Seattle Jazz Fellowship | Seattle Jazz Scene

Seattle Jazz Scene: Live Jazz Previews for Seattle

March 19, 2024 / Paul Rauch / No Comments

Seattle Jazz Beat: A Weekly Look at the Seattle Jazz Scene

Seattle Jazz Beat is a weekly Substack column from Jazz Journalist Association writer, Paul Rauch. It is a narrative covering news and events, providing musician profiles, reviews and gathering community resources in support of jazz music in Seattle. To read and subscribe, follow this link-https://substack.com/@seattlejazzbeat

Earshot Jazz Festival

It’s October, and time for the Earshot Jazz Festival. Over the course of nineteen days, there are multiple concerts at multiple venues. Follow this link for previews of all festival events. https://www.earshot.org/current-issue-flipbook/?fbclid=IwY2xjawUxHC1leHRuA2FlbQIxMABwZG9mBWJyaWQRMTBWb1J4dkdSNWduZjVmYXlzcnRjBmFwcF9pZBAyMjIwMzkxNzg4MjAwODkyAAEeSn0sYjEpOrpg79aVBa3TYBg8D-joxE4htQZzk6qjnEU0LCsPDgMAn_1X8JY_aem_qr-flmqm8a8aFD9oArv-GA

Rivkah Ross Quartet

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

Portland drummerRivkah Ross leads a quartet through originals snf some arrangements from Roy Haynes. Ross will be joined by fine pianist Patrick Carr, bassist Kaytlin Hansen and saxophonist Brian Myers. Whatever else happens on stage, one thing for sure- it will be swingin’. Ross swings like it’s an art form, and has a very bright and energetic presence. The music is straight-ahead swing and bebop orientation with interesting diversions along the way. This continues the connection with the scene of our good friends and neighbors to the south in Portland. http://seattlejazzfellowship.org

Bill Anschell Standards Trio

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

Pianist Bill Anschell brings his standards oufit to the Fellowship, featuring the great Jeff Johnson on bass and fleet drummer D’Vonne Lewis. This trio has a ton of mileage together, never rehearses and doesn’t carry a set list to the stage. The result is three great jazz musicians in spontaneous conversation, with a degree of uncertainty that always turns up peak moments along the way of vituosic performance. One of the prime ingredients of the Seattle jazz scene now for more than a decade, ranking near the top of piano trios in the city’s storied jazz history. http://seattlejazzfellowship.org

Monday Night Jam at the 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

Tuesday Nights 9:30 PM / Owl ‘n Thistle

The Tuesday night jam at the Owl has a colorful 30 year legacy, and is one of the few late-night gatherings left in town. The result is that musicians show up, and often, touring artists drop in as well. The jam has welcomed in Wynton Marsalis, Roy Hargrove, Emmet Cohen and a host of others. The jam began in the late 90s, hosted by the neo-bop ensemble, Bebop & Destruction. After a long-run by pianist Eric Verlinde, pianist /mallet artist Matt Williams has taken the reins of this important community event. For many years, it has been a gathering spot for the Seattle jazz community, and a space where musical ties are formed. I interviewed the founders in 2021 for an article outlining the jam’s wild and interesting history for All About Jazz. To read, follow this link https://www.allaboutjazz.com/tuesday-night-jams-at-the-owl-a-25-year-legacy-in-seattle

Jeremy Pelt Sextet

Thu Oct 29, 7:30 PM / Seattle Jazz Fellowship- 103 S. Main St.

Internationally acclaimed trumpeterJeremy Pelt hits SJF, with a top flight quintet. Pelt has authored more than twenty albums as a leader, and has toured and recorded extensively on a global scale. His quintet features outstanding young drummer Jared Spears, vibraphonist Jalen Baker, guitarist Misha Mendelenko, bassist Leighton Harrell and pianist Lasse Corson. Seattle jazz fans are accustomed to seeing Pelt perform at Jazz Alley, making this appearance at the basement club in Pioneer Square an opportunity to see the trumpeter in a more intimate environment. First come, first served situation, so adjust your arrival time accordingly. http://seattlejazzfellowship.org

Kerry Politzer

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

Pianist Kerry Politzer returns to Seattle Jazz Fellowship, arriving from Portland with something a little different. In her past appearances, she has featured a jazz quartet performing original compositions, including those on her excellent 2025 release, Alternate Route. This time she teams up with Seattle stalwarts Milo Petersen (guitar) and Michael Glynn (bass) to present a selection of Brazilian and Bossa Nova tunes. George Colligan joins on drums.

