Seattle Jazz Fellowship: One Small Step at Vermillion, One Giant Step for the Seattle Jazz Scene

Xavier Lecouturier Group performs at the first Seattle Jazz Fellowship “Fellowship Wednesday” event, at Vermillion Art Bar.Matt Williams, vibes;Noah Halpern, trumpet;Martin Budde, guitar;Dylan Hayes, piano;Xavier Lecouturier, drums;  Jinm Levitt photo

History and historical change happens incrementally. An able writer could expound exponentially about the life changes that added up to Louis Armstrong being the first great messenger of jazz music, step by step, before ever mentioning Duke Ellington. In the history of jazz in Seattle, one evening last week has the huge potential of being the first incremental phase of live, local jazz moving forward in the new jazz century, in such a way that allows more meaningful access for the fans, and a creative outlet for artists that compensates them fairly. It has the potential of uniting in a meaningful way, the musicians of this very social art form, and the patrons that support it. For those patrons, it as well allows them to put their hard earned dollars more directly into the musician’s pockets, impacting the creative process in such a way that positively leads to innovation in the music itself. For those of us who love the music, and see it as an integral part of our lives and culture, October 20, 2021 is the date where a giant step was taken towards a goal of vibrance and stability for the Seattle jazz scene. It was the first live incarnation of the Seattle Jazz Fellowship, and its weekly affair at Vermillion on Capitol Hill.

Trumpeter Thomas Marriott welcomes the audience to the first “Fellowship Wednesday” at Vermillion Art Bar, on behalf of the Seattle Jazz Fellowship. Jim Levitt photo

Trumpeter Thomas Marriott, one of the most impactful jazz musicians in recent Seattle memory, has envisioned a movement like this for a number of years. During the deepest, darkest days of the Covid-19 pandemic, he put his ideas on paper, effectively charting the future for post-pandemic, live, resident jazz in Seattle. With the eventual goal being a five night a week venture in a permanent home, the Seattle Jazz Fellowship has taken its first incremental step towards that goal, forming a Wednesday night partnership with Vermillion, an art gallery and bar that has mainly hosted music from the city’s avant-garde and improvised music community. Marriott purchased a piano and a PA system, and began operations in Vermillion’s brick lined digs. The room is quite vibrant acoustically, and the music was able to take place without electronic assistance with the exception of light amplification for bass and electric keyboards. The piano was not mic’d. 

The Marc Seales Group opens the first Seattle Jazz Fellowship “Fellowship Wednesday” event, at Vermillion Art Bar. Thomas Marriott, trumpet; Marc Seales, keyboards; Chuck Deardorf, bass; Gary Hobbs, drums;

As a 501(c)3 non-profit, the fellowship cannot charge a cover, but has a twenty dollar suggested donation that includes two sets of music from the best Seattle jazz has to offer. The programming however, actually starts in the afternoon at 5 PM, with a free listening event designed for students and jazz fans alike. Historic trombonist and jazz icon, Julian Priester, spends an hour playing albums he appears on, and discusses the historical aspects of that recording. Mr. Priester has appeared on albums and toured with Max Roach, Abbey Lincoln, John Coltrane, Sun Ra, Herbie Hancock, Duke Ellington and more. His own records on ECM and Riverside will be explored as well. 

On his first go-around, Priester played and expounded on his 1960 Riverside date, Keep Swingin’, and shared wonderful stories about his time with such greats as Roach, Lincoln, and Tommy Flanagan. To sit in a quiet room, talking about a session that took place over sixty years ago with one of the participants was magical, an opportunity not to be missed. Unfortunately, the audience consisted of twenty six musicians, and not a single high school student. The hope is certainly that students will begin to take advantage of this rare opportunity to share time with Priester.

Gary Hiobbs (d), Chuck Deardorf (b)        Jim Levitt photo

At 7 PM, the club opened officially for an hour of hang time prior to the first set. Vermillion had been shuttered since the beginning of the pandemic, and it took a little work to create the space the event required. Many familiar faces checked in, as well as many new, young faces, all covered in masks. Vaccination ID was checked at the door, adding a layer of social comfort to the event. 

Xavier Lecouturier         Jim Levitt photo

From the first note, the room was resonant, the sound projecting out of the bar, and down the long corridor that is the art gallery. People walking through the front door could hear the acoustical brilliance of the room, with the piano of Marc Seales coloring the sound with gorgeous voicings. Drummer Gary Hobbs, up from Portland for the evening, chimed in at first, and then dug in, being his usual swinging self. So appropriately, bassist Chuck Deardorf was on the gig, and sounding better than ever, literally. Deardorf has been a first-call musician in this town since the early seventies, playing often at clubs like the original Jazz Alley in the U District, Parnell’s, The Rainbow and the Pioneer Banque, all of which are swept away into the dustbin of history. Marriott’s trumpet sound was in perfect tune with the physical aspects of the room, his resonant tone rising and projecting immensely. The quartet was in perfect tune with the human vibe in the room, as fifty people filled the tiny, brick lined digs at the Capitol Hill club. 

