Fresh Fish

I’ve started setting tongue twisters by Dr. Seuss to music.
Please enjoy Fresh Fish, from his poem “Fresh, Fresher Freshest” from ‘O Say Can You Say?’ published by Random House. Permission sought.
Thanks to Jon Davis for helping me record the alto sax and his voice.


Do you like fresh fish?
It’s just fine at Finney’s Diner
Finney also has some fresher fish, that’s fresher and much finer
But his best fish is his freshest fish
And Finney says with pride:

‘The finest fish at Finney’s is my freshest fish, French-fried.’

So, don’t order the fresh ~ or the fresher fish at Finney’s if you’re wise.

You’ll say ‘Fetch me the finest French-fried freshest fish that Finney fries.’

Frozen fish, formerly fresh.

Sunday Jan 9, 2022 @ CAFE RACER 7:30pm

I’ve been asked to curate 2nd Sundays each month at Cafe Racer. Their new location on Capitol hill is gorgeous and full of love!

In January, Spoot Sessions will feature a stunning set with Chet Corpt (kora) and Brady Kish (bass), then mesmerizing music with griot & balafon master Naby Camara, Carol Olivier (balafon) and myself (alto sax & clarinet).

Then we’ll open it up for small group improvisations. Happy New Year!

Here’s Naby playing solo.

Santa Claus superstar singer on stage, pop art retro vector illustration. Holidays New year and Christmas. Concerts and parties

Migratory Bird

I heard an amazing bird on my walk this morning.

I was thinking ‘Oh, must be a migratory bird! What a long beautiful trill! Wow, what lung power!’

When I rounded the corner, the tone shifted, and I realized that I was hearing the overtones of a distant jackhammer.


First I noticed the store manager standing with a very stern expression, arms crossed.

Then I saw the two uniformed police officers talking quietly with a man with wide open eyes next to the eggs. I couldn’t hear what they were saying. The officers escorted the man to the cash register nearby, he paid and left the building. I was impressed that the officers acted with compassion ~ no drama.

I followed the man out of the building and greeted him. He responded warmly. It was raining. I keep a stash of new socks to give to people in need. ‘Want some new socks?’ He said ‘How did you know? YES I DO!’. I handed him two pairs, we chatted some more while he changed socks under the awning. He told me he’d been maced, and his eyes were on fire. Aha, thus the crazy look. Eye drops were his next errand. By the time we parted ways, his face had relaxed. I look forward to greeting him next time, should our paths cross again.


I decided to move to the Emerald City in 1985 when my friend Jeffrey Markham told me how people look at you in the eyes in the streets of Seattle. The tradition works wonders.


Nonsequitur & Earshot Jazz Festival @ Chapel Performance Space, Seattle: October 22 & 23, 2021

TOP Tina Richerson / Sue Orfield / Jude Dai / Madeleine Sosin — BOTTOM: Abel Rocha / Jessica Lurie / Amy Denio

This weekend the multimedia masterpiece Mujer o Bruja will premiere at the Chapel Performance Space in Seattle ~ Friday October 22 and Saturday October 23, 2021. Purchase tickets

Many months of intensive collaboration are coming to fruition at long last. The Tiptons Sax Quartet, award-winning Latin Duo Correo Aereo and digital artist Jude Dai have fostered a powerful partnership to create this new ground-breaking work. It is inspired by archaeological research on the role of women in world cultures through the ages through to the present day, with a focus on Latin America.

Mujer o Bruja is made possible with the support of Nonsequitur, Earshot Jazz Festival, On The Boards, 4Culture and from the Jazz Road Creative Residency, a national initiative of South Arts, which is funded by the Doris Duke Charitable Foundation with additional support from the Andrew W. Mellon Foundation.  #seattledrumschool, #earshot, #jazzroads, #nonsequitur, #4culture,

Rehearsal support: Seattle Drum School & Kenyon Hall

KNKX-FM gave us a lovely shout out.

We’ll record the soundtrack at Stone Gossard’s Studio Litho in Seattle with our favorite engineer Floyd Reitsma. We’ll keep you posted when the new recording is available!

Boshnack/Campbell/Denio Trio @ The Chapel 9/30/2021

Thursday September 30, 8pm

@ The Chapel Performance Space in the Good Shepherd Center, 4th Floor

4649 Sunnyside Ave. N, 4th floor
$5 – $15 suggested donation

A night of spontaneous compositions from three of Seattle’s finest musicians and longtime members of the creative music scene.

Internationally recognized composers Sam Boshnack (trumpet, flugelhorn) and Amy Denio (alto sax, clarinet, accordion, voice) join renaissance man Greg Campbell (drums, percussion, gongs, french horn) for a night of spontaneous composition and musical exploration. Working with loose themes, these accomplished beacons in Seattle’s creative music scene will join forces for the first time as a trio.

More information

Asplund/Baker/Denio @ The Chapel 8/27

Christian Asplund
Tom Baker
Amy Denio
Friday 27 August 2021, 8 pm
Wayward Music Series
The Chapel At The Good Shepherd Center
$5-$15 suggested

A rare chance to hear this trio of seasoned composer-performers for premieres of new comprovisations.

