
The Montreal International Jazz Festival, aka the world’s largest jazz festival, had such a wide variety of shows this year that I wish I could have seen them all. It seemed like there were more great free outdoor shows than there were in paid venues. Whether you like old-school jazz, hip-hop, country, soul, blues or new electronic music. From the majestic Apashe to the timeless powerhouse Ekep Nkwelle, as well as the enigma that is André 3000, there was something for everyone.

The outdoor stages, spread throughout the Quartier des Spectacles, provided a vibrant backdrop for the festival. These free performances created a lively and inclusive atmosphere, attracting a broad audience. Indoors, established icons like Norah Jones enthralled audiences with her timeless vocals, while young prodigies like Joey Alexander displayed awe-inspiring virtuosity. Beyond the concerts, engaging workshops delved into the history and techniques of jazz, offering insights for aspiring musicians and passionate fans alike.

The opening day is a microcosm of the entire experience. It explodes with the festival’s signature eclecticism, offering a staggering 25+ performances – a taster menu compared to the 350 shows (two-thirds free!) offered throughout the event. This day alone could be a full-fledged festival elsewhere, showcasing jazz’s immense variety.
Legendary bassist Stanley Jordan shares the stage with trailblazing saxophonist Chris Potter. Guitar prodigy Julian Lage wows the crowds, while Montreal’s own piano phenom Taurey Butler captivates audiences. Beyond the traditional, LA’s La Lom brings tropical vibes, Australian outfit Hiatus Kaiyote injects a dose of jazz-funk, and the UK’s Ill Considered lays down a deep, improvisational groove. This is just a glimpse of the incredible diversity awaiting festival-goers over the next ten days.

The weather throughout the festival was hot, but the vibe was chill, and everyone seemed to be feeling the groove. My two favourite shows were Dominique Fils Aimé, which was free at the main TD stage, and Ranee Lee (ticketed) at le Gésu. Although I didn’t get to see as many shows as I would’ve liked, I believe that I got to see some of the best ones.

I stood in the rain for three hours with jet lag to see Dominique Fils Aimé and it was well worth it. On Saturday, June 29, on the main TD stage, with a spectacular full band and backup vocalists, the two-time Juno award-winning artist mesmerized thousands with a transcendent performance that I will never forget.
From her soulful “Give Me A Reason” to her gospel “Joy In My Heart,” Dominique brought the house down with her abundant positive energy. Dancing across the stage in her gold shimmering dress, luxurious long braids and sparkly jewelry. Her long, graceful fingers covered in rings, playing invisible instruments, casting spells and conducting electricity. Her masterful vocal range commanded the large crowd as she purred like a kitten and roared like a lion, each vibration lifting us higher. I especially enjoyed “Our Roots Run Deep” with the fiery trumpet solo.

True to her beautiful nature, Dominique spoke about peace and love and how she didn’t care if it was quétaine. Using her voice, not just to entertain but to heal and connect us all.
She kept mentioning that she was going to be bringing out a very special guest, which she was very excited about. Insisting that we were in for a special treat, and she was not wrong.
The joyous Aiza immediately won me over with her exuberant stage presence, and “Turn To Gold” is my new favourite song.
After Aiza’s short set, Dominique did a mesmerizing performance of “Moi Je T’aime. As a light rain misted over the quartier de spéctacle, creating a smoky veil, a golden spotlight shined in the centre of the stage, a small chorus formed a circle around her and the effect was unreal. There was a deep stillness that every single soul felt as we all huddled like trees in a forest, seemingly separate but roots, touching underground.
It was the kind of night that you think about long after it’s over. When I got home and crawled into bed, just as I turned off the lights I could hear the thunder and rain pouring really hard. My first thought was that Dominique must have asked Mother Nature to hold off the storm until after her performance. And then I thought… she wouldn’t have to ask.

