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Home , Andrew Lamb (musician), Billy Bang, Charles Gayle, Hamid Drake, Henry Grimes, Jemeel Moondoc

VISUAL ART AT VISION 21 Charlotte Ka,‘DanceaCelebrationofLife’ Lois Eby, ‘MomentofFresh Air’ Jonas Hidalgo ‘Vision 20,Day5,Set3,WadadaLeoSmith/AruanOrtizDuo’’ Artist Info Page 24 Pete YahnkeRailand, ‘Study’ Bill Mazza, Marcy Rosenblat,‘Reveal’

Our Humanity and Creativity needs a community of supporters whoshare ourideals. andCreativity ofsupporters needsacommunity Humanity Our the If andthe it. Work feeds thenyou for Souls shouldsupport Art ofArts what feedsLives byourSouls. supporting What we doordon’t do–doesmatter. We makeadifference inour andinour world this time. Hope, Freedom, in ideasinany are powerful time, Self-determination andparticularly not waiting for permission. The musicwas builtby self-determination. defines,Where presents theartist their work, and ourcommunities. to beourmostuniqueself. we So pushourselves to domore, to redefine ourself, ourart expresses offreedom, oursenseofhope andbeliefinthepossibility AFreedomThe art Justice andExcellence. presents for Free Art Arts asasacredbasedintheIdealsofFreedom, art-form, We thePresent support by remembering thePast &respecting &Prepare Our goalistoOur keep alive, andminds, theidealism,integrity and inhearts TOGETHER WE CONTINUE TO MAKE VISIONS REAL Arts for Art tableat the foror stop byArt theArts Vision Festival. a Future where Improvisation andFreedom have aplace. sense ofresponsibility that hasinspired generations. THIS IS A society with challenging art isintelligent. with challenging art A society ■ ■ BE A MEMBER / DONATE TO ARTS FOR ART BECOME ACTIVE IN THE AFA COMMUNITY Visit: www.artsforart.org/support ENSURE ARTS FOR ART’S FUTURE ENSURE ARTS FORART’S A society filled with art is functional. isfunctional. filled withart A society Dancer, Artistic Director at Arts forArt atArts Dancer, Director Artistic ONLY THE CREATIVE OPTION - Patricia Nicholson Parker POSSIBLE WITH YOUR HELP

THE CREATIVE OPTION THE CREATIVE OPTION

Board of Directors This year marks the beginning of a third decade of VISION. We remain committed to Patricia Ali, Jo Wood Brown, Harold Connolly, , Judy Gage, David Kreuter, the on-going struggles for our collective humanity. In this way we can prepare for a William Parker, Patricia Nicholson Parker, Patricia Wilkins Future where Improvisation and Freedom have a place Staff Technical : Nobu Awata, InConcert Audio (Serena Rockower, Don Jacobs) TICKETS Arts for Art Team: Todd Nicholson, Patricia Nicholson Parker, Miriam Parker, $40/night | $25/night students & seniors Eline Marx, Marcus Fleming Design : Bill Mazza Video : Michael Lucio Sternbach, Don Mount, Zak Sherzad $200 6-night pass $300 VIP 6-night with preferred seating & gift bag THANK YOU DONORS $10 (at door only) – June 5 Vision Films at Anthology Film Archives Anne Abel • Fred and Edith Allen • Ramsey Ameen • Marc Andren • David Baberski $10 (at door only) – June 11 Afternoon Youth Concerts Carl Baugher • Sarah Bernstein • Michael Bisio • Larry Blood • • Patrick Brennan • Ray Brock • David Budbill • Katie Bull • • Juan Pablo Carletti Francisco Mora Catlett • Ron Crawford • Connie Crothers • Katja Cruz • • Joseph Daley • William Darkes • Claire de Brunner • Charles Dennis Use #Vision21 on social media and be a part of the conversation. Whit Dickey • Eric Douglas • Peter Dragotta • Mark Dresser • Andrew Drury • Melanie Dyer Lois Eby • Geraldine Eguiluz • Ken Filiano • Guy Fraser • Mark Frederick • Satoko Fujii Gary Funston • David Gage • Leonid Galaganov • Peter Gannushkin • Lou Grassi • Milford Acknowledgements Graves • • Jennifer Griffith • Henry and Margaret Grimes • Ed Hazell • Kathy Arts for Art appreciates the generous support of the Jacob and Ruth Epstein Foundation, SMS Hendrickson • Jody Henenfeld • Joe Hertenstein • Dave Hofstra • Lyn Horton • James Foundation, The Silicon Valley Foundation, The Dickey Family, Fred and Edith Allen, John Schiek, Ilgenfritz • Takashi Itani • Pierre Joris • Ira Kaplan • Richard Keene • Philip Kim • Kyoko Bradford K. Smith, Council Member Margaret Chin, Council Member Rosie Mendez, Mutable Kitamura • Masahiko Kono • Yoni Kretzmer • Peter Kuhn • • • Matt Music and the many donations by Artists in the Artist Campaign. Lavelle • Joelle Leandre • Edith Lettner • James Brandon Lewis • Abby London-Crawford The festival is made possible thanks to public funds from the State Council on the Arts Rick Lopez • Nick Lyons • Keith Martin • Miya Masaoka • Bill Mazza • Joe McPhee • Piotr (NYSCA) with the support of Governor Andrew Cuomo and the New York State Legislature. Michaelowski • Evlyn Newell • Patricia Nicholson • Kelly O’Dempsey • Steve Olson • Yuko Otomo • William Parker • J.D. Parran • Susan Peck • Nicole Peyrafitte • Nicholas Porcaro The performance of and New Yor-Uba, presented in collaboration with Tom Rainey • Victor Randrianasolloson • Christine Reardon • Deanna Relyea • Painted Bride Art Center and CapitalBop, is supported by Presenter Consortium for Jazz, a Cheryl Richards • Larry Roland • Mara Rosenbloom • Michele Rosewoman • Luciano program of Chamber Music America funded through the generosity of the Doris Duke Charitable and Silvia Rossetti • Frank Sakalinis • Ron Scott • Dave Sewelson • Peter Shwartz • Brad Foundation. Smith • Donald Walter Snowden • Trevor Stevens • Wayne Stokes • Robert Sutherland- Jen Shyu’s Song of Silver Geese is made possible with generous support from Chamber Music Cohen • • Natsuki Tamura • Michael TA Thompson • Raymond Nat Turner America New Jazz Works, New Music USA, Roulette’s [GENERATE] Fund, Jerome Foundation, Jochem van Dijk • Michael Vander Does • Jack and Linda Vartoogian • Fay Victor • Monica Doris Duke Foundation, and Exploring the Metropolis Choreographer + Composer Residency at Wagner • David Wainberg • Kenny Warren • Ken Weiss • David Weller • Leonard Welling Jamaica Center for Arts and Learning. Michael Wilderman • Michael Wimberly • Stephane Wohlfahrt • Andrea Wolper We thank Two Boots Pizza and Whole Foods for the food and beverage donations. Marion and Robert Wyatt • Maria Arias • Guillermo E. Brown • John King LIFETIME ACHIEVEMENT |

