Seattle Jazz Fellowship | Seattle Jazz Scene

Seattle Jazz Scene: Live Jazz Previews for Seattle

March 19, 2024 / Paul Rauch / No Comments

Monday Night Jam at Seattle Jazz Fellowship

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

The Monday night jam in Pioneer Square has been quite the thing since the third Monday in January 2025. The session has been a gathering spot for some of the best musicians in town, from seasoned professionals to ascending high school and college players. It has also become a focal point for gen z to gather socially outside of the shadow of technology and screen life. Each week the club is full, and a line ascends up the stairs, around the corner and down First Avenue. These young people arrived via a Tic Tok video with the idea of an all ages, cover free experience with new music performed honestly, in the moment. They became a jazz audience with much more reverence for the music than most sessions. They listen, applaud solos, cheer on their favorites and deeply enjoy the idea of musicians creating on the spot jam style. We long-time patrons of the art are right there alongside them and it is a true joy. The musicians, both in house band led by Thomas Marriott, and the jammers feel the vibe as well. The early start and end allows for those who have school and work the next day. If you are looking for a ray of hope in our city, this may be your gig. Show up by 7 PM and you should have a seat. Musicians enter at will as long as they sign up to play. https://seattlejazzfellowship.org/

Tuesday Night Jam at the Owl

Tuesdays at 9:30 PM / Owl & 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

Kandace Springs Trio

Mar 26-Mar 29, 7:30 & 9:30 PM / Jazz Alley

Kandace Springs returns to Jazz Alley for a six show run. Springs is an excellent jazz vocalist and pianist, leading a long-tenured trio that is well worth the effort to get down to Belltown and have a nice evening at the Alley. Bassist Caylen Bryant and drummer Camille Gainer join Springs in a format that features Springs originals and a healthy portion of standards interpreted in soulful ways. One of the better jazz vocal artists on the scene, she is known specifically as a great live performer with a great rapport with her audience. https://www.jazzalley.com/www-home/artist.jsp?shownum=8754

Will Lone Quartet

Thu Mar 26, 7:30 PM / Seattle Jazz Fellowship- 103 S. Main St.

Drummer Will Lone makes his debut as a leader at SJF, leading a quartet of eclectic Seattle players. Pianist Josh Rawlings and bassist Abbey Blackwell are formidable additions to the rhythm section, while tenor saxophonist Joel Steinke completes the foursome. Steinke is a bit underappreciated- a vibrant player with a classic tenor sound, he seems the perfect fit for this band. Blackwell hasn’t been around the Fellowship much, so a great opportunity to see her perform with a prime selection of bandmates. Rawlings is a versatile player with deft touch and great ideas behind the piano. This performance is a culmination of an interesting journey for Lone, who frequents the jam at SJF as well as supporting other artist’s gigs. He is a formidable talent- the hope here is that the gig is well supported. seattlejazzfellowship.org

Sidney Hauser Quartet

Fri Mar 27, 7:30 PM / Seattle Jazz Fellowship- 103 S. Main St.

Best known for her work with the Seattle Repertory Jazz Orchestra, saxophonist Sidney Hauser has been leaving her mark as a leader on the scene, including this date in Pioneer Square. Hauser just recently drew huge praise to match the huge crowd who took in her performance at Jazz Night in Pioneer Square. Alternating between her main horn, the alto, with tenor and soprano, she will sport a sleek new quartet with pianist Dylan Hayes, bassist Trevor Ford and drummer Adam Kessler. There is enough firepower in the band to make things very interesting, and allow the bandleader to really take things out. http://seattlejazzfellowship.org

Greta Matassa Quintet

Sat Mar 28, 7:30 PM / Seattle Jazz Fellowship- 103 S. Main St.

