BJF 2010 ~ day 2

Day Two 
04 November 2010

In the 2nd day of Berlin JazzFest , after fantastic opening all seemed to be on the full steam from the early morning .I went to BFS main stage just to have a pleasure to watch tech guys working on the stage and setting up basics for starting later on sound checks .It is always pleasure to watch them as they are so fantastic organised as well as they always have everything in Ordung. It just prepares myself to be ready to work and set me up in the mood .

There was quite a few interesting events going on the  main stage this day ,as well as a young team from Sweden called Paavo on the more cameral side stage .I wanted to enjoy sound checks just to get a clue what I may basically expect from , as there was a massive dispersion
in styles ,backgrounds and a traditions from which performing artist came from .
Also in the club stages there were couple of set ups hard to avoid ,and I was truly tempted to go there too ,but I was pretty aware that   I will not be able as  timetables had been covering themselves and  venues were overlapped then. It just made me more determinate to see what’s going on before to make a best choice ,if such a thing was even possible there .
A-trane  then , small club  with a tinny stage was a host for Celine Bonancina  Trio and Quasimodo , the long time JazzFest partner ,was presenting Roger Hanschels’  Heavy Rotation project on his stage. So again – great names and hard choice to do .

Getting back  to the  Haus der Berliner Festspiele main stage there were two interested venues already expected to happen ,both very interesting and promising ,however so different.

1st was a project called  “KINSMEN” –a result of artistic collaboration between Rudresh Mahanthappa and Kadri Gopalnath with accompanying musicians from India and
United States connecting forces under the name  Dakshina Ensemble .

2nd  was Jazz Bigband Graz with an unusual orchestral project called
“ Urban Folktales ...And a Rose “ .

Both events already had a great press I was just reading one more time awaiting sound checks to come . Specially lots of information given about KINSMEN was really helpful as artists came to the rehearsal quite late ,hardly managed to finish the work in the time they had for ,so I had no chance to ask them personally about all I wanted to know . But what I read and further was able to hear helped me greatly to complete this review ,as this set was like nothing else you might like to compare it with . Lets start with some background from press realise:

“Kinsmen is Rudresh Mahanthappa‘s collaboration with Kadri Gopalnath, a living legendof Indian music known as „The Emperor of the Saxophone,“ a true innovator in bringing the saxophone to Indian classical music. The music on Kinsmen, featuring their co-led Dakshina Ensemble, is exemplar of successful multicultural, transnational collaboration.
Utilizing his extensive knowledge of both jazz and the traditional melodic and rhythmic concepts of Indian music, Mahanthappa has masterfully provided a framework that has brought out the best in all the musicians, resulting in spectacular interaction and virtuosic displays from Gopalnath, A. Kanyakumari on violin and Rez Abassi on guitar. The band also features Poovalur Sriji on Mridangam (South Indian barrel drum), Carlo deRosa on acoustic bass and Royal Hartigan (sic) on drums.
For Mahanthappa, who grew up in Boulder, Colorado to Indian immigrant parents, the pull of Indian classical music didn‘t come until his college years, when he toured India with the Berklee College of Music All-Stars and was lucky to attend an all-night concert outside of Bangalore where he heard both Carnatic (South Indian) and Hindustani (North Indian) music performed by greats such as Parween Sultana and Chitti Babu. As a young jazz musician, Rudresh saw the parallels between Indian music and jazz with both being improvised art forms with inherently strong rhythmic propulsion. Though he grappled for a way to embrace his Indian-American identity through his music, Rudresh could not find a clear entry point as he had no awareness of any saxophone tradition in classical Indian music. Then one evening, moments after the conclusion of one of his recitals at Berklee, Rudresh‘s older brother gave him a CD (as congratulatory gift and as a joke) called Saxophone Indian Style by Kadri Golpalnath. A complete eye-opener,
the CD provided a doorway into the realm of musical possibilities for Rudresh through which he could finally engage the music of his ancestry. A few years later, Mahanthappa managed to meet Kadri backstage at a Carnatic concert in Boston. Golpalnath was not only ecstatic to meet an Indian-American jazz saxophonist, but one of South Indian roots with a name that he deemed to have a powerful Hindu meaning – Rudresh, in Sanskrit, refers to a fierce incarnation of Shiva who saved the human race and Mahanthappa is derived from the same roots as “mahatma,” or “great soul.” Though not trained in jazz, Gopalnath too saw the similarities between the art
forms and was enthusiastic about the possibility of joining forces at some point. This became a reality when, with the help of a Rockefeller Grant and a commission from New York City‘s Asia Society, Rudresh traveled to Chennai (Madras) in 2005 to work with
Kadri at what would eventually become the music on Kinsmen.”

