Festival International de Jazz de Montréal : Esperanza Spalding à la scène TD

by Rédaction PAN M 360

Contrebassiste et chanteuse, Esperanza Spalding est une artiste plusieurs fois primée aux Grammy Awards, reconnue pour son approche audacieusement hybride du jazz contemporain. Saluée comme une prodige dès son adolescence, elle se fait remarquer au cours des années 2000 avec ses premiers albums Junjo et Esperanza, ce dernier atteignant le sommet des palmarès de jazz contemporain. En 2010, elle crée la surprise en remportant le Grammy de la Révélation de l’année — une première pour une musicienne de jazz —, ce qui propulse son troisième album, Chamber Music Society, dans le Top 40 du Billboard, devenant ainsi l’album de jazz contemporain le plus vendu de l’année. En parallèle, Spalding s’impose comme pédagogue, devenant la plus jeune professeure à intégrer le corps enseignant du Berklee College of Music.
Elle décroche un second Grammy pour Radio Music Society en 2012. Depuis, elle poursuit une trajectoire résolument expérimentale, enchaînant des albums à forte dimension conceptuelle : Emily’s D+Evolution (2016), Twelve Little Spells (2019) et Songwrights Apothecary Lab (2021), explorent les frontières du jazz, de l’art rock, du R&B, des styles afro-latins, du néo-prog et de la pop expérimentale. Malgré cette diversité, les standards de jazz intimes et subtilement interprétés demeurent au cœur de son identité musicale, comme en témoignent son album en duo avec le pianiste Fred Hersch, Alive at the Village Vanguard (2023), et sa collaboration teintée de folk et de bossa nova avec Milton Nascimento, Milton + Esperanza (2024).

Bassist and singer Esperanza Spalding is a Grammy-winning performer with an ambitiously cross-pollinated approach to contemporary jazz. Hailed as a prodigy in her teens, she garnered wider attention in the 2000s with the release of her debut, Junjo, and its follow-up, Esperanza, the latter of which topped the contemporary jazz charts. In 2010, she won Best New Artist at the Grammys, an accolade that helped propel her third album, Chamber Music Society, into the Billboard Top 40 as the best-selling contemporary jazz album that year. At the same time, Spalding won respect as a teacher, becoming the youngest faculty member at the Berklee College of Music.
She took home a second Grammy for 2012’s Radio Music Society. Spalding has remained a forward-thinking maverick artist, issuing a series of increasingly concept-driven albums, including 2016’s Emily’s D+Evolution, 2019’s Twelve Little Spells, and 2021’s Songwrights Apothecary Lab, all of which found her moving far afield of jazz into art rock, R&B, Afro-Latin styles, neo-prog, and experimental pop. Still, intimate and artfully rendered standards and jazz remain a core of her musical identity, as on her 2023 duo album with Fred Hersch, Alive at the Village Vanguard and her 2024 folk and bossa nova-tinged collaboration with Milton Nascimento, Milton + Esperanza.

CE SPECTACLE EST GRATUIT!

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

Classical / Jazz / Jewish Traditional

FIJM 2025 | Symphonic Avishai Cohen: Bewitching magic

by Frédéric Cardin

To think I almost missed this concert! Due to an error on my part, my name had not been included on the list of press tickets for Symphonic Avishai Cohen. Damn! I had resigned myself to this curse when an angel from Roy Turner Communications (hi Flavie!!), associated with the Festival, wrote to tell me that one last ticket had been found for me. It was one of the year’s best catch-ups, and one I’ll always remember, because this concert by the Israeli double bassist/composer, with his trio and an orchestra assembled for the occasion, was magnificent.

It’s a concert that’s already been around for several years and that the artist tours from time to time. Montreal was right to import it for an evening at the Maison symphonique. The hall was full and the audience was magically lulled, as if in a velvet baby carriage, for almost an hour and a half. Traditional Jewish songs (ladinos, from the Sephardic Jews of medieval Spain), personal compositions of course, and a few well-turned standards were skilfully interpreted thanks to arrangements rich in counter-melodies and harmonic flourishes of the basic material.

