FV Reviewed in the New York Times!!
Fay received her first ever concert review for her performance on the Sound It Out Series at the Greenwich House in New York City with powerhouse pianist Myra Melford and the crushing cellist Marika Hughes from the New York Times! Not only was the concert reviewed, it was selected as one of the TOP THREE of the month in jazz. Exciting indeed! The Times has been generous over the years with listings and a number of record reviews (even a recent mention about Wet Robots).
“Ms. Victor is a singer with her own brand: She’s theatrical and extreme without being campy. Expectations about a jazz vocalist’s demeanor — that it can’t be too aggressive, or that if it’s biting it can’t also be warm — don’t mean a thing to her. And forget about continuity. Sometimes melody leads to rhythm, or an explosion or a scream. Her affects are all scrambled. In that way, her playing sounds firmly planted in the age of digital media.
When she does sing even or discernible pitches, her precision is remarkable. But even more striking is how conversational and direct it feels. She’s essentially invented her own hybrid of song and spoken word, a scat style for today’s avant-garde.”
– Giovanni Russonello, The New York Times
Read the entire article here..
FV Feature in Norwegian Daily KLASS KLAMPEN (CLASS STRUGGLE)!!
“Here she delivers vocabulary singing, acrobatic and agile, but with staggering and poignant, spoken word-art rhythm in a kind of modern, avant-garde “scat” song that Victor may be said to be a unique exponent of”…”Those seeking one of the softest entrance to Victor’s world can start with “I Sing”, where she lists many of the reasons she sings. And note that none of them is to live up to genre expectations. Thank you and praise for that.”
–Chris Monsen, Class Struggle
PRESS love for Wet Robots by SoundNoiseFUNK
fay victor – voice, lyrics, conception sam newsome – soprano saxophone
joe morris – guitar reggie nicholson – drums
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)
“On Wet Robots, Fay Victor’s SoundNoiseFunk sound extraordinarily alive indeed.”
–Brad Cohan, JazzTimes Magazine
“Ms. Victor makes her voice into an expressive bomb, cycling through birdlike coos and tumbling laughter and urgent cries. Together with her quartet, SoundNoiseFUNK, she released an impressive, uncompromising album this summer, “Wet Robots.”
–Giovanni Russonello, The New York Times
“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
NICOLE MITCHELL’S MAROON CLOUD
Maroon Cloud is flutest/composer Nicole Mitchell’s intimate and astonishing collection of music created for (and recorded live at) John Zorn’s Stone Commissioning Series. The absence of a drummer or bass player, perhaps, adds an open feeling to this band, but it is this transparency in the music that makes a potentially “out there” session into something inviting….(Is this year the one in which Fay Victor simply becomes the A-list jazz singer across all styles? Wow, she’s everywhere and sounding incredible.) In the middle section, she also uses extended techniques to chirp and growl, to flutter and smack. (She’s everywhere doing, well, everything.)
-Will Layman, PopMatters.com
Marc RIBOT’s Songs of Resistance 1942-2018
Shadow Proof Protest Song of the Week – John Brown by Marc Ribot (feat. Fay Victor)
Marc Ribot’s – Songs Of Resistance 1942-2018 – Ribot attempts to connect current resistance against President Donald Trump’s administration to musical traditions of protest. The album was released on September 14. It reworks songs popularized by the civil rights movement in the United States as well as songs of the anti-fascist resistance in Italy during World War II. The album also features vocal guests such as Tom Waits, Steve Earle & Meshelle Nendegeocello. Several original songs are featured as well. Fay Victor’s contributions are absolutely a highlight of the album. On “John Brown,” she displays her powerful and dynamic range as a jazz vocalist. “John Brown” is an original song written and composed by Ribot. It recognizes Brown as a revolutionary, who was an abolitionist that spurred the end of slavery through his acts.
Learn more about this great project – http://marcribot.com/