by Ryan Snyder

Upcoming shows you should check out


On bass, John Patitucci. Playing keys, Danilo Perez. On drums, the masterful Brian Blade. And on saxophones, it’s none other than the great Wayne Shorter. That’s a roll call sufficient to produce goose bumps on the skin of any jazz fan: arguably the greatest living composer of jazz music in the 77-year-old Shorter, surrounded by a group of players considered some of the most influential among their contemporaries, and all capable of communicating at a level that would likely confound the neophyte. A typical 75-minute Wayne Shorter Quartet set doesn’t swing and there’s rarely anything immediately recognizable from his catalog. Instead, it’s an unbroken composition, always moving toward an undefined destination and always demanding a hard listen. Wake Forest University will host Shorter this week for not only a Thursday performance at Wait Chapel, but a master class on Wednesday, which, for the jazz player, is akin to taking communion from the Messiah himself. It might as well require a Ph.D to fully appreciate what Shorter does on stage, but that’s not the case for the explosive drummer Blade, whose mind-boggling combination of finesse and power puts him head and shoulders above all other drummers of every genre. The performance starts at 7:30 p.m.


With names like Goatwhore, Cannibal Corpse, Behemoth and Pentagram on its roster, Metal Blade Records has been the barbaric home of America’s heaviest, most brutal sounds for the past 20 years. So how does an instrumental group with overt jazz and  progressive influences fit in? Fairly easily. If the common thread of Metal Blade’s artists is the capacity to set off uninhibited aggression in its audiences, then local supergroup Trioscapes are a mosh pit waiting to happen. Bassist Dan Briggs (Between the Buried and Me) and saxophonist Walter Fancourt (Brand New Life) comprise a two-headed beast of gnarly distortion, weird syncopation and menacing melodies while drummer Matt Lynch’s pile-driver beats push the tempo. Just a little over a year into their existence, the band was locked into Metal Blade earlier this year shortly after finishing its debut EP Separate Realities, and will be finishing its most prominent tour yet on Friday at Greene Street Club in support of lyric-less symphonic prog group Scale the Summit. Tickets for the show are $10 in advance and $12 at the door, which opens at 7 p.m.


An institution of local street entertainment will take place this weekend when the Tate Street Festival will hit Greensboro for its 39th year, happening — where else? — on Tate Street. The festival draws its origins from the day street people: hippies, drug users and the homeless, otherwise known as ’70s-era musicians, gathered in the area to do what they do. The gatherings have evolved into what it is: a free open-air crafts and music exhibition featuring locals artists of several media and local musicians of excellent diversity. Starting at 1 p.m. on Saturday this year’s event includes vibrant improvisational rock by Electric Soul Pandemic, richly textured narrative folk by Martha Bassett, quirky synth-pop by Casual Curious, polyrhythmic African jazz by Mamadou’s Fantastic Band, quietly majestic rock and soul by Jack Carter & the Armory, and the volatile instrumental rock machine the Bronzed Chorus. The festival is completely free to experience, but bring cash for the vendors.