The 2025 Montreal Jazz Festival, officially known as Festival International de Jazz de Montréal (FIJM), took place from June 26 to July 5. FIJM is one of the biggest in the world, with a huge program of legendary performers and up-and-coming musicians. Over 350 concerts were presented, and two-thirds of them were free outdoor shows in the downtown Quartier des Spectacles. The lineup included Nas, Ben Harper, Steve Turre, George Thorogood and the Destroyers, Trombone Shorty & Orleans Avenue, Lorraine Desmarais, Samara Joy, Mavis Staples, Django Festival Allstars, Bill Frisell, Mike Stern, Holly Cole, Madeleine Peyroux, Thundercat, Nate Smith with Lalah Hathaway, Vijay Iyer and Wadada Leo Smith, Theon Cross, Avishai Cohen, Holly Cole, Dawn Tyler Watson, Rhiannon Giddens, and many, many more!
Discussion with Wynton Marsalis, Alexa Tarantino, and Chris Lewis
On opening day of FIJM, trumpeter extraordinaire/bandleader Wynton Marsalis gave a talk that featured saxophonists Alexis Tarantino and Chris Lewis, and the event was hosted by noted Canadian saxophonist Samuel Blais. Marsalis and the Jazz at Lincoln Center Orchestra (JLCO) had played a concert the previous night, before the official start of FIJM, at La Maison Symphonique, and Wynton noted how much they enjoyed performing there. The trio discussed Oscar Peterson, and how the legendary piano icon’s influence went far beyond Canada.
Chris Lewis, in addition to being a member of the JLCO, is a multi-award-winning saxophonist, composer, educator, and bandleader. Lewis has collaborated with artists that include Herbie Hancock, Christian McBride, Jeff “Tain” Watts, Julius Rodriguez, and the Maria Schneider Orchestra. Chris noted that there are many challenges in arranging music, and he stated that the JLCO offered “an embarrassment of riches.”
Alexa Tarantino is a saxophonist and woodwind doubler, composer, educator, and a member of the JLCO. She’s played with Cécile McLorin Salvant, Ulysses Owens Jr., and Arturo O’Farrill and the Afro-Latin Jazz Orchestra. Alexa said they are blessed to be a part of JLCO, where they all have special gifts. “It’s a very privileged position to get to know them,” she said of her fellow JLCO musicians. They are uncompromisingly honest with each other, and she added, “We have to have a certain realism to keep our level high.”
Marsalis discussed the importance of mentorship and protection of young musicians, especially considering the corruption that sometimes exists in the music industry. Wynton wants fledgling jazz artists to soar creatively, and their spirits not be crushed. Alexa noted there have always been challenges in the jazz world, and now those challenges include the digital world. Marsalis said that there have always been distractions in music; there are just different ones today. He recalled that even people like Charles Mingus and John Coltrane had their struggles.
Alexa stressed the importance of discipline while considering how much you want to improve your sound. Wynton added, “Nobody’s perfect when they play. Even Bird continued to work on things.” Tarantino said recordings document what’s going on at a particular time in your life, and asserted, “Jazz brings people together.” Chris isn’t a big fan of social media, and Alexa believes that your reputation in music is more important than participating on social media platforms. Lewis stated that it’s essential to have a musical life, rather than just a musical career. Marsalis proclaimed that at 64 years old, he’s not very involved or interested in current technology and social media.
As far as gigs and traveling go, Wynton claimed, “Man, I’m just trying to survive!” He remembers when he was young and the old cats complained about the physical demands of touring, and now he understands. Marsalis and Tarantino joked about him getting older, and Alexa quipped that when he only has one tooth left in his head, if it falls out, she’ll put it back in before he plays! Chris and Alexa examined the issues they face playing with different people on the road and noted the value of staying focused. Wynton said having humility is essential, as well as connecting with the people you are playing for and with. Chris affirmed that great love exists between musicians, although lines of demarcation do sometimes arise. However, JLCO is a haven for community closeness, despite race, gender, and sexual orientation.
Taking questions from the audience, Alexa spoke about the joys and difficulties of being a music educator. The trio addressed AI, and Chris said it’s a tool that can be used for certain things, but he stressed that putting in the time and actual work always shows in the end. Lewis asserted the importance of using whatever time you have and being consistent with your practicing, even if it’s only one hour a day. Wynton said, “When you practice, you don’t need to overcome your instrument; you have to let it become a part of you.”
Chris heard a pianist say, “Nervous energy is selfish energy,” and imparted that it is great to have other musicians to concentrate on. He insisted that the more you focus on others, the less nervous you’ll be. Lewis put things in perspective when he said that if an open-heart surgeon makes a big mistake, someone will die, but if he doesn’t play D7 Flat 9 correctly, no one is going to die.
Alexa declared that having gratitude, being a good team player, and selflessness is crucial. She’s grateful for every opportunity to play. When asked about cultural appropriation, Marsalis said anyone should be able to play anything, because art is universal. This discussion was illuminating as well as intimate, and the participants were very open and generous.
