The PAN M 360 team has a strong presence at the Festival international Nuits d’Afrique (FINA), with our contributors reporting daily on what they’ve seen and heard at the concerts presented in Montreal until July 23.

La Tribu Salsa Band’s Recipe for Happiness

Photo credit: André Rival

La Tribu Salsa Band is the winner of the Syli d’or de la musique du monde 2023. This initiative of Productions Nuits d’Afrique was in its 16th year. The Tribu Salsa Band brilliantly defended its title and demonstrated why the group was the public’s favourite. The band members entered the stage all wearing the same black shirts with multicolored musical notes on their shoulders. The opening track set the scene for an hour of energetic, danceable music. Four singers took center stage, delighting the crowd with their intricate vocal harmonies and rhythmic dance steps. La Tribu Salsa Band’s setlist combined classic pieces from the salsa and samba repertoire, interspersed with original compositions. The melodies were held with confidence by the four brass players (two trumpets, two trombones) who alternated solos and clear, rhythmic chords.

The audience was entertained from start to finish. After the last song, as the band members were officially presented with their trophies, the crowd chanted “Otra, otra, otra!” to demand one last song, which unfortunately didn’t happen. The Tribu Salsa Band gave a performance worthy of a band just awarded a Syli d’or.

Elena Mandolini

The Purity and Elegance of Thaynara Perí

As part of the Femmes du monde series, Brazilian singer-songwriter Thaynara Perí performed at Nuit d’Afrique. Maracas in hand, she entered the stage and greeted the large crowd gathered near the Scène Loto-Québec. A native of Minas Gerais, the artist’s confidence and stage presence are remarkable. Accompanied on stage by bass, guitar, drums and flute, Thaynara Perí explores bossa nova and samba with a relaxed jazz structure.

Throughout the concert, the audience danced along, carried away by her powerful yet elegant voice. During her performance, Thaynara Perí gave way to her musicians at various points, bringing excellent guitar solos to life. On several occasions, the Brazilian singer addressed the audience in French, saying how delighted she was to be able to sing for them. The atmosphere was as warm as it was festive, and it was hard to ask for a better way to start the evening!

Jacob Langlois-Pelletier

Bejuco: Diverse Inspirations and Colombian Essence

Around 8 pm, Colombian band Bejuco took to the Radio-Canada stage. The arrival of this ten-member orchestra was eagerly awaited, judging by the mass of festival-goers present at their performance. Active since 2015, the band is heavily influenced by Afrobeat and offers Afro-Colombian rhythm tinged with ancestral chants, while also incorporating pop, hip-hop and reggae elements into their art. Each member of the group adds a musical layer until the result is reminiscent of the strength and tenacity of the ocean sea.

On stage, the band’s instruments include guitar, percussion and the marimba, the Latin American xylophone. The latter is at the heart of Bejuco’s melodies. Repetition is an integral part of the band’s soundtrack, giving the impression that the ten members never stop performing. During their show, Bejuco played various tracks from Batea, their debut album released in 2021. Bejuco’s energy is contagious, and they completely charmed the NAFI crowd!

Jacob Langlois-Pelletier

Paulo Ramos and Friends at the Fairmount Theatre: Charm and Elegance Still at Work

An already convinced audience gathered at the Fairmount Theatre last night to appreciate the charm and elegance of a top-class musician: Paulo Ramos, guitarist, singer, songwriter, performer and beloved Quebecer of Brazilian origin. Joining him on stage were friends Monica Freire (back in Quebec during the pandemic after several years in Brazil – we’re glad to see her again!), Bia, Daniel Bellegarde on percussion, Rodrigo Simoes on guitar and mandolin, Diogo Ramos, vocals and guitar, Dan Gigon on bass, Sasha Daoud on drums and ex-Chic Gamine Annick Brémault, who reveals a fine affinity for the sensuality of the Portuguese language. Paulo’s voice still has that misty quality that characterizes him, even if a few frailties appear here and there. Yes, the years go by. But who cares? Paulo’s humanist warmth transcends the physicality of the sound itself, soaking up the space and time allotted to him when invited on stage. Everyone was in tune with the evening’s chill vibe, but Bia stole the show late in the second set with an energetic version of Carnaval, a welcome tempo boost. The audience, most of whom were in their fifties and over, were attentive and constantly nodding their heads. A younger section danced along. The balance was symbiotic with the energy of the music. A lovely moment, full of warmth and nostalgia.

Frédéric Cardin

Rebecca Jean: ‘Haïbécoise’

Photo credit: André Rival

Seeing Rebecca Jean perform at Club Balattou felt like getting to know a friend, even if the evening began somewhat mysteriously. After Rebecca was invited onto the stage, her band set up, yet she was nowhere to be seen. After some awkward silence, the guitarist began to strum an open chord and out of the crowd emerged a voice, and Rebecca began to make her way through the seated audience singing and playing her didgeridoo. We appreciated the theatrics, and as soon she took to the stage she became less of an enigma and a warm performer with a lot of music and stories to share. 

As a ‘Haïbécoise’, her music is clearly a way of exploring her dual identity, singing in Creole and French, yet she did not give the air of someone unsure of themselves, but someone self-assured as her powerful voice resounded through the salon. Mostly performing songs from her album ‘Antidote’, the evening was an intimate affair with her trio band, and Rebecca occasionally on the piano. At times her songs were anthemic, at times soft and lyrical.  Her band was of course in fine form, the percussionist took some exhilarating solos across his set, and the guitarist had his fun too as her songs opened up for live performance. 

