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Enjoy Jazz Festival, Days 4-6: November 11-13, 2010

Enjoy Jazz Festival, Days 4-6: November 11-13, 2010
John Kelman By

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Days 1-3 | Days 4-6
Enjoy Jazz Festival
Mannheim/Heidelberg/Ludwigshafen, Germany
November 8-13, 2010

Every city has a story, but some have more than others. Heidelberg, Germany, has a history as rich and varied as might be expected from a place that dates back to the middle of the first century AD, when the Romans began to settle in the area, but actually goes even further back, to 600,000 BC, when Homo heidelbergensis, a precursor to the Neanderthal man, was discovered—the oldest known human fossil, and the earliest evidence of human habitation in Central Europe.

Fast-forward a mere 602,010 years, and Heidelberg is a vibrant university town, where roughly one in four of its 135,000 inhabitants is a student at Old Heidelberg University, Germany's oldest university, and a place now world-renowned for its programs in natural sciences and law. The first mention of Heidelberg dates back to 1196, making the creation of the university in 1386 a remarkable event, especially considering the great divide between the aristocracies and working people. Old Heidelberg University was, at the time, a place for the elite, and its student prison, one of many parts of the University preserved for public viewing, wasn't exactly a prison in the conventional sense of the word. Yes, students who would go out, get drunk and let loose the pigs belonging to the regular townspeople (thus, the term "hog wild"), would be incarcerated by the university; but after a couple days of bread and water (assuming their sentence even extended beyond that), they were able to attend classes, meet with friends and have food and wine brought in. With a lot of time on their hands, the precursor to modern day graffiti peppers the wall of the prison.

A look at the history of the University is to see the changes that have taken place in Heidelberg. Once a city with a less-than-illustrious past of anti-semitism that dates back to the Hep Hep pogroms of the 1800s and through the Nazi regime of World War II, the University now hosts the only program in Jewish Studies in Germany, where half the students are, in fact, gentiles. The University's Ault Aula ("Old Hall"), like the rest of the University, was rebuilt after Heidlberg—along with over 600 other towns—was destroyed by Louis XIV of France in the late 1600s; but the "new" construction is a remarkable venue, used for convocations, weddings and other important events, and looks like a period piece from a film, except that it's a living, breathing space. In a city where there is no dress code, it's a sure bet that if there are people dressed to the nines, they're either going to a wedding, or a function at the Ault Aula.

The University's library is one of the most impressive in Germany, if not the world. With over 3.5 million catalogued books—many situated underneath the actual building, accessible by a series of tracks—students request books and receive them the next day, after they've been retrieved from storage. The library is also the site of many exhibitions, and one of the more intriguing ones in recent times is the Codex Manesse display, revolving around an illuminated manuscript in codex form that was completed in 1340, and is the first known document of songs that didn't revolve around either academics or religion. Instead, the Codex Manesse is about love in its many forms, though because of the culture of the time, it was inevitably about yearning and love lost."

The story of how the book came to be, how it was then lost to Heidelberg for centuries and, finally, restored to the city through an unusual barter with France in 1888, is interesting in itself, but more intriguing are the pages, songs and stories in the Codex Manesse, which reflect a time when, for the most part, marriages were arranged and women were often treated as little more than breeders—sometimes cloistered away to live their lives in solitude, barring occasional visits from their husbands to father a child. But some of the stories contained in the Manesse are both lovely and surprisingly prescient, addressing issues such as the impossible dream of combining fame, fortune and spirituality.

The 137 manuscripts were done by a handful of artists, but while the stories contained are clear, and because the music itself was never documented at the time, much is left to the imagination, although a bowed instrument that predates the violin makes the musical connection as clear as is possible under the circumstances.

The sense of history that pervades Heidelberg, for people coming from countries with shorter histories such as Canada and the United States, is a profound experience, and one that filters through to many of the venues used by Enjoy Jazz throughout its seven-week run.

Chapter Index
  1. Day 4: Food, feat. Nils Petter Molvær & Christian Fennesz
  2. Day 5: Chucho Valdés & The Afro-Cuban Messengers
  3. Day 6: Harold López-Nussa Trio
  4. Wrap-Up

Day 4: Food, feat. Nils Petter Molvær & Christian Fennesz

Now more than a decade old, the Anglo/Norwegian improvising collective Food has gone through its share of changes. Initially a quartet featuring drummer Thomas Strønen, saxophonist Iain Ballamy, trumpeter Arve Henriksen and, first, bassist Mats Eilertsen and then Tim Harries, the group was cut in half to a duo a few years back, when Henriksen, Eilertsen and Harries' schedules were simply too busy to make further commitments to the group. Food continued as a duo, even performing as such at the 2006 Punkt Festival in Kristiansand, Norway. But more often, in recent times, the duo of Strønen and Ballamy— which also includes the use of electronics to expand considerably its sonic potential—has worked with guests. Quiet Inlet (2010), the group's first for ECM after a string of releases on the Norwegian Rune Grammofon label, featured guitarist Christian Fennesz and trumpeter Nils Petter Molvaer, but only individually, the two not recording together on any of Quiet Inlet's seven improvised tracks.

Which only made the quartet's Enjoy Jazz appearance at Mannheim's Alte Feuerwache ("Old Firehouse") all the more special. This time, all four played together, in an evening that drew an enthusiastic response—so much so, that after a loudly demanded and well-deserved encore, the group had to come back out onstage for a final bow to appease the still cheering crowd, with one particularly enthusiastic fan running up to the stage to tell them just how much he enjoyed the 100-minute show.

The set highlighted the strengths of all four musicians. Strønen, a remarkable colorist who combined innovation on his kit with equally forward-thinking—and, oftentimes, simultaneous—use of drum pads to trigger all manner of sounds, from bells and tuned percussion to otherworldly electronics, was equally capable of a powerful backbeat, as he drove the set's closer to its inevitable conclusion; Ballamy, just as adept at the electronics, but even more impressive on tenor and soprano saxophone, eschewing displays of virtuosity that have been well proven in the past with groups like drummer Bill Bruford's first Earthworks band on albums such as Stamping Ground (Summerfold, 1995) and his own nostalgic More Jazz (Basho, 2007); Fennesz, a sound sculptor whose main instrument may be guitar—and there were times when it was clear, as he layered expansively overdriven chords as the group pushed to a louder climax—but equally a creator of alien landscapes above and below the melodic, horn-driven frontline; and Molvær, whose career has been on an upward trajectory for years, but has demonstrated particular growth this past year, with the release of Hamada (Sula, 2009), as well as performances like his stunning set at Molde Jazz 2010, with guitarist Stian Westerhus and drummer Erland Dahlen, just about blew the roof off of Kulturhuset Klubb.

Together, it was clear that the group was both constantly searching...and finding. New ideas abounded by the minute as, at one point in the set, Molvær walked closer to Ballamy and encouraged the saxophonist to blow through the microphone attached to his trumpet, which was in turn processed along with Molvær's own lines. The result was exciting, and filled with the sense that something new and important had just happened. Strønen was an endless wellspring of ideas, as he seamlessly moved between his kit and his electronics, with a sense of construction that did more than create pulse and color, it created narrative—as the drummer would punctuate an idea, for example, by pulling the tip of his stick along the top of his cymbal and, at the same time, driving the point home with a single, thunderous push from his bass drum.

A combination of ethereal atmospherics and, even for Food, surprisingly grounded rhythms made it a performance to remember. With a set this strong, hopefully the combination of Strønen, Ballamy, Fennesz and Molvær won't be a one-time event.


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