St. Petersburg recently transformed into a vibrant crucible of sound, hosting an International Jazz Festival that defied conventions and the summer heat. This wasn`t merely a celebration of traditional jazz; it was a bold exploration of how diverse musical genres—from pop to ethno-funk and even Soviet-era classics—could harmoniously intertwine, creating an unforgettable auditory mosaic.
Polina Gagarina: A Pop Icon`s Unexpected Jazz Confession
Headlining the week-long musical extravaganza was none other than Russian pop sensation Polina Gagarina. Known for her powerful ballads and Eurovision fame, her presence at a jazz festival raised a few eyebrows, but her performance quickly silenced any skeptics. Gagarina delivered a specially curated set, subtly infusing her signature pop sound with jazz sensibilities. The audience, despite the sweltering thirty-degree heat, was captivated.
In a moment of candid reflection, Gagarina shared a deeply personal anecdote that resonated with many in attendance. She recalled her first profound love at the tender age of fourteen—an unrequited affection for a boy named Sanyok. This early heartbreak, she revealed, became the unexpected catalyst for her songwriting journey. “Thanks to him, I started writing back then,” she mused, expressing genuine surprise at the depth of emotion she experienced at such a young age. This raw vulnerability prefaced a series of melancholic compositions, effortlessly transitioning into her well-known hits like “Disarmed” and “Step.” The evening crescendoed with a powerful, communal rendition of “The Show is Over,” leaving the crowd both moved and exhilarated.
A Global Tapestry of Sound: From African Funk to Folk Techno
The festival`s strength lay in its astonishing diversity. Before Gagarina took the stage, the Belgian ethno-funk powerhouse Zap Mama had already set the tone. Founded 35 years ago by Congolese-born lead vocalist Marie Daulne, now a Grammy nominee, the group performed with Marie`s daughter, Kezia, showcasing a vibrant fusion of African rhythms and funk. Marie, at 60, with an admirable disregard for conventional stage decorum, showcased a truly exuberant “jig-and-jiggle” dance, reminiscent of the Mad Hatter`s antics, utterly charming the local audience. Their performance wasn`t just music; it was a masterclass in joyful abandon and cross-cultural exchange, with Marie and Kezia even teaching the audience African dance moves and English sing-alongs.
The festival`s innovative spirit continued with Zveta Sventana, an ethno-techno group featuring Yuri Usachev (formerly of “Gosti iz Budushchego”). Their sets enveloped the audience in a familiar trance-like state, a phenomenon Usachev attributes to the inherent structure of folk music.
“It`s a story that repeats endlessly, and the melody goes in a circle,” Usachev explained. “Essentially, it`s a meditative theme. Electronics also use constant repetition. But here, the point isn`t to induce an uncontrollable trance, although these two musical directions are indeed similar. We combine quite logical things, and it`s strange to me that electronics and folklore haven`t intertwined so strongly until now.”
This fascinating blend underscored a broader trend, as Igor Butman, the festival`s artistic director, noted: folk music`s rising global popularity is naturally reflected in contemporary jazz events.
Jazz Reframing the Familiar: From Bard Songs to Soviet Soundtracks
Beyond the headliners and genre innovators, the festival highlighted the versatility of jazz itself. Varvara Vizbor, granddaughter of the celebrated bard Yuri Vizbor and poet Ada Yakusheva, presented her family`s bard songs in refreshing jazz arrangements. Despite her modern stage presence, her repertoire remained rooted in classics, performing with a live band and honoring the musical legacy passed down through generations. “I am, of course, inspired by their legacy. They are my guardian angels,” she shared backstage. “Sometimes, though, I wonder what they would say if they heard what I`ve done with their songs this time.”
Even rock `n` roll found its place. Sergei Mazaev fulfilled his dream, playing clarinet in a jazz quintet. The beloved band Uma2rman created their characteristic laid-back atmosphere, coinciding with the online release of the first two singles from their upcoming tribute album, “Stars Count Us.” The track “Stars,” performed by Zhenya Trofimov and “Komnaty Kultury,” evoked a late-90s rock hit, while “Won`t Call,” reinterpreted by Nemiga, was almost unrecognizable with its electronic layers, yet charmingly retained the original French vocal part once sung by Patricia Kaas.
Perhaps the most charming trend was the jazz reinterpretation of Soviet popular music and film scores. The Chizhik Jazz Quartet, with guitarist Ildar Kazakhanov, mesmerized audiences in Peterhof with a fresh take on Bach, infused with the enchanting sounds of a vibraphone. Meanwhile, Igor Butman`s Orchestra, featuring pianist Oleg Akkuratov, delighted with cheerful melodies from “The Bremen Town Musicians,” the strolling anthem “I Walk Around Moscow,” and even the concluding song from “Pinocchio.”
A Festival Beyond Boundaries
The International Jazz Festival in St. Petersburg proved to be more than just a musical event; it was a cultural phenomenon. It showcased the fluidity of musical genres, demonstrating how jazz can act as a unifying force, embracing pop, folk, electronic, and classical elements. From candid confessions to exuberant dances and innovative arrangements, the festival delivered a compelling narrative of music`s power to connect, surprise, and evolve, all under the warm glow of the St. Petersburg sun.