( from PR of BJF )




That’s about a project and the backgrounds related to .But there is also lost queues from Rudresh himself talking about how discovering experience it was for  him to hear Kadri’s music  for the very first time .He was really a missing link he was looking for such a long time to express his needs of expressing himself in the way where both traditions living in him ,the Indian  one and the Jazz one -  could be speaking together using one language.

„My older brother, kind of as a joke, gave me this CD called Saxophone Indian Style,“  -  Mahanthappa says,
„and I was blown away. For me, that was a real entry point as far
as dealing with Indian music as a saxophonist. It wasn‘t so far-fetched: ‚Well, this guy‘s doing it!‘ So there is some possibilities to really incorporate this stuff sonically. He‘s playing all that complicated ornamentation, he‘s dealing with the tuning, and it was unlike any saxophone playing I‘d ever heard before.“

( from PR of BJF )

According to the last sentence  -I can say nothing more than that I completely agree .
When he appeared on the stage I was already aware who He is ,but it was still so amazing to watch him preparing himself for the check .It was so different in every possible way .First of all he is very specific person in the way of moving and arranging a personal space . Next the way he is playing his sax siting in the traditional way on the platform with his legs crossed and a sax supported on .The way he was attaching a mouthpiece to the reed- it was like a kind of a ritual on his own . And his sax at least – the most unusually decorated instrument I ever seen in my life ,looking like a crystal chandelier with its luminescent shining bits swinging and glittering every time he just started to play it . But since a first blow I immediately understood why he is called :  “ The Emperor of the Saxophone “.
By the time they met Kadri was already well established as a master of South Indian Carnatic  saxophone ,but as he  mentioned in an other part of his interview it was not always like that .
„He chose to try to play this music on saxophone when no one else had, and consequently was not taken very seriously for a long time,“ Mahanthappa says. „He tells me stories of working eight-, 10-hour shifts selling transistor radios in an electronics store, then coming home and praticing until 4 in the morning, sleeping four hours, then goingback and doing it again. Every day.“

( from PR of BJF )

Hearing that and being aware how titanic effort he took to achieve the position he has now ,how a big toil he put on and understanding the fact that in such a circumstances only his trust in his rights and love to the instrument he chosen to play make him strong enough to handle it- it just makes him in my opinion not only the Emperor – it makes him a Giant of the Sax .
After this sound heck I was determinate to see and hear his performance does not matter what I had to give up with to do that . And I did . How was it then ? I gonna  tell later on. Now , let’s switch into the next set up as it was incredibly interesting what they brought on the table .For a few reasons actually .

First of all it is probably most acclaimed European  Big Band of our times ,coming straight out from the Austrian orchestral tradition  from which incredible Vienna Art Orchestra  came too and in this meaning ,and due to such an affiliation commits we can expect from them nothing less than the best.

Second ,after collecting whole bunch of trophies during last years ,and having already well acclaimed latest recordings realised the current members of the band already proofed themselves .

And the third is the fact that newly refurbished orchestra  extended by  electric zither ,amplified hurdy – gurdy and a theremin is going to offer kind of sound which had never been heard before .

