Interview: Vojislav Pantić, art director of Belgrade jazz festival
This year's slogan is Jazz seduction, although it could be the motto of any edition of the festival, because seduction is one of the clear features of jazz. I am convinced to have made an excellent choice, because everyone wonder why exactly jazz seduction, and we did not actually know the answer; on the other hand, no one is strange. There is an interesting story - one of the foreign journalists, when he heard the slogan, said: I can not resist the jazz seduction. I will buy a nice chocolate, a bottle of wine and a ticket to Belgrade, and I can not wait to be seduced...
***
This year's 26th edition of the Belgrade Jazz Festival, organized by the Dom omladine Belgrade, was held from 28th till 31th October - under the banner of Jazz seduction. First held back in '71, used the citizens of Belgrade to mid-autumn expected sounds of jazz - this year at four locations in the center of the city: Sava Center, Kolarac, Student Cultural Center and the Dom Sindikata Hall. Year 2010 was marked by big-name jazz scene, located in four main program evenings (Giants, Legends Revisited, Lessons in Style and Evolution) and three of the midnight (Hot & Tasty, Funky Smiles and Ladies Night).
Vojislav Pantić, art director of Belgrade Jazz Festival, speaks forWAVE magazine about the presence of jazz in Serbia, Wayne Shorter re-arrival to Belgrade, performances that will be remembered and 15years long break.
What is the level of jazz in Serbia? What kind of environment is needed to one genre so it could exist and develop on the music scene?
- Environment for the development of jazz in Serbia is not ideal, but it is not much better in more famous jazz places. In U.S.A, for example, there is not enough jazz even on public radio or television; and in our country we can still find some elements of jazz, thanks to the fact that media are not yet fully commercialized.
It is good that there is a jazz department at the Music School"Stanković", like a real nursery of new talent, but it would be great that they have the opportunity to continue their education in our country, instead forced to travel to Graz or Boston, due to lack of academic level of education.
Number of over ten festivals in Serbia is more than solid, but it would be good if the scene in these cities lived outside the festival. Clubs are provided only in Belgrade and Novi Sad, but they are mainly oriented to the standard jazz, creative activities are difficult to get a chance outside the festival circuit. Otherwise, I am convinced that our most talented jazz musicians would success abroad, but on this issue is needed more help from the state. For example, most of the costs of European artists at the festival bear the cultural institutions of their countries of origin.
How do you choose a slogan of the festival from year to year? This time it is Jazz seduction.
- The slogan of the festival is considering the entire organizing team, but the best idea usually is made by program manager of the
Cultural Center Dom Omladine, Dragan Ambrozić. Of course, you are trying to adequately portray the specific edition of the festival, or a feature of jazz in general. So, the slogan of the first renewed (2005) festival edition was Tradition and Futurism, to emphasize that we continue the festival tradition, but also that curious look ahead. With this slogan we have addressed those who remember the earlier editions of the festival, but also the audience who grew up in the meantime. Slogan City Jazz (2006) was a "way out of Dom omladine", the intention that the whole city is dancing to the rhythm of jazz, the diffusion of festival in four urban areas. Proclaiming Strictly Jazz (2007), we wanted to clearly answer the question of what kind of music we want to introduce the audience. Jazz Emotions (2008) is recognition of the important characteristics of jazz, with strong emotions that fill the music. Last year we celebrated a remarkable anniversary of the Belgrade Jazz Festival and is in line with the slogan of the 25th anniversary. This year is Jazz seduction, as the jazz always seduces the audience. Seduction is, in fact, the essence of jazz.
Which names of this year's festival would you highlight?
