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Alister Spence / Satoko Fujii: Intelsat (Alister Spence Music)

Continuing her monthly releases for her 60th birthday, Japanese pianist Satoko Fujii meets Australian keyboard and electronic artist Alister Spence for their second meeting, touring Japan and recording this spellbinding album merging bells, gongs, electronics, and acoustic piano, inside and out, in a passionate album that balances melodicism and sound. ... Click to View


Peggy Lee : Echo Painting (Songlines)

Commissioned by Coastal Jazz and Blues and premiered at the 2016 Vancouver International Jazz Festival, cellist Peggy Lee's suite for ten players includes some of the most interesting improvisers on the Vancouver scene, the music multi-layered, texturally varied and melodically rich, with beautiful melodic passages, driving rhythm, and incendiary improv; outstanding! ... Click to View


Paul Dunmall / Jon Irabagon / Mark Sanders / Jim Bashford: The Rain Sessions (FMR)

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Szilard Mezei Septet: Veres Pancel (FMR)

Vojvodinian composer and violist Szilard Mezei formed this septet in 2005, his 3rd chamber group with a distinctly free jazz voice, citing influences Gyorgy Szabados, Anthony Braxton, Bela Bartok, Witold Lutoslawsky, Gyoryg Ligeti, Jimmy Giuffre, Steve Lacy, Mal Waldron, to which we would add Eric Dolphy, here in their second FMR album capturing a live concert in Serbia, 2018. ... Click to View


Phil Gibbs / Marcello Magliocchi / Adrian Northover / Maresuke Okamoto: Sezu (FMR)

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Runcible Quintet, The: Four (FMR)

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Dave Sewelson (w/ William Parker): Music For A Free World (FMR)

West Coast baritone saxophonist Dave Sewelson leads the accomplished quartet of Steve Swell on trombone, William Parker on bass, and Marvin "Bugalu" Smith on drums through six collective compositions, plus a reprise of Sewelson's earlier "Music for a Free World" compositions, and his new composition "Bill" for guitarist/composer and friend Bill Horvitz. ... Click to View


Frame Trio (Luis Vincente / Marcelo Dos Reis / Nils Vermeulen): Luminaria (FMR)

Recording at Centro Norton de Matos Gymnasium, in Coimbra, Portugal, the Frame Trio led by Portuguese trumpeter Luis Vicente and Portuguese guitarist Marcelo Dos Reis, with Belgium double bassist Nils Vermeulen rounding out their unique approach to improvised music blending jazz and free approaches as they present their six part "Luminaria" (Luminary) suite. ... Click to View


Free Pantone Trio: A Blink Of An Eye To The Nature Of Things (FMR)

Free Pantone trio is a Portuguese musical group recently created in Lisbon by bassist Rui Sousa, pianist Manuel Guimaraes and drummer Joao Valinho, taking a trans-idiomatic and experimental approach they seek to exploit diverse musical genres and sub-genres from jazz and contemporary music using improvisation and real-time composition as their uniting principle. ... Click to View


Don Cherry / Marion Brown / Evan Parker / John Stevens: Free Jazz Meeting Baden Baden '67 (Hi Hat)

Recorded at the 2nd Free Jazz Meeting (now known as the SWR NewJazz Meeting) in Baden-Baden, 1967, with 4 recordings from the groupings of Jeanne Lee, Albert Mangelsdorff, Gunter Hampel & Pierre Courbois; Marion Brown, Peter Kowald & Sven-Ake Johansson; Albert Mangelsdorff, Evan Parker & John Stevens; and Don Cherry, Evan Parker, Peter Kowald, Buschi Niebergall & John Stevens. ... Click to View


Don Cherry Trio: Studio 105, Paris 1967 (Hi Hat)

The complete broadcast on the French radio station ORTF of Don Cherry's work at Studio 105, Maison de l'ORTF, Paris in March of 1967, finding multi-instrumentalist/trumpeter Don Cherry, also on cornet, piano, bamboo flute, gong, performing with Karl Berger on vibes, marimba, piano, cleste, percussion, and Jacques Thollot on drums, bells, timbales. ... Click to View


Sun Ra: The Early Albums Collection 1957-1963 [4 CDs] (Enlightenment)

A 4-CD collection bringing together 7 full albums and early singles, more than five hours of music from the early part of Herman Blount's, aka Sun Ra's, career as a bandleader, tracint the development of his work from 1957 to 1963 as he introduced increasingly out forms of jazz through compositions like "Sunology", "Interplanetary Music", "We Travel the Spaceways", &c. ... Click to View


