Looking back at 2024 as the 2025 summer festival season approaches, the 44th Montreal Jazz Festival, officially titled Festival International de Jazz de Montréal (FIJM) took place from June 30 to July 6. One of the biggest festivals in the world, FIJM offered a multitude of jazz greats and up-and-coming artists, in a diversity of styles, including Stanley Clarke, The Preservation Hall Jazz Band, Cory Wong, Jordan Officer, Chris Potter, Ekep Nkwelle, Julian Lage, Al Di Meola, Norah Jones, Pink Martini, Tord Gustavsen, Dawn Tyler Watson, Christine Jensen, Dominique Fils-Aimé, Kenny Garrett, George Coleman, and many more!
One of the best things about FIJM is how much FREE music was available. Most of it was presented at outdoor stages, but Le Studio TD, a popular indoor theater, had free packed shows at 6:00 and 10:00 p.m. every night. There were also lots of choices at the indoor ticketed venues, and with so many offerings, you were never far from a great concert!
FIJM had several family-friendly activities (including games and outdoor instruments), Festival souvenirs, wading pools, various water sprays, an abundance of food vendors, and a free pure-water station with bottles and refills, making sure there was something for everyone.
Ill Considered
London jazz band Ill Considered – saxophonist Idris Rahman, bassist Liran Donin, and drummer Emre Ramazanoglu, started with an otherworldly, ethereal melody that swept like a wave of yearning over the crowd. Light effects added a surreal atmosphere, and the climactic ending elicited explosive applause. The next avant garde number slowed down in the middle for a lovely introspective section, with some exemplary sax phrasing from Rahman. Ramazanoglu and Donin added stirring improvisations, and Idris enhanced the set with haunting chants, leading the crowd to a spontaneous ovation!
Idris said, “All this music was improvised for you tonight. Thanks for letting it happen. We really appreciate it a lot!” When Rahman wasn’t pointing his sax at his musical comrades, he played with fervor to the front rows of the audience. The next tune had an international flavor, with Middle Eastern tinges, then it morphed into some intensely funky jazz. These guys didn’t do anything by halves! Idris Rahman thanked the crowd, saying the group absolutely felt them. Once more, the trio pulled out all the stops, melding their instruments powerfully on a red-hot encore. IllConsidered left it all on the stage at the Gesù venue on FIJM’s first day.
Cory Henry and The Funk Apostles
Keyboardist/vocalist/producer Cory Henry appeared at the big outdoor Scène TD Stage, on a fabulously warm and breezy evening. Cory welcomed the crowd, saying, “I want everybody to give it up for the Funk Apostles!” Henry encouraged the audience to do whatever the music made them feel, including dancing. The Funk Apostles included bassist Sharay Reed, drummer TaRon Lockett, and guitarist Adam Agati, and the group started with a blistering tune that indeed had the crowd dancing. They followed with the mellower “Happy Days” that fit the band’s groove like a glove. “Something New,” was an up-tempo pleasure that revved up the audience to an even higher level. The set continued with a truly inspired rendition of Chick Corea’s “Spain” that would surely have made Corea smile.
“Ecstasy” captivated the packed crowd, with Agati employing his fingers like a wizard on the guitar. Next came an old-school soul tune about missing a connection with a woman, after experiencing love at first sight. The group followed with a real party number where Henry implored the crowd to join in, yelling, “Yeah, yeah!” The audience complied with big energy. “Holy Ghost,” from the CD Operation Funk was a combination church-themed/funk cut that Henry sang passionately, and the band matched him on every note! Cory Henry and The Funk Apostles really lit up Place des Festivals, and Cory ended the concert by taking a phone video of the cheering throng of people!
Joey Alexander
Bali-born pianist Joey Alexander burst onto the jazz scene in 2012, at just nine years old. His star has been rising ever since, taking the music world by storm with Grammy Award nominations, and being in demand worldwide. Joey’s cohorts were drummer John Davis and bassist Kris Funn, and the trio started with a tune of delicacy imbued with an incandescent aura. A wonderfully improvisational “Amazing Grace” followed. Joey was particularly into his exquisite piano phrasing, standing up while playing, which he is known to do. After some enthusiastic cheering from the audience, Joey introduced his bandmates, saying they were some of his favorite collaborators. “Summer Rising” was an upbeat charmer that included captivating contributions from each artist. The next minor-key offering riveted the listeners with the band’s virtuosity. They followed with a moving “What are You Doing the Rest of Your Life?” that started with Alexander’s superlative piano solo, then changed into a vigorous bop that displayed Funn’s excellent bass grooves.
