EUROPE • NOVEMBER 2026 • FESTIVAL SPECIAL REPORT • EU Jazz & Blues Festival 2026!!!
Europe in November has a particular musical atmosphere. Its historic concert halls, intimate jazz clubs, theatres, cultural centres and beautifully illuminated city streets become gathering places for musicians whose artistic languages may be different, yet whose deepest inspiration comes from the same source: the freedom of music.
The 2026 Autumn–Winter Jazz – Blues Season of the EU Jazz & Blues Festival continues this extraordinary journey, bringing together internationally celebrated artists, Grammy Award winners, innovative young musicians, distinguished instrumentalists and passionate representatives of the blues tradition.
From Paris to Vienna, Milan to London, Berlin to Bremen, Hamburg to Madrid, and from the Mediterranean landscapes of southern France to the cultural heart of Toulouse, the programme demonstrates the extraordinary diversity of contemporary European musical life.
This is not simply a succession of concerts. It is a meeting of generations, traditions, musical philosophies and artistic personalities. It is a celebration of the relationship between jazz and improvisation, blues and human emotion, sophisticated arrangements and spontaneous musical discovery.
The programme is particularly remarkable for the contrasts it embraces. The extraordinary vocal architecture of Take 6 stands alongside the experimental dialogue of David Binney and Louis Cole. The youthful energy of the Moses Yoofee Trio meets the sophisticated Scandinavian sound of Nils Petter Molvær and Rymden. The deeply rooted blues-rock language of Joe Bonamassa and Ainsley Lister finds its place beside the modern rhythmic imagination of Nate Smith and Theo Croker.
And throughout this European musical journey, one principle remains constant: jazz and blues are living art forms, continually renewed by musicians who respect their traditions while refusing to be limited by them.
The concerts – an artistic journey across Europe
Take 6 – The Rhapsody Tour
La Seine Musicale, Boulogne-Billancourt, Paris, France! Few vocal ensembles have transformed the possibilities of a cappella music as profoundly as Take 6. Their appearance at the magnificent La Seine Musicale with the programme Rhapsody represents one of the most sophisticated vocal-jazz highlights of this European season.
The ensemble’s extraordinary musical identity has always been built upon the meeting of gospel traditions, jazz harmony, rhythm and blues, sophisticated vocal arrangements and an almost orchestral approach to the human voice. Their multiple Grammy Awards are a testament not only to their technical achievements but also to their lasting influence on contemporary vocal music.
The Rhapsody programme offers a particularly fascinating opportunity to explore jazz standards through the distinctive Take 6 vocabulary.
What makes this ensemble so remarkable is its ability to transform six individual voices into an extraordinarily flexible musical instrument. The bass establishes the harmonic foundation, the baritone and tenor voices construct the inner architecture, while the higher registers provide colour, movement and melodic brilliance.
Their approach to improvisation is equally fascinating. Rather than relying on instrumental accompaniment, the singers create an entire musical environment through vocal percussion, rhythmic syllables, harmonic extensions, contrapuntal movement and subtle dynamic changes.
A familiar jazz standard can suddenly acquire an entirely new identity: a phrase may begin as a gentle ballad, develop into a swinging passage and eventually become a complex gospel-infused harmonic celebration.
La Seine Musicale, with its contemporary architecture and impressive acoustics, provides an exceptional setting for such an experience. This is music that demonstrates how extraordinary the human voice can become when precision, imagination, discipline and emotion meet.
David Binney & Louis Cole – A Meeting of Musical Independence
La Petite Halle, Paris, France! The encounter between saxophonist David Binney and drummer, composer and producer Louis Cole represents one of the most intriguing combinations of the season. Both musicians have developed distinctive musical identities outside conventional stylistic boundaries.
Binney belongs to the generation of contemporary jazz improvisers who have expanded the harmonic and compositional language of modern jazz. His alto saxophone possesses an unmistakable character: incisive, articulate, intellectually adventurous and capable of moving from lyrical reflection to explosive improvisational intensity. His compositions frequently reveal an interest in complex rhythmic structures, unusual harmonic relationships and musical narratives that develop through carefully constructed yet open-ended forms.