Varun Swarup

Sona Jobarteh Captivates Her Audience

Photo credit: André Rival

The crowd was eager to see Sona Jobarteh perform for the first time in Montreal. The performance, which took place on the large TD – Radio-Canada stage, was finely staged. To begin with, the stage was filled with opaque smoke. Through this mysterious atmosphere, an invisible musician began a percussion solo, gradually building in intensity. Then, one by one, the instruments (drums, guitar, bass) joined the percussion. Anticipation was running high, and it was at this point that Sona Jobarteh took to the stage, much to the delight of the audience. Giant screens on either side of the stage showed occasional close-ups of the musician’s hands, allowing us to appreciate the refined technique and virtuosity required to play the kora.

Sona Jobarteh’s clear, beautiful voice accompanied the audience throughout the evening. The musician’s playing style pays homage to the centuries-old musical tradition of West Africa, but her pieces also bring a modern element. Rousing solos on kora, then guitar (another instrument Sona Jobarteh masters) had the crowd dancing and clapping their hands in appreciation. The encore was a mainly instrumental piece, ending in a rock concert apotheosis. A breathtaking performance!

Elena Mandolini

The PAN M 360 team has a strong presence at the Festival international Nuits d’Afrique (FINA), with our contributors reporting daily on what they’ve seen and heard at the concerts presented in Montreal until July 23.

Senaya’s Contagious Energy

Crédit photo : Peter Graham

Before Senaya took to the stage, the evening’s presenter compared the Guadeloupean singer’s voice to that of Billie Holiday or Nina Simone. Nothing less. The bar was set high, and Senaya more than lived up to expectations. Throughout her performance, the audience was treated to a selection of music that showed the full extent of Senaya’s musical mastery. Jazz, blues and soul rubbed shoulders with typical Guadeloupean rhythms such as zouk and gwoka.

Throughout her performance, Senaya danced to the rhythm of the music, even as she picked up her beautifully decorated guitar. The musicians accompanying her were also part of the party. They too were able to demonstrate their virtuosity by taking solos at various points in the evening. Senaya’s energy was contagious and quickly spread through the crowd. The singer frequently addressed the audience, saying she was touched to see people having so much fun. Unfortunately, time passed too quickly, and it was already time to make way for other artists. Senaya seemed to want to keep on singing all evening, and the audience would certainly have been delighted to follow her on this journey through styles and continents.

Elena Mandolini

Sophie Lukacs : Beauty and Sweetness at Balattou

Crédit photo : Jeszika Paulusz

The first half of Sophie Lukacs’ concert may have been plagued by problems with the microphone and wires not working last night at Balattou, but the beauty of her music was not affected for a moment. We saw the young musician demonstrate resilience and patience while the sound technician tried his best to sort out the persistent problems. Add to this the fact that the young musician was not playing on her usual kora, which had been badly damaged during transport by plane… In short, the korafola (kora player) felt a little disappointed by this false start, but the pleasure returned as the concert progressed, especially in the second half. Lukacs’ music, most of which is taken from her album Bamako, is full of delicate tones, even in the more energetic passages. A gentle melancholy emanates from it, soaking music lovers in a bath of often contemplative impressions. It’s an evening that goes against the grain of what we usually hear at Balattou, and it’s one that does us a world of good! Sophie was accompanied by some superbly talented musicians: Noel Mpiaza on calabash, Laszlo Koos on cello and Elijah Mansevani on guitar. Which brings me to a kind suggestion: with such improvisational performers at your side, you absolutely must give them more space and time to take flight!

Frédéric Cardin

Team Salsa Sextet Goes Back to the Origins of Salsa

Team Salsa Sextet takes the crowd at the foot of the TD – Radio-Canada stage on a journey to the very source of salsa. This musical style, originally from New York, owes its rise to immigrants, mainly Cuban and Puerto Rican. The musicians were clearly eager to play, encouraged by the cries of the crowd asking for more music. You come for the salsa, you stay for the musicians. The band’s lively rhythms kept even the most distant fans dancing.

Indeed, you can’t get enough of the singer’s powerful voice, the tasty harmonies of the other members of the sextet, and you stay hooked, fascinated, hypnotized, by the keyboard solos. The singer has a formidable stage presence, often addressing the crowd in Spanish to ask if everyone’s having a good time. The party was in full swing!

Elena Mandolini

Yemi Alade Delights Fans and Newcomers Alike

Crédit photo : Luna Choquette Loranger

On this beautiful July evening, the Festival International Nuits d’Afrique played host to one of Africa’s brightest stars, Yemi Alade. The headlining venue, the TD – Radio-Canada Stage, was buzzing with anticipation as a veritable legion of fans gathered from all walks of life to witness the Nigerian singer and songwriter’s performance under the open sky.

Adorned in a stunning silver full-bodied leotard, Yemi’s presence was suitably magnetic, and her grace and command of the stage as a performer were evident throughout the night. She effortlessly engaged the audience between and even during her songs, establishing a connection that transcended any language barriers. Alongside her two backup dancers and a very capable backing band, Alade performed a set that would please fans and newcomers alike, with hits like “Oh My Gosh” and “Come and See My Moda” getting the crowd to sing along in no time. 

