April 23-26, 2015
Ten years ago nobody would have dared to claim that the city of Bremen, situated in the north-western part of federal Germany, would stand as the place to be for jazz professionals, but it has become a matter of fact. Bremen IS definitely the place to be. The 'free' city, with a longstanding Hanseatic merchant tradition, has accomplished just that with steady, unswerving determination and dedication. The Hanseatic League, a merchant network in Northern Europe, dates back to the 13th century and 'free' means that Bremen has succeeded to keep an autonomous state and still does so today. The 10th edition of Jazzahead!
stood firm and still has a growing perspective as a music-related fair event. Jazzahead! is
During the ten years since Jazzahead!'s 2006 start, this event has grown rapidly and developed into the biggest and broadest meeting place for all kinds of professionals in the jazz field, from Europe and also increasingly from overseas. The 10th edition brought 929 exhibiting companies and 3,010 industry attendees from 55 countries, an increase of 31%. The musical portion offered 110 concerts: 40 showcases plus 70 concerts at 27 Bremen area venues on the Club Night Saturday. This year's 16,000 concert visitors outnumbered previous years' figures by far. The concerts attracted 16,000 concert visitors, an increase here too.
Rising demand was accommodated by moving to hall 7 of the fair conglomerate, situated at the head of the Bürgerweide area, near the old slaughterhouse. It now offers one contiguous exhibition space on the same level with two big adjacent concert halls, 7.1 and 7.2 . This new location is not only more spacious in the exhibition area, but also makes it easier to move between showcase venues. As a result, the Schlachthof venue was no longer overcrowded, as it had been in recent years. It was more comfortable and delightful to attend the showcases there. Unfortunately, the great set-up and equipment offered by the new exhibition space and two concert spaces went hand in hand with acoustics that will need to be improved in the years to come.
What is this thing called Jazzahead! and what are participants doing there? First and foremost, Jazzahead! is a fair, with exhibitors from 55 countries: individual musicians/groups, music collectives, record labels, booking agencies, festivals, jazz organizations, etc.. It is the triarchy of suppliers, intermediaries, and customers/audience.
You can meet so many people there that minds are buzzing constantly, from breakfast until deep into the night. For instance, a festival director will have talks with booking agencies to learn about touring schedules at least two years ahead, exchange plans and ideas, get in contact with colleagues about joint actions, etc. Organizations like the Europe Jazz Network or the German Bundeskonferenz Jazz have their meetings here, whilst checking out musician showcases or talking with them at fair hall booths. The event enables attendants to speed-connect with people and results in creating shortcuts. There are also a lot of panels and demonstration sessions to attend, and then you have the daily showcases; the real music thread of the festival, starting with a special program realized by partner country France, a German program, a pan-European program and a program with showcases from overseas. All this is augmented by a Club Night on Saturday, which spread over 27 venues in the urban area of Bremen. So a lot of musicians and groups will be mentioned in subsequent parts, contextualized as well as possible and/or provided with links to more detailed information.
Watching the Jazzahead! event, it seems (all at the same time): highly structured and channelled, chaotic, governed by secret rules, target-oriented, planned, accidental. In fact, it's a constantly readjusted, personal/functional mixture of those elements. The viability and vitality of the event is nourished by that. Another important element is close coordination of the organization with relevant European partners and with partners abroad during the planning phase of every year's edition. It is manifested in the international juries for the showcases and an annually changing partner country. After Spain, Turkey, Israel and Denmark in previous years, this year's partner country was France. Switzerland will be the partner country next year. The partner country program lasts two weeks and spans a variety of cultural disciplines such as concerts, literature readings, film screenings, exhibitions, art projects, and lots more. France, Partner Country
France succeeded Denmark as partner country this year. Being the partner country is not only a big thing during the four days of the fair; the city of Bremen took a chance, and together with Institut Français Bremen, decided to run a broader cultural program, "Accents Français," during two weeks in April. This cultural week comprised music related movies, literature and exhibitions, amongst others a Camus exhibition, an exhibition dedicated to jazz trumpeter and writer Boris Vian and an exhibition on Laurent Garnier, an important character in the ground-breaking French electro scene.
The French organizations facilitated not only the showcases and participation of French musicians. The showcasing musicians, as well as other participating musicians, were paid decently for their concerts. France brought/presented additional concerts and special nights in addition to the French showcase program. Trumpeter Eric Truffaz's group opened the cultural weeks on April 9, and a gala concert was held at Bremen's most prestigious concert hall, Die Glocke, during the April 25th club night with performances of the Vincent Peirani Quintet and The New Musette Quartet of Richard Galliano, featuring guitarist Sylvain Luc. Additionally, France presented a Sacem Night (Friday), a Creole Jazz Night (Saturday) and a night with the Collision Collective (Saturday). Sacem is a non-profit, collective management society run by musicians, composers, and publishers. The Sacem Night presented the quartets of two young and upcoming female musicians, trumpeter Airelle Besson, and pianist Raphaële Atlan. Creole Jazz Night brought Meddy Cerville's Tropical Storm from Réunion (situated in the Indian Ocean) and Jowee Omicil + Bash Band, a Haitian group. Collision Collective is a musical exchange created by several French musician collectives related to concert series and festivals. The collective brought five bands to Bremen performing in one venue, Spedition, during the club night: So-Lo-Lo, Petite Vengeance, Polymorphie, Pulsar, Helved Rüm.