Artists:
* Han Bennink, Ingrid Laubrock, Marta Warelis
* Christophe Monniot /Didier Ithursarry
* Kuhn Fu (Christoph Kühn, Tobias Delius, Frank Gratkowski, John Dikeman, Ziv Taubenfeld)
* Julie Sassoon Quartet with Lothar Ohlmeier, Rudy Fischerlehner, Meinrad Kneer
* Max Andrzejewski, Camila Nebbia /James Banner
* Ziv Taubenfeld, Olie Brice, Kresten Osgood
* Paul van Kemenade /Stevko Busch
The Zomerjazzfietstour (Summer Jazz Bike Tour) in Groningen has now reached its 38th edition. This was the swansong of the festival in its current format. Another team will take over, after a year’s break, in 2026.
There are 26 concerts to pick from, starting around midday on Saturday, mainly in churches and barns in villages to the north of Groningen. You have to make difficult choices
The Prologue the night before had had no such problems, being held in a single venue in Groningen! First we heard Christophe Monniot on various reed instruments, in duo with accordionist Didier Ithursarry. Such duos always seem to have such a variety and engagement. Moving between originals and rollicking French music of bal populaire style, Monniot matched his warm technique with humorous introductions and was even dancing to solos of Ithusarry.
Then there was Kuhn Fu, the brainchild of German guitarist Christoph Kühn who had in fact lived for many years in Groningen. There was something reminiscent of Billy Jenkins, in how he could bring a rockier guitar approach to harness a mouthwatering horn section of improvisers, including Tobias Delius, Frank Gratkowski, John Dikeman and Ziv Taubenfeld. He likewise included humour, such as a running joke asking whether the audience wanted improv or melodic intros to tunes. Generally, to my pleasure, the former.
So, with a morning to research my route, I was happy to catch a few tasty morsels, mostly around the hub of the festival in Garnwerd, a perfect Dutch village – cobbled main street, windmill, and old church. From the look of much of the programme we are looking at the improvised music scene of Amsterdam, and where it interacts with that other centre in Berlin. London has almost disappeared from the programme, even though the music is as imaginative as ever, and we had many who had spent considerable times in London.
Not least, the Berlin-based quartet of pianist Julie Sassoon, now playing together for nearly a decade. Lothar Ohlmeier on saxes and bass clarinet, drummer Rudy Fischerlehner and bassist Meinrad Kneer all revel in the experience and pleasure of playing together. Solos are not formally separated out. They seem to evolve and draw us in. The foundation for the basic piece seems to come from Julie’s personal experience. Such as the hecticness of “Missed Calls”, named after a lot of missed calls from her mother received during a gig!
Down the road, in another church, I heard a trio, again from Berlin, with drummer Max Andrzejewski, Camila Nebbia on saxophones, and James Banner on bass. A group where the improvisation comes out of their compositions which creates a really strong ‘conversation’ between the three of them. Started about a year ago, it’s more delicate, acoustic and less ‘free’ than Andrzejewski’s other group, Training, which I had heard in Bolzano.
Another trio that I heard was that of Ziv Taubenfeld on bass clarinet, Olie Brice (the only UK-domiciled musician performing) and energetic Danish drummer Kresten Osgood, whom we have heard at the Vortex at different times with John Russell and Django Bates. And what a positive, dynamic band: well attuned to one another even though it was their first gig together. Olie’s bass acted as the heartbeat of the group, allowing Taubenfeld and Osgood tremendous freedom of playing, in terms of timbre and sound as much as melodiousness.
Alto saxophonist Paul van Kemenade played in a long-standing duo with pianist Stevko Busch. The plangent and complex timbre of van Kemenade’s sound complemented well the flowing relative lightness of Busch.
A real highlight of the festival was the performance by Han Bennink, together with Ingrid Laubrock on tenor, and pianist Marta Warelis. Bennink and his friends from the likes of ICP Orchestra have been the heart of the festival since its start. He still plays with amazing focus and range, probably energised by his companions on stage (?) Ingrid Laubrock has a warmth and openness to her playing. Warelis, another new star in the Amsterdam-Berlin improv axis, started the set carefully and thoughtfully before opening out, and creating intriguing prepared sounds, even on a small upright. Never overpowering but integral to the trio’s success. To end the set, Bennink even sang a song written by his late sparring partner Misha Mengelberg, dedicating it to the artistic director Marcel Roelofs who has been involved since the first edition of the festival.
With the definite change in team and likely new vision, it’s impossible to guess what the future of this festival might look like. While it’s understandable that festivals like this have to adapt to a tougher economic environment,we must hope that they don’t lose the the festival’s spirit, imagination, uniqueness and breadth of programme. They are what have created its unique brand.
FUTURE GIGS BY THESE ARTISTS: Taubenfeld/Brice/Osgood, Vortex, 3 October; Newcastle Festival of Jazz and Improvised Music, 4 October
3 responses
“From the look of much of the programme we are looking at the improvised music scene of Amsterdam, and where it interacts with that other centre in Berlin. London has almost disappeared from the programme, even though the music is as imaginative as ever, and we had many who had spent considerable times in London.” How should we know, what’s goin’ on in UK, Oliver? Contrary to UK people regularly invited to festivals in Europe, European people (writers included) are never invited to UK festivals! That makes it difficult/impossible to keep track with things happening in UK. Jammer, as we say in Dutch.
Henning makes an important point. British promoters are often invited to festivals across Europe, but not since the days of the Bath Jazz Weekend have European promoters been invited to UK festivals.
As a response to the question: “How should we know what’s going on in the UK?” I asked ChatGPT and here’s one answer. I hope it is helpful:
“Dick Hovenga, the editor-in-chief of the *Written in Music* website, has written extensively about a wide range of music genres and artists, including UK bands. While the site covers global music trends and artists from all over the world, there is a noticeable focus on UK-based acts, especially in genres like jazz, rock, indie, and alternative music. *Written in Music* is known for its in-depth reviews, interviews, and features, often spotlighting both emerging and established UK bands.
Hovenga and his team cover artists across a broad spectrum, so you’ll find discussions about both well-known UK bands and lesser-known, niche acts.” (End of quote)