Earshot Jazz
March 2013
Popular and strong are two words that describe both Seattle’s hometown coffee and public school jazz programs. Starbucks continues to support Seattle music education through Hot Java Cool Jazz, an annual fundraising concert now in its 18th year. Five Seattle area public high school jazz bands will perform at the Paramount Theatre on Friday, March 22.
This year’s Hot Java Cool Jazz program will begin with Hamilton International Middle School ensemble performing in the Paramount lobby. The first half of the main-stage concert will feature Newport, Ballard and Garfield high school bands. During intermission, the audience can head to the lobby to pick up refreshments, shop for merchandise from the schools and enjoy a performance by an ensemble from Seattle JazzED. The second half of the concert will feature Mountlake Terrace and Roosevelt high school bands. Each group will play three or four selections.
At a recent Ballard High School Music Booster meeting, Band Director Michael James explained that Public school districts only fund rehearsal facilities and teacher salaries. All other expenses for instrument repair, music library, supplemental coaching, publicity and travel must be paid for from private contributions. At Ballard High School alone, the combined fundraising goal for choir, orchestra and band this year is $50,000.
Thank goodness one of Seattle’s most successful corporations helps foot the bill. Adina Johnson, the Starbucks liaison for the Hot Java Cool Jazz program, handed out concert posters to the Ballard Music Boosters, expressing her admiration of the high quality of musicianship presented and the broad community support. Kennelly Keys Music, for example, provides musical equipment for the event. Johnson has been involved with the program for the past eight years, and most of the concerts have sold out.
Saturday, May 4, 2013
Victor Noriega & Gust Burns – 2 Trios Project
Earshot Jazz
March 2013
Pianists Victor Noriega and Gust Burns first crossed paths at the Port Townsend jazz camp in 1996 when they were both 17 years old. Now, 17 years later, they will celebrate the release of their joint recording 2 Trios at the Cellar in Vancouver, BC, on Sunday, March 3, and the Chapel Performance Space in Seattle on Tuesday, March 6.
The idea behind 2 Trios comes from the interplay between two different piano trios with the same bassist and percussionist. In 2010, Noriega and Burns selected bassist Jeff Johnson and percussionist Greg Campbell to join them in back-to-back sets at Gallery 1412 (formerly Polestar). After two successful shows at Gallery 1412, Noriega submitted a recording to the 2011 Jack Straw Artist Support Program. The award was used to create this 2 Trios recording.
Rather than play complete sets, Noriega and Burns swapped the piano seat during the recording session each time they had played two pieces. This rotation between observing and participating infused a stronger than normal influence between the pianists and offered a rare glimpse of how changing a single piece in a trio can impact the overall sound.
Noriega’s approach reveals radiant clarity, lyricism and wit, while Burns explores gesture, density and momentum. Johnson and Campbell deftly accommodate the change in direction and energy.
Spoiler alert: While the musicians influence each other and perform with sensitivity to the overall sound on 2 Trios, a unison groove seldom emerges from the musical interplay.
Read more...
March 2013
Pianists Victor Noriega and Gust Burns first crossed paths at the Port Townsend jazz camp in 1996 when they were both 17 years old. Now, 17 years later, they will celebrate the release of their joint recording 2 Trios at the Cellar in Vancouver, BC, on Sunday, March 3, and the Chapel Performance Space in Seattle on Tuesday, March 6.
The idea behind 2 Trios comes from the interplay between two different piano trios with the same bassist and percussionist. In 2010, Noriega and Burns selected bassist Jeff Johnson and percussionist Greg Campbell to join them in back-to-back sets at Gallery 1412 (formerly Polestar). After two successful shows at Gallery 1412, Noriega submitted a recording to the 2011 Jack Straw Artist Support Program. The award was used to create this 2 Trios recording.
Rather than play complete sets, Noriega and Burns swapped the piano seat during the recording session each time they had played two pieces. This rotation between observing and participating infused a stronger than normal influence between the pianists and offered a rare glimpse of how changing a single piece in a trio can impact the overall sound.
Noriega’s approach reveals radiant clarity, lyricism and wit, while Burns explores gesture, density and momentum. Johnson and Campbell deftly accommodate the change in direction and energy.
Spoiler alert: While the musicians influence each other and perform with sensitivity to the overall sound on 2 Trios, a unison groove seldom emerges from the musical interplay.
Read more...
Luke Bergman: Making Music Tangible
Earshot Jazz
April 2013
Sunday night at Cafe Racer. Rows of empty chairs line the room. CDs cover a table. Regulars perch at the bar. A crowd appears at the stroke of 8:00 and chairs fill with listeners. The announcer introduces musicians and guidelines for the jam session to follow. Bathed in green light, performers channel melodies and rhythms that swirl like the ceiling fan above the stage.