David Binney
Alto saxophonist/composer David Binney played to a standing-room-only crowd at Le Studio TD. Binney has appeared with Gil Evans, Maria Schneider, Bill Frisell, Brian Blade, Lonnie Plaxico, Leni Stern, and many others. At FIJM, David was accompanied by pianist Jean-Michel Pilc, drummer Tommy Crane, and bassist Walter Stinson.
David welcomed the audience, saying “Thank you for coming out!” He announced that they were going to mainly improvise, since he just booked the gig a week before. He called his bandmates great improvisers, and indeed they were!
The first song was an introspective, avant garde piece that had a calming effect, and the combo performed with impeccable style. There were superb solos, and if Binney hadn’t told people, they’d never know that their program had been put together at the last minute. The song morphed into a pulsating, rapid-paced number that the audience responded to with loud applause. It was a lengthy tune, at least 30 minutes long, but it was so strong that the listeners were riveted.
The second song started with Binney’s vibrant sax solo, then it segued into a wonderfully romantic song where again, the solos were marvelous. It was such an intimate, emotive rendition that tugged on the heartstrings, with David’s sax leading the way with great assurance.
The next melody was a surreal, otherworldly performance that had the group following Binney’s sax with fine musicianship and cohesiveness, and Jean-Michel’s piano riffs were particularly effective. The band followed with a percussive, electrifying piece that had people swaying, nodding, and tapping their feet. David added some recorded sound effects that took the set to an even higher level, leaving the listeners quite satisfied!
Chris Botti
The beautiful La Maison Symphonique was packed for Grammy Award-winning trumpeter Chris Botti’s show. Botti, who has recorded and/or performed with Al Jarreau, James Taylor, Sting, Arturo Sandoval, Bette Midler, Aretha Franklin, and Barbra Streisand, was joined by violinist Anastasiia Mazurok, pianist Julian Pollack, guitarist Leonardo Amuedo, bassist Daniel Chmielinski, drummer Lee Pearson, and vocalist Sy Smith.
Chris, sharply dressed in black and silver, entered the stage to thunderous applause. Botti began with a beautifully emotional version of Charlie Chaplin’s “Smile.” At one point Chris’ trumpet was so strong, he could have almost blown the roof off the venue!
Botti greeted the audience, “Good evening, Montréal!” He recalled playing at FIJM at least 10 times, and he called FIJM iconic. “Someday My Prince Will Come” was a jubilant performance with outstanding solos by Chris and pianist Julian, and excellent bass licks by Daniel. Their cohesive playing completely entranced the audience.
“Two For the Road” featured Chris and guitarist Leonardo Amuedo, who contributed exquisite notes to this beauteous tune. “When I Fall in Love” from the CD, Chris Botti Live in Boston, had drummer Lee Pearson’s expressive rhythms, and Botti blew the crowd’s minds with his trumpet’s dynamic sound. The song went from slow and romantic to a raucous, energizing finish. In fact, Chris played his trumpet so intensely, that he had to take off his jacket! Violinist Anastasiia Mazurok came on stage after lavish praise from Botti. Anastasiia and Chris fronted a gorgeously evocative “Immanuel.”
“Cinema Paradiso” by Ennio Morricone, was a breathtaking, moving rendition with the musicians playing passionately. “Footprints” was a tribute to the great Wayne Shorter that was elegant and driving at the same time. It was punctuated by a fine drum solo by Pearson, who put on quite a display – covering his face with a cloth and playing blindfolded! Then he performed more tricks that astounded the audience, who broke into a loud standing ovation. Chris then quipped that Lee should really work on his stage presence!
Chris Botti is not only a gifted musician and a generous bandleader, but he is also an entertaining teller of anecdotes, dispersing jokes throughout the show with easy charisma. Botti’s regular collaborator, songstress Sy Smith, glamorously clad in a striking black and white dress, sang a stirring version of “The Look of Love,” swooping through octaves with aplomb. Sy and Chris collaborated brilliantly on Sting’s “La Belle Dame Sans Regrets,” and Botti noted that Sting generously allowed him to add an addendum to the song. Nina Simone’s “Feeling Good” was a very different interpretation where Sy indulged her childhood fantasy of being a DJ, and she beatboxed energetically before breaking into a thrilling a cappella section of the song.
Once, FIJM founder André Ménard asked Botti to participate in a Leonard Cohen tribute. In remembrance of that, the group played a touching “Hallelujah.” Special guest, John Splithoff, sang and played guitar on his composition “Paris,” a very personal number about John’s experiences in France. Chris reminisced about David Foster’s 75th birthday celebration, and “A Song For You” was part of that event. However, Botti got momentarily confused and started “Moon Over Bourbon Street.” He admitted to being embarrassed, but he pulled it off like a pro. It was such a joyful performance that the crowd didn’t mind the switch. Next Chris said, “Now we can play “A Song For You,” and I’ll play the right intro.” Splithoff infused his vocals with so much feeling that the crowd was swept away. At one point, he stepped away from the microphone and was still heard throughout the concert hall. For an encore after some unbridled applause, the entire group returned for “Die With a Smile, a great finish to a wonderful concert!
