# Photo report: Vilnius Mama Jazz Festival 2017: Vladimir Tarasov, Jones Jones, Pharoah Sanders … Video

- Link: https://jazzblues.eu/2017/11/29/photo-report-vilnius-mama-jazz-festival-2017-vladimir-tarasov-jones-jones-pharoah-sanders-video/
- Published: 2017-11-29T01:41:09+01:00
- Author: https://JazzBlues.EU

**Introduction: Although a going concern since 2002, Vilnius Mama Jazz Festival 
doesn’t possess the high profile internationally that its longevity might suggest.
Set amid the baroque beauty of the Lithuanian capital, in an assortment of venues,
the festival has brought together performers from Europe, USA and beyond for the
last fifteen years. **

The 2017 edition boasted two unique selling points. The first, a celebration of 
one of the founding fathers of Lithuanian jazz and the second, a Showcase Stage 
which offered for artists, embracing a healthy proportion of Lithuanian groups, 
an opportunity to present themselves to festival promoters and critics from overseas(
of which this writer was one) as well as local listeners.

![Картинки по запросу Vilnius Mama Jazz Festival 2017](https://i0.wp.com/travelcalendar.
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Very much at ground zero of modern Lithuanian jazz stands the renowned Ganelin Trio,
founded in 1971, but which exploded into Western consciousness from behind the Iron
Curtain of the Soviet Union in 1980 when Leo Feigin released Live In East Germany
on his Leo imprint, bearing the declaration that the musicians were not responsible
for publishing the tapes. Critic Chris Kelsey described them as “arguably the world’s
greatest free jazz ensemble” of the period. Although the three constituent pillars
comprising pianist Vyacheslav Ganelin, drummer Vladimir Tarasov and reedman Vladimir
Chekasin, hailed from discrete parts of Russia, it was in Lithuania that they came
together. The group disbanded in 1987 when Ganelin emigrated to Israel, but Tarasov
has remained a fixture on the Lithuanian scene and in 2017 he celebrated his 70th
birthday. In his honor the festival programmed two contrasting ensembles for the
prime Saturday evening concert.

![Картинки по запросу Vilnius Mama Jazz Festival 2017](https://i0.wp.com/travelcalendar.
ru/uploads/blogs/5b155f3f44e9e57b108f1c6c9b0d9be4.jpg?w=640)

**Jones Jones**

First was the conjunction of three white-haired maestros in Jones Jones, with Tarasov
joined the by the Americans bassist Mark Dresser and saxophonist Larry Ochs. Dresser
will likely forever be known as part of the classic Anthony Braxton Quartet, but
has since collaborated with a veritable galaxy of stellar names, and convenes his
own ensembles (heard lately on Sedimental You (Clean Feed, 2017). Ochs meanwhile
remains one quarter of the longstanding Rova Saxophone Quartet, but is involved 
with an expanding range of projects, including his Sax and Drumming Core. Having
originally got together in the Bay Area in 2006 their evident synergy lead to several
European tours, one documented on The Moscow Concert (Not Two, 2016) with other 
recordings in the can.

A conversational spurt from bass and drums launched their set, as Tarasov sprinkled
his mallets around his extended kit. Ochs inserted short distinctively wiry tenor
saxophone kernels into the discourse and they were away in an ebb and flow of changing
dynamics. Though the tidal metaphor might suggest something preordained that was
emphatically not the case. With so much experience at their fingertips, it was no
surprise that they felt able to take their time to explore the blossoming of unpredictably
dovetailing exchanges in which no one instrument predominated.

![Картинки по запросу Vilnius Mama Jazz Festival 2017](https://i0.wp.com/www.vilnius-
tourism.lt/wp-content/uploads/2017/08/vilnius-mama-jazz.jpg?w=640)

Neither Tarasov or Dresser accepted the usual allotted roles. Tarasov moved in abrupt
bursts of activity, often letting the resonance ring out from exquisitely delicate
interventions on an array of metallic implements, as well as more forceful snaps
on tympani and kettle drum. Dresser’s mastery manifest itself in the panoply of 
unusual timbres he drew from his bass, whether creating a rippling pizzicato with
two hands at the neck of the fingerboard or bowing in terse strokes to conjure an
increasingly buzzing legato. At one stage Dresser’s vocally flexed slurs found a
match in Ochs pitch bending tenor. An unapologetically abstract player in the post-
Coltrane tradition, Ochs dug in without rhythmic inflection, mingling animal bleats,
harsh yells and sudden altissimo shouts, in a responsive participative way which
was the antithesis of showboating.

