Art of Ballad

A Mirror and Focus for the Jazz Community
May 2005 Vol. 21, No. 6 June 2005 Vol. 21, No. 5 Seattle, Washington Seattle, Washington
EARSHOT JAZZ
sound. What I do is what other piano players do, said Peck, but its subtly different enough that theres nothing really automatic about it. Case in point: Cole Porters classic What is This Thing Called Love, which appears on the new album. In Pecks hands, the song is gorgeous, yet almost unrecognizable until the endwhen the melody is finally played. Peck likes to take standards and swap the traditional chord changes for new and unusual patterns. The idea is that the chords were making up are like the tune, he explained, but theres no single chord progression. It changes all the time. The standard just makes a little home base for the things we want to do. PECK WAS BORN in Tacoma in 1954. His parents were fond of music: his dad was a professional choir director; his mom was a singer and played the trumpet. During vacations in the car, Pecks mother taught him to sing harmonically. I kind of got the bug then, he recalled. As soon as I could, I picked up an instrument. When the family settled in McMinnville, See Peck, page 10 bums that mostly explored jazzs softer songs while opening up new ideas and roads toward improvisation. True, the ballad is a slow tune. But that doesnt mean Peck and his band mates bassist Jeff Johnson and drummer Joe La Barberaare asleep at the wheel. Pecks relationship with ballads is so close and respectful, one could argue that hes uniquely qualified to work with the tunes. An appreciation of ballads is only one aspect of what makes his music so rich. Another aspect is the musicianship of his collaborators. Johnson and La Barbera are veterans who have recorded with Peck before, and the group works almost intuitively to create a unique and signature sound. Theyre very comfortable and easy to play with, said Peck. They have huge ears and great sensitivity to the kinds of things I like to do. I kind of like the idea that I dont really know what will happen. I dont really know what the music is going to sound likewhich is kind of a nice thing. It just depends upon what the three of us are thinking that day. A passion for improvisation also informs Pecks
The Art of the Ballad: Pianist Dave Peck Explores the Beauty of Improvisation
Seattle pianist Dave Peck will celebrate the release of his trios new album, Good Road, with an appearance June 21 on KPLU-FM 88.5 and performances at Tulas June 23-25. On July 2, he will appear as a guest on Marian McPartlands Piano Jazz, heard on National Public Radio. (PHOTO BY TIM ROUNDS)
TODD MATTHEWS For pianist Dave Peck, the biggest musical treasures can be found in ballads. This was made crystal clear during a visit to Pecks North Seattle home and studio last month, where we listened to songs from his new recording, Good Road (Lets Play Stella Records), shortly before its release. Halfway through the sixth track The Star Crossed Lovers by Duke Ellington and Billy Strayhorn, one of several ballads on the new albumI mentioned to Peck that he seemed naturally drawn to the slower tunes. Peck agreed. Its my temperament, I guess, he explained. I like to look at pretty things. The ballads seem to hold the most interest for me. I keep trying to find new, interesting and obscure up-tempo tunes, but its hard. I could just go ahead and play the up-tempo standards everybody knows and try to do something different with them. But I can always find a gorgeous ballad that hasnt been played much. And thank goodness for Pecks affinity for ballads. Since 1998, he has released four alBY
Inside This Issue:

BILL FRISELL INTERVIEW (PAGE 4)
Lloyd Peterson discusses the guitarists inspirations, creative crossroads, and connection to the Pacific Northwest.
VANCOUVER JAZZ FESTIVAL PREVIEW (PAGE 6)
NICHOLAS HOFFMAN
Peter Monaghan urges jazz fans to head to British Columbia this month to enjoy an impressive line-up of artists at this years festival.
ABE BEESON PROFILE (PAGE 12)
VICTOR NORIEGA IN SHANGHAI ELLERY ESKELIN & SYLVIE COURVOISIER LLERY YLVIE OURVOISIER
Todd Matthews catches up with the KPLU Evening Jazz host.
DOUG RAMSEY, PAUL DESMOND AND TAKE FIVE (PAGE 14 )
Clark Humphrey reviews the new book by Doug Ramsey.
OOSEVEL VELT OUNTLAKE ERRACE ROOSEVELT, MOUNTLAKE TERRACE, SHOREWOOD, AND GARFIELD HIGH SCHOOLS SSENTIALLY LLINGTON RECEIVE HONORS AT ESSENTIALLY ELLINGTON 2005 Scott Brown, director of the Roosevelt High School Jazz Band, accepted the 2nd Place trophy and award of $750, and Darin Faul, director of the Mountlake Terrace High School Jazz Ensemble I, accepted the 3rd place trophy and award of $500, during an awards ceremony May 15 announcing the winners of the 10th Annual Essentially Ellington High School Jazz Band Competition & Festival, held at Jazz at Lincoln Center in New York City. Shorewood High School Jazz Band was named honorable mention and was awarded $400. Garfield High School, which won the 1st Place trophy in 2003 and 2004, finished among the top 15 bands nationwide. A number of local instrumentalists also received Outstanding Soloist honors during the competition, including: Sam Reid, alto saxophone, Shorewood High School; Andrew Mulherkar, tenor saxophone, Garfield High School; Logan Strosahl, tenor saxophone, Roosevelt High School; James Whiting, baritone saxophone, Garfield High School; Sam Schlosser, trombone, Garfield High School; Emma Schacter, bass, Roosevelt High School; Andrew McGovern, trumpet, Roosevelt High School; Andrew Miller, lead trumpet, Roosevelt High School; Kevin Proudfoot, piano, Mountlake Terrace High School; Kate Hamaji, piano, Garfield High School; Karl Fagerstrom,
drums, Shorewood High School; Katie Jacobson from Mountlake Terrace High School received the Ella Fitzgerald Outstanding Vocalist Award. Outstanding Section honors went to Roosevelt High School (reeds and rhythm), Shorewood High School (brass), and Mountlake Terrace High School (trumpets). ART OF JAZZ CONTINUES Earshot is pleased to continue the collaboration with the good people at the Seattle Art Museum (SAM) in programming and presenting the Art of Jazz series, now in its 11th year in SAMs spacious 1st Ave lobby. Always well attended, the after-work concerts are free with museum admission - a great bargain given the two-for-one lineup of fine jazz and major art exhibits set for 2005. The series starts out strong and stays compelling throughout the year. It welcomes back some old friends, showcases exciting artists from out of the region, and presents Seattle musicians in new settings. We are grateful to the Seattle Art Museum for its support of this series, and for inviting us to be a part of it. Thanks, too, to KPLU Radio for its support of the Art of Jazz. Wed especially like to thank Jim Wilke, who records most of the concerts for broadcast on his Jazz Northwest program, Saturday afternoons, from 4 to 5 pm on 88.5 FM, KPLU. Join us for the Art of Jazz, 5:30 to 7:30 pm, in the SAM lobby. Here is a look at the schedule for June and July: June 9: Denney Goodhew & the Qhromatics a new project from Seattles enduring sax master July 14: Johnny Congas Tumba Caliente hot Latin jazz for a Seattle summer night.
EARSHOT JAZZ
A Mirror and Focus for the Jazz Community 3429 Fremont Pl., #309, Seattle, WA 98103 2005 Earshot Jazz General Information: (206) 547-6763 Fax: (206) 547-6286 email: jazz@earshot.org Web Site: www.earshot.org
Executive Director: John Gilbreath Earshot Jazz editor: Todd Matthews Editor-at-large: Peter Monaghan Contributing writers: Andrew Bartlett, Bill Barton, John Ewing, Paul Harding, Clark Humphrey, Alan Jones, Peter Monaghan, Lloyd Peterson, Gordon Todd, John Whitton Photography: Daniel Sheehan, Todd Matthews Layout: Todd Matthews Distribution Coordinator: Jack Gold Mailing: Lola Pedrini Program Manager: Karen Caropepe Board of directors: Jane Eckels (president), Fred Gilbert (vice-president), Lola Pedrini (treasurer), Richard Thurston (secretary), Taina Honkalehto, Paul Harding, George Heidorn, Hideo Makihara, Thomas Marriott Calendar information: 3429 Fremont Pl., #309, Seattle, WA 98103 Fax: (206) 547-6286 Email: jazz@earshot.org Earshot Jazz is published monthly by Earshot Jazz Society of Seattle and is available online at www.earshot.org Subscription (with membership): $35 Earshot Jazz ISSN 1077-0984 is printed by Pacific Publishing Company
The Jim Knapp Orchestra

Music for almost any occasion
The Frank Agency

Beth Fleenor (206) 568-2068 www.thefrankagency.org
Jim Knapp
(206) 2822670 www.jimknapporchestra.com
2 Earshot Jazz June 2005
Radio Rhythm
SONARCHY IN JUNE Sonarchy Radiowhich is broadcast on KEXP 90.3FM Saturday nights from midnight to 1am, and features jazz and improvised-music offeringswill feature The Jimmy Bennington Trio (June 4) performing the music of Herbie Nichols. This trio features David Haney (piano) and Michael Bisio (bass); sound artist/musician Mike Shannon (June 11), who will showcase an intense and riveting sonic exploration of three hurricanes that blew through his house last year; new music by Frieze of Life (June 18), a super acoustic band led by multi-instrumentalist Greg Sinibaldi, with Mark Taylor, Chris Stover, Jay Roulston, Geoff Harper, and Byron Vannoy; and Deepayan and James (June 25), who will perform music with flavors of South Asian bhangra, North African rai and West African juju. ANDREW DRURY IN EUROPE This month, ex-Seattle drummer Andrew Drury, now a resident of Brooklyn, will tour Europe with his trio and will also play with other improvisers in Lisbon, Madrid, Barcelona, and Toulouse. Drurys trio is a highly impressive oneit has horn player Chris Speed and keyboardist Myra Melford. Among the improvisers with whom he will take part in sonic explorations in public and private are Augusti Fernandez, Heddy Boubaker, and Martine Altenburger.
A swinging new album from John Holtes Radio Rhythm Orchestra Red-Hot Killer-Dillers! Charming Ballads! Available online and at... Buds Jazz Records 102 S. Jackson, Seattle Silver Platters 9560 1st NE Seattle 14603 NE 20th, Bellevue Tower Records 5th N. and Valley 4518 University Way NE, Seattle John Holtes Radio Rhythm Orchestra Directed by Pete Leinonen Featuring Shaw Fitzgerald and Tammy Williams (206) 523-1693 www.originalcast.com
KURT ELLING
June 1 5
ELDAR DJANGIROV
June 7 8
LEE RITENOUR AND FRIENDSHIP BAND

June 9 12
BOULOU AND ELIOS FERRE

June 14 15
MOSE ALLISON
June 16 19
DIANE SCHUUR AND THE CARIBBEAN JAZZ PROJECT

June 21 26
ROBBEN FORD
June 30
Please call 206-441-9729 to make reservations or visit us online at

WWW.JAZZALLEY.ORG
June 2005 Earshot Jazz 3
The Message is Music: A Conversation with Bill Frisell

