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Jazzfestival Ume? 2013
ByUme?, Sweden
October 23-27, 2013
Ume?, 400 miles/650 km north of Stockholm at the Ume river and near the gulf of Bothnia, is the capital of V?sterbotten County. The city is located in the plain coastal strip with an enormous wide horizon on all sides, and everything within reach in the city itself.
The municipality with about 117,000 inhabitants is an important traffic junction for the northern region as well as an educational, cultural and medical center of the area. It has the lowest average age of any city in Sweden. Its lively creative scene has resulted in its appointment as the European Capital of Culture for 2014.
Ume?, a special place to let things happen
Frederik Lindegren, the festival's young artistic director, set up a creative---and successfulcampaign with an impressive, attractive program spread related to the eight seasons of the year of the Sami people. One of the strengths of Ume?, it seems, is the ease of collaboration between different art disciplines, genres and styles. A reflection of this could be seen at the festival with its very young and international corps of volunteers connected to various university institutes, schools and international businesses. I met and talked to Flemish people from Antwerp, German people from Rostock and Polish people from Wroclaw. A reflection of this is the way the international guests were received. In no time, guests were familiarized with the festival and felt well cared for. A guided tour by the artistic director immediately after arrival and an intimate dinner the next evening, all completely natural but very special nonetheless.Gestures like these and an open ground make things happen. But there is also a firm belief people stick to and do not hide or run away from. That is what makes things flourish. This is contrary to moods in other parts of Europe: "When taxpayers' money funds culture it sometimes provokes strong feelings. But Ume?'s politicians need ''ice in their blood'' to stand firm against populist and anti-culture sentiment, and combine this resolve with the collective will of the municipality's residents to keep the public free from the suggestion of xenophobia or racism," said Leif Larsson, journalist and former culture editor at V?sterbottens-Kuriren.
The Ume? festival was founded in 1968 and is run by the local opera house Norrlandsoperan. Its director, Marco Feklistoff, is very present, around during the whole festival, approachable and open to exchange. During the last 20 years the programming of the jazz festival was in hands of artistic director Lennart Str?mb?ck, a man still driven after all these years. Ume? not only has this festival with its long history, it has a rich musical culture with a.o. Meshuggah, one of the most world famous Swedish metal bands, who originate from the city. And more recently, rock band Refused made a name worldwide. They released an album The Shape Of Punk To Come, A Chimerical Bombination In 12 Bursts (Burning Heart, 1998), creatively alluding to Ornette Coleman's legendary album The Shape of Jazz to Come (Atlantic, 1959).
The festival's philosophy is all a consequence of the unifying concept of Ksociety, propagated by ?ke E. Andersson, a Swedish economist 25 years ago: "kunskap, kreativitet, kultur, kommunikation"knowledge, creativity, culture, communication. Culture as one of the most powerful forces for growth and development. It enforces selfconsciousness contrary to populism which is a manifestation of lack of selfconsciousness and (aggressive) fear, discomfort, uncertainty.
Festival locations are the opera house, and just a stone's throw away Folkets Hus, with its more than 10 halls of different sizes and shapes, a typical socialistic people's culture palace from the 1960s. Walking around and looking at Ume? you might say it is a city with three utopias, the old socialistic one manifested by Folkets Hus, the commercial one manifested in the brand new oversized shopping center, and in between the feministic one which manifests itself in various non-stony forms.
This years's Jazzfestival
The festival opened on Wednesday with a concert by talented music students from Midg?rdskolan. Thursday offered two concerts: one with the symphony orchestra of the Opera House (Norrlandsoperan), featuring Argentian bandoneonist
Dino Saluzzi
bandoneonb.1935

Anja Lechner
cello
Chris Potter
saxophone, tenorb.1971
This edition had a strong representation of high profile, heavyweight musicians and bands from the core of jazz, like

