December 2019

Volume 35, No. 12

Executive Director

John Gilbreath

Managing Director

Karen Caropepe

Programs Manager

Tara Peters

Development Manager

Errin Patton

Marketing & Development Asssociate

Lucienne Aggarwal


Lucienne Aggagrwal & Tara Peters

Contributing Writers

Paul de Barros
Ian Gwin
Gus Marshall
Paul Rauch

Calendar Editors

Carol Levin
Jane Emerson
Tara Peters


Daniel Sheehan


Tara Peters
Karen Caropepe


Karen Caropepe
Dan Dubie
Earshot Jazz volunteers

Send Calendar Information to:

Add a gig to the calendar online or send us an email.

Board of Directors

Danielle Leigh (President)
Chris Icasiano (Vice President)
Chris Nutter (Secretary)
Sheila Hughes (Treasurer)
John W. Comerford
Maurice James
Kenneth W. Masters
Gail Pettis
Ruby Smith Love
Diane Wah

Emeritus Board Members

Clarence Acox
Sue Coliton
Taina Honkalehto
Hideo Makihara
Kenneth W. Masters
Peter Monaghan
Lola Pedrini
Paul Toliver
Cuong Vu

Founded in 1984 by Paul de Barros, Gary Bannister, and Allen Youngblood.
Earshot Jazz is published monthly by Earshot Jazz Society of Seattle.

Subscription (with membership): $35
3417 Fremont Ave N, #221
Seattle, WA 98103
phone / (206) 547-6763

Earshot Jazz ISSN 1077-0984
Printed by Pacific Publishing Company
© 2019 Earshot Jazz Society of Seattle

Letter from the Director

We Can’t Do This Without You

Thank you for an amazing year! With special thanks, as always, to the musi­cal artists, students, and educators who work so hard to ensure a strong future for jazz here in Seattle. The Earshot Jazz organization is hard at work reinforcing that important bridge between the bril­liant artists of the day, and the public who support live performances and re­cordings. And we need your financial support.

We’re especially proud that DownBeat magazine ran its review of this year’s Earshot Jazz Festival under the headline, “Earshot Serves as Platform for Thriving Seattle Scene.” That’s the essence of our work: to celebrate Seattle’s place in the global jazz community while featuring local and emerging artists alongside international jazz masters. Ticket sales offset only half of the fes­tival’s production expenses, and none of its administrative costs; we need your financial support to build on this legacy of service.

In addition to the projects with Jay Thomas, Seattle Modern Orchestra, and Seattle Repertory Jazz Orchestra that Paul de Barros mentions in the DownBeat piece, the recent festival also debuted two successful Seattle Jazz showcase nights, helped to raise awareness and funding for this pivotal time in the Washington Middle School/Garfield High School pipeline, and introduced the Trace Generations project, which is designed to link established musicians with recent graduates who are now ready to enter the professional field. Your financial support allows us to keep ticket prices low, and to focus on the intrinsic value of our programming, rather than its potential for profitability.

This is such a rich time for jazz. Whether we’re seeing the cumulative effect of the growing emphasis on jazz education programs, or the natural evolution of the art form, this year’s festival left no doubt that the “sound of surprise” also has the ability to nourish the spirit in times of need. You can support the next concerts by remarkable young artists who are set to make the future of jazz even richer.

Please make a donation to Earshot Jazz today. You decide on the amount that fits your budget, and make a contribution to help bring inspiration and dedication to Seattle stages.

Thank you!!

–John Gilbreath, Executive Director

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