Cool Yule Holiday Show with Joan Penney, Hans Brehmer, Max Holmberg, Drew Baddeley, and John Anderson
Get ready for a fun night of selected Louis Armstrong Christmas tunes complete with other holiday classics. $13 cover. Reservations recommended http://www.ballardjamhouse.com/
For the second year, I have the honor of being working with the delightful Joan Penney on this holiday gig. The intent of this performance to truly bring cheer and laughter to everyone's holiday. There will be some bad jokes, laughter, and even some giveaways but a guaranteed laugh and joy to lighten and brighten your holiday season.
1707 NW Market Street
Seattle, WA 98107
Egan's room seats 46 people. We usually reserve 40-42 seats in the room prior to the show, with the remaining seats available on a first-come, first-served basis.
Reserved seats are held until the show starts unless we are notified of a delay.
Occasionally performers will sell tickets online - when that happens, we do not take seating reservations for their show and seating is first-come-first-served.
Set up as a music venue/restaurant in the evenings, Egan's is dedicated to providing a positive community-centered environment for jazz education and performance.
Club owner Suzanne Weghorst, a virtual reality researcher at the University of Washington, was motivated to open Egan's by the lack of appropriate places for young jazz musicians to play and to learn from more experienced artists.
"It was through seeing my son learn from his tenor sax teacher Gary Hammon that I realized there was a need to preserve and honor not just the music, but the tradition of passing down the history and culture of jazz from generation to generation," Suzanne says.
Egan's takes its name from Weghorst's maternal grandfather, a composer, and performer who toured Europe before settling down as a theatre and club performer in New York City in the 1920s and 1930s. After incorporating as the Ballard Jam House, Weghorst came across an old London variety theatre playbill and discovered that, in addition to composing light opera, he had performed as Happy Jack Egan and his Oo-La Girls back around WWI and had composed some early ragtime jazz tunes. "Since what we were trying to do was in a similar vein to the old live variety theatre circuit, it seemed fitting to name the club after him."