Copenhagen Jazz Festival (Neneh Cherry/ Jim Hall/ Paolo Fresu ...
Copenhagen Jazz Festival (Neneh Cherry/ Jim Hall/ Paolo Fresu ...
Copenhagen Jazz Festival (Neneh Cherry/ Jim Hall/ Paolo Fresu ...
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<strong>Jazz</strong>: 21/08/12 <strong>Copenhagen</strong> <strong>Jazz</strong> <strong>Festival</strong> (<strong>Neneh</strong> <strong>Cherry</strong>/ <strong>Jim</strong> <strong>Hall</strong>/ <strong>Paolo</strong> <strong>Fresu</strong> / Brad Mehldau etc.)<br />
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<strong>Copenhagen</strong> <strong>Jazz</strong> <strong>Festival</strong><br />
(<strong>Neneh</strong> <strong>Cherry</strong>/ <strong>Jim</strong> <strong>Hall</strong>/<br />
<strong>Paolo</strong> <strong>Fresu</strong> / Brad Mehldau<br />
etc.)<br />
T.S. Høgh Pop-up Orchestra in front of The Royal Theater<br />
Photo credit: Kristoffer Juel Poulsen / www.jazz.dk<br />
Here is another perspective on the <strong>Copenhagen</strong> <strong>Jazz</strong> <strong>Festival</strong>. Jez Matthews<br />
(@jazzteabeer on Twitter), who travelled to the festival for the first time,<br />
picks TEN GIGS and then gives his overall impression.<br />
<strong>Neneh</strong> <strong>Cherry</strong> with The Thing, at The <strong>Jazz</strong> House.<br />
A powerful meeting of <strong>Neneh</strong> <strong>Cherry</strong>'s charismatic vocals and The Thing's intense<br />
energy made for a visceral performance with a real emotional punch. Covers of MF<br />
Doom's 'Accordion', Suicide's 'Dream Baby Dream' were highlights, but Don <strong>Cherry</strong>'s<br />
'What Reason Could I Give' tied things up perfectly. Easily one of my most<br />
memorable gigs of the last few years.<br />
Pianist Søren Kjærgaard at Cafe Mellemrummet.<br />
I have come across Søren's playing in his trio with Andrew Cyrille and Ben Street,<br />
on an album called 'Femklang'. He is an intriguing and original artist, with a<br />
particular use of space to define the contours of his music. Here he was playing<br />
electric piano (and an analogue radio) with drummer Peter Bruun (from Django<br />
Bates' Beloved Bird trio), and Lars Greve on saxophone. This was fascinating<br />
music, with great rhythmic interplay, considerable dynamic range, and really<br />
effective use of multiphonics by Greve. Although apparently free, there seemed to be<br />
an underlying groove and compositional sense to the playing, and on one<br />
particularly beautiful slow piece, the music seemed to glisten and levitate, oblivious<br />
to time passing.<br />
<strong>Paolo</strong> <strong>Fresu</strong> with an all-star Danish lineup at <strong>Jazz</strong>hus Montmartre.<br />
This was something of a wish fulfilled for me; a legendary club that I've always<br />
wanted to visit. The club is now based at a new location, but nevertheless its a great<br />
venue with a sense of history, friendly staff, and an attentive, knowledgeable, and<br />
enthusiastic audience. Having seen <strong>Paolo</strong> <strong>Fresu</strong> before, I knew what to expect, and<br />
he didn't disappoint, playing two sets of (mostly) standards, with great straight<br />
ahead playing from the classy band that accompanied him, featuring Jan Lundgren<br />
on piano, Jesper Lundgaard on bass (more on him later), and Morten Lund on<br />
drums. <strong>Fresu</strong> has such a wonderful melodic sense and great time and phrasing,<br />
N E W !<br />
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<strong>Jazz</strong>: 21/08/12 <strong>Copenhagen</strong> <strong>Jazz</strong> <strong>Festival</strong> (<strong>Neneh</strong> <strong>Cherry</strong>/ <strong>Jim</strong> <strong>Hall</strong>/ <strong>Paolo</strong> <strong>Fresu</strong> / Brad Mehldau etc.)<br />
londonjazz.blogspot.dk/2012/07/copenhagen-jazz-festival-neneh-cherry.html<br />
with Miles and Chet Baker never far from sight in his playing.<br />
Søren Kjærgaard trio at the Tranquebar bookshop/cafe.<br />
This time the piannist was with veteran Hugo Rasmussen on bass, and Carsten<br />
Dahl on drums, giving new life to a set of early Ellington tunes (including 'The<br />
Mooche', 'East St Louis Toodle-oo', and many others). Although respectful of the<br />
harmony and arrangements of the originals, and reminiscent of Ellington's 'Money<br />
Jungle' and Thelonious Monk's Ellington album, the music and presentation of it<br />
were full of wit, and with a definite 21st century sensibility particularly evident in<br />
Kjærgaard's piano playing.<br />
Mulgrew Miller with Jesper Lundgaard and Alex Riel in tribute to Niels-<br />
Henning Ørsted Pedersen at <strong>Jazz</strong>hus Montmartre.<br />
A hard-swingng trio with an impressive pedigree. NHØP's daughters were in the<br />
audience for this concert, which was marked by a strong sense of community<br />
shared by both the band and the audience. Riel was both playful and earnest in his<br />
playing and on-stage persona, and Lundgaard played several solos of remarkable<br />
lyricism and depth. Miller paid moving tribute, both musically and verbally, to his late<br />
playing partner, and capped it all with a marvelously swinging 'What a Difference a<br />
Day Made', straight out of the Oscar Peterson school of piano trio playing.<br />
Karen Bach's trio at Bar Harbo.<br />
A young crowd on the Monday afternoon. Karen on Rhodes piano, Erik Olevik on<br />
