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188 Sullivan, An Appreciation of Wayne Horwitz and Seattle Modern Orchestra.


118 Sullivan - An Appreciation of Wayne Horwitz and Seattle Modern Orchestra.

Charlie Parker met Eugene Varèse and Wayne Horwitz in a chamber orchestra/fusion/jazz event at the 
Royal Room in Seattle on Monday.
In 188 Sullivan: 188 Sullivan: Charlie Parker’s NY in the ‘50s , Horvitz and his Seattle Modern Orchestra 
created a dozen crescendos of tension, both quiet and trembling with strength, spaced among riffs of 
tenderness and humor.
The Seattle Modern Orchestra consists of violins (Eric Rhynes, Jordan Voelker), viola (Maria Ritzenthaler), 
bass (Joe Kaufmann), piano (Cristina Valdes), cello (Ha Yang Kim), clarinet (James Falzone) and percussion 
(Greg Campbell) and Horvitz on electronics. The SMO players were led out by Horvitz from classical sounds 
to the edges of (dare I say it?) the best art rock.
Primarily conducted by Julia Tai, Mr. Horvitz stepped up to the front occasionally to call out the players’ best 
with theatrically dancing gestures. The seven movements take as points of inspiration Parker riffs and 
Verese’s compositions. But wasn’t that a whiff of King Crimson for a bar or two? To these ears, featured 
clarinet player, Falzone, pianist Valdes and Horvitz stood out in their playing - but all members of the SMO 
played with skill and intensity.
How do Parker and Varèse figure into this? Well, their sounds figure prominently in the score. Parker’s early 
death in 1954 prevented a planned study program they had discussed at 188 Sullivan Street in NYC. The 
program notes tell more and are a fine exposition on the well-realized intent of Horvitz.  
https://www.shmproject.org/…/188-sullivan-great-minds-think… also provides some background.
Sitting at the Royal Room bar, I Iearned that Horvitz is part owner of the Royal and at his direction, staff tried 
to cut the noise and that helped make for great listening. At least until the 3 ounces of flour, of slivovitz or 
whatever it was, exploded in the kitchen during the last 10 seconds of the piece.
The piece was magnificent in ambition and meticulous in performance.
A spoken word performance by Angela Brown of the Seattle Opera’s Parker-inspired current production 
Yardbird, backed by the D’Vonne Lewis Quartet followed. The Lewis Quartet completed the set with 
well-played Charlie Parker favorites. (A trumpeter, whose name I missed, called during intermission and had
 his horn delivered in time to jam on one tune.) Finally, a quartet of youngsters moved to the front corner 
and picked up on the jazz standard groove to play on into the night.

Repeated on Seattle Modern Orchestra's youtube channel!

Jay Wilkinson
February 2020
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