After spending six years in Los Angeles playing with different bands, he was hired by the legendary James Burton (Elvis Pressly's guitarist) for a year stint in Waikiki, Hawaii. After Hawaii he relocated to Seattle using this city as his home base for his career as a freelance and studio bassist. Known for his solid time feel and choice of notes he was hired out for international tours in Turkey, South East Asia and Japan. He then spent four years with singer extraordinaire Jane Powell on Norwegian Cruise Line. In the last two years he has performed with legend Pat Boone and LA based jazz group The David Becker Tribune.
Currently he is busy performing with Seattle based latin bands Tumbao, Mango Son, Bochinche, Yerbabuena , Expresion Latina, playing a steady trio gig at the Columbia Tower and freelancing with local jazz groups while keeping a full teaching schedule at Music Works.
Although he no longer teaches music full-time, Matso continues to be active as a freelance composer, arranger, and performer in the Seattle area. His baritone saxophone work has anchored the Emerald City Jazz Orchestra saxophone section since 1994, and the band's two recordings (“Alive and Swinging” and “Come Rain or Come Shine”) feature his charts. He resides in Snohomish WA with his wife Melanie and sons Alex and A.J.
This year at the Jazz Walk Matso is performing with the Endemic Ensemble and directing the Boxley ProAm Big Band.
Fagan moved to New York City in 1986 after receiving an NEA jazz grant to study with tenor sax giant, David Murray. Fagan’s time with Murray included filling in at rehearsals for absent members of the David Murray Octet and Big Band, and reading through hand-copied original compositions from Murray’s extensive music library. A highpoint for Fagan was sitting in at the Village Vanguard with the David Murray Quartet which featured John Hicks, Ray Drummond and Ed Blackwell. Fagan’s freelance career in New York spanned nine years playing jazz and Latin music in small ensembles and big bands with names as diverse as Jack McDuff and Dave Douglas. As a member of the Bill Warfield Big Band, Fagan regularly appeared with Rich Perry, Andy Fusco, and a number of other alumni from the Buddy Rich, Mel Lewis and Woody Herman big bands.
In 2010, Danny founded the Boxley Music Fund (now JazzClubsNW), a nonprofit 501c3 based organization committed to helping support live music performance and Jazz education. JazzClubsNW is a membership based organization that pays musicians to host clinics and workshops, public performances as well as organize Jazz & Blues festivals. For more than 7 years JazzClubsNW is turning out to be a big success supporting efforts to promote Jazz education and performance across the Northwest. JazzClubsNW has also sponsored Jazz nonprofits in Bellingham and Tacoma Washington as well as launching Jazz Festivals in Tacoma, Olympia and North Bend. Danny continues to serve on the board of the organization and volunteer at numerous events. If you aren’t a member yet, you should be. In 2012, Danny founded the North Bend Jazz Walk and in 2013, the North Bend Blues Walk.
Williamson’s early influences included Count Basie and Thelonious Monk. Personal mentorships with jazz hero’s like Ray Brown, Mel Lewis, Buddy Catlett, Jeff Hamilton, John Clayton and Red Kelley set him up for a long association with Grammy nominated vocalist Ernestine Anderson. Starting as her drummer of choice for many tours of the United States, Japan and South America, he eventually acted as her musical director.
Mid 1990’s also saw the formation of Pony Boy Records, an independent style record label made up of straight ahead jazz artists with a Northwest focus. PBR has over 60 releases to date, including CD’s by Williamson’s Big Bad Groove Society, GW Quartet, Pony Boy All-Star Big Band, Double Sax Quintet (listed in the Jazz Times Year in Review Critics Picks 2002), and many more. PBR is distributed worldwide by Burnside Distribution. Williamson produced the annual Jazz Picnic for 10 years, which won awards for contributions to the community by Earshot Jazz, and whose t-shirts still adorn the fans and musicians of the Northwest.
Williamson has been instrumental in the creation of a non-profit performance and education venue in North Bend, Washington, Boxley's and the Boxley's Music Fund – along with satellite venues, now collectively called JazzClubsNW. The non-profit venture has partnered with many community members, producing Jazz Walks, festivals, and public concerts. Many live recordings have been produced – Live at Boxley’s with the Danny Kolke Trio + Pete Christlieb is a favorite.
Williamson has also been an active educator and clinician, working at Green River College and Bellevue College, and recently as a graduate jazz and percussion assistant at the highly regarded Central Washington University.
Moving to Albuquerque in 2006, he quickly established himself as an integral part of the New Mexico music scene, performing and recording extensively, and also making time to earn his Master of Music degree from the University of New Mexico, studying with Mark Tatum. In 2012 Michael moved to the Palo Alto for a year where he worked with musicians all around the Bay Area and was on the faculty of the Stanford Jazz Workshop.
In addition to performing with countless local musicians throughout the Pacific Northwest, California, and New Mexico, Glynn has performed with jazz legends including Bud Shank, Jon Hendricks, Bobby Shew, Mark Levine, Dave Grusin, Geoffrey Keezer, Seamus Blake, Eric Alexander, David Hazeltine, Benny Green, Gary Smulyan, Don Lanphere, Conte Candoli, Bob Florence, Doug Lawrence, William Parker, Kevin Hays, Kim Richmond, Aaron Parks, Madeline Eastman, Dena DeRose, and the Cab Calloway Orchestra. Michael has performed around the United States and in Canada, Switzerland, France, the Netherlands, Oman, and Trinidad and Tobago. On top of his jazz work, Michael performs in a variety of other genres, including classical work with the New Mexico Philharmonic, the New Mexico Symphony Orchestra, Opera Southwest, and Canticum Novum Santa Fe, calypso with steel drum legend Ray Holman, and a mix of Arabic and Western music with Iraqi-American oud virtuoso Rahim Al Haj.
