The first Festival International de Jazz de Montréal was held at Man and His World (the former Expo ’67 World Fair site). It attracted 12,000 spectators and proved to a highly successful media event. Three broadcasts for television on Radio-Quebec and seven for radio on CBC Stereo produced during the Festival gave organizers the means to begin offering free programming. These included the Vic Vogel Big Band (at the Kiosk International) and an authentic Dixieland band (Dejeans’s Olympia Brass Band) who kept the crowds happy throughout. Outstanding shows included Ray Charles for the opening concert, plus Chick Corea and Gary Burton at Place des Nations.

For its third edition, the Festival International de Jazz de Montréal set up shop in the “Latin Quarter” of St.Denis Street, where a stage was set up at the corner of St.Denis and Ontario Streets for free shows. The Festival catered to 80,000 jazz-lovers in five venues and produced 14 television specials and 29 radio programs. The Festival also officially became a non-profit organization with the aim of showcasing local jazz musicians, and even launched its own record label, featuring recordings of Festival performances, which was distributed by CBS Records. These included the Orchestre Sympathique, the Vic Vogel Big Band and Oliver Jones with Charlie Biddle. The 1st edition of the Concours de Jazz, designed to honour Canadian jazz musicians, was won by Michel Donato. Festival activities now included screenings of jazz films, dance, and bustling street activity. The public and media success of the event was such that the organizers were overwhelmed: additional free outdoor concerts were scheduled to satisfy the demand. The Festival also featured Miles Davis, Pat Metheny, Sonny Rollins, Jaco Pastorius, Buddy Rich and Maneige.

The Festival expanded its activities yet again, offering an even greater selection of jazz artists. This 4^th edition presented eight concert series, six indoor and two outdoor — in addition to the events scheduled at ten-odd St.Denis Street cafés — all in response to the eclectic tastes of various publics. The 1983 Festival's enormous success, this time, was in large measure due to its presentation of free activities, which is what gave the event its biggest boost ever. It was also the first time that two great ladies of jazz were featured, Ella Fitzgerald, for the opening show, and Sarah Vaughan for the closing event. Oscar Peterson made his first festival appearance, as well as the World Saxophone Quartet.
(Footnote: One of the exterior stages was dismantled in the middle of the night on orders from then-mayor Jean Drapeau, following complaints of noise pollution!)

Several special features marked the Festival's 5^th anniversary. St.Denis Street, specially transformed for the occasion, was invaded each night by 20,000 festival-goers of all ages, from all walks of life, because the Festival had started to gain word of mouth beyond our borders. It was now a major-scale event, as hoped for by its founders, and very well attended, which also gave a much-needed financial boost after the first few difficult years. Jazz lovers were able to hear Stéphane Grappelli, Astor Piazzolla (in his first North-American visit), Michel Petrucciani, Gato Barbieri and Guy Nadon. The 5^th anniversary concert at the Forum starred Oscar Peterson and Jean-Luc Ponty, accompanied by the Orchestre symphonique de Montréal under the direction of Charles Dutoit. Belvedere, in collaboration with Air Canada, became an official presenter of the event.

The 6^th Festival was an all-round success, praised by the international press. Covered by specialized magazines and publications from around the world, the Festival was crowned “jazz event of the year” by Leonard Feather, renowned jazz critic of the Los Angeles Times. The Festival won several awards and was publicly recognized by participating musicians as the most important and best jazz festival in the world. 300,000 spectators flocked to St.Denis Street, while 70,000 jazz enthusiasts took in the indoor concerts where some of the greatest names in international jazz performed. The huge program featured Count Basie, Tony Bennett, Biréli Lagrène, Charlie Haden and Uzeb.

