In conversation with Django Batesa?? BelovA?d

Jul 09 2013 Published by under Events, News

On Sunday 16 June, I hosted a public conversation with Django Batesa?? BelovA?d before their concert at the Holmfirth Arts Festival in West Yorkshire. Bates was joined on stage by bassist Petter Eldh and drummer Peter Bruun and I started off the conversation with a question about the relationship between place and creativity. We moved from an examination of the differences between festivals and venues a?? how performing contexts shape the direction of music – to exploring how the Danish jazz scene had led to the formation of the trio. BelovA?d formed in Copenhagen during Batesa?? time at the Rhythmic Music Conservatory and their Charlie Parker-inspired albums developed out of an event organised by the Copenhagen Jazzhouse.

Beloved with TWDuring the talk, we discussed concepts of inheritance and identity, how the a??weight of historya?? can often hamper the creative process. In my first book, Jazz Icons: Heroes, Myths and the Jazz Tradition, I suggested that official histories of jazz are too fixed in nature and the presence of iconic figures has spawned a number of imitative projects which can be read as too indebted to past masters. Exploring these themes with BelovA?d, Bates was keen to stress the difference between love and reverence for an artist, and suggested that this was the key to his success; using Parkera??s music as a springboard for his own creativity without feeling restricted by official narratives or expectations about how to draw on music of the past. The trio touched on ways in which working transnationally encourages this kind of thinking.

The conversation moved on to a consideration of what it means to be an artist and a refusal to be pigeonholed and the trio discussed their musical and compositional processes. Bates will be developing the BelovA?d project for big band for the BBC Proms in August and the translation of this material has presented a number of challenges for the group. Both Bruun and Eldh have such a close working relationship with Bates, feeding off each other and taking the music in different directions, that the inclusion of additional musicians has led to the need for the clarification of ideas and the sharing of established processes beyond the trio.
Beloved at Holmfirth by Ken DrewWe concluded our discussion by considering the dynamics of cultural influence and the flow of ideas. I asked the trio to reconsider the well trodden idea that creative influences flow in one direction – namely that musicians of the present are influenced by the great masters of the past a?? and posed the question of how Batesa?? music could encourage us to think about the past in different ways. For example, I asked how does BelovA?d encourage people to listen again to Charlie Parker with fresh ears and think differently about Parker? Although Bates acknowledged that all our listening is tempered by present values, he suggested that associations with his own music (ranging from compositional complexity to playful humour, from political statement to improvising in the moment) could be used as a strategy for revising our readings of the music of the past.

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Kitchen Orchestra web project completed

May 26 2011 Published by under News

In the second week of May, we conducted an online practice-based research and knowledge transfer project to explore the online mediation of jazz and improvisational performance.

As part of the Mai Jazz festival in Stavanger, Norway the members of the Kitchen Orchestra collaborated with visual artists Testuya Nagato and Hiraku Suzuki to create a performance that blended composed and improvised elements.

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Rhythm Changes at the London Jazz Festival

Nov 24 2010 Published by under Events, News

Rhythm Changes hosted its first UK public event on Sunday 21 November as part of the London Jazz Festival.A? The event, a panel discussion entitled a??Another Place?A? Why Jazz Festivals Mattera??, included contributions from John Cumming (Serious/London Jazz Festival), Tony Dudley-Evans (Birmingham Jazz/Cheltenham Jazz Festival) and Hannibal Saad (Jazz Lives in Syria) alongside Anne Dvinge and Tony Whyton from the Rhythm Changes team.

Taking place at the Barbican Centre in London, the panel attracted an engaged and knowledgeable audience ranging from international festival directors to jazz journalists, writers and jazz advocates to enthusiasts, and the discussion focused on the contribution that festivals make to the creative economy in Europe and beyond.

The panel discussed how festivals can provide a celebration of place and encourage innovative programming and also gave examples of jazz as a catalyst for social change.A? John Cumming, for example, discussed the way in which the London Jazz Festival had expanded its reach in recent years to encourage new communities to participate in festival events and also described the scene in Istanbul, where a jazz festival and venue had transformed part of the city through creative programming.

The panel addressed the relationship between year round programming and festivals programming, and also talked about the way in which festivals relate to a sense of cultural memory (for example through using established venues and tapping into the legacy of previous events) at the same time as offering musicians and audiences visions of the future.A? The audience responded enthusiastically to the notion that jazz offered a model for celebrating diversity and cultural hybridity, and the panel concluded with a lively question and answer session where the audience exchanged ideas and experiences.

As Rhythm Changesa?? first Knowledge Transfer forum, Another Place? Why Jazz Festivals Matter demonstrated the relevance of the projecta??s research questions which explore the changing Europe and the value of jazz as a transformative force.A? As Anne Dvinge stated, jazz is a conversational medium that, in certain contexts, has the ability to offer alternative notions of place and identity.A? Anne described the way in which jazz festivals offer audiences a means of encountering things that are outside their everyday experience and also argued that the view of jazz as a??high browa?? (or difficult) did not play out in reality once audiences engage with the music first hand.A? Festivals in particular can encourage people to take risks or to sample things that are unfamiliar; in this respect, jazz festivals really do offer access to another place where people can feel differently about both the music and their environment.

Click below to hear an audioA?recording of theA?event:
Another Place? Why Jazz Festivals Matter by Tony Whyton

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Another Place? Why Jazz Festivals Matter

Sep 26 2010 Published by under Events

Join us forA?’Another Place? Why Jazz Festivals Matter’A?at the London Jazz FestivalA?2010.A? The public event, held at the Barbican Centre in London on 21 November, will be the first of fiveA?Rhythm ChangesA?panels designed toA?exploreA?keyA?research questions withA?industry professionals. The event listing can be found at:
More details to follow once the panel line up has been confirmed…


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