Michael currently resides in Seattle, Washington.
Jeremy Bacon was born into a jazz family. Long before jazz was commercially available, his uncles gathered records and started a “hot club” for those loving the music. Uncle Paul Bacon, the great graphic artist, was one of the founders of Riverside Records, an important independent jazz label in the 50’s and 60’s that recorded artists such as Thelonious Monk, Bill Evans, Sonny Rollins, Blue Mitchell and Kenny Dorham. Paul did the record jacket design for the label and others, including those for his close friend Thelonious Monk. From his early days, Jeremy grew up listening to Monk, Jelly Roll Morton, Miles Davis, Billie Holliday, Art Tatum, among others.
After attending Oberlin College, where he studied jazz improvisation and composition, Jeremy returned to New York City, becoming the closest of the great Don Pullen’s students. Don, a member of Charles Mingus’ last band, was also a major influence on the avant garde scene from the 60’s to the 80’s. When putting a concert together to showcase his talents at The Public Theater, it was Jeremy that Don trusted on piano.
Jeremy was also the regular pianist with the Charles Fambrough Trio, where he worked with Jeff “Tain” Watts, Joe Ford, Johnny Coles, Pat Martino, Mike Mossman, Ralph Bowen and others. Jeremy recorded “Cloud Hands,” his first album as a leader with members of this band. He also lead his own group on two extended tours in Japan, was musical director for Joey Arias’ Billie Holliday show at Carnegie Hall, and working with many singers and instrumentalists including renowned vocalist Queen Esther.
Some more of Jeremy’s credits include playing piano in the Yallopin Hounds with the great alto saxophonist Joey Cavaseno, touring extensively in the US and Europe with the group and recording several albums together. Jeremy has also collaborated with tenor saxophonist Justin Flynn to co-lead the band, Big Train, along with Jeff Ballard on drums and Ugonna Okegwo, recording the critically acclaimed album, “Travels” for Bad Gorilla Records.
Jeremy has performed at the Kennedy Center, Carnegie Hall, Birdland, Smalls, Mezzrow, Smoke, Minton’s of Harlem, 55 Bar, the Blue Note, Penn State University and many other clubs in and around New York.
Mysterious, melancholy and menacing, JAZZ NOIR offers a fresh spin on crime jazz, film noir and timeless classics.
Selections include classic movie themes from Touch of Evil, Laura, Chinatown, Vertigo, Taxi Driver, Blues In The Night, Twin Peaks, Toute Une Vie, High Wall, The Long Goodbye and Stormy Weather, modern standards Estate, Caravan, Here’s Looking At You and Golden Lady, and two originals: Film Noir (from a poem by Dana Gioia) and Crime Scenes, a San Francisco-inspired jazz suite with voiceover narration in the hardboiled style of Dashiell Hammett and Raymond Chandler.
The Papillon/BluePort Jazz release, Matheny's 11th album as leader, showcases the talents of “some of the most accomplished musicians in the western United States” (All About Jazz): Bill Anschell, Matt Clark, Nick Manson, Charles McNeal, Susan Pascal, Phil Sparks, Todd Strait, Akira Tana, Jay Thomas and John Wiitala.
“In these grooves,” writes annotator Eddie Muller, “Matheny leads his crack crew through a sonic history of noir. Dmitri Matheny is an artist who manages to find beauty blooming in the darkest corners.”
D’Vonne graduated from Seattle’s Roosevelt High School in 2002 under the direction of Scott Brown, where he received numerous high school jazz band awards, including the Jazz at Lincoln Center Outstanding Drum Soloist winner at the Essentially Ellington Jazz Festival for the years of 2000, 2001, and 2002.
While still in high school, D’Vonne was first-call drummer to local and world-renowned artists, including Hadley Caliman; Buddy Catlett; Julian Priester; Floyd Standifer; Jay Thomas; Larry Fuller and Marc Seales, to name a few.
Lewis has also performed with Wynton Marsalis and the Lincoln Center Jazz Orchestra; pianist Marian McPartland; guitarist Bucky Pizzarelli; clarinetist Eddie Daniels; and out-sax titan Charles Gayle
In Seattle, Phil Sparks has been a member of groups led by Julian Priester, Ernestine Anderson, Wayne Horowitz, Floyd Standifer, Hadley Caliman, E.W. Wainwright, Jay Clayton, Jim Knapp, and Ricky Kelly. He has accompanied the following artists during Northwest engagements: Gene Harris, Roland Hanna, James Moody, Bobby Shew, Mose Allison, Art Lande, Joe Henderson, Javon Jackson, Teddy Edwards, and the Seattle Symphony.
While living in Colorado from 1976 to 1983, Sparks was a member of many groups, including "Visions," led by Jerry Granelli, "The Bruno Carr Ensemble," and the "Joe Bonner Trio." He also accompanied the following artists during Colorado engagements: Cedar Walton, Eddie Harris, Randy Weston, Jimmy Hopps, and Mose Allison.
Sparks has recorded with Jerry Granelli, Barry Wedgle, Rich Halley, Francis Vanek, Jay Clayton/Jim Knapp, Juhan Lee, Randy Halberstadt, Rick Mandyck, Jay Thomas, Woody Woodhouse, Clarence Acox, Floyd Standifer, Milo Petersen, Hans Fahling, Steve Griggs, Matt Jorgenson, The Plymouth Trio, Mark Lanegan, Akbar De Preist, and Peter Ross.
