Rich Cole Quartet at the Musiquarium

Arriving at The Musicquarium in time to catch the last tune of the second set, I was blown away by the energy coming out of Rich Cole's quartet. The group's version of Rhythm-a-ning was in high gear from the moment Rich started his solo. His playing is reminiscent of Michael Brecker and Joe Henderson at times, but Rich has a take on the "modern thing" all his own. With John Bishop, Jeff Johnson, and Bill Anschell providing ample support, I had to stick around to hear them finish out the night.

Sadly, it would only be two more tunes! But don't let the tune quantity fool you -- these guys played long and strong, and really take the time to develop a solo, not just dropping their latest chop-heavy cliches and rambling along as lesser players might. The first tune was a new original by pianist Bill Anschell, Morning Fog. A beautiful straight-eighth tune featuring Rich on soprano, be sure to look for a recording on Bill's upcoming CD project. The quartet finished the set with a rousing rendition of Joe Henderson's Inner Urge, giving it a lazy reggae feel on the head, but jumping into high gear as soon as the solos started. Jeff Johnson's lyrical playing on this tune was a great contrast to the high-power solos of Rich and Bill, but the real energy came from John Bishop, who was playing about as aggressively as I've ever heard him. A great quartet, I'll certainly be looking for my copy of Rich's Origin Arts release, A Glance Back.

Deardorf / Peterson Group at the Musicquarium

Filling in some gaps, I'm writing this entry much after the fact -- like two months! But I have to say, having been a Seattle jazz listener for a long time, you'd be hard pressed to find a stronger, deeper group of musicians playing in one group. The Deardorf-Peterson Group, featuring Dave Peterson on guitar and Chuck Deardorf on bass, served up a nice group of Dave Peterson originals, plus a new take on John Coltrane's Mr. P.C., arranged by pianist Bill Anschell (subbing for usual bandmember Hans Teuber). Chuck Deardorf is certainly one of the most versatile bassists in town, and his experience and professionalism comes through in everything he does. With John Bishop holding down the rhythm section, Dave Peterson was really the featured solo voice, and he never disappoints -- Peterson seems to move from bebop to freebop to whatever with the ease of a tightrope walker. He's exciting, dynamic, and technically beyond most -- there is little left to be desired when listening to the guitar playing of Dave Peterson. Be sure to check out their new recording for the Origin Arts label which features pianist George Cables, Portal.

Ahmad Jamal at Jazz Alley

After a long, hot day of organizing and cleaning, I made my way to Jazz Alley to hear one of the legends of jazz music and his trio, the incomparable Ahmad Jamal. Also featured with his trio was another influential figure in jazz music, one of the great drummers of the last 35 years, Idris Muhammad on drums. Rounding out the trio was longtime bandmate and bassist James Cammack.

As a listener and fan, you couldn't have asked for two better sets of music. Ranging from new originals appearing on recent recordings to such Jamal classics as On Green Dolphin Street and Poinciana, the full 90+ minute sets demonstrated to all that Ahmad Jamal is still at the top of his game, both on a technical and musical level. The biggest revelation for me as a musician was to see Jamal directing the changes in feel from the piano; the arrangements, while very specific and thought out, seemed to ebb and flow at Jamal's visual cueing, keeping the pacing of each tune well under Jamal's control. And yet, despite all of this, every tune felt like we were somehow hearing the trio play that song for the first time; one might even say that it felt loose. So -- controlled looseness? Not sure if this is the best way to describe it, but I think that this term applies here.

And what a treat to hear Idris Muhammad -- he is also someone who, though I've listened to him for many years, I've never heard play live. He's dynamic, tasty, and certainly skilled in a variety of styles and feels, and as Marc Seales used to say, "Everybody comes to see the drummer - EVERYBODY!" With James Cammack, who was a little more subdued that I would have liked, Idris creates a palette that never overpowers Ahmad, but also continues to challenge the time and rhythm. I know that Ahmad is not touring as much as he used to, but if you get the chance to hear him with his trio, you should not miss him. A true legend of the music, Ahmad Jamal certainly deserves the title of "master".

Collier and Dean at The Musicquarium

I've been hearing about "Collier and Dean" from my folks for years, but I'd never heard them on recording or in performance until tonight at the Musicquarium. Tom Collier was certainly a major presence at the UW School of Music while I was there, but I never really got to hear him do "his thing" with Dan Dean. Thankfully, they are back performing live, getting ready for a 40th anniversary concert, and have a new CD out on Origin Arts titled Duets.

