Kenyon Hall


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Get to Know the Jerry Frank Trio

JERRY FRANK is an award-winning composer, producer, pianist, and arranger of music from jazz to symphonic for broadcast advertising, film, and multi-media.

The Jerry Frank Trio was a fixture of the Seattle music scene for years, appearing with his trio and as a soloist in Seattle's finest establishments, such as the Westin Hotel, the Seattle Hilton, the Sorrento Hotel and others. Most recently the trio played at the Columbia Tower Club (where Jerry was the music director) for 14 years, appearing 5 nights a week there from its opening in 1986 to 2000. From 1982 to 1986, Jerry performed nightly at the Four Seasons Olympic, both with his trio and as a soloist. He was the Nordstrom pianist at the Alderwood Mall store from 2003 to 2008.

He composed and produced music for Coca-Cola and Adidas for the 2008 Beijing Olympics for their on-sight pavilions. He has produced music for NBC, the Arts & Entertainment Network, PBS, and the Discovery Channel. In the TV series, Rediscovering America, his score for The Alcan Highway won a 1996 Golden Cine Award. Jerry also wrote Over America and the 1998 series, The Art of Magic for PBS. As composer for NBC sports, he wrote TV promos for the Olympic Games in 1988; Major League Baseball Game of the Week 1986-1989; League Championship Series 1987; the World Series 1988, and other events. The Olympic Games spot won a national Emmy, and in 1987 his Major League Baseball NBC Game of the Week theme won another national Emmy.

He wrote the score to Boeing in the 20th Century for The Boeing Company, a ninety-minute documentary of The Boeing Company's official history broadcast on PBS. He has written the music for 49 shows for the popular travel series, Rick Steves' Europe, seen nationally on over 200 PBS stations. He also wrote the score to the World War II documentary, The Rohna Disaster, which aired in 2002 on the History Channel's History's Mysteries TV series. He also was the original Nordstrom pianist, recording 300 songs through the Muzak Corporation played in all the Nordstrom stores nationwide. Since 1992 Jerry has been The Seattle Mariners' organist, (segments pre-taped)."

Tom Collier and Dan Dean grew up across the street from one another in West Seattle and have played music together professionally for over 50 years. As a duo, Tom and Dan have recorded and performed in concert with artists such as Ernie Watts, Don Grusin, Howard Roberts, Bobby Shew, Alex Acuna, Emil Richards, Shelly Manne, Bud Shank, William O. “Bill” Smith, Fred Radke, Mike Vax and Gary Herbig, just to name a few. Two of Collier and Dean’s own albums have received much international critical acclaim including Whistling Midgets and Duets, nominated by Earshot Magazine in 2005 for jazz album of the year. Collier & Dean released their third album in 2014, Sleek Buick (Origin Records), featuring several outstanding musicians including Alex Acuña, Don Grusin, Ernie Watts, Gary Herbig and Allen Vizzutti. The album received widespread jazz and contemporary music radio airplay throughout the United States, Canada and Europe and was placed on the 2015 GRAMMY ballot for Best Jazz Instrumental album.

TOM COLLIER, vibes, marimba, drums, percussion Retired Director of the Percussion and Jazz Programs at the University of Washington School of Music, Professor Emeritus Tom Collier has performed and recorded with many important classical, jazz, and popular artists, in addition to recording and performing with his own jazz group. He is a veteran of more than 60 years in music-- his first public appearance was at age five, on xylophone, and his first professional performances were made as a nine-year-old marimba virtuoso.

Collier has appeared in concert with many important jazz and popular artists, including Eddie Daniels, Roger Kellaway, Frank Zappa, Ry Cooder, Emil Richards, Larry Coryell, Bill Frisell, Laurendo Almeida, Buddy DeFranco, Diane Schurr, Peggy Lee, Herb Ellis, Ernestine Anderson, Natalie Cole, Mannheim Steamroller, The Beach Boys, Gina Funes, Della Reese, Walt Wagner, and many more. Although his primary focus in recent years has been jazz, Collier has also performed occasionally as a featured mallet soloist with the Seattle Symphony, Spokane Symphony, Bellevue Philharmonic, Northwest Chamber Orchestra, and the Denver Symphony.

As a solo artist, Tom has recorded several albums featuring original compositions beginning with Illusion in 1988 on TC Records featuring Collier playing vibes, marimba, synthesizer, drums and Los Angeles-based saxophonist Gary Herbig. Pacific Aire, released on Nebula Records in 1990, featured West Coast legendary saxophonist Bud Shank, keyboardist Don Grusin, New York pianist Peggy Stern, Seattle bassist Chuck Deardorf and Maui-based drummer Michael Buono. A series of recordings for Origin and Origin Classical labels began with 2004’s Mallet Jazz featuring marimba/percussion extraordinaire Emil Richards and noted jazz drummer Joe Porcaro (as well as Dan Dean on bass), 2010’s Mallet Fantastique, and 2012’s Tom Collier Plays Haydn, Mozart, Telemann and Others. That recording, featuring Tom performing both parts of noted classical violin duets on vibraphone and marimba (by overdubbing), was placed on the 2013 GRAMMY ballot for best Classical Instrumental Album.

