Jazzahead! 2025 gets jumping – and Jazz from England takes a Stand…

Jazzahead! was back to what felt like full strength this year, and the numbers bear that out with organisers reporting that for the first time since the 2010s, audience numbers exceeded 20,000, with over 23,000 attending concerts at the conference centre and at venues around the city between 23 to 27 April. There were 3,000 professional delegates in attendance too, a sign that despite the many challenges of making and promoting music in 2025, the jazz economy is managing to sustain itself, not least through governmental backing. The fact Arts Council England (ACE) is now involved with promoting jazz from these shores marked a notable positive shift in sentiment, but more on that below.

Jazzahead! incongruously rubs up against a gaudy fun fair on the huge neighbouring Bürgerweide car park – the candy floss and arcane rides in sharp contrast to the high minded music and cultural ambitions espoused in the vast conference centre. People from many countries with saxophone or drum cymbal cases and visitor passes walk between the Ferris wheel and other attractions of the fairground, on their way to the Congress Centre. The traditional ‘Grand Opening’ kicked off the 19th Jazzahead!, on the Wednesday night  with Swiss guitarist Louis Matute's ‘Large Ensemble’. As there were three partner countries this year – Spain and France in addition to Switzerland (under the banner of ‘Reconnect’) –  Matute supplemented his formidable sextet with guests from these partner countries. From Spain it was trumpeter Yelfris Valdés and flautist Marta Mansilla, from France the two singers Célia Kameni and Gabi Hartmann. 

During some of the newly arranged music it was clear this was not a fully-rehearsed ensemble. However, the guest soloists provided beautiful colouring to the music. And the soundscapes of the core band at the beginning of the concert, the fusion of virtuoso jazz with South American folkloric sounds, overlapping of contrasting cultures and blending of acoustic and electric sounds, showed Louis Matute has his own distinctive artistry, and can express himself fully on the guitar. It was a wonderful prelude to Jazzahead!. 

The true value of events such as Jazzahead! is reconnecting in-person with international friends and colleagues in the same space – good conversation and good music never get old. But there was an undercurrent of concern for the state of global politics too with some mentioning cuts that were starting to bite. Others, like the delegation from Canada, were seeking new European partnerships in light of their, now hostile, southern neighbour. Representatives from several Canadian provinces – such as Winnipeg and Manitoba – and musicians such as rising guitar talent Jocelyn Gould and established pianist Laila Biali, were keen to build new bridges to Europe. The US regime’s divisive policies are now impacting Canadian musicians, with LGBTQ+ artists now not touring in the US despite doing so for some 200 days each year. Both Biali and Gould have played in London, with the guitarist set to return for a show at Chelsea’s 606 Club on 6 May. No doubt there will be many more Canadian musicians making the trip to Europe and the UK from now on. 

The ‘Jazz from England’ stand was a real step in the right direction for English, and indeed UK artists, with a palpable buzz among the musicians, promoters and club owners who had continuous meetings there with international colleagues. The cream teas and gin and tonics helped too. It was hugely positive to see members of ACE there in person too, and there’s already talk of a plan for unified UK-wide stand next year – funds may be limited but the sentiments are now positive instead of sceptical and a little goes a long way in jazz. It’s left many involved with a new sense of optimism.

Performances by UK artists were also numerous this year, with emphatic displays by trumpeter Henry Spencer, and burgeoning Scottish drums/sax duo Corrie Dick and Norman Willmore (aka Norman& Corrie), among the ‘official’ showcases. Yet, it was out in Bremen’s clubs where the Brits also shone. Jazzahead!’s chief organiser Sybille Kornitschky has had a long-held ambition for there to be an English jazz night at the Bremer Shakespeare Company, and it finally happened this year, with three highly contrasting artists performing. I had the privilege of introducing these musicians, and taking an objective point of view, their differences are what characterises the strength of our home-grown jazz scene.

Jo Harrop’s opening set (pictured above), with sparse, highly dynamic backing from pianist Sam Watts and bassist Jack Garside was starkly beautiful, Harrop’s voice all soulful vulnerability and bluesy coolness. Those many dates on huge stages opening for Gregory Porter have given her a compelling stage presence too. Bristol-based pianist Rebecca Nash was equally fearless, premiering not just brand new music, but her new Aurum trio of bassist Henrik Jensen and drummer Dave Smith. All have played together a lot but Nash’s new suite of music, inspired by divers visiting the shipwreck of the Merchant Royal, which sank in 1641, revealed a new side to her music. With densely shimmering chordal sequences and intricate shifts in meter, Nash described the music as “Scandi jazz meets Bristol” but the details in this watery, immersive music held even greater depths. Thankfully there are plans to record this as an album.

Closing things out and showing that England’s musicians can still strut and swing, was the effusive Mark Kavuma and his Banger Factory band (pictured above). Fresh from winning Jazz FM’s ‘Instrumentalist of the Year’, Kavuma’s trumpet playing was indeed impressive, but his aesthetic is all about a group sound and a supportive community vibe within the band allowing everyone to shine. With Kavuma’s trumpet joined up front by tenorist Mussinghi Brian Edwards and altoist Theo Erskine, the rhythm section cooked thanks to the twisting Telecaster lines of guitarist Artie Zaitz, the stellar piano and scat vocals of Renato Paris, returning bassist Jack Garside (remarkably playing a right handed bass, despite being left handed!) and superb drummer Jack Thomas. If their grooved in takes on songs from Kavuma’s latest album, Magnum Opus, weren’t proof enough that this is a band on the up, then a fiery guest appearance by alto saxophonist Donovan Hafner showed there’s even more cause for optimism for jazz from England with a new generation of talents bubbling under. Elsewhere among the Jazzahead club nights Tim Garland’s Lighthouse Trio delivered what pianist Gwilym Simcock said afterwards one of their “best ever gigs” – and guitarist Ant Law and Brigitte Beraha brought their sublime new duo project to town as well. And among all the UK/EU talent, was a spellbinding duo set from US vocal sensation Tyreek McDole who is about to spring to global fame with his stunning voice.

Sweden has been announced as next year’s partner country and with the strength, depth and quality of the UK jazz scene now beginning to be backed as a valuable cultural (and commercial) export, things are looking up for Jazzahead! 2026.