By Sarah Grosser
Ten o’clock in the morning might not be the earliest possible time of day to schedule a jazz performance but for my jetlagged companion we never really stood a chance of making it. Sincerest of apologies to the wonderful trumpeter Laura Jurd, inviting Jon Irabagon for an improv session at the Einsiedelei. Nor were we ready in time for the Jazz Brunch with Mojo Incorporation – although I’m sure the diners at Mama Thresl were all thoroughly entertained by “the sex of funk” alongside their first meals of the day.
It was only after seeing drummer Pedro Melo Alves perform later on in the Bezau Beatz Orchestra of Good Hope, that we had learned what a fabulous performance we had missed by skipping his “HIIT” performance at Short Cuts – a regret that stayed with us after meeting him in the VIP area, and discovering what a wonderfully down-to-earth and friendly person he was.
Fortunately we did manage to catch plenty of performances throughout the second day. In fact, there wasn’t one performance we witnessed that didn’t totally blow our minds.
2025-08-22 Saalfelden Day 2- Friday
Kasho Chualan / Lukas König
Kunsthaus Nexus
Kasho Chualan – prepared piano, electronics
Lukas König – drums, amplified cymbal
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| Kasho Chualan and Lukas Koenig. Photo by Matthias Heschl |
The space is cluttered with all manner of percussion gadgets alongside a drumkit and prepared piano. Even the piano contains its own collection of effect pedals and mallets. What follows is a delicate exploration of austere drones and experimental sounds: soft, deep rumblings with occasional clicks and obscure textures, all accompanied by a slow beat of digital kick and snare that Lukas plays with a foot pedal. Kasho plucks the dark low register of the piano with dramatic, soulful effect.
Gradually, the beat emerges and evolves into a second track.This one is a more spasmodic series of rapid fire one-shot style effects via physical production. Lukas drags his bow through a hole in the cymbal. Somehow an effect is added and we hear a squelching scratching as if someone is using a turntable.
Towards the end, Lukas takes to the drum kit and lets rip on a super loud, ballistic blast-beat, shocking the system and reshaping the entire performance. Kasho is in wonderful sync with her intense dark piano plucks as Lukas twists around to smash one of his six gongs. It’s a fantastically diverse show and an exhilarating display of physicality and variation- focused, but with moments of randomness in a cohesive and well rounded set.
Teis Semey “Raw Fish”
Otto Gruber Halle
Teis Semey – guitar
Amalie Dahl – alto saxophone
José Soares – alto saxophone
Adam O’ Farrill – trumpet with electronics
Giovanni Iacovella – drums, electronics
Jim Black – drums
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| Teis Semey “Raw Fish”. Photo by Michael Geißler |
Teis and Giovanni’s duo is expanded into a sextet. The thin stage fog and heavy blue lights create a scene through which it’s fun to watch the double drummers. Sticks piercing through the clouds with Teis up front noodling along to the choppy breakbeat. It’s not too long before the pace gets dirty, the digital bass gets grimey, and Teis is handbanging to his own thrilling solo. Both drummers are smiling and bashing along. The tootling, mad horn section lifts things up for a big band feel. The crowd goes ape. It’s just the right kind of vibe for a Friday in a big-ass party shed. Thrashing away on a synth, Teis seems completely unphased when his other keyboard/synth falls off the unstable table. Rock on.
It’s time for round two of Teis’s classic stage announcements, this time it’s the fantastically dry: “I love every single one of you, personally. You may have my babies.” This is met with complete silence from the audience. Personally, I thought it was hilarious.
Skorupa 5 “Sonic Feast”
Congress Saalfelden
Leonhard Skorupa – reeds
Silke Eberhard – reeds
Kirke Karja – piano, keys
Robert Landfermann – bass
Leif Berger – drums
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| Skorupa5 Sonic Feast. Photo by Matthias Heschl |
No less than twenty photographers huddle together to snap photos of the first act to open the Friday mainstage. The ensemble opens with a really delicate little piece with bowed bass, feather-light brushwork, and two windy bass clarinets. The pieces on the whole are unpretentious and understated, almost introverted. Robert plays an enthralling bass solo by tapping quickly and plucking and bowing. It’s a borderline percussive affair and completely original, beautifully executed. Leif is melting all over his cymbals, limbs reaching far over like liquid. Gradually the piece speeds up and the formally static green and purple light show begins to animate and dance along. Watching Kirke juggling between Steinway and Rhodes is a delight- she is locked in. When things really fire up, the lowest notes of the bass can be felt through the floor as a super satisfying rumble. Totally electrified, fabulous jazz from an outstanding German, Austrian, and Estonian quintet that would stand out on any world stage. I got so excited I accidentally clapped loudly when I thought a piece was over, but it was just a transition into a ridiculously fast and brilliant piano solo from Kirke. Someone laughed at my overenthusiasm.
