Home » Jazz Articles » Live Review » Ljubljana Jazz Festival 2014
Ljubljana Jazz Festival 2014

Ljubljana, Slovenia
July 2-5, 2014
Ljubljanacapital of the Republic of Slovenia, member of EU, neighbored by Austria, Hungary, Croatia and Italyhosts the oldest jazz festival in Europe, which held its 55th edition this year. The event is usually organized by Cankarjev HouseCankarjev Dom, in Sloveniana prestigious, state-run cultural centre in midtown Ljubljana, residing in one half of an impressive twin tower building, the other part being the National Bank of Slovenia.
Ljubljana is situated near the Alps in the west and the Adriatic part of the Mediterranean Sea in the south. It is on one hour from Trieste, two hours from Venice, two hours from Zagreb and three hours from Vienna. A city with a high appreciation of the arts, its roughly 300,000 inhabitants have access to eleven theatres, fifteen museums, four professional orchestras and a rich musical history. The first philharmonic in Europe was established there in 1701, with Haydn, Beethoven, Paganini and Brahms as regular guests; and in 1881 Gustav Mahler started his professional career there as a conductor.
The House of Cankar is a state institution, created in the 1980s to foster collaboration between all art disciplines. Ivan Cankar (1876-1918) is held to be the most important writer to shape Slovenian identity: "Cankarjev Dom believes that cultural, artistic and scientific creativity meets the basic condition for attaining spiritual freedom and the richer spiritual lives of people and social development."
Slovenes have undergone different ruling powers and absorbed many influences. They had and have a high esteem for their indigenous language, which has some peculiarities not easily accessible, even for speakers of other Slavonic languages. That esteem resulted in a remarkable curiosity. Despite being a predominantly Roman Catholic country, Lutheran Reformation Day is an official holiday on October 31st of each year because Slovene standard language and Slovene literature were both established by Lutheran protestants: Primo? Trubar, who wrote the first books in Slovene; Adam Bohori?, who wrote the first Slovenian grammar book; and Jurij Dalmatin, who translated the whole bible into Slovene.
Coordinates
The concerts of the festival were running in four venues: at three in Cankarjev House (?tih Hall, Linhart Hall and the Klub), along with the big semi-open air venue, Kri?anke. The jazz festival is part of the city's bigger and longer-running summer music festival. As with the last two years, the festival was again co-curated by Cankarjev's Bogdan Benigar and Pedro Costa, from Lisbon, associated with the well-known Clean Feed record label. That brings a special quality to the festival, its programming and its productions which can only be found in a few other festivals in Europe, like 12 Points and Jazzdor Berlin (some reflections on this can be found on the festival website).
Fifteen groups were performing at the four-day festival: three from Norway, including

Jaga Jazzist
band / ensemble / orchestra
In The Country
band / ensemble / orchestra
Joachim Kuhn
pianob.1944

Agusti Fernandez
pianob.1954

Morten Qvenild
piano
Giovanni Guidi
piano
Chris Abrahams
piano
Fulco Ottervanger
pianob.1984

Chip Crawford
piano
Tarek Yamani
pianoDay 1: Wednesday, July 2
The festival started with the opening of an exhibition by longtime festival photographer Nada ?gank at Cankarjev House's gallery. The exposition gave an impressive overview of the great variety of musicians and groups who had performed at the festival in recent years.
Jani Moder's Brain Blender, a Slovenian-Austrian combination led by Slovenian guitarist Moder, functioned as the musical festival opener at the big open air venue, Kri?anke. The band was comprised of well known Slovenian keyboardist Marko ?rn?ec, bassist

Robert Jukic
bassb.1978

Klemens Marktl
drums
Pat Metheny
guitarb.1954
The hall was completely filled up when Jaga Jazzist started its concert. Jaga, now in its twentieth year, played for the first time without long time member,

