The Vision Fest Rolls On at 21, And William Parker’s Vision Hits Jazz at Lincoln Center

WP_by_Peter_Gannushkin-09MR-1

William Parker/ photo by Peter Gannushkin

Once, it might have been hard to imagine bassist and composer William Parker headlining two nights at Jazz at Lincoln Center’s Dizzy’s Club in Manhattan.

It will happen July 26 & 27. And really, it makes perfect sense.

As a bassist, composer and bandleader, Parker is one of modern jazz’s defining presences; as much as any musician, he fulfills a vision Dizzy Gillespie, the club’s namesake, had decades ago of jazz as an expansive and cross-cultural music, one never stuck in place and always connected to a larger social and political awareness. And by now anyone’s wrongheaded view of Parker as simply a “downtown” musician (though that’s where he’s lived for a long time, and where he has anchored a community) have been erased by two forces: the sheer breadth and depth of Parker’s work; and the collapse in general of limiting categories when it comes to real jazz. Also, more than a decade past the organization’s founding, Jazz at Lincoln Center has notably broadened its bookings and ethos.

At Dizzy’s, Parker, who composes music at a dizzying pace, will present new compositions. These will be performed on July 26 by a quintet, and on the 27th by an 8-piece edition of his In Order to Survive Ensemble (the second set, billed as “Extended Breath,” may involve yet more musicians). Both nights will feature the wondrous tenor saxophonist Kidd Jordan and drummer Hamid Drake (and any chance to hear Parker and Drake together is a reason to show up and get a good seat.)

Once, it might have been hard to imagine Parker absent from New York City’s annual Vision Festival—this country’s essential gathering of avant-garde improvising musicians, and a broader celebration of artistic purpose that also highlights dance, poetry and visual arts.

Yet that, too, will happen.

Parker was a founding force behind the festival, now in its 21st year, and a ubiquitous onstage presence. This year, he’ll be in Calgary, Alberta, as composer & musical director of the Decidedly Jazz Danceworks brand New Universe piece & performance space during Vision Fest.

Oddly perhaps, that circumstance makes a certain sense, too: The Vision fest’s offerings (June 7-12) are so broad and strong, its cast of characters so deserving of their spotlights, that this year’s edition is no less satisfying with Parker on the road. (Full schedule here.)

Henry Grimes/ photo Hollis King

Henry Grimes/ photo by Hollis King

As happens annually, one artist is honored for a lifetime of achievement with a full evening as headliner. This year’s focus (June 7) is on bassist and violinist Henry Grimes, whose elemental work in the late 1950s is worth seeking out on recordings, and whose unlikely career resurgence in in 2003, involved a helping hand from Parker.

Grimes’ story is itself wondrous. He was among jazz’s most sought-after bassists in the late ’50s, and he played on free-jazz recordings in the ’60s with the likes of Ayler, Cecil Taylor and Don Cherry. Then he just dropped out, disappeared from the scene for more than three decades.

I’ll never forget hearing Grimes, playing a green-stained bass given to him by Parker, during a triumphant appearance at the 2003 Vision Festival. “Something happened,” Grimes told me following that performance. “It was like a thick air came into the club and came right down on everybody in it. Everything that I’ve strived for came true, with bigger implications for the future.” Those implications have turned into realities in the years since.

On June 7, Grimes will lead two powerhouse groups—one a quartet that includes one of Grimes’ contemporaries, drummer Andrew Cyrille, the other a septet including guitarist Marc Ribot, who has worked closely with Grimes since his return to the scene. In between, Grimes will be joined by several vocalists, performing songs by Lisa Sokolov, drawn from the original poems Grimes sometimes recites in performance.

There are many highlights to this year’s fest. Among them:

Jen Shyu‘s genre-and-border-defying songs (June 8)

—Sun Ra Arkestra 60th anniversary celebration (June 8)

—Saxophonist Jemeel Moondoc leading a quintet including pianist Matthew Shipp (June 9)

—Garland of Blessing (Hamid Drake – drums, Kidd Jordan – sax, Cooper-Moore – piano, Michael Bisio – bass—June 9)

—trumpeter Wadada Leo Smith’s  with a viola Quartet and Electronics (June 11)

—saxophonist Kidd Jordan leading a quintet to close the fest (June 12)

And I’ll especially highlight the June 10 performance by Michele Rosewoman’s New Yor-Uba, a group that showcases no just a rare union of religious and folkloric Afro-Cuban forms with modern large-ensemble jazz but also the place of Afro-Latin lineage within the Vision Festival’s legacy.

I’ve been following New Yor-Uba closely. In an email, Rosewoman described the extended new work she will present at Vision as her attempt to “jump the octave” with this group, through a rhythmic suite and tribute to 23 orishas. The group includes batá and conga master Román Díaz, surrounded by others suitably skilled in rhythmic magic, such as bassist Yunior Terry, drummer Robby Ameen and percussionist Mauricio Herrera.

Views expressed on this blog, which is hosted on BlouinArtinfo.com but produced independently of it, do not necessarily reflect the views of BlouinArtinfo.com.