Garana Jazz Festival Wolf's Meadow Garana, Romania July 10-13, 2014
One of Europe's most visited festivals, taking place on a meadow over 300 ft. high in the Western Carpathians, just had its 18th anniversary. The lineup, a brand mark of the festival director, Marius Giura, combined again tradition with diversity, bringing together American jazz musicians such as Andy Sheppard
, percussionwith a ballad of rasping tones of violin, mixing tenderness with aggression, that unfolded in large breaths sustained by the solid piano backing. Further on, the alternating of the piano stances rose in fluid crescendos with the languidness of the violin glissandos, creating an atmosphere of mystical romanticism. As the birds started flying low, the music took on tinges of nostalgia infused by the melodiousness of the double bass and the softness of the trumpet line. The steep rhythmical escalation, induced by the articulate drum work, inflamed the sound of the performance, adding the swing note to the medieval coloring of the themes. "Letter for E" brought tender tones of sorrow for the still deeply felt loss of fellow musician, Esbjorn Svensson
. The show closed with "Village Underground" in a virtuous sound orgy, with a plethora of horse hair surrounding the double bass bow and a cloud of colophony rising from the bow of the violin that hit the chord to bring out a cry, a howl and a wail.
Andy Sheppard Trio LiberoThe sound of Andy Sheppard's sax rose in floating communion with Michel Benita
's drum work spacing the intervals between the instrumental lines, which were marked by the hushing touches of cymbal. The tender intensity of a warm summer rain brought by the cadence of the fingers on the snare drum gave a perfectly balanced act of poetical interaction of the three instrumental voices. The clear, profound bass line was pacing the rhythm of the flowery intros on the sax while the drum marked the passage with fine felt breaks. The performance moved on as an open dialogue with a strong melodious bass line. The sax line was progressing in a dusty, velvety modulation from lyrical to abstract, while the drum saraband rarefied by the bass line moved into a counterpoint transition that was leading back into melodiousness. The fine sax line was picking up the expectant melodic line in an ascending dialogue, falling then back upon itself to return in the generous rounds of an exultant final tune.
Dave Douglas and the Riverside QuartetThe trumpeter Dave Douglas
on drums. The dynamic performance fused traditional American music distilled in modern improvisation, mingling remote tunes with a hymnal quality and ancient Appalachian tunes with the tradition of folk, R&B and jazz. The tall, clear trumpet line, the solid sax sustenance nuanced by the firm bass accents, and the steadily progressing drum work moved on in a self-induced swing, incorporating a whole world of musical heritage. The intricate sax melodies and the trumpet scalar progression moved on in a steady groove, bringing up surprising shifts, a limerick, a childish tune, an abstract breeze, a congruence of forest hums. The drum performance fueled by a pull/hold/draw-back rhythmical motion resulted in a growing inner tensionlike a half step back that doubles the impact of the step ahead. The show closed with "Old Church New Paint," a somewhat funereal melodic line on bass with a refined drum solo, and a tinge of humor, a touch of New Orleans.