Collier and Dean started their set as a duo, performing Lines from their new CD with energy and precision. With John Bishop added to give a little rhythmic support, they launched into a Victor Feldman funky-groovy tune, Rockified Baby. General Mojo's Well Laid Plan, a beautiful tune by bassist Steve Swallow, really stood out for me -- the late 70's straight-eighth, ECM sound really seems to fit this group and the players' styles. John Coltrane's Giant Steps was capably performed as a bossa-nova groove, giving the changes a little more room to breath than in the breakneck style the tune is usually played in. The group finished with a very loose, very free-inspired version of Thelonious Monk's Straight No Chaser. The intention may not have been to be this disconnected to the blues changes, but it was refreshingly fun to hear them play on this tune -- you could really hear them trying NOT to play stale blues licks and vocabulary. All in all, I can certainly understand the appeal that these two have had for so long, and I will assuredly be joining that bandwagon.

Rick Mandyck at Oddfellows Hall

So I promised myself after hearing the early set of Terence that I would go out and support Rick's gig at the Oddfellows Hall, especially since is was a small crowd last week (see my earlier post). And you know what? I WAS THE ONLY ONE AGAIN! Come on people! I know Sunday from 8-10pm is not the best, but it's damn near free, and it's three of Seattle's finest jazz musicians! Rick Mandyck, Jeff Johnson, and John Bishop once again played for two hours for basically themselves! So, I WANT YOU! To come out at the end of the month, August 28th, to the Ballard Oddfellows Hall, 1706 NW Market Street, from 8pm to 10pm! And bring a friend! Enough said (and enough exclamation points).

Terence Blanchard Quintet at Jazz Alley

After the Swampdweller session, I headed down to Jazz Alley to hear Terence Blanchard and his quintet. I've been a fan of Terence since I first head him live almost 15 years ago when he played at the Seward Park Amphitheatre while promoting his album, Terence Blanchard, and he continues to be an inspiring force in jazz music, both to old fans and newcomers. With his new album, Flow, produced by Herbie Hancock, I knew I'd be in for a treat with the latest incarnation of his band.

The choice of tunes was great -- some material from the new album, complete with synths and drone, and some classic material like I Thought About You, played almost as slow as I've ever heard a ballad. Lionel Loueke, a guitarist from Benin, had an interesting mix of acoustic and synthetic guitar sounds that really adds to the core quintet sound -- even simulating a Hammond organ at times. Aaron Parks on piano, a friend from my Manhattan School of Music days and another of Seattle's jazz products, sounded fabulous as always, stretching into different territory with his new Roland V-Synth. Brice Winston, who I've been listening to on record for a long time but never heard live, has great energy, style, and depth; this guy certainly fills the saxophone chair in this band with more than just his presence. Kendrick Scott and Derrick Hodge filled out the rhythm section -- I didn't know Hodge before tonight, but I've heard Kendrick many times in New York and Boston, and he certainly plays with lots of finesse and taste, but also gives some punch when needed. If you get a chance to hear these guys, the unmistakeable influence of Herbie Hancock on this band is certainly felt, but that show was all about Terence Blanchard. While he's spent many years honing his skills as a film composer, the dramatic effect this has had on his jazz playing and composing continues to stretch and expand his style away from the "neo-conservative" or "young lion" sound that he helped to define in the early 80s. And did I mention that he really can play the trumpet? I mean, really get around the trumpet! Terence is one of the few guys out there that I just don't hear making silly technical mistakes -- his sound is gorgeous, his technique impeccable, and his fearlessness unparalleled (except maybe by early Freddie Hubbard). Terence: keep it coming, and I'll be there with bells on.

Thomas Marriott Quartet at Tula's

After the Sonarchy recording, I raced down to try and catch the last set of my brother Thomas at Tula's with Phil Sparks, Rick Mandyck, and Jose Martinez. I pulled by on my way to park to find four cops outside the club. After parking, I got to the club to find no disturbance any more, but boy had I missed it.

Our fine Seattle Police Department didn't have anything better to do on Satuday night than hastle the owner, staff and patrons of Tula's with an absolutely ridiculous inspection -- at 11:30pm no less! From what I was told, most of the patrons were scared -- the police were rushing around the club at all corners, as if there was a terrorist issue, bomb, or other possibly harmful person/item in the club. They also stood right in front of the bandstand while the quartet was playing! Needless to say, there will be some letter writing going on this week, especially with Dave and Jane Peck in attendance.

The music, on the other hand was great! Thomas was playing Old Folks when I came in, and then played a nice version of All of You. I was "coerced" into playing a few tunes to finish out the last set, and although being REALLY tired from my other gigs, we had a blast playing, especially on Society Red, an old Dexter Gordon blues we used to play in our quintet. Thomas is sounding as good as I've ever heard him, and though he's not playing as much as a leader, you can hear him around town with many groups. If you haven't heard his latest release on Origin Arts, Individuation, then get out there, check it out, and you'll hear what I'm talking about.