A particularly nice moment happened during one of her slower numbers, when the crowd fell silent watching Alade display her vocal acrobatics in acapella, before a sea of swaying cellphones shining like candles in the night. The two dancers had their time in the spotlight with some truly electric dance routines throughout the set. It was near the end of her set that Alade performed one of her biggest hits, “Johnny” and needless to say she left the stage to thunderous applause and for me, this evening cemented her status as a global superstar.

Varun Swarup

The PAN M 360 team has a strong presence at the Festival international Nuits d’Afrique (FINA), with our contributors reporting daily on what they’ve seen and heard at the concerts presented in Montreal until July 23.

The Festive Spirit of Abondance

Yesterday, the Loto-Québec stage was the setting for a marvellous marriage of Guadeloupean and Martiniquean musical cultures. Comprising two female singers, two percussionists (one on drums and one on drums), a keyboardist, a saxophonist-flute player and a bassist, Abondance wasted no time in proving the aptness of their name. 

The musicians, all equally talented, circulated through solos to the fast rhythms of the percussionists. The singers were alternating center stage, often taking time to interact with the audience. And the audience was very much part of the concert! We were asked to sing a few call-and-response-like melodies, and even to vocally recreate the rhythm of the ka drum, a traditional Guadeloupean instrument, to enhance a very special song.

Abondance is definitely an irresistible dose of fun. Synchronized vocal passages, harmonies, restless bass lines, complex but driving rhythms, a hint of jazz, all with a little group choreography… the spirit of playful release mingled with the persuasive display of talent. All that remained was to dance. An easy enough task under the circumstances. Especially as, at the end of the show, Abondance invited another group of people on stage for a carnival-style number. At that point, it’s not abundance anymore, it’s simply the pinnacle.

Théo Reinhardt

Living in the Moment with Kobo Town

Under the direction of singer and bandleader Drew Gonsalves, the audience at the Esplanade Tranquile was treated with a swift trip to Kobo Town and back – the historic district of Port-of-Spain, Trinidad, where calypso was born. Playing to the five o’clock audience, the weather was suitably tropical as well, but fortunately, the band played a breezy set of numbers that took our minds off the heat. 

But of course, the band got cooking eventually, and with their signature blend of calypso, reggae, and soca, the seven-piece created a vibrant and dynamic atmosphere. Though they might have benefited from a better time slot, eventually a sizable crowd had formed and the Montreal audience, themselves a melange of various cultures and backgrounds, responded enthusiastically to Kobo Town’s performance. Bodies swayed, hips moved, and smiles adorned the faces of the crowd all around. 

What was evident throughout the set is how much this band means to frontman Drew Gonsalves, a way of coming to terms with his identity it was clear that music for Drew is a means to an end, a vehicle for change for the world we want to live in. And for a moment, we were all there.

Varun Swarup

Waahli’s Multilingual Poetry

Waahli treated the crowd gathered in front of the Scène TD – Radio-Canada to a very personal program. The Montreal artist paid tribute to his family and musical origins with a succession of his best-known songs. It didn’t take long before the audience was dancing to the rhythm of Waahli’s trilingual hip-hop (French, English, Haitian Creole). Waahli’s energy was contagious. On several occasions, he encouraged the crowd to sing along and to move closer to the stage to enjoy the party.

The success of the evening was also due to the solid trio of musicians accompanying the founding member of Nomadic Massive. A multi-sounding keyboard, fiery drums and a sustained bass groove perfectly underlined Waahli’s fine poetry. At times, Waahli swapped the microphone for his guitar. The crowd was certainly ready to spend the whole evening in Waahli’s company.

Elena Mandolini

Only the Righteous: The Uplifting Retro Vibe of Montreal Funk

Photo credit: André Rival

Montreal Funk/Soul band Only the Righteous took to the Balattou stage yesterday as part of ICI Musique’s Les incontournables series. Their first set was a feel-good retro-chill Philly Sound 1970-style set featuring covers of Marvin (Gaye), Curtis (Mayfield) and even Michael (Jackson). A good cover band, where the leader, Clerel, handles the falsetto with as much ease as his illustrious predecessors. It was in the second set of the evening that the group formed in 2017 raised the stakes. An invitee took to the stage, Shem G, a skilled emcee whose rhymes and linguistic tones were hard-hitting and formidably effective. His extravagant style really got the evening somewhere else. A Rap Battle was fought out with another emcee, Markus Dillon, who was more conventional in his approach. Then it was on to a fast-paced, incisive Funk, mixed with Soul and (too) occasionally traditional African stylistic elements. The crowd, initially fairly still, found itself on its feet, bosoms wagging and faces smiling in a finale that left us with the impression that this band will be back in the news, especially the day they release a debut album (which is sure to happen).

Frédéric Cardin

Ayrad, the Art of Making A Crowd Dance

Photo credit: André Rival

With their interesting blend of Moroccan music and rock, Ayrad set the TD-Radio-Canada stage alight, much to the delight of the many festival-goers who turned out for the first evening of free shows offered by Nuits d’Afrique. The contagious energy of the six musicians on stage quickly brought those seated comfortably on the lawn to their feet, certainly not expecting such a powerful performance. Before long, the quiet crowd had metamorphosed, and were dancing in every possible way – a few could even be seen headbanging.

