Umbria Jazz Winter turns 30!
In 1993, Umbria Jazz was experiencing a phase of tremendous growth, thanks also to the support – for the first time – of significant commercial brands that sponsored the Festival and brought it to become a worldwide event. The Festival was ready to make a new bet: a “twin” event in winter. It was undoubtedly a risk, but the risk has always been in the DNA of Umbria Jazz, and the fact that the same – successful – idea came to other great European festivals was comforting, such as the North Sea Jazz Festival in the Netherlands, which had created a fall event in Maastricht. A festival held between Christmas and New Year was a novelty and, somehow, filled a gap in Umbria’s cultural and tourist offer.
Orvieto was the selected town for the beauty of its historical center, the appropriate venues (the Teatro Mancinelli, the halls of the Palazzo del Capitano del Popolo, the Palazzo dei Sette, big catering facilities…), plus the favorable geographical position of the town along the motorway and railway connecting Rome to Florence. Some factors were crucial: the enthusiasm of locals, from institutions to the world of commerce, and – as usual – the support of the Region. This enthusiasm has continued for thirty years.
From the beginning, there were some similarities with the summer festival of Perugia, but there were considerable differences, too. The formulas were similar: non-stop music in the city center in a uniquely beautiful and charming landscape. The different time of the year required original artistic choices: a musical identity. The Festival took place in indoor venues and couldn’t nor wanted to open up to great audiences. Hence, curious programs – “cultured” but not elite – were selected to prefer the artistic quality to the popularity. This is why some of the key moments in the history of Umbria Jazz happened in Orvieto: the magic duo Jim Hall – Bill Frisell was an unforgettable night, even for the shrewdest jazz festivalgoer. And then Roy Hargrove, Martial Solal, Jan Garbarek, Brad Mehldau and many others. A fundamental emphasis is on the chamber music section held at the Museo Emilio Greco, which can be considered the symbol of the most authentic soul of UJW.
Another distinctive feature of Umbria Jazz Winter is that most artists are residents, so people can listen to them every day of the Festival and set up a daily plan at their own will. The residency also allows combinations between musicians and/or presentations of different projects from the same artist. Artistic Director Carlo Pagnotta properly used all these opportunities.
Over the years, the Festival changed its approach and added a more determined section for tourists with New Year’s Eve events and a gospel choir performance in the magnificent Cathedral in the afternoon of New Year’s Day, the World Day of Peace. This performance also has a solid cultural and spiritual significance, not to mention the spectacular impact of the marching band (Funk Off, obviously!).
Thirty years later, ultimately, Umbria Jazz Winter is a Festival with an important path behind it that describes it as an event with a precise and solid identity. There are few 30-year-old Italian jazz festivals, and even fewer can boast such a quality program. In the year of anniversaries, thirty years of the Orvieto Festival must be celebrated with the most dedicated participation.
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Official artwork: David Tremlett
