Seattle Jazz Fellowship | Seattle Jazz Scene

Seattle Jazz Scene: Live Jazz Previews for Seattle

March 19, 2024 / Paul Rauch / No Comments

Thomas Marriott Quartet

Sat Oct 11, 8:30 PM / Black and Tan Hall (Earshot Jazz Festival)

Trumpeter Thomas Marriott hits the south end at Black and Tan Hill with a special edition of his standard quartet. Marriott’s music is modern jazz that speaks to his time in and around east coast scenes in New York and Philadelphia.

Speaking of Philadelphia, young Philly drummer Maria Maramou will join two of the trumpeter’s regular Seattle quartet members in pianist Tim Kennedy and bassist Trevor Ford. With his 2025 release, Screen Time, he is now the author of fourteen albums as a leader or co-leader. The performance will feature a number of Marriott originals, as well as inventive interpretations of jazz standards. Adding to the intrigue is welcoming Black and Tan Hall to the fold as a festival stage.

Aside from his stellar musicianship, Marriott is the founder and driving force behind the Seattle Jazz Fellowship, the city’s vital jazz non-profit. His jazz legacy in Seattle is all about community, but when push comes to shove, his identity is secure as one of America’s finest trumpet players. https://www.earshot.org/event/thomas-marriott-quartet-3/

Elnah Jordan

Sat Oct 11, 7:30 PM / Seattle Jazz Fellowship- 108 S. Main St

Elnah Jordan is a blues singer, first and foremost. It speaks to whatever she chooses to do on a given night. Whatever she decides to perform in the jazz lexicon, you can depend on it being soulful with a healthy helping of that foundational element in Black American music- the blues. Discovered as a street singer in San Francisco by the legendary Jon Hendricks, Jordan knows how to entertain an audience as well. Count on an evening of positivity delivered with love – after all, the blues are sad, whereas blues music is a healing form, and one from a place of joy. https://seattlejazzfellowship.org/events

Christian McBride & Brad Meldau

Sun Oct 12, 8PM / Town Hall-Great Hall (Earshot Jazz Festival)

Truly two of the most important figures in jazz, Christian McBride and Brad Meldau are generational talents, brought together here as a duet. This show should be conversational in nature, with both musicians master improvisers with gigantic vocabularies from which to draw. McBride is the very epitomy of sophistication and swing on the double bass. Meldau is a grand story teller, using a variety of musical elements to define his piano style. Every note of this performance will be firmly in the moment, never to be repeated, making attendance one of the necessities, and one of the true highlights of the year in Seattle. https://www.earshot.org/event/christian-mcbride-brad-mehldau/

Monday Night Jazz Jam at Seattle Jazz Fellowship

Monday Nights at 7:30 PM / Seattle Jazz Fellowship- 103 S. Main St.

The all-ages Monday night jam has become quite a thing, with an attentive, trending young listening audience standing side by side with a long roll call of musicians. Now in the new basement club occupied by the non-profit, the vibe is intimate as the evening begins with a short, half hour max set by the Thomas Marriott Quartet. There is a sign up list that enables settings that make musical sense, allowing the session to move along at a good pace, promoting the mentorship cycle. Most importantly, it’s just plain fun, and the hang is one of the weekly highlights on the scene. https://seattlejazzfellowship.org/events

Free Fall / Marc Seales Tuesdays at Seattle Jazz Fellowship

Tuesdays at 7:30 PM / Seattle Jazz Fellowship- 103 S. Main St.

As part of the Seattle Jazz Fellowship’s expansion to six nights of programming per week, Tuesdays take on a special designation. Iconic Seattle jazz pianist Marc Seales and the explorative quartet Free Fall will alternate Tuesdays residency style, to create a weekly highlight on the Seattle jazz schedule.

One of the stated objectives of the Fellowship is that people gather at the basement club simply to experience jazz, not necessarily a particular artist. The Seales slot of this weekly tilt will feature a rotating cast of top shelf Seattle musicians. The Free Fall end of it will feature the piano-less quartet of trumpeter Thomas Marriott, saxophonist Mo Green, bassist Jeff Johnson and drummer John Bishop. A quartet with a collective improvisational spirit, Free Fall is the epitomy of experiencing jazz in the moment, with each performance approached from a slightly different perspective.

