Johan Budi
The landscape of contemporary jazz continues to be shaped as much by its archival treasures as by its modern innovators. Recent weeks have seen the release of significant historical recordings from trumpet icons Roy Hargrove and Chet Baker, alongside a contemporary reimagining of the jazz-pop crossover by the German quartet Web Web. However, these musical milestones arrive amidst a period of reflection for the global jazz community following the passing of Maja Lemmen, the longtime matriarch of the Porgy & Bess jazz club in Terneuzen, Netherlands. Her death marks the end of an era for the European jazz infrastructure that supported many of the artists currently featured in new posthumous releases.
The Neo-Bop Peak: Roy Hargrove’s Bern Sessions of 2000
The release of Bern by Time Traveler Records offers a profound window into the professional peak of Roy Hargrove (1969–2018). Recorded on May 4, 2000, in Bern, Switzerland, the album captures Hargrove at a pivotal juncture in his career. By the turn of the millennium, Hargrove had successfully bridged the gap between the traditionalist "Young Lions" movement and the burgeoning neo-soul scene in New York. At the time of this recording, he was fresh from his collaborations with D’Angelo on the seminal album Voodoo and was actively leading his Afro-Cuban ensemble, Crisol.
The quintet featured on Bern—comprising alto saxophonist Sherman Irby, pianist Larry Willis, bassist Gerald Cannon, and drummer Willie Jones III—represented a refined evolution of the hard-bop tradition. Analysts suggest this lineup functioned as a modern successor to Cedar Walton’s Eastern Rebellion, prioritizing kinetic energy and flexible improvisational structures. The track "Stranded" serves as a centerpiece of the collection, utilizing a modal framework reminiscent of John Coltrane’s "Impressions." The rhythmic foundation provided by Cannon and Jones III allows Hargrove and Irby to engage in a high-velocity exchange that critics have likened to a competitive yet harmonious display of technical mastery.
Hargrove’s versatility is further evidenced in his handling of "Never Let Me Go," performed on the flugelhorn. His transition from the "hot sauce" licks of the funk-infused "Caryisms" to the buttery, lyrical phrasing of the ballad highlights the maturity he had achieved by age 31. The recording quality of the Bern sessions provides a clear, resonant soundstage that honors the "jam ethos" Hargrove was famous for maintaining throughout his touring life.
The Lyrical Twilight of Chet Baker: The 1987 Ferrara Tapes
Parallel to the Hargrove release is Shine, a two-LP/two-CD set from Red Records documenting a 1987 performance by Chet Baker in Ferrara, Italy. This release follows the 2022 archival success of Intimacy and captures Baker just one year before his death in Amsterdam in 1988. The 1980s were a period of "lyrical ropemanship" for Baker, a time when his physical decline was often offset by a heightened sense of melodic economy and emotional vulnerability.
The Ferrara performance features a quartet including flautist Nicola Stilo, pianist Michel Graillier, and bassist Rocky Knauer. Unlike some of Baker’s more inconsistent late-career recordings, Shine showcases his "ultra-mellow timbre" and an almost supernatural gift for utilizing silence as a musical element. The interpretation of George Shearing’s "Conception" demonstrates that Baker remained a formidable practitioner of uptempo cool bop, drawing clear inspiration from the Miles Davis school of phrasing.
The album’s emotional core is a rendition of Elvis Costello’s "Almost Blue," a song Baker had famously adopted into his repertoire. Accompanied only by Stilo on guitar, the performance is noted for its lack of ego and profound humility. While some historians remain divided on Baker’s late-career "mumbling" vocal style—alternately described as tragicomic and intensely intimate—the consensus on Shine is that the technical mastering has preserved a level of clarity that allows these subtleties to be felt rather than just heard.
Modern Fusion and the Art of the "Kover": Web Web’s 2025 Vision
In contrast to the archival releases, the German quartet Web Web has released Kover Kover via Compost Records. This project, recorded in Unterföhring, represents the "trip-hoppy" side of modern jazz fusion. The ensemble, featuring Roberto Di Gioia, Tony Lakatos, Christian von Kaphengst, and Peter Gall, moves away from the traditional bop structures of Hargrove and Baker to explore a soundscape influenced by Kruder & Dorfmeister and the early industrial textures of the Velvet Underground.
