Every Wednesday night for five exciting years Aria Prame was the house singer at the popular Whisky Bar sessions with Seattle Jazz Hall of Fame legend, Ronnie Pierce. Here, she had the opportunity to play with top musicians from all over the country when they stopped by to sit in at what became a legendary jam session. Whether laying it down with the driving, kinetic and high-powered rhythm section and horn players at the late-night jams or playing the more intimate piano lounge at St. Clouds with pianist Tim Kennedy, Aria always brings her dynamic spirit, clear and smooth tone, and astute musicality.
In 2010, the Aria Prame Quartet headlined every Thursday at downtown Seattle's Cafe Amore. Along with a premiere Northwest rhythm section, Aria worked to develop a community of musicians and music lovers and garnered much attention, excitement, and positive reviews.
Aria released her first full-length album, Lost and Lookin', in November 2011. In addition to her work as a vocal soloist, Aria also performed regularly with the vocal trio Venus d'Bop (Aria Prame, Carrie Wicks, Kim Rushing) and with the exciting funk/soul band Eldridge Gravy and the Court Supreme, backing up powerhouse Eldridge Gravy.
Aria is now enjoying working out new material for an exciting duo project with vocalist Carrie Wicks as "Night-n-Gale" and is proud to have recorded the original title track song with Wicks for her new release "Maybe".
–All About Jazz
When Carrie Wicks steps up to sing, her shy, demure manner gives you the impression that she just came from her day job as a librarian. Then she counts her band off, closes her eyes, and proceeds to mellifluously swing her butt off, unassumingly drawing the audience in all the while. At ease and unhurried, she meanders in and out of a medium swing, taking notice of every detail, seemingly to lag a mile behind the beat to examine the intricacies of an embellished chord, only to magically appear right in time without missing a step.
Her early musical background included playing viola in Summit, New Jersey, singing harmonies during middle school in a church choir in Dorset, Vermont, and then playing cornet in jazz band in high school. But it wasn’t until the fall of 2001, while living out in the woods of Indianola, Washington, when she ferried across the Sound for her first jazz-singing workshop in Seattle, that she fell for the bright light of urban jazz. Since then Ms. Wicks has been focusing on jazz vocals and collaboratively composing songs with bassist Ken Nottingham for the Bushwick Book Club of Seattle and pianist Nick Allison; she also harmonizes with Aria Prame as Night-n-Gale and has assisted in producing eight variety shows called the Big Gig at the Triple Door with Billy Brandt. She’s gained notice for her lustrous, burnished tone; her uncanny sense of phrasing; and a delivery that’s both understated and passionate.
In 2010 her debut CD, I’ll Get Around to It, catapulted her to national acclaim, reaching to #26 in the JazzWeek charts. She followed it with Barely There in 2012, and her third album, Maybe, which released in October 2015. A Seattle resident, she has performed at Tula’s, the Triple Door, the Royal Room, the Sorrento Hotel, Vito’s, St. Clouds, Egan’s Ballard Jam House, and other area venues.
Ms. Wicks is a three-time nominee for Seattle’s Earshot Jazz Golden Ear Award “Vocalist of the Year” for 2012, 2015, and 2016.
Tony Foster was born and raised in North Vancouver, BC, Canada. He received his initial musical training early on, in the form of classical piano lessons privately. In school bands, his main instrument became the trumpet. His studies on the trumpet continued until college, and it was not until this time that his focus changed to piano. Foster began playing with various university ensembles on the piano (highlighted by performances with guests such as jazz saxophone legend Phil Woods), and graduated in 1996 from UBC (University of British Columbia) with a Commerce Degree. Eventually choosing to pursue a musical career, he was a 1998 recipient of the Fraser MacPherson Scholarship. Foster then participated in a residency at the Banff Jazz Workshop in 2000 where he studied jazz piano and performed with notable jazz artists including saxophonist David Liebman, multi-instrumentalist Don Thompson, pianist Kenny Werner, and bassist Ray Drummond.
Being the Music and Events Maestro is a hat I wear as an Events Professional when working with special private events. In my career spanning more than 30 years, I have done thousands of gigs and events of all types. I have focused upon playing for special private events for the last 20 years. Playing live music in a public venue such as a nightclub, bar, restaurant, tavern, or cafe is not the same thing as being hired to perform for a private event. These are two separate things....
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.
Mr. Barnett was a member of the house orchestra at the Lake Geneva, Wisconsin Playboy Resort Hotel for nearly 20 years accompanying most of the great names in jazz and pop music. He has been invited to jazz festivals throughout the United States and Canada, performing with a long roster of notable musicians. Mr. Barnett toured extensively with the late Pearl Bailey and Louie Bellson, and in recent years toured even more extensively with Peter Nero.
