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68th Monterey Jazz Festival
SEPTEMBER 26-28, 2025
2025 The San Jose Jazz 35th Summer Fest
3 Days 9 Stages 100+ Artists
MUSIC REVIEWS
Festival & Music Reviews…
by Christopher J Walker and Amanda Wheeler
Exploring The Spanish Missions
of California!
ENJOY CRAFT BEER MORE!
READ: Chris Walker's Reviews
Below (scroll down)
Art Garfunkel, former Simon & Garfunkel member, performed at the Segerstrom Center For The Arts with guitarist/keyboardist Tab Laven supporting him. During the mid to late ‘60s S&G captured the sensitivity of college youths through mostly poetic ballads. Garfunkel’s son Arthur Jr.9, began the show sweetly singing Wednesday Morning, 3 A.M the title track of S&G’s debut album. Afterwards the senior Garfunkel proudly admitted, “He has the voice, but I have the hits.” His son later rendered classics “Smile” and “Amore” solely, and with him the Everly Brothers “Devoted to You” and vintage “Let It Be Me.”
Senior Garfunkel showcased writing skills through angelic ballads “Perfect Moment” and “All I Know,” along with his book What Is It All But Luminous (Notes From An Underground Man), published in 2017. However, the audience really came to hear S& G music, since their reuniting is extremely remote. Garfunkel obliged with vocally challenging “Scarborough Fair,” easy flowing “Homeward Bound,” passionately sung “For Emily, Whenever I May Find Her,” lightly rocking “Sounds of Silence” and lyrical gem “Kathy’s Song” to receive a standing ovation. Notably missing from the concert was S&G’s most popular song “Bridge Over Troubled Water” that recently marked its 50th anniversary.
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Music is often an uplifting reflection of the era we live in—and the 68th Monterey Jazz Festival was delightfully on the positive side of the scale, resonating with joyfulness, optimism and barely a mention of politics, wars, or the economy. Additionally, the 2025 MJF, located on the 22 acre Monterey County Fairgrounds, adjacent to picturesque ocean vistas and popular shops and restaurants, coincided with pleasant temperatures in the high 60°F to low 70°F range during daylight hours. Two-time Grammy-winning “jazz poet” and one of MJF 2025 few male jazz vocalists was Gregory Porter. The other was Tyreek McDole winner of the 2023 Sarah Vaughan International Jazz Vocal Competition. Gregory Porter lived up to his reputation of being a master evocator of audiences’ hearts and minds. With his longstanding band, the baritone singer/almost preacher thrilled everyone with his gospel-drenched/church clapping “Liquid Spirit,” deep crooning and much covered “Insanity,” probing “Musical Genocide” and bassist Jamal Nichols’ solo medley of ‘60s R&B hits, including the Temptation’s perennial “Papa Was a Rolling Stone.”
Dianne Reeves, a five-time Grammy-winner and top-polling vocalist headed a rich and bountiful harvest of women singers at MJF 2025. The grouping spanned polished veterans, astounding newbies and enlivening ones from abroad to put an international spin on the 68-year-old, continuous jazz festival. During her set, Reeves catapulted onstage to immediately get the concert-goers attention with a vibrant Afro-Cuban version of “What’s New,” adventurously arranged by pianist/Musical Director John Beasley. Additionally, the keyboardist arranged Pat Metheny’s upsurging and rainforest influenced “Minuano (Six Eight).” The buoyant tune exploded with Reeves’ inimitable and formidable wordless scatting/singing to leave the audience breathless. For respites, she soothingly sang ballads “Café” by Egberto Gismonti, featuring guitarist Romero Lubambo, and Horace Silver’s very apt “Peace.”
Equally audacious and doing her own compositions, Carmen Lundy, additionally an actress, sculptress, painter and producer began with the invigorating “Time is Love.” Getting a little funky with an atmospheric vibe she embracingly sang “Day Break” garnered by guitarist Andrew Renfroe and pianist Julious Rodriguez’s blazing touches. Socio/political uplifting “Daughter of the Universe” was boldly sung and played. Afterward, the audience overtaken by her performance urged her to preach and Lundy retorted, “I’m not a preacher, I’m a ‘truth-teller.’” Vocalist, producer, arranger, and now author for the newly released Beneath The Skin book and recording, Nnenna Freelon was more traditionally oriented. Graced by pianist Alan Pasqua’s singular playing, the alto singer soared for “Skylark” and self-confessional ballad “Widow’s Song” in memory of her husband of 40 years, Philip, who passed away in 2019.
