The Story Of The Bishkek International Jazz Festival 'Jazz Bishkek Spring': Celebrating Music Against All Odds

The international jazz festival Jazz Bishkek Spring takes place in the capital of Kyrgyzstan every year in April, spanning two or three nights across multiple venues. This vibrant event offers a dynamic mix of local and international talent, providing a unique experience for jazz enthusiasts and highlighting the city's evolving cultural scene.

For Bishkek, a city still finding its footing on the cultural stage, the annual jazz festival holds great importance. It serves as a key platform for nurturing local talent and fostering a deeper appreciation of the genre within the audience.

The title "Jazz Bishkek Spring" cleverly incorporates wordplay with the Kyrgyz language, as the word "spring" in Kyrgyz sounds like "jaz." So, it's actually double jazz: Jazz Bishkek [jaz]. A nice linguistic twist, isn't it? Registered as part of the annual jazz celebration month established by UNESCO and featuring a lineup that blends international guests with homegrown talent, the event symbolizes the city's growing connection to the global jazz community.

"The festival's motto is 'Music Without Borders,'" states an Instagram post from the festival's official account. "Its mission is to build bridges of friendship and understanding between nations through cultural collaboration. Jazz is the music of free and creative people."

Since 2018, the Jazz Bishkek Spring festival has been part of the global festival program dedicated to International Jazz Day (April 30). Since its first edition in 2006, the festival has introduced Kyrgyz audiences to the unique interpretations and styles of jazz of scores of bands representing numerous countries, including Azerbaijan, Austria, Belarus, Hungary, Germany, Israel, Italy, Kazakhstan, Kyrgyzstan, the Netherlands, Poland, Russia, the USA, Tajikistan, Turkmenistan, Turkey, Uzbekistan, France, Switzerland, Estonia and Japan.

Keneshbek Almakuchukov, one of the founders of the Bishkek International Jazz Festival and a board member of the company organizing the festival, Central Asia Art Management Public Fund, admits, "In a way, my journey into jazz was both accidental and inevitable. The story is that when I was working on my PhD, which was related to tourism, one of the gaps I found was in the classification of Kyrgyzstan's cultural resources. In the tourism resources of any country, apart from its natural and architectural landmarks, there is also the so-called intangible aspect—music, dance and performing arts. This realization sparked my initial academic interest in cultural resources."

After completing his dissertation, Almakuchukov began actively engaging in cultural events—attending training sessions, seminars, and roundtable discussions. He recalls, "We were taught project-writing methodologies in the field of culture. There were brainstorming sessions discussing what Kyrgyzstan needed, what was lacking, and why it was needed. The idea of a large-scale festival was always in the air. Most people talked about organizing a festival of Kyrgyz ethnic music."

Between 2005 and 2006, through these events, he met future partners who were also exploring cultural initiatives. While others focused on an ethnic music festival, Almakuchukov and his newly formed network saw an opportunity to create something different. Their experience in cultural project planning eventually led to the conception of a jazz festival. One of them worked at the Swiss Cooperation Office, which, like many diplomatic and humanitarian missions, had a mandate to support cultural initiatives.

At that time, the head of the Swiss Cooperation Office happened to be a jazz enthusiast. When the idea was pitched to him, he expressed interest and offered a small amount of funding to get things started. The office had branches in both Kyrgyzstan and Tajikistan, so arrangements were made to bring in musicians from Tajikistan, Switzerland and Germany. Meanwhile, Almakuchukov and his team focused on engaging Kyrgyz musicians willing to experiment with jazz.

"In any endeavor, there must be a clear vision. Without a vision or an understanding of what it is and why it matters, projects simply don't come to life. This is a principle from project management. Once the vision was in place, it found fertile ground in the mind of the Head of the Swiss Cooperation Office. At that point, everything was done in a makeshift manner. We had little funding, and we designed and did everything ourselves," recalls Almakuchukov.

The first festival, though modest, became a reality. Initially, it was seen as a one-time event, given the limited resources. However, one of the team members later attended the well-established Almaty International Jazz Festival in neighboring Kazakhstan, and returned inspired, realizing that with the right structure, their event could become a recurring tradition.

After the festival wrapped up, questions arose about the future. The Swiss official, whose tenure lasted several years, inquired whether they were planning anything for the following year. His interest led to further discussions among diplomats, prompting embassies from other countries to consider participating. Diplomatic missions often collaborated on cultural projects—and jazz became a topic of conversation, encouraging more embassies to get involved. Almakuchukov explained, "At first, the goal of organizing a jazz festival was simply to hold such an event because it was interesting and exciting. Additionally, it aimed to provide local musicians with a new niche."

During Soviet times, there had been no jazz festivals in this area, but there was an active jazz scene with talented musicians performing in clubs and restaurants. The 1990s, the decade after the USSR's dissolution, were economically, politically and socially challenging. After the 1990s, as the economic situation in the country improved, international donors began supporting projects beyond basic humanitarian aid. Around this time, the idea of reviving jazz culture started circulating, coinciding with the city's efforts to restore its urban appeal. As the capital of the country, Bishkek aimed to both showcase its uniqueness and offer the same sort of facilities that other capital cities did.

