Tuesday, Feb. 2nd 2010
Avant-Jazz Loves Wallingford
By Matt Mason
The last two weekends held the 2nd annual Is That Jazz? Festival at the Chapel Performance Space in Wallingford. The purpose of the festival, which is the brainchild of Tom Baker of Seattle Composers Salon, is to present acts on the fringe of traditional Jazz. Artists from Seattle and the greater northwest are given priority along with national acts with ties to Seattle.
Tom saw so many talented musicians that weren't welcomed at the local jazz venues and wanted to provide an outlet for them. He makes it clear that he isn't trying to be provocative, simply inviting people to question their preconceptions. The genre of Jazz is often strictly associated with improvisation. This year's performers however, highlight improvisation within composed works.
On the first Friday, Sunship (http://www.myspace.com/sunshipmusic ) started the night with a fantastic performance. It was like a variety show, opening up with a beautifully eerie didgeridoo solo by multi-instrumentalist Stuart Dempster and moving onto duck calls and a giant conch shell. Dempster was joined by Brian Heaney on guitar and saxophonist Michael Monhart, both formerly of the band Stinkhorn. Supported by the rhythms of David Revelli on drums and Andrew Luthringer on bass.
Next up was the
Sun Ra Tribute Band who lived up to its namesakes cosmic attire. Sun Ra claimed to be from Saturn and often wore flowing sequined outfits on stage. They performed many of his compositions from the late 1950s and early 1960s. The band consisted of Bill Smith: clarinet, Tom Baker: guitar, Greg Sinibaldi: saxophone, Michael Monhart: saxophone, Jim Knodle: trumpet, Stuart Dempster: trombone, Lynette Westendorf: piano, Greg Campbell: percussion, horn, Dan O'Brien: bass, Bill Moyer: percussion. This all-star band put on a musically stellar performance despite the glitz and shimmer strewn about the stage.
Saturday night was opened by the Bill Smith Trio ( http://faculty.washington.edu/bills/earshot.html ). Master composer and clarinetist Bill Smith wrote a piece specially for the Chapel Performance Space. It was a 40 minute epic that included drummer Greg Campbell performing double duty on the french horn. Rounding out the trio was Brian Cobb on bass. This piece gave each musician a chance to branch out of Smith's structure to explore their creativity.
Closing the night was Threat of Beauty ( http://evanflorybarnes.com/ ) a big band led by bassist Evan Flory-Barnes. This hip soul jazz band featured two vocalists, french horn, dueling trumpets, harp, percussion, vibraphone, and drums. They performed modern compositions blending elements of jazz, hip-hop, soul, funk, and traditional big band. Flory-Barnes exudes such creative energy even when simply supporting other members solos. He led the band through a powerfully fun set.
The second weekend began with Vertigo ( http://www.jessecanterbury.net/ ) led by Seattle Clarinetist Jesse Canterbury. It was an ethereal almost dream like set that carried the listener on a journey into the stars. Canterbury was joined by Tom Baker on guitar, Joanne DeMars on Cello, and Chris Stover on Trombone. The quartet was strongly attuned to each other which carried them to a higher more intense level of performance.
Bad Luck ( http://www.myspace.com/badluckband ) was also like a journey but instead of a journey into the heavens it was a trip into the earth. The duo's performance was simple yet powerful. Saxophonist Neil Welch used loops and pedals to build mosaics over which he and drummer Chris Icasiano could build off. Well crafted and very earthy compositions with tight rhythms.
The last night started with the Tom Baker Quartet. This dynamic ensemble covered the entire gambit of emotions from powerfully moody with crunchy guitar led compositions to light and airy numbers given flight by clarinetist Jesse Canterbury. The rhythm sections consisted of bassist Brian Cobb, and drummer Greg Campbell.
Headlining the festival was the Cuong Vu Trio. Vu, currently living in New York, grew up in Seattle. He brought his drummer, Ted Poor and bassist, Stomu Takeishi. This emotional set was reminiscent of a Sigur Ros performance, who Vu admitted to having a love affair with. All three performers poured out their energy and showcased the mastery of their instruments. The packed house was treated to an amazing sonic journey that seemed to take them deep into Vu's heart.
It was a unique and very special two weeks of performances that every jazz appreciator in Seattle should have attended. Dates are not confirmed yet for next year but more information and updates can be found at IsThatJazz.org
The Festival was sponsored by Nonsequitur, which holds regular performances at the Chapel Performance Space, Seattle Composers Salon, Present Sound Recordings, Seattle Percussive Collective and 4Culture.