Also of note, was genre defying Lisa Fischer who’s sang backup with everyone, from the Stones, Luther Vandross, Chris Botti and Tina Turner. She displayed her renowned range with living jazz legends, drummer Lenny White, saxophonist/emcee Javon Jackson, saxophonist Dr. Eddie Henderson, pianist Orrin Evans and bassist John Patitucci. They all roared on the savory ballad “Let There be Love,” and a high-flying version of “Take The A-Train,” loaded with blistering solos. René Marie and her Experiment In Truth sextet presented a unique jazz related set, comprised of calypso, ska, folk and pop—titled Jump In The Front Line: A Tribute To Harry Belafonte. With poise, intelligence, expressive singing, engaging story-telling and excellent players, she showcased songs from the much-loved, activist, humanitarian, thespian and King of Calypso’s popular canon. Included were the amusing “Man Smart (Woman Smarter),” bluesy “John Henry,” folky “Come Back Liza” and his all-time heartbreaking classic “Jamaica Farewell.”
R&B vocal stylist and actress Ledisi, who dabbles in jazz, releasing Ledisi Sings Nina in 2021 and For Dinah this year, spotlighted her dynamic, but still very much Ledisi versions of “This Bitter Earth” and “What a Difference a Day Made.” Afterwards, the Grammy-winner returned to more familiar modern soul material with a lengthy rendition of “In The Morning.” A diverse array of singers either new to festival or on the scene, riveted MJF 2025. Swedish singer/multi-instrumental Gunhild Carling, though not part of the youth brigade, fully captivated the attendees. She jammed mightily with her guitarist husband, drummer son, trombonist/vocalist daughter, alto saxophonist Nicole McCabe and other rhythm players to fully transfix the attendees. Amazingly, she maintained trad jazz and boogie-woogie sensibilities, while being a whirlwind—around the stage, singing, dancing, playing trumpet, harmonica, trombone, recorder, and even two trumpets and trombone at the same time.
Cuban-based violinist/singer/keyboardist Yilian Canizares revealed influences of her homeland, violinist Stephane Grappelli and classical music, with only bass and percussion supporting that was mind-blowing. Camille Thurman, a Jazz at Lincoln Center saxophonist/vocalist mentored by Tia Fuller—in partnership with drummer/husband Darrell Green’s Quartet—shined with unbelievable near-operatic singing/scatting, along with sophisticated reed work. Three-time Juno-winner (Canadian Grammy), vocalist/composer Caity Gyorgy and trio fascinated listeners with swinging interpretations of well-known standards and her own alluring numbers. Also, from Canada and a Juno-winner, singer Dominique Fils-Aime presented a very enticing mix of electronica pop, ambient modern soul, and stunning French chanteuse. Veracruz, Mexico-native Lucia, winner of the 2022 Sarah Vaughan International Jazz Vocal Competition enthrallingly showcased her jazz standard prowess, and sweeping son jarocho (folk music) she learned from her father. Ekep Nkwelle, born in Washington, D.C. and based in New York, had some resemblance to Ella Fitzgerald, and demonstrated through a dazzling range and colorful style why she is becoming a fast emerging artist.
MJF 2025 had much more to offer than a lot of fantastic singers. The multi-generational, Clayton duo, merging the phenomenal talents of bassist/father John and son/pianist Gerald. They superbly played the standard, “If I Should Lose You,” contrasting classical ballad played with arco bass, “Damunt de tu Només les Flors” (Above You Only The Flowers,) and unparallel gospel piano for the classic, “Just a Closer Walk With Thee.” In closing, G. Clayton alluded to the horrific Altadena fires in Southern California, in which the Clayton family home was destroyed, saying the only things that matter are community, love, family and friendship.
