Hebräisches Groove-Festival | Norient.Com 28 Sep 2021 08:59:27

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Hebräisches Groove-Festival | Norient.Com 28 Sep 2021 08:59:27 Hebräisches Groove-Festival | norient.com 28 Sep 2021 08:59:27 Hebräisches Groove-Festival by Eric Mandel Das erste hebräische Groove-Festival in Tel Aviv bot für 120 Schekel binnen acht Stunden vier Bands und eine Handvoll DJs – eine volle Packung, für wenig Geld. Mit dabei waren: Eyal Talmudi (Balkan Beat Box), Boom Pam, Digital Me, The Ramirez Brothers, The Apples with Yoram Arbel, Markey Funk, Soulico, Kuti, Karolina, Uzi Navon, Tree, Radio Trip, LEFT und MC Goga. Gut zweieinhalb tausend Zuschauer fasst der Hangar 11 im Hafen von Tel Aviv, in dem das erste hebräische Groove-Festival stattfindet. und die meisten von ihnen schienen bereits angekommen, als die erste Band, nach einem Warm-up von DJ Markey Funk und Left die Instrumente in Anschlag brachte. Die Ramirez Brothers, ein Trio aus Schlagzeug, Gitarre und Trompete, und gab den Ton vor, der die Ästhetik des ganzen Line-Ups prägte: Hochenergetische Groove-Musik mit einem Bein im Funk der 60er und 70er Jahre, so wie er seit den Poets of Rhythm in DJ-Taschen, Clubs und Festivals wieder lebendig ist. Was die Tel Aviv-Szene betrifft, die sich hier eine ganze lange Nacht feiern konnte, so steht ihr anderes Bein tief im vielstimmigen kulturellen Mix, der die Stadt – allen sozialen Schräglagen zum Trotz – auszeichnet: der israelische, sogenannte «Oriental Pop», Einflüsse aus dem https://norient.com/blog/groovefestival Page 1 of 7 Hebräisches Groove-Festival | norient.com 28 Sep 2021 08:59:27 Balkan, griechische, arabische, askenazische und sephardische Metren und Skalen, alles durchdrungen und zusammengehalten von den Mitteln der globalen Populärkultur: Funk, Hip-Hop, Rock und Reggae. Die Ramirez Brothers addieren dazu zu gleichen Teilen Latin und Hendrix, und fertig war die gelungene Eröffnung. Im folgenden bewies die repräsentierte Szene, dass es sich bei ihr tatsächlich um eine aktive interagierende Szene handelt: den ganzen Abend über besuchten und featureten die Musiker einander gegenseitig. Gitarrist Uzi Ramirez (Ex Boom-Pam) zum Beispiel kam für den Auftritt von Karolina auf die Bühne zurück und wurde später von seinem Nachfolger Uri Kinrot verstärkt, am Bass erschien mit Schacham Ochana (Funk´n´Stein) gewissermassen einer der Paten des lokalen Funkwesens, und an den Bongos sass kein Geringerer als Kutiman. Dem war es 2006 gelungen, mit dem beim Kölner Label Melting Pot Music erschienen Album No Groove Where I Come From Israel auf der Landkarte der internationalen Funk-Gemeinschaft zu markieren. Kurz darauf gelang ihm mit dem ThruYou-Projekt ein wohl noch grösserer Coup. Aus diesem Grund konnte er beim Groove-Festival auf eigenen ausdrücklichen Wunsch die Rolle spielen, die ihm am liebsten ist: Der Mann im Hintergrund, der gute Vibes verströmt. Damit blieb die Bühne frei für Karolina, unübertrieben der Soul- Diva von Tel Aviv. Ihre Stimme ist markant (und vielleicht nicht Jedermanns Geschmack), Ausführung, Kraft und Charisma aber waren über jeden Zweifel erhaben. Die Band lieferte dafür ein Fundament aus chartstauglichem, vom Country bis Soul, French bis Oriental Pop erstaunlich weites Terrain abdeckendem Groove. https://norient.com/blog/groovefestival Page 2 of 7 Hebräisches Groove-Festival | norient.com 28 Sep 2021 08:59:27 Trotz des Ilja Richter-verdächtigen Aufzugs des Moderators, trotz der offensichtlichen Verehrung für analoge Produktionen - «retro» fällt als Merkmal des Abends aus. digital_me repräsentiert, wie der Name sagt, das digitale Element des Labels Audiomontage, dessen Betreiber auch das Festival ausrichteten. Nach eigenen Angaben stark von Coldcuts Beats and Pieces und ungezählten Stunden mit Konsolenspielen beeinflusst, spielt er sein Instrument, den beliebten Korg Electribe-Sequencer mit der Virtuosität eines fähigen Pianisten. Das Produkt war ein fraktaler Hip-Hop/Funk-Groove, in den er scheinbar nach Belieben feingehackte Samples streute: jamaikanische, arabische, hebräische und US-amerikanische Song- und Wortfetzen wurden kunstvoll und in Echtzeit zerlegt. Währendessen wurde in beachtlicher Geschwindigkeit die Bühne für die Landung des Mutterschiffs vorbereitet. The Apples sind in Tel Aviv eine Institution. Ideen und Überbau, die sich in diesem Festival entluden, stammen zu einem massgeblichen Teil aus ihren Reihen. Hier lohnt es sich, ein bisschen weiter auszuholen. Ohne dass es Plakat oder Internetauftritt gross herausposaunen würden: Das Festival ist eine Erfindung der Macher des Labels Audio Montage: Von ein paar prominenten Ausnahmen abgesehen, haben die meisten Beteiligten des Abends dort veröffentlicht oder sind in irgendeiner Weise mit dem Haus assoziiert. Gegründet von Zack Bar und den Apples-Musikern Ofer Tal (alias DJ Schoolmaster) und Uri Wertheim (alias