I felt so lucky that I got to see Ranee Lee at the historic le Gesù. With a career spanning over six decades, Montreal’s queen of jazz proved that she is very much still in the game. Her voice was as powerful as ever, and her energy was delightfully effervescent. I’m so glad that I brought a friend with me because I got to share the joy and magic that is Ranee Lee.
Her bandmates were some of the finest musicians I’ve ever seen. Her arrangements of old classics were given new life with Ranee’s personal touch. I especially enjoyed her masterful interpretation of James Taylor’s “Fire and Rain.” She sang it with so much emotion that she completely made it her own.
Whether she was scatting like Ella or pouring her heart out in “‘Tis Autumn,” her vocal range was flawless.
It was her medley of “Amazing Grace, House of the Rising Sun and Je Crois” that completely blew me away. She began a cappella, with a slow drumbeat giving me chills, and when she sang, “My mother was a tailor, she sewed my new blue jeans. My father was a gambling man down in New Orleans.” Even though I’ve heard this song thousands of times by so many artists, I felt as though I was hearing it for the first time. I looked over at my friend, and her eyes were tearing up also. We just kept saying, “Wow,” I honestly don’t know how Ranee Lee can bring it so hard and make it feel so raw and so new every single time.
She performed for about 90 minutes, and it passed so quickly that it felt like a dream. It was one of those shows where you’re transported to another time and dimension and forget where you are.
She closed her set with Marvin Gaye’s timeless “What’s Going On.” Filling the room with so much love, we all clapped and stood up, wishing the night wouldn’t end. I left the venue feeling lucky to be alive at a time when Ranee Lee is still singing. A time when the magic and glory of jazz from the past can bleed into the present and still be so relevant, so magnificent and so necessary.
AA

Freddie Gibbs’ smile, sparkling as bright as his diamond-studded mic, lit up Place des Festivals at Montreal Jazzfest on a Sunday evening. Supported by the effortlessly cool El Michels Affair, the MC delivered a performance that defined master of ceremonies. Fresh off a “complicated” customs experience, the Gary, Indiana rapper’s gratitude was palpable as he engaged with the enthusiastic crowd.
For many, this might have been their introduction to Freddie Gibbs, a heavyweight in underground rap, known more for his loyal fanbase and critically acclaimed albums than chart-topping hits. The evening was a nod to Piñata, his collaboration with the genius Madlib, celebrating its 10th anniversary. Almost the entire hour-and-a-half set paid homage to this seminal work, with El Michels Affair adding their unique flair to Madlib’s compositions without straying too far from the source material.

Leon Michels and his band struck a perfect balance, honouring the original tracks while throwing in some unexpected twists, much to the delight of those familiar with the album. Gibbs’ rapid-fire delivery was in top form, especially on tracks like “Shitsville,” where his raw, poignant storytelling held the crowd’s rapt attention.
However, not everything hit the mark. The relentless cursing and repeated calls for the crowd to chant “fuck police” felt a bit much, teetering on tiresome. But in the end, it was an evening that celebrated not just a milestone album but also the unfiltered artistry of Freddie Gibbs—a true master of his craft, diamonds and all.

On a warm Tuesday night, Norah Jones unfolded a concert at Salle Wilfrid-Pelletier that felt like a warm embrace. Following Martha Wainwright‘s soulful opening set, Jones took the stage, instantly captivating the sold-out crowd with her signature blend of jazz, pop, and country.
The evening began with a comforting familiarity. Jones, bathed in the soft glow of a spotlight, eased into classics like What Am I To You and Sunrise, with her smooth vocals caressing each note.
Midway through, Jones abandoned her white piano for a Wurlitzer at centre stage. Its bright, percussive sound marked a turning point. With a playful glint in her eye, she launched into “I’m Awake” from her latest album, Visions. The song’s infectious rhythm had the audience swaying, and the energy shifted palpably. This newfound liberation culminated in a moment no one expected – a disco ball descending during “I Just Wanna Dance.” The resulting kaleidoscope of light transformed the atmosphere, a testament to the transformative power of music. Jones, bathed in the shimmering light, revelled in the joyful celebration, and the crowd roared with approval.

