on life, music etc beyond mainstream

2022 6 Okt


von: Henning Bolte Filed under: Blog | TB | Tags: , | 2 Comments

KOMПOUSSULĂ, a commission of Berlin Jazzfest 2022: preparatory meeting in Amsterdam (September 2022)

The title means compass or, in the languages of the members of the musician crew: Kompass, compas, pusula, kompas, busola, boussole …



The line-up from left to right: Sebastien Beliah (b), Olga Koziel (voc/perc), Pierre Borel (sax), Louis Laurain (tr), Maryana Golovchenko (voc), Kateryna Ziabliuk (p, voc), Samuel Hall (dr), Sanem Kalfa (voc, electr, vcl), Joachim Badenhorst (sax/cl, voc, electr), George Dumitriu (viola, vln, g, electr)


The four female vocalists from left to right: Maryana Golovchenko, Olga Koziel, Kateryna Ziabliuk, Sanem Kalfa.



This unique crew contain or are connected to a couple of groups that all play the Jazzfest during the four days (November 3-6): Black Sea Songs, Lumpeks, Shadows of Forgotten Ancestor, Die Hochstapler and members of French Umlaut Big Band.


And a still wider spectrum is closely connected to these sound worlds and approaches in more concerts: there is the eminent trio of Lucian Ban, Mat Maneri and John Surman with its Bartók program Transylvanian Folk Songs, there is French drummer Camille Emaille with her Bulgarian-tinged group OTTO, the Italian duo Tarozzi/Walker will perform and the large Gurdjieff Folk Instruments Ensemble from Yerevan.


Jazzfest Berlin is on soon … ! Find the program HERE and background with short musician interviews and essay in the festival’s digital guide (English and German) HERE


“In its artistic treatment of Bartók’s Transylvanian field recordings, Ban and Maneri’s trio, completed by John Surman, is one example of how elements of Eastern European folk traditions continue to resonate within contemporary music and how these are registered, probed and reimagined against the background of personal and contemporary jazz influences. This is not about something sounding “folky”. It is about finding enrichment as the playing flows, whether it comes from a folk source or from the opposite direction, being incorporated within that folk source as a result of improvisation, where the dialectical process itself becomes audible. Variations of this can also be found in a younger and the very youngest generation, whose tracks in this year’s Jazzfest programme lead towards the lands around the Black Sea, to Ukraine and Poland. They are characterised by an intensifying playful approach, based on rawness, individuality, the marks of suffering and the hidden magic of the traditional – capturing and transforming the energies of their sound in a passionate, communal atmosphere of the now.”(from “A Dynamic Process of Continual Interactions: on traces, techniques and tensions in the encounter of jazz and folk”)

This entry was posted on Donnerstag, 6. Oktober 2022 and is filed under "Blog". You can follow any responses to this entry with RSS 2.0. Both comments and pings are currently closed.


  1. Michael Engelbrecht:

    Just before reading this, I saw a cd in a pile of cds, that I loved for its freshness and adventurous fusion moods back in the day. I hadn‘t listened to it for a long time, MORNING GLORY, by Mr. Surman, with Mr. Rypdal and other inspiring folks.

    John Surman always had a knack for folk traditions from old Brittania to (nowadays:)) Transsylvianian Folk Songs. The other non-ECM album from those early years was WESTERING HOME, in my pale memory an early solo multiinstrumental album (I never owned). Nevermind, nice he‘s still around. I only saw him live once, in Münster around 1975, with S.O.S. Hell of a concert.

    In the same decade we crossed paths when I sat in a cinema watching a Jacques Rivette movie, and John and Barre Phillips played, just the two of them, on a street in Paris (yes, why not letting the soundtrack happen by bringing the musicians into the movie).

  2. Jochen:

    Schöne Musikerfotos.

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