IMPROMONDAY - 6. International festival of free improvised and creative music @ Močvara, Zg, 21/09-23/09/2026

This year's edition of the improvised music festival Impronedjeljak 6 at Močvara featured tenor saxophonist Ivo Perelman as its trademark and biggest name. Listening to a saxophonist of such caliber and seasoned authority live—and in the immediate, intimate space of a club—is a privilege worth taking annual leave for without second thoughts. His guest appearance showed once again how big and important this small Zagreb festival actually is. Upon entering Močvara, another pleasant surprise awaited: all performers would be on the same level as the audience, with no one playing on stage. I must not forget to mention that Capri announced every set at the festival all three days, so let's go chronologically…

​Monday, September 21, 2026

Set 1 - Duo: Ivo Perelman (BR/US) & Nate Wooley (US)
​Ivo Perelman - tenor saxophone
​Nate Wooley - trumpet ​The honor of opening this year's festival went to the duo who recently released the album Polarity 4 (a continuation of the extraordinary series Polarity 1, 2, and 3), making this performance its official promotion as well. From the very start, it was clear that a deep, porous understanding existed between the musicians, creating pure magic in the air. They began in a calm, restrained, and slow tone. From the first second, Wooley leaned toward a more radical free improvisation, while Perelman seemed slightly reserved in the opening section.
​It was precisely because of Ivo's initial restraint that a beautiful, expressive melody emanated from his tone. Through their playing, phrasing, and generation gap, they irresistibly called to mind the legendary joint album by Sonny Rollins and Coleman Hawkins at times. The musical communication of this duo rests on an exceptionally high level of mutual respect. Whenever Perelman took the floor, he flooded the space with the gorgeous, mature tones of a seasoned master hitting straight at the emotions.
​Toward the end of the set, both bravely dived into wild, uncharted waters. Their interaction at that point reminded me of two neighbors shouting and arguing fiercely across the windows of a narrow street. At one moment, Wooley used a piece of sheet metal in front of the trumpet's bell to achieve unusual, resonant textures and overtone series. Right before the end, they smoothed out the tension and brought the set to a close without a single repeated tone or cliché—a perfect introduction to the festival's first day.

​Set 2 - Ad hoc trio: Duthoit / Gratkowski / Sjöström
​Isabelle Duthoit (FR) - vocals, clarinet
​Frank Gratkowski (DE) - alto saxophone, bass clarinet
​Harri Sjöström (FI) - soprano saxophone, sopranino saxophone ​The first ad hoc trio of the evening seemed extremely relaxed before stepping out. Compared to the opening duo, they offered a much freer and more abstract approach to structure. The biggest surprise of the evening was certainly the fascinating vocal capabilities of Isabelle Duthoit. Her performance had nothing to do with traditional singing; it was an impressive range of sound onomatopoeia, microtonal shrieks, and expressive articulations reminiscent of experimental animation or quality psychological horror films. At times, she appeared literally possessed by the volume and variety of sounds she extracted from her own throat, while using the clarinet far less this time.
​Frank Gratkowski and Harri Sjöström did not engage in mutual competition; instead, they respectfully yielded space to each other to develop solo passages. It was an extremely entertaining, controlled chaos of sound created on the spot. To be fair, this is not music easily recommended to someone without experience in improvised music, but for the crowd gathered in the club, it was pure acoustic magic—so much so that their interpretation at times felt like internal monologues and sounds from inside one's own head.
​There was no shortage of humorous experiments either; Gratkowski pushed a plastic water bottle into the bell of his alto saxophone at one point to modify the airflow and tone color. The greatest virtue of this trio was their contagious joy of playing and playfulness, which the crowd—gathered in impressive numbers—embraced with open arms.

