Seattle Jazz Scene: Live Jazz Previews for Seattle

March 19, 2024 / Paul Rauch / No Comments

Seattle Jazz Fellowship Monday Night Jam Session (all ages)

Mondays at 7:30 PM / Seattle Jazz Fellowship- 109 S. Main St.

The Monday jam in Pioneer Square is open and all ages with a sign up sheet. The curation and presentation is done extremely well. It is also an opportunity to hang as a community, have a drink with friends and support the music. The jam has developed quite an audience as well, and a young audience at that. The room is always full, with a line going down the block. Early arrival is advised- musicians planning to sign up and play will be allowed entrance no matter the crowd. Musicians now have a place to do there thing at a session in front of a large audience. The vibe and the overall scene of the session, including an audience that listens and participates has been thrilling, to say the least. https://seattlejazzfellowship.org/events

Tuesday Night Jam at the Owl

Hosted by Matt Williams

Tuesdays at 9:30 PM / Owl ‘n Thistle

For those unacquainted, this is the jazz jam session in Seattle with a grand history twenty seven years long. Started by the upstart neo-bop band, Bebop and Destruction, and nurtured for eighteen more by pianist Eric Verlinde, the baton now resides in the able hands of pianist/keyboardist/vibraphonist Matt Williams. There is an opening set, followed by the jam. The opening set is different each week, often with Williams at the keyboard. Now a month into his tenure, Williams’ enthusiasm for the gig is clearly evident. Unlike the jam at Seattle Jazz Fellowship on Mondays, this is a twenty one and over affair, and starts later to facilitate musicians arriving post-gig. One of the few late night jazz gigs left in Seattle! I wrote an article about the unique and often humorous history of the session for All About Jazz, link posted below. By the way, no bar serves Guiness as expertly as the Owl!https://www.allaboutjazz.com/tuesday-night-jams-at-the-owl-a-25-year-legacy-in-seattle

Jean Chaumont Quintet

Thu Apr 24, 7:30 PM / Seattle Jazz Fellowship- 109 S. Main St.

French guitarist Jean Chaumont‘s playing is often compared to guitarist Pat Metheny, his music often mentioned in the same breath as ECM artists such as Shai Maestro. But for most jazz fans in Seattle, including this one, it’s difficult to draw a proper comp for the guitarist. While he has appeared around town quite a bit, nailing him down to a performance of his own music, with resident notables in support has not been easy. I have seen him play a few times at Tula’s, and at jam sessions, just enough to know that I would like to see and hear more of him. This SJF date gives us all that opportunity. Chaumont has surrounded himself with a formidable band here as well, making the appearance all that much more intriguing.

Pianist Dylan Hayes, bassist Kelsey Mines and drummer Xavier Lecouturier join as a foundational and multi-dimensional force behind the guitarist. Seattle’s iconic multi-reedist Hans Teuber, brings a melodic and spontaneously creative presence to the band. The quintet will dive into Chaumont’s original tunes from his album, The Beauty of Differences and more. https://seattlejazzfellowship.org/events

Claudio Rochat-Felix Quartet

featuring James Mahone, Tim Kennedy & Jonti Siman

Fri Apr 25, 7:30 PM / Seattle Jazz Fellowship- 109 S. Main St.

Drummer Claudio Rochat-Felix leads a top shelf quartet featuring Bay Area saxophonist James Mahone. Pianist Tim Kennedy and bassist Jonti Siman are Seattle notables that complete a sonic quartet.

Rochat-Felix doesn’t perform all that often in Seattle, and may be an unknown to many local fans, but he is a beyond groove type player that plays with a spacial awareness that is highly resonant. Mahone is likely a bit of an unknown as well, but he is a well-traveled player on an international scale that brings a lot to the table. Kennedy is among the best jazz pianists on the west coast, visible in his efforts as a leader, and as a member of Thomas Marriott’s quartet. Bassist Siman has been a steady presence on the scene since arriving in Seattle, and is becoming more and more visible as his tenure continues here. This is a capable unit with a chance to be very, very good. https://seattlejazzfellowship.org/events

Trevor Ford Trio

Sat Apr 26, 7:30 PM / Seattle Jazz Fellowship- 109 S. Main St.

