Théâtre Jean-Duceppe

chanson française / hommage

Francos de Montréal : Étienne Coppée – Le show Dassin au Théâtre Jean-Duceppe

by Rédaction PAN M 360

Étienne Coppée et son band d’amour se retrouvent pour chanter les grands classiques de Joe Dassin, en espérant qu’il les entende de quelque part là-haut. Il y aura du doux, des harmonies, mais aussi du rock progressif, des folies et des relectures des chansons qu’on connaît tous. On se baladera sur l’avenue, le cœur ouvert à l’inconnu et on aura envie de dire bonjour à n’importe qui. Avec Flavie Melançon, Raphaël Pépin-Tanguay, Bruno St-Laurent, Philippe Noël et Arthur Bourdon-Durocher.

Étienne Coppée and his band of love get together to sing Joe Dassin’s greatest hits, hoping that he can hear them from somewhere up above. There will be sweet melodies and harmonies, but also progressive rock, madness, and reinterpretations of songs we all know. We’ll stroll down the avenue, our hearts open to the unknown, and we’ll want to say hello to everyone we meet. With Flavie Melançon, Raphaël Pépin-Tanguay, Bruno St-Laurent, Philippe Noël, and Arthur Bourdon-Durocher.

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Ce contenu provient de la Place des Arts et est adapté par PAN M 360

Jazz Fusion / Jazz-Funk

Festival International de Jazz de Montréal : The Headhunters au Théâtre Jean-Duceppe

by Rédaction PAN M 360

The Headhunters, le légendaire ensemble jazz-funk codirigé par le percussionniste Bill Summers et le batteur Mike Clark, avec Donald Harrison, maître du jazz de la NEA, de passage au Festival International de Jazz de Montréal à l’été 2026. Le groupe a célébré son 50e anniversaire en 2023, après s’être formé autour des enregistrements classiques d’Herbie Hancock, Head Hunters en 1973, Thrust en 1974 et Man-Child en 1975. Il a continué sans M. Hancock et a sorti 8 albums sous le nom de Headhunters. Le groupe actuel est composé d’un quintette de premier ordre avec Clark, Summers et Harrison, rejoints par le bassiste Chris Severin (Dr. John, Diana Krall, The Neville Brothers) et le pianiste Kyle Roussel (Preservation Hall Jazz Band), tous deux incontournables de la scène musicale de la Nouvelle-Orléans.

The Headhunters, the legendary jazz-funk ensemble co-led by percussionist Bill Summers and drummer Mike Clark with NEA Jazz Master Donald Harrison on alto saxophone, will be performing at the Festival International de Jazz de Montréal in summer 2026. The band celebrated their 50th anniversary in 2023, having formed around Herbie Hancock’s classic recordings, Head Hunters, in 1973, Thrust in 1974 and Man-Child in 1975. They continued without Mr. Hancock and has released 8 albums under the Headhunters name. The current band consists of a top notch quintet with Clark, Summers and Harrison joined by bassist Chris Severin (Dr. John, Diana Krall, The Neville Brothers) and pianist Kyle Roussel (Preservation Hall Jazz Band), both staples on the New Orleans music scene.

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Ce contenu provient de la Place des Arts et est adapté par PAN M 360

Contemporary Jazz / trompette

Festival International de Jazz de Montréal : Chief Xian aTunde Adjuah au Théâtre Jean-Duceppe

by Rédaction PAN M 360

Chief Xian aTunde Adjuah — anciennement Christian Scott — a remporté deux fois le prix Edison, a été nominé six fois aux Grammy Awards et a reçu le prix Doris Duke dans la catégorie Arts. Il est architecte sonore, trompettiste, multi-instrumentiste, compositeur, producteur, concepteur de technologies innovantes et d’instruments de musique. Depuis 2001, Adjuah a sorti treize albums studio acclamés par la critique, quatre albums live et une compilation de ses plus grands succès. Il a collaboré avec de nombreux artistes de renom, notamment Prince, Thom Yorke, McCoy Tyner, Marcus Miller, Flea, Eddie Palmieri, Robert Glasper, les rappeurs Mos Def (Yasin Bey) et Talib Kweli, ainsi que le célèbre poète et musicien Saul Williams. Depuis ses débuts, Adjuah est un fervent défenseur des droits de l’homme et un critique infatigable des injustices dans le monde.

