Seattle Jazz Scene: Live Jazz Previews for Seattle

Lisa Fischer & Ranky Tanky

Thu July 25- Sun July 28, 7:30 & 9:30 PM / Jazz Alley

Vocalist Lisa Fischer has traveled a long road to prominence. After nearly four decades performing as a backup singer to such legends as Luther Vandross, The Rolling Stones, Chaka Khan and Tina Turner, she has become a shape-shifting vocalist that never quite settles into one, predicatable style. For this Jazz Alley date, she joins Gullah groovemasters Ranky Tanky, a band of lifelong friends from coastal South Carolina that artfully celebrate the traditions originated by African Americans in the coastal South during slavery that continue to present day.

While there is no doubt about Fischer’s prowess as a vocalist, what is truly impressive for this Jazz Alley run is how seamlessly she fits into the groove of this band, and of this music. The music is funky, soulful and passionate–this band is literally bringing Gullah music to the world, now with the indelible talents of Fischer in hand. Personal note: I sat stageside for their performance together last summer at the Detroit Jazz Festival and left the site as a happier person. https://www.jazzalley.com/www-home/artist.jsp?shownum=7551

Photo Credit: Jim Levitt

Jessica Lurie Quintet

Fri July 26, 7:30 PM / Seattle Jazz Fellowship- 109 S. Main St.

Saxophonist/Flutist Jessica Lurie has maintained a level of excellence over the years while moving forward without fear into a variety of musical environments. Her playing is strongly influenced by jazz, fusion, klezmer and rock, and her ability to react within the moment assertively and melodically. 

Lurie is a bi-coastal resident these days, between New York and her native digs in the PNW. For this date she teams up with Barcelona born piano star, Marina Albero for a foray into original sounds. Bassist Kelsey Mines, saxophonist Kate Olson and drummer D’Vonne Lewis join to create a band with great familiarity with each other- Lurie’s Seattle crew! All five musicians entered the jazz world through different portals, opening the music up to a variety of intriguing possibilities. The possibilities for an all-star hang is out there as well, a highly recommended evening at 109 S. Main. https://seattlejazzfellowship.org/events

Wayne Horvitz Methodolatry Quartet with Skerik, Geoff Harper & D’Vonne Lewis

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

Methodolatry denotes an adherence to research methods over interpretation, which is befuddling to music fans looking for meaningful interpretative playing from musicians like Wayne Horvitz and Skerik. Add the fluid adaptability of bassist Geoff Harper and the read and react abilities of drummer D’Vonne Lewis and the interpretation becomes the research. A Saturday night at SJF adds to the attraction here, a fifty seat room with standing room of perhaps twenty. The vibe is a listening environment that is music first. A quartet of this sort deserves that kind of attention. https://seattlejazzfellowship.org/events

109 S. Main St. / Mondays at 7:30 PM

It’s good news to hear that the Seattle Jazz Fellowship will host a jazz jam session on Monday nights. The all ages weekly session will provide that vital opportunity for mentorship between generations of players, and just as importantly, a chance for the Seattle jazz community to gather and just hang out. The weekly tilt is needed to continue the tradition of jazz jam sessions in the city. Not only are Mondays the least active evening for musicians playing gigs, the 7:30 start time should bring in a wider swath of the scene. The all ages component helps as well. If Thomas Marriott’s curation of sessions in the past is any indicator, the session will start with a house band playing a few tunes, and then the session begins. The cherry on top for the new session is that a good piano is employed. Most importantly, it will be FUN!https://seattlejazzfellowship.org/events

Photo Credit: Jim Levitt

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

Tuesdays 8 PM / Underbelly

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. The vibe in the room is relaxed, the drinks are first class and there is a very cute puppy in the house to add to the charm. The house screens classic films and cartoons as well! A highly recommended hang on Tuesday nights.

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 Tuesday nights 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. 

Paul Richardson Trio with Steve Kim & Steven Banks

Thu Aug 1, 7:30 PM / Seattle Jazz Fellowship- 109 S. Main St.

