(aus dem Jazzinstitut Darmstadt)
7 – 20 September 2023 | Ausgabe 17/2023 (English)

We read the morning paper for you!

Dear jazz friends,

The Jazzinstitut's JazzNews keeps you up-to-date with news of the jazz world, which we collect, summarize, and issue via e-mail about once a week. This service can also be accessed on our website (www.jazzinstitut.de), where it is updated on a daily basis.

If you need bibliographies of the musicians named in our JazzNews, please click on our website’s Jazz Index page. This is a bibliographical reference to jazz-related books, magazines, journals and other sources that you can access without charge. If you don't find the name(s) you’re looking for, feel free to e-mail us! We will send you Jazz Index digests of articles about musicians as they make the news.

Now, have fun reading about the jazz week that was!

... brief news ...

Oliver Hochkeppel (Süddeutsche Zeitung) and Katja Sebald (Süddeutsche Zeitung) watch the newly released documentary "Jazzfieber - The Story of German Jazz". --- German trombonist Conny Bauer will receive this year's Albert Mangelsdorff Award – the Jazzinstitut's Wolfram Knauer was member of the jury (JazzZeitung).

Lewis Porter shares some of the jazz reference sources he regularly uses (the Jazzinstitut's Jazz Index service among them) (Playback with Lewis Porter). --- Marcus J. Moore asks musicians, writers, and critics about records by drummer Max Roach that they would recommend. He talks to drummer Nate Smith ("Driva' Man"), drummer and producer Patricia Little ("Ghost Dance"), violinist Chelsea Green ("Abstrutions"), producer Joseph Patel ("Drums Unlimited"), radio host Nicole Sweeney ("Freedom Day"), educator Brandi Waller-Pace ("Joy Spring"), Times editor Elena Bergeron ("Percussion Discussion"), MC and vocalist Kokayi ("Garvey's Ghost"), radio host Tanya Rahme ("The Profit"), writer Martin Johnson ("Effi"), poet aja monet ("Tears for Johannesburg"), writer and DJ John Murph ("The Dream/It's Time"), as well as film director Sam Pollard ("Parisian Thoroughfare") (New York Times).

Jürgen Kesting reports about the demise of the German music journal Fono Forum that had been founded in 1956, had developed the German Record Critics' Award in 1963, but lost more and more readers in recent years (Frankfurter Allgemeine Zeitung). --- Alexis Petridis reports about the British Ezra Collective that just won the 2023 Mercury Prize for their album "Where I'm Meant to Be", the first jazz act to win the prestigious annual music award (The Guardian).

Ethan Iverson celebrates bassist Wilbur Ware on his centennial and discovers how much he influenced Charlie Haden (Transitional Technology). --- Troy Collins talks to saxophonist and jazz researcher Allen Lowe about the impact of a severe cancer treatment on his musical activities, about his latest album being "an argument with people like Nicholas Payton and Bill Frisell", about free jazz and his admiration for some older players, about his approach to harmony, about the impact of musicians who inspired him, about Sun Ra and Rahsaan Roland Kirk (and Jaki Byard and Julius Hemphill), about his take on the current music market, as well as about a film project he is working on (Point of Departure).

Gary G. Vercelli talks to tabla virtuoso Zakir Hussain about fusion of jazz and Indian classical music (Cap Radio). --- Seth Colter Walls listens to two new recordings of pre-Third Stream compositions by James P. Johnson ("De Organizer") and Mary Lou Williams ("Zodiac Suite") (New York Times).

Wolfgang Sandner reads Ilona Haberkamp's biography of German-American pianist Jutta Hipp (Frankfurter Allgemeine Zeitung). --- Nate Chinen is impressed by Cécile McLorin Salvant's interpretation of "America the Beautiful" at the US Open (The Gig).

