Elbjazz 2022 in Hamburg: a colorful mix of music and audience | NDR.de

Status: 05.06.2022 8:07 AM

The Jazz Festival had to take a two-year break in the fresh air. But now Hamburg’s biggest live jazz event is heard again in the port of Hamburg, in the main church of St. Catherine and at the Elbphilharmonie.

by Misha Criscott

“I pack my things while I’m out my baby, Thomas D is on the road and he has a tailwind.” That’s right, that’s how they rapped in the ’90s! “Heeyy hooo,” you inevitably think, and also gently remember the corresponding dance moves.

Atmosphere: Miles Sanko performing at Elbjazz 2022

Thomas Dee, who helped create German rap with Fantastischen Vier in the 1990s, was part of Friday’s Elbjazz Festival program. Behind him is the Hamburg band “The KBCS” who interpreted his songs from Fanta 4 Cosmos in a new and unconventional way. Some of the visitors could be heard whispering and whispering in their eyes, “This is not jazz for me.” They moved. There was a lot to see.

Elbjazz 2022 Festival at Blohm und Voss in the Port of Hamburg © Misha Kriscott Photo: Misha Kriscott

My voice: Embarking on Elbjazz 2022: No Musical Adventure in the Port of Hamburg (5 minutes)

No musical adventures in Al-Bajaz 2022

Reviving the Hamburg tradition in the third year of the epidemic was a risk. The music audience behaves unexpectedly, the festival machine stumbles. Labor market in the event industry: clean. Many specialists re-orientated themselves in other sectors during the long break. Organized duo FKP Scorpio (Hurricane or Highfield Festival) and Karsten Jahnke Konzertdirektion (Stadtpark Open Air) have done a bit of experimentation with this festival’s lineup.

An artist like Thomas D has nominated for the social girl of the ’90s beyond major rock festivals, and Melody Gardot’s sweet Brazilian jazz breeze has heightened people who say, “Actually, I don’t like jazz, but…” Bristol’s clean brilliance by Miles Sanko, which everyone who has heard of Gregory Porter should love – high-shine jazz, as consensual as possible. Curious musical adventurers weren’t entirely happy, but the concept worked.

Mixing in the crowd of jazz is amazing

At the latest, as the sun turned the sky over golden Plum and Voss, you could feel the gentle Elbe breeze on your face and the industrial backdrop of the shipyard sparkling with vivid colours, and it became clear exactly what had been missing in recent years: a great musical experience together. 11,000 visitors attended the beginning of the festival in the port.

Elbjazz 2022 Festival at Blohm und Voss in the Port of Hamburg © Misha Kriscott Photo: Misha Kriscott

International fame through the Babylon Berlin series: Severija Janušauskaitė and Moka Efti Orchestra. The show is sexy.

The audience mix was astonishing: elderly jazz connoisseurs in transitional jackets, young children with oversized earmuffs, and teenagers in bell bottoms, who may have witnessed their first festival here. “You have to write how wonderful it is, we are here with three generations and everyone is happy,” one mother told the NDR reporter. Her 13-year-old daughter was dancing to Jazanova’s Groove—another ’90s set. If the exact lineup makes this experiment possible, it means that it has achieved its most important goals.

More Courage in the Jazz 2023

Elbjazz 2022 Festival at Blohm und Voss in the Port of Hamburg © Misha Kriscott Photo: Misha Kriscott

Atmosphere makes the festival: the most important works are Hafen, Himmel and Werft.

The Mauskovic dance troupe from Holland belongs to the neo-krautrock movement that originated in techno culture. In his mid-twenties, keyboardist Simon Oslender sought two jazz veterans as a supporting band. He plays electric jazz from the late 1970s with Wolfgang Haffner (Doldingers Passport) and Will Lee (James Brown, George Benson). Now “Fusion” is very popular again, especially among young people. “Post-genre” is the name given to this effect, which occurs when an entire generation carries the world’s music in its pockets.

As the audience looks like they’re back, you can bend over the window in 2023. Because no matter what kind of jazz: the music needs a remote, weird, it needs confrontation and experimentation.

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