Consummate bassist, nine-time Grammy-winner, former Artistic Director for the Newport Jazz Festival and MJF 2025 Legends Gala Honoree, Christian McBride debuted his Ursa Major band. It included his burgeoning protégés for the last three years, Savannah Harris on drums, Ely Perlman on guitar, Nicole Glover on tenor saxophone and Mike King on keyboards, all making their first MJF appearance on the on the heels of their milestone first album (set for release early 2026). In performance the players displayed high caliber skills through original pieces, fusion “Cows,” hard-bop styled “Waltz For Monk (dedicated to pianist Donald Brown)” and neo-bop “Elevation.” Alternatively, pianist Christian Sands the 2025 Commission Artist performed his sweeping collection of pieces with MJF historical references, Reflections From The Shore: A Monterey Suite. A few hours later, Sands with his trio zestfully played a crowd-appealing mix of swinging mainstream, soulful gospel, and engaging neo-bop. Sullivan Fortner, renowned for his astounding work with Cecile McLorin Salvant, was MJF 2025 Artist-In-Residence. Much like a mad wizard, the New Orleans-born pianist dashed from Osvaldo Farrés explosive Afro-Cuban bolero "Tres Palabras,” Monk-like ballad “Again Never” and Bud Powell tinged “Daahoud.” Additionally, Fortner performed with the Next Generation Orchestra featuring young singer Declan Cashman, who sonically could be mistaken for Michael Mayo. Directing the promising musicians was long-tenured Gerald Clayton, who in 2026 will also be involved with MJF Artistic Direction team.
Benny Green playing solo piano, though not as flamboyant, held the audience captive with his masterful rendering of standards and dedicated compositions. Among them were gospel tainted “Pittsburgh Brethren” for his Pittsburgh-born mentors, pianist Ray Hartley and bassist Ray Brown, and stride piano soaring “Wiggin (With The Wig)” for Gerald Wiggins. In the realm of Latin jazz, master timbale player and big bandleader Pete Escovedo with his sons Juan on congas and Peter Michael on drums helping out, vibrantly celebrated his ninetieth spin around the planet. Compositions, such as “La Cuna” and “Ah Bailar Cha Cha Cha” were high caliber, irresistible and danceable. But even more enjoyable were his stories about growing up and playing in the Bay Area, before moving to LA that was interspersed with bawdy, side-splitting jokes about getting older.
About a generation younger than Escovedo, eight-time Grammy-winning pianist/composer/pianist/bandleader Arturo O’Farrill and the Afro Latin Jazz Ensemble represented a divergent, less traditional orientation of Latin jazz. They exuded high energy with a substantial amount of percussion (two congueros) for “Action Reaction,” epic “Ensayo Silencio” and “Clump, Unclump” influenced by his mentor Carla Bley and dedicated to recently departed Latin jazz icon Eddie Palmieri. Quincy Jones’ Cuban-born protégé, pianist Alfredo Rodriquez and trio, with bassist Han Beyli and drummer Michael Olivera were musical ambassadors. They vigorously showcased high-energy originals and tangents from his homeland, along with Latin-fused versions of Stevie Wonder’s “I Wish” and Michael Jackson’s Thriller as a tribute to Jones.
Indubitably, there were a few blues performers, such as the high-revving and long playing Mr. Sipp, B.B. King/Albert King influenced Chris Cain and the SF-based JC Smith Band. They all clamored about “low down” lovers, bosses, friends and relatives. MJF favorites, Minneapolis-based Davina and The Vagabonds, were similar, but with nuances of rock, R&B and cabaret interspersed. Closing out MJF 2025 and drawing a “What The ….” reaction from the on-duty jazz police was Trombone Shorty, making his fourth appearance at Monterey. He’s presently New Orleans’ most popular musical artist and is an inexhaustible ball of energy, who mesmerized the crowd with rock stadium dynamics. Included was plenty of dancing, intense brass wailing, six minutes of solo circular breathing on trombone and playing in the audience. For R&B and jazz cred, the trombonist/trumpeter/singer included a couple of vintage Crescent City songs, “Here Come the Girls” by Ernie K-Doe and Allan Allen Toussaint, and “On The Sunny Side of The Street,” popularized by Louis Armstrong and many others. There’s no doubt that the Monterey Jazz Festival will back stronger than ever in 2026.