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Festival-goer claims it was ‘psychologically inadvisable’ for him to hear Larry Ochs Sax and Drumming Core perform

Jazzman Larry Ochs has seen many things during 40 years playing his saxophone around the world but, until this week, nobody had ever called the police on him.

That changed on Monday night however, when’s Spain’s pistol-carrying Civil Guard police force descended on the Sigüenza Jazz festival to investigate allegations that Ochs’s music was not, well, jazz.

Police decided to investigate after an angry jazz buff complained that the Larry Ochs Sax and Drumming Core group was on the wrong side of a line dividing jazz from contemporary music.

The jazz purist claimed his doctor had warned it was “psychologically inadvisable” for him to listen to anything that could be mistaken for mere contemporary music.

According to a report in El País newspaper yesterday, the khaki-clad police officers listened to the saxophone-playing and drumming coming from the festival stage before agreeing that the purist might, indeed, have a case.

His complaint against the organisers, who refused to return his money, was duly registered and will be passed on to a judge.

“The gentleman said this was not jazz and that he wanted his money back,” said the festival director, Ricardo Checa.

“He didn’t get his money. After all, he knew exactly what group he was going to see, as their names were on the festival programme.

He added: “The question of what constitutes jazz and what does not is obviously a subjective one, but not everything is New Orleans funeral music.

“Larry Ochs plays contemporary, creative jazz. He is a fine musician and very well-renowned.”

“I thought I had seen it all,” Ochs, who reportedly suffered a momentary identity crisis, told El País. “I was obviously mistaken.”

“After this I will at least have a story to tell my grandchildren,” the California-based saxophonist added.

by Giles Tremlett  guardian.co.uk

Jazz Photography by editorial photographer and photojournalist Daniel Sheehan who covers jazz performances, and  creates portrait photography for publications and corporations. He is also a Seattle Wedding Photographer at A Beautiful Day Photography,  a wedding photographer with an artistic  photojournalist style.

Seattle pianist Marc Seales showed the breadth of his current artistic projects with The Paris Suite featuring Evan Flory-Barnes, Larry Barrileu, and D’Vonne Lewis, Fred Hamilto, and Thomas Marriot on Wednesday night at Tula’s. Beautiful evocations of Paris in the ear. Intense energy across the group enjoyed by a full house.

“Seattle pianist and UW jazz studies educator Marc Seales will exhibit the breadth of his artistic vision and his immense talents as a soloist across two nights and two distinct performances at Tula’s. Wednesday’s performance presents his Paris Suite, featuring bassist Evan Flory-Barnes, drummer D’Vonne Lewis, and percussionist Larry Barrileau. On Thursday, Seales will lead the American Songbook Group with drummer Garry Hobbs, bassist Dave Captein, trumpeter Cuong Vu, and the guitarist Fred Hamilton. Seales has earned great regional and national acclaim for his work with bop legend Don Lanphere and his trio New Stories, which includes drummer John Bishop and bassist Doug Miller. Seales has also performed with such legends as Joe Henderson, Benny Carter, Bobby Hutcherson, and Art Pepper. ” from Earshot Jazz Festival Program

I photographed Wayne Horvitz during a sound check before his performance at the 2006 Earshot Jazz Festival at the Triple Door. He was laying with the Gravitas Quartet. A beautiful group. What I really like about this photograph is the backlight making almost a complete silhouette. It is really nice to have access to different angles during a soundcheck instead of shooting from the audience. I am going to add this to my editorial website splash page. I like the feeling of it. Maybe it is too quiet?

Photograph by Seattle photographer Daniel Sheehan, a photojournalist specializing in photojournalism and portrait photography for publications and corporations and a Seattle wedding photographer with an unobtrusive, story-telling approach creating award winning Seattle wedding photography and wedding photojournalism ranked among the best Seattle wedding photographers.

Sean Jones playing at the Triple Door with the Roosevelt H.S. Jazz Band on the opening nght of the Earshot Jazz festival Oct 18th 2008.

