Festival International de Jazz de Montréal : Allison Russell à la scène TD

by Rédaction PAN M 360

Chanteuse, auteure-compositrice et multi-instrumentiste captivante, Allison Russell est une artiste canadienne profondément ancrée dans la communauté folk. Elle s’est d’abord fait connaître dans les années 2000 au sein du groupe éclectique de musique roots Po’ Girl, avant de fonder en 2012 le duo Birds of Chicago avec son mari et partenaire créatif, JT Nero. Puisant son inspiration dans un large éventail de traditions, Russell a su mêler jazz, country, folk, musique celtique, klezmer et blues pour forger un style distinctement personnel. À l’image de sa collaboratrice au sein du groupe Our Native Daughters, Rhiannon Giddens, elle incarne une artiste complète dont la polyvalence musicale échappe à toute classification stricte, tout en faisant d’elle une figure centrale de la scène roots nord-américaine. En 2021, après deux décennies d’exploration musicale, Russell a lancé son premier album solo, Outside Child, salué par un prix Juno. Elle a ensuite enchaîné avec The Returner, un disque lumineux couronné d’un Grammy en 2023.

A compelling singer, songwriter, and multi-instrumentalist with strong ties to the folk community, Allison Russell is a Canadian artist who first made her name in the 2000s as a member of the eclectic Canadian roots group Po’ Girl before forming the duo Birds of Chicago in 2012 with her husband and creative partner, JT Nero. Taking inspiration from a wide array of sources, Russell’s songs have threaded through jazz, country, folk, Celtic, klezmer, and blues to become a distinctive amalgam of her own making. Not unlike fellow Renaissance woman and Our Native Daughters bandmate Rhiannon Giddens, her musical versatility has made her difficult to pigeonhole while also helping to establish her as a linchpin of roots music in general. In 2021, after two decades of musical exploration, Russell made her solo debut with the Juno Award-winning Outside Child. Her solo follow-up, the joyful, Grammy-winning The Returner, arrived two years later.

CE SPECTACLE EST GRATUIT!

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Alternative / R&B

Festival International de Jazz de Montréal : PJ Morton à la scène TD

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Originaire de La Nouvelle-Orléans, PJ Morton est un claviériste, auteur-compositeur et producteur d’une polyvalence exceptionnelle, reconnu pour ses albums mêlant R&B, gospel et pop, ainsi que pour ses nombreuses collaborations en studio. Il se fait d’abord remarquer au début des années 2000 en travaillant avec des artistes comme Kierra “Kiki” Sheard, DeWayne Woods et Musiq Soulchild, avant de lancer ses propres projets.
Après Emotions (2005), Perfect Song (2007), Walk Alone (2010) et New Orleans (2013), Morton atteint un sommet critique avec Gumbo (2017), nommé aux Grammy Awards, notamment grâce à un duo avec Yebba sur une reprise du classique des Bee Gees, How Deep Is Your Love, qui lui vaut un Grammy.
Fait remarquable : à cette époque, Morton est aussi devenu membre à part entière de Maroon 5, avec qui il enchaîne les albums à succès et les tournées mondiales, récoltant d’autres distinctions au passage.
En solo, il poursuit une trajectoire impressionnante, ajoutant plusieurs Grammy à sa collection avec Say So (2019), un duo avec JoJo, l’album Gospel According to PJ: From the Songbook of PJ Morton (2021), et le titre Good Morning (2023), chanté en duo avec Susan Carol.

New Orleans’ PJ Morton is an uncommonly versatile keyboardist, songwriter, and producer known for his own R&B, gospel, and pop albums, as well as extensive studio work for other performers. He gained notice in the early 2000s, working with artists like Kierra “Kiki” Sheard, DeWayne Woods, and Musiq Soulchild before issuing his own projects. Following Emotions (2005), Perfect Song (2007), Walk Alone (2010), and New Orleans (2013), he reached a high level of acclaim with the Grammy-nominated Gumbo (2017), highlighted by a Grammy-winning duet with Yebba on a cover of Bee Gees’ “How Deep Is Your Love.” Remarkably, Morton by then had also become a long-term member of Maroon 5, and has earned more accolades with the band’s succession of Top Ten LPs. On his own, Morton has added to his Grammy tally with the JoJo duet “Say So” (2019), Gospel According to PJ: From the Songbook of PJ Morton (2021), and “Good Morning” (2023), a duet with Susan Carol.

CE SPECTACLE EST GRATUIT!

