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Jazztopad 2015
Jazztopad 2015
Wroclaw, Poland
November 21-25, 2015
The city of Wroclaw by the Odra River in the southwest of Poland has occupied a pre-eminent position throughout its long, turbulent history, and it still does. Wroclaw's Jazztopad festival is a relatively young one. This year celebrated had its 12th edition. The first things to mention are the Wroclaw C's: a brand-new concert hall and its context, commissions and collaborations, one (vertical) chain of concerts, artistic choices/challenging the audience, connecting senses/disciplines, (Wroclaw as the European) capital of culture 2016.
The Wroclaw C's: the new NFM concert building and its context
For the first time the festival took place just months before the opening of the brand-new concert hall of the National Music Forum (NFM). To ensure the highest acoustic standards, this five-story building (2 stories underground and 3 stories on ground level) was designed by Artec, a Design and Planning Service for Performing Art Facilities in New York. APA Kurylowicz & Associates, an architectural firm with offices in Wroclaw and Warsaw, was contracted for the building work. The building hosts an 1,800-capacity concert hall, three chamber halls, rehearsal rooms, conference and office spaces, a recording studio, exhibition area, and an underground car park. The building and area will adopt a significant and impressive public function in town. According to Andrzej Kosendiak, director of NFM, its name "refers to 100 year old plans to set up an Arts Forum in the place where national and military celebrations were held. The location was called the Royal Forum (it housed the palace of the King of Prussia). Today we wish the Music Forum's name would stand for the space providing room for the performance of works of different epochs, a true dialogue, and artistic disputes on contemporary art."
When establishing places and buildings like this, the design, construction, and functional specifications are issues to deal with. Still more important is to ensure that the projected function(s) can actually be fulfilled successfully in terms of the necessary financial means and a dedicated audience.
According to director Kosendiak NFM will have the necessary financial means and above all has been engaged during the last few years to build a rich, stimulating context, required for the growth of an interested and engaged visiting audience. Educational programs were organized as well as musical performances in schools, hospitals, and living rooms. In addition, music schools were established and choirs were formed. Ten years ago there was no school choir in Wroclaw. Today there are more than 40, all thanks to NFM's work. NFM has set up the Singing Poland project to form choirs across the whole of Poland. More than 400 school choirs were formed, three new music schools founded, and many music teachers have been trained through a special in-service training program.
Wroclaw C's: commissions, collaborations, artistic choices
The nature of the festival is contained in the premieres of works commissioned each year: works of world-renowned musicians performed by musicians of the 10 ensembles of the National Forum of Music, the organizer of the festival. Jazztopad is a vertical one-chain or one-stream festival that presents as many special tailor-made concerts as possible. The festival is characterized by a well-chosen, artistically motivated and reflected programming. First of all there were the commissions, one for
Mark Feldman
violin
Sylvie Courvoisier
piano
Anders Jormin
bassThe collaborations form another important festival constituent. Jazztopad has organized many collaborations throughout the years, such as JazzPlaysEurope, Take Five Europe, and the laboratory Melting Pot Made In Wroclaw—all with young, up-and-coming musicians from different (European) countries.
There were special temporary combinations of musicians, like in the tribute to Kenny Wheeler concert and the Melting Pot laboratory. The festival also offered especially augmented groups like Whahay, Red Trio, Trio Draksler/Santos Silva/Zetterberg, as well as premieres of groups like the new line-up of Anthony Braxton's Diamond Curtain Wall Quintet, with two harps, and Polish clarinetist
Waclaw Zimpel
clarinet, bassb.1983
Wroclaw C's: challenging the audience, connecting senses/disciplines, Capital of Culture
Jazztopad has always challenged its audience on a profound basis and continues to do so—with beneficial consequences. Contrary to widespread belief, it just seems to increase the attractiveness of the festival's activities, the dedication of the audience, and the number of visitors.
Connecting senses/disciplines is part of the challenge. Jazz and improvised music as an art form in particular are intimately connected, especially through photography. Jazz was the forerunner before pop-and rock music took over. Generations of jazz aficionados heard what they saw on the famous iconographic photographs of jazz musicians. The iconography of jazz had and still has a strong influence on the perception of the genre. You could even say that jazz was and still is a highly image-guided art form. At every concert nowadays—no matter its size—you can experience how the guiding models are still emulated.
