EU Jazz and Blues Festival | September – December 2026!!!
The November programme of the EU Jazz & Blues Festival 2026 continues to demonstrate the extraordinary vitality of Europe’s musical landscape. From the intimate atmosphere of historic jazz clubs to distinguished concert halls, cultural centres and internationally recognised performance venues, this autumn–winter journey brings together musicians whose artistic identities represent different generations, traditions and approaches to contemporary music.
The programme is particularly remarkable for its diversity. European jazz meets the American improvisational tradition; Mediterranean musical colours encounter Northern European sensibilities; sophisticated acoustic jazz stands alongside electrifying British and German blues-rock.
The result is a musical panorama in which every concert has its own personality, emotional character and artistic language.
The festival is not simply a succession of performances. It is a celebration of musical dialogue across borders, an invitation to discover new artistic perspectives and a meeting point for audiences who recognise jazz and blues as living, constantly evolving art forms.
This is also an opportunity to acknowledge the vision, dedication and organisational leadership of Olivia Pievas, Director and Organiser of the EU Jazz & Blues Festival 2026, whose contribution gives the season its European identity and artistic coherence.
Portugal – Henri Texier Quartet
Centro Cultural e de Congressos, Caldas da Rainha
7 November 2026 · Grande Auditório! The Portuguese programme welcomed one of the most respected and distinctive personalities in contemporary European jazz, the legendary French double bassist and composer Henri Texier.
His appearance at the Centro Cultural e de Congressos in Caldas da Rainha was an especially meaningful encounter with an artist whose musical language has developed over decades while remaining remarkably open to new ideas.
Texier’s quartet brought together four musicians with a profound understanding of melodic architecture, rhythmic freedom and collective improvisation: Henri Texier – double bass, Sébastien Texier – alto saxophone and clarinets, Bruno Angelini – piano, Gautier Garrigue – drums.
The quartet’s artistic strength lies in its ability to create music that is simultaneously sophisticated and spontaneous. Texier’s double bass is not merely the foundation of the ensemble: it is a narrative voice, sometimes lyrical and reflective, sometimes insistent and rhythmically adventurous. His characteristic approach to the instrument gives the music an organic pulse, allowing the other musicians to explore their ideas without losing the unity of the composition.
Sébastien Texier brings a particularly fascinating dimension to the quartet. His alto saxophone can move from warm, expressive melodic statements to more searching improvisational passages, while his clarinet playing introduces additional colours and textures. The dialogue between father and son is especially interesting: two individual musical personalities communicating through a shared artistic vocabulary.
Bruno Angelini’s piano provides harmonic imagination and a remarkable sense of space. His contribution can be delicate and contemplative, but he also has the ability to build increasingly complex structures through carefully developed improvisations. Gautier Garrigue completes the musical architecture with percussion that is sensitive to every change in atmosphere, balancing rhythmic precision with spontaneous energy.
At the Grande Auditório, this repertoire offered an ideal opportunity to experience the relationship between European jazz tradition and contemporary improvisational thought. The concert was part of the Dias do Jazz 2026 programme, and the official listing confirms its 7 November appearance and the complete quartet personnel.
It was an important Portuguese chapter in the festival’s wider European story: a celebration of musical intelligence, experience, imagination and the enduring expressive possibilities of the jazz quartet.
Italy – Gilad Hekselman / Trio Grande
Jazz Club Ferrara, Ferrara
7 November 2026 · Torrione San Giovanni! Ferrara offered a meeting with one of the most imaginative guitarists of the contemporary New York jazz generation, Gilad Hekselman.
The performance at Jazz Club Ferrara was presented under the name Trio Grande, a project whose unusual instrumentation and adventurous musical conception distinguish it from the conventional jazz trio.
The musicians were: Will Vinson – alto saxophone and electric piano, Gilad Hekselman – guitar and electric bass, Nate Wood – drums and electric bass.
An interesting detail is that the group’s contemporary configuration differs from its original incarnation. The project began in 2019 with Antonio Sánchez on drums and subsequently developed into a new version featuring Nate Wood.
This arrangement opens up extraordinary possibilities. The musicians can exchange instrumental functions, transform the rhythmic foundation and move between conventional jazz textures and more experimental electric sounds.