November, 2015 Henry Grimes turned 80. He is one of the very few surviving founding fathers and architects of avant-jazz from the breakaway ‘50s and early ‘60s. Today he is revered by countless musicians and music lovers throughout the world. He continues to push the limits of the music. Henry studied at Juilliard for three years at a time when only “classical” music was taught there, and African-American students were seldom accepted. But soon after leaving Juilliard, Henry became a progenitor and architect of the “avant-jazz” or “” movement of the 1950s and ‘60s, creating new music alongside , , Coleman Hawkins, , , , , and many more. He had become one of the most influential jazz bassists After 35 years away from the music world, Henry was rediscovered in 2002. He was given a bass by William Parker, and was soon back in full creative force. Since then, Mr. Grimes has played, toured and recorded with , , Edward “Kidd” Jordan, Nathaniel Mackey, , Marc Ribot, Sekou Sundiata, , and many more. Since 2003, Henry has played 600 concerts in 30 countries, made his professional debut on at age 70 at on a bill with Cecil Taylor. He has seen the publication of the first volume of his poetry, “Signs Musicians in Our World Today Along the Road.” He exercises his other talent by illustrating his new recordings Musicians in our world today and publications. inhabit the void creating the habitat of music within the place of sound and aesthetic informed in rhyme and reason.

In the avant-garde here at home they travel into new beginnings rustic modern myths of lands and modes of ritual.

They travel to dominions of sound vibrations through every map and time and lore and the world has whispered sacred secrets in their ears.

And so must we make music to lift the song of humankind | Henry Grimes FREE when all a sudden a wall a sound when all a sudden a flying around…the THE CREATIVE OPTION inexplicable Higher Power the Revelations & Jubilations FREEDOM & JusTICE FOR AFA Programming ALL when all a sudden the touch of FAITH & directions on how to reach one’s goals – our ideals.... emancipation when all a sudden the rich blood deep in the red BLUES THE VISION FESTIVAL (21 years) the spiritual f(l)ight & what the thing is & not who you are what is made from what We stand on the shoulders of those who came before and have inspired us to be our best, our & what was never there…made like a wall a sound like deep SONG / not just the most profound, and in fact, our most Visionary. We think of artists like , Albert one who SINGS the SONG but the THING ITself peace melody music rejoicing as in Ayler, , and Amiri Baraka, and consider what our role must be to carry their legacy PEACE as in to give PEACE one MUST HAVE PEACE as in a thing that was made was never made Blue lights & willow & candle flicker & wildflower & flat & round & solid forward. How do we keep alive in the hearts and minds of a new generation, all of the idealism, & poems made of oranges & shade & earth beneath us & sea & echoes: formless integrity and sense of responsibility that lay at the heart of those creative movements? This year into form & form into formless…when all a sudden a sheet of sound & weight & AFA celebrates Henry Grimes because he clearly represents the idealism and integrity of an bare feet & sensation & starlings & reflections & windows & phantoms & mysterious uncompromised Visionary. vaults when all a sudden a wall a sound when all a sudden ...... a sheet of notes… made chaos into order & order into storm & earthquake & flood & survivor… & the The Under_Line (U_L) Salon (3 years) gun that should NOT EXIST as our imaginations move toward the sound with the The U_L Salon Series features legendary artists in performance and open conversation about sound when all a sudden there’s this thing that appears as in HUM ME & BREATHE what shaped their art, looking at social and spiritual influences so that we can gain a greater ME as in ALL A SUDDEN A WALL A SOUND made of broken dreams & sad adults & understanding of the art and how they helped shape FreeJazz. We are bringing this to a new, crying kids & hungry mouths & sparkling baubles & filters for emotions & bubbles younger and more diverse audience with a shared interest in creativity. in streams & truth fascination enthrallment & lies made image & substance & HOLY THOUGHTS & hatred & healing & voices of that sang of love…& the corner EVOLVING (13 years) storekeeper & generous smiles as we make soft encounters & circles of warmth This is AFA’s platform to showcase NYC FreeJazz movement, in a context of social awareness. & wondering for hours about what to make next & be next & dream next WHEN It focuses on the work of younger, forward thinking artists who are exploring a range of ALL A SUDDEN A WALL A SOUND & sales items & sail boats & huge corporations & contemporary creative possibilities. Evolving includes music, dance and poetry performances, a lemonade stands & new days & newspapers & barking DoGs & rags & skin & tropical visual art exhibit as well as open forums on issues of social responsibility. climates & snow & those who stand tall & those who crawl & those who see yet see nothing at all & laughter & music & (r)evolution & eternity & another NEW YEAR: AUTUMN: IN GARDENS (8 years) WHEN ALL A SUDDEN THERE IS NO WALL…WHEN ALL A SUDDEN...... there’s the AFA takes a direct approach to bringing creative art to communities. Free performances of unsayable thing ...sacred angry tender naming the unnamable soul of america FreeJazz music, dance and poetry take place in community gardens, making innovative art a its ignorance stars rhythmning in the darkness whether or not shredded spiraling neighborhood event. looping the pulse the ruins of slavery power arisen muse self determination inside out time line moving space short long sustained…it all come thru the haze EDUCATION / OUTREACH (9 years) fast changes social upheaval struggle continuation only color US independent Music Is Mine (MiM) is AFA’s music programming that is working to include disadvantaged youth voices emerging converging a voyage past future spirit empowerment high low in the freeJazz culture. This includes an afterschool program and outreach to music teachers to sharp hues high polished tracks back to roots plunge pulse angels matter structure develop improvised music curriculum. And The Visionary Youth Orchestra, a citywide band that delicacy democracy to be light in light & one with the creator who you are thru is being developed to give a place to young musicians of diverse backgrounds and experience/ you there in the heart deep in the speech of a nation.. unshackled HIGH hooked skill levels could meet weekly and explore new ideas around improvised music and jazz. They on all that sweet soft beauty between the screams in here/where the ghost wind will be featured at the Vision Festival along with other student bands. blows the push/pull bending pleading wandering wondering always back to the moment young/old souls crazy quilted chess game mind heart ART lament AFA Artist Community and Advocacy (21 Years) pleas HOllers beatings lynchings & chains the search the self & its selflessness Since the first Vision Festival AFA has maintained a commitment to social responsibility. Throughout & sometimes overbearing selfishness....the dangerous journey to be FREE... our events and forums, AFA works to deepen engagement with a growing community and enable to interrogate investigate & integrate the moment &… TO BREAK THROUGH artists to network and address the personal, political, and practical concerns of being an artist in THE WALL: contemporary society. AFA believes that ‘What we do and don’t do – matters.’ WHEN ALL A SUDDEN THERE IS NO WALL WHEN ALL A SUDDEN…SOUND steve dalachinsky, nyc Visit www.artsforart.org/support SUNDAY, JUNE 5 VISION FILMS | AT ANTHOLOGY FILM ARCHIVES 32 2nd Avenue, New York, NY 10003 Admission: $10 per show | anthologyfilmarchives.org | 212-505-5181

