For three days in August, downtown San José, California, was the epicenter of some great music in the SF Bay Area. We heard bands that put a contemporary spin on music of the last century, from the Latin soul sounds of Joe Bataan to the sophisticated singing of René Marie, and a particular highlight for me was the performance by the one and only Patti LaBelle. This year marked forty years that the Festival has been in existence, and I hope it goes on for at least forty more years. With new director Christian Vela doing an outstanding job of booking, the future of the Festival looks bright.

Friday Night: Soul, Zydeco, and Latin Rhythms

MC for the Main Stage was Greg Bridges, a mainstay in Bay Area radio for many years, currently at KCSM 91.1 on the FM dial. It is always reassuring to hear his voice at the Festival, as I know some enjoyable music will follow. Sure enough, Adi Oasis came out that Friday night and gave a good opening performance. Handling the vocals and the electric bass playing, she impressed the crowd with her musicianship. Oasis brought us back to 1998 with her version of Lauren Hill’s “Doo Wop (That Thing)” mixed in with some slow jams and her own material. Oasis’ music was a nice way to ease into the Festival atmosphere.

On the Blues/BigEasy Stage, local group Zydeco Flames held forth with their southern Louisiana sound. They took some familiar New Orleans favorites like Fats Domino’s “Hello Josephine” and “Iko Iko,” added some washboard and accordion and turned them into Zydeco tunes. One of the most notable songs was an original waltz called “Never Alone.” Then the dancers came out in full force when they broke into Hank Williams’ “Jambalaya.” Rock guitar wafted through B.B. King’s “The Thrill is Gone” and The Staple Singers’ “I’ll Take You There.” Zydeco Flames proved that any tune can be turned into a Zydeco song.

Moving on to the Latin Tropical Stage, 83-year-old Joe Bataan and his band revived the Latin-soul sounds that he pioneered in the ’60s. There were echoes of Doo Wop and classic ’50s R&B along with the conga drum to give the music a Latin twist. Bataan was in good spirits, starting off singing “The Lord’s Prayer” with his wife and then getting into some serious boogaloo. He dedicated one song to the Philipinos and another to the Puerto Ricans, even plunging into some of what could be called “Oldies But Goodies.” The horn players, C.P. Salas (tenor saxophone) and Tony Hernández (trumpet), kept the old-school vibe going. Guitarist Adrian Carmine took a solo turn singing that old chestnut “Daddy’s Home,” and Bataan showed he could croon with the best of them on “I Wish You Love.” The packed crowd reveled in the nostalgia-laden music, proving that Joe Bataan is back!

My friend Jonathan told me about Thee Sinseers several weeks before I caught them at the Festival, and if it is ’60s Rhythm & Blues with a Mexican flair, there is no better band. Led by the vocals of Joey Quiñones, Thee Sinseers lay down a heart-on-your-sleeve, slow jam sound that never lets up. Teasing the audience with the horn riff from Tower of Power’s “You’re Still A Young Man,” they took us back to a time when cars were big, and everyone went to the soda fountain to put quarters in the jukebox. Proud of their East Los Angeles heritage, the group plays a kind of updated version of LA bands from the ’60s like Thee Midnighters. “Little” Willie Garcia, lead vocalist of Thee Midnighters, must be very happy to hear this music seeing a resurgence in popularity.

Saturday: New Voices and Veteran Masters

On to Saturday, where the Monterey Jazz Vocal Ensemble sang with great harmony in the San José Art Museum. Comprised of high school students and recent high school graduates, the Ensemble performed a variety of tunes from all over the map. With 12 singers (7 women and 5 men), they poured out a strong, tight-knit sound. Backed by a quartet of high school-age musicians, the Ensemble sang Chick Corea’s “You’re Everything” and a bossa nova-tinged “Angel Eyes.” It was a most enjoyable way to start the second day of the Festival.

