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Vision Festival 2010: Day 5, June 27, 2010

John Sharpe By

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Prologue | Day 1 | Day 2 | Day 3 | Day 4 | Day 5 | Day 6 | Day 7
Perry Robinson, Guillermo E Brown, Billy Bang, David S. Ware, Dave Burrell
Vision Festival
Abrons Arts Center

New York City

June 27, 2010

Sunday June 27 was another big day for the Vision Festival. It began with the afternoon devoted to innovative New York College Bands, in another indication of how the Festival is strengthening links with community and educational institutions. However it was the evening which demanded attention, furnishing two storming sets from David S. Ware's new trio and Dave Burrell's Peace Out Trio, along with a surprise package from Perry Robinson's North/South Clarinet Ensemble.

North/South Clarinet Ensemble

Clarinetist Perry Robinson prefaced the first number by the North South Clarinet Ensemble with the story of how he had hooked up with fellow licorice stick man Dr. Michael White despite their divergent backgrounds. Robinson has been one of the leading lights in free jazz clarinet since the Sixties New Thing, while White has followed a more traditional star from his New Orleans home base, playing with Wynton Marsalis and founding The Original Liberty Jazz Band.



By way of introduction they began with a duo for their twin clarinets. Robinson called it "a little conversation"—and that's exactly what it was—one would have a turn and then the next in a polite game of tag. Not that there was anything too polite about the unbridled expression and soaring cries emerging from their reeds. White had fuller richer tone, while Robinson more often deployed multiphonics and split tones to color his klezmer influenced lines. They segued into Robinson's "The Call," first heard on Henry Grimes' ESP debut of the same name in 1966, with an Ayler-like theme, and free for all interaction, buoyed by the elegant churchy piano of Charles Eubanks.

Reflecting the title bestowed upon the band, Robinson's "North-South Meeting" contained a hint of "When the Saints Go Marching In" in its intensely soulful feel and blues cadence. Indeed the wonderful intertwining clarinets were a defining characteristic of the whole set accentuating the affinities in terms of collective improvisation between New Orleans jazz and the avant-garde. Robinson again deferred to White to take the first solo, full of gospel inflections, before a referential Eubanks piano outing, until finally Robinson's reedy tonal distortions took the tune out on a swinging high.

"We play off the inspiration of the audience. We feel your vibes" said White at one point. If that was so then the attentive crowd was clearly channeling some powerful stuff. White's "Death and Rebirth," was imbued with the spirit, presaging more New Orleans style freedom. The sparring clarinets egged each other on, over a dashing two beat rhythm, which bassist Ed Schuller and drummer Bob Meyer effortlessly shifted in and out of tempo. White belied his more conventional background and the clarinet pairing was charmingly empathetic and perfectly matched.

Breuklen Tek Orkestra

Guillermo E. Brown's Breuklen Tek Orkestra, manifest in the leader dancing around the stage as he sang. Presumably included due to his association with David S. Ware as the last drummer in the saxophonist's classic quartet, Brown's current direction didn't fit well with the rest of the program. As a result the 11 member band packed with percussion, horns and singers rapidly cleared out the first two rows of hardened festival goers. In spite of an extensive sound check the sound was muddy so that it was actually difficult to discern detail. There were no solos as such until Shoko Nagai got the nod from Brown. After setting up a repeating synthesizer pattern she turned to the piano for a brief fling. A fine player, she was drowned out as the band returned in force. Brown engendered an improvised approach to funk, directing arrangements on the fly before moving behind the drum kit for the final number.

Billy Bang Tribute to Sir One

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