IMPROMONDAY - 5. International festival of free improvised and creative music @ Močvara, Zg, 22/09-24/09/2025

The fifth Impronedjeljak Festival has arrived, promising from the start to showcase the very best that improvised and jazz music has to offer today. I remember Capri, the festival organizer, casually mentioning a few months ago that Alexander von Schlippenbach would be performing this year. That single piece of information was enough to make me eagerly await the festival's start—because when a legend like that comes to Zagreb, you know a long-memorable musical experience is in store.
​Naturally, Schlippenbach didn't come alone; he was joined by a whole array of no-less-brilliant musicians, from established improvisers to names new to me, who displayed both freshness and originality. This diversity of performers gave the festival a special dynamic and a feeling of discovery: every concert was a unique journey, without repetition and with ever-new sound combinations.
​Beyond the music itself, the festival is again characterized by its impeccable organization and a simultaneous relaxed, friendly atmosphere. There is no strict distance between performers and audience—quite the opposite. There's always a chance to approach the musicians after or even before a set, chat with them, share your experiences, and feel their passion for music up close. This gives the festival an intimate, almost familial character, which further sets it apart on the local cultural scene.

​Monday, September 22, 2025 - Day One

​Set 1: ALEXANDER VON SCHLIPPENBACH - solo concert piano
​To hear one of the greatest European free jazz pianists of all time live is a privilege rarely granted. In a rock context, it would be like watching the Velvet Underground—history right in front of you, in the present moment. Although I had a slight apprehension before the concert about whether Močvara would be full enough, as soon as I entered, I realized my fear was unfounded: all the chairs were taken, and many people were standing. ​Alexander von Schlippenbach, at an incredible 87 years old, showed why he remains an active legend. His solo set was pure magic—a hypnosis from the first to the last note. The piano sound was ideally set: clear, powerful, yet subtle enough to allow him complete freedom. Instead of "wildly thrashing" the keys, Schlippenbach chose a perfect balance between jazz and improvisation, displaying the full extent of his experience and maturity. The audience felt this special energy and rewarded him with a long, loud applause.
​His compositions (or rather, improvisations) carried a feeling of dignified aging within free jazz—proof that improvisation never grows old but simply transforms. Despite a minor "distraction" from outside, as crates and bottles were being rearranged on the terrace, Schlippenbach never lost concentration. He continued just as solemnly, as if that noise was simply another element of the improvisation. It was a true masterful introduction to the evening.

​Set 2: Ad Hoc Trio - ELLIOTT SHARP (el. guitar), VELI KUJALA (concert accordion), HARRI SJÖSTRÖM (soprano, sopranino saxophone)
​After Schlippenbach's serenity, the audience moved down a floor to where the ad hoc trio was situated, level with the spectators. This sense of immediacy immediately created a more intimate atmosphere, as if we were attending a shared ritual. ​The very first note of Harri's soprano was wild and unrestrained, announcing that the music would head into louder, rawer free waters. It's hard to say who the leader was in this trio—the guitar, accordion, and saxophone constantly exchanged roles, merging into a unique sonic organism.
​Elliott Sharp uses the guitar in ways that break all standards: as a bass, as a drum, as percussion, as a source of unusual sounds. He passes metal sticks over the strings, producing effects that transcend everything we know about the guitar. Veli Kujala plays the accordion just as radically—no familiar tones or melodies here, only the liberation of the instrument from all stereotypes. His instrument becomes a perfect tool for improvisation. And Harri Sjöström on sopranos was closest to a "conductor"—with his energetic entrances, he steered the trio toward Ayler-esque wildness and total abandon.
​Although playing together for the first time, they breathed as one. The sound was thick, strong, indivisible. It was impossible to focus on one musician—that was precisely the strength. The trio blazed without compromise and prepared the perfect ramp for the explosion in the third set.

​Set 3: "CUT TRIO" - TANJA FEICHTMAIR (alto saxophone), CENE RESNIK (tenor saxophone), URBAN KUŠAR (drums, percussion)
​The finale of the first night belonged to the Cut Trio, who already have several years of collaboration and two albums behind them. This was audible from the very first note—tightness and trust were the foundation upon which they built their explosive improvisation. ​Tanja Feichtmair on alto saxophone was captivatingly two-layered: when she calmed the tone, her instrument produced a lyrical melody in the spirit of Art Pepper, yet in the very next moment, she would transition into raw speed and freedom, breaking all the rules. Cene Resnik similarly oscillated between calm, almost Rollins-esque moments and a complete explosion. His playing, since I last heard him at Močvara nine years ago, has become even more unpredictable and courageous.
​Urban Kušar on drums provided the ideal rhythmic foundation—unobtrusive yet powerful. His solo moments showed that he is an equally important voice in this band, although the saxophones clearly held the main word.
​Their playing was like a super-fast car on the gas: they only occasionally had to stop at a "red light" for brief moments of calm and conversation, but as soon as the light turned green, they were back to full speed. The audience was left breathless.
​The Cut Trio was the ideal conclusion to the evening—a combination of experience, energy, and freedom that embodied everything we love about improvised music.