Drummer Mike Clark’s Post Boptet band took the early afternoon slot at the Montgomery Theater, going through an exciting hour of contemporary music. The Post Boptet boasts a superb lineup: Eddie Henderson (trumpet), Craig Handy (tenor saxophone), Essiet Okon Essiet (acoustic bass) and David Kikoski (piano). They began with a very appropriate tune, “East Broadway Rundown” by the recently departed Sonny Rollins. After a wonderful ballad featuring Henderson, they played a jazz/funk hybrid called “Loft Funk,” where Clark got to display his formidable chops on drums. Then in a kind of tribute to Herbie Hancock, the band dug into his composition “Toys.” Three of the members of the band were employed by Hancock at various points in his career: Henderson during the Mwandishi period, Clark during the Head Hunters time and Handy on the road with Herbie. All three musicians have ties to the SF Bay Area: Henderson played music and practiced psychiatry in the Bay for many years, Handy is the son of John Handy, born in Oakland, and Clark was born in Sacramento. New York-based pianist Kikoski has played with a wide range of jazz musicians, so it was a treat to finally see him live. With his white hair flying in all directions, Kikoski was in constant motion, swaying to the music, seemingly possessed. Clark’s new album, Kuan Ganjo (Time Without Beginning), has the same cast minus Kikoski and adds Patrice Rushen. It is definitely worth a listen or two or three.

Back at the Main Stage, Parlor Greens were into their set, a groove-oriented Hammond B3, electric guitar and drum sound harkening back to the ’50s and ’60s soul/jazz records. The guitarist Jimmy James laid down tantalizing chords and single-line notes while Tim Carman supplied the heavy backbeat. The organist was a fill-in for Adam Scone and did a very nice job during their set. An interesting thing happened during Parlor Greens’ set: James said they were going to play a Dolly Parton song and the audience had to guess which one. Well, this is a hip crowd, and they came up with “Jolene” right away. Again, it was reassuring to find out that the organ trio concept is still alive and being taken a step forward with Parlor Greens.

One of the great things about the Festival is finding new acts that are surprisingly good. Such was the case with the Nicole Zuraitis Quartet, an original singer/pianist/songwriter, whose self-deprecating manner and voice charmed the crowd. Starting with her own compositions, Zuraitis sang and played piano with wondrous dexterity. The band, husband Dan Pugach (drums), Sam Weber (acoustic bass) and Idan Morin (electric guitar), supported Zuraitis with steady assurance. After singing her own tunes, Zuraitis then broke into a series of covers: “Jolene” (hearing it a second time in the space of an hour), “The Nearness of You,” “Wichita Lineman” and “I Get Along Without You Very Well,” all done with taste and feeling.

Roger Glenn, preeminent musician extraordinaire, plays 18 different instruments and presented his group that Saturday afternoon to a very enthusiastic audience at the Signia Regent Stage. Taking most of the material from his 2025 album My Latin Heart (produced by special guest Ray Obiedo), the group navigated seven tunes, enjoying every moment. Switching between vibes, flute, alto saxophone and percussion, Glenn made the most of his countless abilities. Obiedo contributed his composition “Child’s Dance” and his inimitable stinging electric guitar. Glenn noted early on that he and Obiedo have been playing music together for 55 years, quite a long and fruitful association. Longtime band members, Marcos Silva on electric piano, Robb Fisher on acoustic bass, Michelle Gerlitz on congas and percussion and newcomer Kelly Fasman on drums played with supreme cohesion. Late in the set, Gerlitz and Glenn picked up chekeres and held the audience spellbound for a while. Glenn and company left a prodigious amount of excellent music in our ears that afternoon.

Saturday Evening: Afro-Cuban Fire and Patti LaBelle

The Main Stage hosted the always enjoyable Afro-Cuban All Stars led by Juan De Marcos González. The talent level in Cuba is so deep that I didn’t recognize any of the current band members. It might be that the original group had some of the older established artists, and many have passed away or are unable to travel. Be that as it may, the All Stars were in fine form that evening, showcasing a singer with a declarative style. As De Marcos González stayed in the background playing the güiro, the band executed intricately arranged passages. Horns and percussion were tightly knit together in a delicate balance.