Hekselman’s guitar playing is particularly compelling because of its balance between technical sophistication and emotional directness. His phrasing can be extraordinarily fluid, with a refined understanding of harmony, yet his improvisations never become exercises in technique alone. He has a distinctive ability to make a melodic line feel conversational, allowing a musical idea to unfold naturally.
Will Vinson brings an additional dimension through his saxophone and electric piano, while Nate Wood’s remarkable versatility gives the trio a flexible rhythmic identity. The interplay between electric bass, guitar, saxophone and drums allows the music to travel through contrasting landscapes, from delicate atmospheric passages to powerful rhythmic episodes.
The historic Torrione San Giovanni, with its intimate club atmosphere, was an especially appropriate setting for this kind of adventurous music. Such venues encourage the audience to listen closely, to recognise small instrumental exchanges and to appreciate the spontaneous decisions that make every live performance different.
It was a particularly attractive example of the festival’s commitment to contemporary jazz without artistic boundaries: music that respects tradition while confidently exploring the future.
France – Shuteen Erdenebaatar & Nils Kugelmann
Under the Same Stars
Théâtre de la Rianderie, Marcq-en-Barœul!
One of the most poetic and intimate encounters of the November programme took place in northern France, where pianist and composer Shuteen Erdenebaatar joined double bassist and clarinettist Nils Kugelmann for their project Under the Same Stars.
The title itself suggests the philosophical and emotional foundation of this collaboration: two musicians, two different artistic backgrounds and two individual musical imaginations discovering a common language beneath the same musical sky.
Erdenebaatar, originally from Mongolia and based in Germany, brings an impressive combination of classical musical education, compositional sensitivity and contemporary jazz expression. Her piano playing is characterised by clarity, lyrical imagination and an exceptional awareness of harmonic development.
Kugelmann, meanwhile, has established himself as one of the exciting younger European jazz musicians through his work as a bassist, composer and multi-instrumentalist. His double bass provides the project with warmth and depth, while his clarinet introduces an unusual and particularly expressive timbral dimension.
The beauty of this duo lies in its openness. There is no need for an elaborate rhythm section or a large ensemble to create a complete musical world. Piano and bass can establish their own architecture through melodic conversation, rhythmic suggestion, silence and the gradual development of musical ideas.
The piano may introduce a delicate motif, which the bass transforms into a lyrical response. At other moments, the two instruments can move independently, creating subtle tension before returning to a shared melodic direction.
The clarinet adds another colour to this intimate musical dialogue, expanding the emotional vocabulary beyond the traditional piano-and-bass combination.
The programme description published by Marcq-en-Barœul emphasised the duo’s combination of harmonic jazz sophistication and playful pop influences, with a particularly tender and optimistic musical character.
The Théâtre de la Rianderie offered a fitting environment for this performance. Its more intimate scale allows the audience to experience the smallest details of instrumental communication.
Under the Same Stars represents the kind of European collaboration that makes this festival particularly meaningful: a meeting of different cultural experiences transformed into a shared artistic language.
Germany – Danny Bryant
Laboratorium, Stuttgart
British blues guitarist and vocalist Danny Bryant represents a powerful and passionate tradition of contemporary blues-rock, where the emotional heritage of the blues meets the energy of modern electric rock.
His musical personality is built around expressive guitar playing, strong vocal delivery and compositions that combine personal storytelling with the dramatic intensity of the blues.
The Stuttgart appearance requires one important clarification. The Laboratorium’s current event information identifies the concert as a rescheduled performance, now scheduled for 29 January 2027, rather than a concert that took place on 7 November 2026. It is advertised under the Nothing Left Behind Tour 2026 title, although the replacement date is in January 2027.
The advertised line-up is: Danny Bryant – vocals and guitar, Marc Raner – guitar, Jamie Pipe – keyboards, Artjom Feldtser – bass, Alex Hinz – drums.
The musical attraction of this formation is its ability to combine the expressive directness of the blues with the broader sonic possibilities of a full electric band.
Bryant’s guitar style is rooted in the tradition of powerful blues phrasing. His solos are built around expressive bends, sustained notes, rhythmic accents and carefully shaped melodic phrases. Rather than treating virtuosity as an end in itself, he uses the guitar to communicate emotion.
