Next up on Thursday, May 19, Zero-G’s Rik Wright presents a savory sonic bouillabaise of aural delicacies in the welcoming environs of Mars Bar / Cafe Venus, 609 Eastlake Ave E in Seattle, 21+, $7.
Tom Baker’s Ensemble Rhizome (9 p.m)
Ensemble Rhizome is a new band featuring some of the Seattle’s most experienced and exciting musicians and improvisers. This new sextet explores an interstitial world of sound; a sonic landscape that exists in between the cracks of what might be called music. Ensemble Rhizome is: Amy Denio, accordion and vocals; Tom Baker, guitar; Greg Sinibaldi, saxophone; Jesse Canterbury, clarinet; Evan Woodle, drums; John Seman, bass. Ensemble Rhizome runs completely on alternative fuels, combining wind, solar, electric and ethanol; it is the first avant-garde band to earn a LEED certificate for being green.
Zen Tornado (10 p.m.)
Zen Tornado is a little Psychedelia mixed with a little World Beat, a bit of instrumental Post-modern Rock and a whole lot of Jazz. Stirred, not shaken. Add in a blend of 90% original composition and 10% unusual re-orchestrations, a pinch of red pepper flake, a touch of lime, and there you go! A renowned music editor describes the group as “a tempestuous brew of jazz fusion with moments of almost transcendental tranquility.” The company (Rik Wright, James DeJoie, Walter White & Randy Doak) achieve an increasingly rare balance between challenging original compositions, disciplined ensemble interplay, and expansive improvisation, deftly straddling the line between form and freedom. The quartet’s singular take on progressive jazz is refreshingly free of clichés, and its willingness to embrace risk conveys a palpable sense of excitement and discovery.
The Luna Moth (11 p.m.)
The Luna Moth (Dan Colavito, Levi Fuller, Mark Schlipper) is a band comprised of three parts: the neutron, the proton, the electron. You need all three for it to work. Otherwise you get into like quarks and stuff. And you don’t want that. The Luna Moth plays the drone rock and has a penchant for long, repetitive songs focused on a bare minimum of chords. They prefer to wring all possible meaning and innuendo out of that minimalist a palette, using the full spectrum of dynamics to express what it is they are opting to express. Then again, maybe they’re just too lazy to write more complicated stuff. Sometimes The Luna Moth is very quiet, and you can hear things in the spaces they leave.