Jud Sherwood, a jazz drummer and founder of a long-standing jazz nonprofit in Bellingham, Washington, has the dry, self-deprecating sense of humor shared by many who work in jazz, which accounts for less than 2% of total record sales.
“What makes jazz notable is that when venues are struggling, that's when they hire jazz musicians and we basically help them close,” Sherwood joked.
But Sherwood has also had the vision and business acumen to keep The Jazz Project, a successful jazz-presenting nonprofit, going for nearly 30 years. Since 1997, The Jazz Project has helped sustain jazz throughout the region by producing live jazz performances, releasing professional recordings through its label, and hosting workshops and clinics for local schools.
Meanwhile, Sherwood is a fine drummer in his own right who’s played with countless regional artists and groups up and down the West Coast, including John Stowell, Nancy King, Herb Ellis, and many others.
Answers have been edited for length and clarity.
Are you from the Pacific Northwest originally?
I was born in Chicago and raised in Bellingham just a half mile from Western Washington University (WWU) where both my parents worked.
At 18, I went to college at the University of Rochester and underwent brain surgery to treat my epilepsy shortly after. Then, I studied percussion at Eastman School of Music and the College of Arts and Sciences.
What projects or bands are you focused on right now and how did they come about?
Presently I am presenting my 27th season of events for The Jazz Project, a 501c3 nonprofit organization I formed in 1997. Prior to this, I cofounded Pacific Northwest Jazz Alliance with David Keller who moved back to Bellingham from LA to get a degree in Archival Sciences from WWU.
As a drummer, I have worked with musicians from around the world, but I’ve mostly focused on players from Vancouver B.C. to Portland, Ore. I have recorded multiple records with Jennifer Scott and Rene Worst, John Carswell, Hadley Caliman, and Brian Cunngham, among others.
Currently, I lead a Steely Dan cover band called Danned If We Do. That was formed during the pandemic and is building its repertoire and performing for festivals and summer concert series. Mostly, I am a gun for hire and perform with musicians who write their own music and perform for Jazz Project events.
When did you decide to pursue jazz?
I grew up playing violin from age 4 to age 11. I swore I would not enter the 6th grade orchestra because I was used to playing Bach, Vivaldi, Belhaven and Brahms. So, my elder sibling, who was into jazz and a trumpet player, said, "Why don't you play something cool like bass or drums?" So, I quit the violin and played drums in the band. I bought my first kit in 7th grade, and then discovered girls. The rest is history.
What’s your favorite local jazz venue?
Firehouse Arts and Events Center in Bellingham. This is where I present my Spring and Fall Jazz Project series. The acoustics are great, the lighting is good, and the Steinway grand piano makes the room perfect for an intimate setting of up to 120 patrons.
What other musicians in the regional jazz/blues scene do you think should be highlighted more?
I would highlight Gail Pettis, one of my favorite jazz vocalists, though I am not sure whether she would want the recognition. I like her natural feel. She is curious, inventive, soulful and kind.
Who are your biggest musical influences?
Anyone who is a sideman. When I want to know who to hire I don't go to agents or to lead players. I ask the bass player or the drummer. Aside: A bass player and a drummer are in a van. Who is driving? The police.
Who is your biggest role model in the regional jazz scene, if you have one? Why?
Jeff Johnson is my biggest role model for jazz in the Pacific Northwest. He is the glue that holds the group together and is always there to catch you when you fall.
Do you have a favorite quote about jazz?
“Jazz is a blind feral cat looking for its next meal.”
