Vision Festival Schedule

I’ve posted this a while back, but since the Vision Festival is starting tonight, here it is again.

Monday June 11th, 2012

At Roulette 509 Atlantic Avenue, Brooklyn except Tuesday After Hours and Friday Afternoon Free Show
6:00PM – 7:00PM – Opening Invocation 2012

Patricia Nicholson – words and movement

Fay Victor, Kyoko Kitamura – vocals
William Parker – bass
Hamid Drake, Gerald Cleaver – drums
On the festival walls – Art Installation ‘BIRD CALL’ by Maura Sheehan
7:00PM – 8:00PM – Kneebody / MoNoMe
Adam Benjamin – keyboards, Ben Wendel – sax
Kaveh Rastegar, Nate Wood – bass, Shane Endsley – trumpet
8:00PM – 9:00PM – Dunmall / Shipp / Morris / Cleaver
Paul Dunmall – reed
Matthew Shipp – piano
Joe Morris – bass
Gerald Cleaver – drums
9:00PM – 10:00PM – Sharp / Morris
Tracie Morris – poet
Elliott Sharp – guitar
10:00PM – 11:00PM – Mark Dresser Quintet
Rudresh Mahanthappa – alto sax
Mark Dresser – bass
Michael Dessen – trombone
Denman Maroney – piano
Michael Sarin – drums

Tuesday June 12th, 2012

AUM Fidelity 15th Anniversary Celebration
7:00PM – 8:00PM – Eri Yamamoto / Solo Piano
Buy Tickets Here
8:00PM – 9:00PM – Farmers by Nature
Craig Taborn – piano
William Parker – bass
Gerald Cleaver – drums
9:00PM – 10:00PM – Darius Jones Quartet
Darius Jones – alto saxophone
Matt Mitchell – piano
Trevor Dunn – bass
Ches Smith – drums
10:00PM – 11:00PM – William Parker / In Order To Survive
Cooper-Moore – piano
Lewis Barnes – trumpet
Rob Brown – alto saxophone
William Parker – bass & compositions
Hamid Drake – drums
AFTER HOURS at Clemente Soto Velez 107 Suffolk St. Manhattan
12:00AM – 1:00AM – Sound Band / led by Jemeel Moondoc
Zak Sherzad – sax, didgeridoo
Ras Moshe – sax, flute
Welf Dorr -sax Matt Lavelle – alto clarinet, trumpet
David Moss, Max Johnson – bass
Nicole Federici – viola
Tom Zlabinger – trombone /guitar
Tor Snyder– guitar, harmonica
Tiffany Chang – drums

English: Joe McPhee in concert with "A Tr...
English: Joe McPhee in concert with “A Tribute to Albert Ayler” (Joe McPhee, Roy Campbell jr., William Parker & Warren Smith) one day after the election of Barack Obama for President of the US in Club W71, Weikersheim. Deutsch: Joe McPhee mit “A Tribute to Albert Ayler” (Joe McPhee, Roy Campbell jr., William Parker & Warren Smith) einen Tag nach der Wahl Barack Obamas zum Präsidenten der US im Club W71 in Weikersheim (Photo credit: Wikipedia)

Wednesday June 13th, 2012

Joe McPhee – A LifeTime of Achievement
Buy Tickets
(Playing in THE GARDENS OF HARLEM – a tribute to Clifford Thornton)
4 basses – Dominic Duval, Michael Bisio, Hilliard Greene, William Parker
4 horns – Steve Swell, Roy Campbell, Joe Giardullo, Joe McPhee
1 violin – Rosie Hertlein
2 percussionist – Warren Smith, Jay Rosen
8:30PM – 9:30PM – Sonny Simmons Ensemble
Sonny Simmons – alto sax, english horn
William Parker – bass
Thomas Bellier – electric guitar
Warren Smith – drums
9:30PM – 10:00PM – Jason Jordan / KnocKnock Dance Co.
music – Joe McPhee
Dancers – So Young An, Darion Smith, Misei Daimaru, Jason Jordan
10:00PM – 11:00PM – The Thing + Joe McPhee
Joe McPhee – sax & trumpet
Mats Gustaffson – tenor baritone
Ingebrigt Haker Flaten – bass
Paal Nilssen-Love – drums