In the front row of the audience sits Luke Bergman, eyes closed, nodding with the musical energy, twisting his short beard between thumb and index finger. He is one of ten organizers behind the weekly Racer Sessions that grew out of Cuong Vu’s free improvisation ensembles at the University of Washington. Bergman calls the Racer Sessions “a platform for any possibility.”
Vu pushed Bergman and the other session organizers to reach beyond improvisation and record the events, to make the music tangible. They assembled a record label, Table and Chairs, to document the music, post it online and create CDs for sale. Cafe Racer kicked in a percentage of the bar receipts to cover expenses. The result is the shortest production line possible. Music is created, recorded and sold in the same location. Bergman is responsible for most of the recording, mixing and editing.
Friday, May 3, 2013
Jazz Hero Julian Priester
The Greek root of the word "hero" is akin to the Latin "seruare" meaning "to serve" and the Greek goddess Hera as "protector." The Jazz Journalist Association selection of Julian Priester as a Jazz Hero officially recognizes the Seattle based trombonist/composer/improviser/educator as a devoted protector of jazz. Priester's lifelong career connects sophisticated swinger Duke Ellington to astral explorer Sun Ra, bebop pioneer Max Roach and genre chameleon Herbie Hancock. In Seattle, Priester's four decades teaching at Cornish College of the Arts spread his accumulated wisdom to future generations.
Radio broadcaster Jim Wilke presented the JJA Jazz Hero award to Priester at Tula's jazz club in Seattle in front of an intimate gathering of friends and fans on April 30, 2013, International Jazz Day. Several attendees took the stage to praise Priester's work. Kent Devereaux, Music Department Chair at Cornish, remembered Priester teaching him as an undergraduate in the 1970's. Chuck Deardorf, Professor at Cornish, admired Priester's ability to maximize teaching with minimal speaking. Deardorf demonstrated Priester's technique of emphasizing a lesson by slightly tipping his head forward and glaring over the top of his wire frame glasses. Journalist Paul De Barros admired Priester's moving tradition forward through fresh sounds and new collaborations. Tom Varner, Assistant Professor at Cornish, mentioned Priester's nurturing respect during Varner's early career tour with George Gruntz. Band mate Dawn Clement appreciated Priester's knack for bringing out the best in those around him.
Priester took the microphone and addressed the audience in his quiet rasp. He was overwhelmed by the award and would continue to "give back the joy and knowledge" of music to others. "I look forward to meeting on the bandstand," Priester said. As an improviser concerned with what comes next, Priester asked the crowd, "Dinner anyone?"
Radio broadcaster Jim Wilke presented the JJA Jazz Hero award to Priester at Tula's jazz club in Seattle in front of an intimate gathering of friends and fans on April 30, 2013, International Jazz Day. Several attendees took the stage to praise Priester's work. Kent Devereaux, Music Department Chair at Cornish, remembered Priester teaching him as an undergraduate in the 1970's. Chuck Deardorf, Professor at Cornish, admired Priester's ability to maximize teaching with minimal speaking. Deardorf demonstrated Priester's technique of emphasizing a lesson by slightly tipping his head forward and glaring over the top of his wire frame glasses. Journalist Paul De Barros admired Priester's moving tradition forward through fresh sounds and new collaborations. Tom Varner, Assistant Professor at Cornish, mentioned Priester's nurturing respect during Varner's early career tour with George Gruntz. Band mate Dawn Clement appreciated Priester's knack for bringing out the best in those around him.
Priester took the microphone and addressed the audience in his quiet rasp. He was overwhelmed by the award and would continue to "give back the joy and knowledge" of music to others. "I look forward to meeting on the bandstand," Priester said. As an improviser concerned with what comes next, Priester asked the crowd, "Dinner anyone?"
Monday, April 22, 2013
Jeremy Denk on Practicing
My favorite sentences from "Every Good Boy Does Fine: A Life in Piano Lessons" by Jeremy Denk in the April 8, 2013 New Yorker:
"As he revealed each audacious but logical chord change, I experienced both shock and comprehension--surprise at something that made perfect sense."
"Sebok said many times that you don't teach piano playing at lessons; you teach how to practice--the daily rite of discovery that is how learning really happens."
"He believed that matching one's motions to the gestures within the music was essential to unlocking the emotions in a piece."
"Sebok said many times that you don't teach piano playing at lessons; you teach how to practice--the daily rite of discovery that is how learning really happens."
