Kolkata’s enduring love affair with jazz began in the 1920s, when big bands from the US and Europe started to arrive. A 1926 recording of Jimmy Lequime’s Soho Blues at Calcutta’s Grand Hotel (now The Oberoi Grand Hotel, Kolkata) is believed to be India’s first jazz recording.
This was a time when jazz ruled the popular music scene, and the city – since the prime of its joy – has hosted some remarkable jazz concerts featuring legends such as Teddy Weatherford Band ft. Jimmy Witherspoon (in 1942, Grand Hotel), Dizzy Gillespie (in 1985, Dalhousie Institute), Duke Ellington (in 1963, Grand Hotel), Billy Taylor (in 1982, American Center), Herbie Mann (in 1982), Kenny Barron (in 1983), Chico Freeman (in 1983), Steve Turre (in 1984), Woody Shaw (in 1984) and Herbie Hancock (in 1996, Grand Hotel).
Taking the lead
The thriving jazz scene in Calcutta lured the likes of Braz Gonsalves, Pam Crain and Louiz Banks, who went on to become the ambassadors of jazz in India.
In 1978, Jazz India took the lead in organising JazzFest, a festival that originated in Calcutta, but later extended to various cities across the country. Revived in 2002 by the non-profit society Congo Square, the festival stands as the longest-running jazz festival in India. Since 2014, Varun Desai of Littlei, with support from Congo Square, has been the driving force behind organising JazzFest.
Thanks to Varun’s dedicated efforts, the much-anticipated jazz festival returned after a quiet three-year break. Taking place at Dalhousie Institute, a 150-year-old colonial club, the three-day festival began on December 8. With a rich history of hosting musicians from over 30 countries, JazzFest remains the exclusive jazz festival in eastern India.
The pure joy of music
The thriving jazz scene in Calcutta lured the likes of Louiz Banks (L) and Pam Crain (R), who went on to become the ambassadors of jazz in India
Varun sought to mirror the trajectory of esteemed jazz festivals like the Montreux Jazz Festival and Newport Jazz Festival, both of which embrace inclusivity by incorporating diverse musical genres. The reception to this broadened approach has been a subject of both appreciation and criticism.
Nevertheless, at its core, the festival gives its patrons three chilly December evenings filled with the pure joy of music. Here, middle-aged regulars mingle with young first-timers, standing in groups, sipping their drinks, and attentively savouring every note played.
However, in the hushed moments of stage setup changes, a common topic emerges – the ongoing debate about what constitutes jazz and what falls outside its definition, a continual bone of contention among festival-goers.
Kolkata-based Latin jazz pianist Pradyumna Singh Manot, better known as Paddy, sheds light on the improvised genre that originated in New Orleans in the late 19th century.
“There are numerous facets to the history of jazz that provide insight into its essence. Originally, the music played by African Americans was derogatorily labelled ‘jackass music’ by white Americans. Eventually, this term evolved into ‘jass’ and ultimately became the widely accepted term ‘jazz’. Interestingly, many musicians, such as Coltrane and Carrington, distanced themselves from the term, emphasising that they simply played their music without concern for labels. Despite this, jazz is now recognised as a genre primarily rooted in the African-American experience, stemming from the period of slavery to the evolution of jazz and blues post emancipation”, said Paddy.
Kolkata-based Latin jazz pianist Pradyumna Singh Manot, better known as Paddy, sheds light on the improvised genre that originated in New Orleans in the late 19th century
theideaslabHe continued, “The heart of jazz lies in its distinctive rhythm and syncopation, known as swing. This rhythmic quality is a defining characteristic of jazz, coupled with a unique musical vocabulary that has evolved over the years. From Louis Armstrong to Charlie Parker, this vocabulary, known as bebop, became a fundamental jazz element. The core elements to consider when understanding jazz are its swing, rhythm, and the language of bebop. Despite its complexity, these elements form the foundational roots of jazz, reflecting the profound impact of African American musical traditions on this genre.”
Any attempt to arrive at a precise, all-encompassing definition of jazz is probably futile. Since its inception, jazz has continuously evolved, expanded, and undergone distinct phases of development. The affinity for the genre may lie in an instinctual attraction, steering clear of delving into its technicalities or exploring its historical origins and, instead, finding resonance in a simple appreciation for what one hears.
