I spent my birthday in Trondheim this year. I managed a little record shopping in Copenhagen on the way there too, which was a lovely bonus. In exchange for a little work preparing a keynote presentation for the Europe Jazz Network’s General Assembly at a rather nice hotel, I managed to have a lovely birthday in one of my favourite places on the planet.
As someone who travels a lot, it’s nice to be able to say that there are some places that feel like home to me. Scandinavia is certainly one of those places. I love Norway. I spend a great deal of time in Denmark whenever I can. In fact, I’ve been called an ‘honorary Dane’ on occasion.
Scandinavia just strikes me as incredibly civilised. The food. The cycling. The attitudes. The service. The fact that everything just works. And sure, prices are incredibly expensive there – but I suspect that’s only because I get a salary in a completely different economy.
Mostly I love the music. In many ways, for me, Norway and Denmark in particular have some of the most wonderful music in the world.
This group of people just spent a week living, eating and working together, performing jazz music in multiple different combinations, composing new music, learning new techniques and approaches, putting on concerts, holding jam sessions until dawn, drinking, laughing and generally having an amazing, creative, exhausting and life-changing time.
A lot of them have done it before. It happens every year. National Danish jazz agency Jazz Danmark hold the annual Summer Session at Vallekilde, and have done since 1969. Each year, professional musicians from around the country (and some from further afield) come to this unique intensive jazz ‘camp’.
Guest workshop leaders – world class players – come along and work with the musicians, new collaborations are formed, minds are expanded and sights raised for all of the people in attendance. It’s really quite an inspiring environment.
Last night was ‘party night’ at Jazz Danmark’s Summer Session.
The musicians have been working from morning until late at night (and beyond) for almost a week now, and the organisers figure that this is a good point for them to cut loose a little bit.
There was a surprise element this time, which nobody was prepared for and it went down really well. Probably the oddest jazz gig I’ve ever been to.
The Fringe (George Garzone, Bob Gullotti and John Lockwood) sometimes do this thing where they dress as Neanderthals and give a particularly ‘primitive’ spin to their avant-garde jazz improvisation. This time, the Summer Session organisers thought they’d take it a step further and dress Joe Lovano up as some sort of ‘man from the future’.
Last night was the concert performance by all of the visiting teachers at Summer Session.
George Garzone (sax), John Lockwood (bass), Bob Gullotti (drums), Joe Lovano (sax and clarinet), Judi Silvano (vocals), Rebecca Martin (vocals and guitar), Larry Grenadier (bass), Lage Lund (guitar), Tyshawn Sorey (drums), Ralph Alessi (trumpet) and Enrico Pieranunzi (piano) played an amazing selection of music in small groups, different combinations, and then, finally, all together on an incredible, free version of Ornette Coleman’s Lonely Woman.
I was in the front row, and it wasn’t the biggest performance space in the world, so Joe Lovano was virtually sitting in my lap, while Ralph Alessi’s trumpet was more or less right in my face.
My week at Summer Session is off to a good start. I’ve been here since Sunday night, and I’m slowly finding my way toward figuring out what my purpose is here.
I blogged a couple of days ago about how I was trying to make sense of my role, and I’m very grateful to the guys from Jazz Danmark for their approach, which has simply been that they thought it would be a good idea to invite me and “just see what happens”.
I was made aware that there had been some resistance to my involvement, by one of the musicians in particular – a veteran of Summer Sessions past.
It’s understandable, since the tradition of Summer Session has always been about bringing together only musicians to play… and I can kind of get how being away from the pressures of ‘the music business side of things’ could be seen as one of the things that’s special about this event that might well be lost by bringing someone like me into the mix.
For that reason, I’ve been trying to be fairly low-impact – hanging at the back, not staying too long in any one session, that sort of thing. I’ve been observing, without actually intervening, wherever possible.
But people are almost uniformly friendly, and I’ve been welcomed in beyond what I thought was likely even at this early stage of the process.
I'm an author of books about technology, culture, music and radio. I'm also an award-winning broadcaster and filmmaker, a public speaker and lecturer, record producer and festival director. I am closely following developments in emerging technologies and the cultures and ethics surrounding them, and my projects typically focus on issues of justice, inclusion, and sustainability.
Most of my work involves surrounding myself with incredibly smart and talented people who would have no other reason to ever be in the same room as each other. That's when amazing things happen.
I tend to talk a lot about music (often jazz-adjacent and particularly on vinyl, but also playlists and mixtapes). I'm enthusiastic about food and cooking, the intersection of art and science, new technologies, vintage technologies, education, social progress, silence, innovation, narrative, data commons, culture, sound art and the spoken word. This blog will continue to reflect those diverse and shifting enthusiasms. I may also digress.
I'm from Tāmaki Makaurau / Auckland in Aotearoa New Zealand, I have Scottish ancestry, I've spent a decade in the south of Birmingham UK, and another in a forest in the north of Sweden.
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