Jazz

I’m really happy that this year, too, I get to review the event known as “Jazzáky”—as it’s familiarly called by those whose connection to this festival goes beyond just a few concerts by their favorite bands. For me personally, the last weekend before the end of October marks the final stretch of days without thick jackets, windbreakers, and coats. These are the last breaths of what we call Indian summer or “late summer.” After these days, the relentless reality of fall sets in—which, fortunately, is full of color. Thanks to the extra hour—since the clocks always change on this Saturday—it feels as though the day is longer and, as a result, more peaceful. Although I love the sun and the heat, winter time suits my internal clock better. And I really enjoy celebrating this extra hour during BJD. It’s always a wonderful celebration, in a pleasant setting, surrounded by people who share similar musical tastes. This year’s 51st edition was no exception; it was organized by the daughters of the founding fathers—that is, the new generation of the Lipa and Daněk families.

I’m not in the habit of researching bands in depth before a festival. Either there are names I recognize and know what to expect from them, or they’re artists I’m unfamiliar with—and in that case, I want to let myself be surprised. The same mix of familiar and new bands, groups, and solo artists awaited visitors at Incheba during these days, and the first day of the festival kicked off with a pleasant surprise.

Friday, October 23

The opening act was the Slovak neo-soul band Headmovers (Filip Regina – drums / Tomáš Regina – piano / Michal Šelep – bass guitar / Dominika Zdražilová – vocals / Stanko Baranec – saxophone). Neo-soul, as appealing and highly listenable a genre as it is, has its challenges. These are mostly related to authenticity. European bands rarely manage to achieve that believable “Block Party” atmosphere, and often even their good intentions foundered on the shallow level of a superficial imitation. However, the Slovak band featuring singer Dominika Zdražilová presented their version of Central European neo-soul at Incheba without excessive ostentation—a performance that was refined, rhythmically well-executed (which is by no means easy), and highly enjoyable. Michal Šelep delivered an above-average bass set with catchy melodies, and Dominika Zdražilová, with her vocal timbre—especially in those velvety low registers—made it clear that charismatic female vocals are no longer a rare phenomenon in Slovakia. After Headmovers’ enjoyable performance, I had no idea that I had just enjoyed the personal highlight of the evening.

Charlie Hunter Trio was, at least in my opinion, supposed to be the main jazz act of the opening night. The master of “multiscale” guitar—known for his distinctive parallel playing style across both the bass and guitar registers—performed in Bratislava with the project featured on the album “AM Clock Radio” (SideHustle 2026). Accompanied by saxophonist Nate Clark and drummer Marcus Finnie, they kicked off with the song Don’t Stop The Music, a cover of the 1980 R&B hit by the duo Yarbrough and Peoples. Hunter likes to paraphrase—and does it well—but I had the feeling I was watching a tired bandleader who’d been worn down by routine; instead of energy, what came across from the stage was, above all, experience. It’s fine, but at the same time, it’s not very convincing. The very next day, prompted by this very sense of unease, Peťo Motyčka brought me Hunter’s 1997 album of Bob Marley covers, *Natty Dread*. And after listening to it, I have to say that compared to, let’s say, “classic Hunter,” something was missing from this recent performance. Perhaps it was the instrument’s less pronounced sound, or some other issue I haven’t yet been able to pinpoint, but this performance fell short of my expectations. But I don’t want to be too critical: the music is very enjoyable; the instrumentation isn’t flashy, but it’s masterfully executed. And during the performance, a pleasant bluesy atmosphere spread throughout Incheba. But that’s probably also because the bar for top-notch concerts at BJD is set very high.