The soft-spoken and very polite pianist thanked the crowd for being there, and thanked FIJM for inviting him. “Warna” was performed with energetic verve. After a huge standing ovation, their encore was Bonnie Raitt’s “I Can’t Make You Love Me,” an elegiac thing of beauty that closed this fantastic show starring some of the brightest young talents in jazz.
Ambrose Akinmusire With Dave Holland
Composer/trumpeter Ambrose Akinmusire won the 2007 Thelonious Monk International Jazz Competition, and he has embraced working within various musical genres, while exploring the depths of his instrument using traditional and nontraditional jazz elements. He’s worked with Vijay Iyer, Bill Frisell, Kendrick Lamar, Esperanza Spalding, Jason Moran, and many others. Renowned bassist/cellist/composer Dave Holland received FIJM’s Miles Davis Award in 2005, Grammy Awards, DownBeat’s Musician of the Year, and is an NEA Jazz Master. Holland has collaborated with many jazz greats including Coleman Hawkins, Miles Davis, Herbie Hancock, Chick Corea, Chris Potter, Lionel Loueke, and Wayne Shorter.
Akinmusire began with some warm, golden notes, then Holland accompanied him on a ballad that had touches of avant garde inventiveness and an atmospheric, heart-tugging vibe. The next soothing melody began with Dave’s smooth bass, then Ambrose added his own persuasive trumpet contributions.
The duo picked up the pace on a number with many influences, from Caribbean to Middle Eastern to straight-ahead jazz, where Akinmusire and Holland played as if they could read each other’s minds. Ambrose’s trumpet kicked off the next tune, showing extensive range on staccato notes, alternating with sweet, honeyed refrains. Both musicians had several individual moments in the spotlight, but they also demonstrated fine communication as a duo. Ambrose didn’t speak much, but he did introduce Dave Holland, calling him amazing, and the two artists hugged. After some thunderous applause, they did a last mélange of blues and classic jazz that was greatly appreciated. Ambrose Akinmusire and Dave Holland gave marvelous show!
Chief Xian aTunde Adjuah
Grammy-nominated and Edison Award-winning multi-instrumentalist/composer Chief Xian aTunde Adjuah (formerly Christian Scott) gave a press conference before his concert, hosted by journalist Mark Ruffin. Adjuah discussed meeting drummer Elé Howell when Howell was a child, noting that Elé has always been serious about music. Adjuah also praised the talents of multi-instrumentalist Morgan Guerin. Chief Xian spoke about flautist/singer/composer Elena Pinderhughes, recalling her having a hard time with her former record company, where they tried to confine her talents. Now Pinderhughes is recording with Adjuah, and she’s flourishing. Adjuah attended school with artists Robert Glasper, the Curtis Brothers, Thundercat, and Esperanza Spalding.
Chief Xian said he would look your favorite guitarist in the eye and say that we’ve been waiting for years for Cecil Alexander. He stressed the importance of mentoring young artists and recalled the significant lessons he received from some of the genre’s giants. Three important things he learned from his mentors are:
- You don’t make a career in a night.
- Don’t take yourself so seriously. Be okay with yourself.
- If something doesn’t touch you, it won’t touch others.
Discussing the exploitation of artists, he said musicians should be supported and sustained. Adjuah believes the most physically demanding instruments are drums and trumpets. The rigors of being a trumpeter sometimes have him spitting blood, but he’s committed to it. He noted how you can become ostracized if you change your name. When he de-Westernized his name, he got lots of criticism, and even death threats, but he’s glad he did it! Chief Xian aTunde Adjuah was extremely generous while talking about his life and career.
At his Scène TD concert, Adjuah did double duty on the first two numbers, singing and playing his invention, the Adjuah Bow. He was backed by multi-instrumentalist Morgan Guerin, drummer Elé Howell, guitarist Cecil Alexander, pianist Lawrence Fields, bassist Ryoma Takenaga, and special guest flautist Elena Pinderhughes. Adjuah thanked the audience for their patience while some technical difficulties were fixed. The band’s configuration was very new, but they sounded like they had been together for years.
The set included a high-powered, rock-influenced number with an outstanding drum solo by Howell, a powerful trumpet section by Adjuah, great guitar licks by Alexander, and finished with a striking crescendo. Pinderhughes’ mastery of the flute was prominent on several pieces, including “Sunrise in Beijing,” with the band offering very strong support. Their finale, “The Last Chieftain,” was written for Adjuah’s grandfather, the late Big Chief Donald Harrison Sr., and aTunde’s uncle, saxophonist Donald Harrison Jr., in recognition of both men’s participation in The Congo Square Nation Afro New Orleans Cultural Group. This bravura concert received tremendous affirmation from the overflowing crowd!
