JAZZHOUSE Magasin #06

��magaZINE #06/JULY & aUgUST 2011

JAZZFESTIVAL

EDITION

Lidt mere af alting... også hygge

LOVE IN THE STREET

ExEcUTIVE EDITOR JonAThAn FAnøE → [email protected] EDITOR ErIk TygESEn → [email protected] LaYOUT mEWE grouP/ThomAS BArSøE → [email protected] WORDS ErIk TygESEn, JEAn Von BAdEn, LEnnArT gInmAn, LISBETh mArIA hAnSEn PHOTO LASSE AArdESTruP, runE TILLArk, STEPhEn FrEIhEIT cOVER PHOTO runE TILLArk → WWW.ScEnESkud.dk VISUaL IDENTITY E-TyPES → WWW.E-TyPES.dk aD SaLES konTAkT → [email protected] PUBLISHED BY JAZZhouSE, nIELS hEmmIngSEnS gAdE 10, 1153 køBEnhAVn k → WWW.JAZZhouSE.dk

CONTENT��MAGAZINE #06

FESTIVaL PROgRammE

aT��

PAgE 6

JULY/AUGUST��

HaNNE BOELPAgE 28

PAgE 22

Page 19magNUS HJORT TRIO

Page 16SWINgIN’ IN THE STREET

Page 16STREET FOOD aND JaZZ

Page 19NIKOLaJ HESS

Page 26INTERVIEWHELLE HENNINg

0JaZZHOUSE INFO

EDITION

JAZZFESTIVAL

Page 20caLENDaRaUgUST

Page 25maKaDEm cONcERT

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STAMGÆST2011

��magaZINE#6

Welcome to JAZZhouSE magazine # 6 which first and foremost is dedicated to our concert programme in July and August. The magazine also sheds light on all the other activities - and the thoughts behind them, which make up this valuable and cultural power centre in Europe that JAZZhouSE has evolved into.

copenhagen Jazz Festival, which takes place from July 1st to July 10th, is without doubt the highlight of the year for all of us who love the contemporary, creative and improvising music that we call jazz.

during the festival we have composed a programme which takes place both inside- and outside of JAZZhouSE. So you won’t have to go home for anything but a fresh change of clothes every once in a while.

We seal-off niels hemmingsens gade, and we fit it with tables, benches, bars, food serving, grill, swing-dance lessons and dJ’s. Every night at 9.30 the main concert of the day takes place inside. This is followed by the most outstanding live jazz through every night until dawn.

Following the festival we are closed for concerts until Thursday August 18th at which date we begin the many autumn activities. Among other things we launch our brand new website, open up a cocktail bar at hErLuF which is 100% artist-financed, hold depeche-concerts with female band leaders and try out new ways of hosting concerts.

But no matter how many new things we try out, our primary ambition is - and has always been - living up to - and constantly developing JAZZhouSE as being the most important melting pot and mediator for the creative part of jazz music in northern Europe.

We regard modern jazz music as an open and unique kind of musical improvisation, which is undergoing constant develop-ment while balancing on a knife’s edge between its roots and its visionary dreams. We think of JAZZhouSE in exactly the same way.

“WE aRE aLL IN THE gUTTER, BUT SOmE OF US aRE LOOKINg aT THE STaRS”oScAr WILdE

WELcOmE TOJaZZHOUSE magaZINE#6

- Lennart ginman, Artistic director at JAZZhouSE

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JaZZFESTIVaL PROgRammEaT ��FRIDaY 01. JULY

21ST cEnTury JAZZ:JOEY DEFRaNSEScO TRIO (US)

nobody plays the B3 with more expression and soul today than Joey deFrancesco. during his pre-teen years, his father (also an organ player) would bring him to his own gigs and let him sit in. By the time Joey was 16 he signed an exclusive recording contract with columbia records, releasing his first record “All of me” the following year. This record was single-handedly responsible for the great resurgence of the hammond sound in popular music. At that time he was called on by miles davis to join his band, and toured all over Europe.

Today deFrancesco is regarded by organ aficionados as the baddest B-3 burner in the business (a claim supported by his five consecutive downBeat critics Poll awards for 2002, 2003, 2004, 2005 and 2006). And while Joey has never made any boastful claims about his own ranking among the organ elite on the contrary, he has always respectfully deferred to his B-3 elders, the fact is, no organist today plays with the skill, harmonic depth, and authority of this phenomenon from Philly.

With over 20 solo releases and historic associations with legends such as miles davis, Jimmy Smith, Bobby hutcherson, Elvin Jones and John mcLaughlin, deFrancesco’s place in the idiom’s history is cemented.

FrIdAy / 01.07.2011/ 21:30

JOEY DEFRaNcEScO (orgAn), PaUL BOLLENBacK (g),BYRON LaNDHam (dr)

TIcKETS 250 dkk

JaZZNOW!

PAgE 6

JaZZFESTIVaL PROgRammE

aT ��SaTURDaY 02. JULY

21ST cEnTury JAZZ:JUHaNI aaLTONEN QUaRTET (FIN)

Juhani Aaltonen is one of the all-time greats in Finnish and European modern jazz. The saxophonist/flutist celebrated his 75th birthday in 2010, but is in no way showing signs of slowing down anytime soon. his accolade-filled career in jazz is still expanding at a remarkable rate. Earlier in his career Aaltonen became principally known for his collaborations with Edward Vesala, henrik otto donner, heikki Sarmanto, Arild Andersen and others, but has since then become an important leader of his own groups during the past decade.

his most recent group - The new Juhani Aaltonen Quartet - features a top-notch collection of Finnish jazz A-listers, who each also have had an important role in Aaltonen’s past career. drummer reino ”reiska” Laine (b. 1946), like Aaltonen, comes with a background in the early days of helsinki’s modern jazz scene, when the small and tightly-knit jazz community was electrified by the visits of giants such as John coltrane, Eric dolphy and Elvin Jones in the early 1960s. Aaltonen and Laine are joined by another pair of musicians often performing as a duo, pianist-harpist Iro haarla (b. 1956) and Finland’s leading bass player, ulf krokfors. Both haarla and krokfors have also become known as bandleaders in their own right and for their many projects together.

When Juhani Aaltonen first moved to helsinki in 1961, to start his music studies and his profes-sional career as a free-lance musician, he also soon came to know and play with a small group of like-minded contemporaries who were together learning the language of the emerging “free” or “avant-garde” jazz. Among the very first of them was reino Laine, the drummer of the Juhani Aalto-nen Quartet. Aaltonen and Laine were both members of a small circle of young musicians who met and practiced in a basement rehearsal space in helsinki´s kurvi area. others included saxophonists Seppo “Baron” Paakkunainen and Pekka Pöyry, pianist Eero ojanen, bassists Teppo hauta-aho and Pekka Sarmanto and, a bit later, drummer Edward Vesala. They all had individual rehearsal time allocated to them but also started rehearsing together as an ever-changing group and even orga-nized informal jam sessions where an audience was sometimes invited, space permitting.

