Seattle Jazz Fellowship | Seattle Jazz Scene

Seattle Jazz Scene: Live Jazz Previews for Seattle

March 19, 2024 / Paul Rauch / No Comments

Monday Night Jam Session

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

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

Dawn Clement

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

Pianist / vocalist / composer Dawn Clement returns to Seattle for an intimate evening of music in solo, duo, trio and quartet settings. The drummer-less performance features Colorado based guitarist Steve Kovalcheck, saxophonist Mark Taylor and bassist Michael Glynn.

The performance will draw from a variety of projects, including Clement’s new album, Dear Ms. Dearie and an upcoming duo project. Mixing standards with original tunes, the evening offers an intimate, setting shared by four great musicians. Longtime Seattle resident Clement is based in Denver, but has retained strong ties to the community here and in Port Townsend. She will serve as Artistic Director at Jazz Port Townsend beginning this year and going forward. http://seattlejazzfellowship.org

Tuesday Night Jam at the Owl

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, Emmet 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

Kelsey Mines Quintet

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

Bassist / composer Kelsey Mines returns to Seattle with a hard hitting quintet, performing the music from her latest release on Origin Records, Everything Sacred, Nothing Serious. The quintet features trumpeter Jun Iida, guitarist Rafael Chamone, pianist John Hansen and drummer Chris Icasiano. Whether performing originals or standards, Mines’ playing is deeply rooted in the jazz tradition with a background in a variety of styles from post-bop and free jazz to Brazilian. The bassist recently departed Seattle for New York, making this a homecoming as well. http://seattlejazzfellowship.org

Jerry Steinhilber Trio

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

Bellingham based drummer Jerry Steinhilber hails from Chicago and brings that hard working, blues driven ethic to his jazz power trio performances. Bassist King Dahl and tenor saxophonist Josh Cook bring innovation and an explorative mind set to jazz standards both well known and obscure, maneuvering without the limitations of chordal harmony in the mix. While all three are well equipped with the mastery of bebop language, that dialect is articulated inside and outside of the groove, opening up a multi-directional approach to the music. Always good to have our neighbors from the north drop down for a visit- this should be a good night of music at the basement digs in Pioneer Square, with a good hang in the offering. http://seattlejazzfellowship.org

Fellowship Futures

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

The Fellowship Futures is a trio of high school musicians who auditioned in May of 2025 to be a part of this program at the non-profit Seattle Jazz Fellowship. For the past year, they have been mentored by trumpeter Thomas Marriott in all facets of being a professional jazz musician. Regular rehearsals and paid gigs have ensued, culminating in this performance before a new edition of the crew takes over for their year in the sun. Maddie Johnston is a senior at Auburn Riverside, and a pianist with a wonderful sense of swing and advanced harmonic approach. Bassist Theo McGaughey is a sophomore at Chief Sealth with an unquenchable thirst to learn this music. He has been mentored by many of the top bassists in Seattle and is a regular at the Monday night jam session. Sixteen year old drummer Aviv Cisneros has refined his art in quantum leaps since engaging with the Futures, playing with confidence and fire. Marriott will join making this a quartet worth a trip to Pioneer Square. Attendance not only gives you a great evening of modern jazz, it lends support to one of the many ways that SJF is advancing jazz community in Seattle. It is also a way of telling these young musicians that they are appreciated and provide hope for the music for generations to come. http://seattlejazzfellowship.org

Johnaye Kendrick Quartet

Fri & Sat Jun 5-6, 7:30 PM / Seattle Jazz Fellowship- 103 S. Main St.

The Seattle jazz community recently received the news that Johnaye Kendrick would be leaving Seattle to head the jazz program at the University of Maryland- from one Washington to the other. That makes these two nights at Seattle Jazz Fellowship special as they likely represent the final chapters of the vocal artist’s tenure in the Seattle area. She will appear with Seattle musicians with whom she is well acquainted- pianist Eric Verlinde, bassist Chris Symer and drummer D’Vonne Lewis are close musical acquaintances that have had years of time to become vintage together. Kendricks has been celebrated during her time here as a performer and educator- she has earned three Grammys with the vocal supergroup, saje, and has released two solo albums on her own label. Her mastery of vocal improvisation is aided by perfect pitch and tremendous range. Through all of that, she has been a active member of the jazz community and raised a family that includes twin girls. For two final nights, we have the opportunity to not say good-bye, but to say thankyou and good luck moving forward. I’m guessing friends will drop by to contribute. http://seattlejazzfellowship.org

