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Portland’s jazz scene has long been one of the most innovative and dynamic segments of the local music community. For that we can thank a firm foundation laid down by veteran artists and a constantly restocked pool of talent coming from the jazz programs at Portland State University, Lewis & Clark College, and University of Oregon.
For the uninitiated, it can be a lot to sort through, but an ideal entry point for curious listeners is PJCE Records, the offshoot record label of the Portland Jazz Composers Ensemble. Since its founding in 2012, the imprint has released dozens of albums that provide a pocket history of the past decade of local jazz. Nothing is out of bounds on the label so long as the composer of the music is from Portland and the material is original. (“There’s six total cover songs in 67 releases,” PJCE label head Ryan Meagher says with no small amount of pride.) Also, there’s got to be that somewhat intangible element.
“It has to be high quality,” Meagher says. “There’s some risk of ruffling feathers, I guess. But the one thing I look for is diversity in sound or approach—because I want PJCE Records to be a reflection of the community.”
The three albums that the label drops on the first of September to coincide with special release events at this year’s Montavilla Jazz Festival on Aug. 30–Sept. 1 bear that out.
Drummer Rivkah Ross’ debut, Dare to Hope, is a crisp burst of post-bop that puts a spotlight on the bandleader’s Art Blakey-esque rhythms while fellow percussionist Chris Lee’s new full-length, Green in Grey, draws together long-serving players like guitarist Dan Balmer and multireedist John Nastos to explore glassy, textural compositions in the mode of classics from the ECM Records catalog. Rounding it all out is Document, an album of adventurous compositions that trombonist Chris Shuttleworth made with a trio of players from Chicago.
“It’s a good swath of what we do,” Meagher says. “Two emerging artists and one more established artist with an all-star band.”
Releasing all three records at once is also something of a throwback to the label’s origins when original founder Dan Duval was putting out a new album every month. It was an ambitious schedule that introduced local listeners to the minimalist bop of Kin Trio and the proglike Operation Northwoods, among others. It also wore Duval out quickly, leading to Meagher taking over the reins in 2015.
What helps maintain Meagher’s sanity is that PJCE doesn’t operate like a typical label, seeking out talent and organizing recording sessions. By and large, artists are coming to him with finished work to which he applies the imprint’s eye-catching artwork (designed by Dylan McConnell’s Tiny Little Hammers) and promotional acumen.
“I try to help as much or as little as the artists want,” Meagher says. “Because we’re community-minded and it’s a nonprofit organization, we’re just trying to serve.”
To date, that hasn’t resulted in paradigm-shifting sales numbers, but it has given PJCE Records a sterling reputation for compensating artists equitably and supporting a scene that is all too often overlooked in favor of big-ticket indie and hip-hop acts. Too, with releases by acclaimed pianist Darrell Grant and up-and-comers like trombonist James Powers, the label has remained connected to both Portland’s jazz legacy and its future.
The label has much more music on the horizon, including two more albums that will be out before the end of the year and a handful already on the docket for early 2025, including a songbook from pianist Gordon Lee and a new release by drummer Matt Mayhall’s trio.
Whatever the music is, Meagher says, “PJCE will support it. We’re just trying to call balls and strikes. We don’t want to shape the game.”
SEE IT: 11th Annual Montavilla Jazz Festival, multiple venues, montavillajazz.org. Shows start 4–10:30 pm Friday, noon–10 pm Saturday–Sunday, Aug. 30–Sept. 1. Ticket prices vary.