SATurdAy / 02.07.2011/ 21:30

JUHaNI aaLTONEN (TS, FL), IRO HaaRLa (P, hArPE),ULF KROKFORS (B), REINO “REISKa” LaINE (dr)

TIcKETS 165 dkk

PAgE 7

JaZZNOW!

JaZZFESTIVaL PROgRammEaT ��SUNDaY 03. JULY

21ST cEnTury JAZZ:NEW gaRY BURTON QUaRTET (US)

It’s one thing to mentor generations of jazz artists from the comfort of a major institution. It’s quite another to take your young charges on the road and create some of the most significant recordings in history with them. grAmmy®-decorated vibraphonist gary Burton has done both, in his leadership position at the Berkelee college of music, and with the many incarnations of the gary Burton Quartet.

guitarists in particular have a special place in Burton’s world; the list of major jazz guitar careers he’s jumpstarted is mind-blowing, including those of Pat metheny, Larry coryell, mick goodrick, kurt rosen-winkel — and now Julian Lage. In the new gary Burton Quartet, according to All About Jazz, “Lage matches even the towering guitarists Burton has recorded with, combining some of them with Wes montgomery, herb Ellis, and a range of contemporaries who themselves might well feel challenged.”

SundAy / 03.07.2011/ 21:30

gaRY BURTON (VIBES), JULIaN LagE (g),ScOTT cOLLEY (B), aNTONIO SaNcHEZ (dr)

TIcKETS 325 dkk

PAgE 8

JaZZNOW!


aT ��mONDaY 04. JULY

21ST cEnTury JAZZ:HIDDEN ORcHESTRa (UK)

hidden orchestra is an amazing young band from Edinburgh that combines two live drummers and deep basslines with strong jazz and classical influences, to make cinematic, emotive, percussive, next generation music using traditional instrumentation and organic samples.

The band may occupy a musical stratum all on their own, but you can detect influences as diverse as Aphex Twin, debussy, Xploding Plastix, radiohead, Squarepusher, madlib and gene krupa. The band have shared stages with The Bays, Bonobo, Jaga Jazzist, Aim, red Snapper, and gilles Peterson. Their beautifully-crafted, explosive live show, where the core quartet is augmented with visuals, cello and brass has cemented their reputation as one the uk’s most unique up-coming outfits.

mondAy / 04.07.2011/ 21:30

JOE acHESON (BASS, douBLE BASS, BASSoon,ELEcTrIc guITAr, ZIThEr, ProducTIon), POPPY acKROYD (VIoLIn, VIoLA),TIm LaNE (drumS, TromBonE),JamIE gRaHam (drumS, PErcuSSIon)

TIcKETS 165 dkk

PAgE 9

JaZZNOW!

JaZZFESTIVaL PROgRammEaT ��TUESDaY 05. JULY

21ST cEnTury JAZZ:BUNKY gREEN W. OSgOOD, aNDERSKOV & DaVIDSEN (US/DK)

After many years as director of jazz studies within university of north Florida’s nationally heralded program, saxophonist Bunky green returned to the scene a few years ago with a remarkable quartet recording - “Another Place” - released in 2006. It was saxophonist and disciple Steve coleman that lured green back into the studio. Pianist Jason moran, bassist Lonnie Plaxico and drummer nasheet Waits aid green’s close-to-the-edge urgency and soulful downshifts throughout.

Born and raised in milwaukee, Bunky green was such a formidable autodidact that he could replicate charlie Parker’s challenging solos while still in his teens. The underage saxophonist then bravely got his first onstage experience by sneaking into milwaukee clubs to sit in.

green moved to new york city in his late teens, and received a lesson both valuable and volatile when he replaced Jackie mcLean for a stint in bassist charles mingus’ band in 1960. “At my audition, he told me, ‘This is your part, man,’ and played it on the piano. It was difficult, because the intervals were abstract, almost atonal. I said, ‘do you have the music for this?’ he said, ‘Look, man, if I wrote it down, you’d never play it right!’ I understood what he meant; played it back to him, and he smiled.”

ThurSdAy / 05.07.2011/ 21:30

BUNKY gREEN (S), JaKOB aNDERSKOV (P),NILS DaVIDSEN (B), KRESTEN OSgOOD (dr)

TIcKETS 195 dkk

PAgE 10

JaZZNOW!


aT ��WEDNESDaY 06. JULY

21ST cEnTury JAZZ:cHaRLES LLOYD QUaRTET (US)

Saxophonist charles Lloyd has been a prominent figure in the jazz world since the 1960s, and his musi-cal sensibilities have moved in various directions over the years, traveling along the fringes of the post-bop period, avant-garde improvisation, and beyond. In the late ‘60s and early ‘70s, he was one of the biggest names in jazz, leading a band that at one point included keith Jarrett and Jack deJohnette. his music, then and now, is an open mix of styles that had absorbed the modal approach of Indian music while also delving into sounds from East Asia, always intense, mesmerizing and from the heart.

Lloyd has created powerful music with jazz and world-beat luminaries such as keith Jarrett, herbie hancock and master Indian percussionist Zakir hussain. With The new Quartet, Lloyd has assembled a group able to follow his excursions into the music and into the mystic.

WEdnESdAy / 06.07.2011/ 21:30

cHaRLES LLOYD (S, FL), JaSON mORaN (P),REUBEN ROgERS (B), ERIc HaRLaND (dr)

TIcKETS 350 dkk

PAgE 11

JaZZNOW!

JaZZFESTIVaL PROgRammEaT ��THURSDaY 07. JULY

21ST cEnTury JAZZ:gUSTaF LJUNggREN BaND FEaT. aNDREW D’aNgELO & OTHER SPEcIaL gUESTS (SE/US/DK)

As the conductor on TV’s det nye Talkshow with Anders Lund madsen, multi-instrumentalist gustaf Ljunggren has provided one musical TV experience after the other. during his career this highly respected Swede has worked with countless musi-cians, from c.V. Jørgensen to robyn.

Last year he released the first record in his own name, “Fractions and Pastures”, which functions like an improvised soundtrack for a road movie about a coast-to-coast trip across the uS, adding yet another great chapter to the great American Songbook – this time written in Scandinavian.

For his concert at Jazzhouse, Ljunggren will recreate some of the music from “Fractions and Pastures”, as well as new, original soundtracks in close collaboration with specially chosen guests, including American alto saxophonist Andrew d’Angelo.

ThuESdAy / 07.07.2011/ 21:30

gUSTaF LJUNggREN (mAny InSTrumEnTS),BENT cLaUSEN (dr, VIB, BAnJo),KaaRE mUNKHOLm (VIB), aNDREW D’aNgELO (AS, BcL)

TIcKETS 175 dkk

PAgE 12

JaZZNOW!


aT ��FRIDaY 08. JULY

21ST cEnTury JAZZ:SIDSEL ENDRESEN, SOLO + LOTTE aNKER& WHaT RIVERENSEmBLE (DK/UK/NO/US)

When it comes to improvisational, experimental new jazz, saxophonist/composer Lotte Anker is a leader on the Scan-dinavian music scene. This year she has been nominated for the nordic council music Prize and for many years has been making a name for herself, touring Europe, the uS and canada, among other places, as well as leading a number of high-profile groups. her What river Ensemble was formed in 2010 on a commission from the huddersfield contemporary music Festival and Wundergrund. The project was very successful and the huddersfield concert received a fine review in The Wire.

