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Some jazz fans stopped listening when Wynton Marsalis drew a line after 1965 and closed the doors to jazz forever. Those brave enough to listen to stuff like ‘Witches Brew’ and climb out of their ivory towers were pleased to discover that jazz could really change: it had introduced itself to new people via new instruments in new ways. How far can jazz wander before it unravels completely?
Apart from the purists, who tend to be high-strung anyway, a larger audience of jazz fans is sensing change in the air. Who can blame them: music charts and pop promoters are announcing Joss Stone and James Blunt as the modern generation of jazz musicians and jazz festivals around the world are targeting larger audiences with a kaleidoscopic range of genres.
Malta’s 16th Jazz Festival is no different and its new format sets a precedent which is a step away from the festival’s fifteen-year history. NnG Promotions has broadened the jazz fest’s musical horizons by introducing a commercially successful new format, designed to get punters through the doors by including pop sounds within the traditional jazz set-up that encouraged festival regulars into attendance, as well as a new group of music fans.
The festival is known for its efforts giving exposure to Maltese jazz musicians and has this year presented a Noir showcase, playing alongside British Thebani and the legendary Blues Brothers Band. The Alan Parsons Project was the only entirely non-jazz setup but became to be the biggest crowd-drawing name (presumably cementing the trend). Included in the mix was Emily Bezar, known for her medley of styles, Renzo Spiteri, the Tunnels featuring Percy Jones and Bill Bruford with his Earthworks.
Tradition jazz is not known for its accessibility. By trying to balance high profile jazz artists with commercially successful acts and lighter sets, chances are the festival will keep head above water and even grow in popularity, ensuring a safe survival.
The flipside is that traditional-style jazz may eventually be pushed out entirely, in favour of a music both more accessible and further away from jazz roots.
A pure jazz festival is no longer an option: the nature of jazz as a cultural artefact worth preserving has been overshadowed by its dwindling popularity.
And with plans to expand the festival into a fully-fledged tourist attraction, a niche in the Maltese tourist market, it could draw droves of music lovers to the island to hear an eclectic mix of music genres.
This year the Jazz Festival presented its audience with a few surprises. The new format NnG put together proved it could work to please a substantial audience while causing controversy amongst those that expected a purely jazz line-up. Philip Fenech, owner of BJs live music bar, noted that while the format had changed it remained a “workable sustained formula which broadens the festival’s musical appeal”. The waterfront venue was another welcome innovation, providing a unique backdrop contributing in the promotion of the festival as a ‘tourist attraction’.
This change in format may simply be a change in the way we think of jazz. The genre has always reflected the busy frenetic attitudes of its birthplace, so why not the capitalist tendencies? Whatever the future, one look to the past confirms the importance of the festival in Malta. In a 2005 interview, Ivan Filletti, Brand Manager for Cisk Export, said “We have seen this Festival grow in stature over the years. Today the Malta Jazz Fest has a significant reputation among thousands of music lovers.”
So long as this relationship remains, the festival is sure to go from strength to strength, whether it can honestly be called a ‘jazz’ festival or not.
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