Mathias Eick
trumpetb.1979

Lars Horntveth
keyboards
Erik Johannessen
tromboneb.1975
It also appeared that the group can swing deeply, stage impressive solos and are able to switch to surreal modes and connected moods. It all revealed in the brand new piece "Suomi," a homage of the group to Finland, as one of the few countries they had not yet the chance to perform. Lars Horntveth blew an impressive solo and the piece, a highlight of the concert, went through a couple of imaginative phases of sounda strong closure of the first festival day.
Day 2: Thursday, July 3
The second night appeared to be a trio night in three steps, from the high north to the deep south and also from west to east: first, the all-Norwegian unit In The Country, consisting of pianist Morten Qvenild (a former member of Jaga Jazzist), double bassist
Roger Arntzen
bass, acousticDespite its classic appearance, In The Countrya trio existing for almost 10 years now transcended the format by far, especially with its gradually infusion of advanced electronics. Indeed, Qvenild is the declared hyper piano man, studying and working out musically fruitful expansions of the classic 88-keyed string/percussion instrument. But not for nothing this trio bears the name In The Country, alluding to its music's pastoral characteristics. The trio unfolded music of a ritualistic, cinematic quality, enriched by carefully engraved traces echoing sounds from various musical pasts and cultures: lots of classic Afro-American soul music,

Keith Jarrett
pianob.1945

Jim Pepper
saxophone, tenor1941 - 1992
After that, the Chalaba force brought a contrasting energy emanating from a quite different approach: extroverted, abundant, fiercely blazing, full of rich ornamentation and trance rhythms. Kühn is a veteran and, as a pianist, a key figure of the European avant- garde of the 1960s who has worked extensively with a variety of advanced musicians from the continent, like Jean-Francois Jenny-Clarke and

Daniel Humair
drumsb.1938

Ornette Coleman
saxophone, alto1930 - 2015

Rabih Abou-Khalil
oudb.1957

Randy Weston
piano1926 - 2018
A concert from this trio is always a passionate and highly energetic, cooking affair. That these three musicians know each other so well simply means that they can go to even higher places and are able to stir the fire still more. In the Gnawa spirit, you have to go for it and they did, with a much deep color elevating the audience. Taken by a deeper awareness of form they furrowed and furrowed. All three were also passionate stage personalities, making the encore, "Golden Queen" all the more enjoyable.
The final trio of the evening, despite possessing with strong Middle Eastern characteristics, was a manifestation of a quite different temperament and temperature. Tarek Yamani's triothe pianist hailing from Beirutis the product of the Groningen (Netherlands) connection for all three musicians, having met when they were studying at the conservatory there. Yamani first seemed to confine himself to humorous piano transpositions and re- workings of Middle Eastern traditionals, but happilyalbeit late out of his sleeve came some work that was the apparent result of rummaging through some Thelonius Monk and

Herbie Hancock
pianob.1940
Day 3: Friday, July 4
A solo recital from

Joachim Kuhn
pianob.1944
How he takes astonishing passages and creates unbelievable proximities revealed immediately after he started to play. Blues and Bach, Bartók and Rodgers rubbed against each other, flew in and out...and then he passed into comping. The second piece moved into the tonalities of Austrian-German composer Hanns Eisler, which Kühn then bended into blues modalities. How far is it, in Kühn's universe, from those Eislerian fields to Ornette Coleman; what are their mutual contingencies? Allusions to the Trauerlied finally paved the way into echoes of

Mal Waldron
piano1925 - 2002

Billie Holiday
vocals1915 - 1959
Then it was a move to Kri?anke, where singer

Gregory Porter
vocalsb.1971

Mark Shim
saxophone, tenorb.1973
_copy.jpg)
Chris Jennings
bass, acousticb.1978

Ludwig Afonso
drumsIt was full houseas would be expectedwhen Porter hit the stage with his smile, cheering up the crowd before he even sang one note. While the audience was impressed that he was really there finally, Porter also spoke of how impressed he was by the trees of Ljubljana, which caused a deep warm smile again.
Porter has this overall smiling simpatico appearance supported by his supple baritone voice, and vice versa. His confident charisma, his accessibility, his guy-next-door dimension; the big audience loves him for that, in Ljubljana as well as elsewhere. His material and his singing are straight-ahead, sincere and highly credible. A few notes are enough to get his audience in and on to him. His band, a well-oiled machine, is part of his overall kind appearance. Not that all his band mates smiled all the time; the drummer, for instance, with his cool sunglasses, had the lightly sturdy appearance of an old school jazz cat. Every musicianfrom saxophonist

