Labor day weekend…for many a death knell to the end of summer. Life gets back to its normal rigor. Well, I’m asking what IS normal anymore, if there ever was such a thing. Seasons start to matter less as global warming creates a muddy connection. And American politics has flowered into a cruelty and blatancy not seen in my lifetime anyway. I’m not surprised at the reasons we’re here just surprised that we actually let it happen. So going ‘back’ to normal seems nostalgic or maybe the want of a memory that didn’t exist anyway. And how normal can any world feel with Aretha Franklin and now Randy Weston gone?
Strange times to be and feel positive yet I have to try. Keep moving on into worlds and spaces that feel enriching and open possibilities for what might be possible. This idea is at work this month with a new recording project of old material that Jochem van Dijk and I wrote when we began our writing life together at the end of the 90’s. Before the compositions for the Fay Victor Ensemble and back when our song forms resembled many others. Revisiting these songs with Darius Jones (alto saxophone) and Marika Hughes (cello) at the 55BAR the last few years has been a revelation in how much I still love these tunes and how now and within this sound world, they seem brand new. I look forward to sharing this when it comes out in 2019. Here is a video taken by Gerald van Wilgen that captures the special 55BAR vibe…and some surprises:
Deeper into September I’ll delve into another sound world for a first time performance with pianist extraordinaire Myra Melford, performing both of our music as well as improvising with Marika Hughes joining us on SEPTEMBER 21, 2018 at the Greenwich House. Back at the 55BAR on September 27th with SONGS We LOVE (w Sean Conly & Michael Vatcher), closing out the month on the InGardens in DUO with bassist Brandon Lopez – a first!
CREATIVE IMPROV WORKSHOP IV is coming up soon too, starting September 18 2018 for over 4 consecutive TUESDAYS at I-BEAM in Brooklyn, NY. Click the link HERE to learn more about the course and spread the word. Or drop an email to email@example.com
*In other SEPT news, A new Marc Ribot record is coming out this month and I am delighted to perform three songs on Songs of Resistance, an album of old and new protest songs with guest artists such as Steve Earle, Meshell Ndegeocello, Tom Waits and more. This will be epic.
The word is getting out about my latest release with SoundNoiseFUNK – WET ROBOTS (ESP-Disk) with some great feedback on the press front. Fantastic that so far people not only dig the music but really get what we do as a group. after the quotes, checkout the links to purchase/listen and share this music. Will add a clip from WinterJazzFest 2018 at the end.
4 ½ STARS – Downbeat Magazine
“Wet Robots is a program of thoughtful particulars, but it’s Victor’s acrobatics that mesmerize. Unabashed when it comes to sound creation, one can hear the passion in every syllable she utters, whether manic or modest. With echoes of Lauren Newton and Meredith Monk, the singer builds a web of personalized pieces that boast exuberance, with each warble, shriek and roar crafting a ferocious identity. Informed by blues and politics, their cagey deployment is downright entrancing, especially when bolstered by this kind of collective clout.”
–Jim Macnie, Downbeat Magazine (+HotBox), October 2018
“Singer Fay Victor is the solution to so many “What is the role of the singer in jazz today?” puzzles. The role, Victor proves throughout Wet Robots, is anything at all, anything the imagination allows.
…On a third or fourth pass through this remarkable document—and what can only be called a narrowly focused part of Fay Victor’s art, as she has fronted many bands with many different instrumentations and approaches—I felt I needed to rethink what “jazz” singing really could or ought to be so many years after talents like Betty Carter, Nina Simone, and Cassandra Wilson had dared to begin redefining it. Victor is at another level of freedom and daring and creativity. Sure, this kind of music is at the arty margin, but Victor proves that this kind of abstract singing is also flesh and blood and heart and earth.
‘I sing to save my life / I sing to look human’, Fay Victor makes clear.”
–Will Layman, Popmatters (8/10)
“This record stands out from the usual free jazz gestures and credit belongs to Victor. It’s not just that this is her band, but her unique singing concept leads the way. She has a familiar toolbox of vocal sounds, but it’s the way she uses her notes that matter—she has exceptional intonation and it sounds like it comes effortlessly, so she improvises with pitches and melodically logical and coherent tonal phrases. On top of that, she manages the challenging high-wire act of improvising text while always keeping it interesting and fresh. It’s a measure of a first-rate intelligence— take that F. Scott Fitzgerald.”…As abstract as most of this is, the earth of the blues comes through almost every track, often with power…”
—George Grella, NYCJR, September 2018
Thanks for reading and see you out there!