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Monterey Jazz Festival embraces chaos
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Welcome to Look Who's Been To Music School night at the Monterey Jazz Festival, in which otherwise capable musicians decide the priority du jour is demonstrate their mastery of alternative composition techniques.
First up on the noise parade was Buffalo Collision, an aptly named side project of troublesome trio The Bad Plus. I've never witnessed a set so hostile to the notion of melody, and that includes a performance by an improvisational group that used the sound of car falling off a scaffolding as percussion. This was the only show of the festival where noise from passing aircraft improved the experience.
Next up was keyboardist Jason Moran, a normally affable young fellow who knows how to strike that fine balance between creative boundary-pushing and traditional tunefulness. Tonight, however, the main piece of piece of business was to premiere "Feedback," a new piece commission by the festival.
At least there was method to Moran's madness, as he explained the piece was a tribute to Jimi Hendrix's landmark performance at the 1967 Monterey Pop Festival and generously gave the audience leave to plug their ears or check out altogether. And a number did as Moran and his rhythm section explored the limits of prepared piano, amplifier squeal and other aspects of atonality for a full 20 minutes. Who knew the overamplified sound of a cymbal being scratched was so close to nails on a blackboard?
At least Moran knew how to pull it together at the end, Sonic Youth-style, as he and the band hit a funky groove enlivened by his electric piano licks and the vocalizing of the surprisingly obliging crowd.
Thank god for local lads the Shotgun Wedding Quintet, who were more intent on giving the audience a funky good time than displaying their theory & composition credentials.
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