Belgian-Azerbaijani Cultural Society launched at The Music Village, Belgium’s top jazz venue

A Brussels’ audience was treated earlier this week to a rare performance by Salman Gambarov, the world-famous Azerbaijani jazz musician. The event, at world renowned Jazz club, The Music Village, marked the official launch of the Belgian-Azerbaijani Cultural Society.

The performance at The Music Village, Belgium’s top jazz venue, proved just the tonic for the January blues.

The Music Village, Rue des Pierres 50, 1000 Bruxelles

Gambarov has delighted audiences all over the world with his musicianship and, along with his ensemble Bakustic Jazz, which he founded in 1996, he performed a highly enjoyable 2-hour gig at the city’s Music Village on Monday (15th January).

It was a two-set piece, with the first being more traditional jazz while the second, backed by an old Azeri movie, in the style of the early cinema, was somewhat more avant-garde.

Jazz pianist Gambarov was accompanied his highly talented fellow Azeri-born musicians, Nicat Bayramov on drums and Fuad Jafar on bass guitar.

During the concert the audience also heard traditional instruments possibly never seen on stage in The Music Village before.

The concert in Brussels, organised by the Azerbaijan embassy to the European Union, and in the presence the Ambassador,  His Excellency Vaqif Sadıqov, was a rare chance for a Belgian audience to acquaint itself with the skills and musicianship of both Gambarov and his band.

The concert was also a chance to launch the new Belgian-Azerbaijani Cultural Society which aims to foster friendship and cultural exchanges between the two countries.

Organiser of the new group, Kevin van Nuffel, hopes to facilitate such events on a regular basis.

The band’s music has its origins in Baku, the capital of Azerbaijan, which is a fascinating musical metropolis.

Traditional mugham, symphonic music (the first musical conservatory in the Soviet Republic was built here) and a lively jazz scene have made the city a musical epicentre in the Caucasus.

One of the most important exponents on the Azerbaijani (and region’s) jazz scene is Gambarov who has been described as celebrating the high art of trio playing “with the aesthetics of a Keith Jarrett.”

The result is something rather unique: two completely different musical worlds merging with high-energy jazz.Gambarov, now aged 64, has a rich musical heritage.

The Azerbaijani-born composer’s mother, Sura Gambarova, was herself the daughter of an opera singer and it was Sura who encouraged his love of music from an early age.

At the tender age of four, Salman was playing the grand piano no less and mastering even the most difficult compositions. Later, studying at musical school he amazed people with his playing and approach to music.

He is credited with being self-taught in jazz and, according to his own words, “jazz is music which compares everything in itself.”

His first composition was met with widespread acclaim at the All-Union Contest of Composers in 1987 in Moscow and, in 1996, he founded “Bakustic Jazz”.

Several famous musicians have performed with it in jazz clubs in Baku and overseas, including the Netherlands, Germany, France, the UK and United States. “Bakustic Jazz” has also participated at music festivals in Azerbaijan.

Jazz in Baku – one positive legacy of the Soviet era.

In the Soviet era, Baku, the capital of Azerbaijan, was a vibrant hub for jazz culture that blended Eastern and Western influences. Despite the rigid cultural and political environment of the time, jazz found its way into the hearts of Baku’s residents, creating a unique and dynamic scene that flourished in the shadows of the Iron Curtain.

Jazz music in Baku during the Soviet era was a symbol of freedom and self-expression.

The improvisational nature of jazz allowed musicians to convey their emotions and thoughts subtly, often circumventing the limitations imposed by the government’s cultural policies. Baku’s jazz clubs became sanctuaries for those seeking an escape from the monotony of everyday life, offering a space where creativity and individuality could thrive.

The local jazz scene was fueled by a diverse array of talented musicians who drew inspiration from both Azerbaijani traditional music and international jazz trends.

This fusion gave Baku’s jazz a distinctive flavour, incorporating elements of mugham, a traditional Azerbaijani musical form, into the improvisational structures of jazz compositions.

Notable musicians emerged during this era, leaving an indelible mark on Baku’s jazz culture.

Vagif Mustafazadeh.

Jazz pianist and composer Vagif Mustafazadeh (1940-79), often referred to as the “father of Azerbaijani jazz,” pioneered a style known as jazz mugham, blending traditional Azerbaijani melodies with jazz improvisation.

His innovative approach resonated not only in Baku but also garnered international acclaim.

Despite the challenges posed by the Soviet authorities, jazz festivals and concerts became regular occurrences in Baku.

These events provided a platform for musicians to showcase their talents and allowed the audience to engage with a genre that transcended cultural and political boundaries.

In conclusion, Baku’s jazz culture in the Soviet era was a testament to the resilience of artistic expression in the face of political constraints.

The fusion of Azerbaijani traditions with the improvisational spirit of jazz created a unique and enduring legacy that continues to influence the city’s cultural landscape, and the music acts as a cultural ambassador for Azerbaijan to this day.

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Read also: Little Belgium, Big Jazz!

From its early days as a receptive audience for American jazz pioneers to its current status as a hotbed of innovation and creativity, Belgium has left an indelible mark on the global jazz landscape.

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Click here for lots more on Jazz at EU Today!

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