The jazz piano trio is a wide open foray into spontaneous expression, particularly when all three participants are given equal footing in the process. In this case, bassist Trevor Ford is the fulcrum of the triad, joined by pianist Tim Kennedy and drummer Sutton Marley.

Ford’s playing is swingin’, steeped in the post-bop side of the jazz tradition. His musical partnership with Kennedy is on display every Monday night at SJF as part of Thomas Marriott’s house band for the Monday jam session, as well as Marriott;s quartet appearances. Marley has slowly found himself on more and more gigs in Seattle since his arrival from the Bay Area. It shouldn’t take much then, for these three to find a common center to work from. All three are fearless in their approach, making the prospects for this evening worth the trek down to Pioneer Square. https://seattlejazzfellowship.org/events

Gary Bartz Quintet

Tue & Wed Apr 29-30, 7:30 PM / Jazz Alley

NEA Jazz Master Gary Bartz returns to Seattle in anticipation of his upcoming album- his first release since 2011. The master alto saxophonist started his career in the mid-sixties with such luminaries as Max Roach, Charles Mingus and Miles Davis. With Davis, he became part of the fusion revolution gripping jazz as the ’70’s began. He is one of the true innovators of the alto, in many ways assimilating the advancements made by tenorist John Coltrane and applying them to his instrument. Still playing at an exceptyionally high level, Bartz is one of the true links between modern jazz and the work of the masters.

Bartz will be joined by a forward thinking band featuring Seattle’s own Kassa Overall on drums. Guitarist Paul Bollenback, pianist Marc Cary and bassist James King round out this outstanding quintet.

Tim Lerch Trio

Thu May 1, 7:30 PM / Seattle Jazz Fellowship- 109 S. Main St.

Guitarist Tim Lerch is best known to PNW jazz fans as a member of the legendary band, Pearl Django. His stylistic leanings go far beyond the Django-esque language he employs in that veteran ensemble. He is a jazz guitarist with blues tendencies in his trio, in this iteration with bassist Osama Afifi and drummer Craig Cootsona. https://seattlejazzfellowship.org/events

Beserat Tafesse Quartet

featuring Matt Williams, Geoff Harper & Christopher Icasiano

Fri May 2, 7:30 PM / Seattle Jazz Fellowship- 109 S. Main St.

Trombonist Beserat Tafesse burst on the scene as a bandleader and side musician seemingly out of nowhere. The eastside native returned to the PNW after some time in New York, and has been highly visible and active since. Tafesse will pull out imaginative originals and selected standards to explore with a talented quartet in tow.

Pianist Matt Williams is worth the effort to head on down to 109 S. Main in himself. A brilliant jazz pianist, Williams headlines his own gigs with his trio and curates the longtime jam session at the Owl n Thistle. Bassist Geoff Harper is a versatile player whose comfort zone ranges from bebop to free jazz. His tenure performing live and in the studio with Julian Priester is noteworthy. Drummer Christopher Icasiano is one half of the out duo, Bad Luck. He is seen often in trios led by Williams and Ann Reynolds. He is a touring member of the highly successful Seattle based folk-rock band, Fleet Foxes. https://seattlejazzfellowship.org/events

Gail Pettis Quartet

Sat May 3, 7:30 PM / Seattle Jazz Fellowship- 109 S. Main St.

Origin Records recording artist Gail Pettis has been somewhat quiet in recent times, so it’s good to see her on the SJF schedule. A vocalist of grand style and grace, Pettis is a natural, performing standards and originals with a blues-inflected style that delivers lyrically. With a new recording in the making, jazz fans around the PNW are hopeful to see her out and about fronting her always stellar band.