Dave Holland
bassb.1946

Jack DeJohnette
drumsb.1942

Chris Potter
saxophone, tenorb.1971

Jason Moran
pianob.1975

Christian Scott aTunde Adjuah
trumpetb.1983
Angharad Davies
violin
Johan Berthling
bass, acoustic
Sidsel Endresen
vocals
Stian Westerhus
guitarIn terms of countries of origin, it was mainly an American and Scandinavian affair with lots of musicians from both Americas, North and South, besides from Sweden also from the other Scandinavian countries, Norway, Denmark and Finland. And there was a smaller number of Central and South European musicians from Great Britain, Germany, Switzerland, France, Portugal and Greece and last but not least one Asian, a musician from Japan.
THURSDAY
It was a remarkable start at the opera house's concert hall with its pleasant combination of space and intimacy. Together with the strings of Norrlandsoperans Symfoniorkester, the wonderful Dino Saluzzi, forceful cello-player Anja Lechner, Felix Saluzzi and sensitive, resolute conductor Jules Buckley, created delicately balanced music with touching moments. Masterful and long resonatinga gorgeous opening! This was all but guaranteed, but a daring and challenging choice. Saluzzi's music and his playing surely does not fit into the usual classical framework. The Saluzzis, Lechner and Buckley know each other quite well from concerts and the recording with Dutch Metropole Orchestra El Encuentro, (ECM, 2010). Jules Buckley has just been appointed new chief conductor of the orchestra succeeding Vince Mendoza.For Norrlandsoperans Symfoniorkester, however, it was a new thing. Both parties had first to find a common pathway and make it work in the moment, which they did successfully. This kind of encounter is a trademark of the Ume? festival which will go on on this path. For next year they commissioned a work by Swedish freeing jazz-icon

Mats Gustafsson
woodwindsb.1964
The second part of the evening belonged to Chris Potter's Underground at Jazzlabbet in Folkets Hus. Potter, Fima Ephron, Adam Rogers and Nate Smith played a bubbly cooking gig with lots of fireworks. Jason Moran even came sitting in on piano for a piece.
FRIDAY
The daily seminar and discussion at Ume? Jazzfestival is shrouded in light mystery for all participants, the speaker included. Just that makes it evade the boring rituals you often encounter at those occasions. Ubiquitous Vancouver festival-director Ken Pickering held a talk on 'The Northern Perspective' which revealed as biographical story telling, kind of Bildungsroman, journeying through the realms of jazz of the past four decennia and zooming in on (key-)figures from Northern countries. And it ended with? Ice-hockey, mushroom hunting, sled dog races, skiing, collecting wild berries? Yes, icehockey stories. All together this spoke to people's imagination and provided fertile ground for good and lively discussion.Trio Ly?straini, a pretty new thing of well-known Swedish singer " data-original-title="" title="">Lena Willemark / Jonas Knutsson / Mats Oberg, outstanding Swedish bassist

Anders Jormin
bassUnfortunately the very special performance 'Reanimation' by pioneering visual artist Joan Jonas (video/performance art) together with Jason Moran was going on at the Opera House at the same time requiring a clear cut decision. Moran started to collaborate with Jonas in 2005. Reanimation has been performed several times in recent years, a.o. at Kassel dOCUMENTA, Germany, a year ago: "Joan Jonas and jazz pianist Jason Moran perform their collaborative piece Reanimation. The two artists carry out an improvisation through music, sound, movement, and video, working with ideas of collage and animation. Reanimation is a continuation of previous collaborations between Jonas and Moran, and a further exploration of subjects developed in Jonas' work Under the Glacier (2010ongoing), which is inspired by Icelandic writer Halldór Laxness' novel of that title."
A new bony combination of ubiquitous versatile Swiss trombonist

