Monday Night Jazz at Icehouse
September 23 @ 9:00 pm
An event every week that begins at 9:00pm on Monday, repeating until December 30, 2019
9/9: Chris Hepola’s Monday jazz residency starts with at set from Josh Granowski’s Special Music and Jenna Wyse & The House on Fire. 1st set: Josh Granowski’s Special Music – Davu Saru / Noah Ob / Josh Granowski / Jake Baldwin. 2nd set: Jenna Wyse & The House on Fire band performing music written by Chris Hepola and Jenna Wyse including music composed for the experimental indie rock opera “Memory Laws” written by Rachel Jendrzejewski. Jenna Wyse vocals / Brain Handeland alto / Mike Wolter guitar /Josh Granowski bass / Chris Hepola drums /Mike Vasich organ/synth
9/16: Chris Hepola’s Monday jazz residency night two features Large Marge, Early Planets and Nelson Devereaux. 1st set: Large Marge (8:30-9) Chris Hepola & Josh Granowski. 2nd set: Early Planets – Mike Wolter on guitar / Cody cody Mckinney bass / Cory Healey drums.
9/23: 1st set Dameun Strange:Temple of the Nu is an electro-acoustic new music/jazz ensemble convened by multi-instrumentalist and composer Dameun Strange to explore the mystic sounds of the universe via original improvised acoustic and electronic music. ToTN features Queen Drea Reynolds on vocals and effects. The rhythm section includes Kahlil Brewington on set and Stephanie Watts on percussion. The 4et of horns features Lauren Husting (trombone), Kate Devoe (trumpet), Erica Orton (bass clarinet) and Sugi Ganeshananthan (tenor saxophone).
2nd set: George Marich / DeVon Russell Gray / Erik Fratzke
9/30: 1st set at 7:00pm
House on Fire Band large ensemble (songs written by Chris Hepola)
Brad Holden alto / Spencer Roth trumpet / Eric Struve bass / Brian Handeland tenor / Mike Vasich piano / Paul Fonfara clarinets / Mike Wolter guitar / Ben Link trombone / Chris Hepola drums
2nd set @ 9:30pm
Tim Berne (alto saxophone), Chris Speed (tenor saxophone) ,Reid Anderson (double-bass), Dave King (drums)
Broken Shadows is a quartet of kindred spirits communing over shared loves and common inspirations, radiating not only homage but aspiration – to make music with deep roots reach out into the present moment, alive and attuned and moving through our air now. These four musicians hailing from the urban northern half of America – Tim Berne, Chris Speed, Reid Anderson and Dave King – have banded together to reinterpret the timeless sounds conjured by great men from the rural South and heartland of the country: Ornette Coleman, Julius Hemphill, Dewey Redman, Charlie Haden. These iconic figures created an ever-resonant avant-garde out of the folk-art influences of their early surroundings, a canon that comprises the hard blues and deep lament, keening celebration and hollering protest. Wound through the DNA of such avant-jazz classics as “Dogon A.D.,” “Lonely Woman,” “Civilization Day,” “Walls-Bridges” and “Song for Ché” are the age-old sounds of back-alley bars and carnival midways, funeral processions and holiday parades, the rave-ups of Saturday night shading into the hymns of Sunday morning. The way saxophonists Berne and Speed perform this music with the bass-and-drum team of Anderson and King has a rocking, roughhewn harmonic convergence wholly in keeping with the source materials, even as their improvisations have a searching, burning modernism of their own. To channel the cultural history of this music, the players of Broken Shadows can rely on their personal history as friends and collaborators; among various associations, Speed played in Berne’s Bloodcount band in the 1990s, while Anderson and King are two-thirds of the genre defying band The Bad Plus. This foursome is onto something special here – the emotive breath and beat of this music being undeniable, infectious; these are players known for their ability to take it out, but Broken Shadows gives them a vehicle to get down. — Bradley Bambarger