electric bass, and Erik Lautsen on drums. Her group has a very contemporary feel,<br />
with some great grooves, subtle playing, and a strong narrative sense on some<br />
attractive and very listenable compositions. Someone to look out for, and a sign<br />
perhaps of the depth of talent in this part of the world.<br />
Brad Mehldau trio at the Kongelige Teatret.<br />
This was predictably intense and close to perfection, with the expected eclectic mix<br />
of tunes covering Radiohead, The Beatles, Paul Simon, and Charlie Parker. The<br />
performance was really summed up in the perfect groove in the coda for the 2nd<br />
encore 'Knives Out'. Brilliant stuff.<br />
Nikolaj Hess at the Christians Kirke<br />
A New York/Danish-based pianist; again someone whose playing I was to become<br />
acquainted with over the next few days. A more conventional player than Soren<br />
Kjaergaard, but no less interesting for that, with great emotional and expressive<br />
range. Hess dealt with the demands of a vast church acoustic on a range of pieces<br />
from originals to versions of Bob Dylan's 'Masters of War' and 'Make You Feel My<br />
Love' (his touch on this was simply beautiful), and Strayhorn's 'Come Sunday', and a<br />
jaunty version of 'Cottontail'. Playing like this made us keen to see more of Hess,<br />
and we were able to catch him in different settings (both trios) later in the week; at<br />
Bartof Cafe, a marvelous jazz bar selling great beer and with a really informal<br />
atmosphere, and in the open air in a trio featuring french bass player Francois<br />
Moutin.<br />
Julian Lage Quintet, Prøvehallen.<br />
Lage's group featured Kenny Werner on piano, Henrick Dam Thomsen on cello,<br />
amazing percussionist Tupac Mantilla, and Benjamin Koppel on sax. This was<br />
an engrossing set of all original music, and a strong ethos based on group interplay,<br />
however I left feeling slightly disappointed not to have heard a little more individual<br />
playing from both Lage and Werner, both of whom showed their genius in short<br />
enticing bursts. There was however plenty to enjoy in Mantilla's virtuosic display<br />
covering his entire percussion set, as well as using his body for an endless array of<br />
finger clicks, rhythmic slaps and clapping.<br />
<strong>Jim</strong> <strong>Hall</strong> Quintet, Prøvehallen<br />
<strong>Hall</strong>'s group at the same venue also included Kenny Werner and Benjamin<br />
Koppel, with Scott Colley on bass, and Jonathan Blake on drums. This was for<br />
me a much more satisfying affair, starting with a duo with the Colley, then joined by<br />
the larger band. The set was remarkable for the obvious respect of the younger<br />
musicians for the leader, allowing him space to express himself, yet not holding<br />
back in their own contributions. Blake was a model of restraint in his drumming, and<br />
there were beautiful melodic solos from Colley and Werner. My highlight was a<br />
wonderful version of <strong>Hall</strong>'s 'All Across the City' - a tune familiar from <strong>Hall</strong>'s famous<br />
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(<strong>Neneh</strong> <strong>Cherry</strong>/ <strong>Jim</strong> <strong>Hall</strong>/<br />
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<strong>Jazz</strong>: 21/08/12 <strong>Copenhagen</strong> <strong>Jazz</strong> <strong>Festival</strong> (<strong>Neneh</strong> <strong>Cherry</strong>/ <strong>Jim</strong> <strong>Hall</strong>/ <strong>Paolo</strong> <strong>Fresu</strong> / Brad Mehldau etc.)<br />
londonjazz.blogspot.dk/2012/07/copenhagen-jazz-festival-neneh-cherry.html<br />
recording with Bill Evans. What a privilege to hear this played live by the great man,<br />
and backed so sensitively by the musicians around him.<br />
SUMMARY<br />
- This was my first visit to <strong>Copenhagen</strong>. Over the course of 6 days, I barely<br />
scratched the surface of this huge festival. 1100 plus gigs in 10 days make it<br />
impossible to do anything more than that.<br />
- There is music everywhere, in public spaces, squares and parks, small bohemian<br />
bars, restuarants, bookshops, libraries, museums, churches, jazz clubs, and<br />
theatres.<br />
- The compact geography of <strong>Copenhagen</strong> means that you can navigate easily from<br />
one gig to another, however by the end of our stay we estimated that we had<br />
covered over 100km on foot. Next time we will hire bicycles!<br />
- The festival app (downloadable from iTunes) proved invaluable in navigating the vast<br />
array of gigs and venues at this festival.<br />
- The bill has a long list of big name acts, and also lesser known artists, many of<br />
whom appear several times, in different line-ups, making it possible to see the same<br />
musicians in a variety of different playing situations.<br />
- The big-name concerts were great, but really the icing on the cake, and not the full<br />
story of the festival. For me the essence of the festival lies in the breadth, range and<br />
quality of really great, and often quite innovative music on the programme, and the<br />
sense of a city being given over to jazz for 10 days.<br />
- This was an absolutely inspiring experience, and one I hope to repeat next year.<br />
On Sunday, July 15, 2012<br />
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