Johan Budi
The A to JazZ Festival recently concluded its 15th-anniversary edition, transforming Sofia’s South Park 2 into a sprawling hub of international rhythm and cultural exchange. Situated in one of the few European capitals where mountain peaks are integrated into the urban skyline, the festival has solidified its reputation as a premier destination for both jazz aficionados and casual listeners. True to its name, the event sought to cover the vast spectrum of the genre—from traditional improvisational forms to contemporary world music—offering an eclectic and free-to-access program that has become a cornerstone of Bulgaria’s summer cultural calendar.
Since its inception, the festival’s commitment to free admission has served as a primary catalyst for its growth, effectively democratizing a genre often perceived as elitist. This year, under the canopy of favorable summer weather, the park was occupied by a dense "ocean of picnic blankets," signaling the festival’s success in attracting a diverse demographic. The event, which ran from July 2 to July 5, combined high-caliber performances with an industry-focused conference, creating a dual-layered experience that addressed both the artistic and the professional dimensions of the global music scene.
The Evolution of a Cultural Landmark
The 15th anniversary marks a significant milestone for the festival and its founder, Peter Dimitrov. What began as a localized effort to promote jazz has evolved into an international phenomenon that integrates Sofia into the broader European festival circuit. The choice of South Park 2 as a venue provides a "leafy setting" that mirrors the open-air jazz festivals of Montreux or Newport, yet remains uniquely Bulgarian in its accessibility and community spirit.
The festival’s structure has also matured over the years. By dedicating the opening day to world-music showcases and following it with three days of intensive jazz programming, the organizers have created a narrative arc that explores the roots and the future of the genre. This year’s attendance figures, which reached several thousand spectators per night, underscore the festival’s role as a major driver of cultural tourism in the Balkan region.
Opening Showcases: A Bridge Between Traditions
While the festival officially commenced on a Thursday, the core jazz programming gained momentum on Friday. The opening day served as a platform for world-music showcases, highlighting the intersection of various cultural traditions. A notable highlight was the Carnatic trialogue performed by the Norway-based Indian vocalist Uma Ranganathan. Carnatic music, a system of music commonly associated with southern India, shares a profound structural similarity with jazz through its emphasis on complex improvisation and rhythmic cycles.
This spirit of cross-border collaboration was further exemplified by the Nubras Ensemble. Their performance established a musical bridge between the traditions of southern Italy and Bulgaria. The inclusion of Diyana Vasileva, a member of the world-renowned "Mystery of the Bulgarian Voices" choir, added a layer of local prestige to the set, demonstrating how traditional folk elements can be seamlessly integrated into modern improvisational frameworks.
Industry Insights: The A to JazZ Music Conference
In addition to the performances, the festival continued its tradition of hosting a professional music conference, a feature introduced in 2018. This forum brought together an array of international promoters, festival directors, and venue programmers to discuss the evolving landscape of the music industry.
A central theme of this year’s discussions was the challenge of international touring in an era of increasing "musical nationalism" and logistical hurdles. Paul Pace, a prominent figure in the British jazz scene, provided a historical perspective on these issues. He recounted the landmark negotiations led by Pete King, co-founder of Ronnie Scott’s Jazz Club, and the American Federation of Musicians. This agreement, which facilitated the exchange of musicians between the UK and the US, was pivotal in establishing Ronnie Scott’s as a legendary venue. Pace’s presentation underscored the necessity of international cooperation in maintaining a vibrant jazz ecosystem.
The conference took an emotional and insightful turn when Pace was joined by the legendary vocalist Dee Dee Bridgewater. Accompanied by her dog Daisy—who Bridgewater noted was instrumental in her recovery from clinical depression—the singer offered a candid reflection on her 56-year career. She discussed the historical challenges faced by women in jazz, citing the pervasive sexism of the industry as a primary motivation for her "We Exist!" project. This all-female initiative serves as both a musical collective and a direct challenge to the patriarchal structures that have long dominated the genre.
