In a special edition of B:jazz, I'm really happy to be able to present part 2 of an interview from Jazzwoche 2023 with Michaël Attias. We discuss finding the mystery within the fundamentals, keeping humble intentions, urgency, commitment and purpose through performance, plus how socialisation affects the approaches of musicians based in Europe versus New York. We also talk about the possibilities and drive created by artistic resources and archives alongside the desire and focus to experience it personally, extrinsic versus intrinsic motivation, branding and pressure on younger generations, how communication happens with audiences, growth through self-promotion via publication, and the difference between making political music and making music politically and locally.

In episode 26 of B:jazz, I am discussing visibility in the context of music journalism with journalist, musician, curator and moderator Sophie Emilie Beha. We discuss the importance of open minded listening and the responsibilities of moderating, curating and programming, actual visible change versus tokenism and diversity washing, discovering our own blind spots and leaning into discomfort. We also talk about balancing entertainment and information mediums by telling stories, institutional attitudes to visibility and diversity, and the effectiveness of EDI panel discussions.

In episode 25 of B:jazz, I talk to Camille Buscot, manager of the Deutsche Jazzunion, about the relevance and importance of unions. How do unions act as the contact point between the scene, institutions and politicans? What are some of the previous successes and upcoming challenges of the unions, and how do they work to represent the interests and lives of their members? We discuss how conflict can be a catalyst for action, the importance of diversity of experience, and the balance of individual ethics with community action.

Episode 24 of B:jazz features vocalist, composer and teacher Cansu Tanrıkulu. We discuss the academisation of jazz in the context of visibility, the theme for Jazzwoche Berlin this year. How are both historic and contemporary figures included in teaching a new and often younger generation of future professional jazz and improvising musicians, what are the positives and negatives of the music moving into the academic space? We also discuss how important role models are to students, balancing what is required for a course of study with what is most tailored for individual development, and how educators can make their students feel seen, heard and visible.

Im 3. Teil unserer Serie Jazz und improvisierte Musik an deutschen Musikhochschulen, schauen wir uns die Situation der Lehrbeauftragten an. Welche Vor- und Nachteile hat diese Beschäftigungsform für sie und welche Verbesserungen oder Alternativen sind dringend notwendig?
Die Sängerin, Komponistin und Arrangeurin Winnie Brückner arbeitet im Lehrauftrag an der UdK und kann uns aus dieser Perspektive berichten.

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https://www.winniebrueckner.de

linda.ann.davis@ig-jazz-berlin.de

https://www.ig-jazz-berlin.de/jazzwoche-berlin/

https://raumportal.kulturraeume.berlin/de/ausschreibungen/eda78a27-2a31-4307-be9c-bed523f04528/

https://raumportal.kulturraeume.berlin/de/ausschreibungen/aeac5d37-f866-45a9-aa43-c6945dfb6b12/

https://www.koalition-der-freien-szene-berlin.de/alte-muenze-gemeinsam-neu-praegen/

https://www.radialsystem.de/de/veranstaltungen/stop-over-2-improvising-a-concert/?date=1714327200

https://uni-sono.org

https://youtu.be/F94g4Rdhgqo?si=J_FoS1xcq1zXtyNN

https://www.bklm.org

https://docs.google.com/spreadsheets/d/1CzqAVZ6Sn_SacZ2PxVuKrgEjBC1_YRyy8IIUVrJHLn4/edit?usp=sharing

In episode 22, I talk to composer and musician Cassie Kinoshi. A recent arrival to Berlin, we discuss what still makes Berlin an attractive meeting and development place for international jazz and improvising musicians, sociomusical differences between Berlin and other UK and EU cities, working in interdiscplinary contexts, the practical experiences of emigration, viewing the move with an open mind and seeing it as a learning experience.

Heute spreche ich mit dem Kontrabassisten und Komponisten Dirk Strakhof über die aktuelle Lage der Honorarkräfte an Berliner Musikschulen. Für viele Jazzmusiker*innen stellt die Tätigkeit an einer Musikschule eine wichtige Einkommensquelle dar. Deshalb ist es an der Zeit sich hier mal einen Überblick über die neuesten Ereignisse zu verschaffen. Was kommt nach dem sogenannten Herrenberg Urteil auf Honorarkräfte und Musikschulen zu und welche Veränderungen stehen der Musikschullandschaft in Berlin gegebenfalls bevor?
Dirk Strakhof engagiert sich in der Landeslehrervertretung der Berliner Musikschulen und kann uns aus dieser Perspektive dazu berichten.

Weiterführende Links:

https://www.ig-jazz-berlin.de/news/pressemitteilung-neue-geschaftsfuhrung-der-ig-jazz-berlin?token=06dc36fa1cbba75297ec0cf34da4754508e31cdb
https://panel.zentrum-under-construction.berlin/media/pages/aktuelles/ab-sofort-bueroleitung-kulturmanagement-gesucht/7e8fb4fb0d-1710766359/stellenausschreibung_bueroleitung_zentrum.pdf
https://www.landesmusikrat-berlin.de/ueber-uns/mitwirkung-jobs/
https://www.landesmusikrat-berlin.de/musikpolitik/aktionsseite-musikschulen/?fbclid=IwAR0gcJp-K3VajIpA0rBYWm_Fa7Fq81rGE9TMrDZXVmbI-Gk7pPfjxX0Y5Es
https://www.dtkv-berlin.de/news.html?item_id=521 https://www.landesmusikrat-berlin.de/musikpolitik/aktionsseite-musikschulen/?fbclid=IwAR0gcJp-K3VajIpA0rBYWm_Fa7Fq81rGE9TMrDZXVmbI-Gk7pPfjxX0Y5Es https://www.deutschlandfunk.de/zukunft-ohne-honorarkraefte-umbruch-in-der-deutschen-musikschullandschaft-dlf-58d7972e-100.html https://www.youtube.com/live/TAoLYZVY5Ek?si=nE1N82N4RnfnocJd&t=301 https://www.youtube.com/live/TAoLYZVY5Ek?si=nE1N82N4RnfnocJd&t=943 https://www.dtkv-berlin.de/news.html?item_id=532 https://www.musikschule-intern.de/gibt-es-einen-zwang-zur-festanstellung-von-musikschullehrkraeften/ https://www.strakhof.de

In the 20th episode of B:jazz, I talk to concert photographer Cristina Marx about her documentation of the Berlin scene, her love for and the necessity of music, community and exchange, the importance of a present and accessible music scene, the audience perspective on jazz and improvised music and feeling welcome in spaces, as well as the necessity of meeting places for creative music such as Sowieso, Miss Hecker and Au Topsi Pohl. We also discuss the archival nature of film and music, Berlin door gigs, and how labels and film companies can impact the immediacy and representation of artists’ work.