Isaiah Collier & The Chosen Few
Exciting saxophonist/vocalist/composer Isaiah Collier’s newest CD is The World is On Fire, and his standing room concert at Le Studio TD included songs from that recording. Collier’s band members were pianist Theo Sunny Abellard, drummer Tim Regis, and bassist Emma Dayhuff. “The Time is Now” was an incendiary song that energized the audience. Isaiah said this composition was inspired by people like Sandra Bland, Ahmaud Arbery, and George Floyd, who were unjustly killed. The song then changed to a more subdued, beautifully mournful pace that brought forth the sadness of these tragic deaths. Collier’s sax skills were marvelous, and his bandmates beautifully performed this searing cry for justice.
An emotional “America the Ugly” had great musical conversation, and Collier’s saxophone was like he was talking to the listeners through his instrument. Theo Sunny Abellard, Tim Regis, Emma Dayhuff provided stellar backing throughout the concert. Isaiah is deeply into politics. He spoke about January 6 and the audacity it took to call the insurrectionists patriots. He joked about the news at the time, saying, “By the way, if you guys want to sell Canada, let me know,” garnering a big laugh. Despite that moment of levity, Collier is clearly socially conscious and passionate about the state of the world. The final song, the title piece from his CD, “The World is On Fire,” had top-notch solos, and continued using Collier’s platform for justice and equality in this moving set.
Tyreek McDole
Haitian American singer Tyreek McDole received the Outstanding Vocalist Award in the 2018 Essential Ellington Competition at Jazz at Lincoln Center. In 2023, McDole won the Sarah Vaughan International Jazz Vocal Competition, becoming only the second male winner in the history of the contest. Tyreek was mentored by Gary Bartz and Sullivan Fortner, and he has shared the stage with artists including Jeff Goldblum, Joey Alexander, Theo Croker, Terri Lyne Carrington, and Nicholas Payton.
McDole entered the stage at jam-packed Le Studio TD, dressed in an all-white outfit, playing a tambourine. Then he started fervently singing the minor-key beauty, “Won’t You Open Up Your Senses,” expertly backed by his sidemen, pianist Caelan Cardello, tenor saxophonist Dylan Band, bassist Dan Finn, and drummer Gary Jones III.
Next was a funky, bluesy delight, with Cardello’s stellar piano riffs as excellent accompaniment to Tyreek’s powerhouse vocals. McDole said to the audience, “Hello! How are you feeling today, Montréal? I’m going to use a little bit of French.” When someone called out to him in French, he added, “Not too much,” getting a big laugh. Tyreek thanked the audience for being there, and he noted that this was his first time in Canada. Then he introduced his band members with high praise.
McDole and company followed with a touchingly intimate version of Billy Strayhorn’s “Lush Life” that Tyreek performed as a duet with Caelan. McDole really put his own emotional spin on this jazz classic, and Cardello added the perfect piano notes. If Billy Strayhorn was listening from heaven, he was surely pleased with this exquisite interpretation of his iconic song.
Tyreek started the whimsical “Umbrella Man” blithely scatting like he was born to it, with a superb sax solo by Dylan. McDole said he was inspired by the great Nicholas Payton, as intro to Payton’s spiritual “The Backward Step,” an intense piece with a fiery drum solo by Gary Jones IIII. Tyreek said that he had never felt more love in a room! McDole stressed the importance of honoring jazz greats who’ve come before, and he mentioned Dizzy Gillespie as a musician who should always be remembered. The avant garde ballad, “Somalia Rose,” got to the heart of things with a potent message of hope. The concert finished with “Sun Song” by Pharoah Sanders, and Tyreek said he wants to sing it for the rest of his life. He ended his set saying that it was a privilege to share this music. “Thank you, Canada. We love you!”
Dianne Reeves & Romero Lubambo
Extraordinary chanteuse Dianne Reeves and talented Brazilian guitarist Romero Lubambo did a duo show at Théâtre Maisonneuve. Reeves started her concert, clad in a glamorous, sparkling ensemble, with a tender “You Will Know,” accompanied by her longtime guitarist, Romero Lubambo. Then Dianne sang an introduction as a beautiful stream of consciousness. Although this was a show with just two artists, they offered a full, lush sound.
A Latin-tinged “What’s New” was spectacular, with exceptional scatting by Reeves. Next came a magical ballad, “Café,” featuring Lubambo’s deft guitar playing and Dianne’s superior vocals. A poignantly sublime “Someone to Watch Over Me” was almost like a prayer. Reeves’ concert went from strength to strength, and the clarion call of Dianne’s voice swept the audience away! She expressed her heartfelt thought, “We are human beings before anything else.”
