An important part of the annual European Jazz Conference is the space given over to music of the host country. In fact, it could be argued that more time is allotted to showcasing music than to all the discussion groups, keynote speech and panels combined.
Over three days, the 420 or so conference delegates from 39 countries had the chance to see twenty-five different acts. In keeping with the conference theme of “Tomorrow Comes Today” and Ghent’s status as 2024 European Youth Capital, the showcases celebrated some of the best young jazz musicians in the country.
What is more, on Thursday evening, on the eve of the conference proper, a Young Curators Programme allowed nine young jazz aficionados free rein in selecting and presenting three up-and-coming bands just embarking on their respective journeys. The three acts who duly performed at De Centrale were Elis Floreen and two distinct trios in the shape of KAU and Bodem, the latter being the only act at time of writing to have released a debut album.
In addition to the acts playing the main stages of Music Centre De Bijloke (the conference venue) during the daytime or the famous Ha Concerts (Handelsbeurs) Ghent in the evenings, a fringe program served up ten bands in five clubs in the city center.
Eve Beuvens “Lysis”
For pianist Eve Beuvens, poems by Edna Millay and Emily Dickinson provided the grist to her creative mill. With Lynn Cassiers on vocals and electronics and Lennart Heyndels on double bass and additional electronics, the trio’s half-hour concert gave a taster of a project that will see official album release early in 2025. Beginning with a reworking of Edna St. Vincent Millay’s “Afternoon On A Hill,” the trio navigated a world of dreamy soundscapes and spare pianistic lyricism punctuated by crackling static, drone, ethereal vocals and minimalist rhythmic pulses relayed between piano and bass.
Cassiers’ delivery of Dickinson’s “Hope Is The Thing With Feathers” morphed from an edgy, electronically filtered recital—set against rumbling left-hand piano and fast-throbbing bass—to sung lines to the lightest of accompaniment.
The trio concluded with Parker’s “Inventory,” its interpretation as brief and as beguiling as the poem itself. Beuvens’ gently sweeping lines were echoed in the bass as Cassiers sang the witty, bitter-sweet stanzas. It was all over in the blink of an eye, the applause reviving a few nodding heads in the front row who had most likely surrendered to jetlag and a late night. To paraphrase Parker, “One thing I am wiser to know, if sleep beckons, never sit in the front row.”
Wajdi Riahi Trio
A Steinway is no guarantee that a pianist will sound good—that requires chops and material. Tunisia-born pianist Wajdi Riahi has both. His trio with bassist Basile Rahola and drummer Pierre Hurty came together in 2020, debuting with Mhamdeya (Fresh Sounds, 2022) and following up with Essia on the same label the year after. This half-hour set, which drew mostly from the latter album, showcased an elegant trio with a persuasive personal sound that owes much to Riahi’s Tunisian roots.
Classical, hymnal and North African folk influences combined seamlessly in the opening number “Inel Blues,” which grew from gradual, measured steps, via a caressing bass solo, to flowing release. If there were shades of Keith Jarrett or Brad Mehldau it probably had more to do with this trio’s intuitive interplay, rendering an organic collective voice built upon push and pull, rather than any stylistic similarity on Riahi’s part alone.
A major influence on Riahi’s musical concept is the music of North Africa; on “Yala Qawmi” the leader’s wordless singing and spare piano lines channeled a traditional melody of his native Tunisia, a gentle incantation carried on a bed of rumbling mallets. Cantering North African rhythms coursed through “Hymn to Stambeli,” the trio’s tempo waxing and waning alluringly, melody and rhythm tussling playfully before building to a powerful finale. Another half an hour and some would not have gone amiss. A trio to watch out for.
Donder
Donder means thunderstorm in Flemish. The trio of Harrison Steingueldoir (piano), Stan Callewaert (double bass) and Casper Ven De Velde (drums) debuted with the self-produced Still (2016), an atmospheric adventure in pastoral minimalism characterized by tightly interlocking group dynamics and individual idiosyncrasies. With four albums under its belt and another due for release before the end of 2024, Donder’s aesthetic, one that is constantly seeking new inspiration, is well established.
In an uninterrupted suite-like exploration, stemming from chiseled single piano notes, bowed bass drone and insistent percussive textures, Donder led the audience on a sonic journey that was meditative and introspective for long stretches. Rhythmic pulse, whether driven by bass or drums was rarely absent for long, though passages of brooding abstraction (bowed cymbal and electronically manipulated bass) occasionally interrupted sparse melodic path.