Mark Taylor Quartet at the Musicquarium

Going to hear Mark Taylor is always a pleasurable experience for me, and tonight was no exception. I've played with Mark off and on since I was 13, and he justs keeps on keepin' on -- his versatility across the saxophones still is a marvel to me. His quartet included Seattle stalwarts Phil Sparks on bass and Matt Jorgensen on drums, plus guitarist Chris Spencer. Now, truth be told, I really went down to hear Chris because, sadly, I've only heard about his playing and not actually heard him. The words of praise for his playing were certainly deserved: he's a thoughtful, interesting, and focused player who isn't afraid to play outside of the box. Their third set (the one I heard) consisted of: After Hours by Mark Taylor, Sweet Little Maia by Jimmy Garrison, Sugar Cliff by Brad Shepik and Golden Gaze by John Scofield -- great variety and tons of quality playing. Be sure to find out where Mark is playing on his website.

Rick Mandyck Trio at the Ballard Oddfellows Hall

This is a recruiting message: I want YOU! to come out and see this trio play at the Ballard Oddfellows Hall next Sunday, August 7th, from 8-10pm. Why would I start my post this way? Because, sadly, it was a tiny crowd for the second set tonight by this great trio of Rick Mandyck, Jeff Johnson, and Reade Whitwell. How tiny? Me.

It was amazingly special to have these three play for me for an hour, but at the same time, I know how it feels to be on the other side of that situation and, to be frank, it sucks! You've all heard me gush about Rick, not only as a friend and musical mentor, but as a general all-around badass, so please come out! These guys are playing some fun, loose, free, and exciting music -- I told Jeff Johnson I wanted to run home and get my minidisc to record the set and he responded: "Of course you do, because this is the music of the future!" Enough said. Show up next Sunday - visit Origin Arts for more information.

Port Townsend Jazz Festival - Friday Night

Centrum's 2005 Port Townsend Jazz Festival seems to have returned this year with the energy and diversity that have characterized the festival and workshop in years past. New Artistic Director -- and long-time teacher at the workshop -- John Clayton has helped to bring the "glory" back to this festival in a big way. As an eight-time participant in the workshop (1989-1996), a past teacher at the workshop and regular festival performer, I can't begin to tell you what a treat it was to walk around Friday night and visit the various clubs and great music.

I started the night at the Landfall, with Dave Peck, Dean Hodges, Dave Captein, and added horn player Steve Tressler on saxophones. I heard them play Honeysuckle Rose, and while certainly fun and well-played by all, I couldn't help think that Steve wasn't the best-suited match with this trio. I certainly preferred hearing Denny Goodhew with Dave Peck last year, especially since they had a book of tunes and seemed very organized. This year, it felt a little more like a typical horn-player/rhythm-section pick-up gig with Steve -- who is one of my favorite saxophonists in Seattle right now -- and when I returned later in the night to hear them playing On Green Dolphin Street, I knew this was not the best-of-all-worlds-scenario for any of these players.

I stopped by to catch a little of Jeff Clayton, Jiggs Whigham and Rickey Woodard with Bill Mays, Gary Hobbs, and Chuck Deardorf, but half the band had to leave to direct their student combos, so I only got to hear Jeff and Rickey battle it out on a nice, swinging "rhythm" changes tune. And that about sums it up -- nice, swinging, and happy. No complaints here!

My next stop was Pete's Place, with the "Horns A Blazin" group featuring Bill Ramsay (alto), Jay Thomas (tenor), Claire Daly (bari), and Thomas Marriott (trumpet) with John Hansen, Russ Botten and D'vonne Lewis. As one of the band members said to me, they might have "shot themselves in the foot" by trying to play a ton of arrangements with no rehearsals, but the music ended up being an nice mix of the full group (Profiles by Victor Brazil, for example), solo features for each artist, and various combinations of the horns (Tom and Jay on flugels for Kenny Barron's Voyage). Too bad the room was so small! For me, the real surprise was D'vonne Lewis, a young Seattle drummer who has been turning heads of late. He showed a great deal of maturity with all of these experienced players, and I'm sure there is much more great music to come from D'vonne.

I tried to stop a few other places and didn't really make it in anywhere else -- all full up! I stood outside the Public House and heard some of Ingrid Jensen and Terrell Stafford, and I've only got two words for you: BURN ING. I'll be back tomorrow night to get a good listen and write more, but I know that you'd be hard pressed to find a more modern/contemporary jazz sound at this festival than from this group. More, more, more!

As I said earlier, I wandered back down to the Landfall to finish the night where I started. With a 9:00am rehearsal looming in front of me, I headed home after On Green Dolphin Street so I wouldn't be totally worthless in the morning. But I'll be back again -- more music tomorrow!