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Vision Festival 2010: Day 3, June 25, 2010
ByFay Victor, Sabir Mateen, John Blum
Vision Festival
Abrons Arts Center
New York City
June 25, 2010
After the exceptional programs for the first two nights of the Vision Festival at the Abrons Arts Center, the Friday night show was always going to find it hard to compete. That seemed to be the view of many of the regulars who found offerings elsewhere more to their liking in the never-ending jazz festival that is Manhattan. Nonetheless there were more than enough intriguing sounds to be heard and fine musicians to appreciate.
Fay Victor Ensemble
After a slight delay the irrepressible Fay Victor commenced softly murmuring and whispering, flanked by gossamer stirrings from Ken Filiano on bass and Anders Nilsson's pointillist electric guitar. Drummer Michael TA Thompson, presumably the cause of the hiatus, appeared behind his kit partway in. Victor's expressive delivery manifested itself not only in her free form vocals, but also her animated back and forth swaying, as she stood resplendent in her black dress. Her band moved between improvisation and songform with ease, but responded in kind as she brewed up a vocal storm, with guitar histrionics and repeating electronic effects pedal swells from the bass.

At times it was hard to avoid the feeling that the material would be stronger without the sometimes quotidian lyrics, though the singer's phrasing couldn't be faulted. Rounding out the set were two further tunes: the first rocky, founded on a drum and bass riff, which saw the bassist bowing manically; and a closing dedication for Fred Anderson and Bill Dixon, which began with a wonderful singing arco threnody from Filiano, with subtle brushes and guitar accents, which evolved into a gentle lullaby for a counterintuitive close.
Sabir Mateen Ensemble
Sabir Mateen's seven piece group combined strings and percussion in a talented selection capable of formidable firepower. A percussive duet by Warren Smith and Michael Wimberly made for a deceptively understated opening, before expectation was fulfilled as the whole band hit. Splendid as this was it served to accentuate the uncharacteristically muddy sound when the massed ranks opened up in unison. Mateen orchestrated the band from stage left, cueing ensembles, soloists and governing the overall dynamics. Although packing impeccable free jazz credentials, the reedman also brought in composed material, which furnished firm footing amidst the swirling collective maelstrom.

The individual components were impressive. Pianist Raymond A. King proved another in the pantheon of the undersung, little known outside his native Philadelphia, but inventive in his freewheeling comping while wildly explosive in his featured spots. Incidentally King's artistry was not confined to the keyboard, as it was he who also designed the stage set, featuring paired portraits of Festival dedicatees along with other avant icons such as Sun Ra and Cecil Taylor. Jason Kao Hwang plucked and bowed to great effect, while Wang made manifest her facility for extended technique, bouncing a mallet off her strings and even off the bridge itself. As a soloist, Mateen, was peerless, his alto clarinet revelling in nasal honks, while on tenor saxophone, probably his strongest horn, he flowed from the guttural depths up to falsetto register and beyond.
There was an organic quality to the music at its best with a feel of inevitable development, like Mateen's clarinet excursion with the strings extemporizing a fragmented counterpoint, which belied the more tentative transitions. Finally a mournful air for the leader's tenor and Levin's cello morphed into a heartfelt saxophone cushioned by the strings to finish. Sadly the poor sound meant that the promise inherent in the line up was never quite confirmed.
John Blum/Jackson Krall

It may be that Blum's period in the wilderness is about to come to an end, as a pair of remarkable new releases under his leadership are now available. Most marketable is his trio In The Shade of Sun (Ecstatic Peace, 2009) with the all star rhythm section of William Parker and Sunny Murray, but it his perhaps his solo disc Who Begat Eye (Konnex, 2009) which will stand the test of time, forged as it is from the inexorable power and intensity also on display this evening

Blum attacked his piano as you might play congas with flats of the hand at high speed, but then mixing in passages of such dexterous digital articulation that his hands were mostly a blur. Towards the end a blocky interlude reminiscent of Cecil Taylor contrasted with fast almost melodic runs for a rousing conclusion. An excellent set, but at little over twenty minutes, way too short as they had to give way to the next act before the hall closed. As Blum said afterwards as the sweat poured off him: "I was only just getting going."
While waiting so patiently for them to start I missed two other acts in the main theater: Jane Cortez and the Firespitters and Amiri and Amina Baraka wordmusic. But recompense was on hand with a long day in prospect for the Saturday, showcasing emerging artists in the afternoon, followed by a full evening's fare including Charles Gayle's Bass Choir, Ned Rothenberg, Borah Bergman and Mark Helias' Mark Helias Open Loose.
Photo Credit
All Photos: John Sharpe
Prologue | Day 1 | Day 2 | Day 3 | Day 4 | Day 5 | Day 6 | Day 7
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