If the music seemed to drift at times, the same could not be said for Ven De Velde’s drumming. Possessing an unusually dry sound, his constant animation, married to an original style, made for a captivating audio-visual experience. Eyes closed the entire time, his head tilted to the left or the right, he dealt out a stream of fiercely rattling snare figures, double-cymbal ostinato and thunderous rolls. It is hard to think of another drummer, historical or contemporary, with such a distinctive sound.
A lengthy drum feature of intensity and imagination, which never quite gave up to invite the applause it deserved, dissipated when a light piano melody signaled the beginning of the storm’s end. With Steingueldoir whistling in accompaniment to his melody, the trio crossed the finishing line at a walk, leaving the audience to digest what it had just experienced.
GingerBlackGinger
A veteran of the Belgian jazz scene since the turn of the millennium, double bassist Yannick Peeters formed GingerBlackGinger in 202o with the intention of bringing together different styles of music that have influenced her. With Frederik Leroux (guitar), Frans Van Isacker (saxophone/clarinet) and Samuel Ber (drums, replacing Tom Rainey), the quartet showcased material from its eponymous debut album, released at the beginning of 2024 on the Belgian label W.E.R.F.
When the rasping, spluttering saxophone emissions met avant-rock/free-improv guitar over a restless rhythmic foundation on “Everything Is Going To Be Alright” it was clear that GingerBlackGinger was not going to be conforming to any preconceptions. On the slow-burning tempo of the following number the quartet presented an intricate weave of sinewy guitar and saxophone, spare bass groove and loosely swinging drums. This short piece, however, never gathered momentum nor veered towards any clear direction, ending on a low note. There was more meat on the bones of “GBG7,” which featured a probing bass solo from Peeters and a knotty response from Leroux.
Bowed bass atmospherics, lulling legato clarinet and exploratory guitar phrasing coalesced on the set closer “Playtime’s Over,” a fascinating coming together of meditative and stimulating elements. The free-jazz spirit of the quartet in full flow, a blend of determined propulsion and stuttering angularity, of lyricism and experimentalism proved to be curiously hypnotic.
Stéphane Galland And The Rhythm Hunters
Long-standing drummer in legendary trio Aka Moon, Stéphane Galland is no stranger to complex rhythms. A selection of tuned from the sextet’s self-titled debut album (Challenge Records, 2024), a rhythmic globe-trotting treasure trove that defies categorization, won over the Ha Concerts crowd.
For the second time in the day pianist Wajdi Riahi graced the Steinway piano, his graceful intro announcing “Positivv.” Unison handclaps soon gave way as Galland and electric bassist Louise van den Heuvel locked into a groove and the three-pronged horn attack of Shoko Igarashi (tenor saxophone), Sylvain Debaisieux (alto saxophone) and Pierre-Antoine Savoyat jointly voiced a melodic motif. An early bass solo drew the attention to van den Heuvel’s fleet- fingered virtuosity, but it was her fluid comping throughout that most impressed. Extended solos from Riahi and Debaisieux of contrasting character, the former elegant and lyrical, the latter pugnacious and exclamatory, stirred varying responses from the ever-animated Galland—a veritable storm on his kit.
Van de Heuvel shone once more on an unaccompanied bass intro to “Ipseify,” the rest of the sextet slipping during the applause to embark on a rhythmically choppy, horn-riffing romp. The collective heat decreased to frame an expansive, piercing solo from Savoyat, who passed the baton to Riahi as drums and bass maintained their churning rhythms. As the pianist entered his stride riffing horns entered to potent effect, gradually unravelling in a Charles Mingus-esque cacophony that spurred Galland to greater intensity. A short but explosive set.
Under The Reefs Orchestra
Three musicians do not an orchestra make, but nobody packed into Hot Club Ghent like sardines on this late-night concert was voicing any objections to the nomenclature. On the contrary, the small but keen crowd stood rapt before Clément Nourry (guitar/keyboards), Jakob Warmenbol (drums) and Marti Melia (bass saxophone) as they plied irresistible grooves spiced with spiky, post-rock cum avant-jazz electric guitar. The trio cites 19th-century French chamber music, Jim O’Rourke and Moondog as influences, which is only half the story.
Melia’s orgy of bass saxophone riffs fueled notions of the relentless energy of The Comet Is Coming, while Warmenbol unleashed a barrage of polyrhythms on his tiny kit. Navigating the maelstrom was Nourry, who toggled between wavy psychedelia, proto-rock ‘n’ roll and avant-Americana.
