Serbian rock music, Rock 'N' Roll, Blues and Jazz

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Serbia Rocks! :thumb001:

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Ovde počinju i završavaju moje simpatije prema ovom bendu.
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U koju kategoriju zike Zemlja Gruva moze da se smesti?

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Rekao bih nekakav Soul, Funk, Jazz mix ili neki pravac novijeg datuma :)
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Belgrade Jazz Festival

Belgrade Hosts a Hot Jazz Fest
Wednesday, November 14, 2012
By Josef Woodard
DATELINE BELGRADE: Mostly Other People do the Killing, the wild and wooly NYC acoustic jazz quartet, is my new favorite band, this year, anyway. This I learned, and fully realized, while at the Belgrade Jazz Festival, standing in the packed, rapt audience at the Dom omladine cultural center late on a Sunday night a few weeks back. Sometimes, especially for those of us jazzheads stuck out here in fringes of the west coast, a fine way to discover America, jazz-wise, is to get to European festivals, as evidence when I finally caught a live set by this wondrous crackpot band, an acoustic, chordless quartet reminded variously of Ornette Coleman, Bad Plus, and some quirky fresh variation on avant-garde circus-making. Humor and avant-garde abandon somehow get along famously in this band.

Hearing the music in Belgrade, Serbia, after midnight, only enhanced the epiphany sensation. We were definitely not in Goleta anymore.

Coming at the end of a festival which also featured two of the finest “new” current American jazz acts - Dave Douglas and Joe Lovano’s fab “Sound Prints” project and young trumpet poet powerhouse Ambrose Akinmusire and band - might have spurred a kind of American pride for a yankee visitor, while also validating the intelligence and adventurism of the festival’s programming. But some of the more enticing treats on the musical menu were from the region, including the band led by Serbian bassist Nenad Vasilić, replete with virtuosic accordion (Marko Zivadinović) and serpentine Serb-bop melodic lines. Nimble Serbian trumpeter Lorenz Raab also left a strong, left-of-conventional impression with his band, while Polish saxist Mikołaj Trzaska represented the hgh art of captivating free improvisation.

Also home-ish grown, the young Blazin’ Quartet, featuring Serbian drummer Srdan Ivanović, is another mixed-genre and mixed-cultural aggregate, at once rubbery and rocking, swinging and parsing styles and sneaking in musical jokes. A Serbian rock legend, going by the name Rambo Amadeus, produced their latest album, Jalkan Bazz¸ and he made a cameo during their set, singing a wry, impromptu song and playing fretless electric guitar.

Although the Belgrade Jazz Festival is now retrenched in the impressive and important network of European jazz fests, its back story is unlike most of its festival allies. Founded in 1971 and going fairly strong, with top jazz names swinging through the semi-safe zone of Yugoslavia, for nearly twenty years, the festival went dark from 1991 until 2005. The comeback has been impressive and fortified by a particular passion, with artists such as Pat Metheny, Wayne Shorter and (Santa Barbara’s own) Charles Lloyd headlining recent festivals. This year’s model drew on resourceful thinking to make the festival fly under much tighter budgetary realities. It flew beautifully, and in a city struggling to assert its place and dignity in the world stage after conflagrations in years past.
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http://www.independent.com/news/2012/nov/14/belgrade-jazz-festival/