Tuesday nights are now an opportunity to see some of the city’s historic and present day best, in a room that sets the vibe right for such occassions. With the Owl ‘n Thistle jam around the corner following, Tuesday nights become the best night for jazz on a weekly basis in Seattle. https://seattlejazzfellowship.org/events

Tuesday Night Jam at the Owl

Tuesdays at 9:30 PM / Owl ‘n Thistle

The Tuesday night jam at the Owl is a Seattle tradition dating back to 1997, and a band known as Bebop and Destruction. It’s interesting, and often zany history includes wild antics, colorful characters and many a drop in from national touring musicians including Wynton Marsalis, Roy Hargrove, Branford Marsalis, Emmett Cohen and the Spanish Harlem Orchestra. Pianist Eric Verlinde guided the jam into more tranquil waters over his eighteen years directing the session, a tenure that recently ended. Pianist Matt Williams has now taken the reins, injecting a new found enthusiasm and freeing up Verlinde to come and hang and play! The 9:30 start enables musicians with gigs that evening to show up and play after the opening set that lasts forty five minutes or so.

The session is very important within the musical and social fabric of the Seattle jazz scene. The very interesting and often humorous history of the session is well documented in an article I wrote for All About Jazz a few years back. Link provided below.https://www.allaboutjazz.com/tuesday-night-jams-at-the-owl-a-25-year-legacy-in-seattle

Photo of Phil Sparks courtesy of Jim Levitt. Photo of Jay Thomas courtesy of Lisa Hagen Glynn

Ray Vega

Wed Oct 15, 7:30 PM / Seattle Jazz Fellowship

The great Latin and jazz trumpeter Ray Vega will be in town for Thomas Marriott’s trumpet summit performance at Town Hall the following Friday evening. Rhythm section is TBA, for this performance which is the first of four great nights of jazz trumpet in Seattle. Vega is a veteran of bands led by Latin jazz greats Tito Puente, Ray Barretto, Mongo Santamaria, Mario Bauza, Luis “Perico” Ortiz, Hector LaVoe, Johnny Pacheco, Larry Harlow, Pete “El Conde” Rodriguez and Louie Ramirez to name a few. He is one of the great people in the music as well. https://seattlejazzfellowship.org/events

Miki Yamanaka Trio / George Colligan with Zyanna

Wed Oct 15, 7 PM / Baba Yaga

This performance is part of the 2025 Earshot Jazz Festival. Seattle jazz fans are well acquainted with George Colligan. The Portland resident has been teaching at Portland St. since 2011. He has performed mostly in trio as a leader in the area, while he maintains his alliance as pianist with the likes of Jack DeJohnette, John Scofield, Ravi Coltrane, Cassandra Wilson, Eddie Henderson and a host of others. Here he is paired with the trio of on-the-rise Japanese born, New York based pianist, Miki Yamanaka.

Colligan is simply one of the finest jazz musicians of his generation. While he is a widely acclaimed pianist, he is also a fine drummer and trumpeter. He will be joined by Zyanna Melada, a new generation funk, jazz and soul vocalist, bassist Robert Rodriguez and drummer Micah Hummel, three highly regarded players on the Portland scene. Yamanaka, who is known to Seattle fans from the quintet of Seattle’s Roxy Coss, will be joined by bassist Pablo Menares and drummer Jimmy Macbride. https://www.earshot.org/event/miki-yamanaka-trio-george-colligan-with-zyanna/

Ingrid Jensen

Thu Oct 16, 7:30 PM / Seattle Jazz Fellowship

It will be great to see the trumpeter Ingrid Jensen as part of Thomas Marriott’s Earshot Jazz Fellowship residency at Town Hall the evening after this hit at SJF. On an international scale, it has been wonderful to see her perform with the all-female supergroup Artemis at festivals and clubs around the world. But to see the Nanaimo, BC native play in the intimate confines of SJF’s basement club in Pioneer Square is a rare bird. Band TBA.