Kover Kover is an exercise in ingenious production, reimagining pop and rock standards through a jazz lens. Tony Lakatos’s flute work on Jimi Hendrix’s "Burning of the Midnight Lamp" and the group’s dub-influenced takes on Klaus Doldinger’s "Song of Dying" and "Ataraxia" demonstrate a shift toward "chill fare" that retains improvisational integrity. Drummer Peter Gall’s meticulous rhythmic underpinning has drawn comparisons to Michael Giles of King Crimson, appealing to purists who value precision in the fusion genre. The inclusion of Joe Jackson’s "Steppin’ Out" as a free-form duet between Lakatos and Di Gioia illustrates the group’s willingness to deconstruct familiar melodies into avant-garde fragments.
In Memoriam: The Passing of Maja Lemmen and the Dutch Jazz Foundation
The release of these albums coincides with the loss of a foundational figure in the European jazz circuit. Maja Lemmen, who passed away on March 19 at the age of 81, was the heart of the Porgy & Bess jazz club in Terneuzen. Her career began in 1957 as a waitress for Frank Koulen, a Surinamese-born veteran who established the club as a "New Orleans Parade" hub. Following Koulen’s death, Lemmen became the driving force behind the venue, transforming it into a modern sanctuary for international jazz legends.
Lemmen’s philosophy of hospitality was instrumental in making the Netherlands a preferred stop for American jazz musicians. She famously provided a "home away from home," where artists like Art Blakey, Ray Brown, and Roy Hargrove could settle for days, rehearse in the afternoons, and perform in an intimate, supportive environment. Her relationship with Roy Hargrove was particularly notable; the trumpeter frequently began his European tours at Porgy & Bess, often participating in unscheduled Saturday night jam sessions.
"It wasn’t a case of plainly setting up a table of cheese sandwiches," Lemmen noted in a 2016 interview. "Frank [Koulen] cooked exotic meals… invented all kinds of ways to make them feel comfortable. It’s a matter of giving." This ethos created a "richness of spirit" that sustained the club through financial challenges and shifting musical trends. Her death is viewed by the industry as a significant loss of the "passionate professional" infrastructure that allows the music captured on records like Bern and Shine to exist in the first place.
Chronology and Industry Implications
The timeline of these events reflects a broader trend in the jazz industry:
- 1957–1980s: The establishment and rise of the European club circuit (Porgy & Bess) as a vital refuge for American jazzmen.
- 1987–1988: Chet Baker’s final European recordings in Italy and the Netherlands, capturing the twilight of the "musicien maudit."
- 2000: Roy Hargrove’s peak neo-bop era, documented in the newly released Bern tapes.
- 2024–2025: The release of high-fidelity archival recordings (Shine, Bern) and the evolution of the genre through electronic fusion (Kover Kover).
- March 2024: The passing of Maja Lemmen, signaling a transition in jazz venue management from the "old guard" to new models of sponsorship and renovation.
The broader impact of these releases and Lemmen’s passing highlights the critical role of archival preservation. As the first generation of jazz promoters and "golden era" musicians passes away, the responsibility shifts to independent labels like Red Records and Time Traveler to maintain the historical record. The success of Bern and Shine suggests a robust market for high-quality, previously unreleased live material that offers a more authentic representation of a musician’s "work ethos" than polished studio sessions.
Furthermore, the transition of Porgy & Bess into a modern jazz and blues club under Lemmen’s guidance serves as a blueprint for the survival of jazz venues. By balancing hospitality with high artistic standards, such venues ensure that jazz remains a living, breathing art form rather than a museum piece. The legacy of Maja Lemmen, much like the music of Hargrove and Baker, continues to influence the "sensory perception" of jazz fans worldwide, proving that the infrastructure behind the stage is as vital as the performers upon it.
