Day Five
07 November 2010
Sun 07-11-2010 | 15:00
Haus der Berliner Festspiele
‘Between Shores’ Kočani Orkestar meets
Municipale Balcanica & Roberto Ottaviano
Ajnur Azizov · vocals;
Djeladin Demirov· clarinet; Durak Demirov · saxophone;
Turan Gaberov, Nebi Kanturski · trumpet;
Nijazi Alimov, Redjai Durmisev, Shukri Zejnelov · euphonium;
Suad Asanov · tuba; Vinko Stefanov · accordion;
Enis Alimanovski · tapan
Michele de Lucia· clarinet;
Armando Giusti · alto sax;
Raffaele Piccolomini · tenor sax;
Paolo Scagliola · trumpet;
Raffaele Tedeschi · guitar, vocals;
Livio Minafra · accordion;
Giorgio Rutigliano · e-bass;
Nico Marziale · percussion; Luigi Sgaramella - drums
Closing day of the fest was rich and powerful from the first set . The fusion between Macedonian Kocani Orkestar and Mediterranean Municipale Balcanica was a funky tour the force folk and roll .To be honest it should be dance hall standing venue instead of sitting one as it was hardly possible to stay on seats listening to them . Kocani ,probably best known around the world from their appearance in Kustorica’s movie “ Time of The Gypsies “ is in their own country one of the leading bands. On the other hand Municipale Balcanica led by Roberto Ottaviano ,one of the veterans of Italian scene , becoming from the other part of the sea ,brings completely different energy to the mix. We have a pure Balkan TNT here ,as sound is dominated by Roman vitality. This particular project is just blowing audience out .
Powerful , James Brown like brass makes a constant pulsing background on which soloist appearing alternately with accordion duo and the vocalist Ajnur Azizov. But this is Balcan funk with lots of folk ingredients and as such sounds so different too . Score is often directed by Vinko Stefanov who continue playing his accordion with no brake during it .
It is spectacular to watch as it is heavy thing and no one could expect someone doing it. He is however not just staying in the front of the bands . He is jumping ,screaming ,waving ,boxing and generally doing things which you have never seen any other conductor to practice. Except a music there is a lot of theatrical action going on the stage in the same time ,as musicians make lots of gags ,and comical things ,like leaving and coming back ( brass ) when the others trying to cover what just missed from the sound .Particularly members of Kocani ,but it is just possible to judge after t- shirts they wearing as both bands are mixed up They also soloing in very Mediterranean manner trying to show rather capacity to play with a drive than looking after nuances – it brings even more power to the sound. Another part of this show are parts including Azizov vocals. They are more traditional ,closer to the Turkish folk and for these reasons sounding more oriental . But they are definitely Gypsy Oriental .They have it in the blood and they simply can not get rid of their underskin vitality ,which is good as it is one of their original qualities. He has very strong and melodic voice ,which is additionally modulated in the way that sound seems to roll out of his throat. Lovely set and fantastic family event ,being set up just after the lunch time . There were a lots of families on the stalls which is greatly appreciate . So an applause was massive too as there was no one who did not like it ,I am sure of that. With typical Balcan vigour they paid back with a couple of encores ,but even after that an audience did not let they go out .
Next on the list there were Urlich Drehsler Cello Quartet and Iro Haarla Sextet – both in Georg – Neumann Saal ,so I went there immediately.
Sun 07-11-2010 | 17:00
Georg-Neumann-Saal at Jazz-Institut Berlin
Ulrich Drechsler Cello Quartet
Ulrich Drechsler · bass clarinet
Rina Kaçinari · cello
Christoph Unterberger · cello
Jörg Mikula · drums
Ulrich Drechsler loves those low and semi-low sounds. In his new quartet, he surrounds himself with two celli and a drumset, while he himself favours the bass clarinet. His lines’ energetic elegance rests on the intensive study of Thelonious Monk, to whom he dedicated his 2004 album The Monk In All Of Us. The irresistible attraction of Drechsler’s songs not leastly harks back to the fact that as a nine-year-old, he played the clarinet in the marching band of his hometown. The dark, yet never gloomy sound of his Cello Quartet is absolutely unfamiliar in the jazz context. Nordic planes of sound encounter oriental ornaments, Balkan romanticism clashes with the modernism of a Viennese café, Mozart’s playful ease dissolves into Dolphy’s thoughtful complexity (...) from BFS PR.
It was simply gorgeous performance I enjoyed from the first to the last note . It has this similar hypnotic mood as Lorenz Raab’s set possessed too. Nothing surprising here as both musicians are shearing backgrounds and Rabb also appeared on Ulrich Monk tribute project.
