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.
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.
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.”
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.
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
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.
- 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.
“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
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.
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.
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.
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.
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.
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