Where Pathways Meet JPN conference Belfast 2022

If only politicians could follow the example of the jazz community. As writer and philosopher Roger Scruton noted, “music is a dialogue, a gateway to the perspective of the other”. Certainly, something missing from current “permacrisis” politics. For two days in Belfast delegates from across England, Wales, Scotland, Northern Ireland and Ireland gathered together for music and constructive dialogue under a conference banner, borrowed from the Sun Ra track, Where Pathways Meet.

This was the first time the Jazz Promotion Network (JPN) conference has taken place offshore from mainland UK and in Northern Ireland. Ciaran Scullion of Arts Council Northern Ireland was in no doubt of the significance of this. “That this is happening right here, right now in Belfast is just really, really special. I mean, we're at the farthest end of Europe, our tiny little place. Yet our five nations from these islands are gathering together with real energy, with real enthusiasm. There's something incredible about that right now”.

Drummer and composer Steven Davis, who performed a solo set on the 6th floor of the MAC building, agreed. “I'm based in Belfast, born in Belfast. I think it's very important that JPN are here. It's great to get people's ideas on how jazz works in the UK and Europe and how we can maybe look at pulling together all the different musicians that are performing jazz-based music, and try and see a way of galvanising it so that we can create a bigger scene and grow the music”.

The conference kicked off with an enthusiastic keynote speech from award-winning Belfast born composer Brian Irvine on the topic "Jazz as a Beacon of Hope". Within minutes Irvine had transformed the audience of delegates into an improvised orchestra and he ended proposing we have an annual day celebrating improvising in all its forms - including singing accompanied by household appliances. This loosened everybody up and tapped into an element of fun. Mick Bonner of Moving on Music, Belfast commented “Brian really brought it out of everybody. It’s very hard to be in his company and not come away inspired, and that was the whole room today. So it was wonderful”.

Improvising harpist Una Monaghan presented an imaginative video performance inspired by Irish folk tunes performed by harp, bassoon and drums with a professional hurling player dancing between them with stick and ball.

Under the banner Routes into jazz panellists tackled thorny and perennial questions such as - ways of involving and supporting young musicians from pre-school upwards; where are the new breed of promoters, agents, managers, labels and journalists coming from, and, what does inclusion really mean?

Pauline Black, University of Aberdeen commented: “We're clearly all passionate about jazz, but one of the things we were discussing is how important it is to instil a passion for that music, particularly in primary school, and give children access to that music from a really early age”.

Roger Wilson, Black Lives in Music director and member of the JPN Board of Trustees was on the diversity and inclusion panel. “My lived experience as a black individual working in the sector for three decades is my contribution and the takeaway for me is a real emphasis on family and working together”.

Jazz singer, composer and diversity activist Emilie Conway from Dublin commented “It's been brilliant in terms of meeting other professionals from all sides of the fence, artists and promoters and funders and brilliant exchange of ideas. We've also heard a lot of discussion about diversity and how we broaden the work artistically to include people but also of course, that means that we're going to be increasing audiences, which is always a good thing”.

Delegate attendance was helped, especially for artists and individuals, by the financial support from Creative Scotland, Arts Council Wales and JPN reserves. This enabled bursaries to be shared equally across Scotland, Wales, England and Northern Ireland/Ireland. Alice Grace from Newcastle was a beneficiary. “As an artist, it's really crucial to make connections with people who are contributing to our sector, whether that's funders, some of those I met today, and hearing about opportunities that they've got on offer, speaking to people who make decisions in organisations, meeting promoters, people involved in programming, and just hearing about the latest news and what's coming up in the sector, as well as really helpful”.

On Thursday evening delegates were treated to a showcase in Belfast's vibrant Cathedral Quarter at The Black Box curated by the two leading contemporary music organisations from different ends of the island - Improvised Music Company, Dublin and Moving On Music, Belfast. A capacity audience of delegates and members of the public were entertained by four artists. Belfast resident Scott Flanigan’s quartet opened the night setting a high standard for the evening. Contemporary European piano jazz with the bonus addition of English guitarist Ant Law (pictured below). The pair met on an edition of the Serious Take Five talent development scheme and have been collaborating ever since.