Thursday June 14th, 2012

5:00PM – 7:00PM – Panel – Free Jazz / Free Music – Why Then / Why Now
moderator Scott Currie
Dave Burrell, Hamiet Bluiett, Wadada Leo Smith, Elliott Sharp, Howard Mandel
Dave Burrell – piano
Sabir Mateen – reeds
William Parker – bass
William Hooker – drums
8:30PM – 9:30PM – Dangerous Women / Moving Sound
Patricia Nicholson – dance/words
Connie Crothers – piano
9:30PM – 10:30PM – Ivo Perelman Trio
Whit Dickey – drums
Ivo Perelman – sax
Michael Bisio – bass
10:30PM – 11:30PM – Hamid Drake Ensemble
Jeff Parker – guitar
Jeb Bishop – trombone
Pasquale Mira – vibes
Joshua Abrams – bass
Hamid Drake – drums

Friday June 15th, 2012

at Rutgers Housing / Basketball Court, 200 Madison Street near Pike
Peace Poets /Luke Nephew, Frank Lopez, Emanuel Candelario, Frantz Jerome
Tribes Poets /Edwin Torres, Latasha Diggs, Sheila Maldonado
4:30PM – 5:00PM – Music Is Mine
Youth from ‘Music Is Mine’ directed by Jean Carla Rodea
Guest Stars:
William Parker bass,reeds
Cooper-Moore – percussion, diddley bow
Hamid Drake – drums

5:00PM – 6:00PM – The Mystery Ensemble
Kidd Jordan – sax
Jean Carla Rodea – vocals
William Parker – bass
Cooper-Moore – didleybow
Hamid Drake – drums
At Roulette
7:00PM – 8:00PM – Sheila Jordan & Jay Clayton / Bebop to Freebop
Jack Wilkins – guitar
Cameron Brown – bass
8:00PM – 8:30PM – Yoshiko Chuma – Intersections
Yoshiko Chuma – Dance
Akihito Obama – shakuhachi
Roy Campbell – trumpet
8:30PM – 9:30PM – Roy Campbell / Ehran Elisha
Roy Campbell – trumpet
Ehran Elisha – drums
9:30PM – 10:30PM – Henry Grimes / Wadada Leo Smith
Henry Grimes – bass, violin
Wadada Leo Smith – trumpet
10:30PM – 11:30PM – Pheeroan akLaff / Dear Freedom Suite
Jun Miyake – saxophones, flutes
Angelica Sanchez – keyboards, voice
Santi Debriano – bass violin, electric guitar
Pheeroan akLaff – percussion, mixed media
Special Guest Amiri Baraka – words

Saturday June 16th, 2012

3:00PM – 5:00PM – The Next Generation – T.I.M.E.
Tom Zlabinger, York College Creative Ensemble
Nicole Federici, Sonic Smithy
Claire Daly, Litchfield Jazz Combo
Jeff Lederer, Brooklyn Frontiers High School
Kidd Jordan leads all 50 students in Albert Ayler’s Universal Indians

7:00PM – 7:30PM – OH, Solo
Rachel Bernsen – Dance
7:30PM – 8:30PM – Steve Swell QUINTET
Steve Swell – trombone
Rob Brown – alto
Chris Forbes – piano
Hill Greene – bass
Michael T.A. Thompson – drums
8:30PM – 9:30PM – PREMIERE
Joelle Leandre – bass
Nicole Mitchell – flute
Thomas Buckner – voice
9:30PM – 10:30PM – TRIO 3
Reggie Workman – bass
Andrew Cyrille – drums
Oliver Lake – sax
10:30PM – 11:30PM – Jason Kao Hwang / BURNING BRIDGE
Jason Hwang – violin
Taylor Ho Bynum – cornet, flugelhorn
Ken Filiano – string bass
Andrew Drury – drum set
Wang Guowei – erhu
Joe Daley – tuba
Sun Li – pipa
Steve Swell – trombone
Burning Bridge by Jason Kao Hwang has been made possible with support from Chamber Music America’s 2009 New Jazz Works: Commissioning and Ensemble Development program funded through the generosity of the Doris Duke Charitable Foundation.