The rock took over as the flautist swapped this instrument for a bass, and the singer began to play guitar while dancing in perfect sync with his musicians. The show came to a climax, however, when Brad Barr of the Barr Brothers took the stage as a surprise, offering us a fiery guitar solo while the drummer played in response to the rhythm the singer struck with his tam-tam. A great way to start the week!

Arielle Caron

The PAN M 360 team has a strong presence at the Festival international Nuits d’Afrique (FINA), with our contributors reporting daily on what they’ve seen and heard at the concerts presented in Montreal until July 23.

Lavanya Narasiah: Love and Light

Photo credit: André Rival

After seeing Lavanya Narasiah perform, you perhaps wouldn’t believe that she is a career medical practitioner. Indeed, she and her eclectic band performed with the grace and finesse of a seasoned group. But they are seasoned, having been playing together for many years, since Lavanya first conceived of this unique project almost ten years ago now. Their musical chemistry and their appreciation for this repertoire were evident, with smiles all around as they played. 

From the moment Lavanya took to the stage at Club Balattou, as the band set up their instruments, she bonded with the audience, inviting them to light the ‘diyas’ at their table, wishing us love and light. It was in the warm amber glow of these candles that the music unfolded like a flower in bloom – the first set began with strums of kora as the duo of Subhir Dev on tablas and Daniel Bellegarde on percussion took us onboard a train that gently meandered along the hills of South India and West Africa. Narasiah herself was in fine form, her voice joyously gliding through the nuances of each composition, one could tell she savoured every minute on stage, and that her audience savoured every minute of being there.

Varun Swarup

Featured photo credits: Peter Graham

The PAN M 360 team has a strong presence at the Festival international Nuits d’Afrique (FINA), with our contributors reporting daily on what they’ve seen and heard at the concerts presented in Montreal until July 23.

Romain Malagnoux’s Musical Travel Log

Photo credit: André Rival

Romain Malagnoux, the folk singer-songwriter from France who now calls Quebec his home, took to the stage at Club Balattou and gave a moving performance that took listeners on a journey across the Atlantic to West Africa. The intimate setting of the club proved to be the perfect backdrop for Malagnoux to showcase his global horizons and share his musical ability.

Malagnoux’s music defied easy categorization, seamlessly blending elements of folk, ‘world music’, and Quebecois music, in his emotive songs – sometimes melancholic, sometimes joyous. His affinity for West-African music was certainly clear and one that goes deep, after all, it has led him to Mali many times. Malagnoux’s raspy tenor voice shows inflections from the desert blues of the Tuaregs to the delicate folk quality of kora music. His fingerpicking technique and percussive style of guitar playing were particularly cool to witness live. 

While he shared some compositions from his album, Nos frontières imaginaires, which he recorded after a meeting with the djeli n’goni player Moustafa Kouyaté, he made it a point to present some newer material too, and the audience was treated to a warm and personal showcase of the artist. 

Varun Swarup

Yordan Martinez and Joyful Celebrations at Club Balattou

Photo credit: André Rival

Yordan Martinez brought the tantalizing sounds of Havana streets to the salon of Club Balattou, igniting a fiery and passionate night of music and dance. The concert was a pulsating celebration of salsa and cumbia, with Martinez’s band delivering a tight and energetic performance with the addition of Colombian vocalist Stephanie Osorio. It was the two percussionists on stage who drove the evening forward with their syncopated and hypnotic claves, and Martinez’ earthy baritone complementing Osorio’s mellifluous voice with rich and lively counterpoints.

As the band played, the dance floor started filled with enthusiastic patrons eager to move their bodies to the intoxicating beats. Granted it was not the busiest Sunday evening, but the band still gave it their all, enticing most of the audience there to join in on the festivities. The band interacted with the audience, encouraging clapping and sing-alongs. Martinez’s infectious energy was contagious, and it spread throughout the venue, creating an atmosphere of celebration. A great night.

Varun Swarup

The PAN M 360 team has a strong presence at the Festival international Nuits d’Afrique (FINA), with our contributors reporting daily on what they’ve seen and heard at the concerts presented in Montreal until July 23.

Kaleta & Super Yamba Band: Back to the Future of Afrobeat… With Lots of Juju!

Photo credit: André Rival

It was an epic Saturday night at Balattou, with the Montreal debut of New York’s Kaleta & Super Yamba Band.

The septet’s DNA is infused with Afrobeat, soul and funk, but also with a lot of juju, a style created in Nigeria in the 1920s, then developed by legendary artists such as Tunde King and Tunde Nightingale, and ultimately the precursor of Afrobeat. Percussive, twirling percussion, volatile guitar, bouncing bass and spectacular winds (trumpet, baritone sax, flute) plunged the Montrealers in attendance into an authentic vintage ecstasy worthy of a Lagos club circa 1970.

The band’s charismatic leader, Kaleta, is a spiritual son of the great King Sunny Adé and turned up the heat as the hours wore on. At first, you’re taken aback when you hear the first James Brown-esque scream coming from this seemingly gentle, reserved person. But the more you hear, the more you want more. Super Yamba Band is, yes, an afrobeat/juju band, but, coming from Brooklyn, you’re bound to notice the wind-instrument musicality.

