Bert's berth

AS220, the Waterfront Festival, and more

by Michael Caito

Umberto Crenca

"An award from the Lila Wallace-Reader's Digest Fund . . . is national recognition. The Rhode Island community built AS220 and helps to maintain it, this recognition belongs to the entire community."

-- Umberto Crenca

You ain't kiddin', Bert. A hunk of cabbage to the tune of a third of a mil is a big deal. And whereas the grant which the Space received last month has, essentially, already been earmarked for specific new and newly-expanded programs, its award serves as a bellwether on numerous fronts, which bodes well for both the future integrity of the Space and the much-bandied description of Providence as "Renaissance city."

Implementation of their specific plans is perusable via website (AS220.org), and includes an Artist-in-Residence initiative and fortified Gallery Exchange and Community Outreach programs. As is the case with many arts organizations, ambitious ideas at AS220 have often outpaced organizational support. Not in spirit, but in cash dollars.

Their symbolic Empire Street sailboat built and launched, they have had to use oars at first to get around. In the time it's taken for the general population to discover the excitement of their innovative journey, boatbuilders and crew have worked furiously. There are economic tides to factor in, not to mention jockeying for position with bigger boats made with sturdier material. This strains mental and physical resolve, making pitched seas seem even less navigable.

Landlubbing naysayers have smirked at the patched-together craft, questioning seaworthiness. Volunteer crew members are attracted to its self-same beauty, the adrenaline rush of the trek and the importance of the voyage. They assist and spell the harried full-timers --a mission-critical boost. Headway's been made, and their destination, once so far off, slowly grows on the horizon. Even though the vessel is periodically forced back to port, each successive trip breaks new ground . . . errrr . . . ocean. While onshore, the crew and volunteers weave sails to replace the oars, plot new and uncharted courses, and seal weak spots in the hull to fend off potentially fatal leaks.

Later, some of the original naysayers murmur, "Damn, those crazy bastards are determined. Even if they never get to wherever the hell they're going, they've sure discovered a bunch of cool new ways to get there. Their volunteers even look happy." Some some of the naysayers eventually decide to turn shipwright and give it a shot themselves.

Pardon the brine, but it fits.

As this column has always maintained, you can't have a Renaissance --a rebirth --without a birth. In this regard organizations like AS220 have proved invaluable. The Space's mission emphasizes "context" over "content" (their terminology, as proffered at AS220.org). That part still throws a lot of people off --folks may go once, not immediately love what they see or hear, and never return. But as self-proclaimed context providers, the Space is, by definition, less beholden to the whims of popularity and trendiness. They blow shit up, gleefully, and secure in the knowledge that their mission lies in protecting this context --an unjuried forum for the presentation of the new. And they forge new alliances with like-minded artists and organizations like the Providence Black Repertory Theatre, one exciting new player in the Downcity arts community.

Performers whose content dovetails nicely with innovative vision are invited back regardless of attendance, in the hope that an audience will grow through word-of-mouth. Cases:the down 'n' dirty Pork Chop Lounge, which has emerged as a well-attended evening of improv theatre, music and comedy. Czech experimentalists Uz Jsme Doma, angrier, more profound Lilith progenitors like Jean Smith of Mecca Normal, folk music perplexers like Bob Jordan. And now, thanks to an increased performance budget worked into the grant, nationally-recognized acts like Kristin Hersh, one of the more talented artists to ever have called Rhode Island home (She's back October 30, celebrating this week's release of In ADoghouse [Throwing Music/Ryko], which combines Throwing Muses' rare first cassette, their eponymous debut LP, the Chains Changed EP and five early TM songs recorded by the band's final incarnation in summer '96.)

This is certainly not to say that AS220 has the market cornered on innovation and providing context as well as content. That's bunk, and the thousands of similarly forward-thinking artists, performers, patrons, organizers and volunteers in the area would agree. Radio, TV and the press will, hopefully, call 'em as they see 'em as new programs unfold, leaving agendas and butt-kissing to politicians and others occupying the nether Darwinian rungs (politicos get their feng bent too easily anyway). Patrons will cheer mightily or leave muttering halfway through a godawful show. Most importantly, they'll do everything in between.

So this $325K speaks of discarded oars, new sails and a sturdier hull for a group which has always maintained control of its own rudder. It also speaks of the justifiable pride felt by many volunteers who have sat through some pretty fucked-up, silly events, as well as those magical nights which will be recounted for months and years to come.

Tellingly, it's a material vote of confidence for those willing to put it on the line to provide a birthplace for art; an un-judgmental, un-PC, paradigm-challenging vehicle for every budding artist's joy, fear and hope.

The song remains the same:no birthplace, no rebirth place. Now that one ship is more ship-shape, you know what they say about a rising tide.

HEAVY LOAD. DropDead perform tonight (9/10) with pleasurehorse at the Living Room. Shawn Greenlee, bassist of Landed, is pleasurehorse, and just released DropDead Deconstructed (Load Records 12"), a preview 45 of the full-length out in several weeks on the same label (Landed recently released Dairy 4 Dinner on Load, and have more available on Vermiform, the Richmond, VA-based label that recently moved to Rhode Island).Greenlee --no relation to Young Neal producer Bob -- employing 8-track cartridges, is a deranged, minimalist mixmaster, scissoring and looping DDriffs. Effect?A soundtrack to the soup scene from Rocky Horror. Or at times, someone spinning a radio dial very quickly. For hardcore (no pun meant) DDenthusiasts only, though evidently Greenlee has, in the past, done similarly warped things to pop in the Purple Ivy Shadows canon. One would assume that's a different ball o' wax entirely. Last area show for DropDead for a long while as they continue another multi-continent tour supporting their latest.

Tshibangu Kadima leads Rumbafrica to the Waterfront Festival this weekend. The Congolese computer engineer assembled the Boston-based group after noticing the dearth of soukous in New England, and the success of the masters who presented it from time to time. Grab their CD if you can. Also, Mark Cutler, Dan Moretti, Mary Cutrufello (don't sleep on this Yale alumna -- she's dynamite) and tons more --two days worth of goodies at India Point. Don't forget the numerous harmonica workshops offered by Chris Turner throughout.    

Saturday finds Mississippi native Joe Beard performing at Chan's. Beard knows his real estate -- he once lived next door to Son House --and that ain't all. On his second AudioQuest release For Real he leavens fine originals with classics by Sam "Lightnin'" Hopkins ("See See Rider,""Airplane Blue")as well as tasty tracks by Sonny Boy Williamson and John Lee Hooker. Known more as a talented vocalist, his guitar playing has come to the fore of late, though on his two AudioQuest records he's backed first by Ronnie Earl and then by Duke Robillard. Good pals to have, there. Appearing with Duke on Beard's latest are B-3 wiz Bruce Katz, former Broadcasters Rod Carey (b) and Per Hanson (d) and harmonica ace Jerry Portnoy. Several album-mates are expected at Chan's Saturday in a great, not good, night of blues. Get it done.