Samuel Blaser
tromboneb.1981

Marc Ducret
guitarb.1957

Peter Bruun
drums
Django Bates
pianob.1960
Blazer is a genreand style defying musician moving freely through different historical styles and tapping from various sources. Ducret guitar sounds merge with Blaser's sliding bone as well as his playing is sharply contrasting in ever unpredictable and striking ways. Ducret is an important link between various European scenes and between the European and North-American scene. He is the man of bended, stretched and strangled tones in intricate and dense interplay. This night at times his guitar sounded like a guzheng (Chinese zither). With his runs he repeatedly narrowed down the music so that it could be released again and again with dramatic effects. Drummer Bruun employed the quietest and fastest bass drum beats of the whole festival accompanied by his needle-like snare drumming. His remarkably free flowing drum-work created a significant texture which unobtrusively carried and lifted up the stringed bonesounds. All culminated in a wonderful tricky waltz written by Ducret, in repeated supraor hypergrooves and peaked in "Fanfare For A New Theater" a 40 second piece by Stravinsky originally written for two trumpets in 1964.
Prism is a new constellation launched by veteran

Dave Holland
bassb.1946

Kevin Eubanks
guitarb.1957

Craig Taborn
pianob.1970

Eric Harland
drumsb.1976

Steve Coleman
saxophone, altob.1956
Esa Pietil? is a leading Finish saxophonist whose career took off in the second half of the nineties when he formed a trio with bassist Ulf Krokfors and drummer

Markku Ounaskari
drums
Aki Rissanen
piano
Antti Lotjonen
bass
Olavi Louhivuori
drumsb.1981
Due to the amount of parallel concerts I had to leave out Danish trio Ibrahim Electric as well as too many Swedish bands: Stevie Wonder Experience, Umelmo teachers Ensemble, Framn?s Jazzlinje, Lasse Lystedt Band, Tomas Fischer Kvintett, L?rktr?det.
SATURDAY
Saturday seminar with a lecture by renowned saxophonist
Joakim Milder
saxophoneSaturday afternoon started with young Swedish-Ethiopian singer

Sofia Jernberg
vocals
Trondheim Jazz Orchestra
band / ensemble / orchestrab.2000

Chick Corea
piano1941 - 2021

Joshua Redman
saxophoneb.1969

Pat Metheny
guitarb.1954
Vocalist Sofia Jernberg grew up in Sweden, Ethiopia and Vietnam and is active in a wide field of music. She has worked with the likes of

Fred Lonberg-Holm
cellob.1962

Sten Sandell
pianoFiddler Olav Lukseng?rd Mjelva is an award-winning young Norwegian folkmusician. He was awarded the Spelemansprisen, the Norwegian Grammy, in 2010 and was chosen Folk Musician Of The Year in 2013. He plays in five folk-groups but is not confined to the folk world as manifested by this collaboration with TJO and Jernberg.
Consequently TJO had a strong Norwegian folk-oriented line-up with four string-players including two hardanger fiddles, three horns, two drums and piano: Olav Lukseng?rd Mjelva (hardanger fiddle, vln),Kari R?nnekleiv (hardanger fiddle, vln), Lene Grenager (vcl), Ole Morten V?gan (b), Eirik Hegdal (sax, cl),

Eivind Lønning
trumpetb.1983

Espen Reinertsen
clarinet, bassThe whole constellations worked out very well, in an unforced manner with a productive tension between old ways and new approaches. Mjelva and Jernberg shared the humorous announcement of the pieces played but took no exposed position. They sat and acted among the other musician as equal members of the ensemble. The music ran through dance pieces including polka's and folk songs wonderfully arranged and performed with great sophistication. Jernberg placed her vocal extensions, wisps, swipes, coos and cries as contrasting snippets on the melody lines which worked pretty well. All frictions were used productively, built in, turned round, countered and contra-ed. No overplaying but to the point expansions from the flow. A joyful entertaining metamorphosis. All together piece of music which would not be realizable with a small group and a good expansion of tonal music.
Piano trios, pianio trios, piano triosthis central, classical format in modern jazz is pretty much worn out and at the same time presented in still increasing quantity. Despite returning dullness miraculously it appears to resurrect again and again. But you also have the great masters of the format. One of them is the Swede

