Wessell Anderson Quartet
October 27th, 2011
Wes “Warm Daddy” Anderson at Tula’s Monday
Earshot Jazz Festival 2011 presented a special jazz lesson from soulful, searing alto saxophonist Wessell “Warm Daddy” Anderson, with Phill Sparks on bass, Bill Anschell, piano and D’Vonne Lewis, drums.
Check out the Earshot Jazz Festival Schedule to see what’s next in the 2011 Festival lineup.
A former member of the Wynton Marsalis Septet and charter member of the Lincoln Center Jazz Orchestra, alto saxophonist Wessell “Warmdaddy” Anderson blends traditional jazz, some bebop and swinging sounds in a blues-inflected style that has drawn flattering comparisons to Cannonball Adderley. For over a decade and a half, he was part of Marsalis’ efforts at Jazz at Lincoln Center, but he left in 2006 to join the jazz faculty at Michigan State University.
“Always one of the most popular members of Jazz at Lincoln Center, many fans of the venerable institution were saddened to hear about Anderson’s stroke in 2007. Following the stroke, much of the left side of his body was numb, and many speculated as to whether he would play again. Musicians who knew Anderson well, however, were not surprised when he returned triumphantly to the bandstand after just a few months.”
“is 2010 return to a New York stage at Dizzy’s Club Coca-Cola was applauded by fans and critics alike. Nate Chinen, reviewing the outing in the New York Times, wrote: “And how did he sound? Excellent, unchanged. His mellow, sweet-tart tone was a physical presence, and he gave it plenty of air, often holding a note for a long stretch, then taking a breath and modulating to another one … In his alto style, there’s no chasm between the chivalrous croon of Johnny Hodges and the roguish charisma of Charlie Parker.”
“Born into a musical family in Brooklyn, Anderson played piano from an early age, starting to study classical music when he was 12. However, two years later he switched genres and instruments. His father, a drummer, had worked with Cecil Payne and directed his son towards jazz. Hearing records by Charlie Parker prompted the shift from piano to alto saxophone. Anderson studied with various teachers, including several he met through the Jazzmobile workshops.
“In 1983, he was heard by Branford Marsalis, who urged him to pursue his studies, this time under Alvin Batiste. Five years later, Anderson joined Wynton Marsalis’ band, touring internationally, with the corresponding gain in reputation and audience awareness that this brought about. Anderson, who also plays soprano and sopranino saxophones, has also worked with Betty Carter, Ted Nash, Marc Cary, Victor Goines and many others. For this concert, he is joined by Seattle’s top sidemen.”
by Danielle Bias from the Earshot Jazz Festival Schedule program
Jay Thomas / Shunzo Ohno Group
October 27th, 2011
Jay Thomas performed last Saturday and Sunday at Tula’s with the Shunzo Ohno Group as part of the Earshot Jazz Festival 2011. Seattle’s multihorn great collaborated with the searing, stylish, New York-based Japanese trumpet bebopper Shunzo Ohno, a veteran of Art Blakey’s Jazz Messengers, and Phil Sparks, bass John Hanson, piano.
Here are some pictures from their performance.
Check out the Earshot Jazz Festival Schedule to see what’s next in the 2011 Festival lineup.
Avram Fefer Trio featuring Chad Taylor & Michael Bisio
October 19th, 2011
Earshot Jazz Festival 2011 moves on through the first week. Tonight I was blown away at the level and quality of the sound of the Avram Fefer Trio. Wow. Having seen him in Seattle over the past decade or so, I know Michael Bisio plays with a level of intensity but I was not familiar with Avram Fefer and his trio including Chad Taylor & Michael Bisio. These formidable New Yorkers output raw power. Praised by All About Jazz for his “undeniably spiritual feel for the music,” Avram Fefer took the stage with a formidable trio, featuring drummer Chad Taylor (known for his work with the Chicago Underground) and former Seattle bassist Michael Bisio (of the Matthew Shipp Trio). Fefer has led or co-led bands through ten highly regarded albums. With a distinctive voice on alto, tenor and soprano saxophones, as well as bass clarinet, he brings depth, intelligence and soulfulness to every situation he’s in. Tonight’s concert featured many selections from his latest release, Eliyahu (NotTwo Records, 2011), a fine collection of memorable and infectious compositions, brimming with improvisation and soulful grooves. (See who will be playing next in upcoming concerts in the Earshot Jazz Festival Schedule)
Fefer was born near San Francisco, but his family eventually settled in the Seattle area. After several years in the hands of inspirational high school jazz band director Leo Dodd, Fefer went on to receive a liberal arts degree at Harvard University and studied music at Berklee College and the New England Conservatory. He then moved to Paris, France (1990-95), where he began his career as a saxophonist, composer, bandleader and teacher. In Paris, he found many new sources of inspiration and growth, including a vibrant African and Arabic music scene and a wealth of American expatriate musicians.
