Seattle Jazz Fellowship | Seattle Jazz Scene

Seattle Jazz Scene: Live Jazz Previews for Seattle

March 19, 2024 / Paul Rauch / No Comments

Monday Night Jazz Jam at Seattle Jazz Fellowship

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

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

Tuesday Night Jam at the Owl

Hosted by Matt Williams

Tuesdays at 9:30 PM / Owl ‘n Thistle

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

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

Tobi Stone Quartet

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

Tenor saxophonist Tobi Stone has always approached her instrument in an original style, largely influenced by her time spent with Olympia saxophone legend, Bert Wilson. The late saxophonist pioneered the use of multi-phonics, applying his technique to bebop and avant-garde styles. Stone travels in good company for this performance, calling in pianist Ann Reynolds, bassist Heather Chriscaden and drummer Eric Eagle. The show will feature originals, some of which will be dedicated to Wilson.

Stone is fast approaching Seattle legend status, as a strong, forward moving, groundbreaking female musician. Her fully resonant sound on the tenor saxophone bears traits of generations of tenor tradition in jazz, received and shared in her very personal way. https://seattlejazzfellowship.org/events

Greta Matassa Sextet

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

Seattle vocal artist Greta Matassa is a dynamic vocal talent, as we all know. An artist with a remarkable vocal skill set, as well as a keen sense as a bandleader, Matassa may yet be most acclaimed for impacting the jazz vocal community at large as a mentor. One can plainly witness this fact at each of her gigs, enthusiastically attended by her appreciative devotees. It helps, always, to have a killin’ band at your disposal, with your life partner holding down the groove on bass. Clipper Anderson and drummer Mark Ivester have been the push behind this modern jazz juggernaut of sorts. Saxophonist Alexey Nikolaev is the Matassa’s counterpoint on the front line, while pianist David Lee Joyner is the perfect accompanist. Don’t sleep on Joyner however, the south sound veteran can be a force on his own. Guitarist Brian Monroney is one of the most skilled players on the scene, adding another dimension to the band.

There is never a good time to NOT attend a Greta Matassa gig. She plays a lot of gigs around the sound, but the vibe of this occasion at SJF, in the new room, should be special. https://seattlejazzfellowship.org/events

Nick Biello Quintet

Mon July 14, 7:30 PM / Royal Room

Alto saxophonist Nick Biello is a master of his instrument, and you owe it to yourself, as a jazz fan, to see him perform. That being said, there are a plethora of great jazz musicians, some of them very young in age and tenure, who fail to take their audience to that desired place of repose and awakening that we all seek. Biello stands out in this way, always using his virtuosity to create that direct pathway to the above stated theorectical place of musical grace. Shedding the poetic, let’s just say that the cat can really play, cares a great deal about the audience being an integral part of the experience, and always has a band that can support these notions in full.

Trumpeter Charlie Porter is equally of interest, a master player with a bold, round trumpet sound rarely heard. A leader and author of several highly acclaimed albums, Porter is known to PNW jazz fans per his long residency in Portland, before departing for New York. Pianist Chris McCarthy holds that special PNW connection as well, growing up in and around Seattle before his trek to NYC. McCarthy is an in demand player in Gotham, known for his high skill level and sensitivity to his musical surroundings. Bassist Alex Tremblay is a noted bandleader and recording artist as well, often collaborating with Biello and McCarthy in the process. Austrian drummer Peter Kronreif is an in-demand quantity in NYC, known for his versatility and musicality.

What all of this adds up to is chemistry, that state of familiarity where fear is lost and innovation begins, This should be a fun ride. https://theroyalroomseattle.com/event/nick-biello-quintet/

Martin Budde

Thu July 17, 7:30 PM / Seattle Jazz Fellowship- 103 S. Main St.