Louis Cole brings another dimension to this encounter. Known as a co-founder of KNOWER, he has established himself as one of the most original rhythmic personalities in contemporary music. His drumming combines extraordinary technical control, electronic sensibility, unexpected rhythmic accents and a powerful understanding of groove.
The meeting of these two artists creates an exciting artistic proposition. The saxophone can unfold a long, harmonically sophisticated melodic statement while the drums respond with irregular accents, sharply defined rhythmic figures and unexpected changes of intensity. At other moments, the relationship can reverse: Cole establishes a rhythmic landscape, and Binney explores its possibilities through spontaneous melodic invention.
La Petite Halle is particularly appropriate for this kind of musical encounter. Its informal, contemporary atmosphere encourages close contact between musicians and listeners. The result is a fascinating dialogue between acoustic jazz improvisation and the rhythmic imagination of the contemporary experimental scene. The performance was scheduled for 5 November, as confirmed by La Petite Halle.
Moses Yoofee Trio – The New Energy of European Jazz
Porgy & Bess, Vienna, Austria! The appearance of the Moses Yoofee Trio at Vienna’s legendary Porgy & Bess represents the younger generation’s increasingly important contribution to European jazz.
Featuring Moses Yoofee on piano, Roman Klobe on bass and Noah Fürbringer on drums, the trio has developed a contemporary musical vocabulary that moves naturally between jazz, hip-hop, soul, R&B and electronic influences.
Their music is energetic without being superficial, technically sophisticated without losing its accessibility, and experimental without abandoning the essential values of musical communication.
Moses Yoofee’s piano playing is particularly interesting because it combines harmonic imagination with a strong rhythmic identity. His phrases can emerge from the traditional language of jazz piano before suddenly transforming into syncopated patterns, modern harmonic sequences and sharply defined rhythmic motifs.
Roman Klobe provides a flexible foundation, responding to the changing musical direction with sensitivity and rhythmic precision. Noah Fürbringer is an especially important component of the trio’s personality. His drumming contributes an energetic, contemporary pulse, frequently blurring the boundaries between traditional jazz swing, hip-hop rhythms and more experimental grooves.
The trio’s strength lies in its collective approach. Rather than presenting three separate instrumental performances, the musicians construct a shared musical environment in which every rhythmic gesture can influence the next improvisational decision.
Porgy & Bess, one of Vienna’s most respected jazz institutions, is an ideal location for this kind of contemporary music. The trio’s appearance on 5 November was listed as sold out by the club, an encouraging indication of the enthusiasm surrounding this generation of musicians.
Alexis Lombre – Soul, Jazz and the Art of Musical Storytelling
Blue Note Milano, Milan, Italy! The presence of American pianist, vocalist and composer Alexis Lombre brings an especially soulful dimension to the festival’s Milan programme.
A musician associated with Chicago’s vibrant creative music community, Lombre represents an artistic generation that understands jazz not as a closed stylistic category but as an expansive language capable of embracing gospel, soul, R&B, hip-hop and contemporary improvisation. Her musical personality is rooted in expressive communication. The piano provides a harmonic and rhythmic foundation, while her compositional sensibility reflects the influence of African American musical traditions and the contemporary urban experience.
There is an important distinction between playing notes beautifully and communicating something through music. Lombre’s artistic approach places particular emphasis on the second. Her work is characterised by emotional sincerity, soulful harmonic language and a willingness to move between genres without artificial divisions.
At Blue Note Milano, this musical personality belongs naturally within the club’s long tradition of presenting artists who connect jazz heritage with contemporary expression. That distinction does not diminish her importance. On the contrary, her participation in this international female-led musical collaboration offers a particularly interesting artistic context.
Ainsley Lister – British Blues-Rock with Character and Soul
Altes Kino Rankweil, Rankweil, Austria! British guitarist, singer and songwriter Ainsley Lister brings the authentic spirit of contemporary blues-rock to the Austrian chapter of the festival.
Lister belongs to a tradition of guitarists for whom the blues is not simply a historical vocabulary but an expressive language that continues to evolve. His musical personality combines the emotional directness of traditional blues with the intensity and sonic freedom of rock. His guitar playing can be forceful and powerful, yet it also possesses an instinctive lyrical quality.