Lewis Porter starts a series exploring aspects of John Coltrane's album "A Love Supreme" (Playback with Lewis Porter part 1, Playback with Lewis Porter part 2). --- Hili Perlson previews an exhibition curated by Jason Moran and Paola Malavassi focusing on Louis Armstrong's tour of East Germany in 1965 (ArtNet). Johann Frederik Paul (RBB) and Robert Miessner (TAZ) report as well.

Ethan Iverson watches and comments on a two-part documentary from 1990 by baritone saxophonist Joe Temperley that features performances of Buck Clayton, Milt Hinton, Sammy Price, Jimmy Heath, Ralph Moore, Mulgrew Miller and many others (Transitional Technology). --- Maxi Sickert talks to saxophonist Henry Threadgill about the impact of the AACM on his musical development, about his compositional approach and where that leaves space for improvisation, about his 2021 album "The Other One", as well as about his upcoming position as artist in residence at Jazzfest Berlin (Die Zeit).

Nate Chinen stresses the importance of local newspaper support for local jazz scenes through music listings, reviews and more, recalling his own involvement with the Philadelphia City Paper and the New York Times (The Gig). --- Norbert Krampf talks to German bass clarinetist Burkard Kunkel about his approach to improvisation, about his interest in both the basset horn and the zither, as well as about connections between his work as a musician and his other job as a specialist in child and adolescent psychotherapy (Frankfurter Allgemeine Zeitung).

Lewis Porter remembers visiting the Village Vanguard in 1966 for a performance of the Coleman Hawkins Quartet (Playback with Lewis Porter). --- Ethan Iverson lists 17 jazz tracks that he thinks relate to the music, work, and ideas of Charles Ives (Transitional Technology); in a subsequent post he reflects about his own personal history with the composer (Transitional Technology). --- Andrew Gilbert talks to saxophonist Joshua Redman (Santa Cruz Sentinel).


We learned of the passing of bassist Richard Davis at age 93 (Rolling Stone, Madison 365, WBGO, New York Times, Fox47), German vocalist Andrea Pancur at age 54 (JazzThing), British drummer Simon Pearson at age 54 (London Jazz News), Tracy Cole, great-nephew of Nat King Cole, at age 31 (Atlanta News First), German saxophonist Axel Jankowski at age 62 (Lüneburger Landeszeitung), German producer Jost Gebers at age 83 (Free Jazz Blog, BR-Klassik), British drummer John Marshall at age 82 (Jazz City, London Jazz News), German saxophonist Wolfgang Engstfeld at age 72 (Jazz City, Rheinische Post), saxophonist Al Hamme at age 84 (Jazz Passings), pianist Frank Owens at age 90 (Memorial Haven), South African bassist Spencer Mbadu at age 68 (Western Cape Government), as well as saxophonist Charles Gayle at age 84 (Rock and Roll Globe, Burning Ambulance).

Last Week at the Jazzinstitut

(New) books we read
Among the books on our desk the last couple of weeks were "Watching With My Ears. 20 Years Vision Festival New York", by Jorgo Schäfer; "Viersener Köpfe. Bekannte Bürger(innen) unserer Stadt und ihre Geschichte(n)", by Paul Eßer and Torsten Eßer; as well as "Formation. Building a Personal Canon, Part One", by Brad Mehldau (see the Jazzinstitut's book review page).

Destination Unknown: The Future of Jazz
One more week to go and the 18th Darmstadt Jazzforum will start, focusing on nothing less than "The Future of Jazz". We have sent out program booklets to those interested, a PDF file of which you can also download from our website. The complete program including bios and abstracts of papers and panels can also be found online. Here is a brief outline:

Exhibition and pre-opening concert:
We will begin with the exhibition "The All of Everything" at the Jazzinstitut's art gallery asking about the future world that the music we are talking about will re-sound in; and with a pre-opening concert by Karja/Renard/Wandinger, an exciting experimental trio at the Jazzinstitut's intimate concert space on Wednesday, 27 September.