Biliana Voutchkova / Michael Thieke: Blurred Music (elsewhere)

Berlin-based violinist Biliana Voutchkova and German clarinetist Michael Thieke (Magic I.D., International Nothing) present a stunning achievement in blending compositional, pre-structured material with live improvisation, creating a blurring of virtually identical sections that create microtonal anomalies in timing, rhythm, timbre and motive, as heard in 3 amazing performances. ... Click to View


Matthew Revert / Vanessa Rossetto: Everyone Needs A Plan (erstwhile)

The second collaboration between sounds artist Vanessa Rossetto and writer and sound artist Matthew Revert is a monumental work that studies the evolution of communication through fragments of spoken words, and a rich tapestry of sound from acoustic and electronic instruments, field recordings, and perplexing and dramatic sources of sound. ... Click to View


Lucio Capece / Marc Baron: My Trust In You (erstwhile)

Two electroacoustic improvisers and composers--Lucio Capece on reeds, analog synths, effects, field recordings, drums machines, speakers in motion, and Marc Baron on field recordings and analog devices--developed these 6 extraordinary recordings that blend motion, perspective, sound and noise, and concrete references in a mystifying and mesmerizing journey in sound. ... Click to View


Melaine Dalibert : Musique pour le lever du jour (elsewhere)

Inspired by the work of Hungarian-born French media artist Vera Molnar, and by the vicissitudes of natural phenomena, French pianist and composer Melaine Dalibert developed algorithmic procedures to compose this work, translating to "Music for the Daybreak", as an illusory "endless piece" of meditative layered, resonant music in the mode of Morton Feldman. ... Click to View


Otomo Yoshihide / Paal Nilssen-Love: 19th of May, 2016 (PNL)

An intensively diverse and thrilling game of "cat and dog" between Norwegian percussionist Paal Nilssen-Love and Japanese guitarist Otomo Yoshihide, performing live at Dom Cultural Center, Moscow, Russia in 2016 for two extended improvisations that exemplify incredible technical skills, reflective and introspective dialog, and cathartic release; absolutely impressive. ... Click to View


Marker (w/ Ken Vandermark): Wired For Sound (Audiographic Records)

The debut from this Chicago band merging strong grooves with free playing, with 2 guitarists--Andrew Clinkman & Steve Marquette, plus Macie Stewart on keys & violin, Phil Sudderberg on drums, and Ken Vandermark on reeds, each of the 3 tracks dedicated to an artist: Belgian movie director Chantal Akerman; German choreographer Pina Bausch; and Anthony Braxton and Bernie Worrell. ... Click to View


Vandermark / Kugel / Tokar: No-Exit Corner (Not Two)

the second CD by the trio featuring the tenor saxophonist and clarinetist Ken Vandermark, the drummer Klaus Kugel, and the bassist Mark Tokar has the band back at Krakow's Alchemia Club, bringing these three Chicago and European players together for a skronky, energetic romp of commanding playing alongside unorthodox approaches and powerfully creative intent. ... Click to View


Bobby Zankel & The Wonderful Sound 6: Celebrating William Parker at 65 (Not Two)

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Ernesto Rodrigues / Guilherme Rodrigues / Fred Marty / Carlos Santos: Jardin Carre (Creative Sources)

French double bassist Fred Marty joins Creative Sources core performers, violist Ernesto Rodrigues, cellist Guilherme Rodrigues and electronic artist Carlos Santos for an extensive improvisation exploring both lyrical and pointillistic improvisation, themed loosely around a garden quartet or frame, the music detailed, active and formidably sophisticated. ... Click to View


Urlich Mitzlaff : Ten Sonic Miniatures about the "Scream" by Edvard Munch (Creative Sources)

Using Edvard Munch's famous painting "The Scream" as his muse, German cellist living in Portugal, Ulrich Mitzlaff, presents 10 acoustic miniatures from just over a minute to 4 1/2 minutes in length, including wildly interactive moments of delirium to darkly melodic bowed passages, using his impressive technique to create vivid depictions of Munch's work. ... Click to View


4! (Patrizia Oliva / Carlo Mascolo / Domenico Saccente / Felice Furioso): Factorial (Creative Sources)

Free electroacoustic improvisation from the Italian quartet of Patrizia Oliva on voice, electronics, bawu, objects, Carlo Mascolo on prepared trombone, Domenico Saccente on accordion and prepared piano, and Felice Furioso on drums, cupa cupa, contrabbassa, sounded objects, using voice and unusual instrumentation to guide unusual and forward-thinking improv. ... Click to View