The most interesting aspect of this kind of performance is the relationship between restraint and intensity. A single sustained guitar note, coloured by vibrato and carefully controlled amplification, can communicate more than a long sequence of technically impressive phrases. The emotional value of a blues performance often emerges from precisely this ability to shape tension, release and melodic expectation.
Lister’s singing adds another essential dimension. The voice carries the narrative, while the guitar expands and sometimes challenges it, creating a conversation between lyrical expression and instrumental improvisation.
The intimate atmosphere of Altes Kino Rankweil offers a particularly appropriate environment for this musical language. In a smaller venue, the audience can experience the details that sometimes become lost in larger concert spaces: the articulation of the guitar, the interaction between the rhythm section and soloist, the subtle changes in dynamics and the emotional character of the vocals. This is blues-rock at its most communicative: direct, passionate, personal and deeply connected to the tradition.
Joe Bonamassa – A Major Celebration of Contemporary Blues-Rock
Zénith Toulouse Métropole, Toulouse, France! The appearance of Joe Bonamassa in Toulouse is among the major blues-rock attractions of the festival season.
Over the course of his distinguished international career, Bonamassa has become one of the most recognisable guitarists in contemporary blues-rock, combining an extensive knowledge of blues history with the power, sophistication and scale of modern rock performance. His guitar language reflects a remarkable range of influences. The expressive vocabulary of B.B. King, the explosive energy of British blues-rock, the dramatic phrasing of classic electric blues and the expansive sound of arena rock all contribute to his distinctive musical identity.
Yet Bonamassa’s artistry is not simply about virtuosity. His strongest performances demonstrate a deep understanding of musical architecture. He knows how to build an instrumental passage gradually, beginning with a relatively restrained melodic statement before increasing its intensity through phrasing, harmonic development and dynamic control.
The Toulouse concert is particularly associated with his album Breakthrough, while also embracing important compositions from his extensive recording career. The large-scale environment of Zénith Toulouse Métropole allows his band to develop the full dimensions of this music.
A powerful rhythm section, carefully constructed arrangements and the expressive possibilities of Bonamassa’s guitar create a performance in which blues tradition meets contemporary concert production.
The most compelling moments in such a concert often arrive when the music moves beyond sheer volume and technical brilliance. A beautifully shaped guitar phrase, a sudden harmonic shift or an extended instrumental passage can reveal the emotional depth behind the spectacular sound.
Andres Roots – Thirty Years of Blues, Experience and Artistic Independence
Sendesaal Bremen, Bremen, Germany! The celebration of the 30th anniversary of Estonian guitarist Andres Roots on stage is a particularly meaningful moment in the festival’s blues programme.
Roots represents a European blues tradition that has developed its own character while remaining deeply connected to the historical roots of the genre. His music reflects the expressive possibilities of acoustic and electric blues, drawing upon the traditions of the Mississippi Delta, country blues and the European interpretation of American roots music.
The anniversary gives the performance an additional emotional significance. Thirty years on stage represent much more than technical experience. They represent thousands of musical encounters, countless hours of performance, an evolving relationship with the instrument and the gradual development of an individual artistic voice.
The distinction of being recognised as a Blues Hall of Fame artist, as presented in the festival programme, adds another dimension to this celebration. Sendesaal Bremen is an especially attractive venue for such a performance. Its reputation for excellent acoustics and its intimate relationship between performer and audience make it possible to appreciate the subtle elements of blues interpretation.
In this environment, the smallest musical details become meaningful: the resonance of a guitar string, the rhythmic placement of a phrase, the expressive pauses between notes and the emotional weight of a familiar blues progression. The Andres Roots anniversary concert celebrates the endurance of the blues as a living European musical tradition.
Marialy Pacheco & Maite Hontelé – The Grandeur of Latin Jazz and Musical Dialogue
Große Blues & Boogie Night, Friedrich-Ebert-Halle, Hamburg, Germany! The appearance of pianist Marialy Pacheco and trumpeter Maite Hontelé brings an exciting Latin dimension to the festival’s German programme.
Their musical identities are distinct, yet they share an extraordinary understanding of rhythm, melodic expression and the relationship between jazz improvisation and Latin American musical traditions. Pacheco’s piano playing is characterised by rhythmic vitality, harmonic sophistication and a powerful connection to Cuban musical culture.