The next syncopated number was in another language, but the appeal of the song was universal, with Reeve’s soaring voice and Romero’s breathtaking guitar licks. Dianne said, “This is not a stage, it’s a playground. We come up here like kids in a sandbox and create things. No show is ever the same…and that’s what I love about working with Romero, my brother from another mother.” She noted that they had been together for a long time, and she gave his skills great praise. Lubambo had a solo spot, where he demonstrated why Reeves holds him in such high esteem.
“Quiet Nights of Quiet Stars” was another superlative collaboration, with a dreamlike quality. Next was Reeves’ song “Nine” that she introduced by talking about her recently deceased 104-year-old uncle, who was clearheaded until the end. He’d lived through Jim Crow and other challenges, yet he managed a successful life. When she asked him near the end how old he felt, he replied “Nine.” Dianne put her whole heart into this lovely ode to childhood. She then sang another stream-of-consciousness riff about the craziness going on in the United States, and the crowd applauded resoundingly. In fact, the duo got such an extended standing ovation, that they did a lushly romantic encore, “You Taught My Heart to Sing,” and Reeves said it expresses how she feels about the audiences. This was a fabulous finish to one of the best shows of the 2025 FIJM!
Discussion with Branford Marsalis
There was a big turnout for the discussion with prolific, Grammy Award-winning saxophonist/composer/bandleader Branford Marsalis, hosted by journalist Mark Ruffin. Branford, the brother of Wynton Marsalis, has participated in endeavors from film to Broadway to the New York Philharmonic, and has appeared with Sting, Public Enemy, Dave Matthews Band, Joey Calderazzo, Miles Davis, Art Blakey, and Dizzy Gillespie.
Branford acknowledged that he wasn’t initially a jazz fan, saying he was “a proud Funkateer.” However, he started to notice the parallels and connections between jazz and other musical genres. He also discovered the importance of different cultures in music. Marsalis has a love for classical music, as well as jazz. Although he doesn’t consider himself a major player in classical music, he keeps doing it because it makes him better at jazz.
Marsalis stated that the “cult of personality” in jazz can be troubling, because it has fostered many myths. For instance, Miles Davis had a reputation for turning his back on audiences. Miles actually only did it once, when he was trying to communicate with the guitarist behind him. However, it became a story that this was regular behavior, and to some degree, Davis himself played into the false narrative.
Branford discussed the ups and downs of the music business. He joked, “How do you make a million dollars in jazz? You have to start with three million!” He said he focuses on the creative side more than the marketing side. He spoke about adventures outside of jazz, like his stint at The Tonight Show, and acting in the Spike Lee film, School Daze. Marsalis stated that touring is important, because jazz recordings don’t always sell. He talked about teaching at North Carolina Central University, stressing the importance of mentoring young musicians.
Branford took questions from the audience, and he expressed some strong opinions. This man knows who he is and his place in the music world. He stated, “Music, at its best, elicits an immediate emotional response.” He asserted that he has fun performing, and Mark Ruffin said there’s a joy in Marsalis’ music. Branford added that he doesn’t pay attention to lyrics, that he is totally focused on the melody in a song. This was an eye-opening event, and the audience was charmed by Branford Marsalis’ candor and humor.
Jeff Goldblum and The Mildred Snitzer Orchestra
Vocalist Tyreek McDole was the opening act for Jeff Goldblum, and McDole was joined by bassist Dan Finn, saxophonist Dylan Band, drummer Gary Jones III, and pianist Caelan Cardello. They began with an explosive “Won’t You Open Up Your Senses,” rocking the house! They followed with Ray Charles’ soulful “Lonely Avenue,” where Tyreek sang with passion and verve. This was almost an identical set to the one McDole performed earlier at Le Studio TD, but Salle Wilfrid Pelletier is a much bigger venue, so many more people got to experience this rising jazz star. The performance of “Lush Life” was just like the title, lush and wonderfully emotional. “Somalia Rose” was about overcoming adversity, and this set was an excellent opener for Jeff Goldblum and the Mildred Snitzer Orchestra.
During intermission, a nattily dressed Jeff Goldblum came out and said, “I’m so happy to see you! Thank you so much for coming.” Goldblum has had an extensive film career and in recent years, he has been performing all over the world with the Mildred Snitzer Orchestra. Jeff praised the FIJM, as well as the size and splendor of Salle Wilfrid Pelletier concert hall. Goldblum entertained the crowd with his quick wit and funny anecdotes. He encouraged the audience to sing their national anthems, in both English and French, since the next day was Canada Day, and the crowd complied with enthusiasm! Then Jeff played a game he called “Actor/Movie” where people called out names of actors and guessed the movies they were in, with great audience participation. Goldblum acknowledged several people he knew in the audience, including Maurin Auxéméry, Director of Programming for FIJM, with effusive remarks.
Jeff Goldblum returned to the stage after intermission, with saxophonist Scott Gilman, guitarist Graham Dechter, bassist Alex Frank (who was also Musical Director) drummer Ryan Shaw, and organist Joe Bagg. The group’s name came from a longtime family friend of the Goldblum family, and Jeff spontaneously created the name before his group was to appear at a jazz festival.