Walter Fancourt and Sean Smith are accomplished jazzmen, and their technical and sonic mastery is never approximate, even if the notorious imperfections of the horns in vintage bands had a great charm. The audience’s reception was equal to the task. Kaleta, Super Yamba Band and Montreal were made to get along, and we’re guessing this premiere won’t be the last.

Frédéric Cardin

Saïd Mesnaoui’s Healing, Celebration and Gnawa Innovations

Photo credit: André Rival

Said Mesnaoui and his sprawling ten-piece band put on a show that was testament to the redemptive power of Gnawa music. Armed with his trusty guembri in hand, the traditional three-stringed lute native to Morocco, Mesnaoui played to an eager bunch of concertgoers, young and old, from far and wide, at the Theater Fairmount.

It did not take long before the hypnotic effect of Gnawa began to take hold on most of us. The triplet grooves of the qarqaba, metal castanets, gracefully merged with the incorporation of electric guitars, keyboards, drums, adding layers of depth and texture, pushing the boundaries of the Gnawa genre while maintaining its core essence. The fusion of Gnawa’s ancient melodies with flavors from jazz, rock, blues, and even some reggae, created a wonderfully unique experience that Said has done well to hone into.

Beyond the musical spectacle, the musicians all exuded a sense of spirituality and unity that is deeply rooted in Gnawa culture. The lead singer’s soulful voice soared, carrying messages of resilience, love, and healing. The captivating call-and-response interactions between the musicians and the audience created an atmosphere of collective celebration and joy, and the mood was very festive indeed.

Varun Swarup

In the Hot Springs of Sound System With WWSS and Jah Observer

Montrealers Guillaume Alexandre and Pierre FX are absolute fans of the Jamaican sound system. They’ve built their speakers from local resources, unearthed rare collectibles, vinyl, reggae, dub, Caribbean and more, and teamed up with OGs from the Jamaican culture and community.

Over the years, events under the World Wild Sound System (WWSS) banner have grown in stature, to the point of attracting 66-year-old Jah Observer, a true sound system legend in the UK. He was also one of the founders of London’s Notting Hill Carnival, the world’s second-largest festival devoted to Jamaican culture.

By 10:30 PM, it was already packed and hot at Le Ministère. We’d come to dance to the roots of reggae, dub and toasters (ancestors of rap). Our hosts’ idea was to get the audience wiggling on the dance floor while enjoying these gems from the 60s and 70s, exceptionally released from their oysters.

It was a really cool evening, starting with almost two hours of warm-up before the arrival on stage of Jah Observer, who always works with the classic sound system paraphernalia: a turntable and a pre-amplifier. Jah Observer’s art consists of a constant interplay between what he plays on the turntable and his live microphone interventions. This alternation becomes increasingly fluid and infectious in front of us, in real time. In just a few minutes, we were all infected with the powerful virus of original reggae.

Alain Brunet

The PAN M 360 team has a strong presence at the Festival international Nuits d’Afrique (FINA), with our contributors reporting daily on what they’ve seen and heard at the concerts presented in Montreal until July 23.

Delgrès, Atypical Power Trio, Creole Blues-Rock… Atypical!

Photo credit: André Rival

There’s a little buzz in Montreal about Delgrès, named after Louis Delgrès, the Métis colonel in the French army who died heroically in Guadeloupe when Napoleon re-established slavery in the colonies.

And why the buzz? Because this Parisian with Afro-Caribbean origins and his pale-faced colleagues offer an unusual blend of Guadeloupean Creole vocals (with a little French and English), blues and stoner rock. Delgrès had already made a name for themselves on their previous appearance at MTL, enough to fill the Ministère on Friday night as part of Nuits d’Afrique.

Frontman and guitarist Pascal Danae, ex-member of Rivière Noire (Victoire “musiques du monde” in 2015), teams up with drummer Baptiste Brondy, a colleague of M and other Jean-Louis Aubert artists, and bass player Rafgee, educated at the Paris 5 Conservatoire and regularly hired at West Indian dances to replace the string bass with this greasy reptile that winds it up for our greatest pleasure.

The guitar riffs are blues first and foremost, essentially delta blues and Chicago blues, guitar motifs that Pascal Danaef embellishes with other riffs and rock melodies typical of the 70s. It’s not quite as saturated and explosive as the Black Keys, Jon Spencer or Jack White, although you can enjoy paraphrases of Led Zep’s Whole Lotta Love…

Nonetheless, it rocks!

The rhythm section is crucial to the success of this atypical power trio. The sub-bassophone plays like an electric bass, and the highly competent drums are more than a regular blues-rock drummer.

An experienced professional, Delgrès’s frontman has a fine arsenal of blues and rock motifs, and his Creole vocals come through with ease. Whether it’s the committed, lucid words of his intellect or the passionate words of his guts, all this rhyming verbiage soon hits its targets.

Pascal Danae and his colleagues delivered two very hot sets, which suggests that their next stop in Montreal will be in a bigger venue. An easy prediction!