Plus visual projection in the background done by artist group OchoResoSotto to complete the set .Sounds intriguing – is not it ?

I watched whole sound check to the end as listening to Barbara Buchholz playing on the theremin and Matthias Loibner on his wheel fiddle was so involving ,that I could not resist to stay ,really .And as they gone through almost whole set playlist I already was sure this concert will be something really special .Later on I had a chance to speak to both of them ,what helped me to get additional information I was looking for as well and ask about their incredible instruments. They both told me that the whole concept is not here about soloing on the exotic instruments ,just about adding them to the kind of  sound  that the orchestra already worked out .Mix it with the rest completely to build a new complexity in the background and make a whole sound richer and very specific this way .And it truly was like that ,however there were a few solos showing sonic abilities  of them between  usual coming from the brass players ,drummer and guitarist . After all I checked out what I can find about both of them and I did a lot .There is a lot of interesting sound samples and general information on the web.
Here are Barbara’s and Matthias’ webs linked bellow to check it out for all of you who want to know more ,as there is no sense to me to retype what already had been written :

http://www.barbarabuchholz.com/
http://matthias.loibner.net/

As this sound check had been finished the next one for Paavo immediately started on the side stage  , so I went there as quick as I could ,as I have been told by Nils Landgren  this one is definitely one not to miss. The young band came from Sweden ,so even if half of us never heard about them , including myself - Nils knew for sure .He told me these gonna be a surprise – well ,and it was . Knowing quite a few voices from ACT label family very well , like Rigmor Gustafsson  or Victoria Tolstoy ( both collaborated with Nils anyway ) I was really expected something else .Two young ladies staying behind this project amazed me with their maturity , Sofia Jernberg –vocal and Cecilia Persson – piano are responsible for all tunes on their second recording called “ Canzo del Pao “ (Song of the Peacock in Catalan) for which this appearance ,here on the festival is a part of their promotional tour. They both are a co- leaders of the Swedish septet based on the group of young and talented musicians ,sometimes supported with a guests artists appearance when a whole concept or composition sake require that. As it is not easy to find anything about them by accident ,even if they are well known in their own country I let  myself to quote below what a linear notes from their home label saying  about ,as it is not just a bunch of useful information here ,but whole list of the trophies and honours which they already achieved and which may really amaze you if you face the fact how young they are . Lets read that ,then and be prepared for :



The music of Swedish septet (sometimes octet) Paavo is indeed hard to describeand it is not always easy to trace the influences. The music is at times overwhelminglycomplex, with intricate rhythmic patterns and the voice in a purely instrumental role,sometimes just quite simple haunting melodies with lyrics. Some of the structures areconnected to free improvised music, while other songs have a more solid, throughcomposed character. All music performed by Paavo is composed and arranged by Sofia Jernberg and Cecilia Persson.Sofia and Cecilia have been cooperating in diverse constellations since 2002. Paavo was established in the autumn of 2004 and has since then performed in Sweden, Finland, Denmark, Norway, Belgium, Holland, France, Ireland and England. The compositions are well structured and precise; the improvisations are undefined andunlimited. The purpose is to combine these opposites and still keep a feeling of wholeness and structure. “The music Sofia and I write is in constant change, I can hear movement in different directions in every tune,” says Cecilia Persson. The band thenmakes the music become Paavo with everything that implies, particularly when it comes to improvisation, energy and sound. In February 2007 the group’s first cd, simply called “Paavo” was released. The highly noticed debut record with hand sewn and numberedcovers received many enthusiastic reviews and was chosen as jazz record of the year by Sweden’s two largest newspapers Dagens Nyheter and Svenska Dagbladet. Paavo
has since then been one of the most spoken of groups in Swedish jazz. In early 2010 the group’s second album “Cançó del Paó” was released, and Paavo once again received terrific reviews. The album was followed up by a tour of sixteen concerts around Sweden in January and February. After the tour, “Cançó del Paó” managed to
get into the Top 100 chart of best selling CDs in Sweden at the time. Paavo has been awarded the prestigious Swedish Radio distinction “Jazzkatten” as “Best jazz group 2007.” In 2008 Sofia Jernberg received the jazz award of the Swedish Royal Musical
Academy (the prize was handed over by crown princess Victoria).