Pettis has a perfect foil in pianist Tony Foster, joined by trailblazing bassist Jeff Johnson and drummer Mark Ivester. Her ability to connect with an audience will be greatly enhanced by the intimate vibe at 109 S. Main. Pettis is one of a handful of great jazz singers to appear on the Seattle scene over the past twenty years. https://seattlejazzfellowship.org/events

Low Blow- featuring Boss Baritones Gary Smulyan & Frank Basile

with guests Noah Pettibon, Alex Dugdale, Calvin Rey & Sid Hauser

Sun May 4, 4 PM- free saxophone clinic at 1:30 PM

Gary Smulyan is an icon of the baritone saxophone. The winner of Grammys, and too many Downbeat reader’s and critic’s polls to recall, Smulyan occupies the top tier historically of jazz baritone saxophonists with Pepper Adams and Gerry Mulligan. Sweeping into Seattle with Boss Baritones partner Frank Basile, Smulyan engages with Seattle baritone enthusiasts Noah Pettibon, Calvin Rey, Sidney Hauser and Alex Dugdale, all of whom have been mentored by the low-tone legend.

A free clinic will be given at 1:30 PM. followed by the performances beginning at 4PM. Half-hour sets will be performed by locals Noah Pettibon, Calvin Rey, Alex Dugdale and Sidney Hauser, backed by the all-star rhythm section of pianist Roman Goron, bassist Kelsey Mines and drummer Matt Jorgensen. Smulyan and Basile will then play a full performance featuring Michael Glynn, drummer D’Vonne Lewis and pianist Tim Kennedy.

It’s nice that the baritone is receiving this kind of attention, considering the lack of low-blow action in Seattle these days. But Smulyan is so much more than a legend of the instrument–he is a historically great saxophonist who takes as much from Charlie Parker and other influences than he does from the baritone tradition. His individual style, his sense for innovation and melody, and his stellar technique make this a must see performance on the spring calendar in Seattle. https://seattlejazzfellowship.org/events

Shai Permilovsky Trio

Thu May 8, 7:30 PM / Seattle Jazz Fellowship- 109 S. Main St.

Shai Permilovsky is a pianist born and raised in Kfar Saba, Israel and Bellevue, Washington. He is now based in Seattle, after studying with Marc Seales at the UW. His approach is inspired by Israeli pianists Shai Maestro, Nitai Hershkovits and Omri Mor, giving him a sound that is distinctly “Israeli Jazz.” His appearance at 109 S. Main is an opportunity to get to know his playing in a quartet setting with a listening audience.

The pianist will be joined by a formidable group, with bassist Tony Lefaive, drummer Max Holmberg and tenor saxophonist Darian Asplund. The quartet will focus on Permilovsky’s original compositions that will be heard on his upcoming first album, Grandpa’s Village.https://seattlejazzfellowship.org/events

Danny Kolke Trio

Sat May 10, 7:30 PM / Seattle Jazz Fellowship / 109 S. Main St.

Pianist Danny Kolke is known for his fine work at Boxley’s in North Bend, but one cannot overlook his fine playing as a performer. Kolke is a talented and versatile pianist whether in the intimate settings of piano trio, ensemble settings or as an accompanist with vocal artists.

Most recently, Kolke has been putting together new originals for a trio recording project with first call bassist Michael Glynn and drummer Max Holmberg. The pianist has logged considerable time with both over the years, developing a chemistry that should translate well to this trio performance at 109 S. Main. https://seattlejazzfellowship.org/events

The Bad Plus

Tue & Wed May 13-14, 7:30 PM / Jazz Alley

For many years, The Bad Plus was a jazz piano trio that in essence, explored non-jazz material through their lens of piano trio non-conformity. Bassist Reid Anderson, drummer Dave King and pianist Ethan Iverson created an industry brand that was infallible.

The trio became slightly more interesting when Iverson departed and was replaced by Philadelphia based pianist, Orrin Evans. But when Evans left the band to return to his own musical pursuits, Anderson and King were left with more questions than answers. Fortunately, they answered those questions expertly, and in the process, created a version of The Bad Plus that may stand taller than the previous two, and in a certain way adhere to the original mission of the band perfectly. They created a weirder, wilder and more interesting Bad Plus. A brief explanation.

As is evidenced by their latest release, Complex Emotions, the overall sound of the band is very different, darkly skirting the premise of the band’s past with a sonic presence that fits into the musical space created by Anderson and King in a perfect and poetic way. Guitarist Ben Monder has the ability to play straight up jazz guitar, or play with a completely different ambience that seems a weird and wonderful collision of musical worlds. It’s a match made in the heavens, and augmented well by the saxophone musings of Seattle born and bred musician, Chris Speed. Speed is the lightning to Monder’s thunder, bringing forward an atmospheric identity that should appeal to a wide spread of progressive listeners. I recommend this gig to those who have not previously fallen down the Bad Plus rabbit hole. Long time fans should dig it , too. https://www.jazzalley.com/www-home/artist.jsp?shownum=7632

Jared Hall Quintet

Thu May 15, 7:30 PM / Seattle Jazz Fellowship- 109 S, Main St.