Over the course of his first three albums for the Mack Avenue Records label, trumpeter Sean Jones has revealed himself as among the most immensely expressive, versatile and gifted players of his generation. With each new project, the Warren, Ohio native has peeled back another layer to show us a fresh peek at his soul. His 2004 solo debut, Eternal Journey (recorded when he was 25) introduced Sean as a deft expresser of modern bop for the 21st century via originals and standards in a quintet format. His sophomore effort, Gemini, found him deftly mixing soul and funk flourishes with bop, proving he was not adverse to more contemporary textures. His last album, Roots, reflects his love of the music of the church, which he grew up singing as a child.

Now with his fourth and equally impressive release Kaleidoscope, Sean Jones adds another hue to his ever-expanding musical palette – showcasing the voices and song selections of an amazing assemblage of five top-flight singers: Gretchen Parlato, Carolyn Perteete, Sachal Vasandani, J.D. Walter, and contemporary gospel powerhouse Kim Burrell. Most of them are unknown to the majority of listeners…but not for long if Sean can help it.

“The concept of this record basically happened during a break in the sessions for Roots,” Sean shares. “(Producer) Al Pryor said it would be cool if I recorded with some vocalists next time. I was open to that, but I didn’t want to do a typical vocal record. I didn’t want that soft, run-of-the-mill love song thing you hear on the radio. And I didn’t want to grab a bunch of stars just to sell records. I wanted to create a document celebrating the vocalists of my generation – a hard-hitting project that would allow me to superimpose my sound on top of their dynamic styles.”

The instantly striking aspect of this concept is the utter generosity and deference Jones gave to both his guest vocalists and band members. “This is a collaborative project,” he states. “I believe that there is power in numbers and power in a generation, not in individuals. When I look at jazz and music in general, combined forces are much more effective than one person trying to make their testament alone. True, I am soloing on every song and there is space for me to shine but, I was more concerned with celebrating these gifted composers and vocalists. I titled the album Kaleidoscope because these artists represent the colors of my generation. And I see myself as a thread among them.”

Kaleidoscope’s opening number, “Allison,” sets the stage for Jones’ arresting first vocal forays. The piece opens as a soft, floating instrumental gradually building in intensity then introduces J.D. Walter singing a soaring wordless vocal reminiscent of the work of the pan-cultural Pat Metheny Group. “That tune is a mood,” Sean says, “a bridge built to prepare listeners for what they’re about to hear – a fresh segue from everything I’ve already done.” Regarding the title, Sean adds, “Everyone in the studio knew an Allison so we called it ‘Allison’ – a universal thing.”

The final piece is a rolling and tumbling composition of vitality from the pen of Sean’s right hand – pianist Orrin Evans – titled “The Sluice” and featuring the explosive drumming of Obed Calvaire. “A Sluice is a pathway that brings the good water from one source to another,” Sean explains. “Orrin and I dedicate that song to Professor Ralph Bowen, through whom a continuum of nothing but the good stuff flows whenever he plays.”

The same can be said of Sean Jones, a player whose style reflects Clifford Brown for technical facility, Freddie Hubbard for flowing, lyrical lines, Woody Shaw for his intervalistic approach, and Miles Davis for leadership in forward thinking and contouring the music of the eras around his singular style. Indeed, it was after a teacher gave Sean – then a fifth grader – copies of Davis’ albums Kind of Blue (1959) and Tutu (1986) that he was hooked on trumpet immediately. Lessons learned under Professor Bill Fielder were of infinite guidance to young Sean as were high school studies with Esotto Pellegrini, which led to Sean earning an undergraduate degree in classical trumpet.

Notes on Sam and his  album from Sean Jones’ website www.seanjonesmusic.com

Photograph by Seattle photographer Daniel Sheehan, a photojournalist specializing in photojournalism and portrait photography for publications and corporations and a Seattle wedding photographer with an unobtrusive, story-telling approach creating award winning Seattle wedding photography and wedding photojournalism ranked among the best Seattle wedding photographers.