A short walk to the Latin Tropical stage where Orquesta Akokán began their re-creation of classic Cuban music from the ’40s and ’50s. Focusing on the Mambo, Orquesta Akokán brought back that familiar sound from the past. Pianist and arranger Michael Eckroth dove deep into the genre, respecting the past and adding his own ideas to create a modern take. The music was enhanced by the vocals of Kiko Ruiz, who handled the crowd, exuding natural charisma. The electric tres guitar combined with the soaring horns made the set quite enjoyable. Akokán means from the heart in Yoruba, and the group proved that they had plenty of it on that sultry night in San José.

Wedged in between Orquesta Akokán and headliner Patti LaBelle, Jubu Smith soulfully sang and played guitar. Born and raised in Oakland, California, Jubu borrows liberally from gospel, soul, blues and funk to display his singular electric guitar playing. Last year he was seen at the Summer Festival backing up Lilah Hathaway; this year headlining the Blues/Big Easy Stage. Hammond B3 organ (Mike Halberg), electric bass, and drums backed Jubu’s compelling vocals and superior guitar work. B.B. King’s immortal “The Thrill Is Gone” was a perfect vehicle for Jubu’s mastery. Nodding our heads, the crowd acknowledged Tony! Toni! Toné!’s song “Anniversary,” which the normally reserved Jubu said he helped the group record. After a long time spent backing other artists, Jubu finally struts his stuff and leads his own group.

The ageless Patti LaBelle sang her way into our hearts with fire and consummate expertise. At 82 years young, LaBelle showed absolutely no signs of slowing down. All the high and low notes were there; a stellar performer, having the time of her life. Her longtime pianist/musical director, Sam Lewis, made all the musical transitions smooth and seamless. One of her backup singers took center stage for the Staple Singers’ “I’ll Take You There” while LaBelle was busy changing her wig and clothing. LaBelle returned to the stage and continued to entrance all the folks, from the front of the stage to those seated in the back in their lawn chairs.

Sunday: Ska, Miles Davis, and René Marie

The first act on Sunday, hitting the Main Stage at precisely 1 p.m., the Western Standard Ska Orchestra took us back to Jamaica in the ’50s, when Ska music was at its peak. Trumpeter Eitan Avineri directed the band, some twenty instruments including a full horn section; trumpets and saxophones filled the stage along with guitar, acoustic bass and drums. Invoking the sounds of yesteryear and using the template of the Skatalites (The group who invented ska), the Orchestra blasted out a huge, powerful sound. Using Lee Morgan’s “The Sidewinder,” the Orchestra left no doubt that Ska and Jazz could co-exist in the same song. I found myself bopping up and down to the highly percussive ska rhythm, another unexpected musical treat.

Educator and bassist Marcus Shelby led a nonet which faithfully revisited the Miles Davis session Birth Of The Cool. Highly appropriate choice of material, as this year many artists are celebrating Miles’ centenary. Each selection introduced by Shelby received an informative description, noting the composer and the principal soloist. The nonet, composed of all Bay Area musicians, featured Heidi Tretheren (horn), Remee Ashley (trombone), Mike Olmos (trumpet), Tony Pebbles (alto saxophone), Melecio Magdaluyo (baritone saxophone), Jonathan Seiberlich (tuba), Greg Jacobs (piano), Jamal Ramírez (drums) and Marcus Shelby (acoustic bass). Especially notable contributions came from Olmos, Pebbles and Magdaluyo as they filled the shoes of Miles Davis, Lee Konitz and Gerry Mulligan. The music still sounded quite fresh, even though the record was made almost 80 years ago. “Boplicity,” “Jeru” and “Budo” came to precise and vivid life under Sheiby’s direction. Birth of the Cool was not treated as some museum piece by this group—to be dusted off and only played on special occasions—instead as a vital part of American music history.