INTERVIEW BY LLOYD PETERSON We are fortunate to have as part of our Seattle community the internationally respected composer and guitarist Bill Frisell. Awarded the Grammy for Best Contemporary Jazz Record this year for his album Unspeakable (Nonesuch, 2004), Frisell is one of todays most original and innovative composers. He creates a unique and distinct voice that has developed into his own personal musical language. With a seamless quality to his compositional approach, Frisell weaves between various cultures, generations and styles within his art form. At the heart of his creative process, he stays true to the jazz approach. Yet on the surface, there lies a musical diversity from many generations of Americana to the music of South America, Europe and Africa. A brilliant guitarist, one hears influences from Jim Hall to Jimi Hendrix. But to focus on his technical proficiency would be to deny his compositional genius as a painter of sound. In a recent discussion about Frisell, guitarist Pat Metheny commented, Bill has many great qualities as a musician, and I feel that they reflect his spirit as a person. Chief among those qualities would be his generosity in every setting he appears in. He offers his fellow players a very special kind of environment to do whatever it is that they do best. The quality of sharing and giving is paramount to what makes Bill Bill, and a big part of what makes him the great that he is. Awarded Downbeats Guitarist of the Year honors in 1998 and 1999, Frisell has participated in over 200 recordings with a diversity of artists such as Dave Holland, Dave Douglas, Wayne Horvitz, Joe Lovano, Paul Motian, Elvin Jones, John Zorn, Joey Baron, Laurie Anderson, Paul Bley, Charlie Haden, Jerry Douglas, Don Byron, Elvis Costello, Jim Hall and Norah Jones and still have time to compose close to 30 albums of his own compositions. In more recent years, he has composed soundtracks for film. I recently had the opportunity to discuss a number of music-related subjects with Frisell. The following interview reflects the humbleness and sensitivity of a profound voice in creative music.
EARSHOT JAZZ: Has it become more difficult to stay true and honest with your own creative process as you have become more successful? BILL FRISELL: Its kind of a double edge with a lot more of everything but it can go both ways. Theres a lot more distraction but then there are a lot more opportunities to do exactly what I want to do. Its weird when people start noticing you. There are more reviews, more is written and people start talking about you like what were doing now. Its not about what the music is really. Id also like to think Im not influenced by what people say either negative or positive, but I cant really help noticing what someone says. Im the only one that really knows whats going on with my music and I try to not let what someone says influence me too much, but Im sure it does. And there was definitely something pure 30 years ago when I was sitting in my little apartment practicing with hardly any gigs and nobody knowing who I was. It was just the music and nothing else. Thats changed for sure. EARSHOT: When people hear your name, they dont think in terms of a style or category anymore, they just think of the Frisell sound. Would it be a more positive approach if the industry would market the music based around the individual artist rather than specific styles or labels? FRISELL: Boy, I wish it were that way because it feels uncomfortable to be boxed in or labeled. Perhaps I have gotten out of it a little bit, but I still feel excluded. I feel as if a small victory has been made if someone from another area gets to hear my music. Its frustrating that if it can be one thing, then it cant be another, and it doesnt make any sense because hardly any music is just one thing. Pulse magazine had those desert island discs where people were asked to select ten records they would bring to an island. I dont know if its a reflection of how people have been conditioned but one person would list ten Rolling Stone records and the next guy would list ten polka records. It was weird. I couldnt believe how narrow some of the listening was. If I had to go to an island and only had 10 picks, I would want to listen to different flavors of music. That would seem the most logical thing to do. But we have had it pounded into us and it just doesnt make any sense to me
Guitarist Bill Frisell. (PHOTO BY MICHAEL WILSON / COURTESY BILLFRISELL.COM)
at all. EARSHOT: I believe that one of your first performances in Seattle was part of the Earshot Jazz Festival? FRISELL: Its one of the very first places where I was asked to play my own music. I was still living in New York and trying to get my own band going and one of the first gigs was at the Earshot Festival in 1988. I then moved here in 1989. At the time, I was playing in little places in New York and in Europe, but it was still a struggle. I dont remember exactly how it came up but it was like wow, theyre gonna give us a real gig! And now after fifteen or sixteen years, there is still new stuff that I can go check out. Theyll have Keith Jarrett and other big name people, but then theyll have people that are just getting going that I want to check out. And perhaps this is kind of a personal and selfish thing but Ive been able to do things that I would not necessarily have been able to do anywhere else such as with the band, the Intercontinentals. The first time we ever played was at the festival as kind of an experiment and we ended up making a record and touring as a band. I was able to try out this completely new thing. There was another oddball thing that I was able to do with Jack DeJohnette. That was FRISELL: I dont know because music is the See Frisell, page 17
Go North, Jazz Fan: Vancouver Festival Preview

PETER MONAGHAN The Vancouver Jazz Festival is as stellar a showcase of jazz as any in the world. Each year at the end of June, through early July, it presents a host of leading performers from around the world, and it always emphasizes the more innovative reaches of the art form. Heres a rundown of some things worth crossing the border to catch. For admission prices, locations, and set times, go to www.jazzvancouver.com and click on jazz festival. Or, contact Coastal Jazz and Blues at (604) 872-5200.
BY
FEAR NOT If youre taking a jazz-newcomer friend, you might want to consider, say, the Bill Charlap Trio and its Music of Leonard Bernstein presentation (June 24). Charlap is a hugely talented pianist who, as the Boston Globe puts it, can call to mind the rhythmic gusto of Earl Hines, the Apollonian poise of Teddy Wilson, and the shaded melancholy of Bill Evans, among other pianistic forebears. Yet he always remains recognizably himself. Hes a huge favorite among mainstream-jazz fans, with good reason. The drum legend Roy Haynes leads his suitably titled Fountain of Youth band (June 25). At 80, he still masters the rhythmic complexity and subtlety that made him one of the greatest innovators on the instrument, as many of the great leaders of jazz history attested when he played with them, including Louis Armstrong, Lester Young, Charlie Parker, Thelonious Monk, Sarah Vaughan, Stan Getz, Miles Davis, John Coltrane, Chick Corea, and Pat Metheny. Consider that list. Haynes, whose drumming is an eight ball in the side pocket (as Monk said), and who is the father of modern drumming (Metheny), leads a quartet of players less than a third his age, and just as vigorous as he, that includes saxophonist Marcus Strickland. For jazz that no one in their right mind cannot love, theres the Dave Holland Quintet (June 26) in which the bassist-for-the-ages works up breathtaking edifices of complex, driving, thrilling jazz with saxophonist Chris Potter, trombonist Robin Eubanks, vibraphonist Steve Nelson, and drummer Nate Smith every one an extraordinary instrumentalist. (Opening is Atomic, see below.) Less well-known but deserving is pianist Jon Ballantyne, a Saskatchewan-raised New Yorker who has worked with Billy Hart, Roy Haynes, Drew Gress, and Dewey Redman, and who has
seven of his own recordings. Another good bet is the Hammond B-3 giant Dr. Lonnie Smith, with his trio. He appears before one of the best bets among the vocalists, the gospel diva, Mavis Staples (June 29) Dusty Springfield idolized her; Curtis Mayfield and Prince ached to record her; Ice Cube and Ludacris have sampled her; and Bob Dylan proposed marriage the first time they met, wrote MOJO. The transcendant Cesaria Evora (June 28) presents the morna slow ballads of the Cape Verde Islands with her inimitable molasses voice, which is at once heart-rending and uplifting. Completing a fine double bill is American-born, Paris-raised singer Madeleine Peyroux who is enjoying great critical acclaim. Probably sold out by now, but go ahead and check if youve swallowed the hype, is Diana Krall (June 24 & 25). MOVING AHEAD Say you have a yearning for something that pushes ahead a little. You may have been told that The Bad Plus (June 24) is the band to see. Hmmm... The hip, happenin trio may well seem fried-to-a-crisp within minutes of following their opener, the scorching Scorch Trio. It combines the searing energy of a rock power trio with the broadest freedom and exploration that jazz has to offer, as allaboutjazz.com put it. It has three truly stellar instrumentalists and just as important a level of communication that is rare in any form of music. Swedish drummer Paal
Nilssen-Love is quickly becoming one of the most vaunted percussionists in the free-jazz diaspora. He teams with the highly distinctive Finnish guitarist Raoul Bjorkenheim, a former associate of Edward Vesala and leader of the little-noticed but phenomenal Krakatau. On bass is Ingebrigt Haker-Flten, who like NilssenLove came to prominence in a trio with Frode Gjerstad, and who now also joins Nilssen-Love in Atomic (see below). Francois Houles Festival Chamber Orchestra (June 24 & 25) may be as noteworthy for its membership as for Houles compositions. The clarinetist is joined by, among others, out-sax legend Evan Parker and ultra-expansive bassist Mark Dresser. Opening on the 24th is Kartet, pianist Benoit Delbecqs savvy, tight, intuitive quartet that includes the outstanding bassist Hubert Dupont (who plays that brave format, the solo, on June 28). Ken Vandermark, one of many returnees to the Vancouver festival, presents his Free Fall (June 24). Its named for and inspired by Jimmy Giuffre Trios landmark album, and emulates the trios freedom and equal emphasis of its three instruments: clarinets, in the hands of the leader, along with piano played by Haavark Wiik and bass by Ingebrigt Haker-Flten. Its music on the leading edge but that wont daunt even casual jazz listeners. The emerging, acclaimed acoustic quintet, Atomic (Oslo rhythm section of Haavark Wiik, piano; Ingebrigt Haker-Flten, bass; Paal See Vancouver, next page
Vancouver, from previous page
The Anderskov Accident, led by Danish pianist Jacob Anderskov, will perform June 26 at the Vancouver Jazz Festival. (PHOTO BY MARTIN MUNCH / COURTESY JACOBANDERSKOV.COM)
Nilssen-Love, drums, with Stockholm trumpeter Magnus Broo and saxophonist Fredrik Ljungkvist; June 25 and June 26) merges free and groove-based forms in what they describe as classic Miles Davis meets late-period Coltrane meets Art Blakey & The Jazz Messengers. Opening for them is the equally compelling Hoxha, which last December was a Vancouver nonce-quartet, but now is a permanent one, with Ken Vandermark; British trombone virtuoso Paul Rutherford who complements his playing with electronics, vocal effects, and much else; German-in-BC bassist Torsten Mller; and the leading drummer on the Vancouver outjazz scene, Dylan van der Schyff. The Marks Brothers (June 26) is two of the most outstanding of modern bassists, Mark Dresser and Mark Helias, playing basses, together. Their CD Homages includes tributes to Chico and Zeppo (the other Marx brothers), a suite from the Luis Bunuel/Salvador Dali film Un chien andalou (yep, the one with the eyeball slicing), and homages to Ed Thigpen and Lester Bowie all on two basses. The same day, June 26, the Anderskov Accident, the vehicle for rising Danish pianist Jacob Anderskov, who is winning all the Danish jazz awards, appears. The Accident is a crafty merging, for piano, trumpet, woodwinds, trombone, bass, and drums, of Ellingtonian orchestration and Lounge-Lizards-like drive and dash. Old favorite Bill Frisell has his new project at
the gathering, June 28. Actually, its an old one with one new face, drummer Matt Chamberlain. He joins slide guitarist Greg Liesz, violinist Jenny Scheinman, and bassist Viktor Krauss, to craft a winning amalgam of all that is worthwhile in American music, from the demotic to the most self-consciously artful. The always-winning drummer and leader Gerry Hemingway (June 29) is ready and able to take on any of a vast range of modern jazz styles, from the progressive to the most avantgarde, and he always enlists other masters to help him do so. In this Gerry Hemingway Quartet, he has cellist Peggy Lee, from Canada; saxophonist/clarinetist Frank Gratkowski, from Germany; trombonist Wolter Wierbos, from Amsterdam; and bassist Mark Helias, from New York. Thats a killer lineup. The Italians often do it wacky, in modern jazz, and none are more spirited and predictably unpredictable than the Italian Instabile Orchestra (July 1). Trumpeter Pino Minafra, the quintessential antic jazzman with chops to make his schtick stick, founded the orchestra 15 years ago, and it has included virtually all the great Italian modernists of the era. Like, say, the Willem Breuker Kollectiv, the big bands of Misha Mengelberg, and the Art Ensemble of Chicago, the Instabile Orchestra has taken stock of all jazz history, to arrive at a stunning combination of elements at once clashing and complementary. The 17-piece lineup this time is as always top-rate, with trombonists Lauro Rossi and Sebi Tramontana and horn player Carlo Actis Dato on the stand. WAY OUT FRONT, OR OUT THERE The Vancouver festival has long been known for programming the most outstanding of really out-there jazz and jazz-related music. June 25, that gets under way, again, with an appearance by koto master Miya Masaoka, trombonist George Lewis, flutist Nicole Mitchell, and cellist Peggy Lee. Each of those, alone, is worth the trip, and once youre there, theyll take you into the ionosphere and further. Saxophonist Evan Parker (June 30), is simply as important a figure in British freely improvised music as any other, and he continues, over 30 years after making his first, huge contributions to musical expansion, to tread new paths through collaborations with electronic and acoustic improvisers. With his Free Zone, he appears in combinations with top British and Canadian improvisers Neil Metcalfe (flute), Lol Coxhill (sax), Alan Tomlinson (trombone), Harry Beckett (trumpet), Steve Beresford (keyboards), Ron Samworth (guitar), Peggy Lee (cello), and Torsten Mller (bass).
Coxhill, a living legend of British music, and Mller also front up in duo, July 1. More British legends appear that day in a late-evening show: the inimitable (literally) vocalists Phil Minton and Maggie Nicols, supported by Mller and Lee. A huge event will be the appearance by the Dedication Orchestra (July 2). The 25-piece band tributes the merger of jazz and South African township music that was championed by the likes of pianist Chris McGregor, saxophonist Dudu Pukwana, bassists Johnny Dyani and Harry Miller, and trumpeter Mongezi Feza all, now, alas, gone. The Dedication Orchestra is a direct descendant of the mixed-race Blue Notes that drummer Louis Moholo formed in London in 1964. Thanks to the British Council, its 25 members appear in commemoration of the end of Apartheid. The stellar lineup is: Henry Lowther, Claude Deppa, Harry Beckett, Jim Dvorak (trumpets), Fayyaz Virji, Dave Amis, Paul Rutherford, Alan Tomlinson (trombones), Ray Warleigh, Julian Arguelles, Evan Parker, Jason Yarde, Chris Biscoe, Lol Coxhill (reeds), Marc Charig (tenor horn), Maggie Nicols, Phil Minton, David Serame (voices), Dave Powell (tuba), Neil Metcalfe (flute), Steve Beresford (direction/piano), John Edwards (bass), and Louis Moholo (drums). Can I have an Amen! The Americans can bring it, too. At least, the supersaxophonist Roscoe Mitchell (Jule 3) can. The Art Ensemble stalwart is, to say the least, a staggering musician. His skills and imagination See Vancouver, page 8
Vancouver, from page 7 invite superlatives, so here is one: There may be no more exciting player in any kind of music, today. In this improvisation-laden quintet, he has some fine, fine support from Corey Wilkes, trumpet; Craig Taborn, piano; Jaribu Shahid, bass; and Tani Tabbal, drums. HIPHOP, TRIPHOP, TIL YOU DROP Thank goodness there are always expansive musicians ready to take jazz and its cousins to new places. Amon Tobin (June 25) possesses all the skills of the great improvisers, harmonists, and melodists, but he deploys them not in old jazz formats, but rather drum sampling, looping, grooving, and horn work that makes him the most impressive of the mixmaster-instrumentalist-composers. The labyrinthine imagination of the Montreal-based Brazilian, Ninja Tune electronic sound sculptor is not-to-miss. Opening what should be an entrancing show, Norwegians Thomas Stronen and Stale Storlokken team up for Humcrush, another fine entrant into the mixmaster, improvising, electrojazz field. Similarly Norwegian pianist Bugge Wesseltofts New Conception of Jazz (June 26) does well in mixing techno, ambient, housederived grooves with Nordic atmospherics. Its the improvising of pianist/composer Bugge Wesseltoft, bassist Ole Morten Vaagan, drummer Andreas Bye, DJ Jonas Lonna, and percussionist Rikard Gensollen that sets them apart. Opening for New Conception is the appealing Philly-based Ninja Tune DJ, Diplo and his quick-witted, Southern-drenched psych-rock. Brink Man Ship (June 28) is Swiss saxophonist Jan Galega and his winning jazz-
Swiss saxophonist Jan Galega and his winning jazz-electronica dance-groove band, Brink Man Ship, will perform June 28 (PHOTO COURTESY BRINKMANSHIP.CH)
electronica dance-groove band, with guitar, bass, drums, samples, and rapper. The Herbaliser (June 29), a UK nonet, similarly light it up with jazz and funk, but are more hip-hop than anything. Another Ninja Tune stable band, they boast two London DJs, three horns, keyboards, electric bass, drums, and turntables. TOMORROW, THE WORLD On July 3, Rez Abbasis Snake Charmer will wriggle and delight, mixing jazz organ trio with Indian classical music. New York guitarist Rez Abbasi is joined by the great Gary Versace on organ, Dan Weiss on drums and tabla, and Juno-Award-winning vocalist Kiran
Ahluwahlia. As always, the good folks at Coastal Jazz and Blues thread some top-flight world music into the mix. This year, highlights include West African guitarist/singer Alpha YaYa Diallo (June 28), who also performs on balafon. The same concert presents the Gwo Ka Masters led by the horn monster David Murray, who dredges the history of the tenor and fuels it with his own torrid imagination and chops. Here, he creates compelling jazz infused with the driving acoustic and electric sounds of a Cuban horn section and gwo-ka singing and percussion, a Guadeloupean form dating back to slavery. With a stellar lineup of Herv Samb (guitar), Klod Kiavue, Herv (Gwo-Ka drum/vocals/percussions), Jaribu Shahid (bass), Hamid Drake (drums), and Rasul Siddik (trumpet). On July 3, Lila Downs, the Mexican daughter of a Scottish-American cinematographer and a Mixtec-Indian vocalist, sings bittersweet ancestral and homeland songs laced with jazz, gospel, hip-hop, and traditional cumbias with a quintet that can handle piano, sax, clarinet, harp, violin, guitar, bass, and drums.
Jazz Road Trips: The 2005 Summer/ Fall Festival Guide

