The second day in Saalfelden features an overwhelming number of events—in the end, 60 concerts in four days—so obviously, choices are needed, especially since the pace is tight and energy is slowly waning.
We begin with a steep climb to the panoramic Einsiedelei hermitage (see photo), where Laura Jurd and Jon Irabagon improvise for an hour from the pulpit beneath the rock.
Trumpet and saxophone improvise in a sequence of reflective meditation, perfectly in tune with the spirit of the place.
But the day is long, and by the end, six more concerts remain on our list. An overdose of jazz workaholics not always rewarded with adequate quality.
The colorful notes associated with the festival deserve a special mention: as expected, most of the audience has gray-white hair (when there is any), and, in this corner of the world, a sweetly retro trend prevails.
The often improbable outfits and hairstyles have a freaky feel that has long disappeared from our parts, especially for people of retirement age.
This isn’t new; it happens every year, and the fact itself fills me with fond memories.
But, returning to the music, Friday certainly features the two best concerts of the festival: the Weird of Mouth trio with Craig Taborn on piano, Mette Rasmussen on tenor and soprano, and Ches Smith on drums, and the Patricia Brennan septet.
The latter is the true star of the festival, and her concert, which features songs from last year’s Breaking Stretch album, elegantly walks a fine line between intellectual and rhythmic complexity and melodically beautiful emotional worlds.
A burst of energy and purpose that places her at the pinnacle of what we’ve heard this year.
Words like “fierce” or “fiery,” “powerful” and “cathartic,” but also “mysterious” and “lyrical” recur in reviews to describe the vast musical range of “Weird of Mouth,” and they are all well-deserved.
Impressive firepower, a constant and palpable tension that captivated the entire Congress Hall for an hour.
Taborn and Rasmussen: I don’t want to bore you with detailed descriptions of the other concerts, just brief notes to convey, if possible, the idea and atmosphere.
In the early afternoon, the trio of Simone Quatrana, Andrea Grossi, and Pedro Melo Alves performed. A short set, but with a good vibe.
Teis Semey is a Danish guitarist leading a supergroup with musicians of the caliber of Adam O’Farrill and Jim Black, and delivers carefully programmed music with a strong rhythmic impact. A great new addition and an hour of thrilling music.
Teis Semey’s group: Leonard Skorupa and his quintet start quietly but then slowly take flight, thanks in part to the excellent musicians accompanying him, especially the talented Silke Eberhard.
A set that plays on compositions and the airiness of ensembles. Obviously, we’ll never see it in our latitudes.
Europe Jazz Network 2025, and the winner is the Saalfelden Festival, awarded by a jury of artistic directors, musicians, and industry professionals with, among other reasons, the following: for adventurous programming.
Naturally, with such a broad program, there are inevitable disappointments, but the percentage is negligible, and the level is always extremely high.
It’s past midnight and the last concert of the day is about to begin, the seventh for your reporter, who at this point is no longer able to distinguish Ingebrigt Haken Flaten’s double bass from the Archangel Gabriel’s harp.
The Dane’s group seems to be of a good standard to me, but tiredness is king and I have no choice but to give up and pack up.
