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SUBJECT:	OT AAJ Review: 2013 Molde Internationall Jazz Festival Back to Subjects
djbinder Jul 29 2013 at 4:54 AM	A review of the 2013 Molde International Jazz Festival, today at All About Jazz. With a broad range of artists including Artist in Residence Jason Moran, Charles Lloyd with Moran (duo) and Sangam, new commissions from Terje Rypdal and Maria Kannegaard incendiary sets from Bushman’s Revenge & Friends, Stian Westerhus’ new Pale Horses group, Obara International Quartet, Take Five Europe and Paal Nilssen- Love’s Large Unit, along with sublime shows including Bill Frisell’s Big Sur Sextet,Jason Moran & Jan Bang and more, it was a fitting send off for festival producer Jan Ole Otnæs who, after 13 years in Molde, is relocating to Oslo to take over the Nasjonal Jazzscene Victoria. Review here: http://www.allaboutjazz.com/php/artic le.php?id=45007
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franksexton Aug 04 2013 at 9:24 AM	John, I didn’t feel direspected at all. Thank you for this information, it helps me to gain a greater understanding. Like they say "knowledge is power".
djbinder Aug 04 2013 at 8:34 AM	Yikes, just read what I wrote. Damn iPad, sorry for all the typos!
djbinder Aug 03 2013 at 7:00 AM	Thanks Frank. no, not an ECM vibe overall...not when you had American artists like Jason Moran, Bill Frisell, more aggressive Norwegians like Paal Nilssen-Love’s new Large Unit, hard-edged, rock-centric groups like Bushman’s Revenge! Hedvig Mollestad Trio and Stian Westwrhus & Pale Horses. No, if anything, this year the festival had a general Scandic vibe, to be sure, with a preponderance of artists from Norway, Sweden and Denmark. But really, the only shows that felt of a kind with the ECM aesthetic were Lloyd&Moran/Lloyd&Sangam, the Rypdal, the Kannegaard and Obara International Quartet. Jan Ole Othæs, the departing festival director, has always manages a great balance between bringing jazz from across the spectrum, well-mixed between local/Norwegian musicians and those from abroad. Some years are a little more Scandic-heavy than others, and the festival has long had a great relationship with ECM (the latest Ketil Bjørnstad, La Notte, was recorded there in 2010; I was there), but it in no way dominates the festival. With no disrespect intended, Frank, folks who Ren’t familiar with the breadth of the Scandinavian scene see a few artist is like Rypdal on the bill and their first thought is ECM, which is fair enough becaus, to be sure, the label was responsible for bringing the country’s scene to international attention it the early ’70s. But there has always been far, far more going on there..just. Heck out labels like Rune Grammofon, Jazzland, Hubro, Moserobie (Swedish), ILK (Danish), and many more to see that, while ECM has shone a big spotlight on a handful of great Scandinavian artists, it by no means represents the full extent of what’s,going on in a country where the number of outstanding players is disproportionate to its small population (five million or so). If you keep an eye on my li e reviews you’ll get a good idea, since I do four or so Norwegian festivals a year, and have been adding Sweden to the list also. In fact, a piece about Django Bates’ recent commission with Sweden’s Norrbotten Big Band will run Monday. For anyone who wants an idea of what it’s like for a musician to walk into a room of 17 musicians he doesn’t know, with a new nook of music, on a Tuesday, and five days later put on a show with them that sounds as though they’d been together for years, this article will reveal. Lot of the creative process involved in doing it. It was a real treat to be invited, not just to cover the first show, but to cover the process of going from zero to sixth in five days. Cheera!
franksexton Aug 02 2013 at 1:18 PM	Thanks for posting this, John. I am a fan of Terje Rypdal, I don’t think hs has ever come to Detroit. Would you say the festival had kind of a ECM vibe (based on the performers) ?
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