Frisco
September-1st-2003, 11:26 PM
A very nice time at this year's festival. Some very strong sets that I witnessed, though I tended to pick and choose the few that I heard. Actually ten or eleven in all.
On Thursday I arrived just in time to hear Fred Lonberg-Holm's Tribute to Bill Russo concert. Not being familiar with Russo's music, I'm not sure how much to comment, except to say that Fred is always wonderful to hear on the cello and the music seemed to flow nicely at a slow, leisurely pace.
Thursday night, while the majority were pretending that Winard Harper was Art Blakey, I managed to catch fantastic sets at both Hothouse and Velvet Lounge. The early set featured the work of drummer/leader Reggie Nicholson. He was joined by pianist Yuko Fujiyama, bassist Tatsu Aoki, and saxophonist Edward Wilkerson. Reggie put together a beautuful suite of music that mesmerized all 10-15 of those in attendance. It was an hour long piece played straight through with no breaks. The music flowed between written passages and some excellent free, rhythmic improvisation. Yuko was as dynamic as I ever remember her. A beautiful sound, percussive, melodic, dissonant, light, flowing, and hard edged at various moments, while she was out front or adding to the group sound. Wilkerson was as free as I've ever heard him play. Truly an excellent, excellent set.
Made it over to Velvet Lounge for the second of two sets by Andrew Lamb, Harrison Bankhead, and Warren Smith. A very spiritual vibe prevailed. Andrew on wood flutes and tenor sax, playing off rhythmic riffs and sounding very strong. Bankhead may have been the MVP of the fest, helping Warren drive this trio and adding some very creative sounds while bowing or plucking. And Warren demonstrated why he should be viewed as a master perecusionist evoking beautiful sound colors and rhythms behind the drum kit. Very strong, spiritual, positive sounds.
Got to hear Kalaparush Maurice McIntyre on Friday afternoon, along with Ravish Momin on drums and Jesse Dulman on tuba. A pretty strong but short set.
Roscoe Mitchell was one of two "artists in residence" ever at the Chicago Fest. Friday evening was his showcase for his large ensemble. I didn't take notes, or have a program, so I couldn't tell you exactly who was all in the group. Roscoe presented three pieces for the ensemble that included three percussionist/drummers (Tani Tabal, Gerald Cleaver, Vincent Davis), two basses (Bankhead and Jaribu Shahid), and small sections of trombones, trumpets, and woodwinds, along with Craig Taborn on piano.
All three sections were beautiful, well rehearsed, and dynmaic in their own way. The first, a swinging piece that featured some wild blowing. First, the trumpeters started out soloing one by one each adding to a group sound that rose in intensity to a point where Corey (I believe this was Corey) Wilkes doing an extended circular breathing thing over the ensemble. The winds and trombones followed through similar sections. The second piece was a fine example of Roscoe's more "abstract" compositions. He played the percussion instruments in this beautiful piece. The third piece had a sort of latin rhythm and took things, once again to soaring heights.
My nighttime adventure was back at Velvet Lounge for another Reggie Nicholson group. This one was a brass ensemble featuring Aaron Dodd on tuba, Steve Barry and another trombonist, and Orbert Davis. Again, Reggie set things up for an extended suite with some nice written passages. Reggie was the most interesting of the group, for me, coloring thr music brilliantly behind the drums. I only made it through one set before I had to get some sleep.
Saturday started (for me) with a roar. After a nice solo piano set by Laurence Hobgood, Roscoe Mitchell was back to set Grant Park on fire! He presented an Octet, similar to his Note Factory groups. He used all three drummer/percussionist, and the two bassists from the large ensemble, along with Taborn, Corey Wilkes, and Roscoe himself on alto sax, soprano, and sopranino. I believe he had a flute but never did use it. And he literally roared on all of his horns. This music got so intense that I was waiting for an explosion of fireworks to end the set. But the fireworks were all within the music. Bankhead and Jaribu were doing wonderful stuff on basses and had a section for themselves. Extremely powerful stuff!!!!