‘Space is the Place ’ 7 pm by John Coney —space-age prophet, Pharaonic jester, shaman- philosopher and avant-jazz keyboardist/bandleader—lands his spaceship in Oakland, having been presumed lost in space for a few years. With Black Power on the rise, Ra disembarks and proclaims himself “the alter-destiny.” He holds a myth- vs reality rap session with inner-city youth at a rec center, threatening “to chain you up and take you with me, like they did you in Africa” if they resist his plea to go to outer space. He duels at cards with The Overseer, a satanic overlord, with the fate of the black race at stake. Ra wins the right to a world concert, which features great performance footage of the Arkestra. Agents sent by the Overseer attempt to assassinate Ra, but he vanishes, rescues his people, and departs in his spaceship from the exploding planet Earth.

9:15 ‘The Magic Sun ’ by Phill Niblock & ‘Sun Ra: A Joyful Noise ’ by Robert Mugge Buenos Aires Authentic Argentinian Cuisine The Magic Sun | A film by PHILL NIBLOCK 513 East 6th Street - featuring SUN RA & HIS SOLAR ARKESTRA. Composer, photographer and filmmaker Phill East of Ave. A Sun Ra: A Joyful Noise | This 1980 jazz film Niblock’s classic of experimental underground by Robert Mugge documents performances New York, NY 10009 filmmaking with a sensational soundtrack by Sun Ra and his Arkestra in , by pianist Sun Ra and the members of his Washington D.C. and Baltimore, including Solar Arkestra! Shot in the mid ‘60s, when the interviews and rehearsal footage. The 212-228-2775 Arkestra was based in New York, this film was Philadelphia performances captured by the [email protected] produced using a unique negative process and film took place at Danny’s Hollywood Palace ultra-tight close-ups on the moving hands and www.buenosairesnyc.com and on the rooftop of the Philadelphia mouths of the musicians. The result is a virtually International Center. The Baltimore abstract music film, mastered from a new print performance took place in the Famous in all its incredibly sharp black & white glory. a great argentinian restaurant in the east village Ballroom, hosted by the Left Bank Jazz Society. Poems Grimes ofHenry bySongs LisaSokolov TUESDAY JUNE7 Henry Grimes Septet Septet Grimes Henry Henry Grimes Quartet Quartet Grimes Henry 9:45 8:30 7:00 6:30 Celebrating HenryGrimes’LifetimeAchievement Voices Chad Taylor Marc Ribot Tomeka Reid Mitchell Nicole Grimes Henry Dyer Melanie Gayle Charles Opening InvocationOpening , Whit Dickey, Patricia Nicholson Graham Haynes Grimes Henry Andrew Cyrille Allen Geri Henry Grimes Henry Vocal Choirledby LisaSokolov

Imani Uzuri Imani TribleDwight Lisa Sokolov NdegeocelloMeshell Karma Mayet Johnson Karma

acoustic bass acoustic bass

acoustic bass

, violin , violin drums cor , violin drums guitar

viola cello flute sax net

Photos: Henry Grimes by Peter Gannushkin

Photos: Henry Grimes by Lee Tanner the future willbeavailable to usnow inthistime. to make. And,trying yes, I hopethat thesoundsin And always myself. surpassing That isthepoint I’m you’re changing, you’re goingthrough—evolving. and—what’sabout beingup-to-date theword when somebody else isplaying. Iwant to makesure it’s whateverto-date, my feelings are about the way Well, I’ve always been concerned withplaying up- doing andwhere I’m going. ofwhat you’reknowledge doingandwhere you’re goingto go. bothwhat I’m Iknow a basicplanthat Ifollow, andIcan’t say it’s asure thing, butit’s goodfor me. It’s alotof I’m some drawings, and making but my some poetry writing main thing is music. I have you thebreaks know reside beneath thehaystacks: You dream you have to press themagic number you seethesignal ofoppressed dreams This place secured thepace offate when sealedisthefaithwe learn. when sealedisthefaithwe learn, with delicate forms ofwhispers, the cosmic dream ofHeaven. of visionsstrong rooms inourhousefor anoffice. church, andthischurch hadoneofthe doorto achurch,right next aMethodist ofahousebecauseitwas unusual kind We hadahouseinPhiladelphia, an people playing my invention. I was always astonished to hear other had invented music, and from then on came out, Ithought that meant that I a keyonmy mother’s pianoandanote When Iwas alittleboy andfirst touched whatever Ilike to do. positive,been very goingfor Since 12/02until now, it’s It’s kind of rebirth. definitely a HENRY GRIMESSPEAKS these juniorssomething. and they’re really teaching fantastically marching forward, Jordan Kidd are stillvery Guys Allen and likeMarshall It’s interesting. beenvery do withmusiccoming at you. many possibilities having to music, andthere are very I’m concerned withthe musicallygood.good, very the musiciansare musically that alotof important very someone calls. Imeanit’s for itisto beready when histories, butmy only use the businessisrunandits have feelings abouttheway It’s mostlythemusicitself. I CONVERSATIONS 2 by William Parker Quotes from suicide, war andgreed. by deathlove,joy, hatred,nature,politics,spirituality, humansby eachother, visualarts, sports, by animals, address being seduced by language, music, dance, the result of this quest. The poems from Seduction freedom (especiallyinthecreativehave been arts) How theyhave succeeded andhow redemption and implications ofenslavement intheUnited States. they have sought to liberate themselves from the States have persevered redemption. How inseeking address how free Africans brought to theUnited Voices andSeduction. The poemsin Ghost Voices Jen Shyu ofSilver Geese |Song WEDNESDAY JUNE8 8:00 empathy amongcultures. existing intheuniverse andthegreat for necessity four interact characters asmicrocosm ofparallels national icon for Taiwanese independence. These Taiwanese folk singerChenDa,whobecamea according to Korean folklore; andthenomadic Wehali femaleBaridegi, thefirstshaman warrior; Nala and 3 other a portrays characters: Timorese thecrash.old daughter Nala survived The ensemble 6-year his family,only his Of 30. of age the baby,at 2014 inacarcrash withhiswife and11-month old 8, June Joko died Sri who “Cilik”puppeteer Raharjo Jen, Taiwanese poetEdward ChengandJavanese byTimorese two late of friends andpoetry text a rendering ofShyu’s aswell texts asancient This work musicdrama isaritual in7languages, 7:00 On-Stage Projections:On-Stage Lois Eby, poemsofDavidBudbill from Ghost two unpublished collections: Mr. Troupe will readof poems a selection Quincy Troupe |Poet Mivos Quartet Satoshi Haga Jade Tongue Jen Shyu Mariel Roberts Mariel Victor Lowrie Dicker Erica PratoOlivia De Dan Weiss Anna Webber Thomas Morgan DingmanChris Maneri Mat

composition, vocals, gayageum, Taiwanese moonlute, piano

dance , choreography flute vibraphone 2nd violin , alto flute 1st violin drums viola viola cello bass

