Summer Jazz Cycling Tour 25
August 26-27, 2011
Only in the Netherlands. Where else would anyone think to create such a harmonious conjugation of jazz and cycling? Now in its 25th year, the annual ZomerJazzFietsTour (Summer Jazz Cycling Tour) takes place in the bucolic countryside just outside Groningen in the northern Netherlands. In some ways its existence is only to be expected, as almost everything else in Groningen involves a bicycle. Over 57% of urban journeys in the city are conducted by bike
, and the railway station has over 10,000 cycle parking places
Multi-venue festivals are nothing new, but the special Dutch twist was that the audience traveled from one to another along a network of cycle paths. With 27 acts in one day it was not possible to see everything, so sometimes hard choices had to be made. And it was not only a decision guided by taste, as the distance to be traveled and the time available to do so also needed to be taken into account. Each act performed two 45-minute sets with a half hour intermission, sufficient to allow transit to the next event if desired. Performances took place in rural medieval churches, barns and a specially erected tent in the central village of Garnwerd.
Something in the mix obviously appealed, as in each venue the congregation spilled from the pews into the aisles of the churches and even onto the steps leading up to the pulpit. Not only was the support plentiful, but it spread across the generations with families and youngsters alongside those more grizzled jazz lovers.
But like all good cycle tours, first we must consider the Prologue. Held in the Theater de Machinefabriek in Groningen, the evening before the festival proper, the Prologue gave an opportunity to hear three of the acts from the next day in a more central setting, which avoided the need for pedaling. Chapter Index
- Erika Stucky
- De Jongens Driest Allstars
- The Ex & Brass Unbound
- Claudio Puntin Trio Dolce Vita
- Tristan Honsinger's Hook, Line and Sinker
- Thomas Borgmann's Boom Box
- Tobias Delius' Booklet
- Gebhard Ullmann Bass x 3
- D'Agaro, Schlippenbach, Bennink
Swiss-American vocalist/accordionist Erika Stucky
was as much comedienne as musician in a one-woman opening set, which started with her dragging a shovel on stage and finished with her encouraging the crowd to boo her performance. In-between, she accompanied surreal films of herself wearing a dog mask and throwing a baby (!) with songs and accordion. Communicating in a mixture of English and Schweizer Deutsch, she had the audience in fits of laughter, Her Swiss side manifesting itself in some semi-ironic yodeling, but it was the encore where her singing was most unaffected, channeling country singer Patsy Cline in a beautiful cover of "Crazy." Not typical jazz, but improvised and strangely captivating. De Jongens Driest Allstars
Next up was Dutch band De Jongen Driest in an Allstar version, augmented with international guests. The hometown core of trombonist Joop van der Linden, saxophonist Janfie van Strien and sousaphone player Arno Bakker has appeared many times over the years on the Tour. Guest drummer Michael Vatcher
added syncopated wit to the tight horn vamps, mournful brass dirges, and driving klezmer. His duet with the electronic samples of C-mon (from Dutch band Kypski) was a highlight. Vatcher played with the appearance of someone puzzled by what he was being asked to do, the Dutch sense of humor evident at the same time as the dashing musicianship. Sicilian trumpeter Roy Paci joined for the last three numbers, adding bite and illuminating "Looking For Work," the outstanding selection of the set, in a rambunctious mano a mano
with alto saxophonist Matt Darriau
, out of Brooklyn, over tumbling drums. The Ex & Brass Unbound
The final concert of the evening produced a complete change of pace, combining the Dutch punk band The Ex with the multinational horn section of The Ex & Brass Unbound
, in a high energy collision. At first the horns were lost in the mix, but later adjustments meant their boisterous interjections cut through the interlocking guitar and drum riffs. Chicago reedman Ken Vandermark
took a squalling tenor saxophone solo on the second piece, while the three-way horn explosionwith the baritone saxophone outpouring of Mats Gustafsson
and trumpet incisions of Roy Paciwhich ended another number, was one of the highlights. While the band's loud volume and declamatory vocals weren't to everyone's liking, calls for an encore still ensued.
From left: Mats Gustafsson, Ken Vandermark
One of the attractions in a star-studded lineup was the number of groups from Berlin invited to participate, in honor of that city's jazz scene. Helpfully programmed together on a Berlin-themed route, it was possible to catch at least one set from each band, demonstrating the broad range of music associated with the German capital. One of the prevailing characteristics was the easy fluency between atonal chaos and tuneful order, which helped make potentially difficult presentations more readily accessible. What follows was this writer's experience of the festival, but there were surely many others, with the artists left un-sampled, including New York reedman Ned Rothenberg
, the strings of Okkyung Lee
and Wilbert de Joode
, British duo Trevor Watts
and Veryan Weston
, and Belgian big band Flat Earth Society
. Claudio Puntin Trio Dolce Vita
Not that anyone would accuse Italian clarinetist Claudio Puntin's chamber trio, performing the music of his countryman Nino Rota, of being inaccessible. Their ethereal opening arrangement mirrored the atmosphere in Aduard Church, illuminated by light streaming through the windows, before German bassist Johannes Fink and cellist Jorg Brinkmann slipped into an airy swing behind the leader's bubbling bass clarinet. On the second piece, Puntin followed a section of drawn out string harmonics with invigoratingly manic clarinet projected through a megaphone hung above his mic, for a distorted tone like a kazoo. Together they conjured a program redolent of Italian sunshine, often more lazy Sunday than lunchtime Saturday, but delicately spiced with arco squeaks and braying clarinet cries. Tristan Honsinger's Hook, Line and Sinker
A line of cyclists snaked across the flat landscape en route to the small unadorned Fransum Church for an assignation with American expatriate cellist Tristan Honsinger
's new band, going under the moniker Hook, Line and Sinker. Recently relocated to Berlin, Honsinger has availed himself of some of the best talent the German capital has to offer. Unlike some of the cellist's groups, this one deals in pure improvisation.
From left: Axel Dorner, Antonio Borghini
Honsinger led off quietly, but soon sonic waves were breaking over the assembled throng: the explosive nature of these eruptions belying the chamber instrumentation. It seemed everyone was conversant in an alien language on the borderline between music and sound, delivered through a synthesis of extended and conventional techniques. On tenor saxophone and clarinet, Tobias Delius
, a regular ICP Orchestra
associate, traded in muffled distortions and blurts interspersed with small vocalizations.
Trumpeter Axel Dorner
carefully selected his interventions, whether foghorn blasts, delicate growls or long tones sustained by circular breathing, modulated by a torpedo shaped mute. Honsinger's musical invention was supplemented by a deranged theatricality, undercutting a repeated romantic classical motif by tottering in circles around the stage area bowing as he shuffled along. In some ways Italian bassist Antonio Borghini played the straight man, but in this company even that involved technique such as attenuating resonant notes with the butt of his bow to produce buzzing reverberations.
Two particular episodes stuck in the mind from among the kaleidoscopic shifts. The first stemmed from a staccato exclamation from the leader which inaugurated a blistering series of similar spiky outbursts from everyone, separated by silence. Later, in the second piece, bowed bass and cello conspired to evoke the baroque period, inspiring Delius into a soaring clarinet excursion. Such was the overall speed of response and level of interaction that there was a feeling that anything could happen. And that's probably the highest praise you can give a set of improvised music.