The length of Roscoe's set forced me to sit far back at my next set which was Ken Vandermark's Crisis Ensemble. After an OK set by Jane Bunnett, Vandermark took the stage with an ensemble of his very excellent peers from the Chicago Improvisers scene. Among them were Lonberg-Holm, Kent Kessler, Dave Rempis, Tim Daisy and many others. My seat, the fact that the music was miked like a string quartet were playing, and the ignorant people talking loudly all around me, made for a disappointiung experience. But some folks who sat close were very pleased. The music seemed intricate but also had moments that were fiery as well. Perhaps someone could expand on this set??
The evening ended with two sets of the traditional Velvet Lounge blowout. This year was even more special than most, as the rhythm section of Harrison Bamkhead and Hamid Drake, not surprisingly, rocked the joint. Couldn't get any stronger than that. Hamiet Bluiett was in town and played baritone and wood flute along with Kidd Jordan and Fred Anderson on tenors. You expect the music to rise through the roof, but when it happens, I don;t think you're ever quite prepared. It was exciting and fun beyond anything else. During the second set they were joined by Douglas Ewart, Billy Brimfield, Malachi Thompson, Hannah John Taylor, and another saxophonist whose name I didn't catch. These guys stodd at the side of the stage and instead of standing and waiting to solo, they thought up some very imaginative riffs to add to the music. And instead of getting in ther way, it just added to the propulsion already happening. Taylor played some flute in addition to the tenor sax, and Ewart played some sort of short oboe like instrument in addtion to his soprano. It was, personally, my favorite of all the afterfest jams I've ever heard there. I only wish I could've been back on Sunday.
On Sunday, I (half asleep) heard a bit of the Delmark jam from the distance. Fred Anderson comes back strong, after playing his ass off til 2am, he's back at 11am, sounding quite nice in unison with Kalaparush on tenors.
Before I headed back to Detroit, I caught one last set and it was an excellent one. The Chicago Improvisers group played an afternoon set at Green Mill to a couple of listeners. Dave Rempis was all over the alto saxophone. He is sounding very great with all of the vitality and creative ideas that makes this scene so wonderful. I think he's ready for some major recognition. The playing is already there, we just need to catch up. He was joined by Keefe Jackson on tenor, Jim Baker on piano and synthesizer, and Tim daisy on drums. An excellent note for me to leave the city on!!
Anybody else with insight (hopefully more than mine) on some of the festival happenings?
On Thursday I arrived just in time to hear Fred Lonberg-Holm's Tribute to Bill Russo concert. Not being familiar with Russo's music, I'm not sure how much to comment, except to say that Fred is always wonderful to hear on the cello and the music seemed to flow nicely at a slow, leisurely pace.
Thursday night, while the majority were pretending that Winard Harper was Art Blakey, I managed to catch fantastic sets at both Hothouse and Velvet Lounge. The early set featured the work of drummer/leader Reggie Nicholson. He was joined by pianist Yuko Fujiyama, bassist Tatsu Aoki, and saxophonist Edward Wilkerson. Reggie put together a beautuful suite of music that mesmerized all 10-15 of those in attendance. It was an hour long piece played straight through with no breaks. The music flowed between written passages and some excellent free, rhythmic improvisation. Yuko was as dynamic as I ever remember her. A beautiful sound, percussive, melodic, dissonant, light, flowing, and hard edged at various moments, while she was out front or adding to the group sound. Wilkerson was as free as I've ever heard him play. Truly an excellent, excellent set.
Made it over to Velvet Lounge for the second of two sets by Andrew Lamb, Harrison Bankhead, and Warren Smith. A very spiritual vibe prevailed. Andrew on wood flutes and tenor sax, playing off rhythmic riffs and sounding very strong. Bankhead may have been the MVP of the fest, helping Warren drive this trio and adding some very creative sounds while bowing or plucking. And Warren demonstrated why he should be viewed as a master perecusionist evoking beautiful sound colors and rhythms behind the drum kit. Very strong, spiritual, positive sounds.
Got to hear Kalaparush Maurice McIntyre on Friday afternoon, along with Ravish Momin on drums and Jesse Dulman on tuba. A pretty strong but short set.
Roscoe Mitchell was one of two "artists in residence" ever at the Chicago Fest. Friday evening was his showcase for his large ensemble. I didn't take notes, or have a program, so I couldn't tell you exactly who was all in the group. Roscoe presented three pieces for the ensemble that included three percussionist/drummers (Tani Tabal, Gerald Cleaver, Vincent Davis), two basses (Bankhead and Jaribu Shahid), and small sections of trombones, trumpets, and woodwinds, along with Craig Taborn on piano.