Photos: Jen Shyu by Steven Schreiber; Satoshi Haga by Reggie Shiobara; Quincy Troupe by Rohan Preston

Photos:Connie Crothers by Michael Weintrob; Marshall Allen by Peter Gannushkin feeling andenergy. how theywill, exuberance, oneanother, deeplyhearing beingwitheachotherinamerge of and when in jumping fire, humor, feeling, tempos time and swinging passion you, with and for and other each with music creating in values—joy share flow. We and logic intrinsic its to release themusicintuitively, withoutpreset considerations, we willletthemusicexpress inside the world of the Ark. Listen, toinside theworld thelonglostchildren oftheArk. ofthe Sun Ra ArkestraSun Ra 60thAnniversary ledby Allen Marshall music goes on into the river of birth to againandagain.” beborn music goesoninto theriver ofbirth sun. Words canonlyechothenothingness oftoo late praise, the “MUSIC NEVER “MUSIC NEVER WAITS FOR THE WORLD. Butitcontinues inthe living being and spirit of Marshall Allen, whocreates ofMarshall living beingandspirit andlives the lastyear. Anniversary 60th Their Ra. World Tour hastakenthemaround in theglobetwice Sun of legacy the year, 92nd his this into forward carried has Allen Marshall – William Parker Atakatune Tara Middleton Elson Nascimento Wayne Anthony Smith,Jr George Burton Calvin Edwin Newborn Dave Hotep Tyler Mitchell Vincent Chancey Dave Davis Cecil Brooks James Stuart Danny Ray Thompson Allen Marshall

Bisio Michael Warren Smith Connie Crothers resolve. Allowing ourcreative minds about whento solo, orhow to transitional strategies, agreements improvisation. There will be no heads, music entirely through spontaneous

WEDNESDAY JUNE8 direc We three willcreate asetof

barit Connie Crothers TrioConnie surdo per tor, alto sax,flute

tenor sax, flut one sax,flute electr

french hor trombone

cussion . guitar conga drums vocals guitar drums piano piano bass bass n e 9:40 8:30

duo (Relative Pitch, 2016). andHilliardGreenJemeel Moondoc in also thetitle of ournewlyreleased CD, entire universe. Cosmic is Nickelodeon broadcasting itsmusicthroughout the now traveling thespace ways and to that Cosmic that is Nickelodeon paysmusic. performance homage Our The jukebox. and isnow upinthecosmos playing the as nickelodeon went into outer space, known later movie theater and the nickelodeon, the silent entertainment; American early “Nickelodeon” refers to two thingsin ’s Cosmic Nickelodeon more specificimprovisational goals. slow, big/small, loud/soft, etc., as a framework for the to developalso beworking anoverall context, fast/ and tempo. rehearsal, In musiciansanddancers will new movement interms ofcharacter, shape, rhythm, Cole’s music; and we want to one another intotrigger responsive and initiatory, to, inside of, and around Bill we want to dance, beingboth beautiful sanctuary; themany ofJudson’s fascinatingarticulate aspects the potentials for interactions amongus. We want to have focus: thespace, athree-ply themusic, and We fiveDunn +DancersDouglas will membersof DancersDouglas Dunn &BillCole’s UnTempered Trio | ‘Revisions’ THURSDAY JUNE9 8:00 7:00 Newman TaylorBaker Hilliard Green Nathan Breedlove Shipp Matthew Jemeel Moondoc Lisette Santiago Moshe Ras JulesBakshi,EmilyPope,Dancers: Dunn, Douglas Paul Singh,JinJuSong-Begin

On-Stage Projections:On-Stage JonasHidalgo

double reeds

, didgeridoo percussion trumpet alto sax drums piano bass reeds

Photos: Douglas Dunn by Tom Caravaglia; Jemeel Moondoc by Bruno Charavet

Photos: Tonya Foster by Janine Julia; Steve Swell by Ziga Koritnik; Hamid Drake by Luciano Rossetti Hamid Drake ofBlessings |AGarland Steve Swell Quintet |Kende Dreams Hamid Drake Bisio Michael Cooper-Moore JordanKidd Chad Taylor Roland Larry Connie Crothers BrownRob Steve Swell friends aroundfriends theworld. and thousand andone relationships with artists Cherry.and Don They have continued through a began withmy relationships withFred Anderson listeners asaBlessing. Many oftheblessings ofthe The musiccomes together inthehearts isablessing, eachtoEach Artist theother. our society withourvoicesour society united. to andviolence directly thenegativity in speaking achieved through ournon-violent energies and musicandallofsociety.itself inart, This canbe lords, oftheKendestrives thespirit to assert though theKendewas eliminated by thewar- astheKende. known Even tribes Hungarian music inspired by leaderoftheearly thespiritual hear someofNew York’s bestimprovisers playing imitating theHungarian’s music. Achance to without An homageto composer Bartok Bela

THURSDAY JUNE9 Tonya Foster |Poet saxophone trombone drums drums piano piano bass bass 10:30 9:30 9:00

will never come. am grateful to work on its fruition… which initsbalance.using andtheirimportance I can seetheplace ofthecomponents Iam a feeling ofa “constructed” foundation. I is to reach –through soundandmotion – evening this for work My interjected… is mind – and thebuilding of the Pyramids as a reference. The number three comes to be thebestway...using Osiris, IsisandHorus in my studies. Ithought to defineit would The hascome triangle upagainand FRIDAY JUNE10 William Hooker Triangle |Symbol ofPerfection Fay Victor Noise Quartet Sound 8:00 7:00 5:00 ripple, pulseandexclaim. Joinus. yet imagine soundscapesandenvironments that landscapes, and dreams unknown into journey with magical linesandattacks. This willbea are soundstylists, manipulating space andtime withmetonight three individualsperforming except thesilences that come between. The come together. and noise are Sound everything makes usunify, standupandtear down. us Makes through life. The rightsoundat the right time noises thevoice canmake. that getyou Sounds I’ve always beeninspired by thesoundsand Reggie Nicholson Reggie Nicholson Gibbs Melvin NewsomeSam Fay Victor Adam Zanolini|moderator ScottCurrie Hamid Drake, Shipp, Matthew Connie Crothers, Fay Victor, Patricia Nicholson, PANEL | The Creative :FreeJazz Option vs Fascism 1 Part Goussy CelestinGoussy William Hooker Hennen Mark Adam Lane DiMeglio Chris Film: ‘Approaching The Garden’ by Ed Kasperak

