Masthead

July 2019

Volume 35, No. 07


Executive Director

John Gilbreath

Managing Director

Karen Caropepe

Programs Manager

Tara Peters

Marketing & Development Associate

Lucienne Aggarwal

Editors

Lucienne Aggarwal
Tara Peters

Contributing Writers

Whitney Bashaw
Paul de Barros
Marianne Gonterman
Rayna Mathis
Paul Rauch

Calendar Editors

Jane Emerson
Tara Peters

Photography

Daniel Sheehan

Layout

Tara Peters

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

Emeritus Board Members

Clarence Acox
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
3429 Fremont Place #309
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

Hotel on the Corner of Art and Commerce

Seattle’s population boom is classic “Good News/Bad News.” Even though the density of 737’s parked along Marginal Way is beginning to rival that of the new condominium buildings springing up around the city, there is no immediate sign of an overall slowdown in Seattle’s growth. And the apparent glut of housing units is definitely not saturating the market and driving prices down. Everything is going up, except our income.

In the middle of this, I’m still willing to express optimism about an unprecedented upside potential for Seattle’s overall cultural vibrancy. Disposable income or not, the new faces we see around the city seem to be cultural omnivores, not locked into single expressive silos, and apparently quite open to engage art on a more-than-superficial level.

This seems like it’d be good news for an art form like jazz that, perhaps more than any other music, creates its own fluid, definition-defying world. But that news is slow to arrive to the working musicians of this city. Conditions for working artists, who also have increased housing and subsistence expenses, may be getting worse instead of better. Someone once said, “You’ve got to suffer if you want to sing the blues.” Whatever. We also have to eat and raise our families.

We need to own the sensibility to support artists being exactly who they are. We have to encourage creativity in our young, and we have to honor the creatives who have brought us to the place we occupy. The more fragile the world around us appears, the more, I believe, that we have to double down on the value of beauty and culture.

To this end, I hope you’ll join us this month for the latest version of Earshot’s longest-running program series; Jazz: The Second Century. Established in 1986, and maintained as a peer-juried series to showcase Seattle artists performing original work in a concert setting, this year’s concerts happen on consecutive Thursdays in July, beginning July 11. Detailson page 8.

And join us in support of the artists, from Seattle and around the world, who continue to love and nourish Jazz: America’s greatest gift to world culture.

John Gilbreath, Executive Director

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