Seattle Jazz Scene: Live Jazz Previews for Seattle

Frank Kohl Quartet: Tribute to Jim Hall

Sun Feb 16, 5PM / Royal Room

To be frank (pun intended), I am not enamored with the overindulgence of “tribute” gigs. The sheer volume of them at this particular venue makes me want to scream, to be honest. That’s not to say that I don’t have a huge amount of respect for the legacy of the great Jim Hall – seeing the guitar master in duo with bassist Ron Carter was a transformative experience for me personally as a young jazz fan. That being said, I would much prefer to feature a local artist presenting original tunes, or a far less “programmed” performance of standards and / or covers.

This particular late matinee performance in Columbia City is truly an exception- it is strong personnel-wise, with trailblazing bassist Jeff Johnson and first-call drummer Matt Jorgensen in the house. Guitarist Frank Kohl plays in a style that would likely be best described as Jim Hall-esque. He is a master of harmonic improvisation, more Hallcentric than say, a blues influenced approach like that of Kenny Burrell. For this performance, he brings his piano playing sibling, Tom Kohl from New York. Note the 5 PM start, which may trigger an “old folks” alarm, but Sunday matinees are a good thing for those of us with Monday morning obligations. Good opportunity to have a Sunday night dinner at The Royal Room at the foot of some great players. https://www.facebook.com/events/904930915056268?mibextid=wwXIfr&rdid=rFNUvVSL3uGUXVfK&share_url=https%3A%2F%2Fwww.facebook.com%2Fshare%2F18mXXL3xcY%2F%3Fmibextid%3DwwXIfr#

Monday Night Jam (all ages)

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

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

There was a time, when Pioneer Square was the center of the Seattle jazz scene, with three jazz clubs beckoning music fans with local and touring talent. Parnell’s (now Davidson Gallery), The Pioneer Banque (now Magic Mouse Toys) and the New Orleans Creole Restaurant (Now Darn the Weather) are gone, but the Fellowship’s now year old jazz room on Main St. is dedicated to live jazz four nights a week near Occidental. Pioneer Square in the 1990’s featured a slew of clubs up and down First Avenue where partrons for the price of one cover, could hit ten clubs and see ten bands in a single evening. For this one Tuesday night in February, thirteen sites will deliver thirteen bands to jazz fans free of charge, reviving the spirit of Seattle’s original community.

Recent data shows that nationwide, socialization is at an all time low, while isolated activities are at an all time high. The pandemic, inflation and the polarization of our times are all contributing factors. The price of going out and experiencing live music can be an expensive endeavor nowadays. Between the Fellowship’s membership driven model and this special night of free jazz music, the non-profit puts its best foot forward in lowering those barriers of access to the music. It puts the ideals of community and the fellowship it creates front and center.

The end of the evening’s activities takes place at the traditional Tuesday night jam session at the Owl ‘n Thistle, for what could be an epic episode of this community uniting jam that began in 1998. https://seattlejazzfellowship.org/events

Photo Credit: Lisa Hagen Glynn

Underground Sounds with Thomas Marriott, Rick Mandyck, Jeff Johnson & John Bishop

Tuesdays 8 PM / Underbelly- Feb 18 (as part of Jazz Night in Pioneer Square), Mar 4, 18

Underbelly, the quaint cellar bar on First Avenue in Pioneer Square sits directly across the street from what was the New Orleans club, a former hub of local Seattle jazz. That vibe lives on every other Tuesday night in the former burlesque venue, with four of the city’s top jazz musicians colliding in an explosive chordless quartet that at times has been known as Free Fall. This is an opportunity to witness great jazz in an informal environment with no cover. 