Trumpeter Jared Hall is a valued member of the Seattle jazz community despite his leaving for his native Spokane in recent times to teach at Whitworth University. He returns to Seattle on the heels of his successful 2024 release, Influences on the Origin Records label. His playing is reminiscent of the historic masters of his instrument, gaining an original bent over the past decade that has pushed him to new heights both as a player and composer. There is an assertive confidence to his playing that tends to create an ascending spirit in the music being performed.

Hall hits with two veteran players with whom he is well acquainted in acclaimed Seattle drummer John Bishop and Laramie based pianist / composer Ben Markley. Joining them will be alto saxophonist Natalie Wagner and bassist Kai Wagner, two new generation players on the scene. Seattle audiences have not had much opportunity to see Markley play, an elegant and forward thinking player. https://seattlejazzfellowship.org/events

Tom Guarna Quartet

featuring George Colligan, Matt Jorgensen & Michael Glynn

Fri May 16, 7:30 PM / Seattle Jazz Fellowship- 109 S. Main St.

Grammy nominated guitarist Tom Guarna is a master player and composer whose style is impacted by the wide range of legendary musicians he has performed with. The author of seven albums as a leader, Guarna has an impressive recording and performance resume that includes three Blood Sweat and Tears, Brian Blade, Wallace Roney, Stanley Clarke, Branford Marsalis, Dr. Lonnie Smith, Gary Bartz and many more. His time in New York included studies with the great John Abercrombie. His style embraces the entire landscape of jazz music.

Guarna will perform tunes from his most recent recording, Reimagine, with a top shelf quartet that includes master pianist George Colligan and first call Seattle musicians in drummer Matt Jorgensen and bassist Michael Glynn. https://seattlejazzfellowship.org/events

Phil Sparks Trio

Sat May 17, 7:30 PM / Seattle Jazz Fellowship- 109 S. Main St.

Bassist Phil Sparks is a Seattle jazz institution. His soulful, swingin’ approach to the double bass has fit into a plethora of musical encounters over the years, both as a side musician and as a leader. He has been a foundational voice in the Seattle Repertory Jazz Orchestra from its inception, and has hosted the hippest jazz happy hour in Seattle at Latona for what seems like forever. In this case, Sparks pares things down to a traditional jazz piano trio, an equal partnership between three voices. Pianist Victor Noriega is an old friend who is seldom seen these days, so a welcome opportunity to reconnect with his playing. Drummer / percussionist Greg Campbell is an eclectic player with a wide range of influences. There’s a lot to work with here, all in the intimate atmosphere at 109 S. Main St.https://seattlejazzfellowship.org/events

Béla Fleck, Edmar Castañeda, Antonio Sanchez Trio

Thu May 22- Sun May 25, 7:30 & 9:30 PM / Jazz Alley

Banjo player extraordinaire Bela Fleck is grandly decorated with awards of all sorts- including nineteen Grammys. Those accolades really do not tell the story of his importance as a genius practicioner of his instrument. Working within the diatonic limitations of the 5-string banjo, Fleck has shattered stigmas placed on the instrument, performing with jazz musicians and others outside of the typical realm of the instrument that was pioneered into the modern bluegrass sound by the great Earl Scruggs. He did so early on in his band Spectrum, and later as a member of the genre-shattering band, New Grass Revival.

This may prove to be Fleck’s most interesting iteration of all, teaming up with Colombian harp master, Edmar Castaneda and Mexico City born drummer, Antonio Sanchez. More interesting than his collaborations with Chick Corea? Perhaps. Certainly, it will be a fascinating inter-cultural conversation in the common language of music. https://www.jazzalley.com/www-home/artist.jsp?shownum=7645

Steve Griggs Ensemble

Wed May 21, 7:30 PM / Seattle Jazz Fellowship- 109 S. Main St.