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Gospel / Sacred Music / Soul/R&B

Festival International de Jazz de Montréal : Mavis Staples à la scène TD

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Il est impossible de confondre la voix grave et granuleuse de Mavis Staples, véritable trésor national. Qu’il s’agisse d’un enregistrement des années 1950 avec les Staple Singers ou d’un titre solo capté plus d’un demi-siècle plus tard, la voix de Mavis est instantanément reconnaissable, capable d’élever l’âme et d’inspirer tous ceux qui l’entendent.
Mavis a grandi musicalement au sein du groupe familial, les Staple Singers, dirigé par son père, Roebuck « Pops » Staples. Ensemble, ils ont su marier gospel et musique profane comme nul autre, devenant à la fois des vedettes populaires et des figures respectées du mouvement des droits civiques. De 1955 à 1975, ils ont signé huit succès dans le Top 40 américain, dont les incontournables I’ll Take You There et Let’s Do It Again, tous interprétés par Mavis, ce qui leur a valu le surnom de « plus grands faiseurs de tubes de Dieu ». (La compilation The Ultimate Staple Singers: A Family Affair 1955-1984, parue en 2004, offre un excellent aperçu de leur carrière.)
En parallèle, Mavis a enregistré des albums solo de manière sporadique entre la fin des années 1960 et les années 1990. Mais c’est dans les années 2000 qu’elle a réellement pris son envol en solo, avec une série d’albums marquants, dont You Are Not Alone, qui a atteint le sommet du palmarès gospel de Billboard et remporté le Grammy Award du meilleur album Americana en 2010.
La chanteuse a poursuivi sa lancée durant toute la décennie 2010 : elle a été l’objet du documentaire hommage Mavis!, a remporté un Grammy dans la catégorie American Roots pour See That My Grave Is Kept Clean, et a fêté son 79e anniversaire sur scène devant un public captivé à Londres, captation publiée en 2019 sous le titre Live in London.
Un concert joyeux de 2011 en compagnie de Levon Helm et de son groupe a été publié à titre posthume en 2022 sous le titre Carry Me Home. Le respect et l’admiration que suscite Mavis Staples dépassent largement les frontières des genres musicaux, comme en témoignent ses intronisations au Rock & Roll Hall of Fame, au Blues Hall of Fame, et au Gospel Music Hall of Fame.

There is no mistaking the deep grainy contralto of national treasure Mavis Staples. Whether it’s a 1950s side with the Staple Singers, or a solo cut recorded over half-a-century later, Mavis’ voice is instantly identifiable, likely to lift the spirit and inspire anyone within earshot.
Mavis came up with her familial group, the Staple Singers. Led by her father, Roebuck “Pops” Staples, they balanced gospel and secular music like no one before or after them, and in the process became both stars and respected Civil Rights activists. With eight Top 40 pop singles through 1975, including the chart-topping “I’ll Take You There” and “Let’s Do It Again” — all of which were fronted by Mavis — they earned the title of “God’s greatest hitmakers.” (The 2004 collection The Ultimate Staple Singers: A Family Affair 1955-1984 is a fine sampler of their recording career.)
Outside the group, Mavis sporadically recorded solo albums from the tail-end of the ’60s through the ’90s. In the 2000s, she took full flight on her own with a spirited series of LPs highlighted by You Are Not Alone, which crowned Billboard’s gospel chart and won the 2010 Grammy award for Best Americana Album.
The singer’s roll continued throughout the 2010s, as she was the subject of the celebratory documentary Mavis!, won a Grammy in the American Roots field for “See That My Grave Is Kept Clean,” and spent her 79th birthday in front of a rapt overseas audience as heard on the 2019 set Live in London. A joyous 2011 performance in which she was joined by Levon Helm and his band received a belated release on 2022’s Carry Me Home. Further proof of Mavis’ high regard and broad appeal is in her inductions into the Rock & Roll, Blues, and Gospel Music halls of fame.

CE SPECTACLE EST GRATUIT!

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DJ set / Electronic

TRINIX au Théâtre Fairmount

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Suivi par plus de 10 millions de fans dans le monde entier, le duo TRINIX est devenu l’un des 3 DJs français les plus suivis sur les réseaux sociaux, aux côtés de David Guetta.
Alliant influences électroniques, contemporaines et cinématographiques, Josh et Loïs s’inspirent d’artistes tels que Stromae, Marvin Gaye, Berlioz et Hans Zimmer. Leur son unique et leurs reprises virales de tubes mondiaux les ont propulsés vers une reconnaissance internationale.

Followed by over 10 million fans worldwide, TRINIX has become one of the Top 3 most-followed French DJs on social media, alongside David Guetta.
Blending electronic, contemporary, and cinematic influences, Josh and Loïs draw inspiration from artists like Stromae, Marvin Gaye, Berlioz, and Hans Zimmer. Their unique sound and viral covers of global hits have propelled them to international recognition.