The concert began with “The Grease Patrol,” a blues-infused song that was so insinuating, yet relaxed, that you might have walked into a rehearsal, albeit one where the musicians were playing at the top of their game with sensational solos. Jeff Goldblum first gained attention as an actor, but he’s the real deal as a pianist, and his band members are no slouches, either.
Broadway performer Khailah Johnson came to the stage to sing “Let’s Face the Music and Dance,” dressed in a striking orange-gold gown. Khailah used her sultry voice most effectively on this appealing rendition, and Goldblum lauded Johnson’s performance. She followed with “I Don’t Know Why (I Just Do),” that weaved a spell over the audience, and she exited to huge applause.
Lalo Schifrin’s “The Cat,” was a sprightly jazz piece with great solos by Goldblum and Bagg, and fine support from the other musicians. Jeff reminisced about his career, then he launched into an utterly charming performance of “I’ll Take Manhattan,” that he sang in his unique voice with an abundance of stage presence.
Tyreek McDole returned for a smooth and winning “Every Day I Have the Blues” with the band giving him equally smooth backing. Another surprise guest, Grammy Award-winning trumpeter Keyon Harrold, played Joe Henderson’s “The Kicker,” an uptempo swing that took everyone’s breath away and showed Keyon’s virtuosity. Khailah Johnson came back to sing “Mean to Me,” an affecting lament about love gone wrong.
Goldblum introduced “The Best is Yet to Come” by saying that he’s still a cockeyed optimist. The concert continued with a Latin-infused “Misty.” Then Jeff sang “Every Time We Say Goodbye” in the most heartfelt manner. They finished with an improvised piece that gave each musician some well-deserved spotlight time. The ovation that followed demanded an encore, so the group played a romantic, “We’ll Meet Again,” with Keyon’s sparkling trumpet solo, Tyreek’s expert scatting, and Khailah finishing the song with grace. The 2025 FIJM was filled with fantastic music, and this sold-out show was a great example of what was offered.
Endea Owens & The Cookout
Although it was drizzling at the outdoor Scène TD stage for Endea Owens & The Cookout, the hardy FIJM attendees were not daunted. They packed the plaza, mostly without umbrellas. Peabody, Grammy, and Emmy Award-winning bassist Endea Owens gained fame as house bassist for The Late Show with Stephen Colbert.
Endea, in a brightly colored striped outfit, was accompanied by saxophonist Kevin Oliver Jr., trumpeter Summer Carmago, drummer Joe Dyson, pianist Keith Brown, and vocalist Nia Drummond. The group started with a pulsating version of “Feeling Good,” giving it their best. Next was “Free,” which was dedicated to those we have lost. Endea and Summer left it all on the stage on this mournfully beautiful song.
Vocalist Nia Drummond sang a gorgeous “The Nearness of You,” entrancing the crowd with her multi-octave interpretation, and Keith Brown’s delicate piano notes added even more romance. Endea’s impassioned bass solo started the contemporary jazz “Where the Nubians Grow.” Endea said, “If you don’t take anything else from this show, take positive energy. There’s always a new chapter, and this is just the next chapter of your life.”
The beautifully laid-back “Vibe,” had the band melding like second nature. Endea said the next song was by her favorite composer – herself, adding, “Because you have to believe in yourself. Can I get an Amen?” The performance of “For the People” featured Nia belting out an electrifying section of “Lift Every Voice and Sing” in the middle. Owens encouraged the audience to exchange positive affirmations and said it was an honor to be at FIJM. The final song of the concert was an uplifting, “Before I Let You Go,” that had the band pulling put all the stops. The show was so powerful that it chased away the rain!
Elijah Fox
At Le Gesù, pianist/multi-instrumentalist Elijah Fox said, “Bonsoir Montréal!” He thanked the crowd for coming and stated this was his first time at FIJM. Fox was mentored by Yusuf Salim, a pianist who played with Charlie Parker, studied at Oberlin Conservatory with Sullivan Fortner, and has toured worldwide. Elijah was backed by bass guitarist Solo Smith and drummer Myles Martin. The trio launched into an ethereal beginning to “The Call” which became percussive and rocked the joint! “Since You’ve Been Gone” had Elijah doing double duty, with fine vocals. This number had an old-school funk feeling that managed to still be contemporary, telling how universal heartbreak is. The next minor-key Fox composition had a unique keyboard introduction and an intense backbeat provided by Martin.
Fox said he likes to make up songs from things called out by the audience, and the crowd yelled “penguins,” “yearning,” “phosphorous,” “ethereal” and “cactus.” Even with the difficult combination of words, the song Elijah created on the spot was surprisingly beautiful, and he said, “Thank you for indulging me on this.” He followed with a jubilant solo rendition of “Tenderly,” and he dedicated the piece to his grandmother. Then Elijah improvised a thought-provoking solo piece that mesmerized the listeners. The other musicians returned for the energetic “Eyes” and Myles played an incendiary drum solo. “Peace Piece” slowed things down considerably with a meltingly gorgeous vibe. Next was an introspective, atmospheric piece that also included some notes of whimsy. Then the song morphed into straight-ahead jazz that displayed the trio’s versatility.