Tenor saxophonist Steve Griggs summons his longtime ensemble to play music inspired by the legendary trombonist, Seattle’s own Julian Priester. The band has been together since 2013, and has been awarded for adventurous programming from both Chamber Music America and ASCAP. Griggs is joined by vibraphonist Susan Pascal, bassist Phil Sparks, multi-instrumentalist Jay Thomas and drummer Milo Petersen–Seattle jazz legends all.

Griggs’ dive into the music of Priester fits side by side with his participation in the interview series, Julian Speaks with the Seattle Jazz Fellowship. Special guest Dan Marcus has been summoned to perform on trombone for the occasion. Griggs’ passion for the music and culture that surrounds him here in Seattle is like a breath of fresh air. This will be a splendid evening of celebration, and an opportunity to hear Priester’s music performed by musicians who have spent considerable time with the legendary trombonist and friend. https://seattlejazzfellowship.org/events

Dmitri Matheny Group

Fri May 23, 7:30 PM / Seattle Jazz Fellowship- 109 S. Main St.

Dmitri Matheny is a flugelhorn artist very much along the lines of the great Art Farmer. He very often plays theme based performances tour to tour, in this case titled, “Jazz From the Silver Screen.” The performance will include tunes from movie scores across the past one hundred years–a century of time in which film and jazz has literally grown up together. The repetorire may include selections from any or all of close to thirty films.

Matheny totes with him a formidable band, featuring pianist Bill Anschell, bassist Phil Sparks, drummer Xavier Lecouturier and saxophonist Michael Brockman. https://seattlejazzfellowship.org/events

Opinion/Editorial: The Time to Act is Now to Support Local Seattle Jazz

November 24, 2023 / Paul Rauch / No Comments

“Our mission is to build community, provide access to the mentorship cycle, incentivize excellence and to lower the barriers to access jazz for both performers and listeners.”

This quote from the original mission statement of the Seattle Jazz Fellowship states in no uncertain terms, the focus of the Seattle 401(c) 3 non-profit that has guided its journey from its point of inception in October 2021. This was when the fellowship initiated its “Fellowship Wednesdays” weekly affair at Vermillion Art Bar on Capitol Hill. While the non-profit has engaged in a variety of special events, the Wednesday series has presented live jazz featuring Seattle resident musicians with occasional out of town guests now for more than two years. It has provided a stage for Seattle jazz musicians to perform original music for an appreciative listening audience and be paid respectfully. While only one night a week, it has been a beacon of hope for the Seattle jazz scene that has lost its collective mainstages largely due to gentrification. The business model that guided jazz dinner clubs like the New Orleans Creole Restaurant in Pioneer Square and the iconic Tula’s Jazz Club in Belltown became obsolete. The price tag for the consumer became sky high, while the numbers needed to manage a successful business became impossible. An alternative was needed if the resident jazz scene in Seattle was to survive.

On Tuesday November 21, SJF founder Thomas Marriott announced that the December 6 edition of Fellowship Wednesdays would be the last staged at Vermillion, as the fellowship would be moving into its own space in Pioneer Square beginning in late January of 2024. The venue will be a pop-up affair in the historic Globe building near the intersection of First Avenue and Main St., smack dab in the middle of the neighborhood that not long ago was the heartbeat of Seattle nightlife. Programming will increase to “several” nights a week according to Marriott, increasing employment opportunities for musicians, and live jazz access for listeners. The non-profit’s logical next step is a large one, and will require a significant increase in support from the Seattle music community at large. Most importantly, it will require an “all in” support network from Seattle jazz musicians themselves. In an interview I conducted with Marriott that culminated in an All About Jazz article in February 2022, he stated, “It takes everybody showing up. It takes people getting off the bench and off the sidelines and saying,’I’m going to show up to this person’s gig because it’s good for all of us.’”

In essence, this is a calling to step up to the plate and hit it out of the park. The time is NOW. What is required is not a burden, but an act of love and respect for jazz music in Seattle, and the artists that provide the sounds. It is a call to the jazz audience to not only support the music with your dollars, but to show up and join in the fellowship and broad sense of community this music provides.