Discography:
Paavo Apart Records (2007)
Cançó del Paó Found You Recordings (2010)

(from BJF PR )
So here we are .After this set up ,there just enough time left to move back to the main stage and enjoy what just came on – and there was a lot of fun and pleasure to listen to .



KINSMEN – The Indian Jazz in his BEST !

Thu 04-11-2010 | 19:00
Haus der Berliner Festspiele

Kinsmen
feat. Rudresh Mahanthappa and Kadri Gopalnath

Rudresh Mahanthappa and Kadri Gopalnath · alto sax
A. Kanyakumari · violin
Rez Abassi · guitar
Poovalur Sriji · mridangam
Carlo de Rosa· bass
Ferenc Nemeth · drums

When the band came in to the stage there was a huge applause to welcome them Here is a long tradition on this stage related to he world music and this set seemed to much it perfectly .However there was also one “ but “... As it was not just “IT” this time . What they did here was something more .Indian influence has a long tradition in jazz .Miles started it in 70’ employing Badal Roy on tabla and Khalil Balakrishna on electric sitar when he switched to his electric period ,but in his case it was not world music at all ,he was not interested in oriental music. What he was looking for these days was a synthesis of cultures ,universal language for a global village for modern communication purpose, for all sort of  funky orientated nuts. New language and new ways for expression – whole Miles at least . Then the followers ,specially in early days of rock era ,in hippie years made it more quote like .Those days Indian music was Shankar music and nothing else .As far as listeners were not involved in religious connotations . Then John McLaughlin pushed it further. And next in Europe was Jan Garbarek .Listening to Kinsmen tonight I am pretty amazed how close he was to the original .What he recorded with Zakir Hussain was truly close to what Mahanthappa found and it is pretty clear he grown on it too ,between many other inspirations. So what we got there were two groups of musicians on the stage :  three   jazz musicians playing electric guitar, bass and drums and three Indian musicians who aren‘t part of jazz, funk or American music:
A. Kanyakumari on the violin, Poovalur Sriji on the double-sided hand drum called
the mridangam and the alto saxophonist Kadri Gopalnath.What  Rudresh wanted to find was a way to set up such a thing like an Indian jazz. He claimed that he has all rights to do that  and fill like that as being born and grown in states .At least I agree with him .We have Latin Jazz ,Scandinavian Jazz ,Polish Jazz etc...why there should not be the way providing us to Indian Jazz .This young musicians as far as whole emigrants community posses all rights in my opinion to claim JAZZ to be their heritage too in very natural way ,as they are a part of this culture too .So ladies and gents – we have here pure Indian Jazz – in full respect – they did it !
Compositions they presented were basically based on the jazzy formula of call and response where a jazz part was following semi- funky ,semi improvised  sound coming from the leader reeds and setting up a rhythm background in a common sense. Indian response was led by Kadri as a counter leader for Carnatic musicians. But ,as Indian music is not syncope based then melodic motives must be repeated to create repetitive response. There is no groove like that I heard before . In opening “ Ganesha “  united forces just blown the audience out like James Browns’ Funky people . They started with the hurricane and then ,following maestro Hitchcock’s formula – slowly started to increase tension. seriously it was so dynamic and so powerful. Indian tune once established by violinist  Kanyakumari started to be a set up for Kadri’s trips. In one world he is simply phenomenal ! The way his is playing all complicated ornamentations on his reed - does not matter how quick – he is still able to stay perfectly in tune running throw quarter tonal scales of Indian micro tonal system . Just this makes him special and unique. Listening to him is a hypnotic experience .He sounds more like a sitar than like a sax in a term of articulation .What’s a man ! The music is sparkling and involving from beginning to the last piece . The pieces vary .Most traditional one on the set “ Snake “ is almost from the start lead by violin in very traditional way with sax and drums to follow ,here a jazz squad make a contribution melding them self with the sound incoming .Abassi plays his guitar in the manner of already mentioned McLaughlin proving one more time what they achieved here became from jazzy heritage. His flying passages supporting contemplative nature of the tune coming from the east side of the stage. In “Introspection “ or “ Longing “ pieces coming from blues and bebop background things suppose to start from few chords around which whole improvisation is build on ,established on guitar bars and Rudresh rubato improvisations .But there is more .The interactions between the drums and the sax leading to ferocious  dissonance in finale showing clearly an inspiration in laying in the late John Coltrane and Rashid Ali achievement. Same with overblown tones in some passages which showing his understanding of Coleman’s ideas. Without too detailed analyse it was truly a set to enjoy and such an eyes / ears opener to proving that The Jazz belongs to international culture now ,we all own it and we can take as much from as  we want as well like we have all rights to put in whenever we like .As far we are able to melt our own folk with a jazz complexity in the way which is in the same time catching ,pleasing and involving .
It was so rich that I welcomed the brake with a chests fully opened to catch some fresh air before a beginning of the next part ,which I already knew that , gonna be something special .