However there is nothing else to compare as these were completely other programs. Drechsler’s newest programme is entitled Concinnity and had been recorded in November 2009 but already issued by German ENJA label in the middle of the 2010 year.
Ulrich’s Quartet was simply magnificent. He researched capacity of the harmony between a dark sound of his bass clarinet and two cellos perfectly . Surrounding himself just with a drum set ,very gentle and non dominant ,he created a superb space for his textural explorations .The cellos patterns varied a lot .There was a dominant element of classical articulation in the play as this is when their roots are. But being a part of Ulrich’s project such a long time they learned to how to express themselves in the improvising manner ,and there is where something significant was possible to be heard .But ,also playing rock like riffs in different tempos they created distinct counterpoint for his sonoric departures. This mix of abilities was shockingly good as well as whole music beautifully composed . They build a lovely background for Ulrich’s trips playing unisons and matching colour of his sound .This is another thing which is worth to be mentioned, as he not only swapped sax for a clarinet ,but also modified a bell of his horn .Being now wooden ,not metal one it became sonically a new solution .It lost typical bass clarinet nosy signature ,still keeping its lovely depth and woody sound .He also played it in the way which additionally strengthen these feelings .Skilfully choosing reeds and controlling vibrato with masterful perfection he additionally put attention to make this sound even more homogenous.
Sun 07-11-2010 | 17:00
Georg-Neumann-Saal at Jazz-Institut Berlin
Iro Haarla Sextett
Iro Haarla · piano, harp
Verneri Pohjola · trumpet
Kari ‘Sonny’ Heinilä · saxophones
Jari Hongisto · trombone
Ulf ‘Uffe’ Krokfors · bass
Mika Kallio · drums
“Music, like life a as a whole, is for me interaction among extremes: light – darkness, calm – storm, joy – sorrow. The extraordinary beauty of nature is one of my unfailing sources of inspiration.” Composer, pianist and harpist Iro Haarla always put aside her own ambitions for the benefit of her husband Edvard Vesala’s, whose musical interior architect she was considered to be. In 1986, she made an appearance on his album Lumi. Not until four years after Vesala’s death she released her 2003 debut trio-album Heart of a Bird, followed one year later by the quintet release Northbound on ECM – a recording hard to beat for its Nordic transfiguration, a monument full of melancholy and yearning. It is only a wild guess, but perhaps a glimpse into the exuberant schedule book of both Norwegian regulars‘ Mathias Eick and Trygve Seim would be sufficient to explain Haarla’s step towards an all Finnish line-up. At the frontline, we have trumpeter Verneri Pohjola whose album Aurora mightily enthused Nils Landgren last year, saxophonist Heinilä who, back at home is only called ‘Sonny’ and, with Jari Hongisto, a free spirit on the trombone
(...) from BFS PR .
Listening to Iro’s own project one knowing Vesala’s recordings might easy recognise now how much of her personality there was in his work ,even if she just appeared on the one .The way of organizing space for collaborating musicians is very significant here .Whole project is very ascetic ,very calm down and incredibly nostalgic . It might me easy called Finnish Haiku School what we have here .Haarla’s sounds are played in very understated way . Not only she is not playing lots of notes ,but even these few are perfectly controlled and well measured. She is leaving a lot of space for a sound to last instead. The silence is treated here in a special way ,not as a sound only ,but often as a background for delayed vibratos ,which appearing in such a depth even more balanced .On the harp she is more progressive and a melody becoming more definable ,but it is still nothing you might whistle . This is very fragile tissue .
The job Mika Kallio does ,her drummer , is crucial here .He is anchoring sounds in very special way ,interspersing rhythm to the selected parts of the melody only ,making this way whole space more floating with lots of gates just begging to come in through. After that whole percussive structure is like a net on which brass can twin their patterns with in the way that they are more like weaved in to it than flying over . On such a canvas Iro’s notes are like a long strokes of the brush . However they are not blur .They are so vivid and vital . Every single sound touches deeply. Brass what had been already mentioned are following the piano in the way of establishing whole melodic complex. Solos are very balanced and they got tangled up into the whole structure in the permanent way. Still being solos they are a fundamental part of whole composition . Brass deserves the highest acclamation here. What a wonderful players they are . So sensitive . They are dealing with fragile dynamic complexity in incredible intuitive way . One might get a feeling they sound together more like a harmonic instrument –a guitar for instance playing accords than brass section in usual meaning . Bass underline whole gentle structure with beautiful wooden and deep walk. There is a deep relation between Ulf and Iro – it goes without words .He was a part of Vesala’s late squad and they understand each other .She knows very well how to rely on his basement. This music is a pure poetry . It was heavenly pleasurable experience to see and hear such a set on the stage. Truly fantastic appearance and I wish to hear more and more from her. Such a pity she decided to run his own carrier so late . But the good thing is her star is raising quick . Capabilities she posses truly deserve to achieve position similar to Marilyn Crispell or Paul Blay, to mention just two most reminding me her style artists. I will be looking forward and keep watching carefully what’s going around . And I suggest You to do the same ,other way you gonna miss something valuable here.
