Browse 899 jazz bands for hire in Seattle, Washington, United States, from intimate jazz trios to larger swing ensembles for weddings and events. Acts listed here have received 1,838 reviews from real clients with an average rating of 5 out of 5, and prices start from $200, averaging $650.
Of the 899 suppliers listed here, 8 are based within 30 miles of Seattle. The other 891 are willing to travel there.
Also covers suppliers based in Gig Harbor and Kent.
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Rates for jazz bands in Seattle currently range from about $200 for smaller ensembles to $2,400+ for larger groups or extended performances, with an average booking cost of $650. Price typically reflects the number of musicians, set length, travel requirements, and any custom arrangements. Trios and quartets offer good value for most events, while full big band setups command a higher fee but deliver a richer, more dynamic sound. Contact the supplier you like for an accurate quote.
Based on 1,466 enquiries for Jazz Bands at events in the United States, made through this site in the last two years. Updated 11 November 2026.
New Age Flamenco
"I've heard the music of New Age Flamenco around Seattle over the years and we got lucky enough to have them at our Ceremony and Reception. Our wedding wouldn't have been the same without Oleg and New Age Flamenco. I won't even go into the basics [of being on time and other common sense], because these guys are simply the best in town. From their professionalism to how reliable they are to the standard of entertainment they provide, I will forever recommend them to anyone holding any event. Oleg wend above and beyond with planning the whole evening with us for literally hours and we couldn't have been more thankful. On top of that, I had the honor to perform with them at our wedding, which was one of my favorite memories through the evening!
Thank you for everything guys!
S.D."
CT Thompson and the Classic Soul Band
"My husband and I heard you sing, “I Want to be Your Teddy Bear,” and we were hooked. Then you sang, “No More Drama,” and we are still driving home and I found your music!!! These songs are making my birthday weekend special !!! Thank You!"
Good Co
"We hired Good Co for our 1920's themed holiday party. They were extremely flexible and accommodating, especially when we asked if they would follow our leadership around the office as they gathered people for the party. Awesome talent, great at judging sound vs space. Our office is pretty echo-y and loud, but they found the right balance immediately. Definitely keeping on the books for next time!"
The Booker T Cookbook
"All of this is an admittedly roundabout way of confessing that I wasn't prepared to be as delighted as I am with Go Tell It on the Mountain (Silkheart), an album of traditional hymns and originals with heaven-gazing titles by Booker T. Williams Jr., a New York-based tenor saxophonist originally from Seattle who performs as Booker T. The obsessive soul-searching implicit in the programming suggests an affinity with John Coltrane. But unlike too many of the saxophonists who aim for Coltrane's spiritual elevation, Booker T has a devilish sense of humor best illustrated by his "Say amen, Gracie" drollery on "What a Friend We Have in Jesus," a homey little melody he elongates and fragments with the comic élan of a Sonny Rollins.
In fact, the classic album that Go Tell It on the Mountain most recalls is Way Out West, Rollins's 1958 album of cowboy tunes--and not just because Booker T, like Rollins before him, finds inspiration in unlikely places. It's also because Booker T's interaction with the bassist Saheb Sarbib and the drummer Andrew Cyrille is as carefree and almost as electrifying as Rollins's with Ray Brown and Shelly Manne thirty years ago (or better yet, with Wilbur Ware and Elvin Jones on A Night at the Village Vanguard, from around the same time).
Despite the sarcasm implicit in Booker T's low-register bleats, his performances of "What a Friend We Have in Jesus" and "Jesus Loves Me" exude sincerity, much the way Rollins's interpretations of oddball pop tunes do. For Booker T, as for Rollins, satire is a sign of respect, not condescension.
Booker T is ecumenical: one of the album's most infectious cuts is "Halle Kalle Mazeltov," a hora whose modality he cagily exploits. The Spartan trio format means that Sarbib and Cyrille have to function as soloists as well as rhythm stalwarts, and both men shoulder the added burden gracefully, maintaining melodic continuity in a manner that bassists and drummers seldom do when they solo.
Despite the length of some of the tracks (the title tune, which is just over sixteen minutes, is a Booker T original, not the folk song of the same name), Booker T's solos never deteriorate into self-indulgent braying. His sense of thematic exposition is too well developed for that-another cue he takes from Rollins. (And as if to underscore his lineage, the CD-only bonus track is Rollins's calypso "St. Thomas.") He switches to alto on his own "When Mama Cries I Cry," and his phrasing is impressively speechlike on this lighter horn."
The Unknowns
"There are songs that just stand out because they are so different from everything out there. “Stay Down Kat”, by The Unknowns, is definitely one of those songs. There’s a suave, jazzy, bluesy feel to this song, with great lead and backing vocals. It’s sultry, sensual, mysterious, and controlled, yet it has its powerful moments. And who can resist a great sax solo? Those things will draw you in, and soon The Unknowns will be known."
John Nicholson Saxophone
"He was great to work with and guests loved him. He’s awesome!"