Anschell left Seattle after high school, studying for two years at Oberlin College (Ohio), then transferring to Wesleyan University (Connecticut), where he graduated Phi Beta Kappa with a degree in Music. At Wesleyan, Anschell worked closely with saxophone great Bill Barron. He also studied semi-privately with South Indian mridangum master T Ranganathan, kindling a passion for rhythmic experimentation that has driven Anschell’s music ever since.
After leading the life of a jazz vagabond for several years, Anschell settled in Atlanta in 1989. He was initially drawn there by the opportunity to serve as Jazz Coordinator for the Southern Arts Federation (SAF), the regional arts agency of the South. Firing up SAF’s jazz department virtually from scratch, Anschell launched a host of high-profile programs, published a book on grantswriting, and created JazzSouth, an internationally syndicated radio show. At night he dove headlong into the city’s thriving jazz scene, working as a sideman with various groups and leading his own trio.
By 1992, Anschell’s performing itinerary had grown to the point where it demanded his full attention. He left the SAF post, continuing to produce JazzSouth out of his home while focusing on playing and composing. Over the next ten years, Anschell ascended the jazz ranks in Atlanta, leading his trio at major festivals and becoming a first-call accompanist for visiting jazz greats. His trio’s highlights included the 1996 Summer Olympic Games, the Montreux Atlanta Festival and four extensive tours of South America.
During the same period, Anschell enjoyed a lengthy association with vocalist Nnenna Freelon, serving as her pianist, arranger and musical director. Among their many performing highlights were the North Sea Jazz Festival in Holland, the Monterey Jazz Festival in California, the Kennedy Center in Washington, and six European tours. Their concerts were broadcast on Radio France, French national television, and NPR’s JazzSet. Anschell’s piano work and arrangements were featured throughout Freelon’s 1996 Concord release Shaking Free, which was nominated for a Grammy as the year’s best jazz vocal recording.
Anschell’s own CDs have earned critical acclaim and widespread exposure, with several making Jazzweek’s national “Top 50” chart for radio airplay. Anschell’s 1998 release, a different note all together, was selected by United Press International (UPI) as one of the “10 Best” jazz releases of the year. His 2006 CD, More to the Ear than Meets the Eye, was chosen by numerous critics and radio stations across the country for their “10 Best of 2006” lists. His 2009 duo CD of spontaneous improvisations with saxophonist Brent Jensen was described by Cadence as “startlingly beautiful, surprising, and powerful…a transforming experience.” And his 2011 solo piano release, Figments was called “magical” in Thomas Conrad’s JazzTimes review.
In 2001, Anschell was selected by the American Composers Forum for its Composer-in-the-Schools program; his residency included a commissioned piece for chamber orchestra. Since 2003, his original compositions have received widespread cable and network exposure, appearing on programs including NBC’s The West Wing, NCIS: LA, HBO’s acclaimed series The Wire, and HBO’s Bessie Smith biopic, Bessie.
In 2008, Anschell's Atlanta trio reunited for a fifth South American tour, visiting the Colombian cities of Medellin, Pereira and Manizales; in 2012 the trio made its fourth visit to Peru, and in 2014 its third trip to Paraguay.
As a Seattleite, Anschell had the honor of playing a weekly gig with Northwest jazz legend Floyd Standifer for the two years before his passing. In 2005, Anschell received a Golden Ear Award as the “Northwest Jazz Instrumentalist of the Year,” and in 2006 his trio was named the “Best Northwest Acoustic Jazz Ensemble.” In 2010 and 2011 Anschell was again was named “Northwest Jazz Instrumentalist of the Year,” and in 2011 his CD Figments was named “Northwest Jazz Recording of the Year.” In 2013, he played several concerts with the Seattle Symphony. His 2013 CD, Impulses, took him into new territory, featuring twelve tracks of original electronica.
Anschell is also well known as a jazz humorist, writing jazz vignettes and a monthly jazz etiquette column. His satirical essay, Careers in Jazz, is the all-time most-read piece on leading jazz website allaboutjazz.com with more than 250,000 hits, and was prominently featured in a Wall Street Journal story on jazz audiences. In 2014 he was a winner of the inaugural Paul Desmond Award, allaboutjazz.com’s celebration of the funniest jazz artists.
Bill received his Masters in Music degree in 2013 from the American Band College of Sam Houston State University and recently finished his ninth and final year as an Associate Band Director at Penn High School (Mishawaka, IN). At Penn, he oversaw all aspects of the percussion and jazz programs, including directing the marching percussion section, all concert percussion sections, Percussion Ensembles, Intermediate Jazz Ensemble, Advanced Jazz ensemble, Jazz Combos, the After School Jazz Orchestra and assisted with the Freshmen Concert Band and Symphonic Band. The Penn Advanced Jazz Ensemble frequently achieved success at festivals throughout the Midwest and was named a top twelve finalist for the 2014 and 2016 Swing Central Jazz Festival in Savannah, GA. In 2008, Bill was an assistant conductor with the Penn Symphonic Band for their featured performance at the Midwest Band in Orchestra Clinic.
Bill is honored and privileged to be on the music team at Mount Si High School! At Mount Si, Bill teaches Jazz, Concert Band, Symphonic Band, Wind Ensemble, Percussion Ensemble, and AP Music Theory. Bill resides in North Bend, WA with his wife Liz, daughter Mya and son Greyson.