Yosuke Sato
saxophone
Chip Crawford
piano

Emanuel Harrold
drumsPorter smoothly served a short memory span with some higher musical quality, so a series of great singing could unfoldwhich happened, to a certain degree. Lots of effort had to be spent to feed and maintain the set's framework. The restrictions became clear, however, when Porter struck up a short-breath canalized reminiscence of

Nat Adderley
trumpet1931 - 2000
The young Belgian piano trio De Beren Gieren, from Ghent, augmented with Porto, Portugal-based trumpeter

Susana Santos Silva
trumpetb.1979

Fulco Ottervanger
pianob.1984
Its performance was a wonderful playful exercise in determining the indeterminacy of form by swirling through alternating states as velocity and retardation, hold and rush, rotation and rest, joined in and let go. At no time did the foursome lose ground. In beautiful oddness and airy heave it waltzed through its non-synchronized universe meeting the spirit of a great young guy from Vienna, composer Franz Schubert. The connection with Schubert could be drawn from the titles of the pieces, and the dynamics of the music could be seen as reinterpretations of the tempo gradations of geschwind from Schubert's famous trout piece. This nightly dance over a trout song was recorded and will be released on Clean Feed soon.
Day 4: Saturday, July 5
On the last day of the festival the concerts started earlier, at noon, in the Cankarjev House's Klub venue. First, an Italian duo followed by a Portuguese-French group and then a Norwegian quartet. The evening program presented a Slovenian-Spanish duo and an Australian trio at the bigger Linhart Hall. The festival wound up with a Canadian group, back at The Klub venue.
Trombone is such a beautiful soulful instrument and

Gianluca Petrella
tromboneb.1975

Giovanni Guidi
piano
Thomas Morgan
bass, acoustic
João Luis Lobo
drumsb.1964
Portuguese bassist

Hugo Carvalhais
bass, acoustic
Mário Costa
drums
Emile Parisien
saxophone, sopranob.1982

Tim Berne
saxophone, altob.1954
Cortex, an upcoming quartet of Norwegian cornettist Thomas Johansson, together with saxophonist
Kristoffer Berre Alberts
saxophone
Gard Nilssen
drumsb.1983

Atomic
band / ensemble / orchestra
Albert Ayler
saxophone, tenor1936 - 1970
Alberts was a hard-hitting elementmoving, searching and finding his way in coloring, reinforcing, roughening and extending in accordance with the trumpet on one hand, and the rhythm section on the other. Cortex's music was on the visceral side as the band name (and the title of most pieces) indicated. Hence the band was glad to present its newest album, Liverecorded at Nasjonal Jazzscene in Oslo and released by Clean Feedlive at the Ljubljana festival.
The evening presented two special configurations at the bigger Linhart Hall: the Slovenian- Spanish duo of percussionist

Zlatko Kau?i?
drums
Agusti Fernandez
pianob.1954

The Necks
band / ensemble / orchestraPercussionists do not have just one clearly recognizable instrument but, instead, a lot of devices and materials with which to make sound. Every percussionist therefore has his/her very own collection and set up which makes them all look differently. Zlatko Kau?i? is the percussive gardener or, put differently, a percussionist who is "gardening" his sounds. This is a specification due to his posture when playing percussion: he is knelt like a gardener in a plant bed. That offered him a special range to use devices in a specific way. One of the specialties in that performance was a table zither on the left side behind him, which he would strum with his left hand while banging different devices in front of himself with his right.
Kau?i? has been working in Spain, Switzerland and The Netherlands for longer periods and has collaborated with musicians and groups of a greater variety of styles and genres. More recently he has worked with the likes of

Stefano Battaglia
pianob.1965

Javier Girotto
saxophoneb.1965

Paul McCandless
woodwindsb.1947

Oregon
band / ensemble / orchestraFernández, on the other hand, is a well-known and accomplished pianist of free improvisation who has worked with many of the leading figures in that field. A match between these two musicians made a lot of sense and was something to look forward to. Kau?i? and Fernández engaged in quick, playful and intriguing interactions from which beautiful fine nerve pieces of musical sound emerged that connected to a richly textured whole. Kau?i? played the more impulsive visceral role, whereas Fernándezassisted by his physiognomy, his way of moving around the grand piano and his snake-like diving to the inside of itplayed the more elusive, drawn-into-subtleties part. These contrasts worked well but also meant that no major elevating effect took place. It came about more in a calm calculated way which was fine, too, and supplied lots of enjoyment.
It may be said that every live performance of The Necks is a special experience, even if you have seen them beforeor, perhaps, because of it. The trio had just arrived from Denmark, where it played the Roskilde festival, one of the largest European rock festivals. Roskilde had a special thing. The group opening for The Necks was a still older legendary group: The