Keyon Harrold With Guest Jason Moran
Trumpeter Keyon Harrold was mentored by Charles Tolliver, and has worked with Gregory Porter, Mary J. Blige, and Rihanna. Harrold provided the trumpet playing for Don Cheadle in the Miles Davis biopic, Miles Ahead, and the soundtrack won a Grammy Award. Keyon had a three-day residency at FIJM, including a trumpet summit with Theo Croker, Maurice Brown, and Rémi Cormier.
Pianist/composer/educator/multi-media artist Jason Moran has studied with Jaki Bayard, and collaborated with Lee Konitz, Christian McBride, Bill Frisell, Cassandra Wilson, and Charles Lloyd. Moran’s many accolades include a MacArthur Fellowship, a Grammy nomination, and several awards from DownBeat.
Moran and Harrold started their set at Gesù with a gorgeously contemplative tune that amply displayed their outstanding melodic skills, and they created an astonishingly big sound with just two instruments. Keyon reached stratospheric notes, and Jason evoked many moods with great ease. Harrold employed his gravelly singing voice on “Pictures,” which suited this melancholy tale of lost love. He emphatically said, “Give it up for my big brother, Jason Moran!” “’Round Midnight” was done with such feeling that it enraptured the crowd. “Find Your Peace” had Harrold listing many ways to find tranquility, amusing the listeners with some of his choices. He added that whatever you need to do to achieve peace, it’s worth it.
“Ethereal Souls” was dedicated to all the people who were lost to the Covid pandemic and to recent wars, and Keyon said that he wanted to send vibrations to heaven in memory of those who have passed away. Although there were shades of melancholy in the song, there was also a celebratory mood, which was a balm to the spirits of those who were left behind.
This concert was a beautiful alliance of analogous styles. The animated audience encouraged the duo to do an encore, where Jason showed impressive abilities with his fluid use of both hands, while Keyon provided some powerful trumpet phrasing that blew the crowd away! This set more than lived up to expectations and was one of the brightest spots of the 2024 FIJM.
Lisa Fischer
Singer/songwriter Lisa Fischer was featured in the Oscar and Grammy Award-winning documentary 20 Feet From Stardom. She’s had a lengthy career as a much-sought-after back-up singer for a veritable musical Who’s Who, including The Rolling Stones, Sting, Luther Vandross, Chaka Khan, Tina Turner, and Roberta Flack. When Fischer embarked on a solo career, her successful 1991 debut album So Intense included the Grammy-winning tune for vocal performance, “How Can I Ease the Pain.”
Initially, Lisa was scheduled for an indoor set, but it was changed to a free outdoor concert on a hot night at Scène TD Stage, where thousands more people could see her. Those folks were lucky, because Fischer is a dynamic artist who was accompanied by Grammy Award-winning pianist Taylor Eigsti. Taylor has collaborated with Dave Brubeck, Chris Botti, Terence Blanchard, James Moody, Christian McBride, and Joe Lovano. Lisa was clad in a sleek ensemble with a big, statement hat, and the duo began with a unique rendition of “Killing Me Softly” where her multi-octave voice put a new spin on the piece. Eigsti’s evocative piano solo added just the right notes. To the enthusiastic applause, Fischer said, “Thank you so much! I love that song because Luther Vandross and I used to sing back-up for Roberta Flack, who brought the song to the attention of the public.”
“The Broken Instrument” was all about feeling discarded, and Lisa’s storytelling was fantastic, between her powerful voice and the emotional lyrics. Fischer quenched her thirst, saying, “In this kind of heat, water is my friend!” The concert finished with a sultry rendition of “Blues in the Night,” where the duo mesmerized the packed audience in Place des Festivals! Lisa Fischer and Taylor Eigsti really brought extra heat on this scorching evening!
Joshua Redman Featuring Gabrielle Cavassa
Celebrated saxophonist/composer Joshua Redman has worked with many legendary jazz artists, including Elvin Jones, Roy Hargrove, Pat Metheny, Branford Marsalis, Clark Terry, Dave Brubeck, Jack DeJohnette, Toots Thielemans, and Dianne Reeves. Joshua won the Thelonious Monk International Jazz Saxophone Competition in 1991 and has several DownBeat Critics Poll Awards. Gabrielle Cavassa was the 2020 co-winner with Tawanda Suessbrich-Joaquim of the Sarah Vaughan International Jazz Vocal Competition (which was actually awarded in 2021, due to the pandemic), and she recently signed with Blue Note Records.
Joshua and Gabrielle were accompanied by pianist Paul Cornish, drummer Nazir Ebo, and bassist Philip Norris. The concert began with Cornish’s lovely piano interlude, then Gabrielle Cavassa sang quite beautifully, followed by a dynamic sax solo by Redman. Cavassa’s clear, yet sultry voice was at the forefront of “Hotel California,” and was in perfect harmony with Redman’s tenor phrases and Norris’ superb bass solo.