The What river Ensemble is a collection of sublime musicians and improvisers - each a master of his respective instrument, in his respective genre – including Ikue mori, chris cutler, Phil minton and Fred Frith. The evening will start off with a solo appearance by the norwegian vocal artist, Sidsel Endresen, whose musical career has embraced all styles, from 80s’ fu-sion and jazz-rock to free improvisation, electronica and new music of the new millennium.

The following has been said about Sidsel Endresen: “While aesthetically the music may be grounded in European jazz - use of sparse arrangements and electronic atmospherics and abstruse lyrics - Endresen is an artist reaching beyond rhythmic structure, forcing listeners to view things outside of their comfort zone.”

FrIdAy / 08.07.2011/ 21:30

SIDSEL ENDRESEN (Voc)WHaT RIVER ENSEmBLE:PHIL mINTON (Voc), aNNa KLETT (cL/BcL),LOTTE aNKER (S), gaRTH KNOx (VLn),JESPER EgELUND (B), FRED FRITH (g),IKUE mORI (ELEcTronIc), cHRIS cUTLER (dr/PErc)

TIcKETS 225 dkk

PAgE 13

JaZZNOW!

JaZZFESTIVaL PROgRammEaT ��SaTURDaY 09. JULY

21ST cEnTury JAZZ:TERENcE BLaNcHaRD QUINTET (US)

Terence Blanchard is one of the most influential jazz musicians and film score masters of his generation, a member of a jazz legacy that has shaped the contours of modern jazz today.

With more than twenty-nine albums to his credit, as a musician Blanchard is a multi-grammy Award winner and nominee,winning for his album A Tale of God’s Will (A Requiem for Katrina), a beautifully haunting and impassioned song cycle about hurricane katrina and the ravages incurred upon the city of new orleans and its residents. As a film composer, Blanchard has more than fifty scores to his credit and received a golden globe nomination for Spike Lee’s 25th hour.

As artistic director of the Thelonious monk Institute of Jazz, which he was instrumental in relocating from Los Angeles to new orleans, Blanchard works with students in the areas of artistic development, arranging, composition, and concert programming. his quintet features some of the brightest young talents in jazz. Blanchard combines a love for the music of his native new orleans with modern hard bop and a spirit of innovation.

SATurdAy / 09.07.2011/ 21:30

TERENcE BLaNcHaRD (TP), FaBIaN aLmaZaN (P),BRIcE WINSTON (S), mIcHaEL OLaTUJa (B),KENDRIcK ScOTT (dr)

TIcKETS 325 dkk

PAgE14

JaZZNOW!


aT ��SUNDaY 10. JULY

21ST cEnTury JAZZ:ENRIcO PIERaNUNZI mEETS STEFaN PaSBORg & JESPER LUNDgaaRD (ITa/DK)

Enrico Pieranunzi has been a leading European jazz pianists for so long that there is, perhaps, a tendency to take him for granted. Since the mid-1970s, Pieranunzi has led his own groups, mostly trios, with which he has played clubs and festivals all over Europe. In 1984, Pieranunzi formed an Ameri-can trio with marc Johnson and Joey Baron. After their first al-bum together (New Lands, Timeless), mccoy Tyner described Pieranunzi as “a new addition to the top-jazz piano-world”. In 1986, they recorded the highly acclaimed album Deep Down.

Pieranunzi has also recorded no man’s Land (1989 with marc Johnson and Steve houghton) and First Song (1990 with charlie haden and Billy higgins), both for Soul note.

Voted musician of the year in the musica Jazz critics’ poll (1989), Pieranunzi has been said “to reveal himself as a very original musician and a talented composer, able to travel the high road with his own ideas and remarkable musical sensitivity”.

Jesper Lundgaard has been among the most prominent bassists in danish jazz, and as a sideman he has appeared on more than 400 albums both with danish and leading American jazz musicians.

Stefan Pasborg is a highly energetic drummer from the melting pot of copenhagen. And after getting a snare drum, a cymbal and a high-hat at the age of three from renowned jazz drummer Alex riel, he has developed into a very personal musician on the European jazz scene.

SundAy / 10.07.2011/ 21:30

ENRIcO PIERaNUNZI (P), STEFaN PaSBORg (dr),JESPER LUNDgaaRD (B)

TIcKETS 185 dkk

PAgE 15

JaZZNOW!

JaZZFESTIVaL PROgRammEaT ��

EVERYDaY

The joy of the street kitchenAllan haunstrup spends his sum-mer holiday mixing the two things he loves the most – listening to jazz and cooking in his street kitchen. As a dedicated jazz fan and cook he has found the per-fect way to combine business with pleasure - and he wouldn’t change it for the world.

“With this street party we have managed to create something that isn’t typically danish. We have transformed a street into a place that has music, dancing and is serving drinks and food ten nights

in a row - that’s just plain amazing,” Allan haunstrup says.

Allan is responsible for Street Barbeque. he makes sure that everything is prepared and ready to serve every day between 7.00 - 9.30 pm throughout the Jazz Festival in the street in front of JAZZhouSE. This year the menu will be a mixture of Italian and danish food, where whole lambs, pork, and chicken will be stuffed with garlic and parsley and roasted slowly on huge barbeques placed right in the middle of the streets.

“The idea is to make something that is delicious, easy to prepare, fast to serve and, at the same time there has to be a street kitchen feel to it. generally we focus on doing what we feel like doing - our aim is to serve, good food at reasonable prices.”

And Allan knows what to expect because he did the same thing last year. It was such a great success and so much fun that he promptly agreed to do it again when JAZZ-houSE contacted him.

“It is the best possible way to spend my holiday because I just love working right in the middle of the street. Plus you get to interact with the customers and experi-ence this exceptional Jazz Festival atmosphere. It is a superb feeling working when there’s music in the street, smoke’s coming from the barbeques, and you can feel that people are really enjoying them-selves.”

Food, jazz and a pinch of sleepduring the ten days the Festival lasts Allan runs on a very tight schedule. 12-14 hours workdays

are normal, but as soon as the kitchen closes Allan hurries out into the jazz nights. he is a dedicated jazz fan and has decided that sleep isn’t amongst his top priorities dur-ing the Festival.

“Last year I had to hire a chef for a few hours because there was a concert I just had to see. But nor-mally we work most of the day and night, then go to see some of the late night concerts, then sleep a bit and then back to work the next day. There is always time to sleep when the music is over.”