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Americana / Country / Indie Folk

The Head and The Heart au MTelus

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The Head and the Heart est un groupe de folk indie acclamé, dont les influences incluent l’Americana, le country-rock et la pop classique inspirée des Beatles. Formé à Seattle par des musiciens venus du nord-ouest des États-Unis, le groupe s’impose sur la scène grand public en 2013 avec la sortie de son deuxième album, Let’s Be Still, qui atteint la dixième place du Billboard 200 et se hisse directement en tête des classements américains Folk et Independent Albums. Leurs albums suivants, Signs of Light et Living Mirage, rencontrent également un grand succès, figurant parmi les meilleures ventes aux États-Unis et au Canada. En 2022, le groupe publie son cinquième album, Every Shade of Blue, porté par le single du même nom. En octobre 2024, ils dévoilent Arrow, premier extrait d’un sixième album à venir.

The Head and the Heart are an acclaimed indie folk band whose influences include Americana, country-rock, and classic Beatlesque pop. The band was formed in Seattle by a group of Northwestern transplants and broke into the mainstream in 2013 with the release of their sophomore outing, Let’s Be Still, which peaked at the number ten slot on the Billboard 200 and shot straight to the top of the U.S. Folk and Independent Albums charts. Subsequent efforts Signs of Light and Living Mirage reached the upper echelons of the U.S. and Canadian charts. In 2022, the band issued their fifth LP, Every Shade of Blue, which included the hit single of the same name. In October of 2024 they released “Arrow,” the first single from a forthcoming sixth album.

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Drill / rap

Central Cee au MTelus

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Le rappeur de l’ouest de Londres Central Cee est l’un des talents montants les plus prometteurs de la ville, créant un son dynamique basé sur le drill, avec des flows implacables et des récits de rue volatils. Il a fait parler de lui à l’échelle du Royaume-Uni avec le morceau “Loading” en 2020 et a poursuivi son succès avec le mixtape Wild West en 2021, ainsi que des singles comme “Obsessed with You” tiré de son mixtape 23 en 2022, qui a dominé les classements. Le hit numéro deux “Doja” a continué sa belle ascension avant la sortie d’EPs comme No More Leaks en 2022 et Split Decision en 2023, en collaboration avec Dave, ainsi que de son single “Band4Band” en 2024, classé dans le Top Ten au Royaume-Uni, avec Lil Baby.

West London rapper Central Cee is one of the city’s strongest rising talents, forging a dynamic drill-based sound with relentless flows and volatile street tales. He built a U.K.-wide buzz with the shimmying “Loading” in 2020 and continued his success with 2021’s Wild West mixtape and subsequent singles like “Obsessed with You” from his chart-topping 2022 mixtape 23. The number two hit “Doja” continued his impressive run ahead of EPs like 2022’s No More Leaks and 2023’s Split Decision with Dave, and his 2024 Top Ten U.K. single with Lil Baby, “Band4Band.”

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Classical Singing / classique

Concours musical international de Montréal : Demi-finale du CMIM

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La compétition s’intensifie et le niveau de performance s’élève! À l’issue d’une première épreuve intensément disputée, les dix demi-finalistes se retrouvent sur la scène de la Maison symphonique de Montréal pour la demi-finale. Retrouvez vos airs favoris chantés par les meilleurs interprètes de la nouvelle génération aux côtés de l’Orchestre symphonique de Montréal (OSM), l’orchestre officiel du CMIM, sous la direction du chef de renommée mondiale, Patrick Summers.
À cette étape, les concurrents et les concurrentes doivent présenter un programme de trois airs d’une durée maximale de 18 minutes de musique. Celui-ci doit comprendre un air d’oratorio, deux airs d’opéra ou d’œuvres avec orchestre. Le tout doit être interprété dans au moins deux langues différentes.
Venez découvrir qui sont les talents qui se rendront jusqu’à cette étape captivante!

The competition is heating up and the performance standard is rising even higher! After an intensely contested first round, the ten semifinalists will take to the stage at the Maison symphonique de Montréal for the Semifinal. Enjoy the thrill of your favourite arias performed by the finest singers of the new generation alongside the Orchestre symphonique de Montréal (OSM), the official orchestra of the CMIM, under the direction of world-renowned conductor Patrick Summers.
At this exciting stage of the competition, singers must present a program of three arias lasting no more than 18 minutes. The program must include one oratorio aria and two opera arias or orchestral works, and be performed in at least two different languages. Reserve your place or one of our packages now for an unforgettable musical and emotional experience in the company of exceptional singers.
Enjoy an unforgettable musical and emotional experience in the company of exceptional singers.