Redman put his whole body into his playing, and said he had a special place in his heart for FIJM. His late father, saxophonist Dewey Redman, first brought Joshua to FIJM in 1991, and Redman said that there’s no greater festival than Montréal. The set continued with cuts from Redman’s latest CD, Where Are We (about different U.S. cities), including “Chicago Blues,” “Streets of Philadelphia,” and “By the Time I Get to Phoenix,” which Joshua started with some mellow sax notes. Then Gabrielle added her warm tones, followed by a piercing tenor section by Redman. Next came “I Left My Heart in San Francisco.” This version of the classic tune was as smooth as silk, and Philip’s bass kept things flowing. A mash-up of “Alabama” and “Stars Fell on Alabama” was passionately romantic, and it also had a swinging interlude. “Where Are You?” was a gentle, swaying piece that the group performed without a hitch.
Joshua said that when traveling to different parts of the world and playing music about America, people can sometimes get downright rude, but luckily that didn’t happen in Montréal. Gabrielle found a composition about the city, “Place St. Henri” from the great Oscar Peterson’s 1965 Canadiana Suite album, and the stirring piece totally roused the audience. After enthusiastic cheers, they played Barry Manilow’s “Could It Be Magic,” which was inspired by Frédéric Chopin’s Prelude in C Minor. When you think of Joshua Redman, Barry Manilow is not the first connection who comes to mind, but Redman and company performed the song brilliantly! It was a beautifully memorable concert.
Sammy Jackson
Canadian jazz/rhythm and blues vocalist Sammy Jackson is a Juno Award-winner. She was accompanied by pianist Chris Pruden, guitarist Tom Fleming, bassist Mark Godfrey, and drummer Ian Wright. Sammy started with a lovely ballad, then welcomed the crowd and mentioned that this was her first time in Montréal. Pruden had an incredible piano solo on a wistful love song, accompanying Jackson’s beauteous voice. Next, Sammy’s multi-octave range led an atmospheric tune about a love triangle, and Ian Wright added some fine syncopated drumming. Jackson said, “I hope you are enjoying our show,” then praised her fellow musicians.
The contemplative “Don’t Bother Calling” was played with cohesive flawlessness, followed by a blithely beautiful “Sunday in the Park” that Sammy sang with ease and assurance. The exquisitely sung “Take Me Back” was composed when Jackson finished university studies, was unsure about her future, and wanted a more innocent outlook. This gifted young vocalist has a special talent for intimate storytelling. Being a wife, a mother, and expecting another baby, she finds living challenging sometimes, and did a poignant piece that fully described this time in her life. Then she affectingly performed the title number from her Juno Award-winning CD, With You, about the connections we have with other people. Her bandmates offered strong support, and she finished with “Chucky,” a tribute to her son that was a sprightly pleasure about the joys of motherhood. Sammy Jackson’s packed set at Le Studio TD was an exceptional experience.
Makaya McCraven
Acclaimed drummer Makaya McCraven was the winner of DownBeat’s Critic Poll’s Rising Star Award in 2020, and his numerous collaborations include Marquis Hill and Kamasi Washington. Before his concert, McCraven held a press conference where he recalled his earliest musical memories, including being on the lap of his father, drummer Stephen McCraven, who taught him the art of drumming. Since his mother, singer/flautist Ágnes Zsigmondi, is also a musician, Makaya was certainly influenced and inspired by both parents. He reminisced about his grandmother singing to him in Hungarian. Although he didn’t understand her, he remembers her repeatedly intoning his first name.
Makaya discussed being an independent artist. Although people go into music for the love of it, one must also be cognizant of the need to support yourself. He talked about hip-hop musicians sampling jazz refrains and stated that it is nothing new. Jazz musicians have sampled works of their predecessors and have even re-imagined Broadway show tunes. He emphasized the value of using all your musical interests, instead of remaining in one narrow lane. McCraven loves being able to communicate with people outside of literal spoken language. When asked what he’d still like to accomplish, Makaya said he makes “silly little bucket lists” and wants to spend more time on the African continent for inspiration. McCraven was open and eloquent about the music world.
For McCraven’s concert at Théâtre Jean-Duceppe, his opening act was No Cosmos, whose members included vocalist Sarah Rossy, pianist Zach Frampton, drummer Kyle Hutchins, saxophonist Evan Shay, and trumpeter/bandleader Scott Bevins. They performed a diverse program with everything from high-voltage pieces to beautifully melancholic and abstract tunes. The set included “Intention,” “The Post Human Shuffle,” and “Watercolor Ghost.” No Cosmos did a great job of warming up the audience for Makaya’s band.