They extemporized two lengthy pieces which mesmerized the packed auditorium of the
National Drama Theater, and prompted demands for an encore. Tarasov began with a
rattling clip clop, but both Dresser and Ochs avoided against the meter. Undeterred
the drummer switched to sticks to generate a free pulse, while the reedman issued
guttural cries and Dresser pursued a contrasting but complimentary throb. After 
reaching a sustained crescendo they all stopped on a dime. But, in yet another instance
of the trio’s unpredictability, just when you thought that might be it, Tarasov 
reverted to shakers and the initial clip clop, until finally he too chose to halt.

![Картинки по запросу Vladimir Tarasov and the Lithuanian Art Orchestra](https://
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And-Lithuanian-Art-Orchestra-_8676.jpg?w=640)

**Vladimir Tarasov and the Lithuanian Art Orchestra**

The second part of the evening was billed as Tarasov and the Lithuanian Art Orchestra
with special guest Vladimir Chekasin, a rare reunion of two thirds of the legendary
trio. Tarasov founded the Orchestra in 1991 and it has continued with a variety 
of line ups uniting the cream of the nation’s talent since then, appearing at several
previous editions of the Festival. The surprise here was that it was Chekasin who
took charge of the 13-strong Orchestra from the off, vigorously organizing and directing
with hand signals in the style of a Butch Morris, but also using a headset microphone
to sing lines for the musicians to follow. That was in addition to the charts and
unmistakably notated sequences.

 stood out, both alone and dueling with the baritone saxophone of Klaudijus Stuopinis.
There was a madcap energy to how Chekasin dashed about the stage borne out by some
of the rampaging ostinatos he cued. And there was a whiff of danger too in that 
no-one, not even the orchestra, knew what he might do next. But the resultant tension
worked to the benefit of the music, as a glorious din enveloped the hall.

There were more reflective moments too as a drifting pointillistic section ensued
in which Chekasin blew on curved soprano saxophone, demonstrating that he had lost
none of his facility. He enjoyed brief double acts first with bassist Eugenijus 
Kanevičius and then pianist Arnas Mikalkėnas, but the overall impression was of 
a huge kaleidoscope of textures whirling around certain fixed points. One of the
most affecting was a mournful air reminiscent of a Ennio Morricone soundtrack for
the eve of a gunfight, delivered en masse by the horns. Some adopted a playful stance.
Alto saxophonist Vytautas Labutis instituted some irreverent humor into his exchanges
with Chekasin and percussionist Pavel Gunter, while guitarist Juozas Milašius went
for broke whenever the slightest opportunity emerged, all without disrupting the
fabric.

Midway through the set, Tarasov hobbled onstage to present the third installment
of his piece “Tapestry.” While he continued the same conductive approach, his orchestration
seemed smoother and jazzier, perhaps a consequence of the ensemble’s familiarity
with his ideas. However that did come at a price, as the tension was no longer as
palpable. An actor recited from a text at various points in the piece, over an impressionistic
backing. Towards the close, Ochs, Dresser and Chekasin all returned, and Tarasov
settled behind his kit to direct proceedings. Ochs growled and spluttered over a
simmering Orchestra, and then reveled in a pungent push and pull with Chekasin.

Inevitably the audience demanded an encore. Tarasov complied, initiating a sprightly
cadence over which he introduced the Orchestra and gave each member the chance to
express themselves in a concise solo, pianist Mikalkėnas notably obliging in a flurry
of fingers and elbows. The set convinced as a stunningly unorthodox presentation,
in a good way, and the Orchestra and its two directors well-merited the standing
ovation at the evening’s end.

![Картинки по запросу Lithuanian Bands](https://i0.wp.com/www.truelithuania.com/
Nuotraukos/SiauliaiLithuanianVillageBand.JPG?w=640)

**The Showcase Stage: Lithuanian Bands **

. Among the best known of his country’s improvisers internationally, Mockūnas already
owns a significant discography, including a splendid entry _Plunged_ (Barefoot Records,
2017) by this threesome.

The degree to which they blurred the boundaries was neatly exemplified by a passage
during which Mockūnas belayed a weighty four note phrase on the gargantuan bass 
saxophone, while the pianist and drummer went hard at it. Then amidst all the fury,
the pianist calmly turned the page of his score. Whether notated or on-the-fly, 
the upshot was spellbinding music which both delved into the extremes but also touched
on diverse genres, one instant invoking Middle Eastern muezzin, the next recasting
a melody by Sibelius.

Another wild duo between Mikalkėnas and Berre culminated in a drum solo in which
the Norwegian went from crashing bombast to scrapes and scratches using a medley
of cymbals on his drum skins. Mockūnas also delighted in polarities, as well as 
co-opting the granddaddy of the saxophone family, he used his skill at circular 
breathing to take his soprano on a screeching roller coast ride. On clarinet he 
could be similarly dog bothering, but more often coolly looking towards the chamber.
In the absence of a bassist, the pianist sometimes held down the vamps with his 
left hand, but embarked on freewheeling digressions with his right, which nicely
encapsulated the trio’s use of fragmentary themes to illuminate their powerful interchange.

