You may have heard the Godfather of Soul, James Brown, call out his
name on the epic “Doing It to Death,” a 10-minute, two-chord workout
that remains an unlikely and overlooked nexus of funk and
minimalism. Amid the laughter and other revelry, Brown exclaims,
“I’m going to get that fellow with the little horn over there!”
Egged on by Brown, Maceo Parker blows a buoyant saxophone solo, and
then switches to his “little horn,” the flute. He starts in the
instrument’s lowest, dusky register and capers ever higher, keeping the
groove going as he did with Brown’s band on dozens of hits, including
“Papa’s Got a Brand New Bag,” “Mother Popcorn,” “Cold Sweat,” and
“Funky Drummer.”
“I had a great time with James,” Parker tells me, remembering that
he had to bend down for that flute solo, because the microphone was
positioned for the saxophone, not the flute. “I didn’t want to stop and
move the mic,” adds Parker. “I wanted to keep it going.”
As a bandleader, Parker keeps it going on Roots & Grooves (Telarc), the latest in a string of solo discs such as Mo’Roots that began appearing in the early ’90s after Parker’s various stints
with Brown and Parliament-Funkadelic ended. Roots documents a
live big-band session in Germany. The album attests to Parker’s subtle
virtuosity as a soul-jazz saxophonist. He doesn’t need to unfurl rapid
ribbons of notes; his rhythmic subtlety implies what’s missing. The
resulting improvisation moves the mind and the behind.
Vinyl fanatics also know that Parker and his group, All the King’s
Men, scored several hits, most notably “Pass the Peas.” When I mention
the tune, the affable bandleader laughs, “I can’t be in a place for 10
minutes without someone asking for ‘Pass the Peas.’ It’s become our
signature tune. I tell people, ‘Don’t worry, we’ll do it!'” 
Catch Maceo Parker Mon–Tues June 23–24, Jazz Alley,
7:30 pm, $45, all ages.
Thurs 6/19
RESONANCES
Perhaps the longest fade-out ever made, Dorsey Dunn’s installation
winds down with gentle feedback, melting icicles of static, and slow,
stretched-out tones. Closes Fri June 20. Jack Straw Productions,
4261 Roosevelt Way NE, 634-0919, Mon—Fri 9 am—6 pm,
free.
KARRIN ALLYSON
This singer’s tender yet world-weary voice reminds me of late-period
Billie Holiday, though thankfully without the risk of total
disintegration that marked the singer’s last years. Allyson’s supple
phrasing places her among the best jazz singers around today.
Through Sun June 22. Jazz Alley, 2033 Sixth Ave, 441-9729, sets at
7:30 and 9:30 pm, $24.50.
SEATTLE SYMPHONY
Star cellist Joshua Roman returns to solo in Ernest Bloch’s
Schelomo. Count on Roman to dig deep into the cantillating vibrato of
this concert staple, tellingly subtitled “Hebraic Rhapsody.” Also on
the program: Concert Music for Strings and Brass, op. 50 by
Paul Hindemith and César Franck’s Symphony in D minor,
a forgettably great work whose majestic power evaporates quickly. Or
maybe it’s just me; I’ve heard it countless times, love it, and still
cannot recall a single, spine-chilling passage. Also Fri June 20 at
1 pm and Sat June 21 at 8 pm without the Hindemith. Benaroya Hall, 200
University St, 215-4747, 7:30 pm, $17—$105.
Fri 6/20
VANCOUVER INTERNATIONAL JAZZ FESTIVAL
Herbie Hancock kicks off a nine-day festival laden with heavies and
leavened with promising newcomers drawn from various sectors of
improvised music. Performers include Wynton Marsalis and the Jazz at
Lincoln Center Orchestra as well as Dave Brubeck, Maceo Parker, and
singer Andy Bey. Fans of the avant will want to check out Tim Berne,
Charlie Haden’s Quartet West, Wayne Horvitz, and a quartet with three
icons of European improvisation: Evan Parker, Paul Lytton, and Barry
Guy. Through Sun June 29. Various venues, 888-438-5200, check
www.coastal jazz.ca for details,
$13—$88.
NICKEL AND BRASS
Composer Andew Boscardin presents compositions that integrate
elements of jazz, rock, and the avant written for low brass (think bass
trombone, saxophone, and French horn), electric guitar, drums, and
bass. Along with Boscardin, one of the guitarists for Tuning the Air
(see below), the ensemble includes the fine vibraphonist Ben Thomas,
Chris Stover on trombone, and hornist Tom Varner. Fourth-floor
Chapel Performance Space, Good Shepherd Center, 4649 Sunnyside Ave N,
7:30 pm, $5—$15
sliding-scale donation.
OLYMPIA EXPERIMENTAL MUSIC FESTIVAL
BENEFIT
Aphonia Recordings, one of Seattle’s more compelling labels devoted
to electronic music, hosts a benefit for this long-running DIY
festival. Gallery 1412, 1412 18th Ave, 322-1533, 8 pm, free, but
donations accepted.
Sat 6/21
JAY THOMAS QUARTET
One of our burg’s finest trumpeters, Thomas leads a quartet that
delves into standards, old chestnuts, and forgotten tunes. Tula’s,
2214 Second Ave, 443-4221, 8:30 pm, $15.
Mon 6/23
TUNING THE AIR
I can’t decide what is more impressive about this group—their
astonishing collective precision or the seating arrangement of eight
guitarists surrounding the audience. It’s like being inside a giant
zither; strums, chords, and melodies not only sail over your head, but
tilt and rotate around you. The music ranges from winning covers of
“Kashmir” and Brian Wilson’s inconsolable lament “In My Room” to pieces
influenced by the classical guitar tradition, flamenco, and progressive
rock. Arrive early for a plum seat in the center. Every Mon through
July 21. Fremont Abbey Arts Center, 4272 Fremont Ave N, 789-8481, 8:15
pm, $10.
Tues 6/24
OPEN FLOOR
Here’s my nominee for sleeper gig of the week. Sponsored by the
Henry Art Gallery as “a venue for unconventional works,” this series
presents a trio of unusual performers: Guardian Ear, a chamber improv
group blending the unlikeliest of instruments including electric cello
(with a curved Bach bow), oboe, acoustic guitar, and array of small
percussion instruments; Paintings for Animals, who contribute “a
conglomeration of field-recordings, song, and tempered feedback”; and
Paurl Walsh’s Upward Not Northward, a seven-speaker
surround-sound electroacoustic work inspired by Edwin Abbott’s
Flatland. Henry Art Gallery, 4100 15th Ave NE, 543-2280, 7 pm,
free.