The additional guitar, keyboards and rhythm section allow the arrangements to move between intimate blues passages and more explosive blues-rock climaxes.
The Laboratorium is an appropriate venue for such music, with the atmosphere of a dedicated live-music space rather than a distant, formal concert hall.
Although this performance should be listed as a forthcoming rescheduled date rather than a completed November concert, Danny Bryant remains an important part of the season’s blues-rock artistic identity.
Netherlands – The Dire Straits Experience
PHIL Haarlem, Haarlem
7 November 2026 · Grote Zaal!
The Dutch programme introduced a very different but equally important dimension of the festival’s musical panorama: the enduring legacy of one of the most influential groups in British rock history.
The Dire Straits Experience brought its large-scale touring production to PHIL Haarlem, celebrating the repertoire of Dire Straits through a performance that combines musical authenticity, instrumental precision and the unmistakable character of the original songs.
The project has a particularly significant connection to the band’s history through former Dire Straits member Chris White, who performs with six other accomplished musicians.
The repertoire includes such classics as Sultans of Swing, Money for Nothing and Private Investigations.
These compositions occupy a special place in the history of blues-influenced rock. Their musical language combines blues phrasing, sophisticated arrangements, memorable melodic structures and an unusually strong sense of atmosphere.
The guitar work associated with the Dire Straits tradition is especially distinctive. Rather than relying exclusively on volume or speed, it often uses articulation, space, tonal nuance and carefully constructed melodic phrases.
The saxophone adds another important colour to this sound, creating a dialogue between rock instrumentation and jazz-influenced musical expression.
The vocal and guitar responsibilities of Terence Reis are central to the project’s identity. His interpretation seeks to capture the distinctive musical character of the original repertoire while maintaining the energy of a contemporary live performance.
At PHIL Haarlem, the Grote Zaal provided the appropriate scale for this production. The concert’s larger setting allowed the ensemble to present the familiar arrangements with the depth and dynamics that have made these songs so enduring.
This was a celebration of musical memory, but also a reminder that great compositions never remain confined to the period in which they were created. They continue to find new audiences and new life on the concert stage.
Germany – Henrik Freischlader Band
Precious Time Tour 2026 – Scala Club, Leverkusen
8 November 2026 · Leverkusener Jazztage!
The German blues programme reaches another important moment with the appearance of Henrik Freischlader, one of the most respected contemporary European blues-rock guitarists, singers, songwriters and producers.
His Precious Time Tour 2026 represents a particularly interesting new chapter in his artistic development. After more than two decades of establishing his distinctive musical identity, Freischlader returns with a newly formed blues-rock quartet and fresh material associated with his forthcoming album Precious Time.
The new ensemble consists of: Henrik Freischlader – vocals and guitar, Dave Warmerdam – Hammond organ and keyboards, Gregor Sonnenberg – bass, Leon Mucke – drums.
The return to the quartet format is significant. It provides Freischlader with the opportunity to explore a direct, organic and intensely interactive musical language, in which the guitar, Hammond organ and rhythm section can develop a powerful collective sound.
Freischlader’s guitar playing has always been distinguished by its combination of blues authenticity and personal expression. His phrasing is recognisable through its expressive bends, carefully controlled dynamics, warm tone and ability to sustain a musical thought. His solos often develop like conversations, moving between restrained melodic statements and passionate climaxes. His voice is equally important to the identity of his music. It carries the emotional weight of the blues, communicating experiences of longing, determination, reflection and personal transformation.
Dave Warmerdam’s Hammond organ is an especially valuable addition. The instrument’s rich harmonic character can fill the musical space without overpowering the guitar, creating a powerful connection with the rhythm section. Gregor Sonnenberg’s bass provides the foundation for the quartet’s groove, while Leon Mucke contributes the rhythmic drive and flexibility necessary for spontaneous improvisation.
The upcoming album Precious Time is particularly important because it marks Freischlader’s first studio long-player since 2022. The new quartet’s live performances are intended to introduce the musical direction of this next recording while also drawing upon his established repertoire.
The Scala Club in Leverkusen is a fitting destination for this performance. Its intimate environment is particularly suitable for blues, where the relationship between performer and audience is an essential part of the experience.