Chief Xian aTunde Adjuah — formerly Christian Scott — is a two-time Edison Award-winning, six-time Grammy Award-nominated, Doris Duke Award in the Arts awardee. He is a sonic architect, trumpeter, multi-instrumentalist, composer, producer, designer of innovative technologies and musical instruments. Since 2001, Adjuah has released thirteen critically acclaimed studio recordings, four live albums, and one greatest hits collection. He has collaborated with a number of notable artists, including Prince, Thom Yorke, McCoy Tyner, Marcus Miller, Flea, Eddie Palmieri, Robert Glasper, rappers Mos Def (Yasin Bey), Talib Kweli, as well as heralded poet and musician Saul Williams. Since Adjuah’s emergence, he has been a passionate and vocal proponent of human rights and an unflinching critic of injustices throughout the world.

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Ce contenu provient de la Place des Arts et est adapté par PAN M 360

Jazz

Festival International de Jazz de Montréal : The Bad Plus au Théâtre Jean-Duceppe

by Rédaction PAN M 360

The Bad Plus est un groupe résolument original. Une formation démocratique avec une vision claire et un refus de se conformer aux conventions. Au cours des deux dernières décennies, ses membres ont joué avec enthousiasme et audace, établissant leurs propres règles avec une créativité et une détermination sans faille. Refusant toute catégorisation facile, The Bad Plus a conquis la critique et une légion de fans à travers le monde grâce à son son unique et son talent pour les performances live. Le groupe continue de repousser les limites alors que les membres fondateurs, Reid Anderson à la basse et Dave King à la batterie, se lancent dans une nouvelle incarnation sans piano, avec Ben Monder à la guitare et Chris Speed au saxophone ténor, suscitant une nouvelle vague d’enthousiasme et d’anticipation au sein du groupe qui redynamise leur son et leur inspiration. The Bad Plus a constamment cherché à faire le pont entre les genres et les techniques tout en explorant les possibilités infinies offertes par des musiciens exceptionnels travaillant en parfaite synchronisation.

The Bad Plus are the ultimate originals. A democratic unit with a clear vision and a refusal to conform to convention. For the past two decades they have played with spirit and adventure, made their own rules and done so with a bold sense of creativity and intent. Avoiding easy categorization, The Bad Plus has won critical acclaim and a legion of fans worldwide with their unique sound and flair for live performance. The band continues to push boundaries as founding members Reid Anderson (bass) and Dave King (drums) embark on a new piano-less incarnation of the band with Ben Monder (guitar) and Chris Speed (tenor saxophone)– instigating a new wave of excitement and anticipation within the band that is re-energizing their sound and inspiration. The Bad Plus have constantly searched to bridge genres and techniques while exploring the infinite possibilities of exceptional musicians working in perfect sync.

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Ce contenu provient de la Place des Arts et est adapté par PAN M 360

Contemporary Jazz / saxophone

Festival International de Jazz de Montréal : Isaiah Collier au Théâtre Jean-Duceppe

by Rédaction PAN M 360

Compositeur, arrangeur, éducateur et « scientifique du son » autoproclamé, Isaiah Collier s’est imposé comme l’une des voix les plus passionnantes du jazz contemporain. Originaire de Chicago, son travail lui a valu de nombreuses distinctions de la part d’institutions et de publications prestigieuses à travers le monde. Parmi ses nombreuses distinctions, Collier a été nommé Steve Jobs Archive Fellow, Chicagoan of the Year in Jazz (2024) et a fait la couverture du magazine DownBeat, la plus ancienne publication jazz au monde. Sa musique a également été reconnue par le New York Times, qui a classé son travail parmi les meilleurs albums jazz de l’année. Sa suite révolutionnaire, The Story of 400 Years, a été mise à l’honneur dans l’émission Jazz Night in America de NPR, et il a reçu le prix DownBeat Critics Poll, ainsi que le titre d’artiste émergent de l’année décerné par la Jazz Journalists Association. Collier est connu pour sa quête incessante visant à fusionner les riches traditions du passé avec l’urgence du présent afin de forger le son du futur. Décrit comme un anticonformiste doté d’une force créative et improvisatrice, il a collaboré avec des sommités du jazz telles que Kahil El’Zabar, Ambrose Akinmusire, Craig Taborn, Joe Dyson, Azar Lawrence, les maîtres du jazz NEA Billy Hart, Marshall Allen et Denardo Coleman (fils du pionnier du free jazz Ornette Coleman), ainsi que Nicole Mitchell, Randy Brecker, Billy Harper, Marquis Hill et Makaya McCraven. Il est également très connu pour son puissant ensemble, The Chosen Few. Fier membre de la légendaire Association for the Advancement of Creative Musicians (AACM), Collier s’inscrit résolument dans la lignée du riche héritage du saxophone ténor de Chicago. C’est un mystique du son, un serviteur de son art et de sa culture, et un artiste qui canalise à la fois le respect et l’innovation dans chaque note. Le magazine DownBeat l’a salué comme « le prochain géant du saxophone », un titre qui convient parfaitement à un artiste qui continue de remodeler le paysage sonore du jazz moderne.