A different discipline is the art of drawing that is -amongst others—slower and less dependent on actual physical data, and more transformative. And then there is the tradition of drawing jazz events, although this is a less dominant tradition. Creation and perception work in a different way. In recent years, visual artists gained more ground and appreciation with their drawings of jazz events. Last year Jazztopad embedded Lena Czerniawska in the working process of Jazztopad Melting Pot, and this year Jazztopad exhibited her sketchbooks. The sketchbooks were exhibited near the concert areas in the NFM concert building. The young generation of artists is especially interested in the improvisational element of both disciplines, music and visual arts, as a double input and challenge. This year Agnieszka Kabath and Pawe? Kiliński were involved in Melting Pot, as documentary makers.
Next year Jazztopad will be part of the European Capital of Culture 2016, together with San Sebastian in Spain. The dense bundling of these components, the interrelatedness of these constituents, may be considered innovative, adventurous and quite unique in the landscape of European jazz festivals.
Saturday
This year's opener was a tribute to trumpeter
Kenny Wheeler
flugelhorn1930 - 2014
There are few musicians in modern jazz whose characteristic voices and sounds were as inspirational and influential as Kenny Wheeler's. Few are respected like him, across generations, styles, and approaches. In concordance with this special kind of charisma, the subgroups not only performed his pieces, but also pieces about or for him, and inspired by him.
It seems he was quite maladroit and always up to involuntarily slapstick. According to his longstanding close fellows, he was quite shy, or better, as
Evan Parker
saxophone, sopranob.1944
Something similar came to the fore in the narratives of his fellow musicians, the way they said they dealt with his material, his scores, his composition. Wheeler never imposed something on another person, never dominated. According to his fellows there were people who could interpret his (minimal) gestures (or smiles) and determine what had to be done to make it work.
The tribute was a concert in three parts, sometimes with subparts. There was the dedicated 'big' subgroup of
Henry Lowther
trumpetb.1941
Pete Hurt
saxophone, tenor
Gwilym Simcock
pianob.1981
Chris Laurence
bass, acousticb.1949
The quartet of saxophonist Evan Parker, pianist Steve Berresford, bassist John Edwards, and drummer
Louis Moholo-Moholo
drums1940 - 2025
John Stevens
drumsb.1940
John Taylor
piano1942 - 2015
Derek Bailey
guitar1932 - 2005
Barry Guy
bass, acousticb.1947
A highlight was the performance of master musician
Ralph Towner
guitarb.1940
Norma Winstone
vocalsb.1941
Dave Holland
bassb.1946
Dave Holland described how he, as a young musician, was confronted with Wheeler's, in those days, unorthodox approach to and dealing with harmonics, how he learned to figure things out and find the note's place—a formative experience for him "with these beautiful melodies with complex harmonies underneath." Singer Norma Winston, who is from a generation in between that of Wheeler and Holland, explained with typically English understatement that she sang what was written, but Wheeler often played it slightly different so that she had to find the place too. Holland and Winston's intimate duo playing was an almost English homely affair without any staging or filters. Together Simcock, Holland, and drummer Martin France performed Holland's "Waltz For Wheeler" with some outstanding melodic bass playing by Dave Holland. In the end only (a recording of) the lonely, beautiful trumpet of Kenny Wheeler sounded in the new hall of the National Forum of Music with its impressing acoustics.
WHAHAY is the British-French trio of bassist
Paul Rogers
bass
Robin Fincker
woodwindsThe trio, augmented by two remarkable French musicians, pianist Christine Wodraschka and guitarist Jean-Yves Evrard, both long time collaborators, performed mainly pieces of Charles Mingus, that can be found on WHAHAY's latest album. Christine Wodraschka and Jean-Yves Evrard both are uncompromising and sharp improvisers in the vein of
Misha Mengelberg
piano1935 - 2017
Sunday
Melting Pot, part of Jazztopad Festival and now at its 7th edition, is a collaborative space for curiosity and inquisitiveness to manifest itself in exploration and experimentation. It will be part of the Wroclaw program during the European Capital of Culture program in 2016 (Wroclaw partners with San Sebastian).