Cyro Baptista’s Banquet of the Spirits Friday, November 7, Triple Door

Baptista’s mastery of the percussion of his native Brazil has propelled him to international renown. He has been a US resident for almost 30 years, but seems to spend much of his time drumming his way around the world with a host of leaders and outfits – from Yo-Yo Ma’s Brazil Project, to Trey Anastasio’s Band, to John Zorn’s Electric Masada, to Herbie Hancock’s Grammy award winning Gershwin’s World, to Sting, to Paul Simon’s Rhythm of the Saints.
But that’s just a taste of the career of this surpassing percussionist. He has been much praised and often honored with critics and readers awards in many varieties of music. In his own projects, including the percussion and dance ensemble, Beat the Donkey, Baptista exalts in percussion styles and instruments from around the world in performances that are thrilling, surprising, and dazzling.
That will be the case, here, too, as he presents his new quartet, featuring keyboardist Brian Marsella, bassist and oud player Shanir Ezra Blumenkranz, and drummer Tim Keiper.

Click here for the complete schedule for the rest of the upcoming shows at the 2008 Earshot Jazz Festival

Photographs by Seattle photographer Daniel Sheehan, a photojournalist specializing in portrait photography, jazz photography, and photojournalism for publications and corporations and a Seattle wedding photographer with an unobtrusive, story-telling approach creating award winning Seattle wedding photography.

Doug Wieselman playing with Robin Holcomb: Larks, They Crazy Sunday, November 2, Seattle Art Museum

Robin Holcomb shared the bill with Horvitz/Miles/Previte Trio Sunday night. Her playing and singing were a special treat. I was lulled and then moved in some of the more stirring pieces. The pianist/composer/singer performed a reprise of her 1989 landmark Sound Aspects release, Larks, They Crazy. The album featured many of the top-working musicians in New York, including Horvitz, Previte, Marty Ehrlich, Doug Wieselman, and David Hofstra. Like Todos Santos, the album gathered much attention upon its release. Featuring some truly ambitious music, the drama of her compositions well deserves revisiting. Mark Dery of The New York Times wrote: “Ms. Holcomb has done something remarkable here: she has created a new American regionalism, spun from many threads – country rock, minimalism, Civil War songs, Baptist hymns, Appalachian folk tunes, even the polytonal music of Charles Ives. The music that results is as elegantly simple as a Shaker quilt, and no less beautiful.”
Holcomb was joined on stage here by the expansive, irrepressible Skerik on tenor saxophone, old New York friend Doug Wieselman on alto, D’Vonne Lewis on drums, and Geoff Harper on bass.

Click here for the complete schedule for the rest of the upcoming shows at the 2008 Earshot Jazz Festival

Photograph by Seattle photographer Daniel Sheehan, a photojournalist specializing in jazz photography, photojournalism and portrait photography for publications and corporations and also a Seattle wedding photographer with an unobtrusive, story-telling approach creating award winning Seattle wedding photography and wedding photojournalism among Seattle wedding photographers.

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Wayne Horvitz plays with Pigpen & Zony Mash w/ Horns Saturday, November 1 Tractor Tavern

Kicking off the 20-year retrospective of Seattle resident and master composer/
keyboardist Wayne Horvitz is the recreation of two of his most exciting ensembles – Pigpen and Zony Mash with Horns.
Pigpen marked the beginning of a long-term music partnership between Horvitz and alto saxophonist Briggan Krauss. The band also featured bassist Fred Chalenor and drummer Mike Stone, and between 1992 and 1996, Pigpen released four full lengths and one live album as it toured rock clubs across the Pacific Northwest, though it also visited Canada, the east coast, and Europe. As Jeff Daniel described in Pandemonium, “If I had to guess what this was, without looking at the press kit, I would probably say something like, four guys locked into a studio with all this gear, lots of food, LSD, some pot, and a madman with something new to prove. This one’s a keeper!”
Performing “modern electric jazz-funk at its finest” (Jazz Times), Zony Mash made its debut in 1995 as the unofficial house band at the OK Hotel in Seattle. Guided by Horvitz’s unique compositional and harmonic sensibilities, Zony Mash explored psychedelic rock, the blues, and outer space as it released several albums to great critical acclaim. While the initial line-up featured Wayne Horvitz on Hammond B-3 and keyboards, Timothy Young on guitar, Fred Chalenor on bass (later replaced by Keith Lowe), and Andy Roth on drums, Zony Mash will here be augmented by a superb horn section, adding more depth and excitement to an already thrilling ensemble: Ron Miles, cornet; Briggan Krauss, Doug Wieselman, Skerik, saxophones; and Steve Moore, trombone.

