Seattle Percussion Collective marches to its own beat

Seattle Percussion Collective (SPC), a new ensemble in town, couldn't have been more impressive in its debut concert last August. And its lineup this Saturday at Good Shepherd Center's Chapel Performance Space — a great venue for music of every variety — looks full of antic, invigorating items.

Percussion, here, doesn't just mean things that go thwack but things that clink and chime. Vibraphone is prominently featured on two offerings on the program, including Toru Takemitsu's "Cross Hatch," a brief, pulsating duo for vibraphone and marimba, and a world premiere of "Mornings," for vibraphone and cymbals, by Stuart Saunders Smith, whose compositions feel like dilatory yet oddly intricate dreams.

The other premiere on the program is by Jeff Aaron Bryant, a composition student at Cornish College of the Arts, who evidently has a sense of humor when it comes to titles. His energetic new work for metal pots, pans, can and garbage bags is dubbed "The Raccoon King of Plastic and Tin." (You can find some fine music and experimental video by Bryant at www.myspace.com/jeffaaronbryant.)

Veteran experimental composer Christian Wolf will be represented by "Metal and Breath," described as "an epic work for metal instruments and sounds made by each performer's breath." "The audience," SPC member Dale Speicher promises, "will find themselves surrounded by sounds both enchanting and haunting."

Milton Babbitt's 1957 piece, "All Set," for saxophones, trumpet, trombone, contrabass, piano, vibraphone and percussion, will contribute a jazzy flavor to the evening. "Homily," a second Babbitt piece for solo drummer, is more spare and severe.

Two pieces by James Romig, including one called "A Slightly Evil Machine," and a composition by SPC member Greg Campbell, "A Night in Amsterdam," complete the lineup.

Michael Upchurch: mupchurch@seattletimes.com