Artistic diversification has become a key feature of Punkt over the years, and it seemed fitting to have as part of this growth a work by an artist that most would regard as the other pillar (the first being Punkt regular Jon Hassell) on which the whole Punkt concept was built. Brian Eno's77 Million Paintings For Punkt is a masterpiece that manages to reconcile so many different thoughts, art movements, concepts and quotidian elements that it would probably be an idea to start an essay on it alone (as I'm sure many have done already: the Jazzlander will not be reading them as he believes he has a perfectly good mind that has managed to get a perfectly good level of physical and psychological stimulation and sensory fulfillment without being told anything more than he already knows and feels about the piece). And the thing is, as Eno said, 77 Million doesn't actually cover the combinations of images - and doesn't even account for the intermediary stages of transition between combinations which in themselves are strikingly beautiful. The music was also an integral part of the experience, as was the audience environment (part of which were heaps of sand - I later asked Eno if this was a reference to a Sorites Paradox. He said no.). Eno's methodology, his attitude and his history are well-recorded elsewhere. Here, however, I must make testament to his extraordinary generosity, especially when a drunken Irishman - who shall remain nameless - was at his table along with Jon Hassell, Peter Freeman, Arnaud Mercier, Nils Petter Molvær and Jan Bang. I couldn't imagine many artists of their stature would be so tolerant! This meeting was a small insight into Day 2's subsequent Conversational Remix between Eno and Hassell: their enjoyment of discussing ideas - however intellectual or sensual - was more than apparent during both conversations.
Owing to business and other committments (hic!), The Jazzlander did not attend Punkt Elope and invites other attendees to post their comments below, or for readers to read John Kelman's article at All About Jazz.
Day 2
Jon Hassell'sNEAR FAR - Bells For Kristiansand was ubiquitous, the bells chiming every hour throughout the festival. Of course, this meant that many of us did not get an opportunity to hear all of the different combinations as were attending musical events, but there's probably someone out there who, armed with a pocket-sized electronic recording device, patience and a microphone, managed to record them all. The Conversational Remix with Brian Eno was like a comedy double-act, although really it had the feeling of being in a room with two creative friends who had big fish to fry. And as often as not, the audience was brought in as back-up for one the two icons' lighthearted mockery of the other. The concepts of "The North and South of You" (Hassell) and "Surrender" (Eno) were easy bedfellows, and while many in the audience probably came away thinking that the main thrust of the conversation was from the hips (see what I did there?), the actual process was one of deconstruction of those binary oppositions which empower one half of themselves over the other at the expense of the whole, and the means by which to restore balance in one's life to these "oppositions". The substance of the conversation through which these philosophical viewpoints was percolated was made of elements as diverse as The Philosophy of Immanuel Kant, the War on Terror, the etymological origin of the name of the River Kennet (sounds similar to Kant, and may just mean the same ...), semantic slippage, and all manner of things pleasurable. The backbone was Hassell's forthcoming book (The North and South of You - Making The World Safe For Pleasure) and is on my recommended reading list already. To quote Jon Hassell: "Hang on. Find an oasis. Dream. Play. Make your life into an artwork. Make your art into a lifework."
Jan Bang / Erik Honoré / Eivind Aarset: this was a sterling performance, and again demonstrated that these three are masters of their craft. As always, Jan was a visual feast - the bestest button-pusher in the world EVER, as the Mungolian Jet Set named him - grooving like an angular shamen at an altar of electronics. Erik and Eivind (is it something to do with the capital 'E' at the start of their names???) were islands of serenity, deeply focussed, yet obviously enjoying the whole process. A great set.
For many attendees, Gavin Bryars was THE great revelation. His
performance was one of indisputable beauty, featuring John Potter, Anna
Maria Friman and Arve Henriksen. Bryars's performance was also a
testament to the concept of the seminars, as he had given one earlier
that afternoon where he discussed his compositional processes and what
it meant to compose for an ensemble. And while I, The Jazzlander, have
educated ears (as you obviously already know), I was aware of the
difference that Bryars's seminar had made to how I listened to and
ultimately heard his ensemble's performance, and I was a richer man for
it. His music will become a part of my staple musical diet. His
ensemble, made up of violist Morgan Goff, cellist Nick Cooper and
electric guitarist James Woodrow were note-perfect, and Woodrow in
particular - as an electric guitarist - gave a textbook example of what
tone and taste meant.