Unless you’re a regular at El Gaucho in Seattle, you may have never heard pianist Paul Richardson, even though he logs more hours than most behind the keyboard. It’s true that if you are out on the Seattle jazz scene as a listener, his gigs in different venues may escape your view. That would make it even more important for you as a jazz fan to hit this date at 109 S. Main. The Seattle Jazz Fellowship is music first, and Richardson will perform with a formidable trio of Seattle music veterans. The difference here is that people will listen without the distraction restaurant and club gigs tend to have. 

Richardson is a player with wonderful technique, a great sense of feel for the lyrical value of a tune, and a veteran onstage persona. He is joined by bassist Steve Kim and drummer Steven Banks, two players with some serious Seattle history. One can recall Kim on gigs with Larry Coryell, Carter Jefferson and Jay Thomas to note but a few. His versatility on electric bass has brought him to play with such diverse musical characters as Garth Hudson of The Band. Ditto for Banks, who has gigged with jazz artists Julian Priester, Eddie Harris and Herbie Hancock, and soul legends Donny Hathaway, Peter Tosh and Earth, Wind and Fire. 

Richardson over the past decade or so, has not played much at places like Tula’s, The Royal Room, Jazz Alley or for that matter, the three year history of the Seattle Jazz Fellowship. He has largely slipped by that particular mooring. SJF is all about giving Seattle jazz artists a stage, and removing barriers of access to see them. This is a great example of just that. https://seattlejazzfellowship.org/events

Photo Credits: Lisa Hagen Glynn

Meridian Odyssey

with Noah Halpern, Xavier Lecouturier, Dylan Hayes, Ben Feldman, Martin Budde & Santosh Sharma

Fri & Sat Aug 2-3, 7:30 PM / Seattle Jazz Fellowship- 109 S. Main St.

Meridian Odyssey is a band born in brotherhood in Seattle, bonded during the pandemic in Alaska, and now with two albums to their credit, a bi-coastal phenomena. All from the new wave of jazz excellence in Seattle, the band plays with a group mind that has developed over the relatively short time the six players have been playing professionally. Drummer Xavier Lecouturier, pianist Dylan Hayes and guitarist Martin Budde are virtual stalwarts on the current scene in Seattle. All three have a penchant for composition as well, resulting in recordings on the highly regarded Origin Records label. 

Bassist Ben Feldman has been a known quantity in Seattle since his high school days at Garfield. He is now in his fifth year in New York, in the master’s program at Julliard after graduating from the Manhattan School of Music. In the middle of his studies, he is a rising star on the scene in Gotham, His talents have been recently on display at SJF with his work during Lecouturier’s residency and his recent performance with the Friendship Trio. Trumpeter Noah Halpern has a beautiful trumpet sound, a probing and melodic approach to improvisation and an emotive imagination that resonates strongly in the here and now. He recently won The 2023 Carmine Caruso International Jazz Trumpet Solo Competition, a prestigious title indeed. Halpern’s playing and that of frontline mate Santosh Sharma is what makes this band sing when playing at its peak. Sharma’s amazing skillset is technically brilliant without doubt, but is as well in the service of seeking out and finding the beauty and primary emotion of a tune. 

This is a weekend not to miss at 109 S. Main.  https://seattlejazzfellowship.org/events

KNKX Presents: Kiki Valera y su Son Cubano “Vacilón Santiaguero” Album Release 

Fri Aug 2, 7:30 PM / Royal Room

Son Cubano master, Kiki Valera, celebrates the release of his second album since arriving in Seattle. The Cuban cuatro pioneer approaches this music from the eastern hill country of Cuba with a jazz improvisors mind, creating a seamless collision between traditional Son Cubano and modern improvisational forms. It is quite remarkable to have Valera in Seattle, considering his standing as a member of one of the most influential bands of the genre, La Familia Valera Miranda. Seattle’s own Carlos Cascante will be featured on vocals, well known to Latin jazz fans as the lead singer of the Spanish Harlme Orchestra.

