Maria Schneider Jazz Orchestra Perform their Newest CD Taking Jazz into a New Technological Trajectory

Maria Schneider and her Jazz Orchestra have garnered 7 Grammy Awards amongst a host of musical awards and accolades.  Schneider (b. MN 1960) is a composer, arranger, conductor and pianist.  Before forming her own jazz orchestra, Schneider composed for David Bowie and Sting.  She's won Grammys for  best classical jazz and instrumental compositions.  The Maria Schneider Jazz Orchestra has been honored for their big band recordings including the music of  Duke Ellington.  Concerts are like a box of chocolates, you never know what you're going to get.  With classical symphonies, the programs are arailable beforehand.  With jazz orchestras, other than being apprised of a guest artist, the programming is surprising.  Last night at the Green Music Center at Santa Rosa Rosa College, Maria Schneider and her Jazz Orchestra performed a compilation of her most recent compositions being released on CD (and on sale at the "ark" pavilion). It was a derivation from her previous recordings of classical jazz into a genesis of a unique jazz genre.  Schneider's delight in performing live after the long lockdown was infectious and her demeanor effusive.  The first number was played without intro or acknowledgement afterwards.  It was an abrasive atonal sound relying heavily on winds.  The brass section consisted of 12 horns; trumpets, trombones and saxophones.  There was also a guitarist, pianist, bassist, drummer and an accordion instrumentalist.  None of the later were featured soloists.  Schneider enthusiastically prepared us for what was to come after the first dissonant composition.  She informed the audience we were going to hear from their new, double CD comprised of dichotomous pieces.  First, they would play pieces triggered by the intrusive and pervasive technological gadgets impinging on society.  The answering piece would offer a counter balance with serene, minimalistic music.  "Don't Be Evil" was unrelenting on the drums and piano while the brass instruments squawked with atonal and piercing clarity.  Its "counter" composition " was inspired by the beauty of the North Kyoto landscape.  This piece was quieter, calmer and held harmonic melodies.  So the evening went as Schneider brought us along for an intro into her most recent, creative explorations.  The music felt groundbreaking for me with complex and intentionally clashing combinations.  "Sputnik" was on the program from the "harder" to listen to tracks.  "Sputnik" earned Schneider a Grammy for instrumental composition (2020).  I was excited to experience Schneider's creative genius live as she broadened her repertoire and techniques.  Usually, artists carry audiences along culling from their tried and true.  Schneider didn't shy away from describing her new works "harder" listening. This was true.  It's also true the evening was one for the record books.