Masthead

February 2020

Volume 36, No. 02


Executive Director

John Gilbreath

Managing Director

Karen Caropepe

Programs Manager

Tara Peters

Development Manager

Errin Patton

Marketing & Development Asssociate

Lucienne Aggarwal

Editors

Lucienne Aggagrwal & Tara Peters

Contributing Writers

Whitney Bashaw
Ian Gwin
Gus Marshall
Rayna Mathis
Paul Rauch
Carlos Snaider

Calendar Editors

Carol Levin
Jane Emerson
Tara Peters

Photography

Daniel Sheehan

Layout

Tara Peters
Karen Caropepe

Distribution

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 Yakima Herald-Republic
© 2020 Earshot Jazz Society of Seattle

Letter from the Director

Jazz Age, 2.0

In the 100 years since 1920’s America ushered in what grew to be called “The Jazz Age,” both the country and the music have grown, and remained the same, in unimaginable ways. Through the years, jazz has become a global language while remaining a solid signifier of America’s deep hu­manity and unstoppable creative spirit. As Duke Ellington said: “Put it this way: Jazz is a good barometer of freedom… In its beginnings, the Unit­ed States of America spawned certain ideals of freedom and independence through which, eventually, jazz was evolved, and the music is so free that many people say it is the only unhampered, unhindered expression of com­plete freedom yet produced in this country.”

Yes, actual “freedom and independence” may still feel like elusive ideals on day-to-day social and economic levels, but if the incredibly good health of jazz is still a reliable barometer for human potential, then we have good cause for optimism. There is no better place to catch a Doppler overview of today’s jazz forecast than in New York City, especially in the January deluge of showcases, meetings, and concerts as part of the Association of Performing Arts Presenters (APAP) and Chamber Music America (CMA) conferences in mid-Town Manhattan; the Jazz Congress at Jazz at Lincoln Center; and the NYC Winter JazzFest, which puts up close to 200 perfor­mances across the East and West Village and Brooklyn. All of this within a two-week period. And, of course, Seattle jazz is brilliantly represented in that larger context by performing artists, fans, and industry professionals.

The Earshot Jazz organization is proud to serve as a broad platform for Seattle’s well-respected jazz community. Reflecting the vibrancy of the art form locally and nationally, Earshot is coming into 2020 having just completed the best year in our 35-year history. We are so grateful to our national funders, and to everyone in this community of artists, educators, fans and supporters. Thank you for your incredible support!

This issue carries many opportunities for you to join us. In addition to news, previews, profiles, and promotion of jazz events going on around the city this month, we invite you to cast your thoughtful ballot for this year’s Golden Ear and Seattle Jazz Hall of Fame Awards. And please plan to join us at the awards party at the Royal Room on March 9, with Jim Wilke as Master of the Ceremonies, and world class music by Marina Albero.

So, dig in and enjoy this issue. As always, you can find additional and updated information online at earshot.org. All of it is made possible by your individual donations.

Thank you!

–John Gilbreath, Executive Director

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