Mixmonster) steht Audio Montage, wie das Festival, für Groove-Musik made in Tel Aviv, die nach Ansicht von DJ Schoolmaster, einer wandelnden Musik-Enzyklopädie mit der wahrscheinlich unerschöpflichsten Plattensammlung der Stadt, ihrerseits Teil des neuen Funk-Movements ist. Ein internationales Phänomen, dessen Beginn Schoolmaster genau datieren kann: «1992 erschien Maceo Parkers Life on https://norient.com/blog/groovefestival Page 3 of 7 Hebräisches Groove-Festival | norient.com 28 Sep 2021 08:59:27 Planet Groove, die letzte perfekte Funk-Platte ihrer Generation. Im Jahr darauf erschien Practice What You Preach der Münchner (!) Poets of Rhythm, die erste Funk-Produktion der neuen Generation, die sich auf den analogen Sound der 60er bezog. Das war die Wasserscheide.» Seitdem tüfteln von New York bis Sydney, von Berlin bis Tokio, Funk-Verehrer an der neuen Formel - einen authentischen, rauen Groove jenseits der bekannten James-Brown-Nummern in die Bedingungen der Gegenwart zu übersetzen. The Apples sind dabei so etwas wie der lokale Aussenposten der Bewegung. Die internationale Szene Musiker aus Tel Aviv mischen – von den ausgezeichneten Orchestern und Tanzkompanien ganz abgesehen – in jeder popkulturellen Strömung der globalisierten Welt mit. Jazz-Musiker wie die beiden Avishai Cohens (es gibt einen Bassisten und einen Trompeter gleichen Namens) oder der Pianist Yaron Herman verfolgen erfolgreiche internationale Karrieren. Ebenso bespielen israelische DJs wie Shlomi Aber oder Guy Gerber den internationalen Techno-Circuit, und mit DJ Borgore hat die Stadt auch einen höchst erfolgreichen Repräsentanten im jungen Dubstep-Gebiet. Was alle genannten Musiker gemeinsam haben: Der Erfolg führte sie übers Ausland: Die USA und/oder Europa sind nach wie vor die notwendigen Stationen für internationale Aufmerksamkeit. Im Jazz mag gelten, was Yaron Herrman im Interview (mit Sound & Recording) zu Protokoll gab: «Um Erfolg zu haben, musst du reisen. Du musst mit den Besten spielen». Ein anderer Grund für Musiker, dauerhaft ausser Landes zu beleiben, mag in der politischen Situation begründet sein: Nicht alle gehen dabei so weit wie der Saxofonist Gilad Atzmon, der mit seiner erbitterten Haltung die eigene Musik noch übertönt. Aber es gibt eine Tendenz, nach der Musiker lieber sich selbst repräsentieren als ihr Land. Brain Drain Die Konsequenz aus Individualisierung und Wanderlust ist ein musikalischer brain drain für das Land, in dessen TV-Programmen ebenso nach dem Superstar gesucht wird, wie es auch einen Big-Brother-Container gibt. Dagegen setzt das Festival – bewusst oder unbewusst – das Bild einer originär lokalen Community, die diese Lokalität auch musikalisch umsetzt. Ist die Herkunft eines Produzenten im traditionell angloamerikanisch definierten Sound der Club-Musik in aller Regel kaum am Sound erkennbar, scheinen die Macher des Festivals mit Funk (und verwandten Groove-Phänomenen der 60er und 70er) einen Schlüssel gefunden zu haben, der Weltmusik 2.0 eine persönliche Note hinzuzufügen. Keine dieser Bands (mit Ausnahme der hebräischsprachigen) hätte NUR SO in Israel entstehen können – zusammen genommen allerdings bilden sie eine Matrix, die die heterogenen Ethnizität ihrer Stadt recht präzise wiedergibt. Die kulturelle Blickrichtung USA/UK https://norient.com/blog/groovefestival Page 4 of 7 Hebräisches Groove-Festival | norient.com 28 Sep 2021 08:59:27 (Funk, Soul, DJ-Kultur) findet sich in diesem Melting Pot ebenso wieder wie die musikalische Einflüsse Griechenlands, des Balkan, der Türkei, Äthiopiens, Russlands, des Klezmer, der sephardischen Musik, und auch der arabischen. Wobei letztere konsequenterweise in einem seltsamen Zustand der gleichzeitigen An- und Abwesenheit verbleibt: Arabische Musiker spielten auf der Bühne keine Rolle, aber alle DJs hatten einen arabischen oder türkischen Song im Set, der auch ohne Unterschiede vom Publikum abgefeiert wurde. Spass statt Politik Politik spielt offenbar ohnehin eine marginale Rolle: Im Gegensatz zu Rap- Bands wie HaDag Nachash oder System Ali, die sich unermüdlich im Hier und Jetzt verorten, geht es der Groove-Szene ganz einfach darum, «die Leute zum Tanzen und zum Lächeln zu bringen», wie Zack Bar betont. «Es geht um Spass und Happiness, und ist dahingehend vielleicht etwas naiv. Es gibt in Israel genug Dinge, über die man sich Sorgen machen muss, dies ist ein Weg, zu entkommen. Wir feiern nichts als die Musik.» Auch insofern repräsentiert die aktive Szene, zusammengehalten von gut zwei Dutzend Musikern, DJs und Aktiven, das Lebensgefühl in der «Bubble» Tel Aviv, wo die Uhren ein bisschen anders ticken als im Rest des Landes. Die Handvoll israelischer authentischer Funk-Songs aus den 60ern du 70ern, auf die die DJs sich heute berufen, stach damals schon heraus aus einem mehrheitlich explizit patriotischen Populärmusikprogramm der Armeebands
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