Mr. Barnett has been Peter Nero's principal bassist for over 18 years.
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.
Endemic Ensemble: Tangled
In 2016, Steve produced the Endemic Ensemble's second album, Tangled, released through Opus Funkus Music. This recording contains three of Steve's compositions: "Sugar Ant", "The Snort", and "Goodbye, Old Friend".
In collaboration with percussionist Christian Krehbiel in 2013, Steve founded the Random Access Quartet, an alternative jazz quartet that performs songs from rock and pop artists, such as Radiohead, Blondie, Portishead, Santana, and Led Zeppelin, along with hard-bop standards from jazz artists like Wayne Shorter and Horace Silver.
Endemic Ensemble: Lunar
In 2012, Steve produced the Endemic Ensemble's debut album, Lunar, released through Pony Boy Records. This recording contains six of Steve's compositions: "Lunar", "Return of the Pelicans", "March-Bop", "Solace", "A Short Walk with Many Stops", and "Spikenard". Lunar has received praise from Lucid Culture's review, Endemic Ensemble Delivers a Gorgeously Tuneful 2012 Album, and from Carol Banks Weber's review, Endemic Ensemble turns LUNAR into a swanky jazz club experience. Lunar made Lucid Culture's The 20 Best Jazz Albums of 2012.
In 2010, Steve founded the Endemic Ensemble, a collaborative, modern jazz quintet with Travis Ranney on tenor and soprano saxophones, Matso Limtiaco on baritone saxophone and bass clarinet, David Franklin on piano, and Ken French on drums. The Endemic Ensemble's music is composed by Messick, Franklin, and Limtiaco. In 2016, Christian Krehbiel joined the Endemic Ensemble on drums.
Paul Gillespie is a tenor saxophonist, composer, and music educator who performs improvised music throughout the Seattle area as a member of the Jazz Police, PGM Trio, Jim Cutler Jazz Orchestra, and Kevin McCarthy Quartet, and has recorded on recent CD releases PGM Trio (2013), Gimme Some Sugar, Baby! (2014), and Celebration (2015). Paul regularly appears with others as a freelance musician and was honored to join Daniel Barry’s Celestial Rhythm Orchestra in a 2014 Earshot Jazz Festival performance at the Seattle Art Museum. An upcoming debut recording featuring original compositions is forthcoming in 2016.
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.
Founded by bassist Steve Messick in early 2010, the Endemic Ensemble is a modern, collaborative jazz quintet based in Seattle, Washington with Messick on double bass, Travis Ranney on tenor and soprano saxophones, Matso Limtiaco on baritone saxophone and bass clarinet, David Franklin on piano, and Christian Krehbiel on drums. The music, composed by Messick, Franklin, and Limtiaco, is influenced by '60s hard bop, big band, and 19th and 20th century classical music, and is described as having “swinging rhythm, great tunes and purposeful playing - always in the service of the song, and usually anchored in the blues” (Lucid Culture). “Think hard-bop meets classical and big band horns” (Carol Banks Weber, AXS).
For more info, visit opusfunkus.com/endemicensemble
Greg Ruby, guitar; Julian Smedley, violin; Ryan Hoffman, rhythm guitar & Geoff Cooke, bass
Seattle-based guitarist and composer Greg Ruby plays diverse styles of vintage jazz. Described as “truly hot jazz” by Vintage Guitar Magazine, his CD, Look Both Ways, celebrating the 100th birthday of guitarist Django Reinhardt and featuring 12 original compositions, reached #1 on the Roots Music Review jazz chart. He leads The Greg Ruby Quartet, a Hot Club jazz group dedicated to all-original compositions; collaborates with New York and New Orleans musicians in The Rhythm Runners, a Prohibition-era dance band; plays Valse musette and European café jazz with Bric-a-brac Trio; and is a member of The Post Alley Ramblers, an old school New Orleans-style jazz quartet. A former member of Pearl Django, Greg has toured throughout the United States, Canada and Europe and appeared at the prestigious Django Reinhardt Festival in Samois-sur-seine, France. As founding member of Hot Club Sandwich, Greg can be heard on all the band’s recordings and produced their 2010 release, And If Only, featuring legendary vocalist Dan Hicks. Greg’s compositions have been heard on television and documentaries including NBC’s Parks and Recreation. He’s published the Pearl Django Play-Along Book Vol.1 through Djangobooks.com and is completing a play-along CD/book on the swing guitar mastery of Oscar Aleman.
