What do flash mobs on public transport, synthetic ensembles of musical machinery and an impromptu concert on a rowing boat all have in common? Well, they were all regular sights during last week’s Jazzfestival Saalfelden in Austria. For several decades, this picturesque spot – nestled away up in the Leoganger Steinberge in the Eastern Alps – has played host to the likes of Carla Bley, Archie Shepp and Pharoah Sanders, and now boasts a firm reputation as one of the most eclectic and established festivals in the live jazz calendar. Currently in its 44th year, I figured it was high time to venture south of Salzburg and up into those hills…
Reaching Saalfelden from Salzburg is no hard task, it’s an hour by coach from directly outside the airport, or there are regular trains which take a bit longer. My concerns of the British summer I had left behind catching up with me soon faded as the grey, homely skies gave way to luscious green plains and mist covered peaks.
Upon arriving in Saalfelden, I made my way to the Kunsthaus Nexus, the spiritual home of the festival, and location of Lukas Kranzelbinder’s legendary late-night ‘Spiritual Unity’ hangs. Overseen by compere Götz Bühler, whose infectious enthusiasm never once dipped throughout the whole festival, we were introduced to the likes of enigmatic techno-jazzers other:M:other, Valentin Ceccaldi’s raucously volatile ‘Bonbon Flamme’ and, over in the industrial Otto-Gruberhalle, a powder-keg of opening night fireworks from Franz Hautzinger’s Regenorchester XVII. Back at Nexus, Artist-in-Residence Chris Janka’s Totally Mechanized MIDI Orchestra held the fort, with several guests dropping in to compete with the generative robo-troupe in their own unique way over the days to follow. It was clear that we were in for a weekend of challenging but rewarding creativity and inventiveness, with the best still yet to come.
“An impromptu concert on a rowing boat”
Mats Gustafsson and Nate Wooley . Photo by Oliver Hochkeppel
The next morning began with a distinctly Austrian flavour. The resonant tones of an Alphorn reverberated across the hills (yes, alive with music and all that…) from somewhere above my lodging, announcing the day’s activities. Captivated by the sound that had awoken me, I leapt into action, determined to locate its source. My pursuit led me on an upward trek, ascending over a kilometre in altitude as I passed the town’s historic hilltop castle. Exhausted, I finally reached my goal: the Einsiedelei, a secluded hermitage hewn into the mountainside, serving as a refuge for weary wanderers and pilgrims. However, the congregation of experienced hikers already gathered there appeared far from tired. Instead, they were absorbed in the atmospheric dialogue between trumpeter Martin Eberle & trombonist Alois Eberl. Upon noticing me, they all turned with inquisitive expressions mixing amusement and mild disdain, their faces seemingly asking, “First time, is it?”…
For me, Saalfelden’s allure extended beyond the mere assemblage of world-class performers; its true enchantment lay in the numerous opportunities for these artists to engage with one another in interesting and diverse ways. A prime example of this was its ‘Invites’ series, which orchestrated intriguing paradigm shifts between such unorthodox talents as cellist Tomeka Reid and Swedish-Ethiopian vocalist Sofia Jernberg (who later appeared with visceral prophets of doom The End as well as bassist Petter Eldh’s tunefully oblique Post Koma), not to mention the appearance of Brooklyn-based guitarist Mary Halvorson and her regular companion, drummer Tomas Fujiwara,in the local Buchbinderei Fuchs – another thought-provoking juxtaposition between the region’s wholesome craftwork traditions and groundbreaking musical creativity that was taking place. Plenty of recent heavy hitters were met with a hero’s welcome by the packed crowds at the town’s central Congress, including James Brandon Lewis & The Messthetics, Sylvie Courvoisier’s ‘Chimaera’ and the Kris Davis Trio’ upcoming ‘Run The Gauntlet’ – each of which stood boldly at the precipice of modernity, and all talking points of the weekend.
With over 60 concerts – over half of which were free – taking place in 13 different venues, pacing was crucial if I was to get through the weekend in one piece! For that reason, I made sure to take regular outdoor breaks, swimming in the Ritzensee lake or whizzing into nearby Leogang on my rental bike. Unsurprisingly, the musicians were always one step ahead. As if to bid us farewell, flautist/baritone saxophonist Mats Gustafsson (who surely holds the record with 5 different performances at this year’s festival) and trumpeter Nate Wooley serenaded the happy campers with their skronking dawn chorus on Sunday morning – a stark contrast for the senses, as they appeared to glide peacefully across the calm waters in a small, wooden dinghy.
Further along the woodland trail and into the depths of the Kollingwald, Daniel Erdmann and Vincent Courtois invited us to imagine their respective saxophone and cello as natural components of our open-air surroundings. As their performance softened in volume but grew in intensity, our awareness became heightened as we sank into the soft forest floor, mindfully tuned into the awesome canopy around us.
I couldn’t pick just one highlight from my time in Saalfelden – where, incidentally, I was the only UK journalist, but what really stood out was the curious sense of adventure that brought the festival’s attendees – 28,000 visits in total – together. With many artists meeting for the first time, Mario Steidl’s and Daniela Neumayer‘s artful curation and superb, thoughtful organisation helped create a special energy that bridged the gap between the musicians, the festivalgoers and the various backgrounds of each group. By adding an extra layer of excitement and unpredictability to the proceedings, the whole event made for a truly immersive and memorable experience.