On-Stage Projections:On-Stage MarcyRosenblat

soprano sax trumpet drums, per drums dance piano bass bass guitar voic ophone cussion e, text e,

Photos: William Hooker by Luciano Rossetti; Fay Victor by Richard Koek

Photos: Cooper Moore by Luciano Rossetti; Michele Rosewoman by Chris Drukker documentary onendangered languages,documentary “Language Matters,” isstreaming onPBS.org Fields oftheLord.” Bob’s mostrecent bookis thatBob issetat aBangHolmanshow withHolmanreading, thebandplaying “At Play inthe musical idioms. featured improvisers andmaster drummers—atrulyuncompromised synthesis ofprofound musical content,distinctive whiledisplaying andintegrating ofNew the mastery Yor-Uba’s thisfullyorchestratedIn OruSeco, numerous are Orishas/deities endowed withRosewoman’s a sacred sequence of rhythms played on bata drums, as the Oru Igbodu (or Oru Seco). known Oro.”De Arhythmic suite featuring master Cuban Diaz. Roman folklorist The composition uses The Vision Festival presents Rosewoman’s thedebutofMichele CMA-commissioned work, “Oru Michele Rosewoman’sMichele New Yor-Uba Michael playsMichael BIG. Players. Dance Miller’s Joan for worked both we when 1986 the djembe, the plays world vibrates!” says Guillermo Wimberly “Memo” Acevedo. Imethimin Michael “When set. next volunteer at the Vision Festival settingupthestagefor the of him is memories as a young college as a student working of my myself. compositions thanIknow Oneofmy fondest we Amberger, Chris moved into 501Canal Street, NYC. Price Brian more knows and Ware S. David with along 1973, In 1969. in Boston in met I Michael friends.Alan of band a Thisis repertoire. These include “Black Herman,” Billy told a story from tonight’s setwillbetakenfrom theBangHolman bassist inthebandfor All material thoseperformances. band was calledBangHolman. Todd was the Nicholson with Billy Bang. Poetry Club performed Bowery Their Holman, poet,Bob professor, and proprietor ofthe Michael WimberlyMichael PriceBrian Alan Michael Cooper-Moore Sing This One BackToSing This One Me(Coffee House);hisPBS Amma Mcken Monteagudo Rafael HerreraMauricio Diaz Roman Robby Ameen Yunior Terry Rosewoman Michele Chris Washburne Dillard Stacy FiliuRoman Alex Norris

Todd Nicholson Holman Bob

alto/sopr

For BillyBang multi-instruments FRIDAY JUNE10

trombone

ano

woodwinds percussion alto sax trumpet tenor sax , basstrombone poet bass piano, v Fitting In bata, c bata, c bata, c lead vocals ophone 9:30 9:00 10:30 drums ongas ongas ongas ocals bass grooves takeandmake thefestival’s that will deservedly center stage blaze. some thoughts andsneak inalittlefun.For words are theskull’s music, thebaby brother of the be able to wipe up my when all is spirit said, when all is done. Hope to make the audience think I willbereading words spilling from my soulthenmy mouthonto a mikeandhopefullyIwill time theyare always listening. This iswhat We do. I neverwhat they’re know goingto do. Butat thesame This band is something different. The thing I love is that it selfinapartnership,dance. strong, itisthemusicandbodybreath lending uninterrupted.stillness andletitrise The motivation is A studyofcreation. reduce, fold, dissolve, meltinto Jessica Jones, Jeff Lederer -directors Visionary YouthOrchestra SATURDAY JUNE11 YOUTH BANDS Hamiet BluiettQuartet Parker /Smith| ‘A Moving Line’ 8:30 3:00 7:30 7:00 2:00 David |Poet Mills Hamid Drake Stewart Bob DD Jackson Jo Wood BrownJo Wood Wadada Leo Smith ParkerMiriam Edvin -director Rustrian TAMichael Thompson PS 182–CCNY Band Quest direction ofStevedirection Swell together underthe Students perform

On-Stage Projections:On-Stage CharlotteKa

dance , video, direction piano reeds drum sculpture trumpet

Photos: Miriam Parker by Lucas Noonan; Hamiet Bluiett by Chris Norton; David Mills by Luciano Rossetti

Photos:Wadada Leo Smith by Dawid Laskowski; Dave Burrell by Michael Wilderman at whichlight penetrates water, anditwas inspired by thePacificOcean. Pacifica involve will electronics, trumpet. and quartet, viola ‘Pacifica’ isdepth the concernedwith appears onthe Wadada Leo Smith/Hardedge of duoCDby thesametitle. newperformance My Nile’, composition‘The the of which Therecording the CD. during 2014 double Dimensions’ in ‘Pacifica’ again used ‘Spiritual the was score of part as released and 13, Vision at ago years eight Quintet Golden The by recorded and performed was score Ankhrasmation ‘Pacifica.’ same This for the21steditionof performance My The Vision Festival score, willbetheAnkhrasmation Wadada Leo Smith’s | Viola pluselectronics Quartet ‘Pacifica’ the superhuman determination to survive. anthem suggestsfear and oftheunknown, brought forth. The melodyinthisfreedom life changing experience that emancipation The musictouches ontheirhorrifying, yet unchained and motivated to walk North. of thousandspeoplewere suddenly demonstrates what happened whentens Army. composition Paradox My ofFreedom to joinfighting the Union age an opportunity that 1863 in freed America’s slaves, gave Black men of Lincoln Abraham President The Emancipation Proclamation issuedby Hamid Drake Dave Burrell Wadado Leo Smith Hardedge Hwang Jason Kao Tanya Kalmanovitch Gwen Lester Stephanie Griffin SATURDAY JUNE11 Paradox ofFreedom

drums piano

electronics trumpet 10:15 9:00 viola viola viola viola

Mike ReedFlesh &Bone responsibility we are inmotion–pnparker and changing what isaround us. With and respect Each isone-separate, together, listening, responding TAMichael Thompson Hwang Jason Kao DaCostaDjassi Johnson Yoshiko Chuma David Mills Patricia Nicholson Breath andStone SUNDAY JUNE12 7:00 6:00 4:00 Mike Reed Mike Jason Roebke Kevin Coval &Marvin Tate Jason Stein Haldeman Tim Greg Ward LamarGay Ben Mike Reed, Mike William Hooker, Fay Charlotte Ka, Victor |moderator ScottCurrie PANEL | The Creative :FreeJazz Option vs Fascism 2 Part