Guitarist Martin Budde has earned acclaim as an innovative and flexible player over the past half decade or so in Seattle. As a member of the new wave of jazz talent in the city, Budde helped pave the way out of pandemic slumber with the collective Meridian Odyssey, resulting in two recordings for the highly regarded Origin Records label. In 2023, he released his first solo album, a trio effort with Ben Feldman and Xavier Lecouturier for Origin titled Back Burner.
Budde’s guitar style is accented by his upbringing in Alaska, gathering sounds from bluegrass and folk forms and incorporating them into his jazz lexicon. For this hit at Seattle Jazz Fellowship, he forms a trio with pianist Dylan Hayes and bassist Trevor Ford, exploring music without a traditional drummer.https://seattlejazzfellowship.org/events

Victor Noriega Kuyatet

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

Victor Noriega was a prominent member of the Seattle scene before he relocated to Vancouver, BC. It’s good to see him on the SJF schedule as the pianist returns and reunites with some old mates in Pioneer Square.

Dubbed “Kuyatet,” Noriega dives into jazz interpretations of Fililpino folk songs and Tagalog language standards and originals along the same musical lines. Bassist Michael Glynn shares a strong rhythm section featuring drummer Eric Eagle and percussionist Jeff Busch.

Seattle is a city with a strong Filipino music scene, including jazz music. This is a great opportunity to experience the music in the hands of a fine jazz pianist in Noriega, joined by a contingent of some of the city’s best musicians. https://seattlejazzfellowship.org/events

Roman Goron Quintet +

featuring Jay Thomas, Joel Steinke, Xavier Lecouturier & Trevor Ford

Sat July 19, 7:30 PM / Seattle Jazz Fellowship- 103 S. Main St.

It seems almost obligatory to preface pianist Roman Goron’s name with “nineteen year old,” or “young,” when describing his abilities as a pianist and composer. He will turn twenty in August before he departs for New York to attend Juilliard. To this point, Goron is remarkably self-taught, with some guidance from mentors such as Dave Kikoski. His portal of entry onto the Seattle scene was through area jam sessions, evolving into a leader of his own trio, and a noted sideperson who has accompanied artists such as Sarah Hanahan and Joe Farnsworth. Clearly, the age reference is rapidly disappearing from his introduction.

This performance is his send-off to NYC, in giving thanks and appreciation to the scene that has nurtured his talent and given it a stage to perform on. It will begin in quintet mode, with Goron welcoming in Seattle jazz legend Jay Thomas, saxophonist Joel Steinke, bassist Trevor Ford and drummer Xavier Lecouturier. The second set will feature a cast of special guests that will perform music from the pianist’s young, but busy career. Goron has come a long way in so many ways. This is a good chance to see him off in a positive way. https://seattlejazzfellowship.org/events

Ray Larsen Quintet

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

Trumpeter Ray Larsen is a master improviser with a fluid, bold trumpet sound that tends to thrive on the outer banks of the fluid jazz tradition. For this date at SJF, he arrives leading a quintet of like-minded musicians, given to the art of spontaneous compositions.

The rhythm section of pianist Matt Williams, bassist Geoff Harper and drummer Evan Woodle provides the foundational freedom for Larsen’s musical aspirations, while groundbreaking saxophonist Neil Welch is the perfect match for Larsen on the front line. While the aforementioned rhythm section has the ability to stretch musical boundaries, they are as well rooted in jazz tradition, able to traverse the territory in and between post bop jazz and modal improvisation. Welch’s experimental bent utilizing any and all tools available to him both acoustically and electronically, is a phenomenon that can push the music in directions from the ground up to atmospheric heights. Through all of this, Larsen’s pure trumpet sound rises above stylistic imput and speaks to beatific innovation. For this particular approach to jazz music, I couldn’t imagine a better cast. A date to boldly mark on the Seattle jazz calendar. https://seattlejazzfellowship.org/events

Wellstone Conspiracy featuring Bill Anschell, John Bishop, Brent Jensen & Jeff Johnson

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

Wellstone Conspiracy is in this case, a band- not a conspiracy. In fact, it is a quartet that includes four of the finest musicians this city has to offer, playing original music that has a very unique character. The last time Wellstone performed live was at Tula’s, the iconic Belltown jazz spot that disappeared on Halloween night in 2019. If you are familiar with the four musicians, you can imagine what qualities they might bring with them into the collective. If not, let me help you catch up.