Jay moved back to Seattle in 1978 and became a frequent member of the house band at Parnell’s Jazz Club working engagements with jazz artists George Cables, Charles McPherson, Bill Mays, Ralph Penland, Harold Land, and Slim Gaillard. At Parnell’s, Jay became friends with jazz masters Zoot Sims and Sal Nistico, among others. Jay’s first two CDs, Easy Does It on Discovery Records and Blues for McVouty on Stash Records featured Cedar Walton and Billy Higgins. 360 Degrees on Hep Records and Rapture on Jazz Focus continued to establish Jay’s reputation. Jay’s previous CDs from McVouty Records titled Live at Tula’s, Volume 1 and Volume 2 and 12th and Jackson Blues were live performances and have the feel of the clubs where Jay was first baptized into the world of jazz. Jay recorded with Herb Ellis on Roll Call and with Bud Shank on On the Trail. This was the last recording by Conte Condoli and Jay is playing tenor and soprano sax in a sextet setting with Bill Mays on piano, Joe LaBarbara on drums, Bob Magnuson on bass, and of course Bud on alto.
Two recordings have Jay teamed up with jazz greats Ray Brown (Blues for Dexter, Wolfetones Records) and Elvin Jones (Jones for Elvin, Hip City Records). Jay has appeared in concert with the bands of Maria Schneider, Bill Holman, and Frank Wess. He has played festivals at Wolf Trap with Red Rodney and Ira Sullivan, the Aspen Jazz Festival with Herb Ellis, Jake Hanna and Mel Ryne (recorded with them on Roll Call), the du Maurier Jazz Festival with Chuck Israels Trio and with the Jay Thomas Quartet. Jay toured Great Britain with jazz legend Slim Gaillard recording there with Slim, Jay McShann and Buddy Tate. In the summer of 2002, Jay again traveled to Europe, this time with the Bud Shank Sextet featuring Plas Johnson. Today Jay is a member of one of Japan’s leading big bands, CUG (Continued in the Underground Jazz Orchestra), and co-leads a sextet with Kohama Yasuhiro and Atsushi Ikeda. Jay tours in Japan, recording and performing, several times a year. Jay is also a member of SRJO (Seattle Repertory Jazz Orchestra) and also has a Neo- Boogaloo Hard Bop band called “The Cantaloupes”.
Jay is also involved with passing the music on to future generations. He is an adjunct professor at Cornish College of the Arts, and works at the renowned Garfield High School, tutoring kids in improvisation. Jay often does clinics and workshops at universities in the US and Japan and is an instructor in several prominent jazz camps each summer.
Jay has a sound characterized by warmth, lyricism and rhythmic drive….and he’s funky! Hear him when you can, you won’t be disappointed
As a leader, Mark has released two critically acclaimed CDs on Origin Records: “After Hours” (2002), and “Spectre” (2009) which was named “NW Jazz Recording of 2009” (Earshot Jazz).
As an educator, Mark has a full studio of private students and is a highly sought after guest artist and clinician for festivals, workshops, and clinics throughout the region. He holds a BM from the University of Washington (1994), and MM from the Manhattan School of Music (2000) in New York City where his performance credentials include appearances with the Grammy Award winning Vanguard Jazz Orchestra.
Inspired by collaborations with many musical innovators Greg has worked and performed with Gunther Schuller, Jimmy Giuffre, Bill Frisell, Wayne Horvitz, Cuong Vu, Ted Poor, Ryan Ferreira, Robert Dick, Amy Denio, Dave Douglas, Matt Moran, Rueben Radding, Jesse Canterbury and many others. Always the musical seeker, he has toured with a wide range of bands and can be heard on numerous recordings including Frieze of Life’s Nuclear Frog Pond, Uncle Pooch’s Oneirophrenia, Goat’s Special Agent, and Burn List the debut recording from the band Burn List. His most recent release is a duo project with clarinetist Jesse Canterbury and was recorded in a 45 million gallon cistern. The album, Ascendant, is a testament to the creative and seeking nature of Greg’s work.
Greg has been the recipient of many grants and awards from the Puffin Foundation, Jack Straw Foundation, Centrum, 4Culture, Earshot Jazz and The City of Seattle. He has also been Artist in Residence at the Banff Center in Banff, Canada, the Atlantic Center for the Arts in Florida and Centrum. He studied at the New England Conservatory working with a wide range of artists, including George Garzone, Jimmy Guiffre, and Joe Maneri. He recently obtained a Masters degree in Jazz and Improvised Music at the University of Washington where he studied composition and electronic music with Richard Karpen. Currently, he is an Artist in Residence in the School of Music at the University of Washington.
Aside from being hailed as an award winning jazz musician, Julian is an active studio drummer and percussionist, having recorded on over 150 albums to date. Some notable recording dates are: the soon to be released Harold Mabern/Terell Stafford Quintet, Jay Thomas’ The Promise, Star Anna’s Go To Hell, Aaron Parks’ First Romance, Mike Allen Quartet’s A Hip Cosmos, Jon Hamar’s Idyl Wild featuring Rich Perry, Kasey Anderson’s Nowhere Nights, and the Miles Black Trio featuring Grant Stewart. Along with recording, Julian has also played in the pit orchestra for the musicals Man of La Mancha, West Side Story, Oklahoma!, Wizard of Oz, Falsettos, 1940’s Radio Hour, and many others.