Here I am atop my Greta Matassa soapbox again- but hey, it’s a fine and true place to be, because her artistry continues to astound after all this time. Matassa has not only impacted Seattle jazz deeply as a vocal artist of the highest order, but her role as a mentor to jazz vocal culture in the region has raised the bar for jazz singers from Seattle and beyond. Her band is killin’ as well, and better yet, she let’s them play things out. I know this date will draw the usual support from her long tenured legion of fans, but here’s to hoping that a few of you who haven’t sampled her sublime talent, will attend in the perfect space to do so. http://seattlejazzfellowship.org

Samantha Boshnack Uncomfortable Subtet

Sun Mar 29, 7:30 PM / Royal Room

It’s been a while since Samantha Boshnack has come up with a new project, so this is a welcome item to the Seattle music calendar. The trumpeter / composer is known for her adventurous narrative statements that include angular melodies and many moving parts through the melodic and harmonic elements of her sound. No, this isn’t jazz exactly, but the music is rooted in that spirit, with a “new music” vibe that taps into the most adventurous forms of composition. Boshnack describes herself as a jazz composer, essentially because that’s where the open space lies between her musical world and ours. The result is something confoundingly original with the ability to allow you to have different insights into the nature of the connection of all world sounds. If you follow Boshnack, you know of which I speak- if not, you should hit the Royal Room for a Sunday night introduction. https://www.earshot.org/event/samantha-boshnack-premieres-uncomfortable-subtet/

Lakecia Benjamin and Phoenix

Tue Mar 31 -Wed Apr 1, 7:30 PM / Jazz Alley

I will admit to warming up slowly to alto saxophonist Lakecia Benjamin. I believe it was all the Coltrane name-dropping that took place with her launch as a recording artist in jazz. I’ve come to realize that in a way, she was victimized by the basic tenets of jazz commodicication- that being said, she storms into Seattle after a whirlwind 2025. Pianist Oscar Perez, bassist Elias Bailey and drummer Quentin Baxter are all formidable, making this a great opportunity to dig Benjamin’s own legacy aside from all the media expectations. She can play, and the results should be great fun. https://www.jazzalley.com/www-home/artist.jsp?shownum=8760

Orrin Evans Trio

Sat Apr 4, 7:30 PM / Seattle Jazz Fellowship- 103 S. Main St.

Orrin Evans is a force in modern jazz. As a leader of smaller combos, or the Grammy nominated Captain Black Big Band, the pianist has gained well deserved international acclaim. The Philadelphia based musician is a friend of Seattle, so the fact that he is playing at the Fellowship should come as no surprise. This particular evening, he reunites with bassist Jeff Johnson and drummer John Bishop in a trio with great pedigree. Strictly as a pianist, Evans is someone you want to take in- his unbelievable understanding of harmony the asserts itself within his chordal playing and melodic single note runs is remarkably original. Johnson is one of the best read and react trio players in the business, while Bishop’s almost orchestral approach to the drum kit is given fertile ground here to operate freely. Fun stuff all around! http://seattlejazzfellowship.org

Duende Libre 10the Anniversary Celebration

Tue Apr 7. 7:30 PM / Jazz Alley

Seattle’s Duende Libre celebrates a decade of music in a big way- by performing at Jazz Alley on the city’s most venerable jazz stage. Pianist Alex Chadsey, bassist Farko Dosumov and drummer / percussionist Jeff Busch use jazz as a portal to exploring sounds and rhythms from around the globe, and do so with precision and virtuosity. The group mind between the three after ten years is formidable, the sound they produce highly original. The band has always had an open mind to new musical avenues, and always brings a few surprises to the table. Kudos to Jazz Alley for continuing to leave the door open to the best of the resident jazz scene. https://www.jazzalley.com/www-home/artist.jsp?shownum=8778

Affinity Trio

Thu Apr 9, 7:30 PM / Seattle Jazz Fellowship- 103 S. Main St.

