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THEATER
Heidi Stillman & Looking Glass at Arden
Born
Yesterday Reborn in Philly
Azuka’s
“An Artist’s Workshop”
Terror at the White
House
ART
Components
of The Big Nothing
The
City of Murals
Moore
College Senior Show
NY
Times Art Critic William Zimmer at NAP
Fleisher
Challenge - Interdisciplinary Outlet
Highwire
Gallery - The Shovel Show
Photographer
Mike Mergen
Secret
Hangerbenderman: Abraham Rothblatt
MUSIC
The Decemberists at
TLA
Staying Up Late with
Stargazer Lily
Schacter and
Johnson: Jazz Improv
The Blue Journey of Monica
McIntyre
Mickey Roker at
Ortlieb's Jazzhaus
Eric Alexander at Chris'
Jazz Cafe
POETRY & PROSE
Open Hand
by
Frank Walsh Taxidermy
Becomes You by Maria DelVecchia
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Alternate Variations: Schacter and
Johnson Sound Their Jazz Improv at the Highwire Gallery's Monday Night
Series
by
Greg Trout
Strolling down Cherry Stree t below Broad, by the Gilbert Building in
the evening on a Monday, music wafts from an open window over head. To
track these tones, one must hit buzzer number four. Depending upon on
the alternating Monday schedules, one will be privy to either Ben
Schacter's or Jef Lee Johnson's sweet mosaic of chaos.
For the last year and a half, the Highwire gallery has been host to
an ongoing Monday night jam that features some of the finest and most
progressive Jazz Philadelphia has to offer. Alternating Mondays,
Schacter and Johnson thrill the faithful with their unique
interpretations of the art.
The series recently featured a performance by Ben Schacter and his
Quartet, Sung/Unsung, consisting of Jef Lee Johnson on guitar, Craig
McIver on drums and Matthew Parrish on bass, and Schacter on saxes.
The quartet has been playing together for many years in one variation
or another in an intense lineup. While Parrish's bass anchors a muscular
backbone, Schacter's sax weaves fierce angles, pushed forward by
McIver's light but authoritative Max Roach-esque beats. The sounds are
then bejeweled by Johnson's own little school of outer space effects,
making for complete and unified sounding combo.
The combo-- while I noticed no physical signals, commandeered changes
that seemed merely understood. We seemed to be witnessing a relationship
between musicians firmly grounded in the fine, telepathic art of
improvisation. The musicians are comfortable with posing and addressing
musical questions to one another before an audience. The band appears to
be a family, based solely on the equal distribution of sound negotiated
during improvisation.
True, Schacter and his tenor's fierce chops are very much in charge,
the sounds and solos subtly shifting control like a lava lamp in a dark
room. Groovy sax bleats mellow out to give way to some of the most
melodic bass solos I have ever heard, performed by some very slippery
fingers giving way to some brilliant polyrhythms from the drummer's
sticks, and finally leading into one of the guitarist's masterful space
explorations. Veering and expressing knowledge of everything from Bop to
Fusion, to worlds between and beyond, Ben Schacter's Sung/Unsung will
blow your mind.
Schacter detailed the origins of the sounds, "As far as
influences go, I prefer to remain isolated, and let them come from the
inside, not that I have any special insight. But I am very interested in
playing what's in my head."
Alternate Mondays are commanded by the powerhouse riffs of Jef Lee
Johnson. A veteran of session work with the likes of Chaka Khan, Sister
Sledge, and McCoy Tyner, his driving playing is sure to please both
purists and Jon Spencer devotees alike.
Johnson appears with his jet-propelled rhythm section of Dan Monaghan
on drums and Chico Huff on bass during a particularly humid Monday
night. The hot, wet weather perfectly suited the scene. Dim lights,
surrounded by modern art, Johnson's chaotic and beautiful sounds filled
the room and transformed it into some sort of futuristic jook joint.
While Johnson twisted his sweating face as if giving birth, his
lightening hands commanded his Fender Stratocaster VII to conjure sounds
otherworldly, brutal and beautiful. Standing before a guitar case filled
with no less than eight effect pedals, Johnson's explorations seem to be
an inversion of the entire history of the guitar.
Echoes of Wes Montgomery, Django Reinhardt, John McLaughlin and even
Les Paul find their way into Johnson's bag of tricks. From muscular
riffs to light interplay with his combo to spacey, almost Hawkwind-esque
improv, the improvisation resounds in the ears of the audience.
The Highwire Gallery Jazz Series features Johnson and Schacter on
alternating Mondays at 8pm at the gallery space, at 1315 Cherry Street
(located between Arch and Race, below Broad on the fourth floor in the
Gilbert Building). The events are curated by John Van Zandt, gallery and
performance coordinator. For more information, visit the gallery's
website at www.highwired.tv
or phone (215) 829-1255.
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NEWS
Arts
and Culture Face the Mayor’s Veto
The
Barnes Finds Its Place
SPOKEN WORD
InterAct's
Writing Aloud
Art
Sanctuary Resident Artist Trapeta Mayson
Daughters
of the Diaspora
Alicia
McCarthy & Ben Smith: Artist Comedians
LITERATURE
James
Alan McPherson at Kelly Writer's House
Author
Lawrence Richette's Novel, The Secret Family
Notes
on Author Faith Adiele
CULTURE
Philly
Reuses It!
Shoba Sharma's
Naatya Dance Ensemble
Passional:
Deliciously Illicit
The
Photographic Art of David Lawrence
Art
Sanctuary Opened Center & New Play
Jay
Schwartz's Secret Cinema
COLUMNS
A Modern Girl's Guide
to Philadelphia
Fabric Sculptor J. Lauren
McCall
[UNDERGROUND SWELL]
It is Peace of Mind: Ananda
Ashram
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