Synnøve S. Bjørset / Åse Teigland: Two superb fiddle-players (I resist the term "fiddler" as it implies at best a kind of nervous restlessness and at worst ... well, watch Tommy by The Who), who entered the stage withan armory of Hardanger fiddles. The Scandinavian folk tradition is one which has not been so vigorously exported as the folk tradition of the British Isles - particularly Ireland - yet is one that possesses just as much richness of colour and interest. While connections between those traditions are often clear, connections with the folk music of areas as far south-east as Macedonia are equally apparent, especially in relation to the generation of rhythmic accompaniment by the artists's feet, which was a key area of definition for the beautiful sounds they produced. For many non-Norwegians, this performance was the first of the Árrin co-productions of the festival to make a huge impression and give a clear indication that the folk music traditions of Europe had more to offer than Germanic Polkas, and Riverdance.
J. Peter Schwalm/Sophie Clements/Eivind Aarset/Tim Harries/Rune Arnesen: Now a Punkt regular (this was his 3rd year) J. Peter Schwalm presented perhaps the strongest set of the main festival stage in terms of rhythmic drive. The first thing that was noticeable about this performance was the visuals - several screens displayed changing imagery throughout, under the direction of Sophie Clements. This created a vibe that was unique and both empathetic and arresting. While Schwalm directed the musical performance from the back of the stage, it was very much about the playing of Harries, Arnesen and Aarset, each filling their roles with great energy and solid interpetation. Arnesen in particular made a larger impact on the sound, moving it forward like a juggernaut that swept the audience in the Agder Theatre along relentlessly. At the time, it was very easy to just love the music, but in retrospect, all the pieces followed a "Stairway to Heaven" pattern of build-up from soft to strong: if the textural variations of the music had been a match for the visual diversity put forward by Clements, I have no doubt that this would have been the standout mainstage performance of the festival for many.
DJ Strangefruit / Jan Bang / Erik Honoré / Rune Arnesen / Kheir-Eddine M'Kachiche: This remix of the Schwalm performance just moments before was one that initially seemed like it might not work. Chaos was in the air, flux and indeterminacy were the ringleaders. But gradually, a groove began to emerge, clearly indicated by the steadily more post-disco dancing of Bang and Strangefruit, a pair whose synchronicity was a true revelation on the stage of the Alfa Room. The inclusion of Arnesen was a true Uroboros moment, the self-eating snake, where a musician was participating in a remix of a performance in which they had taken part. But that's Punkt for you: all rules are meant to be discarded the moment they become restrictive in a way that prevents useful exploration. Often the remix rose and fell, but ultimately resolved itself into an adrenalized ambient stomper, and as such was the most variegated remix of the entire festival. If you wanted a concise summary of the successes and failures of the live remix concept, this performance managed to cram them all in.
Nik Bärtsch's Ronin: Nik Bärtsch is in many ways a perfect choice for Punkt. His music is wilfully different, combining a piano style that seems to be born from a more ambient world (specifically, a more Japanese soundworld) with a roaring bass and percussion (not drum and bass!) funk maelstrom. The music was undeniably complex, yet had the same trancelike effect one might get from Steve Reich's minimalism. The musicians clearly enjoyed the experience - particularly bassist Björn Meyer, whose almost ecstatic smile was a regular feature throughout - and the positive energy that infused their performance was both infectious and entirely appropriate. I also had the pleasure to meet Nik Bärtsch later, and he is indeed a living example - literally - of his own aesthetic, and a true gentleman.
Nils Petter Molvær / Eivind Aarset / Jan Bang: this was a hotly anticipated remix by many. Yet another casualty of illness, Audun Kleive, was replaced by Jan Bang, and many felt that this redefined the remix that resulted: an ambient soundscape, snatching moments from the preceding performance of
Nik Bärtsch's Ronin, almost entirely selected from Nik's piano lines. What was particularly notable about this was the fact that most felt that it was "too short". Ironically, this was in fact one of the longer remixes of the festival, and perhaps this indicates the quality of the music presented: it was a soundscape that evolved slowly, allowing Molvær some freedom to solo, and yet it never remained static or grew tedious as many less talented musicians might have been trapped into doing. In retrospect, this was perhaps the best kind of remix to end a long day in the Agder that had over-run by an hour and a half.
Day 3
The beautiful Øyonn Groven Myhren started the day with a wonderful Alfa Room performance (as opposed to remix - and another Árrin co-production) filled with wit and charm and songs that spanned the ethereally haunting to the whimsically ribald: she is indeed the perfect deliverer of Norwegian folk and medieval culture, and while her spoken introductions were entirely in Norwegian, even those who could not understand her words could not help but be enchanted by her. Her performances in which she accompanied herself on the medieval harp - which she did with consumate ease and indisputable skill - were a revelation. However, when she sang into a microphone (that's right - she sang unamplified and acappella for the majority of her performance) that had a touch of reverb, and then accompanied herself by tapping her foot in that strange rhythm that has more to do with a beating heart or a breathing pattern, that something truly magical that transcended the language of words occurred. A festival high point.