Before his retirement from the University of Washington School of Music in 2016, Tom was awarded a Royalty Research Grant by the University in 2014 to produce three new recordings in three different settings. The first project, a solo vibraphone album entitled Alone In The Studio, was released on Origin Records in March 2015. A second recording, Across The Bridge, was released by Origin in November, 2015 and featured nine original compositions for jazz quartet. World-renowned guitarists Bill Frisell and Larry Coryell joined Collier on this recording along with drummers Ted Poor and John Bishop as well as electric bassist/guitarist Dan Dean who also produced the album. The third project, an experimental free improvisation trio album entitled Impulsive Illuminations was released on Origin Records in November 2016. Guitarist Bill Frisell joined Tom once again on this session along with pianist Richard Karpen, trumpeter Cuong Vu, legendary free-form trombonist Stuart Dempster and avant-garde clarinetist William O. Smith. All three albums were placed on GRAMMY ballots in various jazz categories respectively for 2016, 2017, and 2018.

DAN DEAN, electric bass, vocalist, recording engineer, producer Achieving international recognition through his fifty-plus-year career as an electric bassist, vocalist, award-winning producer, composer, and recording engineer, Dan Dean is a truly multi-faceted artist constantly seeking new challenges and outlets for expressing the music he hears.

As an electric bassist, Dean has performed with the some of the finest musicians and musical organizations of our time, including: Shelly Manne, Howard Roberts, The Great Guitars (Herb Ellis, Charlie Byrd, Barney Kessell), Eddie "Cleanhead" Vinson, B.B. King, Eddie Harris, Blue Mitchell, Harold Land, Buddy DeFranco, Donny Hathaway, Tom Scott, Dave Grusin, Don Grusin, Ernestine Anderson, Peggy Lee, Ernie Watts, the Seattle Symphony, Seattle Opera, Walt Wagner, Freddie Hubbard, Bill Mays, Della Reese, Emil Richards, Joe Porcaro and many others. In 2010, Dan released an electric bass/piano duo album on the Origin label, 2-5-1 (the most common chord progression in jazz) featuring world-reknowned pianists Kenny Garrett, George Duke, Larry Goldings, and Gil Goldstein. The album received world-wide acclaim and was clearly one of the best jazz recordings of the year.

In 2017, Dan released his first album as a vocalist, Songs Without Words on the Origin Classical label. The album came about in a very unusual way. In preparation for a recording of solo electric bass with string orchestra, Dean arranged works by JS Bach, Vivaldi, Mussorgsky, Rimsky-Korsakoff and Albinoni. With the budget and organizational constraints of recording large ensembles, he decided to try adapting the arrangements to his voice. What began as a "what if" experiment turned into a musically ambitious, technically challenging effort. Often angelic, or haunting, or exuberant, Songs Without Words emerged as a culmination of his musical experiences over a lifetime, captured by a single microphone. The album was placed on the 2018 GRAMMY ballot in the "Best Classical Vocal Album" as well as "Best Engineered Classical Album".

Dan has received numerous broadcast and film awards including the Cannes Golden Lion, Addy Awards, Telly Awards, Best of the West Awards, Clio Awards, IBA Awards, IBA "Spike" Award. The Dan Dean Sample Libraries have received three Keyboard Magazine's "Key Buy" awards, Electronic Musician magazine's "Best Buy" endorsement, as well as earning a total of 35 stars in Sound On Sound magazine. In 1980, Dan received a National Endowment for the Arts Composition Award in Jazz Composition in recognition for his innovative pieces for electric bass and bass/guitar synthesizers. Dean also has been a major contributor to music education. He is the author of the widely successful Hal Leonard Series for Electric Bass Method Books 1, 2 and 3, Hal Leonard Electric Bass Studio Series Books 1, 2 and 3, Bass Trax and other related projects. He has been a member of the teaching faculties in Jazz studies and electric bass, at Western Washington University, Olympic College and Shoreline College.

PIECE for ELECTRIC BASS, VIBRAPHONE, and ORCHESTRA was commissioned by the Seattle Symphony in 1979 to be performed several times with the orchestra at various public high school assembly concerts. Collier and Dean collaborated on the composition with Dean writing essentially the opening and closing sections of the piece and Collier contributing much of the middle variation and improvisation dialogues between the duo and orchestra. Rather than using the traditional format of a classical concerto, Collier and Dean structured the piece as a Third Stream composition featuring thoroughly composed orchestral parts interjected by virtuosic, jazzy bursts of composed and improvised vibraphone and electric bass lines. Dean's angular, rhythmically complex opening and closing themes are effectively contrasted by Collier's more melodic middle composed and improvised passages.