Trumpeter Thomas Marriott leads this band of long time mates with a strong intuitive connection. The author of fourteen albums as a leader and a recent inductee into the Seattle Jazz Hall of Fame is joined by the incomparable duo of bassist Jeff Johnson and drummer John Bishop. Saxophonist Rick Mandyck has switched to alto, but bears the sound and approach of some of the great tenor players in jazz. The band plays originals from Marriott, Mandyck and Johnson, along with a few standards. https://seattlejazzfellowship.org/events

Photo Credit: Jim Levitt

Tuesday Night Jam at the Owl ‘n Thistle

Tuesday Nights at 9:45 PM / Owl ‘n Thistle- Part of Jazz Night in Seattle on Feb 18

The Tuesday night jam at the Owl has been a Seattle tradition since 1997, when nubop legends Bebop and Destruction started the late night session at this Pioneer Square Irish pub. Hosted by noted Seattle pianist Eric Verlinde, the house band plays a short set prior to opening up the session. With the Monday night jam at Seattle Jazz Fellowship being an all ages affair that begins at 7:30, the Owl jam accomodates musicians attending after gigs. For many years, it has been a social staple in the Seattle jazz community, an opportunity to reunite with friends both musically and socially. It has been a vital part of the mentorship cycle in Seattle for more than a generation, and now boasts a decent upright piano. It’s just plain fun for the audience, and no bar in town serves Guiness like The Owl.

Jeff Busch’s Magic Circle / Jean Lenke’s Rose Combo with Toby Stone

Thu Feb 20, 7:30 PM / Seattle Jazz Fellowship- 109 S. Main St

A double bill at 109 S, Main, featuring two very different performances. Drummer / percussionist Jeff Busch is a true treasure of the Seattle music scene. He has traveled the world accumulating world rhythms and the instruments that facilitate them. He plays with world-class virtuosity, ardent joy and positivity. Magic Circle plays a celebratory blend of jazz, Caribbean, Brazilian and South African music. Joining Busch will be Seattle’s finest latin jazz pianist, Julio Jauregui and “la piedra” of the city’s electric bassists, Dean Schmidt. Both are long-time Busch associates. Ace tenor saxophonist Alexey Nikolaev and rising star trombonist Beserat Tafesse round out this unique combo of Seattle virtuosity. 

The opening set will feature vocalist Jean Lenke and her Rose Combo, performing a program of notable compositions from historic female composers. Pianist Nelda Swiggett returns to SJF on the heels of her recent performance there, joining bassist Rachael Contorer and drummer Angie Tabor in the rhythm section. Saxophonist Toby Stone is a Seattle jazz icon, completing this quintet of strong female artists. https://seattlejazzfellowship.org/events

Photo Credit: Lisa hagen Glynn

Jack Radsliff Quartet

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

Portland based guitarist Jack Radsliff in many ways personifies the modern guitar movement in jazz. No fellow jazz nerds, I am not refering to the iconic Bill Frisell. As one can hear on his latest album release, Barefoot, the comp would more lean towards players like Adam Rogers or the more tranquil side of Kurt Rosenwinkle. His compositions are uniquely Pacific NW in nature – if you are hip to the scenes in Seattle, Portland and Vancouver, you likely understand the point. As in his playing, there is a ambient quality that organically leans into the grays, greens and blues of the local environment. Add these qualities to Radsliff’s tendency to form a band that speaks this language fluently, and you have a Friday night tilt that is well worth the amble into Seattle’s original neighborhood.

Radsliff welcomes back members of his Portland trio in fluent and swinging bassist Patrick Golichnik and drummer Michael Raynor – a Portland transplant who is known as a first call player on the Chicago scene. Alto saxophonist and Portland native Nicole McCabe is the fourth wheel, adding a dynamic melody-based improviser to the band to create color and nuance. Mc Cabe is now LA based, making this a good opportunity to witness her impressive skill set. https://seattlejazzfellowship.org/events

Photo Credit: Jim Levitt

Ann Reynolds Clave Gringa

Sat Feb 22, 7:30 PM / Seattle Jazz Fellowship- 109 S. Main St.