Affinity Trio is a drummer-less threesome with a keen sense of group mind within original compositions and jazz standards. They are touring in celebration of their latest Origin Records release, New Outlook. Trumpeter Eric Jacobsen is a fluent player with a bold, full sound, hailing from Milwaukee and a regular on the scene in Chicago. Pamela York is a marvelous pianist, swinging and soulful, with an ornate sense of harmony and groove. A lot falls on the shoulders of bassist Clay Schaub, the fulcrum of the band, if you will. The last time the trio visited SJF was at the original Wednesday night slate at Vermillion. The new basement digs should be a perfect match for this highly skilled trio. http://seattlejazzfellowship.org

D’Vonne Lewis

Sat Apr 10, 7:30 PM / Seattle Jazz Fellowship- 103 S. Main St.

Drummer D’Vonne Lewis wears a lot of musical hats in this town, from SRJO to the house band at Seattle Jazz Fellowship. The Lewis family has been integral in the history of music in the PNW- his grandfather, the great Dave Lewis, was a key figure in the musical and sociological development of Seattle as a music city. For this performance, Lewis brings in musicians from Bellingham and the Aslan Depot sessions up there. Bassist Mark Hunter is a known Seattle quantity, while pianist Blake Angelos, trumpeter Isaac Devange and saxophonist Thomas Harris are a bit of a mystery on the Seattle scene. This is a great opportunity to welcome them in and enjoy an evening of jazz with Lewis driving the bus from behind the kit. http://seattlejazzfellowship.org

Seattle Repertory Jazz Orchestra: The Music of Sun Ra with guest conductor Orrin Evans

Sat Apr 11, 7:30 PM / Sun Apr 12, 2 PM / Illsley Ball Nordstrom Recital Hall at Benaroya Hall

In their most adventurous journey yet, SRJO takes on the music of Sun Ra under the directorship of acclaimed pianist, composer and bandleader, Orrin Evans. The spirit of this performance clearly arrives from the inspiration of Evans, the third and final guest conductor of the season. In many ways, Evans’ decision to feature the music of Sun Ra is emblematic of his candidacy for the directorship of the band upon the retirement of Michael Brockman. The pianist has a way of challenging his bandmates with ascension into previously unexplored landscapes of beauty and meaning. Of course, we are at this point unaware of the selections for the two performances, a factor that can sway the music in a variety of directions. If you are aware of Ra’s legacy, then you understand that sentiment. Julian Priester, who spent time in Ra’s band in both the 1950s and 1980s, believes strongly that his music is equally important in the development of modern jazz as is the music of Duke Ellington–whose band Priester also spent time with in the late 1960s.

Following Connor Eisenmenger’s program featuring the music of Mary Lou Williams, and Clark Gibson’s dive into the Oliver Nelson / Jimmy Smith legacy as guest conductors, Evans’ choice here is interesting and important. It will expose the SRJO audience to Ra’s marvelous, multi-faceted journey, and challenge the musicians into playing music that is integral to the legacy of Black music in America. Hopefully, a greater understanding of what Sun Ra was, and is all about will emerge. This is a great opportunity for the Seattle jazz community to engage in SRJO’s clear intent to create a closer relationship with the local scene in Seattle. Attendance is also a sign of support for the band peering outside of the conventional, into new and exciting territory. https://srjo.my.salesforce-sites.com/ticket#/events/a0STS00000S2bjJ2AR

Jovino Santos Neto Quinteto

Sat Apr 11, 7:30 PM / Seattle Jazz Fellowship- 103 S. Main St.