His own bands were featured regularly in many of Paris’ top jazz clubs, and he performed with fellow ex-pats Jack Gregg, Bobby Few, Graham Haynes, Archie Shepp, Kirk Lightsey, Oliver Johnson, John Betsch, Sunny Murray and Rasul Siddik, among others. He is featured on diverse recordings, including by rap originators the Last Poets (Scatterap/Home), and with jazz legend Archie Shepp on drummer Steve McCraven’s Song of the Forest Boogeraboo.
Since moving to New York, Fefer has continued to indulge his passion for a wide variety of music but has particular success with the sax-bass-drum trio format and continues to use this as one of his primary musical vehicles. As a section player and soloist, Fefer has been featured in a number of large ensembles, including Adam Rudolph’s Organic Orchestra, the David Murray Big Band, Butch Morris Orchestra, Joseph Bowie Big Band, Mingus Big Band, Frank Lacy’s Vibe Tribe, and the Rob Reddy Octet. Fefer also has a thriving private teaching practice in downtown Manhattan. – Danielle Bias from Earshot Jazz Program in the Earshot Jazz Festival Schedule
Matt Slocum Trio at Tula’s | Earshot Jazz Festival 2011
October 19th, 2011
Earshot Jazz Festival 2011 continues and last night presented the Matt Slocum Trio at Tula’s Jazz Club. I really enjoyed the performance of Matt and his group. The award-winning New York drummer and the expansive Danny Grissett (piano) and Darek Oles(bass) played in support of After the Storm, an inspired disc of originals, standards, and an arrangement of Ravel’s “Miroirs.” If you missed them last night you have another chance. They will be performing again tonight at Tula’s.(See the rest of the Earshot Jazz Festival Schedule)
The award-winning New York drummer and the expansive Danny Grissett (piano) and Darek Oles (bass) appear in support of After the Storm (2011), Slocum’s inspired recent release.
At 29, Slocum is emerging as a leading jazz artist of his generation. His original works on After the Stormshow a level of compositional depth, recently recognized with composition grants from the American Music Center, the Puffin Foundation, and the Meet the Composer Foundation. Slocum has been featured on more than twenty recordings and has performed or recorded with artists such as Shelly Berg, Seamus Blake, Alan Broadbent, Steve Cardenas, Bill Cunliffe, Taylor Eigsti, Larry Koonse, Lage Lund, Wynton Marsalis, Linda Oh, Alan Pasqua, Jerome Sabbagh, Jaleel Shaw, Walter Smith III, Dayna Stephens, Ben Wendel, Gerald Wiggins, Anthony Wilson and the Dallas Symphony Orchestra. His jazz trio work has earned a reputation as some of the most modern yet swinging in jazz today.
Slocum was born in St. Paul, Minnesota, and began playing the drums, after piano, at age 11. He attended the University of Southern California on a full scholarship, where he met classmates and collaborators Gerald Clayton and Massimo Biolcati. Now in New York, Slocum continues he growth of his artistry on the drums.
Slocum has been frequently noted as a musical drummer. “The man has found his dru mming voice, and at an early age!” Peter Erskine says. While Slocum has a deep understanding of the jazz tradition, his intuitive and interactive musical language on the drums avoids the predictable. He possesses a personal voice on the instrument and is a propulsive, melodic and dynamic accompanist and soloist. And like his band mates, Slocum’s identifiable touch and sound is greatly attuned to needs of the music.
