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Moers Festival 2021

Courtesy Kristina Zalesskaya-Courvoisier
Moers, Germany
May 21-24, 2021
In a year that passed since the previous Moers Festival, the Covid 19 pandemic caused a lot of bad news regarding concert cancellations, closed venues, and further issues in the already challenging lives of professional musicians around the world. Thus, the success of this year's Moers event was a true cause of joy and a sigh of relief for performers, audiences, and the industry.
The four-day extravaganza was not the smoothest, most distinguished, or extraordinary program in the festival's history but the 50th Anniversary celebration held plenty of fine moments and some sets that could indeed be considered exceptional in any year. The Moers team deserves considerable credit for putting on a wide-ranging event that featured top jazz stars, eclectic talent from exotic locales and the usual mix of progressive experimentation.
A primary plus was another superb production job by the ARTE network that enhanced every show and provided first-rate streaming of the entire event, including interviews with performers and topical discussions that amounted to positive social action. A legislative decision was announced just before the weekend that allowed limited outdoor audiences, even though rain held attendance down. The on-site team that carried out over 1,400 mandatory Covid tests deserves huge accolades.
With the exception of a relatively gorgeous Sunday, overcast wet weather hampered much of the weekend. Still, there wasn't a single musician who looked or played like it bothered them a bit, probably through assurance of how the broadcast made everything look near flawless.
Opening highlights included a gathering of all fourteen previous "Improvisers in Residence" from a tradition established in 2008, and a beautiful solo set by pianist

Brad Mehldau
pianob.1970

John Coltrane
saxophone1926 - 1967

The Beatles
band / ensemble / orchestra
David Murray
saxophone, tenorb.1955

Hamid Drake
drumsb.1955
Drake also performed with another sax master,

Joe McPhee
woodwindsb.1939

John Edwards
bass, acoustic
Alexander Hawkins
pianob.1981
Percussion-based groups also made a strong impression, with

Will Guthrie
percussion
Han Bennink
drumsb.1942
If there was only to be one day of sunshine it was good to have it Sunday, when audience favorite

John Scofield
guitarb.1951
The 69-year old guitarist certainly lived up to his reputation, on what turned out to be a glorious afternoon as sheep grazed nearby in a thoroughly tranquil landscape. For part of Scofield's introduction, Moers Director Tim Isfort tapped out a rhythm that the audience picked up in accordance to the mini-Woodstock type rain chant scenario harkening back to Moers' original era.
Scofield sat down with his shiny black namesake Ibanez hollow-body, slipped off his shoes and set a comfortable tone for the crowd which was socially distanced but still in close enough proximity to allow for a relaxed, ongoing dialogue of old coffee house style interactions. The low key performance was like sitting around with a favorite friend or relative, who just happened to be one of the world's best guitarists.
He opened up loosely with The Beatles' "I Will" and his own "Twang," then tightened things up on an adapted "Resolution" by Coltrane. "Mrs. Scofield's Waltz" sounded appropriate for the many folks stretched out on blankets in front of the stage.
"I like to play old standards, right?" Scofield mused with a smile. "And you've got to remember that they were songs with words. Sometimes I like to tell you the lyrics while I'm making my loops, because I have the old kind of machine that I have to make them on right now. Don't clap until you hear it, I might fuck it up."
With that Scofield half sang, half murmured an engaging recitation of "There Will Never Be Another You," delivered like a spoken-word piece. The tonal touch was raw but effective. In fact, much of his performance was a bit rough, but in this situation that was a definite plus and made for highly personal, workshop type exchanges.
"I noticed that the looped chords sound really nice backwards," he continued. "I'm gonna play Blue in Green, but first I have to play the chords backwards. So bear with me, you'll see what I mean, I hope." As he reimagined the

Miles Davis
trumpet1926 - 1991
As nice as Scofield's outdoor concert was, the indoor epic by Serbian groups Schime and Muzikon that directly proceeded it was even better due to mass, volume, and abstraction. Schime is a talented quartet (

Luka Ignjatovic
saxophone, altoBoris Sainovic
bass, acousticPedja Milutinovic
drumsAt first it sounded like Milutinovic's drums might overwhelm the other instruments but the overall soundscape actually benefited from bombast and was near perfect in general. Ignjatovic added a light touch of conducting then added his sax for strong, swirling accents and the rest of the quartet got a few moments to show their skills as a foundtional unit. It was cool to watch the orchestra observe the group. Passionate change-ups in sweeping crescendos conjured vistas from open sky to urban congestion.
It took more than just the music to complete an absurdly magnificent artistic alchemy, as giant rat-like figures moved slowly around the stage area amidst bright green, full body suited "moerphs" and multi-colored flower-power designs that were displayed everywhere. The setting was sort of ridiculous, but it typified the Moers aesthetic and for a while it was a wild, wacky dream come true. In 2019 the " data-original-title="" title="">Metropole Orchestra and

Donny McCaslin
saxophone, tenorb.1966
Blasting into the finale, Milutinovic took an appropriately thunderous solo before everyone broke into hard bop-like finishing fragments. With or without allusions toward jarring contemporary statements about pandemic recovery or the scattered symbolism of character poses and settings, as the strings soared and the band rammed everything home the set became performance art of the highest order, a small scale spectacle that likely stands as an apex in Moers' recent history.
Even with glowing superlatives or HD video, unless someone was actually one of the forty or so fortunate people inside the performance hall there's no way to fully express the zany brilliance that flashed when all related elements converged for an amazing, unlikely result. We'll call it lightning in a bottle and leave it at that.
There were more than a few groups that employed unusual vocal techniques. Perhaps the best of these featured bassist

Joëlle Léandre
bassb.1951

Myra Melford
pianob.1957

Lauren Newton
vocalsBy Monday, a steady rain had unfortunately returned and there was almost no audience present for the solid
Laura Schuler
violin
Tony Malaby
saxophone, tenorLionel Friedli
drumsRain continued throughout most of the day and the field stayed pretty much empty until the closing concerts, which was probably OK for a season of endurance and rebirth. Closing duties were left to a trio of guitarists deemed Back to Basics, made up of early Moers stalwart

Fred Frith
guitarb.1949

Ava Mendoza
guitarThe theme for this year's festival was "fighting for the future," toward goals that were larger than just music alone. It seemed most people at Moers were happy with the many small victories to be had these days, though disappointments and challenges remain in both social and pandemic arenas.
There was a lot of construction going on in the nearby surrounding park area so some things might look quite different by next year's gathering. The Covid 19 situation remains uncertain but that didn't stop people from smiling in positive greetings as they moved between venues. One of the Moers Festival symbols is a pure, glowing moon and the actual, cosmic embodiment of that hopeful sight was often fully visible overhead.
Tags
Live Review
John Scofield
Phillip Woolever
Germany
Brad Mehldau
John Coltrane
The Beatles
Radiohead
David Murray
Bradley Jones
Hamid Drake
Joe McPhee
Decoy
John Edwards
Alexander Hawkins
Will Guthrie
Han Bennink
Miles Davis
Metropole Orchestra
Myra Melford
Laura Schuler
TONY MALABY
Hanspeter Pfammatter
Lionel Friedli
Fred Frith
Ava Mendoza
Oren Ambarchi
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