Pianist Ann Reynolds has performed at SJF on a few occasions, mostly in a jazz trio or quartet context. For this evening she shifts gears into her true passion, performing jazz music housed within the infectious rhythms of Cuba. She is in expert hands in this rhythmic transition, with percussionists Ricardo Guity and Steve Smith in the house. Shapeshifting bassist Kelsey Mines brings her versatile skillset in full swing mode, while trumpeter / arranger Daniel Barry performs in full comfort within the wash of ritmos Cubanos. Reynolds has been a mainstay at SJF from the start, whether performing or showing up to support the works of her fellow musicians. For this evening, she stakes out new, but familiar ground. https://seattlejazzfellowship.org/events

Photo Credit: Jeff Dunn Detroit Jazz Festival

Translinear Light: The Music of Alice Coltrane

Wed Feb 26, 7:30 PM / Moore Theater

The music of Alice Coltrane is celebrated with a performance led by saxophonist Ravi Coltrane, the son of Alice and John. Master harpist Brandee Younger joins as a principal player in the proceedings, with the pair backed by a top end rhythm section. Bassist Rashaan Carter, pianist Gadi Lehavi and drummer Ele Howell are summoned to the cause, three exceptional players that are not frequent visitors to Seattle. Both Ravi Coltrane and Younger have appeared frequently at Jazz Alley, in many instances performing works that Ravi had performed with his mother. But a program that features the macro view of her works, performed lovingly by a stellar band led by her son, in Seattle’s oldest and most venerated theater is something of another kind.

The music of Alice Coltrane can be transformative for the listener–you may never hear music quite the same way, and your ability to receive may be enhanced greatly–listener beware! https://www.stgpresents.org/events/translinear-light/

Ray Larsen Quintet

Thu Feb 27, 7:30 PM / Seattle Jazz Fellowship- 109 S. Main St.

Trumpeter Ray Larsen hits the Fellowship with an all-star band in tow, the same band he was to perform with last month before a brief illness postponed the show. Pianist Matt Williams has risen to become one of the city’s top musicians, coming off a recent trio performance at 109 S. Main. Bassist Geoff Harper and drummer Evan Woodle complete a rhythm section with an eclectic reputation. Larsen is joined on the front line by saxophonist Neil Welch, a unique force seldom found in a standard jazz quintet as such. Welch is one half of the dynamic duo, “Bad Luck,” and is often seen with Wayne Horvitz’ RRCME. Woodle has a wizard-like ability to tie disparate sound into a cohesive, flowing force, partnering with Harper to form the backbone of this ensemble. https://seattlejazzfellowship.org/events

Photo Credit: East Coast Jazz Review

Roger Humphries Sextet with Reggie Watkins

Fri Feb 28 – Sat Mar 1, 7:30 PM / Seattle Jazz Fellowship- 109 S. Main St.

Pittsburgh based trombonist Reggie Watkins brings iconic jazz drummer Roger Humphries to Seattle, also a native of the steel city. Humphries is best known for his work with Horace Silver, including the recording of the Silver classic, Song For My Father. His career reads like a history of hard and post bop jazz, with recording and performance credits with legends Joe Henderson, Woody Shaw, Lee Morgan, Coleman Hawkins, Dizzy Gillespie and many, many more. His career is a story of great musical and professional integrity. This opportunity to see a true legend of the genre is rare and not to be missed. https://seattlejazzfellowship.org/events

Photo Credit: Lisa Hagen Glynn

Immanuel Wilkins

Fri Feb 28, 7:30 PM / Triple Door

Alto saxophonist Immanuel Wilkins hit the ground running in 2020 with his debut release, Omega, and hasn’t looked back. His most recent recording, Blues Blood is further evidence of the saxophonist / composer’s forward thrust as a Blue Note recording artist. He has been recognized by all of the prominent critic’s polls as a rising phenomenon of modern jazz. His playing and composing is deeply rooted in the blues / jazz tradition, with a modernist application.