- Wayne Shorter, above all, as the first true jazz star in the festival of renewal. I will remember his concert in the same way I still remember the performance of Weather Report. Charlie Hadenhas honored us a very different sensibility fromWayne Shorter, as I expected, but most of the audience probably not. Where Wayne was ultra-close, Haden was the ultra-open. Where Wayne played an aggressive pace and rhythm, Haden was a mellifluous and romantic. Where Wayne was running away from romance, Haden entered into it. Where Wayne broke all ideas of the classical soloing, Charlie Haden Quartet West concert has covered the classic set of long and brilliant soloings of Alan Broadbent, Ernie Watts and Charlie Haden. Wayne got the first applause in the hall just in the second half of performance, but those who stayed until the end went completely thrilled. It is also interesting that he even played two encores, which is very rare concerning this quartet. On the other hand, each of Haden's solo tracks were not followed by applause but a standing ovation when the band had to completely stop playing, continuing to gig only when the audience calmed down.
I will also remember the concert of Enrico Rava New Quintet - a perfect blend of experience of legendary Italian trumpeter and untamed youth of his great sidemen. Basically it was bebop, but modern treated - with elements of folklore, tango, swing and rock and roll, sublimating the different environments which is the characteristic of the modern jazz. Similarly, Jason Moran with his hurricane trio The Bandwagon explained that it is easy to connect Thelonius Monk with hip-hop, traditional jazz motives with avant-garde, witty pre-recorded stuff and live music, gentle piano playing bits with powerful rhythm section. With Moran's music we could best understand how was jazz moving forward in the 21st century.
After 30 years, Wayne Shorter played again in front of Belgrade audience. Can you make a comparation?
- Wayne Shorter opened the festival in 1980 and this year, too. Then he came with the mega popular fusion band Weather Report, in which played keyboardist Joe Zawinul and bassist Jaco Pastorius, and now with the fantastic acoustic quartet, accompanied by pianist Danilo Perez, bassist John Patitucci and drummer Brian Blade. Both then and now, large number of people was present at the concert.
But unlike 1980, when everyone left the Pionir Hall collectively delighted, this year opinions were dramatically divided. One part of the hall could not accept what he is now playing - thinking, hermetic, and at times very difficult music that requires full concentration of listener - and the second part considers attended the best concert in their life, managing to bring him to the (unusual) two encores. And this precisely is our wish - that the Belgrade Jazz Festival intrigues the audience, provoking a long interesting discussions (not) like-minded after the concerts.
What does it look like bringing a music star to Belgrade?
- To bring star to Belgrade looks exactly as it appears on the poster of this year's festival - Cultural center Dom Omladine Belgrade PROUDLYpresents. The strongest feeling is pride, followed by the joy that you are able to provide to this city and the people you love the opportunity to hear history of jazz and to meet with those famous names.
If the budget allows, it is very easy because jazz artists are not complicated people. For instance, none of the Wayne Shorter Quartet had no special demands on the organization of the concert; they were very friendly towards people with whom they met these two days and did a highly professional performance.
On the sentimental side, it is enough to sit next to him at half a minute, without speaking - it will remain in your memory for years. I have had the opportunity to sit with Wayne one day after the concert and I think - in those fifteen minutes - I was fed with something very powerful, just like fifteen minutes of his playing or talking, and mostly we were silent.
The early eighties were marked with decline in response from the audience. What was this year's communication with Belgrade people like?
- Belgrade audience is hungry for jazz, it's coming to concerts in large numbers and reacts well to what artists play. This was the most visited festival in the past six years - more than 8,000 people listened to jazz at the festival this year, which is near the most visited editions from the early 70's and late 80's. I do not expect that number to increase, because it would mean a larger number of commercial names for the big city halls, which is directly related to the height of the budget. On the other hand, we are keen to have the program and creative music that naturally interact with fewer people, in venues such as Kolarac and Dom omladine hall. Some of the best concerts in the past six years, took place right there - Brad Mehldau, Avishai Cohen, Anat Cohen, Bojan Z, Patricia Barber... For these artists the space for 1,000 people is a natural environment.
After a break of 15 years, did festival meet the expectations that were formed in those years when it was not held?
