Johan Budi
The 55th anniversary of Jazzwoche Burghausen, colloquially known as B’Jazz, concluded on March 22, 2026, marking a significant milestone for one of Europe’s most storied jazz festivals. Held from March 17 to March 22 in the Bavarian town of Burghausen, the event reinforced its reputation as a premier destination for international jazz, blending historical reverence with contemporary innovation. The festival, which takes place in the shadow of the world’s longest castle, attracted thousands of enthusiasts to its various venues, ranging from the large-scale Wackerhalle to the intimate, subterranean Jazzkeller.
A Legacy Set in Stone and Ink
Burghausen’s relationship with jazz is deeply institutionalized, mirrored in the town’s unique "Street of Fame." Unlike the footprints found at the Jazz à Juan Festival in Juan-les-Pins, Burghausen commemorates its performers through bronze plates featuring the signatures of jazz legends who have performed there over the decades. This year’s attendees were reminded of the festival’s historical weight as they walked past the names of giants like Wayne Shorter, who performed in 1988.
The 2026 edition was framed by the notable absence of Miles Davis from the festival’s historical roster—a fact highlighted during the Thursday evening performances at the Wackerhalle. This historical gap provided the narrative impetus for several key performances throughout the week, as the festival sought to honor the Davis legacy through the interpretations of contemporary masters.
Chronology of the 55th Edition: From Opening Legends to Modern Interpretations
The festival opened with guitar icon Mike Stern, a former sideman for Miles Davis, setting a high standard for technical proficiency and fusion-inflected jazz. This set the stage for a week that would frequently circle back to the Davis lineage.
On Thursday, March 19, American trumpeter Theo Croker took the stage at the Wackerhalle for a highly anticipated tribute to Davis. Rather than focusing on the experimental electric period or the second great quintet, Croker drew inspiration from the mid-1950s era. The performance opened with a rendition of "Concierto De Aranjuez," followed by several selections from the seminal album Kind Of Blue. Croker’s approach was noted for its "broader sonic palette," achieved by adding an alto saxophone to the traditional quintet lineup, offering a richer harmonic texture than the original recordings.
Following Croker, the festival shifted its focus to a cornerstone of the German jazz scene: drummer Wolfgang Haffner. The evening served as a triple celebration, marking Haffner’s 60th birthday, his 50th year as a professional musician, and the 40th anniversary of his Burghausen debut alongside trombonist Albert Mangelsdorff. The performance transformed into a showcase for the ACT Music label, as Haffner was joined by a rotating cast of collaborators, including saxophonist Jakob Manz and Swedish vocalist Viktoria Tolstoy. Tolstoy’s performance was a nostalgic highlight, as she revisited "Calling You," a track she first performed at the Wackerhalle two decades prior.
The Nocturnal Pulse: The Jazzkeller Sessions
While the Wackerhalle hosted the headline acts, the Jazzkeller in the old town served as the festival’s creative laboratory. Pianist Shuteen Erdenebaatar led the nightly jam sessions with her trio, establishing a consistent rhythmic foundation for spontaneous collaborations.
One of the most discussed moments of the festival occurred when American organist Cory Henry, scheduled to perform the following day with his band, The Funk Apostles, joined the late-night session. In an unexpected move, Henry eschewed his traditional keyboard role to take over the drum kit, demonstrating the multi-instrumental versatility often found in high-level jazz circles.
The following evening, Henry’s main-stage performance with The Funk Apostles provided a stylistic shift toward jazz-funk and gospel-infused soul. His energetic rendition of the Bee Gees’ "Stayin’ Alive" was cited by attendees as a high point of audience engagement, culminating in Henry leaving the stage to perform directly within the crowd, effectively dissolving the barrier between performer and spectator.
Traditional Blues and Ensemble Dynamics
Saturday afternoon, March 21, was dedicated to the festival’s traditional blues program. The session opened with Paul Lamb and the King Snakes, whose harmonica-driven blues provided a classic foundational sound. They were followed by Ronnie Baker Brooks, whose performance focused on his acclaimed album Blues In My DNA.
Observers noted the commanding, almost singular presence of Brooks, whose guitar virtuosity often overshadowed his backing band and horn section. A moment of professional friction was noted when Paul Lamb returned to the stage for an impromptu solo, which appeared to contrast with Brooks’ tightly controlled stage management.
The Saturday evening program featured bassist and vocalist Amy Gadiaga. Leading a new trio, Gadiaga’s performance was met with mixed critical reception. While her individual talent and the skill of pianist Luke Bacchus were evident, the ensemble’s cohesion was reportedly hampered by the aggressive volume and "overpowering presence" of drummer Jordan Hadfield. This lack of dynamic balance was highlighted as a rare instance where the "sum of the parts" did not exceed the individual talents involved.
The Grand Finale and Club Night
The festival reached its climax on Saturday night with the "Swinging Miles" club night. Eight different venues across the district hosted simultaneous performances, allowing the town to pulse with various sub-genres of jazz simultaneously. The Jazzkeller sessions continued until 2:00 AM, featuring a late-night appearance by Turkish saxophonist Korhan Futaci and his band following their concert at the Stadtsaal.
The official closing performance at the Wackerhalle featured guitarist Robben Ford, performing with the Zurich Jazz Orchestra under the direction of Ed Partyka. Like Mike Stern at the start of the week, Ford brought a direct connection to Miles Davis, having toured with him in the 1980s. Ford’s set was characterized by refined arrangements of his original material and a sensitive cover of John Lennon’s "Jealous Guy," showcasing the intersection of blues, jazz, and big-band orchestration.
The festivities concluded on Sunday morning with a performance by the Austrian brass band Newohrlinz at the Jazzkeller. The group’s New Orleans-inspired repertoire provided a lighthearted end to the week, catering to the traditional Bavarian "Frühschoppen" (early morning drink) culture.
Supporting Data and Cultural Impact
The 55th Jazzwoche Burghausen operated with a logistical precision that has become a hallmark of the IG Jazz (the International Jazz Association of Burghausen).
- Venues: 3 primary concert halls and 8 club night locations.
- Duration: 6 days of continuous programming.
- Historical Reach: 55 years of operation, making it one of the longest-running jazz festivals in the world.
- Economic Impact: The festival significantly boosts local tourism, with hotels in the Altstadt and surrounding areas reporting near-total occupancy during the third week of March.
Analysis of Implications
The success of the 2026 edition suggests a resilient future for traditional jazz festivals in Europe. By balancing "heritage acts" like Robben Ford and Wolfgang Haffner with rising stars like Shuteen Erdenebaatar and Jakob Manz, B’Jazz successfully bridges the generational gap in the jazz audience.
Furthermore, the inclusion of funk, blues, and brass band music indicates an evolving definition of the festival’s scope. While the core remains firmly rooted in jazz, the expansion into related genres ensures broader commercial viability without sacrificing artistic integrity. The tribute to Miles Davis, though centered on a performer who never visited the town, served as a clever narrative device to link the festival’s present with the "Golden Age" of the genre.
Official Outlook
Organizers have already confirmed the dates for the 56th edition, scheduled for early March 2027. The consistent support from the Bavarian state and local sponsors like Wacker Chemie ensures that Burghausen will remain a focal point on the international jazz circuit. As the town returned to its usual quietude following the Sunday finale, the consensus among critics and attendees was that the 55th anniversary was not merely a celebration of longevity, but a demonstration of the continued vitality of the jazz form in the 21st century.
