Itching for action, Sexmob swelled up an introductory theme, doing battle with the Jazz Standard’s disembodied announcer, bandleader Steven Bernstein competitively laying down his own alternative house rules.
We could flit down from NYC to historically rich Savannah, Georgia, exchanging frostbite for mosquito-bite.
Tallinn is renowned for the old and the new, its castle-walled quaintness and its digital advancement, its Old Town, and its cultural youth. Skype was born here, and Estonia is recently offering an amorphous (though effective) online residency e-status.
Following the inspired-as-ever 2016 Moers Festival, there was a worrying period where it looked like this deeply entrenched alternative German institution would suffer a sudden death. Its artistic director for just over a decade was Reiner Michalke (he runs the equally alternative venue Stadtgarten in Cologne).
A towering green man looms over the Far Out area of the Green Man festival, in the Black Mountains of the Brecon Beacons. His fate is to be burnt at the witching hour, on the final midnight of this Welsh weekender, his leaves, roots, goat horns, and brandished bowl of fruit immolated just prior to an even bigger fireworks display. An ancient mythological figure of cyclic renewal, the green man’s roots might be pagan, but he persisted to the early days of church decoration, and his visage spans variegated global cultures. Greenery was fresh in the 2018 spring, but now as autumn falls, it’s time for flaming destruction. First, though, there were four days full of musical performances, with satellite spaces devoted to film, discussion, comedy, healthy living, installation art, and copious quantities of indigenous Welsh real ale and cider.
Sons d'hiver (Winter Sounds) has been running in Paris for almost three decades, presenting artists on the perimeter of jazz, usually with a pair of acts each evening, and taking up most of February. For the festival's last weekend (22nd/23rd) of its accustomed three-week run, Paris was basking in unseasonal sunshine, and spring sounds were already sprouting.
Unlike the soft fusions of many other global music festivals, Ethno Port adopts a hardcore folkloric approach, presenting unfiltered forms in the Polish city of Poznań. If styles are to be blended, their amalgamation usually has a harder surface of creative confrontation, or perhaps a subtle creeping together of twinned, introspective forms.
The World Of Music, Art & Dance has been running since 1982, when its inauguration was a glorious cultural success, but unfortunately a complete financial disaster. Peter Gabriel was a founding (and funding) force, so he decided to reunite with Genesis bandmates to play a massive benefit gig. Given a second life, the WOMAD organization began to build a sound infrastructure, and the festival has subsequently become a revered global music institution, maintaining its annual English core version, as well as sprouting offspring in Spain, Chile, Australia, and New Zealand. There was even a short-lived US edition, close to Seattle.
Opus presents jazz gigs on an average of five nights per week, its ground level acting as a mezzanine, with the main stage area squatting down in the basement. With its rows of tables, sonic warmth, and general aura being redolent of New Yorks own Jazz Standard club, Opus is a fine haunt, with a diverse set of bookings.
Sixty Sixth Congress is a fairly obscure bar on Greenpoint Avenue, and the gig happens in its rear room. Lunch held court just as much as performed, her lines as much poetry readings as rocknroll verses, her lolling demon tongue repeatedly sent out to taste the bad-droplet atmosphere. She was relaxed as she smoldered, spitting and mocking, drawling and growling
Participating musicians need high quality microphones and an audio interface for acoustic instruments, which is why universities are the axes for Telematics, rather than the bedrooms of performers. Also, it requires ethernet connections, says Dresser. That has limitations for almost anyone. The challenge is how do you create a musical community, and work between levels of access?
Spaced-out performance is easier in a park expanse. Pandemic people-separation was observed, as the annual Citadelic festival persevered, even if it eventually happened a month later than its accustomed MayJune dates. Presenting sounds that are on the improvising edge of jazz, or even completely free-form, the concept of not flooding the park with folks was manageable, given that the Citadelic musical stance is somewhat esoteric.
Lucrecia Dalt appeared as part of the Botanique venues annual sprawl-festival, Le Nuits. Dalt fell into the esoteric category, with her solo electronics investigations and her concentrated inwardness.
Rarely can an audience witness a performance-art orator who operates on such a multitude of simultaneous levels, from prompting laughter to issuing sonic threats, chatting casually, or barking on the edge of hysteria.
Tiwaline is primarily beat orientated, with percussion usually to the fore, a bass thrum acting like a magnified frame drum interior. She often chooses a portentous mood-construction, with swirling soundscapes, sometimes scattered with metal percussion, or marimba sounds, perhaps with a wooden flute swirling to evoke a desert trance state.
The Kansas City-born alto saxophonist Logan Richardson is enjoying an ongoing relationship with the Szczecin Jazz festival organizers.
Nuits Sonores is an electronic music festival, but there is always room for a musical detour.
Avant Gardner thinks its an airport. Security is paramountjust look at their website to check out the heavy restrictions on whats allowed inside its warehouse-like cavern. Rows of metal fences zig-zagged, herding this capacity crowd into a performance that was understandably in phenomenal demand.
There was a pivotal juncture shortly before this years Tallinn Music Week when fortitude bloomed and the organizers threw themselves into realizing 2020s already postponed conference-cum-festivalthe Estonian government giving permission to operate at a reduced venue capacityacross the citys broad range of indoor and outdoor stages. Braving a steady domino-fall of cancellations by visiting international acts, as red-patches proliferated, TMW understandably placed the emphasis on indigenous artists, covering most styles, including rock, jazz, folk, hip hop, electronica, ambient, pop, and modern classical.
Fairuz is now 85 years old, still the dominant female singer in Lebanon, and indeed the Arabic world itself. The departed Egyptian singer Umm Kulthum is the only other contender. Fairuz is the Arabic word for turquoise, her birth name being Nouhad Haddad. She started out as a radio chorus vocalist, which led to meeting the Rahbani Brothers, Assi and Mansour, who instantly clicked into a songwriting partnership with Fairuz. Assi and Fairuz married in 1955. This personal and professional relationship was sundered in 1979, from which point Fairuz inducted her son Ziad Rahbani as her chief composer and arranger.
Artonov is a young festival, only in its fifth edition. Its central concept involves risk, with a strategy of marrying art forms that would most often be separated. Even if a pair of disciplines might have an established relationship, its unusual for three or four vocabularies to be actively intertwined in one happeningmusic, dance, painting, storytelling, photography, costume design, even culinary adventure.
Much of the music of this 56th edition moved further away from jazz, even in that musics more out-there manifestations. Unlike some other wayward jazz fests, this Berlin four-dayer set the controls for modern composition, rather than rock, electronic, or global-rooted side-soundsalthough all of those aspects were present to some degree.
The Jazz Jantar festival has now reached its 22nd edition, and is housed at Klub Żak in the Polish city of Gdańsk. This is a cultural center whose roots stretch back to 1955, though the present building was completed in 1991. Jantar is the Old Polish word for amber, a mineral thats been central to this port city since the end of the 16th Century.
The festival offers three gigs each night for most of its 10-day run, with a few matinées to boot. Amongst a native Belgian core, there are always international invasions.