Today you don’t have to travel to Montreux to hear jazz. Dmytro Kyseliov had the brilliant idea of organizing a jazz festival in Koktebel; this is the third time his idea has come to fruition on the lilac- covered shores of Karadag. In some mystical way the high jazz wave united the creators of the Silver Age with the broken rhythms of the 21st century. It was a definite yes to genuine and honest art, and a definite no to hopeless mediocrity and vulgarity. The lost time connection, swinging chimerically, was back in place near the Maksymilian Voloshyn building, against a backdrop of sea surf and thundering jazz music.
This festival’s watchword is cultural resistance. Its organizers — Promo UA — declare, “Like you, we’ve been poisoned by tasteless and meaningless cultural products; by products stinking of stale TV channels, newspapers, radio stations, and shows staged on city squares. In the absence of a consumer rights protection association in the cultural domain, we have decided to boycott sales of mass culture goods from both folk and established professional suppliers, because these products are not fresh, to put it mildly. This is how the festival of life came about — a place where no one is a stranger.”
The ceremonious opening by Anatoliy Kinakh of the newly restored Voloshyn House Museum was the first landmark event of the cultural resistance movement. In fact, this festival goes beyond the format of a regular art project, because its ideology is actively supported by Viche Ukrainy (Inna Bohoslovska), the Ukrainian Union of Industrialists and Entrepreneurs, and the Koktebel Plant, who believe it’s better not to wait but to act and improvise.
“Never be indifferent. Act or burn your bridges.” This is the translation of the name of the world renowned Japanese free jazz orchestra Shibusashirazu, which raged on the concert square for the first two days of the festival and literally overwhelmed everyone. The Japanese put on a multifaceted show: a counterpoint musical development that leads to crazy jazz culminations. It was a theatrical spectacle combining archaic Japanese plasticity with the distorted, airy techniques of Buto dancing, with nearly naked bodies and unusual costumes. The combination of active and destructive music with the static plasticity of Buto artists produced an overwhelming impression on the audience.
The international lineup of musicians was represented by 130 participants from eight countries. The jazz bands presented a unique blend of professionalism and unity of spirit, regardless of the country being represented. The international Valentine Quartet, founded by Kyiv’s talented bass guitarist Andriy Arnautov, performed with the legendary US trumpeter Lou Soloff. Moscow’s JVL Big Band, with its unique jazz stars and excellent singers, performed sophisticated compositions, with guest star Lou Soloff.
Soloff deserves special mention because of his sparkling virtuosity, strong crystal-clear sound and at times heartwarmingly touching overtones. This is what has made him unmatched among the world’s jazz trumpeters for many decades. He looked delighted to play his solo numbers and later improvised with other musicians.
As usual, Ukraine’s Mansound Sextet captivated the audience. The a cappella group’s spectacular professionalism and stage presence left the audience bursting with unforgettable impressions and regret that their concert appearances in Ukraine are so infrequent.
Continuing with the Ukrainian theme, the festival featured a surprise performance by the Skhid-Side jazz group, in an interesting combination with Tanok na maidani Kongo and the Kyiv Art Ensemble led by the festival’s honorary director V. Solianyk, who organized a special jam session with the spectacular Lou Soloff, the one and only Enver Izmailov, and other musicians.
The Russians brought the St. Petersburg’s group Big Blues Revival, which performed in the blues tradition, and Moscow’s melancholy VFSIX.
The compositions performed by sparkling virtuoso Leonid Ptashka combined originality and the musical traditions of his teacher, Ihor Bryl.
The German group De Phazz, with its enchanting vocalists, featured various jazz styles, a light, sensual Latin component, and artistic improvisational transformability. What makes this group stand out is that each musician, especially the vocalists, appears to present his inner perception of jazz thinking.
One of the most spectacular performances was by the 14-year-old Canadian boy wonder Jimmy Bowskill and his band. The opening chords showed that the boy is not simply a wunderkind but an exceptionally brilliant phenomenon in the world of jazz. His incredible guitar technique and his strong free-flowing vocal skills, along with his volcanic temperament, blew the audience away.
The final day of the festival featured a performance by Wolfgang Haffner, the drummer from the German group Zooming, who demonstrated his superb skills and the fantastic capabilities of Yamaha electronic equipment.
And, of course, there was the incredible Enver Izmailov with his Minaret Band, which is a separate jazz trend all on its own. This star jazzman and unique guitarist, who is wildly popular all over the world, is a regular and highly regarded participant in the Koktebel jazz festivals. Even though he has pupils, it is hard to believe that anyone will ever approach his mastery and popularity. His performances are a blend of unique musical thinking, the avant-garde, Crimean Tatar folk musical traditions, an overwhelming artistic temperament, and sophisticated performance.
A number of other interesting jazz-related art projects, including visual performances by young people, were launched into the festival orbit. Special thanks are due to Showcase, uniting talented groups of enthusiasts from Cherkasy, Kryvyi Rih, Zaporizhia, in whose programs Andriy Arnautov, bass guitarist and trumpeter, one of the festival’s brilliant musicians, took an active part.
Karadag’s wild and enchanting shores have once again produced a cultural shock, unforgettable moments of happiness, a sense of a true and eventful life— and, for all those who have yet to be initiated, the discovery that Koktebel is not just the land of cognacs, but also a cultural space of high art.
