Latest news with #EsperanzaSpalding
Forbes
16-07-2025
- Entertainment
- Forbes
Q&A: esperanza spalding On Her Artistic Sanctuary In Portland
STOCKHOLM, SWEDEN - MAY 27: Esperanza Spalding attends the Polar Music Prize 2025 at Grand Hôtel on ... More May 27, 2025 in Stockholm, Sweden. (Photo by) Grammy-winning jazz bassist esperanza spalding remains a busy and active musician, including August dates at the Newport and Chicago Jazz Festivals and then a six-night run at the new Blue Note LA September 2 - 7. But spalding has another calling as well these days. As co-director of the Portland, Oregon Prismid Sanctuary, 'A nonprofit residency and regenerative space dedicated to nurturing BIPOC (Black, Indigenous, and People of Color) artists' she founded, spalding is helping to raise funds for upgrades to Prismid. If you're a world-renowned musician in charge of fundraising, what is the best way to raise money? With music of course. From now until December 31, for a donation of $777,777 or more, spalding will record an original one-of-a-kind album catered to the donor. I spoke with spalding about the sanctuary, the unique fundraising campaign and more. Steve Baltin: What is it that you hope to see from this sanctuary now? Because it feels more necessary than ever, not just with the arts cuts, but in general, there's a natural reaction to technology to want to go more organic and go back to roots. esperanza spalding: One of the values that we practice there is honoring various types of technology. So, in our commitment to become a sustainable site, our goal is for this sanctuary to be an ecologically and economically sustainable community. One piece of that is a lot of green infrastructure. So, in this rebuild, we have cross-limited timber, which is a very modern technology, a much more sustainable way of building structure. We're not using any cement, and we're sourcing all the timber for the cross-limited timber from indigenous-led and sustainable forestry projects. Even in that is this beautiful confluence of very contemporary technologies and very ancient technologies, such as in both forestry and stewardship from indigenous community in our region. Also, of course, our water catchments and our gray water reuse systems and our solar panels are all these technologies that are very like high technology of our modern era practices, sustainability, and then with the grounds, we have regenerative agriculture. And we're utilizing a lot of indigenous technology and ecological and cultural knowledge, the agronomist ITEC, and so there again, it's like, 'Okay, we have this building that our goal for the rebuild is that it lives in reciprocity to land around it.' And we're utilizing all these contemporary technologies that would happen. Then right alongside that, with the way we tend the grounds themselves, we're integrating these very ancient cultural practices of sustainability across the team. I think when we talk about a site for artists to be in their practice and be in respite, it's not like, turn off your phones and turn off your computers and we're going to paint their toes. The practice of respite and retreat and sanctuary is ancient, that is timeless. It is the technology that is timely. And the way that we're setting up our artist residency spaces and the whole building is for it to feel very welcoming and accommodating for artists in whatever practice they want to bring to the space. If you want to do dance outdoors or dance indoors, we can facilitate that. If you are a filmmaker and you just want to edit for five days, cool. And even in the practices around accessibility, for many people, their mobility needs are met by electric wheelchairs. The way that we're designing, the way the community has designed the entire site, everywhere in the site is accessible to people who are engaged. So, there you have it again, using grants and pathways these metrics that are set by a very contemporary understanding of accessibility. But we're using very ancient means to make that path to achieve that. That's not our first guiding principle of our organization. But since you asked, I'll say it's very much about the ancient, the indigenous, living hand in hand in harmony with our current technologies for sustainability and accessibility. Baltin: Why go public with the program now? spalding: It's five years in and we have this solid, beautiful team and the work is working. The programs are programming. The space is spacing. I feel like we're all very clear on the areas we have to grow. There's so much still to be done, but I feel very confident, like stepping up in the world with my name associated with this and this is a thing that is happening that I see other people doing as well. So, I want you to support it. I think the folks who need to do this work, and so many places are already doing it. That's what I keep learning from conversations with colleagues and friends and fellow artists who are out