Composer, arranger, educator, and self-described “Sonic Scientist,” Isaiah Collier has emerged as one of the most exciting voices in contemporary jazz. Chicago native, his work has earned numerous accolades from prestigious institutions and publications across the world. Among his many honors, Collier has been named a Steve Jobs Archive Fellow, Chicagoan of the Year in Jazz (2024), and was featured on the front cover of DownBeat Magazine, the world’s oldest jazz publication. His music has also been recognized by The New York Times, where his work was listed among the Best Jazz Albums of the Year. His groundbreaking suite, The Story of 400 Years, was spotlighted on NPR’s Jazz Night in America, and he has been honored with the DownBeat Critics Poll award as well as being named Up and Coming Artist of the Year by the Jazz Journalists Association. Collier is known for his relentless pursuit of blending the rich traditions of the past with the urgency of the present to forge the sound of the future. Described as a maverick of creative and improvisational force, he has collaborated with jazz luminaries such as Kahil El’Zabar, Ambrose Akinmusire, Craig Taborn, Joe Dyson, Azar Lawrence, NEA Jazz Masters Billy Hart, Marshall Allen, and Denardo Coleman (son of free jazz pioneer Ornette Coleman), as well as Nicole Mitchell, Randy Brecker, Billy Harper, Marquis Hill, and Makaya McCraven. He is also widely known for his powerful ensemble, The Chosen Few. A proud member of the legendary Association for the Advancement of Creative Musicians (AACM), Collier stands firmly within the lineage of Chicago’s rich tenor saxophone legacy. He is a mystic of sound, a servant to his craft and culture, and an artist who channels both reverence and innovation in every note. DownBeat Magazine has hailed him as “The Next Sax Giant”—a title befitting an artist who continues to reshape the sonic landscape of modern jazz.

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Ce contenu provient de la Place des Arts et est adapté par PAN M 360

PAN M 360 at FIJM 2024 | Makaya McCraven Becomes Headliner

by Alain Brunet

Under the guidance of visionary drummer and composer Makaya McCraven, a Chicago musician of whom I’ve been a thurifer for some years now, we were treated on Friday to rereadings of his recent material, especially the material from the album In These Times, released the fall following his FIJM residency in July 2022. Fewer surprises, less astonishment, less excitement, but just as much quality and brilliance in the playing. Just as much competence in the personnel put forward.

One can only imagine the delight of jazzophiles at their first encounter with this music played in real time! Théâtre Jean Duceppe was about 90% full, for a performance lasting about an hour and a half.

There was Joel Ross, obviously a vibraphone virtuoso, who had the opportunity to show off his two-mallet skills. Marquis Hill, trumpet, fulfilled all the tasks requested by his employer, with whom he has been working for some time; the exposition of the themes was perfect, the solos circumspect, without any major sparkle.

Junius Paul, electric bass, is another loyal Makaya McCraven collaborator, and the main support for the extraordinary rhythmic figures generated by the drums. The bassist also knows how to sing, and will also express himself through his voice in Makaya McCraven’s excellent mashup of his music with that of the late Gil Scott Heron’s album I’m New Here, including audio extracts from the late poet, and also a chorus sung by Junius Paul.