Her performances frequently combine the complexity of contemporary jazz with the rhythmic foundations of Cuban music, creating a sound that can be simultaneously intellectually engaging and irresistibly danceable. Maite Hontelé brings the brilliance of the trumpet, with a musical language influenced by salsa, Afro-Cuban traditions, Latin jazz and the broader history of Caribbean music.
Her sound possesses warmth, clarity and a natural sense of rhythmic movement. The meeting of piano and trumpet offers particularly rich possibilities. The piano can establish intricate rhythmic patterns and harmonic progressions, while the trumpet responds with melodic statements that combine lyrical elegance with improvisational freedom.
Presented within the atmosphere of the Große Blues & Boogie Night, their contribution also demonstrates how naturally jazz can connect with blues, boogie and the wider traditions of dance-oriented music. The Friedrich-Ebert-Halle provides a spacious setting for this celebration of musical colour, rhythm and international exchange.
Theo Croker – A New Vocabulary for the Modern Trumpet
Ronnie Scott’s Jazz Club, London, United Kingdom! The appearance of Theo Croker at the legendary Ronnie Scott’s Jazz Club is one of the most symbolically significant events in the programme.
Croker belongs to a generation of musicians who have transformed the relationship between contemporary jazz, hip-hop, electronic music and modern soul. A Grammy-nominated trumpeter, composer, producer and musical storyteller, he has developed a highly individual approach to the trumpet. His sound is immediately recognisable for its combination of expressive warmth, atmospheric textures, rhythmic invention and a remarkable sense of space.
Croker’s music is not interested in maintaining rigid boundaries between genres. Instead, he creates a musical environment in which acoustic trumpet, contemporary production, electronic textures and rhythmic elements can coexist organically. His approach is particularly interesting because it retains the improvisational spirit of jazz while incorporating the vocabulary of modern urban music.
A trumpet phrase might begin with a recognisable jazz inflection, then develop into a more atmospheric melodic statement, supported by hip-hop-inspired rhythms and sophisticated harmonic textures.
The historic Ronnie Scott’s provides a fascinating contrast to this contemporary language. Founded in 1959, the club has witnessed generations of jazz innovation. Its intimate atmosphere has traditionally encouraged direct musical communication, allowing listeners to experience the smallest expressive details of an instrumental performance. Croker’s presence therefore represents a meeting between jazz history and its evolving future.
Nils Petter Molvær Group & Rymden – Scandinavian Jazz Beyond Boundaries
Salle Guy Obino, Vitrolles, France! The combination of Norwegian trumpeter Nils Petter Molvær and the Scandinavian super-trio Rymden represents one of the most ambitious artistic propositions of the season.
Molvær has long been recognised as one of the most influential figures in the development of contemporary European jazz. His approach to trumpet playing combines acoustic expression with electronic processing, atmospheric sound design and a cinematic sense of musical space. His music often unfolds like a film without images.
Rather than relying exclusively on conventional song structures, he constructs sound environments through sustained trumpet phrases, electronic textures, subtle rhythmic movement and carefully developed layers of atmosphere. Rymden, consisting of pianist Bugge Wesseltoft, bassist Dan Berglund and drummer Magnus Öström, represents another major force in Scandinavian contemporary jazz.
The trio brings together three highly individual musical personalities. Wesseltoft’s piano language combines classical influences, jazz harmony and electronic experimentation. Berglund contributes a powerful and sometimes atmospheric bass sound, while Öström’s drumming combines rhythmic precision with remarkable textural sensitivity.
Their collaboration with Molvær opens fascinating possibilities. The trumpet can emerge from the musical landscape like a solitary voice, gradually becoming integrated into the rhythmic and harmonic architecture of the trio. At other moments, the piano, bass and drums can construct a powerful instrumental foundation upon which Molvær develops extended melodic statements.
The result is an artistic dialogue between composition and improvisation, acoustic instruments and electronic sound, introspection and collective energy. The performance in Vitrolles embodies the festival’s commitment to music that expands the possibilities of jazz.
Delfeayo Marsalis Quintet featuring Eric Alexander – The Enduring Power of Hard Bop
Zig Zag Jazz Club, Berlin, Germany! The meeting of trombonist Delfeayo Marsalis and tenor saxophonist Eric Alexander offers a powerful celebration of the enduring American jazz tradition.