Wilkins was raised within the close-knit fellowship of the Philadelphia jazz scene, including time well spent in Orrin Evans’ Captain Black Big Band. Band and details TBA. https://thetripledoor.net/event/5820201/701277809/immanuel-wilkins

Thomas Marriott Quartet: Screen Time Album Release Celebration

Tue-Wed Mar 4-5, 7:30 PM / Jazz Alley

Trumpeter Thomas Marriott celebrates the release of his fifteenth album, Screentime, leading a stellar quartet for two nights at the city’s historic stage at Jazz Alley. It’s always a big deal when JA, normally a stage for touring acts, features a Seattle resident artist. Marriott, for his part, has paved his way to international acclaim while living in his hometown of Seattle. His integrity as an artist and as the founder of the Seattle Jazz Fellowship has helped the city maintain its historic foundations as a great jazz city.

Joining the trumpeter will be multi-Grammy nominated pianist Orrin Evans, whose Imani Records label is releasing Screen Time. Bassist Robert Hurst has been a prominent sidemusician since the 1980’s in Wynton Marsalis’ groundbreaking quintet. His performance and film credits are extensive, with recordings as a leader and with such legends as Branford Marsalis, Geri Allen, Tony Williams and Steve Coleman. Drummer Mark Whitfield, Jr. is fast becoming one of the most in-demand players in jazz, a rising star who has landed in full prominence. 

This should be one of the true jazz highlights of 2025 in Seattle. Kudos to John Dimitriou and the folks down at Jazz Alley for opening the door for resident jazz artists from the dynamic and rapidly evolving Seattle jazz scene. https://www.jazzalley.com/www-home/artist.jsp?shownum=7630

Photo Credit: Curtis Dahl

In Motion Quartet

Thu Mar 6, 7:30 PM / Seattle Jazz Fellowship- 109 S. Main St.

Seattle tenor saxophonist / composer Steve Treseler co-leads this quartet with Bellingham-based trumpeter Kevin Woods. The chord-less quartet is completed with Bellingham mates in bassist King Dahl and drummer Jerry Steinhilber. The foursome explores grooves inside and outside of standard time signatures, creating an open space for exploration. The band is out playing following the release of their new album, Grind.

The connective tissue for these four musicians, is saxophonist George Garzone. Says Treseler, “We all studied and played with Garzone, instantly connected through a shared aesthetic—freely moving between bop, lyricism, and Dimension X. Our first gig as In Motion gelled instantly.”https://seattlejazzfellowship.org/events

Photo Credit: Small’s Jazz Club

Eric Wyatt Quartet

with Keith Brown, John Bishop & Paul Gabrielson

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

Brooklyn born and raised saxophonist Eric Wyatt pays a visit to the Fellowship, bringing with him a strong tenor presence. Wyatt has authored five albums as a leader and appeared as a sidemusician with the likes of Kenny Garrett, Jeff “Tain” Watts, Wallace Roney and Al Foster. Wyatt will be surrounded by some of the best of the Pacific Northwest, with drummer John Bishop, bassist Paul Gabrielson and pianist Keith Brown joining him at 109 S. Main. 

Wyatt’s music can take a turn from post-bop to soul in a heartbeat. His tenor style is sharp and distinctive, in the Gotham tradition. Brown’s playing is orchestral in a sense, always steeped in melody and ornate harmony. Gabrielson is a master of groove with an imaginative approach to soloing backed by classic technique. Bishop’s original style is a bridge between space and time and always musical. The format is in the Seattle tradition of bringing out an east coast presence and surrounding the artist with the top shelf of local cats. It harkens back to the city’s history as a remote cultural outpost, applied in a time when Seattle is an international gem. The culture clash is always interesting and explosive. https://seattlejazzfellowship.org/events

Photo Credit: Jim Levitt

Scenes with John Stowell, Rick Mandyck, John Bishop & Jeff Johnson

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

The collective Scenes, has lived a life as a trio and as a quartet, in this case as the latter, with iconic Seattle saxophonist Rick Mandyck adding his prowess as both a player and composer. The band has released seven albums on the highly regarded Origin Records label since 2001, including Variable Clouds: Live at the Earshot Jazz Festival, a testament to the quartet’s durability and chemistry following the worldwide pandemic.

