“Are we selling candles or are we selling light?”

When I reviewed the Schaffhausen Jazz Festival, questions emerged – is Rusconi‘s new album, jazz? What should jazz be in 2014? Gerry Godley of the Improvised Music Company and 12 Points festival worked with cartoonist Patrick Sanders on a presentation that made some vital points for the industry. I particularly liked the analogy – are we selling candles or are we selling light? Put crudely if we carry on focusing on traditional forms of jazz we may go out of business.

© Patrick Sanders Let's be more open to innovation, especially as jazz has become  more porous and collaborative ©Patrick Sanders

© Patrick Sanders
Let’s be more open to innovation, especially as jazz has become more porous and collaborative ©Patrick Sanders

Godley referred to America’s major arts survey of 2012 and although I don’t see Europe in the same grip of the “heritage” of jazz, it’s probably a similar picture here: audience numbers are declining and they are growing older (as I saw at Schaffhausen and see in London). As Terry Teachout of the Wall Street Journal wrote, “Jazz musicians who want to keep their own…beautiful music alive…have got to start thinking hard about how to pitch it to young listeners.”

“What is jazz about & who is it for? – grows unclear.” Phil Johnson

To be frank, jazz has lost its hipness. Young urban ‘gunslingers’ are more likely to listen to new folk or the myriad forms of electronica. Last year journalist Phil Johnson wrote in the The Independent, “The essential narrative and context – what is jazz about and who is it for? – grows unclear. An increasing lack of visibility in the mainstream media contributes to a growing credibility gap…” This is an issue; print and radio (let’s not even go there with TV) influence tastes and with diminishing support it’s difficult for promotors to take risks. The respected critic, John Fordham commented on the lack of press coverage for jazz in 2010, “…the most routine performances by an orchestra, or the most mundane gigs by fading pop stars will usually grab the space from innovative jazz artists who may well be shaping the future of music…”


©Patrick Sanders

©Patrick Sanders


Godley also addressed the “J” word and whether it’s doing music a dis-service. I don’t feel overarching terms such as jazz, classical or rock are relevant in the age of the internet. My favourite phrase is ‘music for curious ears’ and London’s Cafe Oto bills itself as a venue for “creative new music”. Phil Johnson suggests Oto could be a good model for other European clubs as it’s found success by, “building an audience from the bottom up through artist-run co-ops and club-nights.” They are managing to attract a mix of ages, at least.

BBC Radio 3 (plays classical music and some jazz) is rightly obsessed with the phrase “replenishing audiences” as their core listeners age. Attracting new audiences requires new marketing tones. Rusconi have been so successful at building an online rapport with their fans that they won the voted-for ECHO Jazz Award for Best Live Act 2012. But the music itself needs to be relevant.

Build on traditions, but break the rules

Some promotors I spoke to felt Rusconi were being gimmicky – maybe they haven’t quite hit the right spot (as they did with Alice in the Sky) but I’m more engaged by them than I am by clever musicians desperately trying to re-create a time that has gone. Build on traditions, but break the rules, or at least put in your own life, your emotion. My musical axis has been informed by being a DJ where it’s all about the new, and I’ve always admired pioneers who faced enormous criticism but changed things up; as much as I adore Miles Davis’ Kind of Blue I’m glad he heard Hendrix and got re-inspired.

A band who is getting the balance right is Hildegard Lernt Fliegen. They played a triumphant set at Moods a few weeks ago. The music builds on traditional jazz and improvisation and yet is modern. They’ve got a strong look going on and their video for the track Don Clemenza  is perfectly pitched. OK, not everyone has to (or can) wear a breadstick on their head, but what brings it all together is that it feels utterly genuine, it’s ‘authentic’. And that’s the word Godley finished his talk with and it’s an important one.

Labels like ECM are “borders-blind”

What I’d like to see is European countries co-operating at supporting talent from a wide spectrum of ‘jazz’ and from regions beyond their own. Labels like ECM are “borders-blind”, venues could be better at this too. I believe: “If it ain’t broke, change it!” Or it dies. Keep jazz relevant, think about new ways to package it and consider who we want to promote it to. There are audiences out there who are missing out on heart-pounding, incredible music.


©Patrick Sanders

©Patrick Sanders


The Schaffhausen Jazz Festival 2014

As I walked into the ex-yarn factory, Kulturzentrum Kammgarn, it was clear the organisers put passion and care into their festival. The place was warm and intimate with candlelit tables and there was a relaxed, convivial vibe. Over four evenings the audience was treated to a variety of Swiss improvised music and there was a day of professional talks.

Without doubt, this is an ambitious festival

I missed the compelling Elina Duni Quartet who opened the event, but was there to experience BASH. I’m getting to know Lukas Roos through his outfit, pommelHORSE, but here the clarinetist/saxophonist played with guitarist, Florian Möbes, Domi Chansorn on drums and Samuel Gfeller on graphic novel, literally. A massive screen behind the band showed the story of a prisoner drawn into increasingly twisted events that lead to his end. The style of Gfeller’s drawings, Robert Crumb in feeling, are so powerful that at times, I tuned out their sensitive and minimal music. On speaking to Roos he explained that cutting the set to 40 minutes affected the balance – a point echoed by Andreas Schaerer and Rusconi on appearing at this festival.
Arte Quartett

Schaerer’s vocal noises ran amok

Andreas Schaerer was performing Perpetual Delirium, his composition for the saxophonists, the Arte Quartett with Wolfgang Zwiauer on electric bass. It had the quartet interlacing with a naturalness that was almost child-like in it’s fun and freedom. There were fascinating textures as soprano sax took over from alto, or tenor had a furious and thrilling exchange with the baritone, whilst Schaerer’s vocal noises ran amok adding sparkle, or hiding within their vibrant sound.

