Copenhagen Jazz Festival
July 13-14, 2018
It was a flying visit of two days at this year's Copenhagen Jazz Festival with its 1500 concerts during 10 days. But with so many concerts spread over the city even two days demands serious decision-making and crisscrossing town. I was primarily focused on the concert-series of musicians collective The Community at Koncertkirken venue. This article will deal with concerts from that series only. Other concerts such as Jakob Bro Quartet, SÏN (Tim Berne
, Kasper Tranberg, Petter Eldh
, Peter Bruun
), The Living Room (Soren Kjaergaard
) feat. Percy Persglove, Korpset, Fiil Free, LUX (Fred Frith
/ Heike Liss) and Lillinger/Dell/Westergaard/Kjægaard/ Snekkestad will be dealt with in another article.
Apart from a lot of biking through the city, there was the special experience of staying at the old Hotel Astoria directly at the square of Copenhagen central station. It took some effort to learn how to switch on the lights in the hotel room at night, which, I learned was due to Danish heritage listed regulations that don't allow replacement of a lot of fittings in the rooms and the building. The building was designed as a station hotel for the Danish State Railways by Ole Falkentorp, who had started his career in the State Railways' design office before forming his own practice. The hotel was built between 1934 and 1935 as the first luxury hotel in Copenhagen. The revolving doors at the main entrance, the first in Denmark, the wooden room doors and many other details are still present, and one of the luxury rooms has been maintained exactly as it was in 1935.
There are a lot of special memory flashes of these two days. Among them the kindness of Lars Thor Jensen of Jazz Denmark, the beautiful long sustained tones of saxophonist Lotte Anker, the percussion work of Jon Christensen
, the (quite different) groove seizing moments of Mia Dyberg and Signe Emmeluth, the visceral bass playing of Asger Thomsen, the shadowy sounds of drummer Dre Hocevar, the intensities and cosmic blue moments as well as the moments of hesitation at the concert of Jakob Bro's quartet, the fiery energy of Lillinger e.a., the walking energy of Peter Gannushkin, the inspiring talks with Nigel Slee of Jazz North from Leeds, the almost frightening killer energy of Petter (Eldh) and Peter Bruun, the rhythm section of Django Bates' Beloved Trio and many more.
The Community Koncertkirken
is a wonderful Copenhagen venue in a church building in the Nørrebro neighbourhood at Blågårds Plads. As many other Copenhagen venues as well cafes, libraries etc. it takes part with its own program
under the umbrella of the Copenhagen Jazz Festival.
Left-field musicians of the young generation in Europe are often organized in more or less tight collectives as a way of exchange, mutual support, cross- fertilization and self-organization of business (festivals, booking, recordings, record label). One of these collectives is The Community founded in 2014. The Community, founded by and mainly organized by saxophonist/ conductor Nana Pi and saxophonist Mia Dyberg
, "is a network and event organization, which is connecting and expanding relations between improvising musicians worldwideby making events with interaction as the driving force!" From 2014 onwards numerous events
have been organized. A recent one was a series of concerts at the Copenhagen venue Koncertkirken as part of the greater 10-days Copenhagen Jazz Festival. The series comprised eight performances: a solo by Slovenian pianist Miha Gantar, the Nana Pi Extemporary 9 Ensemble, a solo by Slovenian drummer Dré Hočevar, The Mia Dyberg Trio, the trio Aardestrup/Vestergaard/Kjæer, Emmeluth's Amoeba, a solo by Norwegian trumpeter Erik Kimestad and the Asger Thomsen Kvartet. This article covers three of these, the solo concert of Dré Hocevar, the Mia Dyberg Trio and Emmeluth's Amoeba.
Slovenian drummer Dré Hočevar (1987) Dre Hocevar
, the man wearing his trench coat like trumpeter Lester Bowie wore his white lab coat, started his performance not on the drums but on the piano with wandering sounds with no graspable direction before working on the drum set's components. His solo performance became one of a kind. The audience was seated in a circle with its back turned to the drum set so that the action on the drum set was not visible. The audience had to rely solely on its ears, a means to sharpen perception of sound emerging from Hocevar's unconventional work on the drum set, eliciting close listening. Unconventional here means that Hocevar brought forth a lot of sounds you would not expect from or attribute to a drum set. These sounds were not mere spielerei-effects but had an axial place in a greater orchestral whole. In this manner an airy orchestral piece of shifting sounds unfolded, progressing in exciting ways and direction. Hocevar not only performed sitting behind the drum set, but walked around with cymbals and assorted percussion making well-dosed use of the reverb of the church's space thereby producing sounds circling around. It was a(nother) witty and musically valid attempt of this musician to go beyond existing performance rituals and routines.
Dré Hočevar is an important part in the series of drummers giving new shape to the instrument like Swiss drummers Lucas Niggli
and Julian Sartorius
, Belgian Karen Willems
, French Sylvain Darrifourcq
and US-American drummer Tyshawn Sorey
. As a band leader he has already made his mark with some bold albums investigating new territories Motion In Time
(Lajna, 2013), Coding of Evidentiality
(Clean Feed Records, 2015), Collective Effervescence
(Clean Feed Records, 2016), Transcendental within the Sphere of Indivisible Remainder
(Clean Feed Records, 2016) and Surface of Inscription
(Clean Feed Records, 2017).