In 2014, Julian opened the Whatcom Jazz Music Arts Center in downtown Bellingham. Known colloquially as WJMAC, the 501(c)3 organization presents weekly concerts with the best regional and national names in jazz today in an intimate listening environment. Each October, the organization hosts the annual WJMAC Jazz Walk, featuring the Pacific Northwest's hottest jazz artists.
Also a learning institution, WJMAC hosts weekly onsite combo classes where students have the unique opportunity to study under Julian, a passionate educator. Each July students are presented with the chance to stretch their abilities in the WJMAC Summer Jazz Camp. This week-long intensive training program provides a rare environment for inspired students to immerse themselves in a performance education.
Her activity has continued likewise since her arrival to Seattle in 2008.
Jennifer Kienzle enjoys actively contributing to the sonic landscape of Seattle’s jazz scene. She consistently performs in and out of town, both with her own quartet and The Easy Street Band. Regular venues include Tula’s, The Fireside Room, Vito’s, The Pink Door and Egan’s. A continuing student of music, Jennifer has taken lessons with Greta Matassa and Johnaye Kendrick and is currently studying under multi-instrumentalist Denney Goodhew.
"Chis plays the bass and he's very good at it. "
He has three videos published, two instructional videos out with Starlicks, "Acoustic Fingerpicking" and "Acoustic Guitar Soloing," and one concert video from the "Open Strings" Festival from Osnabr�ck, Germany, '98, distributed in the states by Mel Bay. He's written four books; one featuring his own compositions from the Acoustic Music Records "Amigos del Coraz�n," a book of fingerstyle arrangements of jazz standards, a book on harmonic technique and one on Chord Shapes for Hal Leonard.
Jamie contributes to several guitar magazines throughout the world, has taught Jazz Guitar at the University of Southern California and now teaches at Musicians Institute in Hollywood, Ca. At Summer NAMM '99 in Nashville, he was the host for Acoustic Guitar Magazine's "Acoustic Magic" event at Cafe Milano, and in November, '99 he was featured in Chitarre, Italy's premier guitar magazine. Jamie is currently preparing material for three new solo records, one on material from the Beatles, one on "Folk Remedies", and one featuring original material. He's recently released "Miles Davis for Solo Guitar" also has another book in the works for Hal Leonard titled "Fingerstyle Guitar Method". Since 1975, an impressive personal career has been developed, with travel and performance throughout almost all parts of the United States, as well as to Asia and Central America, Brazil, and eight tours of Europe, performing and giving clinics.
“I heard Kelley Johnson live in NYC recently and was blown away. I had to buy the CD and it confirmed my impressions of this creative singer and her warm, glistening sound. Kelley is consistently inventive, improvising in soulful and unexpected ways; sometimes sounding like an instrument, other times playing creatively with lyrics. Her sense of rhythm is unerring and is accentuated by her excellent arrangements. She's a fabulous singer that anyone interested in vocal jazz should be aware of.” - Audrey Silver review, CD Baby
Milo has been active in the Pacific Northwest jazz community since the late 70's after studying for 3 years at Western Washington University under Bill Cole, Scott Reeves, and Americole Biasini. Milo spent 4 years in New York City (1987-1991) leading trios and quartets and then returned to Seattle. In addition to playing with the wide array of amazing musicians in Seattle he has performed with some of the world's finest including: Gary Steele, Ron Eschete, Julian Priester, Joe Sample, Ernestine Anderson, Herb Ellis, Nancy King, Cedar Walton (with the Composer's and Improviser's Orchestra), Mose Allison, Larry Coryell, Chip Jackson, Eliot Zigmund, Billy Hart and Phil Markowitz. Milo also had the great fortune, thanks to saxophonist/composer Steve Griggs, of recording 2 CDs with master drummer Elvin Jones (Jones for Elvin vols.1 & 2 - Hip City Music).
He has appeared on The Bob Hope Show, The Eartha Kitt show, the Broadway shows Ain't Misbehavin', Five Guy's Named Moe, Smokey Joe's Cafe, and performed with pop vocal groups The Coasters, The Drifters and The 5th Dimension.
Milo spent 4 years on the adjunct faculties of Western Washington University and Olympic Community College. He has also taught at The Cornish Institute For The Arts in Seattle and Friend's Seminary, NYC. He currently teaches privately and at Seattle Central Community College.
While earning a Bachelor of Music in Saxophone Performance, Steve studied with Willis Coggins and Ron Dewar. Steve performed frequently with Ray Sasaki in a quintet that transcribed classic tunes from the Blue Note catalog. Steve also performed regularly at Nature’s Table in John Scott’s quintet. John was a classmate of Herbie Hancock and wrote “The Maze” on Herbie’s Blue Note debut record. Steve collaborated with guitarist Mark Dziuba, dancers Shelly Masar and Debbie Noble to present improvised dance/music concerts. Steve recorded a cassette album Five in the Sky with Mike Kocour, Dan Anderson, and Jeff Stitely playing all original compositions. Steve’s first gig in Chicago was with pianist Laurence Hobgood.
Washington University. In addition to being a teaching artist with Seattle Music Partners,
Drew helps coach Jazz Ensembles at Jackson High School, Heatherwood Middle School, and is the Jazz History and History of Rock & Roll Professor at Central Washington University’s Sammamish Campus. When he is not teaching, Drew is also an on-call bassist and arranger around the Greater Seattle area.
In 1989 he relocated to Chicago where he continued to perform at such legendary blues clubs as Buddy Guy’s, Rosa’s, The Kingston Mine’s, and Blues Etc., and shared the stage with such notables as Junior Wells and Sugar Blue.