They continued with a solemn new song, “Open Windows.” Then special guest, bassist Ben Carr (aka CARRTOONS), sat in. Elijah asked if they should play something specific, or do free style, and people called out “free style!” Impressively, the number had structure, and despite winging it, it felt like a fully composed song. On “Marseilles,” Fox once again displayed his clear, strong voice on this lovely ode to love. Bassist Solo Smith returned, and the group played “Barcelona,” an eclectic, lively tune about romance. They received a resounding ovation and finished with another beautifully improvised piece. This show was an unexpected find at FIJM, and these young cats really delivered!
Taurey Butler Trio
New Jersey-born and Montréal-based pianist/composer/arranger Taurey Butler has played with Ranee Lee and Eldee Young. He performed at Le Studio TD with drummer Wali Mohammed and bassist Morgan Moore. The trio began with a swinging tune where Butler’s fingers flew over the piano keys, Moore rendered a cool, effortless bass solo, while Mohammed kept the beat with assurance.
Taurey said, “We’re all very happy to see you here!” They continued with “What Are You Doing the Rest of Your Life,” a splendid rendition that washed over the crowd. Butler’s composition, “Artis’ Truth” was inspired by visual artist/sculptor Artis Lane and activist Sojourner Truth, and it was a superb tribute to both women. The trio continued with a deliciously whimsical version of “Smile” where Taurey got laughs by strategically pausing here and there.
The group did a very original take on “The Jet Song” from West Side Story. Butler praised his musicians, saying, “Every time I hit the stage with these guys, I feel lucky.” He also thanked the audience for coming, adding that without the listeners, “This is just a rehearsal. We need your energy!” They closed with a sprightly performance of “Chim Chim Cher-ee” from Mary Poppins. It’s amazing how musicians can take the most unlikely tunes and transform them into fabulous jazz pieces!
Esperanza Spalding
Grammy Award-winning bassist/vocalist Esperanza Spalding has collaborated with Patti Austin, Alicia Keys, Nicholas Payton, Wayne Shorter, and Patti LaBelle. At Scène TD, Esperanza noted that yesterday was Independence Day in the US and said she wished for independence in so many things for her country. She adapted the words of “I Want It Now” from the Gene Wilder film, Willy Wonka & the Chocolate Factory, to reflect the changes she wanted to see. Next was a lovely piece that Spalding sang in another language, using her multi-octave range beautifully.
Esperanza dedicated the next tune to the spine, praising all the things the spine does, like keeping you upright. She put down her bass and accompanied herself on piano for the gorgeous “12 Little Spells (Thoracic Spine),” which was punctuated by interpretive dance by Kaylin Horgan. She said that although we’re finding our way back to music and dance, she asked how many people spend more time on their phone than at a library or talking to a friend or relative, as intro to “Dancing the Animal (Mind),” a thought-provoking number that included the lyrics “Have you prayed to your phone today?”
After a loud ovation, Spalding said, “Since you screamed so beautifully, I’ll bet you sing beautifully, too!” She taught the crowd some lyrics from “Thang (Hips),” so they could sing along, and drummer Eric Doob really put it down! Esperanza also did some sensuous moves with dancers Tashae Eudo and Kaylin Horgan. She followed with the sultry love song “I Know You Know.” She also performed a piece about the love between siblings and expressed gratitude for older siblings who pave the way for younger kids. Esperanza talked about how scary love is sometimes, and said the next song delved deep into the complexities of romance.
Spalding asked for another singalong from the audience on the inspiring “Black Gold.” Esperanza brought her whole self to Montréal, with a deep, interactive, and provocative show on closing day of 2025 FIJM!
Short Takes
Anomalie and Larnell Lewis
Le Gesù, Centre de Créativité was full for the performance of Montréal-based keyboardist Anomalie, who is famous for deftly blending classical piano with jazz and funk, and world-renowned Toronto drummer Larnell Lewis, who is known for his versatility and exceptional skills. They started with a lively, swinging jazz-funk tune, with both musicians having their moments to shine.
This drum-and-keyboard duo really delighted the crowd! The atmospheric set had one song blending into another, yet there was some tight, focused music performed, with the audience calling out their approval. One song was an excellent blend of jazz and old-school funk that really set the venue ablaze! For just two instruments on stage, this duo brought a very big sound. The music was sometimes eclectic, sometimes whimsical, occasionally subtle and solemn, but always interesting. This was one of the shining gems of the 2025 FIJM, with both players displaying exemplary skills.
