By Martin Schray
On the one hand, the Vision Festival is about celebrating and honoring the greats of this music but it’s also about making sure that this music has a future. The evening was therefore be opened by the Visionary Youth Orchestra, a large formation of young students, that is an integral part of the festival and was led by William Parker this year.
Then Darius Jones’ quintet promised a different kind of Alto Gladness (to use an allusion to the Cecil Taylor tribute of the second evening) of the more future-oriented style. The band consisted of Jones (alto sax), Craig Weinrib (drums), Dezron Douglas (bass), Charlie Looker (guitar) and Michael Vatcher (percussion). Jones’ band turned Oliver Nelson's band title "The Blues and the Abstract Truth" into music by presenting themselves clearly rooted in blues and gospel on the one hand, but abstracting the structures of the genre on the other. Especially Jones' musical spectrum ranged from the old spirituals and Hard Bop to Coltrane. The set was divided into five parts, with Jones holding a melody line for a long time in the first one, over which Vatcher could let his percussion fly freely. The great emotionality and the beautiful mess that dominated the music were foiled by the enormous ease with which everything was played. A special moment followed in the fourth part, when Jones brutally and consistently played only one note for minutes and the rest of the band revolved around the eye of the hurricane. This was a very good intellectual, but soulful set. Jones has never disappointed me musically.
|Darius Jones Quintet|
While the first two gigs of the evening and the complete program of the previous day were completely without dance interludes, it was time to reintegrate this aspect into the festival. The next program item focused on Patricia Nicholson (dance), supported by Cooper-Moore (piano, different instruments), Val Jeanty (percussion, electronics) and Bill Mazza (video art). Cooper-Moore's introduced the set and, as often, used ragtime and stride piano motifs, combining them with Cecil Taylor-like clusters. Then, Nicholson entered the stage and Cooper-Moore switched to the flute and instruments he created. The set then evoked a more and more esoteric and world music-like atmosphere.
|James Brandon Lewis Unruly Quintet|
|Douglas R. Ewart & Bamboo Constellation for Joseph Jarman|