{"id":7738,"date":"2016-08-12T23:13:58","date_gmt":"2016-08-13T06:13:58","guid":{"rendered":"http:\/\/www.artsjournal.com\/rifftides\/?p=7738"},"modified":"2016-08-13T21:01:03","modified_gmt":"2016-08-14T04:01:03","slug":"ystad-the-wrapup","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/rifftides\/2016\/08\/ystad-the-wrapup\/","title":{"rendered":"Ystad: The Wrapup"},"content":{"rendered":"

It was impossible to hear all of the music at the Ystad Sweden Jazz Festival. I came as close as allowed by festival scheduling and the need for a minimal amount of sleep. Here are brief notes wrapping up this series of Rifftides<\/em> reports on Ystad 2016.<\/p>\n

Swiss harmonica player Gr\u00c3\u00a9goire Maret reached peaks of excitement when\"G. he
\nand drummer John Davis faced off in rhythmic flurries that amounted to mutual solos. They were particularly gripping in Maret\u00e2\u20ac\u2122s \u00e2\u20ac\u0153The Angel Gabriel.\u00e2\u20ac\u009d The British singer Zara McFarlane vocalized a clever unison line with Maret in one piece, but in another the banal lyric of a song called \u00e2\u20ac\u0153Diary of a Fool\u00e2\u20ac\u009d took the edge off her effectiveness.<\/p>\n

 <\/p>\n

\"MathiasThe courtyard of the Hos Morten Caf\u00c3\u00a9 was crowded for The Other Woman, a new group headed by Swedish pianist Mathias Landaeus. Landaeus\u00e2\u20ac\u2122s solos streamed along highly personal harmonic lines. He is a pianist to take note of. Landaeus had solid rapport with bassist Johnny \u00c3\u2026man and the impressive young drummer Cornelia Nilsson. In \u00e2\u20ac\u0153I\u00e2\u20ac\u2122ll Be Around,\u00e2\u20ac\u009d the idiosyncratic vocalist Ellekari Sander interpreted the song with fragility that suited it.<\/p>\n

 <\/p>\n

In the Ystad Theatre, Avishai Cohen unleashed his\"Unknown\" bass, his trio and his athleticism. His concert was an experience in unremitting energy. Nearly everything Cohen, pianist Omri Mor and drummer Daniel Dor played either directly reflected their Israeli heritage or had a broad Middle Eastern inclination. An exception was Thad Jones\u00e2\u20ac\u2122s blues ballad \u00e2\u20ac\u0153A Child Is Born.\u00e2\u20ac\u009d In it, Cohen explored and expanded the harmonies to create a moving statement.<\/p>\n

 <\/p>\n

A concert by vocalist, composer and arranger Iris Bergcrantz drew on her\"images\" recent album<\/a>. As in the recording, her band included her trumpeter father, Anders Bergkrantz; her mother, pianist Anna Lena Laurin; and her sister Rebecca singing backup vocals. The music was experimental, imaginative and successful. A haunting approach to \u00e2\u20ac\u0153Eleanor Rigby\u00e2\u20ac\u009d found levels of meaning beyond The Beatles. Anders Bergcrantz\u00e2\u20ac\u2122s trumpet solos matched the audacity of his daughter\u00e2\u20ac\u2122s concept.<\/p>\n

 <\/p>\n

\"Unknown-2\"A young Dane, Kathrine Windfeld, has assembled a big band for which she writes and arranges with brilliance, humor and originality. In her piece called \u00e2\u20ac\u0153Aircraft,\u00e2\u20ac\u009d repetition of a six-note figure helped establish a Scandinavian ambience that was apparent throughout the band\u00e2\u20ac\u2122s set. Her arrangement set up trombonist G\u00c3\u00b6ran Abelli for a riotous solo that brought him huge applause. Ms. Windfeld is bound to have an important future.<\/p>\n

 <\/p>\n

(Thanks to Markus F\u00c3\u00a4gersten and his superb Ystand festival photo staff for supplying pictures.)<\/p>\n","protected":false},"excerpt":{"rendered":"

It was impossible to hear all of the music at the Ystad Sweden Jazz Festival. I came as close as allowed by festival scheduling and the need for a minimal amount of sleep. Here are brief notes wrapping up this series of Rifftides reports on Ystad 2016. Swiss harmonica player Gr\u00c3\u00a9goire Maret reached peaks of […]<\/p>\n","protected":false},"author":2,"featured_media":7742,"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-7738","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\/7738","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=7738"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/7738\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media\/7742"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media?parent=7738"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/categories?post=7738"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/tags?post=7738"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}