Linda May Han Oh
Bassist Linda May Han Oh’s show at the outdoor Pub Molson Stage was scheduled for 8:00 pm, but an electrical storm delayed things for several minutes. Fortunately, the old adage “The show must go on” prevailed, and Linda, a Grammy Award winner who has played with Ambrose Akinmusire, Pat Metheny, Slide Hampton, and Billy Childs, was accompanied by pianist Fabian Almazan (her husband), and drummer Mark Whitfield Jr.
Linda said, “Comment ça va, Montréal!” She thanked everyone for braving the rain and said it was an honor playing for them. The gorgeously surreal “Halo” featured Linda singing softly, with excellent back-up by her sidemen. She dedicated it to “all you angels out there who support live music.” The meditative “The Glass Hours” was followed by a catchy syncopated improvisation. “Strange Heavens” had Linda’s subtle vocals, with strong support from Mark and Fabian. “A Stone’s Throw” had an insistent beat, and the next piece featured Fabian’s striking piano solo that ended with a crescendo, then a denouement. The closing song had several tempo changes that the trio managed with ease, finishing their show on a very high level.
Anomalie with Mark Lettieri of Snarky Puppy
Keyboardist Anomalie collaborated with guitarist Mark Lettieri and drummer Ronny Désinor, and the trio began with a funky piece that got things off to a flying start. Although Mark and Anomalie had met in passing, this was their first gig together. However, the two, along with Ronny, communicated so well, you’d think they’d been collaborating for a long time, and it was a perfect merging of talents. From the start, the crowd at Le Gesù was fully engaged.
The set was mostly high energy, with everything from throwback 1970s soul to straight-ahead jazz, and an occasional ballad. They didn’t talk much, but the music spoke for itself, loud and clear. Anomalie’s nimble fingers led the group, who kept up with every note. This jam had an explosive finish that electrified the audience!
Alan Braufman
Saxophonist/composer/flautist Alan Braufman has worked with Carla Bley and Bill Frisell, and he has long been a proponent of free jazz. The pulsating, festive, avant garde “Brooklyn” was dedicated to his birthplace, and he was accompanied by bassist Christian Dillingham, vibraphonist Preyas Roy, and drummer Quin Kirchner. “Chasing the Melody” had each artist playing at their best, with top-flight solos on this island-inspired song.
A couple of times, Braufman picked up a flute to play some spellbinding refrains. “Liberation” started with Alan’s intense sax notes and had the sidemen offering excellent backup riffs. “Snow in Central Park” was inspired because Central Park is one of his favorite places in New York, and the song completely enthralled the listeners as the closing number of the set.
Christone “Kingfish” Ingram
Long tradition links blues and jazz. Grammy-nominated blues guitarist/singer Christone “Kingfish” Ingram has performed with Buddy Guy, and he was featured on the soundtrack of Ryan Coogler’s film Sinners. Christone’s gifted band consisted of bassist Paul Rogers, drummer Christopher Black, and keyboardist Jimmy Lee.
At Scène TD, Ingram said, “We’re going to play the blues this evening. Is that all right?” and the attendees yelled,“Yes!” Christone came down into the crowd, and he played two songs surrounded by fans taking photos and videos. He also astonished the audience by playing the guitar with his teeth! Christone also sang ardently on several tunes.
One song was so hot and danceable, the wall-to-wall audience became a mass of gyrations, following this musical pied piper. At the end, the B.B. King Award was given to Ingram by FIJM founder André Ménard, a real honor for this rising young artist!
Allison Russell & The Rainbow Coalition
Juno Award winning singer/multi-instrumentalist Allison Russell has performed with Rhiannon Giddens, Brandi Carlile, and Annie Lennox. Russell appeared at Scène TD with The Rainbow Coalition that included drummer Caio de Barra and bassist Ganessa James. This genre-bending set was filled with social concerns and featured Allison singing and playing saxophone, clarinet, and keyboards while addressing the crowd in French and English. The set included “Eve Was Black,” “Angel of the Morning,” and “You’re Not Alone,” which was written after the birth of her daughter. She’s a talented storyteller through her music, like “Superlover,” and boldly displayed activism in her compositions.
Russell said that she was once sleeping on the streets, and the friends she met got her through that time. “If it can get better for me, it can get better for you.” “Requiem” was performed upon audience request, and it was a lovely lament. Allison encouraged people to love and lift each other up, and she wished that all children have love and protection.
A Discussion with Camille Thurman
Composer/multi-instrumentalist/singer Camille Thurman gave a press conference, hosted by Caroline Fontanieu of ECM Records. Before the “Me Too” movement, Camille said some musicians made it clear that they didn’t want to work with women. Now she considers that part of the journey, adding that you don’t become a feminist/activist overnight. Camille finds it valuable to see interviews and concerts of women who came before and suggested that all up-and-coming musicians watch as much concert footage as possible.
