By default and by design, there is no firm center of avant-garde jazz culture. Its music can be freely improvised or densely plotted, ecstatic or brooding, concussive or tranquil. So on some level it was fitting that an accident of timing brought an overlap of the New Languages Festival, in its fifth year, and the Clean Feed Fest, in its fourth. Both present a cavalcade of independent-minded artists, but neither makes any comprehensive claims.
The Clean Feed Fest took place this year at the Connelly Theater, an acoustically favorable hundred-seat auditorium in the far East Village. Running from last Wednesday through Sunday, it had a lineup consisting entirely of groups (and in one case a solo improviser) from the roster of the prolific Portuguese record label Clean Feed.
On Friday night the closing set belonged to the saxophonist Avram Fefer, who has a ruggedly appealing new album, “Ritual,” with Eric Revis on bass and Chad Taylor on drums. The same working trio had been scheduled to perform, but Mr. Fefer took the stage instead with the bassist Michael Bisio and the drummer Reggie Nicholson. Their opener was “Testament,” the same prayerful piece that begins the album, with a jangling motif evocative of Ornette Coleman.
The Clean Feed Fest took place this year at the Connelly Theater, an acoustically favorable hundred-seat auditorium in the far East Village. Running from last Wednesday through Sunday, it had a lineup consisting entirely of groups (and in one case a solo improviser) from the roster of the prolific Portuguese record label Clean Feed.
On Friday night the closing set belonged to the saxophonist Avram Fefer, who has a ruggedly appealing new album, “Ritual,” with Eric Revis on bass and Chad Taylor on drums. The same working trio had been scheduled to perform, but Mr. Fefer took the stage instead with the bassist Michael Bisio and the drummer Reggie Nicholson. Their opener was “Testament,” the same prayerful piece that begins the album, with a jangling motif evocative of Ornette Coleman.