It is true that this music is not jazz per se, but it is part of Cuban music that has roots in both Spanish and Bantu traditions. The jazz community has supported Kiki’s music, appreciating not only the tradition and the sound, but the high degree of excellence in his playing and his sheer artistry. https://theroyalroomseattle.com/event/kiki-valera-y-su-son-cubano-vacilon-santiaguero-album-release/

Photo Credit: Jim Levitt

FreeFall with Jeff Johnson

featuring Thomas Marriott, Rick Mandyck & John Bishop

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

Anytime this quartet plays in public, you should take advantage of it. While the band has a weekly date down the block at Underbelly, this appearance comes with the guarantee that the original four–the only true version of this non-chordal juggernaut, will be on the gig. The idea for this band dates back to the 1990’s, when the trio of saxophonist Rick Mandyck, drummer John Bishop and bassist Jeff Johnson covered a Tuesday night gig at the Old Town Ale House in Ballard for eight years. Mandyck had been performing with Billy Hart, Mark Murphy and Carter Jefferson among others. Johnson had played with Philly Joe Jones, Jessica Williams and Hal Galper while Bishop was appearing on dozens of albums and tour dates on a national scale. Multi-reedist Hans Teuber became the fourth frequent participant, while saxophonist Rich Cole and guitarist John Stowell would drop in as well. 

Photo Credit: Jim Levitt

The current iteration includes trumpeter Thomas Marriott. The author of fourteen albums as a leader adds a different sonic presence to the band. Johnson and Bishop have since been the groundbreaking presence in Galper’s rubato revolution, and are the tidal force that allows both Mandyck and Marriott to blast off. Unencumbered by chordal harmony, all four players are equal participants in terms of soloing. The format does put great dependence on the abilities of the bassist and drummer, again stating the importance of the foundational presence of original members Johnson and Bishop. The quartet plays originals from Johnson and Mandyck that are open conduits to exploration. Toss in Marriott’s formidable tunes, and adventurous interpretations of standards and you have Free Fallhttps://seattlejazzfellowship.org/events

Photo Credit: Jim Levitt

George Colligan

Fri Aug 9, 7:30 PM / Seattle Jazz Fellowship- 109 S. Main St.

Pianist George Colligan is Portland based and world class in every way. Family and a professorship at Portland State brought him here, but the pianist is an on demand player as a sideman and a leader. Originally a classical trumpet major and a drummer to boot, Colligan came to the piano last, and found a medium to play orchestrally. His talents have placed him on tour and in the studio with Jack DeJohnette, Buster Williams, Gary Bartz, Cassandra Wilson, Christian McBride and a host of others. 

To see a musician of this status in a small room is a rarity and a great chance for Seattle jazz fans to witness virtuosity up close. Colligan played the SJF weekley at Vermillion in 2023, and the room was full early on this first come, first served event. Same deal down in Pioneer Square, so get there early. Band and program TBAhttps://seattlejazzfellowship.org/events

John Pizzarelli Trio

Thu Aug 8 – Sun Aug 11, 7:30 & 9:30 PM / Jazz Alley

Guitarist and vocalist John Pizzarelli arrives in town toting a trio, and a set list of tunes derived from the stage and screen. If guitar and vocal jazz is your thing, it frankly doesn’t get a lot better than this. Pizzarelli is equally top shelf with both of his crafts, and delivers them intimately with a trio that does not include drums. Pianist J. Thompson and bassist Mike Karn join for this four night, six show run. The veteran guitarist is well known for his career-long deep dive into the Great American Songbook and delivers on that premise with artful precision. No chance of this gig going out on the edge- there is no edge, just a leisurely, brisk drive down the center lane. https://www.jazzalley.com/www-home/artist.jsp?shownum=7558

Jovino Santos Neto Quinteto

Tue & Wed Aug 20 – 21, 7 :30 PM / Jazz Alley

Jovino Santos Neto has been a musical force since arriving in Seattle from his native Brazil. His career-long association with Brazilian music legend Hermeto Pascoal has been a light that he has carried and added to. A brilliant pianist and composer, his quintet is given a proper stage at Jazz Alley. Over decades of time, Jovino’s performances have been dynamic, virtuosic and highly on point in terms of being a sure thing. 