No wheels were reinvented, but the magnificence of the orchestral playing and the few refined improvisatory flights by Cohen and his companions, well framed because a symphonic boat is difficult to maneuver in spontaneity, delighted the ears and heart of your humble servant.

Almost piece for piece, the program was the same as that given elsewhere (see the concert at the Philharmonie de Paris in 2016, below), and which can also be heard on the Two Roses album released in 2021 with the Gothenburg Orchestra in Sweden. The final, and unique, encore in Montreal was a “Nature Boy” of rare tenderness. The spell had been cast for good, and we were to leave the illustrious hall spellbound for a long time to come.

Jazz

FIJM | Jeff Goldblum: Storyteller, Comedian and Pianist

by Sandra Gasana

As the opening act, Tyreek McDole, was just finishing up, Jeff Goldblum arrived on stage while his show was still being prepared. He took the opportunity to deliver a one-man show, to pass the time as the hall emptied for a short break.

And then it was off to a monologue, in which he jumps from one idea to the other, always with a touch of humour. He even got the crowd to sing the Quebec and Canadian anthems, as he acted as conductor in Salle Wilfried-Pelletier, which sold out its 3,000 seats without too much difficulty.

He added some name-dropping to his stories, but it was, above all, the impromptu quizzes throughout the evening that appealed to the audience, who challenged themselves to answer all his questions. He also took the opportunity to promote his latest film, Wicked, in which he stars alongside Ariana Grande, among others, as well as his latest opus, Still Blooming, released last April.

He arrives accompanied by his band The Mildred Snitzer Orchestra, featuring a guitarist, double bassist, drummer, saxophonist and organist.

From the very first track, we discover a rather gifted pianist—I admit I was a little skeptical at first. He remains theatrical even on his piano, offering us a round of solos by all the musicians, followed by a drop, a term I discovered this week thanks to an artist with whom I collaborate.

Three special guests took to the stage alongside her that evening: the incredible Khailah Johnson, whom I was just discovering, all dressed in yellow, whose voice reminded me of Amy Winehouse’s in her early days. She performed “Misty, Mean to Me” and then “The Best is Yet to Come,” in which the sax is replaced by a flute.

Then Tyreek McDole returned to the stage, this time accompanied by Goldblum’s orchestra for two songs, and finally, renowned Grammy-winning American trumpeter Keyon Harrold, whom he had met that very day, joined the band. Harrold succeeded in creating a symbiotic relationship with the saxophonist, as if they had always played together.

And even in between songs, Goldblum couldn’t resist telling us some anecdotes, as funny as ever, getting up from his chair to address the audience, before returning for the next song.

We hear him sing his turn on “Manhattan,” New York being a city he’s particularly fond of. His voice isn’t extraordinary, but he still manages to hold his notes while retaining his sense of humour, a true entertainer. He ended with a song of circumstance, “Ev’ry Time We say Goodbye,” which earned him applause and a standing ovation from the audience.

Photo : Victor Diaz Lamich

Publicité panam

afro-pop / Cumbia / Hip Hop

Festival International Nuits d’Afrique : El Gato Negro au Ministère

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Le label montréalais Cosmovision Records a fait sa marque avec une électro éthérée, à la vibe positive, entrelaçant les traditions de différentes parties du monde et des sons downtempo et folktronica. Sur ce set, le collectif accueille El Gato Negro, “quelque chose comme le fils caché de Blaise Cendrars et de Celia Cruz” (Radio France, 2017). Chamboulé durant sa jeunesse par le Buena Vista Social Club, le chanteur et multi-instrumentiste a pris la route et s’est construit une vie de bohème, à l’origine d’un son fluctuant entre la pop subtropicale, le traditionnel de partout, le jazz et le hip hop, le tout estampillé d’une signature digitale. Le dernier album de ce pote de Manu Chao, Tigre qui pleure (2024), auquel ont notamment collaboré Orchestra Baobab et et Cucurucho Valdés, codifie des beats cumbia, salsa, soukous, boléro et afrotrap.