Sun 07-11-2010 | 20:00
Haus der Berliner Festspiele
Django Bates Beloved Bird
Django Bates · piano
Petter Eldh · bass
Peter Bruun · drums
„Django Bates is a jack of all trades. With his group Loose Tubes he changed the face of European jazz sustainably, with groups such as Human Chain and Delightful Precipice he continued turning tradition upside down. As a guest of Tim Berne, he teamed up with the New York scene. His humour is legendary, and the playful lighness of his performance tends to conceal the fact that behind his mischievous attitude lies a distinctive predilection for perfection(ism). Bates, one of the most influential British jazz musicians of the last three decades, has moved to Copenhagen where he is busy collaborating with the quirky young Danish
scene. With Petter Eldh and Peter Bruun from the elite Rytmisk Musikkonservatorium (RMC), he now has founded Beloved Bird. The three relish through the legacy of Charlie Parker, garnishing their homage with a handful of original compositions and supplying the ardent big-band leader with plenty of space to indulge in his passion as a piano virtuoso.
„If jazz is the music of surprise, then few deliver the gift of astonishment more readily than Mr Bates. After the high energy, multifaceted shenanigans of the splendid Stormchaser comes this unexpected, but not unexpectedly dazzling, piano trio. (…)
The purists, as ever, may find Bates’ reimaginings too superficially quirky for their liking: yet Bird’s spirit is here, Bird the iconoclast who wanted to learn from 2 von 3 Varèse, Bird the revolutionary who embraced Latin rhythms as well as bop’s sprung tempos, who nestled as happily against Mitch Miller’s oboe as he did Max Roach’s
rhythms. And Bird the composer in the moment is here too as Bates slices up thes familiar songs, dividing and ever sub-dividing, giving us not improvisations over a theme, but a re-composing, little epics in a (half) bar. (…) Bird Lives indeed.“
(Andy Robson/Jazzwise) - from BJF PR .
Andy Robson’s comments about the latest Bates’ project are so straight to the point that is a really good reason to use them as a preface to that set review as these words actually make a perfect introduction to the group as well as giving a clue what we can expect from . Andy’s review with Django published in an April edition of Jazzwise this year is worth to be read and fully informative compendium of knowledge about the project ,which I would like to recommend to everyone interested to know more . Now however ,let’s get back to the BJF main stage where all the magic happened. It is easy to say that this trio is run by Bird’s spirit. He is there all the time . This is an unusual tribute Bates did to his earliest hero . Quite unexpected for everyone who following pianist’s career .He is famous for his legendary sense of humour and amazing talent for transfigurations. Nothing like that happening here. No one is flying over the moon . Bird’s heritage as a composer is treated here with a greatest respect.
Tunes are easy recognisable . These are not Django’s variations about Parker’s music . This is pure Charlie in which Bates just blown the new life in . Blown is a good word here as he did in on the piano in the way that talented saxophonist possibly could thing about. Giving up with sax as an obvious and ordinary choice was a wonderful move too .It gave him a full ability to recompose Parker’s tunes in the way he could control every aspect of original brilliancy he found in . His dazzling technique and sparkling imagination truly brought be bop classics into the new life. And such was a target here I believe . Trio set it up with a surgeon precision . Crazy rhythmic make up which Django applied to be bop tunes ,raising up tempos ,braekneck speed ,with percussive piano patterns and a whole variety of changes was breathtaking. On the other hand it had been joyfully played with whole enthusiasm for bop piano achievements and respect for the tradition . One more time we have proof here that the best in avant-garde is always anchored in the well understood tradition. The way they had been linked together all the time was just hypnotic .If Django is a primary winding on the core his rhythm section is secondary – giving perfect positive feedback all the time . Inspiration and expiration .Perfect couple. I wonder if Bates would like to get back home ever if he is able pick up such a musicians he already has between the students he is working with .Both musicians ,bassist and drummer ,were simply perfect . Deadly precise , quick and dangerous ,easily following Django’s tour de force lead. They had been just flying over the stage as Bird used to do with his alt in the fifties .With the music which had been written 60 years ago and just rewritten now ,they still kept an ability to sound like an improvising trio could be . But as it was not ,they had a full control over the tunes matter and pay attention to the details which they are aware of . Well , Beloved Bird is on the tour now .Ladies and Gentleman – do not loose you chance to hear it . Whenever you music love is laying in – you will find the final satisfaction in this project . As it is connecting the past with the future . If You like bebop – you will love it. If you prefer contemporary classic – you gonna love it too . As it is not only tribute to the Bird’s music . This is tribute to XX century music’s ideas of freedom and modernism which Bird is a part of equally with Stravinsky ,Varese ,Webern or Cowell.