On-Stage Projections:On-Stage BillMazza

dance , words, direction

drums, c violin, viola ompositions spoken te poetry poetry drums dance dance alto cor tenor bass net sax xt xt happened to us. of an experience that actually onlife,is areflection inthe context race ortheideaofblackness. This on work anditisnotadissertation ofsomeoneelse’sor re-imagining isnotrecreationmonumental. It commemoration of something not atribute to anyone, nora to shapeourworldview. This is it, to uponhow reflect it continues and alloftheissuessurrounding generated, to revisit theencounter response: to express thefeelings it wanted to produce acreative life-threatening experience, I’ve in theCzech Republic. Since that rally in themidstofaneo-Nazi Places & Things found ourselves People, band my 2009 3, April On

Photos: PNP by Eva Kapanadze; Mike Reed by Johnathan Crawford

Photos: James Brandon Lewis by Luciano Rossetti; Tatsuya Nakatani by Makoto Takeuchi; by Luciano Rossetti Warren Trae Crudup III Luke Stewart James Brandon Lewis fire, afire shutupin mybones.” ofnow.There isonlytheimmediacy likea my“In heart person individuallyandcollectively. There isnobuildup, amount of freedom that speaks toof each the honesty yourself. iswiththisinmindwe reach It for thegreatest experiences. The Greatestisbeing Act Revolutionary those whohave come before aswe embrace ourown James Brandon Lewis Trio stands on the shoulders of the hallelujah!” freedom Butthere andspirit. isalotofdiscipline inside Freedom.Youhave anything to hasto dowithacademics. dowith It the and “hallelujah doesn’tget thelooseness andasenseoffreedom. It the has it words, and fullyFree, buildingaroad to thefuture. Kidd’s In Jazz ofAmerican Here ismusicsteeped inthehistory guest guest Harrison Jordanguest Marlon JordanKidd Jeff Coffin NewsomeSam Dave Liebman Tatsuya Nakatani the group. to Coffin Jeff friend mutual our welcome we time, Mr. is far awayDoneda in Europe and so to Dave Newsome. LiebmanandSam At this City. introduced Doneda Michel friend me My saxophonists was lastDecember inNew York withthree soprano firstperformance My this group follow thepath ofimprovisation. but now Iplay sound. The soprano players in percussionist. Iwasandplaying hearing music asadrummerandbecame I started Three Sopranos andPercussion

Kidd Jordan Ensemble Special

James Brandon Lewis Trio

tenor sax,c

SUNDAY JUNE12

ompositions soprano sax soprano sax soprano sax percussion The V21 Finale The V21 tenor sax trumpet drums drums piano bass bass 10:00 9:00 8:00 VISUAL ARTISTS AT VISION 21 Play on!DanceCreateon! Creativity InnovationandImprovisation! Entry intothemagicalspiritworldof Creates structuresAndfreedoms colors -tones,shadesandhues. The beatofthedrum,musicalrhythms,sounds, Play! Dance!Create! Charlotte Ka howling ghosts. we couldfadeamongthese rite of cannibalism and wish tragedy. We witnessthegreedy us. Hauntingtalesoflustand phonic stories unfold in front of again intheshadows.Poly elusive voicesbeforetheymelt glimpse theafterglowofthese the echoesofaghosttown.We tures amicrocosmfilledwith novel “Pedro Páramo”.Itfea- was inspiredbyJuánRulfo’s The SwellingWhispersseries discovers themagical ineverydaylife. delight inthefaceofachild asshe universe andbeyond,orseeing the der to the unimaginable spaces of our the nightskyandlettingmymind wan- ing agreatjazzmaster, orwatching like thesurgeoflifeIfeelwhen hear become afieldofexperienceperhaps ing space.Ihopeforworkswhich alive: fullofspirit,energyandbreath- My goalistocreateworkswhichare Lois Eby Jonas Hidalgo - - mance” arematerialsofthework. arbitary parameterslike“thelengthofaperfor of performingpaintinginapublicspaceandthe during Vision20,oneforeachset.Boththeact from aseriesofdigitalgesturepaintingsmade often incollaboration.Thisimageisandartifact tational formsandmedia,ofteninrealtime, people totheirenvironmentsthroughrepresen- I explorespatialandtemporalrelationshipsof Bill Mazza Images on Page 2 Interference Archives &Justseeds Lydia Crumbley don Bauer, Claude Moller, EttaCetera, tencia Collective, AndalusiaKnoll,Bran Lampert, &Pete Railand;Amory Resis nie Cervantes,MeredithStern, Nicolas Caplicki, MaryTremonte, Mazatl,Mela Jesus Barraza,JoshMacPhee, Kevin Ruin, Favianna Rodriguez,JessePurcell, Dunn, BecYoung, ColinMatthes, Erik dustrial complex. Justseeds artists: Alec addressed alternativestotheprison-in an originalprintthateithercritiquedor abolition movements.Eachartistcreated attention to need for prison reform and Canada andMexico.Thepostersbring ists andoneartistcollectivefromtheUS, Resistance” Project involves twentyart The “Voices From Outside:Critical with content,bothatonce. pieces comeacrossasabstractand (domesticity, decoration).These body and the traitsof the feminine patterned fabricdenotesthefemale material tendstoevokemasculinity; The way steel despite being a neutral as gender-representation. abstract presentation,italsoworks even thoughthepatternitselfisan opened upmypaintings,because even thebody. Pattern asclothhas to denotecurtainsorveils,attimes ric imbeddedinthepaintingsurface is theappearanceofpatternedfab A definingpartofmycurrentwork Rosenblat Marcy ------

