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About Jared Hall
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Jared Hall
Born:
Blending post-bop tradition with modern harmonic storytelling, trumpeter and composer Jared Hall creates music defined by lyricism, rhythmic clarity, and expressive depth. A Spokane native, Hall first picked up the trumpet in fifth grade, captivated by the sounds of Lee Morgan and Miles Davis—a spark that continues to shape his voice today. A past winner of the National Trumpet Competition – Jazz Division (2013), Hall has been described by Earshot Jazz as “a fiercely expressive soloist, equally grounded in tradition and innovation.” He has performed and recorded with a wide range of jazz and commercial legends, including Maria Schneider, Paquito D’Rivera, Terence Blanchard, Arturo Sandoval, Jeff “Tain” Watts, Peter Erskine, George Benson, Johnny Mathis, Gloria Estefan, Wycliffe Gordon, Vincent Herring, Troy Roberts, and many others.
Dawn Clement: Here In The Moment
by Paul Rauch
Dawn Clement is like a primal force of nature. From being the mother of three young children, to her professorship at Cornish College of the Arts, to her performing career as a touring and recording artist, she maintains a musical standard of excellence achieved by very few. Her piano style is strong and versatile, whether she ...
Jessica Lurie: In It For The Long Haul
by Paul Rauch
Jazz music, in all its forms, spread throughout world culture, is deeply embedded in the American experience. It is a culture based phenomena uniquely reflecting that experience in such a personal and expressive way as to embrace the myriad of crosscurrents that express new interpretations of the form. It is deep as the physicality ...
Julian Priester: Reflections in Positivity
by Paul Rauch
My task for the day was to interview legendary trombonist/composer, and jazz icon, Julian Priester. We had met a few times over my 35 years of frequenting the jazz scene in Seattle, coinciding with Priester's years teaching at the esteemed Cornish College of the Arts. In anticipation, I had spent nearly two months preparing, reacquainting myself ...
Bill Anschell: Curiosity and Invention
by Paul Rauch
Bill Anschell strikes me as a man with boundless curiosity. You perceive this in conversation, in his sense of humor, the patient manner in which he listens on and off the bandstand. You sense it in his inventive compositions, the rhythmic complexity, and the musical conception that lyrically imprints an authentic sense of melody. His work ...
Roxy Coss: Standing Out
by Paul Rauch
All About Jazz: You have recently released a new CD, Chasing the Unicorn (Posi-Tone, 2017), just a year after the release of Restless Idealism (Origin, 2016). Albums are like a snapshot of a timeframe, how has that musical image changed in a year? Roxy Coss: More back story is it was recorded more than ...
Carmen Rothwell: The Art of Intuition
by Paul Rauch
Seattle, a city synonymous with alternative rock, has long sustained a provincial jazz culture, without a signature sound, but with an openness to innovative, progressive invention. To outside jazz partisans, the city is known for phenomenal high school talent that usually flies the coop, heading east for conservatory training and to pursue professional ambitions.
Generation Next: Four Voices From Seattle
by Paul Rauch
Each generation, an insidious notion arises, and is passed about the musical world that jazz music, the only uniquely American art form is somehow experiencing a slow, but certain death. Inevitably, this notion is set aside, and somehow projected forward in time, as a new generation of artists rise to the occasion, not only facilitating the ...
Meet Donna M.
by Tessa Souter and Andrea Wolper
Reader: Are you a jazz Super Fan? Do you know a jazz Super Fan? If so, be sure to see the call-to-action at the end of this column. But first, meet our Super Fan for June, Donna M.: Raised on soul music, Donna M. was a relative late-comer to jazz (Vince Guaraldi's Peanuts score ...
Wes Montgomery with the Wynton Kelly Trio: Smokin’ in Seattle: Live at the Penthouse (1966)
by C. Michael Bailey
In his superb contribution to Bloomsbury Press' 33 & 1/3 series, Bitches Brew (2015), George Grella notes (emphasis mine): No style of art can remain static: irrelevance is just as much a risk as the inevitable decadence that comes from a style developing to its last measure. But fans, including critics, of particular movements ...


