Like A Jazz Machine 2026 in Luxembourg

Luxembourg continues to underscore its dedication to jazz culture, a commitment evident from the moment visitors arrive at its airport. The city’s tram stops feature unique jazz compositions by pianist Michel Reis, each tailored to reflect the character of nearby landmarks, signaling a deep-rooted appreciation for the genre.

The annual Like A Jazz Machine festival, now in its 14th year and held in the town of Dudelange, stands as a vibrant testament to this enthusiasm. The event emphasizes not only jazz’s enduring legacy but also its vitality and relevance, offering attendees an experience marked by energy and joyful collaboration among musicians.

A focal point of the festival is its balanced celebration of both emerging talent and established figures. Local Luxembourgish artists such as bassist Boris Schmidt and trumpeter Daniel Migliosi exemplify the burgeoning scene’s dynamism. Migliosi’s ensemble, including young pianist Levi Harvey and a dual-drummer setup with Kai Craig and Francesco Ciniglio, hinted at an evolving synergy that promises further growth during their upcoming tour.

On the international front, the festival featured notable American jazz veterans Mike Stern and James Carter, each bringing distinctive artistry to the stage. Stern’s performance opened with a delicate piece centered on a traditional West African string instrument, played by his wife Leni, gradually building into a display of intricate solos and interplay involving bassist Chris Minh Doky, saxophonist Bob Franceschini, and drummer Denis Chambers. Stern himself delivered commanding guitar work throughout.

James Carter’s set, which paid homage to John Coltrane, transcended mere tribute by offering an expansive 90-minute exploration of jazz fluency. Starting with “Come Sunday,” the band’s journey concluded with a compelling blues encore, illustrating Carter’s broad interpretive range and technical prowess.

The festival also showcased two Scandinavian piano trios that highlighted contrasting approaches to modern jazz. Rymden, featuring Bugge Wesseltoft alongside bassist Dan Berglund and drummer Magnus Öström—both from the famed Esbjörn Svensson Trio rhythm section—blended empathetic group dynamics with elements reminiscent of progressive jazz.

Conversely, Tord Gustavsen’s trio offered a more understated, contemplative experience, merging Norwegian folk and hymn traditions with jazz, drawing inspiration from Jan Johansson’s iconic "Jazz på Svenska". Gustavsen’s use of multiple keyboards, complemented by bassist Steiner Raknes and drummer Jarle Vespestad, crafted a sonic palette that made complex compositions feel accessible and intimate.

Innovation extended beyond conventional setups with trombonist Robinson Khoury’s trio MŸA and bassist Renaud Garcia-Fons’ Blue Maqam. Khoury engaged deeply with electronic effects to expand his instrument’s expressive range, supported by percussionist Anissa Nerahi, whose versatile performance evoked the spirit of the late Marilyn Mazur.

Garcia-Fons, celebrated for his virtuosic bowed bass, led a Mediterranean-inspired journey, enhanced by his daughter Solea’s vocals delivering songs in both Arabic and Hebrew, and vibraphonist Stéphan Caracci’s ethereal contributions.

Local artists also held a strong presence beyond the main stage. Pascal Schumacher, a pioneering vibraphonist, reunited with pianist Jef Neve in a duo that reflected over two decades of collaboration, blending classical influences and jazz improvisation. Meanwhile, drummer Jeff Herr’s group energized audiences with support from Pol Belardi on bass and Maxime Bender on saxophone.

The festival’s programming underscored the importance of live jazz as a communal and uplifting experience. Emerging acts like Quintanopia and Mammal Hands brought fresh textures, with the latter introducing new material featuring guitarist Nick Smart in place of their usual piano setup, highlighting a willingness to explore and evolve.

Overall, Like A Jazz Machine 2026 reaffirmed Luxembourg’s position on the European jazz map, celebrating a spectrum of styles from folk-inflected melodies and progressive modernism to rooted traditions and experimental soundscapes. The festival’s blend of local vibrancy and international excellence offers both a snapshot of contemporary jazz and a promising glimpse into its future.