"He believed that matching one's motions to the gestures within the music was essential to unlocking the emotions in a piece."
Writing in Rhythm
In Writers Dreaming by Naomi Epel, Leonard Michaels said, "This is going to sound absurd but I think what makes the difference is rhythm. It's maybe the most important thing. You really can't be a writer without it. There might be rare exceptions, but every novel, every short story, anything that's any good has rhythm. And if it isn't moving in you, if you're not hearing it, if it isn't controlling your sentences, your feelings, your thoughts, it's unlikely the you're really writing. It's the most basic music. It has to be in your heart, in your brain, and then you get to talk. Rhythm is something that develops between two people. They have a way, they have a vocabulary, they have the beat."
Monday, April 15, 2013
Ragtime
Saturday, February 16, 2013
Jack Straw Supports Joe Brazil Oral History Project
Jack Straw Productions selected my Joe Brazil Oral History project for assistance though their Artist Support Program. The award includes 40 hours of discount studio time for recording and digital audio transfer.
2013 DeMiero Jazz Festival with Artistic Director Dee Daniels
Earshot Jazz
February 2013
Thirty-seven years ago, Frank DeMiero originated a non-competitive vocal jazz festival with one goal – to give every participant an opportunity to be inspired, learn and take home helpful advice to advance their artistry. He wanted to provide that opportunity after attending some educational festivals centered on competition, and judging a few, alongside notable guest teachers and artists. “A lot of people didn’t get to take home a trophy,” he says. “What [all learners] need at those impressionable years is exemplary opportunities.”
“Every year we do more,” DeMiero says. To make sure no one will be turned away, the festival added two more facilities this year and expanded workshops for instrumentalists and directors who work with vocalists. During the day, ensembles perform and clinicians provide immediate feedback. Participants then attend clinics to hone their skills.
DeMiero and Edmonds Community College faculty member Kirk Marcy enlisted experienced and active educators to serve as clinicians. This year’s list of teachers includes Dave Barduhn, Rosanna Eckert, Greg Jasperse and Louise Rose.
Artistic Director Dee Daniels returns for a second year and brings a passion for mixing things up on stage. Daniels says, “I like to break down the myth that singers don’t get along.”
Read more...
February 2013
Thirty-seven years ago, Frank DeMiero originated a non-competitive vocal jazz festival with one goal – to give every participant an opportunity to be inspired, learn and take home helpful advice to advance their artistry. He wanted to provide that opportunity after attending some educational festivals centered on competition, and judging a few, alongside notable guest teachers and artists. “A lot of people didn’t get to take home a trophy,” he says. “What [all learners] need at those impressionable years is exemplary opportunities.”
“Every year we do more,” DeMiero says. To make sure no one will be turned away, the festival added two more facilities this year and expanded workshops for instrumentalists and directors who work with vocalists. During the day, ensembles perform and clinicians provide immediate feedback. Participants then attend clinics to hone their skills.
DeMiero and Edmonds Community College faculty member Kirk Marcy enlisted experienced and active educators to serve as clinicians. This year’s list of teachers includes Dave Barduhn, Rosanna Eckert, Greg Jasperse and Louise Rose.
Artistic Director Dee Daniels returns for a second year and brings a passion for mixing things up on stage. Daniels says, “I like to break down the myth that singers don’t get along.”
Read more...
Monday, January 7, 2013
Grant Seeking Tips for Seattle Jazz Artists
Earshot Jazz
January 2013
Happy New Year jazz artists! What will you create in 2013? How will you build on your passions, experiments, and expressions? Where will the money come from to fund your projects and pay your collaborators? Seeking grants is itself an art.
Determined to improve my success finding grants, I researched books and websites, cobbled together an approach to work for individual jazz artists, used it to apply for a 4Culture Heritage Site Specific grant and was awarded $15,000 to develop a performance piece inspired by Jamie Ford’s novel Hotel on the Corner of Bitter and Sweet.
This article shares my process then suggests tips for successful grant seeking from Miguel Guillen, Program Manager at Artist Trust.
January 2013
Happy New Year jazz artists! What will you create in 2013? How will you build on your passions, experiments, and expressions? Where will the money come from to fund your projects and pay your collaborators? Seeking grants is itself an art.
Determined to improve my success finding grants, I researched books and websites, cobbled together an approach to work for individual jazz artists, used it to apply for a 4Culture Heritage Site Specific grant and was awarded $15,000 to develop a performance piece inspired by Jamie Ford’s novel Hotel on the Corner of Bitter and Sweet.
This article shares my process then suggests tips for successful grant seeking from Miguel Guillen, Program Manager at Artist Trust.
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