Three days/nights with a staggered programme of strict set times across 16 different stages, all within one large mainly undercover complex, needing just one ticket to see any of the performances, makes for one of the largest and most user-friendly festivals in the world.
This year’s NN North Sea Jazz (NSJ) had a programme notably weighted towards vocal-led acts, certainly more than in previous years, but the term ‘jazz’ covers an extremely broad range of musical styles (eg Diana Ross headlined on Sunday) In a similar vein, some committed Love Supreme regulars recently commented that this year’s LS line-up had “too many singers”! Perhaps this trend illustrates the economic reality of needing to attract arguably more ‘popular’ acts (ie with singers/rappers), in order to offset the increasingly evident decline in attendances for live events (unless presenting Swift, Oasis or Coldplay…)
Nevertheless, there were many fabulous artists to experience on all three days of NSJ 2025 and after a short stay watching the decidedly retro ‘southern rockers’ Dutch band DeWolff, the festival got going properly with Jordan Rakei. His set was impressive, as was his band, including the ever-enjoyable Flo Moore on bass and some superb harmony vocals by guitarist Imraan Paleker and particularly by a definite star of the future, keyboardist Eliza Oakes.
Some ‘real jazz’ (sic) next, with Chilean-born tenor saxophonist Melissa Aldana and her Quartet including outstanding pianist Pablo Held, performing in one of the seated, albeit sizeable rooms. On to this year’s NSJ ‘Artist In Residence’ – the phenomenon that is Jacob Collier, in the first of his 4 appearances over the 3 days. With showmanship perhaps taking precedent over composition, neither his popularity, nor his musicianship can be questioned.
Final day one act was the outstanding international and age-diverse trio of Norway’s Arild Andersen (who first played NSJ in 1978 with Paul Motian), Danish drummer Daniel Sommer and the increasingly in demand virtuoso UK guitarist Rob Luft, making his NSJ debut.
Day 2 saw South African Nduduzo Makhathini and his trio play an excellent set, augmented by guest saxophonist Mark Turner. This was followed by the inspirational drummer Terri Lyne Carrington with her thought provoking ‘We Insist 2025’ project, created together with vocalist Christie Dashiell. The outstanding band of Morgan Guerin, Matthew Stevens, Milena Casado and the non-programme listed, but once again gig-enhancing dancer Christiana Hunte, made this event one of the overall festival highlights.
Groove-oriented and patently popular Snarky offshoot Ghost-Note drew a large crowd in the mood for dancing, but it took a flight-delayed, calmer and more refined set by guitarist Mary Halvorson and her Amaryllis Sextet, to perfectly close out the day.
Day 3 began with an intimate duo of “guitarists’ guitarist” Dutch legend Jesse van Ruller, with saxophonist Maarten Hogenhuis. From that excellent, though relatively calm start, the next act was quite a contrast! Armenian keys wizard Tigran Hamasyan and his The Bird of a Thousand Voices is even more ‘prog’ than Brad Mehldau’s recent explorations into his ‘rock’ youth and with a band of two keyboard players, bass and especially Nate Wood’s magnificent drums, the gig certainly counteracted any lingering day three weariness.
The final gigs of the festival featured two contrasting, but somewhat parallel universes of (i) UK tenor sax marvel Nubya Garcia, with her excellent band this year complimented by a string quartet; and (ii) US alto sax star Lakecia Benjamin with her quartet; each leader exhibiting exactly why they are making huge waves on both sides of the Atlantic.
Yet another altogether satisfying three days of music, enriched by the tremendous creative and human diversity gathered together and presented in one place.
Author John Ferguson (Instagram @johnferg01) co-promotes live music at SoundCellar in Poole (www.soundcellar.org)
