Oliver Weindling reports from having spent three evenings in succession at Porgy and Bess club in Vienna. He writes:
An eclectic three days at Porgy and Bess in Vienna, proving how it’s a venue really at the peak of the club scene in Europe, not frightened to extend to evenings of the new and avant garde as well as the most entertaining! But hardly surprising given the energy of the local scene, which I have been becoming more impressed by, since attending festivals this year such as Outreach in Schwaz, Südtirol/Alto Adige in Bolzano and Inntöne in Diersbach.
Kick Jazz – 5 December
Kick Jazz is an annual festival which has been running for ten years. Organised and supported through the Music Information Centre Austria it gives a chance to experience some of the new Austrian bands. I attended the second night.
It started with an intense improvised 40-minute set from nine musicians mainly from Catalonia, but also Sweden and Austria. Split into three overlapping trios moving smoothly from one to the next, it climaxed with all playing together. Similarly paced throughout, we were given a sensitive range of interaction timbre and instrumentation. It’s not often that one hears a lute and a vibraphone together!
The Valentin Duit Quartet, led by the eponymous Duit on drums, includes saxophone (a busy Robert Unterköfler), vibes and bass. The sound is energised and layered almost contrapuntally. One is able to appreciate each instrument separately, but they integrate well.
Unterköfler was back in the next band, Slowklang, more focused with perhaps a more Nordic feel. Generally mid tempo and verging on the spiritual, with Amina Bouroyen on vocals and Robin Gardermeier on 6 string bass and bass pedal organ, like one uses for a Hammond. This acted as a foundation to a broader use of his instrument, often virtuosic and often heavily effects laden. Particularly effective and moving was a Mal Waldron cover, “The Seagulls of Kristiansund”, which gave a real chance to show the group members’ individuality.
Final line up of the night was Schmack – totally different, as a groove-oriented contrast. A much more outgoing set with elements of punk and of rock blended into the jazz. I can imagine it at its best in a room where we could have been able to dance along.
Austrian Jazz Prize, 6 December
The following night we had the celebration of the first Austrian Jazz Prize for 15 years. It is especially interesting that they all come from the newer scene, with none being already known so much internationally, and had ‘beaten’ more established names such as Wolfgang Muthspiel, Blueblut (including ex-Londoner Mark Holub) and Saxofour, whom I heard the following night. But we were treated to three groups with a lot of thoughtfulness, sonic imagination and ability to grab our attention. So that justified the choices.
Live Band winner was Synesthetic 4, led by Vincent Pongracz. Based on his compositions, it has now been in existence for about a dozen years, so the members (Peter Rom on guitar, Manu Mayr on bass and Andy Lettner on drums) are well integrated and can show their personalities. Over the years, it has performed in many sizes from Synesthetic 2 (with Rom and Pongracz and which performed at the Vortex in 2019) to Synesthetic 8 (an octet). It’s great to hear how Pongracz can show off the versatility of the clarinet, with carefully chosen effects. It says a lot that legendary Hungarian clarinettist Lajos Dudas is giving him his own clarinet, so passing the ‘baton’ to the new generation and proving how he is making it a vital instrument in the current musical firmament. We heard a mesmerising set, ending with a couple of new videos, where they had been able to sync perfectly to the visuals, apparently through careful work by drummer Lettner.
E C H O Boomer, with writing by bassist Beate Wiesinger, won the Best Album category for “Timeless Warrior”. Quite an eclectic front line, including violin (doubling flute), cello, alto saxophone and trombone. The keyboard has a vital role in holding it together. At times,the live performance didn’t come over as clearly as the recording, as it’s probably difficult to balance. It moves between more careful composition and harder edge improvisation in a seamless manner.
Yvonne Moriel, the alto saxophonist whom I wrote about from Schwaz, won Best Newcomer. She has a great technique and a lot of positivity in her approach. Strong on groove and energy, her confident outgoing personality comes over well. A fascinating line up, including trumpet, keyboards and drums but no bass. Stephanie Weninger on Moog and keyboards is an important glue, and it creates a lot of space for them all.
LIST OF AWARDEES:
Best Newcomer: Yvonne Moriel
2nd: Nina Feldgrill (bass)
3rd: Lorenz Widauer (trumpet)
Best Album: Echoboomer: “Timeless Warrior”
2nd: “Dance of the Elders” (Wolfgang Muthspiel Trio) Line Up: Wolfgang Muthspiel (guitar), Scott Colley (bass) und Brian Blade (drums)
3rd: “Way To Blue” (Gina Schwarz & Multiphonics 8)
Best Live Act: Synesthetic4
2nd: Manu Delago feat. Mad About Lemon
3rd : Austrian Syndicate/ David Helbock
Saxofour, 7 December
Meanwhile, a deserved shout out for Saxofour, who performed the following night. Father figures for many whom we had heard over the previous two days. It’s a saxophone quartet which has now been going for 32 years (and also nominees for Best Live Act). And when we heard them (Florian Bramböck, Wolfgang Puschnig, Christian Maurer and ) it felt as though we were eavesdropping on an ongoing 32 year party. Their Christmas albums are amongst the best soundtracks that you could want.
