Jazz at Centrum

The Stylings of Roy Hargrove

"You can't be a mediocre musician there," jazz trumpeter Roy Hargrove says of Cuba. "You have to play each note as if it's your last one."

At thirty-six, trumpeter Roy Hargrove has firmly established himself as among the premiere players in jazz. Always stretching into more challenging and colorful ways to flex his musical chops, Hargrove was already a rising jazz sensation in 1995, when legendary Cuban pianist Jesús "Chucho" Valdes invited him to participate in the Havana Jazz Festival. While there, he and Valdes assembled a band called Crisol, and recorded a CD, Habana, which went on to win a Grammy Award in 1997 for Best Latin Jazz Performance.

In 2002, Hargrove won another Grammy, this time with Herbie Hancock, and Michael Brecker for Best Instrumental Jazz Album.

Having Serious Fun With Jazz

Diana Krall reminds Jeff Hamilton and myself that when she was a teenager, we used to drum into her (egad--the unintended puns are starting already) the importance of keeping in sight that we "get" to do this. There are so many people who don't have the opportunity to express themselves with this music. As jazz lovers, we all love to listen to it. As jazz artists, we have another kind of experience, another component that keeps us marching.

A vital part of the experience is realizing that the fun that we have is quite serious. It's still Fun. We can laugh, get silly, express ourselves however we want, but it's as much serious as it is fun. In order to perform on a high level, there's no way around learning scales, chords, arpeggios, repertoire and transcribing. This has to  be done in healthy balance with performances, jamming, playing in various ensembles, etc. It's all about the balancing act of knowing when to have enough of all of the necessary ingredients.

I'm reminded of this Serious Fun bit because I just finished some weeks with Diana and Jeff, Anthony Wilson and, for nearly a week in  Las Vegas, with the Clayton-Hamilton Jazz Orchestra. As serious as I was, I couldn't stop smiling.  --John Clayton. www.johnclaytonjazz.com

Atsuko Hashimoto To Play at Jazz Port Townsend

International jazz sensation Atsuko Hashimoto brings a freshness to the jazz repertory through her playing of the Hammond B3 and the piano. She began playing the organ at the age of four, and after exploring classical music in her teens she cultivated her passion for jazz and the jazz organ. She debuted in her hometown of Osaka, Japan, fronting her own quartet at the city's 1992 jazz festival.

She quickly developed a reputation for her skills on the B3, creating complex melodic and harmonic compositions over a consistent, inventive, and hard-swinging bass line.

In the spring of 1999, Hashimoto made her splash in the U.S., lighting up the stage at clubs in New Orleans and San Jose. In the fall of that year, she played in San Francisco, performing to acclaim with guitarist Blues Furman. When she returned to Japan, she took American jazz legends with her.

Hashimoto's career continues to grow. She has released several CDs, including Jazz Organ Tribute, Full Organ, and her most recent recording: Songs We Love.

Hashimoto currently maintains a busy performing and teaching schedule in metropolitan Osaka. Visiting jazz players frequently drop by to sit in with her trio and make music with one of the most exciting improvisors on the jazz organ today.

On Friday, July 27, at 7:30 pm, Atsuko Hashimoto headlines an extended set together with legendary tenor saxophonist Houston Person and drummer Jeff Hamilton. Reserved seats are $26/21; youth 18 or under attend for $9. Order tickets by calling Centrum at 360.385.3102, x117 or by following this link.

Choro Workshop and Performance

CHORO: THE SWEET LAMENT OF BRAZILIAN MUSIC
Workshop: November 8-11, 2007 (full)
Concert: November 10, 2007, 7:30pm

Join Mike Marshall (mandolin), Carlos Oliveira (six- and seven-string cavanquinho guitar), Andy Connell (clarinet and saxophone), and Brian Rice (pandeiro and other Brazilian percussion instruments) in this new Centrum fall offering. 

The thirty-person workshop is open to all instruments. “There will be people of different backgrounds and abilities and we’ll be sure to match you up!” Marshall says.

Evening jam sessions, combined with relaxing Brazilian film and audio sessions, round out the workshop. Participants will receive free admission to the November 10 performance in the Joseph F. Wheeler Theater. On Sunday morning, November 11, participants are invited to join the faculty for an authentic Brazilian brunch, prepared by chefs who have relocated to the United States.

For Concert Tickets, visit our online ticket order page, or call our ticket office at 360.385.3102 x117. The music will start at 7:30pm on Saturday, November 10 at the Joseph F. Wheeler Theater. Tickets are $16.

Faculty

Andy Connell has played in ensembles ranging from jazz to classical to Brazilian music. In addition to his work as a performer, Connell is an ethnomusicologist whose primary research focuses on issues of musical identity and globalization in Brazilian popular instrumental music. He is currently an assistant professor of music at James Madison University in Virginia, working on a book about Brazilian jazz.

Mike Marshall is one of the world’s most accomplished and versatile acoustic musicians—a master of mandolin, guitar, and violin whose playing is as imaginative and adventurous as it is technically thrilling. Able to swing from jazz to classical to bluegrass to Latin styles, he puts his stamp on everything he plays with an inspirational blend of intellect and emotion.

Carlos Oliveira hails from Recife, in northeastern Brazil. This area is especially rich in African influences, and its regional music has greatly influenced Brazilian music. Deeply affected by his exposure to American jazz, Oliveira moved to the US to expand his contact with the music. Oliveira has performed and/or recorded with Claudia Villela, Claudia Gomez, Celia Malheiros, Eddie Duran, and Ricardo Peixoto.

Brian Rice is a much sought-after percussionist for his wealth of experience and skill in a multitude of styles. He is the founder of Samba Seattle, a ninety-member escola de samba, and has played everything from Brazilian, Cuban and Middle Eastern music, to jazz, klezmer, and Celtic. In 2003, Rice traveled to Brazil to study with renowned pandeiro player Marcos Susano.

Faculty

Andy Connell has played in ensembles ranging from jazz to classical to Brazilian music. In addition to his work as a performer, Connell is an ethnomusicologist whose primary research focuses on issues of musical identity and globalization in Brazilian popular instrumental music. He is currently an assistant professor of music at James Madison University in Virginia, working on a book about Brazilian jazz.

Mike Marshall is one of the world’s most accomplished and versatile acoustic musicians—a master of mandolin, guitar, and violin whose playing is as imaginative and adventurous as it is technically thrilling. Able to swing from jazz to classical to bluegrass to Latin styles, he puts his stamp on everything he plays with an inspirational blend of intellect and emotion.

Carlos Oliveira hails from Recife, in northeastern Brazil. This area is especially rich in African influences, and its regional music has greatly influenced Brazilian music. Deeply affected by his exposure to American jazz, Oliveira moved to the US to expand his contact with the music. Oliveira has performed and/or recorded with Claudia Villela, Claudia Gomez, Celia Malheiros, Eddie Duran, and Ricardo Peixoto.

Brian Rice is a much sought-after percussionist for his wealth of experience and skill in a multitude of styles. He is the founder of Samba Seattle, a ninety-member escola de samba, and has played everything from Brazilian, Cuban and Middle Eastern music, to jazz, klezmer, and Celtic. In 2003, Rice traveled to Brazil to study with renowned pandeiro player Marcos Susano.