 Zacc Harris, Pete Hennig, Brandon Wozniak and Travis Schilling The jazz scene in the Twin Cities is often cited as one of the strongest in the country. Per capita, we may well have more jazz venues and more jazz musicians than most cities, yet sometimes it seems that we also have more musicians than fans to hear them. As clubs seek to stay in business, jazz—if not replaced altogether—is more and more often sharing the schedule with blues, R&B, rock and other genres that draw a wider audience; and fewer venues will risk booking the “serious” and more experimental music that created our renowned jazz climate in the first place. Bravo, then, to the Dakota Jazz Club for hosting the CD release for the very serious, but very accessible, Atlantis Quartet, on Thursday, August 30th. And yes, this is in “prime time,” 7-11 pm.
The Band The Atlantis Quartet has been making waves since its debut at Jitters last October, an ensemble described as having “strong compositions and insanely serious chops” (Dwight Hobbs, Pulse). In the past year, the foursome has played throughout the metro, at the Dakota, Times, Rossi’s and Nomad, as well as at clubs more known as rock venues, including the Uptown Bar and Bunkers. And the band hosts a regular gig at their “birthplace,” Jitters. The young musicians (who bill themselves as a “rock band playing original jazz”) include saxophonist Brandon Wozniak, guitarist Zacc Harris, bassist Travis Schilling and drummer Pete Hennig. Saxman Brandon Wozniak previously lived and worked in New York City, toured with the Tommy Dorsey Orchestra, and earned his BA from Indiana University under the tutelage of David Baker. Since arriving in the Twin Cities in 2006, he has performed with local bands led by Bruce Henry, Katie Gearty and Sam Kuusisto, and is also a member of the 3rio. Zacc Harris came to Minneapolis two years ago from Illinois, where he graduated from Southern Illinois University. Here he formed the Luminessence Trio (now Zacc Harris Trio) and has also played with Tanner Taylor, Jay Epstein, Katie Gearty, Sophia Shorai and John Starkey. In addition to performing, Zacc is dedicated to teaching, and has taught guitar for the past decade. Travis Schilling came to the Twin Cities ten years ago to study at the McNally Smith College of Music, where he recently joined the faculty. After five years touring with the Renee Austin Band, Travis has performed with the Wolverines, Patrick Harrison, the Eagle River Band, Nate Brown, Sam Kuusisto, Katie Gearty and more. Pete Hennig similarly came to the Twin Cities to study at McNally Smith. After graduating he spent an additional three years studying with Dave King (Bad Plus, Happy Apple). His performance credits include Debbie Duncan, Katie Gearty, Sam Kuusisto, Tickle Fight, Patrick Harrison, Johnny Clueless, Park Evans and more. The Music
 Again, Too Soon, the debut recording of the Atlantis Quartet, is a set of eight original compositions recorded at Fur Seal Studio in Minneapolis. Wozniak and Schilling each contribute one track, Hennig two, with Harris providing the remaining four tunes. And despite the four individual minds at work, there is a surprising unity in their efforts, and for the most part the tracks are separated by subtle differences rather than dramatic changes in pace or harmonic devices. While they share some common ground with another group of young innovators—Chill 7-- in the melding of fusiony sonics with post bop ideas, the Atlantis Quartet is less concerned with creating danceable rhythms. To appreciate this recording, the listener should be fully engaged. The program opens with Wozniak riffing over pounding drums on his own “Meter Matrix,” which develops like an intricate math puzzle. Schilling echoes the intro on bass before the sax wails the leading verse, with Hennig going nonstop on percussion throughout. Harris follows with a series of repeating figures on guitar, but the most interest here comes from Hennig’s drums and cymbals. Hennig’s “The Crave” presents a jagged theme with some clever gymnastics from Wozniak and a bouncy conversation led by Harris. Hennig takes several solos, with deep hollow beats from his toms, rippling cymbals, and heavy accents from the bass drum. Wozniak slowly builds his improvisation, spiraling around ascending and descending forms, while Harris’ chords create an organ-like hymn in the background. On Hennig’s other track (“Twenty 80”), his duet with Wozniak morphs into a fast-paced quartet led by the saxophonist’s somersaults, executed with speed and dexterity that would please Charlie Parker. Equal to challenge, Schilling launches a spitfire bass solo that left this listener applauding in an empty living room. Hennig himself gives the drumkit a total workout with solid bass hits and active interplay among tom-tom, bass and snare. One of the longest tracks (exceeding ten minutes), Schilling’s aptly titled “Wanderlust” opens with the bassist’s solo, his fleet expression giving way to a showcase of exploration for Harris and a Coltranish Wozniak. Zacc Harris’ four compositions epitomize the subtle differences that mark the variations across this recording. “Light Rail” (the longest track at 12 ½ minutes) features a twisty melody, deep bass chords, and a long set-up for the guitarist’s single-line journey. While the title suggests a more hurried feel, the track seems relatively relaxed as Harris introduces sustained tones under an increasingly complex line, at times his swift and clean articulation hinting at classicism. Modal fantasies from sax and guitar sustain the interest, while Schilling provides a graceful, yet also forceful solo that explores the musical climate from several directions. Hennig brings it to a close with a percussive dirge. “Wait for Spring” changes tempo and mood, introduced by balladic sax, the melody floating over bass and guitar tones. Harris takes over with a gentle solo, soon joined by Wozniak in counterpoint, flowing like a soft spring rain punctuated by soft rattles from the drumkit. The ethereal, off-kilter harmonies of the relatively short “Sundown for Dali” suggest traditions well east of American jazz, Wozniak playing through the deep end of the horn while Harris takes the guitar for a ride atop the wave. The set closes with Harris’ “Cannonball,” the interplay between sax and guitar hinting more at Coltrane than Adderley. The Gig The CD release for Again, Too Soon could have been set for Jitters where the quartet began, or at a venue more likely to pull in the avant rock and fusion clientele. That the Dakota is hosting this party adds credibility to the Atlantis Quartet’s development as a jazz ensemble with serious intentions, and brings some of the rising talents of Twin Cities music to a mainstream audience. CDs will be available at the gig, August 30th from 7-11 pm. And don’t bring your dancing shoes—just your ears. The Dakota is located at 1010 Nicollet Mall in downtown Minneapolis; www.dakotacooks.com. The Atlantis Quartet will hold follow-up celebrations at Jitters (September 6); the Uptown Bar (September13) and at the Times Bar and Café (September 14). More information is available at www.atlantisquartet.com.
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Twin Cities, MN 
Thursday, 08 January 2009
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