Brilliant Brazilian pianist Jovino Santos Neto explores new sounds with his quinteto, though with a slight tweak in personnel. Darian Asplund joins on saxophone and flute, alongside vibraphonist Ben Thomas on the front line. Six-string electric bass extraordinaire Tim Carey and drummer Mark Ivester complete this formidable ensemble. There is almost telepathic symmetry between Jovino and Thomas, creating an energy level that is so genuine. Jovino has a loyal following, so be sure to arrive early. http://seattlejazzfellowship.org

Tue Apr 14, 7:30 PM / Moore Theatre

Let the celebration begin! John Coltrane was born in 1926, and so 2026 is dotted with events honoring his legacy on a global scale. In Seattle, tenorists Joe Lovano and Melissa Aldana will pay their dues on the oldest and most historic theatre stage in Seattle, at the storied Moore Theatre. Coltrane only visited the Emerald City once- performing at the Penthouse club in Pioneer Square with an extended band that resulted in a live album. The music of his wife, Alice Coltrane, was honored at the Moore by a quintet that featured their son Ravi and harpist Brandee Younger. I can remember imagining what John Coltrane’s horn would sound like in the classic theatre. This is as close as we’ll come to that imaginary scenario.

The presence of drummer Jeff “Tain” Watts makes this concert worthwhile. Bassist Linda May Han Oh is a force herself, a perfect compliment to this music. Pianist Nduduzo Makhathini played a great two set evening at the Royal Room for Earshot, the only Seattle date I can recall of his. The great Detroit bassist Rodney Whitaker, when describing a Coltrane themed performance he was leading at the 2024 Detroit Jazz Festival, stated that he needed two tenor players in the band to equate one Coltrane. Tim Warfield and Walter Blanding filled the bill that night. The same premise applies here, aptly filled by the likes of Lovano and Aldana. One not to miss. https://www.stgpresents.org/events/coltrane-100/

Emmet Cohen Presents: Miles and Coltrane at 100

Thu, Apr 16 -Sun, Apr 19, 2026, 7:30 & 9:30 PM / Jazz Alley

One of the prime piano voices in jazz today, Emmet Cohen takes on the Miles and Coltrane 100 celebration by storm, bringing in an all-star band to bring the music of the two jazz titans to life. Cohen is joined by drummer Joe Farnsworth, trumpeter Jeremy Pelt, saxophonist Tivon Pennicott and bassist Ruben Rogers. Cohen’s performances are always electric, and clearly bring to light his amazing prowess- but seeing him perform within the discipline of the music of Davis and Coltrane should be an exceptional treat for Seattle jazz fans. Pennicot is the X factor here- some of his playing and subsequent recordings are clearly not on the Coltrane track. Pelt is a perfect fit for the occasion, whereas Farnsworth and Rogers are known top shelf quantities that will excel in this environment. Cohen is an excellent bandleader on top of being a virtuoso of his instrument- this should be a huge plus in dealing with the sanctity of the Miles / Trane legacy. https://www.jazzalley.com/www-home/artist.jsp?shownum=8763

Brian Kirk Quintet: A Tribute to Cal Tjader

Thu Apr 16, 7:30 PM / Royal Room

Brian Kirk has established himself as a premier percussionist in his time in Seattle, and largely behind the drum kit. But his mallet skills, honed in show bands over time, has risen to the surface as being a musical priority. For this show, Kirk leads the band from behind the vibraphone, with an all-star cast in tribute to vibraphone great, Cal Tjader. Pianist Eric Verlinde, bassist Osama Afifi and drummer Ronnie Bishop form a traditional rhythm section, with the percussionist Ernesto Pediangco adding to the mix. Verlinde, a fine jazz pianist in an overall sense, is a sensational player in the Latin vein. This is a fine collection of players headed for a fun night in Columbia City- be sure to get your tickets in advance and make a reservation separately for dinner. https://theroyalroomseattle.com/event/brian-kirk-quintet/

The Jim Wilke Great Big Birthday Party

Mon Apr 20, 7 PM / Jazz Alley

An evening to not only celebrate the birthday of this jazz radio icon, but to simply show Jim Wilkie love and appreciation for all he has done for the music–and he has done a lot. Jim is one a small handful of jazz radio hosts who can be described as influential beyond the norms of jazz radio. His syndicated program, Jazz After Hours, informed listeners not only of the music, but of the whereabouts of the featured artists as live performers around the country. Broadcast locally by KPLU, Wilke doubled up and created a local show featuring Northwest artists. As a young DJ with KING-FM in the 1960s, Wilke broadcast live Thursday sets from the Penthouse Jazz Club in Pioneer Square that has spawned a number of album releases in modern times. John Coltrane, Johnny Griffin, Eddie Lockjaw Davis, Ahmad Jamal. Ernestine Anderson, Cannonball Adderly and Horace Silver have all been featured.