- Festival 2005. was as strong as it was our initial budget, and it was very modest. But still, the festival was opened by Dave Holland, who got, three years prior to 2005, all four awards in Down Beat magazine he could get - the best band, best album, best bass player and the best performer of the year - so it was more than a good step. The success of this edition has taken us more responsibility, and so is every year. Fixing what is wrong, adding exciting new content, improving production standards - every year we make better and better program. Concerning the fact that number of foreign journalists and VIP guests increases every year - this year there were 14 - it is clear that we have gained considerable respect in the global jazz public. With this knowledge, we move on - every following year is more challenging, of course.
What kind of audience we have is the best described by two fresh examples. On summer Umbria Jazz in Perugia, attendance was about 60%, and we have three of seven sold out concerts. And yesterday I heard that Wayne Shorter performs today in Madrid in the 700 places venue, while in Belgrade played in front of 2,500 people.
Which things should be changed for next years? What innovations would be good to include?
- The first thing we want to add, which exsisted in editions to 1990 - is the jam sessions. Not instead of the midnight program, of course, because they have a great following, but parallel to them. The recently renovated Cultural Center Dom omladine will be easy to achieve parallel programs in the Americana hall and jazz club - of course, for the same ticket. This would bring some more traditional jazz at the festival, which Belgrade people like. But I know that the renewal of a jam session will go hard, since it don't exist even in the in world's leading festivals.
Concerning the concert program, it would be great if could commision an international production, as we have initiated three domestic in recent years - Rambo's performance with jazz musicians, comeback of the Gut-Markovic Sextet and the project of Kornelije Kovac. The next step in this direction could be our connection with some well-known foreign musicians, who would make this project - initiated by us - premiered at the our festival.
I wish that next year has more accompanying content - because objective circumstances have prevented us in previous years. Of course, the basis of each festival are concerts, especially those from the main program, but to overall atmosphere contribute interesting photo exhibitions, panel discussions, film screenings. We hope that soon we will start colaborating with other festivals in the region and Europe, and to exchange ideas and good programs.
by IVANA SPASOJEVIĆ
published: http://www.wavemagazine.net/arhiva/49/culture/belgrade-jazz-festival.htm
This year's slogan is Jazz seduction, although it could be the motto of any edition of the festival, because seduction is one of the clear features of jazz. I am convinced to have made an excellent choice, because everyone wonder why exactly jazz seduction, and we did not actually know the answer; on the other hand, no one is strange. There is an interesting story - one of the foreign journalists, when he heard the slogan, said: I can not resist the jazz seduction. I will buy a nice chocolate, a bottle of wine and a ticket to Belgrade, and I can not wait to be seduced... ***
This year's 26th edition of the Belgrade Jazz Festival, organized by the Dom omladine Belgrade, was held from 28th till 31th October - under the banner of Jazz seduction. First held back in '71, used the citizens of Belgrade to mid-autumn expected sounds of jazz - this year at four locations in the center of the city: Sava Center, Kolarac, Student Cultural Center and the Dom Sindikata Hall. Year 2010 was marked by big-name jazz scene, located in four main program evenings (Giants, Legends Revisited, Lessons in Style and Evolution) and three of the midnight (Hot & Tasty, Funky Smiles and Ladies Night).
Vojislav Pantić, art director of Belgrade Jazz Festival, speaks forWAVE magazine about the presence of jazz in Serbia, Wayne Shorter re-arrival to Belgrade, performances that will be remembered and 15years long break.
What is the level of jazz in Serbia? What kind of environment is needed to one genre so it could exist and develop on the music scene?- Environment for the development of jazz in Serbia is not ideal, but it is not much better in more famous jazz places. In U.S.A, for example, there is not enough jazz even on public radio or television; and in our country we can still find some elements of jazz, thanks to the fact that media are not yet fully commercialized.
It is good that there is a jazz department at the Music School"Stanković", like a real nursery of new talent, but it would be great that they have the opportunity to continue their education in our country, instead forced to travel to Graz or Boston, due to lack of academic level of education.