During the break between sets Melia related how his bass saxophone, which originally hailed from a theatre, dated back to 1917. Battered and dented, Melia had restored it to its present booming glory.
Who knows what turn jazz might have taken had a three-year old Belgian boy by the name of Adolphe Sax not survived a fall from the third floor of a building in 1818? Having also survived accidentally drinking a bowl of acidic water, swallowing a pin, escaping serious injury from a gunpowder explosion, not to mention being hit on the head by a cobblestone (and falling into a river), one can only conclude that Saint Cecilia was watching over the inventor of the saxophone.
Liv Andrea Hauge Trio
Music on the second day of the EJC 2024 began not with a Belgian group but with Scandinavians in the form of Liv Andrea Hauge Trio. Led by Norwegian pianist Hauge, the trio, with bassist Georgia Wartel Collins and drummer August Glãnnestrand (both Swedes), was the recipient of the European Jazz Network’s annual Zenith Award (in conjunction with 12 Points Festival) for emerging artists, which allows the winner to tour several countries.
With regular bassist Collins in New York, Fredrik Luhr Dietrichson subbed ably as the trio played a short set of tunes from its album Ville Blomster (Hubro Music, 2024). “Gullregn” and “Telthusbakken” (the latter from the trio’s debut live album) underlined Hauge’s facility to pen very pretty, memorable melodies, but there was much more under the bonnet, the trio delving into groove-centric improvised passages, driven by the impressive Hauge. A trio with a bright future.
Aki
Jazz collective aki, led by drummer Anke Verslype, released its debut album, Nader (W.E.R.F.) in 2022. Along with regular members Willem Heylen (guitar), Marjolein Vernimmen (harp) and Ruben De Maesschalck (bass), Verslype invited reeds clarinetist Joachim Badenhost. This same line- up, augmented by euphonium player Niels Van Heertum took to the floor of Kraakhuis for a respectably well attended post-lunch showcase slot.
Playing music from het tij (W.E.R.F, 2024) released the previous week, the sextet played uninterrupted, with compositions bleeding into each other. The projection of an animated film on the wall behind the band proved distracting and hard to fathom, subtracting rather than adding to the sonic experience.
As for the music, it began with clarinet and euphonium crisscrossing in gently melodic waves, with strings and drums accompanying deftly. An extended drum— feature early in the suite-like performance provided contrasting textures to the melodious bass, brass and reeds. In a pocket of collective repose, melancholy euphonium brayed softy against the background of gentle harp progressions. Gradually, the other instruments raised their voices in warm embrace.
The generally mellow ambiance was briefly disturbed by abstract rustlings, but it was not long before plaintive clarinet and euphonium once more plied their melodious, intertwining course. A harp ostinato paved the way for a six-way rhythmic pulse, the music swelling grandly as guitar peeled away freely. The sudden ending, like a door slamming in one’s face, was jarring, but at least somehow provocative. More of the animated spirit and free-wheeling expression that crept in towards the end might have made for a more engaging set … and a different one, for sure.
Orchestra Nazionale della Luna
Another small ensemble masquerading as an orchestra! And why the Italian name? After all, the band hails from outer space: “We are one of the greatest orchestras on The Moon,” Kari Ikonen declared after the electrifying, 20-minute opening number. It was refreshing to witness a jazz band with a sense of humor—a commodity often lacking in music that invariably takes itself extremely seriously.
Not that ONDL is not serious about its music. On the contrary, Ikonen (piano, Moog), Manuel Hermia (saxophones, flute, bansuri), Sébastien Boisseau (double bass) and Teun Verbruggen (drums) delivered a performance of unrelenting intensity and rhythmic agility. From slow, Moog-flavored sci-fi ambiance, tinged with Arabic tonalities, via questing Weather Report-esque fusion, the music morphed into free-jazz excursion—fueled by fesity rhythms, stabbing piano and searching saxophone—and onwards to an electronically filtered jazz-funk stew certifiably of the 21st century.
The root of the excitement lay in the quartet’s ability to shift perspective so radically, sometimes by incremental measure, at other times in the blink of eye; Ikonen switching from probing linear improvisation—and thrilling at that—to percussive storm, Hermia swapping tenor skronk for bansuri lyricism, the unit gravitating from heavy groove to heavy free improv.