After an intermission, McCraven came on stage with vibraphonist Joel Ross, bassist Junius Paul, trumpeter Marquis Hill, and harpist Brandee Younger. What’s beautiful about jazz festivals is that you can experience all-star collaborations like this one. They began with the quiet beauty of “Seventh String,” where the musicians sparkled. “Dream Another” was an energetic enchantment that gave each artist improvisational room to stretch.
“The Knew Untitled” had a surreal loveliness with Marquis Hill providing mind-blowing trumpet phrasing, and splendid touches from the rest of the band. The next melody started with Ross’ exciting vibraphone section, then Hill’s soaring trumpet. McCraven kept perfect tempo throughout, and being a generous leader, he wholeheartedly shared the conversation with his fellow artists.
Brandee Younger’s harp was simply sublime on the next piece, connecting with each cohort, and the clarity of every note swept through the crowd like an entrancing spell. Junius Paul selected from a table filled with hand-held percussion instruments, and McCraven contributed a blazing drum solo. After much unbridled applause, Makaya said, “Merci beaucoup! You are all so kind.” They closed with a stunning performance of “This Place That Place.”
Lakecia Benjamin
Alto saxophone phenom Lakecia Benjamin’s show at the Molson Stage was on fire from start to finish! She shared the stage with drummer E.J. Strickland, bassist Elias Bailey, and keyboardist Oscar Perez. The group played an intro grove as Lakecia entered the stage in a striking golden ensemble and white boots. Benjamin said, “Here we are in Montréal for the first time.” The set took flight from “Trane” forward, having the crowd fully on board while celebrating Canada Day, with Lakecia showing why she’s one of the premier sax players in jazz.
On “Amerikkan Skin,” Lakecia displayed her rapid-fire rap skills in addition to her alto chops. When the clapping died down, Benjamin enthusiastically addressed the crowd, “We normally play a different song here, but I’m feeling the turn-up vibes. I’m feeling ‘let’s get loud up in this joint now!’” Then she jokingly said, “We’re going to test you, Montréal. They say you’re a jazz festival. How many people know who John Coltrane is?” As the crowd cheered, she said, “We’re going to do a song that pays tribute to Mr. Coltrane…“My Favorite Things.” She continued, “So, it’s going to be a little rowdy up here now…Find some seatbelts and lock yourself down. We’re going to blow the roof off this tent, baby! Today we’re going to dedicate this song to the great Alice Coltrane.” Launching into the piece, with impressive extended phrases by Perez, Strickland, and Bailey, Lakecia’s emotive solo mirrored Coltrane’s free jazz voice and included hints of Shorter’s “Footprints” in her improvisational exploration.
E.J. Strickland started Patrice Rushen’s “Jubilation” with an exuberant drum solo that flowed into Benjamin’s sax harmonies, weaving beautifully around the melody. She dramatically climbed a ladder of notes, after Strickland’s compelling drumming, to finish at the highest alto range. The crowd exploded into cheers. Lakecia then played a funky groove that got the crowd clapping to the cadence. Next, Benjamin slowed the pace by playing a soul-stirring “Amazing Grace,” accompanied only by Perez. At the conclusion, Lakecia shouted “Hallelujah” through the applause. They closed with a rousing group mix of improvisational rhythms, where everyone was allowed to stretch. This thoroughly enjoyable set ended with a party groove and much love from the appreciative audience.
Oliver Jones at 90 – A Celebration With Friends
The opening act for the Oliver Jones at 90 concert was rising saxophonist Alex Ambroise, accompanied by drummer Paulo Max Riccardo, vocalist Myrtle Thomas, trumpeter Rafael Salazar, keyboardist Cedric de Saint-Rome, and bassist Gab Lamarre. The first melody had a smooth ambiance, followed by an elegant ballad with some delicately charming scatting from Myrtle. “In Between the Cracks” was a driving tune with great rhythm and inspired contributions by each cohort. At the end of the set, the 5th Oliver Jones Award was given to Alex Ambroise by Oliver Jones and producer Céline Peterson, Oscar Peterson’s daughter. This honor is bestowed upon a young Canadian musician from a visible minority to support their burgeoning career.
Canadian pianist Dr. Oliver Theophilus Jones was honored with a concert full of talented musicians. Céline Peterson, one of the co-hosts, thanked the audience for attending this night of tribute to Oliver’s extraordinary career and 90th birthday. The other co-host and Musical Director, drummer Jim Doxas, sang the praises of Lorraine Desmarais, the first pianist on stage. Desmarais was accompanied by Jim on drums and bassist Éric Lagacé. Lorraine’s fingers were on fire on a swinging, rapid-fire tune, Jones’ “Dizzy-Nest.” The trio followed with a gorgeous ballad where Éric displayed his accomplished bow skills.