For a couple of days trumpeter
Piotr Damasiewicz
trumpetb.1980
Mark Feldman/Sylvie Courvoisier with NFM string players
Sunday evening was reserved for the premiere of the first commissioned work of this year's edition: the "Super Slab Multiverse" composition by Mark Feldman, written for string quartet and piano, and a new arrangement for "Lazuline" by Sylvie Courvoisier, for piano and three violins.
The duo of violinist Mark Feldman and pianist Sylvie Courvoisier has been a mainstay during the last decade, as one of the most remarkable, unique and endurable units in the field of improvised music. It pairs an extraordinary quality of compositional groundwork with sharpness and urgency of performance in which this groundwork takes shape every single time through great momentum and surprise. The music of Feldman and Courvoisier is multi-motivic, proceeding and unfolding through recurrently emerging and alternating motives, bold leaps and rhythmically sophisticated, explosive configurations, all driven by an underlying and overarching dramaturgy and musical unity that captures and ignites the listener's imagination.
The concert opened with duo pieces by Courvoisier and Feldman: "For Alice," a piece dedicated to
Alice Coltrane
piano1937 - 2007
The duo as usual created an accumulation of complex tonal figures abstracted from various sources. These figures might be regarded pieces in their own right, pieces in a piece. They are constructed in a way that allows these elements to be twisted and highlighted in different ways—like the rhythmically strong piece "Corto"—without loosing their basic character. Though sometimes you may recognize some snippets, they always feel like utterly genuine creations, far from the more usual and dominant theme-variation-structures. They are more like movie-cuts and could even be regarded as a kind of highly sophisticated acoustic sampling. Sometimes they sounded like music concrète and very often also tones and tone configuration were 'just happening' like nature's sounds.
The duo was a delightful upbeat to the two commission pieces performed together with Marcin Markowicz and Jan Mazur (violin), Micha? Micker (viola), Maciej M?odawski (violoncello), string players of the NFM Symphony Orchestra. Marcin Markowicz and Maciej M?odawski are also members of the prestigious Lutoslawski Quartet, one of the ten ensembles connected to the NFM. It started with Courvoisier's piece "Lazuline" in a new arrangement for piano and three violins (Feldman, Markowicz, Mazur). "Lazuline" was premiered 2010 in Lausanne (Theatre de Vidy). The piece had a hyper-quiet start on the edge of hearable sound and just for that reason raised awareness for clearly discernible and beautifully moving contours. This was achieved by the string players' use of extended bowing techniques and Courvoisier's gentle stroking of the piano strings. The second part opened with a fortissimo motivic signal of Courvoisier's piano and moved into stark contrast with the initial part, first through unison playing of the strings, then through shifting and layering. The last part returned to the soft and quiet mode, yet this time by lively playing around each other and the motif. It was a great pleasure to experience the technically accomplished classical musicians acting eagerly and joyfully within the given leeway. Hopefully this music will find its way to an album as other commission work has done before.
Apparently for both parties this collaboration was attractive, motivating and joyful. Feldman and Courvoisier very much appreciated the skill and the devotion of their 'classical guests.' The 'classical guests' were enthusiastic over the room to move they experienced and the freedom to find their adequate expression. It could be sensed in the performance as the crucial difference quality compared to more academic performance practice and routines.
Finally Feldman's new piece "Super Slab Multiverse" performed by Feldman himself, the String Quartet of Marcin Markowicz (vln), Micha? Micker (viola) and Maciej M?odawski (vcl), and Sylvie Courvoisier on piano experienced its premiere. The big interstate highways in the United States of America are called Super Slabs. A Super Slab Multiverse therefore must be a big inter-universal highway connecting the alternating/parallel universes of a comprising meta-universe. With its multiple faces, fascinating blend of sound qualities, tide movements, accelerations, and attracting complexity, this piece became the enchanting apotheosis of the evening. Many of the elements and characteristics of the pieces heard before reappeared, and were integrated on a high(er) level.
