Festival International de Jazz de Montréal : Jay-Jay Johanson au Théâtre Maisonneuve

by Rédaction PAN M 360

Avec Backstage, Jay-Jay sort déjà son 15^e album, et son inspiration est sans cesse renouvelée. On y retrouve les éléments fondamentaux de son univers musical : jazz, triphop, pop et même une touche d’Easy Listening.
Le premier single, l’envoûtant How Long Do You Think We’re Gonna Last?, impose un délicieux son soul, quelque peu inédit dans les 14 premiers albums de Jay-Jay. Co-composé avec son complice de longue date Erik Jansson, grand fan de Marvin Gaye, ce morceau aux accords monotones a inspiré Jay-Jay à explorer des sonorités inédites.
Sur Backstage, pour la première fois dans sa discographie, Jay-Jay chante un morceau entièrement en français, dédié à Rimbaud. Les paroles sont de l’écrivain français Renaud Santa Maria. En hommage innocent et non prémédité à David Lynch, Jay-Jay a récemment invité l’acteur Harry Goaz (Twin Peaks) à retravailler Trompe L’oeil, le titre d’ouverture de l’album, dont plusieurs versions sortiront sous forme d’EP au cours de l’été. Déjà présent sur plusieurs titres de sa discographie, Jay-Jay invite sa femme Laura Delicata sur l’entraînant Glue, un titre dont l’étrangeté progressive s’achève sur une coda house.
Enfin, Jay-Jay livre une version personnelle de Lujon, la chanson culte du 100^e anniversaire de son compositeur Henry Mancini. Enregistré à Stockholm durant l’hiver 2024, l’album a été masterisé à Paris par Alex Gopher (Air, Phoenix, Bob Sinclar…). La pochette de Backstage a été prise dans les coulisses d’un concert à Londres en 2024. Après Kings Cross en 2019, contenant l’un de ses plus grands succès à ce jour, Heard Somebody Whistle, c’est la deuxième fois que les liens qui unissent Jay-Jay et la capitale britannique s’expriment sur le visuel de l’un de ses albums.

With Backstage, Jay-Jay has already released his 15^th album, and his inspiration is constantly renewed. Here we find the fundamental elements of his musical universe: jazz, triphop, pop and even a touch of Easy Listening.
The first single, the soaring How Long Do You Think We’re Gonna Last?, imposes a delicious soul sound, somewhat unheard of in Jay-Jay’s first 14 albums. Co-composed with his long-time accomplice Erik Jansson, a great fan of Marvin Gaye, this track with its monotonous chords inspired Jay-Jay to explore sounds that had never been explored before.
On Backstage, for the first time in his discography, Jay-Jay sings a track entirely in French, dedicated to Rimbaud. The lyrics are by French writer Renaud Santa Maria. As an innocent and unpremeditated tribute to David Lynch, Jay-Jay recently invited actor Harry Goaz (Twin Peaks) to work on a rework of Trompe L’oeil, the opening track on the album, several versions of which will be released as spin-off EP around the summer. Already present on several tracks in his discography, Jay-Jay invites his wife Laura Delicata on the lively Glue, a track whose progressive strangeness
ends on a house music coda.
Finally, Jay-Jay delivers a personal version of Lujon, the cult song from the 100^th birthday of its composer Henry Mancini. Recorded in Stockholm during the winter of 2024, the album was mastered in Paris by Alex Gopher (Air, Phoenix, Bob Sinclar…). The cover of ‘Backstage’ was appropriately shot backstage at a concert in London in 2024. After Kings Cross in 2019, containing one of his biggest hits to date, Heard Somebody Whistle, this is the second time that the links that unite Jay-Jay and the British capital have been expressed on the visual of one of his albums.

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Vocal Jazz

Festival International de Jazz de Montréal : Dianne Reeves au Théâtre Maisonneuve

by Rédaction PAN M 360

Cinq fois lauréate d’un Grammy, Dianne Reeves est l’une des plus grande chanteuse de jazz au monde. Grâce à sa virtuosité, à ses prouesses d’improvisation et à son style unique de jazz et de R&B, Reeves a reçu le Grammy de la meilleure performance vocale de jazz pour trois enregistrements consécutifs – une première dans une catégorie vocale.
Reeves a enregistré et s’est produite avec Wynton Marsalis et le Lincoln Center Jazz Orchestra. Elle a également enregistré avec l’Orchestre symphonique de Chicago dirigé par Daniel Barenboim et a été soliste avec Sir Simon Rattle et l’Orchestre philharmonique de Berlin. Mme Reeves a été la première présidente créative pour le jazz de l’Orchestre philharmonique de Los Angeles et la
première vocaliste à se produire au célèbre Walt Disney Concert Hall.
Son dernier album, Beautiful Life, réunit Gregory Porter, Robert Glasper, Lalah Hathaway et Esperanza Spalding. Produit par Terri Lyne Carrington, il a remporté le Grammy de la meilleure performance vocale de jazz. Reeves a reçu des doctorats honorifiques du Berklee College of Music et de la Juilliard School. En 2022, elle a été la chanteuse principale de la bande originale de The Woman King, avec Viola Davis et a été désigné « Jazz Master » par le National Endowment for the Arts, la plus haute distinction accordée par les États-Unis aux artistes de jazz.

