The Inntöne Festival gave more opportunities than ever to hear the carefully-curated selections of Paul Zauner. The Friday of the festival had just four main bands, but on Saturday and Sunday he had programmed 13 hours a day of non-stop music.
Friday indeed started intensely though gently. The duo of Giovanni Zanchini (accordion) and Gabrielle Mirabassi (clarinet and saxophone) gave a true tour de force: balancing the versatility of the accordion and the emotion of the clarinet. Especially Mirabassi, who can’t fail to express his enthusiasm through his serpentine bodily writhing as much as his mesmerising playing. (See Five-Star Review of their album by Sebastian for the Arts Desk)
A shame for it to end. Except it allowed Brazilian singer Mônica Salmaso to take the stage. She exuded a childlike verve and delight, dovetailing in perfectly. She built her show around that lyricism of choro-like melodism which was beautifully matched by the other members of her band, Teco Cardoso on reeds and Nelson Ayres on piano. And, to keep the link to Mirabassi, she even sang some of his Italian lyrics.
But these were just two of the thirty-one bands booked at the festival. There were a few linking features between them. The programming proved that older, more experienced musicians are certainly not doddery in their minds or performances! These were shown by the pianists Jasper Van’t Hof (now 78) and Kirk Lightsey (87). Lightsey revived a collaboration with drummer Famoudou Don Moye (“just” 78) that dated back to the Sixties. Allowing them to explode and interact was our own Steve Watts on bass, giving the group a solid foundation. Lightsey seems to have boundless energy and imagination: he had just completed a three night feature at Porgy and Bess Club in Vienna, showcasing his different skills. Jasper Van’t Hof has an impish attitude, energised by his young band.
Less known but equally interesting is Lenny Popkin, at 82, a saxophonist schooled by Lennie Tristano. (Indeed, his wife Carol Tristano, on drums, is Tristano’s daughter.) His performance at the 2009 festival was released as a CD and Sebastian interviewed him in 2015. You felt that his improvisations on standards had a visual quality making them the musical equivalent of Abstract Expressionism.
Other saxophonists of the ‘old school’ included Bobby Watson, blowing up a storm with his Post Motown Bop band. But especially thrilling was the chance to hear live the British legend John Surman, with his current lineup of Rob Waring on vibes, Rob Luft on guitar and Thomas Strønen on drums. His sound on soprano and baritone saxes was as spine-tingling as ever. But it was very much about music for a band, as indeed could be seen by the way he placed himself modestly almost behind his musicians.
Rob immediately reappeared as a member of Byron Wallen’s Four Continents band. Part of Paul Zauner’s “love” of the UK jazz scene. Byron’s lively and personal approach to his music won over the audience, creating a marvellous intimacy as he explained the background to the tunes. It was a band that played ‘as one’, completely at ease with Byron’s attitude.
The other UK band on the bill was totally different and yet totally in keeping with the festival’s ability to surprise. Apollo 5 is a vocal ensemble in the spirit of King’s Singers. It was actually very refreshing to hear the opening madrigals to make one consider, and respect, this music in a new light.
Another joy was the opportunity to hear Marc Ribot’s “Jazz Bins”, his Hammond organ trio. We are aware of the diversity of this guitarist whose credits range from John Zorn through to Tom Waits. So it was a good chance to appreciate a band where he could really showed his ease at such a style.
Christian Mühlbacher had started the Sunday with a wild big band, celebrating the 150th anniversary since the composition of the 4th Symphony of Anton Bruckner, a “local boy” from Upper Austria. An ebullient, wild yet focussed energy from his 20 “friends” including some of Austria’s finest musicians, with even the principal tuba and trombone of the Vienna Philharmonic.
But the festival is equally adept at picking out newer musicians to watch. Two pianists fitted this bill. The solo prepared piano of Marta Sánchez was a total contrast to Mühlbacher, who had preceded her. Due to delays, she went almost directly from arriving from the airport to the stage. But that didn’t stop her from playing a programme which surprised and delighted as she was able to give unusual resonances across the instrument.
The day before, we had had the chance to hear the feted piano trio of Norwegian Liv Andrea Hauge, another of the younger generation. Lyrical, energetic yet thoughtful, she also gave space for the music to breathe and grow.
The weekend ended with melody and Manu Delago has built a great reputation as a ‘traditional’ hang player, in contrast to Portico Quartet. Stroking his instruments to create gentle ethereal sounds, the melody worked well, especially with his enlarged forces including backing vocals. He was then followed by the positivity of Donny McCaslin.
As much as one could enjoy the range on the main stage, one had to respect the music going on elsewhere. Be it the fabulous youngsters on the first night, the oldest hardly a teenager, the trio of Portuguese trumpeter Luis Vicente, a great ambassador of the new generation of Portuguese jazz, pianist Carlton Holmes and more.
So once more, Inntöne delivered a memorable weekend. And beautiful sound throughout the weekend for all stages, with every note was clear as a bell.
Various concerts will be broadcast by ORF (Austrian Radio). Next confirmed: 19/08/2024 Monica Salmaso 6.30 p.m