Relocating to Seattle in 1991, Paul won the Washington Blues Society award for the “Best Blues Harmonica” in 1992. Since then he has won that award multiple times and the Blues Society eventually named the annual “Best Blues Harmonica” award after him. He has also won the award for “Best Vocalist” twice. In 2008 he was voted into the Washington Blues Society Hall Of Fame, and in 2017 he received their Life Time Achievement Award. Click for an interview by the Washington Blues Society
For the past several years he has performed with numerous Seattle jazz artists and is now a recording artist on the Pony Boy Jazz Label with the 2015 release of his Cd, “Creativity” which is made up entirely of his original lyrics set to jazz instrumental melodies, a style known as Vocalese, sung to compositions by artists such as Lee Morgan, Hank Mobley, and Tad Dameron, among others. In September 2017, Paul relocated to Tucson Az. where he continues to perform throughout the region.
Hall’s recording credits include his album Hallways (2017, Hollistic MusicWorks HMW15), the South Florida Jazz Orchestra with Rick Margitza, Full Speed Ahead (Chris Croce, 2015), the Henry Mancini Orchestra on Jazz & The Philharmonic CD/DVD (2014), With Love (Jeremy Fox, 2014), Sounds of the Season (Frost School of Music, 2013), Inspiration: A Tribute to Nat King Cole (George Benson, 2013), The Main Squeeze (2012), and others. Active in theater productions, Hall has played trumpet in Ragtime, The Producers, The Pajama Game, Shrek the Musical, Thoroughly Modern Millie, Little Women, Catch Me If You Can, Damn Yankees, The Drowsy Chaperone, Hair, In The Heights, Les Misérables, and Annie, as well as many shows internationally on board Royal Caribbean Cruise Lines.
Since moving to Seattle, Hall has performed with the Seattle Repertory Jazz Orchestra, Symphony Tacoma, Ron Jones’ Jazz Forest, the 5th Avenue Theatre and many of the regions outstanding ensembles. His band holds a monthly residency at Tula's Jazz Club and recently performed at the 2018 Gene Harris Jazz Festival. As a clinician and educator, Hall has served Boise State University, Pacific Lutheran University, Whitworth University, Eastern Washington University, Western Washington University and Tacoma Community College, in additional to many local high school programs and jazz festivals. Hall is an endorsed artist with VanLaar Trumpets & Flugelhorns and AR Resonance Mouthpieces.
Greg was very active both locally and nationally while at Berklee. He began playing with the International String Trio and performing regularly with Berklee faculty such as Bill Pierce, Neal Smith, Jon Hazilla, Doug Johnson, Rebecca Cline and many others.
After graduating, Greg moved to New York and began playing in Winard Harper's Jelli Posse. Throughout his stay in New York, he worked with legendary jazz performers such as Jimmy Cobb, Eric Reed, Eric Harland, Cyrus Chestnut, Steve Turre, Jim Rotondi, Jackie Ryan, Stephen Scott as well as continuing to tour with the International String Trio and the Valinor Quartet.
Greg moved to Seattle in 2015 to change his surroundings and currently performs with a variety of groups around the west coast. He can be seen performing regularly with Thomas Marriott, Julian MacDonough, Miles Black and other great local Seattle musicians. He also co-leads the 200 Trio which performs around the country as one of the up and coming jazz guitar trios.
Throughout Max's musical journey, he has had the opportunity to gain personal experience and knowledge from many notable musicians. Some highlights include performing clinics at Berklee College of Music with Joanne Brackeen, Eddie Gomez, and Wayne Krantz, a performance/rehearsal at Lincoln Center with the Roosevelt High School Jazz Band and Wynton Marsalis, workshops with Gerald Clayton, Joe Lovano, the late Rashied Ali, and the late James Moody, a performances and recording with the Roosevelt Jazz Band and Cuong Vu, among others. In addition to these artists, a special thanks goes out to Benny Green, Neal Smith, Katia Roberts, Ernesto Diaz, Tyler Richart, Joanne Brackeen, Stuart MacDonald, Moc Escobedo, Lisa Holmberg and Scott Brown for going above and beyond in helping mentor Max as a musician, drummer and human spirit.
Max has since been a featured guest artist at the University of Virginia, Charlottesville(UVM), Gonzaga University, Eastern Washington University, and Whitman College.
His current goals include perfecting the composition side of his career to form his own standalone band by late 2019, recording the next 200 Trio record, founding an organization to support the jazz jam session/education scene in Seattle, adding an electronic component to his percussion arsenal, and continuing to devote time, love and energy to the art of the drum.
Treseler grew up in the midst of Seattleʼs grunge scene before moving to Boston to pursue his studies on scholarship at New England Conservatory, where he studied with jazz legends Jerry Bergonzi, Bob Brookmeyer, George Garzone, and Steve Lacy, He holds a Master of Music degree in Jazz Studies and Improvised Music from the University of Washington where he worked with avant-garde trumpeter Cuong Vu.
Steve leads his own ensembles and is part of several ongoing collaborative projects. He and trumpeter Ingrid Jensen are co-leaders of the album Invisible Sounds: For Kenny Wheeler on Whirlwind Recordings, a project that was featured in the New York Times, DownBeat, and on NPR’s Jazz Night in America. Steve leads the In Motion Quartet, Electro-Acoustic Trio and Radiant Fields: an experimental meditation for solo saxophone and electronic effects. He co-leads the Snow Line Project with Denver-based pianist Annie Booth and is a member of Tom Varner’s Nonet, Christian Pincock’s Scrambler, Wayne Horvitz’s Washington Composers Orchestra, Jessika Smith’s Big Band, The Phil Parisot Quartet, and Birch Pereira and the Gin Joints. In 2018, Treseler was a featured soloist with the Seattle Collaborative Orchestra. His album Center Song received a four-star review in DownBeat and made the magazine’s “Best Albums of 2014” list.