Of the other Lithuanian groups on the Showcase Stage, KU.Piece effectively combined
improv and fusion in a set full of informal colloquy. Džiazlaif (pronounced Jazzlive)
explored oppositional gambits in pieces which skipped between genres from free to
big band swing, in and out of time, juxtaposing shouting sections with elements 
like an acoustic bass solo, or introspective muttering between the two saxophones.
The venerable Shinkarenko Jazz 4N executed new compositions by leader electric bassist
Leonidas Šinkarenko, which relished tricksy convoluted heads and modern mainstream
blowing, one tenor solo by Vytautas Labutis being particularly noteworthy.

Labutis was back again with his Silent Blast Quintet which featured a young rhythm
team of his former students who will likely go far. Away from the melodic themes
and horn solos, much of the time was given over to their rousing interplay. Their
flair is plainly already recognized as drummer Jonas Drėma Gliaudelis fuelled all
three Showcase sets on the final Sunday, also joining the Deimantas Jurevičius Group
and the Liutauras Janušaitis Quintet, while pianist Domas Zeromskas and bassist 
Nojus Drąsutis were also part of the former.

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**The Main Stage **

Of the other acts on the main stage, the Pharoah Sanders Quartet deserves special
mention. A living legend for his tenure with John Coltrane, Sanders still trades
heavily on that association. His 90-minute set which concluded the Festival in fine
style encompassed several Trane numbers, including “Giant Steps” and “Naima” from
1960, (though paradoxically nothing from the time Sanders was actually part of Coltrane’s
band in 1965/67). But you can’t begrudge the 77-year old saxophonist milking the
situation. After all, he was there making history!

He still luxuriates in a wonderful buffed tone, and though his famous upper register
flare-ups were limited to a few dissonant blasts in passing, he still radiated a
blissful warmth, well appreciated by the audience. His band of long time associate
William Henderson on piano, and European-based rhythm section of bassist Oli Hayhurst
and drummer Gene Calderazzo, helped display the leader in the most favorable light
possible. Also on the main stage, two British outfits, Get The Blessing and the 
Neil Cowley Trio, both presented polished performances which were a great hit with
the crowd in the National Drama Theater. Cowley’s jokey persona forged an immediate
rapport, which certainly didn’t do any harm in shifting CDs after their rapturously-
received set.

![Картинки по запросу The Showcase Stage: Overseas Bands ](https://i0.wp.com/jazzahead.
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**The Showcase Stage: Overseas Bands **

Tamsta Club, a bright modern space with good acoustics on the edge of the picturesque
Old City, furnished the venue for the overseas acts on the Showcase Stage, attracting
a sizeable audience of mixed ages and gender for the first three nights of the Festival.

), EST combo by bringing a bit of rock attitude to catchy tunes adorned with a melodic
lilt. What also caught the ear was their combination of funky rhythms, tight musicianship
and witty arrangements. Pianist Teodor Pop (great name) also moonlighted on an electronic
keyboard on Hammond organ setting, injecting a dose of ’60s R&B tinged with Sun 
Ra wackiness, sometimes attacking both keyboards at the same time.

Electric bassist Mihai Moldoveanu’s booming contours and Szabó Csongor Zsolt’s crisp
drums interlocked with the keys to draw an enthusiastic response from the crowd.
Illustrative of their attention to detail were how Zsolt mirrored Pop by striking
a distinct cymbal for each chord on the head of “A Moon Ra,” and the way Moldoveanu
extended Pop’s keyboard arpeggio on “Curaçao,” all without interrupting the flow.
They already have a couple of commended albums under their belts and on this showing
will be likely to garner many more accolades.

![Картинки по запросу Biggi Vinkeloe](https://i0.wp.com/i.ytimg.com/vi/JiuwUpoBBew/
maxresdefault.jpg?w=640&ssl=1)

Seasoned Swedish quartet Amazonas stood out as the real deal from the fusion acts
which dominated the Showcase Stage: excelling at loose structure and good-natured
interaction, above all between **Biggi Vinkeloe **on alto saxophone and flute and
Thomas Gustafsson on soprano. Their set evolved seemingly organically from a loosely
structured beginning, taking unexpected twists and turns along the way, so that 
it was satisfyingly hard to tell what if any portions were scripted.