You can purchase a membership using the link below. If your personal income allows you to make a donation beyond standard membership, now is the time to do so. If your working life puts you in contact with personal and/or corporate entities that are possibly willing to support this venture, now is the time to begin that conversation. We can create something beautiful and long-lasting if we so wish–it’s up to us as a community. Do we want local, fair paying gigs in an inclusive environment that welcomes the public without typical financial barriers to access? The answer is definitely yes. It is now officially in our hands.

Buy a membership, volunteer your time, make a donation, show up–this is what is required of you. The exploding moment we have all been waiting for is here. Nobody is going to show up and be the savior of the local Seattle jazz scene–we are collectively just that. Marriott has set the foundation. It’s “go time” to take it from there and build our community. https://seattlejazzfellowship.org/membership

Album Review: Ray Vega & Thomas Marriott/ East West Trumpet Summit- “Coast to Coast”

June 29, 2023 / Paul Rauch / No Comments

For some people, the whole notion of an east-west summit of anything in jazz brings up the perceived differences over time between American west coast jazz and its east coast counterpart. The basic premise is that jazz on the American west coast is a cousin to the cool jazz movement, a calmer, less soulful part of the tradition that relies more on composition and arrangement than the playing of individual improvisers. East coast jazz is seen more as hard driving, soulful and rooted deeply in the blues. All of these perceptions have been eclipsed in great part by among other aspects of modern living, the internet and efficient commercial air travel. Follow link to All About Jazz to continue https://www.allaboutjazz.com/coast-to-coast-ray-vega-and-thomas-marriott-east-west-trumpet-summit-origin-records

Album Review: Jeff Johnson- “My Heart”

What could possibly be so interesting about a thirty-two-year old session of first takes, recorded live to 2-track DAT by a quartet led by a Seattle- based bassist who is not exactly a household name? A quick answer would include superlatives such as “masterful,” or “historic.” A brief history of bassist and composer Jeff Johnson creates a better sense of understanding. Johnson is perhaps best known as a pioneering member of pianist Hal Galper’s revolutionary rubato trio of the ’90’s, and ’00’s. His education in music was not from an institution of higher education, but from the fertile jazz scene of the early ’70’s in his native Minneapolis. His original sound would later be nuanced by time spent in Texas and Oklahoma, and by time spent alongside masters, including such greats as Philly Joe Jones, during a brief tenure in New York. Follow link to All About Jazz to continue https://www.allaboutjazz.com/my-heart-jeff-johnson-origin-records

Seattle Jazz Fellowship Presents: Orrin Evans & The Captain Black Big Band

June 30, 2022 / Paul Rauch / No Comments

“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

Seattle Jazz Fellowship’s Saturday Jazz Matinee

April 4, 2022 / Paul Rauch / No Comments

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.

Seattle Jazz Fellowship Photo Gallery: Alex Claffy Quintet and The Fellowship ‘Ceptet at the Royal Room

February 9, 2022 / Paul Rauch / No Comments

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/

Photo Credit: Lisa Hagen Glynn
Saxophonist Jackson Cotugno

Photo Credit:
Lisa Hagen Glynn
l to r: Alex Dugdale, Thomas Marriott, Jackson Cotugno, David Marriott

Photo Credit: Lisa Hagen Glynn
l to r: Nicole Glover, Alex Claffy

Photo Credit:
Lisa Hagen Glynn
Bassist Alex Claffy

Photo Credit:
Lisa Hagen Glynn
pianist Marina Albero

Photo Credit: Lisa Hagen Glynn
Trunmpeter Benny Benack III

Photo Credit:
Lisa Hagen Glynn
Guest drummer Ted Poor

Photo Credit:
Jim Levitt
Drummer D’Vonne Lewis

Photo Credit: Jim Levitt
Pianist Marina Albero

Photo Credit:
Jim Levitt
Trumpeter and SJF founder Thomas Marriott

Seattle Jazz Fellowship: Why in one evening,”Fellowship Wednesdays” became the most important jazz hang in Seattle

December 2, 2021 / Paul Rauch / No Comments

Pianist Dylan Hayes leads a tribute to Jim Knapp, for Seattle Jazz Fellowship. Dylan Hayes, piano; Jay Thomas, trumpet and sax; Michael Glynn, bass; Xavier Lecouturier, drums;