Headlining Performances and Political Resonance
Saturday’s program culminated in a powerful performance by Dee Dee Bridgewater, who utilized the stage as a platform for both musical excellence and social commentary. Her set was marked by a commanding presence and a deep connection with the audience. Before performing Nina Simone’s seminal "Mississippi Goddam," Bridgewater provided historical context, linking the song’s origins in the Civil Rights Movement to the contemporary political climate in the United States.
Her dedication of Bob Dylan’s "Gotta Serve Somebody" to what she termed the "orange king" left little ambiguity regarding her views on current American politics. Despite a scheduled early departure the following morning, Bridgewater’s reluctance to leave the stage reflected the high energy of the Sofia audience. The evening concluded with a moving, unaccompanied rendition of "Amazing Grace," a performance that resonated deeply given the date’s proximity to the Fourth of July.
Showcasing the New Generation
The festival also served as a launchpad for younger artists, with Polish pianist Hania Derej emerging as a standout performer. Derej, whose aesthetic combined sportswear with a sophisticated musicality, showcased her versatility by transitioning from a traditional trio format to a more expansive quartet. Her use of wordless vocals over a Bösendorfer piano, combined with atmospheric keyboard textures, demonstrated a modern approach to composition that balances acoustic and electric elements.
In contrast, the performance by saxophonist Tomoki Sanders, son of the late avant-garde legend Pharoah Sanders, offered a study in the complexities of musical lineage. While the set began with high energy, some critics noted a loss of momentum in the latter half, highlighting the immense pressure faced by the descendants of jazz icons to innovate within the shadows of their predecessors.
Celebrating the Legacy of Miles Davis
The legacy of Miles Davis was a recurring theme throughout the weekend, particularly as the global jazz community prepares for the Davis centennial. The Miles Electric Band (M.E.B.), led by Davis’s nephew, drummer Vince Wilburn Jr., delivered one of Friday’s most acclaimed sets. The 10-piece ensemble revisited Davis’s revolutionary electric period, performing tracks ranging from the experimental "Bitches Brew" (1969) to the more pop-inflected "Human Nature" (1985). The performance served as a reminder of Davis’s enduring influence on the fusion of jazz, rock, and electronic music.
Bulgarian Contributions to the Global Scene
The festival remained deeply rooted in the local scene, featuring several prominent Bulgarian artists who have achieved international acclaim. Trombonist Gueorgui Kornazov, now a staple of the French jazz circuit, presented his "Autumn Impressions" project. The ensemble featured an unconventional lineup, including a tuba and an accordion, creating a rich, textured sound that deviated from standard quintet arrangements.
Double bassist Victoria Kirilova also made a significant impact with her quartet. Performing pieces from her album "Roots & Skies," Kirilova demonstrated a mature compositional voice that has already garnered attention from international publications such as Jazz Journal. Similarly, drummer Emil Tassev, who holds a background in physics, brought a unique intellectual rigor to the stage. His project, "Tesseract," used four-dimensional geometry as a metaphor for musical exploration, resulting in a performance that was as cerebral as it was rhythmically engaging.
After-Hours and the Future of the Festival
As the main stage performances concluded each evening at the 11 p.m. curfew, the festival’s energy shifted to Toplocentrala, an indoor venue located at the entrance of the park. These late-night jam sessions provided a more intimate setting where local musicians collaborated with international headliners. A notable participant was Veleka Tsankova, a member of the festival’s organizing team and an accomplished jazz vocalist, whose involvement highlighted the "all-hands-on-deck" nature of the event.
The 15th anniversary of A to JazZ serves as a testament to the resilience and growth of the jazz community in Eastern Europe. By blending free public access with high-level industry discourse and world-class performances, the festival has created a sustainable model for cultural engagement. As director Peter Dimitrov and his team look toward the future, the festival stands as a vital link in the international jazz chain, proving that the genre remains a living, breathing, and politically relevant art form.
The success of the 2026 edition reinforces the notion that jazz is not merely a historical artifact but a dynamic medium for contemporary expression. With its unique setting, diverse programming, and commitment to accessibility, A to JazZ has firmly established Sofia as a significant node in the global map of improvisational music.