Gustafsson invoked a folky lyricism in his slowly uncoiling soprano runs incorporating
microtones and slurred notes, while Vinkeloe took her time to build momentum as 
she paused between phrases on alto, hitching slight blues infusions to her insistent
figures, over a deliberate stalking tattoo from drummer Anders Kjellberg and electric
bassist Annika Törnqvist. But it was the voluble interweaving of the two reeds, 
occasionally recalling Steve Lacy in their nagging reiterations, along with Törnqvist‘
s pulsating basslines which gave the band its distinctive flavor.

⌊Картинки по запросу Vilnius Mama Jazz Festival 2017⌉⌊Картинки по запросу Vilnius
Mama Jazz Festival 2017⌉Also bringing to mind EST, but with more emphasis on the
jazzy lyrical side was the Lorenzo De Finti quartet. De Finti already has a varied
backstory, but here presented his work in an acoustic chamber jazz milieu, excerpting
from his _We Live Here Suite_ (Losen Records, 2017). The music varied between gauzy
pastels and more agitated segments linked by freeform interludes and hints of dissonance,
with De Finti guiding from the piano stool.

His experienced crew, including co-writer Stefano Dall’Ora on double bass and Marco
Castiglioni on drums, was sensitive and quick to respond to his needs. Trumpeter
Gendrickson Mena Diaz helped accentuate the melodic aspects, while cutting through
with incisive lines as the temperature rose. Other points of reference might take
in some of Kenny Wheller’s small groups or Enrico Rava on his sweeter byways.

Ukranian trio H.Soror also stood out but for different reasons, plowing a constricted
furrow with great effectiveness at the juncture of rock, metal and jazz. While tenor
saxophonist Mykola Lebed stood immobile, electric bassist Natasha Steel strolled
around the stage, narrowly avoiding entanglement in the maze of wires. Drummer Natasha
Pyrohova was an energetic presence, alternating between funereal beats and all out
battering with not much in between.

![Картинки по запросу Vilnius Mama Jazz Festival 2017](https://i0.wp.com/s1.zmones.
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On the opening number Lebed intoned a unhurried doomy sax shape over a slow drag,
which gradually accelerated into a death metal thrash. Thereafter they explored 
similar territory, with Steel adding wordless vocal figures to augment the reeds
whose periodic strangulated shrieks enhanced the expressive movement of the songs.

The fourpiece Naked from Serbia was perhaps the biggest hit with the gathered throng.
Their infectious brand of Balkan folk music, strutting funk and wild freeform embellishment
had the late night crowd baying for more. Imposing bass guitarist Branislav Radojkovic
was an irresistible presence, anchoring the group’s bottom end alongside drummer
Goran Milosevic’s explosive outbursts. Completing the cast was the unusual front
line of saxophonist Rastko Uzunovic and violinist Djordje Mijuskovic, whose incendiary
polyphony and frantic gypsy swing provided little respite from the rhythmic excitement.

Bands traveled from far and wide to take part in the Showcase Stage. All the more
remarkable as application to the competitive selection process was on the basis 
of accommodation only, but no performance fee or travel costs, symptomatic of the
difficulty in gaining exposure for new and even established groupings. In addition
to those already mentioned, the Bodhisattwa Trio from India came furthest, Poland
supplied the Quantum Trio and the Paweł Kaczmarczyk Audiofeeling Band, Switzerland
DogOn, and Latvia Very Cool People, while Quite Sublime contained a multinational
cast.

![Картинки по запросу Vilnius Mama Jazz Festival 2017](https://i0.wp.com/s2.zmones.
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**Jazz Margins **

Concurrent with the music was Jazz Margins, a series of moderated discussions on
various aspects of the jazz music business, focusing on the economics, the apparent
success of jazz development in some countries, principally neighboring Estonia, 
questioning the dominant role of festivals in the music ecosystem, and the way forward
in the digital age. Indicative of the profile the festival benefits from domestically,
two of the sessions were broadcast live on National TV.

Perhaps it’s worth finishing with the revealing words of the Mayor of Vilnius Remigijus
Šimašius who in his Opening Speech clarified what the Festival meant to the City.
He explained that the Festival brought value to the City by enhancing its cultural
life. When he asked businesses what they most needed from him, their message was
that they wanted to attract young talent. Obviously public spaces, kindergartens
and public transport were key parts of that, but so was making the City an interesting
place to live. And as a result the City was pleased to invest in the Festival to
help elevate it above the mundane. That’s a message that must surely resonate much
wider than just Lithuania.

**Quantum Trio at the Mama Jazz Festival, Vilnius, LT**

![Картинки по запросу Vilnius Mama Jazz Festival 2017](https://i0.wp.com/s1.zmones.
lt/images/photos/zlg/2017/11/18/big/festivalio-vilnius-mama-jazz-pasirodymas-5a10a1ddee82e.
jpg?w=640&ssl=1)

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