Press

 

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“SWOJO is tremendous, powerful and inspiring! Wow, burning, swingin’ and all of those other jazz words.”
Gabriel Alegria, President of the La Asociación Internacional Jazz Perú

“The energy and environment created by the performers in SWOJO is very unique and real. One is immediately swept up by the magnetic personality of this band, both musically and emotionally. They are extremely well-rehearsed, and each player seems dedicated to the mission of having an extremely polished group.”
Dr. Michael Caldwell, Editor, International Trumpet Guild Journal, ITG Board of Directors

“I have been in the business for over 20+ years and have not worked with a more dedicated, more professional group of musicians. It was your essence as artists that has made the experience a complete joy. You are all truly gifted and exceptional musicians.”
Ava Hammond, Arts Program Administrator, SE Effective Development

“The charts were phenomenally interesting and the playing was extraordinary.”
Audience member, SWOJO’s Earshot Jazz Festival performance 2013

“Please continue to offer shows where women are the primary performers.”
Audience member, SWOJO’s Earshot Jazz Festival performance 2014

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Meeting of the Waters
Seattle Women’s Jazz Orchestra | OA2 Records
by Jack Bowers
All About Jazz, April 24, 2007
[https://www.allaboutjazz.com/meeting-of-the-waters-seattle-womens-jazz-orchestra-oa2-records-review-by-jack-bowers.php]

The Seattle Women’s Jazz Orchestra, now seven years old, has produced its second superlative album of contemporary jazz, a cosmopolitan enterprise showcasing impressive compositions and arrangements by musical director Daniel Barry; Englishwoman Hazel Leach, co-leader of the European-based United Women’s Orchestra; and Jill Townsend, one of Canada’s most talented writers in the big-band genre.

As on its previous recording, Dreamcatcher (OA2, 2004), SWOJO leaves no doubt that it can play with anyone, readily mastering charts that would test even the most battle-hardened ensemble. The careful use of shading and dynamics is especially remarkable, as all but one of the eight selections were recorded in concert with no safety net or second chances. The exception is Barry’s “Checkered Demon which, unlike the others, ends with no applause. The album is so cleanly recorded, however, that the absence of an audience response is the only avenue by which to separate the concert selections from the lone in-studio track.

Barry, the orchestra’s music director since its inception, appreciates a Latin beat, a fondness that is conspicuous on three of his four compositions, even though the rhythms are often gentle and understated. Again, the anomaly is “Checkered Demon, a bluesy charmer on which tenor saxophonist Cynthia Mullis excels. “Demon follows the supple opener, “Encontro das Águas (Meeting of the Waters), whose lone soloist is trumpeter Barry himself.

Leach weighs in with “The Tulip Wonder, a lyrical swinger featuring trombonist Jennifer Kellogg that opens calmly and builds in intensity, and the meditative “Self Portrait, nicely sung by Greta Matassa alongside splendid solos by trumpeter Sarah Nelson and tenor Tina Richerson. As with most modern songs, I haven’t a clue as to what the lyrics mean, but they seem quite serious and profound.

Townsend’s charts appeared previously on her excellent album, Tales from the Sea (Pagetown, 2003). The first is her own enchanting composition, “Waltz of the Jellyfish, the second the lovely standard “Old Folks, a luminous arrangement on which Mullis is again showcased, this time on alto sax.

Bassist Rachael Contorer, alto Lisa Gordanier and pianist Ann Reynolds are the soloists on “Jellyfish, which precedes Barry’s powerful “Mighty Urubamba, “Old Folks and his softly flowing “Miraflores. Nelson, drummer Jeremy Jones and percussionist Michelle McGowan are admirable on the former, Jones and Richerson ditto on the latter.

In sum, the inescapable verdict is that SWOJO has earned another blue ribbon. Recommended without pause.

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Dreamcatcher

Seattle Women’s Jazz Orchestra | OA2 Records
by Jack Bowers
All About Jazz, November 22, 2004
[
https://www.allaboutjazz.com/dreamcatcher-seattle-womens-jazz-orchestra-oa2-records-review-by-jack-bowers.php]

Here’s more conclusive evidence, if any were needed, that jazz is no longer solely a man’s game. The Seattle Women’s Jazz Orchestra joins the burgeoning ranks of all-female big bands that include DIVA, Maiden Voyage, Germany’s United Women’s Orchestra, Japan’s Blue Aeronauts and ensembles led by Chrissy Lee and Kit McClure with an auspicious debut album that proves there’s much more than redwoods, rain and remarkably handsome scenery in the Pacific Northwest.

In the interest of full disclosure, it should be noted that SWOJO isn’t entirely comprised of women—Scott Fry is the drummer, Dennis Haldane plays lead trumpet on eight of the album’s eleven tracks, and music director/trumpeter Daniel Barry is a guest soloist on his rhythmically evocative composition, “Two to Tango.” Barry, who has helped guide the orchestra since its inception some four years ago, also wrote “The Hiding Place,” “Nisqually Riff” and the album’s perky signature song, ”Dreamcatcher.”

Those exceptions aside, what we have is sophisticated big band jazz expertly performed by members of the fairer sex who presumably hadn’t been told they’re unable to do that. Any such reservations are quickly erased as the orchestra easily nails Johnny Griffin’s loping “63rd Street Theme,” neatly scored by Al Farlow and featuring trumpeter Angela Smith and guest tenor Sue Orfield (who reappears on ”Nisqually Riff,” “Dreamcatcher” and Kim Richmond’s shuffling “Big Mama Louise”). Trombonists Carolyn Caster and Mariah Ralston are splendid on Chico O’Farrill’s “Pure Emoción,” as are alto Lisa Gordanier (”Hiding Place”), trumpeters Angela Smith (”Mama Louise”) and Shelly Devlin (”The Peanut Vendor”), tenor Sheryl Clark (”A Foggy Day”), vibist Susan Pascal (”Nisqually Riff”) and pianist Ann Reynolds (”Hiding Place,” “Peanut Vendor,” “Tango,” “Dreamcatcher”). Guest vocalist Greta Matassa is no laggard either, as she affirms on lively renditions of “Fly Me to the Moon” and Bobby Darin’s “As Long as I’m Singing.”

The album was recorded from February-August ’03 at four venues, including an appearance at the XIII Festival Jazz in Lima, Peru (track 10). Five tracks (1-4, 11) were taped in a studio, the others at the Tacoma Jazz Festival or Seattle’s Jazz Alley. In every case, SWOJO is squarely on top of its game, carefully burnishing every chart to lay bare its inherent radiance and charm. If the orchestra isn’t quite as muscular as many of its male counterparts, time and seasoning should serve to redress that trifling flaw. As Dreamcatcher suggests, SWOJO is remarkably impressive ensemble, one whose energy and talent assuredly point toward a bright and productive future.