Django’s talent just makes it easy to hear and understand .As always whatever he touches it turns to the gold .One of his greatest gifts is his unpredictability. No one knows what is currently melding in his head .It is not possible to guess what he will jump with next. But like in the past ,same now – it is just genial. And I expecting from this Trio lots more good .It is just a matter of time .
Sun 07-11-2010 | 20:00
Haus der Berliner Festspiele
Orchestre National de Jazz | Daniel Yvinec
‘Broadway In Satin’ Billie Holiday revisited
Daniel Yvinec · conductor
Karen Lano, Ian Siegal · vocals
Eve Risser · piano, flutes, sound objects;
Vincent Lafont · keyboards, electronics
Antonin-Tri Huong · alto sax, clarinets, piano;
Matthieu Metzger · alto, soprano andsopranino sax, electronic treatments;
Joce Mieniel · flutes, electronics
Rémi Dumoulin · saxophones, clarinets;
Guillaume Poncelet · trumpet
Pierre Perchaud · guitars, banjo;
Sylvain Daniel · e-bass, french horn, electronic effects
Yoann Serra · drums
„Some music never dies; it just gets better with time. So it is with the popular songsof America written between 1920 and 1950 – born in the Broadway musical and the Hollywood films and adorned with silky arrangements by the crooners of the period, they went on to form the bedrock of today‘s pop music, not to mention the fertile breedingground for jazz improvisation. These songs are the perfect vehicle for a voyage of exploration between the two worlds. Daniel Yvinec continues his rereading of the great American standards with Broadway In Satin, evoking the memory of Billie Holiday.
A wonderful but tormented performer, this great artist interpreted popular songs with such power and originality you could swear she‘d written them herself. Keeping intact the marvellous contours of the original melodies, the Orchestra National de Jazz will perform a selection of songs associated with the star (God Bless the Child, I‘m a Fool to Want You, Strange Fruit…), painting them in unusual orchestral colours and taking them into hitherto unexplored territory. Alban Darche‘s bold yet subtle arrangements make judicious use of the orchestral resources (prepared piano, electronics, toys...) to project a new light onto these melodies. Rooted in classical and film music as well as in jazz, pop and electronica, these transfigured versions will be performed by two unusual and contrasting voices and personalities: Karen Lano, whose precious talent is waiting to be discovered, and Ian Siegal, the charismatic English blues singer (....) from BFF PR.
Still with the new old sound from fifties we just heard from Django Bates Trio I faced another project being a tribute to the same period ,however to quite different personality – Lady Day .
It had been associated with 50th anniversary of Billie’s death ( marked 2009 ).Behind the program called “ Broadway in Satin “ staying following personas :
Orchestre National de Jazz – 10 person modern consort from France.
Daniel Yviniec – current artistic director of the band and conductor.
Karen Lanaud and Ian Siegal – vocalists
and Alban Darche who did all these extraordinary arrangements.
ONJ is a an open project . Kind of workshop orchestra. So the members of the band vary ,same as a projects which are always related with artistic directors running it . So this is not at all what I remembered. No one left from the past recordings I have known ,and except the name which is constant I never heard anyone of the new members . The only person here which I know is Ian Siegal . His deep dark voice reminding little bit Leonard Cohen and more or less Tom Waits from his Asylum years ,both unchangeably between my favorites ,promising something special if married with Billie Holliday’s repertoire. And it was .
Set started with solo bass introduction composed by Sylvain Daniel ,employing few cords from Elington’s “Solitude” .Then Siegal spoke the lyrics in more like theatrical manner either than sung them . Rough truth of this words ,amplified by Billie’s life story we all know was just overwhelming. It was strong and unexpected. Then piano handled it and together with brass pushed song into modern improvised structure. Next to come “ I’ll Be Seeing You” ,was arranged for Lanaud’s voice.. She sung it straight and simply with her bright and clean voice ,but then a break came with brass patterns flying over here and there in repetitive motives .
“ God Bless The Child” which came after was probably the most catching one and surpassing.
