After an excellent full day program centered by national talent at Rotterdam's Festival Jazz International, two strong impressions rang very clear.
The first was that considering current performers, experimentation and ongoing tradition, the Netherlands is obviously one of the per capita international leaders regarding the size and scope of a national jazz scene.
Also, it was apparent that Rotterdam is consistently growing out of Amsterdam's huge shadow as a global tourist destination in its own right, enjoying numerous infrastructure improvements and innovations throughout the laid-back industrial port.
Like the city, Jazz International Rotterdam continues to make big strides as a major festival in territory known for the North Sea Jazz spectacular in July, probably the premiere jazz festival in Europe's wide western sector. JIR provided the same top quality headliners on a smaller scale but in an often more comfortable environment.
Stirring performances by Ben van Gelder
's quartet featuring Ambrose Akinmusire
, the Mark Schilders Pack Project, and Krupa and the Genes provided indisputable back-to-back-to-back evidence of both the Netherlands' and this festival's impressive foundation.
A primary reason for the festival's success comes through the support of various municipal sponsors or corporate type patrons. Director Mijke Loeven said that she was very grateful for the sponsors' ongoing dedicationand a shared vision that includes jazz as a cultural focus.
"We work together very closely; there are no egos involved. It's all music, and more important for Rotterdam, it's all about building audiences for that music," observed Loeven. "I'm very happy about that. We call it the Rotterdam model, where you just shift the focus and work with each other. We help and support each other and we share financial risk. It's a marvelous thing to do."
Evidence of that community vision's validity resounded during a performance by Dutch drummer Schilders, an emerging player chosen by JIR for the Pack Project, a subsidy that includes funding and promotion for awarded artists to create bands and to compose commissioned concerts on their own terms.
Schilders, who also earned grants for study at New York's New School, got a warm reception from the Saturday schedule's largest audience, which overflowed into the main hall and verified his reputation for quality shows.
Still, introductory movements were of the type that grow with familiarity but can take a while to align with new listeners. Jazz means plenty of good things, even if it ain't got that swing, but most early evening sets needed high energy at a time when many people wanted to initiate their festivities with a jump start.
Thus, the mood chilled a bit for a reality check after extended exploratory motifs drew out a little too slowly and impatient shifting was observed in many seats. Soon enough, Schilders' toms rolled in nicely and the tempo tripled behind bassist Clemens van der Feen. The groove grew until everyone paid attention again. Original songs "Sahara" and "Black Hole" went over well.
Guitarist Jesse van Ruller
established an effective presence, though some of his delayed effects picking missed the mark in a solo that stretched a bit thin. Bram de Looze played impressive supporting keys and piano, often simultaneously. Most of the set was well-paced and the band rose to a fine finale.
The 26 year-old Schilders' development must still be considered the old, clichéd work in progress, but he displayed promise as a composer. An informal exit survey indicated, by a wide margin (18 of 20 men and women), that the audience was impressed and very satisfied.
"It's very important to give the stage to young talent," said Loeven. "We chose Mark and gave him the opportunity to transform from a brilliant, sublime drummer into a composer and bandleader. This was very scary for him, as well as for us."
We gave him the time and room and money to do that, and try and help him along with this process. We will help him make a record and go on tour. We were so proud because at the rehearsal we saw somebody blossoming and we were really moved with what he came up with. We think that's worth it."
"Of course, we also need famous names to sell tickets," Loeven concluded, "but the idea was to present a new talent on the main stage at prime time Saturday night because if you do it, you want to do it right."
Schilders may benefit from further ripening experience, but overall his efforts have already proved worthy of the support. Through the help of IJR and the awareness of Rotterdam's fan base, this year Schilders did indeed do it right.