The EFG London Jazz Festival is a big annual affair running for ten days in the middle of November. This year Swiss and Swiss-based artists, represented by Nik Bärtsch’s Ronin and Mobile, Elina Duni, Samuel Blaser, Basel Rajoub, Marc Perrenoud, Christophe Fellay and the Russian/Swiss collaboration, Jazzator, had well-attended gigs (two were sold out). Phew. Clashing with big-name artists, and the overwhelming number of events can be an issue at such festivals.
The UK can be a tough and weird market
Consider this list of musicians – you couldn’t get a more diverse bunch. There isn’t a Swiss sound like there was a Norwegian one, but the artists are building individual reputations via their quality. The UK can be a tough and weird market, but when people hear something they like they will always give a warm and enthusiastic response.
Nik Bärtsch has a definite fanbase and had a two-day residency at King’s Place as part of the Minimalism Unwrapped season with Mobile Extended and Ronin Rhythm Clan. I saw the latter on the opening night of the festival with an added 3-part brass section and guitarist Manuel Troller, whose sensitive but spirited playing made him a natural part of the clan. I first heard Ronin two years ago in the same hall. I was entranced by their intense yet grooving sound and still am.
You live for such moments with Ronin
There were the sparkles of Nik’s compelling piano work and superior conversations between the Ronin members whilst other phases had the extended band heading into an alt-funk fest with James Brown’s spirit shimmying around the room (well, almost). But ‘Modul 32’ was the highlight for me: Kaspar Rast played a small shaker – no fuss, just simple but killer in its repetition, and clever in the textural canvas it gave saxophonist, Sha, and Manuel on which to paint subtle but deeply personal musical thoughts. You live for such moments with Ronin.
He can evoke memories of J. J. Johnson
The small, shabby Club Inégales is in the bowels of an office building but was set aglow by the quality of the musicians in Samuel Blaser‘s quartet. I’ve already waxed lyrical about the wisdom of pianist Russ Lossing’s playing on Spring Rain, Blaser’s tribute to Jimmy Guiffre. He approaches music as an horizon, it’s not about him, but the entire landscape. I love his touch. Equally fine are bassist Masatoshi Kamaguchi and legendary Gerry Hemingway. A key drummer on the avant garde circuit he caresses and cajoles rhythm out of his kit, able to be economical yet inventive. I particularly like Blaser when he drawls his sound as if part of a deep South funeral march, his soulfulness peeping through. He can evoke memories of J. J. Johnson then veer off elsewhere. It was a promising show cut short by the venue’s format of a final set improvising with the house band.
Luckily I’d got to hear the crisp interplay between this quartet at Adventures in Sound, a feast of music recorded for BBC Radio’s Jazz on 3 programme earlier that day. Each of them also improvised with renowned UK artists such as John Edwards (bass) and rising keyboardist, Elliott Galvin (in photo). Unfortunately it meant I missed Marc Perrenoud‘s set as part of ‘Seriously Talented’ – an afternoon of musicians that had been on Serious’ Take Five course. The Clore Ballroom of the Royal Festival Hall was packed and I heard that Marc’s joyful and bonded trio were an uplifting addition to the line up.
Elina’s expression taps into our universal goosebumps
Elina Duni Quartet are equally notable and their Dallëndyshe album had good reviews, one in The Guardian. Live, Norbert Pfammatter stands out as a sublime drummer. His pulse-like work encourages a sensual interplay between vocals and rhythm. There is an almost mantra-like progression as Elina leads us through the emotive themes of Albanian folk songs. Lyrics such as, “My dear boy in front of the flag oh, my heart’s engulfed in worrisome flames,” (from ‘Me on a Hill, You on a Hill’) feel horribly relevant and even if they weren’t Elina’s expression taps into our universal goosebumps. At first her tone seems warm and smooth, but then a quiver or cry renders me helplessly emotional.
Colin Vallon is simply captivating, and fierce too, making his mark. Along with new, fearless bassist, Lukas Traxel, they stand their ground at the side of Elina’s power. I like the brave move the quartet made of paying great respect to the Albanian folk tradition whilst interlacing it with a form of ethereal jazz. It left the audience spellbound.
