Branford Marsalis is an important name to know, even among non-jazz enthusiasts. Marsalis is a famous jazz saxophonist and producer. One of his associates is local resident and musician Clif Wallace. Considering this connection, it is no surprise that Wallace has extraordinary facility on the drum set.
On jazz, Wallace said it’s more than music, “It’s a culture.”
Wallace brings jazz culture—one that is in short supply—to Fort Wayne.
Phil Schurger, IPFW faculty member, composer and guitarist, spoke of Wallace: “He has the fluidity of rhythm like the great drummers of the jazz tradition. He moves elegantly in both modern and traditional contexts sculpting rhythms with dynamism.”
Seeing Wallace play live, one is likely to experience the catharsis of powerful drum sound and resonant cymbals. He typically plays in a trio that pairs upright bass and tenor sax. With veteran bassist Michael Patterson, the two provide a formidable rhythm section. Patterson, the elder, provides deep bass lines that are supportive and richly varied. The two draw upon a compendium of harmonic and rhythmic knowledge that stems from timeless traditions and transcendent borders.
Drummers who see Wallace perform live are often blown away. Two such drummers are Kevin Bender and Rob Goodin. They go to see him every time he plays at the Dash-In and each time they walk away completely inspired. They talked about how much sound Wallace draws out of the kit without using too much force, a common mistake of less seasoned drummers.
“His focus is uncanny,” said Bender. “He is a natural talent with a grasp on technique that is unmatched. His dynamics can only be described as a deliberate conscience of form that delivers the mood at will.”
Phil Schurger plays with Wallace regularly. Both have lived in Chicago, a music scene where individuality is apprized. Not only do they possess a propensity for music, but they also bring their unique identities to the scene by pushing boundaries. Because their musical contributions go beyond playing and into the progressive nature of each performance, they have become indispensable to the artistic diversity of Fort Wayne.
But Wallace is likely to move on to better things. In this year alone, he has toured internationally, started his own radio show and held educational forums at the Acoustic SpokenWord Café. According to Wallace, he will probably go eastward in the near future in pursuit of greater playing and teaching opportunities. His presence will be missed and his contributions to our music culture will be irreplaceable.