Click here for the complete schedule for the rest of the upcoming shows at the 2008 Earshot Jazz Festival

Photograph by Seattle photographer Daniel Sheehan, a photojournalist specializing in jazz photography, photojournalism and portrait photography for publications and corporations. He is also a Seattle wedding photographer with a subtle, unobtrusive, story-telling approach creating award winning wedding photojournalism ranking him among the best Seattle wedding photographers.

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Larry Ochs Sax and Drumming Core Saturday, November 1, Seattle Art Museum

ROVA’s Larry Ochs leads an all-star ensemble consisting of percussionists Scott Amendola and Don Robinson
and special guests from Tokyo, pianist Satoko Fujii and her trumpeter husband, Natsuki Tamura. Together they perform what they describe as “a meditation on and a 21st-century distillation
of the songs of American and eastern-European blues-shouters, and of traditional chant-singers from Asia and Africa.”
This is music loaded with playful musical dialogue and melodic, polyrhythmic
exchanges. At once thunderous
and subtle, sweet and dramatic, Larry Ochs Drum Core offers, as one critic wrote, “everything great music should offer: true emotions, adventure, variation, interplay, tension, surprise, and entertainment.” Augmented here by the wildly-creative Fujii, one of the most original voices on her instrument, and the equally-compelling Tamura, this special performance will feature both familiar and unfamiliar musical dialects presented in a concert like none other.

Click here for the complete schedule for the rest of the upcoming shows at the 2008 Earshot Jazz Festival

Photograph by Seattle photographer Daniel Sheehan, a photojournalist specializing in jazz photography, photojournalism and portrait photography for publications and corporations. He is also a Seattle wedding photographer with a subtle, unobtrusive, story-telling approach creating award winning wedding photojournalism ranking him among the best Seattle wedding photographers.

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Marcin Wasilewski Saturday, November 1, Triple Door

One of the most refreshing ensembles in contemporary jazz, the piano trio of Marcin Wasilewski, Slawomir Kurkiewicz, and Michal Miskiewicz have come a long way since its formation in Poland fifteen years ago. Having developed at the young age of sixteen what would be a long-standing relationship with compatriot and acclaimed-trumpeter Tomasz Stańko, Wasilewski, and his trio, has exhibited incredible growth that has been tangible nearly every step of the way. Contributing greatly to several of Stańko’s most sublime records, and now seeking success as an autonomous unit, the Wasilewski Trio is a force on the international jazz scene, and it is certain to bring something remarkable to Seattle.
As Wasilewski reported to All About Jazz, “The music is always evolving; I don’t know when it will stop, but I hope never.” Similarly, Stańko testified that “in the entire history of Polish jazz we’ve never had a band like this one. They just keep getting better and better.” Indeed, with invigorating energy, demonstrated sensitivity and communicativeness, and a great love for adventure, the Wasilewski Trio comes to Seattle at the peak of its power – thus far.

Click here for the complete schedule for the rest of the upcoming shows at the 2008 Earshot Jazz Festival

Photograph by Seattle photographer Daniel Sheehan, a photojournalist specializing in jazz photography, photojournalism and portrait photography for publications and corporations. He is also a Seattle wedding photographer with a subtle, unobtrusive, story-telling approach creating award winning wedding photojournalism ranking him among the best Seattle wedding photographers.

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