5

Copenhagen Jazz Festival 2013

Henning Bolte By

Sign in to view read count
Guitarist Solborg is clearly an ensemble-oriented musician, never dominating with overpowering or busy guitar sounds. He regularly uses his guitar in a percussive as well as semi-acoustic fashion. It gave a lot of space to Anker and especially Quinteros, who produced piercing and edgy sounds. The ever agile Bruun made it all sound stronger and kept everybody to the basics. Solborg was a fine player capable of accumulating rich layers of impacting sound.

Passing by the Copenhagen Jazz House on the way back to the hotel, there was the chance to take a glimpse of Tim Berne's Snakeoil, during its second set. Alas, it was not possible to check out the Spacelab of Nikolaj Hess. The same applied to interesting performances at venues like Café Scenen, Christianhavns Beboerhus/Barefoot records, Huset KBH, Koncertkirken, Literaturhus and Betty Nansen Teatret. There simply needs to be more time to get a wider view of the festival.

The festival put a rich and vibrant variety of music on the map and offered Copenhagen musicians great possibilities for exposure, which was a very good thing. It also raised the question of what is going on and happening during the other 355 days of the year in Copenhagen? Is music going on at all these places or even a considerable number of them? Are all these musicians playing there regularly? Does the festival mirror, to a certain extent, the real situation? Copenhagen musicians have to cope with similar problems as their colleagues in London, Oslo, Vienna or Amsterdam, but they have some special anchors on which to rely. The festival followed a multilateral proactive strategy by building alliances first with Berlin, London and Rochester. It was a complex process that provided opportunities for musicians—but no guarantees.

It would be premature to draw a conclusion or to report clear trends. Danish jazz has redefined its traditional American connections and built up new North American musical relationship of its own kind. It has also developed its very own style-independent openness and flexibility that helps to shape new independent sonic contours. Sound exploration apparently plays an important role in the creative process, together with its very own approach to density reduction and gaining clarity.

Photo Credit

All Photos: Henning Bolte

Shop

More Articles

Read The Tom & Jamie Show at the College Street Congregational Church Live Reviews The Tom & Jamie Show at the College Street...
by Doug Collette
Published: March 29, 2017
Read Steve Reich @ 80: Music for 18 Musicians Live Reviews Steve Reich @ 80: Music for 18 Musicians
by C. Andrew Hovan
Published: March 29, 2017
Read Ted Ludwig Trio at Little Rock's South on Main Live Reviews Ted Ludwig Trio at Little Rock's South on Main
by C. Michael Bailey
Published: March 28, 2017
Read Brilliant Corners 2017 Live Reviews Brilliant Corners 2017
by Ian Patterson
Published: March 27, 2017
Read Dwiki Dharmawan's Pasar Klewer Plays Indonesia Live Reviews Dwiki Dharmawan's Pasar Klewer Plays Indonesia
by John Ephland
Published: March 25, 2017
Read "Euopean Jazz Conference 2016: Polish Jazz Showcases" Live Reviews Euopean Jazz Conference 2016: Polish Jazz Showcases
by Ian Patterson
Published: October 17, 2016
Read "McCoy Tyner Tribute at SFJAZZ" Live Reviews McCoy Tyner Tribute at SFJAZZ
by Harry S. Pariser
Published: July 4, 2016
Read "Ralph Peterson's Triangular III at Nighttown" Live Reviews Ralph Peterson's Triangular III at Nighttown
by C. Andrew Hovan
Published: April 18, 2016
Read "Brian Charette/Jim Alfredson Organ Duo at Nighttown" Live Reviews Brian Charette/Jim Alfredson Organ Duo at Nighttown
by C. Andrew Hovan
Published: October 26, 2016
Read "Suoni Per Il Popolo 2016" Live Reviews Suoni Per Il Popolo 2016
by Mike Chamberlain
Published: July 1, 2016

Post a comment

comments powered by Disqus

Support All About Jazz's Future

We need your help and we have a deal. Contribute $20 and we'll hide the six Google ads that appear on every page for a full year!