Four on a Swing presented a distinctive fusion of Latin jazz and various genres, encapsulating jazz’s vibrant and avant-garde musical essence for the audience
Leslie D’GamaArguably, the standout performance of the festival's first day was Paddy’s Four on a Swing, a seamless ensemble featuring lead vocals by Ahona Sen, Bihu Mukherjee on drums, Aditya Servaia on bass and Aamir Rizvi on guitar, all underpinned by Paddy's command of the keyboard. Their tight cohesion was evident, a product of their regular collaboration, as they interpreted each piece with a blend of reverence and audacious flair. With captivating synergy, they navigated through classics and upbeat Cuban melodies, skillfully balancing control, infectious grins, and a palpable sense of musical aggression.
As the first act of Day One, Roncha Trio set the mood at the beginning with lovely melodies on the keys and sophisticated bass lines, ensuring the set wasn’t too heavy to begin with. This set the ball rolling for JazzFest 2023.
Nearly four decades post the release of ‘Disco Jazz’, Rupa Biswas triumphantly returned to the stage
Leslie D’GamaHowever, the most anticipated performance on Day One was of Rupa Biswas, famed for her album ‘Rupa – Disco Jazz’, which was brought to life after several years of obscurity. This was the very first time Rupa (now 70) was performing live and was backed by a host of proficient city musicians, including Arnab Bhattacharya on Sarod and Bodhisattwa Ghosh on guitar. Her bright and catchy magnum opus Aaj Shanibar serves as a sonic embodiment of inclusiveness, perfectly aligning with the festival’s spirit.
Commencing Day Two, The Shonai Collective delivered an outstanding performance, presenting tunes from their upcoming album, Epiphany. The musical narrative unfolded as an introspective journey, meticulously crafted by Shifumi Saito’s eloquent phrasings on the double bass and the contemplative, subtly nuanced stick work by Shantanu Sudarshan. Although the Delhi-based ensemble remains a dedicated purveyor of straight-ahead jazz, it fearlessly ventures into uncharted territories, purposefully creating a unique musical landscape of its own.
JazzMahal's dynamic performance was highlighted by Debjit Mahalanobis on the double bass, complementing Tazim Sheikh’s melodic piano, while Aniruddha Saha seamlessly managed the drums with occasional emphasis on Indian-isms.
Wojtek Justyna Tree Oh offered a jazz-rock fusion
Leslie D’GamaWojtek Justyna Tree Oh offered a jazz-rock fusion enriched with funk and disco guitar riffs. Despite billing themselves as a trio, this eclectic group, hailing from Poland, Austria, Germany and Portugal, cleverly enhances their dynamic sound with a fourth member handling percussion duties to amplify the overall musical experience.
With a drop in temperature and further elevated spirits, Day Three began with Goa-based band Humsafar taking the stage to treat the audience to an invigorating session of improvised music. Blending elements of rock into their jazz exploration, the ensemble, guided by the shimmering guitar solos of Elvis Lobo, the languorous drum and cymbal mix of Bosco D’Souza, the seamless bass of Joe Ferrao, and the striking intensity of Victor Netesov’s trumpet, crafted a harmonious fusion.
Essence of Duality adeptly explored the crossroads of Jazz and Indian music
Leslie D’GamaHindol Deb intricately layered jazz harmonies onto Indian classical ragas with frugality, energised by the lively bass of Christian Ramond, the finesse of Clemens Orth on the piano, and the rhythmic precision of drummer Christoph Hillmann. Essence of Duality embodies the harmonious outcome of collaborative exchanges of ideas between Hindol and his German bandmates – skillfully ensuring that his love, understanding and appreciation of Indian classical music seamlessly intertwine with the exploration of new musical dimensions.
The Arinjoy Trio performed as the closing band of JazzFest 2023
Leslie D’GamaJazzFest 2023 signed off with Kolkata’s beloved Arinjoy Trio, which has been making waves as one of the foremost blues bands of the country, and rightfully so. Frontman Arinjoy Sarkar has made this American genre his own, and his performance was captivating enough to make the audience forget about the festival coming to an end.