Bassist Morgan Moore and trumpeter Lex French joined the collaboration on a festive “Brotherhood of Man” with some stand-out trumpet phrasing by Lex. Then, Jim Doxas discussed how much Oliver Jones’ inspiration and mentorship has meant to so many artists, and how Dr. Jones employed him for several years. Jim recalled how he and brother Chet used to listen to Oliver’s recordings every morning. Doxas introduced pianist Rafael Zaldivar, who got a big laugh by dramatically adjusting the piano bench. Chet Doxas added his sax to Zaldivar’s exciting “Blues for O.J.” They followed with a breathtaking rendition of Jones’ “Lights of Burgundy.” Oliver has been influenced by jazz, Caribbean, classical, and church hymns. The band played Lex French’s beautiful arrangement of the sentimental, church-inspired “Going Home” that Jones has played often.
Céline Peterson noted that all the evening’s performances were part of Oliver Jones’ legacy. She introduced pianist Taurey Butler, who got another laugh when he also carefully adjusted the piano bench. Then, Taurey, Jim Doxas, and Éric Lagacé played Oliver’s rousing, “Snuggles.” Next came another of Jones’ works, “Fulford Street Romp,” a vitally bluesy/jazzy composition that Butler infused with his virtuoso skills. Doxas highly praised vocalist Ranee Lee, who came on stage for a sublime duet with Taurey, “A Beautiful Sight,” that was composed by Jones, with words by Lee. Taurey then gave Ranee’s vibrant singing impeccable accompaniment on a moving ballad. Next came a sensitive “I Loves You Porgy,” that segued into a superlative “Summertime,” with Ranee using her powerful vocal nuances for the utmost emotional depth. The ensemble returned for a galvanizing “Four” that was presented with spirited enthusiasm.
It was great seeing the beloved, iconic Oliver Jones getting his flowers while he is still with us. During a standing ovation, Jones entered the stage and said, “Ladies and gentlemen, thank you, thank you!” He praised the musicians who’d participated in the concert, stating he was proud of all their successes.
Jones expressed great admiration for legendary pianist Oscar Peterson, his friend and mentor who lived 10 doors away when they were young. He often went down the street to listen to Oscar practice. He also said wonderful things about Daisy Peterson, Oscar’s sister and Oliver’s piano teacher. Then Dr. Jones flawlessly performed Peterson’s powerful “Hymn to Freedom,” thrilling the crowd with his still-excellent skills. It was the best possible finish for this amazing homage!
Short Takes
Melissa Aldana
Melissa Aldana, winner of the Thelonious Monk International Jazz Saxophone Competition in 2013, has since performed at the Blue Note Jazz Club, the Monterey Jazz Festival, Umbria Jazz, and many other venues around the world. Displaying her stellar tenor sax skills as leader of her quartet, Aldana was accompanied by pianist Glenn Zaleski, bassist Pablo Menares, and drummer Kush Abadey. Melissa’s composition, “Unconscious Whispers,” was an ideal improvisational space for the group to explore. The band next mesmerized on a piece with brilliantly seamless interplay that displayed excellent drumming by Abadey.
“A Story” was an emotional ballad that showcased Aldana’s smooth sax tones and Zaleski’s enchanting piano riffs. Melissa said it was special to be at FIJM. “The Bluest Eye,” based on Toni Morrison’s book, had sinuous syncopation, and the artists were firing on all cylinders!
Robert Glasper
A huge crowd gathered to see keyboardist/producer Robert Glasper, who was joined by bassist Burniss Travis, drummer Justin Tyson, and DJ Jahi Sundance. They presented music from Glasper’s CD, Black Radio III, before a huge background projection of a vintage boombox on the Scène TD stage. When Glasper asked how many people had gotten his latest record, the audience called out “Yes!” The group started with a sweet refrain, then followed with the Radiohead cover “Packt Like Sardines in a Crushd Tin Box” that allowed Glasper to thoroughly explore the keyboard. On a somber “Black Kennedy,” Robert’s raspy voice was surprisingly effective. The set also included Kendrick Lamar’s “How Much a Dollar Cost” and Tears for Fears’ “Everybody Wants to Rule the World,” as well as mellow tunes and hauntingly surreal pieces. On a gorgeous summer night, the audience basked in the music of Robert Glasper and his musical compatriots.
Theo Croker
Grammy Award nominee, trumpeter/composer Theo Croker is the grandson of trumpeter Doc Cheatham, and he’s worked with Dee Dee Bridgewater, Stefon Harris, Gary Bartz, Wynton Marsalis, J. Cole, Common, Jill Scott, and Roy Hargrove among other music legends. Theo’s second set at the packed Molson Stage was filled with music that was often otherworldly, yet the band really connected with the crowd. The inventive Croker played with drummer Miguel Russell, keyboardist Idris Frederick, and bassist Eric Wheeler. Each musician fulfilled an important part of a harmonious musical compilation, and the concert was filled with fine improvisations throughout. Croker’s music has a spellbinding quality, and “To Be We” was a good example. Theo excels at drawing in listeners, and his trumpet goes from gentle and mellow to vibrant and exciting. Sound effects lent an introspective atmosphere. At the end of this superb set, Croker asked the audience to make some noise for his band, and they did!