All three sections were beautiful, well rehearsed, and dynmaic in their own way. The first, a swinging piece that featured some wild blowing. First, the trumpeters started out soloing one by one each adding to a group sound that rose in intensity to a point where Corey (I believe this was Corey) Wilkes doing an extended circular breathing thing over the ensemble. The winds and trombones followed through similar sections. The second piece was a fine example of Roscoe's more "abstract" compositions. He played the percussion instruments in this beautiful piece. The third piece had a sort of latin rhythm and took things, once again to soaring heights.
My nighttime adventure was back at Velvet Lounge for another Reggie Nicholson group. This one was a brass ensemble featuring Aaron Dodd on tuba, Steve Barry and another trombonist, and Orbert Davis. Again, Reggie set things up for an extended suite with some nice written passages. Reggie was the most interesting of the group, for me, coloring thr music brilliantly behind the drums. I only made it through one set before I had to get some sleep.
Saturday started (for me) with a roar. After a nice solo piano set by Laurence Hobgood, Roscoe Mitchell was back to set Grant Park on fire! He presented an Octet, similar to his Note Factory groups. He used all three drummer/percussionist, and the two bassists from the large ensemble, along with Taborn, Corey Wilkes, and Roscoe himself on alto sax, soprano, and sopranino. I believe he had a flute but never did use it. And he literally roared on all of his horns. This music got so intense that I was waiting for an explosion of fireworks to end the set. But the fireworks were all within the music. Bankhead and Jaribu were doing wonderful stuff on basses and had a section for themselves. Extremely powerful stuff!!!!
The length of Roscoe's set forced me to sit far back at my next set which was Ken Vandermark's Crisis Ensemble. After an OK set by Jane Bunnett, Vandermark took the stage with an ensemble of his very excellent peers from the Chicago Improvisers scene. Among them were Lonberg-Holm, Kent Kessler, Dave Rempis, Tim Daisy and many others. My seat, the fact that the music was miked like a string quartet were playing, and the ignorant people talking loudly all around me, made for a disappointiung experience. But some folks who sat close were very pleased. The music seemed intricate but also had moments that were fiery as well. Perhaps someone could expand on this set??
The evening ended with two sets of the traditional Velvet Lounge blowout. This year was even more special than most, as the rhythm section of Harrison Bamkhead and Hamid Drake, not surprisingly, rocked the joint. Couldn't get any stronger than that. Hamiet Bluiett was in town and played baritone and wood flute along with Kidd Jordan and Fred Anderson on tenors. You expect the music to rise through the roof, but when it happens, I don;t think you're ever quite prepared. It was exciting and fun beyond anything else. During the second set they were joined by Douglas Ewart, Billy Brimfield, Malachi Thompson, Hannah John Taylor, and another saxophonist whose name I didn't catch. These guys stodd at the side of the stage and instead of standing and waiting to solo, they thought up some very imaginative riffs to add to the music. And instead of getting in ther way, it just added to the propulsion already happening. Taylor played some flute in addition to the tenor sax, and Ewart played some sort of short oboe like instrument in addtion to his soprano. It was, personally, my favorite of all the afterfest jams I've ever heard there. I only wish I could've been back on Sunday.
On Sunday, I (half asleep) heard a bit of the Delmark jam from the distance. Fred Anderson comes back strong, after playing his ass off til 2am, he's back at 11am, sounding quite nice in unison with Kalaparush on tenors.
Before I headed back to Detroit, I caught one last set and it was an excellent one. The Chicago Improvisers group played an afternoon set at Green Mill to a couple of listeners. Dave Rempis was all over the alto saxophone. He is sounding very great with all of the vitality and creative ideas that makes this scene so wonderful. I think he's ready for some major recognition. The playing is already there, we just need to catch up. He was joined by Keefe Jackson on tenor, Jim Baker on piano and synthesizer, and Tim daisy on drums. An excellent note for me to leave the city on!!
Anybody else with insight (hopefully more than mine) on some of the festival happenings?