Two burly, bespectacled Kansas Citians dominated an appearance by a Tulsa-based band Wednesday at Crosstown Station.
Both physically and musically imposing, Jeff Harshbarger and Mark Southerland made memorable contributions to a performance by the Jacob Fred Jazz Odyssey. Harshbarger, one of Kansas City's most notable musicians, joined the band last year. A guest appearance by experimental saxophonist Southerland added intriguing textures to several selections.
The Jacob Fred Jazz Odyssey has undergone many permutations since it was founded by classically trained keyboardist Brian Haas in 1994. While retaining a foundation in jazz, the innovative collective has continually sought to expand jazz's possibilities as its members eagerly reach out to rock fans.
During Wednesday's performance, the first date of a new tour, the band emphasized rhythm. Although few in the audience of approximately 100 danced, most swayed appreciatively as the band toyed with time. Harshbarger and drummer Josh Raymer mercilessly pushed, pulled, twisted and teased the tempo as Haas and lap steel guitarist Chris Combs improvised.
While the instrumental band gleefully ignores the conventional rules that too often constrain both jazz and rock, its unspoken mandate is a collective insistence on maintaining an elastic groove. The admirable trait is typical of jam bands, although the music of the Jacob Fred Jazz Odyssey contains few of that form's excesses. Haas' attack is reminiscent of Chick Corea's work with Return to Forever, but the jocular Haas prefers fun over the obsession with technical precision that often spoils jazz fusion.
Similarly, the inviting twang of Combs' guitar occasionally evoked the early pastoral work of Pat Metheny. His serpentine sound is a kaleidoscopic array of gospel fervor, gritty blues and honky tonk heaven. Southerland's appearance with the band revealed an impressive knowledge of bop tradition that isn't always evident when he plays in other contexts. Even so, Harshbarger's rich tone and astonishingly imaginative solos provided the evening's most rewarding moments.
Along with cellist Helen Gillet and drummer Josh Adams, Harshbarger and Southerland performed under the Snuff Jazz moniker in a dizzying but engaging opening set. Southerland- playing without spectacles- screeched and wailed on a variety of conventional and contorted wind instruments. One crazed selection sounded like the final gasps of a wounded elephant. A woozy ballad with vocals by Helen Gillet was worthy of Tom Waits. The unusual combination of Gillet's cello and Harshbarger's double bass was particularly captivating.
Although it sounded little like the music associated with Kansas City's jazz heyday, Wednesday's raucous concert provided another strong indication that the city's tradition of enriching the greater musical community continues.
The Jacob Fred Jazz Odyssey has undergone many permutations since it was founded by classically trained keyboardist Brian Haas in 1994. While retaining a foundation in jazz, the innovative collective has continually sought to expand jazz's possibilities as its members eagerly reach out to rock fans.
During Wednesday's performance, the first date of a new tour, the band emphasized rhythm. Although few in the audience of approximately 100 danced, most swayed appreciatively as the band toyed with time. Harshbarger and drummer Josh Raymer mercilessly pushed, pulled, twisted and teased the tempo as Haas and lap steel guitarist Chris Combs improvised.
While the instrumental band gleefully ignores the conventional rules that too often constrain both jazz and rock, its unspoken mandate is a collective insistence on maintaining an elastic groove. The admirable trait is typical of jam bands, although the music of the Jacob Fred Jazz Odyssey contains few of that form's excesses. Haas' attack is reminiscent of Chick Corea's work with Return to Forever, but the jocular Haas prefers fun over the obsession with technical precision that often spoils jazz fusion.
Similarly, the inviting twang of Combs' guitar occasionally evoked the early pastoral work of Pat Metheny. His serpentine sound is a kaleidoscopic array of gospel fervor, gritty blues and honky tonk heaven. Southerland's appearance with the band revealed an impressive knowledge of bop tradition that isn't always evident when he plays in other contexts. Even so, Harshbarger's rich tone and astonishingly imaginative solos provided the evening's most rewarding moments.
Along with cellist Helen Gillet and drummer Josh Adams, Harshbarger and Southerland performed under the Snuff Jazz moniker in a dizzying but engaging opening set. Southerland- playing without spectacles- screeched and wailed on a variety of conventional and contorted wind instruments. One crazed selection sounded like the final gasps of a wounded elephant. A woozy ballad with vocals by Helen Gillet was worthy of Tom Waits. The unusual combination of Gillet's cello and Harshbarger's double bass was particularly captivating.
Although it sounded little like the music associated with Kansas City's jazz heyday, Wednesday's raucous concert provided another strong indication that the city's tradition of enriching the greater musical community continues.
| Bill Brownlee, Special to The Star
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