A tech conference meant to be the largest gathering of female technologists faced backlash when biological men identifying as "nonbinary" were seen attending the event.

Former President Barack Obama encouraged coders to join the Biden administration's artificial intelligence team.

The Senate confirmed Harry Coker Jr. as the new national cyber director.

Defenseman requests a fresh start elsewhere

Jones’s musical legacy—and devotion to his Seattle roots—carries on. by Alexa Peters

In 2017, during a performance from local garage-jazz quartet Industrial Revelation at Upstream Music Festival, I noticed a commotion near the stage as people huddled around the VIP seats. I stood on my toes and looked—Is that Quincy Jones?!

While Jones, the legendary musician, producer, and alumnus of Seattle’s Garfield High School, had given a keynote address earlier in the festival, I didn’t expect to see the mastermind behind Michael Jackson’s Thriller sitting amongst the crowd. But there he was, shaking hands, taking pictures with fans, and even sharing generously with a young musician who asked him about score orchestration. Then, it was my turn to thank him. He grasped my hand and grinned, wrapped in one of his iconic striped scarves.

On Sunday, Jones passed away at his home in Los Angeles. He was 91. Though it’s been many decades since he lived in Seattle, and he was only a resident from 1943 until 1951, Jones continuously nurtured his ties to the city over the course of his life and inspired generations of local musicians.

“Sometimes, in today's musical world, there can be a level of superficiality, and Quincy was the opposite of that,” says Riley Mulherkar, a graduate of Garfield High School and rising jazz trumpeter who released his acclaimed debut record earlier this year. “[He had] mastery of the form at a young age—and then he was able to take that into all sorts of musical situations, and literally change the world.” 

Jones was born on March 14, 1933, in Chicago. After a tumultuous early childhood with his mother, who had schizophrenia, Jones’s father, Quincy Jones Sr., moved Jones and his brother to Bremerton, Washington. When he was 12, Jones began playing trumpet at Bremerton’s Coontz Junior High. 

In 1947, after Jones’s father remarried, he moved his sons, his new wife, and her three children, to Seattle. Jones started at Garfield High School and quickly met fellow student Charlie Taylor, who played saxophone.

Taylor was one of the sons of Evelyn Bundy, a trailblazing Seattle jazzwoman who formed one of the city’s first jazz bands in the 1920s. At Garfield, Taylor was ready to put together his own group. He invited Jones to become a member of his band, and Jones agreed, joining a cast of elite musicians at Garfield including Oscar Holden Jr. and Grace Holden, two children of pianist and Seattle jazz scene patriarch Oscar Holden.

After their first few gigs as the Charlie Taylor Band, Bumps Blackwell, a bandleader, songwriter, arranger, and record producer (who would go on to mentor Ray Charles, Ernestine Anderson, and Sam Cooke, among others), offered to manage them as the Bumps Blackwell Junior Band.

As Paul de Barros notes in his book Jackson Street After Hours: The Roots of Jazz in Seattle, the Bumps Blackwell Junior Band was a “focal point” in people’s memories of Jackson Street, which was home to a bustling jazz scene in the years around World War II until 1960. 

The time in the band was influential for Jones, too. Jones got to perform frequently, including opening for Nat King Cole at Civic Auditorium, and the group allowed him to befriend other notable musicians who worked on Jackson Street at the time, like Ray Charles or “R.C.”, who first taught Jones about arranging.

Jones left Seattle in 1951 to attend Berklee School of Music. He soon dropped out to tour with Lionel Hampton’s orchestra and eventually form his own band. From there, Jones’s career is one milestone after another. 

Some highlights from Jones’s career include working as musical director, arranger, and trumpeter in trumpeter Dizzy Gillespie’s band, becoming the first African American vice president at Mercury Records in 1964, composing film scores for dozens of films, composing for iconic TV shows including Roots, and serving as producer and arranger for top-tier talent including, of course, Michael Jackson. 

Jones also founded Quincy Jones Productions, an all-encompassing media and artist management company that helped jumpstart the careers of artists like Jacob Collier.

With all his accomplishments and fame, Seattle organizations have bestowed Jones with various honors, including Lifetime Achievement Awards from both the Northwest African American Museum and the Seattle International Film Festival. Likewise, Jones kept up his connection to the Emerald City, often supporting the local music scene and returning home for visits. 

As far back as 1959, when Jones was hired to form his own band, he hired musicians from Seattle he admired, including pianist Patti Bown, trumpeter Floyd Standifer, and one of his lifelong friends, bassist Buddy Catlett. 

Upon Catlett’s death in 2014, Jones tributed his “brother and bandmate” on Facebook, calling him “one of the greatest bass players to ever take the stage. From Charlie Taylor's and Bumps Blackwell's bands when we were starting out in Seattle to my Free and Easy tour of Europe, we traveled the world playing the music we love.”

Jones has stayed especially linked with Garfield High School. In 2008, when Garfield High School decided to name their freshly renovated performing arts center after Jones, he flew in for the dedication ceremony. As recently as last year, Jones donated $50,000 to Seattle’s Washington Middle School, which feeds into Garfield High School, to help keep their jazz program alive. 