Thurman found it tricky to figure out how to be a vocalist and an instrumentalist, where to stand, and what to wear, and it took her a while to navigate those issues. Camille said, “Maxine Gordon (Dexter Gordon’s wife) is an angel,” and discussed how Maxine took her under her wing and taught her so many important things. Camille Thurman and the Darrell Green Quartet played two sets at the Pub Molson Stage on the last day of FIJM, helping to close the festivities with joy and style.
Dylan Sinclair
Singer Dylan Sinclair said to the big crowd at Scène TD, “Whether or not you know the songs, we’re going to vibe and have a good time!” Dyan, accompanied by guitarist Jordan Manswell, performed songs that included “No Longer in the Suburbs” and “For the Boy in Me” in his strong, clear-as-a-bell voice. Although he reminds you of great soul singers of the past, he manages to bring a contemporary feeling to his music. The beautiful, clear weather gave a perfect backdrop to this wonderfully mellow concert.
Sinclair performed songs that vividly told stories, including moving ballads, and he ably backed himself on the keyboard throughout his set. He asked the audience who was there with a loved one, and said of the last song, “Forever,” “This is for the lovers. Gather them close.”
Duncan Hunter Neale
Award-winning Canadian trumpeter/composer Duncan Hunter Neale has received the Stingray Rising Stars Award. At Le Studio TD, the Oliver Jones Award was bestowed on him, as a visible minority of notable talent, and the esteemed Dr. Oliver Jones was in the audience. Duncan’s gifted band included pianist Sarah Rossy, drummer Julian Ferrer, bassist Mason Jeffery-Off, and saxophonist Ido Leibowitz.
The concert started with two reflective numbers, “Faith” and “I Am Hearing You,” that were a balm to festival-attendees who had been rushing throughout the final day of the 2025 FIJM. Duncan said, “Music from every background can be seen and appreciated.” He thanked everyone for being there, FIJM for having him, and Oliver Jones for his mentorship and the Oliver Jones Award.
Next came a strong piece that had excellent contributions from all the musicians, particularly Duncan’s trumpet notes and Sarah’s piano refrains, and her ethereal voice added a touch of mystery. The group changed gears and closed with a powerful protest song. Neale stressed the need for peace and freedom and encouraged people to spread more love.
2026 FIJM Lineup
From June 25 to July 4, 2026, the FIJM will present a packed lineup of brilliant musicians that includes Marcus Miller, Sullivan Fortner, Lila Downs, Barr Brothers, Dawn Tyler Watson, Champian Fulton, Diana Krall, Lorraine Desmarais, Avishai Cohen, Cécile McLorin Salvant, The Bad Plus, Doxas Brothers, Kokoroko, Camille Thurman with the Darrell Green Quartet, Immanuel Wilkins, Charles Lloyd, Hiromi, Dominique Fils-Aimé, Victor Wooten, Kamasi Washington, Orrin Evans, Elena Pinderhughes, Joshua Redman, Lizz Wright, Nicholas Payton, Keyon Harrold, Brandee Younger, Christine Jensen, Eric Alexander & Vincent Herring, Melody Gardot, Béla Fleck, Chief Adjuah, Ranee Lee, Pink Martini, John Pizzarelli, and Christian McBride & Julian Lage.
2026 FIJM Awards
Every year, the FIJM gives special awards to notable musicians. This year, the 14th recipient of the FIJM Spirit Award is Canadian singer/songwriter/multi-instrumentalist Patrick Watson. The Spirit Award recognizes the quality and innovation of an artist’s work, as well as their influence on worldwide music. Patrick is known for his experimental approach that blends several musical influences.
The Miles Davis Award is bestowed upon an internationally renowned artist for their entire body of work, as well as their contribution to the genre of jazz. The 31st recipient of the Miles Davis Award is bassist/composer/bandleader Christian McBride. Christian has performed with an astonishing number of artists, including Freddie Hubbard, Diana Krall, Pat Metheny, McCoy Tyner, Chick Corea, Paul McCartney, James Brown, Joshua Redman, Herbie Hancock, and many more.
The Antônio Carlos Jobim Award goes to an artist who has distinguished themselves in global music. The group Kokoroko will receive the 21st Antônio Carlos Jobim Award. The London-based band has drawn on Afrobeat, jazz, bossa nova, souk, funk, and electronic music, and has helped expand jazz to a wider international audience.
The Ella Fitzgerald Award honors a jazz singer of outstanding talent who has had a major impact on the international music scene. The 26th Ella Fitzgerald Award goes to Cécile McLorin Salvant. Ms. Salvant is known for her exceptional voice and interpretive skills in the way she bends jazz, blues, vaudeville, folk, and Baroque music, with the greatest of ease.
The Oliver Jones Award was created in tribute to the legendary Canadian pianist Oliver Jones and acknowledges young musicians who identify as visible minorities or indigenous people. The 6th honoree of the Oliver Jones Award is Najib Fenaoui, a singer of remarkable talent and skills in the genres of jazz, R&B, soul, and gospel.
For more information, go to www.montrealjazzfest.com
Other 2025 Photo Highlights
Here are some photos from other events and concerts at the 2025 FIJM:
