Photo report and Live review: Jazznyt at Copenhagen Jazz Festival 2018: Video

It may be that it is in Kgs. Have the official opening of the Copenhagen Jazz Festival. But an hour before, there is not far from Kgs. Garden in New Adelgade, free draft beer and distribution of the Jazz prize of the palace.

At Palæbar, this year’s jazz prize was awarded, which happened at the noisy bar where a member of the prize committee, T.S. Høeg handed over the prize to Jesper Thilo, with a festive speech that could not be heard by many. The jazz news was on the spot and you can hear T.S. Høeg’s speech here. The price consists of 25,000 Swedish kroner.

The Traditional Ecelectic Multi Generational Jazz Ensemble in the Royal Garden

There was also T.S. Høeg should open in Kgs. Garden where the sun not only shone. It radiated as evidence that the Copenhagen Jazz Festival for 40 years has given the Danish jazz environment a very special platform for presenting jazz to the people and those who look similar. T. S. Høeg stood with the trumpeter Kasper Tranberg in the lead of the apartment-compiled band, The Traditional Ecelectic Multi Generational Jazz Ensemble who performed The Jubille Suite. The fact that they were widely spread for generations were 80-year-old Ole “Fessor” Lindgreen on trombone and 20-year-old drummer Jonathan Ludvigsen from Athletic Progression, clear examples of. The music was a journey of impressions through the forty years that the Copenhagen Jazz Festival has existed. A special highlight occurred when the saxophonist Maria Dybbroe played a silent and beautiful solo as an introduction to an anthem. I would venture to say that the audience was completely quiet, listened and was at the moment. It was the first of 16 concerts in the garden at this festival, where the weather guards luckily also think it’s nice with jazz under the open sky.

Niels Wilhelm Knudsen Quartet in the Student Center

Next to the roundabout is Studenterhuset. Here you will find a wide range of concerts throughout the festival. I captured today’s second concert, which was with Niels Wilhelm Knudsen Quartet. I did that. because their latest album is a sure little gem at home on the gramophone. He calls the group for a playground where they can be allowed to grow, develop and unfold. It succeeded because Knudsen gives them the foundation. It’s hard bop jazz of the bulletproof kind. Under the number Monochrome, you clearly recognize the “interplay” that prevails in the group. Here it’s all about, in the cool way, for pianist Kathrine Windfeld, throwing some solid luncheons out to Michael Dalgas on drums and Thomas Hass on tenor sax. They mostly play songs from their latest album Impulse, including my favorites Sweet Spot and Mojito. They also play a new song, Half Moon Bay, inspired by the bay beyond San Francisco, as Knudsen visited earlier this year. Here the group grows the ballad and meets around a beautiful melody. A really cool experience, where Thomas Hass again emphasizes that he is one of our big tenor saxophonists.

It’s time for dinner and long pants. I’m going to the DR Concert Hall.

Brad Mehldau Trio in DR Concert Hall

It’s completely sold out to Brad Mehldau Trio’s concert in the Concert Hall. I meet for example. My old classmate, Michael, from high school who is currently a medical practitioner in Struer. He has gone with the wife and asks carefully if it is jazz of the advanced kind (He has experienced Carsten Dahl solo on No. Vosborg outside Holstebro – and it was advanced!). I can reassure him that they are scarcely scared. Brad Mehldau Trio is the awesome combination of virtuosity, dissemination and a combination of another world. Together with bassist Larry Grenadier on bass and Jeff Ballard on drums, Mehldau serves a concert, which alternates between newly written untitled songs, a beautiful balloon, to numbers from the latest album Seymour Reads the Constitution. It’s jazz from top shelf. Grenadians have a breathtaking presence in the music. Ballard plays live and varied on the drums. It all boils down to the magic tranquility that Mehldau preserves even when it becomes complicated. Towards the end, we get the title track from the Highway Rider album. The first additional song is Jimi Hendrix ‘Hey Joe, here is the hall completely boiling. From my seventh row, I’m deeply touched by the trio’s intimacy. The last part is Sam Rivers’ Beatrice. Here the trio enters a new dimension. Grenadians are closest to little boys behind the bass. I can not get much closer to the core of my love for the jazz when I experience playing that song. It was big, strong and with lots of musical profits.

It is time for a fresh bike ride to Nørrebro.

