Atlantis Quartet

"One of the great pursuits for jazz artists is finding or developing their own sounds. Often times, artists may have developed their own identifiable sound and don't even know it yet. Has the Atlantis Quartet developed a sound of their own? That is a subjective question that each listener needs to answer for himself/herself. One this is for sure, the group assimilates a variety of stylistic influences into their makeup. During the first couple of songs, I heard melodies and guitar, sax and drum sounds, all of which momentarily jogged my inner ear to think Yellowjackets, Ornette Coleman, Steps Ahead, Weather Report, Abercrombie, Pat Metheny, Coltrane, among others.

What is abundantly clear is that each of the members of the Atlantis Quartet are highly skilled musicians who have invested themselves heavily to develop their individual approaches - technique, vocabulary, sound, and so forth. Saxophonist Wozniak is a graduate of Indiana University, and has played with jazz groups as well as touring artists ranging from the Tommy Dorsey Orchestra to the Four Tops. Guitarist Harris moved up to Minneapolis after graduating Southern Illinois University and works all the time; and bassist Schilling, and drummer Hennig moved to twon to attend McNally Smith Music College. Together, they sound genuinely inspired, enjoying the music-making they're doing together.

The album opener, "Meter Matrix" is dark. The tempo is moderate, a very deliberate kind of groove, relaxed but driving. Hennig employs tom-tom sounds to support Zacc Harris' ostinato melodic figures. Wozniak sounds like he has listened to all the important tenor players - Coltrane, Joe Henderson, Joe Lovano - his solo bubbling with an amalgam of the sounds and expressions of the past...fused into his own.

Pete Hennig demonstrates his formidable chops on drums in an impressive round -the-set solo on "The Crave". "Light Rail" is a straight eighth note piece - with Latin, pop and funk flavors percolating underneath solos. Brandon Wozniak demonstrates impeccable articulation as he explores the possibilities throughout the range of the saxophone. He articulates with finesse, moving easily in and out of extended 16th-note flourishes, solid driving rhythms, and guttural, screaming sounds on the horn. Guitarist Zacc Harris delivers a sound that is lucid, clear - doubling some of the melody lines with Wozniak, providing rich-sounding accompaniment, and well-crafted solos.

"Wait For Spring" offers a calming change of pace to the more energetic tempos and dynamics of the first three songs. Wozniak states the theme on this composition by guitarist Harris. Wozniak's sound is warm and full - as appealing as classic acoustic jazz ballad renditions of the 1950s and 1960s. "Twenty80" sweeps us into an abrupt change of pace, as the fast tempo reaches for the stars. Wozniak and drummer Hennig interact with gusto, lots of drum support and pushes, all of which work to spar on Wozniak's driving sax exploration. He shows the consistent kind of articulation and command that he expressed throughout the various other tempos and styles that characterize the array of compositions on Again, Too Soon.

"The Cannonball" is another original by Harris. The groove is funky, and Harris has his guitar sounding almost like an organ. Pete Hennig gets some time in the spotlight on drums. They break the groove for a freer few moments, underlining some guitar work, and then back into the drums funkin' it up - as a platform for some more exploratory kind of work by Wozniak on sax.

This is an album of original music. While the music is not what might be considered free or avant-garde, the improvisational aspect of the music is abundant. It is very much tonal, it is fusion, it is acoustic, it is electric guitar. There are no standards or well-known songs from the jazz repertoire. Most of the eight tracks are six to twelve minutes long - so there is a lot of playing.

The Atlantis Quartet is a versatile group of jazz musicians whose music evidences their understanding and appreciation of important jazz influences - influences that they have assimilated into their own individual and group creativity, to reach this notable moment of expressions that is the album Again, Too Soon." - Jazz Improv Magazine

About one year ago, the Dakota Jazz Club in downtown Minneapolis hosted the prime-time debut and CD Release Party for the Atlantis Quartet, an ensemble of serious artists who bill themselves as "a rock band playing original jazz." Now the band returns, again in prime time, with acclaimed area bassist Chris Bates now joining guitarist Zaac Harris, saxophonist Brand Wozniak and drummer Pete Hennig.

The Atlantis Quartet has been making waves since its debut and weekly gig at Jitters in fall 2006, 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.

Zacc Harris came to Minneapolis three years ago from Illinois, where he graduated from Southern Illinois University. Here he formed the Luminessence Trio (now Zacc Harris Trio), now with weekly gigs at the Riverview Wine Bar and Rossi's. Zaac has also played with Tanner Taylor, Jay Epstein, Katie Gearty, Sophia Shorai and John Starkey, and plays with Tico Tico weekly at Solera. In addition to performing, Zacc is dedicated to teaching, and has taught guitar for the past decade. 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. "New" bassist Chris Bates is familiar to Twin Cities's audiences through his ongoing associations with the Kelly Rossum Quartet, How Birds Work, Dean Magraw's Red Planet, Volcano Insurance, and many other cutting edge ensembles as well as the annual Minnesota Sur Seine Festival. Chris studied at the University of Wisconsin Eau Claire and later with Anthony Cox, was an original member of the Motion Poets and was a 1999 McKnight Composer Fellow. Pete Hennig 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.