The origins of the collective goes back to Brent Jensen‘s recording projects, in particular the soprano and alto saxophonist’s Origin Records release, One More Mile (2006). The quartet would go on to record two notable albums- Motives in 2009, and Humble Origins, released in 2011. Bassist Jeff Johnson and drummer John Bishop are a known quantity as a duo on many projects, including the groundbreaking rubato trio of Hal Galper. Johnson’s jazz story dates back to time with Philly Joe Jones, while Bishop has performed with Ernestine Anderson and a host of others, all the while creating the Origin Records platform. Pianist Bill Anschell is a noted composer, and the leader of a several bands. His piano trio with Johnson and D’Vonne Lewis is a staple on the Seattle scene. Anschell has an extensive recording history with Origin, many of his recordings including his bandmates in Wellstone Conspiracy.

Every once in a while, you have to take that classic car out of the garage and take it for a spin around the neighborhood, you dig? At some point in that ride, you’re going to learn new things and realize the evolving potential that lies under the hood on a given day. As this poke around Pioneer Square is a rare occassion, this is one ride worth taking, a highlight on the July jazz calendar in Seattle. https://seattlejazzfellowship.org/events

Johnaye Kendrick Quartet / Dawn Clement and Steve Kovalcheck

Mon July 28, 7:30 PM / Royal Room

A very promising evening of music, as two powerful female voices share a bill in Columbia City. For openers, pianist / vocalist Dawn Clement plays in duet with Denver-based guitarist Steve Kovalcheck, followed by Grammy winning vocalist Johnaye Kendrick. Clement and Kendrick have spent a lot of time together musically over their years together at Cornish College of the Arts. Clement arrives on the heels of her new album on the Origin Records label, Delight.

Kendrick has received great acclaim for her solo albums and live performances. Her perfect pitch and astounding range enables her prowess as a composer and interpreter of great works. She is a two time Grammy winner as a member of the vocal quartet, saje. Clement will accompany on piano, along with bassist Chris Symer and drummer D’Vonne Lewis. https://theroyalroomseattle.com/event/johnaye-kendrick-quartet-dawn-clement-and-steve-kovalcheck/

Last February, this event drew over two thousand people, a memorable date in recent jazz history here in Seattle. The fellowship combined with the music led to a wonderful sense of community for those that attended. The summer weather should add to that vibe!

Randy Brecker with Tod Dickow and Charged Particles

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

Nine time Grammy winning trumpeter Randy Brecker plays the music of his late brother, Michael Brecker, backed by the San Francisco-based trio, Charged Particles.

Brecker has been a boundary breaking musician for five decades, and has some history here in Seattle in the 1970’s. Charged Particles is an acoustic trio featuring tenor saxophonist Tod Dickow, pianist Murray Low, bassist Aaron Germain and drummer Jon Krosnick. The band has been touring the world performing the music of the legendary tenor saxophonist and composer, and who better than to bring this music to the world than his brother, himself a historic figure in the history of jazz. Randy’s work on trumpet and flugelhorn is to be heard, no matter the programming. In this context, in an acoustic setting, the best of his playing is bound to occur. Add the emotional dimension of his brother’s music, and the occassion becomes special. https://www.jazzalley.com/www-home/artist.jsp?shownum=8678

Bell Thompson Quintet

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

Bell Thompson is a Seattle born and raised trumpeter, currently living in NYC. She studied under Terrell Stafford at Temple University in Philadelphia before her move to Gotham, along the way gaining a genuine love and admiration for Philly. Her program for the evening will be originals that amount to a love letter to her adopted city, one of the truly great jazz cities in America.

Thompson will be supported by a Seattleites in pianist Roman Goron and drummer Xavier Lecouturier, along with bassist Arturo Valdez and a saxophonist to be named later.

It’s always great to welcome home one of our own. It is the nature of the beast that jazz musicians make the pilgrimmage to New York, no matter where they emanate from. In Thompson’s case, witnessing her maturity and elevated status of her playing is a thrill. The interaction between her and pianist Goron, himself soon to journey to NYC to attend Juilliard, is something to keep an eye on. https://seattlejazzfellowship.org/events

Xavier Lecouturier Quartet

featuring Santosh Sharma, Evan Flory-Barnes & Matt Williams

Sat Aug 2, 7:30 PM / Seattle Jazz Fellowship- 103 S. Main St.

Drummer / composer Xavier Lecouturier has been flying a bit under the radar in 2025, but is back in full with a new quartet and a new album. For this date, he gathers tenor saxophonist Santosh Sharma, pianist Matt Williams and veteran bassist Evan Flory-Barnes for a probing exploration of standards, as well as selections from his new release, I Remember Why Now.

