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From the Scene: Niculin Janett on the Seriousness of (Jazz) Music

Niculin Janett09-30-20263 min. read

In the “From the Scene” series, musicians from the Moods universe share their thoughts. In the current issue, Niculin Janett writes about the seriousness of (jazz) music.

My grandmother, who is very interested in culture, doesn't like two things: jazz, and (worst of all) wind instruments. So, as a jazz saxophonist, I have a hard time winning her over with my music.But I certainly don’t want to bash Grandma here. Quite the opposite. The direct and unfiltered comments from “Altinina,” as we affectionately call her in the family, are (almost) always very funny and refreshing. And in a family of musicians, where all kinds of musical styles were explored, her extravagant opinions on her grandchildren’s creative work often offer an interesting—and above all, amusing—new perspective.To this day, I consider Altinina’s comment after one of my concerts—“Hey, that wasn’t actually that bad!”—to be one of the personal highlights of my career. I take a certain pride in the fact that I was able to elevate the saxophone in her eyes from the status of “persona non grata” to “tolerable.” At least when she’s heard me play it. I’m well aware that there’s a certain bias at play because I’m her grandson. And yet.Aside from the occasional harsh criticism, which brought me back down to earth, I learned one key lesson from these experiences with my grandmother that has shaped my work: You shouldn’t always take yourself and your art too seriously. 
It’s certainly no secret that life as an artist in any field is no easy task. Constant worries about finances and artistic integrity can keep people like us up at night. That’s why I think it’s all the more important to let a certain lightness shine through when practicing art.In jazz, in particular, I think it's crucial to lighten up the complexity or seriousness of the music every now and then with a touch of mischief.“What exactly are you doing there?”—a thought that crosses my mind every now and then when I find myself once again in the middle of an improvisation filled with thousands of notes.I then feel the need to approach the abstract with a touch of mischief—whether it’s a funny song title or an ironic interlude. For me, this doesn’t detract from the music’s seriousness; quite the opposite. It actually lends it even more validity.A great example of this (albeit not from the world of jazz) are the concerts by local singer-songwriter Tobias Carshey. The sadness in some of his songs could certainly throw you off balance at times. But by weaving in the most absurd stories (true or made up) in between, any potential pent-up despair dissolves into a comforting mix of laughter and melancholy. Along the way, a wonderfully direct connection with the audience is formed.
Now, it wouldn’t even occur to me in a dream to criticize John Coltrane just because “Love Supreme” didn’t make me laugh. There are thousands of examples of musicians who deeply move me with their music, even without any trace of humor or irony. After all, not everyone is a joker.But I, for one, need this contrast so that my own art is authentic.

Niculin Janett at Moods

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