STREET FOOD aND JaZZFood and music go well together. Once again you can join the JAZZHOUSE street area where chef Allan Haunstrup will be serving an exquisite menu especially composed for this year’s Jazz Festival.

Words by Erik Tygesen

STREET BaRBEQUE mENU

aSSORTED DaNISH / ITaLIaN aNTIPaSTI – cOLD mEaTS aND HOmEmaDE BREaD

SPIT ROaSTED PORK, LamB aND cHIcKEN accOmPaNIED BY a VaRIETY OF FRESHLY maDE SaLaDS aND HOmEmaDE ITaLIaN BREaD

TRIFLE maDE WITH PRESERVED DaNISH FRUITS, RUm, ITaLIaN VaNILLa SaUcE aND IcE cREam

Now it is all about swingSwing is becoming increasingly popular these days. gems and treasures from a style of jazz previously regarded as not worth playing are being brought back to life by a new generation of jazz musicians.

To Signe Frydenlund the growing popularity means the world because she loves swing music. more importantly she loves to dance and teach other people how to dance

SWINgIN’ IN THE STREET

Have you always wanted to dance like they did in the 1920’s, 1930’s and 1940’s? Wanted to know how swing dances like the Lindy Hop and Charleston really work? Well now’s your chance to learn the basic steps during the Jazz Festival when JAZZHOUSE invites everybody to daily Open Air swing lessons. Words by Erik Tygesen

“THE BIggEST PROBLEm IS NORmaLLYTHaT PEOPLE HaVE cONVINcED THEmSELVES THaT THEY caNNOT DaNcE – BUT I DON’T BELIEVE THaT IS TRUE.”SIgnE FrydEnLund

17:30 – 19:00 OPEN aIR SWINg DaNcE LESSONS – FOR EVERYONE…

WWW.DaNcINgaTcOPENHagENJaZZFESTIVaL.cOm

Signe and the swing-stormers →When Signe Frydenlund is not teaching swing dance at JAZZhouSE she’s constantly

touring the Festival in search of places to dance. dressed in her characteristic red

and white dotted tailor-made suit she teams up with a huge group of practiced swing

dancers and “storms” the venues and bands that play swing friendly music - to the

great delight of both musicians and audience.

DJ cONcERT WaRm UP EVERY DaYFROm 19:00 - 21.30 A PArT From ThE Food ALLAn WILL ALSo BrIng SomE oF hIS good oLd dJ FrIEndS ALong. EVEry dAy From ThEy WILL PLAy dJ SETS ThAT WILL BE FocuSEd on ThE mAIn concErTS PLAyIng AT JAZZhouSE AT 21:30

to swing music. That is why she can’t wait until the first of July when she has 10 intense days of dancing and teaching swing ahead of her.

Signe Frydenlund is responsible for the open Air Swing dance Lessons that take place right outside JAZZhouSE every evening from 6 to 7 pm. The dance lessons are part of a the plan to transform the area in front of JAZZ-houSE into a meeting point where people stop by to get

a beer, listen to jazz dJ’s, eat delicious food and learn to dance swing – but not necessarily in that order.

JAZZhouSE magazine met up with Signe and asked her some questions about the open Air Swing dance Les-sons.

Who can participate in these lessons?Everybody. I am deliberately keeping it really simple so that everybody can join in and I will not be teaching more than two or three steps per day. on top of that, if you participate in all ten dance lessons you should be well equipped to go dancing on your own and to all kinds of music – because you would know quite a few tricks and moves by then.

Will your lessons vary from day to day?my plan is to present different types of swing dance moves every day. Some days you will need to bring (or find) a dancing partner and other days will be focusing on dances where a partner will not be necessary.

Do you need things like special shoes or dancing clothes in order join in?no, not at all. All you need is a pair of shoes with little or no heel, a bit of curiosity and that’s it really. you are sup-posed to just show up if you feel like it – with or without a partner. one thing that is important is to remember that everybody can dance. The biggest problem is normally that people have convinced themselves that they cannot dance – but I don’t believe that is true.

What is it about swing dance that you like so much?I like is the fact that swing dance doesn’t have to be pretty. If you end up making a mistake you just smile and call it a variation. In fact smiling makes your muscles re-lax and you’ll automatically make fewer mistakes. I love it when people realise that swing dance is not rocket science – when they understand that it is completely harmless and the main goal is to have as much fun as possible.

Where do you go after the festival if you’ve been hooked on swing dancing? JAZZhouSE will host four swing nights 20/08, 10/09, 08/10 and 03/12 – all Saturdays throughout the autumn where Peter marott and his Swinghouse orchestra will be playing. I will be teaching there as well and it is a good place to go and meet other people who are into swing dancing.

14.00-21.30 JAZZhouSE STrEET BAr17.30-19.00 oPEn AIr SWIng dAncE LESSonS - For EVEryonE...19.00-21.30 STrEET BArBEQuE + dJ concErT WArm uP21.30-00.00 mAIn FESTIVAL concErT00.30-03.30 SundAy Through ThurSdAy: mAgnuS hJorTh TrIo WITh SPEcIAL guESTS.00.30-03.30 FrIdAyS & SATurdAyS: SPAcELAB FEAT. nIkoLAJ hESS, mIkkEL hESS & Ac + FrIEndS

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during last year’s festival the rumour around town was that copenhagen JAZZhouSE had opened a cool little stage on the top floor of the jazz club. And here you could listen to this young, amazing piano trio that played most nights from midnight until 03.30 in the morning.

Jazz enthusiasts and musicians alike stopped by to check out the hype. All of a sudden the tiny herluf stage became a huge success and man-aged to place itself as one of the more unique stages of the Jazz Festival - a place where many great musicians stopped by to either listen or sit in.

Best Festival venue?This year magnus hjorth Trio will once again be playing at the same stage five concerts in a row. But what can the audience expect from these late night sessions?

“The concerts are intended to create a natural gathering point after midnight that features concert music. A concert that has more to it than just another late night jam session. herluf should be the place you go to if you want to

mAgnuS hJorTh TrIoTHE mODERN SOUND OF OLD SONgS

Pianist Magnus Hjorth and his two trio members will be playing five intimate midnight concerts at Copenhagen JAZZHOUSEs tiny top floor stage, Herluf, during this year’s Jazz Festival. Words by Erik Tygesen

listen to some classic jazz even though it is well past midnight. And apart from that we are also trying to play music that holds some social qualities without it becoming background mu-sic,” magnus hjorth tells JAZZhouSE magazine a few weeks prior to the festival.

With his fellow band members: Petter Eldh on bass and Snorre kirk on drums magnus hjorth are looking forward to visiting this stage again. Primarily because he finds the atmosphere it generates quite special.

“I really think this is one of the best venues of the festival because it is possible to have these really intimate concerts where you are playing up close and right in front of the audience, and at the same time it’s not intimidating for the musicians.” The old and original soundWhen the trio enters the stage they are striving for a different sound than you would normally expect from a “classic” piano trio. hjorth & co always seek to play with as little amplification as possible. This of course takes its tolls on

the bass player but at the same time gives it a different sound experience for both listener and musician.