“Today, I had the pleasure of visiting my old school in Seattle, Garfield High, and man did it bring back some memories!!,” Jones wrote in a 2017 Facebook post. “I can't believe it’s been 70 years since I walked these halls as a student...Moving to Seattle forever changed me for the better...and finding music here showed me that I could be more than a statistic...”

Mulherkar, like Jones, found music at Garfield High School, where Jones is now embedded into the lore of the school.

In 2009, as a high school junior playing trumpet in Garfield’s jazz band, Mulherkar had the chance to meet and work with Jones when the legendary producer came into their rehearsal. He conducted the students in a couple songs, including a swingin’ Jones original and one of Mulherkar’s favorites called “Stockholm Sweetnin’.”

“It was hard to even wrap our minds around, because there's Quincy Jones, the celebrity,” said Mulherkar. “It felt so special to have this personal connection to the man, as a Garfield student, as a trumpet player, and [as] someone who wanted to make my life in the music.”

Mulherkar, who now lives in New York, still finds it special that the beginnings of his career were so touched by the icon.

“As a jazz musician from Seattle who went to Garfield… I love that he was able to make such a tremendous impact starting from a place that, for me, is so relatable,” said Mulherkar.

Through Garfield students like Mulherkar, and the countless other artists Jones mentored as a producer and music executive, Jones’s musical legacy—and devotion to his Seattle roots—carries on. 

See someone? Say something! by Anonymous

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Smokin Hot at Smoker Dad

I Saw U at the Sunset Tavern at the Smoker Dad release show. You were wearing a tight jean skirt, and you told me I had a timeless beauty. Same, girl.

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I stared, we waved! I looked up how to sign “ur super cute” but was too shy. I like your hair, sweater, how you cover your mouth when you laugh!

I saw u x2 @ SBP

UW & Fremont. You were tall & brunette w glasses. I’m shortish and brunette w glasses. You seemed interested, I’m shy. But I’m interested too

Party at Porter

We were both on the floor at the Porter Robinson show. You were in front of me, tall and blonde. Thanks for making an incredible show even more fun.

Bus 49 Connection

Tall guy in tan sweater, wearing a black mask, purple-haired girl hoping to meet again. We made eye contact a few times in cap hill and I was too shy to look at you. Kinda felt like I was in a kdrama—wanna be my Lee Min Ho?

Dieu en Mouvement

BV Lincoln SQ: 3:30, Sunday. You were exiting. Tall, dark, a beautiful print coat, thin glasses, I said I liked your outfit. You are art in motion.

Fellow Magnetic Fields Fans

We sat in the balcony turret the first night of 69 Love Songs. Thanks for singing along with me! Hope you got to come back for Papa was a Rodeo.

Is it a match? Leave a comment here or on our Instagram post to connect!

Did you see someone? Say something! Submit your own I Saw U message here and maybe we'll include it in the next roundup!

In an email sent to all Seattle Police Department (SPD) officers on Tuesday, SPD Deputy Chief Eric Barden celebrated the end of King County Jail’s misdemeanor booking restrictions and told officers to immediately begin increasing arrests. Barden called the decision “another great step forward for the City and, particularly, for Seattle PD.” by Ashley Nerbovig

In an email sent to all Seattle Police Department (SPD) officers on Tuesday, SPD Deputy Chief Eric Barden celebrated the end of King County Jail’s misdemeanor booking restrictions and told officers to immediately begin increasing arrests. Barden called the decision “another great step forward for the City and, particularly, for Seattle PD.” Not so great for Seattle’s poorest and most vulnerable residents, who will comprise the “overwhelming majority of people” jailed under this change, said King County Department of Public Defense Interim Director Matt Sanders in a statement to The Stranger Thursday.

In September, Seattle Mayor Bruce Harrell and King County Executive Dow Constantine announced an agreement to lift booking restrictions, which had previously prevented SPD officers from jailing people pre-trial for low-level and non-violent crimes such as low-value theft, criminal trespass, and public drug use. The restrictions went into place because of COVID-19 and remained active due to low staffing at the jail, which is a predicament still plaguing the King County Department of Adult and Juvenile Detention (DAJD). Department spokesperson Noah Haglund said that the jail has 60 staffing vacancies as compared to the start of 2024 when it was closer to 100. But with those 40 additional guards, Constantine believes the new agreement balances booking needs with the wellbeing of jail staff, Haglund said.  

The agreement, which took effect November 1, increased the number of jail beds the City could use for misdemeanors to 135. Barden explained in his email Tuesday that in the six months prior, SPD held on average about 90 people a day on misdemeanors at the jail, so the increase would mean an additional 45 beds available to officers per day. The jail held well over 200 people on misdemeanor charges per day in 2019, according to Barden.

“So, while we are moving in the right direction, we are nowhere near pre-pandemic capacity,” Barden said.

