Hip doesn’t even begin to describe the cool factor of the musical theatrics of Seattle jazz-fusion quartet Das Vibenbass.
Not only does it have suave jazz fashion with fedoras, suit jackets and sweater-vests that evoke a retro style, but it also has a unique smooth, yet jagged sound that “crushes the borders of jazz.”
Don’t miss the opportunity to witness this ongoing evolution of jazz tonight at Luckey’s, where Das Vibenbass is playing with Disco Organica and Strange Language. The show starts at 10 p.m. and the cover charge is $5.
This combination of raucous drumming, bell-like vibes, fierce sax and a smooth bass that brings it all together has taken the group from its hometown of Seattle to Germany, Austria and the Czech Republic.
It has also received Seattle Weekly’s “Best of 2006” award and attracted a wide range of audiences to its shows. Anyone from seasoned lovers of jazz classics such as John Coltrane and Duke Ellington to college hipsters who frequent the indie scene have been known to be fans of Das Vibenbass.
While it has the classic components of tenor saxophone and stand-up bass that old-school jazz enthusiasts can appreciate, Das Vibenbass also lets the drums and the vibraphone take center stage, creating an unusual sound that rockers can enjoy.
At times the music can be difficult to categorize as straight fusion-jazz. Vibraphonist Justin Sorenson calls it many different things, including “dirty jazz,” “hardcore jazz” and “punk-rock jazz.”
Drummer JC Bockman describes the live show as “in the moment” and “raw” because it is highly improvisational, with each member of the group feeding off one another’s performance.
Mood is one of the most important components of the songs, evoking the influences of everything from spy movie music, film noir and the works of composer Danny Elfman.
The quartet’s newest album, “Fodakis,” released in June 2007, showcases how different its sound really is from the jazz classics by constantly mixing up which instrument is in the forefront.
This free-form style of playing lends itself more to live shows than it does to studio album work, but either forum provides the listener with music that is anything but stale.
Fifty percent of the profits from sales of “Fodakis” are being donated to the Mr. Holland’s Opus Foundation.
This foundation donates instruments to music programs that lack sufficient funds to keep up with equipment loss due to wear-and-tear. Its goal is to give the gift of music education to communities that otherwise couldn’t afford the costs of these types of programs.
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