Jeremy Siskind Finger-Songwriter Project: Good Chops All Around

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Quiet and reserved, the trio of bookish masters carried themselves onto the stage with a steady caution—as if they were third graders entering a school recital. The smiles on their faces were birds in the morning, floating along a coarse stream in the noon-day. The sound was abstract, based on riffage built from synthetic, dissonant melodies, as if to say: we are art, let yourself discover our sound. In fact, the style of this article swims the same vein as their style.

The Finger-Songwriter Project was a show in the Bucknell Jazz Series, but could this intricate sound even be considered jazz? They played jazz standards, but shrugged off the swing and drive actions which propel jazz forward. Jeremy, Nancy, and Lucas, the stunning musicians, laid back on most songs and played them with a surge of pop and bossa nova.

Yet still, the pop facet of their work was dissonant, which bugged me as I sat in the humid heat on the verge of sweat. They belted out melodies like Christmas traditionals and played arpeggios which complemented the Norah Jones style embodied by the trio. Clearly, this sound was hard to define, but I digress.

As much talent and uniqueness as I believe the Finger-Songwriter trio possesses, is it really necessary to play for an hour and a half? It seemed like most of the audience lost focus after 45 minutes. I believe it is important to be humble and make your audience yearn for more, but I guess Jeremy Siskind disagrees. Regardless, check out their CD which was released last year. It is quite enjoyable.

What We ThinkAndrew Kilman