Again, Too Soon, the debut recording of the Atlantis Quartet, is a set of eight original compositions recorded at Fur Seal Studio in Minneapolis. 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 other bands that meld fusiony sonics with post bop ideas, the Atlantis Quartet is less concerned with creating danceable rhythms and more focused on exploring musical ideas. To appreciate this recording, the listener should be fully engaged.

This return performance of the Atlantis Quartet, and the intriguing addition of bassist Chris Bates, offer a perfect introduction to some of the most serious jazz on the Dakota prime time schedule this month. Don't bring your dancing shoes—just your ears. - JazzPolice.com

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 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.

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 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. - JazzPolice.com

The adventurous modern jazz group Atlantis Quartet has chosen Halloween night to perform John Coltrane's iconic, profoundly influential four-part suite "A Love Supreme."

On the original 1964 recording, saxophone legend Coltrane was joined by McCoy Tyner on piano, Jimmy Garrison on bass and Elvin Jones on drums.

Atlantis is Brandon Wozniak on saxophone, Zacc Harris on guitar, Chris Bates on bass and Pete Hennig on drums. No piano.

"A Love Supreme" is a jazz peak not many bands attempt to scale. "It was my idea," Harris says. "I used to play every Halloween with an old group of mine in Illinois, and we'd do some fun covers in the spirit of the night. I always wanted to perform an album of this stature in its entirety and I thought this was the perfect opportunity."

For Bates, the biggest challenge is "paying homage to the original while trying to keep a fresh approach." For Harris, "it's realizing that I can only play six notes at a time, unlike the piano. Trying to achieve Tyner's sound and vibe with a different instrument." For Hennig, it's "to do the music justice and still keep my own voice. It's easy to second-guess yourself when you start comparing to Elvin Jones."

Wozniak will be in the catbird seat but says he's not nervous. "We're not trying to re-create what Coltrane did on that record. We will use the music that's there, try to keep in mind the spiritual aspect … but in the end we have to be ourselves."

What about costumes? "We are in essence musically 'dressing up' for the night by playing 'A Love Supreme,' " Harris says. "But I heard that Pete might be dressed as a member of KISS." - MinnPost

Though the "Witches & Devils" album by Albert Ayler might seem like the logical avant jazz classic to cover on Halloween, the four members of the fine and frequently funky Atlantis Quartet -- world traveler Brandon Wozniak (sax), Zacc Harris (electric guitar), omnipresent bass man Chris Bates, and Pete Hennig (drums) -- have chosen instead to revive John Coltrane's far better known and more influential, "A Love Supreme." Pumpkin transcendence, anyone? Trane's life-changing spiritual gem is a musical Everest worth climbing, so kudos to this emerging combo with a fine original CD under its belt ( titled "Again, Too Soon") for trying something so tough and vital. It should be interesting to hear how Mr. Harris' six strings replace McCoy Tyner's 88 rumbling piano keys.
Tom Surowicz - Vita.mn ~ Star Tribune

Formed in October 2006, the Atlantis Quartet has played the Dakota, the Times, the Uptown Bar and Bunkers. It has not yet played the Artists’ Quarter, which DownBeat magazine just named one of the world’s 100 great jazz clubs. That changes tonight (Jan. 14), and it’s worth dressing like the Michelin man to see and hear this band.
Atlantis is saxophonist Brandon Wozniak, guitarist Zacc Harris, bassist Chris Bates, and drummer Pete Hennig. Like most area musicians, they all play with numerous other bands. You might see Wozniak with Sambo Makti and Monk in Motian, Harris with Monk in Motian and CounterClockWise, Bates with Red Planet and Framework, Hennig with Tickle Fight and the Fantastic Merlins.
They first got together, as Harris explained in an email, "to work out some modern ideas, things you couldn’t just try on a gig, that you needed a group understanding to accomplish. ... After a few sessions, we realized that we had something really hip going on.”
Atlantis plays mostly original compositions by the band members. Their first CD, "Again, Too Soon," released in 2007, is all originals.
"The music is different than in the other bands I’m in," Bates explained. "The emphasis on original compositions over playing standards affords us the opportunity to create an actual sound and style."
When they do play standards, they don’t fool around. On Halloween night at the Dakota, they played John Coltrane’s daunting, iconic "A Love Supreme" from start to finish. It was thrilling to hear it live. Then they dressed up as characters from the movie "The Big Lebowski" and returned for a second set.
Harris again: "What’s great about Atlantis Quartet is its versatility. We can do several different styles of jazz, and usually do in any given set, whether it’s funky, free, swingin’, or some complex time stuff. ... It’s very explosive music at times, but also very tender and beautiful at others. More than anything, it’s all our music."
A second CD is in the works for 2009. At the AQ, they plan to play music from "Again, Too Soon," some new tunes, and maybe a Dave Holland composition or two. Expect high energy, a good vibe, and solid, inspired playing.
I’ve seen Atlantis several times and I like this band a lot. Their music is fresh and modern but very listenable for jazz fans and newbies. Visit their website and check out "Meter Matrix," "The Cannonball," or the lovely ballad "Wait for Spring." Then dress in down from top to toe and get out there. The Artists’ Quarter, 9:30 p.m. tonight, Jan. 14 ($5).

Pamela Espeland - MinnPost