Twenty years is old for a car and really
old for a dog, but in jazz festival terms twenty years is perhaps not so long in the tooth. For a jazz festival twenty years means established, with the major storms of the early years weathered, a brand that people recognize and a heap of good will from the local community.
Bray Jazz Festival (view 2019 events
), having come through a few tempestuous patches and made a good many friends, reaches the twenty- year milestone when the May Bank Holiday rolls round once again. In most respects it is business as usual for the festival founded and steered by George and Dorothy Jacob, with another exciting programme of the best in contemporary jazz and improvised music, headlined for the occasion by Fred Hersch
, John Scofield
and the duo of Anja Lechner
and François Courtier.
Few in this part of the world would disagree that Bray Jazz Festival has established its credentials not only as one of the essential music festivals in the Irish calendar, but as a jazz festival of international repute. For many music lovers there is really only one destination in Ireland on the first weekend in May.
What started out as a business venture of sorts for the Jacobs at the start of the millennium has grown into a labor of love. "It's been a rhythm that has formed part of our lives," says Dorothy. "It doesn't feel like twenty years, it really doesn't. It certainly reminds you that you're over half a century old," she adds, laughing.
Bray Jazz Festival has become something of an institution in County Wicklow and stands proudly as the only annual international jazz festival in the Greater Dublin area. With the Wicklow Mountains at his back and the Irish Sea before it, the beautiful landscape that frames Bray has almost become part of the brand that is Bray Jazz Festival, while Dublin feels far further away than the thirteen or so miles that separate the two places.
Bray is a peaceful, idyllic sea-side town, though on the May Bank Holiday weekend, when the jazz cranks up, it really comes alive.
Most of the regulars who turn up to Bray Jazz Festival year after year take it for granted that the festival will always be there, but with funding still not back to the levels they were at prior to the financial crash of 2008 it has been, and continues to be, a challenge for George and Dorothy to finance the festival and maintain the high artistic level for which Bray Jazz Festival is renowned.
"There's a lot of pleasure in doing what we've taken on," says George, "but a lot of responsibility too. Every year somebody will sure 'Sure, of course you'll be back next year
,' and we look at each other and think, hmmm, it's not that easy."
Despite having laid strong foundations, the Jacobs are realistic in their assessment of Bray Jazz Festival's future. "When you're trying to create something you always have to know that nothing necessarily lasts for ever," Dorothy acknowledges. "It would be great to think the festival will still be around in fifty years' time, but we are getting older and we're not going to last for ever. The question around a succession plan is a serious point."
A serious point, but hopefully one that is still some way off in the future. The Jacobs, after all, are synonymous with Bray Jazz Festival, and the festival in turn is synonymous with great jazz. Over the years Bray Jazz Festival has hosted the likes of Andrew Hill
, Tomasz Stanko
, Joe Lovano
, Dave Douglas Steve Coleman
, Eliane Elias
, Henri Texier
, Tord Gustavsen and Marius Neset
, to name but a handful of the five hundred plus gigs staged here.
Significantly, Bray Jazz Festival has also played an important role in the nurturing of Irish jazz these last twenty years. This, perhaps, is the festival's lasting legacy.
"We've learned over the years the different things Bray Jazz means to different people," explains George. "By that I mean the jazz community in Ireland and the growth of that. It's something we think more about now than we would have done in the early days. It's a small part we play in that growth. It takes a lot of effort from a lot of people and we're just links in that chain."
The situating of Irish jazz artists in the festival programme is not as simple a matter as some people might think. In the first place, Bray Jazz Festival wasn't conceived of as a local festival. Its ambition was always greater, as Dorothy explains: "It was always meant to be an international jazz festival. It was always meant to be an attraction for people to be able to witness more than what we have on this island. Even in the early years we wanted to draw people from other parts of the world and in terms of a festival that's a nice idea."
Nevertheless, in the early years of Bray Jazz Festival Irish artists did grace the stage of the principal venue, the Mermaid Arts Centre, on double-bills that of course featured the big, international names. Then, in the wake of the financial crisis, funding fell off and the headlining performance was reduced to one act.
Since then, as the Jacobs acknowledge, it's been a challenge to present Irish acts on an appropriate stage. When most Irish jazz artists are performing week in week out in Dublin's jazz venues it would make little sense to stage them instead of more internationally recognized names and would pose a considerable financial risk to boot. Still, the Jacobs don't rule out a return to a double-header evening bill in a more financially secure future.
The second major venue, Bray's Town Hall, has featured many leading figures from the Irish jazz/improvised music scene over the years, with standout artists such as Sue Rynhart
, Cora Venus Lunny, Hugh Buckley
and Italian-born, Irish adoptee Francesco Turrisi
, giving memorable performances straddling the jazz/folk divide. Seating sixty people, the elegant heritage building that is the Town Hall also features prominent international artists. This year, not to be missed, is the duo of Norma Winstone
and Tommy Halferty
, launching their debut CD after twenty years collaborating together.
The Town Hall has also provided other types of memories. "One year we actually managed to get a grand piano up the spiral stairs in the Town Hall, I kid you not," recalls Dorothy. To those familiar with the venue and its staircase it might seem easier, in fact, to have removed the roof and eased the piano down by crane. The Jacobs, however, have proven to be nothing if not determined and that grand piano experience did at least impart one valuable lesson: "That's something we learned," says George humbly. "We didn't try that again."