Bobo Stenson
pianob.1944
Jormin's ethereal arco introductions, the wonderful unfolding of the songs by Stenson (without any fanfare), the clear-cut, polyrhythmic percussion and humorous beats of Jon F?lt and then the choice and order of the songs! With this trio purely the music is at the center, performed by musicians who are at the very inside of the music. The music has everything that makes the heart of many people beat up faster and fulfils deep desires.
All of this emerged and became true in the splendid performance of the trio in Ume?. The wondrous thing is how these three musicians manage to operate everybody on himself and nonetheless are impacting on each other so strongly and deeply at the same time. The elegant phrasings of Stenson, the lilting wood of Jormin and the crackling, rustling sounds and dull beats of Jon F?lt produced a rare clarity driven by great hidden dynamics and inherent passion. And this passion revealed at the end during their performance of "Don's Corapiece," a piece dedicated to the great

Don Cherry
trumpet1936 - 1995

Emilia Martensson
vocals
Barry Greene
guitar, electricb.1961

Adriano Adewale
percussionSam Lasserson
bassEndresen/Westerhus is without doubt one of the most intense, creative and challenging duos of this moment. Its music cuts deep, flies high, takes the audience to places of bare beauty and simple truth. No escape, we are all gurgling sonic creatures and live by making sound in first place.

Stian Westerhus
guitar
Sidsel Endresen
vocalsAs usual they went off and into it fully but had to work hard due to difficult sound conditions and recalcitrant part of the audience. Not everybody can stand it and has to decide (when) to opt out. E/W relaunched a few times, finally connected on a higher level, entered into a cathartic orbit and again made it a deeply moving experience.

Jack DeJohnette
drumsb.1942

George Colligan
multi-instrumentalistb.1969

Jerome Harris
guitar, electricb.1953

Leon Thomas
vocals1937 - 1999

Rudresh Mahanthappa
saxophone, altob.1971

Don Byron
clarinetb.1958
Shortly before midnight it was possible to get a glimpse of

Christian Scott aTunde Adjuah
trumpetb.1983
Kora-player Alagi Mbye from Gambia worked with different Scandinavian musicians like


Dale W Miller
drumsb.1970
Soil Collectors is a young trio of the two voices of Hannah Tolf and
Isabel Sörling
vocalsSwedish bassist Torbj?rn Zetterberg appeared twice during Saturday. First in an open improvisation performance with Portuguese trumpeter

Susana Santos Silva
trumpetb.1979
festival program with his group Zetterberg & Den Store Fagan(The Big Question), a group with a mighty hornsection (Susana Santos Silva (tp), Mats ?leklint (trb),

Jonas Kullhammar
saxophoneb.1978

Alberto Pinton
saxophone, baritoneb.1962
More music, more musicians, more bands this day. As a consequence it was impossible to cover a still bigger amount of Swedish bands: Time is A Mountain, Bror Gunnar Jansson, Je Suis, Lars Enmarks Stora Styrka/Gunhild Carling, Sandvikken Big Band/Krister Andersson, Pristagare Unga Jazzkometer, Midg?rdsskolans L?rarband, Consortes, Kristina ?hman Bues Band, Wisker. And also these three non-Swedish groups/musicians: Angharadensemble, Lynne Arriale, Mari Kvien Brunvoll,
SUNDAY
Sunday is the day of fringe-programming. There was a concert of Samivocalist Inga Juuso and her group Bárut (Waves), a side step into regional music culture, yoik-singing of the native Sami-people who spread over Norway, Sweden, Finland and Russia presented by Michael Lindblad, chairman of the Sami Association of Ume?. Juuso was joined by her group-members Asbj?rn Berson (vocal/guitar/sampling), Audun Eriksen (didgeridoo/flutes), Hilde Gunn Onset (trumpet/flugelhorn/goat horn) and Martin Smite (percussion). The five musicians are each on their own performers and composers in different ensembles and projects. Juuso, who made quite an impact, is one of the best and most respected yoik-singers. As turned out quickly Bárut blends yoik with sounds capes as well as elements of blues and jazza valid variation among other Scandinavian yoik blends. There are also clear resemblances to other blends of jazz and North American native music (
Jim Pepper
saxophone, tenor1941 - 1992