Guitarist John Stowell is a genius of harmonic invention, creating space for his bandmates to add individual contributions within a unique collective spirit. Mandyck acts as an emergent energy almost always on the brink of explosive, temporal assertions. His tonality and melodic presence, whether presented with intensity or tenderness, travels in perfect group mind within the territory staked out loosely by the collective. Bassist Jeff Johnson and drummer John Bishop are a known quantity in tandem, a “rhythm section” that simply plays music without the constraints of groove. This will be a fine performance from four great musicians that have engaged many, many times. https://seattlejazzfellowship.org/events

Lakecia Benjamin and Phoenix

Tue & Wed Mar 11-12, 7:30 PM / Jazz Alley

It’s been difficult for longtime jazz fans to gain a firm understanding of the music of Lakecia Benjamin. In many ways, she was victimized by the “too much, too soon” approach to career management that has made her a star, but has not gained her the kind of acclaim attributed to masters of the genre. The reason for that is simple–she’s not performing at that level, despite her popularity. There are a few things to ponder about this.

First of all, the music does need stars, and does need to grow its audience–that supports the entire jazz community. Secondly, Benjamin’s music carries with it a narrative that is not only important, but essential at this crucial crossroads of history. The third and main point is that we all need to disconnect from the publicity train and enjoy Benjamin for who she is, and what she is about. To receive, one must be open. Benjamin is not an altoist in the realm of Gary Bartz or Jackie McLean, but she is on that journey and what is happening along the way is fun, entertaining and highly relevant. If you think she is some sort of furthering of a Coltrane-esque legacy, you will likely be disappointed – it is something she is not and will never be. Don’t let that diminish what she has to say in the here and now, and the long haul ahead.

For this performance, she is joined by pianist Oscar Bailey, bassist Elias Bailey and drummer Dorian Phelpshttps://www.jazzalley.com/www-home/artist.jsp?shownum=7622

Tim Kennedy Quartet

Thu Mar 13, 7:30 PM / Seattle Jazz Fellowship

Pianist Tim Kennedy leads a quartet of familiar faces so to speak, musicians with which he has traveled many a journey. Bassist Geoff Harper and drummer Brad Gibson have logged enough time with Kennedy to achieve a collective mindset. Trumpeter Thomas Marriott has frequently included Kennedy in his band for the past seven years and has an at length musical kinship with Harper. The trumpeter is a dynamic presence on the front line.

The band will perform some new originals penned by Kennedy, as well as some spontaneously interpreted covers. This is a musical grouping that doesn’t convene all that often and is a welcome date on the Seattle jazz calendar. Kennedy has always had a way of bringing musicians together in a special way, and his performances reliably hit the mark. https://seattlejazzfellowship.org/events

Photo Credit: Jim Knapp

Jim Knapp Orchestra

Led By Dylan Hayes and Jay Thomas

Wed Mar 26, 7:30 PM / Royal Room

Trumpeter, composer and master arranger Jim Knapp passed in November of 2021, leaving behind a legacy of excellence as a highly acclaimed composer. That legacy has been passed into the able hands of young pianist composer, Dylan Hayes, once a Knapp student. Joining Hayes in putting this performance together is Seattle’s iconic jazz master, Jay Thomas. As a trumpeter and saxophonist, Thomas lived Knapp’s entire legacy in Seattle as a member of Knapp’s remowned orchestra and as a friend. The band is TBA, but rest assured it will be full of the best ensemble players in the city. Knapp’s compositions so deeply express the jazz soul of the Pacific Northwest. This should be a celebration of just that.