– Compiled by Schraepfer Harvey (See the rest of the Earshot Jazz Festival Schedule)
Human Spirit at Tula’s | Earshot Jazz Festival Opening Night
October 18th, 2011
Performing at Tula’s on Friday and Saturday nights last weekend was a new group Human Spirit, playing some wonderful music, as they helped open the first night od Seattle’s anual Earshot Jazz Festival. With 14 albums as leaders, longtime collaborators Thomas Marriott (trumpet), Mark Taylor (sax), and Matt Jorgensen (drums) have been a “three-headed monster” defining the “New West Coast Jazz” of Seattle’s Origin Records. With them are two East Coast stars, pianist Orrin Evans, and bassist Essiet Essiet. Both nights will be recorded for an up-coming release on Origin Records. See the rest of the Earshot Jazz Festival Schedule
A seven-time Earshot Jazz Gold Ear Award winner with collaborations with Brian Lynch and Charlie Hunter to his credit, trumpeter Thomas Marriott stands out among today’s cream of the crop. With 14 albums as leaders, longtime collaborators Marriott, Mark Taylor (sax) and Matt Jorgensen (drums) have been a “three-headed monster” defining the “New West Coast Jazz” of Seattle’s Origin Records. With them are two East Coast stars, pianist Orrin Evans, and bassist Essiet Essiet. Both nights will be recorded for an up-coming release on Origin Records.
Marriott adeptly and frequently takes the classic instrumentation of trumpet, saxophone and rhythm section to a new level with his unique blend of energy, beauty and intrigue. His sets often feature explorations of music by well-known composers like Duke Ellington and Miles Davis; each set is equally memorable for his compelling originals. It is this ability to cover a diversity of styles and genres while still maintaining originality that has become Marriott’s calling card.
Marriott received his bachelor of arts degree from the University of Washington; then, after winning the prestigious Carmine Caruso Jazz Trumpet Competition Award, he moved to New York City and immediately began to play with there. During this time on the East Coast, he completed three world tours with Maynard Ferguson’s Big Bop Nouveau Band. He then worked with other artists such as Chico O’Farrell, Les Brown, Joe Locke, Ritchie Cole and Eric Reed. Since returning to Seattle, he has become a driving force in the city’s thriving jazz scene.
Reviewing the studio recording of Human Spirit (Origin), released earlier this year, in All About Jazz, C. Michael Bailey wrote: “Marriott’s trumpet sound is as solid as it is round. Even at high velocity, Marriott holds his notes together, a squeak or squawk being rare or non-existent. But Marriott is not the only principal here: alto saxophonist Mark Taylor, an Origin Arts mainstay, provides saxophone wares that are all over the map, from straight bop to beyond, wailing plaintively on ‘Hiding in Public,’ while hitting a simmer on the minor-key blues ‘Yakima.’ Gary Versace … provides the roux that holds this rich assembly together. Human Spirit works in all quarters, hitting on all cylinders while delivering a bang-up good jazz time.”
See the rest of the Earshot Jazz Festival Schedule
Endangered Blood at Town Hall
October 17th, 2011
Since meeting in Seattle high schools in the late 80s, Chris Speed (sax) and Jim Black (drums) have deeply affected jazz. Joined here by Oscar Noriega (bass clarinet) and Trevor Dunn (bass), they played a wonderful and engaging set.
Tenor saxophonist Chris Speed and drummer Jim Black met while high-school students in Seattle, left for the East Coast, and have become two highly influential players and composers in New York City’s heady mix of recombinations of jazz.
Their Endangered Blood, originally formed in 2008 for a benefit concert for their ill friend and band mate, saxophonist Andrew D’Angelo, another Seattle transplant to New York, combines the tried and trusted with a dash of the new. Steeped in tradition, their quartet also urges the art form ahead, with the muscle power and hearty stew of imagination necessary to find fresh veins in a genre now well over 100 years in development. That, thanks to the monster bassist Trevor Dunn and alto saxophonist and bass clarinetist Oscar Noriega.
Four players like that, and you have something of a supergroup of avant-jazz that promises “fast, looping, dynamically even and entwining lines, laying bebop over clanky grooves” (NY Times).
Various members of Endangered Blood have fueled the creative fire in bands like Alas No Axis, Human Feel, Yeah No, and Electric Masada, to name just a few core drivers of innovation in New York over the last decade or two.
Speed (Pachora, Claudia Quintet) and Black have worked together in not only their own bands but also in stand-out projects like Uri Caine’s ensembles and Tim Berne’s Bloodcount.
As for Trevor Dunn, he is certainly among the leading bassists of his generation, as attested by his stints with the legendary West Coast avant-rock bands Mr. Bungle and Fantomas, and projects with musical polymath John Zorn and vocal contortionist Mike Patton.
Oscar Noriega’s association with Speed and Black goes back 20 years in New York jazz circles. A measure of his standing has been his longtime collaborations with pianist Satoko Fujii and his recent work with Paul Motian, Lee Konitz, and Tim Berne’s new quartet, Los Totopos.