Sunday June 17th, 2012

Closing Night
4:00PM – 6:00PM – Panel – Freedom for Sale (Poets & Prophets)
Mike Burke moderator (producer Democracy Now)
Amiri Baraka (author, activist), Ewuare X Osayande (author, activist)
George Shulman (author, educator) Luke Nephew, (poet ,activist)
Patricia Parker (organizer, poet, dancer)
6:00PM – 7:00PM – Ingrid Laubrock / ANTI-HOUSE
Ingrid Laubrock – saxophone
Mary Halvorson – guitar
Kris Davis – piano
John Hebert – bass
Tom Rainey – drums
7:00PM – 8:00PM – BURNT SUGAR the ARKESTRA CHAMBER / Holy Ghost And Fire
Greg “Ionman” Tate – conduction, guitar, laptop
Lisala, Abby Dobson – vocals
Mikel Banks – vocals, conduction, freak-a-phone
Lewis “Flip” Barnes Jr. – trumpet
Micah Gaugh – alto sax
V. Jeffery Smith, Avram Fefer – tenor sax
“Moist” Paula Henderson – bari sax
Dave “Smoota” Smith- trombone
Andre Lassalle, Ben Tyree – guitar
Bruce Mack – vocals/keyboards
Jason DiMatteo – acoustic bass
Jared Michael Nickerson – electric bass
LaFrae Sci – drums
8:00PM – 8:30PM – Jason Jordan / Breaking
8:30PM – 9:30PM – Rob Brown / Daniel Levin
Rob Brown – alto sax
Daniel Levin – cello
9:30PM – 10:30PM – Kidd Jordan Quintet 2012
Kidd Jordan – alto
Charles Gayle – tenor, piano
J.D. Parron – sax
William Parker – bass
Hamid Drake – drums

AMN Reviews: John Lely and James Saunders – Word Events

John Lely and James Saunders: Word Events: Perspectives on Verbal Notation (London & New York: Continuum Books, 2012)

Word Events provides a well-organized view into verbal scores from the inside by offering technical and historical perspectives from leading composers along with commentary by the two coeditors, both of whom are themselves composers. With its well-selected collection of scores and in-depth analysis and exegesis, Word Events is an essential anthology of historical compositions and their contemporary inheritors.

Verbal scores employ ordinary language to describe or provide instructions for actions that constitute a performance of some sort, which may produce a piece of sound art, visual art, an action, or simply a moment of awareness. Like conceptual artworks, to which verbal performance scores bear a close family resemblance, compositions in words tend to concern themselves with prescribing or describing given creative conditions or processes. The resulting object, if any, is not necessary.

Significant interest in the use of words as a compositional medium can be traced back to the late 1950s and early 1960s. As the book makes clear, the reasons have to do both with the possibilities inherent in scoring with language and with accidents of history. With their reliance on plain language, verbal scores represented a direct means of conveying the actions and processes asked of the performer. In contrast to the graphic scores that also were coming into use during this time, verbal scores eliminated the reliance on novel and sometimes arcane sets of symbols. In addition, verbal scores could also be used by non-specialist or untrained performers since, as Gavin Bryars points out, the common currency of everyday language, in contrast to the specialized knowledge needed to interpret a conventional musical score or idiomatic graphic notation, is broadly accessible. But even for performers trained to use conventional scores, the relative simplicity of verbal scores provided some relief from what many, including composer John White, considered the over-complexity of the Darmstadt-influenced compositions prevalent during the period. And Eric Anderson brings up a more prosaic, though no less compelling reason for the attractions of verbal scores: Their often minimal or non-material end products were well-suited to avant-garde artists lacking resources.

Because they employ language as their medium, word scores are liable to analysis at different levels, whether syntactic, pragmatic, as speech acts, or otherwise. Thus coeditor John Lely contributes an essay containing a detailed grammatical analysis of English language scores. Lely’s analysis relies on the descriptive approach of Systemic Functional Grammar, which considers a given work in regard to context, register or genre, tense, modality, and so forth. Lely’s lengthy essay provides insight into the mechanical details of the scores—how they state their goals, put forward directions for their realization, and even hedge their expectations of an outcome.