This concert is scheduled for this evening, 8 November, and therefore should be presented as a highlight of the current festival day rather than as an already completed performance.
It is an excellent illustration of the festival’s commitment to blues as a living art form: a music of tradition, individual expression, freedom and constant reinvention.
Denmark – Rita Payés & Lucía Fumero
Store VEGA, Copenhagen
8 November 2026! Copenhagen welcomes one of the most delicate and artistically intriguing collaborations of the November programme: the meeting of Spanish jazz vocalist and trombonist Rita Payés with pianist and composer Lucía Fumero.
Their performance at the celebrated Store VEGA offers an opportunity to discover a musical universe in which jazz, Mediterranean traditions, Latin American rhythms and contemporary songwriting meet with remarkable naturalness.
Rita Payés has developed an individual artistic identity through her dual role as vocalist and trombonist. Her musical personality is particularly fascinating because she approaches the voice and the trombone as complementary instruments.
Her singing possesses an intimate, warm and expressive quality. Rather than relying on excessive vocal ornamentation, she places great importance on phrasing, melodic clarity and emotional sincerity. Her interpretations can evoke the intimacy of a bolero, the relaxed elegance of bossa nova or the freedom of contemporary jazz. Her trombone playing provides another dimension to this musical language. Its rounded tone and expressive possibilities allow her to move between lyrical melodic passages and more traditionally jazz-oriented improvisation.
Lucía Fumero brings a distinctive pianistic personality to the collaboration. Her work is informed by jazz, classical music and the rich musical traditions of Spain and Latin America. Her harmonic language is colourful and sophisticated, yet she maintains a natural sense of melodic direction.
The piano and voice can create a particularly beautiful musical dialogue. A vocal phrase may be answered by a delicate piano response; a simple harmonic progression can gradually develop into an imaginative improvisational passage.
The intimacy of this format makes every musical detail significant. Silence becomes part of the composition, rhythm can emerge from the smallest gesture, and the emotional character of a melody can become more important than its technical complexity.
Store VEGA, one of Copenhagen’s best-known live-music venues, provides an excellent setting for such an encounter. This performance represents the Mediterranean and Iberian dimension of the EU Jazz & Blues Festival: a musical encounter built on sensitivity, colour, cultural memory and artistic imagination.
Croatia – Bojan Z
Dubrovnik Jazz Outbreak
Lazareti, Dubrovnik. 8 November 2026 · Solo piano! The historic Croatian city of Dubrovnik provides a particularly atmospheric setting for the appearance of internationally celebrated pianist and composer Bojan Z, whose musical personality has become one of the most distinctive in contemporary European jazz.
Born in Belgrade and internationally recognised under the name Bojan Z, he has developed a pianistic language that brings together modern jazz, Balkan musical traditions, classical influences and an adventurous approach to improvisation. His musical identity is particularly interesting because it does not depend upon a single stylistic tradition. Instead, he approaches different musical influences as elements of one expressive language.
His piano playing can be rhythmically powerful and harmonically adventurous, but it also possesses a lyrical and reflective side. His compositions frequently reveal an unusual relationship between melody and rhythmic structure, with unexpected harmonic turns and a strong sense of musical architecture.
The solo piano format is especially revealing. Without a rhythm section or accompanying instruments, the pianist must create the entire musical world independently.
Bojan Z is particularly well suited to this challenge. He can suggest the pulse of an entire ensemble through left-hand rhythmic figures, develop intricate melodic counterpoint and move from delicate passages to powerful improvisational statements.
His relationship with Balkan musical traditions also adds a distinctive character to his work. Rhythmic patterns and melodic gestures associated with southeastern Europe can become transformed through contemporary jazz harmony, producing music that feels both deeply rooted and completely modern.
The concert takes place within the Dubrovnik Jazz Outbreak Festival, at the historic Lazareti complex, an extraordinary cultural location whose architecture and maritime history provide a special atmosphere for artistic encounters.
The choice of a solo recital is especially meaningful. It allows the audience to experience the pianist’s musical imagination without interruption, revealing the personal and expressive dimensions of his artistry.
Dubrovnik adds an unmistakable visual and historical character to this festival chapter. The meeting of contemporary jazz with a city shaped by centuries of Mediterranean cultural exchange is an especially beautiful representation of the European spirit of the season.
