It was a wild, unbanded start of the coburg jazz night, the first that must not remain the last. For it has made present, right in the center of the city, what is otherwise very much lacking in coburg's cultural life, despite all the classical offerings: the challengingly different, the loosely liberating and at the same time soothing, as is offered in this mixture above all by jazz.
After the brilliant concert with chris jarrett in the sold-out town hall, the audience was excited and yet relaxed as they walked through the night across the market square to the somewhat different flamenco guitar of uli singers in the golden cross, to the old prague jazz musicians around frantisek uhlir in the at times packed hofbrau hall, then back to the ratskeller, to the unusual parisian saxophonist matthieu bordenave: jazz in the broader sense and diverse variations, exciting in juxtaposition, organized by the cultural department of the city of coburg in the under the artistic direction of antoinetta bafas and only possible thanks to the financial help of sponsors, first and foremost the company leise and the savings bank.
To be able to experience the pianist chris jarrett, who cannot be classified or held anywhere, was in itself a great gift. The not quite as famous, but by no means less innovative brother of keith jarrett may have become too wild, too powerfully raging for some in the middle of the two-hour concert, but no one was allowed to remain untouched by this music.
In his "tales of our time does the american, who lives in germany, really penetrate deep into the (musical) heart of our time?. In breathtaking fingering technique he sweeps through the sound of the present in frantic runs. If orienting categories are sought, then the free-toned modern of the classical period is probably to be considered first, which has received from jazz both absorbing and verstorende rhythms. Passionate leaps, dramatic increases, exploring the emotional depths of ever new dissonances, but not for virtuosic ends in themselves, but to tell driving stories, at the same time distancing and captivating, and after the thoroughly energy-sapping adventure, lovingly welcoming the listener, preserving him in small melodies over a pulsating ground.
With a sense of humor jarrett, tapping the frame of the piano and stroking the strings, unleashes spooky film sound along with mighty rumbling thunder. We get into his "bus for the mad" and race through the streets, only to stop abruptly before the red light: silence that lasts for minutes. On the left hand jarrett dissects a blues in an unusual metre, in order to spread a dazzling carpet of sound over it on the right hand. Breathtaking.
And filled with jarrett's sound we went to the other musicians of this jazz night.
Unusual young trio
In the ratskeller, matthieu bordenave and his "le cafe bleu international" made a lasting impression the chansons of edith piaf into new musical and emotional dimensions, imagining the spirit of postwar paris, but only as a starting point for appealing improvisation, atmospheric reveries, but also wildly rebellious percussion adventures. The trio brought a longing liberating spirit under the beautiful clouds in the town hall.
Munich-based saxophonist bordenave spares us fashionable tenor vanities. He cultivates a fine, even subdued sound and is all the more present, searching, exploring, enticing. The full tone of the tenor saxophone and the sonorous, versatile electric guitar of leonhard kuhn caressed and entwined each other in an unusual way.
The american drummer jay lateef pushes himself with cleverly shifted rhythms powerfully, sometimes hard, into the foreground, always playfully, without pushing the others away. An idiosyncratic trio that you wanted to take with you across the 1. Coburg jazz night out.
The "old hares from prague
It was immediately clear that skip wilkins (piano), františek uhlir (bass) and jaromir helešic (drums) were masters of their craft. They are in a positive sense old hares of jazz, each a virtuoso on his instrument. As super trio wuh they fascinated their audience in the munich hofbrau. The program: many own titles and standards.
Jazz-cellar-atmosphere in the hofbrau-hall – the u.S.-american and founder of the band, skip wilkins, races with nimble fingers over the piano-keys and immediately becomes tender and melodic again.
A magician on the bass is františek uhlir. What he elicits from the rather stubborn instrument is breathtaking. And jaromir helešic, rather modestly in the background, gives the rhythmic framework, but is also good for a surprising fireworks display. This is jazz at its best. The musicians play the ball to each other, juggle a little, but also give it back again willingly. The audience, both young and old, rewarded this performance with much applause.
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