Phronesis in Brorsons Church

In a crowded Brotherson Church, Phronesis has begun with their concert. The church places room for several late evening concerts during the festival. Phronesis has just played five concerts in London, where they played albums from their backdrop from time to time. Obviously, it gives them the advantage that they are in top shape and have a lot of numbers fresh in memory. It is a pleasure to experience drummer Anton Eger live. His slightly conventional approach to playing drums in a piano trio, where power, energetic and complicated breaks stand in line for being sent out in the church room, is astonishing. The piano player Ivo Neame is on the same level. Here you will not be held with the goods again. Jasper Høibye stands in the middle and guides the trio safely through the concert. It is not without reason that the trio is often mentioned as one of the best in European jazz in these years.

WAYS- West / Cartwright / Toldam in the Concert Church

The evening has come to bed. In the Concert Church at Blågårds Plads, Canadian saxophonist Brodie West and also Canadian drummer Evan Cartwright play with the Danish pianist Simon Toldam.

The night’s avant-garde connoisseurs sit scattered in the room. The trio has been practicing the past five days. It is uncompromising avantgarde. Evan Cartwright does not have a lilac drum in the drum kit. Instead, he uses a tambourine. It fits well into the chamber avant-garde that the trio plays. I know the saxophonist Brodie West from Lina Allemano 4, where he, along with the Canadian trumpeter, has given strong impressions.

They play a long number. It moves into a delicate, refined and almost minimalist expression where West suppresses and encapsulates wildlife at the moment. These are strong cases that give hypnotic experiences to the gradually tired jazz blogger.

The royal garden continues the anniversary concerts and here on the second day, Saturday, it is Kathrine Windfeld Big Band, who is allowed to fill the stage. Instead, I moved inside doors to one of the more narrow events of the festival.

EHM in Peryton

Close to the King’s Garden you will find the small place Peryton, under the heading Untamed Music + Natural Wine, running a concert series called Lutter Øre. Today is the trio EHM that is on the program. Vocalist Marcela Lucatelli, trumpeter Erik Kimestad and guitarist Henrik Olsson made last year a record of which I was very impressed. Lucatelli is an abstract vocal artist who with oppressed scream, whine, rattle and gurgle presents an expression that I do not have experience with. She is also an actor, which is a clear point when she needs to be experienced live. The visual expression is both scary and breathtaking. It gives the extra dimension, where listening and reading are blown backwards by admiration and admiration. Kimestad creates sounds with the trumpet that is not included in the trumpet manual and Henrik Olsson’s unconventional guitar game is the perfect partner for Lucatelli. It’s not music for many. There are many prejudices and ideas that you have to put behind when you have such an experience. Wild!

I have a deal with Brian from Fiol Optik. Before we meet, I just hear three songs with Kathrine Windfeld Big Band in a stuffed King’s Garden. Here the playlift is great. With humor and profits, she presents the advanced events in the forefront.

Fiol Sessions at Fringe Jazz Fest in the town garden at Pumpehuset
There is a good time at the jazz festival at Byhaven at Pumpehuset, where the Fringe Jazz Fest is held. I’m taken there to hear Fiol Sessions All Stars, where the five musicians who have so far made a Fiol Session to play together for the first time. The newest Fiol Session musician is bassist Felix Moseholm. He must first make his session tomorrow. The team also consists of Björn Ingelstam on the trumpet, Oilly Wallace on Altsax, Søren Høst on Tenorsax and Zier Romme on the piano. They get the help of Cornelia Nilsson on drums that contributed to Zier Rom’s session a couple of years ago. They play a mix of each other’s songs, in which they have not practiced much in a very jazzy way. It does not matter when you sense the security they have with each other. They play razor sharp bebop, hardbop and post-swing and get people fast. It is outgoing jazz that gives rise to unrest in the body. The jazz foot flips violently. One of the great pleasures of Fringe Jazz Fest is that there are so many young crowds present that unrestrained throw themselves into the jazz party.

Bremer / McCoy in City Light on Christiania

I had really decided that I would not go to a concert with someone I’ve heard before – and so I have so much with Bremer / McCoy. But the curiosity was too big. They have chosen to play 10 concerts in the same place during the Copenhagen Jazz Festival. As I meet them outside the city’s light, they say that a large part of the music at the concert will be brand new music. The city lights are an old cinema and the room is very exciting. It has been the duo’s big dream to play there. I lower my body into a red cinema chair of the comfortable kind. It is very appropriate for the distinctive and gentle base that hits me. Bremer / McCoy has their own home-built and highly-sounding sound system. The first four tracks of the concert are from the upcoming album they are still working on. Then there comes blah. some celebrities from the Defender. It’s packed up in the dark cinema hall where people are embraced by Bremer / McCoy’s friendly and welcoming mix of Nordic tones, roots reggae, dub and jazz.