Noah Halpern                           Jim Levitt photo

A short break between sets provided more time for people to enjoy the fellowship of community, in many cases, greeting long time friends not seen since the pandemic shut down live music eighteen months ago. The diversity of the crowd itself was stunning in terms of age–being so indicative of the long term multi-generational nature of jazz scenes around the globe. Those attracted are not done so by generational trends, or corporatized marketing. The music is the thing, the appreciation of beauty, the immersion into something that elevates us emotionally and spiritually. There were no expensive dinners to buy, no craft cocktails required. Hungry patrons took advantage of Mario’s across the street. Vermillion owner Diana Adams provided drinks and friendly service. It was obvious she was there for the art, the music itself, just as everyone else in her bar. 

Xavier Lecouturier (d), Matt Williams (v), Noah Halpern (t)

Drummer/composer Xavier Lecouturier led his quartet the second set, a bassless ensemble that morphed into a quintet with the last minute addition of trumpeter Noah Halpern. Some of the usual suspects were on the gig, with Meridian Odyssey bandmates Martin Budde (guitar), and Dylan Hayes (piano, keyboards). Vibraphonist Matt Williams, known more prominently as a pianist, but as well highly skilled on vibes, completed the band. With the bassline maintained collectively by Hayes, Budde and Halpern, soloists were free to explore with less visible and audible parameters, creating a unique, orchestral sound. Halpern’s ardent tonality was rich and warm, giving the evening an extraoridinary two trumpet hit. Budde’s playing was free, probing yet thoughtful, as his evolution continues to unfold before us. Lecouturier acted as a leader should, often kicking rhe music in another direction with his confident playing that embraces the entirety of the jazz tradition. Noticeable of course, was like the audience, the group of musicians playing that evening spanned four generations. If you include Priester into the mix, there was sixty five years of separation between the most highly regarded elder, and the youngest player on the gig. There is beauty and value in that beyond measure. 

Guitarist Martin Budde                          Jim Levitt photo

The Seattle Jazz Fellowship could not have hoped for a better result the first time out of the gate. The evening was competing with the Earshot Jazz Festival and Jazz Alley, and received an audience that was attentive, mature, joyous, engaged and aware of the value of masking and being vaccinated. The music was thrilling, the vibe generous and positive and our hosts at Vermillion, kind, helpful and all in on the music.

Gary Hobbs (d), Thomas Marriott (t)

The Seattle Jazz Fellowship offers a weekly opportunity to show your support for local Seattle jazz, hear vibrant and important music and gather in fellowship with friends. Best of all, it won’t cost you half your weekly paycheck to attend. It is an organization for the music, and the community that embraces it. Musicians and patrons alike are equal partners in this most social music. October 20, 2021, mark it down. It is step one of a journey that very well could determine the future of the Seattle jazz scene. https://seattlejazzfellowship.org/


Live Review: East-West Trumpet Summit at Meydenbauer Center Theatre- Oct 9, 2021

Lisa Hagen Glynn photo

Two trumpet quintets in jazz are rare, historically and presently. The alliances most commonly mentioned are the bop era tandem of Fats Navarro and Howard McGhee and their post-bop descendents, Freddie Hubbard and Woody Shaw. The individual players in both these pairings had similar qualities in terms of style and approach.

Ray Vega                   Lisa Hagen Glynn photo

The pairing of Bronx born trumpeter Ray Vega, and his younger partner, Seattle’s Thomas MarriottT, as well have their musical commonalities. It is where the differences lie between the two that provides the intrigue around their recordings and live performances.The age-old belief that the east coast version of jazz is commonly more intense, and the west coast approach more laid back, has not been completely eradicated by modern travel, and in recent times, social media. Vega’s move from the Bronx and New York City to Burlington, Vermont has certainly redefined the “east” portion of the equation, while Marriott is now suddenly the more urban of the two, residing in the city of Seattle. Musical styles aside, the true story of this historic pairing has much more to do with friendship, with mentorship, and a long time friendship and bond that has seen Vega name his youngest son after Marriott. A little background therefore, is necessary to be able to appreciate the magnitude of this latest meeting in Seattle, performing at the Bellevue Blues and Jazz Festival. To continue reading, click on this link:https://www.allaboutjazz.com/east-west-trumpet-summit-at-meydenbauer-center-theatre-thomas-marriott-and-ray-vega

