“The community is strong,” said local saxophonist Alex Dugdale. “When the government is like, ‘Yeah, we don’t care about your music,’ there are certain people who will step in and say, how much do you need to get your music done?”
If you’re thinking that a solo trombone can’t hold its own on eight tracks spanning up to nine minutes a piece, well, you’d be forgiven. You’d also be wrong. The TANK’s unearthly soundscape fills Clausen’s songs with a lush carpet of harmonic interplay, so rich as to border on the bizarre. (See: Clausen’s take on “Pure Imagination” from Willy Wonka.) Notes can resonate in The TANK for up to 45 seconds.
Lisa Hagen Glynn is one of Earshot’s most dedicated photographers who can be found nearly every night of the annual month-long festival, capturing the brilliance on and off stage.
After a celebrated career that spans more than three decades at Earshot Jazz, friends, family, and community share their fondest memories and well wishes for John Gilbreath as he retires from his role as executive director.
The Golden Ear Awards celebrate the outstanding achievements of Seattle jazz artists over the previous years.
Well, folks, this looks to be my final offering for this slot in the Earshot Jazz magazine. I’ll be retiring out the door at the end of January. For me, it’s sad, it’s exciting, and it’s a little scary; but it’s definitely time. As the old jazz lyric says, “It’s too late to leave early.”
Now, 33 years later, Earshot, under his leadership, is celebrated around the world by jazz artists and presenters alike. Gilbreath himself has become a major player in arts presentation, education, and advocacy, frequently serving as grants panelist, nominating committee member, emcee, and board member for respected institutions like the MacArthur Fellows, Chamber Music America, the National Endowment for the Arts, and the Doris Duke Foundation.
Uniformly compelling from the first note to the final fade, every track on Siegel’s latest is a highlight, and each musician has their time to shine. The album kicks off by dialing up the jazz quotient on the first couple of tracks, and “Sabotage,” in particular, with its swinging, Monk-ish outlines, almost evokes a Blue Note album.
The album features three very distinctive writing styles from this triad of Seattle stalwarts, with a pair of Wayne Shorter gems amongst the offering. The result is a recording that features some of Seales’ most introspective and deeply lyrical playing, supported by Johnson and Korn as equal partners.
Earshot Jazz honors jazz as a vital Black American art form through live performance presentations, artist advocacy, and community engagement.
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