Lotte Anker Celebration in Brorsons Church

It is not degradation. That is the creation. The creation of constructions and sounds that have not occurred before this moment. The church room with the candlelight and the roaring night outside is the calming frame for Lotte Anker’s meeting with German drummer Paul Lovens and Portuguese violinist Carlos Zingaro. The concert is in progress when I arrive. Søren Kjærgaard has played a solo concert as warming to Lotte Anker. He acts in favor of German Thomas Lehn, due to travel difficulties not yet arrived. The concert has been set up with the help of the Copenhagen Jazz Festival in the event that Lotte Anker has become 60 years old. She switches between different saxophones and shows her great profits in the creation of the free music. When Thomas Lehn finally arrives, well delayed, another set can start. What a treat. He has traveled across Europe with many shifts and delays. He comes in with his old analog synthesizer, with which he is closest to symbiosis. He constantly removes from the sounds that appear and seem recognizable. It’s virtuosity, as I have not experienced it before. Lotte Anker is obviously well inspired by the collaboration with Lehn and Law’s behind the drums. Zingaro never gets what he can. It does not matter, when the space age free jazz man who came in is getting so deeply traced.

Felix Moseholm Fiol Sessions

For the fifth time since 2014, the optician Brian Rindom Larsen in Fiol Stræde, has focussed on a Fiol Session, where young jazz musicians have had the opportunity to record music in the store, which is subsequently published on 10 “vinyl. So far, it has gone really well. The three previous releases have all been nominated for a Danish Music Award. The fourth album with Søren Høst will be released soon.

Today, 20-year-old bassist Felix Moseholm has collected an international team with Dutch saxophonist Gideon Tazelaar and Americans Jason Marsalis on vibraphone and drummer Rodnet Green. Marsalis is due to a misunderstanding did not appear to the first part where the musicians record without the audience. It’s Moseholm that has written all the music and it’s good to feel the first time he has done it. They record five tracks – some in several runs, others are in the closet immediately.

Later the audience comes on. These are approximately. 10 audience, more is not available in the small optician shop between all the glasses and instruments. The vibraphone has come into place when Jason Marsalis has appeared. It will be a cool game, both bodily and musical. Felix Moseholm has made a string of fine melodies, all of which can be heard on 10 “vinyl for Christmas. I’m going to write the linernotes to the album and look forward to seeing and hearing the finished product.

A true Copenhagen Jazz Festival experience of the really cool is when you get to Nansensgade and randomly hear a saxophone from another world. Then it’s sgi ‘the American star saxophonist George Garzone who stands outside a Mexican restaurant and plays with bassist AC and drummer Jakob Høyer. Put out crazyfedt! Garzone is a cool cat. Together with the two Danes, I do not need much more.

In Ravnsborggade on Nørrebro there are several places that have jazz during the Copenhagen Jazz Festival. I first pop up Bevars, which was lucky for Jonas Due, Lasse Mørck and Daniel Sommer. Quietly, they enjoy the audience and play at the same time. a beautiful version of Louis Armstrong’s Somebody.

Claus Waidtløw / Ben Besiakov / AC / Jakob Høyer på Mellemrummet

Slanted towards Bevars is the space where a lot of exciting names are presented during the festival. Here saxophoneist Claus Waidtløw plays with Ben Besiakov on piano, AC on bass and Jakob Høyer on drums. The latter were those I just heard before in Nansensgade. Now it’s indoors and the little room is filled up, as it was in front of the Orange scene at the Roskilde Festival.

They start, after a little talk about the course of the melody, with Everything I love. They then continue with Monks We Three. Besiakov at the piano is developing really well. It’s jazz right down my alley.

Ben and AC played on Waidtløw’s album Claustrophobia from 1996 and for the occasion he has found the Night Nurse number from that album. Both Besiakov and Høyer have long and good solos under the number.

The Ballad I’ll Fall in love too easily is the last song in the first set and my last issue of this year’s Copenhagen Jazz Festival. What a end to three intense days in the capital.

Now the trip goes west. At home, the family is waiting for a holiday in Thailand.