winning school was announced. Garfield also won Essentially Ellington last year, in 2004 and in 2003, making it the most successful and consistent band in the competition, considered the most prestigious of its kind. Bands from two other schools in the Seattle area, Roosevelt and Edmonds-Woodway high schools, also competed, but did not place among the top three.

Contest judges reported that they deliberated longer than they ever have and that the level of competition was never higher, said Edmonds-Woodway band director Jake Bergevin.

Continue reading at The Seattle Times.

Review: Carrie Wicks, I’ll Get Around to It

from All About Jazz:

In the crowded and talent-filled lady jazz vocalist field, standing apart is no small feat. Some natural vocal chops, combined with a bunch of hard work and a good backing band, can make for a very viable artistic effort, and there are a lot of those around. But a very workable artistic effort is not enough. The singer has to connect on a personal level by telling the stories of her songs in a convincing fashion—in her own vulnerable or tough and world-weary, or sweet, or rough-and-tumble way. That’s what Billie Holiday, Carmen McRae, Blossom Dearie and Anita O’Day did. On her debut release, I’ll Get Around to It, Seattle-based jazz vocalist Carrie Wicks proves herself a very convincing storyteller.

With a wonderful feel for the beat, adept phrasing and a bit of a Tony Bennett hush in her voice, Wicks can make you fall for her on “I’m Old Fashioned,” or she can, sweet-voiced on the Lorenz Hart/Richard Rodgers gem “Everything I’ve Got,” give a grown man a good scare and make him check the room for an escape route. She can also exude a laidback, no-nonsense, Carmen McCrae toughness on “Baby, Get Lost,” or sing with a beautiful, horn-like delivery on Elvis Costello’s hauntingly surreal “Almost Blue.”

The songs come mostly from yesteryear, way back from the thirties and forties, and for the most part are not from the overly-covered side of the old fashioned tunes. Exceptions are Costello’s “Almost Blue” (1982) and the Ken Nottingham/Carrie Wicks-penned title cut, both of which slip smoothly into mix.

The first-rate backing band—headed by pianist/composer Bill Anschell, who produced and arranged the disc—sets a vibrant background for Wicks’ storytelling, featuring Jeff Johnson’s big bass bounce on “I’m Old Fashioned,” Hans Teuber’s tangy New Orleans-esque clarinet on the title tune, drummer Byron Vannoy’s shuffling caresses with the brushes on “Everything I’ve Got,” and Anschell’s always exquisite accompaniment and deft embellishments.

I’ll Get Around To It is an extraordinary debut, a first-rate jazz vocal effort.

Lena Horne Dead: Singer Dies At 92

From The Huffington Post:

NEW YORK — Lena Horne, the enchanting jazz singer and actress who reviled the bigotry that allowed her to entertain white audiences but not socialize with them, slowing her rise to Broadway superstardom, has died. She was 92.

Horne died Sunday at NewYork-Presbyterian Hospital, according to hospital spokeswoman Gloria Chin. Chin would not release any other details.

Horne, whose striking beauty and magnetic sex appeal often overshadowed her sultry voice, was remarkably candid about the underlying reason for her success.

“I was unique in that I was a kind of black that white people could accept,” she once said. “I was their daydream. I had the worst kind of acceptance because it was never for how great I was or what I contributed. It was because of the way I looked.”

In the 1940s, she was one of the first black performers hired to sing with a major white band, the first to play the Copacabana nightclub and among a handful with a Hollywood contract.

Continue reading at The Huffington Post.