The Montreal label Cosmovision Records made its mark with a kind of ethereal electro with a positive vibe that incorporates downtempo and folktronica into traditional folk from around the world. For this set, the collective has invited El Gato Negro, who’s “something like a secret son of Blaise Cendrars and Celia Cruz” (Radio France, 2017). Thunderstruck by Buena Vista Social Club in his youth, the singer and multi-instrumentalist took to the road and began a bohemian existence, creating a sound that oscillates between subtropical pop, traditional folk from all over, jazz and hip hop, all stamped with a digital signature. In 2024, this buddy of Manu Chao released his latest album, Tigre qui pleure, which also features Orchestra Baobab and Cucurucho Valdés, and integrates cumbia, salsa, soukous, bolero and Afrotrap rhythms.

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Africa / Blues / Jazz

Festival International Nuits d’Afrique : Djely Tapa à la scène TD

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“Sans même comprendre les paroles de ses chansons, on devine que son propos est fort, ancré dans une volonté d’être utile et de faire avancer les choses” (La Presse, 2024). Sa voix puissante et haut-perchée, majestueuse, son débit incandescent et son geste élégant en font une artiste incontournable, la nouvelle voix internationale de la musique mandingue. Descendante d’une illustre famille de griots (elle est la fille de la célèbre Kandia Kouyaté), la lauréate de plusieurs prix Juno, dont celui de l’album de musique globale 2025, explore un langage tourné sur le monde et vers l’avenir, qui fait la synthèse de son héritage et de ses aspirations afro-futuristes, dans un univers où les rythmes traditionnels côtoient le blues malien et l’électro. Tantôt aériens, tantôt dangereusement dansants, ses récits, qui rendent hommage à la femme et à l’africanité, sont chargés de métaphores et empreints de sagesse. Le dernier album de celle qui a collaboré avec Tiken Jah Fakoly et Vieux Farka Touré, Dankoroba, a été publié en 2024 sous l’étiquette Disques Nuits d’Afrique.

“Without even understanding her lyrics, you can tell she has a strong message, rooted in a desire to be useful and to make a difference” (La Presse, 2024). This is one artist you won’t want to miss! With her powerful, majestic voice, at times reaching a fiery pitch, her impassioned delivery and graceful gestures, Djely Tapa has become the new voice of mandinka music. Daughter of the celebrated Kandia Kouyaté, Djely descends from a long line of illustrious griots and has earned several Juno awards, including for Global Music Album of the Year, 2025. Through her music, she explores a language that looks outwards and towards the future, synthesizing her heritage and afro-futuristic aspirations in a universe where traditional rhythms mingle with Malian blues and electro. At times ethereal, at others dangerously danceable, her songs, which pay homage to women and to Africanness, are loaded with metaphor and imbued with wisdom. She has collaborated with the likes of Tiken Jah Fakoly and Vieux Farka Touré, who also features on her 2024 album Dankoroba (Disques Nuits d’Afrique).

CE SPECTACLE EST GRATUIT!

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Congolese Rumba / Soukouss

Festival International Nuits d’Afrique : Myster Jay à la scène Loto-Québec

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On se croirait presque à Kinshasa, au cœur de la nuit! Jeremie Langi, alias Myster Jay, promet un spectacle chic et classe, plein de joie et de musique, où l’ambiance et la sape seront au rendez-vous! De sa voix claire et haut perchée, parfaitement adaptée à ce qu’il fait, l’auteur, chanteur, compositeur et interprète décline son héritage congolais, aux couleurs du soukous et de la rumba. Préparez vos chorégraphies ndombolo, elles vous seront bien utiles!

You’d almost think you were in Kinshasa, in the heart of the night! Jeremie Langi, aka Myster Jay, promises a classy show, a chic ambiance full of joy and music with characteristic La Sape elegance on full display. With his clear, high voice, perfectly suited to what he does best, the singer-songwriter expresses his Congolese heritage coloured by soukous and rumba. Get practising your ndombolo dance steps, you’re going to want to join in!

CE SPECTACLE EST GRATUIT!