”It is important for us that we try to let our audi-ence listen to the instruments without ampli-fication. We try to avoid all sorts of amplifiers, microphones and effect pedals, and we strive to represent some of the same virtues that were used in the good old jazz days - where you just would listen to the pure sound of the instru-ments – not amplified instruments.”

The love for the good old jazz days and tradi-tions is also evident when the trio is searching for new material. At the moment they focus on music composed in the early jazz days where marching bands and blues where predominant. The stories told in the songs are important to magnus and he is enjoying the musical treasure hunt where he sets off into old books and notes in search of new old material.

“I enjoy sitting and exploring the sound that they had back in the good old days. And at the same time I find that this old jazz history also adds new layers to my own musical expression. Something rather unique happens when I place my own modern Scandinavian jazz sound on top of these old music traditions.”

The hype’s rightIf you ask anyone who came by and heard them play last year, they are most likely to tell

“HERLUF SHOULD BE THE PLacE YOU gO TO IF YOU WaNT TO LISTEN TO SOmE cLaSSIc JaZZEVEN THOUgH IT IS WELL PaST mIDNIgHT”mAgnuS hJorTh

SUNDaY THROUgH THURSDaY00:30 - 03.30 magNUS HJORTH TRIOWITH SPEcIaL gUESTS magNUS HJORTH (P), PETTER ELDH (B), SNORRE KIRK (dr)

you that something unique happens when this trio plays at JAZZhouSE. Last year Stephen riley, Jason moran and Jason marsalis were amongst the many musicians who stopped by herluf and played along with the trio. But who does magnus hope will join them on stage this year?

“I am hoping that Stephen riley will join us. he is a very special musician who thinks music the same way as us. We all look beyond the jazz songs and styles of the 1950’s and 1960’s. Instead we focus on music from 1920’s and 1930’s and mix these songs up with our own modern sound.”

Are you planning to invite some of the artists playing at JAZZhouSE during the Festival to join you on stage as well?

“Last year we found out that many of the great Festival musicians liked what we were doing. They were familiar with our style and repertoire and thought it sounded good. But as said – this is not a jam session. It is a concert where we have the opportunity to invite musicians to join us on stage. That being said – should Sonny rollins and keith Jarret be standing at the bar, asking to play a song or two, well then I am quite certain that we will let them play. Plus you never know what happens at 2 o’clock in the morning when you’ve had a beer or two.”

It is during the short festival period that jazz pianist nikolaj hess gladly transforms himself into a fully fledged member of Spacelab: a groovy trio in which he takes up the part of organ player whilst being supported by his old childhood friend Anders “Ac” christensen on bass and his brother mikkel hess on drums.

Words and body languageWhen nikolaj hess talks about music his entire body participates in order to give his words the full effect. his arms and hands gesture rapidly when it becomes too difficult for him to generate a verbal translation of what his music sounds like. For some reason, he manages to describe it quite well just by raising arms, waving hands and adding a bit of a grin.

gesturing is a logical thing to do for nikolaj hess because music - its expressions and meanings - go way beyond words. To nikolaj, music is a primordial force which is such an integral part of his life that he cannot stop talking and thinking about it. not that he takes it for granted – he’s just thrilled to be part of a world that merely focuses on music – because this is the language in which he excels.

Spacelab rose from the bottom of a bottle of rum at JAZZHOUSE during Copenhagen Jazz- Festival many years ago. Ever since, Spacelab has played only a few concerts each year and only during Copenhagen Jazz Festival. And each year their exclusive concerts become increasingly popular.

Words by Erik Tygesen

Spacelab – An unorthodox organ trio one big smile - that’s the primary expression on nikolaj hess’ face when talking about Spacelab. It is clear that the trio, the two other members and the music they create together, represent some-thing he treasures dearly.

“my Brother and I have been playing together more or less since we were born. And Ac grew up in the same town as us, so we have played alongside him for many years as well. That means, that when we play together, it almost becomes telepathic because we know each other so well.”

Even though nikolaj hess is mostly known as a pianist he loves the fact that the organ is his primary instrument in Spacelab. But that does not mean that the trio seeks to emulate the sound of most classic organ trios.

”our approach is a bit more piano trio oriented because Ac’s bass is such an important part of our sound. That is something I am very fond of; having more than one instrument controlling the chords and the base notes adds certain kind of openness to the music. We are not just commenting on a jazz tradition that developed in the 50’s and 60’s. our music comes straight from the heart and is deliv-ered directly to the mind and body.”

Multi dimensional soundduring the interview it becomes obvious that the trio doesn’t put a lot of effort into defining what kind of music they play. When asked to describe what defines the sound of Spacelab, nikolaj hess turns more silent - the smile decreases a bit and the answers turn rather cryptic.

”our music is groovy and spacy. It has a straight-forward feeling to it and at the same time there is a lot of unpredictability. mikkel and Ac are very nuanced – as people as well as musicians. They are people with a high level of integrity and a huge personality – all elements that colour the music. Therefore we all contribute with something differ-ent but at the same time we have this huge com-mon denominator because we have such a long history and deep friendship.”

Jazz at the discoAs tradition tells it Spacelab will play their legendary JAZZhouSE concerts Fridays and Saturdays well past midnight. But this year the trio has decided to play at the big stage in the base-ment. Throughout the weekend JAZZhouSE trans-forms into a nightclub when the early jazz concerts are finished. But when Spacelab takes control of the music, there is a different kind of club in town.

“one of our friends suggested we call it “Jazz at the disco” – which I think suits our music quite well. We are so excited about playing these concerts at the big basement stage because our music is primarily

energy. Energy that has a raw and even punk feel to it and at the same time it is so groovy. What you see and hear is what you get. I am sure it is going to be a big party because there is room for people to dance, listen, party and play. They can do whatever they want.”

And then there is the question of who might be join-ing them on stage this year? Spacelab is known for bringing a bright variety of danish and international singers, musicians, poets and even dancers to the stage. But that will remain a secret for now.