Thursday afternoon (28 September) our Lord Mayor Hanno Benz will open the conference. A first session of papers, entitled "Past and Future", will focus on how jazz somehow has always been about its own future, and with a panel asking about whom this music actually reaches and represents. Friday morning (29 September: "Ancient to the Future") presents papers about Afrofuturism as well as about the meaning of "jazz" in today's cultural landscape. The afternoon ("Was wäre wenn? [What if...?]") has a number of musicians' statements about what this music can and could be, as well as a panel about creative spaces. Saturday morning (30 September: "Am Wandel mitwirken" [Participate in change]) gives examples of how musicians can become activists for change. Saturday afternoon ("Es geht ums Ganze!" [It's all or nothing!]) summarizes aspects discussed at the conference and adds some new thoughts about genre, teaching and studying music, ending with a panel about the privilege of being active in this field and the responsibilities that come with it.

Further Concerts:
There will be two more concerts: On Friday evening (29 September) at Centralstation you can hear Athina Kontou and Mother, as well as Jorik Bergman's Julius Eastman Project. The Jazzforum will end on Saturday (30 September) at Bessunger Knabenschule with the trio Les Marquises as well as with Frank Gratkowski's quintet featuring Ingrid Laubrock.

Conference attendance / concert tickets:
Attendance of the conference is free, however, you can help us tremendously if you register on our website. Tickets for the concerts are available at the respective venues (check the box office links on our website). There will be a livestream of the conference available both on our website and on our YouTube channel.

More info:
More information is available here: Destination Unknown as well as on the corresponding blog that outlines some of our own thoughts on the subject. The conference language will be German.

R.I.P. Jost Gebers
Only three months after Peter Brötzmann, Jost Gebers has left us, first partner, then producer, enabler of free music, eventually owner of the FMP (Free Music Production) label that documented improvised music in the 1970s and 1980s. Gebers was instrumental in lots of important concerts, recordings, possibilities. This newsletter is too short to list all of his contributions to our field of music over the years, plus there have been exhibitions, books, CD collections honoring his work, most recently "Free Music Production. FMP – The Living Music", edited by Markus Müller (Wolke Verlag). When FMP was founded in 1969 its goal had been to keep the decision-making about what was being released in the hands of the musicians. Gebers had been fighting for money to finance all of the Berlin events over the years, the Workshop Freie Musik, the Total Music Meeting, the one-month Cecil Taylor residency in Berlin in 1988 that resulted in a celebrated 11-disc box set. Eventually Gebers moved to Borken, continuing to work with the master tapes of many of the recording sessions he had produced, negotiating with labels all over the world in order to keep the music available.

The Jazzinstitut had acquired his personal record collection in 2004, including all FMP releases, many of the FMP posters as well as albums that he had amassed over the years, personal favorites and releases that musicians had sent him. Jost swung by the Jazzinstitut whenever we had an event that touched upon his field of musical interest. He attended several Jazzforum conferences, he came to a lecture on the 50th anniversary of Brötzmann's "Machine Gun" album in Bremen, and of course, we regularly met him at Jazzfest Berlin.

Jost was a sweet guy. He could come across as gruff at first, but it didn't take long for him to open up and show a nearly romantic enthusiasm for the music. I think that he was proud of his collection having ended up at the Jazzinstitut's archive, and we marveled at the strength with which he continued to fight for the music. Jost Gebers will be missed as a mover and shaker, a serious advocate for improvised music AND – most of all – for the musicians who make the music.

Current opening hours of the Jazzinstitut
The Jazzinstitut is open to the public by appointment. We also offer research help by phone, e-mail or video-call. If you would like to schedule a video call, please send an e-mail to make an appointment and give us an idea what you want to talk about. We will then reply with a link for a Webex video session for your meeting.

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Jazzinstitut Darmstadt
Bessunger Strasse 88d | 64285 Darmstadt | Germany
The Jazzinstitut is an institution of the City of Sciences Darmstadt | Das Jazzinstitut ist eine Einrichtung der Wissenschaftsstadt Darmstadt