One of the prime interests for this gig is the very fact that the quartet will largely be “playing tunes.” It allows for the audience to see these four musicians read and react within the perceived confines of structure that is free of compositional constraints. Sharma’s fluid and imaginative stream-of- consciousness style should be off the hook, while Williams will be exposed outside of the trio format, or any of his eclectic, amazingly diverse musical personas. Flory-Barnes is soulful, and swings like mad, making his pairing with Lecouturier’s often mercurial drum style an interesting and potentially explosive combination. This is “one of those gigs.” Being there is an essential start to the August jazz calendar in Seattle. https://seattlejazzfellowship.org/events

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

November 24, 2023 / Paul Rauch / No Comments

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

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

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

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

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

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

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

June 30, 2022 / Paul Rauch / No Comments

“While the nonprofit has been acknowledged for providing a place for the resident Seattle jazz to thrive, it is equally important to note the Fellowship’s work in caring for the music itself.”

The Seattle Jazz Fellowship, a 501(c)(3) nonprofit founded by trumpeter Thomas Marriott, was created in response to the loss of viable jazz stages showcasing the vibrant resident jazz scene in Seattle. While local jazz musicians and fans alike mourned the downfall of longtime resident haunts such as the New Orleans club and Tula’s Jazz Club, Marriott and a supportive group of like-minded community members sought an alternative to the traditional jazz supper club personified by the aforementioned institutions. Gentrification of the downtown core of the city had driven rents to such a level that sustaining a club that could also serve as a community hub had become difficult at best. Food and liquor sales became the life blood of these attempts, driving up the price of access to jazz fans, while wages for musicians hung at early 1980’s levels. Worse yet, musicians had to rely on the door or ticket receipts to be paid at all. Like many jazz scenes around the country not based in New York City, the best musicians had to leave town to have any hope of earning a living as a professional jazz musician. The story of the Seattle Jazz Fellowship (SJF) and its guiding principles first appeared in All About Jazz in February, 2022, in the article Seattle Jazz Fellowship: A New Beginning For Live Resident Jazz . To continue reading, click here https://www.allaboutjazz.com/seattle-jazz-fellowship-presents-orrin-evans-and-the-captain-black-big-band-captain-black-big-band

Seattle Jazz Fellowship’s Saturday Jazz Matinee

April 4, 2022 / Paul Rauch / No Comments

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

Trumpeter and Seattle Jazz Fellowship founder Thomas Marriott is always on the lookout to bring to life ideas that further the goals of the Fellowship. The principle of lowering barriers to access was practiced in booking The George Cables Trio alongside the non-profit’s Fellowship ‘Ceptet for a 1 PM jazz matinee, a promotional risk of sorts. The Saturday tilt would allow more students to attend, as well as families. Then there are those that are reticent about venturing out at night, when most of the music takes place on the Seattle jazz scene, or for that matter, any local jazz scene.

The show was made possible by a generous donation from Bob and Sue Frause, friends of Marriott’s late parents David and Helen Marriott. The Marriotts were hugely influential in their support for jazz in Seattle, and the Frause family wanted to both support the Fellowship and memorialize David and Helen in some way. Cables was a favorite of theirs, and a dear friend. There was never any doubt as to who their son wanted to bring in to perform. Cables would add drummer Jerome Jennings from New York, and Seattle jazz legend Chuck Deardorf on bass, a long-time friend. Marriott decided to include a key mentorship project of the Seattle Jazz Fellowship in the billing–the Marriott led Fellowship ‘Ceptet.

“We decided to include the ‘Ceptet in the event and to keep the price of the ticket down (and make it early) so we could use the event to further our goals of building community, increasing mentorship, incentivizing excellence and lowering barriers to access,” says Marriott.

The 1 PM start turned out to be agreeable to the Seattle jazz public, as the room filled to capacity in anticipation of two superb sets. The sun washed through the club’s windows looking out onto Rainier Ave, shadows cast across the room seldom seen before by patrons more accustomed to the club’s typical late night persona. The crowd was decidedly cross-generational, with families and students not normally associated with evening sessions at the club in attendance. They came for the music, as the Royal Room itself was not quite accustomed to an afternoon happening. The kitchen was closed, and one bartender was left to attend to the needs of a full house.