As Lely’s essay makes clear, word scores may encompass a significant diversity of form and intent. This is demonstrated in the book’s second part, which serves as an invaluable anthology of verbal scores spanning fifty years. In addition to the scores themselves are commentaries provided by coeditor James Saunders. Saunders’ contributions, often based on his interviews with the composers, tell of the intent behind the scores, the historical background from which they arose, and describe how they were realized.

The variety of scores included, which span the period from the early postwar era to the present, is impressive. The editors don’t limit the selection to scores for works of sound art; scores associated with the world of visual art, such as those of Sol Lewitt and Lawrence Weiner, are included as well.

What emerges from a reading of these scores is a sense of the malleability of language, which opens up diverse possibilities for both composer and performer. These possibilities range from the precision of explicitly delineated instructions to the enigma of the koan-like utterance. Considered as speech acts, a majority of the scores would count as directives of some sort—sets of directions of varying specificity, or recipes for a performance or process. The focus on process rather than on an explicitly prescribed product introduces a certain amount of indeterminacy in regard to the results obtained. Realizations of verbally scored musical pieces, for example, may differ significantly from occasion to occasion, as some of the composers acknowledge. At perhaps the furthest edge of indeterminacy are scores from the more recent generation of composers, exemplified by the work of Michael Pisaro, Mark So and Manfred Werder. Their scores, embodying an often disjunctive or grammatically decontextualized use of language, eschew instruction and instead rely on a poetics of suggestion and indirection.

Word Events is very highly recommended to anyone interested in this important area of contemporary composition.

Newsbits: Beefheart Beer / Cherry / Tzadik / Berger

Another beer inspired by Captain Beefheart is available.

The new release from Neneh Cherry and the Thing streams for free at NPR.

Three Tzadik bands play tonight at New York’s Cakeshop: PET BOTTLE NINGEN, LES RHINOCEROS, PAK, 152 LUDLOW STREET, New York, NY 10002.

Karl Berger’s Improvisers Orchestra plays tomorrow night at El Taller, 2710 Broadway (corner of 104th Street), New York, NY, Jun 12, 2012.

June in Buffalo at the University at Buffalo Reviewed


June in Buffalo has a bifurcated mission that makes it an odd duck among new-music festivals. Founded in 1975 by the composer Morton Feldman and held annually on the campus of the University at Buffalo, it is partly a celebration of recent works performed by expert ensembles, both local and imported, and partly an intensive weeklong boot camp for budding young composers: 25 of them, from around the world, winnowed this year from nearly 100 applicants.

Umbrella Music Through June 28

English: *description: Ken Vandermark photogra...
English: *description: Ken Vandermark photographer: Seth Tisue photographer_location: Boston, MA, USA photographer_url: flickr_url: taken:September 24, 2004 (Photo credit: Wikipedia)

From Chicago’s Umbrella Music:

Jun 13
SET I: Jason Adasiewicz
SET II: The Great Crush
The Hideout

Jun 14
SET I: Branch/Hunt Duo
SET II: Vandermark/McBride/Lonberg-Holm/Kern

Jun 17
SET I: Natura Morta
SET II: Jason Stein Quartet
Hungry Brain

Jun 20
Paul Giallorenzo Trio
The Hideout

Jun 21
Ken Vandermark‘s Midwest School

Jun 24
Toby Summerfield’s Never Enough Hope
Hungry Brain

Jun 27
SET I: Michael Zerang
SET II: Bishop/Rempis/Kessler/Zerang
The Hideout

Jun 28
SET I: Architeuthis Walks on Land
SET II: Jackson/Adasiewicz Duo

All About Jazz Reviews

Thinking Plague in 1998 From the left: Dave Ke...
Thinking Plague in 1998 From the left: Dave Kerman, Dave Willey, Deborah Perry, Mark Harris, Shane Hotle, Mike Johnson. (Photo credit: Wikipedia)

From All About Jazz:

Reminder (Cuneiform Records)

Alexandra Grimal
Andromeda (Ayler Records)

Rich Halley 4
Back From Beyond (Pine Eagle Records)

Niklas Barno / Joel Grip / Didier Lasserre
Can’t Stop Snusing (Ayler Records)

Mechanisms (Clean Feed Records)

Marco von Orelli 6
Close Ties On Hidden Lanes (Hatology)

Ross Hammond Quartet
Adored (Prescott Recordings)

Thinking Plague
Decline and Fall (Cuneiform Records)