Alain Brunet

Bianca Rocha, Sincere Enthusiasm for MPB

Photo credit: André Rival

Playing to a full house at Club Balattou, the Brazilian singer-songwriter, Bianca Rocha and her band, put on a warm and breezy set of classic MPB numbers as well as a few originals. Rocha displayed a comfortable stage presence and her genuine enthusiasm and passion for Brazilian music were palpable, creating a warm and inviting atmosphere. There were frequent calls to the dance floor throughout the concert, and the audience certainly made the most of them! 

The backing band of drums, guitar, bass, provided solid musical support. Their minimalist arrangements tastefully complemented Rocha’s delicate yet energetic vocals, creating a tight, if at times rather sparse, musical backdrop. Perhaps the concert could have benefitted with some additional instrumentation, a little brass, or even the addition of a keyboard player, which would give the guitarist more room to breathe, would have made the music even better. 

However, the evening was made all the more special with the addition of guest performer, singer Flavia Nascimento. In our interview with Bianca about this performance, she mentioned how Flavia is affectionately known as ‘the sun’ in the Brazilian community, and it is easy to see why. Her larger than life stage presence and her soulful vocal performances added even more warmth and vibrancy to the evening. 

Varun Swarup

The PAN M 360 team has a strong presence at the Festival international Nuits d’Afrique (FINA), with our contributors reporting daily on what they’ve seen and heard at the concerts presented in Montreal until July 23.

crédit photo: Andy Rubal

Blick Bassy and Cameroonian transculture

“Water is a powerful metaphor for the chain. It is a link without which we cannot live. It’s in all of us, in every living element of the natural order! As in a chain, as with water, we cannot extract ourselves from the chain without harming ourselves and others. Conflicts are like this: a withdrawal of certain groups from the living chain, from the chain of dependence. And the consequences are disastrous.

Taken from our interview with Blick Bassy by colleague Frédéric Caddin, this quote makes perfect sense.

Before us on stage or via his recordings (Ako, 1958, Madiba), the superb songs of this Cameroonian artist (transplanted to France) caress a goal of redemption and flow naturally, to continue the aquatic metaphor. The personal quest of Blick Bassy, an inspired and refined being, unfolds at the antipodes of ethnocentrism, as opposed to turning in on oneself or outdated ancestral values.

Blick Bassy proved it on Thursday at the Fairmount Theatre: he’s a gifted artist and an authentic citizen of the world, zero offbeat compared to all the current chanson projects taking place on this small planet. He expresses himself with the tools of today and yesterday, his choices of accompaniment including digital technologies, electronic or acoustic percussion, synthesizers, trumpet, invented or traditional instruments, electric guitar and vocals. His fine, airy counter-tenor voice (whose vocalizations sometimes recall the songs of the Bakaya people) is perfectly suited to the highly creative arrangements generated by this instrumentation, which in no way detracts from the Cameroonian foundations of his craft.

So we pay close attention to the ethereal ambience of his tunes and lyrics in the Bassa language, which we always manage to grasp, even if we don’t understand a word of it. His explanations in French are nonetheless clear and enlightening. An excellent addition to the Nuits d’Afrique 2023.

Alain Brunet

Eliasse, even more rock (zangoma) than expected !

The Comoros archipelago is little-known and little-visited by North Americans, hence our interest in learning more about its current culture… at Nuits d’Afrique, needless to say. That’s why we were at Balattou early Thursday evening. Like Blick Bassy, whom we heard a little later, Eliasse has left his native land to become something else and offer something else.

A highly intelligent artist with a particularly caustic sense of humor, the author, composer and singer is a hybrid creature, in the image of his global transhumance. Now living in France, he loves rock, and has teamed up with musicians from Bordeaux who have a passion for rock and, we imagine, jazz too. The bars composed to accompany Eliasse, whose popular culture is based on an extraordinary rhythmic corpus, must be understood. Percussion is a formidable weapon in Eliasse’s repertoire, with some very heartfelt sequences in store.

And so, Comorian folklore and rhythms are the starting point for an expression of rock that’s completely self-assured. Zangoma rock, as Eliasse calls it. His guitar and effects pedals, indeed, do not spare the creative saturation of the chords that make up these songs lit to perfection. Even more rock than expected! Interpreted in the Comorian language, Eliasse’s lyrics are song poems about human societies and their not always clean marks in the planetary ecosystem. If you don’t speak Comorian, you’ll be tempted to take a leap of faith when listening to Eliasse.

Alain Brunet

Juan Carmona, flamenco nuevo and Maghreb flavours

crédit photo: Andy Rubal

At National on Thursday nignt, Juan Carmona and his ensemble put on a thunderous performance for a suitably stormy evening. Inaugurating the concert with a solo guitar piece, Juan briskly set the tone of the evening with his fiery and lyrical virtuosity, creating an atmosphere that was both electrifying and deeply moving.

For the second piece a percussionist was brought on stage, and the beats of the cajón and the clapping of the palmas soon came to be the backbone of the music, enhancing the intensity and energy of the evening. The band grew to include a keyboard/flautist and bassist, and with this band Juan was afforded the freedom to play more lyrically and to take dazzling solos over his compositions.

However, the suspense was still growing in the audience, as the many fans of the Algerian-Montrealer vocalist, Youba Adjrab, waited for his arrival on stage. It did not take long after Youba began singing for the crowd to erupt in applause, and we were all taken aback by the sheer beauty and fluidity of Youba’s voice, soaring gracefully above the rich flamenco harmonies. It was a night that celebrated the rich tradition of flamenco while pushing its boundaries, with a modern and maghrebian twist that we all appreciated. 