​Set 3 - Ad hoc trio: Kosack / Do Mar / Millà
​Liz Kosack (US/DE) - keyboards
​Maria Do Mar (PT) - violin
​Jordina Millà (ES/AT) - prepared piano ​Three extraordinary female musicians, who had not performed in this formation before, offered a highly specific concept devoid of wind instruments. Consequently, their set shifted into a deep, psychedelic, and cacophonous exploration of sonic boundaries. The ease with which they create such abstract and unusual music is astonishing. Pianist Jordina Millà barely touched the piano keys; as my friend Žica colorfully noted, she looked as if she had a whole catering spread of props inside the instrument's soundboard to work wonders with. Violinist Maria Do Mar barely touched the strings with her bow (mostly in the higher register), spending most of her time striking the body and back of the instrument, turning the violin into a percussion unit of unusual colors.
​Liz Kosack—visually striking wearing a mask—built her own microtonal universe on the keyboards, comparable to the darkest and most radical phase of Kraftwerk. Here, the famous saying that "writing about music is like dancing about architecture" comes into full effect. Their playing travels from questioning personal insecurity and seeking inner peace all the way to motifs of apocalypse and rebirth. The trio exudes incredible courage and character; with them, you can freely forget everything you previously knew about the classical technique of playing these instruments. Even though the ensemble lacked a standard rhythm section, its absence was not felt—instead, we received a fresh, impressive palette of sound colors.

​Set 4 - UP AND OUT Quartet
​John Edwards (UK) - acoustic bass
​Zlatko Kaučič (SI) - drums, percussion
​Jordina Millà (ES/AT) - prepared piano
Harri Sjöström (FI) - soprano saxophone, sopranino saxophone ​The end of the first day delivered everything required for a festival opening to remain etched in memory. This was a small ensemble possessing the power and texture of a big band. Jordina Millà transformed compared to the previous set: she played the piano according to top-tier free jazz standards, creating a beautiful, highly creative chaos. Zlatko Kaučič behind the drums sounded chamber-like, subtle, and completely wild all at once. Harri Sjöström breathed bold audacity into his saxophone in the style of John Coltrane, while John Edwards worked wonders on a truly gorgeous double bass. As Žica commented: "I'd take that double bass home!"
​Edwards gave his absolute all, playing with the energy typically seen in the fiercest punk musicians—one moment thrashing the strings, the next calming the tension. The feeling when a band lets go of the brakes and steps fully on the gas is priceless. Despite it being the very end of the night and fatigue catching up with us, this group completely woke us up and thrilled us. It was an improvisation in which everyone in the audience found their own piece of meaning. I may have taken the fewest notes during this set, but the reason is simple—I gave myself over to pure enjoyment. Saving the best for the end of day one!

​Tuesday, September 22, 2026

​Set 1 - Ad hoc trio: Edwards / Gauci / Kaučič
​John Edwards (UK) - double bass
​Stephen Gauci (US) - tenor saxophone
​Zlatko Kaučič (SI) - drums, percussion ​The second day started fiercely and without compromise—full throttle downhill! Tenor saxophonist Stephen Gauci carries the untamed spirit of Albert Ayler in his expression: hard-hitting and merciless. For the first time at the festival, that typical jazz scenario occurred where the saxophonist simply stood aside after a solo and handed the stage over to the rhythm section. His stage energy and movements recall Elvis—he cannot stay still for a single second.
​The choice of musicians for this trio was a complete hit, especially pairing Edwards on bass and Gauci on saxophone. Although coming from different sides of the Atlantic (UK and US), they hit 100% the exact same wavelength. Zlatko Kaučič, a seasoned master and living legend of improvised music in our region, didn't lag behind a single millimeter—rocking the drums with the energy of a man in his prime.
​I was left literally speechless during this gig. Any occasional melody started on the saxophone would soon dissolve into an abstract space of complete freedom. The best description for this set would be punk-rock-noise-jazz. It was hard to define who was formally leading the trio, but everyone pushed themselves to the absolute limits of endurance. If I had to single out one set from this year's edition that impressed and won me over unconditionally, it would be this trio.

​Set 2 - Ad hoc quartet: Duthoit / Lisk / Do Mar / Millà
​Isabelle Duthoit (FR) - vocals, clarinet
​Tracy Lisk (US/PT) - drums
​Maria Do Mar (PT) - violin
​Jordina Millà (ES/AT) - prepared piano ​Following the all-male trio, four ladies took the stage and initially directed the music toward a more meditative and fluid spectrum. Isabelle Duthoit once again pulled an unreal range of harmonies and overtones from her voice. Tracy Lisk moved and danced behind the drums according to her own internal rhythmic order. Maria Do Mar continued deconstructing classical rhythmic structure on the violin, while Jordina Millà accompanied them until all four leaped into an extremely high pitch register together.
​Millà dived back into the belly of the piano: tossing plastic cups onto the strings and striking the body of the instrument with wooden sticks with such force as if driving a knife into its heart. At that moment, the music reached a complete cathartic peak, only for Isabelle Duthoit to transition us just a few seconds later into a vision of the quiet Swiss Alps through her free, emotional vocalizations. It is fascinating that none of them play their instrument in a conventional way, instead persistently seeking atypical sounds and creating meditative microscopic textures. They completely settled the atmosphere, entering recognizable ECM territory before delivering a short wave of chaos at the very end that gently faded into a quiet finish.

