Rochefort Festival Wrap-Up 1

This is the first in what I believe will be a string of blog posts where I will try to make sense of what the past ten days have involved.  I think it it is fair to say that the intent is for me to make some kind of concrete statement, but I don’t think I can make anything like a final statement.  A big part of this experience was taking the lessons I learned from festivals like Zappanale, and applying them. My feeling right now is that I succeeded, and maybe learned some new lessons that will serve me going forward.

The deal with Rochefort en Accords is that the intentions are very ambitious, and I believe are meant to stimulate both the artists and the audience with unexpected results.  In some cases that is exactly what happened.  You had a mixing of styles and voices and something new emerged.  In other cases there were artists who basically recruited sidemen to replicate the parts they had already either played, written, recorded, or all three.  That is more about the festival promoter not being in the business of artistic enforcement.  This is a fact, not a criticism: the organizational aspects of this year’s festival did not match the ambition, but everyone found a way to get work done.  As I blog along I will, most likely, name names and relate observations of various degrees of success that I witnessed.  Regardless, what I witnessed was an astounding effort by the promotion team, volunteers, musicians, photographers and stage crew, and I can’t leave out the kitchen staff!

What I write in the following posts is my immediate impression, and subject to review.  I am starting out topically, and perhaps moving into specifics as I feel they are appropriate.

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