Jazz always seems to be the music that surprises me the most, with its playful syncopation, the clashes created by a few extra notes added to familiar chords, and the sheer ingenuity that comes from improvisation. On Sunday, I had the chance to be surprised by students in the chamber-jazz ensembles from the University of Michigan’s SMTD Jazz department, playing their own compositions and standards, and I came away with that warm-and-fuzzy feeling of having seen something enjoyable and unique. Hosted in the beautiful Stamps Auditorium on North Campus, it was a great space for the music, and the casual atmosphere was incredibly welcoming. The performers were still warming up on stage when I walked through the door — a serendipitous experience for myself and the others who decided to show up a bit early.

Two groups performed that evening, both named after jazz legends: the Charlie Parker Ensemble and the Ahmad Jamal Ensemble. All six compositions — each ensemble played three — were full of exhilarating moments for the audience. Some pieces took off with the tempo of a train chugging along at full speed, while others sounded more like a casual walk downtown on a sunny day, or a slower, mellow song that evoked strolling through the rain or simply sitting inside, watching it fall. The improvised solos had a great variety of rhythms, timbres, and melodic emphasis that reflected the playful, impulsive character of the genre. But it’s the mentality of the jazz scene I love best: everyone gets a chance to shine as they take their turn creating impromptu melodies while their companions keep the foundation of the music going. Consequently, the musicians seemed to enjoy themselves so much that by the time they finished each piece, they were more relaxed than when they started and comfortably moved forward through each new song.

The hourlong performance started with no formality, only familiar applause as the Parker Ensemble musicians took the stage and immediately began their first number. But it was the second and third pieces that were my favorites of the concert: “Being Good” by bassist Abby Clemens and “Testify” by pianist Sam Ross.

“Being Good” began with a bass solo that slowly swung from note to note in an almost sultry way, with a playful irregularity of rhythm. Clemens’ sound was warm and rich, which she then applied to a lilting bass line that invited in the rest of the instruments. Trumpeter Ben Green added lovely harmonies and Aaron Ginns’ soft percussion filled out the rest of the groove. Ross’ piano was nice and light, keeping the chordal foundation for the other musicians to solo over. Jonathan Lynn’s saxophone solo was absolutely beautiful, and he brought out the instrument’s bright, bold tones as well as its softer side. When the group reached the final chord, there was such an ease to the finality that it was almost like a contented sigh — from the musicians and the audience.

“Testify” began its journey sounding like a military march, with a strict drum pattern and a rigid bass thump. But when the horns and Evan Veasley’s guitar came slurring in, punctuated by syncopated stops for dramatics, it created a great juxtaposition as the other instruments maintained the song’s stern structure. After a piano and guitar bridge, a more traditional jazz mix of melodies and rhythms gave the tune a classic feel: wonderfully unpredictable while making the audience want to nod their heads as the musicians made the notes dance along. The energy kept building and building throughout the piece, and I thought the pianist might start levitating during his solo as his feet ecstatically lifted off the floor during moments of emphasis. The triumphant, uplifting finale alleviated any sadness that this great tune had ended.

The Ahmad Jamal Ensemble was equally impressive in its performance. Bassist Brian Juarez, pianist Jordan Anderson, drummer Cory Tripathy, and saxophonists Tristan Cappel and Kasan Belgrave obviously listened to the lessons given by their great coach, pianist Benny Green (Assistant Professor of Jazz and Contemporary Improvisation). The Charlie Parker Ensemble also did right by its coach, bassist Marion Hayden (Adjunct Assistant Professor of Jazz and Contemporary Improvisation).

The short concert was perfect for a lazy Sunday evening. With the fortune of hearing totally new compositions, and witnessing the talent of these young musicians, it was a wonderful way to end my weekend. As the Chamber Jazz Ensembles’ artistic director Robert Hurst said, you definitely got enough “bang for your buck.”

Liz Grapentine is a desk clerk at AADL. An Oakland University graduate with a major in Music Education and a minor in English, Liz enjoys the arts in every form. Liz is also a true Ann Arbor townie and a proud patron of the library since 1995.