Jonathan briefly attended Depaul’s School of Music in Chicago, where he studied under Mark Colby. He left school to pursue a full time career in music during the neo-swing movement of the mid-90s, playing with the Mighty Blue Kings and then the Four Charms. He has also worked with Chicago’s emerging improvisers such as Josh Berman, Jason Adasiewicz, and Design Flaw, and developed an interest in country blues and jug band music playing with the Wabash Jug Band. In 2004, Mr. Doyle moved to Austin to pursue his love of acoustic and roots music afresh. After a brief stint with the Asylum Street Spankers, he went on to freelance in Central Texas’ vibrant traditional jazz, swing, and western swing scene, playing with well-established acts such as Willie Nelson and Asleep at the Wheel, and the Jim Cullum Jazz Band, as well being a part of many fine local bands such as Thrift Set Orchestra, Albanie & her Fellas, Stan Smith and the Jazz Pharaohs, Aunt Ruby's Sweet Jazz Babies, East Side Dandies, White Ghost Shivers, Whit Smith's Hot Jazz Caravan, The Giant Three and his own projects The Jonathan Doyle Quintet / Swingtet. His time in New Orleans introduced him to the hot jazz and traditional blues band, Tuba Skinny, whom he played and traveled with extensively from 2011-2015. 2016 to early 2017 had Jonathan spending a whole lot of time in Chicago playing with the amazing Fat Babies as well as guitar maestro, Joel Paterson. 2016 was also the start of playing more regularly with Naomi & Her Handsome Devils and Hal Smith's Swing Central!
Jonathan is committed to crafting original music as well studying the American musical traditions. He strives to organize and be a part of bands whose music is rooted, yet distinct. And to play for listeners and dancers anywhere they'll have him!
Ryan grew up in Kansas City. He first picked up the guitar at age eleven and started playing in working rock bands as a teenager. He continued to play in rock, alt-rock and punk bands through college until he became interested in traditional American music styles; bluegrass, blues, folk and ragtime. His interest in roots music led him all over the country, touring and seeking opportunities to play and learn. A five month stay in New Orleans inspired him to take up swing jazz, and being a lover of acoustic music, the move to Gypsy jazz seemed natural. The style is so rich for the guitar.
In 2000, Ryan spent a year in France researching Gypsy Jazz music. After which he returned to the U.S. to start Zazou. Based in Seattle, Zazou has been a popular Gypsy Jazz band around the Puget Sound for over 10 years. The group has released three CDs: Zazou, Djangolotry and Merle Noir, has played in private and public venues all over the region, toured the West Coast, contributed original music to a movie soundtrack and had their music used for a series of local TV commercials. In 2004, Ryan returned to France and The Netherlands for an extended stay to study with guitarists Fapy Lafertin and Sammy Daussat. He also had the good fortune to play alongside outstanding guitarists, Angelo Debarre, David Reinhardt, Noe Reinhardt and Sebastien Giniaux at jazz jams in Paris.
In 2007, he joined the Northwest’s most well known Gypsy Jazz combo Pearl Django and began touring a gigging internationally. Ryan has shared the stage with many renowned artists, including Martin Taylor, Fapy Lafertin, Bucky Pizzarelli, Larry Coryell, Howard Alden, Andreas Oberg, Robin Nolan, Tcha Limberger, Olli Sokkeli, Ken Peplowski, Darol Anger, Connie Evingson, Dave Kelbie, Greta Matassa and Gail Pettis. He has also performed with the Seattle Musical Theatre and the Whatcom Symphony Orchestra. Ryan’s playing and compositions are featured on Pearl Django’s CDs, “Systeme D”, “Eleven” and “Time Flies”. In 2015, after eight incredible years, Ryan left Pearl Django to build his ever growing teaching business and to devote more time to his family.
Ryan continues to perform with his own combos, and work as a recording artist. He manages the Ryan Hoffman Trio, performs as a solo artist and sits in with other local bands such as Hot Club Sandwich, The Djangomatics and Bric-a-Brac on occasion. He maintains a busy teaching schedule teaching private lessons, clinics, school classes and online lessons. In his private life, he loves to spend time with his wife and young daughter or in the kitchen, cooking up something or other.
Seattle-based vocalist Janette West's multi-layered career spans four decades, and was nurtured in the fabric of Northwest music history. Her voice and style is a rich composite of dynamic jazz improvisation with the plush warmth of soulful R&B influences. Jazz Times writes, “West is a first rate swinger, comparable in style and gusto to Ernestine Anderson, though the warmth of her ballads is more reminiscent of Natalie Cole.” The Examiner writes: “Janette West is a lovely and mercurial vocalist, a local favorite.”
