JÜRGEN VONBANK is by no means unknown in the Salzburg music scene. The spectrum of his previous activities ranges from the label (Freakadelle) to club series (Klubkulturklubvierundzigvierzig) to the (unfortunately no longer existing) record store (Minerva). Since the summer, he has also been active as a DJ and electronic musician and has now also been the successor to long-standing jazzite veteran ANDREAS NEYMAYR. Didi Neidhart conducted an interview with JÜRGEN VONBANK for mica, including his new record “The Blue Soul” (“Night Defined”).
Before your new job as artistic director in Jazz You were known in Salzburg primarily through the record store, which unfortunately no longer exists Minerva Recordsbut also through your activities around it Boiler cellarthe label Freakadelle as well as Club culture club forty-four and the Salzburg Club Commission. These are all things that are more or less in the area of electronic (club) culture. How did you actually come up with the idea of applying for Jazzit?
Jürgen Vonbank: I’ve actually always been interested in jazz. I originally also learned the trumpet. Our record store Minerva Records It was also very broadly based in terms of genre and the jazz department has constantly developed over the six years. During this time I dealt more intensively with this style of music and followed the new, exciting trends in jazz with interest.
I also noticed that there was an audience for this again, especially among younger people. That also motivated me to take on the new challenge and go into this area. Beyond that was that Jazz but always a place where a variety of musical styles have found their way. I am also responsible for the commercial management of the company – I am happy about the experience I have gained from being self-employed and from organizing a lot of events.
Finally, this is it Jazz one of the few authentic places for me in the city and I feel very comfortable here. I see being able to engage with music professionally as a privilege.
“Today, young people are finding jazz again through genres like hip hop.”
Even if it is the case with Afro-American techno collectives such as Underground Resistance from Detroit has always had strong connections to jazz (cf. something like “Hi Tech Jazz”), the question that may arise for many is what does electronic (i.e. pre-calculated and programmed) music or club culture have in common with jazz, i.e. primarily to do live improvised music. What do you think about that? Or are such differences no longer viewed so strictly?
Jürgen Vonbank: There are still conservative currents in jazz that are critical or even negative about it. But it seems to me that this is more of a minority and is of little relevance to me anyway.
Anyone who sets these limits cannot really be interested in a progressive development of the genre.
And if you take a closer look at history, the connection between the two worlds has actually existed since time immemorial. The US avant-garde of the 1950s was heavily influenced by jazz and, conversely, people like John Cage also influenced the jazz musicians of future generations. Sun Ra probably already used a prototype of the Mini Moog at the end of the 1960s and at the latest in fusion jazz, it was common practice to integrate synthesizers.
Acid jazz consciously used programmed patterns or imitated them and the sampling in downbeat, electronic and house completely overturned this relationship anyway. Today, young people are finding jazz again through genres like hip hop and we should see that as an opportunity!
Wherein that Jazz has become a gathering place for local electronic acts, DJs and DJ crews in recent years, also because there is a lack of relevant (and affordable) locations in the city. Will these club tracks be expanded further, or are you more concerned with a certain balance?
Jürgen Vonbank: It’s clearly about balance and there’s no question that the house’s focus will remain on jazz and improvised music. This is also in the spirit of those people who fought for and built this place. Of course, I will also try to incorporate my experience from club culture.
Is it actually difficult to bring the jazz people and the club people together in the sense that they watch and listen to each other?
Jürgen Vonbank: Yes, that is indeed the challenge, but at the same time it is simply a great opportunity. I am sure that very often it is only the first step that needs to be taken. There are also many people who like to listen to jazz at home, but don’t necessarily go to concerts.
Many young people who like listening to hip hop, for example, also like modern jazz. But ensuring that they then buy tickets and come to the concert requires good communication and an affordable offer. At the same time, we want to work with locally based and established collectives from various genres in order to counteract these fears of contact.
Jazzit Hall (c) Markus Lackinger
“We still suffer from the fact that there is no full-fledged jazz course in Salzburg.”
The footsteps of the previous one Jazz-Founder Andreas Neumayer are not exactly small. On the other hand, such changes, even if they can be viewed as quasi-generational changes, always have the potential to try out new things or readjust old ones. What are your plans for the near future of Jazzit?
Jürgen Vonbank: Maintaining success and daring to try something new is certainly a good idea. We want to build a bridge to the communities and subcultures addressed with modern booking, appropriate communication and the involvement of local players.