The BJD program (as it has in the past) includes bands that fall outside the usual boundaries of jazz. These are mostly bands with pop appeal, attracting a specific audience that, under other circumstances, would not find its way to a jazz festival. This intention is understandable and common at other events of a similar format as well. For all those who would prefer to read here that Caravan Palace had no place at the BJD, I’m afraid I’ll have to disappoint you. Although their insistently loud and compositionally monotonous, carnival-like electro-swing forced me to put earplugs in, a large crowd below the stage was enjoying their performance—and that is what matters most to the organizers of a festival dedicated to a niche musical genre. That’s why I hope that, thanks to experiments and marketing moves like this, at least a few fans of such performances—which regularly drive hardcore jazz fans out of the venue—will be convinced that broadening their musical horizons is worthwhile, and that at least a few of them will check out BJD again next time. This, too, is a way to secure new generations of listeners, and so as long as such an excess remains an isolated incident at an otherwise excellent festival, I’m happy to forgive it.

Saturday, October 24

The second day kicked off with a staple of the local scene. Eugen Vizváry and his band took the stage—a well-deserved opportunity—and performed both older and newer compositions. The talented Áron Hodek on bass, the exceptionally musical Martin Valihora on drums, and the charming Anita Soul delivered a solid, high-quality performance. It’s well known that Eugen is a great composer, musician, and bandleader, but even so, I feel that this year’s concert at BJD revealed exceptionally fertile ground on which his future musical journey could successfully unfold. Alongside the soul, hip-hop, and classical fusion influences that remain prominently present in his work, his melodic—even hymnal—side came fully to the fore in the second, previously unreleased track. For several minutes, an incredibly catchy vocal motif was nurtured, cultivated, developed, and set free in a way that even Fermata with Tomáš Berka in their glory days would be proud of. A beautifully captivating melody, a well-paced build-up, and the cherry on top: among the musicians, I haven’t yet mentioned the Finnish guitarist Johannes Granroth. Intentionally. His solo in the second track—and his overall approach to playing—was crucial to the band’s entire dynamic. A vibrant sound, inventive melodic build-up, surprising fragmentation of the main motif, sensitive repetition—but above all, the amazing harmonic weaving of his own ideas into the entire musical structure—proved to be the highlight not only of Saturday but of the entire festival. So Eugen made an excellent choice in selecting this musician! I’ve had a similar experience with guitar playing at concerts by the Polish musician Jakub Mizeracki, and from now on I’ll recall Johannes Granroth’s playing with the same feeling. The second Slovak band and the second strike in the target. After that concert, I was happy to conclude that the local scene was leading on points halfway through the festival.

Each edition of BJD could be summed up in a few words based on its atmosphere. This year’s festival truly revealed its true colors when Cuban cellist Ana Carla Maza took the stage with her project ALAMAR. The cello is not a typical jazz instrument, and although even the most exotic instruments have long since found a home in this genre, this iconic instrument of classical chamber quartets—somewhere between the violin and the double bass—is surprising and sonically atypical. I therefore had mixed feelings at the start. Getting the cello to sound right is apparently no easy task, especially when it’s a key instrument in the background of a samba and bossa nova band. However, Ana Carla Maza’s boundless energy and magnetic presence completely swept away any initial doubts. This spirited woman, deeply devoted to music, captivated the audience with her personal story and inspired them to dance and fully savor the joy of the music. Her infectious optimism was a wonderful addition to the festival and showcased the positive power of jazz in all its Caribbean beauty.

