Live Review: Reykjavík Jazz Festival 2024 (Part One)

Who’d have thought that a small, isolated island off the coast of mainland Europe with a population of just 400,000 could produce so much great jazz – and in such variety too?

That was the key takeaway from Reykjavík Jazz 2024, the 34^th edition of the annual music festival held in the Icelandic capital.

Over just five days, the organisers managed to cram in around 120 artists, performing at more than 20 events at a variety of venues across Reykjavík, from rooftop bars to churches, but centered mainly on Harpa, the city’s splendid concert-hall complex whose superb acoustics match its stunning architecture. The astutely-chosen lineup featured some international attractions but most of the acts were drawn from Iceland’s small but hugely active jazz scene.

Headliners on the opening night (sadly I missed ACT Music-signed guitarist Mikael Máni and big band Íslendingur Í Uluwatu-hofi but heard glowing reports of both), the trio Hist Og, were exemplars of what might be called 'the Icelandic approach'. They were energetic, eclectic and somehow uniquely 'Icelandic' (this is something that's difficult to explain or define, but you'll know and understand it when you hear it). Comprising Róberta Andersen on guitar and synth,  Magnús Trygvason Eliasson on drums and percussion, and Eríkur Orri Ólafsson on trumpet and electronics, they are at once thunderous, producing huge walls of sound, and spacey; while also laying down serious grooves. They are adept at combining contemporary electronica with jazz without resorting to the usual tired ‘hip-hop’ tropes. Andersen in particular was impressive, coming across as an edgier, more interesting version of Pat Metheny : riffs at once meaty. delicate and choppy were made more interesting still with the use of glitchy electronics. They’d go down a storm at a venue like London’s Café OTO – let’s hope they visit the UK soon. 

The second night kicked off with the Andrés Þór/Jens Larsen Quartet, a collaboration between two guitarists, the Icelander Þór and Larsen, a Dane, backed by US drummer Scott McLemore  and Icelandic bassist Þorgrímur Jónsson. The two-guitar frontline allows for steadily-building waves of interweaving guitars and the delightfully flexible rhythm section holds the listener’s attention during the frontmen’s musical peregrinations. Whether playing dreamy ballads, blues or something like the rock-influenced ‘Top Dog’, they were a compelling spectacle.

You’d expect father-daughter trio Sigurður Flosason (saxes, bass clarinet) and Anna Gréta Sigurðardóttir(piano, keys and vocals) to demonstrate a high level of musical empathy, and they do. A lovely, shimmering version of ‘Come Rain or Come Shine’ was an early highlight, but as the set moves on it become clear that Anna Gréta has learned much from her hero, the great Bill Evans (an artist whose influence on so many of the musicians performing across the festival is quite profound). There’s a lush romanticism to both her playing and singing; and her and her father’s understanding of the emotional inner structures of the standards they tackle is impressive. A shout-out too for Sigurður’s original composition ‘Slanting Rain’ – a wonderful tune that deserves to become a contemporary standard.

The first Icelandic group to gain international prominence – years before Björk, The Sugarcubes or Sigur Rós – were jazz-funkers Mezzoforte, who scored a big UK hit in 1983 with the upbeat instrumental ‘Garden Party’. The ‘Forte are still going strong, and their drummer, the disconcertingly youthful-looking Gulli Briem has his own group, the Gulli Briem Groove Gang – with Phil Doyle on sax and EWI, Magnús Jóhann Ragnarsson on keyboards and Róbert Thorhallson on bass; he describes them as “the grooviest people I know, all at the top of their game”.  They’re a thunderously funky quartet, delighting the audience with their jazz-funk-fusion grooves and crowd-pleasing, show-off solos (including Gulli himself on hand pan); drawing inspiration from Steps Ahead, this set was that rarest of things, hard-hitting, cheese-free fusion.

The evening took yet another turn with headliners ES Sextett & Marína Ósk Þórólfsdóttir. ES are led by another familial duo, father Stéfan Ómar Jakobsson on trombone and Eríkur Rafn Stefánsson on trumpet and have been a fixture on the Icelandic scene for more than a decade. Marína, meanwhile, is a highly-rated singer and composer. Tonight the group performed (mostly) her tunes, arranged by Eríkur. When she sang in Icelandic, it was just as compelling as when she sang in English; not being able to understand Icelandic was no barrier to comprehension. ES’ easy-going swing (driven by the brilliant, fleet-of-finger pianist Vignir Þór Stefánsson) as the perfect way to end an evening full of contrasting intensity – oh, and that version of ‘It don’t Mean a Thing If It Ain’t Got That swing’ was killer.

Day Three, and there was time at noon to take in guitarist Hróðmar Sigurðsson and electric bass maestra Ingibjörg Turchi in the gorgeous setting of the Frírkjan church.  Playing a selection of familiar favourites and previews from their forthcoming album, the duo create a gentle yet compelling throb, which (again) owes a debt to Bill Evans. ‘Gone Fishing’, with its seagull-like cries, is an exquisite highlight, and the addition of (an unidentified) flugelhorn player added more depth to what was already texturally rich music. Turchi plays her bass like a lead, rather than explicitly rhythmic instrument, making use of harmonics; but she knows when to provide the base(!) foundation upon which Sigurðsson can layer his guitar.

In the evening it was back to the Harpa and another ‘native’ group, saxophonist Óskar Guðjónsson’s quartet, Move. Their contemplative, minimalist jazz has plenty of space to allow both listener and musician to ruminate.  The following act, Jakob Buchanan Trio from Denmark (with renowned US saxophonist/clarinettist Chris Speed guesting) were similarly spacious and quietly contemplative, but there were instrumental contrasts and hints of Eastern notes to provide contrast and variety.

Flying in from the Faroe Islands capital Tórshavn (population: 13,000) the quintet GØ were one of the great discoveries of a festival jam-packed with novelty and surprise. They had great stagecraft, great spacey grooves and great tunes. Utterly uncategorisable, and off-the-wall (in the best way), you never knew what they were going to do from minute to minute, and their set was consequently a joy. If they can crack the European/UK market, they could well have a bright future playing to adventurous, open-minded jazz connoisseurs at festivals and in clubs everywhere.

Finally, another night of contrasts ended with the splendidly-named Iceland’s Liberation Orchestra, led by saxophonist Haukur Gröndal. This seven-piece mini-orchestra (saxes, trumpet, trombone, two basses and drums) reminded me a little of the Art Ensemble of Chicago, but they put a Nordic spin on things: power and assertiveness was leavened by playfulness and a willingness to incorporate diverse, surprising textures and elements into the whole.  

 Part Two of this review will follow shortly…