Monday
Where is the monkey? Who is the donkey? French duo Donkey Monkey is quite popular at European festivals at the moment. These two women have a good show, meaning they present more challenging music in a light, humorous way, with some hilarious absurdist talk that fits in wonderfully with their way of making music. Donkey Monkey are pianist
Eve Risser
pianob.1982
Yuko Oshima
drums
Carla Bley
piano1938 - 2023
The second group of the evening was a trio of Slovenian pianist
Kaja Draksler
pianob.1987
Susana Santos Silva
trumpetb.1979
Jonas Kullhammar
saxophoneb.1978
Alberto Pinton
saxophone, baritoneb.1962
The musicians built their own space and to a great extent created new music in real time. They took time to genetically develop something original, a modus operandi that did not differ from that of the two duos. They dug up a lot of attractive and challenging elements as work in progress including Draksler's artful whistling as an extra instrumental part. It was brave to solely rely on extemporization, although more contrast might have been beneficiary. With the potential of the trio, it seems a fermentation process could lead into more specific, untouched territory. In any case, Monday appeared to be a nearly all-female evening with Zetterberg as the only rooster in the yard.
Tuesday
Tuesday first presented two Polish groups, the RGG Trio and Sphere, both orientating and relying on the Baltic-Scandinavian axis, and then the internationally established Red Trio from Lisbon, this time extended to a quintet by two Wroclawian top musicians, trumpeter Piotr Damasiewicz , and saxophonist
Gerard Lebik
saxophone, tenorb.1980
RGG Trio, founded in 2001, comprising pianist ?ukasz Ojdana, bassist Maciej Garbowski, and percussionist Krzysztof Gradziuk, has recorded seven albums since the Trio's birth. This piano trio had a clear signature able to unify a wider range of heterogeneous material by way of its very own approach and its way of playing. It created dreamy open spaces and conjured beautiful moods of solitude. It sparked some magic through its sophisticated ability to deal with space and rhythm, systematically but also in an aleatory way by some great percussion.
The Sphere trio is a non-hierarchical trio formed by vocalist
Ania Rybacka
vocalsb.1986
The extended Red Trio with the two Wroclawian musicians trumpeter Piotr Damasiewicz and saxophonist Gerard Lebik, finished its Poland/Norway fall tour at Jazztopad. The Lisbon Trio, founded in 2007, comprises bassist
Gabriel Ferrandini
drumsb.1986
Rodrigo Pinheiro
piano
John Butcher
saxophoneb.1954
As a real time creation unit all of Red Trio's music is created on the spot, through extemporization. With its mobile triangulation points, the trio's music oscillates between subtleness and violent outbursts, whispers, and hissing swirls. With the two horn players from Wroclaw the music intensified exponentially and experienced the emergence of energy, the evocation of transitions, and the balance of process and outcome.
The quintet's performance became a dense and powerful high fly fueled as it were by the salt and waves of the roaring seas, the Atlantic Ocean, and the Baltic Sea. They alternated between crescendo horn parts, sounds of blowing winds, icy clarion calls, hymnal parts and sound expansion in the mode of The Necks, deep grooves cruising mostly along exciting unknown passages. Combined, the three Lisbon musicians and two Wroclaw musicians revealed themselves as a powerful and productive match, transporting Red Trio's music to a higher level. With its intensity, coherence, and potency the quintet's performance stood out as a festival highlight hitherto.
Wednesday
Wednesday revolved around Polish musicians and groups: the Pawe? Niewiadomski Quartet, Tomasz D?browski's FREE4ARTS quartet, a solo performance of pianist Marcin Masecki, and the Wójciński/Szmańda Quartet.
Trombonist Pawe? Niewiadomski contributed to various albums on well known Polish record label For Tune with Power Of The Horns and Orange The Juice. He opened with his quartet comprising saxophonist Skowronski Kuba, bassist Ksawery Wójciński, and drummer Wojtek Romanarski. The group played loosely, rubato, floating and surging with a good feel of swing underneath, showing what you can make from a simple starting point. The group accomplished this with great versatility and skilled soloing. The musicians seemed to be fully satisfied with unfolding this along the same standard procedure time after time. It was excellently crafted, but no real attempts were made to throw in stronger expression or significance.