“We have the most crazy plans for these concerts. But you’ll have to stop by and see for yourself – because we never know exactly what is going to happen. The only thing I can promise is that we do all we can to generate a unique party every evening – because when we play - we play as if our lives depend on it. We go out of our way to make the music as good as possible.”

nIkoLAJ hESS And SPAcELAB a UNIQUE mUSIcaL

FRIENDSHIP

FRIDaYS & SaTURDaYS 00:30 - 03.30 SPacELaB FEaT. NIKOLaJ HESS, mIKKEL HESS, ac + FRIENDS NIKOLaJ HESS (orgAn), mIKKEL HESS (dr), aNDERS ‘ac’ cHRISTENSEN (B)

“WHEN WE PLaY TOgETHER, IT aLmOST BEcOmES TELEPaTHIc BEcaUSE WE KNOW EacH OTHER SO WELL.”nIkoLAJ hESS

Purveyor to Her majesty - and Lars Von Trier →When nikolaj hess is not playing in Spacelab, he’s busy travelling the

world playing in various set ups. Within the last few months he has

played a concert for the danish Queen in America and he has composed

music and starred as wedding pianist in Lars Von Triers latest film

“melancholia”.

aUgUST

cONcERTcaLENDaR��

ThurSdAy / 25.08.2011 / 21:00

maRIE caRmEN KOPPEL, BENJamIN KOPPEL & TIgER! maRIE caRmEN KOPPEL (Voc)BENJamIN KOPPEL (AS)JacOB cHRISTOFFERSEN (P)JONaTHaN BREmER (B)NIcLaS BaRDELEBEN (dr)

TICKET FREE!TiCKETS CAN bE REqUiRED AT [email protected]

The 25th of August Tiger cel-

ebrates the launch of 10 jazz albums with a concert at JAZZhouSE in collaboration with cowbell music. The Benjamin koppel Jazz Journey series cd’s will be at the stores 10 months in a row and will be sold at 100 Tiger stores around Europe. It is Tiger’s and cowbell’s wish to offer world class jazz to a completely new audience. The 25 th of August Jacob christoffersen and the two young rising stars Jonathan Bremer & niclas Bardeleben will enter the stage. And the koppel siblings will perform their jazz travel memories from new york city.

ThurSdAy / 18.08.2011 / 20:00

KURT LaRSEN & NIKOLaJ TORP WITH SPEcIaL gUESTS: TEITUR, ac/HøYER m.FL. KURT LaRSEN (Acc/AccordInA)NIKOLaJ TORP LaRSEN (P/hAmmondmELodIkA/SynThS) + SPEcIaL gUESTS: TEITUR (Voc/g), JaKOB DINESEN (TS)maDS HYHNE (TB),aNDERS cHRISTENSEN (B),JaKOB HøYER (dr)

TICKET 125 dkk

The accordion is not the most obvious jazz instrument, and throughout the history of jazz the practitioners has been relatively few. Especially if you compare it to all the pianists, guitarists, vibraphonists and other chord bearing in-struments that has dominated the picture. This concert is a release concert for a new record from the accordion virtuoso kurt Larsen. A great improviser on the danish scene, who does not only play jazz – but at all time expresses himself with an unmis-takable jazz feel, also within the genres of tango, revue or theatre music. Larsen has participated in a vast range of recordings and has accompanied many artists, ranging from Erik Paaske to Luciano Pavarotti through Lasse gullin and dino Saluzzi… kurt Larsen’s, nikolaj Torp, has since he moved to London in 1996 recorded with various artists from kurt’s generation including cat Stevens, klaus Voorman, donovan, Willie nelson and milton nasci-mento as well as artists and bands from his own generation. Furthermore nikolaj Torp was one of the masterminds behind the legendary danish orchestra once Around The Park. This night they have gathered an impres-sive line-up of danish top musicians.

RELaTED

FrIdAy / 19.08.2011 / 21:00

TRINELISE VæRLINg & aN-NETTE BJERgFELDT PErFormAncES oF FEmALE comPoSErS & chAPEL mASTErS TRINELISE VæRINg (Voc/g) aNNETTE BJERgFELDT (Voc/g) SOma aLLPaSS (cEL/kor)JONaS BERg (hArmonIkA/P)mIKE TagEHOEJ (B)BENT cLaUSEN (VIB/PErc/mArImBA/BAnJo)

TICKET 130 dkk

Two of the most respected dan-ish songwriters Trinelise Væring & Annette Bjergfeldt challenge each other when they and their orchestras meet up at JAZZhouSE and play new, creative interpretations of each others songs. It will be a night where the danish lyrics are the focus point, and there will be reports from trenches, battlefields and safe zones. Trinelise Væring & Annette Bjergfeldt will perform songs from their acclaimed albums: “man må godt ta’ to gange” and “umanérlig”, as an initiation to a set of songs written espe-cially for this night. The concert is a part of the “Performances of female composers & conductors”-series that will take place at JAZZhouSE throughout 2011.

JaZZNOW!

FrIdAy / 26.08.2011 / 21:00

STEFaN PaSBORg/ caRSTEN DaHL DUO caRSTEN DaHL (P/kEyS)STEFaN PaSBORg (dr/PErc)

TICKET 100 dkk

This show will be a meeting be-tween two world-class musicians who both have proved themselves as strong personali-ties both on the danish and the European jazz scene. Stefan Pasborg and carsten dahl have played together in many different correlations during the past five years, but this night they will meet for the first time as a duo at JAZZhouSE. Pasborg is the JAZZhouSE ArTIST-In-rEcIdEncE for 2011, and this concert will portrait another thrilling feature of Pasborgs impressive artistic portfolio. carsten dahl is one of the most important danish jazz pianists at the moment with a superior technique and a musicality that enables him to express himself smoothly within a vast spectrum of subgenres in jazz, everything from swing and the bebop-tradition to completely free improvisation. This is a unique opportunity to hear these fantastic musicians in the very demanding duo format.

JaZZNOW!

SATurdAy / 27.08.2011 / 21:00

BENTZON BROTHERHOOD NIKOLaJ BENTZON (kEyS) HENRIK SVEIDaHL (S/BcL) mIKKEL RIBER (B),TIRa SKamBY (PErc)ESPEN LaUB VON LILIENSKJOLD (dr)

TICKET 140 dkk

The danish uncrowned king of funk-jazz mr. Funkenstein Bentzon is back at JAZZhouSE. With him he has brought his sublime team of musicians, who all master their instruments with an impres-sive virtuosity. Bentzon Brotherhood has established themselves as the absolute superstars of their genre. They play swinging music that best can be described as super-groovy power jazz-funk. An energy output of en-grossing power funk that is an 2011-update and of herbie hancook and the headhunt-er’s power funk. Last time Bentzon Brotherhood played at JAZZhouSE the concert was sold out, so do not wait too long to buy your ticket!

RELaTED

SATurdAy / 20.08.2011 / 20:00

mImI TERRIS SINgS WITH “PETER maROTT & SWINgHOUSE ORcHESTRa” cHIcagO 1935 PETER maROTT (BAndLEAdEr/TrP/Voc), JaN HaRBEcK (TEn/cLAr)maDS HYHNE (TrB), HENRIK gUNDE (P), KaSPaR VaDSHOLT (B),mORTEN æRø (dr) + gUEST-STaR: mImI TERRIS (Voc)

TICKET 140 dkk

“But the band we could all agree on, for a long evening of dancing in all moods and tempos–jump and shag and glide – was Peter marott & SWIng-houSE orchESTrA. year in, year out, it remained for most of us ThE band – full of invention and vitality and sheer overpow-ering musicianship; the sound that most vividly recalled an evening, a moment in time… In a galaxy of jazz nobility, of dukes and counts and Earls, the proudest title was Peter marott & SWInghouSE orchESTrA. They were the king and there was no more to be said.” - chicago daily news 1935 Free swing dance lessons for everyone at 19:30 !