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Ambient / Electronic / IDM

MUTEK : A/VISIONS 2 au Théâtre Maisonneuve

by Rédaction PAN M 360

Point de convergence entre technologie, performance et poésie visuelle, A/Visions propose deux soirées exceptionnelles au Théâtre Maisonneuve.
A/Visions 2 est une invitation à découvrir la poésie numérique avec trois performances qui ont comme point commun la vibration. Entre sculpture électronique, instruments acoustiques et explorations technologiques, cet événement rassemble des projets qui interrogent notre relation au temps.

A/Visions is a point of convergence between technology, performance, and visual poetry, presenting two exceptional evenings at Théâtre Maisonneuve.
A/Visions 2 is an invitation to experience digital poetry through three performances united by a shared sense of vibration. Blending electronic sculpture, acoustic instruments, and technological explorations, the event brings together projects that question our relationship with time.

Alexis Langevin-Tétrault

Avec REPLIKAS, Alexis Langevin-Tétrault érige en direct un totem métallique lumineux, sculptant le son et la lumière par des gestes amplifiés. Capteurs corporels et apprentissage machine tissent un arc dramatique du drone solennel à la lumière pulsée — un rituel contemporain où la technologie révèle l’invisible et sublime le deuil.

In REPLIKAS, Alexis Langevin-Tétrault builds a glowing metallic totem live on stage, conducting sound and light with visceral precision. Using body sensors and machine learning, he crafts a dramatic arc from somber drones to pulsing luminosity—a ritual of grief and resilience where technology channels the spiritual and the unseen.

Ash Fure

Ash Fure présente ANIMAL, une performance immersive où caissons de basses sismiques, lumières tactiles et bruits hyper-détaillés convergent. Sa démarche mêle interférences acoustiques et intensité physique, combinant technologies sur mesure et matières sonores brutes pour déstabiliser l’espace et la perception dans une expérience sensorielle axée sur le corps.

Ash Fure presents ANIMAL, an immersive performance where seismic sub-bass, tactile light, and hyper-detailed noise collide. Driven by acoustic interference and physical intensity, her process fuses custom technologies with raw sonic material to destabilize space and perception through a sensory, body-oriented experience.

Shackleton, Wacław Zimpel et Siddhartha Belmannu

Shackleton, Wacław Zimpel et Siddhartha Belmannu livrent une suite transcendantale où électroniques modulaires, clarinettes avant-folk et chants carnatiques fusionnent. Oubliant les structures classiques pour plonger plus aisément dans la transe, leur performance interroge la beauté, la mortalité et la condition humaine dans toute sa profondeur.

Shackleton, Wacław Zimpel and Siddhartha Belmannu present a transcendent suite of long-form compositions where modular electronics, avant-folk reeds, and Carnatic vocals converge. Flowing beyond structure into ecstatic trance, their performance explores mortality, beauty, and the full spectrum of being—raw, radiant, and deeply human.

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musique de film / orchestre

OM : Le monde symphonique du cinéma anglais à la Maison symphonique

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D’Hercule Poirot à Harry Potter, ce concert redonne vie aux personnages anglais qui ont inspiré les plus grandes musiques de film.
Les trames sonores les plus marquantes sont celles qui peuvent vivre par elles-mêmes, sans même avoir besoin du soutien d’une image. Elles prennent vie, deviennent un personnage essentiel du film qu’elles accompagnent, nous replongent directement dans une scène qui nous a marqués.
On y redécouvre les tragédies indémodables de Shakespeare, le thème sinueux de Harry Potter composé par John Williams, les romances de Jane Austen et les aventures de James Bond.

From Hercule Poirot to Harry Potter, this concert brings to life the iconic British characters who inspired some of the greatest film scores.
The most powerful soundtracks can stand alone without any visual support. They come alive, becoming characters in their own right, and hearing a few bars can instantly transport us back to a favourite scene.
Experience timeless Shakespearean tragedies, the world of Harry Potter through John Williams’s evocative theme, the romance of Jane Austen and the high-stakes world of James Bond.

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Blues / Bossa Nova / Brazilian / Jazz

FIJM | Dianne Reeves and Romero Lubambo: An Intimate Duo of Virtuosos

by Michel Labrecque

Dianne Reeves is no longer the jazz flavour of the month. Her last solo album dates back to 2014. This year, all the talk is about Samara Joy, and rightly so. But the Grammy-winning singer of the ’90s and ’00s still has plenty to sing about. She gave us a convincing demonstration of this in a duet with Brazilian-born guitarist Romero Lubambo.

