In Italian there is a wonderful expression, “sensa parole,” meaning “beyond words.” It’s the only way I can define Ascona in the Italian-speaking canton of Switzerland. Often called the “The Pearl of Lake Maggiore” it truly is impossible to describe. On our fifth visit in seven years, I can only repeat what I wrote in 2022: “this festival has an intimacy that words alone cannot convey… Ascona dedicates the whole historic town to The New Orleans Experience. Live music is everywhere. Turn a corner in the narrow streets and find a group of buskers. Pass by a restaurant and the sounds of New Orleans wafts out.” With the official stages set up along lake side front, just standing on one’s hotel balcony puts one at the heart of the activity. All this against the background of the spectacular scenery of Lake Maggiore.
JazzAscona, celebrating its 40th anniversary, once again combined 10 days of music, ambiance, and stunning views to create a diverse musical experience sensa parole. A notable difference this year is the same malaise affecting jazz festivals everywhere—lack of funding. Ascona Jazz relies totally on sponsors and grants. There is no admission charge. Despite this, to their credit, the organizers managed to once again create an outstanding musical experience celebrating its special legacy in the world of jazz and the New Orleans Beat. Veteran attendees probably noticed the reduced New Orleans contingent. However, though less than in past years, that special New Orleans presence was felt throughout.
According to the JazzAscona 2024 promo there were more than 200 concerts and 350 invited artists offering a diverse musical experience. The diversity was noticeable with more genres of music than in the past. In addition to the Trad Jazz and Swing, one could hear R& B, Soul, Funk, Gypsy, Latino, and other genres. For the purist this might have been disturbing but in truth it is almost the same that will be heard in New Orleans today.
The “official” stage programs began each day at 6:30 pm with trumpeter Vernon Severin and the Treme Lafitte Brass Band, led by burlesque queen Trixie Minx, parading through town with an enthusiastic second line. But even before this, the sounds of trad jazz wafted through the air all day long. Various performers, emulating the street bands of New Orleans, played every day in the streets and alleys.
As in the past Adonis Rose continues to play pivotal roles in the success of the festival, both as co-artistic director of the festival and as leader of the New Orleans Jazz Orchestra (NOJO). Rose’s ability to blend traditional New Orleans sounds with contemporary influences keeps the festival program fresh and exciting. His own skill as a musician was demonstrated by an exhilarating rendition of “Blues for Lex”—an original composition by Rose that really showcases his drumming prowess and creativity. Rose’s dedication to his hometown youth was on display by the performances of the NOJO Youth Orchestra, an ensemble, created by Rose, dedicated to nurturing young musical talent in the vibrant jazz tradition of New Orleans. As in their past appearances at Ascona, the orchestra performed a mix of traditional New Orleans jazz and contemporary pieces. One can only imagine how much this once in a lifetime opportunity meant for these youngsters.
I was particularly glad for the opportunity of experiencing Meschiya Lake in a live performance. As noted by Dave Doyle in The Syncopated Times (Dec. 2022), she defies easy categorization. Her music draws from many sources: jazz, blues, and country influences.
She did not disappoint. At Ascona she was partnered with The Jungle Band, a German ensemble renowned for their hot jazz sound. With an energetic, toe-tapping style their music satisfies both swing dancers and trad jazz enthusiasts. Together they literally brought the house down on several numbers with a combination of Meschiya’s vocals and the band’s energy. Together they were also the busiest group of all with 17 gigs scheduled in the ten days including an evening on the lake steamboat and closing out the festival with the final concert at midnight on the last day.
The Chicago Stompers, from Italy, were another group that I was happy to experience live for the first time after reading about them in two Syncopated Times CD reviews. Again, they did not disappoint. Numbers like “Black Bottom,” “Borneo,” and “Lady Be Good,” combined with their stage presence, truly recreated the orchestrated hot dance music of the late 1920s and early ’30s. They blend history, talent, and passion to create a very special jazz experience.