Andrew Friedrich Trio

featuring Steve Rodby & Chris Icasiano

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

The musical journey of guitarist Andrew Friedrich has taken him from Boston to Austin, Colorado and now here in Seattle. He makes his SJF debut in formidable fashion- a trio featuring legendary bassist and producer, Steve Rodby. Rodby’ career includes a decades-long run with another guitarist- the great Pat Metheny. Friedrich adds drummer Chris Icasiano to the mix, a perfect fit for this particular gathering of musicians. Friedrich’s style incorporates the traditional aspects of the jazz guitar lineage, while adding a modern component that is ultimately expressive and technically brilliant. Rodby doesn’t play out all that often, so this is a great opportunity to see him perform in a setting where he should have plenty of space in the musical conversation. Icasiano’s ability to articulate what his partners are engaged with and make them and the band as a whole sound better is renowned. http://seattlejazzfellowship.org

Milo Petersen Quintet

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

Guitarist Milo Petersen is a veteran presence on the Seattle jazz scene. A longtime first-call guitarist, Petersen’s influence on Seattle jazz is personified by the legion of local and national players he has mentored. For this performance, he turns to SRJO mates in veteran bassist Phil Sparks and trombonist Connor Eisenmenger, along with drummer Greg Campbell and saxophonist Steve Griggs, to form a quintet of Seattle vintage. The band will present original tunes and standards. There is a ton of common ground with these players, over decades of time, so it’s bound to be swinging. http://seattlejazzfellowship.org

Jun Iida Quartet

Sat Jun 13, 7:30 PM / Seattle Jazz Fellowship- 103 S. Main St

Trumpeter Jun Iida left Seattle for New York a short time ago. His return to perform at the Seattle Jazz Fellowship has Seattle written all over it however, with a new album, Bellflower set for a June 19 release on Seattle based OA2 / Origin Records label. Iida will celebrate with a Seattle based quartet featuring bassist Michael Glynn and drummer Sutton Marley. Bellevue’s Roman Goron joins on piano, a young, local sensation currently studying at Juilliard in NYC. Iida’s highly melodic and visual original tunes will be featured, including new selections from the upcoming album. A good opportunity to welcome a couple of good friends home as well. http://seattlejazzfellowship.org

Miles Electric Band

Thu Jun 18, 8 PM / Town Hall

Earshot jazz joins the Miles 100 celebration by presenting the Miles Electric Band at Town Hall. Organized by Davis nephew Vince Wilburn, the band convenes veterans of Miles Davis’ electric era. Bassist Daryl Jones, guitarist Jean Paul Bourelly, keyboardist Robert Irving III and Wilburn all collaborated directly with Davis. Trumpeter Keyon Harrold and saxophonist Antoine Roney are among the notable new generation players on the gig. This is essentially the same crew that played the Moore, in what now seems like a century ago in 2018, the notable exception being Harrold replacing Jeremy Pelt on trumpet. Harrold is undoubtedly up to the task. This should be a fun night, and an interesting test for the venerable Great Hall to handle a little volume! https://www.earshot.org/event/celebrating-the-miles-davis-centennial-with-meb-miles-electric-band/

Louis Hayes

Tue Jun 23 – Wed Jun 24, 7:30 PM / Jazz Alley

Hailing from Detroit, eighty-nine year old drummer , Louis Hayes, is jazz history in person. He began in the mid-1950s with fellow Detroiters Yusef Lateef and Curtis Fuller, and went on to play with a plethora of jazz icons. Hayes is noted for his time with Cannonball Adderly, Horace Silver and Oscar Peterson, but his dance card is full of names like Freddie Hubbard, Joe Henderson, Kenny Barron, Woody Shaw and Dexter Gordon…….phew!!! The legendary drummer will arrive at Jazz Alley with the great Steve Nelson on vibes, David Hazeltine on piano, Abraham Burton on saxophone and dynamic bassist, Dezron Douglas. https://www.jazzalley.com/www-home/artist.jsp?shownum=8788

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/

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