Five-time Grammy winner Dianne Reeves is one of the world’s pre-eminent jazz vocalist. As a result of her virtuosity, improvisational prowess and unique jazz and R&B stylings, Reeves received the Grammy for Best Jazz Vocal Performance for three consecutive recordings — a Grammy first in any vocal category.
Reeves has recorded and performed with Wynton Marsalis and the Lincoln Center Jazz Orchestra. She has also recorded with the Chicago Symphony Orchestra conducted by Daniel Barenboim and was a featured soloist with Sir Simon Rattle and the Berlin Philharmonic. Reeves was the first Creative Chair for Jazz for the Los Angeles Philharmonic and the first vocalist to ever perform at the famed Walt Disney Concert Hall.
Reeves’ most recent release Beautiful Life, features Gregory Porter, Robert Glasper, Lalah Hathaway and Esperanza Spalding. Produced by Terri Lyne Carrington, Beautiful Life won a Grammy for Best Jazz Vocal Performance. Reeves is the recipient of honorary doctorates from Berklee College of Music and the Juilliard School. In 2022, Reeves was the featured vocalist on the soundtrack of The Woman King starring Viola Davis. Reeves has been designated a Jazz Master by The National Endowment for the Arts — the highest honor the United States bestows on jazz artists.

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Ce contenu provient d’AllMusic et est adapté par PAN M 360

Africa / Morna

Black History Month | Cape Verde Honoured at Théâtre Maisonneuve

by Sandra Gasana

Lucibela opened the evening after a purely instrumental first track, beautifully orchestrated by a total of seven musicians: two brass players, a cavaquinho, bass, guitar, drums, and the musical director at the piano. Usually, the solos come a little later in the evening, but this time we were treated to saxophone and trumpet solos right from the start of the concert.

In an average French, she addressed the crowd: “It’s a pleasure to be here. Cape Verde is known thanks to Césaria,” she adds, before moving on to Areia de salamanza, which she performed with unparalleled mastery. Her voice is the closest I can think of to Césaria Evora. With a few dance steps, she seemed to float in her orange dress.

The show was a mix of classics and lesser-known pieces by the barefoot diva. The star among the musicians that evening was undoubtedly the saxophonist. Even when he wasn’t playing, he stayed on stage to dance, unlike the trumpeter, who came and went. And when he played, he carried the audience with him, as the applause testified.

The classic Besamo Mucho was a particular highlight of Lucibela’s performance, as she got the audience singing along, before giving way to Ceuzany.

“I’m very happy to sing for you,” she says in shaky French. “Thank you Cesaria!” Like Lucibela, her first song was gentle, bringing out the depth of her voice, and after that, it was party time. In fact, she takes off her heels and starts dancing barefoot, a little nod to the diva?

After Sodade, which delighted the audience, she continued with Amor Y Mar, this time without the horns. The horns return for Ceuzany’s last song, in which she pushes her voice a little like American soul singers.
After a brief intermission, we’re off again with Teófilo Chantre, who wrote many of Césaria Evora’s songs. In impeccable French, he addresses the crowd between Fatalidade and Mãe Carinhosa.

He continued with Voz de Amor and then invited the crowd to dance, which they did timidly, but as the evening progressed, the audience loosened up. Indeed, they let loose completely when Elida Almeida, who was the last to perform, challenged the audience: “Is this how you dance at home?” she asked, addressing the crowd. “Well, you have another opportunity,” she added, and that’s all it took for the entire theater to get to its feet and show what it could do.

Paying homage to Cape Verde’s best-known musical style, the Morna, she transported the audience with her unique and distinctive voice. Each of the singers offered melancholy and festive tunes, sometimes switching from one to the other almost without transition.

As this was the last show of the tour, Elida brought the house down, getting the audience to sing along with Sodade, but this time with all the artists who joined her on stage, taking the time to thank all the musicians, before finishing with more classics.

