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Sarajevo Jazz Festival 2016

After all the huge amount of music and emotion experienced in Sarajevo, what is left is the sense of having lived through an intellectual adventure of the highest calibre.
Sarajevo, Bosnia and Herzegovina
November 2-6, 2016
When your plane lands in Sarajevo, its wheels roll over the crumbling underground tunnel that was the only connection of the city to the outside world during the Serbian siege from April 5, 1992 to February 29, 1996. It was twenty years ago, and a few months later, in a devastated town, Edin Zubcevic launched his first jazz festival.
"This is a post-trauma society, like many other societies," said recently Edin. "We are really trying to do something for society. It's a mission. We are here for the music because we really believe in the music and its power of reconciliation, its healing power."
Sitting uneasily on the edges of Europe, the historical city of Sarajevo where so many key events of European history took place is slowly recovering from the war, in a general economic slump that does not help the economy. Founded by the Ottomans and for centuries one of the most important trading centers of the Balkans, with sizeable Jewish, Muslim, Catholics and Orthodox communities, its still a powerful visual model of tolerance with its cathedrals, mosques and synagogues sitting within metres from one another.
Boys and girls on the streets look like anywhere else, but unemployment is high and perspectives difficult, with a stead outflow of emigrants, draining the country of the brightest talents. Remaining there and fighting the fight is the choice of Edin and his passionate, efficient team, whose hospitality is legendary among musicians.
This year's program centerpiece was the

John Zorn
saxophone, altob.1953

Bugge Wesseltoft
pianob.1964

Rob Mazurek
trumpetb.1965

Nitai Hershkovits
pianoFortunately both

Marc Ducret
guitarb.1957

Samuel Blaser
tromboneb.1981

Peter Bruun
drumsDue to the protraction of the afternoon concerts (and the need to visit a cevapcici shop now and thenit's a delicious Bosnian version of kebab) I missed

Markus Stockhausen
flugelhorn
Florian Weber
pianoThe final concert by Croatian pianist " data-original-title="" title="">Matija Dedi?, whom I knew from his collaboration with the excellent singer Tamara Obrova?, took place in the Town Hall, an Austro-Hungaric building in Moorish style, recently restored, that used to be the National Library but went up in flameswith all its booksduring the siege. Check out the video of the touching performance of Mozart's Requiem conducted by Zubin Mehta in the middle of the siege in the ruined building. The setting was inspiring but the piano sound got lost in the huge, high-ceilinged hall. The affectionate explorations of the compositions by his late father, Arsen Dedic are naturally so much more involving to an audience familiar with the Yugoslavian singer-songwriter's repertory. The following was the great day, and at 7 PM Masada exploded on stage with undiminished fervour and power. It's hard to believe that the bandnamed after another siegeis already more than 20 years old. It was not an easy act to follow, but an alternation of colors and atmospheres kept the program flowing over the 11 groups that took to the stage. No-one was less than interesting, but for me the highlights were the Nova Quartet with

John Medeski
organ, Hammond B3b.1965

Kenny Wollesen
drums
Trevor Dunn
bass
Joey Baron
drumsb.1955

Erik Friedlander
cellob.1960

Uri Caine
pianob.1956

Craig Taborn
pianob.1970

Marc Ribot
guitarb.1954
The following day I had the honor to be included in the presentation program, tying up with Bogdan Benigar's presentation of the 2017 European Jazz Conference that will take place in Ljubljana 2017 to introduce the project I am coordinating of a collective book about the History of European Jazz with almost 40 different contributions from all the European countries about their own history in and with jazz. A young, interested and bright audience filled the room and fielded questions and comments.
I was looking forward to my first sevdalinka live in Sarajevo and the duo of singer Tijana Vignjevi? and Belma Ali? on cello was the answer. In front of a local and loyal audience they reinterpreted traditional songs from Bosnialove songs and lamentswith great emotion, using creatively a wide variety of vocal and instrumental colors. Limited means, as

Steve Lacy
saxophone, soprano1934 - 2004

Miroslav Tadi?
guitarI was very curious to hear the new adventure by bassist and singer John Greaves of Henry Cow fame, and was not disappointed. Held together by

Vincent Courtois
cello
Eric Vloeimans
trumpetJorg Brinkmann
celloThe final night of the festival opened by two duos with pianist
Bojan Zulfikarpasic
pianob.1968

Nils Wogram
tromboneJulien Lourau
saxophone, soprano
Django Bates
pianob.1960

Terje Rypdal
guitarb.1947

Palle Mikkelborg
trumpetb.1941
Besides the fascinating context the festival takes place in, I feel that a festival is strong when leads a listener on a path of exploration. It includes and welcomes the possibility of finding dead-ends, because no discovery runs on a highwayyou need to go through backstreets and forest walks, with the resident danger. After all the huge amount of music and emotion experienced in Sarajevo, what is left is the sense of having lived through an intellectual adventure of the highest calibre. Kudos to Edin and his team for creating and keeping alive this festival in the most difficult conditionswe all may soon have to learn from them.
Tags
john zorn
Live Reviews
Francesco Martinelli
Bosnia / Herzegowina
Bugge Wesseltoft
Rob Mazurek
Nitai Hershkovits
Marc Ducret
Samuel Blaser
Peter Bruun
Markus Stockhausen
Florian Weber
Hüsnü ?enlendirici
Matija Dedi?
John Medeski
Kenny Wollesen
Trevor Dunn
Joey Baron
erik friedlander
Uri Caine
Craig Taborn
Marc Ribot
Tijana Vignjevi?
Belma Ali?
Steve Lacy
Miroslav Tadic
Vincent Courtois
Mark Nauseef
Eric Vloeimans
Jorg Brinkmann
Tuur Florizoone
Bojan Zulfikarpasic
Nils Wogram
Julien Lourau
Django Bates
Terje Rypdal
Palle Mikkelborg
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