​Set 3 - Ad hoc trio: Gratkowski / Kaučič / Kosack
​Frank Gratkowski (DE) - alto saxophone, bass clarinet
​Zlatko Kaučič (SI) - drums, percussion
​Liz Kosack (US/DE) - keyboards ​The set started smoothly and calmly. It felt as if Gratkowski was taking on the narrator's role on woodwinds. The ensemble would occasionally go wild out of nowhere, but quickly return to calm waters and continue exploring harmonies. Liz Kosack performed with her mask on once again this evening. At the end of the festival, she shared her reasons for wearing the mask with me, but I will intentionally keep those details to myself—with a small note that she crafts all her masks herself.
​It was mesmerizing to watch how naturally the members of this ad hoc trio relied on one another, as if they had been playing in a permanent lineup for years. The music traveled in the most diverse directions; while each of them sounded somewhat more extreme the day before, here they delivered a subtler improvisation with pronounced space-rock elements (in the vein of early Soft Machine). It was interesting to watch the ease with which they jumped from one soundscape to another while holding onto the firm direction set at the beginning. They played two longer improvisations—the second started calmly, but when Zlatko Kaučič began blowing through a flexible tube from his percussion arsenal, the entire trio drifted into a complete, surreal cacophony.

​Set 4 - Ad hoc brass septet
​Jure Boršič (SI) - alto saxophone, clarinet
​Dóra Attila (HU) - bass clarinet, alto saxophone
​Stephen Gauci (US) - tenor saxophone
​Ivan Haubrih (HR) - saxophones
​Nikola Vuković (SRB) - trumpet
​Nate Wooley (US) - trumpet
​Luka Zabric (SI) - alto saxophone ​As the finale of the second day, something rarely seen was offered: a wind septet without bass, drums, or any other rhythmic accompaniment. Headless chaos was expected, yet the set began surprisingly calm and collected. Creative chaos soon erupted, but it was highly controlled and collective—nobody pushed themselves into the foreground; instead, musicians checked in and out like carefully programmed channels.
​After an initial testing of grounds, everyone entered into shared communication more comfortably. Although I personally would have liked everything to go to an even more uncontrolled extreme, it was extremely interesting to watch the narrative move in a more concrete and restrained direction. The musicians listened to each other carefully, ensuring no one took up too much space. There were inventive sound extensions: shoving chip tubes into saxophone bells, toy blowers attached to a piccolo trumpet, and playing on metal sheets to achieve a different texture. Although there were noticeably fewer visitors in the club on the second day compared to the opening, only the most persistent and brave enthusiasts stayed for this final set.

​Wednesday, September 23, 2026

​Set 1 - Ad hoc quartet: Gratkowski / Kaučič / Perelman / Wooley
​Frank Gratkowski (DE) - alto saxophone, bass clarinet
​Zlatko Kaučič (SI) - drums, percussion
​Ivo Perelman (BR/US) - tenor saxophone
​Nate Wooley (US) - trumpet ​It was a true pleasure to watch top professionals like these gathered together. Considerably larger global jazz and improv festivals would be proud to bring such a powerful quartet to one stage. The ensemble had an unusual concept once again—no bass or piano, featuring three woodwinds/brass and drums. On the third day, audience turnout was significantly better as well.
​The music moved within free jazz patterns with occasional detours into pure improvisation. The moments when they let go completely were a true balm for the ears, especially the way they calmed the form down after fierce explosions and entered a beautiful, wistful, "drunken" blues enjoyed equally by the performers and the audience. Particularly striking was the moment when the whole band stopped abruptly, then cohesively switched to a thematic phrase irresistibly reminiscent of Albert Ayler's iconic hymnal theme. After the first improvisation, they took a short break and then treated us to another outstanding continuation. Hats off to Zlatko Kaučič—stepping onto the stage for the fourth time in three days and playing with this much freshness is something only a true legend can do!

