The first issue of Musica Jazz International is now available in English language, with previews of columns and articles. The cover story, dossier, interviews, and two accompanying CDs

Ayers died on March 4 in New York. The warm sound of his instrument has fallen silent, leaving an empty void. He was eighty-four years old and had been battling a long illness. His notes, once rays of sunshine in the jazz-funk and soul firmament, now float like precious dust in an endless sunset. The music world is left devastated and suspended, waiting for a final note that will never come. His vibraphone spoke directly to the heart, and every chord he played was a fragment of melancholic light—a thrill we now miss like a lost heartbeat. Roy Ayers leaves behind a bittersweet void—a silence filled with memories in...

The recent death of the Brazilian pianist truly marks the end of an enchanted world: a true la-la land built in the perfect image and likeness of its ingenious creator

The programme of the 2026 Torino Jazz Festival – renamed The Sound of Surprise – featured a special focus on the guitar this year, thanks to the presence of three heavyweights of the instrument: Marc Ribot, Bill Frisell and John Scofield. Three musicians who, each in their own way, have helped redefine the language of the guitar over the past forty years. The first to take the stage was Ribot, a central figure in the New York downtown scene, appearing with his new quartet Hurry Red Telephone. Strictly speaking, the group had already performed in Italy last year at the Bergamo Jazz Festival, but in a different configuration: at that...

Let’s talk about “L’Antidote”. How did you meet? Redi Hasa: It happened in 2019, the first time. Actually, it was already 2020, right at the onset of Covid – we recorded, and five days later the world shut down. It was a surreal moment. At the beginning everything was very spontaneous. We spent four days in the studio, improvising freely. Each of us brought our own language: Rami might introduce a theme or an idea, Bijan Chemirani would work on percussion, and I would move between electronics and cello. Little by little, structures began to take shape, like a stage being built piece by piece. But that first phase was very...