Marking a significant milestone in its history, jazzahead! (so styled) celebrated its 20th anniversary with flair – an achievement greatly enhanced by the presence of partner country Sweden. Long considered a prime candidate for the festival spotlight, Sweden not only met but exceeded expectations.
After a somewhat underwhelming opening by the Norrbotten Big Band – whose focus appeared to emerge only in the second half of the Grand Opening night – it was a relief that the standard rose sharply. Across the three-day festival, showcase acts consistently delivered performances that surpassed expectations. Among them, the Agnas brothers stood out: the four siblings displayed a near-telepathic interplay, with guitarist Kasper Agnas’s Frisell-inspired textures delicately balanced by Max on piano, while Mauritz (bass) and Konrad (drums) provided a responsive and dynamic backbone.
Well known across the European jazz scene for his role in the “e.s.t. 30” tribute project, Swedish pianist Joel Lyssarides opened the first day of showcases with material from his latest ACT Music release, Late On Earth. Recalling how he would skip school to spend more time at the piano, Lyssarides now appears to be reaping the rewards of that early dedication, as his career continues its upward trajectory. With a more classically rooted approach, South Korean pianist Sol Jang, joined by Johannes Fend on double bass and Max Hering on drums, delivered a refined set that underscored the strength of the Dutch jazz scene.
Belgium’s vibrant jazz landscape was equally well represented. Following her 2023 Jazzahead! selection with her Trombone Ensemble, Nabou Claerhout returned to present her third quartet release and Edition Records debut, Indigo. Her music remains compelling in its clarity and emotional pull. Brussels-based pianist Wajdi Riahi offered what was arguably the standout performance of the entire selection. Joined by close collaborators, his 30-minute set unfolded with hypnotic intensity, culminating in a well-deserved standing ovation. A former student of Eric Legnini, Riahi continues to build an impressive career through both his trio work and collaborations with artists such as Adèle Viret, Stéphane Galland and the Aleph Quintet.
To mark its 20th anniversary, jazzahead! expanded its traditional Clubnight – already spanning much of Bremen – to include neighbouring city Bremerhaven, effectively doubling the event to two nights for the first time. This extension proved particularly meaningful for countries not represented in the official showcase selection. Luxembourg, for instance, hosted its first-ever Clubnight, featuring emerging guitarist Veda Bartringer alongside established names such as Pascal Schumacher (with his Singülar project) and Arthur Possing.
Sweden’s presence was pervasive throughout the festival, notably at St. Petri Dom in Bremen’s historic centre. Hosting Clubnight performances for the first time, the church provided an ideal acoustic setting for the Swedish Bach trio project. Opening with Bach’s only passacaglia, the ensemble- Emil Carlsson Rinstad (piano), Magnus Bergström (double bass) and Ola Winkler (drums) – offered a set that bridged baroque composition and improvisation. As pianist Cecil Taylor once told me, Bach may well be regarded as one of history’s earliest improvisers. The trio was followed by Swedish drummer Magnus Öström, who partnered with Ukrainian pianist Andrii Pokaz for an intimate and intense duo performance. Their collaboration, born in Warsaw, centres on Pokaz’s original compositions and is expected to be released on record in the near future. As CDs are becoming a rarity in the stands of jazzahead!’s Trade Fair and income from recording is more limited, we are being reminded that musicians do keep recording even when there is no certainty that their work ends up other than on a streaming platform.
The enduring popularity of the piano-trio format was evident, as in most years. Swedish pianist Daniel Karlsson, a leading figure on the national scene for nearly two decades, delivered a high-energy set alongside Frederik Rundqvist (drums) and Christian Spering (double bass), leaving the audience visibly exhilarated. A similarly powerful impression was made by ACT Music newcomer Sharon Mansur, whose performance blended lyrical passages with bursts of Middle-Eastern-inflected energy.
Among the German Expo showcases, trumpeter Richard Koch’s quintet stood out as a testament to the vitality of the local jazz scene. With Nora Thiele on frame drums, Valentin Butt on accordion, Igor Spallati on bass and Fabiana Striffler on violin, the ensemble’s spirited interplay – particularly between Koch and Striffler – offered a welcome antidote to the darker currents shaping the global landscape. Elsewhere, the aptly named trio Bonsai, led by drummer Luka Klein, proved that scale need not limit impact. Featuring trombonist Svenja Burmester and bass clarinetist Justus Czaske, the group delivered a tightly focused and inventive set, reimagining the roles of their instruments. The UK contingent made a particularly strong impression with Laura Jurd’s latest project, which delivered an outstanding and memorable showcase at the Schlachthof, captivating the audience with its originality and energy.
In recent years, Jazzahead! has seen a notable rise in attendance at gigs, with this year’s audience exceeding 20,000 visitors, while industry participation at the Trade Fair remained at around 3,000. This growing imbalance may well reflect broader shifts within the music industry, because of the financial squeeze on traditional record labels. Time will tell how this dynamic evolves. For now, as Bremen’s seagulls remain curiously silent – as if in reverence to this annual gathering of jazz – I turn my attention to Tallinn, where the next edition of Jazzkaar awaits. It’s perhaps a taster for 2027, since Estonia and its Baltic neighbours will take centre stage as jazzahead!’s partner countries.
jazzahead!, Bremen, Germany, 22-25 April 2026. jazzahead.de