The only snag of the evening: the song E Doce Morrer No Mar was missing. It’s true that this song is by Brazilian artist Dorival Caymmi, but Césaria popularized it all the same. I’d been waiting for it all evening and came home empty-handed. But that’s just a detail. I’ll continue to sing it in my shows, as I’ve been doing for the last 5 years.

Photo Credit: Adam Mlynello

Avant-Garde / hommage / Psych-Rock

Dweezil Zappa au Théâtre Maisonneuve

by Rédaction PAN M 360

Dweezil Zappa en supplémentaires à sa tournée Rox(Postroph)y qui célèbre deux des albums phares de son père Frank Zappa : Roxy & Elsewhere et Apostrophe. Pour commémorer le 50^e annivershaire des deux albums, Dweezil a élaboré une liste de chansons les plus populaires, avec des arrangements hybrides uniques. Avec plus de deux heures de musique retraçant l’illustre carrière de Frank Zappa, incluant une performance surprise de Dweezil avec un instrument historique en main, ce spectacle promet d’être une expérience inoubliable.

Dweezil Zappa, in addition to his Rox(Postroph)y tour celebrating two of his father Frank Zappa’s landmark albums, Roxy & Elsewhere and Apostrophe, has created a setlist featuring the most popular songs from these albums, with unique hybrid arrangements. To commemorate the 50th anniversary of both albums, Dweezil will perform over two hours of music that traces Frank Zappa’s illustrious career, including a surprise performance with Dweezil playing a historic instrument. This show promises to be an unforgettable experience.

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

hommage / Morna

Cesária Évora Orchestra – Hommage à la Diva aux pieds nus

by Rédaction PAN M 360

Le Cesária Évora Orchestra réunit la crème des chanteuses et des musiciens du Cap-Vert autour de la musique de la diva aux pieds nus. Elida Almeida, Ceuzany, Lucibela et Teófilo Chantre, et d’anciens membres du groupe de Cesária Évora s’arrêteront à Montréal pour célébrer ce magnifique répertoire.
Cesária Évora est incontestablement la chanteuse la plus célèbre du Cap-Vert. Avec son timbre mélancolique si caractéristique et son style inimitable, elle a conquis des millions de cœurs et captivé les publics du monde entier. Et Montréal ne fait pas exception. Avec sa voix et son authenticité pieds nus sur scène, elle a conquis le public lors de plusieurs visites mémorables renforçant à chaque passage un lien spécial avec les Montréalais et les amateurs de musique du monde.
C’est en 2014, soit trois ans après la disparition, que ses anciens musiciens ainsi que de grandes voix actuelles se sont réunis pour reprendre la route pour célébrer son magnifique répertoire de la diva aux pieds nus et le style unique de la musique capverdienne.
Une soirée au Théâtre Maisonneuve de la Place des Arts qui promet non seulement un hommage inoubliable à la grande Cesária Évora, mais aussi de célébrer la richesse de la culture capverdienne, comme une brise chaude et tropicale.

The Cesária Évora Orchestra brings together the finest singers and musicians from Cape Verde to celebrate the music of the legendary “barefoot diva.” Elida Almeida, Ceuzany, Lucibela, Teófilo Chantre, and former members of Cesária Évora’s band will make a stop in Montreal to honor this magnificent repertoire.
Cesária Évora is undoubtedly the most famous singer from Cape Verde. With her uniquely melancholic voice and unmistakable style, she won the hearts of millions and captivated audiences worldwide. And Montreal is no exception. Performing barefoot with her soulful voice and authenticity, she mesmerized audiences during several unforgettable visits, strengthening a special bond with Montrealers and world music lovers with each performance.
In 2014, three years after her passing, her former musicians, along with some of today’s most prominent Cape Verdean voices, reunited to take her timeless repertoire back on the road, celebrating both the “barefoot diva” and the unique essence of Cape Verdean music.
This special evening at Théâtre Maisonneuve, Place des Arts, promises not only an unforgettable tribute to the great Cesária Évora but also a celebration of Cape Verdean culture—like a warm, tropical breeze.

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

Arabic / Musical Theatre

Festival du monde arabe : Libertada, la révolte des muses

by Rédaction PAN M 360

Cette rencontre au sommet unit les voix poignantes des chanteuses Oumaima El Khalil, Lila Borsali et Raoudha Abdallah pour un spectacle qui brandit avec ferveur l’étoffe des chansons ardentes de peuples épris de liberté. Sous la direction musicale de Hani Siblini et la participation d’artistes iraniens invités, Habib Hoseini, Amir Amiri, Saeed Kamjoo et Maryam Tazhdeh, les cantatrices prennent d’assaut la citadelle des possibles, armées de rêves, de vers et de mélodies, pour que des injustices et des pleurs, elle soit enfin libérée. Une apothéose musicale où l’amour devient symphonie et le chant acte de foi.