Frantz Loriot : Reflections on an Introspective Path (Neither/Nor Records)

French-Japanese violist Frantz Loriot's first solo album takes the viola into unusual territory, using an acousmatic approach to create music and sounds with no visual reference by transforming the sound of the viola through preparations and remarkable extended techniques, layering and assembling his works to create concrete statements of movement. ... Click to View


Costa's Acustica, Carlo: Strata (Neither/Nor Records)

New York composer and drummer Carlo Costa assembled this accomplished ensemble of NY improvisers for a live performance at IBeam in Brooklyn, capturing his piece "Strata" that evolves layers of sound from very sparse to densely yet accesibly stacked sound, varying recurring material to change perspectives in the aural space as the piece progresses; impressive. ... Click to View


Flin van Hemmen (w/ Neufeld / Obsvik): Drums of Days (Neither/Nor Records)

Debut album as a leader from drummer and pianist Flin van Hemmen, an evocative album of original compositions and improvisations recorded in a trio with Eyvind Opsvik on double bass and Todd Neufeld on acoustic guitar, with Tony Malaby on alto and soprano sax on one track; a beautifully cinematic and poetic album that allows for space and reflection. ... Click to View


Peter Blegvad : Bandbox [6 CD BOX SET] (Recommended Records)

Starting with Blegvad's "Downtime" LP, this box traces the evolution of the Peter Blegvad Trio into a quintet with Karen Mantler and Bob Drake, released in a solid box with a double CD of alternate versions, unreleased material and live performances, plus a 72 page book of photographs, memorabilia, drawings, documents and recollections; the ultimate reissue! ... Click to View


Roberto Musci / Giovanni Venosta: Messages & Portraits (2018 Edition) (Recommended Records)

A welcome reissue of two 1980s, forward-thinking albums of electronic compositions from Milanese ethnomusicologist composers, sound engineers and performers Giovanni Venosta and Roberto Musci, incorporating exotic field recordings from their world travels into accessibly sophisticated pieces, creating unexpectedly innovative, novel and melodically rich hybrids. ... Click to View


Vitor Rua & The Metaphysical Angels: When Better Isn't Quite Good Enough [2 CDs] (Recommended Records)

Guitarist Vitor Rua (GNR, Telectu) recorded the 15 pieces of this 2-CD set first as a series of overdubbed solo improvisations, using his virtuosic skills to create intriguing and compelling works, which he orchestrated and recorded with the quintet of Hernani Faustino on bass, Luis San Payo on drums, Manuel Guimaraes on organ, Nuno Reis on trumpet, and Paulo Galao on clarinets. ... Click to View


Allen Ravenstine : Waiting For The Bomb [VINYL] (Recommended Records)

Many years after Pere Ubu and his work as a pilot, one of the world's most unique synth players, Allen Ravenstine, releases an album of composed works, 18 discrete hybrid miniature sound worlds that blend acoustic, real-world and synthetic sounds in unorthodox ways that elusively twist conventional approaches with unexpected elements and narrative twists. ... Click to View


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  Visions from the Past  

The 2003 Vision Festival Resurrects Legends from the '60s


By Kurt Gottschalk 2003-06-24

History cut in line on May 24, when Henry Grimes took the stage two days prior to his much anticipated spotlight during the 2003 Vision Festival.

The festival was bookended by a couple of lost ESP artists, with vocalist Patty Waters (now living in Hawaii) on opening night, and bassist Grimes playing with William Parker's Jeanne Lee Project closing the fest.

But on Saturday night, just before a duet by Parker and Rob Brown, festival organizer Patricia Nicholson announced that a "very special guest" would be joining the two. With no more hype than that, the legendary bassist, who played on some great sides in the late '60s and disappeared from public view shortly thereafter, took the stage.

Grimes presumably had little time to rehearse, not having played in roughly 30 years. Parker sent him a bass this spring, after articles announcing that Grimes had been found, alive and well in California, appeared in Signal to Noise and The Wire. Grimes played a gig with guitarist Nels Cline in San Francisco before heading east for his New York re-debut.

Like a modern day Mississippi John Hurt, the resurgence of Henry Grimes is the stuff of legend. He received a standing ovation before playing a note that night, and sat in the front row throughout the six-night festival. He already has a gig booked for July at the upscale club Iridium in midtown Manhattan.

No doubt many in the audience were wondering, miraculous as his return was, how his playing would be. As it turns out, Grimes was fast and nimble, quiet but assured; he clearly remembers his Juilliard schooling. He and Parker began as two of a kind, opening arco, their hands moving nearly in unison, Brown's searing alto soaring above. The set progressed, Brown dropping out at times to allow a bass duo, and was rewarding if not entirely remarkable. Parker is always amazing and Grimes more than held his own.

Patty Waters
Patty Waters    [Photo by M.P. Landis]
Waters, too, proved an elder but rewarding version of the youthful exuberance documented on her two ESP releases. She opened with a shaky voice and a sweet smile, saying simply "Thanks for coming. Let's all hope for world peace and justice." Then, ably backed by pianist Burton Greene (with whom she recorded those early sides) and bassist Mark Dresser, she launched into a stirring version of "Strange Fruit," a song that not only mirrors her plea for justice but perhaps represents a woman whose voice shows her years. Seamlessly they drifted into a lyric version of Ornette Coleman's "Lonely Woman" and, later, Holiday's "Don't Explain," "Nature Boy" and Waters' "Moon Don't Come Out Tonight." She might not have had the range or the power she once demonstrated, but she still carried every bit of the drama, standing in repose during instrumental segments, and leaving the stage during some of Dresser and Greene's own compositions.

The Vision Family

Family comes in different forms, and family is what the artist-run New York City institution is all about. If that's a little corny, then it's the kind of corniness William Parker, Patricia Nicholson and their growing list of sympathizers embrace. More musicians each year add their names to the list of those traveling (at their own expense) from near and far to be a part of the venerable shoestring operation. Grimes is no doubt part of the clan now, and Waters may prove to be as well.

The 2003 Vision Festival Schedule

Wednesday May 21

  • Joe Maneri Trio (Matt Maneri / Randy Peterson / Christine Coppola)
  • Carl Hancock Rux / DJ Spooky
  • Billy Bang Sextet (Frank Lowe with Todd Nicholson, Andrew Bemkey, Tyshawn Sorey, and Tatsuya Nakatani)
  • Patty Waters / Burton Greene / Mark Dresser

Saturday May 24

  • Amina & Amiri Baraka with Blue Ark: The WordShip (Dwight West / Rahman Herbie Morgan / Andy McCloud / Vijay Iyer / Rudy Walker)
  • Rob Brown / William Parker / Henry Grimes
  • Milford Graves / Peter Brotzmann
  • Jin Hi Kim Trio (Billy Bang / William Parker)
  • Louis Belogenis / Roy Campbell / Hill Green / Michael Wimberly
  • Improvs: Tatsuya Nakatani, Roy Campbell, Lewis Barnes, Jonathan LaMaster and others

Thursday May 22

  • Bill Cole Project (Warren Smith / Cooper-Moore / Patricia Smith)
  • David S. Ware Quartet (Matthew Shipp / William Parker / Guillermo E. Brown)
  • Fred Anderson / Harrison Bankhead
  • The Jemeel Moondoc / Connie Crothers Quintet (Nathan Breedlove / Adam Lane / John McCutcheon)

Sunday May 25

  • Thomas Buckner / Roscoe Mitchell / Jerome Cooper / Harrison Bankhead
  • Masada String Trio (Mark Feldman / Erik Friedlander / Greg Cohen, John Zorn conducting)
  • Matthew Shipp Quartet (Daniel Carter / William Parker / Gerald Cleaver )
  • Whit Dickey / Rob Brown / Roy Campbell / Joe Morris
  • Patricia Nicholson's PaNic (Joseph Jarman / Cooper-Moore)

Friday May 23

  • Edwin Torres / Sean G. Meehan
  • Kali Fasteau / Mixashawn / Maria Mitchell / Newman Taylor-Baker
  • Roy Campbell / Joe McPhee, Warren Smith, William Parker
  • Andrew Cyrille / Kidd Jordan / William Parker
  • Raphe Malik Quartet (Sabir Mateen / Larry Rolands / Warren Smith)

Monday May 26 ~ Jeanne Lee Memorial

  • Steve Dalachinsky / Treva Offutt / Frederico Ughi
  • Gunter Hampel Galaxy Dream Band (Perry Robinson / Lou Grassi / Mark Whitecage / Ruomi Lee Hampel / Hershel Silverman / Prince Alegs
  • Amina Claudine Myers
  • William Parker's Jeanne Lee Project (Thomas Buckner / Ellen Christi / Jay Clayton / Lisa Sokolov / Rob Brown / Lewis Barnes / Joe Daley / Cooper-Moore / Gerald Cleaver / Henry Grimes)

So what better way to open the festival (after illness canceled Joseph Jarman's traditional opening invocation) than master of microtones Joe Maneri with his son and daughter-in-law, violinist Mat and dancer Christine Coppola and their longtime collaborator, drummer Randy Peterson. The three musicians played as one, tenor saxophone, electric viola and percussion in tight-sync improvisation Coppola opened with the two Maneris, adding a surprising energy to their slow, taut lines. When she left the stage, the elder Maneri took over the dance, slowly rocking in his chair, eyes closed, arms akimbo, whenever his reed left his lips.