One of the traditions at Ascona Jazz is to welcome young bands. This year there were several in addition to the NOJO Youth. I was particularly impressed by the Chicago-based Loyola University Ensemble. They are a very talented young jazz group with vibrant swing and blues interpretations of familiar playlists. The quality of their work is not surprising when one learns that they are under the tutelage of Christopher Madsen, a highly regarded figure in the Chicago jazz scene. Though I had the opportunity for a short interview with him it was only later, when researching for this article, that I discovered the full extent of his career as a saxophonist, composer, and educator. I don’t recall reading anything about Madsen in The Syncopated Times, an omission I would be happy to cover.
The Patrick Joray Quinet was a discovery. Joray is a talented Swiss saxophonist who has created a blend of seasoned musicians with emerging talents to create a captivating sound. While the focus is on contemporary jazz, I found enough influences of the swinging sounds of traditional jazz to keep me satisfied.
The Traveling Janes are five women living in five different countries who somehow find a way to rehearse to create their very satisfying blend of early jazz and swing. Drawing inspiration from Louis Armstrong, Ma Rainey, Jelly Roll Morton, and Sidney Bechet, their performance was a vibrant mix of historical authenticity and modern interpretation.
Frog and Henry, one of my favourite young bands, originated from a street-performing group in New Orleans so it is only natural that they have been regulars at Ascona in recent years. They continue to entertain audiences with their unique instrumentation that often includes two reeds, violin, banjo, guitar, tuba, piano, and occasionally the “tuba-machine,” a foot-operated tuba that allows one of their members to play both tuba and banjo simultaneously. Reviewed in TST several times they continue to offer wonderful music that spans a variety of genres, including early jazz, blues, ragtime, string band music and fiddle tunes.
Another young band that has been a regular at Ascona in recent years is Hot Chocolate. Based in Hungary, their mix of traditional jazz, swing, and Dixieland music is always well received.
Seeing the enthusiastic reception that these two, as well as other young bands playing our kind of music, get at Ascona, I continue to be puzzled by the demise of so many traditional jazz festivals in the UK and USA. Is the answer because, unlike Ascona, these festivals are focused only on one genre of Jazz?
No review of Ascona Jazz ’24 would be complete without mention of the incredible “Jazz Off The Wall” open-air street art installation created by visual artist Yuri Catania. It really is difficult to describe because it was totally visual and it had to been seen to be really appreciated.
Featuring forty very colorful paste-ups created by Yuri, it was displayed throughout Ascona’s town square and historic areas. The artworks told the story of JazzAscona over the years, highlighting the connection between New Orleans and Ascona, the central theme of the festival for four decades. The pieces were scattered across the town’s walls and pavements, creating a trail for visitors to follow.
The artworks prominently feature portraits of legendary jazz musicians who have performed at JazzAscona over the years, stylized with vibrant colors and dynamic brush strokes, reflecting the energy and passion of jazz music. They incorporated elements of New Orleans culture, such as Mardi Gras masks, street parades, trumpets, and saxophones. Adding to the experience was the use of augmented reality (AR) a technology that allows one to get information about the particular artwork through one’s mobile phone while admiring the artwork. The overall result was that, wherever one walked through the narrow streets of the historic town, a reminder of the connection between Ascona and New Orleans was always there.
Another musical oddity was added this year. Miles Davis’s iconic “Moon & Stars” trumpet, played by him in the ’80s, was on exhibit. A trumpeter’s competition was held with the winner earning the right to play one of Davis’s most iconic pieces, “So What,” on the trumpet, accompanied by NOJO. A local musician, Mauro Brunini, won. His performance is available on YouTube.
Another feature that was new to me was the workshops, at 10 am every morning. They were literally under our balcony facing the waterfront. So every day we watched dancing lessons in all genres from Swing/Lindy/Hip-Hop to Salsa and other Latin styles. One even included Trixie Minx teaching the elements of burlesque.
I can only finish by saying that anyone who wants to enjoy a vacation in an idyllic setting while enjoying great music and excellent food should have Ascona on their list. It’s like being on a 10-day cruise with all the intimacy of mingling with the musicians and other jazz lovers.
