JUGGERNAUT, 1998, ISSUE 2

Visions Festival
May 22 and 24, 1998
Orensantz Arts Center
New York city

The Orensantz Arts Center, in the bowels of Manhattan (not quite far down as the Knitting Factory, but far enough to run a hefty cab tab, believe me), is one of the or extraordinarily welcome spaces I've ever been in, particularly within the context of live music. The 1998 Vision Festival was one of the few occasions (outside the old Knitting Factory, and some straight-edge hardcore shows at CBGB's) when I felt that the music was definitely the focus of the event, and not the sale of beer or T-shirts.

The entire eight-day event was organized in part by the performers, under the aegis of Arts for Art, run by bassist William Parker's wife, dancer Patricia Nicholson (their wedding anniversary fell on May 24 and was announced from the stage to much applause). Further support was provided by Steven Joerg, head of Aum Fidelity Records, one of the best upstart out" jazz labels in the country.

I missed most of the festival, being unable to make it on weeknights. But Memorial Day weekend extended an invitation I couldn't resist, and I wandered down on Friday night to see the David S. Ware Quintet, and whoever else was gong to open for them, almost all unfamiliar names: the Far East Side Band, for example. Who were these people?

Well, the Far East Side Band was amazing. They combined the free-jazz spontaneity of the other acts with a uniquely sparse Asian-soaked sound. They featured violin and other, unfamiliar stringed instruments alongside odd percussion and, for a link to jazz as a rhythmic pulsing base, tuba (the percussionist took a decidedly ornamental role, playing as accent but never as primary rhythm.) Their music was oceanic in a high-pitched way, reminding me of some recent Keiji Haino work, such as his group Nijumu (who mingled traditional Japanese folk instruments with sparse and melancholy guitar) and his percussion (tambourines, tiny gongs) shows of a few years ago. Group leader Jason Kao Hwang led the quartet through three untitled instrumental pieces, the third of which culminated in a terrifyingly forceful electric violin solo. It almost reminded me of Jean-Luc Ponty's work with Frank Zappa, but much more controlled and with greater emotional resonance for its lack of showboating. This was the overall impact of the Far East Side Band; their austerity showed the way to incredible beauty, just as Chinese court music can make you want to cry, even as your attention is brought to micro-focus by the desolate landscape of the sound. The Far East Side Band have a CD out, but I forget the label just go look for it; it's worth the time.