​The first day of the festival proceeded in a perfect arc: from Schlippenbach's masterful serenity and hypnosis, through the explosive freedom of the ad hoc trio, to the tight and uncompromising drive of the Cut Trio. Judging by this introduction, the fifth Impronedjeljak Festival has already justified its status as one of the most exciting improvised music events in the region.
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Tuesday, September 23, 2025 - Day Two

​Set 1: Ad Hoc Trio (ELISABETH HARNIK - piano, ELLIOTT SHARP - electric guitar, TRACY LISK - drums)
​The second day of the festival began with Capri's introductory note that, due to the unavailability of some musicians, the planned ad hoc quartet had been transformed into a trio. But that is part of the charm of such a festival—unpredictability and the readiness to adapt to the moment. ​Unlike the intense improvisations of the first day, this trio offered a more introspective, calmer mood. Their playing oscillated between meditative, almost neo-classical sections and quiet, suppressed explosions of anger. Elisabeth Harnik brilliantly explored the piano—not just the keys, but the instrument itself from the inside, using its body and strings to create unexpected colors. At times, she would venture into a darker, more aggressive side, but she always returned to a calmer, contemplative tone.
​Tracy Lisk approached the drums with an equally exploratory spirit. Using different sticks and bows, scraping the cymbals, or hitting the snare in unconventional ways created a wide spectrum of sounds that organically fit the trio's atmosphere. Elliott Sharp, on the other hand, was completely different from the night before—instead of explosion and rhythmic attacks, he turned to a calmer, tone-colored exploration, showing an incredible adaptability and once again confirming why he is considered a master of improvisation.
​Močvara was very well-filled this time too, which was further proof that the audience faithfully follows every moment of the festival.
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Set 2: "Windows & Mirrors" (GIANCARLO SCHIAFFINI - trombone, VELI KUJALA - concert accordion, HARRI SJÖSTRÖM - soprano and sopranino saxophone)
​The second set of the evening belonged to a group that, unlike the ad hoc combinations, has its own formed identity and experience playing together. "Windows & Mirrors" already have an album behind them, and their music is built on the triumvirate of jazz, classical, and improvisation. ​Veli Kujala and Harri Sjöström, whom we heard the previous evening, presented themselves this time in a slightly calmer, more serious tone. Their sound, still rich with freedom and a spirit of exploration, acquired a cinematic dimension—associations with Antonioni's frames or the atmosphere of European animation came to mind. Giancarlo Schiaffini on trombone added a special stamp with his combination of precision and freedom.
​Although I personally prefer the wilder, more fiery playing we heard the night before, this performance also had its unpredictable beauty. The calmer sections led me to reflection, melancholy, and introspection, so the music almost merged with the rainy, gray day that followed. Unfortunately, vibraphonist Sergio Armaroli was unable to perform due to a family bereavement, which left a gap, but the trio still delivered the concert with dignity and strength.

​Set 3: Ad Hoc Quintet (STEVE SWELL - trombone, PETER OLE JØRGENSEN - drums, CENE RESNIK - tenor saxophone, ŠIMUN MATIŠIĆ - vibraphone, DAMIR P. KAFKA - concert piano, soprano saxophone)
​The finale of the second day brought the best the festival can offer: an explosion of improvisation where the international and local scenes merged. The quintet caused a strong applause just with the announcement, particularly thanks to the presence of Capri in the role of a musician, not just an organizer. ​The performance started slowly, cautiously, like mapping the terrain. The instruments tested, listened to each other, but soon the performance grew into an avalanche of sound and emotion. Peter Ole Jørgensen tirelessly wove the rhythmic base, Steve Swell and Cene Resnik built a powerful brass section, while Šimun Matišić left the audience breathless with his virtuoso vibraphone. Damir P. Kafka displayed the full spectrum of his musical energy, from sensitive passages to eruptive explosions that brought the audience to its feet.
​What made this performance special was the joy of making music—smiles, signs of approval, mutual communication, and trust. The audience was drawn into this shared vibration, so it seemed that at one point there was no boundary between performers and listeners.
​The presence of Šimun Matišić—one of the most respected vibraphonists of the new generation—was also especially significant, and his inclusion in the ad hoc quintet brought a note of local pride. It was a reminder of how many talented musicians Croatia has ready for world stages.
​
The second day of the festival brought more introspective and meditative performances, with an emphasis on exploring sound and the mutual interaction of the musicians. The audience followed every detail, from the subtle tones of the piano to complex rhythmic experiments, and the evening ended with an explosive ad hoc quintet that showed the power of collective improvisation. We are left with a feeling of immersion in the music and enjoyment of the freedom of improvisation.
​