Weird of Mouth
Congress Saalfelden
Mette Rasmussen – saxophone, preparations, bells
Craig Taborn – piano, preparations
Ches Smith – drums, percussion
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| Weird of Mouth. Photo by Matthias Heschl |
Ches, Mette, and Craig come out guns a-blazing! During the breakdown, we get to enjoy Craig’s majestic piano solo. Ches adds some bowed cymbal and articulations but the stagehands who set up his overhead mic did not account for the drummer’s great height standing up, and he has to crane his neck to avoid hitting it. But for a man who spends much of his time playing the drums with his eyes closed, situational awareness seems to be yet another skill he has mastered, and he evades the mic with each swoop.
Mette’s sax is crisp and confident and her solo is alluring. Craig is no less of a freak, ripping across the keys at breakneck speed, raw and intentionally.
Mette hops, jumps, and walks around, also standing on tip toes when she gets right into it- she makes that thing squeal like it actually enjoys it. When this band peaks, it just keeps peaking. Their endurance and power is staggering, and all three musicians are at the top of their game. But the range of moods extends further than just furious rampaging- there are moments of mystery, intrigue, tenderness, and even vulnerability. Just incredible.
Patricia Brennan “Breaking Stretch”
Congress Saalfelden
Jon Irabagon – alto & sopranino saxophone
Mark Shim – tenor saxophone
Adam O’ Farrill – trumpet with electronics
Kim Cass – bass
Dan Weiss – drums
Keisel Jimenez – percussion
Patricia Brennan – vibraphone
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| Patricia Brennan. Photo by Matthias Heschl |
Patricia is a firecracker in every sense of the word, from her compositions to her exciting, energetic playing. It’s no wonder she is running out of awards to win. You can’t emulate that kind of character behind the instrument- constantly adjusting the vibrato to create her own signature effects, and dancing along to her septet- an all-male cast of hugely talented musicians. (At this festival hugely talented musicians are a dime a dozen. They’re everywhere!)
The addition of Keisel Jimenez’s conga and bongos brings a distinct Latin American flavour to this already groovy set. Until now, my experience of this festival has been mostly very experimental and busy music. Breaking Stretch is some of the most melodious and, as far as jazz is concerned, anthemic riffs so far. It’s hypnotic watching Patricia gliding up and down the vibraphone, her curly hair bouncing around as she goes. In a break she talks about the numbers that influenced her compositions – lots of “5s and 10s” After another display of virtuosity, she still has that massive, radiant grin on her face. “Woo!” she says, “That’s a workout!”
For the very last song she tells Saalfelden that they are invited to dance along. Musicians learn quickly at this festival that like the Germans, the Austrians do not tend to dance along, if they can help it. Regardless, the party vibe is warmly welcomed and Patricia and company are met with a rousing applause.
Ingebrigt Håker Flaten (Exit) Knarr
Congress Saalfelden
Ingebrigt Håker Flaten – bass
Amalie Dahl – saxophone
Karl Hjalmar Nyberg – sax
Marta Warelis – piano
Jonathan F. Home – guitar
Olaf Olsen – drums
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| Ingebrigt Haker Flaten. Photo by Matthias Heschl |
The final act of a seriously packed first official full day of the festival. A foreboding intro complete with rustling bells and thunderous bass slowly lifts into a dark, gnarly groove. Distorted guitar adds to the controlled chaos with hurricane-like, whirring winds.
It’s all heading in the direction to be truly fabulous, but unfortunately this is the point at which I had to tap out and get some rest. The human brain can only be presented with so much greatness in one (or, in our case, two) days. So I must apologise to Ingebrigt for leaving early – I wished I could have endured longer, but by midnight I was beginning to overdose on high quality music played by seriously gifted and talented musicians, (and running short on sleep!)
See Day 1 | Day 2 | Day 3 | Day 4