The Fellowship “Ceptet opened, featuring a line-up that spoke well to the non-profit’s premise. Marriott, along with drummer John Bishop, pianist Marc Seales and alto saxophonist Mark Taylor are four of the finest jazz musicians to emerge from the Seattle scene historically. Tenor saxophonist Jackson Cotugno, trombonist Beserat Tafesse and bassist Grace Kaste represented the new wave of jazz artistry in the city, with Kaste still a senior at Roosevelt HIgh School. All three would demonstrate to the audience that their inclusion was merited in terms of artistic facility.

The band played a selection of Marriott originals, and a cover of Thelonious Monk’s “Ask Me Now.” Throughout the seven tunes selected, the band offered crisp arrangements and imaginative soloing. Immediately noticeable was the rhythm section, with Seattle stalwarts Bishop and Seales working seamlessly with Kaste. Kaste performed with the refinement and elegance of a veteran, much to the delight of Deardorf, her mentor since the age of thirteen in attendance. The front line responded to the strong vibe in the room with fire, queued by Marriott’s leadership, and most importantly his brilliant solo work. Taylor, who has been somewhat invisible the past few years from live performance in Seattle, played beautifully, with his trademark, original style on alto. Cotugno continued a somewhat meteoric visibility on the Seattle scene offering a modern approach, with a pre-bop sound that speaks to Ben Webster. Tafesse, who has been ever-present post-pandemic at area jam sessions, was in a way introduced to the jazz public at large, providing harmonic depth and spirited soloing.

The set had a dynamic arc from start to finish. opening with “Fellowship Blues,” and delving into Marriott’s “Human Spirit,” and O.D.A.A.T (One Day at a Time). The Monk interlude was lush and spacious. It stood out in terms of arrangement, featuring a commonality between Marriott and his saxophone counterparts in Taylor and Cotugno–all three produce a rich tonality that fares well in moments of intensity, or those of melancholy. By the time the band arrived at Marriott’s “Stupor in D,” and “The Tale of Debauchery,” they had found a connective spirit that resonated well with an audience that was pleasingly dialed in.

Pianist Cables at 78 years of age, still not only performs at a high and inspired level, but maintains the prowess he has demonstrated throughout his career without any signs of slowing down. His playing is crisp, brilliantly articulated and radiating with the joy that is an integral part of his personality both on and off the bandstand.

The trio offered in depth interpretations of Wayne Shorter’s “Speak No Evil,” and Bill Strayhorn’s gorgeous “Lotus Flower,” with Cable’s playing accented perfectly by Deardorf’s seemingly effortless style. Jennings played as though delighted to be in the presence of the two jazz elders he would converse with over the ninety minute set.

The standards “Too Close For Comfort,” and “Who Can I Turn Too” brought the audience to Cables’ romantic side, perhaps prepping them emotionally for his two originals he silently dedicated to his late wife. “Song For Helen,” and “My Muse” brought more than melancholy to the audience. Cables’ lush harmonies and sweeping, melodic runs spoke to fond remembrance, joy and gratitude. It reminded the attentive audience that they were in the company of one of the true giants of jazz music. The elders in the audience could think back to seeing the master as a sideman with the likes of Dexter Gordon and Art Pepper. With that, came the realization that Cables had joined the two saxophone icons as a true master of the form. His graciousness and humility was a true gift to the younger members of the audience, many of them musicians themselves. As young bassist Kaste learned on the bandstand, and many of her contemporaries witnessed in the audience, true mentorship and the process of paying dues in this music is done in the presence of the masters of the form. For this one afternoon, those lessons were communicated with unusual clarity.

The matinee portends good things for SJF, for what is to come down the road. With their weekly “Fellowship Wednesdays” commencing on April 20, the non-profit moves front and center in support of the resident jazz scene in Seattle.

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

December 2, 2021 / Paul Rauch / No Comments

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

It was 5 PM on a crisp Wednesday afternoon on December 1, and thirty people sat casually in the brick lined digs of Vermillion Art Gallery and Bar on Capitol Hill, intently listening to the soft spoken musings of jazz legend, Julian Priester. The historic trombonist was playing selections from his storied career that continually over the course of seven decades has stood at the progressive forefront of the music. This afternoon it was his work with Dave Holland and Herbie Hancock that was featured. His historical and cultural anecdotes were thrilling to hear, providing weekly attendees a unique perspective on the music that they had become passionate about.

