Impronedjeljak: CONSTANCE COOPER, EDITH STEYER, CRISTIANA FUSSILO, ELENA BOSCHI, DAVID KARLA, IVAN MRŠIĆ, IVAN, CAPRI, IVAN MARINCEL (US, DE, IT, HU, NZ, HR) @ Scena Ribnjak, Zg, 29/06/25 [ 30/06/2025

For the penultimate Impronedjeljak of the season, I arrived with a special kind of mental curiosity — the kind that awakens when you know something unrepeatable awaits you. A combination of an international lineup of musicians (Constance Cooper (US) - piano and vocals, Edith Steyer (DE) - clarinet, David Karla (HU) - tenor saxophone, Franjo Glušac (HR) - guitar, Ivan Mršić (NZ) - percussion, various percussive instruments, Capri (HR) - soprano saxophone, Ivan (HR) - alto saxophone, Ivan Marincel (HR) - trombone), two contemporary dancers (Cristiana Fusillo (IT), Elena Boschi (IT)), and the open-air plateau in front of the Ribnjak Center promised an evening where sound and movement would merge into a unique improvised dialogue. And they did not disappoint — on the contrary, they exceeded all expectations.

Ad hoc ensemble that sounds like it's been playing together for years

The musicians performing at this show were playing together for the first time in this specific lineup, but no one in the audience would have guessed it. The chemistry between them was unmistakable, and their attentive listening and intuitive communication throughout the concert gave the impression of a long-standing collaboration. In addition to the already impressive international lineup, a surprise appearance by guitarist Franjo Glušac added extra texture and energy to the improvisation. Later in the performance, Capri joined on soprano saxophone, Ivan on alto saxophone, and in the second part, Ivan Marincel on trombone, giving the brass section a deeper, richer timbre.

Constance Cooper, a pianist and vocalist whose musical and life experience radiate both dignity and playfulness opened the concert. Though advanced in years, Cooper exudes infectious enthusiasm — her piano playing is both thoughtful and spontaneous, while her vocal lines arise from a place of complete surrender. She was soon joined by the horn section, bringing a gentle musical breeze to the warm Zagreb night — just what was needed.

Franjo Glušac on guitar took things even further — or more accurately, many steps further — using his instrument not just for tones, but as a percussive and textural body. There were squeaks, tapping, and even sounds more reminiscent of electronic music than classic guitar. Clarinetist Edith Steyer quite literally played with her instrument, extracting unusual, at times almost grotesque sounds that hovered on the edge between experiment and humor. During a brief chat at the intermission, she revealed that her "clarinet blistering" technique is actually her way of achieving deeper and subtler resonances. Interesting aspect of the evening was the absence of a traditional drummer — but rather than creating a void, this opened up space for a different kind of rhythmic dynamic. That role was taken on with great inventiveness by Ivan Mršić, a Zagreb-born musician long based in New Zealand. His approach to rhythm was more textural than metrical — he created atmospheres, rustles, pulses that supported the musical structure without overpowering it.

Using a variety of percussion, metal objects, wooden boxes, and unusual items not typically found in a percussionist's arsenal, Mršić added a subtle yet distinctly present rhythmic layer. He didn't lead or impose structure — he worked beneath the surface, sometimes barely audible, but always with a precise sense of timing. His percussive palette painted the sonic space like watercolor on paper — soft, layered, and spontaneous.

In an improvised context such as this, where everyone searches for a meeting point between idea and instinct, Mršić functioned as connective tissue. His rhythmic presence was a quiet force — unobtrusive, yet indispensable.

Dance as an extension of sound, the body as instrument

Adding a whole new dimension to the evening were the two contemporary dancers, whose performance could be described as a true embodiment of the music. Emerging almost imperceptibly from the shadows of the hill behind the stage, they gradually wove themselves into the performance space — first cautiously, almost ritually, then increasingly expressive and free. At one point, they took the stage — not as dominating protagonists, but as integral elements of the musical improvisation. A particularly striking moment was interaction with David Karla on saxophone — a dialogue of motion and breath that completely erased the boundary between stage art and musical improvisation. There was also contact with the audience, exploration of space, suggestions of birth and death, even provocative gestures that simultaneously moved and amused. The dance they performed felt like a metaphor for life — its waves, oscillations, comings and goings.

Two-part contrast: meditation and ecstasy

The first part of the concert was introspective, almost meditative — the musicians listened closely to one another, carefully constructing a shared soundscape where the silence between tones held power. It was a slow awakening, but as time passed, the music blossomed into more complex and emotionally charged structures. Even at their most intense, the musicians never lost their clarity of listening. The second part was more dynamic, bursting with energy and fire. The horn section let loose — especially Ivan on alto saxophone, whose expressive solos gave the concert a "spicy" edge that personally hit me the hardest. For fans of more visceral, powerful improvised sound, this was the highlight of the evening. At times, the musical atmosphere echoed the sonic landscapes of the 1976 album Jazz at Folkstudio by Italy's Folk Magic Band — raw, free, and full of spirit. A warm recommendation for anyone fond of this kind of music.

Togetherness as the closing note

As always with Impronedjeljak, the concert ended with relaxed mingling between the audience and performers. This aspect gives the series its special character — the opportunity to chat with artists who, despite rich careers, remain approachable, open, and curious. It's the human element of improvisation that isn't written in the notes, but found in a glance, a smile, and shared laughter over a drink after the show. Impronedjeljci are more than just concerts — they're rituals of togetherness, spaces for exploration and freedom of expression. The next one takes place on July 14th at Melin, and if you're even remotely inclined toward musical adventures, don't miss it.

jura // 30/06/2025