Wednesday, March 4th, 2020
Timucua Arts Foundation and The Civic Minded 5 present
The Fictive Five (Less One Live)
Timucua Arts
2000 S. Summerlin Ave, Orlando
7:00 pm doors, 7:30 concert, all ages welcome
Tickets $10-$20, all ages welcome

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The National Endowment For The Arts Jazz Masters page on awardee Anthony Braxton embeds an anachronism and engenders the problematic necessities of siloing living art forms:

“My music occupies a space in between defined idioms.” So stated Anthony Braxton, succinctly capturing the nature of his compositions,..

Braxton is a never-ceasing influence, spurring constant challenges to many of the artists that the cm5 presents. We were recently asked to succinctly state what the cm5 does to a room of the knowing and curious unknowing. The reply was “presenting the unpresentable in Central Florida”, met with approval of our snap “brandiness” by the knowing and a touch of shock from the curious trying to square the why.

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Composer and musician Larry Ochs is one of who channels the Anthony Braxton model, long applying the next idea to the basic templates of Jazz and Western Concert music. Going back to 1996, Ochs is one of our longest collaborators- including the ROVA Saxophone Quartet and the recent trio visit with Nels Cline. “Between defined idioms” is a fair snap piece of “brandiness” to apply to him, too. Why try harder. Are you open to pushing some boundaries in art?

What is this? If the 32 bar Blues form and improvisation are the town square of Jazz, European Classical traditions and the Latin Tinge are the business district in the next concentric circle. Urban areas expand from inside to outside, creating new city limits. Imagine flooding one concentric ring of the above elements into another:

“I create compositions for improvisers; structures that act not as pre-arranged enclosures for musicians to inhabit without spoiling any of the arrangements, but rather as free-form apparatuses that encourage them to take out their best color wands and music machines…… extended works involve coded charts, including signs introduced to me by (bassist/composer) Lisle Ellis during the What We Live era. Some notation; some visual cues developed with Rova.”

Larry Ochs- The Fictive Five (2015) liner notes

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It’s worth noting that each of The Fictive Five members are composers in their own right as well as practiced listeners. Listening and reacting with an audible reply- and arguably more important, not audibly reacting at that specific juncture- is a tentpole of thoughtful improvising. You’ve had chances to hear Ochs live in town six times. Note: This tour version of the group is The Fictive Five (Less One Live) with bassist Pascal Niggenkemper away in Paris, France.

Harris Eisenstadt brought us his Canada Day quintet at Timucua in 2012, so maybe you witnessed his rolling compositional takes on 1960’s Post-Bop, nudged by his open drumming combinations calling in studied Contemporary Classical and Afro-Cuban forms.

Nate Wooley was on that trip, too. Don’t fear Nate but if you play the trumpet, maybe, yeah do so. His toolkit includes growing up playing in a community Swing Jazz orchestra and traversing to playing high-tension brass analogue compositions by electronic pioneers Elaine Radique and Annea Lockwood.

Bassist Ken Filiano has never appeared on any of the one-hundred and eleven concerts that we’ve presented. It seems unlikely- almost impossible- that we haven’t intersected in our Venn diagrams. He is a regular Guiding Artist at Karl Berger and Ingrid Sertso’s foundational Creative Music Studio and has played with nearly a dozen artists that we have booked so far. We’ll fix this tear in the fabric and likely see him a second time later in 2020, too.

These Fictive musicians follow standardized notation, too. These are frames, rather than door-to-door deliveries. Similitude (For Wim Wenders) from the first The Fictive Five release harkens back to a mid-1960’s Albert Ayler clarion call at the outset while taking an exit into Ochs’ newer interpretation coding. If you take up our offer to hear this at Timucua Arts, you can hear and and possible see it up on the music stands, too.

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Take part in the Timucua instant arts community created at each event by appearing willing – described by composer Anthony Braxton as the “friendly experiencer.” Timucua encourages a small plate dish and a bottle of wine for community distribution. We’ll see you there.