With booking restrictions lifted, Barden told officers to book people into jail “whenever there is a public safety interest.” The only time officers should not consider booking someone, Barden counseled, was when the City reached or neared its 135-bed capacity. “Otherwise, booking decisions consistent with pre-pandemic assessments should be utilized.” The email made no mention of considering diversion options.

In a call with the Stranger, Barden explained that "public safety interest" meant officers should arrest if they believe a person could continue to be a problem for a business, the community, or residents in the area, and said officers should not arrest if those factors aren't present. Barden argued that arresting people can both remove them from a cycle of crime, prevent further decompensation for people in a mental health crisis, and set them on a path toward recovery.

Sanders disagreed with that perspective and pointed to studies that show jailing people pre-trial undermines public safety in many cases, and increases the chances that someone commits another crime. Even one to two days in jail can disrupt a person’s life, making it difficult to maintain stable housing, secure medical care for behavioral health conditions, or hold down a job. Lifting the booking restrictions means people presumed innocent might spend time in jail for the lowest level of crimes that might not even end up charged, and still have their entire lives disrupted, Sanders said.

Barden said he understood that perspective, but as he drives around Seattle he sees more disorder than he did before the booking restrictions went into place. As a result, even while the restrictions remained in place in 2023, property and violent crime in Seattle fell compared to 2022, and homicides fell in 2024, which speaks to an empirical improvement in public safety, if not a subjective cosmetic change to downtown Seattle.

The City has made it clear in the past two years that it plans to use cops to address substance abuse, poverty, and people with mental illness, all issues many argue would be better addressed through social services and unarmed alternative response teams. The City has tried to establish new diversion paths, and when it created its drug law earlier this year it came with a policy requiring SPD to consider diversion before booking someone in jail for drug use. Barden said that lifting booking restrictions would not change that. 

Returning to a pre pandemic booking mindset means potentially returning to the days when officers threw people in jail for stealing $30 sleeping bags and souvenir pennies. We reached out to City Attorney Ann Davison to ask her perspective on whether she also planned to crack down on prosecuting low-level, misdemeanor crimes, as she’s advocated for in the past, but she declined to comment. 

Update: The Mayor's Office told the Stranger that it believes the City needs an adequate number of jail beds and the ability to book people into jail and people who cause harm in the City should be held accountable. But, "jail is not always the first or most appropriate option," and Harrell has strongly advocated "for diversion and treatment options to help nonviolent offenders get the services they need."

Salami Rose Joe Louis plays Madame Lou's on Monday, November 11. by Dave Segal

Recording for Flying Lotus's Brainfeeder label, Salami Rose Joe Louis (Lindsay Olsen) has blazed a distinctive trail in that fertile sector of California's underground where electronic music and jazz converge. On early releases by this multi-instrumentalist and producer—such as 2019's Zdenka 2080—Olsen sings in a hushed, dulcet manner over sparse, melodious electronic music that wears its jazz inflections gracefully. Faint echoes of '90s and '00s introspective, minimalist IDM (intelligent dance music, if you don't know) acts such as Múm insinuate themselves, too. It's ultimately dream pop, but not in the cloying way manifested by the genre's try-hards.

With 2023's Akousmatikous and this year's collab with Flanafi, Sarah, SRJL's rhythms get jazzier and the instrumentation fuller, with help from Soccer96 and Miguel Atwood-Ferguson, among others. The songs are more kinetic while the vocals retain their breathy, Julee Cruise-like sweetness. The music's levitational feel and smooth propulsion belie lyrics about catastrophic ecological degradation and the dangers of propaganda/disinformation. Enchanting listeners through understatement and mutedly sparkling tones, Olsen offers the most pleasant dystopian sci-fi soundtracks extant. For this show at Madame Lou's tonight, she'll be joined by guitarist Flanafi, bassist Tone Whitfield, and drummer Luke Titus—most of whom played on the exceptional new Salami Live at 2131 North Kacey Street EP.

<a href="https://salamirosejoelouismusic.bandcamp.com/album/salami-live-at-2131-north-kacey-street">Salami Live at 2131 North Kacey Street by Salami Rose Joe Louis featuring Flanafi, Tone Whitfield, Nazir Ebo</a>

Salami Rose Joe Louis plays Madame Lou's Monday, Nov 11, 7:30 pm, $21, 21+.

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The Great Hall of St. John's Cathedral was abuzz on a recent Monday evening, as musicians chatted, arranged their music stands just so and tuned their instruments in a pleasant cacophony…

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Last year, summer belonged to "Barbenheimer," the simultaneous theatrical release of Greta Gerwig's Barbie and Christopher Nolan's Oppenheimer…

Leather…

In 1914, English composer Gustav Holst began writing what would become The Planets, a seven-movement orchestral suite inspired by the seven planets in the solar system (minus Earth) and each planet's astrological character…

As the 40th anniversary of Expo ’74 approaches, we’ve been poring through over old photos, memorabelia and news coverage from the time. We’ll have more in print in the coming weeks, but print just can’t capture one amazing part of Expo — the music…

In his bed at the Spokane Veterans Home, Leonardo "Butch" De Angelis can't escape the killer creeping toward him…

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