ONDL then served up the slow burner “Soup of Poisonous Mushrooms,” named, Ikonen explained, after “our favorite dish. We eat it all the time on The Moon … .” Slow grooving maybe, but the broiling intensity that is a hallmark of the band was ever present. Closing out, Ikonen led from the front with an energized foray on piano that paved the way for Hermia to cut loose on tenor, while all the time bass and drums cooked up a spicy rhythmic churn. In the home stretch piano and saxophone spiraled furiously together, racing to an abrupt photo-finish. Exhilarating stuff, from starting line to finishing post.
And if Sun Ra really is from Saturn, and ONDL really is from The Moon—and who knows for sure that they are not?—then there is no moral question surrounding space exploration. Onwards to Venus!
Julien Tassin Quartet
The final showcase at ha Concerts saw guitarist Julien Tassin’s Quartet visit material from Great Expectations (W.E.R.F./Igloo, 2023). Joining Tassin were Nicolas Thys (bass), Dré Pallemaerts (drums) and Hermon Mehari (trumpet).
From the get-go with “Birth Suite,” which began as a beautiful, blues-tinged ballad, there were shades of trumpeter/cornetist Ron Miles and, at times, Bill Frisell. It was no coincidence; Tassin had originally hoped to invite Miles to Brussels for a concert in 2022, but sadly Miles passed away in early Spring that year. Tassin continued writing music for the intended project and roped in trumpeter Jason Palmer for the album. Tassin penned “To Ron” in heartfelt tribute to Miles, and his spirit infused both that album and this live performance.
But hats off to Mehari, for although the music was Tassin’s and the inspiration—in large measure—Ron Miles, it was the trumpeter who stood out for his outstanding playing. Around seven minutes in, the bluesy balladeering was ditched in no uncertain terms, with Mehari soloing freely over heavy riffing-guitar, thundering bass and blistering drums that conjured Red-era King Crimson.
Lyrical guitar arpeggio announced “Believe,” whose gently loping rhythm featured another excellent solo from Mehari—controlled yet passionate. “Mirage” followed a similar course before careering into heady post-rock territory, led by Tassin’s spiky guitar work. The Julien Tassin Quartet signed off with “Forward,” another biting slice of guitar-driven rock that landed softly with a guitar-and-trumpet summit of understated lyricism. Ron Miles, you feel, would have approved.
schntzl
The final gig of the European Jazz Conference fell to schntzl, the duo of Hendrik Lasure and Casper Van De Velde. The venue was the brand new Wintercircus, a 600-capacity standing venue with an immersive 360 degrees sound system.
This venue in the heart of Ghent provided circus entertainment over a century ago. A fire in 1920 almost destroyed the building, which was later resurrected as a car workshop. Its mission today is a more broad-spectrum, offering music of all denominations, as well as talks, workshops, exhibitions, yoga classes and, in keeping with tradition, circus. The first wave of concerts scheduled until the end of 2024 includes a double bill of Sun Ra Arkestra/Moor Mother, Taureg guitarist Bombino, multi-media pianist Polyhop, retro-futurist loony tunes Henge and, playing in total darkness, French hardcore/black metal/doom merchants Celeste.
Lasure’s banks of digital synthesizers and electronics and Van De Velde’s drums stood in the center of the room, with the crowd surrounding them several lines deep. Elements of synth-pop, hyper-pop, musique concrète, industrial sounds and club music infused their dialogue, which veered between dreamy contemplative soundscapes, computer-game melodiousness and thumping intensity.
A circumnavigation of the room confirmed the uniformly excellent sound, but musical appreciation was enhanced by proximity to the musicians where one could see—as well as hear—the constant flow of musical communication between the two. There was a boldness in schntzl’s aesthetic that embraced minimalism and delicacy as much as driving beats, a reminder to many of the conference attendees that jazz is not the only music to draw from multiple fonts of inspiration, nor is it the only music to take risks, innovate and provoke.
Wrap-up
The Belgian jazz showcases underlined the range and depth of talent among young Belgian jazz/creative music practitioners. The music drew on multiple sources: poetry; electronics; hop-hop; synth-pop; post-rock; 19th century chamber music; not to mention rhythms and melodies from North Africa and India. Nary a jazz standard raised its head over the course of the three days. That is not to say that these groups have turned their backs on jazz tradition. On the contrary, improvisation was everywhere, swing and blues as well, while the spirits of Charles Mingus and Ron Miles made themselves felt on a couple of the gigs.
Whilst there is clearly a bridge between jazz’ past and its present, but these Belgian musicians, in the main, are leaning towards the other side, looking to the here now, creating their own narratives and drawing on influences that in some cases were not around sixty or more years ago. The takeaway from the Belgian jazz showcases was indeed that tomorrow comes today.