Don Pullen
piano1941 - 1995

Robbie Robertson
bass, electricb.1943

Helge Norbakken
drumsb.1965

Paolo Vinaccia
drums1954 - 2019

Tore Brunborg
saxophoneb.1960

Mats Eilertsen
bassb.1975

Eyolf Dale
pianoThe Sunday still had two events in store: the dinner of the volunteers and the program "My Kind Of Jazz." As most festivals also the Ume? Festival would be impossible with all volunteers. The quality of a festival for a big part depends on how their deployment is organized and their motivation is nourished and maintained. Here an atmosphere of natural responsibility, participation, openness, care and friendly solidarity prevailed.
My Kind Of Jazz was the closing bracket of the festival period. A local artistic project involving musicians from pop, rock, blues and singer-songwriters based in Ume? presented their jazz-related jazz-contribution in different ways: by singing jazz-standards or by singing own repertoire in a jazzy way: Lina H?ggstr?m (Skator), Frida Selander, Michael Stenberg (Syket), Sofia Henricsson (SlowFox), John Edén (Wolfman Jack), Lo Ersare, Ewa Wikstr?m (Queenfish and other tales). All performing musicians had prepared their contributions with the house band consisting of pianist/arrangeur/ conductor Carl Bagge, saxophonist Elin Larsson, Chris Montgomery, drums and Micke Emsing, percussion, Jan ?stlund, double bass, and Peter Holmkvist guitar, during by intense rehearsals.
The house band played on a high level offering a secure musical frame work for the great variety of performers. It was not possible to attend the whole show but it can be said that it was relaxed and entertaining at a high level of performing and song-quality. The highly appealing and memorable goodbye came from Ewa Wikstr?m of Queenfish And Other Tales
Tags
Live Reviews
Henning Bolte
Sweden
Stockholm
Dino Saluzzi
Anja Lechner
Felix Saluzzi
Chris Potter
Dave Holland
Jack DeJohnette
Chris Potter
jason moran
CHRISTIAN SCOTT
Angharad Davies
Johan Berthling
Sidsel Endresen
Stian Westerhus
Mats Gustafsson
Lena Willemark
Anders Jormin
Samuel Blaser
Marc Ducret
Peter Bruun
Django Bates
Kevin Eubanks
Craig Taborn
Eric Harland
Steve Coleman
Esa Pietila
Markku Ounaskari
Aki Rissanen
Antti L?tj?nen
Olavi Louhivuori
Joakim Milder
Sofia Jernberg
Trondheim Jazz Orchestra
Chick Corea
Joshua Redman
pat metheny
Fred Lonberg-Holm
Sten Sandell
Eivind L?nning
Espen Reinertsen
Bobo Stenson
Don Cherry
Emilia Martensson
Kairos Quartet
Barry Green
Adriano Adewale
Sam Lasserson
Jack DeJohnette
George Colligan
Jerome Harris
Leon Thomas
Rudresh Mahanthappa
Don Byron
Christian Scott
Knut Reiersrud
Ale M?ller
Isabel S?rling
Susana Santos Silva
Jonas Kullhammar
Alberto Pinton
Jim Pepper
Don Pullen
Robbie Robertson
Helga Forsaken
Paolo Vinci
Tore Bromberg
Mats Albertson
Evolve Dale
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Umea
Concert Guide | Venue Guide | Local Businesses
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Umea Concerts
Dec
11
Thu
Jacob Karlzon, Mads la Cour
Umeå Folkets Hus
Ume?, Sweden

Umea
Concert Guide | Venue Guide | Local Businesses | More...
Dec
11
Thu

Jacob Karlzon, Mads la Cour
Umeå Folkets HusUme?, Sweden