Edgefest 2009 kicked off fittingly at the Kerrytown Concert House on Wednesday, with performances by artists representing two ends of the improvisational spectrum.

Two generations. Two approaches. One great night of creative music.

Young lion and University of Michigan graduate Jason Stein opened the festival, leading his Locksmith Isidore trio through an inspired set of theme-based explorations. Stein is unusual in that he solely plays bass clarinet, which he put through the paces, wailing through a series of his own compositions.

On Wednesday, he played with a clear, lyrical tone, his horn finding resonance in slower, breathy passages and cutting loose during frequent flights of joyous, avant cacophony. Equally impressive were bassist Jason Roebke and drummer Mike Pride. All three are rising stars in the creative improvisational world, having played on dozens of records.

Roebke was an insistent presence at the bottom end, simultaneously setting the perfect pace and finding interesting two-note chords. Pride was all over his kit, playing with too-infrequent abandon, but finding unexpected textures with auxiliary percussion instruments that complemented the tunes. He even used a bow on his drum rims for effect.

Jason Stein's Locksmith Isidore performing live in South Carolina last year:

Headliner Roscoe Mitchell is a true giant of creative music, having co-founded both the Art Ensemble of Chicago and the Association for the Advancement of Creative Musicians cultural organization. On Wednesday, he co-led a trio with vocalist Thomas Buckner and U-M faculty member Stephen Rush on piano.

At 69, Mitchell still plays with a remarkable tone and the inventiveness of a mad genius. Using circular breathing, he coaxed elongated, ever-evolving notes from both tenor and soprano saxophones, rising and falling from screeches to warm, rich lows. Rush was the perfect foil, tastefully propelling the dynamic improvisations and serving as a catalyst during transitions. His playing was clear and precise, a joy to get lost in.

To an extent, the odd man out was Buckner. A fine and rightfully celebrated vocalist on the avant scene for three decades, he was effective when he sang out, finding gorgeous harmonic resonance with Mitchell. Too often, however, his hiccuping and affected mannerisms detracted from Mitchell’s spot-on playing rather than complementing it.

The beautiful thing about Edgefest, however, is that even when the music doesn’t suit your taste — and this is music that can’t please everyone all the time — there are always enough compelling things happening to engage the listener to the extent that they become transfixed.

Not a lot of music can do that consistently, yet Edgefest’s artists manage to achieve it year after year. It's truly one of the great annual musical events around Ann Arbor.

Will Stewart is a free-lance writer for AnnArbor.com.

Edgefest continues nightly through Saturday in and around Kerrytown Concert House. Fringe of the Edge events are free and open to the public.