When they finally decided to hold a jazz festival, assembling local musicians was easy—then well-known names such as Alexander Yurtaev, Alexander Akimov and Vladimir Danilov were eager to participate. The next challenge was securing international artists, which they managed by inviting musicians from Switzerland and Tajikistan. However, logistical challenges proved extremely difficult, as they had no prior experience of organizing such events.

The organizers were not yet a registered organization but merely a group of enthusiasts. By the third edition, they were required to establish a legal entity with a structured team, including financial management, to apply for grants properly. Writing grant applications was complex, as different donors had different requirements. Besides, donor policies dictated that initial funding would last only three years, after which they had to seek independent financial support. This forced them to actively engage in fundraising, reaching out to embassies and institutions, often without fully understanding their mandates.

In the process, they learned about the unique characteristics of jazz in different countries. When they invited a Swiss jazz band, they noticed that Swiss jazz differed significantly from American jazz, just as French jazz had its own distinct style. Over time, they came to understand how jazz had developed uniquely across various cultures.

"We faced a fundamental question," Almakuchukov recalled. "Did Kyrgyz jazz truly exist? We considered musicians like Yurtaev, Danilov and others, recognizing that while they played jazz, it was largely Soviet jazz, shaped by a specific school of interpretation. This led to a deeper inquiry—could there be an authentic Kyrgyz jazz, and if so, how should it be developed?"

At first, their understanding was somewhat simplistic. They saw two potential approaches: arranging ethnic melodies using standard jazz instruments or adapting jazz standards for traditional Kyrgyz instruments. However, those approaches soon revealed challenges. Ethnic musicians had a deep, intuitive grasp of their own material, but lacked experience in jazz interpretation. Meanwhile, jazz musicians, though proficient in their craft, struggled to internalize the essence of Kyrgyz music.

"We experimented by pairing ethnic musicians with jazz players, asking them to study and arrange jazz standards together," Almakuchukov recalls. "However, arranging was an art in itself, and results varied—some musicians adapted well, while others struggled. On the other hand, jazz musicians who had long lived in Kyrgyzstan, like Yurtaev and Akimov, rarely engaged with Kyrgyz folk music, making their attempts at fusion feel forced."

They soon realized that neither extreme—pure jazz played on ethnic instruments nor ethnic music forced into jazz forms—was effective. A true synthesis required a mix: adding string instruments, guitars, keyboards and saxophones. What started as an experiment born out of uncertainty gradually turned into a structured approach.

As they pursued funding for their projects, they faced another challenge—how to define and present their vision. They had to craft a compelling name and project description to secure grants. Grant applications required a clear distinction: what made this festival unique? what did it aimed to achieve? and how was it named? "The name was crucial," Almakuchukov explained. "Grant reviewers, from embassies to foreign ministries, process thousands of applications. A compelling title could capture their attention and set the project apart. We followed a structured approach—iterating between the name, objectives, tasks, and expected results to ensure alignment. This process led us to the concept of ethno-jazz."

Simply calling it "fusion" was too vague, while "ethno-jazz" was a term met with skepticism. "In 2005-2007, even the term 'fusion' was not widely understood," recalls Almakuchukov—"let alone 'ethno-jazz.' Many questioned whether such a genre even existed. However, similar movements were emerging in Uzbekistan, Tajikistan, and Kazakhstan, where musicians were blending jazz with their own folk traditions."

Ultimately, the creative search was driven by practical considerations—securing financial support and recognition. They had to convince grant providers, embassies and cultural institutions that ethno-jazz was a legitimate, evolving genre. In the process, they refined their approach, realizing that successful ethno-jazz required musicians who understood both traditional music and standard jazz instrumentation. Through trial and error, they experimented with different instruments and arrangements, much like their counterparts in other Central Asian countries.

Despite their progress, they often felt something was missing. Musicians in Kyrgyzstan largely relied on their own talents, working in an ad-hoc manner rather than through structured training. In contrast, jazz musicians from France and Italy, for example, were constantly touring, refining their craft by playing worldwide. The global jazz scene was in a state of flux, with musicians searching for unique sounds and original expressions. This realization pushed the festival team to think beyond just organizing events—to fostering artistic growth and experimentation.

Over time, they noticed that certain countries, such as Switzerland, took a systematic approach to sending jazz musicians abroad, ensuring regional balance in their representation. However, some of the so-called "ethno-jazz" groups tat they hosted confused audiences. While the Swiss or Korean groups called their performances ethno-jazz, local Kyrgyz audiences perceived them as folk concerts rather than jazz.

To address this, they refined the festival's structure, ensuring that ethno-jazz groups were not all scheduled on the same day, as it overwhelmed audiences. They learned to design the festival program strategically, mixing high-energy performances with more subdued ones to lead the audience's emotional journey.