Christian Asplund is a Canadian-American composer-performer based in Provo, Utah, where he teaches at Brigham Young University and curates the Avant GaRAWge.  He has composed in diverse media and performs mainly as a jazz and free improvisation pianist and violist.  His interests have included the intersections of improvisation/composition, modular textures/forms, text/music.  He has received awards and grants from Alpert Foundation, Genesis Foundation, Barlow Endowment, Artistrust, King County, ASCAP and Jack Straw Foundation.  He has performed and recorded with Stuart Dempster, John Butcher, Malcolm Goldstein, Christian Wolff, Willy Winant, Eyvind Kang, Reggie Watts, Tim Young, etc.  His music has been performed and broadcast all over the world.  His teachers have included Stuart Dempster, Bill Smith, Marc Seales, Thea Musgrave, Alvin Curran, John Rahn, and Joel-Francois Durand and he has degrees in composition from University of Washington, Mills College, and Brigham Young University.  His scores are published by Frog Peak Music.  His articles and chapters and a book have appeared in Perspectives of New Music, American Music, Illinois University Press, and University of Washington Press.  His recordings appear on Tzadik, Comprovised, Maritime Fist Gleeclub, Sparkling Beatnik, Present Sounds, etc.  

Press comment has included: “passion”, “panoramic power”, “pure pointillist”, “plaintive”, “painstaking”, “rhythmically toothy”, “rocking”, “remarkable”, “rollicking”, “searing”, “subdued”, “soothing”, “submersive”, “splendid”, “unique”, “enjoyable”, “ethereal”, “mesmerizing”, “mind-blowing”, “otherworldly”, “absorbing”, “intelligent”, “idiosyncratic”, “distinctive”, “captivating”, “bewitching”. He teaches at Brigham Young University.  More at

Tom Baker is a composer, guitarist, improviser, and electronic musician who has been active in the Seattle new-music scene since arriving in 1994. He is the artistic director of the Seattle Composers’ Salon, co-founder of the Seattle EXperimental Opera (SEXO), and founder of the new-music recording label Present Sounds Recordings.
“…the acoustical rendition of a Jackson Pollack painting.”
— Twenty-First Century Music

Tom’s compositions have been performed throughout the United States, Canada, and Europe. He writes chamber music, opera, and electronic music, as well as music for percussion, chamber orchestra, dance, film, and chorus. His work traverses themes of grief, loss, redemption, and perseverance, through a combination of sound exploration, electronic improvisation, and musical form and structure. He has been in residence at the Atlantic Center for the Arts, and the Montalvo Arts Center, and his music is published by Frog Peak Music.
“…a delicate, eccentric compositional sense and a tendency
toward unruly improvisation.”
— Time Out New York

Tom is also a scholar and educator and has recently presented work to the Society for Minimalist Music in Wales UK, and to the International Conference on the Arts in Society in Vancouver BC. He is a Professor of Music at Cornish College of the Arts where he teaches composition, music theory, and electronic music. His most recent article was published in Perspectives of New Music in July, 2020.
“Alarmingly restrained, yet evocative,created with great care
and structured structurelessness. The space is the music.”
— ADD Reviews

Tom is active as a performer and improviser, specializing in fretless guitar and live-electronics. His band TRIPTET recently released its fourth album, Slowly, Away, on Engine Records. His electronic-interactive-arts collaboration with visual artist Robert Campbell called Manifold2 was was featured in the MoxSonic festival in 2019 and excerpts from their new opera-in-progress called The Language of Change were featured in the Current’s New Media festival in 2020.
“Tom Baker’s music plies the shadowy territory between
form, isolation, and silence.”
— The Stranger

Amy Denio (rhymes with ‘Ohio’) is an award-winning Seattle-based singer, composer, multi-instrumentalist, improviser, record producer and recording engineer. She founded Spoot Music, her record label and publishing company in 1986. Since then she’s composed, recorded and produced more than 500 compositions, and has released dozens of solo and collaborative recordings on Spoot and other record labels from America and Europe.
She has been part of the Seattle Drum School family since 2017.  Principally a self-taught musician (her parents both played jazz bass), she teaches voice, accordion, alto sax, clarinet, electric guitar, bass, found sound, and theremin.  She teaches creative music workshops in universities, youth and art centers and prisons.

In January 2020 her all-women group The Tiptons Sax Quartet (1988-present) released their 14th album Wabi Sabi, and had their 15th tour of Europe in March until COVID cut it short.  She is a co-founding member of The Entropics, Tone Dogs, (ec) Nudes, FoMoFlo, The Danubians, Petunia, Quintetto alla Busara, Die Resonanz, and the accordion quartet Hell’s Bellows! (US).  

Under ‘normal’ circumstances, she also records and tours with Kultur Shock (1999-present) and Latin American group Correo Aereo (2005-present) and often collaborates with the improvising rock band The Bats of Ballard (2016-present).

As a composer and audio engineer, Denio is regularly commissioned to score music for film, dance, theater, television, radio, as well as sound installations. She is currently developing the soundtrack for Pat Graney Dance Company’s new work ‘Attic’ (On The Boards, June, 2021), and has received funding to develop and compose ‘Mujer o Bruja?’ with the Tiptons Sax Quartet in collaboration with Correo Aereo (Chapel Performance Space, October, 2021).  Her interactive public ‘Sonic Bench’ is now on permanent exhibit on Vashon Island, Washington.  
In 2015, Denio was voted into Earshot Jazz’s ‘Seattle Jazz Hall of Fame’.  She has received the Paul Goode Artist Trust Fellowship, as well as fellowships from the Seattle Arts Commission and Civitella Ranieri, a 15th century castle in Italy.

Since 1988 she has collaborated with international musicians throughout East & West Europe and North America, as well as in Taiwan, Japan, Hong Kong, India, Brazil, Bolivia and Argentina.


It occurred to me how humans resemble chrysalises ~ in our limited human bodies, struggling to understand infinity with our limited mental capacities. Coastal Salish wisdom teaches that rather than being ‘the end’, death is simply the Great Change. It provides a chance for Spirit to unfold to its greatest potential. And that all things connect.

UNTRAPT is dedicated to ‘King’ Leah Gold and Elizabeth ‘Detonator Beth’ Lawrence, my amazing collaborators in Les Voix Vulgaires.  May they rest in peace, and cavort at will!