Delfeayo Marsalis is a musician whose artistic personality encompasses performance, composition, production and a deep commitment to the cultural heritage of New Orleans. His trombone playing is grounded in the traditions of jazz, blues and gospel, yet it possesses the rhythmic freedom and harmonic sophistication of modern straight-ahead jazz.
Eric Alexander brings a contrasting but complementary musical personality. His tenor saxophone sound is full-bodied, warm and powerful, with an unmistakable connection to the hard-bop tradition.
The combination of these two instrumental voices is particularly attractive because the trombone and tenor saxophone can create a rich and flexible ensemble sound. The trombone’s broader tonal character provides a strong counterpoint to the saxophone’s more penetrating melodic voice.
Together, the musicians can explore blues-inflected themes, swinging arrangements, extended improvisations and complex harmonic passages. The quintet’s programme also embraces the historical connections between New Orleans, Chicago and Harlem, drawing upon the musical heritage associated with Armstrong, Parker, Gershwin, Monk and the Jazz Crusaders.
The accompanying rhythm section—Renato Chicco on piano, Glen Fisher on bass and Joris Dudli on drums—provides a strong foundation for this exploration. Zig Zag Jazz Club is a fitting setting for the performance. Its intimate environment allows the musicians to communicate directly with the audience while preserving the spontaneous character of live jazz.
Barba Dixie Band – Jazz in the Streets of Madrid
Fernán Gómez Centro Cultural de la Villa to CentroCentro, Madrid, Spain! One of the most joyful and visually engaging elements of the festival is the street performance by the Barba Dixie Band.
Moving from the Fernán Gómez Centro Cultural de la Villa to CentroCentro, the ensemble transforms the streets of Madrid into a living celebration of early jazz.
This is a particularly important artistic concept because jazz has never belonged exclusively to concert halls and clubs. Its history is also a history of streets, public gatherings, dance halls, neighbourhood celebrations and spontaneous musical encounters.
The Barba Dixie Band embraces this tradition, drawing inspiration from the brass-band culture of New Orleans and the exuberant spirit of 1920s jam sessions. The ensemble features: Mario Siles – banjo, David Harrington – trumpet, Carlos Díaz – clarinet, Víctor Correa – tuba, Andrés Freites – percussion.
The instrumentation immediately evokes the sound of traditional Dixieland jazz. The trumpet carries the principal melodic statements, while the clarinet introduces flowing ornamental lines and counter-melodies. The banjo provides rhythmic propulsion, the tuba anchors the harmonic structure and percussion adds the unmistakable pulse of street jazz.
What makes this performance especially attractive is its relationship with the surrounding city. The musicians move through Madrid’s streets, creating an atmosphere in which pedestrians, visitors and jazz enthusiasts become part of the same musical experience.
There is no formal separation between stage and audience. The music moves freely, encouraging people to stop, listen, smile, dance and celebrate. This is jazz in its most democratic and life-affirming form.
Nate Smith – The Alchemy of Jazz, Soul and Hip-Hop
Villanos del Jazz, Sala Villanos, Madrid, Spain! The appearance of Nate Smith at Villanos del Jazz represents one of the strongest expressions of contemporary rhythmic creativity in the festival programme.
Smith is far more than a technically accomplished drummer. He is a composer, producer and musical thinker whose work has helped redefine the possibilities of modern jazz rhythm. His artistic philosophy is particularly interesting because he does not simply combine jazz, soul and hip-hop. He integrates their musical principles into a coherent and highly individual language. His drumming is characterised by remarkable rhythmic intelligence.
The placement of accents, the relationship between subdivisions, the use of silence and the subtle displacement of rhythmic figures all contribute to a sound that is simultaneously precise and spontaneous. His music can move between the sophistication of jazz-fusion, the emotional warmth of soul and the rhythmic vocabulary of hip-hop without ever feeling artificially assembled.
The KINFOLK projects have been especially important in establishing this artistic identity. His broader musical career, including collaborations with Pat Metheny, Dave Holland, Chris Potter, José James and other distinguished musicians, demonstrates his extraordinary versatility.