- of mysteries. life under its terms we move closer to it, we find our place within this huge landscape thing we need toIt isprobably define. something we need to become. When we accept life. Iamnotsure iflife created creation orcreation created life orthat itiseven some oflife.part We cantakeaway life butwe someonewhoisdeadbackto cannotbring The meaningoflife isto findthemeaningoflife. oflife,Death isapart murder isanot ofliving.giving to othersinforms ofhopeandtheart to otherhumanbeings. from Life oritcanmean others(imperialism) canmeantaking inside ofourselves, itisourobligation to findouthow thingsflow and how wewill relate place takes which living, called journey a begin we and born are we life. When to nect to make its wayis constantly home. trying We to recon as human beings are also trying Life isaleafthat hasfallenfrom thetree calledcreation.maple, andspruce, Likeoak, it lions oflives andyou would have themeaningoflife, understood atthesametime. one would you If choose? had chosen not to drop you the bomb would have saved mil lives… andthesecond choice, knowthemeaningoflifeand“Notdrop thebomb.” Which onHiroshima,bomb Japan.You choices, hadtwo thefirstchoice to follow orders ending IF YOU COULD GO BACK IN TIME Jeff SchlangermusicWitness®,”MyHome”withWilliamParker,ConnieCrothers&HenryGrimes to August 6,1945anditwas your jobto drop theatomic [ William Parker ] - - -

EXCERPTS FROM AN INTERVIEW WITH HENRY GRIMES

[ Ken Weiss ] During that time me and Bobby Timmons Financially, going from the mainstream to Albert Ayler was very spiritual. He was a and Tootie Heath all came up together. the avant-garde was rough. I wasn’t mak- very avant-garde person if you can imag- Oh! No, fortunately I didn’t die in 1971 in We used to jam. We all ended up in NY. ing that much money so I had to become ine such a thing. He would just pick up his spite of what was written...there are a lot Playing with Monk was one of those agile about what horn and play and of sad stories to it…I can’t help but see things I call luck. He gave you direction to do. There was the sounds would humor in it. Like someone said that I was from sort of an inward manner. He would more money ear- just go all over ev- being an evangelist with dark green hair look at you and just nod his head and you lier working with erywhere, indoors preaching like some kind of new style start playing when he starts playing. But . and outdoors and hippie preacher with green hair. it was beautiful. I saw myself in the everywhere else. I grew up with my brother and some That’s just what you was very able and really on avant-garde. I was other musicians from Philly who are well would have to deal top of you, but, I mean, it’s a good thing. following my own known, like and Lee Mor- with. Him and his What you don’t know about music at that thoughts. When gan. They would come around and we brother, they really age is a lot. You need to learn. A lot of I turned around would trade musical ideas. Henry Grimes, ‘Tone Of Wonder’ wrote these things times a musician like Miles Davis or Col- I saw that I was out together and made it work out. It The idea of what makes you want to play, trane are task-masters in the sense that in the same place so I sort of transport- was beautiful. I would like to know more. you know, what you feel. To feel music go- the younger musicians might be doing ed myself from where I was to the new I didn’t know as much as I wanted to. I ing through you and you going through wrong so they have to put them down groups. I woke up to find myself in these realize now that I wanted to know much it. I can’t explain it but music takes you firmly at times. They will let you know that groups and that’s just because I was think- more. The Ayler recordings really inspire through a whole lot of things through you have some regimentation to follow. A ing about it, it seems to me. But it was a me now that the old music from that age life, understanding it. That’s what I’ve felt sergeant is the only word I can think of. very enjoyable thing working with Pharo- is still the new music that it is. The way it about it and it became my life. ah Sanders and all of them. Playing with Sonny Rollins was great. He sounds now. We must have exploded. By the time I got out of high school I de- is a natural. You play things with him that I stood for Charles Mingus and also played I went to in about 1970 and cided that bass was my calling. When I you play the rest of your life. alongside him. Mainly, he was presenting stayed there until I was found. I thought was twenty-one years old I got married his compositions and sometimes he had I switched to avant-garde Jazz. I wanted about playing and not making money. I and moved to NYC. I hooked up with a me as the bass player. I know what the to do something more and before I real- would have played if the conditions were few Rhythm-and-Blues bands in Philly stories say. He did have temper tantrums ized it I had been enlisted by Cecil Taylor. viable but they weren’t and I just didn’t and by the time I went on the road and at times but really light temper tantrums. And then I went to all the other groups. feel like trying to make deals for myself. finished with them I had a reputation. I You know, if a guy like that hits you he’s Cecil came when I was playing in Birdland That can be difficult. I was waiting for mu- just kind of followed that reputation and liable to get decked. You’re liable to come one night to listen to me play and we be- sicians I played with to contact me and that set me up to be recognized. back and hit him. Now, if it’s a bass player came friends. like Charles Mingus and he is threatening it did happen when Marshall Marrotte At that time it wasn’t hard for me to find Avant-garde Jazz was more challenging. you have to settle that because you don’t found me. I was very surprised, but that’s a job in New York but I call it luck the way You not only want to play something want to get into hitting any musician what I was waiting for. I think if music is it went. Arnett Cobb was one of my first new; you want to play something you while you’re playing. any indication of improvement, I think life big breaks. I used to go on the road with never heard played before. You say you is improving because of it. all these bands. Playing Rock and Roll, Yeah, I did a number of recordings on ESP, want to do a certain thing and it comes Life has really turned around for me due to you know, you have to play heavy. I al- including the one under my own name, that you get to do that certain thing the help of other people, that’s the most ways did go for that tradition. That heavy the only thing was the problem of trying over abundantly. important ingredient in all this right there. bass sound. to get the money. NO POLICE SLAVE STATE / COMPASSION IS JUSTICE! [ Connie Crothers ] IN THE JUSTSEEDS EXHIBIT, there is a poster with a statement by Leonard Peltier, the great leader of the original people, who has spent decades in prison for a crime for which he was eventually exonerated, but who is still not released: PRISON = SLAVERY