Jovino is joined by drummer Mark Ivester, percussionist Jeff Busch, vibraphonist Ben Thomas and bassist Tim Carey. The tenure of the band has built a precision and ease that can only be honed with time and love. The partnership between Ivester and Busch is a true connection that acts as one mind. Thomas and Jovino have a special voice on voice collective spirit that fronts the band’s unique sound. Carey was given the unenviable task of taking over the bass duties of the band upon the passing of the great Chuck Deardorf. His work on electric bass has not only been excellent, he has gathered the spirit of the music and become a driving force. https://www.jazzalley.com/www-home/artist.jsp?shownum=7556

Jose “Juicy” Gonzalez Trio with Matt Jorgensen & Michael Marcus

Sat Aug 24, 7 PM / Egan’s Ballard Jam House

Jose Gonzalez is an artist of immense expression in so many ways. A skilled jazz pianist, his artistry is tied to theater as well, not to mention his creative approach to gardening. I could go on and on–but what honestly drives the man is passion, whether playing interpretations of standards or original material written by himself and his bandmates. This particular trio has history between them as well, making an evening spent with them at this intimate forty five seat house in Ballard, time well spent.

Matt Jorgensen has been one of the driving forces on the Seattle jazz scene over the past twenty five years or so. A jazz drummer of the highest degree, Jorgensen is well known for his compositional skills as well, both as a jazz bandleader and for programming at PBS and NPR. He is as well a principal of the highly regarded Origin Records label, a festival presenter and the founder of these very pages. He has a long resume of album appearances, including eleven as a leader or co-leader. His connection with Gonzalez runs deep, adding dynamic color only achievable over time. Bassist Michael Marcus rounds out the trio, adding a third tenured element to the band. The trio is unafraid to explore other genres from a jazz perspective, including the music of The Beatles. [email protected]

Photo Credit: Jim Levitt

Seattle Repertory Jazz Orchestra

Tue & Wed Aug 27- 28, 7:30 PM / Jazz Alley

For the life of me, I have never understood why the Seattle Repertory Jazz Orchestra doesn’t play regularly at Jazz Alley. The band has always been able to fill seats at the smaller recital hall at Benaroya Hall, some 550 seats. It has been evident that at times, it could sell more, but not enough to fill the main concert hall at Benaroya. Jazz Alley seats close to 400, so a two night stand should allow their audience to fully attend, and see the band play on the city’s most historic stage for jazz. The nightclub vibe is a departure from the digs at Benaroya, and a vibe more suitable to jazz performance. I’m not criticizing Benaroya, and I understand the notion that jazz organizations and individual musicians deserve the status of virtuosity and sophistication enjoyed by classical musicians. Of course, continuing their tradition at the vaunted concert hall is a good thing for jazz music in general. But why not reach out to not only their regular audience, but the Seattle jazz audience at large who may be more inclined to attend a gig at Jazz Alley?

Director Michael Brockman seems to be getting out a little more as a musician, performing with local artists. Maybe he feels it’s time for the band to do the same. Lot’s of TBA’s on the roster for these performances, but stalwarts Jay Thomas, Phil Sparks, D’Vonne Lewis, Sidney Hauser, Randy Halberstadt, Dan Marcus, Travis Raney Audrey Strangland, Brad Allison and Dan Marcus remain alongside Brockman. SRJO is in their 30th season now–these dates are a good way to start the celebration.https://www.jazzalley.com/www-home/artist.jsp?shownum=7576

Duende Libre Trio

Tue Aug 30, 7 PM / Egan’s Ballard Jam House

A jazz piano trio with an international bent, Duende Libre hits the tiny Ballard club for an up close perfromance. The band uses jazz as a vehicle to explore international music, with pianist Alex Chadsey leading the charge. There is but one drummer/percussionist in Seattle that can follow this path guided with real life knowledge and experience, and that is Jeff Busch. Electric bassist Farko Dosumov uses his instrument as a lead player as much as he does as a groove master. The trio manages to not fall victim to rigid rhythmic traps, maintaining a level of freedom throughout the performance.