I was really looking forward to hearing Lakecia Benjamin, having experienced her wonderful alto saxophone playing. To my surprise, she could not make the gig; instead, the replacement was the marvelous vocalist René Marie. Backed by an exceptional trio—Xavier Davis on piano, Elias Baily on acoustic bass and Quentin E. Baxter on drums—Marie sang a medley of tunes around the theme of imagination; the Temptations’ “Just My Imagination” was the core, with a deviation into John Lennon’s “Imagine.” Marie told a great story associated with her original tune, “Colorado River Song.” Her trip down the river with a man resulted in a wonderful thing: marriage. There was a call-and-response scat singing with the audience, where Marie showed off her considerable scat singing abilities. Marie captivated the crowd with her warm and inviting songs, a pleasant surprise for everyone.

The Women Who Lit Up the Festival

Sure, there were some cool moments in the Festival: Joe Bataan crooning, Afro-Cuban All Stars dealing, Jubu Smith playing guitar, even the Western Standard Time Ska Orchestra skanking, but the soul of the summer Jazz Fest belonged to the women, who played and sang their hearts out.

The Festival this year was worth attending due in no small part to the powerful women who graced all of the stages. From Adi Oasis to Nicole Zuraitis, on to Patti LaBelle and ending with the incomparable René Marie, women and their considerable gifts made the Festival exceedingly bright.

Artists Performing at the San José Summer Jazz Fest 2026
Photo Gallery by Brooks Geiken (click to enlarge)

Trombone Shorty & Orleans Avenue — A Mardi Gras street party transplanted to Montréal, brass and funk igniting the downtown heart of the city.

For forty-five years, the Festival International de Jazz de Montréal (FIJM) has been the beating heart of summer in this city. What began as a bold idea in 1980 has grown into one of the world’s most cherished cultural gatherings—an experience that enriches not only Montrealers, but Canadians from across the country and visitors from every corner of the globe. Each year, they come to immerse themselves in the magic of music and the warm, festive spirit that only Montréal can provide.

This city knows how to welcome the world. It doesn’t simply host a festival—it creates a sense of belonging, where audiences, artists, and cultures converge. The FIJM has become a pioneer in live-event creation, constantly raising the bar for what a music festival can be. Its secret? The ability to unite government agencies, local businesses, sponsors, volunteers, media, and the public into a shared vision of celebration and artistry.

Over four and a half decades, this collaborative spirit has transformed the festival into an international beacon. It is more than a showcase of world-class performances—it is a driver of economic vitality, a stage for cultural exchange, and an enduring symbol of Montréal’s creative soul. With its blend of ticketed and free programming, the festival proves that excellence and accessibility can walk hand in hand, offering something for everyone while keeping the downtown core alive with rhythm and joy.

For ten electrifying days, June 26–July 5, 2025, we celebrated not only the extraordinary music, but also the city and the community that have made this festival possible. Nearly one million attendees flocked to downtown stages and cozy performance spaces, creating a ten-day urban symphony of sound and spirit.

Outdoor Magic: Free Concerts That Defined the Festival

Ayra Starr — The Nigerian Afrobeats star drew a sea of fans for one of the festival’s most memorable free spectacles. Rain gave way to dancing bodies, shoulder-to-shoulder as far as the eye could see.

Elisapie — The Canadian Inuk artist delivered a profoundly moving concert, weaving traditional Inuktitut songs with contemporary arrangements, bridging ancestral memory and modern storytelling.

Trombone Shorty & Orleans Avenue — A Mardi Gras street party transplanted to Montréal, brass and funk igniting the downtown heart of the city.

Monsieur Periné — The Colombian super group brought tropical swing and a sense of playful elegance to the outdoor stage, fusing cumbia, swing, and pop in a jubilant celebration that had the plaza dancing.

Esperanza Spalding (Closing Night) — The bassist-vocalist reinvented the art of the festival finale with a fearless, piano-led improvisation that blurred the line between concert and ritual.