The Rolling Stones
band / ensemble / orchestrab.1962
When drummer
Tony Buck
percussion
Lloyd Swanton
bass, acoustic
Chris Abrahams
pianoThere were two things going on: one, a gentle de-automation of expectancy patterns; and two, strongly pulling in the listener to let him/her immerse in an increasing suction. The Necks have developed not only effective ways but enjoyable, deeply sensible means to accomplish this again every time. There are some recognizable devices and elements they make use of, but depending on a lot of circumstances it remains an open process every time the trio playsand as such still unique up to these days. With an approach like this, each concert can be sensed to be different---depending on the interlocking of the musicians and the locationthe space in the room. This Ljubljana concert had a quite gentle expansion, a strong and long hovering in the middle and a gentle downturn. It seemed dead easy and it left many speechless.
It was the right moment for Canadian group The Souljazz Orchestra to march in, greet the night and make bodies dance. The hard-hitting Orchestra forged old school stuff, soul, funk, rock and jazz elements into such a burning alloy that just watching and listening was no option anymore, but instead to join the syncopated funky flow into the night sky.
Conclusion
Ljubljana is a pleasant, small scale festival with lots of allure and clear artistic vision and choice (more about this in the videos on the festival's website). The Norway focus presented,
in a nutshell, the main varieties of jazz made by musicians from the country. Alas, the important vocal variety from Norway was lacking. The piano focus showed enough interesting and provocative contrast as well as underlying coherence. And, again, there were productions and performances which clearly bore the hallmark of the festival. Likewise, it was clearly noticeable that the festival and its programming was embedded in and is an elongation of the high-end concert series taking place throughout the whole year at Cankarjev House, which means there is a good chance for a visitor to see some extraordinary music in Ljubljana at other times of the year.
The city provides a worthwhile ambience as the festival's context. It is easily walkable and has a calm atmosphere and some amazingly well-proportioned architecture, especially in the urban construction of master architect Jo?e Ple?nik (1872-1957), who answered style icons and monumentalism of neighbouring nations from the past with sophisticated understatement and transformation. Tarrying on the terraces along the Ljubljanica River, which winds around the city, is a pleasure of a kind. The same goes up for the markets including the art market where, for instance, it is possible to find and meet well-known Slovene jazz photographer ?iga Koritnik.
Photo Credit: Henning Bolte
Tags
Live Reviews
Henning Bolte
Slovenia
Ljubljana
Jaga Jazzist
In the Country
Joachim Kühn
Agusti Fernandez
Morten Qvenild
Giovanni Guidi
Chris Abrahams
Fulco Ottervanger
Chip Crawford
Tarek Yamani
Robert Jukic
Klemens Marktl
pat metheny
Mathias Eick
lars horntveth
Line Horntveth
Erik Johannessen
Marcus Forsgren
Even Ormestad
Martin Horntveth
Roger Arntzen
Keith Jarrett
Jim Pepper
Jean-Francois Jenny-Clarke
Daniel Humair
Ornette Coleman
Rabih Abou-Khalil
Randy Weston
Thelonius Monk
Herbie Hancock
Mal Waldron
Billie Holiday
Gregory Porter
Mark Shim
Chris Jennings
Ludwig Afonso
Yosuke Sato
Chip Crawford
Aaron James
Emanuel Harrold
Nat Adderley
Susana Santos Silva
Lieven van Pee
Simon Segers
Gianluca Petrella
Thomas Morgan
Jo?o Lobo
Hugo Carvalhais
Gabriel Pinto
Mario Costa
Dominique Pifarely
Emile Parisien
Tim Berne
Thomas Johansson
Kristoffer Berre Alberts
Gard Nilssen
Atomic
Albert Ayler
zlatko kaucic
The Necks
Stefano Battaglia
Javier Girotto
Evan Parker
Saadet Turkoz
Paul McCandless
Oregon
Rolling Stones
Tony Buck
Lloyd Swanton
Chris Abrahams
Comments
PREVIOUS / NEXT
Support All About Jazz
