There's an often-quoted phrase by Shakespeare saying that ”something is rotten in the state of Denmark” but when it comes to jazz, the environment of the country is indeed very fertile, and at this point, the many sounds of Danish jazz are reaching across the borders and finding new listeners everywhere in the world. The homogeneity of a local scene that welcomed visitors from the outside has given way to a great global community with many genres and scenes. Nowadays, young Danish jazz musicians are tearing down the walls that separated high and low culture, avant-garde and popular music. A keen understanding of tradition blends into a daring exploration of the new. If one were to pick just one word to characterize new Danish jazz, the word would be “curiosity.”
Swinging 'round The Montmartre
When did it all begin? Arguably, Danish jazz reached its first phase of fruition from the beginning of the 60s until the middle of the 70s. Of course, the origin of Danish jazz goes further back. In the thirties, a writer like Tom Kristensen connected the wreckage of modernity with the new sounds of jazz coming from the nightclubs, but the 60s was the time when Danish jazz started to get an international reputation. This was mostly due to a special club that to this day still brings back tears of joy when its name is mentioned: "Montmartre."
Jazzhus Montmartre (Jazzhouse Montmartre) was opened by Herluf Kamp Larsen in 1961 and became the prime venue for jazz not only in Denmark but also in Europe. This was the place where Danish players like Niels-Henning Orsted Pedersen
and several others found a second home. At that time so much was happening and it all evolved around this particular place. However, all good things come to an end and in the 80s the impact of Montmartre started to diminish and after changing its location it was closed definitively in 1995. An era in Danish jazz was over.
From place to outer space: and Sunship
What has happened recently is that danish jazz has spread itself all over the map: geographically as well as stylistically. It's no longer concentrated around a particular place but rather develops in a sonic space where associations of enthusiasts and young musicians arrange concerts in different contexts and situations. The boundary between a jazz and a pop/rock venue has deliberately been blurred. Two associations deserve a special mention when it comes to the propagation of Danish jazz: Jazz Club Loco in Copenhagen and Sunship in Aarhus.
In recent years, Jazz Club Loco has been an important player in the development of the new Danish avant-garde that has also been propelled by the label ILK. Loco has become famous for its adventurous concerts held at different venues and its series of superb records. Thus, Loco is both arranging concerts and releasing records that avoids the well-trodden road of the mainstream. Among the essential names promoted by Loco are Yak, Bugpowder, Moskus and the surrealistic musical collective yoyo oyoy whose activities include the bands Slütspürt, Kirsten Ketsjer og Fjernsyn Fjernsyn. What unites all these different names is a will to experiment with genres and create new improvised music. Rock musicians meet up with jazzers, concept artists, composers and electronic wizards to make music filled with energy and passion. It is a spirit of looseness, seriousness and anarchistic madness that makes Loco compelling. For a taste of the unique improvisational spirit that pervades Loco see the attached video clip where young Danish drummer Stefan Pasborg, who released his acclaimed album, Triplepoint in 2007, meets up with French free-jazz guitarist Marc Ducret in an intense duo concert that throws away all niceties in favor of a wild spirit and raw energy. It might be said that to Loco jazz is the new punk.