Trombonist Jacob Garchik opened the evening with a performance that heavily incorporated laptop accompaniment. Though the music was cerebral, incorporating algorithmic beats and heavy distortion effects to accompany his improvisations, Garchick made a point of involving the crowd through some audience participation. Plugging into a small amp, which was then passed around the packed room, he gave his listeners a rare opportunity to interact with the performer at a concert of this nature.
Next up was a solo acoustic guitar performance by Miles Okazaki. A fairly mathematical musician in his own right, Okazaki would take a simple idea and slowly develop it, adding to its rhythmic and harmonic complexity with each cycle, though all in an organic and organized way that yielded many moments of quiet beauty. The soft timbre of the acoustic guitar, and Okazaki's sparse singing, created a sense of intimacy throughout the performance. He finished the set with an exploration and subsequent deconstruction of a Bach chorale.
Saxophonist, and owner/curator of Seeds, Ohad Talmor, performed next. While freely improvising, each piece was organized in a logical fashion and had a recognizable concept behind it. One was based heavily on arpeggios, and Talmor displayed his technical virtuosity by flying up and down the horn. On another, he took a cue from Garchik, and included the audience in the piece. He gave them a note to sing, while he improvised against it, creating and releasing tension against the drone of the crowd.
The epic night of solo performances ended with pianist Jacob Sacks. In great contrast to Heffernan's set, Sacks' was one of pure improvisation. While not as focused at the previous set, Sacks jumped around the keyboard with a manic energy, infusing the performance with humor. At times he would frantically play, while only letting short fragments come out, courtesy of a volume pedal, while at other's he would leave open space, pounding out ominous tonal clusters. He concluded the evening by trying to play two standards, “Good Bait” and “What is This Thing Called Love” simultaneously, a suggestion jokingly made by Weiss. The attempt made for a warm and fun end to an inspiring evening of music.