here tending their own versions of this. And the redundancy of it is really important because we need as many versions of this as there are communities. And sometimes there are micro communities within a community and they each deserve their own place to respect and support. Part of the message of all of this is yes, it's very challenging. But it's very doable and the reason we archive so much is because there are very long challenges inside of this kind of work that you can't know about until you're in it, bumping your head against it. So, part of what I want to do, and I share this a lot when I'm in spaces with folks doing some of the work, is it's going to be really transparent and we'll show challenges inside of it and go, 'Here's how we built infrastructure to alleviate some of that challenge or some of that strain and then there's the layer of all of this which I know some people don't care about this burden and that's fine, my job is not to convince people to think this is important. I know that there's enough folks on earth to understand why this work is important and wanting to support it. I feel like my work right now is letting people know that we're here and we're doing this and we're open to receive support.' Then this whole campaign about the album is maybe there's enough people on earth who don't care what it is that I'm doing, but they want to commission the personalized album for me. So, there's also that layer of like, even if you don't care, don't know about the sanctuary and you're just like, 'Oh, okay, a tax-deductible commission, cool.' I also want to reach those folks and say I will make you an album, make this donation and you get an album. Baltin: What drew you to that idea of garnering support in that way? spalding: I came to this idea because I'm one of the directors, there are two co-directors. As we were differentiating our areas of jurisdiction within the organization, all the parts that had the fundraising fell into my hair. And as I was plotting with our development director, like, how are we going to do this? There are best practices that organizations do to partner and funding. And I was hearing this mapped out and thinking about the way it was going to take me away from my other, as the director who needed to go out and have these conversations and do this thing. I was like, 'I don't want to do that. I don't want to play, I want to practice, I want to write.' So, it was really remembering that I'm an artist, that I make things that I think are very valuable and some other people do too. And it's like, 'How can I use the thing that I love to do that I feel I do best to support this other thing that I love so much so that my supporting and caring for this sanctuary isn't sucking me away from this other work that I want to do in the world?' That's really what it grew from. And I believe that original art made by musicians should be treated with the high gritty and economic value as artworks made in the other media. So, it's also going to be like, 'Yeah, my work that an original work from me to you is worth $700 ,000. Yes, it is. And you know it.' Batin: Have you tried anything like working from prompts or are you looking forward to it because it's a different exercise in creating? spalding: Yeah, I do this. This is a part of my existing practice actually that isn't a public space thing. Some of this way of creating from very specific prompts, I want to say I developed skill at within the Songwrights Apothecary Lab, where you have these really specific components and /or narratives and/or images that need to be conveyed through the medium of a song. So, in that space, I feel I've been practicing this way of writing a lot, but also, for instance, this beautiful organization in Portland, Albina Vision Trust, is doing very deep development work in community here for historically disenfranchised community. They were going to have a meeting with the school board to convince the school board to go ahead and sell them this property that's not occupied right now. I found out about it. I was like, 'Ooh, I'm going to make you guys a song you can play in the background of your meeting with the school board. Just because that inspires me. I'm passionate about the issue. I can't be there in person. I don't think my testifying would be useful anyway.' So, I said, 'Tell me about it. Tell me what you guys want. Tell me what you're asking for.' With those, I created this atmosphere with a subliminal message or something for them to play in the background. All that to say, this is a way that I love to create. I haven't done it out in the world for anybody, in a public -facing way. Granted, unless the person decides to play the album that I make for them, in front of their friends of a thousand people or something, it won't ever make it to the public. But it's a practice that I've been honing in on over the last few years, this way of crafting from very specific prompts.