Jeremy Dutcher
Classically trained vocalist/composer/pianist Jeremy Dutcher won Canada’s Juno Award for Indigenous Music Album of the Year in 2019. After studying as an operatic tenor, he expanded his repertoire to include music of his Maliseet people. Jeremy identifies as a “two-spirit,” an indigenous term for a recognized third gender. Dutcher’s talented band included organist Johnny Spence, trumpeter Tara Kannangara, drummer Stephan Schneider, multi-instrumentalist Naomi McCarroll-Butler, bassist Bram Gielen, and guitarist Christine Bougie. Noted Canadian poet Natasha Kanapé-Fontaine recited some of her poems.
Jeremy performed music from his CDs Wolastoqiyik Lintuwakonawa and Motewolonuwok, including “Take My Hand,” employing his soaring voice. He stressed the importance of friendship and taught the audience a phrase in his native Maliseet language, since there are now only 500 speakers of the language left. Jeremy’s parents inspired him to excel, and his talent and activism are certainly making them proud!
The Doxas Brothers
Brothers Jim and Chet Doxas come from a Montréal musical family. They’ve toured worldwide with musicians such as Oliver Jones, Carla Bley, and Joe Lovano, and both performed on the soundtrack of the Grammy and Academy Award-nominated film Les Triplettes de Belleville. Saxophonist Chet and drummer Jim were joined by bassist Adrian Vedady and pianist Paul Shrofel on selections from their CDs Kindred and The Circle. They kicked things off with an alluring “Uno al la Vez,” then continued with “Two’s A Crowd” that had fine musical conversations, including a great sax solo by Chet and a fabulous piano section by Shrofel.
The plaintive “Caledon East” was very affecting, and “A Time For Love” was warmly touching. Although Jim and Chet travel a lot, there’s nothing like being back home. The Doxas Brothers Quartet clearly brought their “A” game to FIJM!
Orrin Evans
Pianist/composer Orrin Evans studied with Kenny Barron and worked with The Bad Plus and Bobby Watson. Evans is also the recipient of a Pew Fellowship in the Arts. He performed with drummer Jeff “Tain” Watts and bassist Robert Hurst, and they opened with a scintillating melody featuring spectacular improvisational exploration by each musician. Orrin’s beautiful piano introduction began the next tune, then his bandmates joined the lively, swinging “The Red Door,” which included a nod to “Autumn Leaves.”
“Big Small” featured Hurst’s eloquent bass notes, then the others chimed in on this blazing blues number. Orrin played an intricate piano interlude on the meditative refrain that followed, and the set closed with Geri Allen’s moving “Feed the Fire,” a perfect finish to a splendid concert.
Joel Ross
The Molson Stage was packed for vibraphonist Joel Ross, who won the DownBeat Rising Star Vibraphone Award in 2017, and has since won the category multiple times. Joel’s bandmates were pianist Jeremy Corren, bassist Kanoa Mendenhall, and drummer Jeremy Dutton, and the group gave their all. The music was sometimes pulsating, occasionally straight-ahead, and frequently haunting, but never less than superb.
There wasn’t much talking, but Joel Ross’ music truly spoke for itself. Near the end of the concert, Mendenhall beautifully demonstrated her fluency on the upright bass, utilizing her bow with great aplomb. The other musicians took part in a cosmic sound that cast a spellbinding mood, transitioning into some inspiring, emotional blues. At the end, Joel said, “Thank y’all for being here at this wonderful festival!”
L’Éclair
Swiss band L’Éclair fused many influences, including Afrobeat, funk, jazz, library music, and Krautrock. Le Studio TD was completely full for a concert that almost defies description, but one thing for certain is that it was danceable! Not only did the group move and dance quite a bit, but they also encouraged the crowd to get up and shake it! The group, keyboardist Sebastien Bui, guitarist Stefan Lilov, bassist Elie Ghersinu, percussionist Alain Sandri, and drummer Yavor Lilov, offered a wide-ranging set that included “Castor MacDavid,” “Dallas,” “Timbacrack,” and “P+R.” Their encore was “Parapluie Bulgare,” finishing this red-hot party. If you needed somewhere to put on your dancing shoes, this was the place!