Started by Ian again ,in very low Waits like tune ,it raised quickly on the brasses percussive chunks of melody into furious climax .In response Karen intoned clearly first verse of the
“ Strange Fruit “. What happened next was very modern and unexpected. Eve Risser multitasked ,long solo crashed the phrase with lots of percussive sounds coloration effects played by her on the open piano mechanism. Forcing duo of the rhythm section took it all to the next tune ,I do not even remember which one now . Singers finished it together in an enjoyable and chilling out duo slowing down unleashed multi instrumental brass machinery .
There was lost of powerful funk in it but it was perfectly kept in the manner of Billie’s songbook. Arrangements were clear and melodic and influence of original compositions were still present there ,but with new powerful orchestration , modern improvisation achievement on the top ,and amazingly well skilled players we have got a quite new quality here . After Braxton ,Ra ,Parch ,ICP among many others -orchestral patterns and improvisers abilities are able to transform classic fifties sounds into completely modern language without sacrificing spiritual values of original . Billie’s songs were always brave . In her days she was singing about things that many others hardly dared to speak even. Straight forward and so deeply personal we will remember it forever .Today’s Billie tribute ,with all bravado and verve put on it and respect paid to the originals , truly devote justice to her life statement ,not only worshipping her vocal qualities. And as such it was a great finale of this year festival .Well ,not formally as there was still set in the club to listen .But for most of us the main stage is an only arena to visit. Wonderful and memorable performance which I wish to keep in my memory to the next year . What a great event it is .
It is your chronicler’s duty however to mention the rest too . So I do.
The last heart bit of the festival was double set in Quasimodo .As it always is.
Sun 07-11-2010 | 22:30
Quasimodo
Christine Tobin
Christine Tobin · vocals
Phil Robson · guitar
Dave Whitford · bass
Gene Calderazzo · drums
Partisans
Julian Siegel · tenor and soprano sax, bass clarinet
Phil Robson · guitar
Thaddeus Kelly · e-bass
Gene Calderazzo · drums
All these musicians are well acclaimed around the world and regularly appearing on the European festivals .All of them have lots of prizes on the account confirming their quality
as well as long list of international collaborators ,including the names from the very top.
They are regulars around British scene as well ,where I had an ability to hear them many times before and in different constellations ,as I am living there .
Christine’s set opened it . With her long time stage partner and now husband ,Phil Robson ,own bassist and a drummer borrowed from Partisans .She is one I have seen lots time . I am also familiar with most of her recordings. I like her strong ,vivid voice a lot . She is capable to hold whatever needed ,but her repertoire oscillating around folk ,blues and jazz .But with her Irish background this blend has a very special taste. Along many obvious influences it is easy to point singers like Nina Simone or Joni Mitchell .What I am writing here does not pointing this particular performance ,as I was not present there .It describes my general opinion about Christine build over the years since 2005 when I heard her first time on the stage. She is singing jazz with the same romantic passion as she sings folk. This is one of her trademarks in fact. But she has other strengths too. For example she is also fantastic dancer . I have seen a few of her performances which were set strictly on the folk side ,and her talent to mix complexity of both into the pure joy was just soulcatching. It is obvious she is taking deeply from the tradition she grown in and it comes to her easily. Singing jazz makes her more concerned about the mood . She always puts a lot of heart in and except of the melody there is always a lot of her own warm .Her lyrics are very interesting too .But she sings her own songs with same artistic quality as others .Being a long time partner ,Phil knows very well how to create the best accompaniment for her voice and that is another great quality coming from the couple. I am sure that it was lovely set ,but personally can not say a word about that.
But I was not too late to enjoy Partisans set .Phil still was there as a part of the group .He confound it together with Julian Siegel in the middle of 90’. They created quickly the sound which was fusion between funk and all directions of jazz and boundaries .And they exploring this vast idiom successfully till today. If compared to other groups from British golden era ,like Polar Bear ,Acoustic Ladyland ,Led Bib or Portico Quartet - they are more related to the strictly jazz tradition. It vary these days a lot ,as youngsters putting a lot of influences taken from the rock or even pop into the subject. Or like Portico ,from polyrhythmic African tradition mixed up with minimal music sonic concepts. It was enjoyable set played by guys which knows each other like bald horses .And they made it easy listening .God bless them for that ,as on the very end it was exactly what everyone seemed to be looking for. Soon the most tenacious guests joined , including artists performing on other stages ,and it lasts till 3 AM. Wonderful opportunity to chat about everything what just happened in last few days .In such a lovely company and with great German lagers served around ,time gone quickly ,as pleasures always does and sad time to say goodbye came. So I did promising myself to come back next year.
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