Luciano Linzi: “JAZZMI, here are my tips”
By Luca Testoni
“Eleven years ago when we started, Titti Santini and I set ourselves the goal of re-stitching the threads that tie jazz music to Milan, and I think we succeeded. Today, we continue to keep all the ingredients of what was the original idea: to create a contemporary jazz festival that is wide open on all fronts—capable of looking at the history of this music, while keeping a watchful eye on its most recent developments, evolutions, and cross-pollinations.”
Luciano Linzi, one of the two artistic directors, summarizes the philosophy behind JAZZMI—long established as the Lombard capital’s largest jazz festival, produced by the JAZZMI Association, Ponderosa Music & Art, and Triennale Milano Teatro, in collaboration with Blue Note Milano and with support from the Ministry of Culture and the Municipality of Milan—as follows.
In a hypothetical journey through the best of the 2026 edition, Linzi starts with the celebration of the birth centenaries of two true giants of 20th-century jazz: “This year John Coltrane and Miles Davis would have turned 100. Like almost all major festival programs, we also decided to commemorate both anniversaries, though with events that take very different forms,” he notes.
All about Miles Davis
“I’d like to highlight a true tribute: the one created by Paolo Fresu and his quintet. On October 29 at the Teatro Lirico Giorgio Gaber, they will perform live the famous soundtrack to Louis Malle’s Elevator to the Gallows (Ascensore per il patibolo), while the film’s scenes play on the screen. It was the first soundtrack recorded by Davis and marked a turning point in his artistic exploration. In fact, he recorded the tracks in the studio while watching the film projected in front of him, creating a powerful bond between sound and images.
Furthermore, on November 5 at Triennale Teatro, we will present an original reimagining of Miles and Gil Evans’ masterpiece Sketches of Spain, curated by virtuoso flamenco dancer Israel Galván and trumpeter Michael Leonhart.
Two themed books will also be presented: the new edition of Miles Davis‘s autobiography featuring a preface by Paolo Fresu (Linzi will discuss it with Fabrizio Bosso, Nick The Nightfly, and Daniele Di Gennaro at the Birdland Bookstore on October 22 – Ed.) and John Vignola’s Esercizi di Metamorfosi / Le molte vite di Miles Davis (at AEdicola in Lambrate on October 24).
Finally, at Cinemino Noise—the new multipurpose space occupying the site that housed Le Scimmie until 15 years ago—visitors can view an exhibition featuring 11 portraits by photographer Luciano Viti. Miles Davis sat for this posed photoshoot following his performance at the PalaEur in Rome back in 1987.”
All about John Coltrane
“We begin with a double tribute on November 1: at Triennale, Dimitri Grechi Espinoza, Aziz Şenol Filiz, and Guido Zorn will present live “Meditation on a Love Supreme”, a project that stems from Coltrane‘s masterpiece to explore the relevance of its spiritual force today; meanwhile, at the ADI Design Museum, there will be a tribute titled “Dear Trane” by guitarist Sandro Fazio‘s quartet featuring saxophonist Francesco Bearzatti. In addition, I would also highlight two other concerts that serve as an indirect tribute to Coltrane by two saxophonists who inherited his spirit and love for experimentation. I’m referring to James Brandon Lewis, who, with The Messthetics project—which also features the bassist and drummer from Fugazi—creates a dialogue between jazz and avant-garde rock (on November 7 at Santeria Toscana 31); and tenor saxophonist Isaiah Collier, one of the most brilliant voices of the new Chicago jazz scene (on November 8 at Triennale).”
A kaleidoscope of offerings
“The strength of JAZZMI, I repeat, lies in giving space to jazz, which is inherently inclusive and opens up and regenerates itself when combined with other genres and soundscapes,” Luciano Linzi continues. “I think of the world music cross-pollinations of projects like L’Antidote (on October 22 at Santeria Toscana 31) or Afro-influenced projects like those of Rokia Traoré (on October 27 at Alcatraz) or saxophonist Idris Ackamoor, one of the most authoritative voices in spiritual and Afrofuturist jazz (on October 29 at Biko Milano with the Pyramids). But also the new soul of Judith Hill (on October 30 for two sets at Blue Note) and the project of the incredibly promising Momoko Gill, who, after her collaborations with Alabaster DePlume and Shabaka Hutchings, has launched her solo path blending singer-songwriter traditions, jazz, electronics, and ambient music (Biko Milano on November 7). Not to mention, on October 24 at Santeria Toscana 31, Scottish artist Corto.Alto, one of the key figures of the new UK jazz scene, and the project spanning ambient, electronic experimentation, and folk by Sigur Rós keyboardist Kjartan Sveinsson (hosted at Auditorium San Fedele on October 28)—proof that the boundaries between genres are becoming increasingly blurred and music is harder and harder to label.”
Jazz drums in the spotlight
“Drums are a central instrument in jazz—its very heart, partly because they drive its propelling rhythm. That’s why I’m pleased to highlight the concerts of two drummer-leaders and composers: on November 1, Smith, who has played alongside Dave Holland and Chris Potter, will perform a double set at the Triennale. Fresh off winning two Grammy Awards, he will bring to life his award-winning LIVE-ACTION, blending jazz with soul and hip-hop, featuring highly advanced and extraordinary rhythmic compositions. Two days later, on November 3, it will be the turn of another Grammy winner, the spectacular Louis Cole, appearing as a duo with alto saxophonist David Binney at the Triennale.”
Something for everyone
“You only need to scroll through the lineup to realize there’s truly something for every taste, and the bill is exceptionally rich,” Linzi emphasizes. “For instance, how can you not mention the return to JAZZMI of a great voice like Gregory Porter (performing on November 3 at Alcatraz)? Speaking of vocals, I’d also point out the concerts by Dee Dee Bridgewater (a double set on November 5 at Blue Note) and her daughter China Moses (on November 4 at Triennale), who has proven to be every bit as talented as her mother. Continuing with great voices, Milan will also host the wonderful Yazmin Lacey, bridging jazz and soul (on October 29 in Piazza Liberty near the Apple Store); Take 6, the world’s greatest a cappella group (a double set at Blue Note on November 7); and Nick the Nightfly, who—also at Blue Note, but on October 27—will sing the hits of two pillars of American songwriting, jazz, and blues, Oscar Brown Jr. and Mose Allison, both marking their birth centenaries.”
Made in Italy
“JAZZMI has always paid close attention to Italian jazz,” concludes the artistic director. “Among this year’s highlights, I’d point out Fabrizio Bosso‘s quartet (a double set at the Blue Note on October 22); Enrico Intra‘s restaging of his 1970s album with Gerry Mulligan (at Triennale on October 31); Gaetano Liguori performing again with his historic Idea Trio, a group with a strong experimental approach (also at Triennale on October 31); and the Sardinian-born saxophonist-clarinettist Enzo Favata, whose latest work leading the Atlantico quintet—reunited after decades to blend jazz with world music influences—was released by the prestigious German record label ECM (at Triennale on November 7). Finally, worth mentioning is the return of refined, jazz-tinged singer-songwriter music with the voices of Sergio Cammariere (on November 8 at the Conservatorio) and Chiara Civello (on November 6 at the Volvo Studio, paired with Cristiano Crisci, alias Clap! Clap!).”
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