For pianist Gabriel Zufferey the time limit was perfect. His music was fluid with notes as sweet as fluttering butterflies yet underpinned by such knowledge and skill that he came across as an eccentric wizard. I liked the echoes of classical music and he incorporated an Eric Satie piece – it might sound tacky, but in his hands it lifted the hearts of the audience who then demanded two encores.

Is Rusconi’s music, jazz, or not?!

I was recently critical of Rusconi‘s gig at the Cully Jazz festival, but at Schaffhausen they were more confident in their ideas and I totally got into the groove of Hits of Sunshine and am warming to the strangeness of Change Part 1. However, on talking to some of the European promotors invited to the festival, questions emerged – is Rusconi’s music, jazz, or not? Is it gimmicky or authentic? I felt some answers were suggested by Gerry Godley of 12 Points who tackled the issue of the future(s) of jazz in his presentation with cartoons from Patrick Sanders, at the festival. But I’ll go into that more in my next Swiss Vibes’ blog, ‘How is Jazz?’

In the meantime I’ll leave you with the Bill Evans‘ quote that Godley used, “Jazz is not a what, it is a how. If it were a what, it would be static, never growing. The how is that the music comes from the moment, it is spontaneous, it exists at the time it is created.” If the Schaffhausen Jazz Festival has its sights set on being a relevant platform for jazz then it needs to continue putting on bands that question our perception of this rich and challenging music, as well as, those that celebrate it.

Cartoon by Patrick Sanders

Sex & Videos & Rock’n’roll

La pop suisse s’est trouvée un nouvel étendard visuel: tous à poil!

Une obsession de la jambe à l’air qui transcende les “genres” de la folk au slam. Oubliée la grande déclaration de Clémenceau, “le meilleur moment de l’amour, c’est quand on monte l’escalier“. Ce qui compte maintenant, c’est de faire tomber la feuille de vigne.

Anna Aaron “Linda”
On aurait pu croire la Bâloise aussi sage que ses chansons

Dans son précédent clip “Stellarling”, Anna Aaron se montrait en Piéta dans les bois, tenant délicatement son hipster christique sur ses genoux, avec la douceur d’un cours de catéchisme. Mais sur “Linda”, elle oppose sa beauté froide et ses rondeurs serrées dans un pull moulant, au corps nu, terriblement sec, de la danseuse et performer Oriana Cereghetti.

Introduction plastique, anti-érotique, à la morphologie humaine qui s’offre aux regards devant un mur noir et quelques néons. L’esprit torturé par Godwin pourrait y trouver des réminiscences contemporaines des “Dieux du stade” (ceux du documentaire allemand avec Leni Riefensthal, pas le calendrier des rugbymen français), pourtant si éloignées des jolies élégies de son dernier album “Neuro”, à paraître en Suisse le 28 février (et en France le 11 mars).

Kadebostany “Jolan”
Erotisme crypto-fasciste et vaguement sado-maso…

C’est  le parti-pris visuel des derniers clips de Kadebostany. Alors même que la fanfare électro semblait plutôt lorgner du côté des anciennes démocraties populaires de l’Est, le grand leader Kadebostan, en costume d’apparat, s’y montre toujours entouré de deux amazones aux jambes gracieuses et aux poses ouvertement lascives sous l’uniforme. Sans hésiter à enlever le haut parfois, mais toujours de manière fugace.

Comme chez Anna Aaron, ces visions subliminales s’appliquent sur fond noir et néons clinquants, pour mieux mettre en valeur cette esthétique d’une froideur infinie. Un choix d’autant plus étonnant que les paroles de “Jolan” semblent dire le contraire de ce qui est montré ” Ho, je me sens si haut quand tu es prêt de moi […] et je suis sûr que nous pourrons traverser l’univers” chante Kadebostan avec un romantisme insoupçonnable derrière se poses martiales.

Puts Marie “Pornstar”
Chez les Puts Marie, on se fait plus explicite…

Les rockers de Bienne, parmi lesquels Nick Porsche, réanimés après une longue période de sommeil, ont frappé un grand coup avec “Pornstar”, tiré de leur EP, au titre tout aussi transparent, “Masoch”. Emmenés par leur chanteur-acteur de théâtre, Max Usata, ils ont recréé en studio une sorte de boîte échangiste délirante, presque sortie d’un film de Fellini, où les corps plus ou moins gracieux se mêlent sans complexe dans un même élan hétéro et gay-friendly. Un choix qui a le mérite de faire sens: leur nouvel album, mi-rappé, mi-chanté, les voit explorer l’auto-destruction et la provoc authentique.


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