This is a trio with a group mind that is fully engaged, honed by years of performing together in a band that is unique in its sound and approach. Seeing the trio version of the band lifts the limitations attached to its fun, danceable, vocal incarnation, making the small, seated performance venue appropriate. Seated or not, you will be moving. https://www.ballardjamhouse.com/schedule.html

Boss Tenors with Cliff Colon & Ted Dortch

Thu Sept 5, 7:30 PM / Seattle Jazz Fellowship- 109 S. Main St.

In jazz, the term “boss tenors” comes from the title of an album recorded by the tenor duo of Gene Ammons and Sonny Stitt, a pair of tenor saxophonists whose style is strong, up front and blaringly without fear. Any jazz fan in the PNW would place that same designation on Tacoma tenorman Cliff Colon. His work across a broad spectrum of local bands backs that notion up without any doubt. Colon has a stylistic brother in this aggressive, bluesy approach in fellow tenor saxophonist Ted Dortch. All we need now is a rhythm section that can support this pair of fearless flyers.

Hammond B-3 master Joe Doria is definitely up to the task, and has a musical personality that bears similar traits. With drummer Max Holmberg added to the mix, you know the music will be swingin ‘. It goes without saying that this quartet will light up the already sonically charged room at 109 S. Main.  https://seattlejazzfellowship.org/events

Photo Credit: Lisa Hagen Glynn

Greta Matassa Birthday Celebration

Thu Sept 5, 7:30 PM / Triple Door

Seattle’s legendary jazz vocalist has a birthday coming up, and she’s going all out to celebrate it this year. Greta Matassa brings a forty year hall of fame career to the stage at the Triple Door, for a special performance backed by her long-time band. A natural singer whose approach is fearless and adventure bound, the years have only added to her skillset in probing classic vocal standards as well as tunes more commonly perfiormed instrumentally. 

Joined by her partner in music and life, bassist Clipper Anderson, Matassa’s sets are always fresh, inspired and intimately personal. With tenor saxophonist Alexey Nilolaev added as a second voice, the band is a phenomenon in itself. Pianist David Joyner and drummer Mark Ivester round out an ensemble that is a perfect fit with the iconic vocalist. It is, of course, wonderful to see Matassa on a stage of prominence in Seattle. https://thetripledoor.net/event/5591408/681233902/greta-matassa-s-birthday-party

Photo Credit: Jim Levitt

New Stories with Marc Seales, John Bishop & Doug Miller

Fri & Sat Sept 6-7, 7:30 PM / Seattle Jazz Fellowship- 109 S. Main St.

New Stories is a piano trio that dates back to the late 1980’s and the beginnings of Origin Records in the late ‘90’s in Seattle. Over that period of time, the trio has served as an expert rhythm section for some of the best players in jazz, as well as an innovative, forward thinking trio within itself. 

A trio of equal partners, pianist Marc Seales, drummer John Bishop and bassist Doug Miller have all made names for themselves as leaders and sidemen. This serves to add a wide variety of ideas to the mix. The trio has four albums of their own, six with legendary saxophonist Don Lanphere and the Grammy nominated Song For the Geese with Mark Murphy. They frequently perform with tenor legend Ernie Watts, including a great performance at the Ballard Jazz Festival in 2019. 

Miller resides near San Francisco these days, so he is a bit more of a mystery to current Seattle jazz fans than Seales and Bishop, who frequently perform around the city in a variety of settings. Early arrival is recommended, as this smallish room in Pioneer Square is first come, first served and fills quickly. This is one not to miss.  https://seattlejazzfellowship.org/events

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