Vent Fort [The Bridge #7] Tour in Chicago, Nov. 2016
Now is the time for the latest Bridge. They will be all around town for two weeks, Nov 2nd through 15th. Place your bets, make your choice, come see them here or there, or everywhere. Dig into the program below!
VENT FORT [THE BRIDGE #7]
Khari B. — spoken word
Magic Malik — flute, voice
Guillaume Orti — saxophones
Jeb Bishop — trombone
Frédéric BBriet — double bass
Tyshawn Sorey — drums, bass trombone *
* From Nov 7th to 12th
11/2: The Promontory, Vent Fort concert with live projections by Doug Fogelson + DJ set by Khari B., 8pm
Two joint events!
11/3: Comfort Station, Tatsu Aoki & Fred BBriet bass duo, 7pm
11/3: Hairpin Arts Center, The Bridge vs Asian Improv aRts, 9.30pm
11/4: 6018 North Kenmore, “Passing Between”, a site-specific performance with Magician Sean Masterson, 7.30pm and 9pm.
11/6: Diasporal Rhythms, workshop with visual artists, 12.30pm
11/6: ProMusica, live public recording of Vent Fort w/ drummer Dana Hall, 3.30pm
11/6: The Hungry Brain, Ben Lamar Gay, Jeb Bishop, Josh Berman, Guillaume Orti & Jim Baker quintet; followed by Magic Malik, Fred BBriet & Mike Reed trio, 9.30pm
11/7: Arts Incubator Jazz Mondays @ Currency Exchange Café, Vent Fort concert, 7pm
11/8: Logan Center for the Arts, “Vote for Jazz!” special election night. Vent Fort concert followed by a discussion, 7.30pm
11/9: Doug Fogelson Studio, Vent Fort concert, 9pm
Pick your concert!
11/10: Yellow Korner Chicago, Khari B., Magic Malik & Guilaume Orti trio, 7pm
11/10: Elastic Arts, Jeb Bishop, Fred BBriet & Tyshawn Sorey trio, joined in the 2nd set by Jaap Blonk (voice) and Dave Rempis (saxes), 9pm
11/11: American Indian Center, “The Bridge to Native Chicago: A Music Exchange of Jazz and Songs of the Southern Plains”, 7pm
Pick your concert!
11/12: The Stony Island Arts Bank, Vent Fort performance, 2pm
11/12: Corbett vs Dempsey, Tyshawn Sorey solo, 3pm
11/12: Constellation, Vent Fort concert, 8.30pm
11/13: Woodland Pattern, Milwaukee WI. Vent Fort w/ drummer Tim Daisy. 7pm.
11/14: Elastic Arts, Jeb Bishop, Guillaume Orti & Tim Stine (guitar) trio, followed by Nick Mazzarella (alto sax), Fred BBRiet & Jeremy Cunningham (drums) trio, 9pm
11/15: Alliance Française de Chicago, Jeb Bishop, Guillaume Orti & Fred BBriet play a live soundtrack to Charlie Chaplin’s A Woman of Paris, 6.30pm
11/15: The Whistler, Vent Fort with special guests TBA, 9.30pm
Strong wind advisory. Like all the assemblies of musicians put forward by the transatlantic network The Bridge, this formation is a story of mergings and involvements, a story born of desire and a few initial encounters. Thus, Frédéric BBriet and Guillaume Orti have spent much time together at the time of the Hask collective in the 90s. With his polyvalent ensemble Nimbus, the double bass player has made sure to invite the saxophonist, as well as flute player Magic Malik (who has also collaborated with Orti, most notably for the ensemble Octurn). Briet, during a trip to the US in 2012, met Tyshawn Sorey in New York and Jeb Bishop in Chicago, with whom he later collaborated in the ensemble Bonadventure Pencroff. Sorey, who knew Malik due to their both gravitating in the stevecolemanian solar system, share with Bishop and Khari B. a common denominator: George Lewis, the trombonist, improviser, composer, musical software programmer, and Columbia University musicologist, with whom all three have performed or studied. And Khari B., son of the saxophone and clarinet player Mwata Bowden, was the previous chairman of the AACM, on which Lewis wrote a book. All this leads Briet to say: “In this orchestra, the trajectories of each musician are like rays of light converging to the focal point of a magnifying lens. We went through this lens during the first tour, in the winter of 2014 in France, and discovered, travelled, the sublimed, other, dimension of a world we were already familiar with. We are at once on one side and the other of the looking glass, observers and observed.” Meanwhile, Tyshawn Sorey attributes to music the power “to question WHO we are and WHY we are – to question the nature of our perceptions and what they signify. Simply put, music IS. It wants nothing, needs nothing. It operates in this liminal area that separates the ‘same’ from the ‘different’. The fully conscious listener will have to abandon themselves to the sounds, clean the mirror that reflects the self, and put that self aside.”
Strong wind advisory. This is but the realest and most complex of equations: the aerial currents and counter-currents of a conjunction of individualities, each with their own personalities on their instrument, their own specific ways of making them sound, their own references and experiences (here, among the former, Charles Mingus and Arnold Schönberg, Morton Feldman and Wayne Shorter, the AACM, rock and rap, the music of India and South-East Asia; among the latter, Benoît Delbecq and Vijay Iyer, Steve Lehman and Ernest Dawkins, Anthony Braxton and Roscoe Mitchell, Peter Brötzmann and Ken Vandermark). A conjunction of individualities, each with their own life stories and their implications, their contradictions, and their imaginations. For music that is collectively improvised is the most akin to the moment of encounter, stretching it into a whole world: an encounter of musicians, an encounter with the surrounding world, and encounter that crosses parallel worlds. So, what can we expect? A modular orchestra that can play with abundance and infinity, as well as meditating the lessons of the infinitesimal (depending, for instance, on whether Tyshawn Sorey is playing the drums or the trombone, which can transform a sextet with integrated rhythms and a spoken word artist, Khari B., in the lineage of Langston Hughes or Amiri Baraka, into a near-chamber orchestra, a voice, winds, and strings ensemble), that can operate on centers of gravity and forces of attraction, on magnetic fields, musically researching multiple perspectives, using their sense of orientation, of exploration, and of construction.