Ticketed Concert Gems

Nas with Symphony — An orchestral reimagining of Illmatic. Ambitious, polarizing, and unforgettable, the show marked a bold anniversary statement.

Thundercat — The bass virtuoso stretched grooves into galaxies with his trio, delivering a futuristic jazz-fusion masterclass.

Natalia Lafourcade — Two sold-out nights of stripped-down voice-and-guitar intimacy in a hall of 3,000. Proof that silence and subtlety can be just as commanding as volume.

Mon Laferte — The Chilean-Mexican singer-songwriter delivered a riveting set, marked by her signature emotional honesty and dynamic musicality.

Surprise Show on June 28 at 11 pm

Avishai Cohen Trio — This free concert by the acclaimed Israeli bassist drew an ecstatic crowd. Cohen’s dazzling interplay with his trio showcased virtuosic improvisation, transforming an ordinary evening into an unforgettable FIJM memory.

Montreal Roots & Global Reach

This year also carried the weight of history. The festival spotlighted the Oscar Peterson centennial, honoring Montréal’s greatest jazz export with tributes, talks, and performances. Canadian voices—like Juno winner Caity Gyorgy—held their own alongside international stars, grounding the festival in its dual mission: to host the world and nurture the local.

Festival Timeline: 45 Years in the Making

1979 (Pre-launch): First attempt falters for lack of funds, but Keith Jarrett and Pat Metheny concerts plant the seed.

1980 (1st edition): Official debut on Île Sainte-Hélène with Ray Charles, Chick Corea, Gary Burton, Vic Vogel. 12,000 in attendance.

1982: Moves to rue Saint-Denis. Launch of the Jazz Competition (TD Grand Jazz Award).

1987: Near collapse, saved by public and private partnerships.

1989: Relocation to the downtown core around Place des Arts; the “urban campus” model is born.

2004: Guinness World Records names it the world’s largest jazz festival.

2009 (30th edition): Opening of the Place des Festivals and the Maison du Festival. Stevie Wonder’s free outdoor show draws 200,000+.

2020: COVID-19 forces first cancellation. Festival returns in reduced form in 2021, fully restored by 2022.

2025 (45th edition): 350+ shows, iconic headliners, Oscar Peterson centennial, and a reaffirmation of its mission: music for all, most of it free.

The 45th Festival International de Jazz de Montréal was both a celebration and a statement. It reminded the world why this event holds such a unique place in the global cultural calendar: it is a festival for the masses and for the aficionados, for tradition and for the future, for Montréal and for the world.

As the city looks ahead to its 50th anniversary, one thing is certain: the sound of Montréal every summer will continue to be jazz—and all that jazz makes possible.

All photos by Danilo Navas
[click on images to enlarge]

The 36th edition of the TD Toronto Jazz Festival has come and gone. For me, the jazz festival signifies the official start of summer and it’s close to the actual 1st day of summer. This year the festival ran from June 23 to July 2, 2023.

I did not manage to get to Toronto until Sunday the 25th. I was enjoying nature in the Blue Mountain area of Ontario. I went Sunday to get my media pass, and with the media pass in hand, I went exploring the festival grounds.

Now, as it was last year the festival is taking up some of Yorkville and one of Toronto’s main streets. Avenue Road at Bloor was closed to vehicular traffic and a section of the street was set up for a super concert. Pop stars were going to be in attendance and the big crowds were forming.

The first show for me was a jazz quartet, well, perhaps modern is a better description. The Mary Ancheta Quartet. The band is made up of Mary Ancheta on keys, tenor saxophonist, Dominic Conway, bassist Matt Reid, and drummer Trent Otter. The band has a new EP, Level Up and it has some wonderful tunes, most if not all, played during the quartet’s appearance.

I enjoyed the show, Mary Ancheta on synthesizer takes a fill and wails, causing the folks in Yorkville to stop and gather around, me included. The bassist and drummer provide solid funk rhythms and push the song into overdrive. Not being outdone in the wailing department Dominic Conway takes the next break and he digs deep for a growling, honking rip-roaring run of magnificence, blowing heavy on his tenor saxophone.