Number of over ten festivals in Serbia is more than solid, but it would be good if the scene in these cities lived outside the festival. Clubs are provided only in Belgrade and Novi Sad, but they are mainly oriented to the standard jazz, creative activities are difficult to get a chance outside the festival circuit. Otherwise, I am convinced that our most talented jazz musicians would success abroad, but on this issue is needed more help from the state. For example, most of the costs of European artists at the festival bear the cultural institutions of their countries of origin.
How do you choose a slogan of the festival from year to year? This time it is Jazz seduction.
- The slogan of the festival is considering the entire organizing team, but the best idea usually is made by program manager of the
Cultural Center Dom Omladine, Dragan Ambrozić. Of course, you are trying to adequately portray the specific edition of the festival, or a feature of jazz in general. So, the slogan of the first renewed (2005) festival edition was Tradition and Futurism, to emphasize that we continue the festival tradition, but also that curious look ahead. With this slogan we have addressed those who remember the earlier editions of the festival, but also the audience who grew up in the meantime. Slogan City Jazz (2006) was a "way out of Dom omladine", the intention that the whole city is dancing to the rhythm of jazz, the diffusion of festival in four urban areas. Proclaiming Strictly Jazz (2007), we wanted to clearly answer the question of what kind of music we want to introduce the audience. Jazz Emotions (2008) is recognition of the important characteristics of jazz, with strong emotions that fill the music. Last year we celebrated a remarkable anniversary of the Belgrade Jazz Festival and is in line with the slogan of the 25th anniversary. This year is Jazz seduction, as the jazz always seduces the audience. Seduction is, in fact, the essence of jazz.
Which names of this year's festival would you highlight?
- Wayne Shorter, above all, as the first true jazz star in the festival of renewal. I will remember his concert in the same way I still remember the performance of Weather Report. Charlie Hadenhas honored us a very different sensibility fromWayne Shorter, as I expected, but most of the audience probably not. Where Wayne was ultra-close, Haden was the ultra-open. Where Wayne played an aggressive pace and rhythm, Haden was a mellifluous and romantic. Where Wayne was running away from romance, Haden entered into it. Where Wayne broke all ideas of the classical soloing, Charlie Haden Quartet West concert has covered the classic set of long and brilliant soloings of Alan Broadbent, Ernie Watts and Charlie Haden. Wayne got the first applause in the hall just in the second half of performance, but those who stayed until the end went completely thrilled. It is also interesting that he even played two encores, which is very rare concerning this quartet. On the other hand, each of Haden's solo tracks were not followed by applause but a standing ovation when the band had to completely stop playing, continuing to gig only when the audience calmed down.I will also remember the concert of Enrico Rava New Quintet - a perfect blend of experience of legendary Italian trumpeter and untamed youth of his great sidemen. Basically it was bebop, but modern treated - with elements of folklore, tango, swing and rock and roll, sublimating the different environments which is the characteristic of the modern jazz. Similarly, Jason Moran with his hurricane trio The Bandwagon explained that it is easy to connect Thelonius Monk with hip-hop, traditional jazz motives with avant-garde, witty pre-recorded stuff and live music, gentle piano playing bits with powerful rhythm section. With Moran's music we could best understand how was jazz moving forward in the 21st century.
After 30 years, Wayne Shorter played again in front of Belgrade audience. Can you make a comparation?
- Wayne Shorter opened the festival in 1980 and this year, too. Then he came with the mega popular fusion band Weather Report, in which played keyboardist Joe Zawinul and bassist Jaco Pastorius, and now with the fantastic acoustic quartet, accompanied by pianist Danilo Perez, bassist John Patitucci and drummer Brian Blade. Both then and now, large number of people was present at the concert.
But unlike 1980, when everyone left the Pionir Hall collectively delighted, this year opinions were dramatically divided. One part of the hall could not accept what he is now playing - thinking, hermetic, and at times very difficult music that requires full concentration of listener - and the second part considers attended the best concert in their life, managing to bring him to the (unusual) two encores. And this precisely is our wish - that the Belgrade Jazz Festival intrigues the audience, provoking a long interesting discussions (not) like-minded after the concerts.What does it look like bringing a music star to Belgrade?