Cosmic Troopers with the Sonic Weapon



Thu 04-11-2010 | 19:00
Haus der Berliner Festspiele

Jazz Bigband Graz ‘Urban Folktales...And A Rose!‘

Horst-Michael Schaffer · vocals, trumpet, conductor;
Heinrich von Kalnein · saxophones, flute, conductor;
Christoph ‘Pepe’ Auer · saxophones, clarinet, bass clarinet
Johannes Enders · saxophones, flute;
Martin Harms · saxophones, bass clarinet
Bernhard Nolf, Axel Mayer, David Jarh · trumpet, flugelhorn;
Johannes Herrlich, Robert Bachner · trombone;
Wolfgang Tischhart · bass trombone;
Uli Rennert · keyboards, lapsteel guitar;
Matthias Loibner · electric hurdy-gurdy;
Christof Dienz · e-zither, bassoon;
Henning Sieverts · bass, cello;
Gregor Hilbe · drums, programming
Barbara Buchholz · theremin;
OchoReSotto · visuals


It was completely unexpected band appearance what they did ,what just shows Nils Landgren’s incredible ability as a festival host .He is a man with the horn too ,but he is also a man with the vision .In this case the repertoire he put in together in the one place and one day ,one after one made it spectacular sequence of miracles ,including the next one ,Paavo on the side stage included.. It was very contemporary performance in every aspect .The art from the bimmer on the back screen with the band on the front had a little taste of silent movie ,just brought back on in a modern incarnation .As it was doing both things :displaying titles for the scores with necessary information as well as being a movie showing the band in action ,but digitally manipulated canvas was a piece of art on its own. It was a great job done with it for a couple of reasons .1st – it was not boring cheap abstract done in the computer ,and just going with flashing storm of colours ,attacking you with no chances to get rid off it and leaving annoying afterimages tiring the eyes . Instead it was lovely monochrome documentary showing skills of all musicians in the band involved in creating an act of an art. Done mostly in macro shots it was showing close ups of hands walking on the strings ,touching vents ,doing sounds in every possible way ,even without a touch like Barbara did. 2nd there was an obvious relation between the colour mutations happening in front of us and an orchestral sound in the air in the same time making both synergistic and mentally even stronger and more amplified .It was based on the mood accorded to particular length of wave  and matching aural colour .But not only. It was also warming out and cooling down just  by switching the colour temperature scheme between the notes in the score. At least it is how I got it as a guy spending life on taking pictures and listening to the music . There was a whole world of musical tradition involved in this set .From cosmic universe to tribal reminiscences ,from deep tradition of orchestral sound to flying over the space without gravity. The set started with hurdy – gurdy solo introduction reminding me leading piano functions in Count Basie’s orchestral work in the meaning of harmonic set up. But as an intro it just brought such a powerful medieval feeling giving me strong sense of identity coming from European tradition. The whole band followed at once and as I heard before ( mentioned interview with 2 band members ) the sound melted lovely with the leading voice giving a charming  ,complex harmonic structure .I think that describing all the pieces separate does not have a sense here as a whole work with matching art. had a stronger impact as such .Separate tunes in the lot ,like percussive sounding one bringing imagination of tribal dance ,or freed from a gravity one raised up on the brass fly ,amplified by unbelievable sound of theremin and e- zither  are just a part of all. It was so beautifully composed with such a sensitively put in brakes between the notes. With  solos perfectly feeding sonic space ,with no over wordy phrases  or notes to long  Filling the space like well sewed Tuxedo  matches the body .The brass was just gorgeous , no comments – simply perfect. Barbara’s flying over the band was special on her own way .She was perfectly in of course ,but she did not personally melded with the rest in the same way like Matthias did playing on his wheel fiddle or Christof did with e- zithar.
This is not her guild even ,if there is anything about what might be tread like a sin .
It is just about her personal charm which you could not avoid watching her playing .
She could not do it either, unless she would play her parts from behind the curtain. There was something elfish in her moves .In touching sounds without a touch ,like in a fairy tale. So esoteric and unreachable .There was also a common physical beauty behind the marvel of the sound ,as being so athletically build and so feminine fragile in the same time. With such a strength visible in her play and a power in control of the sound of her theremin - no one simply could take his look out of her. She was magnificent and hypnotic . It was just sad when the set reached the end. We all love magic ,do not we ?





Paavo Part  -  Swedish card in  The Modern Art



Thu 04-11-2010 | 23:30
Haus der Berliner Festspiele | Side Stage

Paavo

Sofia Jernberg · voice
Cecilia Persson · piano
Per ‘Texas’ Johansson, Alberto Pinton, Marcelo Gabard Pazos · reeds
Emil Strandberg · trumpet ( guest )
Clas Lassbo · bass
Gustav Nahlin · drums

As been  said in the preface Paavo did not come from nowhere . After the set interview I did with Sofia and Cecilia explained a lot of backgrounds ,what is important here for many reasons. The most important one is : nothing like Swedish jazz really exist in international awareness. The fact is that jazz from Sweden ,Norway ,Denmark is  usually defined as a Scandinavian Jazz and this is hard to get over it ,as we do not know a lot about the culture of these countries ,that’s why it is so hard to recognise what is what . It sounds funny ,I know ,but in English spoken dominated culture all the rest have to fight hard to won the rights for his own voice .But many did and expect artist already mentioned coming from the ACT stables there are also others ,like Lars Danielsson and sorely missed Esbjörn Svensson .
But let everyone find it for himself – it is always a pleasure making such a discoveries .
What we need to remember is : PAAVO is from SWEDEN ( in Europe :-) as Made in Europe is an official motto of these year edition of the Fest. Let’s go the set details then.