Jensen has been a prominent force in the jazz world for a quarter century now, and is an important mentor to the new wave of musicians contributing to the rising female excellence in jazz. https://seattlejazzfellowship.org/events

Thomas Marriott, Ingrid Jensen, Sean Jones & Ray Vega: Trumpet Summit

Fri Oct 18, 7:30 PM / Town Hall- Great Hall (Earshot Jazz Festival)

Trumpet summit indeed. Four of the finest trumpeters on this here ball spinning through space gather on one stage to celebrate the music’s most difficult and most expressive instrument. The concert is part of Thomas Marriott‘s festival residency. In many ways it is reflective of the Seattle trumpeter’s dedication to community and family. The great Latin jazz trumpeter Ray Vega has been a close family friend since he arrived in Seattle as part of Tito Puente’s band. Ingrid Jensen is not only a great player, but a great mentor and inspiration to two generations of strong, female artists in jazz. She stars in the all-female supergroup Artemis presently, part of her career path that has shined brightly as a leader and sideperson. Jensen is familiar with the coastal lifestyle along Salish Sea as a Nanaimo, BC native. Sean Jones is a favorite to many prominent trumpet players, high praise that is well deserved. His elegance can turn from pure ferocity to poetic grace in an instant. As far as Marriott is concerned, if you are unfamiliar with his trademark sound, you have been staying home way too often. He is very similar to his three mates here in a very important way- he is identifiable both by the cunning melodicism of his appoach, and the very sound that travels from his horn. To have these four voices on one stage, whether individually or in chorus, will clearly delineate these special traits that the foursome employ.

Then there’s the rhythm section. Bassist Trevor Ford and drummer Jon Wikan occupy the ground floor of this stunning ensemble, while multi-Grammy nominated artist Orrin Evans occupies the piano chair. Again, Evans’ appearance speaks to the qualities of community, friendship and family that Marriott chooses to value. It will make for a great evening of music. https://www.earshot.org/event/ingrid-jensen-sean-jones-ray-vega-thomas-marriott-trumpet-summit/

Sean Jones Quartet

Sat Oct 18, 7:30 PM / Seattle Jazz Fellowship- 103 S. Main St,

In town to perform as part of Thomas Marriott’s Trumpet Summit, the great trumpeter Sean Jones stops into SJF’s basement digs in Pioneer Square. Jones has released eight albums as a leader on the Mack Avenue label and has appeared with Billy Childs, Wayne Shorter, Herbie Hancock and many others both on record and on the bandstand. Jones will lead a stellar rhythm section with Orrin Evans on piano. Drummer Jon Wikan and bassist Trevor Ford. Evans and Jones are two of the very best on the planet- early arrival a necessity. https://seattlejazzfellowship.org/

Roman Goron: The Transient Arboretum

Sun Oct 19, 7:30 PM / Town Hall Forum (Earshot Jazz Festival)

Young pianist Roman Goron has been turning heads in Seattle since he entered the scene a few short years ago. He received a commission from Earshot for composition, and responded with this suite that examines nature’s cycle of blossom and decay from the viewpoint of humanity in three movements. Goron will be joined by bassist Michael Glynn and drummer Xavier Lecouturier in the core trio of the performance. Vocalist Johnaye Kendrick articulates Goron’s melody lines, while violinist Alina To adds to the melodic and textural aspects of the piece. Goron is now in New York studying at Juilliard, so this performance acts as a welcome home, and a remembrance of how far he has journeyed in a few short years. https://www.earshot.org/event/roman-goron-the-transient-arboretum/

Kelsey Mines Sextet

Wed Oct 22, 8 PM / Chapel Performance Space (Earshot Jazz Festival)

Bassist composer Kelsey Mines leads a stellar sextet, in support of her new album release on Origin Records, Everything Sacred, Nothing Serious. Mines will be joined by flutist Elsa Nilsson, trombonist Conner Eisenmenger, guitarist Rafael Chamone, pianist John Hansen and drummer Chris Icasiano.

The music taps into Brazilian sounds and post-bop jazz, utilizing a unique front line of flute, trombone and voice. Mines has played a full spectrum of jazz music over the past few years, and has done a wonderful job putting her experiences into compositions that feature strong melodies and open spaces for interpretation. She is re-locating to NYC at the end of the year, so catch her while you can! https://www.earshot.org/event/kelsey-mines-sextet/

Eric Verlinde Quartet

featuring Thomas Marriott, Chris Symer & Brad Boal

Fri Oct 24, 7:30 PM / Seattle Jazz Fellowship- 103 S. Main St.