Varun Swarup

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

Alison Krauss & Robert Plant: Mastery, Refinement, English Touch, Americana… Memorable !

crédit photo: Victor Diaz-Lamich

It’s worth pointing out once again: very few popular artists are capable of nurturing their inspiration all the way to the end of the road, and Robert Plant is one of those rare iconic figures to have achieved this feat. On Friday evening at Salle Wilfrid-Pelletier, a concert of the highest quality once again eloquently demonstrated this: the superb tandem formed with Americana artist Alison Krauss and an exceptional band.

Robert Plant’s longevity is also due to the consistency of his approach over a lifetime. Let’s not forget that Led Zeppelin started out as a British band inspired by American rock’n’roll, blues, and folk, with the particularity of considerably beefing up their sound through the trances generated by the heavy rhythms of the late John Bonham, the acid riffs of guitarist Jimmy Page and Robert Plant’s paroxysmal voice. We’ll also remember the inspired use of oriental referents and brilliant arrangements by bassist John Paul Jones, inspired by modern Western classical music. 

All this was perceptible on Friday night (except the classical music) but in a very different context. The line-up featured top-flight American musicians, the crème de la crème of Americana – Jay Bellerose, drums, Stuart Duncan, banjo, cello, mandolin, Viktor Krauss, bass, guitar, JD McPherson, guitar and opening act Dennis Crouch, double bass. Without a doubt, this instrumentation was conducive to all kinds of crossovers between the constituent elements of American popular music, and also to brilliant adaptations of Led Zep.

Tandem covers of “Rich Woman” (Lil’ Millet), “Fortune Teller” (Benny Spellman), “Can’t Let Go” (Randy Weeks), “The Price of Love” (Everly Brothers), followed by a perfect Led Zeppian rereading of “Rock and Roll and” an inspired cover of “Please Read the Letter” (Plant and Page), followed by “High and Lonesome” (Plant and T Bone Burnett), “Trouble With My Lover” (Allen Toussaint & Leo Nocentelli), “In the Mood” (Plant), then a pair of traditional songs with a pair of soloists, Marty Groves and Gallows Pole, before drawing to a close with a magnificent orientalized adaptation of a Led Zeppian folk song, “The Battle of Evermore.” We close the books in total rapture with “When the Levee Breaks” (Memphis Minnie and Kansas Joe McCoy).

Half a century after reaching rock’s pinnacle, Robert Plant has never abandoned these referents, yet he is the only member of Led Zep to go down the path of great creation – although John Paul could still be relevant. 

So, for the past fifteen years, Plant has been exploring the foundations of Americana culture as few Britons have done on such a high level – blues, rock, bluegrass, Louisiana R&B, folk, country, Appalachian music, and so on. He does it in North America as well as in Europe, with Band of Joy (2010), Lullaby and the Ceaseless Roar (2014), Carry Fire (2017) and Raising Sand (2007) and Raise the Roof (2021), his two duet albums with Alison Krauss, being applauded in turn. Understandably, Raising Sand is the gateway to this extraordinary cycle. Needless to say, Alison Krauss, a singer, and fiddler exemplary for her aesthetic allegiance to country-folk-American singing and traditional fiddling, forms an ideal duo with Led Zep’s ex-frontman.

And that’s exactly what we saw on Friday night at FIJM, even more so than in 2011 when Plant performed Americana-style at PdA with the inspired and capable Buddy Miller on musical direction. Although … it was just as excellent 12 years ago. This just goes to show how enduring this English singer is, one of the greatest of them all.

Alain Brunet 

TEKE::TEKE, all the elements for a celebration of creativty

crédit photo Frédérique Ménard-Aubin

In our interview with TEKE::TEKE, they were a little nervous about having enough people attend their FIJM performance, but really they had nothing to worry about. Playing to a packed house at the Club Soda, this evening was a celebration of this unique Montreal band, with an audience of friends, family, and a lot of fans.

The whole evening had a sense of spectacle to it as the septet ceremoniously took to the stage with some film music behind them. Setting the tone with “Gotoku Lemon” – an excellent introduction to their art-rock meets eleki soundworld – any looks of hesitancy quickly vanished, and it quickly dawned upon the audience that we were in for something special.

Maya Kuroki, the siren at the helm, had a bewitching stage presence. Clad in traditional Japanese dress, her voice carried the weight of ancient folklore, piercing the veil between reality and imagination. She would dance and sway, leading the congregation into a trance-like state – “tonight we are all phantoms” she says. The megaphone was an especially nice touch!

Behind her, the sextet swiftly played through their unique, funky, cinematic arrangements, and the setlist was mostly a showcase for their new album Hagata. The energy they bring is truly contagious and I love that the band leans into the theatricality of it all. They put on a show in the truest sense of the word and could tell that the band members were living their best lives up there. TEKE::TEKE’s music is a celebration of creativity, of cross-genre and cross-cultural
experimentation, and to be a part of that celebration was a privilege.

