Das Aktionsbündnis und die gleichnamige Kampagne #BerlinIstKultur macht in vielfältigen Aktionen auf die aktuellen Kulturkürzungen im Berliner Haushalt auf sich aufmerksam. Was steckt dahinter? Wie funktioniert die Zusammenarbeit im Bündnis konkret und welchen Herausforderungen muß es sich stellen? Warum ist es nun wichtig gemeinsam aufzutreten und welche Bedeutung hat diese Vernetzung für die IG Jazz Berlin und die Szene von Jazz und improvisierter Musik?

https://www.berlinistkultur.de/aktuelles/

https://www.kulturkonferenz.berlin

https://www.kulturkonferenz.berlin/kulturfoerdergesetz

https://www.berlinistkultur.de

https://www.berlinistkultur.de/spenden/

On this episode, I’m talking to Elisa Erkelenz, curator, dramaturg and author with a focus on trans traditional contemporary music. We’re talking about curation through the lens of one of her projects, Outernational, the roles jazz and improvising musicians play in contemporary classical music settings, the importance of developing partnerships, the value of collaboration and community, how music can become political, and giving a platform for diverse lived experiences through music.

https://pantopia-music.org/en/album-outernational-songs-of-wounding/

Mit dem Saxophonisten, Improvisationsmusiker und Stakkato Festivalmacher Thomas Borgmann blicken wir zurück auf die sehr bewegende Wendezeit in Berlin. Wie hat er die deutsche Einheit vor 35 Jahren musikalisch und beruflich aus der Westperspektive erlebt? Welche Herausforderungen, aber auch Möglichkeiten gingen damit einher und was kann man aus dieser Geschichte ins heute mitnehmen? Das erfahrt Ihr in dieser Podcastfolge innerhalb der Jazzwoche#7 in der wir uns der Erinnerungskultur widmen.

https://www.ig-jazz-berlin.de/jazzwoche-berlin

On this podcast episode, I’m talking to Chris Pitsiokos, musician living in Berlin and member of the 7 person collective running Richten25, a venue in Wedding. Amongst other things, we talk about the role of DIY venues in the scene and challenges faced by such places, the role community plays in the jazz and improvised music scene, the value of live music, as well as which responsibilities both musicians and venues have going forward in order to create a sustainable basis for the live presentation of this music.

In a special edition of B:jazz, I'm really happy to be able to present part 2 of an interview from Jazzwoche 2023 with Michaël Attias. We discuss finding the mystery within the fundamentals, keeping humble intentions, urgency, commitment and purpose through performance, plus how socialisation affects the approaches of musicians based in Europe versus New York. We also talk about the possibilities and drive created by artistic resources and archives alongside the desire and focus to experience it personally, extrinsic versus intrinsic motivation, branding and pressure on younger generations, how communication happens with audiences, growth through self-promotion via publication, and the difference between making political music and making music politically and locally.

In episode 26 of B:jazz, I am discussing visibility in the context of music journalism with journalist, musician, curator and moderator Sophie Emilie Beha. We discuss the importance of open minded listening and the responsibilities of moderating, curating and programming, actual visible change versus tokenism and diversity washing, discovering our own blind spots and leaning into discomfort. We also talk about balancing entertainment and information mediums by telling stories, institutional attitudes to visibility and diversity, and the effectiveness of EDI panel discussions.

In episode 25 of B:jazz, I talk to Camille Buscot, manager of the Deutsche Jazzunion, about the relevance and importance of unions. How do unions act as the contact point between the scene, institutions and politicans? What are some of the previous successes and upcoming challenges of the unions, and how do they work to represent the interests and lives of their members? We discuss how conflict can be a catalyst for action, the importance of diversity of experience, and the balance of individual ethics with community action.

Episode 24 of B:jazz features vocalist, composer and teacher Cansu Tanrıkulu. We discuss the academisation of jazz in the context of visibility, the theme for Jazzwoche Berlin this year. How are both historic and contemporary figures included in teaching a new and often younger generation of future professional jazz and improvising musicians, what are the positives and negatives of the music moving into the academic space? We also discuss how important role models are to students, balancing what is required for a course of study with what is most tailored for individual development, and how educators can make their students feel seen, heard and visible.

Im 3. Teil unserer Serie Jazz und improvisierte Musik an deutschen Musikhochschulen, schauen wir uns die Situation der Lehrbeauftragten an. Welche Vor- und Nachteile hat diese Beschäftigungsform für sie und welche Verbesserungen oder Alternativen sind dringend notwendig?

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In episode 22, I talk to composer and musician Cassie Kinoshi. A recent arrival to Berlin, we discuss what still makes Berlin an attractive meeting and development place for international jazz and improvising musicians, sociomusical differences between Berlin and other UK and EU cities, working in interdiscplinary contexts, the practical experiences of emigration, viewing the move with an open mind and seeing it as a learning experience.