The Taihu Jazz Festival cultural fusion wrapped up on Monday after five vibrant days of international performances and creative collaboration. Held at the Taihu Stage Art Center, an extension of China’s National Center for the Performing Arts (NCPA), the event drew over 200 musicians from nine countries. From seasoned jazz veterans to rising stars, performers reimagined jazz through cultural dialogues and genre-defying experiments. For many artists, the festival offered a rare platform to blend their traditions with jazz’s improvisational freedom. This year’s edition left a lasting mark on both the audience and performers.
Canadian saxophonist Yannick Rieu described the experience as emotionally powerful and musically transformative. During his set, he presented a jazz quartet that centered around the theme of integration and cultural harmony. Notably, he included an adapted version of the Chinese folk song “Yimeng Mountain,” which deeply moved him. “From the first listen, I felt an emotional connection,” said Rieu, who has visited China nearly 20 times. The Taihu Jazz Festival cultural fusion offered him a space to honor Chinese heritage while celebrating jazz’s spontaneity.
Rieu expressed admiration for China’s evolving arts scene, which he has observed since 2006. He noted that new music festivals, schools, and clubs now support young musicians across the country. These emerging talents explore jazz by merging their own identities with the genre’s openness. “China’s diverse culture, from landscapes to regional traditions, constantly inspires me,” said Rieu. He believes the country’s creative momentum makes it an important hub for global jazz.
Chinese trumpet player and composer Li Xiaochuan also took the spotlight with an experimental performance. At the festival, he incorporated traditional Chinese instruments and artificial intelligence into his jazz composition. “We must be willing to innovate and share our discoveries with future generations,” said Li, who teaches at Shanghai Conservatory of Music. He stressed the need to keep jazz relevant by embracing technology. The Taihu Jazz Festival cultural fusion allowed Li to express this vision through bold, genre-blending music.
International acts echoed this call for innovation. Argentinian pianist Adrian Hugo Iaies performed music rooted in his country’s folk traditions while using jazz as a creative tool. Meanwhile, Chinese band HAYA merged ethnic music styles—such as Mongolian and Tibetan—with modern sounds. “Music belongs to all peoples,” said HAYA’s founder Zhang Quansheng, who plays the Morin Khuur. As the festival ended, NCPA Vice President Guan Jianbo promised continued efforts to turn China into a global jazz hub. The Taihu Jazz Festival cultural fusion now stands as a model for music’s power to bridge cultures.