The Madrid programme also highlights the importance of his 2026 live project. The ensemble’s musical possibilities are particularly exciting, with keyboards, bass and saxophone providing a flexible framework for Smith’s rhythmic imagination.
This is music in which the drums are not merely an accompaniment. They become a central compositional voice, shaping the direction, atmosphere and emotional character of the entire performance. Villanos del Jazz is an ideal platform for this kind of contemporary artistic statement.
Albert Vila Organ Quartet featuring Perico Sambeat – Groove, Soul and the Modern Jazz Organ
Jazz Círculo, Teatro Fernando de Rojas, Círculo de Bellas Artes, Madrid, Spain! The Albert Vila Organ Quartet is a particularly exciting addition to the Madrid programme because it explores one of jazz’s most enduring instrumental combinations while introducing a contemporary compositional perspective.
Guitarist and composer Albert Vila has developed a reputation for technical sophistication, harmonic imagination and an individual approach to modern jazz guitar. His music frequently combines the structural sophistication of contemporary jazz with the rhythmic vitality of groove-oriented music.
For this project, he takes the classic jazz organ trio as his point of departure and expands its possibilities through an original repertoire and the addition of saxophone.
The presence of Perico Sambeat is particularly important. Sambeat is one of the most distinguished Spanish jazz saxophonists, with a musical language that combines melodic sophistication, harmonic depth and extraordinary improvisational fluency. His alto saxophone brings another dimension to Vila’s compositions, creating opportunities for melodic exchanges, contrapuntal passages and extended improvisations.
The organ provides the harmonic foundation and characteristic warmth of the traditional organ-jazz sound. Its sustained chords, bass-register possibilities and distinctive tonal colours create an exceptionally rich musical environment.
The guitar adds rhythmic definition, harmonic flexibility and melodic freedom, while the drums establish the powerful groove that gives this music its physical energy. The programme’s emphasis on original compositions is especially significant. Rather than reproducing the familiar vocabulary of classic organ jazz, Vila uses its rhythmic and tonal characteristics as a starting point for contemporary musical exploration.
The result is a synthesis of jazz, soul and blues that is both sophisticated and immediately engaging. The Teatro Fernando de Rojas, within the distinguished Círculo de Bellas Artes, provides an appropriate cultural setting for this performance. This is a concert that celebrates the enduring appeal of groove while demonstrating how much new musical territory remains to be explored.
Olivia Pievas – The Vision and Leadership Behind the EU Jazz & Blues Festival
Olivia Pievas – A Passionate Ambassador of European Jazz and Blues
For the 2026 Autumn–Winter Jazz – Blues Season, this important responsibility belongs to Olivia Pievas, Director and Organizer of the EU Jazz & Blues Festival. Her role deserves particular recognition because the festival’s programme represents an ambitious undertaking: connecting cities, countries, musical traditions and generations through a common artistic language.
Olivia Pievas‘s festival vision is reflected in the breadth and diversity of the programme. It is a vision that recognises jazz and blues as essential elements of European cultural life, while also acknowledging their international origins and their continuing development through musicians from every part of the world.
The festival does not limit itself to familiar names or established musical formulas. Instead, it creates opportunities for audiences to encounter legendary performers, internationally respected composers, innovative instrumentalists and exciting younger ensembles.
The presence of Take 6, Joe Bonamassa, Theo Croker, Nils Petter Molvær, Delfeayo Marsalis, Nate Smith and numerous other distinguished musicians demonstrates the importance of artistic diversity in the festival’s philosophy.
Equally important is the attention given to European artists and the distinctive musical communities they represent. From the Estonian blues tradition of Andres Roots to the contemporary German jazz language of the Moses Yoofee Trio, from Albert Vila’s modern organ-jazz project to the Latin musical personalities of Marialy Pacheco and Maite Hontelé, the programme creates a genuine international conversation.
This is one of the most valuable characteristics of Olivia Pievas‘s festival concept: the understanding that European jazz culture is not a single sound or tradition, but a meeting place for many different musical identities.
Building bridges between countries and cultures
The geographical dimension of the Autumn–Winter season is especially impressive. Paris, Vienna, Milan, Toulouse, Bremen, Hamburg, London, Berlin, Vitrolles, Rankweil and Madrid become interconnected through music.