Throughout the night, Jones’ vocals shone. Supported by her tight band, she pushed her voice in ways both new and exciting. Her interpretations were nuanced and emotionally charged, like a rediscovery of each familiar song. The setlist, too, was a perfect blend. A highlight was the electrifying moment when she strapped on a guitar and delivered a captivating solo on “Queen of the Sea.”
Make no mistake, Norah Jones hasn’t become a full-blown rock star. However, this concert was a refreshing reminder of an artist constantly evolving. Her newfound openness to experimentation was infectious, leaving the audience energized and tapping their feet long after the final notes faded. It was an evening of delightful contradictions – intimate yet expansive, familiar yet refreshingly new. And it left a clear message: Norah Jones, with her ever-evolving sound, is an artist who continues to surprise and delight.

Love was definitely in the air over at the main TD Stage as California’s Thee Sacred Souls headlined the FIJM TD stage at Montreal Jazzfest. Thousands of Montrealers flocked to downtown to catch the rising stars of the neo-soul scene, and the band didn’t disappoint.
Thee Sacred Souls have a knack for blending the golden era of R&B with a fresh, modern twist. Think Marvin Gaye meets a 2020s groove. From the first soulful notes of “Love Is The Way,” lead singer Josh Lane and his crew had the crowd eating out of their hands. The performances were tight, the harmonies were smooth, and Lane’s falsetto could melt even the iciest heart.

The crowd, surprisingly well-versed in the band’s repertoire for a free concert, sang along to hits like “Will I See You Again” and “Easier Said Than Done.” It was a pleasant shock to see such enthusiasm and familiarity with the band’s music.
The band are set to release their second album, Got a Story to Tell, on October 4. They gave us a sneak peek with their new single “Lucid Girl” and a few other unreleased tracks.
Closing with the crowd favourite “Can I Call You Rose?” the band wrapped up their set on a high note, leaving the audience craving more. They delivered a love-filled, high-quality performance that undoubtedly won over many new fans… or should I say, new souls.

Orville Peck, the masked cowboy, returned to the Montreal International Jazz Festival with flair a year after cancelling due to health issues. With a dramatic entrance to Édith Piaf’s “Non, je ne regrette rien,” Peck instantly set an eclectic tone. His cinematic country style, marked by deep, resonant vocals and sweeping melodies, promised an intriguing night.
Peck’s performance had moments of brilliance. “Cowboys Are Frequently Secretly Fond of Each Other” was a standout, seamlessly blending irony and emotion. His delivery of “C’mon Baby, Cry” showcased his theatrical prowess, hitting the high notes with finesse. “Hexie Mountains,” a poignant reflection on depression, was genuinely touching.
However, the open-air venue and subpar sound system didn’t do justice to Peck’s intricate arrangements. At times, his voice lacked precision, and his backup singer didn’t quite hit the mark. This was glaringly evident in “Dead of Night,” a song that usually packs a powerful punch.
Despite these setbacks, Peck rallied towards the end. “Daytona Sand” brought much-needed energy, and “Let Me Drown” reminded us of his true potential, brimming with the grandeur he’s known for. While not a flawless performance, Peck’s showmanship and unique blend of influences kept the audience engaged, making for a memorable, if uneven, evening.

This was another impressive and delightful edition of “the world’s biggest jazz festival,” and Montreal should feel proud to have such a legendary event in the city. Even a sprinkle of rain couldn’t dampen the festival’s spirit. Covered stages and the enthusiasm of the crowd ensured the music continued uninterrupted. Underneath the twinkling lights of the Quartier des Spectacles, a sense of camaraderie blossomed amongst attendees, united by their love for this ever-evolving art form. Even as the final notes faded, the vibrant echo of a jazz symphony lingered. It was a melody woven from a thousand threads, a testament to the magic that unfolds when music lovers from all corners of the world come together.
SG














Review – Annette Aghazarian & Steve Gerrard
Photos – Daphne Miller, Steve Gerrard & Annette Aghazarian