Pianist Eric Verlinde has earned a reputation as a fine player, but frankly, I think he is highly underrated. He is known for his versatility, moving from hard bop, to latin to the blues with ease. But Verlinde can flat out swing, not only as a dynamic soloist, but as part of the rhythm section. His harmonic invention while comping is all too rare. As a young player, he was part of Hadley Caliman’s band, an education in itself. He has carried that legacy forward as one of the city’s finest musicians.

Verlinde will perform original material from his recordings as a leader, along with a few standard gems. Surrounded by the likes of trumpeter Thomas Marriott and backliners in bassist Chris Symer and drummer Brad Boal, he is not only embracing virtuosity, but familiarity as well. One not to miss. https://seattlejazzfellowship.org/

Tim Kennedy Trio

Sat Oct 25, 7:30 PM / Seattle Jazz Fellowship- 103 S. Main St.

Pianist Tim Kennedy has been a shape-shifting, multi-genre force on the Seattle music scene for quite some time now. Yet to the core, he is a jazz pianist, and one of the finest to grace the Seattle jazz scene over the past decade plus. In the jazz piano trio format, we get to see the full spectrum of his formidable technique, musical imagination and group mind approach with long-time mates in drummer Brad Gibson and bassist Trevor Ford. To have the oppoetunity to see him perform in an intimate setting with a listening audience will be a true pleasure. As a bandleader, he always chooses a great set list to match the occassion. A perfect match for those who gravitate towards Bill Evans, Keith Jarrett, Bud Powell and all of the legends of jazz piano. https://seattlejazzfellowship.org/events

Kris Davis Trio

featuring Robert Hurst and Johnathan Blake

Mon Oct 27, 7:30 PM / Town Hall Forum (Earshot Jazz Festival)

Pianist Kris Davis is touring with this phenomenal trio, featuring bassist Robert Hearst and drummer Johnathan Blake. Touring in support of their superb album, Run the Gauntlet, the trio has been creating a sound that puts them at the center of the specialized world of the jazz piano trio. Davis seems to be at her best when placed in the highly visible and vulnerable position as the center of this three sided vehicle, supported in full by the always musical Hurst and the flexible articulation of Blake’s original approach behind the kit. It is a sum of equal parts, with great dynamic energy and open-ended compositions that enable the variable impressions of the conversation. This should be one of the top end evenings of this year’s Earshot offerings. https://www.earshot.org/event/kris-davis-trio/

David Marriott, Jr.

Fri Oct 31, 7:30 PM / Seattle Jazz Fellowship- 103 S. Main St.

David Marriott, Jr. has been one of the finest musicians in Seattle for more than two decades now, as well as a first rate composer and arranger. Opportunities to see him perform have been few and far between however, making this Halloween hit at SJF stand out. Band TBD- thus far pianist Eric Verlinde and drummer Brad Gibson are in the fold. There seems to be a bit of a trombone trend in Seattle right now, good to see DM back in the mix. https://seattlejazzfellowship.org/events

Human Spirit

featuring Thomas Marriott, Matt Jorgensen & Mark Taylor

Fri Nov 7, 7:30 PM / Seattle Jazz Fellowship- 103 S. Main St.

The “band” Human Spirit is a collective of three musicians and whoever they choose to accompany them. Trumpeter Thomas Marriott, saxophonist Mark Taylor and drummer Matt Jorgensen have much in common, both in terms of moving the music forward and in their personal histories. All three left for New York in the latter part of the twentieth century and returned to pursue music and life in Seattle. A close musical partnership ensued upon their collective return to the PNW, resulting in many live performances, and recordings on the Seattle based Origin Records label. In many ways, they defined the sound of jazz in Seattle over the span of a decade, appearing in a variety of configurations on the main jazz stages of the city.

In this iteration of the band, they are joined by pianist Tim Kennedy and bassist Trevor Ford, both members of Marriott’s current Seattle quartet. The evening will give us the opportunity to hear original compositions and brilliant playing from this formidable quintet. If you were around in the 2010s you are familiar with the impact the combination of these three musicians have had on the Seattle sound in jazz. Things can only get better from here. 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

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: 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/