Thomas Marriott              Lisa Hagen Glynn photo
Roy McCurdy                         Lisa Hagen Glynn photo
Lisa Hagen Glynn photo
L to R- Thomas Marriott, Ray Vega                    Lisa Hagen Glynn photo
L to R- Ray Vega, Orrin Evans, Thomas Marriott
Roy McCurdy, Michael Glynn                        Lisa Hagen Glynn photo
The rhythm section- Orrin Evans, Roy McCurdy, Michael Glynn
L to R- Orrin Evans, Thomas Marriott, Michael Glynn, Ray Vega, Roy McCurdy

Live Review: The Cookers at Jazz Alley- 9/22/2021

Performance Photos by Lisa Hagen Glynn

The Cookers at Jazz Alley on 9/22/2021

The third week of September turned out to be quite the week for jazz in Seattle. On Tuesday September 21, Herbie Hancock appeared at the Paramount Theatre, performing a thrilling two hour set with bassist James Genus, flutist Elena Pinderhughes and drummer Justin Tyson. The following night, The Cookers were at Jazz Alley, and I went not only to hear some great jazz music, put to pay homage to a group of jazz elders that are hugely influential in the music I had come to be passionate about. This was personal and I wasn’t alone in that feeling. Pianist George Cables is not only one of the great jazz pianists of our time, he is a man with tremendous humility and humanity. Eddie Henderson is on the list of most underappreciated trumpeters historically, with his brilliant melodic sense and tonal elegance. Drummer Billy Hart is still, at age eight one, a force of nature. Mr. Cecil Mc Bee? The master bassist is on records I have come to treasure that date back to the early sixties. Just seeing the great McBee enjoying a glass of wine after the gig was a bit of a surreal experience in itself for an admittedly over-the-top jazz fan like myself. 

I was insistent on attending the performance as a civilian–I wanted to enjoy these master musicians without checking on a set list, without jotting down notes. I was however, accompanied by photographer Lisa Hagen Glynn, who wanted to document the event with her very fine skills as a live performance photographer. She knew the room well, so her plan of attack would no doubt bring excellent results. As you can see from the photgraphs below, that indeed was the case. 

A review might simply point out that Billy Harper is still letting it fly on tenor, that Cables is playing as well, or better than he ever has. It would state the obvious that Hart would set the pace with his physical and articulate style. It would cite McBee as the foundational impulse of the band, playing with understated elegance. It would mention that Donald Harrison would bring a bit of New Orleans with him, acting as a tonal counterpoint to Harper’s snarling, biting attack. David Weiss would fill in the gaps, solo madly and be the band’s designated spokesman. 

For the audience, there was a prominent feeling of  rebirth, that somehow through the fog of now almost two years of social isolation, these jazz apostles are still on the road, still sharing their gifts with us. We felt not only joyous, but fortunate to be sharing space with them. 

Our friend, the iconic trombonist Julian Priester, sat at a table right up against stage left. It occured to me that three members of Hancock’s Mwandishi Band would be in the house, after having seen Hancock the night before. Priester was there unbeknowst to his Mwandishi brothers, Hart and Henderson. As the Cookers were being announced and entering the stage, Hart spotted Priester and got down on his knees to lean over the stage and embrace his old friend. The emotion of the moment was only surpassed by its beauty. 

Julian Priester (L) and Bill Hart (R)    Lisa Hagen Glynn photo

The hang is always the thing–an unequivocal fact in the jazz community, that somehow felt even more relevant that evening. To be seated with Priester, Hart and Henderson, or sharing a drink with McBee is an honor. Young musicians, such as saxophonist Jackson Cotugno, were able to meet and briefly chat with these legendary and historic musicians. That generational bridge is always something wonderful to behold. 

As for my friend Lisa Hagen Glynn, she captured the energy of the evening perfectly. Many, many thanks to her for sharing this treasure trove of jazz history with us. You can catch and support her fine work covering the music scene in Seattle, both inside jazz and out, at her new blogsite https://hardlyraining.com

Tenor saxophonist Billy Harper and bassist Cecil McBee      Lisa Hagen Glynn photo

The great Billy Hart                            Lisa Hagen Glynn photo 

Alto saxophonist Donald Harrison       Lisa Hagen Glynn photo

Bassist, the great Cecil McBee           Lisa Hagen Glynn photo

George Cables with the Cookers at Jazz Alley, 9/22/2021          Lisa Hagen Glynn photo
L to R- George Cables, Billy Harper, David Weiss, Eddie Henderson, Cecil McBee, Donald Harrison, Billy Hart  at Jazz Alley 9/22/2021         LIsa Hagen Glynn photo
Cecil McBee (bass) and Eddie Henderson (trumpet)     Lisa Hagen Glynn photo
Billy Hart drum solo at Jazz Alley with the Cookers- 9/22/2021    Lisa Hagen Glynn photo
Dr. Eddie Henderson        Lisa Hagen Glynn photo

The great George Cables       Lisa Hagen Glynn photo


Mwandishi brothers- Julian Priester, Billy Hart, Eddie Henderson       Ken Steiner photo