Montreal Gazette
11-07-2025
- Entertainment
- Montreal Gazette
Dunlevy: Esperanza Spalding wraps 45th Montreal jazz fest with a breathtaking bang
It was a perfect night for a perfect end to the 45th Montreal International Jazz Festival. And it wrapped up in style with one of the genre's preeminent talents, Grammy-winning American jazz bassist, singer and composer Esperanza Spalding. As programming director Maurin Auxéméry reminded the audience beforehand, Spalding had not performed at the festival in several years. A quick Google search traced her last performance in our city back to — could it be? — 2013. Putting her on the main stage on the final evening was a generous gift to fans and curiosity-seekers alike. 'It's pretty cool the jazz festival got her here for us to listen to, for free — it's amazing,' said Teo Spencer, 37, based in Montreal, but originally from Vermont. 'She's politically informed,' he said of Spalding. 'She understands the jazz canon and can subvert it when she wants to. She's playing an interesting game and playing it well.' With him was Avery Shoemaker, 29, originally from Minneapolis. The two had been sharing their appreciation of the jazz fest as a symbol of all that Canada has to offer in these turbulent times. 'We've been talking about public good, art being celebrated and beautiful things provided to people for free that you can just show up and enjoy,' Shoemaker said. Jan Lawrence had been showing and enjoying the offerings on the jazz festival's free stages all week. The Tampa native caught three to four concerts a night for seven nights straight. Among her highlights were New Orleans showman Trombone Shorty, Nashville-based Montreal native Allison Russell, and Arkansas-born, Chicago-based queer singer-rapper Wic Whitney. 'It's been phenomenal, considering it's all free,' Lawrence said. 'The people, the atmosphere, and the quality of the shows — I would definitely do it again. It's so easy navigating the site, so clean for such a big event, and everything starts on time.' With her was Montrealer Peter King, who accurately called the festival 'one of the highlights of summer' in the city. It was a week of unpredictable weather and memorable performances. Among this critic's standouts were the opening free outdoor concert by soul legend Mavis Staples; Canadian country-rock heroes Blue Rodeo bringing the hits on the first Friday night; New York rapper Nas performing his classic 1994 debut Illmatic with an orchestra of Montreal musicians; actor Jeff Goldblum telling stories and playing piano for an enrapt crowd at Salle Wilfrid-Pelletier; Brazilian jazz fusion throwbacks Azymuth jamming up a storm; Montrealers Russell and Men I Trust, the former in an impassioned homecoming and the latter casting a spell after thunder and lightning delayed their set by 30 minutes while a massive crowd of diehard fans stuck it out; Nigerian Afrobeats star Ayra Starr turning the festival grounds into one big pop party; and 101-year-old saxophonist Marshall Allen leading the legendary Sun Ra Arkestra. And then there was Spalding. A musical phenomenon, she sang, played and bantered with the crowd, exuding joy, mischief and a strong moral compass. She opened not on bass, but on piano, pounding out a barrage of dissonant chords on I Want It Now as she listed behaviours we could do without in this world, 'all kinds of things that need to be burned up to invite you into the beautiful, loving things that inspire.' An informal poll conducted by this reporter earlier in the evening found many in attendance did not know Spalding's music, but it didn't take her long to pull everyone on board. People cheered as she started to sing in astonishingly nimble fashion while her fingers fluttered across her bass on I Know You Know, off her self-titled second album, from 2008. This was jazz of the highest order — challenging, yet accessible, eminently entertaining and arrestingly beautiful. Goosebumps were felt. Two modern dancers joined her on stage throughout the evening, enhancing the craft of the songs with evocative choreographies that tapped into other levels of perception. Her voice soared, loud and clear, far and wide on Touch In Mind near set's end, eliciting a roar from the audience. And that was the impressive thing on this perfect night. As out-there and otherworldly as Spalding got, people followed her every step of the way. She closed the 90-minute performance with her rousing, rootsy 2018 ode to Black men, Black Gold, and a wish 'that one day this song won't be necessary.' When she introduced her band, after, then introduced herself, a heartfelt cheer erupted. People kept cheering, and cheering, until she came back for an encore, proving on top of closing out the 45th Montreal International Jazz Festival with a breathtaking bang, Esperanza Spalding had just made herself tens of thousands of new fans. This story was originally published July 6, 2025 at 11:31 AM.