Each city contributes its own cultural character. Paris offers its distinctive combination of artistic sophistication and cosmopolitan musical life. Vienna brings the historical depth of its jazz institutions. Berlin represents experimentation and contemporary creative energy. London contributes its extraordinary jazz heritage, while Madrid introduces a vibrant mixture of traditional street jazz and modern international performances.
These cities are not simply locations on a festival itinerary. They become different chapters of a shared European cultural experience. Olivia Peevas‘s organisational vision places particular emphasis on the importance of these connections.
Supporting established artists and discovering new musical voices
A significant strength of the festival is its ability to combine international recognition with artistic discovery. The appearance of established masters gives audiences the opportunity to experience musicians whose contributions have shaped the history of jazz and blues.
At the same time, the inclusion of artists such as Moses Yoofee, Theo Croker and Nate Smith demonstrates an awareness of the future. These musicians are not merely continuing established traditions. They are creating new musical languages, incorporating contemporary rhythms, electronic sound, hip-hop, soul and experimental composition into the broader vocabulary of jazz. This balance between heritage and innovation is essential for any ambitious cultural institution.
The human dimension of festival organisation
A festival is ultimately about people. It is about the musicians who travel between cities, the audiences who gather in concert halls, the cultural institutions that welcome international artists and the countless organisational decisions that make artistic encounters possible.
Olivia Pievas’s work as director and organiser deserves recognition for bringing these elements together within one coherent seasonal concept. The Autumn–Winter Jazz – Blues Season demonstrates an appreciation of musical excellence, an enthusiasm for international cooperation and a belief in the importance of live performance.
It also reflects a commitment to presenting music in different environments: prestigious concert halls, historic jazz clubs, intimate venues and public spaces. The Barba Dixie Band’s journey through Madrid is a particularly beautiful example of this philosophy, bringing music beyond conventional concert boundaries and directly into the life of the city.
A festival vision for the future
The greatest achievement of a music festival is not simply the number of concerts it presents. It is the cultural atmosphere it creates and the memories it leaves behind. A successful festival encourages audiences to explore unfamiliar musical territories, gives artists opportunities to share their creativity and strengthens the relationship between music and the communities in which it is performed.
Olivia Pievas‘s leadership of the 2026 EU Jazz & Blues Festival represents an ambitious contribution to this European cultural landscape. Her work deserves sincere appreciation for the breadth of the artistic programme, the international character of the season and the importance placed on musical quality.
The EU Jazz & Blues Festival is not simply presenting concerts across Europe. It is promoting a cultural idea: that music can unite cities, generations and nations without losing the individuality of each artistic voice. And this is perhaps the most meaningful achievement of the Autumn–Winter Jazz – Blues Season.
My congratulations and warmest appreciation to Olivia Pievas for her dedication, artistic vision and commitment to the continuing celebration of jazz and blues in Europe. May this festival continue to grow, discover new artistic horizons and become an increasingly important meeting place for musicians and audiences from across the world.
Final festival reflection
The 2026 autumn-winter jazz and blues season demonstrates just how diverse the world of European jazz and blues has become. From the exquisite vocal harmonies of “Take 6” to the experimental musical architecture of David Binney and Louis Cole; from the rhythmic imagination of Nate Smith to the expressive trumpet of Theo Croker; and from the Scandinavian sound of Molvær and “Rymden” to the deep-rooted blues-rock of Joe Bonamassa and Aynsley Lister—this program encompasses an exceptionally broad spectrum of artistic experiences.
It also serves as a reminder that jazz and blues are not separate from Europe’s cultural life. They form an integral part of contemporary European identity, continuously enriched by international exchanges and the creative energy of new generations. Behind this expansive artistic journey stands festival director and organizer Olivia Pievass, whose vision brings together musicians, concert venues, cities, and audiences—making this season a reality.
Jazz knows no borders. The Blues recognizes no language barriers. Music possesses a remarkable capacity to bring all of Europe closer together. And all of this awaits you right here—at the EU Jazz and Blues Festival 2026, during the Autumn-Winter Jazz & Blues Season.
By Olivia Lombard, Lauren Wulff, Katriun Woods, Daniella Bushler
