Konfrontationen Festival takes place in Nickelsdorf, a small village about an hour east of Vienna, right on the Hungarian border. The festival has now reached its 44th edition. Report by Oliver Weindling on the 2024 festival’s middle day, 27 July.
Curated by Hans Falb, who celebrated his 70th birthday this year in the family restaurant, Konfrontationen’s programme never ceases to amaze. Ranging from the radical contemporary through to free improv, it’s a place to appreciate and learn about this end of the music spectrum.
I attended the middle day of the festival, listening to a selection of top quality bands. First was a trio featuring John Butcher, with Flo Stoffner on guitar and Chris Corsano on drums. It was thrilling to hear the incredible range of sounds and timbres Butcher has developed on his saxophones, while Corsano’s drumming gave the show a special momentum.
The Portugese trumpeter Luis Vicente then led a quartet out of Amsterdam, featuring John Dikeman on saxophones, Luke Stewart on bass and Onno Govaert on drums. They performed a programme dedicated to Albert Ayler, at least in spirit: it had all the requisite interplay between the musicians and exceptionally high energy. Melodic starters led into hard improv, showing off each member of the band at different times. It was also a true demonstration of how the atmosphere of the Jazzgalerie in Nickelsdorf encourages musicians to give their best. In return, they received the positive enthusiastic reaction of an audience of around 400.
Another dedicated mention must got to the last trio of the night, featuring the shimmering and rippling piano of Georg Graewe, along with Brad Jones on bass and Hamid Drake on drums. Though not mentioned specifically, just alluded to by a small photo on the side of the piano, the set was a tribute to the recently-deceased Irene Schweizer (she and Drake had performed regularly at Nickelsdorf, and released a stunning live album on Intakt). During the set, Drake responded to and encouraged Graewe. Jones was mostly providing more of a foundation for the trio, but suddenly exploded with a solo towards the end of the set.
Sandwiched between the two was a slightly reduced version of French pianist Eve Risser’s Red Desert Orchestra (though it still managed to fill the whole stage!). Having heard the first White Desert Orchestra, inspired by the salt flats of Utah, I was intrigued to hear this project, premiered in 2021, and inspired by the Sahara. Risser merged a group of jazz improvisers with two balafons and djembes, and it worked: the African percussionists provided the energy and foundation for the rest of the band to build on. The atmosphere created was as big as Risser’s smile. Such collaborations sometimes founder, but the success of this reminded me of Outhouse’s album Ruhabi, where the jazz quartet worked with Gambian musicians so well.
When the gigs ended around 1 a.m., many of the audience remained until dawn broke, savouring the chance to reflect on what they had heard, and soak in the positive atmosphere. They knew they had experienced something special.
Just this one day alone confirms Konfrontationen as the non plus ultra of festivals of its sort. The location’s influence is proved by the fact that musicians Mats Gustafsson, Georg Graewe and Paul Lovens now live there! There is a risk that once Hans Falb stops curating, the festival no longer continues – but let’s hope that we’ll be back for the 50th edition and beyond.