Together, Endangered Blood explores jazz from its New Orleans roots, through mid-century innovations from the likes of Thelonious Monk, to its beckoning future. Along the way, it slows to pick up some great musical developments from Eastern Europe and elsewhere.
In the New York Times, Ben Ratliff wrote earlier this year that Endangered Blood exemplifies 1990s “new jazz” after it has moved on from “intense polyphony, liturgical melodies, and the clank: drummers playing roughed-up rhythm, rushing time and forestalling your pleasure, vexing you on purpose.” He believes that Endangered Blood has come, instead, to a place that is “less jagged and self-consciously transgressive, more studied and self-possessed. It’s gone deeper into harmony and odd or changing meters; it’s more exact in every way.”
In All About Jazz, Mark Corroto agreed: “Endangered Blood signals a sort of watershed in the evolution of creative music that was once called jazz. The dust has cleared, and what’s left is an idiosyncratic and very entertaining sound.”
In East Bay Express, Neal Clevenger chimed in: “If rangy counterpoint and bracing metric destabilization are the order of the day, Endangered Blood also shows little interest in throwing out the jazz baby with the bath water: Forms, heads, and solos abound.”
“This project deserves attention from jazz fans of every stripe,” wrote Chris Barton of the LA Times.
– Peter Monaghan
Jimmie Vaughan
September 2nd, 2011
Last month Jimmie Vaughan played a lengthy raucous set at The Triple Door. I aad never seen him play and was blown away by his playing. He was commanding and soulful and I love his hair. Older brother to Stevie Ray Vaughan and first guitar teacher is still teaching people how to play the electric guitar with attitude.
Wayne Horvitz Band featuring Skerik, Joe Doria & D’Vonne Lewis
August 12th, 2011
Wayne Horvitz Band featuring Skerik, Joe Doria & D’Vonne Lewis performed on a beautiful August afternoon in the Bill and Melinda Gates amphitheater at the Seattle Art Museum Sculpture Park. Earshot Jazz, which put on the concert as part of its concert series “Art of Jazz“, describes the sound of the group as “ New York Attitude from Seattle Jazz-Funk Masters”.
I thought it was great hearing Joe on the Hammond B-3 with Wayne on keyboards. Skerik blew real hard and D’Vonne kept a steady and cool beat going. What a beautiful evening performance with fantastic art all around the park. I especially love Richard Serra’s sculpture “Wave” in the background. The next concert in the Art of Jazz series will be on September 8th with “The Teaching” at the Seattle Art Museum, downtown, 5:30 pm.
As you can see there was a great turnout. I like shooting in this space. I can get pictures unlike any other venue.
Wellstone Conspiracy at Tula’s
August 1st, 2011
July 2 the Wellstone Conspiracy played works from their wonderful new album “Motives” and I really enjoyed being there to hear and photograph them. Wellstone Conspiracy features Bill Anschell on piano, Jeff Johnson on bass, and John Bishop on drums, and saxophonist Brent Jensen. “Four of the Northwest’s finest jazz artists reunite on “Motives” for a wide-ranging, adventurous recording of orignal works, including a free-wheeling tribute to drummer Ed Blackwell, and melodic pieces flavored by the modern harmonies of Herbie Hancock and Wayne Shorter. The disc closes with an impressionistic cover of Billy Strayhorn’s “A Flower is a Lovesome Thing.” The four musicians continue to refine the collective artistry displayed on their 2006 debut CD, “One More Mile” (under Brent Jensen’s name), a cohesive group sound that All About Jazz reviewer John Barron described as: “…lively, inventive and beckons for repeated listening.” Here are some pictures from the evening performance.
Operation ID | Jazz Photography
July 29th, 2011
Last night Operation ID closed out Jazz: The Second Century, the July Series of concerts put on Earshot Jazz by at the Chapel Performance Space on Thursday nights. It ended with a buzz haircut of Ivan Arteaga as he continued to perform. See bottom pictures.
Operation ID consists of Jared Borkowski on guitar, David Balatero on bass, Rob Hanlon on keyboards, Ivan Arteaga on reeds, and Evan Woodle on drums.
Operation ID : Originally interested in the spontaneity of free-jazz, Operation ID’s open mindedness has guided them to embrace a position of willingness when experimenting with new sounds and musical approaches. They have grown from being exclusively instrumental to frequently incorporating group vocals. Some well-known influences include Steve Reich, Talk Talk, Hella, Prince, XTC, Richie Hawtin, and Deerhoof.
