JazzFest Berlin 2026 – Days 1 and 2

The opening days of JazzFest Berlin 2026 showcased pioneering works that emphasized both legacy and innovation within contemporary jazz. Central to the festival’s launch was Anthony Braxton, a figure whose enduring influence has been integral to the event for half a century. This year, Braxton presented a novel ensemble and composition that underscore his ongoing exploration of sonic textures.

Braxton introduced a septet featuring an uncommon instrumentation of four saxophones paired with three tubas, a configuration that facilitated the debut of his Composition No. 744. This piece marked his development of what he terms ‘air music,’ a concept blending chamber music elements with improvisational passages layered over subtle electronic atmospheres. Braxton led the ensemble with commanding gestures from an extensive score, guiding transitions that emphasized collective sound over individual solos, apart from two brief appearances on soprano saxophone and clarinet.

Insights shared during a pre-concert discussion reflected the complexity of Braxton’s new direction. While the precise meaning of ‘air music’ remained elusive to participants, it was suggested that the term evokes an appreciation for ambient sounds, drawing inspiration from everyday auditory experiences such as the hum of airplane engines. This creative vision manifested in a set that balanced structured and spontaneous elements, engaging listeners in a sonic exploration that challenged conventional jazz boundaries.

Following Braxton’s performance, the festival spotlight turned to Alexander Hawkins and his Willow Music project. Hawkins, a longtime collaborator and disciple of Braxton’s compositional ethos, led a 10-piece ensemble featuring a rich palette of brass, woodwinds, strings, and rhythm section. The music unfolded with an opening collective improvisation that gradually coalesced into intricate ensembles, evoking natural phenomena akin to birds in murmuration. This project’s second public appearance further cemented Hawkins’s role in expanding contemporary jazz's expressive range.

The festival’s second day introduced audiences to Camila Nebbia, an Argentine-born saxophonist and composer now rooted in Berlin’s vibrant jazz scene. Nebbia’s new work engaged a ten-musician ensemble augmented by a live video artist, merging multimedia elements with evocative music. The composition drew thematic impetus from her family history of migration, specifically inspired by her great grandfather’s autobiographical writings about his journey from Lebanon.

Nebbia’s piece traversed a broad emotional spectrum, integrating moments of intensity with passages of delicate beauty. Initial sound balance issues gave way to a clearer presentation, allowing the composition’s intricate layering and shifting moods to resonate fully. Accompanying abstract visual projections deepened the narrative, including imagery suggestive of familial and cultural identity, underscored by nuanced string arrangements and intimate instrumental dialogues.

Notable interplay among ensemble members included expressive exchanges between Nebbia’s tenor saxophone and trombonist Weston Olenki, a spirited duet featuring guitarist Arne Braun and organist Kit Downes, and a fiery solo from Nebbia herself. The composition’s structural coherence and emotive depth encapsulated the complexities and resilience inherent in migratory experiences.

Together, these performances encapsulated JazzFest Berlin’s commitment to fostering creative innovation while honoring the profound legacies embedded in jazz’s evolving landscape. Braxton’s exploratory septet and Nebbia’s culturally resonant suite underscored the festival’s role as a platform for boundary-pushing artistry and reflective storytelling through music.

While full details on subsequent festival programming remain forthcoming, the initial days clearly set a tone of adventurousness and introspection. The festival continues to affirm Berlin’s status as a dynamic hub for jazz experimentation and cross-cultural dialogue.