CTV News
27-06-2025
- Entertainment
- CTV News
Montreal Jazz Fest: Free shows to take in as party kicks off
Esperanza Spalding performs during the second weekend of the New Orleans Jazz & Heritage Festival on Saturday, May 3, 2025, at Fair Grounds Race Course in New Orleans. (Photo by Amy Harris/Invision/AP) With the Montreal International Jazz Fest in full swing, it's easy to get overwhelmed by the wealth of musical options to choose from. The good news is you don't need to be wealthy to take it all in – there are dozens of free shows on tap for Montrealers and visitors to the city to enjoy. Here's are some of the highlights ( you can get the full program here): Friday, June 27 Swing Riot at Esplanade Tranquille (7 p.m.) Founded in 2012, Montreal Swing Riot brings together the swing and street dance communities to celebrate jazz through improvisation and personal expression. Blue Rodeo Jim Cuddy and Greg Keelor of Blue Rodeo perform together at the Canadian Songwriters Hall of Fame Induction Ceremony at Massey Hall in Toronto, on Saturday, September 28, 2024. THE CANADIAN PRESS/Paige Taylor White (Paige Taylor White/The Canadian Press) Blue Rodeo at TD Stage (9:30 p.m.) Canadian Songwriters Hall of Fame artists Jim Cuddy and Greg Keelor lead the celebrated rock band Blue Rodeo as they take over the TD Stage. Saturday, June 28 Theon Cross at Pub Molson – Place Tranquille (8 p.m. and 10 p.m.) British tuba player and composer Theon Cross, known for his work with jazz band Sons of Kremet, performs at Pub Molson in Espace Tranquille. Grace Bowers & The Hodge Podge at TD Stage (7:30 p.m.) Nineteen-year-old rock guitarist and songwriter Grace Bowers, whose talent is creating an industry buzz, will take over the main stage on Saturday evening. Elisapie, an Inuk singer-songwriter from Salluit, Nunavik, poses for a portrait in Toronto, Thursday, June 20, 2024. THE CANADIAN PRESS/Chris Young Elisapie, an Inuk singer-songwriter from Salluit, Nunavik, poses for a portrait in Toronto, Thursday, June 20, 2024. THE CANADIAN PRESS/Chris Young Elisapie at TD Stage (9:30 p.m.) Quebec's own Elisapie, whose 2023 album features Inuk covers of popular pop and rock songs, headlines the TD Stage. Sunday, June 29 PJ Morton at TD Stage (9:30 p.m.) Grammy Award-winning New Orleans native PJ Morton, who has worked with Maroon 5 and focuses on R&B and gospel in his solo work. Monday, June 30 Troy "Trombone Shorty" Andrews This March 14, 2012 file photo shows Troy "Trombone Shorty" Andrews performing at the half time of the New Orleans Hornets and Los Angles Lakers NBA basketball game in New Orleans. (AP Photo/Bill Haber) Trombone Shorty & Orleans Avenue at TD Stage (9:30 p.m.) If you haven't caught him at past jazz fest performances, now's your chance. The trombone player fuses musical styles like rock, pop, jazz, funk and hip hop, and will hit the main stage Monday night. Tuesday, July 1 Ayra Starr at TD Stage (9:30 p.m.) This Nigerian singer/songwriter promises to get the crowd moving with her Afrobeats style, incorporating other genres like R&B and Afro-pop. Wednesday, July 2 Men I Trust at TD Stage (9:30 p.m.) Quebec City's indie band Men I Trust will take the stage at the Montreal Jazz Fest before hitting up their hometown for the Festival d'été de Québec on July 4. Thursday, July 3 Beth McKenna at Pub Molson – Place Tranquille (6 p.m.) Montreal saxophone player Beth McKenna brings modern jazz to mainstream audiences with a mix of jazz traditions, improv – and lots of energy. Allison Russell Allison Russell accepts the award for best american roots performance for "Eve Was Black" during the 66th annual Grammy Awards, Feb. 4, 2024, in Los Angeles. (AP Photo/Chris Pizzello) Allison Russell at TD Stage (9:30 p.m.) Born and raised in Montreal, Grammy-nominated Allison Russell has been making a splash with her smooth blend of Americana, folk, blues and soul, with elements of jazz and pop. Friday, July 4 Uplift514 Block Party at Esplanade Tranquille (5 p.m.) Come on out and party with Uplift514 Block Party, who will dance it out with an energizing blend of styles like dancehall, hip-hop and freestyle. Monsieur Periné at TD Stage (9:30 p.m.) Colombia-based outfit Monsieur Periné brings in jazz, swing and Latin styles to their Afro-Colombian mix. Expect a global feel at this multilingual show. Saturday, July 5 Fulu Miziki Kolektiv at Rio Tinto Stage (8 p.m.) Promising to be a show like no other, eco-friendly Afro-futuristic punk band Fulu Miziki Kolektiv call their musical style Twerkanda, and their music and instruments are made entirely from recycled and assembled materials. Esperanza Spalding Esperanza Spalding arrives at the 67th annual Grammy Awards on Sunday, Feb. 2, 2025, in Los Angeles. (Photo by Jordan Strauss/Invision/AP) (Jordan Strauss/Jordan Strauss/Invision/AP) Esperanza Spalding at TD Stage (9:30 p.m.) Bassist and singer Esperanza Spalding will grace the TD Stage Saturday night. One of the bestselling contemporary jazz artists in the world, the five-time Grammy Award winner promises to mesmerize crowds.
Forbes
26-06-2025
- Entertainment
- Forbes
Why Everyone In Music Is Watching Blue Note's New Hollywood Club
Kamasi Washington is on the lineup for Blue Note's Hollywood location. He's doing an 11-night stint that stretches from September into October. (Photo by Dave Simpson/WireImage) WireImage When Blue Note throws a club launch, it really goes all out. The storied Greenwich Village jazz institution is now a global brand and the latest listening spot is coming to Sunset Boulevard in Los Angeles this summer. The grand opening for Blue Note Los Angeles is set for August 14, with tickets on sale today for shows running into early 2026. Full disclosure: I'm going to be first in line for a lot of these shows. Housed in the complex that was once home to Arclight Hollywood, the space will open with a back-to-back weekend stand by Grammy-winner Robert Glasper. This after construction delays tied to January's Hollywood fires pushed the club's debut back. The extra time seems to have only sharpened the lineup. August continues with rising R&B singer Alex Isley (Aug 16-17), saxophone futurist Terrace Martin with Kenyon Dixon (Aug 19-20), and a four-night run from Ravi Coltrane (Aug 28-31). In September, bassist-composer Esperanza Spalding (Sept 2-7), alto titan Kenny Garrett (Sept 11-14) and Atlanta rap philosopher Killer Mike (Sept 19-21) warm up the house for tenor powerhouse Kamasi Washington, who takes over for 11 dates straddling September and October. Throw in genre-jumpers like Charlie Puth (Oct 16-19), Branford Marsalis (Oct 21-22) and Andra Day (Nov 28-30) and you begin to understand why Blue Note's director of programming, Alex Kurland, once told me, 'We're less in the business of just booking gigs and presenting shows than in creating moments and creating memories and creating happenings.' It's definitely happening, people! Charlie Puth takes over Blue Note