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North Sea Jazz Festival 2014

Rotterdam, Netherlands
July, 11, 2014
The North Sea Jazz Festival in Rotterdam is the biggest indoor festival in Europe. It is organized by Mojo Concerts and The Security Company, both part of Live Nation Entertainment, a worldwide operating live event mega-organizer (240,000 events annually in 33 countries).
The amount of parallel concerts and big names in three days and nights starting in the late afternoonis dizzying. It also evokes a constant desire to see everything, to be somewhere else and hence be on the run permanently. It is a festival that is overcrowded nearly everywhere. It is the biggest indoor festival in Europe but has the smallest, ugliest press room ever experienced in festivals around the world.
But you are not forced into a lot of less pleasant things at such mega festivals. You can decide to focus and concentrate on a few quality things if you can find them in the programming. A key factor is the hall, just, too. It just so happened that this year's edition had an attractive program in the Madeira hall on the first festival day. The Madeira hall is the best hall in the festival building: good view; not too big; never overcrowded; and acceptable acoustics.
Madeira had four concerts in a row on the first festival day, with an intermission of 30 minutes between each concert: the premiere performance of the festival's annual commissioned composition;

Henry Threadgill
woodwindsb.1944

Ambrose Akinmusire
trumpetb.1982

Theo Bleckmann
vocals
Jamie Baum
fluteTony Roe
The festival's annual composition commissionwhich was actually funded by the Dutch Fund For The Performing Artswas assigned to young pianist
Tony Roe
keyboards
In the presented work, Roe's efforts were strictly confined to and focused on the manipulation of the musical material and form itself, its unfolding and the role of the musicians and a dancer in the performance process. The musical material and form was digitally manipulated by means of and in interaction with visuals and electronic sounds. Roe performed his multidimensional composition with three high calibre string playerscellist
Jorg Brinkmann
celloOene Van Geel
viola
Joris Roelofs
woodwindsRoe made use of visuals on both sides of the ensemble. Initially, the visuals were embellishments of the music, as is common these days. Later on, playful pointed disparity of music, musicians and visuals arose. The shadow of an individual musician or the dancer appeared onscreen like in Indonesian Wajang puppet theater, but the musicians' gestures onscreen and the real-time music played by the real musician onstage were not synchronized. This caused a sensation of conflict, disturbance and need of (mental) readjustment musically and visually. Ongoing variation of disparate mappings evoked an effect that could be compared to René Margritte's famous mirror-painting, La Réproduction Interdite, a playful failure of mirroring. The procedure opened up a lot of musical possibilities of improvisational "failing mirroring" and labyrinthine structure. For dancer Kenzo Kusuda, it also provided lots of counteracting possibilities. Kusuda constantly acted as a mime and a dancer, (re)combining gaze and body movement in significant ways. All elements together evoked a higher level of awareness and a constructivist way of listening.
The work included some pre-structured parts to start with and to return to. In- between, it had parts that were executed by means of manipulation of and improvisation on matches of interacting visual and audio samples. Maybe due to the complexity of mirroring effects the scored parts of the music were more on the safe side. In Roe's work not only preconceived form or themes were reshaped as usual by means of improvisation; instead, the perception and reception of the audience was shaken up and scrambled, which was a way of emphatically inciting and turning the audience to their own recreations of the elements with which they were confronted. The excitement of such an approach depends on the aesthetic and dramaturgical qualities of the design and its execution. The musicians all played on a high, fine-tuned level, the performance had a good flow and remained stimulating throughout. Evidently the performance of a work like this requires facilities in terms of screens as well as sound and light design. What the festival provided in this respect, for a commissioned work of its own, alas, was clearly not up to the mark. It deserved more and better.
Roe made use of a series of challenging elements, such as the Wajang-like shadow- pictures (of musicians) or fragmented eye images. By showing the picture of an eye and manipulating it electronically, the visual element was, itself, commenting. It was additionally augmented or counterbalanced by a vocalized textual element referring to eyebrow makeup. This vocalized element was fabricated in cut-up technique (Brion Gysin/William S. Burroughs), resulting in fragmented speech flow. Thus the performance contained a cascade of self- referential devices made up to escape the aesthetic reality it produced. The eye image was reminiscent of the famous self-referential eye image of the short silent movie, Le Chien Andalou (1928), made by Luis Bu?uel and Salvador Dalí. It seemed that Roe feels a strong urge to go on with this work and lineup to exploit and refine its potentials. It can only be cheered!
Henry Threadgill's Zooid
Relaxed and in an extraordinarily good mood, the great Henry Threadgill entered the stage in Rotterdam together with the four musicians of his Zooid ensemble of nearly 15 years: tubaist