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Garage Rock

Annie Dirusso au Ritz PDB

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Annie DiRusso est une artiste indie rock basée à Nashville, née à New York, et dont l’influence des deux villes transparaît dans sa musique. Elle associe des guitares garage rock percutantes à une touche pop, offrant des performances électrisantes. DiRusso insuffle une magie particulière à ses mélodies et refrains, transformant les auditeurs occasionnels en fans inconditionnels.

Annie DiRusso is a Nashville based indie rock artist born in NYC, who wears the influence of both cities on her sleeve. She blends buzzing garage rock guitars with pop-infused flair in order to put on high energy performances. DiRusso imbues her hooks and melodies with magic, turning casual listeners into hardcore fans.

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classique / hommage / musique de film

Festival Classica : Hommage Symphonique à François Dompierre à la Cocathédrale Saint-Antoine-de-Padoue

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Célébrez la carrière extraordinaire de François Dompierre, un compositeur qui marque et enrichit le cinéma et la culture québécoise depuis plus de soixante ans. Avec l’Orchestre FILMharmonique et l’Ensemble ArtChoral, sous la direction du Maestro Francis Choinière, laissez-vous emporter par l’intensité dramatique de l’une de ses œuvres les plus emblématiques, Les Diableries, et par la profondeur émotionnelle et la beauté de son dernier chef-d’œuvre, Requiem. Une soirée en hommage à l’héritage d’une véritable icône culturel québécoise !

Celebrate the extraordinary career of François Dompierre, a composer who has shaped and enriched Québec cinema and culture for over 60 years. This tribute features the FILMharmonique Orchestra and Ensemble ArtChoral, under the direction of Maestro Francis Choinière. Experience the drama and energy of one of Dompierre’s most iconic works, Les Diableries, alongside the profound beauty and emotional depth of his latest masterpiece, Requiem. A night honoring the legacy of a true Quebec cultural icon!

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Alternative / Indie Pop / R&B

d4vd au MTelus

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Le chanteur et auteur-compositeur d4vd (prononcé « David ») s’est fait connaître pour son indie pop et son R&B mélancoliques, produits dans un style intimiste typique des musiques de chambre. Il attire d’abord l’attention grâce à ses vidéos sur le jeu Fortnite, avant de percer avec son single « Romantic Homicide » en 2022.
En 2023, il sort ses deux premiers EPs, Petals to Thorns et The Lost Petals, qui confirment son esthétique sensible et introspective. Il continue à publier des singles et des morceaux pour des bandes sonores, notamment « Remember Me » en 2024. En 2025, d4vd atteint le Top 20 du Billboard 200 avec Withered, son tout premier album complet, qui marque une nouvelle étape dans sa jeune carrière.

Singer and songwriter d4vd (pronounced “David”) is known for his moody, bedroom-style indie pop and R&B. After initially gaining attention for his Fortnite game videos, he broke through with his 2022 single “Romantic Homicide.”
His first two EPs, Petals to Thorns and The Lost Petals, both arrived in 2023. He continued releasing singles and soundtrack cuts, such as 2024’s “Remember Me,” before hitting the Top 20 of the Billboard 200 with his full-length debut album, 2025’s Withered.

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Contemporary Opera

“Hiroshima, mon amour”: An Evening to Remember

by Marilyn Bouchard

Co-produced by Carte Blanche and Chants Libres as part of the FTA, the adaptation of the cinematic masterpiece Hiroshima mon amour into a contemporary opera was an ambitious gamble. To pay tribute to this once award-winning film of great beauty, director Christian Lapointe and his Australian collaborator and composer Rosa Lind turned their attention to the musicality of the work, inviting the Quatuor Bozzini, harp, clarinet, flute and percussion to join the cast in setting Marguerite Duras’s poetry of love and death to note.

The first act opens in the “voice studio”, where performers Yamato Brault-Hori and Ellen Wieser record their dialogue in front of microphones, and where we understand that the adaptation had a surprise in store for us: the character of Marguerite Duras is also present, played by Marie-Annick Béliveau, like a mise en abîme of the creator in the creation. The second act takes place in the dressing room, where the actors undress and re-dress, finding themselves partially naked in the manner of post love. In the third act, the protagonists are played out on stage, reverting to their 1959 selves and replicating their original placements and expressions with astounding accuracy. In the fourth act, we’re in the realm of fiction, with the character of the German lover added to the mix and causing the film to burn, symbolizing the oblivion of this memory, this film and its events, exactly as the story claims. In the fifth scene, the backdrops fall away, giving us a clear view of the musicians. On a bare stage, we witness the discussion with the artists, where the fourth wall no longer exists and we are left with the duet of Yamato and Ellen upstage, slowly fading to black like our memories.
Five acts follow one another in production order, echoing the creation of this mythical film and its dream of peace. Throughout the show, over 400 projections from the film follow one another, both on giant tulles and on screens, multiplying formats and effects, and the live camera blurs the line between film and stage, winking at the present. We leave with a final projection: Stop the genocide in Gaza, the one and only from modernity.