PETER MONAGHAN Jazz in the sun, or the sunshowers, will be one option this summer; then, moving into the fall, itll be all indoors. Itll all be good, though: The lineups this year are as good as ever. Below are summaries of area jazz festivals. All are within a days drive or so of Seattle. Theyre in urban hotspots, high-sky mountain spots, sun-bleached seaside spots, loafing-about valley spots... or theyre right in the environs of Seattle itself. Details are accurate at time of printingyou might want to check websites for breaking news, ticket availability, and so forth. And let us know (at editor@earshot.org) about any other area jazz festivals weve missed.
BY
Mt. Hood Jazz Festival

Aug. 5-7 Various venues, Gresham OR Roster: TBA (503) 665-3827 www.mthoodjazz.com/
Vancouver International Jazz Festival

June 24-July 3 Various venues, Vancouver, B.C. Roster: (see page 6 for details) (604) 872-5200 www.coastaljazz.ca Banff Summer Arts Festival May 12-June 11 Banff Centre, Banff, Alberta Roster: remaining acts include Mike Zilber trio, June 4; Han Bennink, Ernst Glerum, Misha Mengelberg, Susie Ibarra, Greg Osby, Roberto Rodriguez, June 11; and jazz in the clubs Information: (800) 413-8368, (403) 762-6301 http:// www.banffcentre.ca/events/jazz/ 2005/ Oregon Coast Music Festival July 21-30 Coos Bay, Oregon Roster: John Stowell Trio, July 2425; Jazz at Jardins with Dozier, Jarvis, Young Quartet, July 27 (877) 897-9350, (541) 267-0938 www.oregoncoastmusic.com/
98.9 Smooth Jazz Festival

Aug. 6-7 Chateu Ste. Michelle Winery, Woodinville WA Roster: Richard Elliott, Peter White, Jonathan Butler, Peabo Bryson, Everett Harp, more (425) 653-9455 www.kwjz.com
Jazz & Oysters in Oysterville

Aug. 14 Long Beach Peninsula, Washington Roster: Patrick Minner & Janice Scroggins, Mel Brown B3 Organ Group (360) 665-4466 www.watermusicfestival.com
Britt Festivals
June 10-Sep. 11 Britt Pavilion, Jacksonville, Oregon Roster: Bad Plus/Medeski, Martin, & Wood (8/23), Trio! Bela Fleck, Stanley Clarke, Jean-Luc Ponty (8/ 31), Diane Schuur featuring Dave Samuels and the Caribbean Jazz Project (9/3), (800) 882-7488, (541) 773-6077 www.brittfest.org
Vancouver Wine & Jazz Festival

Aug. 26-28 Vancouver, WA Roster: TBA (360) 906-0441 www.vancouverwinejazz.com
Swing n Jazz Jubilee

June 8-12 Helena, Montana Roster: trad bands (406) 494-1205 http://goldwest.visitmt.com/ listings/12262.htm
Bumbershoot Arts Festival

Sept. 2-5 (Labor Day Weekend) Seattle Center Roster: TBA (206) 281-7788 www.bumbershoot.org
Jazz Port Townsend

July 28-31 Various stages and venues, Port Townsend WA Roster: TBA (360) 385-3102 www.centrum.org/
Pentastic Hot Jazz Festival

Sept. 9-11 Penticton BC Roster: trad bands (250) 770-3494 www.pentasticjazz.com/
Jazz Festival Calgary

June 17-26 Calgary, Alberta Roster: Terence Blanchard, and more (403) 262-1500 www.jazzfestivalcalgary.ca
Jazz in the Valley

July 29-31 Various stages and venues, Ellensburg, WA Roster: James Dejoie Quartet, Greta Matassa Quartet, Bill Anschell Trio, Michael Powers Trio, Mel Brown Quartet, more Ellensburg Chamber of Commerce, (509) 925-3137, (888) 925-2204 www.jazzinthevalley.com/
Sisters Jazz Festival

Sept. 16-18 Sisters, OR Roster: trad bands (800) 549-1332; (541) 549-1332 www.sistersjazzfestival.com
JazzFest International
June 24-July 3 Various venues, Victoria, B.C. Roster: Roy Haynes, Dianne Reeves, Arturo Sandoval, Ed Thigpen, Lonnie Smith, Madelyn Peyroux Victoria Jazz Society, (250) 3884423 www.vicjazz.bc.ca/jazzfest/
Seattle, WA Roster: TBA (206) 547-9787 Pender Harbour Jazz Festival Sept. 16-18 Pender Habour, BC Roster: Francois Bourassa, Glenda Rae, Harry Busby, others (877) 883-2456, info@phjazz.ca www.phjazz.ca
Ballard Jazz Festival

November TBA Seattle, WA Roster: TBA (206) 781-2589 www.ballardjazzfestival.com
Diggin Dixie at the Beach Anacortes Jazz Festival

Sep. 16-18 On Curtis Wharf and in downtown clubs Ernestine Anderson, David Fathead Newman, Jessica Williams Trio with Mel Brown, Seattle Repertory Jazz Orchestra, Jovino Santos Neto, and many more Nov. 4-6 Ocean Shores, WA Roster: trad bands (360) 289-4094 users.techline.com/diggindixie/ Peck, from page 1 Oregon in 1964, Peck started to play piano and trumpet. His high school had two jazz bands Peck played piano in one, trumpet in the other. His first choice was the trumpet. Dental problems as a child left Peck with two broken front
Vancouver DixieFest
Sept. 30-Oct. 2 Sheraton Guildford, Surry BC Roster: trad bands (604) 987-6544 www.vcn.bc.ca/vdjs/
teeth. I had a couple of fangs here, he said, pointing to his front teeth, and this nice big air hole. No matter what braces they put in my mouth, I had the air hole. What really stopped the trumpet playing was when the dentist finally took all the braces out and capped my two front teeth. I remember I went home thinking, Oh, boy! Im going to be able to play the trumpet! But I didnt have the air hole anymore. I couldnt get a sound at all. Peck then focused on the piano, which he had used as a composing tool while playing trumpet. He studied music at University of Oregon in Eugene, and moved to the Puget Sound region when he was 22 years old. He launched a long career as a sideman for a number of mainstream jazz musicians, such as Chet Baker, Joe Williams, Sonny Stitt, Lee Konitz, Art Farmer, Gary Peacock, and Freddie Hubbard, as well as more locally-known musiciansmost notably saxophonist Bud Shank. He was also hired as an Associate Professor of Music at Seattles Cornish See Peck, next page
Dave Pecks Upcoming Performances

Tuesday, June 21, 2005 KPLU-FM 88.5 with Midday Jazz host Nick Morrison Listeners will have a chance to win free tickets to Pecks June 24 performance at Tulas, as well as copies of the new album Good Road. Thursday, June 23, 2005 8pm to midnight Tulas Nightclub and Restaurant Dave Peck, Jeff Johnson and Joe La Barbera Student Night: $15 cover, $7.50 with student ID, FREE to students who pre-register for the Joe La Barbera drum Clinic at Seattle Drum School on June 26 (see below). NOTE: Call (206) 364 - 8815 for details on clinic. For reservations at Tulas for this performance please call (206) 443 - 4221. Friday, June 24, 2005 8:30pm to 12:30am Tulas Nightclub and Restaurant Dave Peck, Jeff Johnson and Joe La Barbera CD Release Party hosted by KPLUs Abe Beeson: $15 cover. For reservations at Tulas for this performance please call (206) 443 4221. Saturday, June 25, 2005 8:30pm to 12:30am Tulas Nightclub and Restaurant Dave Peck with Jeff Johnson and Joe La Barbera Jazz After Hours host Jim Wilke hosts the final celebration of the release of Good Road. $25 package with advance reservations, $15 cover day of event/cover only. Purchase the package and, along with reserved seating and your cover charge (regularly $15), receive a voucher redeemable that night for a free copy (regularly $15) of Daves new CD (or any CD available from the catalog). Also receive a coupon for a free download from www.DavePeckMusic.com A portion of the proceeds of each $25 package will be donated to MusiCares (providing support to music people in need) www.Grammy.com/MusiCares. For reservations at Tulas for this performance please call (206) 443 - 4221. Sunday, June 26, 2005 2pm to 4pm Joe La Barbera Clinic @ The L.A.B. at Seattle Drum School 12510 15th Avenue NE, Seattle WA 98125 Call for registration at (206) 364 - 8815 Register and pay in advance to Seattle Drum School by June 22 and receive a pass to the June 23 CD release performance at Tulas. NOTE: Under 21 may be in the club until 10 pm. Saturday, July 2, 2005 5pm Marian McPartlands Piano Jazz The show airs in Seattle on KPLU-FM 88.5.
DjangoFest
Sept. 29-Oct. 2 Langley, WA Roster: TBA (360) 221-8268 www.djangofest.com/
Glacier Jazz Stampede

