The Brooks bring the Place des Festivals to a close at FIJM
Crédit photo : Benoit Rousseau
Called in last Wednesday to replace Macy Gray, who was initially scheduled to perform on the FIJM’s main stage on the Place des Festivals, Montreal jazzy funk band The Brooks performed brilliantly at the closing concert of the 2023 edition. Led by Alan Prater on vocals and Alexandre Lapointe.
On Saturday night, the band navigated funk, jazz and soul with ease. The Brooks performed their best tracks, such as “Priceless” and “Pain & Bliss,” and delivered music that’s sure to get you moving. Throughout the show, each member of the collective had his moment to shine, culminating in an exhilarating solo from guitarist Philippe Look. The band’s singer and musician, Alan Prater, is a true showman and gave it his all; Prater was in full control on the big stage.
As an added bonus, The Brooks called on much-loved singers Dominique Fils-Aimé and Hanorah. Fils-Aimé set the pace as soon as she arrived, transporting the audience into her quieter, shadier world. As for the second guest, she charmed the audience with her cover of Macy Gray’s famous song I Try, probably a small consolation for fans hoping to see the American singer at the festival. After almost 90 minutes of performance, Alan Prater had one last trick up his sleeve and made way for a guest to propose to his girlfriend. Naturally, the main character accepted the big proposal and was ecstatic. What better way to close the FIJM.
Jacob Langlois-Pelletier
Braxton Cook, a close-up look at a rising star
Braxton Cook and his quartet lit up the stage at the Pub Molson tent last night with a passionate performance that was both fiery and soulful. Something of a rising star in the jazz world, Cook’s masterful saxophone work is always a pleasure to listen to, but this evening was also a showcase for Cook’s singer-songwriter side.
Braxton inaugurated the concert with one of his most well-known compositions, “No Doubt,” an uptempo and emotional number that the seasoned band burned through with ease. He followed this up with “M.B,” the first track off of his latest album, Who Are You When No One is Watching, a heavy number with sort of a trap beat that is a dedication to Ma’Khia Bryant, one of the many victims of police brutality and system racism in the United States. Cook had a charismatic and kind stage presence, he took the time to engage the audience throughout the night, offering some insight as to how and why some of this material was written.
The band then took a more pop turn, with a performance of some of the songs on Cook’s latest album, like “90’s” which features Masego on the original. Cook’s voice shined but the venue choice wasn’t the best suited to creating intimate moments between audience and performer. Still, people seemed to very much enjoy themselves, and I’m sure a few people in that audience might have discovered their new favourite artist.
Varun Swarup
High Klassified and friends enjoy a late-night party
Crédit photo : Benoit Rousseau
The very last show of the 2023 FIJM edition was entrusted to Montreal producer High Klassified, and his performance was eagerly awaited, judging by the mass of festival-goers present on the Esplanade de la Place des Arts at around 11 pm. In recent years, the beatmaker has enjoyed a meteoric rise in the music world, notably as the man behind The Weeknd and Future’s Comin Out Strong.
When we saw his name on the FIJM evening menu, we didn’t really know what to expect. Accompanied on stage by pianist Nathan Dumont, drummer Alexis Gagnon, and bassist Paul Charles, he offered a “100% Klassified set” of his most popular tracks reimagined in band formula, ranging from R&B to EDM to drum N bass. Maintaining that he was the “conductor of the evening”, the producer essentially played recordings of his various tracks fleshed out by the work of the three musicians. During the show, High Klassified acted more as host, dropping a few words on the mic here and there. It must also be said that the moments of silence between the different songs broke the rhythm of the concert, especially in the first section.
Fortunately for the audience, High Klassified called on three artists during his set: Hubert Lenoir, Zach Zoya and Cherry Lena. The various guests performed some of their own tracks produced by the Quebecois, including DIMANCHE SOIR for Hubert Lenoir. One thing’s for sure, it’s interesting to see the Lavallois perform live, but this formula needs to be reworked. Nevertheless, we salute the producer’s efforts in transforming these songs for the occasion.
Jacob Langlois-Pelletier
Edelène Fitzgerald, Oliver-Jones Prize fully deserved
Édelène Fitzgerald received the Oliver-Jones Prize on Saturday, 6PM at Studio TD, establishing her as one of Quebec’s rising young artists in our jazz world. Despite his 89 years, the famous pianist generously presented her with the prize that bears his name, declaring that “Quebec talent is here” and that we should “be proud of our youth”.
Édelène’s launch into the world of jazz with a rather well-known surname (!!!) is a double-edged sword. So far, at least, it’s a double-edged sword! A trombonist for eight years and more, she finally turned to singing, given her obvious aptitudes: warm alto voice, diversity of vocal textures, good sense of improvisation, and power to spare.
She’s just as capable of appropriating the “hair-raising” music of Nubiyan Twist or Genevieve Artadi, as she is of beautifully adapting Queen B or even Dizzy Gillespie’s A Night In Tunisia. In my opinion, this is the avenue that best suits him, clearly distinguishing him from his peers.
Here sidemen performance is quite generous: keyboards, bass, drums, electric guitar, saxophone, and trumpet.
It’s not always impeccable, and sometimes you’re looking for a common thread in this repertoire. It quickly becomes obvious that Edelene Fitzgerald and her colleagues, all very promising indeed, are not yet very far from their own musical education, and that they bring together several of their apprenticeships within the same set without welding the aesthetic links.
But… more than an hour’s concert is enough to conclude that this is a raw talent that absolutely must be developed.
Alain Brunet
