Once a thriving hub of jazz culture, the Emerald City's scene has waxed and waned over the decades. Thomas Marriott is leading efforts to revitalize this rich musical heritage. Marriott is a seasoned trumpeter and community organizer whose passion for jazz is matched only by his commitment to nurturing the local music ecosystem.

Marriott's journey in jazz began early, steeped in a family music tradition. "My grandparents were both professional musicians and music teachers," he recalls. "My first education on my instrument was from my grandfather and my father, who also played." This early exposure laid the foundation for a lifelong dedication to the art form.

Growing up in the 1980s and 90s, Marriott witnessed firsthand the vibrancy of Seattle's jazz scene. "I had the opportunity to take the bus down to Pioneer Square and hear some of the masters at work," he says. This accessibility to live jazz, coupled with affordable rent and plentiful gigs, created an environment where young musicians could thrive and learn from established artists.

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The Seattle of Marriott's youth is a far cry from the city we see today. The tech boom transforming the city's economy has had profound implications for its cultural landscape. "As Seattle has become more affluent, the rents have gone up. And when the rent goes up, musicians leave," Marriott explains. This exodus of artists and the closure of dedicated jazz venues has left the scene fragmented and struggling.

Marriott founded the Seattle Jazz Fellowship in 2021, recognizing the need for action. This initiative addresses several key issues plaguing the local jazz community: the lack of dedicated performance spaces, the disconnect between jazz education and real-world performance, and the absence of mentorship opportunities for young musicians.

The Fellowship's approach is multifaceted. Creating a dedicated venue for jazz performances provides a focal point for the community. The organization's programming, which includes double bills pairing younger musicians with veterans, seeks to bridge generational gaps and foster a sense of continuity in the jazz tradition.

Seattle Jazz Fellowship

Seattle Jazz Fellowship0

Marriott's perspective on jazz education is particularly insightful. While acknowledging the value of formal training, he emphasizes the irreplaceable role of bandstand experience. "Jazz education can teach us about the notes, but the music is not the notes. It's the community… the feeling," he asserts. This philosophy underscores the Fellowship's focus on providing performance opportunities and fostering community connections.

The challenges facing Seattle's jazz scene are not unique. Cities across America are grappling with the impacts of gentrification, changing audience demographics, and shifts in music consumption habits. However, Marriott's approach offers a potential model for revitalization. By focusing on community building, mentorship, and creating sustainable performance opportunities, the Seattle Jazz Fellowship is working to ensure that jazz remains a vital part of the city's cultural fabric.

As Marriott reflects on the future of jazz in Seattle, his outlook is cautiously optimistic. "Sometimes I feel really optimistic... when the house is full, and there's a lot of cats, and the music sounds great," he says. Yet he's also candid about the ongoing challenges, from the need to improve overall musicianship to the struggle for financial sustainability.

Thomas Marriott's story is more than just a personal journey; it's about the enduring power of jazz to inspire and unite. As Seattle continues to evolve, Marriott's efforts serve as a reminder of the vital role that grassroots initiatives play in preserving and rejuvenating cultural traditions. Through his music and his advocacy, he's not just keeping the flame of jazz alive in Seattle – he's helping it burn bright into the future.

Trumpeter, composer, and producer Thomas Marriott is a force for jazz on the West Coast. He's paid dues beside jazz elders such as Maynard Ferguson, Roy McCurdy, Roger Humphries, Mike Clark, and Stix Hooper and has been called on by contemporary standard-bearers like Joe Locke, Orrin Evans, Steve Wilson, and Charlie Hunter.

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