The 13th Amendment to the Constitution of the did not abolish slavery. It continued slavery in a different form. Section 1: “Neither slavery nor involuntary servitude, except as a punishment for crime whereof the party shall have been duly convicted, shall exist within the United States, or any place subject to their jurisdiction.” By the highest law of the land, slavery is legal. There is a connection with this Amendment and police brutality, terror and murder in African-American neighborhoods and the high percentage of incarceration of black prisoners serving absurdly long sentences, sometimes for crimes not committed, even though “duly convicted”—perhaps by pressure to plea bargain, perhaps for minor offenses that get sentences lasting decades. & COLLOQUIUM Prison slavery has been in effect since the 1850s, including practices like convict leasing, www.guelphjazzfestival.com chain gangs (breaking rocks quarries, laying train tracks) and in mines and factories. The September 14–18, 2016 13th Amendment has legally protected this form of slavery, and prison slavery fulfills the intent of this Amendment. “ ... a fresh exploration, packed with www. unexpected twists and turns ... ” In a country which extols its economic system of capitalism and “free enterprise,” there improvisation exists, legally, an extensive and highly lucrative slave economy. This slave economy has institute.ca — 2015, DownBeat, Peter Margasak reached its full realization in the private prison system. Creating positive social change through Slaves are equated with black people. Random brutality and murder are systematically the confluence of used to isolate the intended slave population and induce constant fear. The police, with improvisational their random use of arrest, act as slave catchers. arts, innovative We can’t continue to go on living in a slave nation. The “except” clause in the 13th scholarship, and www.criticalimprov.com Amendment must be removed. Slavery must be completely and finally abolished. collaborative action Open access peer-reviewed journal * Recommended reading: Slavery by Another Name, by Douglas A. Blackmon Leonard Peltier Print: Jesus Barraza, JustSeeds constructions of social reality. Uniting art- ists and audience members in the spirit of communitas engendered by such lim- inal events allows them collaboratively to produce meanings for extemporane- ous performances in a fundamentally dramaturgical manner. The music makes the most sense when audience members adopt the radical per- spective of the festival’s artist-organizers, identifying themselves with the musical personae presented on stage, and pro- jecting themselves into the conversa- tional interplay among them, thus expe- riencing affective sonic relationships as WHAT MAKES JAZZ FREE? metaphors for ideal human relationships. A JAZZ AVANT-GARDE RESOUNDING And yet, no staged musical interactions can ever present themselves harmoni- [ Scott Currie ] such ideals has even inspired prominent ously enough to evoke utopian ideals brace, Vision Festival performances academic researchers to propose its char- unambiguously, and the improvisational foreclose any satisfyingly affirmative FOR A GENERATION NOW, the Vision acteristically “democratic, humane, and dissonances thus engendered point to- escape into a safely utopian space, but Festival has showcased an uncompromis- emancipatory” conception of improvisa- ward an avant-garde refusal of the defini- rather demand a collective, continuing ing commitment to the principle that im- tional practice as a “crucial model for po- tive construction of any fixed meanings, engagement with the problematics of provisationally conceived performances litical, cultural, and ethical dialogue and either through contextual overdetermi- co-creative commitment. In this light, the of creative music, dance, art, and poetry action.” But advancing such an intriguing nation by presenters or consumptive ap- challenge of changing the world through can empower artists and audiences to premise raises the critical questions of propriation by audience members: some creative music practice represents a work change the world. Year after year, the late whether, how, and under what circum- irreducible part of the music’s significance in never ending progress. Art in the ser- Amiri Baraka’s bold declaration that “there stances creative music could ever possi- remains always (already) bound up with vice of a revolution demands no less is definitely an avant-garde in jazz today” bly change the world. the expressive freedom of the artists who — after all, as Delmore Schwartz once resounded as triumphantly throughout create it. Whatever sensual pleasure, intel- observed with such apt poetic grace, If the concerted endeavors of the Vision all of his many Vision performances as lectual stimulation, or political inspiration “in dreams begin responsibilities....” Festival’s artist-organizers offer any indi- it had originally when it heralded the creative music may provide, it inevitably cation, presenting improvisational music emergence of Ornette Coleman, Cecil carries the unsettling, subversive edge of within a richly interdisciplinary context Taylor, and as leaders of the the conflicts, tensions, and ambiguities can weave sounds, images, words, and first musical movement truly meriting it embraces and symbolizes. Ultimately, motions together into ritually potent recognition as avant-garde. Over the past by foregrounding the unresolved differ- synesthetic narratives, coalescing into two decades, the hard-won success of ences among improvisational personae utopian visions challenging conventional

the festival’s core artists in championing Photos: Amiri Baraka by Luciano Rossetti; ‘28 Hours’ design Bill Mazza; Scott Currie Enid Farber brought together in collaborative em- MOTHER NATURE VERSES FATHER GREED [ Warren Smith ] Attempts to alter natural resources and develop them for profitable enterprises, INSPIRED FROM AN ARTICLE I was read- have led to Overdevelopment, Ultra- ing in . I exclaimed, pollution and Overconsumption of our “Oh Shit!!?!, Now somebody is selling AIR Planets’ resources. Extraction from the to CHINA!?!”. The NY Times confirmed Earth’s core, and resultant pollution of it’s it. Someone in Canada is selling 7.7 liter Oceans, along with excessive Deforesta- containers of Fresh Air to China! tion have driven us to the point where someone in Canada can sell Fresh Air What’s America’s worst Addiction prob- to someone in China, where a State Of- lem? Greed! There ain’t enough Bush ficial can order the pollution of a City’s or Koch to maintain that High. The drinking water source, to save money for more you get the more it takes, but it’s the State. never enough. Father Greed’s Grandchildren, The Fos- However; Big Momma is The Boss. sil Fuel, Big Oil, Real Estate Developers, If you mess with her, She will take your Corporations and of course the Military mind and your body first, then all that ma- Industrial Complex; have insatiable appe- terial Excrement will soon become Ashes tites that are eating up the Planet. Even to Ashes and Dust to Dust. But some new though we know this is unsustainable, Fools will still, again, be fighting over it. They and those who profit with them, will Wealth won’t prevent us from Living or only cease their actions when we stop us- Dying, that’s Mother Nature’s domain! It’s ing (or overusing) them and move on to true that Father Greed has been around a sustainable, renewable sources. long time. But there are examples of soci- Of course, Big Momma just might get im- ety, some still extant where, all the partic- patient and wash all this away and start ipants are educated and nurtured away over again! from such deadly Sins as Envy, Jealousy, Vanity, Pride and Avariciousness. Utopian idealism can be approximated when each individual is assured her needs are attended to. By sharing, caring and helping, dignified survival is possible. These successful experiments have not lasted. Those still extant are constantly threatened by the same element that destroyed those of ancient times, Father Greed. His Sons: Profiteer, Acquisition, Corruption and Control have challenged Mother Nature Herself. Mutable Music Re leases Teitelbaum, Timeless Pulse, “Blue” Gene Tyranny, Randy Weston Lam, Al Margolis, W.A.Mathieu, Roscoe Mitchell, Ostravska Banda, JDParran, Revolutionary Ensemble, Richard Mel Graves, Tom Hamilton, Fred Ho, Earl Howard, If, Bwana, , Dan Joseph, Mari Kimura, Bun-Ching Buckner, Nils Bultman, Jerome Cooper, Connie Crothers, Michael Bisio, Noah Creshevsky, Robert Dick, JBFloyd, Artists on the Mutable Music label: , Joseph Bacon, , Big Black, Thomas the intensity of hisvery personal musical language. improvisation. Bisio invariably astounds audiences with the beauty of histone and for her wide range of expression, originality and her uncompromising spontaneous improvised works on this recording radiate intensity and beauty. Crothers isknown Connie Crothers and Michael Bisio make anabsolutely outstanding duo. The four CONNIE CROTHERS (PIANO); MICHAEL BISIO (BASS) ATSESSION 475 KENT Preview Tracks •Download MP3orHDAudio•Purchase Limited Edition CDR’s MutableMusic.com