For the second-ever performance by the ENVISION ENSEMBLE, the players expanded instrumentation and instrumental range, moving more fully into multi-dimensional “festival form”. The ENSEMBLE’s formal expansion more or less flips the concept of a usual approach to improvisation, that in which players “listen” to and complementarily match what other players are doing while only occasionally moving into an entirely independent space. The ENVISION ENSEMBLE begins in independent space. The players hear the whole as well as listen to the parts, creating beyond the strictures of standard complementarity. The intent is to fashion an experiential rather than compositionally logical totality. Continue reading →