“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.
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.
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.
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
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.