The drummer Otter takes some fills and trades off with bassist Reid. The quartet joins in on the exit chorus and ends in a tight, dynamic fashion.

Exciting music, powerful tunes, and explosive fills by all the musicians. The show went from one strong tune to the next with a smooth flow and great playing all around. The highlight tune for me was “Level Up”. Some great Jaco-like runs and Herbie-esque organ playing, a very exciting tune.

After the show, I reached out to Mary Ancheta and asked her if she would like to take part in an interview. My “Take Five with Mary Ancheta”.

I decided I would approach a few female artists and ask them if they would like to do an interview. Malika Tirolien, the outstanding vocalist who was leading her own band agreed to an interview. Look for my interviews with these awesome artists in upcoming segments.

My next show happened the next day, Monday, one of the headline acts, well, there were supposed to be two but only one showed up. Avishai Cohen Trio and Brad Mehldau Trio. Avishai did the work of two trios, so it was fantastic.

Avishai Cohen is an outstanding stand-up bassist, a master of the contrabass. He plays in a percussive style. The excitement of his playing is in every string he slaps and plucks, pulls and strums, it is an event in and of itself. Stunning!

Prior to the show I checked out Aline Morales and friends. The friends were a samba powerhouse: “A Fantástica Bateria”, featuring Brazilian-based popular music and incorporating soul, funk, samba, afro, and afoxé. Music to get you moving, your heart pumping and your foot stomping. Aline Morales is a fantastic performer, singer, and percussionist.

When I arrived at Koerner Hall for my two-trio concert I noticed the sign on the front entrance. A small sign, really just a simple note, “Brad Mehldau Trio will not be performing at this evening’s concert”. No! I thought.

I found an official-looking person who told me that Brad Mehldau’s trio’s flight out of New York was grounded because of the severe lightning storm occurring early in the morning.
“Not to worry,” she said. “Avishai has agreed to do both shows.”

The band took to the stage. A young band, Guy Moskovich 26, on piano and drummer, Roni Kaspi 23, are both recent graduates of prestigious music schools. Avishai Cohen waved his greetings to the audience and made an apology for Brad but told the audience he would play both sections of the show with no intermission and it would be “incredible”.

He was correct, for me the show was incredible. From his phenomenal bass playing to his drummers’ outstanding showmanship and his pianist, who performed with solid technique and skillful stylings. The trio went through the new album Shifting Sands (2022) and some Cohen standards, including a song he performed with vocals. A love song, in Yiddish.

The next day June 27, a rainy, overcast, grey day presented me with a beautiful performance by Malika Tirolien Quintet. Her band is Malika Tirolien (Vocals and keyboard), Harvey Bien-Aimée (Drums), Caulder Nash (Synth Bass), Philippe L’Allier (Guitar), Jean-Michel Frédéric (Keyboard).

The weather cleared up for Malika Tirolien to put on her show. She had the audience moving and grooving to her melodic rhythms and her beautiful voice. I found her to be a great performer, interacting with the audience and getting the audience to sing backup vocals on the song “Don’t Come Around”.

Malika’s songs reminded me of the West Indies. She was all about a chill vibe, love, and spreading kindness to the audience through her catchy tunes, lovely voice, and dynamic band. A mix of genres, R&B, funk, soul, techno, jazz, and hip hop. All good music when in the hands of these fantastic musicians.

The next day, Wednesday the 28th saw the Toronto area with a smoke advisory and the Toronto Jazz Festival taking Environment Canada’s advice and postponing all outdoor events until further notice.

Well, that was it for me. Done! The rest of the shows I had intended to check out were all outdoor events.

That’s my festival wrap, I was fortunate to get to meet some great artists, hear some fantastic music, and share some of what I heard. I had made other plans for Canada Day, July 1st, and the 2nd of July I was back up north at my Sanctuary.

_{YouTube Video – TD Toronto Jazz Fest 2023 Recap}