Creative music education is an integral part of Steve’s ongoing work. He is the founder of the Game Symphony Workshop, offering group improvisation workshops for ensembles. Steve teaches at Seattle Pacific University and designed an improvisation course that is part of the school’s core music curriculum. His expanding reputation as an educator has also been fueled by his Amazon bestseller Creativity Triggers for Musicians, The Living Jazz Tradition: A Creative Guide to Improvisation and Harmony, and his Creative Music Blog.
Steve has performed with jazz greats Bill Frisell, Dave Douglas, Bob Brookmeyer, Kenny Wheeler, Steve Swallow, George Garzone, Jamie Cullum, Geoffrey Keezer, and Mike Stern.
After winning the prestigious Carmine Caruso Jazz Trumpet Competition in 1999, Marriott headed east from Seattle to New York where he gained initial acclaim through his work with Maynard Ferguson’s Big Bop Nouveau band. Marriott completed 3 world tours as the jazz soloist with Ferguson, then continued to work in New York and on the road with the likes of Rosemary Clooney, Joe Locke, Brian Lynch, Michael Feinstein, Eric Reed, Les Brown and the Band of Renown, Kenny Kirkland, Charlie Hunter, Deltron 3030, Ivan Neville’s Dumpstaphunk, Spanish Harlem Orchestra, Steve Wilson, Ritchie “Alto Madness” Cole, Carl Allan, George Colligan, Roy McCurdy, Orrin Evans and scores of others.
Marriott’s diverse interests and skills are reflected in the range and success of his albums. Since 2004, Thomas has produced eleven albums as a leader for Origin Records. Three of his albums have made the top-ten on national jazz radio airplay charts, including the 2009 release “East-West Trumpet Summit,” which made it all the way to number one. His albums have been featured on NPR’s “Morning Edition” and have gained critical acclaim world-wide, including the 2010 release “Constraints and Liberations” which garnered 4 ½ stars in Downbeat Magazine. Thomas’ ninth album, “Urban Folklore,” was released in 2014 and features Orrin Evans, Eric Revis and Donald Edwards. The album was the editor’s pick in JazzTimes’ January 2015 issue.
Known for his innovative spirit and broad musical scope, Thomas continues to perform on the stages of the world’s greatest jazz clubs and concert halls, as a leader and alongside the top names in jazz. The Seattle native is featured on more than 100 recordings with musicians of all genres and styles. Thomas has produced albums for a number of artists including saxophonist Hadley Caliman and trumpeter Ray Vega. He has served on the Board of Governors of the Pacific Northwest Chapter of the National Academy of Recording Arts & Sciences and the Board of Directors of Earshot Jazz. Since his return to Seattle in 2004 he has been the featured trumpet soloist with the Seattle Repertory Jazz Orchestra and has been a catalyst on the Seattle jazz scene.
British rock and American soul music were his earliest influences. Early 1960’s AM radio became his first “teacher”. Jeff learned the licks and chords of popular music of the time by listening and copying what he heard. At age 15, Jeff took a job offer to play electric bass guitar in a steadily working band which introduced him to jazz. By age 17 he was teaching himself the acoustic double bass, learning onstage with veterans and peers of the fertile “Twin Cities” jazz scene.
Jeff credits saxophonists Irv Williams, Larry Hillman, Bob Crea, Dick Oatts, and Bob Rockwell, as well as pianists Buddy Davis, Tom O’Donnell, Bobby Peterson, Art Resnick, and Bobby Lyle, along with guitarist Dean Granros, bassist Billy Peterson, and drummers Jay Epstein, Kenny Horst, Paul Lagos, and Eric Gravatt as early Minneapolis/St.Paul mentors.
In 1975, at age 20, Jeff left Minneapolis for Philadelphia to join legendary drummer Philly Joe Jones’ then touring group called “Le Gran Prix”. After touring the Eastern seaboard for several months and experiencing the great cities of that coast, Jeff began following leads for gigs which had him living and working in many cities across America including Atlanta, Oklahoma City, Austin, San Diego, and Los Angeles, finally settling with his wife Marcy in Seattle in 1990.
Since his arrival in Seattle, Jeff has embarked on many musical collaborations with Pacific Northwest area musicians. Many of these relationships continue today. Several of these musicians are featured on Jeff’s own recordings and he on theirs.
Since 1991, Jeff has also worked off and on with pianist Jessica Williams with whom he has recorded six CD’s and played major venues such as Jazz Alley and the Monterrey Jazz Festival. Jeff’s work with Williams created collaborations with drummers, Dick Berk, Ralph Penland, Victor Lewis, Mel Brown, and Eddie Marshall, as well as saxophonist Gary Bartz.
Since 1993, on the International scene, Jeff has worked in pianist Hal Galper’s trios with drummers Steve Ellington and John Bishop. “Origin” records released their first trio recording in 2007 called “Furious Rubato” to great critical acclaim. In 2010 this trio released “E Pluribus Unum” which was recorded live for the Earshot Jazz Festival in Seattle. Jeff has toured the United States and Europe several times with Galper’s groupings, playing major venues, festivals, and schools. He has recorded eight CD’s to date on various labels with Galper in trio, quartet, and quintet configurations. (See “Recordings” section). Collaboration with Hal Galper has included gigs and recording sessions with saxophonists, Jerry Bergonzi, Steve Grossman, Dick Oatts, Walt Weiskopf, Ira Sullivan, Gary Foster, and trumpeters Tim Hagans, Jack Walrath, and Franco Ambrosetti.