Politzer has a Brazilian ensemble in Portland, Bossa PDX, and brings those tunes to share with her Seattle friends. A brilliant pianist with beautiful touch and feel, the interest here is applying her high end jazz skills to the music of Bossa masters. Petersen and Glynn are jazz cats as well, and like Politzer, have been first call musicians long enough to have delved into the whole spectrum of the jazz lexicon. Drummer Colligan is an iconic jazz pianist, and unknown to many, a great percussionist as well. Make you way through the ghosts and goblins on Halloween to Pioneer Square for this one. http://seattlejazzfellowship.org

Kenny Garrett and Sounds From the Ancestors

Tue & Wed Nov 3-4, 7:30 PM / Jazz Alley

Another musician in the long line of great players to emerge from Detroit, alto saxophone master Kenny Garrett is a once in a generation talent that has roots not only in his hometown, but in the 1980s band of Miles Davis. He cites the sounds he heard growing up in the Motor City as his prime influence in forming this band, remembering Detroiters Donald Byrd, Aretha Franklin, and Marvin Gaye in his recitations. John Coltrane has always had a musical and spiritual hold on his playing as well. Simply put, Garrett is one of the true living masters of jazz and a must – see artist for every jazz fan at least once. https://www.jazzalley.com/www-home/artist.jsp?shownum=8831

Nicole Yvette

Fri Nov 6, 7:30 PM / Seattle Jazz Fellowship- 103 S. Main St.

Seattle vocalist Nicole Yvette performs tunes from her new album, Say Yes, and more, teaming with an all-star gathering of Seattle talent to do so. She is accompanied by pianist Shawn Schlogel, along with first call musicians in bassist Michael Glynn and drummer D’Vonne Lewis. Tenor giant Cliff Colon joins as the second voice on the front line. Yvette’s calling in jazz life came later than most, and she is determined to make the most of it with her ambitious recording project and front line band. This one will draw a party-ready crowd (speaking in mature terms, of course). Come ready for a fun evening and a bit of a homecoming for Nicole. http://seattlejazzfellowship.org

Chris Icasiano

Fri Nov 6, 7:30 PM / Kenyon Hall

Drummer and composer Chris Icasiano hits Kenyon Hall, a unique grange hall type setting in West Seattle operated by the non-profit, Seattle Artists. Icasiano is joined by pianist Matt Williams, bassist Abbey Blackwell and songwriter Tomo Nakayama. He plays drums in a very melodic fashion, resulting in a highly original sound. As a bandleader, Icasiano has an open-minded approach, often landing in new and exciting places. Blackwell is a unique player as well, and a proper fit with Icasiano, creating a rhythm section that is open-ended and capable of melodic contributions at any point in time. Williams is one of the finest players in town- a first-rate jazz pianist with an adventurous soul on both keyboards and mallet instruments. Nakayama is a multi-genre musicians and artist who has featured both Icasiano and Blackwell on his live performances and recording projects that have resulted in four albums. https://www.kenyonhall.org/events

Ray Larsen

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

Trumpeter Ray Larsen has always resided musically somewhere in that vacuitous space stylistically that surrounds jazz and embraces it. He has a clear, highly original trumpet sound. I’ve told the story here where I heard a trumpet sound floating through Pioneer Square one day, and followed it to a private gig on Occidental. I knew the sound as Ray’s, and sure enough, it was indeed him! Here he is joined by drummer Mike Gebhart– a former Seattleite who moved to NYC and is now in LA. Mike is a textural player who fits into this trio format with Geoff Harper on bass, like a glove. Geoff is an explansive and intrepid player himself, giving Larsen the melodic freedom to really dig into his vast vocabulary and create spontaneous magic. Update: Eclectic saxophonist has been added to the lineup. This makes this the perfect quartet for Larsen’s music. http://seattlejazzfellowship.org

Thomas Marriott Quartet

Thu Nov 12, 7:30 PM / Seattle Jazz Fellowship- 103 S. Main St.

Trumpeter Thomas Marriott has been so busy curating SJF, that aside from the Monday night house band, performances featuring his music have been all-too-rare in recent times. For this performance he brings in mates Tim Kennedy (piano) and Trevor Ford (bass), along with swingin’ Philadelphia based drummer Maria Marmarou. Of course, there are a few years of playing creating a group mind between the trumpeter and half of this quartet- but the fresh energy provided by Marmarou should elevate this evening into something really special. The trumpeter has fifteen albums as a leader or co-leader, with another soon to come, enabling the band to choose a variety of directions to explore. Marriott has worked tirelessly on this vision that has materialized near the corner of First and Main in Pioneer Square. I’m hoping we as a community show our appreciation by treating ourselves to a performance of this caliber, and creating some ruckus in the room to embrace this assemblage of fine musicians. http://seattlejazzfellowship.org

Ben Black

Sat Nov 14, 7:30 PM / Seattle Jazz Fellowship- 103 S. Main St.

Vocalist Ben Black offers an intimate evening of music accompanied by pianist Josh Rawlings. The duo will craft sonic landscapes. Black describes it in part as “an exploration of vocal improvisation, energy, vibration, and the deeper mysticism of the ‘Coltrane Code.” They will use jazz standards, original material and inspiration from artists such as John and Alice Coltrane. One thing to add is that Black never just plays a gig- he has shown a propensity for deeply immersing himself in the process and the actual moment of performance. He has a special chemistry with Rawlings that should add to the ease in which magic moments appear. 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/

Seattle Jazz Scene

documenting the Seattle Jazz community since 2007

Category: Seattle Jazz Fellowship