​Set 2 - Ad hoc quintet: Deronjić / Gauci / Janje / Kafka / Lisk
​Matej Deronjić (HR) - piano
​Stephen Gauci (US) - tenor saxophone
​Boris Janje (HR/SI) - acoustic bass
​Damir P. Kafka - Capri (HR) - soprano/alto saxophone, violin
​Tracy Lisk (US/PT) - drums ​The majority of this quintet consisted of local and regional talents, which we can be immensely proud of. They started on a more chamber-like tone, but with Stephen Gauci present, it was clear the performance would soon head toward more avant-garde realms. Gauci possesses an extraordinary, rich tone and demonstrated astonishing range across all three days.
​Although this lineup seemed somewhat more restrained, their improvisation had depth and layering. The rest of the crew was in great spirits: Matej Deronjić reached into the inside of the piano alongside playing the keys, Capri played the violin holding it like a guitar in the opening section, Boris Janje pulled massive tones out of the double bass using a bow, while Tracy Lisk tied all elements into a cohesive whole with her signature organic drumming style. The middle section of the set offered charged emotion, and true madness broke out when Capri switched from violin to alto saxophone—the band exploded into pure, liberating free-jazz chaos at that exact moment.

​Set 3 - Ad hoc septet: Duthoit / Edwards / Gratkowski / Kosack / Millà / Sjöström / Wooley
​Isabelle Duthoit (FR) - vocals, clarinet
​John Edwards (UK) - acoustic bass
​Frank Gratkowski (DE) - alto saxophone, bass clarinet
​Liz Kosack (US/DE) - keyboards
​Jordina Millà (ES/AT) - prepared piano
​Harri Sjöström (FI) - soprano saxophone, sopranino saxophone
​Nate Wooley (US) - trumpet ​If there was an expectation that the festival would reach its peak in radical improvisation, it happened during this set. The ensemble delivered chamber-like, quieter, yet extremely heavy and multi-layered music—best described as a soundtrack for an iconic underground film that was never made. Isabelle Duthoit once again demonstrated vocal heroics, traversing a full spectrum from deep bass to high alto.
​The musicians built a shared space without a trace of competition, drawing the maximum out of one another. It was an unusual and deep acoustic meditation. Instruments were not used to find conventional aesthetic tone beauty, but rather to explore microtones, creaks, and textures of silence. The audience rewarded this fantastic performance with the loudest and longest applause of the entire festival—fully deserved!

​Set 4 - Apeiron Collective (conducted by Frank Gratkowski, briefly by Leo Beslać)
​Apeiron Improvised Music Collective
​Frank Gratkowski - conducting ​The final set brought a repeat performance by Apeiron, a collective for free and improvised music. At the very beginning, Leo Beslać conducted the orchestra in a highly dramatic and theatrical manner, before Frank Gratkowski took over the conductor's baton after about ten minutes. Musically, this set built on previous programs—featuring quieter dynamics and frequent improvisational outbursts.
​However, compared to last year's edition, this performance seemed to lack genuine power, direction, and focus. There were beautiful moments, such as a touching piccolo trumpet solo that could melt the coldest hearts, but it lacked more conductorial courage and freedom. When everything ran strictly and precisely according to the set rules of a conducted concept, it felt predictable to me. Last year, Elliott Sharp worked wonders with the same collective (Capri told me Elliot Sharp even released that gig online!), so comparing it to that performance may have set high standards. Perhaps the reason also lay in the fact that wind instruments dominated the lineup this year without a broader spectrum of other colors, but the impression remained that Apeiron lacked creative structure and that true, untamed energy this time.

​Instead of a Conclusion!

This festival represents some of the very best music events happening in our city. I write these dates into my calendar in advance and plan my vacation around them so I don't miss a single set.
​Beyond the great names we rediscover every year, the festival's greatest strength lies in its exceptionally well-thought-out concept of ad hoc ensembles and unusual instrument combinations rarely seen even at much larger European events. A special value is that direct, friendly atmosphere during breaks, when the audience and musicians gather in front of Močvara together, talking and sharing impressions. That is what makes this small festival so big and important. Capri, thanks once again for that! Although the road to the anniversary 10th edition is still long, I deeply believe this precious concept will endure. Pure magic of improvised music!

jura // 25/09/2026