Yannick Rieu
Illustrious saxophonist Yannick Rieu, the 18th recipient of FIJM’s Oscar Peterson Award, presented music from his latest CD, Symbiosis, which was inspired by the music of Johannes Brahms. Rieu was backed by pianist Jonathan Cayer, drummer Louis-Vincent Hamel, and bassist Rémi-Jean LeBlanc. Yannick and his band started with a slow, sensual, touching melody. Sometimes the group really jammed, while other times they employed a gentle touch.
The set was expertly executed, including the particularly tender “What Is It to Be?” The superior improvisational creativity from the musicians, especially Rieu, had the audience hanging onto every note. The finale, a quick-moving bop, ended softly, for a lovely closing.
Ranee Lee
Juno Award-winning vocalist/actor/author/educator and Order of Canada recipient Ranee Lee started with a swinging “Just in Time,” backed by bassist Dave Watts, drummer Jim Doxas, pianist John Sadowy, and guitarist Carlos Jiminez. “What a Little Moonlight Can Do” had great precision, and Ranee noted that the set represented a special time in her life. “The Surrey with the Fringe on Top” had scintillating energy, and Richie Havens’ syncopated “Dog in the Quicksand” was delivered quite stylishly. Lee infused wistful emotion into “You Must Believe in Swing,” and Watts played double-time bass on “’Tis Autumn.” Ranee’s charismatic sense of humor was readily displayed throughout the evening.
Ranee scatted with panache on “Lady Be Good,” followed by a smooth “Just You, Just Me.” “Four” rocked out, while “Fire and Rain” was wonderfully heartfelt. “Amazing Grace” introduced a stirring “House of the Rising Sun” that Lee sang in French and English. The encore, an exciting “What’s Going On” had the audience cheering. Ranee and her band laid it all out at FIJM!
2024 FIJM Awards
In addition to Alex Ambroise receiving the Oliver Jones Award, here are the other 2024 Festival Awards.
The 19th Antônio Carlos Jobim Award was bestowed upon Vieux Farka Touré, singer/composer/guitarist and humanitarian from Mali, in recognition of his impact on jazz and world music.
The Miles Davis Award is given to a great international musician for the entire body of their work, and the 15th honoree was multi-instrumentalist/songwriter/producer and social justice champion, Marcus Miller.
The 24th winner of the Ella Fitzgerald Award, which honors a jazz singer who’s had a major impact on the international scene, was Icelandic/Chinese vocalist Laufey, who has introduced jazz to a new generation via Tik Tok.
FIJM co-founder Alain Simard received the 12th Bruce Lundvall Award, which recognizes a non-musician who has had significant achievements in jazz, for his work in building FIJM into one of the biggest, most world-renowned festivals. Alain also signed copies of his autobiography, Je rêvais d’un festival at Salle D’Exposition, with a display of posters, photos, and artifacts from Simard’s personal collection.
Maurin Auxéméry
Maurin Auxéméry, FIJM’s Director of Programming, gave interviews to the press. When asked about the different challenges of the FIJM and Les Francos de Montréal Festival, he said that although both festivals use the same stages, the musicians at FIJM are from all over the world, while Francos features mostly local performers. Maurin said they start immediately after the 2024 FIJM planning the 2025 edition. Auxéméry called this his dream job and added, “I’m very happy doing what I’m doing. It’s a privilege to be here.” He learned a lot from predecessor Laurent Saulnier, including the need for curiosity and the importance of local artists. Maurin Auxéméry has a big job, and he’s quite devoted to his myriad Festival responsibilities.
2025 FIJM
The 2025 Festival International de Jazz de Montréal will take place from June 26 to July 5. The line-up includes Dianne Reeves with Romero Lubambo; Jeff Goldblum and the Mildred Snitzer Orchestra; Mike Stern; Samara Joy; Gary Bartz; Endea Owens and the Cookout; Makaya McCraven; Branford Marsalis; Jean-Michel Blais; Rhiannon Giddens & The Old-Time Revue; Nas; Thundercat; Vijay Iyer & Wadada Leo Smith; The Christine Jensen Quartet; Ben Harper; Lorraine Desmarais; Nate Smith Featuring Lalah Hathaway, James Francies, & Derrick Hodge; Esperanza Spalding; Chris Botti; Jazz at Lincoln Center Orchestra with Wynton Marsalis; Camille Thurman and the Darrell Green Quartet; Peter Evans and Joel Ross; Trombone Shorty and Orleans Avenue; Dhafer Youssef; Mavis Staples; Julius Rodriguez; Holly Cole; Avishai Cohen Trio with Symphony Orchestra “Two Roses”; Bill Frisell Trio; Django Festival Allstars; the Oscar Peterson Centennial Gala: Canadiana Suite, and many more! Please note: Some of the artists are doing concerts before the official start date of FIJM. For more information, go to: www.montrealjazzfest.com.