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.

l to r: Xavier Lecouturier, Michael Glynn, Dylan Hayes Jim Levitt photo

l to r: Xavier Lecouturier, Michael Glynn, Jay Thomas Jim Levitt photo

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.

l to r: Brian KIrk, Phil Sparks, Nathan Breedlove Jim Levitt photo

l to r: Nathan Breedlove, Phil Sparks, Delfeayo Marsalis

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/

Phil Sparks (b), Ron Perrillo (p) Jim Levitt photo

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

October 18, 2021 / Paul Rauch / No Comments

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

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

A Night On the Town with The Delvon Lamarr Organ Trio

September 9, 2021 / Paul Rauch / No Comments

DLO 3 on stage with friends at Jazz Alley. Photo Credit: Lisa Hagen Glynn

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.

Delvon Lamarr at Jazz Alley. Photo Credit: Lisa Hagen Glynn

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.

DLO3 at jazz Alley. Photo Credit: Lisa Hagen Glynn

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).

Guitarist Jimmy James and drummer Dan Weiss at Jazz Alley with DLO3. Photo Credit: Lisa Hagen Glynn

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.

Delvon Lamarr at the Owl jam session. 8/24/21

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.

DLO 3 plays the Owl jam session, after their opening night set at Jazz Alley 8/24/21 Photo Credit: Lisa Hagen Glynn

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.

Drummer Dan Weiss in the pocket at Jazz Alley with DLO3 Photo Credit: Lisa Hagen Glynn

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 Jazz Spot in Ravenna

August 25, 2021 / Paul Rauch / No Comments

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.

L to R Heather Bourne, Jason Moore. Lisa Hagen Glynn photo

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.

Pianist Bill Anschell, who closed Tula’s, will open Calluna with bassist Jeff Johnson.

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.

https://callunaseattle.com/music-calendar/

20 Seattle Jazz Musicians You Should Know: Matt Jorgensen

October 29, 2020 / Paul Rauch / No Comments

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

“20 Seattle Jazz Musicians You Should Know” Continues With 2 New Installments

September 26, 2020 / Paul Rauch / No Comments

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.

John Bishop

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

Marina Albero

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

Pandemic Blues: The Slow Withdrawal From the Abyss

May 20, 2020 / Paul Rauch / No Comments

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

CD Review: Thomas Marriott- Trumpet Ship

April 1, 2020 / Paul Rauch / No Comments

In a day and age when social and personal narratives pervade the jazz recording medium, it is a welcoming feeling to experience a recording of superb jazz musicians playing music in the moment the way it’s supposed to be played—for the people.

For his spring 2020 quartet release Trumpet Ship (Origin, 2020), Seattle-based trumpeter Thomas Marriott has summoned a powerhouse quartet that hits hard from the outset and never lets up. He has convened a band that shares his ferocity of approach, stretching the boundaries, while respecting tradition of modern jazz music. While many recent releases have been attached to some sort of conception, Marriott focuses the music on the fellowship that accompanies friendship and community. To continue reading click this linkhttps://www.allaboutjazz.com/trumpet-ship-thomas-marriott-origin-records__30386.php

Jim Levitt Photos: Marc Seales Band at Jazz Alley

March 4, 2020 / Paul Rauch / No Comments

KNKX has teamed up with Dimitriou’s Jazz Alley to present Northwest Music Mondays, a nod to the vibrant Seattle jazz scene. This is a welcome addition to the monthly Seattle jazz calendar post-Tula’s. Jazz photographer extraordinaire, Jim Levitt, was there on the scene to capture the Marc Seales Band playing before a full house at the city’s most esteemed jazz stage. Seales was joined by trumpeter Thomas Marriott, bassist Chuck Deardorf, drummer Moyes Lucas, Jr., and guitarist Jesse Seales. Many thanks to Mr. Levitt for documenting Seattle jazz in such fine and vivid detail!