- To bring star to Belgrade looks exactly as it appears on the poster of this year's festival - Cultural center Dom Omladine Belgrade PROUDLYpresents. The strongest feeling is pride, followed by the joy that you are able to provide to this city and the people you love the opportunity to hear history of jazz and to meet with those famous names.
If the budget allows, it is very easy because jazz artists are not complicated people. For instance, none of the Wayne Shorter Quartet had no special demands on the organization of the concert; they were very friendly towards people with whom they met these two days and did a highly professional performance.
On the sentimental side, it is enough to sit next to him at half a minute, without speaking - it will remain in your memory for years. I have had the opportunity to sit with Wayne one day after the concert and I think - in those fifteen minutes - I was fed with something very powerful, just like fifteen minutes of his playing or talking, and mostly we were silent.
The early eighties were marked with decline in response from the audience. What was this year's communication with Belgrade people like?
- Belgrade audience is hungry for jazz, it's coming to concerts in large numbers and reacts well to what artists play. This was the most visited festival in the past six years - more than 8,000 people listened to jazz at the festival this year, which is near the most visited editions from the early 70's and late 80's. I do not expect that number to increase, because it would mean a larger number of commercial names for the big city halls, which is directly related to the height of the budget. On the other hand, we are keen to have the program and creative music that naturally interact with fewer people, in venues such as Kolarac and Dom omladine hall. Some of the best concerts in the past six years, took place right there - Brad Mehldau, Avishai Cohen, Anat Cohen, Bojan Z, Patricia Barber... For these artists the space for 1,000 people is a natural environment.
After a break of 15 years, did festival meet the expectations that were formed in those years when it was not held?- Festival 2005. was as strong as it was our initial budget, and it was very modest. But still, the festival was opened by Dave Holland, who got, three years prior to 2005, all four awards in Down Beat magazine he could get - the best band, best album, best bass player and the best performer of the year - so it was more than a good step. The success of this edition has taken us more responsibility, and so is every year. Fixing what is wrong, adding exciting new content, improving production standards - every year we make better and better program. Concerning the fact that number of foreign journalists and VIP guests increases every year - this year there were 14 - it is clear that we have gained considerable respect in the global jazz public. With this knowledge, we move on - every following year is more challenging, of course.
What kind of audience we have is the best described by two fresh examples. On summer Umbria Jazz in Perugia, attendance was about 60%, and we have three of seven sold out concerts. And yesterday I heard that Wayne Shorter performs today in Madrid in the 700 places venue, while in Belgrade played in front of 2,500 people.
Which things should be changed for next years? What innovations would be good to include?
- The first thing we want to add, which exsisted in editions to 1990 - is the jam sessions. Not instead of the midnight program, of course, because they have a great following, but parallel to them. The recently renovated Cultural Center Dom omladine will be easy to achieve parallel programs in the Americana hall and jazz club - of course, for the same ticket. This would bring some more traditional jazz at the festival, which Belgrade people like. But I know that the renewal of a jam session will go hard, since it don't exist even in the in world's leading festivals.
Concerning the concert program, it would be great if could commision an international production, as we have initiated three domestic in recent years - Rambo's performance with jazz musicians, comeback of the Gut-Markovic Sextet and the project of Kornelije Kovac. The next step in this direction could be our connection with some well-known foreign musicians, who would make this project - initiated by us - premiered at the our festival.
I wish that next year has more accompanying content - because objective circumstances have prevented us in previous years. Of course, the basis of each festival are concerts, especially those from the main program, but to overall atmosphere contribute interesting photo exhibitions, panel discussions, film screenings. We hope that soon we will start colaborating with other festivals in the region and Europe, and to exchange ideas and good programs.
by IVANA SPASOJEVIĆ
published: http://www.wavemagazine.net/arhiva/49/culture/belgrade-jazz-festival.htm
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