What’s Happening, Juhamatti Kauppinen?

Juhamatti Kauppinen, who has had a long career as the Artistic Director of Tampere Jazz Happening, shares insights into the event’s last-minute arrangements, the challenges brought on by the renovation of Tullikamari, and what it feels like to leave behind a beloved festival after this edition. Alongside the sense of wistfulness lives an excitement for a new phase in life, where jazz continues to play a strong role.

What’s Happening?

Thanks for asking – we are in the final stages of preparing the festival, and so far, everything is under control. Admittedly, there are a few more butterflies than usual, mainly due to the replacement venues for Tullikamari. The renovation of Tullikamari has caused us quite a bit of headache, extra work and expense. Over the decades, the venue has become more than familiar and is simply the best possible setting for this festival – but luckily, we are still in the same neighbourhood. All in all, things are going well.

You have been the Artistic Director of Tampere Jazz Happening since 2002 – longer than anyone else. Still, it is a bit surprising that you are retiring already, at just 65. Why now, and how are you feeling about it? At least ageing hasn’t shown in your work as Artistic Director.

I started organising gigs for my own bands at the age of 15, then got involved in a couple of live music associations, and I have worked professionally in the field in various roles since the late ’80s. Fifty years as a promoter feels like just the right stretch for this kind of work. It is time to make room for the younger generation. I am stepping aside in good spirits. Though there is a touch of wistfulness in the air, I also have plenty of exciting new plans.

During your time, the festival has become a cherished beacon in the darker season – appreciated by both audiences and musicians – where musical quality comes first, regardless of genre. How easy or difficult is it to stick to such a principle year after year? Times do change, after all, and so do music and people.

From the very beginning, my guiding principle has been to preserve the direction set by the jazz club Break, keeping it as the festival’s central thread. Perhaps I have a knack for spotting music that carries feeling, and a bit of charisma from the musicians never hurts. A good band name isn’t a bad idea either. It’s all about the vibe. My enthusiasm for discovering new and interesting music remains strong, and I’m constantly seeking fresh musical experiences, both live and on record.

Over the years, you have selected an estimated 700 bands to perform at the festival, from among thousands and thousands of candidates. It might be pointless to ask about favourites, but are there perhaps some unforgettable ones that were especially meaningful to you? And were there any artists you tried to bring to Tampere but never managed to, despite many attempts?

It’s very difficult to pick just a few outstanding emotional experiences from all of them, but let’s say Charles Lloyd Quartet, Chicago Tentet, Esbjörn Svensson Trio, aja monet, Linton Kwesi Johnson & Dennis Bovell Dub Band, David Murray Infinity Quartet feat. Saul Williams, Dr. Lonnie Smith, The Art Ensemble of Chicago, Tony Allen, Mulatu Astatke, The Skatalites… The list would be very long. Sonny Rollins would certainly have been a dream to bring to Tampere.

What’s going to happen?

On a broader scale, I’d wish for a new government in Finland right away, and world peace. As for my own future, it will continue to revolve around music, with at least as much enthusiasm as before. At the end of the year, my band will get into the new and magnificent Nekalab cultural centre, where we will be among the first – it’s going to be a real celebration. And right in my own neighbourhood, too. I have no plans to get a rocking chair. To close, I’ll quote Dave Lindholm: “Let’s see now, this is what’s on my mind and this is how it looks right now — unless something extraordinary happens.”