Jose Davila
tuba
Liberty Ellman
guitar
Christopher Hoffman
cellob.1978

Threadgill is one of the most important and original composers of contemporary jazz. As a composer he has developed over the decades a highly sophisticated own system of music and compositional strategies. The music is intensively studied, developed, rehearsed and performed by this ensemble. His music is deeply based in the roots of Afro-American music (from the Gulf- area in the American south), the key elements of which he has incorporated and transformed as part of a fascinating cyclical form of a perpetually mobile kind of music. A performance can be very dense and demanding but also very light, the latter very much in accordance with his approach as it turned out right at the start of the concert. Threadgill played a wonderful "flying" piece with a bossa feelof course, entangled in his circling system. He finished with a great staggering two-minute waltz as an encore. In-between, lots of pure beauty with an alto piece reminiscent of the intensity of the great

Arthur Blythe
saxophone, alto1940 - 2017
Ambrose Akinmusire Quintet featuring Theo Bleckmann
In addition to Tony Roe, American trumpeter

Ambrose Akinmusire
trumpetb.1982

Anat Cohen
clarinetb.1975

Craig Taborn
pianob.1970

Arve Henriksen
trumpetb.1968

Bill Dixon
trumpet1925 - 2010
Akinmusire's group, consisting of saxophonist

Walter Smith III
saxophone, tenorb.1980

Sam Harris
bassb.1986

Harish Raghavan
bass
Justin Brown
drumsBleckmanna high-profile vocalist and singer who has worked with the likes of

Meredith Monk
vocalsb.1943

Uri Caine
pianob.1956

John Hollenbeck
drumsb.1968
Jamie Baum Septet +
Flautist Jamie Baum, the leader of the final group of the night was another award-winner. She recently received a Guggenheim composition award, together with

Steve Coleman
saxophone, altob.1956
The extended Jamie Baum septet, a nine-piece ensembleexisting now for more than eight yearswas clearly a group of special shape and sound, with leader Baum joined by alto saxophonist/bass clarinetist

Douglas Yates
saxophone, alto
Russ Johnson
trumpetb.1965

Chris Komer
french horn
Brad Shepik
guitar
John Escreet
pianob.1984

Francois Moutin
bass
Jeff Hirshfield
drumsb.1955

Dan Weiss
drumsWhen listening in detail, certain elements of Indian or Latin music could be discerned, but they disappeared in and were engrossed by the intricate structures and rich textures, rather focused listening. The most recognizable cues came from Shepik and Jamie Baumand, of course, the tabla from well-known drummer Dan Weiss. All are experienced in Oriental and Indian music, but strictly avoided imitating or faking exotic styles. They played with a real feel for it and focused on the transformation and coloring of Baum's compositions, as in the group's version of "The Meeting" (with a stunning high register pizzicato by Moutin) and "The Game" (from Mustt Mustt). The intriguing entanglement of spare pellucidity, intense rhythmical undercurrent and inner perpetual rotation brought to mind the music of

Gil Evans
composer / conductor1912 - 1988
Besides Baum's great blending of voices in the collective sound of the ensemble, there were some memorable individual moments; "Monkeys of Gokarna Forest" seemed tailor- made for Escreet, a piece that referred to a siege by a troop of monkeys during a tour stop at Nepal's Katmandu Jazz Festival. There were more significant moments for Escreet, as we'll as for other players, all demonstrating the remarkably strong intercommunion that this group has achieved.
It was a stroke of luck that the programmers of the festival not only recognized the extraordinary quality of the ensemble but finally also booked it. The festival would make a still stronger mark in favor of artistic quality if something like this could not only be carefully programmed in a quality hall, as it was, but also highlighted even more firmly as a special part of the festival that is clearly visible to its visitors.
Photo by Henning Bolte
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Tin Men And The Telephone
Jorg Brinkmann
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Oene van Geel
Joris Roelofs
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Jose Davila
Liberty Ellman
Christopher Hoffman
Elliot Humberto Kavee
Arthur Blythe
ambrose akinmusire
Anat Cohen
Craig Taborn
Arve Henriksen
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Uri Caine
John Hollenbeck
Steve Coleman
Elliot Sharp
Douglas Yates
Russ Johnson
Chris Komer
Brad Shepik
John Escreet
Francois Moutin
Jeff Hirshfield
Dan Weiss
Gil Evans
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