From the first song it was clear we are dealing here with a top class performers and let no one will be fooled with their young age or informal appearance. Sofia had a permanent control over the band and a great respect for her lead was easy to spot .The character of the compositions made her closely related with the brass section ,which is quite strong here . Cecilia was on other side watching whole harmonic concept and setting up the background with rhythmic section . This is roughly how they shared the duty. Sound of the band is broad enough to handle lots of musical traditions here . They are moving around scores already written ,but you have a feeling listening to them – there are just a sketches . And all fun is coming from collective improvisation .In the most complicated parts Sofia’s direction is visible and all band is working hard to go through smoothly. The quality of brass men guarantee they will succeed ,but it did not came easy – these are really complicated rhythmical patterns . Full of brakes ,harmonic traps ,changes of tempo ,and flying individual rubato improvisations which start in different tact – but need to be finished together .Sofia’s voice works here as a buckle – just closing a piece .But there are also tunes build around her voice ,like Carved out  obviously written to support her vocalise  or Passage starting with piano introducing her ,and then clarinet to follow .But it never is like an singer on the front with accompanying band . She is using her voice mostly in an instrumental manner .improvising with cut off phrases exactly like a brass does which she is receptively dialoguing with . But medieval based Laude like singing from O Virgo Miserrere Mio  for instance ,is her very own jewellery , like a  diamond in a jazzy framed ring. And here is where we have all that richness and brilliant technique given .As she can sound harsh and dissonant as overblown reeds ,but might be also smooth and warm like woods or recorders .Her singing is perfectly new quality in the meaning of vocalise as she is melding together what modern vocalise experiments achieved with the way of instrumental improvisation. Of course we heard it before from Meredith Monk or Laureen Newton , to just mention my favourite , but she is just a next step .She is listening carefully and transforming what she needs into her very own voice .In this meaning she is a  BIRD  with his own song.
What is touching as well is a majority of inspiration here . I can easy recognise what came from classical music here as well like from a jazz . And as Sofia and Cecilia confirm it is true.
They both claim that European music heritage ,laying in the background of their musical identity equally with jazz .Another think ,which is hard to recognise for us ,but obvious for them is a Swedish folk .They told me that the most of melodies are  just coming from there.
In Cecilia’s play is a lovely balance hidden . She is the one to slow things down .She is also setting up and controlling tempo . There is a lot of space left for the notes to delay ,as well like  a lots of pauses which just counts as a sounds .This is kind of aesthetic we may expect from the pianist coming from the north and inspired by contemporary sound.
On the very end let me say that the final blend sounds very jazzy even for an inexperienced ears .But more you know about music the more you finding out on the end. . Braavo Paavo !  


These are an venues I enjoyed permanently and as such was able to describe them properly .
Between them I was also able to have a quick “  run through “ the A-train club venue with Celine Bonacina Trio performing there and I must tell you – the place was full .You could not even put your finger in it .I stayed there a few minutes ,just to enjoy couple of pieces and was getting back to the main stage. As she was performing twice ( next set ,next day in the same place ) I naively believed that I will come tomorrow. Well I did ,but it was not any better ,so finally I gave up . I know Celine recording for ACT and I like it for a freshness it bringing on. She is connecting successfully many different traditions  in her music .From Dub and Reggae to Funk and Ethnic bit . Her background explains a lot as he spend few years on the pacific island , so he has in her blood – the feeling of rhythm ,I mean. But she also posses an amazing vitality ,which is something you may understand just seeing her on the stage . She is a tiny person with a great instrument ,almost her size ,which she plays with such an easiness it just disappears like piccolo flute. She is dancing ,tapping ,swinging – she is all in to the music .It is something you can not get from listening to the studio recording  ,that’s why I felt obliged to write about to bring justice to her ,she deserves for .As she is a young star which just started to shine on the jazz firmament I am pretty sure that I will spot her somewhere ,sooner or later and will be able to see whole performance and enjoy it.
 
Another quick look in was Roger  Hanschel’s Heavy Rotation  set in Quasimodo .
There was just a half I could stay on before getting back to the BSF’s side stage.
Finally I achieved only 45 minutes of a 1st hour as it started with delay .I love Hanschel’s
recordings with Hans Keller and to be honest these are only I know him from .
I found in PR that he is a very creative instrumentalist and he also did lots of different projects after .I was expecting something similar to what I heard before ,but it was completely different set .
It was valuable music in every inch ,generally heavy sound with overridden guitar as a other leading voice to talk with ,reminding me early John Scofield’s  sound .
But I left quick also due to it was just to heavy to handle after such a harmonic and complex venues I just heard on the main stage . In the quick summary – it was really rich day ,full of surprises and new wonderful sounds which was just a pleasure to hear and then make a comments to them .