Norway – Chris Potter Trio
Nasjonal Jazzscene – Victoria, Oslo
European tour · Matt Brewer and Kendrick Scott! The appearance of Chris Potter, accompanied by bassist Matt Brewer and drummer Kendrick Scott, represents one of the most important contemporary jazz projects in the festival’s international programme.
Potter is widely recognised as one of the leading saxophonists of his generation. His artistic development has been closely connected with the evolution of modern American jazz, and his work with outstanding musicians across different generations has established him as an exceptionally versatile instrumentalist and composer. His musical vocabulary combines extraordinary technical command with intellectual depth and an impressive capacity for spontaneous invention.
His saxophone sound is immediately recognisable for its strength, flexibility and harmonic sophistication. His improvisations can be rhythmically complex and structurally ambitious, but they also retain a powerful melodic identity. The trio’s instrumentation creates a particularly exciting musical environment.
Matt Brewer – double bass
Brewer is an important voice in contemporary jazz bass playing. His work is characterised by harmonic intelligence, rhythmic precision and an ability to support adventurous improvisation without restricting the music’s natural development.
His bass lines can provide a firm foundation, but they can also become an independent melodic voice, responding to Potter’s saxophone and creating counterpoint with the drums.
Kendrick Scott – drums
Scott brings extraordinary rhythmic sensitivity and a sophisticated understanding of contemporary jazz drumming. His playing combines power, subtlety and an impressive command of rhythmic texture.
His ability to shift between intricate rhythmic patterns, restrained accompaniment and explosive energy makes him an ideal partner for Potter’s musical imagination.
The trio’s greatest strength is its capacity to create a complete musical architecture with only three instruments. The saxophone becomes the principal melodic voice, while bass and drums provide an ever-changing environment of harmonic and rhythmic possibilities.
This is not simply a conventional saxophone-led trio. It is a conversation among three highly individual musicians, each contributing equally to the development of the music. The venue explicitly notes that the concert was moved forward by one day, and its listing names Potter, Brewer and Scott as the performing musicians. Consequently, this should be presented as an upcoming European tour highlight rather than a concert already performed last night.
The Victoria club, with its long-standing commitment to contemporary jazz, is a particularly appropriate setting for this trio. Oslo’s jazz culture has always valued both artistic experimentation and the intimate relationship between performers and listeners.
The Norwegian chapter of the festival thus promises a powerful encounter with the present and future of acoustic jazz.
The artistic leadership of the festival – Olivia Pievas
Director and Organiser of the EU Jazz & Blues Festival 2026
At the heart of the EU Jazz & Blues Festival 2026 stands its director and organiser, Olivia Pievas, whose leadership gives the Autumn–Winter Jazz – Blues Season its distinctive artistic vision and European character.
A festival of this geographical scale requires more than the ability to assemble a programme of distinguished musicians. It requires a clear understanding of musical culture, an appreciation of different artistic traditions, organisational determination and the ability to bring together venues, performers and audiences from different countries.
Olivia Peevas’s role is particularly important in creating a programme that does not limit itself to one musical tradition or geographical area. The November concerts demonstrate an ambitious artistic perspective in which established masters and contemporary innovators occupy equally important positions.
The programme brings together the European jazz heritage represented by Henri Texier, the contemporary guitar language of Gilad Hekselman, the poetic collaboration of Shuteen Erdenebaatar and Nils Kugelmann, the expressive blues-rock of Danny Bryant and Henrik Freischlader, and the enduring musical legacy celebrated by The Dire Straits Experience.
At the same time, the appearances of Rita Payés and Lucía Fumero, Bojan Z and Chris Potter’s trio demonstrate the festival’s interest in different generations, musical cultures and forms of improvisational expression. This diversity is an important achievement of artistic programming.
A European vision beyond musical borders
One of the most valuable aspects of Olivia Pievas‘s festival concept is its international orientation. The Autumn – Winter Jazz – Blues Season creates a musical route across Europe, connecting Portugal, Italy, France, Germany, the Netherlands, Denmark, Croatia and Norway.