By sheer coincidence, over the past two weeks I’ve been attending a succession of intimate concerts in the immense Place des Arts: Alain Souchon and his sons, Mexican soloist Natalia Lafourcade and now this American-Brazilian duo. It’s like being in a living room … even though it’s huge, but in each case, it’s hit the spot with me.

Dianne Reeves and her classical guitar accomplice began with a total reinterpretation of Fleetwood Mac’s rock fetish “Dreams.” We soon realized that these two people complement each other perfectly. This voice, which climbs three octaves, skating, meditating, whispering and shouting, intertwines with the guitar notes, inspired as much by jazz as bossa nova or blues.

A great admirer of Dianne Reeves, whom I met by chance, confided to me that she never sings a song identically. As for this Romero Lubambo, he’s an outstanding and inventive guitarist.

This concert was undoubtedly marked by Brazil, as we heard versions of Egberto Gismonti, Carlos Lyra, Antonio Carlos Jobim and …Minuano by Pat Metheny. As for the rest, it was Miles Davis and McCoy Tyner, seasoned with two compositions by Madame Reeves: “Tango” and “Nine.”

Dianne Reeves also shared personal slices of life and ended on a political note, sharing her concern about the situation in her country as well as her love for Canada and Canadians. By the end, the vast majority of the 800-strong audience were humming the blues with her, clearly happy.

Now approaching 69, the singer shows no sign of letting up. She will soon be releasing an album with Romero Lubambo and participating in an album with Branford Marsalis, to commemorate the centenary of John Coltrane’s birth.

Please don’t tell me that 69 is old. I’ll reach that age in a few days…

Publicité panam

Blues Rock / boogie-rock / rock n’ roll

Festival International de Jazz de Montréal : George Thorogood & the Destroyers au MTelus

by Rédaction PAN M 360

Guitariste de blues-rock inspiré par Elmore James, Hound Dog Taylor et Chuck Berry, George Thorogood n’a jamais gagné beaucoup de respect de la part des puristes du blues, mais il est devenu un favori populaire au début des années 80 grâce à une exposition répétée à la radio FM et sur le circuit du rock de stade. La musique de Thorogood était toujours bruyante, simple et directe — ses riffs et ses licks étaient tirés directement du blues de Chicago des années 50 et du rock & roll — mais son approche formule lui a permis de se constituer un large public dans les années 80, période où ses albums atteignaient régulièrement le statut d’or.

A blues-rock guitarist who draws his inspiration from Elmore James, Hound Dog Taylor, and Chuck Berry, George Thorogood never earned much respect from blues purists, but he became a popular favorite in the early ’80s through repeated exposure on FM radio and the arena rock circuit. Thorogood’s music was always loud, simple, and direct — his riffs and licks were taken straight out of ’50s Chicago blues and rock & roll — but his formulaic approach helped him gain a rather large audience in the ’80s, when his albums regularly went gold.

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Bluegrass / boogie-rock / Folk

Festival International de Jazz de Montréal : Tommy Emmanuel au Théâtre Maisonneuve

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Auteur-compositeur et interprète, Tommy Emmanuel est un creuset d’influences de tous les genres, de la pop au bluegrass et du jazz au rock n’ roll. Pour lui, la musique est faite de rythme et d’émotion, toutes les autres distinctions n’ont pas de sens.
Le légendaire artiste qui a ébloui les publics du monde entier, a reçu un Grammy Award, plusieurs ARIA Awards et d’innombrables récompenses, mais rien ne signifie plus pour lui que les trois lettres que Chet Atkins a placées à la fin de son nom : C.G.P. Le titre de Certified Guitar Player était le plus grand honneur qu’Atkins pouvait accorder à un autre guitariste – un signe que le récipiendaire avait non seulement maîtrisé l’instrument, mais qu’il l’avait emmené vers de nouveaux horizons et qu’il était devenu un guide pour la prochaine génération de guitaristes.
Tous ceux qui ont vu Tommy jouer vous le diront : le chanteur est là, tout comme le batteur, le bassiste, le guitariste rythmique et le guitariste principal. D’une manière qu’il faut souvent voir pour le croire, Tommy joue simultanément toutes les parties d’un groupe complet, ses doigts dansant sur le manche avec une dextérité et une rapidité qui sembleraient impossibles si l’on n’en était pas témoin.
La détermination de Tommy à divertir et à émouvoir le public grâce au pouvoir de la musique reste intacte alors qu’il approche de sa septième décennie en tant qu’artiste.