As for harpist Brandee Younger, we’ve heard her in this environment before (both on record and on stage), and she also has a solo career. She was in MTL in July 2023, and her concert at Studio TD was a great success. On the Makaya side, the harpist is at one with the ensemble, both as a gifted soloist and as a generator of harmony. The aura of legendary harpist Alice Coltrane is not far away. Once again, the depth of the drummer, certainly one of the most innovative of the current period, was evident.

We can’t wait for Makaya McCraven’s next chapter, but there’s still time to enjoy what he’s put forward so far. Prior to the release of In These Times, the percussionist had been creating pieces inspired by electronic processes and repurposing them as instrumental music. On Friday evening, this impression was less strong, as was the case when listening to his latest album.

Why is that? The composer’s most recent work incorporates aesthetic codes much closer to modern jazz and jazz groove. The rhythmic foundations remain visionary, the melodic and harmonic approaches more conservative, and that’s probably why it works so well with music lovers. For the future, in any case, let’s be sure that Makaya McCraven will be a headliner in the territory he’s combing. Let’s rejoice: very few artists of such depth can claim such a status.

Publicité panam
Publicité panam
Jazz

PAN M 360 AT FIJM 2024 | AMBROSE AKINMUSIRE & DAVE HOLLAND: a sublime dialogue

by Michel Labrecque

I told you yesterday about my enthusiasm for the solo concert of trumpeter Ambrose Akinmusire at the Gésu, who made his little instrument sound in so many astonishing ways. So I was very happy to be able to attend Ambrose’s second show with veteran British double bassist Dave Holland. 

You must be telling yourself: “It will be a kind of remake, with the addition of solid double bass accompaniment”. However, it was absolutely not a remake. We witnessed an authentic communion, an open, fruitful dialogue, such as jazz can offer us when it is at its best. The 42-year-old black trumpeter and the 77-year-old white double bassist made us levitate and float in their exchange where every note counted, or at least that is the impression I had. The trumpet of Ambrose Akinmusire was as interesting as the day before, but totally different, since it interacted with the double bass, in a complementary way. There were as many, if not more, double bass solos than trumpet. Sometimes, Ambrose offered repetitive trumpet layers while Dave improvised at full throttle. Everything started around a basic theme, then the two instrumentalists listened to each other and decided on a direction that only they knew. I heard Dave Holland for the first time in 1975 at Laval University in Quebec, accompanying free saxophonist Anthony Braxton. This was my introduction to free jazz. Then, the community radio station CKRL-FM in Quebec adopted its pretty ballad The Conference of the Birds, as music for a callsign. Dave Holland has played with Miles Davis, Chick Corea, and just about every great musician in his fifty-year career. He is also a very gifted composer. On his personal website, there are more than two hundred records in which he took part. This meeting between him and Ambrose Akinmusire was therefore a meeting between two great instrumentalists and composers. A very high-level meeting. Was this the first meeting between the two? I do not know.
But it was serious jazz, my friends!

Classical

L’Orchestre Symphonique présente Pacho Flores avec cuivres et percussions

by Rédaction PAN M 360

Pacho Flores est certainement l’un des plus illustres trompettistes actifs sur la scène musicale internationale. Lors de ce concert, il mènera un ensemble de 16 musiciens, tout cuivres et percussions, dans une démonstration de force, d’unité et de virtuosité. Au programme : un répertoire varié des Amériques en plus des poignants Airs gitans de Pablo de Sarasate, dans lesquels vous pourrez apprécier la brillance, l’homogénéité et la polyvalence des cuivres; la vigueur, la diversité et la subtilité des percussions.

Pacho Flores figures unquestionably among the most illustious trumpeters currently active on the international stage. This concert will see him lead an ensemble of 16 musicians, all playing brass and percussion, in a demonstration of strength, unity and technical agility. The program features a variety of works from the Americas together with Pablo de Sarasate’s poignant Aires Gitanos, in which listeners can appreciate the bright, blended and versatile sounds of the brass as well as the vigorous, diverse and subtle sounds of the percussion instruments.

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Ce contenu provient de l’OSM et est adapté par PAN M 360.

Classical

L’Orchestre Symphonique de Montréal présente Polyphonies baroques dans les cités d’or

by Rédaction PAN M 360

Le chef de chœur Andrew Megill vous convie à un concert poignant mettant en lumière les compositeurs espagnols et mexicains des XVIe et XVIIe siècles. Pour l’occasion, 12 chanteuses et chanteurs du Chœur de l’OSM revêtiront leurs atours polyphoniques dans l’interprétation d’œuvres en langues autochtones et en latin, accompagnés de brillants instrumentistes. Ce sera une occasion unique de découvrir un répertoire aussi riche que méconnu!

