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10

12 Points 2014, Umea

Henning Bolte By

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It's a challenge to watch these young, so-called unknown musicians and write about their performances. It's essential to be alert and careful not to bury the performances under misguiding expectations or mistaken standards. It is important to strive to be true to the musical core and heart when relating the music to past, future and other contexts.

Undoubtedly, creative innovation could be detected and discerned in the variety of approaches. There were also different solutions bringing together originality, brilliance, virtuosity and forcefulness of impact, depending on the personalities and sociocultural backgrounds of the musicians. Every group and every singular musician presented its/her/his state of progress regarding these interrelated elements. Considering all the performances, it turns out that the quality of dynamics as a complex, accumulated entity can be regarded as a key factor with respect to effect and impression.

Or, as Gerry Godley put it in a first reaction: "What I do feel is the connectedness and interdependence of these performances, that they are all linked together—each one informed and framed by the ones that come before and after." Regarding that point of view, "it feels that, in the hands of these artists we heard, stylistic hierarchies are breaking down, different ways of expression can coexist, and what matters is that the music is vital and authentic."

An important issue here is what and how to share things with these musicians in terms of experience, insight and wishes. In the field of jazz it seems it seems possible, to a high degree but with some caveats. It is important to be open about one's own point of view, and with such an age gap it is not possible to really fully share the perceptions and perspectives that can turn out to be the most productive thing.

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