By Martin Schray
After the well-attended focus on Andrew Cyrille on the opening day the “normal“ program started with Marc Ribot’s new band, which emerged from his last project Songs of Resistance, and also referred to his Spiritual Unity group which included Chad Taylor (drums), the late Roy Campbell (trumpet) and Henry Grimes (bass). Grimes was in the audience as well and lots of people said hello to great 83-year-old bass player. Ribot's new quartet features old and new musical partners like Jay Rodriguez on sax and flute, Nick Dunston on bass and Chad Taylor, the aforementioned drummer of the Spiritual Unity band. With his short solo introduction, Ribot created a link to the evening before by making a reference to Caribbean and Latin American rhythms and melodies. Ribot's style is based on heavy rock rhythms and distorted chords, which in combination with the Latin melodies of the saxophone and the driving grooves of the rhythm section makes up an exciting, intense contrast. You might fathom a Latin version of Last Exit. Ribot's guitar runs are deeply steeped in blues rock and always get out of hand in the right places. His music is rich with references: Hendrix, Captain Beefheart, Zappa, James Blood Ulmer. A great start into the evening.
|Marc Ribot, Jay Rodriguez, Nick Dunston and Chad Taylor ,sound checking|
|Tomas Fujiwara’s 7 Poets Trio|
The next show was a project created by dancer and choreographer Davalois Fearon and musical director Mike McGinnis (woodwinds). This mixture of improvised and composed music and dance was combined with a spoken word performance by Patricia Smith. Actually this project was everything in a nutshell the Vision Festival represents: a collaboration of improvised music, dance, visual arts and poetry. Smith delivered some kind of feminist poem in which she referred to an image of a house without windows which seemed to symbolize the situation of women. But the house’s “roof was on fire“ and the woman who was confined to it had no interest in extinguishing the flames because she wanted to see the man burn. In the end, the house with no window also became a deadly trap for the man. Unfortunately, the music only had a serving function, one could have imagined the trio - Gerald Cleaver on drums again, Peter Apfelbaum (piano, woodwinds) and Mike McGinnis - as an independent program item.
|Kidd Jordan's tribute to Alvin Fielder|
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