Fay Victor’s SoundNoiseFUNK3, Friday, January 24, 7:30pm, Hawks & Reed, Greenfield

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Fay Victor’s SoundNoiseFUNK3, featuring Fay Victor, vocals, compositions, Joe Morris, guitar, Reggie Nicholson, drums. Hawks & Reed, 289 Main St., Greenfield, MA. Single tickets ($15) are available at www.jazzshares.org and at the door.

“If you have never seen her perform live, she is joy incarnate,” writes Richard Kamins. “She scats, she wails, coos, squalls, caresses, plays with words as if writing a play on stage, and does so with a twinkle in her eye. One can hear influences ranging from Nina Simone to Frank Zappa to Bill Dixon to Jimi Hendrix in her music.”

Fay Victor was the 2017 Herb Albert/Yaddo Fellow in Music Composition. Her recent releases include Nicole Mitchell’s Maroon Cloud and Marc Ribot’s Songs of Resistance, featuring Victor as well as guest vocalists Tom Waits, Steve Earle and Meshell Ndegeocello. Her ninth and most recent release, Wet Robots (ESP Disk, 2018) features her SoundNoiseFUNK project with Sam Newsome, Joe Morris and Reggie Nickelson.

She is currently on the Faculty at the New School of Jazz & Contemporary Music and runs a private teaching practice that includes courses on Creative Improvisation, Songwriting for Improvisors and private lessons for the serious vocal student and improvisor.

“Ms. Victor is a singer with her own brand: She’s theatrical and extreme without being campy,” writes Giovanni Russonello in The New York Times. “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.”

Originally from New Haven, guitarist and composer Joe Morris began playing in 1969 and is self-taught. He considers Cecil Taylor, Eric Dolphy, Leroy Jenkins, Thelonious Monk, Jimi Hendrix, and West African string music as major influences. In 1994 he became the first guitarist to lead his own session in the twenty-year history of Black Saint/Soul Note Records, with Symbolic Gesture. He has recorded for ECM, Hat Hut, Leo, About Time, Knitting Factory Works, No More Records, AUM Fidelity, OmniTone and Avant. Morris has recorded with Matthew Shipp, William Parker, Joe and Mat Maneri, Rob Brown, Raphe Malik, Ivo Pearlman, Borah Bergman, Andrea Parkins, Ken Vandermark, Karen Borca, Eugene Chadborne, Susie Ibarra, Roy Campbell Jr., John Butcher, Hamid Drake, and others. He began playing acoustic bass in 2000 and has performed with Daniel Levin, Whit Dickey and recorded with pianist Steve Lantner. Morris is a former member of the faculty of Tufts University Extension College and is currently on the faculty at New England Conservatory in the jazz and improvisation department.

Reggie Nicholson first gained a reputation as an outstanding drummer in his hometown of Chicago. In 1979, he joined the Association for the Advancement of Creative Musicians (AACM), a consortium of composers and performers devoted to the art of improvisation and the creation of original music. Over his illustrious career, Nicholson can be found on important recordings by Muhal Richard Abrams, Amina Claudine Myers, Anthony Braxton, Ernest Dawkins, Henry Threadgill, Myra Melford and Edward Wilkerson, Jr.. Since relocating to New York in 1987, he has performed with Ahmed Abdullah, Billy Bang, Marty Ehrlich, Dewey Redman, Jon Hendricks, D.D. Jackson, Amira Baraka, Wilber Morris, Butch Morris and Oliver Lake. Nicholson was nominated for a Cal-Arts Award in 1993. In 1997, Nicholson recorded, Unnecessary Noise Allowed, featuring new compositions for his quintet, The Reggie Nicholson Concept. In 2005, he recorded Percussion Peace for solo percussion and electronics. In 2007, Nicholson released Timbre Suite (Tone Colors) for his percussion ensemble. Nicholson’s Surreal Feel, (2009) shows his compositional skills for brass instruments.