Jeff Johnson has worked with many other great jazz instrumentalists along the way including Chet Baker, Claudio Roditti, Martin Banks, Ray Vega, Barney Kessell, John Pisano, John Stowell, Vic Juris, Red Holloway, Jim Snidero, Houston Person, Wilton Felder, Benny Golson, Charlie Rouse, Lew Tabackin, Sonny Stitt, Byard Lancaster, Steve Wilson, Kim Richmond, Lee Konitz, Ron Eshte, Steve Nelson, Ali Ryerson, George Cables, Joanne Brackeen, Randy Porter, Patti Wicks, Ralph Sutton, Tardo Hammer, Frank Kimbrough, Taylor Eigsti, Aaron Parks, George Colligan, Gary Versace, Laurence Hobgood, Orrin Evans, Sunny Murray, Billy Hart, Joe Locke, and Steve Nelson. Vocalists who have called upon Jeff’s accompanist skills include Ernestine Anderson, Karrin Allyson, Rebecca Parris, Annie Ross, Gail Pettis, Dee Daniels, Jackie Ryan, Karin Plato, Marlena Shaw, and Kendra Shank, to name just a few. Kendra has recorded three original Jeff Johnson compositions for which he also wrote the lyrics and one original on which Jeff wrote the music to Kendra’s lyric.
In 1984, Jeff created his own “Jefson Records” label to produce his first two recordings as a leader. “HARBINGER” was released on vinyl in 1986 and “MY HEART” on cassette only in 1991. Since 1997, Jeff has recorded four CD’s as a leader for the Pacific Northwest label, Origin Records. 1997’s “FREE” (Origin 82370), 2000’s “THE ART OF FALLING” (Origin 82386), which won the 2000 Earshot Jazz recording of the year in Seattle, and 2004’s “NEAR EARTH” (Origin 82429), and his latest release, 2008’s “TALL STRANGER” (Origin 82518).
Jeff won Seattle’s Earshot Jazz “Northwest Jazz Instrumentalist of the Year” awards in both 2000 and 2001.
A noted pianist, composer and leading figure in the Northwest jazz scene, Marc Seales has shared stages with many of the great players of the last two decades. He has played with nearly every visiting jazz celebrity from Joe Henderson and Art Pepper to Benny Carter, Mark Murphy, and Bobby Hutcherson. With the late Don Lanphere he performed in such places as London, England; Kobe, Japan; The Hague in the Netherlands; and the North Sea Jazz Festival.
The musicians he admires most are Herbie Hancock, Charlie Parker, John Lewis, John Coltrane, Miles Davis, and Wynton Kelly, though he is quick to acknowledge that he owes the basically be-bop/post be-bop sound of his playing to his mentors, Don Lanphere and Floyd Standifer.
Critics have praised Seales variously for his "meaty piano solos," and "blues inflected, Hancock-inspired modernism." Winner of numerous Earshot awards (Instrumentalist of the Year in 1999 and Acoustic Jazz Group in 2000 and 2001; Jazz Hall of Fame, 2009), Seales is today promoting jazz awareness and molding young talents as a Professor of Music at the University of Washington, where he is a professor in the Jazz Studies Program. He teaches an array of courses, including History of Jazz, Jazz Piano, and Beginning and Advanced Improvisation, as well as leading various workshops and ensembles.
As a sideman he is frequently called on by an impressive list of musicians including Peter Bernstein, Eric Alexander, Bill Mays, Vincent Herring, George Colligan, Reggie Workman, Tim Ries, Chuck Leavell and others.
Matt is also a founder and co-Artistic Director of the Ballard Jazz Festival and has produced jazz concerts in association with Bumbershoot and others.
Jorgensen’s new CD, Tattooed by Passion, is inspired by the paintings of his late father-in-law, the prominent abstract-impressionist artist Dale Chisman. Jorgensen has created a recording of all original works drawing influence directly from Chisman paintings, his home city of Denver, his life-long friends, and his constant reinvention as an artist. To properly reflect the power and expanse of Chisman’s pieces, Jorgensen, along with his longtime collaborators – trumpeter Thomas Marriott and saxophonist Mark Taylor – expands his own palette from previous recordings, exploring broad new textures and musical landscapes aided by Corey Christiansen’s earthy guitar work, bassist Dave Captein, and orchestrations for string quartet.
ANDREW FREUND - NYC JAZZ CRITIC
Mandyck has developed one of the most remarkable and distinctive tenor saxophone sounds to be heard anywhere: big, warm, expressive and exciting. His melodic and improvisational style is a mix of pieces assimilated from his heroes (John Coltrane, Dexter Gordon, Cannonball Adderly, Michael Brecker) and his original touches drawn from his own roots in the blues. Born and raised in New York, Mandyck settled in Seattle in the early '80's where he soon became a top player in clubs, concerts and recording studios. He's performed and recorded with jazz greats Mark Murphy, Billy Hart, Lawrence Marable, and Carter Jefferson and was awarded "Best NW Instrumentalist" in the 1999 Earshot Jazz Awards. Because of health issues,he was recently forced to surrender his saxophone and turn his attention to the guitar.
Supporting Live Jazz Performance & Education