Oct. TBA Kalispell, MT Roster: trad bands (888) 888-2308, (406) 862-3814 www.kalispellchamber.com/jazz/
Medford Jazz Jubilee

Oct. 7-9 Medford, OR Roster: trad bands (800) 599-0039, (541) 770-6972 www.medfordjazz.org Swing n Dixie Jazz Jamboree Oct. 19-23 Sun Valley, ID Roster: trad bands (877) 478-5277 www.sunvalleyjazz.com
Earshot Jazz Festival

October-November TBA
Peck, from previous page College of the Arts. Pecks collaboration with Shank fostered relationships between the pianist and other Pacific Northwest musicians, including bassist Chuck Deardorf and drummer Dean Hodges. I think what was neat about it was that Chuck, Dean, and I were very young, Peck explained. We were really excited about trying different things. Right at that same time, Bud kind of wanted to get out of that LA Four bossa nova thing that had made him so much money back in the day. He just wanted to be an alto player. He wanted to experiment with all sorts of different things, which we were certainly up for. So I wrote a bunch of music for that band, and we tried out all sorts of different ways of playing. Some were really good, and some didnt work out. He was just quite happy to try. It was very exciting. Between 1987 and 1994, Shank hired Peck to record four albums: The Bud Shank Quartet at Jazz Alley (Contemporary Records, 1987), Tomorrows Rainbow (Contemporary Records, 1989), Tales of the Pilot: Bud Shank plays the music of David Peck (Capri Records, 1990), and The Lost Cathedral (Pacific Records, 1994). A year after The Lost Cathedral was released, Peck was diagnosed with Chronic Fatigue Syndromean ailment that derailed his music career. He took a leave of absence from Cornish and quit performing. Two years later, still battling the disease, Peck gathered enough energy to call Deardorf and Hodges and record his first album as a leader. That album, Trio (Lets Play Stella Records, 1998), was awarded the Earshots Golden Ear Award for Recording of the Year. It was also named one of the Best
Northwest Jazz Albums by Jim Wilkes Jazz After Hours radio program. Seattle Times jazz critic Paul de Barros called the album a pure pleasure, and said Peck was without peer as a pianist on the Seattle scene. Cadence magazine critic Stuart Broomer wrote, Theres clarity and precision . . . and a fine lucidity . . . and the [album] has a gorgeous sound, emphasizing Pecks developed sense of sonority and the spare thoughtfulness of the trio. In 1999, Peck released a solo album, aptly entitled Solo (Lets Play Stella Records), that also received rave reviews. The album was also nominated for an Earshot Golden Ear Award, and was again named one of the Best Northwest Jazz Albums by Jazz After Hours. Peck teamed up again with Deardorf and Hodges to release 3 and 1 (Lets Play Stella Records, 2000) the following year. Once again, audiences and jazz critics embraced the album. Earshot Jazz named it the Northwest Recording of the Year, Jazz After Hours called it one of the Best Northwest Jazz Albums, and the album reached the Gavin Jazz radio chart Top 10. Jazz Times critic David Franklin wrote, [3 and 1 is] an excellent example of how satisfying chamber jazz can be. This ones a keeper. In 2002, Peck released Out of Seattle (Lets Play Stella Records, 2002), which included bassist Johnson and drummer La Barbera. The album was recorded live at Jazz Alley in Seattle. Coda magazine called it a beautifully composed performance. Discussing the success of those albums, Peck was modest. I had been putting off recording as a leader for a long time, he recalled. I was a sideman for so long, nobody knew who I was other than the sidemen I played with. I also
had that long period with chronic fatigue. As I was starting to come out of that, I just decided it would be a great time to record. I also found some very nice people who helped me financially with the first album. That made a huge difference as well. The thing to do at the time was record a trio and solo piano playing. The albums sort of caught on, and became pretty popular in sales and radio airplay. PECK WILL BE busy promoting his new album Good Road this month. He will appear June 21 on KPLU-FM 88.5 during Midday Jazz with host Nick Morrison. He will also appear at Tulas June 23, 24 and 25, where he will perform with Jeff Johnson and Joe La Barbera in support of the album (see Dave Pecks Upcoming Performances for more information). Peck will also appear July 2 at 5 p.m. on Marian McPartlands Piano Jazz, heard in Seattle on KPLU. The show was recorded last November in New York City, and resulted from a distant connection between McPartland and Peck that dates back to his teenage years. When I was in high school, Peck explained, I went to summer jazz camps in Seattle and Portland. Marian was on the faculty, along with Joe Pass and Phil Wilson. I kind of kept in touch with Marian over the years. I got up the nerve last year, while she was in town, to ask to be on her show. She called me up two months later. It was great fun. We talked over some of those old times and played a bunch of tunes, including a new one called Bluebird, which I dedicated to Marian. And Peck is also teaming up with See Peck, page 23
KPLU Radio Host Abe Beeson Sets the Tone for Evening Jazz
BY
TODD MATTHEWS
The first thing that local radio host Abe Beeson wants you to know about his line of work is this: youre going to screw up. You will have moments of dead air. You will incorrectly announce song titles, mispronounce the names of artists, and confuse the personnel for specific albums and recordings. I remember some of the early shows where I would mispronounce a name, recalls Beeson, who hosts the Evening Jazz program on KPLUFM 88.5, co-hosts the Audioasis program on KEXP-FM 90.3, and has worked in radio in the Pacific Northwest for more than 15 years. Or I would tell listeners that an artist was still alive and just had a birthday when, in fact, they had died a few years earlier. These were just real humility lessons on the air. But there was no other way to learn. I tell this to everyone who wants to get into radio. Realize you are going to make mistakes almost every time you turn the microphone on. Just realize that and go with it. After awhile, says Beeson, mistakes will drop off, and the on-air comfort level will increase. I feel like radio is kind of like flying a plane, he adds. You just need to get in a lot of hours before youre really good at it. If thats true, then Beeson has earned his stripes. For jazz audiences in the Pacific Northwest (and worldwide on the Internet) who tune into KPLU weekdays between 7:30 pm and midnight, Beeson is the on-air host who combines classic jazz ballads with a dose of contemporary and slightly upbeat tunes to create a style that is uniquely Evening Jazz. For local rockand-roll audiences who tune into Audioasis on Saturdays between 6pm and 9pm, Beeson is one of four co-hosts who seeks out and broadcasts hometown rock-and-roll bands. The dual musical interests serve important purposes for Beeson: sharing the types of music he likes with listeners, while supporting and promoting local musicians. Im so impressed by musicians, he says. Its magical to be able to write songs. Though he played drums in high school and received a music scholarship to study percussion, Beeson says he wasnt disciplined enough to stick with lessons. Instead, he decided to promote music instead of perform it. I was such a fan of the other bands, I never got into my mind that I was ever going to be as good as my favorite drum12 Earshot Jazz June 2005
ABE VS. ABE: KPLU and KEXP radio host Abe Beeson takes one on the chin for local music. (PHOTO BY WILLIAM ANTHONY)
mer, he says. It seemed to me that the thing to do was to try and promote other bands and bring them a little bit of success. It made a lot more sense career-wise because I could make a living doing that. And it felt like I was still a little part of that scenenot necessarily as a musician, but helping out musicians because I was so impressed by what they were doing. That interest in music traces back to his parents, a free-spirited couple who met in the Puget Sound region (his father, Ed, was born and raised in Ballard; his mother, Donna, in Lakewood, near Tacoma) and went to college at Central Washington University in Ellensburgwhere Abe was born. His parents dropped out of college and moved to West Seattle, where Ed started out in the restaurant business. The Beesons eventually moved to Duvall, Washington when Abe was 8 years old, and opened the Silver Spoon restaurant. Ed booked folk musicians to perform at the restaurant. Music was a regular facet of the Beeson household. My parents played music all the time while I was growing up, he recalls. It was mostly rock-and-roll: The Beatles and Jimi Hendrix. A little bit of jazz would trickle in there, too. For the most part, it was a pretty normal Baby Boomer parents, rock-and-roll upbringing. Beeson developed an interest in punk rock as a teenager. His criteria for selecting albums
was strange: the more unusual the cover illustrations, the more appealing the albums. I would go to the record store all the time, look for the craziest album covers I could find, and hope for the best, he explains. I had some really weird albums that I never would have bought in the first place, if it werent for the album covers. My interest was just always finding something different that other people werent hearing, and making them my own in a way. Later on, that strategy paid off. As Beeson continued to explore somewhat strange and marginalized music, he developed an appreciation for the various genres. He opened his mind to largely unknown and less appreciated musicians, which in turn broadened his musical palette and furthered his interest in music. Simply put, music became Beesons passion. In 1988, he started college at Pacific Lutheran University (PLU) and volunteered at the student radio station, where he hosted a local music show just as the Pacific Northwests so-called grunge scene was about to explode. A year later, he was looking for a paid position on-campus and was hired as a production assistant at the universitys radio stationKPLU 88.5 FM. That was so stressful and hair-raising and exciting, he says. I learned so much about production: splicing reel-to-reel tapes with razor blades See Beeson, page 13
Beeson, from page 12 and producing onto carts. This was the old days, before everything was digital. I really got a good taste of radio working in the news department. A few years later, he was offered a job as a board operator. He worked Fridays from midnight until 7am the following morning, repeating station identification and weather announcements at the top of each hour. Six months later, Beeson hosted his first radio show on Christmas Day 1990. They pretty much gave me the play list with mostly Christmas jazz, he says. There wasnt a lot of programming on my end, and I didnt really say much when I got on the air. I just kept it real basic: That was Miles Davis and heres Dave Brubeck. I didnt screw up, nobody was disappointed, and there was no dead air. Beeson was hooked on radio. THE FOLLOWING YEARS were tough for Beeson. Though he graduated from PLU with a Bachelors degree in Communications and found plenty of opportunities to volunteer at radio stations, paid positions were rare. He found piecemeal work at KPLU working overnight shifts from midnight until 4am. Not really knowing much about jazz at the time, he went into the stations record library and started looking for strange album covers. I would go in there, look for the names I knew, and think, This Ornette Coleman album cover looks pretty cool, he recalls. It was three oclock in the morning, and I would play this really long Coleman piece and wait for the phone to ring. Some people would call and say, I cant stand this. Im never going to listen again. But every once in awhile I would get a call from someone saying, Wow, thats really amazing. Thanks for being out there. I had a really good opportunity in those days to experiment and listen to music I otherwise wouldnt have listened to and just really get my radio legs. But the job at KPLU didnt pay enough to make a living. In 1993, he found full-time work in the mailroom of a downtown Seattle law firm. Meanwhile, his cousin, Gregg Fergel, was working at The Backstage in Ballard (a club owned by Beesons dad, now closed) and had embarked on a joint project with Jack Straw Productions and KCMU to create a program called the Live Room to showcase local music. They needed to find a DJ that would do it for free and could be counted on to do it every Saturday night, Beeson explains. My cousin knew that I was working radio. He gave me a call and asked if I was interestednot knowing at all what I was getting into. That became a big part of my radio
life, doing that show. During a typical onehour show, Beeson would invite a band into the studio and combine live performances and interviews. By 1995, Beeson was hosting three overnight shifts per week at KPLU, the Live Room on Saturdays at KCMU, and working full-time at the law firm. He decided to scale back his work and quit KPLU. He continued to host the Live Room, which aired for nine years. It was an experience he proudly recalls. Doing the Live Room all those years, I was so impressed, he says. [The people who booked the show] brought in so many great bands. I was such a sucker for live music. To see these musicians so passionate about what they were doingI was just so enthralled and impressed each and every time. Whether or not they became successful at what they were doing, I really respected these people.
Beesons departure from KPLU didnt last long. By the mid- to late-1990s, the station was hiring Beeson on an on-call basis mostly when another radio host was sick or on vacation. That was kind of my key to success in radio: never say no to any shift, he says. If they had someone who couldnt work the overnight, they would call me. If they had someone who couldnt work the evening show, they would call me. I was oncall to do anything. He was eventually hired for the stations Afternoon Jazz Matineea show that aired from 10am to 1pm on Saturdays. He started to collect a nice following of jazz listeners and was recognized as a regular host on the station. In 1998, Beeson was hired full-time to host the Evening Jazz program. I quit my day job, which was pretty exciting, he says. After nine years of paying my dues, I was finally able to make a living in radio. See Beeson, page 22
Abe Beesons Perfect Radio Rotation