There are a variety of ways to enjoy jazz music performed at its highest level of artistry in Seattle. Many of those options include a cover and a high end price tag for dinner and drinks. Those venues tend to lack a major component of jazz culture- the hang. It is during that time before, between and after sets that cultivates community and enables fellowship.

The Seattle Jazz Fellowship weekly offers Priester’s free listening session, and two sets featuring two separate ensembles of the finest resident jazz musicians in Seattle for a reasonable cover. Vermillion serves fine drinks at a very reasonable price. If you need to eat, you can pop over to Mario’s for a slice, or head around the corner to grab a burrito. The music is the focus, and because of the organization’s non-profit status, it can book and curate music that is not ruled by the age old “butts in the seats” mentality, but with the idea of artistry in music first and foremost. At the front door, vaccination status is checked, and a twenty dollar cover charged. Fellowship founder Thomas Marriott remarked at one point, “It’s a twenty dollar cover, if you can swing it.” The important thing to Marriott and the Fellowship, is that you are there in the first place, that the evening is treated as a sacred place of music for the entire community.

The seventh edition of “Fellowship Wednesdays at Vermillion” featured young pianist/arranger Dylan Hayes performing a set of his quartet arrangements of the music of recently departed composer Jim Knapp, followed by the Nathan Breedlove Quartet. Hayes was joined by Seattle jazz icon and Knapp associate, Jay Thomas, first-call bassist Michael Glynn and drummer Xavier Lecouturier. Thomas, a 55 year veteran of the Seattle scene, played brilliantly, putting a shine on Hayes’ perfect arrangements. The focus and drive of the band revealed what has been a commonality with all fourteen sets presented thus far by the SJF–that the musicians bring their “A” game to the set, that the vibe of the room was one that invites and appreciates artistry.

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

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

Between sets, the hang was thick, with many of the city’s top musicians present, as well as a jazz audience that spanned generations. New players on the scene, now especially unknown due to the pandemic, emerge and become acquainted with their new community. Younger players are mentored by the more experienced players. The audience is able to interact with the musicians in a meaningful way. They are truly a part of the performance, of the evening’s activities. The room itself has a warm glow, an intimate, welcoming vibe. The all ages policy invites younger players and fans, and allows parents to share the music with their children.

Just before hitting the stage for his set, veteran trumpeter Nathan Breedlove informed us that Delfeayo Marsalis would be dropping by. Indeed he did, playing most of the set with this assemblage of veterans that included pianist Ron Perrillo, bassist Phil Sparks and drummer Brian Kirk. Marsalis and Perrillo played both dynamically and melodically, with the live nature of the room projecting the sound through the narrow gallery to the rear of the club, through the doors, and out into the Capitol Hill night. Marsalis’ presence brought the striking realization that in only seven total nights of operation, the hang at Vermillion was gaining significant notoriety for all the right reasons.

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

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

With the playing of the last note of the evening, the room was electric, the vibration of the music still stirring in the room and in the souls of all those that attended. Old friends and new acquaintances were united in fellowship, which of course, is the point. SJF wants you to be there, to help create a sacred place for the music. One departs the room with an overwhelming sense of community, a true feeling of belonging to something sacred, historic and sustainable. With current economnic times in direct conflict with the proliferation of art, the model presented by Marriot and the SJF is proving to be one that promotes artistry and accessibility. It is a foundational source of fellowship as its name portends, within the framework of a community that has sustained itself over a century of time. The ambitions of the group to expand to five nights a week in a permanent home is the light that shows the way to the present and future of the Seattle jazz scene. The music, the gathering of friends and the emotional and spiritual high experienced by those fortunate enough to attend speaks loudly and clearly to that.

Scroll down to On the Scene: Live Jazz Previews for December to see the full schedule of the Seattle Jazz Fellowship. Next week: Iconic jazz vocal artist Greta Matassa, and Latin Jazz piano firebrand Julio Jauregui lead their respective bands to the Vermillion stage. https://seattlejazzfellowship.org/