It was a similar story for another Swiss émigré. The concert of Basel Rajoub‘s Soriana (‘Our Syria’) was the evening after the Paris attacks and as the review Classical Source expressed, it could not have made for a more eloquent night of music. Made so by the skill and personality of Basel in a magical alchemy with the type of welcoming audiences that can be found in London.
A unique view of free music
Finally, Jazzator are a Russian/Swiss quartet with quirky intentions conveyed with talent. I particularly liked saxophonist Oleg Mariakhin who delicately integrated himself with the vivid vocals of Marina Sobyanina. I sensed underlying eastern folk traditions that had been pulled apart leaving ragged edges and broken threads. Drummer Sergey Balashov on drums and bass player Maximilian Grossenbacher provided an ear-pricking rhythm section, and together Jazzator offered a unique view of free music. One UK reviewer declared them a highlight of the festival.
La playlist ci-dessous vous permettra d’en découvrir trois. Seul 
Quant aux trois autres sélectionnés au grand rendez-vous des musiques actuelles françaises, leur jeunesse n’a d’égal que leur détermination et leur feeling. Justement: le Neuchâtelois 
Klaus Johann Grobe
Quant aux Genevoises des
Reading over my notes taken while listening to the latest 
En septembre 2013, la sortie de son premier album, « Peaks », marque l’aboutissement de cette évolution et une étape importante dans la carrière de Verveine, en Suisse, mais aussi en France. « Il y a eu un effet domino positif : la sortie de « Peaks », ma participation à l’
An advocate of silence as sound
Listening to the new album, Circles and Landscapes (out on 
Presque dix ans se sont écoulés depuis son premier album, « Bagages ». Pourtant, la plume du rappeur genevois 
Jonas « Génération » est composé de quatre couplets dédiés à des périodes de vies différentes. Mais, toute cette période de politique islamophobe, d’hégémonie des USA sur le reste du monde avec l’Europe qui se cache dessous a provoqué des questionnements. Je trouve toujours bizarre de penser qu’on arrive à faire tomber des tours avec des avions sans charges explosives et de retrouver un passeport saoudien dans les décombres. Cela m’a poussé à me renseigner et à user de mon esprit critique. J’ai l’impression que c’est travail insidieux qui vise à amplifier toute cette haine contre les musulmans. Il y a vraiment cette scission dans le monde. Je suis récemment allé au Mali et en revenant on m’a questionné car ce pays est considéré comme terroriste. Au bout d’un moment, on ne sait plus ce qui est terroriste et ce qui ne l’est pas. Si on regarde l’histoire, les résistants face à l’Allemagne nazi étaient considérés comme des terroristes. Si on reprend la définition de la terreur, tout le monde s’y retrouve. Tout est noir ou blanc. Tu es chrétien ou tu ne l’es pas. T’es un noir, t’es un blanc. Ce basculement dans le texte et la musique est peut-être aussi dû au fait que c’est une période où tu commences à devenir vraiment indépendant, à t’assumer seul. Après, ce n’est pas qu’une critique contre la société. C’est une autobiographie qui parle aux gens. Les gens qui ont vécu à la même période que moi, se reconnaissent. C’était une façon de recontextualiser le lieu d’où je viens au travers de références genevoises et parisiennes avec mes vinyles achetés à Tikaret. Je parle aussi de l’arrivé des roms à Genève, de l’arrivé des identitaires. A mon adolescence, tout cela n’était pas présent. 
Jonas Le premier exemple est le graffiti (dont je parle d’ailleurs dans le texte) et le hiphop. Regarde le fado, le flamenco, le blues et toutes ces musiques qui ont vraiment la niaque. Elles viennent du ghetto et des lieux où c’était la merde. Donc oui, les plus belles roses naissent dans la merde. Il y a des styles de musiques qui sont nés dans des milieux où l’argent était présent et que je trouve admirable. Mais il n’y a pas cette niaque, cette envie de vivre.