Pandemic Blues: The Slow Withdrawal From the Abyss
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……..
Our friends Ryan Burns, Cole Schuster and Max Holmberg have taken to recording remotely, and are announcing the release of two brand new singles. The always eclectic, and remarkably versatile Burns is featured on Hammond B-3, along with Schuster on guitar, and Holmberg on drums. Here is a link to the press release. https://www.artistpr.com/press-release/ryan-burns-jazz-music/?fbclid=IwAR0gJRWMm_BZ4FTx0IMhm1WrKKxBzGNEXMD13MBVXjmNQLo_-g41IvdxAAg
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