THELONIOUS MONK
Thelonious Monk is my all-time favorite guy. His solo albums are my favorites: Alone in San Francisco and Solo Monk. Any of his albums would be near the top.
DAVE BRUBECK
I love Time Out by Dave Brubeck. Its probably a pretty clich answer, but it just seems so magical for me to hear him go into a recording studio and mess with time signatures. And everybody was saying the group was never going to be able to pull it off. For them to do that, and from the beginning to the end of the album, its catchy as hell. All those songs stick in your head. How did they do that? They go from 3/4 to 4/4 to 3/4but it makes sense. That album is a real magical album for me.
ORNETTE COLEMAN
The Ornette Coleman Trio at the Golden Circle was one of the first weird albums I got into. Thats a real favorite of mine, just for its spontaneity and energy. He did three records, and there was a saxophone, bass, drumsand I think he also might have had a trumpet or violin in there.
NAT KING COLE
Nat King Coles After Midnight Sessions. Fantastic! Nat King Cole is one of those guys that a lot of people think is a little bit schmaltzy and silly. But, man, that album is dynamite. His piano playing is great, all the solos are great, and he makes a lot of those old songs really work.
HOWARD MCGHEE
Hes kind of a lesser-known trumpet player. He did some side work with Johnny Hartman on an album thats really great. He did an album called Dusty Blue that has some really interesting sextet stuff. Hes kind of got one of those Miles Davis muted trumpet sounds. But he always made it sound real happy and melodic and catchy. I like him a lot.
SARAH VAUGHAN
Shes one of my favorites. After Hours with Mundell Lowe and George Duvivier. Just guitar and bass. Oh, my God! I say this on the air sometimes, but it seems like shes showing off. What a show off! I think she was kind of a precursor to a lot of what the pop singers of today are doing, that kind of in a way started with Whitney Houston and Mariah Carey. Just kind of the vocal gymnastics that they do. Anytime you hear the national anthem and see people doing thata lot of that started with Sarah Vaughan and Ella Fitzgerald. Nobody can beat them. Why even mess with that? Just sing it straight. Youre not going to do it like Sarah Vaughan did.
Spotlight on a Sideman
BOOK REVIEW
Take Five: The Public and Private Lives of Paul Desmond
by Doug Ramsey Parkside Publications 372 pp., $44.95
from 1951 to 1968; during and after that time, he also recorded and gigged as a solo act and with the likes of Gerry Mulligan, Chet Baker, and more. He counted the cream of the jazz world among his friends; but most of them only knew him as a businesslike, intensely private man, as quiet and aloof as his music. Doug Ramsey, a longtime jazz writer now living in Yakima, knew Desmond personally. This book is an obvious labor of love for the author, and for the Seattle-based Parkside Publications. Its also a lot of fun. Here are just a few of the reasons why: The many illustrations by Esquire cartoonist Arnold Roth, a close friend of Desmonds. The discography: If it aint complete, its darned well near so, with more than 200 LPs listed, including foreign variations. The transcriptions of several key Desmond solos. The archival photos of Desmonds long career, from WWII Army bands, through the postwar boom in San Francisco, to his long years at the top of the scene in New York. As for the text, Ramsey does gloss over the racial aspects of Desmonds work. The Cool Jazz gang, in smoothing out the rough
REVIEW
BY
CLARK HUMPHREY
For a musician with such a subtle, deceptively unassuming sound, Cool Jazz sax legend Paul Desmond (1924-77) has been given a massive blast of a biography. Its got the size of an LP record, the width of a small-city phone book, and the heft of a blunt instrument. The book is titled after Desmonds most famous work, one of the few pure jazz recordings from that era to have become a hit pop single. While the 1961 records artist credit went to the Dave Brubeck Quartet, Desmond wrote the piece and played the lead. Take Five, the record, might have constituted Desmonds Warholian 15 minutes of fame; albeit semi-anonymous fame. But it was also the peak of a solid career spanning more than three decades. Desmond first emerged with the first stirrings of a post-war, post-big-band sound emanating from California. He played with Brubeck
edges of the music, helped jazz to become a more upscale, more white-dominated milieu. But Desmond and his colleagues also brought jazz into the postwar era. They made a new sound for a new world, and thats what Ramsey celebrates. Ramsey doesnt quite describe every club date, tour, and recording session in which Desmond participated, but sometimes it seems like he does. Ramseys slightly less complete on the private life side of the title. We read about his one, brief marriage, his many shortterm romances and crushes, his long friendships with such celebs as Judy Holliday and Gloria Steinem, and the quiet life of his latter years. But Desmond was essentially a private man, who wanted to be known for his work; Ramsey essentially respects this. Take Five, the book, ranks among the most thorough musical biographies ever published, and possibly the most thorough bio ever written about a musician mostly known as a sideman. Its a treat for hardcore jazz lovers, for students interested in jamming technique, and for all of us who love a well-told tale of a true American original. Clark Humphrey is the author of Loser: The Real Seattle Music Story.
Time Out with Doug Ramsey

INTERVIEW
BY
TODD MATTHEWS
disturbed by it. The fact that his mother had a touching phobia must have had something to do with Pauls personality. Dad was able to treat Paul as a loving son as well as intellectual equal in playing chess. Thats something that no one could have known. It only came out in Pauls correspondence found after his death. EARSHOT: The Dave Brubeck and Paul Desmond pairing is one of the most popular collaborations in jazz. What is your understanding of their relationship, why they worked so well together, and how they complemented one another? RAMSEY: It was kind of magical. They both See Ramsey, page 15
EARSHOT JAZZ: You were a friend of Paul Desmonds for more than 20 years. While you were writing this book, did you learn new things about Desmond that were previously unknown to you? And if so, what were they, and how did they give you a deeper understanding of Desmond? DOUG RAMSEY: I would have to read you half of the book to answer adequately. Paul was a very private person. He didnt even speak to his close friends about his family or youth. Everything in the book that deals with his growing up and his parents was largely unknown. I learned many thingsin particular, the extremely close relationship between Paul and his father. His mother was emotionally troubled. His father didnt exactly insulate Paul, but he made it acceptable to him so that he was not
Ramsey, from page 14 referred to it as ESP. The first time they performed together was briefly in the Army. Later on, they performed at Geary Cellar in San Francisco. There wasnt any discussion or planthey just seemed to be on the same wavelength in many respects. But they also understood their strengths and needs. They fit together like a hand in a glove. Even they cant explain it. Brubeck cant explain it to this day. It worked from the beginning. This is almost a clich, but Paul was a melodic improviser, and Brubeck was a powerful pianist who was deep harmonically. They were just able to complement each other really well. EARSHOT: To some extent, your book is a biography of the Take 5 recording in terms of how it was produced, how it transcended the genre of jazz, and its commercial success. I read an interview with Desmond where he initially thought the song was a throw-away tune and wouldnt have much commercial appeal. In reality, how important was the Take 5 recording in the context of the overall jazz recording repertoire, and how much of it was a reflection of Desmonds style? RAMSEY: They were all surprised. Brubecks great quote was that they were innocent of trying to make a hit record. Columbia was against them making a whole album with that unique time signature of 5/4. They discussed doing an album in various time signatures, and Desmond ended up with 5/4 because nobody else in the group had written anything in 5/4 time. He wrote a couple of themes in 5/4, brought them both in to a rehearsal at Daves house in Connecticut. Dave said, I think it needs something. That turned out to be the bridge. They put them together, and it just happened. The song wasnt an immediate hit. Columbia was still fighting it, and wanted another album of standards. I think it was a year-and-a-half after the album was released, Columbia needed to get a single out. They used Take 5, and it became an enormous hit. It was a matter of people and DJs liking the hit in spite of Columbia, not because of Columbia. Whether you would say that piece was a reflection of Desmonds style, I cant say it was typical. It was just a lucky accident. EARSHOT: You write about how the Take 5 recording kept surfacing in some of the most unusual places. In one example, you came across the tune when you opened a music
box you discovered in a shop in Prague. What aspects of the song leant itself to such a large commercial appeal? RAMSEY: It was a catchy tune. It also was that vamp that Brubeck played at the introduction with Joe Morello in the background. And Joes solo on that tune is the most prominent thing in the recording. It was one of those unexplainable phenomenons where the public latches onto something because they like it. Usually its because of melody, at least in the pre-rock-and-roll sense. It has a strong and memorable melody thats a lot of fun. I should add that Take 5 had a long life with the Brubeck group. They kept playing it. Ive asked them all about this: they just never got tired of it. There was so much you could do with that song. Long after Paul retired and then formed his own quartet, they played it all the time. It developed almost into this mysterious, Near Eastern snake charmer music. Don Thompson jokes that they eventually referred to it as Camel because it reminded them of an evening at the oasis. So it took on a lot of aspects. If you compare the original hit recording with Brubecks performance of it at the Carnegie Hall concert, its quite different. Its much more daring and adventurous. EARSHOT: Did you ever discuss with Paul the idea of writing his biography while he was alive? RAMSEY: Paul claimed that he was writing a book about the quartet entitled, How Many of You Are There in the Quartet? He only wrote one chapter of it, which is reproduced in my book. There isnt any indication that he wrote any more of that. My conclusion was that back in the 1940s, when Paul was really struggling and debating with himself about whether to be a writer or a musician, he chose to be a musician. It was the right thing for him to have done. Writing is tough and takes a lot of work and commitment. Paul had the gift of being able to express himself by playing the choruses of a few tunes, and then forgetting about it. He didnt have to go back to it. You finished what you were working on the minute you finished that solo. No matter how much preparation you have done in your life, once that creation is done, its done. Being a jazz soloist was the perfect thing for Paul to be.
With Borges as Muse: Emma Zunz creates avant-garde prose