At the same time, we want to expand diversity and, above all, see many more women on stage. There are a lot of projects and ideas, for example in the area of knowledge transfer through more workshop offerings.
We want to put our appearance and external communication on a new footing in the next few years. In addition, we want to position ourselves even better financially, as all of these projects also mean increased personnel and investment requirements.
The Jazz has (similar to that Rockhouse) always seen as a catalyst and source of inspiration for the local scene. In your opinion, what aspects would be necessary for things to stay that way under current conditions or to improve and expand?
Jürgen Vonbank: The Tuesday sessions alone certainly created an essential platform that is consistently very well attended. The Jazz can also certainly play an even more central role when it comes to making resources available and conveying expertise.
This applies to our work as a label, but, as mentioned, also to the offering of workshops and master classes. For all of this we need the appropriate financing and at least some of it comes from public sources.
We also hope for improved conditions in the medium and long term. We still suffer from the fact that there is no full-fledged jazz course in Salzburg and many of our talents migrate to other cities. There are already positive signals here – if such a course were introduced, it would actually be a completely different starting situation.
How are things going financially at the moment? Jazz out of? Apparently there are almost no private donations anymore.
Jürgen Vonbank: Yes that is correct. Our budget is largely financed by grants and admission revenue. Inflation is currently hitting mercilessly, which is putting a massive strain on our budget. Compared to other funded cultural institutions in the city, there is Jazz There is certainly still room for improvement when it comes to subsidies. We hope to make adjustments in the next few years; after all, we also have increased staffing requirements.
You are next to that Jazz yes also at the Salzburg Club Commission active and also an electronic act himself. How do you actually manage it all?
Jürgen Vonbank: Since starting in Jazz I have already drastically reduced my other activities because the new job has priority for now. The Club Commission is close to my heart because we have been able to achieve a lot in a short time and of course also cultural sites like this Jazz benefit from this work. But here, too, I am happy when a new generation comes along to whom the agenda can be handed over.
“It’s about improving the framework conditions, especially for younger organizers.”
keyword Salzburg Club Commission (SCC). You just won third place with your project “Awareness Days”. Bank Austria Social Prize receive. How important and necessary are such “awareness” training courses for nightlife in general?
Jürgen Vonbank: I find it essential. Even if you believe that you are acting intuitively in the right way in a critical situation, this is often not the case. And this can be clearly seen in a group with experts. It makes a lot of sense to give the multipliers in nightlife a certain set of options for action.
Another concern of the SCC is the reduction or elimination of the entertainment tax. What exactly is this about and how do you assess the chances of success?
Jürgen Vonbank: Salzburg is one of the last cities that still has this tax, which is charged for events with admission that are not non-profit or otherwise exempt. An anachronism and an unnecessary multiple tax burden for organizers. It’s about improving the general conditions, especially for younger organizers, so that the financial risk of organizing events decreases.
We are currently collecting signatures through a petition. I think the chances of success are good because the topic is currently back in the media and, above all, because all parties except the ÖVP have now clearly committed to abolition. That wasn’t always the case and gives hope for the period after the local council elections next year.
Cover “The Blue Soul”
Because this is probably not enough, you have just released “The Blue Soul” on your own Night Definedlabel released your second album. In the German Groove magazine you landed straight into the recommendations for September. Your tracks are referred to, among other things, as “late night music and blues updates”. Would you see it that way too?
Jürgen Vonbank: If that means a certain melancholy, I can agree with that.
A certain wistfulness and melancholy is inherent in almost all tracks. There are a few uplifting house beats every now and then, but in general it’s more like music “after the party” in a double sense. Is there no longer any club euphoria in post-Corona times, or is it just different?
Jürgen Vonbank: Yes, they definitely exist. If so, then my tracks are more of the antithesis to current club music, which is primarily fast and hard and often unfortunately relatively lacking in substance. But I don’t really focus on current developments. The tracks were created over several years and then came together.
Finally: yours jazzit-Tips and highlights for the rest of the year.
Jürgen Vonbank: I’m really looking forward to the ensemble Musical Hell around Christof Kurzmann and Ken Vandermark on November 9th. Bill Frisell, one of the most important guitarists of our time, is coming on November 17th. into the Jazz. But also the great atmospheric quartet Alpha Triangles around Alois Eberl will certainly end our concert year in style.
Thank you for the interview.
Didi Neidhart
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