Wednesday, September 24, 2025 - Day Three

​Set 1: Ad Hoc Quartet (ALEXANDER VON SCHLIPPENBACH - piano, PETER OLE JØRGENSEN - drums, GIANCARLO SCHIAFFINI - trombone, HARRI SJÖSTRÖM - soprano and sopranino saxophone)
​The third day of the festival opened with the second performance by the legendary Schlippenbach, this time in a quartet formation with distinguished European improvisers. Harri Sjöström, who had performed on the previous two days, seemed even more inspired—the entire quartet gave 120 percent of themselves, which the audience felt from the first note. ​
The concert was largely led by the brass section, while Schlippenbach was initially subtle and followed the events on stage, complementing them with quieter, but extremely precise playing. The sound in Močvara was crystal clear—every detail of the drum, every change of sticks was clearly audible, almost like a Carnegie Hall experience. The rhythmic oscillations of fast-slow-fast created a dynamic sinusoid—constant waves of intensity that never lost their freedom, yet had structure and direction.
​Schlippenbach's solo section was the highlight of the concert—pure improvisation that embodied everything we love about free jazz: energy, elegance, and unpredictability. Harri further enriched the set, introducing swing elements and circus motifs, making the quartet's dynamic even more layered. Although the audience hoped for an encore, Schlippenbach did not perform one, but the atmosphere was filled with joy and admiration, and after the concert, I managed to get my records and discs signed and chat briefly with him—an unforgettable experience!
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Set 2: Ad Hoc Quartet (ELISABETH HARNIK - piano, STEVE SWELL - trombone, TRACY LISK - drums, URBAN KUŠAR - drums and percussion)
​The second set brought two drummers to the stage, which was immediately visually and sonically impressive. Tracy Lisk and Urban Kušar offered a fascinating exploration of rhythm and sound. Tracy, already known for her exploratory approach, showed an additional dimension to her playing—every movement, every rhythm had a personal stamp. Urban completely transformed, adapting to the exploratory sound and creating a rich rhythmic tapestry. ​Steve Swell on trombone played with the boundaries of the conventional—tapping with metal objects, dragging the trombone across the floor, and even spraying deodorant as an element of the soundscape. The quartet's sound at one point resembled a Tesla laboratory in full function, while the final trombone sections reached an emotional climax, expressing suffering and creative exaltation. The trio's interaction with Elisabeth Harnik was flawless, creating a sense of long-term collaboration, even though all members were playing together in this lineup for the first time.

​Set 3: APEIRON + ELLIOTT SHARP
​The festival finale belonged to Apeiron in an expanded lineup—a total of 13 musicians, with Elliott Sharp as the conductor. They played three compositions: Hudson River Number 6, Apeironica, and Memory Amor. The sound was impressive in its complexity—from elements of military march and kraut rock to free jazz and meditative psychedelia. ​Elliott Sharp controlled the dynamics at every moment, "turning on and off" the musicians, creating moments of total climax, but also quiet, minimalist fragments. The band's sound resembled a live, multi-free composition, almost like a live DJ jazz remix. Apeiron perfectly combined energy, improvisation, and a meditative layer, leaving the audience breathless and ideally closing the festival.
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The third day of the festival showed the breadth and freedom of Impronedjeljak: from Schlippenbach and ad hoc quartet, through the exploratory of other ad hoc quartet with two drummers, to the magnificent Apeiron. The audience followed the interaction and joy of the musicians, and the whole day left a feeling of connection and genuine improvisational energy.

​Instead of a Conclusion
​The entire festival showcased everything that makes a small but magnificent impro event: excellent organization, careful selection of musicians, ad hoc creativity, and an intimate, friendly atmosphere. The interaction between the performers and the audience in the Močvara courtyard only further confirmed the specialness of this festival. The fifth Impronedjeljak will be remembered as an event that raises the bar for all future performances, and we can already look forward to four new concerts through the Impronedjeljak series in October.

jura // 26/09/2025