SWINg PIgaLLE

JaZZNOW!

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SRH840

Enestående lydkvalitet og komfort. Optimeret tilhjemmestudiet og studieoptagelser. Disse hovedtelefoner gengiver med præcisionlyden over et større område

SRH440

Overlegen lyd og komfort. 40mm Neodymiumelementer optimeret til almindelig lytninggiver dyb bas med klar mellemtone og diskant.Passer til både ipod, diskman og professioneltmusikudstyr

SRH220

PERSONLIG LYD I VERDENSKLASSE

L VE IN THE STREET

ThE Sun IS ShInIng & ThE SummEr ProFILE STArTEd

ouT FABuLouSLy WITh our FAnTASTIc dISTorTIon FESTI-

VAL STrEET PArTy In FronT oF JAZZhouSE WordS By

dIScoBoSS JEAn Von BAdEn

LoVE In ThE STrEET was an orgasm of a party - or should I say celebration of love and the sound of music – “The street was alive with the sound of muuuusic...”

Inflatable erotic love pigs, heart balloons, flow-ers, horse carriages, a massive sound system, 20 dJ’s, Tiki Bar & approximately 5000 smiling people came and partied in the street - and they are still smiling!

THANK YOU SO MUCH – to all of those who showed up, and a special thanks to all the dJ’s that supported the party for free and made it spectacularly wonderful - they played the JAZZhouSE-street closer to heaven - it was a wonderful day in copenhagen, a true party fairytale come true!

dIST/ orTIon/ 2011

NIgHTcLUB��

PAgE 23

BRaNDO’S cOcKTaIL PaRTYAs a part of this summer’s party profile the JAZZhouSE nightclub Lounge, herluf, is changed into BrAndo’S cockTAIL PArTy – every Friday from 22:00-04:00 and the entry is free.

The best dJ’s and live acts will play long 5-6 hours sets celebrating the history of quality mu-sic of all times - always selected by the best and the most sophisticated dJ’s. And while listening and dancing you can enjoy our fabulous selec-tion of cocktails.

We are celebrating marlon Brando and honor-ing him visually and audio visually by showing old black and white movies with Brando and you can hear his best lines while visiting the toilets.

Brando’s cocktail Party lasts until the beginning of September.

classic Saturdays and makademSaturdays are still going strong during the summer with a great spectrum of parties and events every Saturday - with Jazzy lounge and dance floor presenting the best of all times classic hits and the sound of Funk, Soul, disco, grooves, motown & classic house.

one party particularly worth mentioning takes place the 25th of June where the international star makadem plays live from 21.00-00.00 and throws a superb afterparty feat: makadem & Al Agami Brothers + dj madazz etc. It’s gonna be amazing these are some of the biggest danish names of the scene.

come and join the fun at JAZZhouSE night club, enjoy our street of love during the Jazz festival with live music and vintage vinyl on the gramophone.

And just relax – there’s time to do it - or if not just let JAZZhouSE find the time for you...

Love from Jean von Baden and JAZZhouSE nightclub & Lounge - and remember there is no stress-house in JAZZhouSE.

TASTESJUSTLIKE ITLOOKS

The kenyan Benga Beat super star makadem delivers an amazing show with his top musicians from nairobi and kinshasa, when performing at JAZZhouSE. The music crosses the styles of contemporary African up-tempo rhythms, spiced with the Latin Jazz piano of Ben Besiakov and rap of the Agami brothers. concert starts at 21:00

maKaDEm aFTER PaRTYThe world famous reggae producer Pharfar went to nairobi to record with makadem and dJ madazz has made some groovy re-mixes of makadem’s music. cross mc will hype the event along with the musicians, the rappers, the beat boxer nappion - they will secure the wildest dance party! After Party 01:00- 05:00

maKaDEmFEaT. KUKU, JOSEPH& aL agamI

SaTURDaY / 25.06.11 / 21:00 maKaDEmFEaT. KUKU, JOSEPH & aL agamI SHaDRacK maKaU (kEyS, PErc, Voc), JOHN mUTOmBO (guITAr, Voc),maTHEW maTIx (drumS), cHaO OTIENO (BASS, Voc), BEN BESIaKOV (PIAno)

aFTERPaRTY 01:00-05:00 PHaRFaR & maDaZZ & cROSS mcFEaT. maKaDEm & THE agamI BROTHERS

NIgHTcLUB��

PAgE 21

��

WINNER “BEST PaRTY IN TOWN” 2010/ EVERY SaTURDaY THROUgH JULY/aUgUST

HELLE HENNINgINTERVIEW��PAgE 26

Women will be the center of attention in the coming months. A new concept, which highlights the works of current female musicians, has seen the dawn of day, and the dark basement in JAZZhouSE will provide the perfect frames these rather unusual events.

The audience will be presented to a diversity of (mostly) female singers, composers, instrumentalists and bands who have united their mutual talents in a sequence of concerts in order to draw attention to the fact that there are very few female artists in rhythmic music. compared to the number of male colleagues the lack of women in modern music is quite alarming.

- It is really sad, and rhythmic music will be poor and much too homogenous without the female inspiration and talent, which a more balanced representation of the two genders could provide for, says, helle henning, who together with Sanne graulund took the initiative to these concerts.

Together with other female singers and composers helle henning has made a plan: two bandleaders and composers (female, of course) organize a mutual concert by mixing and uniting their musicians and works. one band is challenged to play songs and tunes, arranged and composed by the leader of the other band. And vice versa. The sequence of concerts is combined because one of the composers from a concert sort of hands over one of her songs to the next band that is performing at JAZZhouSE.however, this concept does not imply that men in music are chauvinistic, which consequently could make these female concerts look like an act of revenge, helle henning stresses.

- But both men and women are prejudiced as a consequence of a rather complicated and cultural issue, which makes it difficult for women to be accepted as musicians at the same level as men.

- It is necessary and about time that female musicians experi-ence the same respect and attention that male musicians expect, says Lennart ginman, artistic director at JAZZhouSE.

Words by Lisbeth Maria Hansen“a NUmBER OF cONcERTS FOcUSES ON FEmaLE cOmPOSERS aND mUSIcIaNS, BUT BOTH mEN

aND WOmEN aRE PREJUDIcED aS a cONSEQUENcE OF a RaTHER cOmPLIcaTED aND cULTURaL ISSUE,

WHIcH maKES IT DIFFIcULT FOR WOmEN TO BE accEPTED aS mUSIcIaNS aT THE

SamE LEVEL aS mEN. ” hELLE hEnnIng

LaDIESDO NOT ONLY SINg THE BLUES

TRINE-LISE VæRINg & aNNETTE BJERgFELDT 19/08maLENE mORTENSEN & LISBETH DIERS 14/10SaNNE gRaULUND & HELLE HENNINg 10/11SaRa gRaBOW & SUSI HYLDgaaRD 08/12cHRISTINa DaHL & cHRISTINa VON BüLOW 13/01

FREDAGSJAZZ i Københavns skjulte oaser

Følg med på WWW.HOTELBLOGGEN.DK WWW.HOTELBLOGGEN.DK

JAZZY FRIDAY - Kom forbi, lyt til jazz i hotellernes gårdhaver og på tagterrassen.