Fred Anderson was one of the first out-of-towners to commit to the annual trip, usually appearing in a remarkable quartet with Kidd Jordan, William Parker and Hamid Drake. But this year the tenor twins were bifurcated (and Drake, touring Europe, not on the bill), so he brought along one of his Chicago compatriots, the great bassist Harrison Bankhead.

Chicago's AACM boasts many great players (specifically saxophonists) too little known outside their hometown, and Bankhead is one of the best. They played a beautiful duet of lyrical, fast-paced ballads, simmering but never boiling over.

With the Anderson/Jordan/Parker/Drake quartet out of commission this year, it was left to Parker, Joe McPhee, Roy Campbell and Warren Smith to rock the roof off the house. Other regulars also delivered pieces of what the festival has become known for. Davis S. Ware brought his firestorm groove. Kali Z. Fasteau told musical tales of world travels. Brotzmann and Graves went 0-60 in zero seconds, hitting hard and not backing down, Brotzmann blowing clarinet with enough force to make it sound for all the world like an alto sax. Matthew Shipp was in rare, free jazz mode, laying out with Parker, Daniel Carter and Gerald Cleaver, not relying on formalist, geometric structures but instead playing the sweet, hard stuff.

Guitarist Joe Morris has also been a recurring part of the festival, but this was the first year for Morris the bassist. When he started picking up the banjo a few years ago, he sounded very much like himself on banjo. His more recent upright bass playing has been that much more of a surprise as a result. Far from the fast lines he favors on the smaller strings, on bass Morris tends toward simple, heavy, repeated lines, sounding something like hislong time partner Parker. Whit Dickey led a set with Morris on bass, Brown on saxophone and Roy Campbell on trumpet. Like Dickey's recent recordings on Aum Fidelity and Riti, the set was a satisfying, cogent statement.

Although Jarman gave a scare when he missed the opening invocation, leaving Nicholson to lead the festival blessing, he was in fine form four nights later, dancing across the stage, playing sopranino, bells on his ankles. He went through a variety of settings withCooper-Moore providing percussive basslines and momentary blasts from a strung and heavily amplified table.Nicholson danced and sang, breathily invoking the "Vision for Peace" mantra that reverberated throughout the festival. "So much sadness and a few moments of unbounded joy," she sang, whispered and screamed as she spun across the stage. "Rise UP!" It was captivating enough that painter Jeff Schlanger, another Vision regular and self-proclaimed "Music Witness" was still, not painting a stroke.

Dalachinsky  Offutt
Steve Dalachinsky & Treva Offutt
[Photo by Kurt Gottschalk]
The festival occurs over Memorial Day weekend every year, and the final night appropriately serves as a memorial for a musician who died during the previous year. This year's closing night commemorated the vocalist Jeanne Lee, who died in October 2000. Poet Steve Dalachinksky read a long piece capturing her passion for life, with drummer Federico Ughi and the remarkable dancer/singer Treva Offutt. Lee's husband, reed player and vibraphonist Gunter Hampel, played a set of strong jazz complimented by poetry from their son Ruomi Lee Hampel and some rambunctious street dance by Prince Alegs.

Henry Grimes Brown
Henry Grimes & Rob Brown
[Photo by M.P. Landis]
Parker's Jeanne Lee Project, a 14-piece band with four vocalists,was similar to his Little Huey Creative Music Orchestra. The long piece opened with cutely boppy four-part vocals that morphed into swirling vocalese and then into an extended solo by Grimes who, thanks to the attention of The New York Times and other local media, was responsible for packing the house. To say his playing is strong does not require the caveat "four months practice after 30 years of not playing." Grimes and second bassist Nick Rosen, along with four percussionists (Parker being among the latter) laid down an earthy groove, and the six horns swelled in shining fanfare. If there's anyone who can surf that sort of wave, it's Billy Bang, who rose with his violin from center stage and tore through the funk. It was pure Parker, grand and great Parker.



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