Umbria Jazz has left its mark on the history of music in many ways. For the quality of the music, for the way the concerts are organised, for the involvement of the territory, for its relationship with the public.
A story that has lasted for 46 years and which exploded immediately with a huge success that transformed, for the first time in history, a jazz festival into a Woodstock-style gathering. Umbria Jazz could have been overwhelmed by so much success but, instead, it not only survived, but grew and multiplied (the invention of Umbria Jazz Winter in Orvieto and the recently resumed Spring edition in Terni, the countless presences abroad) and it has stabilised and has become a globally recognisable event, thanks to its formula divided between the Arena, the theatres for refined palates and the piazza, and thanks to its welcoming atmosphere and the memory of its many editions: the epic Charles Mingus, the fabulous concerts of Miles Davis, the torrential ones of Sonny Rollins, Sting meeting Gil Evans, the soft tenor sax of Stan Getz, Dizzy Gillespie, Ornette Coleman, elusive Joao Gilberto, Quincy Jones, Tony Bennett and Lady Gaga, the encounter with different styles of music, Caetano Veloso, Gilberto Gil, Eric Clapton, Santana, R.E.M, another elusive artist like Prince and all the long list of Italian jazz musicians who owe much of their current international prestige to Umbria Jazz.
What more could you ask for? The challenge is to continue at this level of quality and success.