Trumpeter Tomasz D?browski, who already performed with his Danish Tom Trio in the Polish program of Jazztopad last year, is a first-class harmolodic raconteur, movably spinning his longer narrative lines with a strong earthy tone, a voice-like sound, and pointed articulation; a quite active musician to have your eye on. This year D?browski, residing in Copenhagen, presented his Danish FREE4ARTS quartet with a changed line-up. Jakob Anderskov's piano on the excellent album was now substituted by Simon Kreb's electric guitar. With this special line-up of electric guitar, Sven Dam Meinild's baritone sax, and
Kasper Tom
drumsD?browski's FREE4ARTS quartet was followed by a solo-recital of pianist Marcin Masecki. I will not say he is a phenomenon, because pianist Marcin Masecki really is one! In Poland he is well known by jazz and contemporary classical listeners and also active on the creative fringes between rock, avant-garde and avant-pop. However, it is not this superficial heterogeneity that makes him a special kind of musician comparable to no one but himself.
Masecki is a masterful de-framer in the sense that he dismantles genre-specific performance routines and perceptions in a non-sensational way. This is how he manages to avoid that a new dominating frame immediately re-canalizing the perception is established. He always de-frames in a puzzling reducing way, a way that disturbs listeners' perception and at the same time focuses their attention to a musical core. It is a radical and playful reductionism (it has some resemblance to elements in the work of famous Polish theater director Jerzy Grotowski (1933-1999).
I described a former performance of him (last year) at the 12Points Festival 2014 in Ume?, Sweden, at All About Jazz:
" ... Marcin Masecki (...) travelled along a different route in a different mode of (de)constructing. His performance had a kind of under-the-looking-glass character. The act of making music and Masecki's inherent decision-making could be seen, including doubts and the ambiguities of certain actions taken. This inside-outside switching lent a new significance to the Scarlatti-fragments he was executing—or, as Masecki put it himself, he was "exe/orcising." He was not just improvising on and naively embellishing Scarlatti's scores; the pianist de-and reframed usual performance-routines, as
Uri Caine
pianob.1956
The performance at Jazztopad continued along that route, only with different ingredients.
A Yamaha grand piano was positioned on the outer edge of the stage in Sala Czerwona (Red Hall). At the center of the stage we could see an old, shabby, upright piano with a vintage keyboard. Masecki played the upright piano, his back turned towards the Yamaha. In the beginning his way of playing seemed like slapstick, but very soon the audience could notice the serious essence in the tonal purity, as well as in the rhythmically sophisticated, strong execution. Masecki took sounds seriously serious and removed a lot of ballast, thus regaining some exonerated perception.
Masecki executed this with a greater diversity of music and musical moments. It was puzzling, exciting, and above all a highly enjoyable experience. In his recital he played two keyboards simultaneously: quite usual nowadays in jazz and pop music. However, a pianist has only two hands and may need more to execute certain aspects or elements of performing. Modern electronics may offer a way out, but you can also—as Masecki showed -use your nose and knees to extend your possibilities.
The upright piano Masecki used in his performance could apparently be none of the NFM instruments. It turned out to be Masecki's own home instrument. It had been transported from Warsaw to Wroclaw as (an essential) part of the performance. Masecki is planning to tour Europe in 2016 with his upright piano in the van. It will be exciting to see where his van and his approach to music making will take him. Some wise presenters present at Jazztopad already took action.
Masecki recently released a classical recording referring to van Beethoven's deafness. He simulated it by using wax caps and special soundproof headphones, in order to create the perspective of a deaf composer: "When Beethoven wrote his last piano sonatas, he had been completely deaf for many years. This had specific consequences for the compositional process. As an invalid he was no longer in touch with how music works in real time during its execution. Paradoxically it freed him from musical conventions and enabled the creation of highly original and highly abstracted forms, often barely coming up in the traditional possibilities of perception (...). When I cannot hear what I am playing, these forms present themselves more easily and efficiently."
Masecki has been commissioned to write new work for Big Band for next year's Jazztopad Festival. It makes you wonder how the de-framing and de-routinizing will manifest itself in that particular field of composing, arranging and performing.