RBG Trio’s Meilana Gillard took to the stage explaining her life pathway. Born in England, tenor-playing Gillard crossed the Atlantic to grow up in the USA. She’s now moved back and lives in Dublin. The trio’s tunes had catchy melodies opening out into full-bloodied collective improvisation rooted by solid swinging grooves. Gillard’s gutsy full-toned tenor saxophone lines sweeping majestically like a West Coast surfer (County Sligo or Donnegal) over the assured and responsive rhythm section of drummer Kevin Brady and bassist Dave Redmond, who also took an equal role in melodic duties.

Dublin-based duo Izumi Kimura on piano and flautist Lina Andonovska (pictured below) took us down a quieter and more reflective path with their improvised set - something I suspect that was not the usual Belfast jazz scene fare. This was confirmed by Steven Davis. “I think Belfast may be caught in the past a little bit with jazz being a background music that you have with cocktails. We need more concert type environments where people are actually really listening”.

Compare and IMC Director Kenneth Killeen explained the Grand Piano was being dismantled and removed from the stage to allow space for the evening’s final act, Belfast’s exuberant and joyful Robocobra Quartet. Drummer / vocalist Chris W Ryan commented along the lines “…if you think this is strange for you, imagine what it’s like for us facing a seated audience”. The band have adopted the pragmatic strategy to not waste energy trying to break in England and acquired a Dutch agent and now concentrate on touring in Europe where they have a growing following. The band are a fine example for how jazz can successfully meld with hip hop, rock and indie influences without going over the top. Particularly notable was Ryan’s David Byrne-esque spoken vocals over plectrum arpeggios from electric bassist Ryan Burrowes. A wistful reminder of early 1980s and bands like Orchestral Manoeuvres in the Dark.

Friday morning maintained the momentum with delegates having the choice of either the JPN AGM or a session with Gideon Feldman of Attitude is Everything looking at gig accessibility. “The way that promoters work can be challenging when looking at Deaf, disabled, neurodivergent and people with mental health and long term health conditions so we’re here to help” said Feldman. A Meet the MU session had been timetabled but had to be cancelled due to the speaker having Covid19.

Next followed two key panels around the Five Nations theme. The first was Five Nations Jazz: What’s going on across our five nations and how are people reacting to challenges ahead? A lively discussion taking in key issues facing the jazz - cost of living crisis, Covid19 and Brexit. Artist Tomos Williams from Aberystwyth was on this panel.

“You often feel that the Welsh voice is often either ignored or neglected or just isn't sort of considered. So to be allowed to come in and voice my perception of the jazz scene in Wales and what needs to be done is invaluable. I spoke about the possibilities for Wales moving forwards and how jazz is an important part of the artistic voice”.

For an artform so reliant on arts funding, The Five Nations Funders: looking at the funding scene across the UK & Ireland panel was not to be missed. The fact that senior arts council officers from all five nations were present (Huey Walker, Arts Council England via Zoom) is a positive sign that the major arts funders recognise the importance of their support to the jazz sector. One thing was quickly apparent that even with goodwill, having five different funding zones in UK & Ireland makes it a headache for an artist or producer trying to get funding for touring that crosses more than one national boundary.

After lunch and a solo performance by drummer and composer Steven Davis the day had three more discussion sessions focussed on touring, audience development and showcasing. Alexandria Carr from B:Music, Birmingham attended the showcase discussion.  “It was about how artists need to not only be great musicians, great performers, but we (as talent development organisations) also need to make sure that when we're putting artists out that they have enough ready material, whether that's films, Instagram profiles, or information that the venues, bookers, promoters, etc, can follow up with”.

The conference closed with a humorous and insightful report by Belfast journalist Ian Patterson who gave an overview of the issues raised and plans for the future. With delegates from our five jazz nations converging on Belfast, pathways did meet and for once this happened outside of mainland UK. JPN and the host partners Moving on Music and Improvised Music Company provided excellent facilities and conference content enabling us to share music and dialogue. And by the time delegates started heading home we had certainly passed through the gateway to see the perspective of the other.