Each country contributes its own cultural atmosphere. The Portuguese concert introduces the lyrical and sophisticated character of European jazz. Italy offers the cosmopolitan energy of contemporary improvisation. France presents an intimate encounter between piano and bass. Germany brings the emotional intensity of blues-rock. The Netherlands celebrates the legacy of blues-influenced British rock, while Denmark offers the refined musical dialogue of two Spanish artists.
Croatia provides a meeting between contemporary jazz and the historic Mediterranean environment, and Norway introduces the intellectual and improvisational energy of the modern American jazz tradition.
These different artistic experiences become part of one larger cultural narrative. Such programming reflects an understanding that jazz and blues are not isolated musical categories. They are international languages that have developed through cultural exchange, artistic exploration and the continuous movement of musicians between countries.
Building a platform for established masters and new generations
An important responsibility of any artistic director is to maintain a balance between internationally recognised musicians and emerging or developing artistic voices.
Olivia Peevas’s programme places established figures alongside younger musicians whose careers are helping shape the future of European jazz.
The combination of Henri Texier and the younger duo of Shuteen Erdenebaatar and Nils Kugelmann is particularly representative of this philosophy.
The festival also recognises that jazz and blues audiences are diverse. Some listeners are attracted by sophisticated improvisation and experimental compositions; others appreciate expressive blues guitar, memorable melodies and the cultural heritage of legendary rock music. By bringing these different audiences together, the festival creates opportunities for musical discovery and broadens the cultural reach of its programme.
The importance of the festival’s European identity
The Autumn–Winter Jazz – Blues Season also has an important cultural dimension. European cities become more than geographical locations on a concert schedule. Their concert halls, historic buildings, cultural centres and intimate clubs provide individual atmospheres that influence the experience of live music.
The festival’s identity is therefore closely connected with the places in which it takes place. In the golden autumn and approaching winter, the European cultural landscape provides a particularly evocative background for this musical journey: illuminated concert halls, historic squares, old streets, riverside promenades and the intimate atmosphere of jazz clubs. This connection between music and place gives the season an additional artistic dimension.
Olivia Pievas – a commendable festival vision
Olivia Pievas deserves particular recognition for the ambition of bringing together such a broad musical panorama under one European festival identity. Her role as director and organiser represents the coordination of artistic programming and the wider cultural purpose of the season.
The programme’s international reach and stylistic diversity provide a strong foundation for presenting jazz and blues as essential parts of Europe’s contemporary cultural life.
It is especially important to recognise the people who work behind the scenes to make international cultural projects possible. The musicians receive the applause, but the artistic direction, organisation and coordination are indispensable to the existence of the festival itself.
The EU Jazz & Blues Festival 2026 should therefore be celebrated not only for the artists appearing on its stages but also for the vision that brings these performances together.
Our warmest appreciation goes to Olivia Pievas for her dedication, ambition and contribution to this European musical celebration.
May the festival continue to develop, attract exceptional musicians, discover new artistic voices and establish lasting cultural connections between European countries.
Closing reflections – A European season united by music
The November programme demonstrates the artistic breadth and international ambitions of the EU Jazz & Blues Festival 2026.
Nine concert announcements reveal an extraordinary variety of musical personalities and experiences. From the poetic improvisational universe of Henri Texier to the contemporary guitar language of Gilad Hekselman; from the intimate piano-and-bass dialogue of Shuteen Erdenebaatar and Nils Kugelmann to the passionate blues-rock of Henrik Freischlader; from the Mediterranean colours of Rita Payés and Lucía Fumero to the remarkable individual expression of Bojan Z and the modern jazz language of Chris Potter, the programme offers a fascinating portrait of today’s musical world.
It is also a reminder that blues and jazz remain closely connected, despite their different historical developments. Both traditions are founded on expression, individuality, communication and the freedom to transform musical ideas into personal statements.
The festival’s greatest strength is its willingness to embrace these different approaches without imposing artificial stylistic boundaries. Under the artistic direction and organisation of Olivia Pievas, the Autumn–Winter Jazz – Blues Season 2026 continues to celebrate the cultural richness of Europe through the universal language of music. May its stages remain places of inspiration, discovery and unforgettable musical encounters.
By Lauren Wulff, Daniella Bushler, Katrin Woods, Olivia Lomberd