Gatherings of this sort are few and far between, meaning this show should sell out quickly, so do not hesitate to purchase tickets from the link below. Don’t forget the Royal Room’s quirky policy of tickets not guaranteeing seating with a view. Call the club and make a dinner reservation for that date. https://theroyalroomseattle.com/event/jim-knapp-orchestra-happy-reunion-2/

Christian McBride & Ursa Major

Thu-Sun Mar 27-30, 7:30 & 9:30 PM / Jazz Alley

Being one of the most visible people in jazz has not deterred bassist Christian McBride from his primary mission that has guided his entire career–to play live with a killin’ band of musical partners. Frequently changing personnel to present different music in the process, McBride has touched modern jazz from seemingly every possible angle. This time around, he returns to Jazz Alley with a band that may seem young to some, yet it is a battle-tested quintet of younger vets who have paid considerable dues to this point in time.

McBride is one third of a dynamic rhythm section featuring pianist Michael King and the drummer, Savannah Harris. Guitarist Ely Perlman adds another chordal influence to the band’s overall sound, while chiming in on the front line as well. Tenor saxophonist Nicole Glover has been known to Northwest jazz fans since she was a teenager growing up in the Portland area. Currently, she is an in demand session and tour player, and a breakout success as a bandleader riding the wave of her latest album, Plays (Savant, 2024). 

As a bandleader, radio host and Artistic Director of the Newport Jazz Festival, McBride is one of the most visible figures in modern jazz. For four nights at Jazz Alley, you can experience him for what he is to the core–a great jazz bassist and composer, with a unique ability to reach an audience. Enjoy. https://www.jazzalley.com/www-home/artist.jsp?shownum=7626

Greta Matassa Sextet

Wed Apr 2, 7:30 PM / Jazz Alley

Greta Matassa, as I have cited many times on these pages, is the most important jazz singer to emerge from the city of Seattle since the great Ernestine Anderson graced our presence here. In terms of sheer jazz artistry, she is without peer. It seems just, that she should perform on the city’s most hallowed jazz stage at Jazz Alley. And so it is!

Matassa will perform with her longtime band, featuring bassist Clipper Anderson and tenor saxophonist Alexey Nikolaev. Pianist David Joyner is a fine accompanist and a formidable soloist. Drummer Mark Ivester has been tying together the band’s sound from the beginning. Guitarist Brian Monroney is the icing on the cake, adding a new dimension to this all-star unit. The artistry of the band itself allows Matassa to be a part of something, rather than the whole. It allows her plus moments to be that much sweeter and carry a bigger punch. 

Kudos to Jazz Alley for going local with one of our bright lights. It’s up to us to support that notion.https://www.jazzalley.com/www-home/artist.jsp?shownum=7642

Photo Credit: Evelyn Freja

The Bad Plus

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

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

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

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

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

“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.’” 

Photo Credit: Jim Levitt

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. 

Photo Credit: Lisa Hagen Glynn

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

Photo Credit: Jim Levitt
Photo Credit: Lisa Hagen Glynn
Photo Credit: Jim Levitt

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

“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

The jazz non-profit hits it out of the park presenting piano great George Cables and his trio, with the Fellowship ‘Ceptet

Photo Credit: Lisa Hagen Glynn



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.

Photo Credit: Jim Levitt

“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.

Photo Credit: Jim Levitt

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. 

Photo Credit: Jim Levitt

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. 

Photo Credit: Jim Levitt
Photo Credit: Jim Levitt

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. 

Photo Credit: Jim Levitt

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

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
Jay Thomas                                                 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. 

Delfeayo Marsalis                                              Jim Levitt photo
l to r: Brian KIrk, Phil Sparks, Nathan Breedlove                                    Jim Levitt photo
Brian Kirk                                                 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/

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