In this Issue
Jazz is Dead? I don’t think so!
We are endlessly grateful to the support this community has given us. Building on this legacy, the Earshot Jazz organization remains in fluid motion toward a bright and productive future. The Earshot board of directors has been hard at work crafting an executive succession that carefully supports the creative path forward.
November Festival Events
The final stretch of the festival is jam packed with concerts from Ryan Keberle Catharsis and Edmonds Woodway Jazz Band; more concerts in the What’s Going On Series; Khu.éex’; Nduduzo Makhathini, and much more. Two concerts in November also feature livestreams.
Cipher Goings: A Leap of Faith
His hard work paid off, and after earning his undergraduate degree in 2022, Goings started racking up the opportunities. You’d see him tapping next to Cedric the Entertainer on The Late Late Show with James Corden, or on the same screen as Will Ferrell and Ryan Reynolds during Apple TV’s Scrooge adaptation Spirited, or as one of many under-appreciated auditions on So You Think You Can Dance.
Ben Black: Your Voice Is Power
Black has acquired a new goal for his fifties. “I want to thrive,” he shares. He’s lighting up – the excitement is palpable in his voice. “I want to be connected. I want to co-create. I want to focus on interdependency and community and use my voice – this precious gift that I’ve been given that I lose touch with sometimes. It’s like, use it to be a benefit in the world because the world is on fire.”
Korn Johnson Seales, Argentan
The album features three very distinctive writing styles from this triad of Seattle stalwarts, with a pair of Wayne Shorter gems amongst the offering. The result is a recording that features some of Seales’ most introspective and deeply lyrical playing, supported by Johnson and Korn as equal partners.
Naomi Moon Siegel, Shatter the Glass Sanctuary
Uniformly compelling from the first note to the final fade, every track on Siegel’s latest is a highlight, and each musician has their time to shine. The album kicks off by dialing up the jazz quotient on the first couple of tracks, and “Sabotage,” in particular, with its swinging, Monk-ish outlines, almost evokes a Blue Note album.