Indian bassist Mohini Dey immediately ensured that strong women would become the theme of this year’s jazz festival. I’ve already had the opportunity to see many greats of this noble instrument, specifically its electric version. These included scene giants such as Victor Bailey, Jeff Berlin, Richard Bona, Stanley Clarke, Mark Egan, Hadrien Feraud, Anthony Jackson, Michael League, Marcus Miller, Steve Swallow, Victor Wooten, and many other great performers, but I’ve never before seen anything like what this petite (yet all the more extravagant) lady showcased on Saturday evening. A cadence like a machine gun, stunning precision, breathtaking endurance, and expressiveness that knows no equal. I’m not an uncritical fan of acrobatic exhibitionism, and I usually prioritize content over form, but the almost decadent opulence with which Mohini Dey took the stage approached an ecstatic experience—a vision of a Hindu goddess who doesn’t glide across the fretboard with just one hand and doesn’t pluck the five strings of her instruments with just five fingers. At that moment, the incarnation of Sarasvati—the goddess of music, who has four hands—appeared on stage. Paradoxically, the band’s lineup (drummer Marco Cirigliano, saxophonist Jonathan Mones, and keyboardist Kwinton Gray) kept up with her, easily catapulting the entire performance into the realm of a so-called “supergroup.” And this despite the fact that these are artists who are not yet global stars. Mohini Dey engaged in intense and even extensive exchanges, particularly with the drummer, throughout the concert, which lasted more than an hour. But that obsessive speed can become exhausting. I understand that the strategy of a rising star is to captivate with unbeatable technical virtuosity and showy bombast. But it would be good to gradually reflect on the meaning of the message being conveyed as well. Marcus Miller, too, was most interesting last year not because he knows how to play the slap bass, but because he finally learned to convey masterful humility and devotion to music. If Mohini Dey manages to move beyond this initial phase of maximizing impact toward selflessly communicating profound content through her instrument, then we have just witnessed the birth not only of a short-lived star, but of a legendary, enduring icon.

Sunday, October 25

During the winter months, Sunday performances traditionally start an hour earlier. Once again, the lineup featured a group with local connections, specifically thanks to the Slovak-Italian drummer Mattia Müller. He invited his classmates and friends from Berklee College of Music (Joav Ganor—bass guitar, Ian Michael—keyboards, and Noah Allen—trumpet) to Bratislava to introduce us to what the young American music scene is all about. The music is definitely not straightforward. In general, there has long been a noticeable trend toward sophisticated compositions, nonlinear structures, deeper layers of meaning, and surprising shifts in mood. Perhaps this effort is sometimes a bit too conspicuous; at times, it would be enough to focus on simpler forms to make the result more direct. Otherwise, however, it is highly commendable, and it can fill us listeners with hope for a bright future when we see what talents are continually taking the world’s stages and what high-quality music they are capable of producing even from their earliest stages. A delightful highlight of the evening was the invitation of Eugen Vizváry to the stage. Mattia paid tribute to him as his mentor and friend, to whom he owes his musical direction. A beautiful and meaningful gesture that strengthens intergenerational bonds.

The next band was a smart curatorial choice by the organizers, as it drew attention to current trends in American jazz. Vibraphonist Joel Ross took the stage with his quintet, featuring pianist Tyler Bullock, double bassist Kanoa Mendenhall, drummer Jeremy Dutton, and alto saxophonist Devin Daniels. Jazz musicians maintain their high standards and are always able to satisfy the needs of a wide range of listeners. Those who ostentatiously left the hall on Friday during the electro-swing dance party were able to revel to their heart’s content in masterful jazz at this concert. Strict musical scores, surgically precise solos, and improvisations straight out of an academic tutorial. The intricate layers in Joel Ross’s compositions are illuminated by the tinkling of a warmly vibrating instrument. To Gary Burton fans, this approach might have seemed unmelodic, but here we are in a different school of thought and a completely different attitude. This concert demonstrated just how rich, diverse, and contrasting the expressive range of the same instrument can be in different constellations.

After our excursion across the Atlantic, we were finally treated to a performance of Middle Eastern origin. Bratislava hosted Ibrahim Maalouf’s ambitious project “Trumpets of Michel-Ange”. It was the same program I described in my review of the concert at the Vienna Konzerthaus (link here), featuring the same blend of humor, familiarity, showmanship, melodrama, and warmth in engaging with the audience. While strong women had largely set the pace throughout the festival so far, we were able to take part in a massive celebration of a Lebanese wedding right here in Bratislava to round off the event.

A symbolic and lovely conclusion to a successful festival. And finally, I must emphasize that I find the caliber of the Slovak performers to be very satisfying. It’s no longer just a matter of the necessary discipline of incorporating local artists into an otherwise international program; it’s clear that the local scene is virtually indistinguishable from the international one in many respects. And that’s great!

We look forward to seeing you again next year!