The Jazzdor festival itself has become a major “brand” for some of the exciting, and indeed European, jazz. It has built from the foundation of its annual festival in Strasbourg, which started in 1986, also to include an annual festival in Berlin (reviewed regularly by UK Jazz News), this year including Leipzig, and a record label. So it was a pleasure and privilege to drop in for three days back at its Strasbourg roots, as this is the last to be curated by Philippe Ochem, who has been at the helm since 1989 and initiated this expansion.
For the period when I was there, a daily programme took place at the university’s Planétarium, with early evening concerts, and at the local arts centre Fossés des Treize. (Unfortunately, a trio show by the new French trio of pianist Joachim Kühn just over the border in Offenburg was cancelled.)
The location and visuals at the Planétarium certainly influenced how one perceived the performances in a way really different to that it might be in a more usual venue. The first two gigs I heard were duos and somehow managed to evoke the vastness of space! They had a smart interplay between the instruments and intricacy. Though their pairings led to vastly different sonics. The first was Météore with violinist/violist Maëlle Desbrosses and tuba player Fanny Meteier. So there was quite a range between the two instruments. However the tuba was at its most lyrical, as a melodic instrument in the bass register rather than playing bass lines. Desbrosses sometimes added ethereal vocals and declamations. It was hard to separate what was written and what improvised.
Meanwhile the duo Bize, of Robin Fincker on clarinet and saxophone and Sylvaine Hélary on various flutes, also had a contrapuntal element. Here the instruments’ ranges overlapped, so that there was a filigree weaving between the two. They’ve been playing together for quite a few years, though of course we know, in London, Fincker so well for his time as one of the leaders of the LOOP Collective.
[NA] was a trio of saxophone, baritone guitar and drums. Quite a contrast from the other two bands on the previous days. Whereas the first two really evoked the vastness of space, this one seemed to be taking its higher energy music like a rocket launching into the cosmos.
There were also some fascinating double bills in the Fossés des Treize, where I went for two nights. On the first, there was the Lotus Flowers trio of pianist Bruno Angelini, with, on alto and tenor saxophones, Sakina Abdou and Angelika Niescier, showing how the festival has been so adept over the years in bringing together French and German musicians. Mainly dedicated to people who have been influential for Bruno, such as Rosetta Parks and Nelson Mandela, it was a most thoughtful set, with a chamber atmosphere. Abdou’s alto contrasted with the huskier tone of Niescier.
Next was Tilia, a new quartet of guitarist Paul Jarret. By including Sun-Mi Hong on drums, and Phillip Gropper from Berlin on tenor, he had the help of two musicians full of imagination and energy. And it was felt throughout, with all members were given space for soloing to evolve the music.
Photo : Teona Goreci
I had only had a chance to hear the trio of Manu Hermia on saxophones and flutes, with cellist Valentin Ceccaldi and drummer Sylvain Darrifourcq once live previously. They are now about to record their third album together, and we were able to get a chance to appreciate some of the new music – and also how much they relish the chance to play together. Belgian Hermia has always been most eclectic in his influences, with as much related to world music as purer jazz. Darrifourcq has an intensity in his drumming which, at the Vortex, we’ve appreciated often over the years. A clarity without overpowering the others. Meanwhile Valentin Ceccaldi is a most charismatic cellist, who constantly surprises in both his sound and his inventiveness. Overall, a mesmerising set of wondrous ingenuity, wit and joy!
Boi Akih, led by vocalist Monika Akihary from Netherlands, has been at the forefront of the Dutch scene, where they merge the free scene with influences of the music of the Moluccan islands in Indonesia. She extended her usual lineup to include bass clarinet as well as Fanny Meteier anchoring on tuba, to add to her regulars, trumpeter Peter Somuah and tenor saxophonist Yedo Gibson. This seemed to provide added punch, especially related to the strong groove later. Particularly important was also the guitar of Niels Brouwer, who acted as a glue for all this.
Best wishes to Philippe Ochem, whose achievements give a marvellous opportunity for his successor to move Jazzdor forwards. Fingers crossed!