This musical summit brings together the stirring voices of Oumaima El Khalil, Lila Borsali and Raoudha Abdallah for an inspirational celebration of freedom-loving peoples. Under the musical direction of Hani Siblini and featuring Iranian guest artists Habib Hoseini, Amir Amiri, Saeed Kamjoo, and Maryam Tazhdeh, the singers will storm the citadel of possibilities and liberate it from injustice and despair, armed only with their lyrics, melodies, hopes and dreams. Join us for an unforgettable event, where music magnifies the power of love and singing becomes an act of faith.

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Ce contenu provient du Festival du monde arabe de Montréal et est adapté par PAN M 360

Arabic / Poetry

Festival du monde arabe : Naseer Shamma, Cordes en flammes

by Rédaction PAN M 360

Maître chevronné parmi les plus grands magiciens du Oud, le virtuose Naseer Shamma, entouré d’un ensemble de musiciens d’exception, fait jaillir de son instrument mille feux de liberté incandescents. S’inspirant des textes poétiques du Palestinien Mahmoud Darwich, du Chilien Pablo Neruda et de l’Espagnol Federico García Lorca, il se livre à une ode combative dédiée aux peuples qui aspirent à la liberté et à l’indépendance. Audrey Gaussiran et ses danseuses donnent de la chair à ces tableaux sonores relevant de l’épopée moderne pour un moment de révolte magnifiée et inoubliable.

Backed by an ensemble of exceptional musicians, world-renowned oud player Naseer Shamma will ignite the flame of liberation from the stage. In this powerful show, Shamma delivers a defiant ode to the fight for freedom and independence, inspired by the works of writers from around the globe, including Mahmoud Darwich (Palestine), Pablo Neruda (Chile) and the Federico García Lorca (Spain). Choreographer Audrey Gaussiran and her talented dancers will bring this epic music to life, for an unforgettable evening of unapologetic rebellion.

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Ce contenu provient du Festival du monde arabe de Montréal et est adapté par PAN M 360

Fado

PAN M 360 AT FIJM | Ana Moura, The Queen of Fado

by Michel Labrecque

Sculptural, dressed entirely in red, Ana Moura presented herself as the queen of Portuguese fado which she is, to the acclamations of the room, largely Portuguese-speaking.

Whether we like fado or not, this traditional Portuguese music which is the equivalent of the blues, the 44-year-old lady has a powerful, deep, extraordinary voice, which lets out deep feelings, often sadness, which is unique to the genre.

With her trio of musicians (drums, bass, Portuguese guitar), she first launched into more traditional fado, before slowly taking us into her new musical universe, more tinged with African and electronic sounds, with tones and rhythms that make the music more interesting.

After three songs, Ana Moura spoke to us, at great length, in English, a compromise language, since she explained to us in French that she does not speak French well. There are people who hate it when an artist talks too much, because it breaks the rhythm. But Ana really wanted to bring us into her world and make us understand it.

She explained to us the genesis of her latest record Casa Guilhermina, the house which bears the first name of her grandmother, who is of Angolan origin, just like her mother. As a child, she constantly listened to Angolan Semba (not Brazilian Samba). She told us that this album is imbued with these rhythms and other regional music from Portugal, which are very important to her.

She also dedicated a song that she wrote for Prince, yes the one from Minneapolis, who had already told her that he wanted to produce her music.

Throughout the performance, the three musicians were accompanied by synths, accordion, violin and recorded backing vocals. It’s like we’ve been treated to the low-budget version of the show.

Despite some reservations, it is difficult to doubt the authenticity of the Portuguese singer, who seeks, with other compatriots, to diversify current Portuguese-speaking music. And to share it with the planet.

My two Portuguese seatmates had bright eyes and were constantly moving. At the end of the concert, cheers rang out.

Everything was said.

Publicité panam

Chanson francophone

Francos: Les Grands Spectacles Bell – Francis Cabrel, Eddy de Pretto et Beyries

by Rédaction PAN M 360

Les Francos de Montréal se dérouleront du 14 juin au 22 juin prochain. Pour l’occasion, La Presse présente la série de spectacles « Les Grands Spectacles Bell ».

The Francos de Montréal run from June 14 to June 22. For the occasion, La Presse presents the “Les Grands Spectacles Bell” series of shows.

Eddy de Pretto – Jeudi 20 juin 2024
Beyries – Samedi 22 juin 2024

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Ce contenu provient des Francos et est adapté par PAN M 360.

classique

Cinco de Mayo au Théâtre Maisonneuve

by Rédaction PAN M 360

Arriba Arriba Arriba!!!