Varun Swarup

BADBADNOTGOOD’S AUDIO-VISUAL EXPERIENCE

crédit photo: Benoît Rousseau

It wasn’t bad, but it wasn’t good … It was BADBADNOTGOOD, the shape-shifting instrumental jazz monster three-piece, though they played live as a five-piece on the main stage of FIJM. The set began with a recorded, way too loud “War Pigs,” before bassist Chester Hansen flipped on his fuzz pedal. It started more like a doom rock show than a jazz one and the crowd seemed a little weirded out, but once the rest of the band—Alexander Sowinski on drums, Leland Whitty on saxophone and guitars, Felix Fox on keys, and Juan Carlos on world percussion, came out the show took shape as they dove into “Signal From The Noise,” off the latest album, Talk Memory. 

This time the Toronto outfit came loaded with a fantastic 16mm film backdrop, calling the show an “audio-visual experience” multiple times. The band has been missing founding member Matthew Tavares on keys since 2019 and has replaced him live with Felix Fox, an equally measured keyboard player, but the core three remaining members were the main stars of the show, each taking their own grooving improvised solos between songs from Talk Memory. Sowinski took the role of the show’s hype man, urging the crowd to jump, clap, and ‘woo’ at certain, scripted points. 

There were a few improvised tributes to the late Gal Costa and MF Doom, which got the crowd bumping, but nothing compared to when they played  “Lavender” off of IV, arguably their most put-together jazz hooky album. I’ll say that Talk Memory is a more enjoyable experience live than the recording, and though the set mostly consisted of that and I was hoping for more of IV and maybe some Sour Soul renditions, it was still a memorable show. 

Stephan Boissonneault

FELP and Friends’ UFO land on the Esplanade

The Besançon-born multi-instrumentalist and producer brought his recent album HELP and other surprises to the Club Montréal TD stage.

After a long, atmospheric intro with undulating keyboard-bass and saxophone tones, Félix Petit took over the background and let the guests featured on his album perform one by one. Laurence-Anne plays the sinister Dino, whose post-chorus propulsion always seems to come out of nowhere. Then the mic is taken over by Klô Pelgag, with her dreamy nonchalance, performing Babyfoot, an icy song that demands such an attitude. Greg Beaudin, HAWA B, Besançon rapper Miqi O, and Bellflower spearhead Em Pompa all took to the mic for the songs that feature them.

The concert starts to surprise from the halfway point, as Félix Petit and his musicians begin an instrumental section. What seems to be a simple interlude, in the end, continually bends and changes. The music alternates between rhythms, each more interesting than the last. At the end of this ten-minute or so medley, you almost forget that there’s one last guest left, but you soon remember… because Hubert Lenoir arrives and immediately steals the show, shines, rocks, and takes control of the stage to an overwhelming finish. Hard to see him as only a guest artist.

Although the live setting doesn’t allow for as much detail as HELP offers in our ears, this show, with its team of star players, was truly worthy of the world’s greatest jazz festival.

Théo Reinhardt

Mali Obomsawin: The Aboriginal Renaissance Involes Jazz

crédit photo: Pierre Langlois

Since we’re still in the midst of a renaissance in Aboriginal culture, any new manifestation of creativity titillates our curiosity, and that of Abenaki bassist Mali Obomsawin is no exception. The Studio TD was packed for her first concert as a sextet: Magdalena Abrego (guitar), Scott Bevins (trumpet), Allison Burik (clarinet), Noah Campbell (saxophone), Zack O’Farrill (drums), Mali Obomsawin (double bass and vocals).

The bandleader grew up in New Hampshire, but knows Odanak very well, an Abenaki stronghold not far from Pierrevielle, near the Saint-François River and Lake Saint-Pierre. She expresses herself in Angais and Abenaki, and is fully committed to asserting her Aboriginal identity, along with an acerbic and perfectly legitimate critique of white colonialism and Catholic oppression. 

Musically, this desire to update aboriginal cultural heritage in a jazz context translates into a contemplative aesthetic, occasionally punctuated by jolts and eruptions. Native songs are used as melodic vectors around which improvisations develop in real-time. Tempos are generally slow. In fact, lament and anger, but also pride and hope, manifest themselves in an apparent calm whose nature we come to decipher.

Mali Obomsawin’s native melodies and rhythms are simple and pure. Integrating these traditional materials into contemporary jazz with a little touch of free improv, a necessarily more complex musical practice, is an essential step in the development of First Nations through musical creation. The double bassist, singer, and leader can count on a solid musical education in contemporary chamber jazz, as can her colleagues, without however revealing an exceptional level of playing. 

Nonetheless, we have a good time with Mali Obomsawin, enjoying her playing, singing, and direction, as well as her touching cover of Buffy Sainte-Marie’s « Little Wheel Spin And Spin ».

And we’re curious about what’s next. Aboriginal jazz doesn’t have so many practitioners, and we know mainly (and not enough) about swing singer Mildred Bailey (1907-1951), from the Coeur d’Alene nation in Idaho, an authentic pioneer of jazz singing who was a great influence on the greats – Ella Fitzgerald, in particular. We also know Jim Pepper (1941-1992), a fine tenor saxophonist from the Muscogee Creek nation, who was responsible for the hymn “Witchitai To,” known to all Robert Charlebois fans without necessarily knowing its origins. There are certainly more if you do your research, and we imagine there will be many more in the not-too-distant future.

Alain Brunet