To call New York City’s annual Vision Festival this country’s essential gathering of avant-garde improvising musicians is both true and incomplete.
The music is world-class, sure, and never predictable or rote. As bassist William Parker, one of the event’s founding figures, told me for a 2010 Wall Street Journal piece: “The aesthetic isn’t so easy to define. Nobody does notated pieces. There is improvisation in each band, which sometimes comes out of jazz, sometimes blues or world music or European music or just what I call the X-factor.”
So there’s that X-factor.
There’s also dance, poetry, film, visual art, not to mention the one thing absent from most of the festivals that dot New York from June through August—a true and deep sense of community.
That community is filled with musicians who defy easy description. Some, like Cooper Moore, design and build their own instruments. Some, like Parker, don’t so much bend rules as craft their own systems for musical development. Even in such a context, this year’s honoree for Lifetime Achievement (there’s one showcased at each Vision Fest), Charles Gayle, stands out—for the peculiar beauty of his music and his unwavering pursuit of elusive truths through art. Not to mention his versatility: Gayle, a singularly expressive saxophonist, is also a compelling player on piano and bass.
On opening night of this year’s festival, which runs from June 11 through June 15 at Brooklyn’s Roulette, Gayle will play all three instruments in separate sets during an evening in his honor. The last of these features an all-star “Vision Artist Orchestra” that includes tenor saxophonist Kidd Jordan. Jordan is revered as an educator and mentor in his hometown, New Orleans, yet his music is rarely heard and not often genuinely appreciated there. At the Vision Festival each year, Jordan is received in deserving fashion, as a conquering hero. Continue reading “New York's Vision Festival Honors Its Heroes And Gathers Its Tribe”