![\"Worlds-Around-@-Ystads-Teater-20150731-Photo-Markus-F\u00c3\u00a4gersten-4\"](\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2015\/08\/Worlds-Around-@-Ystads-Teater-20150731-Photo-Markus-F\u00c3\u00a4gersten-4.jpg\")
<\/a> <\/p>\nThe Dutch alto saxophonist Tineke Postma headed the adventurous group named Worlds Around Worlds Around came into being at the suggestion of the veteran Swedish producer Ulf R\u00c3\u00a5delius and Martin Martinsson of the concert organization Musik i Syd. Encouraged by festival artistic director Jan Lundgren, they worked for a year with Ms. Postma to arrive at the right combination Addressing the audience, Ms. Postma said, \u00e2\u20ac\u0153It\u00e2\u20ac\u2122s nice that we\u00e2\u20ac\u2122re women, but that\u00e2\u20ac\u2122s not what it\u00e2\u20ac\u2122s about. We\u00e2\u20ac\u2122re musicians first.\u00e2\u20ac\u009d As if to confirm that tenet, in Ms. Premazzi\u00e2\u20ac\u2122s \u00e2\u20ac\u0153Later Ago\u00e2\u20ac\u009d Ms. Postma built a solo on \u00e2\u20ac\u0153I Got Rhythm\u00e2\u20ac\u009d harmonies. Propelled by the muscle and drive of Ms. Oh\u00e2\u20ac\u2122s bass line and Ms. \u00c3\u02dcstergaard-Nielsen’s drumming, her alto sax improvisation was wild with bop and post-bop intensity. Ms. Primazzi (pictured left) followed in a piano solo laced wit Bud Powell impetus that matched Ms. Postma\u00e2\u20ac\u2122s fire.<\/p>\n The German saxophonist Nicole Joh\u00c3\u00a4nntgen presented her Sofia Project at the hotel Continental Du In general, however, eagerness to take risks was a hallmark of this new band. Polish vibraharpist Izabella Effenberg\u00e2\u20ac\u2122s composition \u00e2\u20ac\u0153Doctor, Doctor,\u00e2\u20ac\u009d had Ms. Hagel\u00e2\u20ac\u2122s pizzicato violin and the bass of Ellen Andreas Wang (Norway) interacting. Then the ensemble melded into a boppish In its publicity, the Ystad Festival did not emphasize the large number of women on its roster of artists. Perhaps that was not an oversight but a sign that gender equality in jazz has advanced to a point where it doesn\u00e2\u20ac\u2122t need to be underscored. In any case, Nils Landgren\u00e2\u20ac\u2122s cast of women colleagues (see […]<\/p>\n","protected":false},"author":2,"featured_media":6838,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","footnotes":""},"categories":[4],"tags":[],"class_list":{"0":"post-6837","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-main","8":"entry"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/6837","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/comments?post=6837"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/6837\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media\/6838"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media?parent=6837"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/categories?post=6837"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/tags?post=6837"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}<\/a>(pictured above), made up of women from seven countries. They began their concert with a dark motif titled \u00e2\u20ac\u0153Speech Impediment.\u00e2\u20ac\u009d Bassist Linda Oh set the mood of the piece, which moved from free jazz into a structured theme so dark and brooding, it could serve as the score for one of Bertolt Brecht\u00e2\u20ac\u2122s stage works. Ms. Oh, an Australian who was born in Malysia and lives in New York, soloed again to begin \u00e2\u20ac\u0153Imprints,\u00e2\u20ac\u009d a piece inspired by Wayne Shorter\u00e2\u20ac\u2122s \u00e2\u20ac\u0153Footprints.\u00e2\u20ac\u009d Solos by Portuguese flugelhornist Susana Santos Silva and Swedish trombonist Karen Hammar followed. A bass ostinato<\/a> over percussion by Danish drummer Michala \u00c3\u02dcstergaard-Nielsen developed into a fugue that in turn led to a solo by German guitarist Sandra Hempel. Hempel\u00e2\u20ac\u2122s work here, and later in \u00e2\u20ac\u0153Past (Part 2),\u00e2\u20ac\u009d combined heat and humor. \u00e2\u20ac\u0153Different Worlds of Thought\u00e2\u20ac\u009d featured Italian pianist Simona Premazzi leaning into the piece\u00e2\u20ac\u2122s rich chords.<\/p>\n<\/a>of musicians for the band. <\/p>\n<\/a> Sud in the heart of Ystad. She assembled five other musicians from Europe, and the Japanese pianist Naoko Sakata. Their concert came after one long rehearsal the day before in which many of them met for the first time. Considering the complexity of much of the music, the results spoke volumes about the musicianship of the players. <\/p>\n<\/a>Ms. Sakata packed more chance-taking than anything else I heard all week into her solo on the opening number, whose title I heard as \u00e2\u20ac\u0153Flukmodus.\u00e2\u20ac\u009d In comparison, Ms. Joh\u00c3\u00a4nntgen\u00e2\u20ac\u2122s audacious soprano sax solo on the same tune sounded conservative. For the ensemble in a piece called \u00e2\u20ac\u0153Fjord Ferry\u00e2\u20ac\u009d Ingrid Hagel (Denmark) sang a 4th \u00e2\u20ac\u0153horn\u00e2\u20ac\u009d part in harmony with her<\/a> violin, then vocalized in unison with her improvisation. The young Swedish trumpeter Ellen Petterson offered thoughtful contrast in a solo built on a series of long tones. <\/p>\n<\/a>line before breaking into a free-for-all that yielded to a four-mallet vibes solo by Ms. Effenberg. Except for what sounded like a brief reference to Gary McFarland, her playing was original and virtuosic. Switching to alto saxophone, Ms. Joh\u00c3\u00a4nntgen played with passion, melancholy and a full sound in a minor-key piece called \u00e2\u20ac\u0153Waifs.\u00e2\u20ac\u009d She followed with \u00e2\u20ac\u0153If I Could See You,\u00e2\u20ac\u009d another tune whose sadness contrasted with her enthusiastic persona. Her joi de vivre<\/em> (lebensfreude<\/em>?) was back full strength for a tune she called \u00e2\u20ac\u0153Hello.\u00e2\u20ac\u009d It had overtones of funk and Cannonball Adderley and ended with drummer Dorota Piotrowska (Poland) trading joyous eight-bar passages with all hands. <\/p>\n","protected":false},"excerpt":{"rendered":"