Vous pourrez célébrer le Cinco de Mayo en vivant la brûlante musique du Mexique en compagnie de l’Orchestre Philharmonique du Québec, sous la baguette du chef invité Francisco Javier Gutiérrez, avec le violon enflammé d’Alexandre Da Costa et la voix ensorcelante du ténor Antonio Figueroa qui sera aussi accompagné de mariachis!

Vous partagerez la passion enivrante de cette culture flamboyante à travers des œuvres symphoniques telles que la Danzón No. 2 d’Arturo Márquez et des chansons de l’incontournable Luis Miguel.

Vous aurez la chance d’entendre Alexandre Da Costa dans l’œuvre Fire and Blood de Michael Daugherty qui puise son inspiration dans diverses sources, dont les peintures monumentales de l’artiste mexicain Diego Rivera. Il est à noter qu’Alexandre Da Costa a remporté un prix Juno en 2012 pour l’interprétation de cette œuvre.

Arriba Arriba Arriba!!!

Celebrate Cinco de Mayo by experiencing the fiery music of Mexico in the company of the Orchestre Philharmonique du Québec, under the baton of guest conductor Francisco Javier Gutiérrez, with the fiery violin of Alexandre Da Costa and the bewitching voice of tenor Antonio Figueroa, who will also be accompanied by mariachis!

You’ll share the intoxicating passion of this flamboyant culture through symphonic works such as Arturo Márquez’s Danzón No. 2 and songs by the inimitable Luis Miguel.

You’ll have the chance to hear Alexandre Da Costa in Michael Daugherty’s Fire and Blood, which draws its inspiration from a variety of sources, including the monumental paintings of Mexican artist Diego Rivera. Alexandre Da Costa won a Juno Award in 2012 for his interpretation of this work.

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

South Asian

TISRA – Zakir Hussain, Sabir Khan and Debopriya Chatterjee at the Théâtre Maisonneuve

by Rédaction PAN M 360

Classical tabla virtuoso Zakir Hussain returns to Place des Arts, this time accompanied by Debopriya Chatterjee Ranadive (flute) and Sabir Khan (sarangi).

The creativity of his solos, combining audacity and tradition, has elevated him to the rank of the greatest Indian percussionists of our time. The influence of Zakir Hussain – considered one of the main architects of contemporary world music – is undeniable; his many collaborations with John McLaughlin, L. Shankar, George Harrison, Yo-Yo Ma, Joe Henderson and Van Morrison, among others, are proof of this.

His impressive dexterity, masterful improvisational skills and wide-ranging expertise will ensure an unforgettable evening!

Le virtuose du tabla classique, Zakir Hussain, sera de retour à la Place des Arts, accompagné cette fois par Debopriya Chatterjee Ranadive (flute) et Sabir Khan (sarangi).

La créativité de ses solos, mariant audace et tradition, a su l’élever au rang des plus grands percussionnistes indiens de notre temps. L’influence de Zakir Hussain – considéré comme l’un des principaux artisans de la musique du monde contemporaine – est indéniable; ses nombreuses collaborations avec, entre autres, John McLaughlin, L. Shankar, George Harrison, Yo-Yo Ma, Joe Henderson ou Van Morrison en sont la preuve.

Son impressionnante dextérité, sa magistrale force d’improvisation et son vaste champ d’expertise vous assureront une soirée inoubliable!

TO BUY YOUR TICKET, CLICK HERE!

This content comes from the Place des Arts and is adapted by PAN M 360.

Chanson francophone

Bruno Pelletier at Théâtre Maisonneuve

by Rédaction PAN M 360

Bruno presents “La tournée 25e anniversaire de MISERERE”.

This hit album will be played live in 2024, accompanied by a full five-piece band, a backing singer and a string section (quartet).

A birthday means a party, and Bruno has every intention of going all out and having fun.

Without stealing the punches, let’s just say there’ll be pop, rock, funk-disco and plenty of other surprises on offer.

Bruno nous propose « La tournée 25^e anniversaire de MISERERE ».

Cet album comportant de nombreux succès sera joué entièrement sur scène en 2024, accompagné d’un groupe complet de cinq musiciens, d’une choriste et appuyé par une section de cordes (quatuor).

Qui dit anniversaire, dit fête et Bruno a bien l’intention de déborder et de s’amuser.

Sans voler les punchs, disons qu’il y aura de la pop, du rock, du funk-disco et bien d’autres surprises qu’il a l’intention de vous proposer.

TO BUY YOUR TICKET, CLICK HERE!

This content comes from the Place des Arts and is adapted by PAN M 360.