On the Adriatic coast, facing the not-too-distant shores of Montenegro, the city of Bari in Apulia has long been a meeting point of cultures. So it was obviously a perfect spot for this year’s European Jazz Conference (EJC). It was hosted in various historical venues around the city and its debates and meetings were articulated around the theme “Somewhere Called Home”, a title inspired by Norma Winstone’s 1987 ECM album.
Musicians often find themselves leaving their original homes in search of a place where their art can flourish. Such is the case for Paris-based bassist Matteo Bortone, happily returning to his native Apulia with his four French bandmates. Together they form No Land’s (sic), a name evoking the rootlessness of travellers with no fixed home, forced to adapt to ever-changing landscapes. Performing in the stunning courtyard of Castello Svevo – an imposing fortress at the edge of Bari’s old town – this Franco-Italian ensemble presented its second release, A Tree In The Mist. The ethereal sound of Bortone’s band, infused with diverse influences, seemed to offer a musical response to the question raised earlier in a panel featuring Soweto Kinch: “Can music help overcome fear and division in our societies?” In other words, does music have the power to transcend the barriers of our fragmented world? Judging by the performance, the answer leaned toward “Yes.” Jazz, in particular, has shown its ability to connect people across cultures, languages and histories.
That same question inspired pianist Esmeralda Sella, who expanded her trio by adding a dancer. Shrouded in fabric until emerging to perform a song in a Middle Eastern language, the dancer added an unexpected theatrical layer. Founded in 2022, Sella’s trio recorded its debut album last year, and, if this performance is any indication, her career is on a steep upward path. Next on stage in Teatro Piccini, the oldest theatre of Bari, trombonist Matteo Paggi, a member of Enrico Rava’s Fearless Five quintet, presented his latest project, Giraffe. In the world of symbolism, the giraffe represents foresight. Indeed, with its head far from its heart, it can take decisions with a certain detachment and this seems to be what Paggi had in mind when he started composing for his album.
Not every concert during the festival met expectations, but the so-called Fringe Festival brought fresh energy to the evenings. After a chaotic Friday indoors – when the crowds practically had to fight their way into two small venues – the event wisely shifted outdoors to Piazza del Ferrarese. There, Gaetano Partipilo’s Boom Collective kicked off the night, joined by Kansas City trumpeter Hermon Mehari, the only musician who also performed at last year’s EJC in Ghent. Trading phrases with bassist Federico Pecoraro, Mehari proved a brilliant addition to the septet’s new repertoire.
The following sets leaned more toward fusion and smooth jazz. They featured Raffaele Casarano’s quintet, with pianist Giovanni Guidi, and Umoja, powered by the vibrant tenor saxophone of Timo Lassy. Yet the true highlight came last. Ferdinando Farao’s Artchipel Orchestra, one of Europe’s most inventive large ensembles, filled the stage with 18 musicians and an explosive mix of original works and arrangements of Frank Zappa and Hugh Hopper. With guest soloists Roberto Ottaviano (ss), Gianluca Petrella (tb) and Luisiana Lo Russo (vn), the orchestra played past midnight, leaving the audience with the sense that only fireworks could have matched the sonic brilliance on stage.
It was a fitting conclusion to the European Jazz Conference: a musical firestorm before the inevitable journeys somewhere called “home”. For many, that meant hours spent navigating airport terminals – places that can never qualify as home. Next year, the EJC moves to Cologne. For most, the journey promises to be less daunting. Some will reach it by swift train, others may endure the notorious delays of Deutsche Bahn. In any case, let’s already mark the dates in our diary: 24-27 September 2026.
European Jazz Conference 2025. Bari, Italy, 25-28 September