Los Angeles on October 17 (Photo byfor dcp) Getty Images for dcp As a jazz, blues and R&B fan, I love what Blue Note is bringing to the music scene, and the music industry is watching. The Hollywood outpost stays faithful to the original New York blueprint, with two sets nightly at 7 p.m. and 9:30 p.m., table service throughout, and a booking philosophy that pairs legends with left-field collaborators. The main Hollywood showroom seats 200, while an adjoining 'B-Side' room adds another 100 spots—small enough for intimate moments but big enough to keep the bar booming. Los Angeles hasn't exactly lacked for jazz rooms. There's The Baked Potato, Catalina, Sam First and a revived Lighthouse that keep the scene percolating. But Blue Note definitely brings a fresh and vital appeal with with tour-routing gravity. A-list artists who once ignored L.A. or treated it as a one-night stop between San Francisco and who-knows-where now have a week-long home base. And since Blue Note is part of a worldwide network (Napa, Tokyo, Milan, Rio, Shanghai, et al.), fans are bound to get next-level performances by musicians looking to stretch their welcome with Blue Note tour bookers. A Calendar Designed to Dazzle Growing a jazz and blues-first brand in 2025 might sound counterintuitive but it's working. Club residencies (I'm so sorry I missed PJ Morton's recent stint in NYC) and Blue Note's Napa festival typically sell out fast. There's much to love about the full lineup for Los Angeles (Emily King! Esperanza Spalding! Branford Marsalis! Charlie Puth!) announced this week: August 14-15—Robert Glasper August 16-17—Alex Isley August 18—The Philharmonik August 19-20—Terrace Martin with Special Guest Kenyon Dixon August 21-22—Robert Glasper August 23-24—Emily King August 25—Mayer Hawthorne August 26-27—BJ The Chicago Kid August 28-31—Ravi Coltrane September 2-7—Esperanza Spalding September 8—Isaiah Collier September 9-10—Braxton Cook September 11-14—Kenny Garrett September 15—Fantastic Negrito September 16—Dominique Fils-Aimé September 17-18—GoldLink September 19-21—Killer Mike September 22-24—Chief Xian aTunde Adjuah September 25—Brasstracks September 26—The Soul Rebels & Special Guest September 27—The Soul Rebels & Special Guest September 28—The Soul Rebels & Special Guest Too $hort September 29—Samora Pinderhughes September 30-October 5—Kamasi Washington October 6—Arin Ray October 7-12—Kamasi Washington October 13—Lady Blackbird Residency October 14-15—Kiefer October 16-19—Charlie Puth October 20—Slum Village October 21-22—Branford Marsalis Quartet October 23—Aja Monet October 24-26—Sid Sriram October 27—Amaro Freitas October 28-November 2—1500 or Nothin' & Friends November 4-5—Ghost-Note November 6-9—Tank and The Bangas November 10—Emily Bear & Friends November 11-16—Chris Dave / Marcus King / Cory Henry / DJ Ginyard November 17—Julius Rodriguez November 18-19—Keyon Harrold November 20-21—Cimafunk November 22-23—Goapele November 24-25—James Francies / Joel Ross / Blaque Dynamite November 28-30—Andra Day December 1—Lady Blackbird Residency December 2-3—Adam Blackstone December 4—Gallant December 5-7—Derrick Hodge December 8—James Fauntleroy December 9-10—Theo Croker December 11—Ben Folds December 12-14—The Free Nationals December 15—Charles Lloyd Quartet December 16-21—Robert Glasper January 9-11—José James January 26—Lady Blackbird Residency March 23—Lady Blackbird Residency Blue Note Los Angeles is located at 6372 Sunset Boulevard in Hollywood.