The Marc Seales Group performs at Jazz Alley, for a KNKX Northwest Music Monday show. Marc Seales, keyboards; Jesse Seales, guitar; Thomas Marriott, trumpet; Chuck Deardorf, bass; Moyes Lucas Jr, drums;

Marc Seales- piano; Moyes Lucas, Jr.- drums; Chuck Deardorf- bass

Jim Levitt Photos: Marina Albero CD Release at the Royal Room

December 25, 2019 / Paul Rauch / No Comments

Jim Levitt is at it again, this time at Marina Albero’s CD Release at the Royal Room on December 17. Albero was celebrating the release of her 3 CD set, A Life Soundtrack before a full house, surrounded by friends, fans and family.

Jim’s work is art in itself, with the vibrant Seattle jazz scene as a canvas. We are deeply appreciative for his work here at seattlejazzscene.com

Marina Albero celebrates the release of her three-volume recording *A Life Soundtrack,* with a concert at The Royal Room. Marina Albero- piano and hammered dulcimer; Hans Teuber- saxophone, flute; Jeff Johnson- bass; Jeff Busch- percussion; D’Vonne Lewis- drums; Serena Dominguez Albero-voice; Marcel Dominguez Albero- cajon, saxophone

Marina Albero- piano; Jeff Johnson- bass; D’Vonne Lewis- drums; Jeff Busch- percussion

Marina Albero performs with her son, Marcel Dominguez

CD Review: Marina Albero- A Life Soundtrack

December 19, 2019 / Paul Rauch / No Comments

Attempts to characterize the music of Barcelona-born pianist Marina Albero seem to get lost in the details. She is not an artist who found herself within a passion for a particular form. That her music is the sum of her life experiences would be a factual description that would nonetheless fall short, given the far reaching, culturally diverse, and wildly meandering path that has occupied her first forty years. To continue reading, click this linkhttps://www.allaboutjazz.com/a-life-soundtrack-marina-albero-self-produced

CD Review- Charlie Porter: Immigration Nation

December 6, 2019 / Paul Rauch / No Comments

Jazz has always carried with it a social narrative with historical ebbs and flows reliant on the polarizing issues of its time. With Immigrant Nation (OA2, 2019), Portland based trumpeter Charlie Porter embraces the forever narrative of American immigration, the historical force of humanity that has formed and enriched this country from its beginnings. The linear timeline of American immigration that widened at the beginning of the twentieth century has narrowed due to the gut wrenching actions of the current administration, providing much artistic impetus to inspire a much needed reaction from the jazz community. Porter follows through with a view and statement from the collective lens of the musicians on this session. Much like Max Roach’s We Insist! (Candid, 1960), concerning the civil rights movement of the 1960’s, and Roxy Coss’ modern narrative piece, The Future is Female (Posi- Tone, 2018), Porter surrounds the listener with a social narrative that is rich musically, and open-ended poetically. To continue reading, follow this linkhttps://www.allaboutjazz.com/immigration-nation-charlie-porter-oa2-records

Jim Levitt Photos: Thomas Marriott and Friends From Philly- Oct 26, 2019/ Royal Room

October 29, 2019 / Paul Rauch / No Comments

Jazz beat photographer Jim Levitt was visiting family in California during a major portion of the 2019 Earshot Jazz Festival, but is back with a vengeance! Jim shared these fine shots of Thomas Marriott’s Earshot performance at the Royal Room, featuring friends from the Philadelphia jazz scene.

Saxophonist Victor North offered his soaring tenor sound, working with Marriott on the front line of a quartet featuring a remarkable father-son tandem. Bassist Michael Boone is a veteran of the Philly scene, and a mentor to many young players on the rise there. Among them is his remarkable son, Mehki Boone, a 13 year old drummer with the presence, skills, and maturity of a seasoned, veteran player.

Tula’s: The Final Weekend- Photographs From Lisa Hagen Glynn

October 2, 2019 / Paul Rauch / No Comments

Tula’s Jazz Club ended it’s vaunted 26 year run with two nights of music with old friends, and a late night hang not seen at the club in many years. It was a bittersweet time, in the end joyous in the form of the music that took place on the stage.

Photographer Lisa Hagen Glynn was there, not just as a photographer, but on the hang as she often is at Tula’s. She captured some poignant moments, that will serve as portraits of this place that the Seattle jazz scene called home for a quarter century. In that time, the best of the best in the Northwest played Tula’s, and as seen through the lens of Lisa, that standard was upheld to the end.