Songwriter and a performer, Tommy Emmanuel is a melting pot of influences across genres, form pop to bluegrass and jazz to rock n’ roll. To him, music is rhythm and emotion, all other distinctions are meaningless.
The legendary entertainer has dazzled audiences across the world. Tommy has a Grammy Award, multiple ARIA Awards and countless accolades, but nothing means more to Tommy than the three letters Chet Atkins designated at the end of Tommy’s name: C.G.P. The title of Certified Guitar Player was the highest honor Atkins could bestow on another player – a signifier that the recipient had not only mastered the instrument but taken it to new vistas and become a guiding light for the next generation of pickers.
Anyone who has seen Tommy play will tell you, the vocalist is there, as is the drummer, the bass player and the rhythm and lead guitarists. In a way that must often be seen to be believed, Tommy plays all the parts of a full band simultaneously, his fingers dancing around the fretboard with a dexterity and speed that would seem impossible if you weren’t witnessing it.
Tommy’s determination to entertain and move audiences through the power of music, remains undimmed as he closes in on his seventh decade as a performer.

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Alternative Rock / folk-punk / Post-Punk

Festival International de Jazz de Montréal : Violent Femmes à la salle Wilfrid-Pelletier

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Violent Femmes s’est formé en 1981 en tant que groupe punk acoustique jouant dans les rues de Milwaukee, dans le Wisconsin. Leurs principales influences à l’époque étaient Gene Vincent and the Blue Caps et The Velvet Underground. Leur objectif est de faire du rock plus fort que n’importe quel autre groupe acoustique de la planète.
Une critique élogieuse dans le New York Times leur a permis de signer un contrat d’enregistrement, ce qui a donné lieu à des tournées dans le monde entier. Le premier album éponyme de Violent Femmes est devenu le premier et le seul album de l’histoire du Billboard à entrer dans les charts avec une certification de platine, huit ans après sa sortie. Au cours des trois décennies suivantes, les Femmes sont devenues un pilier des festivals, des clubs et des théâtres dans plus de 20 pays à travers le monde. L’émission Unplugged de MTV a été inspirée par les Femmes, bien qu’elles n’y aient jamais participé.
Leur son brut et leur perspective lyrique honnête ont été cités comme une influence par des artistes aussi divers que Pink, Keith Urban, The Smiths, The Pixies, John Cusack, Mark Morris et Wim Wenders. Plus de 40 ans après le début de leur carrière, les Violent Femmes continuent d’attirer un jeune public lors de leurs tournées, de créer une musique durable et d’inspirer des personnes de tous âges.

Violent Femmes formed in 1981 as an acoustic punk band playing on the streets of Milwaukee, Wisconsin. Their main influences at that time were Gene Vincent and the Blue Caps and The Velvet Underground. Their goal was to rock harder than any other acoustic act on the planet. After being rejected for an audition by a local nightclub, the Femmes set up outside a Pretenders gig and began to play.
A rave review in the New York Times eventually led to a record deal, which in turn spawned worldwide touring. Violent Femmes eponymous debut album became the first and only album in Billboard history to enter the charts with a platinum certification- eight years after its release.
Over the ensuing three decades, the Femmes became a mainstay of festivals, clubs, and theaters in more than 20 countries worldwide. MTV’s Unplugged show was inspired by the Femmes, although they never actually appeared on it. Their raw sound and honest lyrical perspective has been cited as an influence by artists as diverse as Pink, Keith Urban, The Smiths, The Pixies, John Cusack, Mark Morris, and Wim Wenders. More than 40 years into their careers, Violent Femmes continue to attract young audiences on tour, create lasting music, and inspire people of all ages.

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