INTERVIEW
BY
TODD MATTHEWS
Cristin Miller and Annie Lewandowki are the creative duo behind Emma Zunzthe avant-garde musical group that draws from its namesake short story by Jorge Luis Borges to explore a certain dark aesthetic, influenced by noirish fiction and torch songs. The group received a Jack Straw Artist Support grant this year, and is embarking on a tour of Europe and the West Coast this summer. I recently caught up with Miller to discuss Emma Zunz, her creative influences, and Seattles freely improvised, avant-garde music scene. EARSHOT JAZZ: How did you and Annie arrive at improvised music? Its my understanding that you started out playing classical piano, studied jazz voice, and earned a degree in creative writing. What sorts of backgrounds (music, literary, or other) inform your music? CRISTIN MILLER: Well, Emma Zunz isnt really improvised music, although Annie and I have both been identified as improvising musicians and have been working mostly in that realm for the last five years or so, and thats how we met. Both Annie and I started from a background of classical piano. Thats what Annie got her undergraduate degree in. She moved very intentionally towards improvised music. She wanted to study it, so she went to London and worked with improvisers (pianist Veryan Weston, saxophonist Caroline Kraabel, percussionist Eddie Prevost) there for several months, playing piano. I came to improvised music more like a person searching for her lost cat and happening upon the Grand Canyon. Id been studying jazz voice, and getting kicked out of rock bands because my songs were too weird, too hard to play. I was living with Gregory Reynolds, who is an incredible improvising saxophone player whose playing Ive admired for years, and he encouraged me to play with him. Our very first session, I had this ecstatic experience which Id only ever had before with writing, alone. Creative satori, or that feeling of having the top of your head come offto rip off Emily Dickinson. What we are doing now has turned out to be a wonderful net for all of our different influences and interests over the years... the sense of discovery and innovation, the love of accident, the prepared guitar stuff and the extended technique stuffthats all from im16 Earshot Jazz June 2005
Emma Zunz, featuring Annie Lewandowski (left) and Cristin Miller, perform live at The Hemlock in San Francisco this spring. (PHOTO BY JOHN SHIURBA / COURTESY CRISTIN MILLER)
provised music. But then the very carefully shaped tiny nuances reminds me more of classical piano or art song. And then theres definitely a participation in rock music or popular songwriting, in which feel and mood and texture are explored more in forms which are harmonically very simple. And thinking carefully about words, thinking about stories. EARSHOT: Describe the Emma Zunz project. Im assuming its inspired by the short story by Jorge Luis Borges. How did that project originate, and what sort of inspirations and areas did you tap? MILLER: Yes, its from the Borges. The original idea was that, over a winter holiday, we would each write a handful of songs which seeded from a single moment or idea from his story, Emma Zunz. That got us writing, and what came out wasnt really about the story but was eerily in keeping with its themes about female sexuality, power, loss, revenge, and death. Were exploring a certain dark aesthetic, influenced by noirish fiction, torch songs, a certain nostalgie de la boue. The writing of Carole Maso, Mark Rydens work, Baroness Elsa von Freytag, the photographs of Charcotfthese are my inspirations. Musically, we both were coming from the improvising world, so we had incredibly similar instincts about leaving lots of space, using minimal structures, and listening intensely. We also both had the habit of wanting a certain sound and scanning the room to
find some random object which might get you closer to it. That led naturally to the bow, which happened to be lying around my apartment, along with an old broken violin. EARSHOT: You were both awarded a Jack Straw Artist Support grant this year. Describe the project you are working on as a result of this grant. MILLER: The Jack Straw grant gives us 20 hours of free studio time. We are working on recording a full-length CD. We get to work with engineer Doug Haire, who is phenomenally open minded, brilliant at what he does, and fun to work with. We are touring in Europe this June, and again here on the West Coast in August. Aside from those interruptions, were hoping to finish by the end of summer. EARSHOT: Seattles improvised music community strikes me as particularly vibrant and filled with large numbers of musicians. What has been your experience working in this environment in terms of musicianship, venues and audiences? MILLER: I think Seattle has a wonderful community right now. There are lots of people who are taking lots of risks musically and expanding so dramatically, the government should really step in and stop it. When I first moved See Miller, Page 23
Frisell, from page 4 incredible! The year before, I was able to play with Han Bennink, Paul Bley and Lee Konitz. Most festivals want to have real safe bets with more established bands, but Earshot will also bring in other people throughout the year. I feel thankful that they are here because we are off the beaten track and when you are on the East Coast, you can sort of get to California. But to get up here, its another stretch. Theyve really turned it into one of the places where people can come through and play. EARSHOT: I have always felt that although Seattle is far removed geographically, and maybe because of it, we have been able to develop our own unique way and appreciation for music. I think people here have pretty big ears. FRISELL: I felt the same thing when I first came to Seattle. That first gig we played at the Nippon Kan Theater was full. I thought there might be 25 people, so we were completely surprised. It was so weird. There is definitely an openness or curiosity with the listeners here and one of the things that attracted me to Seattle was that it seemed not as connected to some fashion. I guess that happens everywhere, but Seattle seemed to be comfortable with itself and wasnt trying to be like New York or Los Angeles, where one is always trying to outdo or be cooler than the other. Seattle always seemed to be kind of outside of worrying about what people thought of it. EARSHOT: I read a quote that was attributed to you that reads, Rather than as a style, I see jazz as a way of thinking, a way of attacking music. Could you expand on those thoughts? FRISELL: In the 1960s, jazz was this constantly living, evolving thing. when you went out and bought the new Miles record, you would see the whole history of everything moving ahead. Youd learn about the history, but it hadnt stagnated or solidified into this one thing. Part of the deal was that if you played jazz, it was understood that you had to understand the history, but were suppose to figure out a way to move it ahead. So you would think about the process and try to imagine what these musicians were thinking or look at what they did from record to record. I would then try to imagine what I could do to find my own thing. That was part of the struggle and still is for me. But it seems that in the last few years, priorities have become mixed up and turned into this thing. OK, jazz is this and to do it correctly, you have
to wear a suit, look a certain way and have to follow all these rules and stay within certain parameters. Thats just not what its about for me. So people ask, Is what youre playing now jazz? I mean, I dont know what it is Im playing. Its just music. But I still feel as if its coming more from jazz than anything else even if it doesnt sound like it. Even if it sounds more country and western or whatever kind of style it sounds like. I still think the inner workings come more from jazz than anywhere else. EARSHOT: For me, its kind of similar to what happened to the saxophone when it was introduced to classical music. It wasnt respected by the classical community because the sound of the sax was so closely related to jazz. FRISELL: Right. And it has nothing to do with the outside sheen of the thing. You have to listen through or past the edge of it. EARSHOT: And the guitar is so closely related to so many other things. FRISELL: Yeah, just the sound of the guitar cant help but bring to mind other things. Its so easy for it to resonate or associate with pop music or non-jazz stuff. EARSHOT: Your approach to melody seems unique in that you break it down piece by piece until you are dissecting the elements of sound within the context of melody. Can you explain that process? FRISELL: When I first started getting into jazz, I studied what was going on with the music theoretically and would look at things more in a mathematical way. I would look at the chords and learn what the chord tones were, what the scales were. But somewhere along the way, I tried to understand all the inner workings of the melody. If the melody isnt there, then it really doesnt mean anything. Its also where it gets harder to explain. With every song, Im trying to internalize the melody so strong that thats the backbone for everything that I am playing no matter how abstract it becomes. Sometimes Ill just play the melody over and over again and try to vary it slightly. Its really coming from that, like trying to make the melody the thing thats generating all the variations rather than some kind of theoretical mathematical approach. EARSHOT: What do you mean by internalizing the melody?
FRISELL: Its playing and hearing the melodyand not playing anything but the melodyuntil it starts going on inside your body, even without thinking about it. But the older I get, the longer it seems to take to learn new things and get it to the point where its really deep down in there somehow. EARSHOT: Cecil Taylor said, Music has to do with a lot of areas which are magical rather than logical. The great artists, rather than just getting involved with discipline, get to understand love and allow the love to take shape. How much of your music is from logic and how much from this other place that Cecil Taylor describes? FRISELL: Well, Im hoping its coming from that place that hes talking about. Thats what Im trying to get at. But like he said, theres all that stuff like discipline. For me, music is kind of a magical thing. When its really happening, Im trying to figure out what it is, though I cant really describe it. But the real depth comes when you get caught up in this ocean of music and get swept away. EARSHOT: What inspires you? FRISELL: Its still from music and musicians, but I guess Im becoming more aware that it can come from anywhere. Looking out the window, going for a walk or just feeling a certain way. It could be from just about anywhere. Its just being a human, really. Music is just a reflection of whatever we are as people. If I stay wound up in a room and am thinking about nothing but notes and chords, after a while it really doesnt mean anything. EARSHOT: Can you explain what you have learned about yourself throughout your career? FRISELL: I just feel so lucky. Like I won the lottery and Im being allowed to do all of this stuff. Thats whats amazing to me. When I was younger, I always dreamed about being able to record and have gigs and now its actually happening, and it sometimes just seems too good to be true. I dont really know what Ive learned because with music, its never-ending. In so many ways, it still feels like the first time I tried to play. EARSHOT: Is it possible to put into words what you are trying to do with your music today? See Frisell, page 22
WEDNESDAY JUNE 1
JA JW TD TU Kurt Elling, 7:30 Howard Bulson, 5 Sonny Fortune and Rashied Ali, 7:30 Beth Winter Vocal Showcase, 8
Get your gigs listed!

Earshot Jazz provides the most comprehensive listing of improvised music in the Seattle metro area. In print and on the web, it is our mission to help listeners find jazz and musicians find an audience. We are making changes to simplify the process of getting your gigs in our calendar. E-mail us at calendar@earshot.org with
his last celestial explorations. Fortune began his career with Elvin Jones and Frank Foster, then joined Mongo Santamarias group. In 1970 he did a stint with distinctive vocalist Leon Thomas, and then settled for over two years with McCoy Tyners band. He next set out as a leader, and also worked with Buddy Rich. Everything changes in September 1974, when Miles Davis offered Fortune a spot in his fusion group. Over the space of a year, he recorded with Davis on four albums, Big Fun, Agartha, Pangaea, and Get Up With It. He later spent 10 years in the Nat Adderly Quartet and as a featured soloist in Elvin Joness Jazz Machine. In 1987-88, he was part of the Coltrane Legacy Band with McCoy Tyner, Elvin Jones, and Reggie Workman. In 2000 he recorded In the Spirit of John Coltrane with Workman and Rashied Ali.. All that just begins to describe a very long, varied career in which he has recorded many albums as a leader, many of them acclaimed. Rashied Ali, long ago a student of Philly Joe Jones and always an admirer of Art Blakey, developed a stunning polyrhythmic, polytonal percussion style of free-jazz drumming that helped to liberate drummers from the role of human metronome. In
1-5 KURT ELLING

Chicago-based vocalist Kurt Elling appears with longtime collaborator Laurence Hobgood on piano. Elling, a multi-Grammy nominee, is a Beat vocalist celebrated for his vocalese renditions of great horn solos, but he does much more. The thinking mans vocalist (JazzTimes) often alludes to writers like Rilke, Rexroth, Proust, and Kerouac in his eclectic work, which have won him several Down Beat and JazzTimes polls and Jazz Journalist Association awards. Each of his albums, said Down Beat, has been vital to the evolving art of male jazz singing, and they have taken him to acclaimed performances around the world. Since his second Blue Note disc, The Messenger, he has been accompanied by the increasingly hailed Laurence Hobgood as pianist, producer, arranger, and composer. Conservatory-trained in jazz and classical piano, Hobgood moved to Chicago in 1988 and has won attention with his own groups. Together he and Elling were named 1995 Chicagoans of the year in the arts by the Chicago Tribune. Also in the band are Rob Amster (bass) and Frank Parker (drums). Set times Tuesday and Wednesday at 7:30pm, Thursday through Saturday at 7:30m and 9:30pm and Sunday at 6:30pm and 8:30pm. Cover $20.50-$24.50.
details of the venue, start-time, and date. Soon you'll be able to use a simple online form to submit gig information directly to us, so visit www.earshot.org for more on that. As always, the deadline for getting your listing in print is the 15th of the previous month. But the online calendar is going to be maintained throughout the month, so if you are playing in the Seattle metro area, let us know!
the early 1960s, John Coltrane heard the Philadelphia native, who had begun his drum career in the U.S. Army and then R&B and rock groups. Upon moving to New York in the 1960s, he joined the thriving New Thing scene, playing alongside Don Cherry, Pharoah Sanders, Paul Bley, Archie Shepp, Bill Dixon, and Albert Ayler. He soon was sitting in with John Coltranes group at the Half Notes and other Manhattan clubs. That led the sax great to begin, in November 1965, to use a two-drum format, which the legendary Elvin Jones did not appreciate, but that eventuated in Alis appearing on Coltranes epochal last albums. After Coltrane died in 1967, Ali went to Europe, eventually further apprenticing himself to Philly Joe Jones in England. Back in New York, he played with Jackie McLean, Alice Coltrane, Archie Shepp, Gary Bartz, Dewey Redman, and many others. Both Sonny Fortune and Rashied Ali are legends too little-heard in this region. Not to miss.
1 FORTUNE & ALI

At the Triple Door (7:30pm, $20), the saxophone veteran Sonny Fortune, whose sound is a distillation of all the best in jazz of the last 50 years, appears with Rashied Ali, who accompanied the sax demigod John Coltrane on
THURSDAY JUNE 2
JA TD Kurt Elling, 7:30 and 9:30 Ed Johnson and Novo Tempo, 7:30
CALENDAR KEY
AA AF C* CF CM CV CZ FB GT IB JA JB JF JU JW KR LU LA
(VENUES ARE IN SEATTLE UNLESS NOTED) LF MK MT NE NO OU OW PC PM RD SA SE SN SQ ST SU TA TD TT TU WB Lo-Fi, 429B, Eastlake Ave E Mr. Lucky, 315 1st Ave N Seattle, 282-1960 Mr. Spots Chai House, 5463 Leary Way, 297-2424 Norms Eatery, 460 N 36th, 547-1417 New Orleans Restaurant, 114 First Ave S, 622-2563 On the House, 1205 E Pike, 324-3974 Owl n Thistle, 808 Post Ave, 621-7777 Plymouth Congregational Church, 1217 6th Ave, (206) 6224865 Pampas Club, 90 Wall St, 728-1140 Richmond Beach Deli, 632 NW Richmond Beach Rd, Shoreline The Spar, 2121 N 30th, Tacoma, (253) 627-8215 Seattle Art Museum, 100 University St, 654-1300 Savianos Italian Restaurant, 4957 Lakemont Blvd. SE, Bellevue, (425) 564-0927 Scarlet Tree Restaurant, 6521 Roosevelt Way NE, 523-7153 Suite G, 513 N 36th St, 632-5656 Sunset Tavern, 5433 Ballard Ave, 784-4480 Tempero Do Brasil Restaurant, 5628 University Way, 523-6229 The Triple Door, 216 Union St, 838-4333 Tractor Tavern, 5213 Ballard NW, 789-3599 Tulas, 2214 2nd Ave, 443-4221 Wasabi Bistro, 2311 2nd Ave, 441-6044
Seattle Asian Art Museum in Volunteer Park, Seattle Affairs Cafe, 2811 Bridgeport Way West, University Place, (253) 565-8604 Concerts and Special Events Coffee Messiah, 1554 E Olive Way, 861-8233 Crossroads Shopping Ctr, 15600 NE 8th, Bellevue, (425) 644-1111 Caf Venus and Mars Bar, 609 Eastlake Ave E Cutter Point 7520 27th St. W, University Pl (253) 5654935 Seattle First Baptist Church, Seneca @ Harvard Gallery 1412, 1412 18th Ave Il Bistro, 93-A Pike St, 682-3049 Jazz Alley, 2033 6th Ave, 441-9729 Jazzbones, 2803 6th Ave, Tacoma, (253) 396-9169 Johnnys, Fife exit 137 off I-5 at Motel 6, (253) 922-6686 Jubilante Restaurant, 305 Burnett Ave S, Renton (425) 226-1544 Julias of Broadway, 300 Broadway, 860-1818 Kirkland Performance Center, 350 Kirkland Ave, Kirkland, (425) 893-9900 Luigis Grotto, 102 Cherry, 343-9517 Latona by Green Lake, 6432 Latona NE, 525-2238
Recurring Weekly Performances