Splashgirl were another act that proudly waved a mongrel flag, effortlessly splicing the DNA of ambient music with a kind of minimalism that owes more to John Adams than Steve Reich. The group comprises Andreas Stensland Løwe on piano, drummer Andreas Lønmo Knudsrød, and bassist Jo Berger Myhre, each contributing tonality from a place not clearly defined on musical maps. While many felt they heard Steve Reich in Løwe's piano, I think that his playing had more in common with the solo piano pieces of John Adams, Phrygian Gates and China Gates, than Reich. Simultaneously demanding and appealing, Splashgirl are a group that are truly an emerging force, and will undoubtedly be making their way towards a larger listenership very soon - and rightly so.
Arve Henriksen / Rafael Toral / Erik Honoré: this felt like being
served a beautifully prepared meal with a live goose on the plate
trampling the truffles. While undoubtedly talented and innovative,
Toral seemed to be out of his depth, his contributions sitting
awkwardly on top of the mix, untreated and giving the impression of
technical problems with the equipment rather than considered sonic
performance. The performance also provided one of the lighter musical
moments of the festival with Arve Henriksen in prankster mode, aping
Toral's flourishing movements. However, with the removal of tension,
Henriksen kicked-in with some playing that acted as a mirror to Toral's
sound generation, engaging in direct call and response and sympathetic accompaniment, rescuing what could have been a lost performance.
Håkon Kornstad / Nils Økland: Håkon Kornstad - a reeding, writhing rhythmatic, looping and lilting
through darksome shadows and infrared projections. An unbelievable
performance, full of musicality, spontaneity and clearly loaded with
pleasure for both Håkon and everyone there to hear. The music covered ground between the liltingly soft to strident multilayered sonorities that live on the outskirts of rock music. Indeed, his skill with the saxophone is now almost matched by his skill with the sampler/looper. In stark contrast, Nils Økland arrived to give the festival's fourth and final Árrin co-production with three fiddles: Handanger fiddle, classical violin and the Viola D'Amore. Økland's playing gave a whole new meaning to the term "Chill-out Music", again employing a heartbeat approach to keeping time with his feet while moving between melodies built on sustained notes that set the sympathetic strings of the Hardanger fiddle and the Viola D'Amore resonating and intricate little runs that cut through like a sudden thought of "but what if ..?" in the midst of the certainty of those sustained notes. Coming when it did in the program, Økland's performance was a much-needed space for rest and contemplation. A beautiful and extraordinary performance.
Håkon Kornstad / Eivind Buene / Jan Bang / Erik Honoré: once more into the warm depths of the Alfa Room, and there we meet with Håkon Kornstad participating in a remix of his own performance, surrounded by a chamber ensemble. Once again, the value of the seminars was felt: the remix and accompaniment by the Punkt production duo of Honoré / Bang was exemplary, rediscovering and reinterpreting Kornstad's sonic textures; but the addition of a clearly pre-composed piece performed by a Chamber ensemble would have been inexplicable to those who had not attended Eivind Buene's talk about the piece - the piece was composed in a Kornstad language - elements of Håkon's playing were the basis for the exploration the composition engaged in. While those that had not attended the talk were confused by Buene's piece and even the reason for its inclusion, they felt that it somehow did fit the remix, yet were unsure why. Those forearmed with the knowledge were able to appreciate the piece on both the instinctive level and the intellectual level: a typical Punktism.
While controversy was not a major part of the festival, Leafcutter John
and Seb Rochford were the great dividers of opinion this year. Their
full-on sonic assault had more in common with rock performances in many
ways, reminiscent of the Live at Pompeii version of Saucerful of Secrets by Pink Floyd
one moment, then moving into a folk troubadour mode similar to a more
vernacular and less bombastic Jim Moray. Many people left the hall
wondering if Leafcutter John could play the guitar at all, and many
others dismissed the performance without a second thought: this was not
Rune Grammofon or Jazzland or ECM sonic exploration, and tacitly, many
have come to associate Punkt with these kind of idioms. Leafcutter John
and Seb Rochford, were every bit the sonic explorers, and as such were
just as "right for Punkt" as any other artist there. Future festivals
would do well to have more of this kind of diversity or face being
colonized by instigators of Shibboleths and thus be de-energized as an
innovative force. Additionally, this performance contained the only overtly political material, as in their final performance they included a slowly typing text of Barack Obama's Presidential Candidacy Acceptance speech whilst moving musically through different sound textures. This actually felt like an intrusion into an escapist world and was perhaps an indication that the festival might also have to be cautious about the possibility of retreating into some kind of disconnected complacency. While, aesthetically speaking, Leafcutter John and Seb Rochford's set might not have been the most obvious choice for Punkt, it was possibly the most important one this year.
