I’ve spent the past few days thinking about the enormous wealth of music I heard last weekend during the first edition of Jazzfest Berlin curated by Nadin Deventer, who selected some very fine artists, devised interesting combinations and highlighted provocative themes while moving the festival’s furniture around sufficiently to make the event feel fresh and new.
Among the things I carried away with me included a surprise encore on the final night with Mary Halvorson joining Bill Frisell for a lovely guitar duet on “The Maid With the Flaxen Hair”, the title track of their highly recommended recent album on the Tzadik label; Kara-Lis Coverdale’s dramatic and absorbing pipe-organ solo recital in the Kaiser Wilhelm Memorial Church; Jaimie Branch’s electrifyingly bold trumpet solos with a quartet driven by the drummer Chad Taylor; the fantastically creative cello solos of Tomeka Reid with Nicole Mitchell’s Black Earth Ensemble, Rob Mazurek’s Exploding Star International and a 12-piece Art Ensemble of Chicago; Kim Myhr’s mini-orchestra of strumming guitars; and Jason Moran’s centenary tribute to the soldier/bandleader James Reese Europe and the Harlem Hellfighters, which moved me more than I had expected.
In a festival-related event, there was also a chance to see the artist Arthur Jafa’s “A Series of Utterly Improbable, Yet Extraordinary Renditions” at the gallery of the collector Julia Stoschek. Having missed it at the Serpentine Gallery last year, I was particularly struck by one of the video pieces, which cut together YouTube footage of James Brown, Jimi Hendrix and Bootsy Collins, and an electrifying 10-minute performance by the gospel singer Lateria Wooten, singing “Nothing But the Blood” with the late Thomas Whitfield’s choir (which you can watch here).
The solo of the festival was played by Ingrid Laubrock with Mary Halvorson’s wonderful octet. Her tenor saxophone emerged from the warm textures of a ballad called, apparently, “No. 60” (the composer numbers her tunes before assigning them names), like Ben Webster taking his turn in an Ellington small group 80 years ago. The tone, the trajectory, the internal balance of the improvisation were all simply perfect. It was a moment of absolute beauty and the effect was spine-tingling,
But most of all I came away with the memory of Moor Mother, otherwise known as Camae Ayewa, a spoken-word artist from Chicago who was heard in several contexts, most notably with her group, Irreversible Entanglements, featuring Aquiles Navarro on trumpet, Keir Neuringer on alto, Luke Stewart on bass and Tcheser Holmes on drums. Her fierce, declamatory recitations seemed like the logical evolution of the poetry-and-jazz explorations of Charles Mingus, Archie Shepp, LeRoi Jones/Amiri Baraka and Jayne Cortez. Over a highly expressive and flexible band, she drove her words home with a caustic power intensified by a command of economy and repetition echoing that of old blues singers. And then, after a short interval, she appeared in a duo with the Art Ensemble’s Roscoe Mitchell, who played his sopranino saxophone as she riffed on phrases borrowed from Muddy Waters and Howlin’ Wolf. Here we had the old and the new, speaking directly to today’s world.