Mondays IB Blake Micheletto, call for time MK Reggie Goings & the Jazz Suspenders, call for time NO New Orleans Quintet Tuesdays NO Ham Carson & Friends OW Bebop & Destruction, call for time Wednesdays CV Matt Jorgensen/Mark Taylor Group, 9:30 NO Floyd Standifer Group, 8 PC Susan Pascal/Murl Allen Sanders/Phil Sparks, Noon SA Kareem Kandi Band, 8 ST Jazz Night with the Ryan Burns Trio, call for time Thursdays CF Monktail Music Series, 8 CM Victory Music presents Open Mic, 6 FL Greg Schroeder Quartet, 8 JB Kareem Kandi Band, 8:30 LU Robeson Trio, 8 NO Ham Carson Quintet, 7 SQ Darrius Willrich, 10 TA Urban Oasis, 7 WB Wayne Trane, 9 Fridays AF Kareem Kandi Band, 7 JU Urban Oasis, 9 LA LHH Trio, 5:30 LU Robeson Trio, 8 PM Floyd Standifer, 9 Saturdays AF Kareem Kandi Band, 7 CC Andre Thomas & Quiet Fire w/ Bernie Jacobs, 9 LU Robeson Trio, 8 PM Floyd Standifer, 9 SU Victor Noriega Sundays CZ Kareem Kandi, call for time J F Buckshot Jazz, 5:30 J U Howard Bulson, 5 NE Dangerous Brain Clinic, 10 T D Arturo Rodriguez, 8
TU AF C* JA TU C* JA JW GT TD TU TU
Dina Blade Jazz Jam, 8 Kareem Kandi Band, 7 Brendan Wires, Tutta Bella, 4918 Rainier Ave. S (206) 721.3501, 7 Kurt Elling, 7:30 and 9:30 Richard Cole Quartet, 8 Arts West Benefit, Dina Blade/Hans Brehmer, Seattle Central Comm. College, 5:30 Kurt Elling, 7:30 and 9:30 Brian Kent and Karin Kajita, 6:30 Amy Denio, The Ficus Trio, 8 Mountlake High School Jazz Ensembles, 7 Susan Pascal Quartet, 8:30 Ruth Bonvouloir Fundraiser, 2
FRIDAY JUNE 3
7-8 ELDAR DJANGIROV

Heres an 18-year-old piano prodigy whos creating a stir with his hard-bop, post-bop, and swing expertise. A Kansas City-based emigrant from Kyrgyzstan, he has released three CDs (including Eldar, this March from Sony Classical) that have borne witness to the extraordinary development that Djangirov has been exhibiting since he took to the piano at five and to jazz at nine. Much-vaunted he was featured on the 1999 Grammy Awards ceremony, and has taken various top awards hes a dazzling stylist, with great touch and assurance, and he sounds like a young Art Tatum, according to Jazziz. When hes not knocking you out with his sheer keyboard speed, Djangirov seduces with gorgeously reharmonized balladry and surprises with complex rhythmic and stylistic changes, Ed Enright wrote in DownBeat in 2003. He possesses stunning technique and sophisticated approach to improvisation and song interpretation, wrote George Barga in the San Diego Union-Tribune. Djangirov began playing the piano at five, in imitation at first listening, and note for note of his fathers playing, back in the former Soviet Union. In 1997, Charles McWhorter, a jazz expert from New York, heard Djangirov, then only nine, play at the Novosibirsk Jazz Festival, and organized a scholarship for him to attend the Interlochen Center for the Arts in Michigan. His mother, Tatiana Sokolova, a college music teacher, brought the whole family to Kansas City. To help you see what all the excitement is about, Djangirov will bring along the lineup from March, major-label debut: saxophonist Michael Brecker, bassist John Patitucci, and drummer Todd Strait. At Jazz Alley.
SATURDAY JUNE 4
4 MOUNTLAKE HIGH
One of many of the areas fine high-school jazz programs is at Mountlake High, and you can hear what makes them so well-regarded at this show at The Triple Door ($15, or $8 for students). The evening presents their three ensembles, including their #1 group which has twice been invited to the prestigious Essentially Ellington Jazz Festival at the Lincoln Center. Their talents have, in addition, taken them all around Europe. More info at www.edmonds.wednet.edu/mths/ Music/Band/index.htm.
4 FICUS TRIO
At Gallery 1412 (8pm, $5-15 sliding scale, all ages), Amy Denio headlines, while the Ficus Trio opens, with Gregory Reynolds on sax, Gust Burns on piano, and Greg Campbell on percussion. The trio has been described as a unique group capable of reaching sublime spaces through impossible displays of density as well as through an uncanny use of space and minimalism. An event in the first annual Seattle Free Jazz Festival.
WEDNESDAY JUNE 8
C* JA JW TD TU JA SE TD TU Angelo Pizarro, Tutta Bella, 4918 Rainier Ave. S (206) 721.3501, 6:30 Eldar Djangirov, 7:30 Howard Bulson, 5 The Yellowjackets, 7:30 Andrienne Wilson Vocal Showcase, 8 Lee Ritenour Friendship Band, 7:30 & 9:30 Denney Goodhews Qhromatics, 5:30 The Yellowjackets, 7 and 9:30 Andrienne Wilson Vocal Showcase, 8
SUNDAY JUNE 5
C* FB JA TU TU C* RD TU JA TU Washington M.S. and Garfield Jazz Bands, 1 Randy Oxford Quintet, 6 Kurt Elling, 6:30 and 8:30 Jim Cutler Jazz Orchestra, 8 Reggie Goings/Hadley Caliman Quintet, 3 Jam Session With Marc Smason Trio Beacon Hill Office & Mail Center 3211 Beacon S. 206 725-4500, 7:30 pm Doug Zangar, 7:30 Greta Matassa Jazz Jam, 8 Eldar Djangirov, 7:30 Jay Thomas Big Band w/ Becca Duran, 8
THURSDAY JUNE 9
MONDAY JUNE 6
9-12 LEE RITENOUR

Grammy winning guitarist Lee Ritenour brings his all-star Friendship band to town, with Ernie Watts (sax), Patrice Rushen (keyboards), Alex Acuna (drums), and Abraham Laboriel (bass). They are touring in support of their latest album (a CD and DVD set), Over Time, which will appear this month. A contemporary-jazz radio favorite, Ritenour Captain Fingers plays acoustic
TUESDAY JUNE 7
Sam Rivers is joined by bassist Doug Mathews and drummer Anthony Cole during a performance May 19 at the Seattle Asian Art Museum. (PHOTO BY DAVID WIGHT)
jazz, Brazilian, fusion, and contemporary jazz. At Jazz Alley; cover $24.50-$26.50.
C* JA SN TU JA KR TU TU RD TU JA OU TU
FRIDAY JUNE 10
AF GT JA PL TD TU Kareem Kandi Band, 7 Northwest Free Jazz Festival, 8 Lee Ritenour Friendship Band, 7:30 & 9:30 Ion Zoo, 2bit Trio, 8 Dudley Manlove, 8 Larry Fuller Trio, 8:30
Frank Clayton Duo, Tutta Bella, 4918 Rainier Ave. S (206) 721.3501, 7 Lee Ritenour Friendship Band, 7:30 & 9:30 Anita Culver Trio, 6 Greta Matassa Quintet, 8:30 Lee Ritenour Friendship Band, 6:30 & 8:30 Seattle Repertory Jazz Orchestra, 3 Jim Cutler Jazz Orchestra, 8 Jazz Police Big Band, 3 Doug Reid and friends, 7:30 Darin Clendenin Trio Jazz Jam, 8 Boulou and Elios Ferre, 7:30 Open Jazz Workshop With Marc Smason Trio, 7:30 pm Emerald City Jazz Orchestra, 8
JA JW TU JA TU
(206) 721.3501, 6:30 Boulou and Elios Ferre, 7:30 Howard Bulson, 5 Katie King Vocal Showcase, 8 Mose Allison, 7:30 & 9:30 Dina Blade Quartet, 8
SUNDAY JUNE 12
THURSDAY JUNE 16
16-19 MOSE ALLISON

The legendary Mose Allison, with Seattleites Milo Peterson (drums) and Phil Sparks (bass) in support, appears for four nights at Jazz Alley. Inimitable, humorous, laced with swing, blop, blues, and a lot more, the Mississippians tunes have, during his 50-year career, been recorded by The Who, The Clash, The Yardbirds, and Bonnie Raitt, and have influenced many other pop greats. At Jazz Alley; cover $21.50-$23.50.
10 LAST FREE JAZZ

In the last event in the first annual Seattle Free Jazz Festival, Vancouver, B.C.s Ion Zoo appears, with Steve Bagnell (reeds and percussion), Shanto Bhattacharya (cello), Clyde Reed (bass), and vocalist Carol Sawyer. Formed in 2001 to explore song forms as the basis for improvised music, the Ion Zoo have contributed live music to dance improvisation workshops and produced live improvised film soundtracks at The Blinding Light! Cinema under the auspices of the Eye of Newt collective. Ion Zoo draws inspiration from a wide range of musical ingredients including bebop, noise, baroque classical, blues, and Weimar cabaret to create an aural feast of haunting melodies, strange atmospheric textures, and spontaneous arias. Starting the night off will be Seattles own 2 Bit Trio which features saxophonist Seth Alexander, bassist Birch Pereira, and Ethan Cudaback playing drums. Their music is selfdescribed as primordial growls that can take one into the depths of their own psyche for a game of emotional kick-the-can. At Gallery 1412, 8pm, $5-15 sliding scale, all ages.
MONDAY JUNE 13 TUESDAY JUNE 14
14-15 BOULOU & ELIOS FERRE

The famous sons of the more-famous Manouche gypsy guitarist Pierre Matelot Ferre, who appeared on some Django Reinhardt albums, are themselves virtuosos. Their music reflects their gypsy routes, but is of a variety that they have themselves developed from earlier, more familiar versions. Fans since childhood of jazz and classical music, in Boulous case, and flamenco guitar, in Elioss, they are a rare combination of virtuosic and individualized playing of a high order. At Jazz Alley; cover $18.50-$20.50.
FRIDAY JUNE 17
AF JA SN TD TU Kareem Kandi Band, 7 Mose Allison, 7:30 & 9:30 Karin Kajita, 6:15 Jessica Williams, 7 and 9:30 Joe Koplin Jazz Quintet, 8:30
17-18 JESSICA WILLIAMS

Perennially one of the most cherished of jazz pianists, this virtuoso plays with huge range, and great subtlety, wit, and tireless warmth. She is, said Dave Brubeck, one of the greatest jazz pianists I have ever heard. Agreed McCoy Tyner: Jessica is a beautiful player. Critics have been equally enthusiastic. Alun Morgan, in Gramophone, called Williams the most important
WEDNESDAY JUNE 15
C* Steve Mason, Tutta Bella, 4918 Rainier Ave. S
SATURDAY JUNE 11 20 Earshot Jazz June 2005
pianist to arrive since Bill Evans. Williams has, since 1976, released many award-winners among her 35 albums. She began playing piano, at her grandmothers house, when she was four, and started formal lessons at seven. By nine, she was displaying such talent that she was enrolled in the Peabody Preparatory, and then Conservatory, where she fortunately came under the guidance of Richard Aitken, a classical-music professor with a passion for jazz. At 17, Williams moved to Philadelphia to play jazz, and at 28 she joined the Philly Joe Jones Quintet. The rest is a history whose extraordinary results we will hear tonight. Williams has been a perennial visitor to the Northwest, and on all her visits her reception is appropriately enthusiastic. She appears with the rock-steady Ray Drummond, and local guy making good, drummer Jose Martinez. At the Triple Door, 7pm & 9:30pm; cover $22.
21-26 DIANE SCHUUR GOES ISLANDS