For more info, visit janettewest.com
Dan is currently teaching Upright Bass (Jazz and Classical) Electric Bass (All styles) at Music Works North West in Bellevue Washington.
He can be seen playing with Stephanie Porter, Bruce Staelens, Brian Nova, Susan Pascal, Jay Thomas and others around Seattle.
Dan has also performed with Sam Rivers, John Medeski, The Xavier Cugat Orchestra, Roberta Picket, Eddie Fisher, Regina Carter, Rachel Z, George Russell, Jackie Byard, Christopher Brooks, Cab Callaway, Allen Dawson, Charles McPherson, D. Sharpe, George Garzone, Rebecca Paris, Trudy Silver, Bill Lowe, Mose Allison, John Medeski, Bob Moses, Bill Frisell, Dorothy Donegon, Bill Pierce and others.
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. "
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.
Weirdo Simpatico is a head-on collision between flash fiction and free jazz. Using original short stories as a springboard, the band fuses quirky narratives with spirited improvisation to take audiences on an adventurous romp across unexpected musical landscapes. The band features Katy Bourne on vocals, Paul Gabrielson on bass, Rick Mandyck on tenor sax and Greg Campbell on percussion and drums.
Eugene was resolute. He would not pay for a third Rhinoplasty. “You already look like a duck,” he reasoned, “This freak show is breaking the bank.” But his wife begged and cajoled. She only wanted a few finishing touches. Tired of her endless haranguing, Eugene considered his options. He watched videos on YouTube and researched over-the-counter anesthetics. “How hard could this be?” he thought to himself, “It’s not like it’s brain surgery.”
He plays drums and percussion in jazz, classical, and other musical contexts, including his long-standing membership in the Ghanaian traditional drumming group Anokye Agofomma. He teaches music courses at several colleges in the Puget Sound region.
“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
- CHRISTOPHER DELAURENTI, THE STRANGER
John Hansen is regarded as one of the most in-demand jazz pianists in the Northwest. A studied and musical ensemble player with a strong melodic vocabulary, John has always been recognizable for a unique personal voice.
His performance history includes such venues as NYC's Birdland, The Jazz Standard, Dizzy's Club Coca-Cola, DC's John F. Kennedy Center of the Performing Arts, Seattle's Jazz Alley and Tula's, and international festivals and tours in France, Japan, Korea, Eastern Europe, Central Asia, Russia and Central America. During his career, John Hansen has performed and recorded with many of the Northwest's premiere, award-winning bands including: the Jay Thomas Quartet, Jim Knapp Orchestra, Kelley Johnson, and The Bill Ramsay-Milt Kleeb Band with Pete Christlieb. He has been invited to perform with The Seattle Symphony, Rick Margitza, Randy Brecker, Ingrid Jensen, Ernestine Anderson, The Woody Herman Orchestra, Bud Shank, Bobby Shew, David 'Fathead' Newman, and more.
Wayne has been married to the same great woman for 25 years and has two really cool kids!
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.
Most of the year, Tim is in Seattle WA where he teaches Jazz Theory at Cornish College of the Arts and directs and arranges for the jazz band at Holy Names Academy. He also teaches privately throughout the year, and stays busy as a composer with his groups Hardcoretet, and Septet of Darkness.
Tim has performed all over the US, Canada, Puerto Rico, Thailand, Japan, and South Korea, given clinics and performances at dozens of Colleges and high schools around the country, and has been on faculty at Jazz Camp West, the National Guitar Workshop, Cornish Summer program, Alaska Summer Arts fest, as well other nationally recognized music education programs.
Brad has performed, recorded or toured with: The Count Basie Big Band, Benny Green, Bob Brookmeyer, Sam Rivers, Anne Hampton Callaway, Nancy King, Vincent Herring, Lynn Seaton, Stephan Karllsson, Bobby Shew, Jamey Aebersold, Dan Haerle, Anthony Cole, Steve Gilmore, Tommy Walker, Othello & The Hipknotics, Blake Lewis, Tim Noah and Paris Rutherford.
Brad also keeps a busy schedule as a versatile freelance drummer based out of the greater Seattle area. Through his drumming, Brad has also gigged and traveled internationally as well as throughout the US. His superb musicianship and steadfast professionalism have made him one of the Northwest's most in demand musicians.
Supporting Live Jazz Performance & Education