When Leafcutter John and Seb Rochford were finished, there was the fastest exit from the main theatre to the Alfa Room of the whole festival. Why? Because the remix of this uncompromising performance was to be performed by Unni Løvlid, a folk singer with experimental tendencies as exemplified by her 2008 album RITE. The question was "What the hell is she going to make of that?" The results were both satisfying and disappointing. Satisfying, because she basically did a full performance, and a damn fine one, that incorporated some snatches of voice and effects from the Leafcutter John & Seb Rochford performance; disappointing, because it was not strictly a remix. However, Unni gave a captivating performance and as such the negative cannot be emphasised and should in fact be ignored (and would be without a second thought in any other context).
The closing performance on the main stage was by festival headliner Jon Hassell and his group Maarifa Street. Unsurprisingly, expectations were high for this performance, and there was no disappointment. The music of Maarifa Street was a beautiful joining of high and low, primitive and hypermodern, intellectual and sensual. With the Conversational Remix With Brian Eno Hassell had made clear, this was very deliberately the case from the beginning, and the title "Fourth World Music" is a perfect capsule for this when applied to music. The North and South is as important as the East and West that critics seem besotted with when describing Hassell's music. Hassell himself gives plenty of space to the music, allowing it to unfold, instead opting to have Peter Freeman as the rock on which Maarifa Street is built. Kheir-Eddine M'Kachiche was allowed extensive soloing space on his upright fiddle, and this was certainly a great thing as he had a tonal quality unlike any of the three Norwegian fiddle-players that had already played, and also added his own electronic processing of his sound, creating further colouring. Master drummer Pedram Khavarzamini displayed why is he is a master. His playing of the tombak was a revelation, and considering this was his first appearance with the Maarifa Street line-up, the revelation was doubled. Jan Bang was in full dub mode, creating spacey FX, and signing the perfromance with his unique dancing. But Hassell was master of all: he was the alpha male of the group, without question, and while not wielding control with an iron fist, was calling many of the shots while Peter Freeman kept pieces anchored within the framework necessary to identify each track as an individual piece, to stop the whole thing spiralling off into some aether from which there could be no return to the theme. Hassell's playing again demonstrated how and why he is the great innovator of his instrument. It seems appropriate that Kristiansand, Norway, is the place where Hassell is playing at that moment in time, as he gives a context to two of his greatest "disciples", Nils Petter Molvær and Arve Henriksen. But these days there is a gradual shift towards a recognition of Hassell's contribution to modern music, a contribution recognised by contemporaries such as Brian Eno who has written of the debt he owes Jon Hassell. There is a saying: "Credit where credit's due". In Jon Hassell's case, it's long overdue: long may the repayment continue!
For the Jazzlander, this is where Punkt ends as he missed J. Peter Schwalm's remix of the Maarifa Street performance due to ... uh ... business concerns ...
Where goeth Punkt henceforth??? Obviously the expansion of the festival into an arts festival seems logical: poetry, drama, prose, dance. All these areas could find a happy home. Music, though is the key area. The omission of noise artists and metal artists is a noticeable one, especially since there is so much interesting work being done in these areas. The reaction of many of the crowd to Leafcutter John and Seb Rochford (a large number walked out early) spoke volumes about the expectations of the audience: they are beginning to see Punkt as another jazz festival. While representing a concept that was once radical, without reinvigorating itself with new "meat", the festival could fast become a new embodiment of the status quo, with old Punktians attending year after year to meet and greet the same artists. Likewise the remix concept: if there was a weakness overall, it was remixes. Perhaps there should be a greater emphasis on having "people who remix" rather than performers directing the mixes - by all means have Nils Petter Molvær or Eivind Aarset or Sidsel Endresen co-perform within a remix, but let someone who does remixing as a primary rather than secondary skill do the remixing part. To put it another way: nobody expects the DJ to play saxophone, so why should one expect the saxophonist to DJ? Same applies to remixing.
Regardless of quibbles - and trifling quibbles at that - Punkt 2008 was one of the most successful and exciting festivals to attend. The organizers and volunteers should be immensely and intensely proud of themselves for achieving so much so well: everything about Punkt oozes quality: from the Punkt Magazine to the leaflet version of the program to the lighting and video, to the crowd management to the presentation of the stages and the exhibits. ALL of it is underscored by a feeling that "this is how all festivals should be". Long may that continue!
The Jazzlander recommends reading John Kelman's article on All About Jazz for an alternative perspective, and he invites users to post comments or ask questions below.
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