Over the years, the team gained confidence in negotiations, no longer approaching donors with uncertainty. By the time of the seventh festival, they were already making substantial logistical contributions, including accommodating artists and organizing additional performances. They also began influencing festival programming, initially facing resistance from donors but gradually gaining acceptance. Their role in shaping festival content expanded, allowing them to suggest and secure artists. This shift enabled the organizers to take on responsibilities like covering additional travel expenses, organizing receptions and funding smaller events through ticket sales and indirect revenue. This financial independence helped them gain credibility as partners rather than passive recipients of aid.

The festival planning process also matured, transitioning from last-minute organization to long-term planning. While festivals in the early years were arranged only a month in advance, by the 20th edition, in 2025, the participants and funding had been confirmed months ahead. The ultimate goal is to emulate major international festivals, which operate on multi-year schedules.

"At first, organizing the jazz festival was just a side project—a hobby for us, since we all had full-time jobs," Almakuchukov admitted. "But we soon realized that a serious project couldn't be done casually. If you aim for something significant, you need long-term commitment, deep thinking, and constant problem-solving. Over time, the festival went from a passion project to a major focus, demanding extensive time and effort.

"Now, the festival has gained recognition, with applicants from Japan and the Netherlands sending proposals. This is because the festival has become well—known, partly due to its participation in International Jazz Day on April 30. Every year, we submit information about the festival—such as the bands performing, the artists attending, and the festival's locations, including jam sessions. Jazz enthusiasts who follow this information often plan their trips around the festival, combining business visits with the chance to attend," Almakuchukov shares proudly.

Initially aimed at boosting tourism, the festival now serves as a platform for cultural practice and has begun working as a scientific idea, blending tourism and culture. However, the government has not supported the festival financially, despite earlier efforts to secure funding, mainly due to their focus on other priorities. "If we want Bishkek to be a capital, we need to acquire some of the attributes of a capital. Glamour, capital city status. It has to be a creative city. A city where, if people come for business, they'll always find something to do in their free time. They could go to a play, a concert, take a stroll, visit an exhibition, or check out some interesting clubs—whether it's a nightclub, a jazz club, chamber orchestra or something else," Almakuchukov suggests.

As for the question about the relationship between jazz and Kyrgyz culture, Almakuchukov is in no doubt that jazz with its improvisational nature fits well within Kyrgyz musical traditions, which also involve improvisation. He emphasizes the importance of having a well-rounded understanding of jazz theory, not just performance skills, to manage jazz festivals effectively.

He also emphasizes the importance of educating the audience at jazz festivals: "While it's necessary to cater to popular demand by including familiar jazz standards, the festival should also aim to expand the audience's understanding of jazz. To achieve this, we enlisted a musicologist who provided insightful commentary about the performances, enriching the audience's experience. Unfortunately, the expert can no longer attend the festival due to health issues related to his age."

For the past three years, the festival has also included educational programs for young musicians at local music schools. Additionally, to support jazz theory studies, they have published a guide for young musicians on how to approach jazz composition.

Speaking about the audience of the festival, Almakuchukov makes this observation: "The audience has become more diverse and continues to expand. Initially, the audience at the festivals mainly consisted of diplomatic staff, grant providers, and people from urban environments, mostly of Slavic or European descent. Now I can see people from different nationalities—Japanese, Americans, Germans—sitting alongside others. The audience has changed over the years. It has become younger and more diverse, though it hasn't grown dramatically in numbers over the past two years. The audience has become more varied in terms of their attire, with jazz lovers expressing themselves freely through their clothing choices. Those who enjoy jazz don't dress in dull, single-color outfits but tend to have more vibrant styles.

"The audience now includes more young people from urban backgrounds who are earning their own money. Additionally, the audience is primarily made up of couples or groups. These people are collectivists, not individualists—attending events alone isn't seen as appropriate. It is more about sharing experiences, whether it be enjoying a concert, or attending a jam session together," Almakuchukov expands.

"The challenge, however, is that organizing a festival has become more difficult, especially with competing events like opera or ballet performances. The festival's audience overlaps with that of opera and ballet, as these people all appreciate high-quality cultural experiences."

Almakuchukov's outlook about the future of the jazz festival is optimistic. Despite the challenges faced during the pandemic, the festival has persevered and survived. International recognition is growing, with musicians already planning to participate in future editions. The jazz festivals in Central Asia, including those in Almaty, Tashkent, and Dushanbe, are beginning to align in a way that benefits all involved. While these festivals are not officially collaborating yet, they are all working in parallel to offer musicians opportunities to perform at multiple events. This allows musicians to make the most of their time and travel, offering a unique chance to perform across different festivals in the region.

Despite some challenges in collaborating with other festivals, the overall sense is one of growing recognition and opportunity for the regional jazz scene. In 20 years, the Bishkek International Jazz Festival has evolved from a modest gathering into a major cultural event. Its success lies not only in its ability to showcase jazz but also in its role as a bridge between cultures. In 2025, the festival will host musicians from Austria, Germany, Spain, Portugal, Russia, France, Japan and, of course, Kyrgyzstan. By continuously adapting and learning from both local traditions and global trends, the festival has become an essential part of Bishkek's cultural identity.

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