An evening in which memory and oblivion, past and present, intertwine brilliantly, in a delicately dissonant, wonderfully executed score. “In a few years’ time, when I’ve forgotten you and other stories like this one still come up, I’ll remember you (…) like the horror of forgetting”. We hope we won’t forget this one any time soon. To discover or rediscover this masterful work, brilliantly set to music and stage, I recommend that you run to Usine C.

musique contemporaine / Post-Minimalist

The best ‘’Candlelight concert‘’ ever.

by Frédéric Cardin

No, I’m not talking about a real Candlelight concert. It’s the final concert of the 24-25 season of the Société de musique contemporaine du Québec (SMCQ), In Memorian Jocelyn Morlock for which I’m about to write this. One of the finest concerts of the season, in my humble opinion. Musically enchanting, spiritually poignant. So why the reference to the hyper-popular concerts played by candlelight? Simply because, yesterday too, the sober but effective staging also used lots of candles to light the stage, and it was reminiscent of that kind of atmosphere. That said, aesthetically, artistically and emotionally speaking, this SMCQ concert surpassed by a factor of 1000 anything that has ever been performed in the (real) Candlelight series (I’ve seen a few).

As the title suggests, In Memoriam Jocelyn Morlock was a tribute to the Vancouver composer who died suddenly, and far too young, in 2023. This woman’s musical aesthetic has conquered a large part of the contemporary musical world and will undoubtedly continue to influence many other artists in the years to come. Regularly consonant without shying away from salient colours that skilfully titillate the ears, her music is extraordinarily pleasant to listen to for both newcomers and those more seasoned in the modern idiom. In other words, Morlock’s music is as much a pleasure to listen to as it is intellectually rewarding.

Memoriam Jocelyn Morlock par Frederic Cardin

The quality and intelligence of yesterday’s programme are to be commended: around an hour and a half of music paying tribute to Morlock, whether written by her or by other composers. What’s more, a crescendo/decrescendo of intensity and sound volume that took us from a very touching soliloquy for solo oboe newly written by Samy Moussa (Jocelyn Morlock in memoriam – it’s always a pleasure to see Samy back home now that he’s settled in Berlin), to pieces for flute, viola and harp by Toronto’s Luis Ramirez (Volador) and Morlock (The uses of solitude), an arrangement for string quartet of Tanya Tagag’s Sivunittinni (the peak of the evening’s sonic intensity, a piece remarkable for the accuracy of its evocations of Inuit throat singing), Rita Ueda’s transcendent You Are a Vessel for Joy, a new work for English horn, string quartet and choir, then Morlock’s very poignant Exaudi, for cello and choir (a masterly performance by Chloé Dominguez!), ending with a reprise of Moussa’s oboe soliloquy in the darkness, like a symbol of the celebrated artist’s final departure (Mélanie Harel on oboe, who imbued her playing with immense tenderness).

READ MY COLLEAGUE ALAIN BRUNET’S INTERVIEW WITH SIMON BERTRAND, OF THE SMCQ, ABOUT THIS CONCERT

What came out of the concert was a very strong sense of spiritual and humanist communion, which is beneficial in these times of social and political stress.

All the musicians are to be congratulated and commended on this unforgettable artistic performance: Voces boreales conducted by Andrew Gray, the Trio Kalysta (Lara Deutsch on flute, Emily Belvedere on harp Marina Thibeault on viola, a trio combination whose sound velvet and infinite capacity for colour I adore), string players Robert Margaryan and Daphnée Sincennes Richard on violins, Marie-Louise Ouellet on viola and Chloé Dominguez on cello, Mélanie Harel on oboe and English horn (excellent).

In a much more ideal world, a small organisation like the SMCQ would have had the means to film and record this exceptional performance in high definition, and then broadcast it as widely as possible. Unfortunately, that’s not our world, and we’ll have to resign ourselves to the fact that only a few hundred people (who were present and very attentive in the Notre-Dame-de-Bon-Secours chapel) will be left with a memorable impression of the event. Unless we manage to take this concept elsewhere too. That would be great. If it happens near you, don’t miss your chance.

Yes, one of the best concerts of the year.