KNKX host Abe Beeson will emcee an evening featuring some of Wilke’s Seattle favorites in John Bishop, Thomas Marriott, Marc Seales, Jeff Johnson, Milo Petersen, Jay Thomas, Steve Griggs, Phil Sparks and John Hansen. Doors open at 6pm, event starts at 7pm. https://www.jazzalley.com/www-home/artist.jsp?shownum=8785

Bad Plus Farewell Tour

Tue-Wed Apr 21 & 22, 7:30 PM / Jazz Alley

The Bad Plus were for many years, a piano trio that featured Ethan Iverson on keys, bassist Reid Anderson and drummer Dave King. The band played rock and pop covers, changing slightly when Orrin Evans replaced Iverson for a short time. The band became a quartet over the past three years, with guitarist Ben Monder and saxophonist Chris Speed adding an eclectic vibe to the music. This may be the best of Anderson and King’s mad adventure. Monder brings his ominous presence to the music, and Seattle raised Speed adds his mult-reedist eclecticism. If you have not seen this iteration of the band, this tour is a last chance and a must see. https://www.jazzalley.com/www-home/artist.jsp?shownum=8768

Pat Metheny Side-Eye III+

Thu, Apr 23 – Sun, Apr 26, 2026, 7:30 & 9:30 PM / Jazz Alley

There is so much to unpack here as a jazz fan, much less a Pat Metheny fan. Seeing the guitar legend in the intimate confines of Jazz Alley is an experience every Metheny aficionado would want to have, but what of jazz fans with a more casual relationship with the artist’s music? The pricetag of $138 may seem steep, but it pales in comparison with the Live Nation approach to taking every dime they can take from you for an argueably inferior product. It is a bit of a head scratcher as to why Metheny doesn’t just play the Moore once or twice, where he could make the same dough, while not digging quite so deeply into the pockets of his fans while playing club dates. There is no doubt however, that seeing the guitarist performing with a band of this pedigree in a 400 seat room will be thrilling, a one of a kind evening. Amazing score for John Dimitriou to host the event, a testament to his talent in booking top acts- something he has done now for close to fifty years in Seattle.

Metheny is joined by ace drummer Joe Dyson, pianist Chris Fishman, bassist Jermaine Paul and percussionist / vocalist Leonard Patton. https://www.jazzalley.com/www-home/artist.jsp?shownum=8739

Rocky Martin Quartet

Thu Apr 23, 7:30 PM / Seattle Jazz Fellowship- 103 S. Main St.

Drummer / composer Rocky Martin performs twelve new original compositions with a formidable cast in support. Bassist Jonti Siman, multi-reedist Jory Tindall and guitarist Martin Budde are there to respond to Martin’s comps, that will no doubt lean to the eclectic side of things. You have to like the space that is available here for all. Another step for Martin expanding from his Forager band. I believe this is his debut in the basement club as a leader. http://seattlejazzfellowship.org

Julian Priester

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

Legendary trombonist Julian Priester continues his amazing resurgence as a live performer at the club wear he bears the title of artist-in-residence. Priester has been changing lineups for his monthly appearance, on this occasion joining with a vocal artist in Seattle’s Kelley Johnson. Pianist John Hansen, drummer Byron Vannoy and bassist Geoff Harper are familiar faces to Priester as well. It will be interesting to hear Priester’s perfect pitch and sonically balanced sound interfaced with the human voice. Every month has seen a great performance and a tremendous audience response- expect the same and be sure to get there early to get a seat. http://seattlejazzfellowship.org

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/