Jazz Alley Calendar 2023

Jazz Alley Calendar 2023 – When is the first day of school in Sioux Falls? When does the Christmas holiday start and end? Is there school on Friday? These are some of the questions that many Sioux Falls households are asked time and time again.

As a parent, one of the most important pieces of information you need is the current school year schedule. But where do you get one? You can count on the teacher to put a hard copy in a bag and bring it to you on time. Maybe, but why risk it.

Jazz Alley Calendar 2023

Here are the big days you'll want to know if your student attends a public school in Sioux Falls, plus links to download your own copy to print out and keep on the fridge (or at least a plan).

Jazz On The Alley In Seneca

Every state in our nation has chosen as official state objects things that represent the state in one way or another. Like a flower or an animal. South Dakota is no different.

Mount Rushmore has a state flower. But did you know we have a state tree and a state fish? Yes, we also have a state code.

Here's what we have so far in Wyoming. Thanks to the South Dakota Secretary of State's Office for the information: With live performances and genre improvements, local musicians are eager to put on gigs again.

Jazz Around The Sound

Filoberto 'Poncho' Sánchez and his Latin Jazz Band perform to a packed house at Dimitrious Jazz Alley in Seattle on July 8, 2021. Jazz Alley was one of the first local venues to resume in-person performances after pandemic restrictions were lifted. (Matt M. McKnight/)

On a warm summer night in late June at Seattle's premier jazz venue, the audience jumped (to name piano man and songwriter extraordinaire Fats Waller).

Dimitrious Jazz Alley opened a two-night run by Pearl Django, a nationally known Seattle-based gypsy jazz group. It was one of the first live performances in more than a year at the beloved nightclub — one of the first venues in the city to resume in-person performances since Washington state closed all live music venues in March 2020 due to COVID. -19 pandemic.

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During the show (at the end of June), the only obvious improvements to Jazz Alley were the new air circulation system and the plexiglass partitions between the tables, so discreet that they looked like barriers. What stood out the most was the celebration from club manager Ari Dimitriou, the sparkling musicians and the very responsive crowd. When the band's harmonica and the jazz string "le jazz hot" flowed in time, the audience almost went wild.

"Since everyone has been forced to stay at home for the last 16 months, I feel like people are much more excited to listen and make music," says violinist and Pearl Django bandleader Michael Gray. "I think people are hungry for that connection. We've already lined up nine, ten shows in August, and we've got some tours booked in September and October.

A woman dances to music performed by the Poncho Sanchez Latin Jazz Band during a first post-pandemic concert at Dimitrio's Jazz Alley on July 8, 2021, in Seattle. The full house and enthusiastic crowd reflected an audience eager to return. Individual achievements. (Matt M. McKnight/)

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Jazz singer and teacher Greta Mataza, a respected veteran of the local jazz scene, at first couldn't believe how fast the days would go after going so long without a live performance. "I think I'll start knocking on doors and see what happens," he says. "Before it was live once or twice a month."

But Matasa was pleasantly surprised at how quickly her schedule filled up. "The first live show we did was in May at the Lake Chelan Jazz Festival in front of a huge crowd. I was on stage and there were hundreds of people without face masks. It was such a romantic event."

While rock, hip-hop and other music artists were still unsure of what to expect after restrictions on individual performances were lifted, those in Seattle's vibrant jazz scene had particular reasons to be concerned.

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Recorded jazz across all platforms (record, streaming, vinyl) now accounts for around 1.1% of the country's music market, and live performances are vital to the survival of the art form. By definition, this American-rooted art form thrives on spontaneity, improvisation and bursts of talent that make every night in the band unpredictable and unique. It also relies on an improved dynamic between the musicians and the live audience that fuels the music – and that doesn't mean zoom.

Poncho Sanchez is surrounded by his band members during a concert at Dimitrio's Jazz Alley on July 8, 2021 in Seattle. (Matt M. McKnight/)

Although occasionally welcomed in symphony auditoriums such as Benaroya Hall and large venues such as the Paramount Theatre, jazz operates primarily in intimate spaces – clubs, restaurants and bars, often with small or cheap margins. – Available.

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But as property values ​​across the Puget Sound region have risen over the past decade and a wave of new apartment construction has replaced "legacy" small businesses in downtown Seattle and residential neighborhoods, many local jazz venues have looked more fragile.

In 2019, the popular Tula's Restaurant and Jazz Club, a major purveyor of local talent, closed a 26-year run in Belltown due to rising costs and remodeling. Small, quaint, expensive hole-in-the-wall venues conducive to live, experimental jazz — like Wallingford's Sea Monster Lounge and the University District's Cafe Racer — have struggled to stay afloat financially and showcase their spaces even before COVID – 19.

Then came the pandemic lockdown. Individual artists and bands are committed to finding new ways to make music flow through streaming concerts, radio shows and virtual workshops, while annual events like Jazz at the Clubs in Port Townsend and Seattle's Earshot Festival trim staff and programming. The support comes from state aid, such as the Small Business Administration's Paycheck Protection Program, as well as Washington state's layoff ban and the generosity of passionate jazz fans.

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Ray Bloom, who owns Shoreline's cozy jazz spot North City Bistro & Wine Shop with his wife, Sharon Bloom, says a dinner business and wine sales helped pay the bills during the quarantine. "A lot of people were sitting at home drinking, but they really wanted to support us and get the music back." North City Bistro already offers a jazz happy hour one night a week and sells out July weekend shows.(Reservations are recommended for the 67-seat booth, and proof of COVID vaccination is mandatory, note.)

Ballard's compact Egan's Jam House, which showcases mostly professional and aspiring jazz singers, has raised enough money to keep the wolf at bay through a GoFundMe campaign. It is expected to reopen in the coming months. So is the famous Royal Room in Columbia City, known for presenting a wide variety of music, including jazz.

And in a pleasant surprise after its long-lost spot in the University District, Café Racer marked a new home on 11th Avenue in the heart of Capitol Hill, opening in September. (Last year to keep up with its eclectic music offerings, Cafe Racer also developed an online radio station with access to 40,000 songs from more than 3,000 Washington artists.)

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"Honestly, none of the clubs I worked in before the pandemic closed," Mataza wonders. "I think it's a miracle!"

Other locations are slated to reopen this summer and fall — mostly with limited hours, fewer seats and less staff, but high hopes are that COVID-19 is abating and people are becoming more motivated to mingle and match. Listen together.

The Seattle-based nonprofit Earshot Jazz has long supported the scene with an extensive annual music festival, a monthly jazz magazine, educational programs and local performances. During the pandemic, he broadcast small, socially distanced shows live from City Hall and distributed $73,000 to local musicians through the Seattle Jazz Artists Relief Fund, awarded by the Rayner Institute and Foundation.

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Earshot Jazz CEO John Gilbreath is optimistic about a renaissance. The Earshot event was entirely online last year, but will return in person this fall at a number of local locations. (The schedule is to be announced.) "We're doing 40 shows again," says Gilbreath. "It will probably be a hybrid presentation with simultaneous live streams for a live audience and people who are not ready to come out."

Bassist John Clayton, artistic director of the Center's Jazz Port Townsend program, says his organization will experiment with two formats at the upcoming summer workshop and festival (July 26-30). "It will be mostly virtual," he says, meaning the club's offerings won't include popular jazz. "But we have a limited faculty of director-performers at the Center who will submit short videos and talk online about what they did to make the show."

A live component features faculty members (including Seattleites like pianist Randy Halberstadt and saxophonist Alex Dugdale, and imported artists like singer Rene Marie).

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