The finishing batch was reserved for an extraordinary combination of the three Wócinski Brothers (pianist Szymon Wójciński, bassist Ksawery Wójciński, and trumpeter Maurycy Wójciński) and communally chosen partner in crime drummer Krzysztof Szmańda as an associated member of this family-group. These musicians turned out to be masters in conjuring up turbulent sound storms slowly and genetically from whizzes of the air on the ground and whispers of the wind—triggering the image of a big, strong bear slowly, slowly awakening to full power. The gradual unfolding of its sound expansion and condensing with wonderful moments of transition were stunning thanks to its timing based on incredible mutual anticipation. It offered the audience good food for its imagination, possibilities to wonder and wander. The encore was a nice panther shuffle in a color different from pink. The Wójciński/Szmańda Quartet made an impressive mark and deserves wider recognition. The release of its debut-album is coming up (march 2016).
Conclusion/konkluzja
Jazztopad is a well-dosed festival that proceeds from day to day, presenting a great variety of concerts and musical performances of high artistic level and value. It offers various experiences of energies, different temperatures and temperaments, female and male musicians of divergent ages and cultural backgrounds. This year experienced a completely new ambiance the festival still is getting used to, growing into, taking over the new location(s) to animate them and make it a home.
When you single out parts of the festival, for instance the piano, you can clearly make out the quality already mentioned. Jazztopad presented an impressive choice of pianists. Female: Sylvie Courvoisier, Kaja Draksler, Eve Risser, Christine Wodraschka, and male: Steve Beresford, Marcin Masecki, Lukasz Ojdana, Rodrigo Pinheiro, Micheal Reis, Gwinlym Simcock, Ralph Towner.
Apart from this variety and the new ambiance three 'deviant' performances saliently stood out from the common format: one that utilized the buildings' enormous space to make music, one that used interspersed humorous narratives, and one that worked on the ritualized forms of making, presenting and perceiving music in a concert hall and at a festival. The first one was Melting Pot Wroclaw's performance in the foyer, spread out over the five building stories and at the same time having intimate effects on the audience. The second one was Donkey Monkey appearance of Eve Risser and Yuko Oshima. The third one was the recital of Marcin Masecki who did it in a highly inspiring way, avoiding any populist or propagandistic circus. Most of the other groups and concerts completely took the usual framing for granted, fulfilling their own and the audiences' expectations: self-sufficient, with a low degree of empathy and preparedness to directly address the audience in order to actively constitute and maintain a common space. This had a direct influence on the transportation and flow of (differing forms of) energy. It is not an unimportant neutral thing. Especially the energy aspect is closely related to female/male polarities from which discrepancies in experiencing performances and divergent preferences can result.
These remarks are not intended to be a plea for 'big' experimentation and superficial circus, but more awareness and mindfulness would be in order. It is, first and foremost, a question of substance and secondly a choice of a good form. Instead of remaining more or less automatically in splendid isolation in the incumbent place, awareness of the 'old' locus and attitudes of 'jazz,' 'improvisation' and real time creation on stage could help to transform it to its own future. The series of living room concerts during the second part of the festival are a good example of this. These aspects remain food for thought, and this also goes for the presenters. Jazztopad made a start and it remains to be seen how it will find its way into performance and festival reality.
Tags
Live Reviews
Henning Bolte
Poland
Wroclaw
Mark Feldman
Sylvie Courvoisier
Anders Jormin
Waclaw Zimpel
Kenny Wheeler
evan parker
Henry Lowther
Pete Hurt
Gwilym Simcock
Chris Laurence
Louis Moholo-Moholo
John Stevens
John Taylor
Derek Bailey
barry guy
Ralph Towner
Norma Winston
Dave Holland
Paul Rogers
Robin Fincker
Fabien Duscombs
Misha Mengelberg
Piotr Damasiewicz
Simon Segers
Alice Coltrane
Eve Risser
Yuko Oshima
carla bley
Kaja Draksler
Susana Santos Silva
Mats ?leklint
Jonas Kullhammar
Alberto Pinton
Gerard Lebik
Ania Rybacka
Hernani Faustino
Rodrigo Pinheiro
John Butcher
Kasper Tom
Uri Caine
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