The great singer, Auburn-raised, has toured the world many times with her stunning voice, which has earned her two Grammies, and much other acclaim. She appears with The Caribbean Jazz Project for the first time together in support of their new CD collaboration, Schuur Fire. The band includes Dave Samuels (vibes and marimba), Diego Urcola (trumpet and flugelhorn), Dario Eskenazi (piano), Lincoln Goines (bass) and Robert Quintero. Set times Tuesday and Wednesday at 7:30pm, Thursday through Saturday at 7:30pm and 9:30pm, and Sunday at 6:30pm and 8:30pm; cover $20.50-$24.50.
C* JA SN TU JA TU TU RD TU TU
Nadine Shanti At Espresso Americano In The Bellevue Art Museum, 7:00 PM Diane Schuur & Caribbean Jazz Project, 7:30 & 9:30 Anita Culver Trio, 6 Dave Peck Trio CD Release, 8:30 Diane Schuur & Caribbean Jazz Project, 6:30 & 8:30 Jim Cutler Jazz Orchestra, 8 Fairly Honest Jazz Band, 3 Vocal jam with Karin Kajita and Kevin McCarthy, 7:30 Darin Clendenin Band Jazz Jam, 8 Hal Shermans Monday Night Jazz Orchestra, 8 Howard Bulson, 5 Greta Matassa Vocal Workshop, 8 Robben Ford, 7:30 Beth Winter Quartet, 8
SUNDAY JUNE 26
MONDAY JUNE 27
WEDNESDAY JUNE 22
C* C* JA JW TT TU JA TU Jerin Faulkner, Tutta Bella, 4918 Rainier Ave. S (206) 721.3501, 6:30 Kareem Kandi Band, Pour at Four, 3814 North 26th Street, 253-761-8015, 6:30 Diane Schuur & Caribbean Jazz Project, 7:30 Howard Bulson, 5 Das Vibenbass, 9 Seattle Womens Jazz Orchestra, 7:30 Diane Schuur & Caribbean Jazz Project, 7:30 & 9:30 Dave Peck Trio CD Release, 8
TUESDAY JUNE 28 WEDNESDAY JUNE 29

JW TU JA TU
SATURDAY JUNE 18
AA A C* JA JW TD TU JA TU TU RD TU JA TU Central Cinema With Verbal Rhythms Presents Celebration Of Jazz & R&B, 8 Casey McGill & Blue 4, Tutta Bella, 4918 Rainier Ave. S (206) 721.3501, 7 Mose Allison, 7:30 & 9:30 Isabella Du Graf and Karin Kajita , 6:30 Jessica Williams, 7 and 9:30 Hadley Caliman Quartet, 8:30 Mose Allison, 6:30 & 8:30 Jim Cutler Jazz Orchestra, 8 Jay Thomas Big Band, 4 Doug Reid and friends, 7:30 Kelley Johnson Jazz Jam, 8 Diane Schuur & Caribbean Jazz Project, 7:30 Roadside Attraction Big Band, 8
THURSDAY JUNE 23
THURSDAY JUNE 30
SUNDAY JUNE 19
MONDAY JUNE 20 TUESDAY JUNE 21
Friday June 24 AF Kareem Kandi Band, 7 C* Nadine Shanti At The The Taste Of Tacoma In Point Defiance Zoo, 1:00 PM JA Diane Schuur & Caribbean Jazz Project, 7:30 & 9:30 MT Marc Smason & The Chicago 7, 8 TU Dave Peck Trio CD Release, 8:30
Visit Earshots website for the most complete jazz calendar in Seattle
SATURDAY JUNE 25
C* Illuzzionz, Tutta Bella, 4918 Rainier Ave. S (206) 721-3501, 7
www.earshot.org
FROM LEFT TO RIGHT: Isabella Du Graf, Jenna Wong Caluza, Kelley Johnson, and Gail Pettis pose April 17 at Jazz Alley during the Seattle-Kobe Female Jazz Vocalist Competition. Johnson won the Adult Division, and Du Graf won the High School Division. Both vocalists will travel to Kobe, Japan in October to perform at a special concert commemorating 100 years of Jazz in Japan. (PHOTO BY TODD MATTHEWS)
Frisell, from page 17 only way I have of expressing myself. Thats how I communicate what I need to communicate. I need to have people listening. Its nice to sit around the house and play my guitar. But when youre playing for people, thats what I love. I still dont know that there is anything describable in what Im trying to say. I feel lucky to be able to play music in front of people, but it can seem so selfish. Im doing it for myself, but I need people there. It doesnt make any sense if the people are not listening. But I also know that you cannot try to figure out what people want to hear. All I can do is what I want to do. I just put it out there and hope that they are willing to listen. I think musicians get into trouble when they try to figure out what someone else is going to like, which can turn into a disaster. EARSHOT: What do you envision for the future of jazzand for yourself, personally? FRISELL: I can get kind of bummed out with everything getting computerized and compartmentalized. Everythings getting squeezed out and I get discouraged. But then Im actually pretty optimistic. There is always somebody doing something interesting and this kind of music has always been a little bit underground. You have to look around for it a little bit, but I think thats just part of the deal. You start to think its not there. You can get discouraged. But then if you look, there is someone in some basement figuring something out, trying to do something. I think the future is going to be fine. Lloyd Peterson is the author of the book, The Mystery of Sound: Todays Innovative Voices in Jazz, Improvisation and the Avant-garde Discuss Diversity and the Creative Spirit, to be published by Scarecrow Press this fall. This interview was excerpted from that book.
Beeson, from page 13 TODAY, BEESON SPLITS his time between KPLUs Evening Jazz program and KEXP , where he co-hosts Audioasisa varied showcase of Pacific Northwest music that features live performances and interviews. Though it might seem that there isnt a connection between the two styles of music, Beeson has found that jazz and rock actually have quite a few similarities. Thats the part I really love about Audioasis, he explains. A punk band comes in and the bass player says, Do you work at KPLU, too? I listen to that show all the time. Im a big Miles Davis fan. To see these young musicians musicians that you wouldnt in a million years pick out of a line-up as a jazz fansay they listen to KPLU. For me, thats really satisfying. The Evening Jazz gig allows Beeson to learn, explore and develop an appreciation for jazz. I still feel this to this day that Im way too young to be a jazz DJ, says the 35-year-old Beeson. I wasnt old enough to see Ella Fitzgerald, Sarah Vaughan, Miles Davis, and all those greats. In a lot of ways, I missed out on the heyday of jazz. Still, he knows enough to guide listeners through important performers and recordings and even provide some insight into the music. What KPLU and the show can do is get people educated enough about the basic core of jazz so that theyll know enough to go out and
look for [other recordings], he explains. Someone might say, I know Brad Mehldau. Ive heard him and his trio on KPLU. Here he is playing with Kurt Rosenwinkel. I wonder if hes good. Maybe Ill try that out. Thats what I think we hope to do. Thats what I hope to do at KPLU give people enough of a base that theyll start taking some chances. Beeson hopes his jazz show provides a relaxing and reflective resource for listeners. For Evening Jazz, there are stragglers coming home from work who want to unwind, he adds. There are people at home cooking dinner, reading a book, taking a bath, or relaxing. Its really setting a mood to unwind and decompress after a tough day. But also, in the last couple years, weve tried to bring the energy up a little bit. Were not going to play Sing! Sing! Sing! But we are going to try and bring a little bit more swinging stuff into the mix to keep the energy up and showcase a little bit more music. It gives a little bit more depth to the ballads when you play them after a slightly more mid-tempo tune. Its like, Wow, OK, I feel the mood of this ballad. Its a little bit more intense. Rather than when you are just running them altogether.
A $35 basic membership in Earshot brings Earshot Jazz the newsletter to your door and entitles you to discounts at Bud's Jazz Records M E M B E R S H I P and all Earshot events. Your membership helps support our educational programs ____________________________________________ and concert series. NAME Check type of donation: ____________________________________________ t New t Renewal ADDRESS Type of membership: ____________________________________________ CITY/STATE/ZIP t $25 Newsletter only t $35 Individual
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Miller, from Page 16 here, Polestar played a huge role in creating a community, and Im very excited for the collective Gallery 1412, which took over Polestar. The space is musician-run now and I feel that theres a more expansive, inclusive attitude. There are certain key people who work really hard to keep things progressing. Gust Burns comes to mind. He has been a huge force in creating opportunities for people here, in fostering a scene. Tom Swafford as wellhes been hosting Sound of the Underbrush every Monday night for a couple years now. Audiences mostly come out to see players whose names are internationally famous. But there are enough hardcore listeners and musicians who come regularly to make the shows fun and worthwhile. Making a highly uncommodifiable art form in a commodity age sort of dooms you to small audiences. But theres also a utopian quality of complete remove from the marketplace. You sort of end up passing the same wrinkled five dollar bill back and forth, going to each others shows. Peck, from Page 11 ArtistShare.com to provide written music, outtakes from the Good Road recording, and audio lessons for purchase from the Artist Share Web site. As Good Road closed with the Hart & Rogers tune She Was Too Good To Me, Peck reflected on the new album. Its a lot like Out of Seattle, he said. Its the same guys doing the same sort of thing: spur of the moment explorations of some of the tunes we like to play. For more information about Dave Peck, visit www.davepeckmusic.com.
J UNE SHOWS
Mondays: New Orleans Quintet Tuesdays: HoloTrad Band Wednesdays: Floyd Standifer Group Thursdays: Ham Carson Quintet Regular weekday shows are FREE!
3 4 5 10 11 12 17 18 19 26
Etouffee Zydeco Band Red Hot Blues Sisters Jay Thomas Big Band Chris Stevens Band Northwest Classic Jazz, Stickshift Annie John Holtz Radio Rhythm Orchestra Jackie Payne Becky Sue and the Big Rockin Bettys Two Scoops Moore @ 4pm Taylor Jay & Doug Bright Combo
Sunday, June 5 Randy Oxford Quintet Winner of 5 Washington Blues Societys 2005 Awards, including Best Blues Album for All The Buzz
24/25 Jet City Fliers
100 minutes of popular jazz with an inspirational inter-
Call 622-2563 for dinner reservations.
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Classifieds cost $10 for 25 words or less, 50 cents per additional word. Copy and payment accepted through the 15th of the month prior to publication at Earshot Jazz, 3429 Fremont Pl. #309, Seattle WA 98103. Fax: 547-6286, Email: jazz@earshot.org
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JUNE 2005

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A Mirror and Focus for the Jazz Community

Inside This Issue:

Clark Humphrey reviews the new book by Doug Ramsey.

The Jim Knapp Orchestra

The Frank Agency

2 Earshot Jazz June 2005

LEE RITENOUR AND FRIENDSHIP BAND

BOULOU AND ELIOS FERRE

DIANE SCHUUR AND THE CARIBBEAN JAZZ PROJECT

Please call 206-441-9729 to make reservations or visit us online at

The Message is Music: A Conversation with Bill Frisell

Guitarist Bill Frisell. (PHOTO BY MICHAEL WILSON / COURTESY BILLFRISELL.COM)

4 Earshot Jazz June 2005

June 2005 Earshot Jazz 5

Go North, Jazz Fan: Vancouver Festival Preview

Vancouver, from previous page

June 2005 Earshot Jazz 7

8 Earshot Jazz June 2005

Jazz Road Trips: The 2005 Summer/ Fall Festival Guide

Mt. Hood Jazz Festival

Vancouver International Jazz Festival

98.9 Smooth Jazz Festival

Jazz & Oysters in Oysterville

Vancouver Wine & Jazz Festival

Swing n Jazz Jubilee

Bumbershoot Arts Festival

Jazz Port Townsend

Pentastic Hot Jazz Festival

Jazz Festival Calgary

Jazz in the Valley

Sisters Jazz Festival

June 2005 Earshot Jazz 9

Ballard Jazz Festival

Diggin Dixie at the Beach Anacortes Jazz Festival

Dave Pecks Upcoming Performances

Glacier Jazz Stampede

Medford Jazz Jubilee

Earshot Jazz Festival

June 2005 Earshot Jazz 11

Abe Beesons Perfect Radio Rotation

June 2005 Earshot Jazz 13

Time Out with Doug Ramsey

June 2005 Earshot Jazz 15

With Borges as Muse: Emma Zunz creates avant-garde prose

Get your gigs listed!

1-5 KURT ELLING

1 FORTUNE & ALI

18 Earshot Jazz June 2005

Recurring Weekly Performances

7-8 ELDAR DJANGIROV

9-12 LEE RITENOUR

June 2005 Earshot Jazz 19

16-19 MOSE ALLISON

10 LAST FREE JAZZ

MONDAY JUNE 13 TUESDAY JUNE 14

14-15 BOULOU & ELIOS FERRE

17-18 JESSICA WILLIAMS

SATURDAY JUNE 11 20 Earshot Jazz June 2005

21-26 DIANE SCHUUR GOES ISLANDS

TUESDAY JUNE 28 WEDNESDAY JUNE 29

MONDAY JUNE 20 TUESDAY JUNE 21

June 2005 Earshot Jazz 21

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