Mail & Guardian
12-06-2025
- Entertainment
- Mail & Guardian
2025 Standard Bank Joy of Jazz: A three-day celebration of African and global jazz
Africa's premier jazz event, the Standard Bank Joy of Jazz, returns in 2025 with a bold, expanded vision, offering three full days of live music, artistic innovation, and global collaboration. From 26 – 28 September, the Sandton International Convention Centre in Johannesburg will transform into a vibrant hub for jazz lovers, featuring over 60 musicians from 15 countries across three continents. A Festival of Firsts and Fresh Voices For the first time, the festival extends to three days, deepening its commitment to jazz's enduring spirit and highlighting the music's African roots and collaborative culture. This year's programming puts virtuoso women at the forefront, celebrating both legendary icons and rising stars. 'We are excited about where younger musicians are taking the music, whilst acknowledging the incredible voices of leading women of the music today,' says Mantwa Chinoamadi, CEO at T-Musicman, the festival's producer. Four Stages The festival's expertly curated four-stage layout promises a journey through jazz's many moods, from intimate performances to grand ensemble spectacles. Dinaledi Stage: The Dinaledi Stage highlights include: Esperanza Spalding (USA): Multi-GRAMMY-winning bassist and composer, performing works inspired by her collaboration with Brazilian legend Milton Nascimento. Thandi Ntuli (SA) with Blk Elijah & The Children Of Moroë: Featuring special guests Sipho Hotstix Mabuse and Om Alec Khaoli. Lakecia Benjamin (USA): Five-time GRAMMY-nominated saxophonist blending R&B, jazz, and funk. Nomfundo Xaluva (SA), Tshepo Mngoma (SA), Siya Makuzeni Big Band (SA), Steve Dyer (SA): Showcasing the depth of South African jazz talent. Andile Yenana and Cameron Ward: Standard Bank Young Artist alumni, representing the next generation of virtuosity. Diphala Stage: For fans of straight-ahead jazz and improvisational mastery, the Diphala Stage features: The Baylor Project (USA): Acclaimed husband-and-wife jazz duo from New York. Hakan Basar Trio (Turkey), Najponk Trio (Czech Republic), Kyle Shepherd Trio (SA): Showcasing international perspectives and ensemble interplay. Jazzmeia Horn (USA): Rising star vocalist known for her imaginative performances. Simon Denizart (Canada): French-Canadian pianist bringing melodic innovation. Siya 'Jazzmatic' Charles (SA), Phinda Matlala (SA), and Ncesh Nonxishi (SA): Celebrating African spirituals and jazz's expressive roots. Conga Stage: the Conga Stage explores jazz's Pan-African connections and global influences, featurinf Oumou Sangaré (Mali): The iconic griot matriarch of Wassoulou music. Meshell Ndegeocello (USA): Genre-defying musical visionary. Gabi Motuba (SA): Presenting 'The Sabbath,' a testament to South African jazz innovation. Alune Wade (Senegal), Steve Bedi (Ghana): Bringing West African rhythms and melodies. Ababhemu Quartet (SA/Den/Nor): A South African-Nordic collaboration. Fischermanns Orchestra (Switzerland): Large ensemble sound from Europe. Guitar Convergence (SA): Celebrating Mzansi's unique guitar heritage with Moss Mogale, Vusi Mahlasela, and Billy Monama. L'wei Netshivhale (SA): Storytelling through guitar rooted in the Limpopo river basin. Mbira Stage: Cross-Genre Storytelling, the Mbira Stage offers a lighter, more contemporary vibe, blending jazz with soul, R&B, and African Soul: José James Sings Badu (USA): Jazz vocalist reimagining Erykah Badu's songbook. Amanda Black (SA), KB Motsilanyane (SA), Sylent Nqo (Zimbabwe), Tresor (DRC/SA), Velemseni (Eswatini), Leomile (Lesotho): Showcasing Africa's diverse vocal talents. Berita, Mondli Ngcobo, Elaine, The Muses, Beyond Vocal (all SA): Powerful cultural storytelling through music. Muneyi (SA): 2025 Standard Bank Young Artist Award winner, blending folk, indigenous, and contemporary sounds. Honouring Heritage, Celebrating Innovation Now in its 26th year, the Standard Bank Joy of Jazz continues to honour its legacy while pushing boundaries. The festival is a testament to unbroken musical excellence, celebrating both heritage and the future of jazz in Africa and beyond. Tickets and Discounts Tickets are available via Ticketmaster: Day Pass: R1,350 2-Day Pass: R2,250 (Friday & Saturday or Saturday & Sunday) Weekend Pass: R3,250 (all three days) Standard Bank cardholders receive up to 15% off (limit two tickets per person, subject to availability). With a line-up that bridges continents, generations, and genres, the 2025 Standard Bank Joy of Jazz is set to be a landmark event celebrating the ever-evolving sound of jazz and the powerful voices shaping its future.
