|Code Girl: Amirtha Kidambi (v), Mary Halvorson (g),Michael Formanek (b), Tomas Fujiwara (d), Adam O’Farrell (t)|
Compared to the celebrations for Dave Burrell on the opening of the festival, the following day seemed to offer a completely different program. Among others guitarist Mary Halvorson was to present her new project Code Girl. The organizers of the festival, obviously a bit wary of the festival's commitment to legacy, wanted to support artists like Halvorson (or Jaimie Branch, who will join the line-up on Saturday) as part of the avant-garde continuum. Todd Nicholson, executive director of the Arts For Art board, says: “Having grown up in the 1980s I always felt like the jazz scene was kind of binary - like it was always 'you're either one or the other,' with respect to straight-ahead or free jazz. I don’t think it's that simple anymore. These artists are finding a way to crack the code, and be truly themselves, and mix all these elements together in a way that we haven't heard before.“ So, even if the program for the second day seems to showcase music of a distinctive kind, there’s still the idea to connect tradition to present tendencies and to display in which way improvised music can function as a comment on the current social situation. On the that day, women’s rights were put to the fore. What’s more, the influence of New Classical Music on Free Jazz seemed to be another topic.
As mentioned above, Code Girl, Mary Halvorson’s band with Adam O’Farrell on trumpet, vocalist Amirtha Kidambi, bassist Michael Formanek and drummer Tomas Fujiwara opened the evening. The set contained six songs, starting with “My Mind I Find in Time“ and already here composed material dominated the songs Halvorson wanted to present with this group. The improvised parts wiggled around Kidambi’s vocal parts, which build the basics structure of the compositions. However, the improvised parts turned out to be the most interesting musical moments, when the band was able to leave the strict form behind. Especially a duo improvisation of trumpet and guitar and a solo by Halvorson, in which she meandered between Jimi Hendrix and Sonny Sharrock, stood out. Of course, one might ask if such music was able to carry on the fire music torch of the 1960s and 70s. But maybe it’s simply not this music’s intention and the political aspect of this band is just the fact that two women are the main forces behind this project.
|Karen Borca(bs), Jackson Krall(p), Rob Brown(s), Michael Bisio(b), Whit Dickey(d)|
|Nicole Mitchell(f), Joelle Léandre(b), Patricia Nicholson(d), Melanie Dyer(v)|
|Roscoe Mitchell(s), Thomas Buckner(v), Scott Robinson(s)|
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