Named after the cult John Coltrane LP Sun Ship,
Sunship is a quintet whose obvious instrumentation—guitar,
saxophone, bass, drums, and trombone—not only fulfills but deftly
flouts expectations of jazz-inflected grooves and buzz-saw saxophone
wailing.
Indeed, after a stellar performance at the Chapel Performance Space
last May, Sunship’s visibly exhausted saxophonist Michael Monhart
gushed, “I can’t believe we only played four tunes!”
That exclamation surprised me, too. We might have heard 4 tunes or
40, yet it was a blessing to float adrift: Rather than fill space with
extended, riff-based jams, the five musicians aboard Sunship bracketed
space and silence by scattering sounds above, around, and behind the
audience. While guitarist Brian Heaney casually picked out a moody,
slithering riff, Stuart Dempster roved behind the crowd beaming
elongated analog synth blats from his didgeridoo. Dempster crept
quietly like a ninja from a kung-fu movie; sound would appear
and then vanish only to rematerialize a few feet away.
Near the end, Heaney and bassist Andrew Luthringer somehow locked
into a fast strumming groove; I expected a segue into the incessant
high-hat lick of “It’s About That Time” (or the theme from
Shaft) and hard-blowing sax solo. But Dempster injected some
slurred, bent notes on the trombone; the tempo accelerated, and an
avalanche of gongs, bells, and other small percussion instruments led
to another molten transition of chimes, quiet gasps on the saxophone,
and a single concluding drum stroke.
When I asked Heaney about Sunship’s return to the Chapel, he said,
“We’re going after the same energy.” I’m glad: Sunship is one of
the few groups that not only plays in a space, but plays with space. 
Catch Sunship on Fri Dec 14, Fourth floor Chapel Performance
Space, Good Shepherd Center, 4649 Sunnyside Ave N, 547-6763, 8 pm,
$5–$15 sliding scale donation.
Thurs 12/13
SRJO NONET
The Seattle Repertory Jazz Orchestra slims down to nine for the Art
of Jazz series at SAM. Dedicated to preserving big-band jazz, the SRJO
excels at ballads and swinging midtempo numbers, so this should be a
treat. Seattle Art Museum, 1300 First Ave, 547-6763,
5:30—7 pm, free with museum admission.
SEATTLE SYMPHONY
For the last two weeks, I’ve been monitored by the Messiah Secret
Police, a shadowy special-ops team that makes sure Handel’s
Messiah is not only performed across the nation (here in this
case, by the Seattle Symphony and Seattle Symphony Chorale) but written
up by indifferent writers like me: Yes, Messiah is fun,
ennobling, majestic, etc., go see it. Also Fri Dec 14 at 8 pm, Sat Dec
15 at 1 and 8 pm, and Sun Dec 16 at 2 pm. Benaroya Hall, 200
University St, 215-4747, 7:30 pm, $20—$85.
DEAL’S NUMBER
One of the countless groups within the Monktail Creative Music
Concern, Deal’s Number sasses up the traditional sax-bass-drums jazz
trio. I like their new disc, Show Me What Ya Workin With (MCMC
Records); drummer Mark Ostrowski keeps the group in continual forward
motion while saxophonist Bill Monto astutely melds the blues with 1960s
free jazz. John Seman, the group’s anchor, understands the dual role of
the bassist, offering rhythmic and harmonic propulsion as well as
melodic commentary. Egan’s Ballard Jam House, 1707 NW Market
Street, 789-1621, 9 pm, $5.
Sat 12/15
CANTERBURY & SMITH
Too few know that one of the 20th century’s main innovators of the
clarinet, William O. Smith, lives here in Seattle. A compadre of Dave
Brubeck and collaborator with the avant classical composer Luigi Nono,
Smith pioneered extended clarinet techniques in the 1960s and 1970s; he
discovered how to play multiple clarinets simultaneously while
cataloging the chirps, croaks, and other surprising tones possible on
the instrument. Here, Smith teams up with one of our burg’s most gifted
and technically adept improvisers, Jesse Canterbury, for an afternoon
concert. They celebrate the release of their album
collage/décollage (Present Sounds) with trombonist
Stuart Dempster, clarinetist François Houle, and guitarist Tom
Baker. Fourth floor Chapel Performance Space, Good Shepherd Center,
4649 Sunnyside Ave N, 2 pm, $10/$15 (includes CD).
UNSILENT NIGHT
This version of Phil Kline’s installation for mobile boom boxes
diffuses multiple recordings of “Silent Night” throughout Fremont. It’s
perhaps the most astonishing Christmas music you’ll ever hear and a
rare example of successful sound-based “community art.” To participate,
see www.unsilentnight.com for details. Fremont Rocket, SE corner of N 35th St and Evanston
Ave, 6 pm, free.
WALLY SHOUP TRIO
Agile, out-jazz fury with eruptive alto saxophonist Wally Shoup,
pianist Gust Burns, and Bob Rees on drums and vibraphone. Fourth
floor Chapel Performance Space, Good Shepherd Center, 4649 Sunnyside
Ave N, 8 pm, free.
Mon 12/17
ORCHESTRA SEATTLE
George Shangrow and the band scale one of the summits of Western
civilization, Monteverdi’s 1610 Vespers. First Free
Methodist Church, 3200 Third Ave W, 800-838-3006, 7 pm,
$10—$25.