Chorusmaster Andrew Megill invites you to a concert showcasing Spanish and Mexican composers of the 16th and 17th centuries that is sure to move you. For this event, 12 singers from the OSM Chorus show off their polyphonic acumen in their performance of works in Indigenous languages and in Latin, also featuring top instrumentalists.  A moment of opportunity to discover a fabulous yet little-known repertoire!

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Ce contenu provient de l’OSM et est adapté par PAN M 360.

Classical

L’Orchestre Symphonique présente Sixtrum : 6 marimbas

by Rédaction PAN M 360

Fier d’une réputation internationale et toujours à l’avant-garde de l’expérimentation, l’ensemble Sixtrum collaborera avec l’OSM afin de présenter un concert tout marimba. En effet, les six musiciens du groupe offriront un répertoire consacré uniquement à cet instrument aux sonorités chaleureuses, culminant avec l’œuvre 6 Marimbas de Steve Reich. Cette pièce aux allures transcendantales créée il y a 35 ans est typique de l’univers minimaliste du compositeur états-unien.

Boasting an international reputation and ever at the forefront of experimentation, Sixtrum ensemble collaborates with the OSM to present an all-marimba concert. The group’s six musicians will perform repertoire solely devoted to the warm-toned instrument, culminating in Steve Reich’s 6 Marimbas, a transcendentally imbued piece that premiered 35 years ago, characteristic of this American composer’s minimalist creative approach.

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Ce contenu provient de l’OSM et est adapté par PAN M 360.

Baroque / Classical

Soledad : Tribute to Piazzolla

by Rédaction PAN M 360

Bandonéoniste virtuose considéré comme le plus grand compositeur de tango du XXe siècle, Astor Piazzolla sera à l’honneur lors de ce concert aux forts effluves argentins. Pour donner vie au répertoire de cette légende musicale, l’OSM a réuni une formation à l’image de celle que privilégiait Piazzolla, soit le piano, le bandonéon, le violon la guitare et la contrebasse. Dans ce concert qui témoignera de l’importance de la musique baroque dans l’œuvre du maître argentin, le public sera enhardi par la présence de deux danseurs, dont les pas sont inextricablement liés aux airs de tango.

A virtuoso bandoneon player regarded as the greatest tango composer of the 20th century, Astor Piazzolla is celebrated in this strongly accented Argentinian concert. To bring the repertoire of this musical legend to life, the OSM will assemble a group of musicians reflecting Piazolla’s favoured ensemble: piano, bandoneon, violin, guitar, and double bass. In this concert highlighting the importance of Baroque music in the works of this Argentinian master, audiences will also be conquered by the panache of two dancers whose steps are inextricably bound to the tango melodies being performed.

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Ce contenu provient de l’OSM et est adapté par PAN M 360.

Classical

Chopin in America with Sergio Tiempo

by Rédaction PAN M 360

Argentine, Venezuela, Brésil, États-Unis et Pologne : voilà le voyage musical auquel vous convie le pianiste de renom Sergio Tiempo. Celui qui s’est fait connaître dès l’âge de 14 ans grâce à un concert donné au Concertgebouw d’Amsterdam démontrera l’étendue de son énergie et de son talent en interprétant le Joropo de Moleiro, le blues de Copland et le lyrisme de Chopin. De ce dernier, Tiempo présentera la dernière et monumentale Sonate pour piano, qui connaît peu d’équivalents dans le répertoire pianistique.

Acclaimed pianist Sergio Tiempo beckons us on a musical journey through Argentina, Venezuela, Brazil, the United States and Poland. This performer, who rose to prominence at age 14 after giving a concert at the Concertgebouw in Amsterdam, will illustrate the breadth of his energy and talent in his interpretation of Moleiro’s Joropo, Copland’s blues and Chopin’s lyricism, performing the latter composer’s monumental Piano Sonata no. 3, a work virtually in a class of its own in the repertoire for piano.

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Ce contenu provient de l’OSM et est adapté par PAN M 360.

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