JAZZY FRIDAY - Kom forbi, lyt til jazz i hotellernes gårdhaver og på tagterrassen.

JAZZY FRIDAY

9 gratis jazzarrangementer med swingende jazz, spillet af kendte danske

jazzmusikere arrangeret i samarbejde med JAZZHOUSE.

PROGRAM FOR FREDAGSJAZZ

fredage 17.30 – 19.30

10. JUNI: Jacob Fischer (g) & Mads Vinding (b)

HOTEL FOX, tagterassen

17. JUNI: Per Gade (g) & Kaspar Vadsholdt (b)

HOTEL KONG ARTHUR, gårdhaven

24. JUNI: Morten Grønvad (vib) & Mads Vinding (b)

HOTEL DANMARK, gårdhaven

01. JULI: To be announced

IBSENS HOTEL, gårdhaven




HOTEL KONG ARTHUR, gårdhaven


HOTEL DANMARK, gårdhaven


IBSENS HOTEL, gårdhaven

05. AUGUST: To be announced


HOTEL DANMARK

IBSENS HOTEL HOTEL KONG ARTHUR

HOTEL FOXHOTEL KONG ARTHUR, NØRRE SØGADE 11, KØBENHAVN K

IBSENS HOTEL, VENDERSGADE 2, KØBENHAVN K

HOTEL DANMARK, VESTER VOLDGADE 89, KØBENHAVN V

HOTEL FOX, JARMERS PLADS 3, 1551 KØBENHAVN V

“THERE IS a LacK OF ROLE mODELS FOR THE YOUNg gIRLS TO IDENTIFY WITH.”hAnnE BoEL

HaNNE BOEL INTERVIEW��

PAgE 29

From her position as one of the most established and successful singers in denmark hanne Boel reflects upon both the differences and difficulties, younger generations of female musicians are facing. She finds it worrying that the number of female instrumentalists has decreased remark-ably during the last three decades, whereas the number of female singers has increased equivalently.

In other words: it seems to be a statistic fact that women prefer the role as singing ‘cry-babies’ fronting male bands, and that they have willingly handed over the drumsticks, the guitar strings and mouthpieces to their male colleagues.

Why is that? how did this happen? And is it pos-sible to entice women to pick up the instruments again?

- To be honest, I do not have the definitive solu-tion to the problem, but I welcome any initiative, which may reverse this tendency that keeps women from other instruments than the voice, says hanne Boel.

Ingrained gender rolesuntil recently hanne Boel was a member of The musical committee of The danish Artistic Founda-tion. one of the last policy statements, which she participated in deciding, focused on awareness on gender in rhythmic music. It stated that an equal representation of the two sexes should be promoted and encouraged, - a policy which both promoters and professional musicians should follow.

- of course it is a rather difficult task, because you have to change a deeply rooted system. Little by little we have all grown accustomed to an old-fashioned concept of gender, and it now seems a rare sight seeing a woman playing the trombone.

her own history is quite illustrative. Back in the late 70’s – three decades ago - she was a student of classical singing at the Academy of music.

Little by little she became fascinated by rhythmic music, and she applied to attend a summer clinic (Brandbjerg in Jutland) for practising rhythmic musicians. In her application she didn’t mention that she was a singer, instead she registered as a flute player! And she even brought along her brother’s Les Paul guitar, a gibson amplifier and – most of all – a very worn-out leather case. In other words, she was outstandingly hip when she got off the train in Jutland, ready to conquer Brandbjerg and the world of music.

- In those days it was absolutely un-hip to be a singer and a so-called cry-baby, you know one of those who wore make-up and – ugh! of course this was connected to women’s liberation. That meant the trendsetting and feminist women in music preferred to play an instrument and to be ‘one of the boys’.consequently, I didn’t even consider that my instrument was my voice. Back then, there were hardly any female singers in rhythmic music, she recalls.

having played the flute half-heartedly for a cou-ple of days, hanne Boel was approached by one of the teachers, who asked if she could perhaps play another instrument! She finally admitted that she was a singer.

- And then it all started! I was the only singer at the clinic, which meant I actually sang with most of the bands. That was the beginning of her pro-fessional career as a singer of rhythmic music. Back then there were only a handful of equal female rivals; in fact they were so few that they considered each other allies rather than competi-tors. And most of them were both singers and skilful instrumentalists.

They don’t tell us anything!Today it is the other way around. The line of wanna-be female singers seem endless, while it is quite unusual to see a woman behind the drums.

In her current job as a professor at The rhythmic music conservatory in copenhagen, hanne Boel knows for a fact that the majority of female ap-plicants are vocalists.

According to her this may be due to the fact that there is a lack of role models for young girls to identify with. In the media, especially in reality shows, the focus is mainly on good-looking, sing-ing girls, who pretend to be singers – instead of being genuine artists.

- most of them act the role of a singer. They don’t express a need to do what they do and they don’t communicate anything to their audience. They just sing and act in a very feminine way.

As a contrast to all this singing, it appears a rather masculine act to play an instrument, and it consequently could take a lot of courage for a young schoolgirl to insist on playing the drums in music lessons.

- In most cases she will be up against at least ten boys, who naturally think that one of them should play the drums, and this fight can be daunting when you are a 12-year-old, insecure schoolgirl.

consequently, something ought to change - start-ing in kindergarten and school in order give the two genders more equal roles in future rhythmic music.

Anyway, peculiar and unexpected things hap-pened this spring when hanne Boel and the admission board at The rhythmic conservatory had to choose six from the 105 hopeful singing candidates – most of them women, of course: Five of the six future vocalist students are young men!

“LITTLE BY LITTLE WE HaVE aLL gROWN

accUSTOmED TO aN

OLDFaSHIONEDcONcEPT

OF gENDER, aND IT

NOW SEEmSa RaRE

SIgHT SEEINg a WOmaN

PLaYINg THE TROmBON”

hAnnE BoEL

WHERE HaVE aLL THE

WOmEN gONE?Terms like diversity and equality are endangered if women continue to avoid playing instruments

Words by Lisbeth Maria Hansen

��

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KøBENHaVNS KOmmUNE / STaTENS KUNSTRÅD /4SOUND / TUBORg-FONDET / HOTEL BRøcHNER /

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THOmaS cENIUS

FORSamaRBEJDET

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Jazzhouse ✇ 1. juli, kl. 21.30

Joey DeFrancesco Trio (US)


Juhani Aaltonen Quartet (FIN)


New Gary Burton Quartet (US)


Hidden Orchestra (UK)


Bunky Green with Osgood, Anderskov & Davidsen (US/DK)


Charles Lloyd Quartet (US)


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Terence Blanchard Quintet (US)


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JAZZHOUSE Magasin #06

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