The Festival International de Jazz de Montréal continued to expand for its seventh edition, adding a new site to its St.Denis Street location, which was no longer able to accommodate the ever-increasing flow of activities. In addition to the Latin Quarter, the Festival now unfolded on the site demarcated by Place des Arts, the Théâtre du Nouveau Monde, Complexe Desjardins and the Spectrum, and a series of concerts was also presented in Place des Arts itself. For the first time in its history, the number of participating musicians reached the magical threshold of 1,000, and spectators had a daily choice of 25 indoor and outdoor performances. The first Grand Événement, which was to become the midway event of every festival thereafter, starred Chuck Mangione. Another important milestone was the Canada-wide expansion of the Festival's Jazz Competition, with semi-finals in Vancouver, Edmonton, Toronto, Montreal and Halifax, in collaboration with CBC Stereo. More than 425,000 music-lovers attended the Festival's 1986 edition. The annual get-together was host to Astrud Gilberto, Antonio Carlos Jobim, François Bourassa, Paul Bley and Chet Baker.

Finally coming of age, the Festival International de Jazz de Montréal scored an unprecedented success with its 8 th edition — first and foremost for artistic reasons, because it brought together so many styles and trends in jazz. But it also triumphed in terms of attendance, when the half-million mark was reached for the first time, and that in spite of the worst climatic conditions in the Festival's eight-year history. It was also a triumph of civility, as the biggest crowds ever showed admirable restraint and self-control under the circumstances. The Concours de Jazz was attended by semi-finalists from across the country, thanks to Alcan whose support was destined to make the Festival a major international success. The Grand Événement, with Urban Sax, was a big success, too, with 40 saxophonists and mountain-climbers scaling the slopes of Complexe Desjardins! It was the beginning of the Fest’s long tradition of urban animation. George Wein, founder of the Newport and New York jazz festivals, declared on stage that Montrealers were privileged to live in the city where the most complete and best organized jazz festival in the world was held. Great performances were delivered by Gil Evans, Paolo Conte, Bobby McFerrin, Kronos Quartet, Karen Young and Michel Donato. It was in 1987, as well, that Alcan became co-presenters with Labatt Bleue, the Festival’s oldest supporter.

The 9^th edition of the Festival International de Jazz de Montréal was a record-breaker. An estimated 650,000 or more attended upwards of 300 concerts over a period of ten warm, sunny days. A jazz village was created with the amalgamation of the Place des Arts and Complexe Desjardins sites, and became a much sought-after area for families and couples to spend the day. It’s there that Johnny Clegg andSavuka served up a spectacular show for the Grand Événement before a crowd of 60,000. Pat Metheny presided over the ALCAN Jazz Competition and made memorable special guest appearances with the likes of Gary Burton, Charlie Haden, Ornette Coleman, Jack DeJohnette, his brother Mike Metheny, Steve Swallow and Bob Moses. A drawing by Miles Davis became the visual theme for the ninth edition, a self-portrait that was published by the Festival and of which 150 signed serigraphs were made available to the public. If Miles’ electrifying performance at Place des Arts will be remembered forever by all who attended the legendary trumpeter’s concert, it was Pat Metheny who got the final word on the 1988 event, pronouncing it "the best jazz festival in the world."

Picture an enormous cake decorated with ten candles being blown out by 1,000,000 people and you’ll have an idea what the 1989 edition of the Festival International de Jazz de Montreal was like. To celebrate its ten years, the Festival could aim only for excellence with renowned artists like Ray Charles, B.B. King, Gary Burton, Wynton Marsalis and Oscar Peterson in the lineup. Several special events, like the Charlie Haden sessions or the historic concert given by Pat Metheny on McGill College Avenue for 100,000 people, made the 10^th anniversary a spectacular success. As well as the tents and exterior stages that comprised the jazz village, a giant inflatable amphitheatre sponsored by Canadian Airlines International and capable of accommodating 4,000 spectators was erected above Jeanne-Mance Street. And to underline the important contributions of Canadian musicians who had made a name for themselves internationally in the world of jazz, the Festival created the Oscar Peterson Award, bestowed on a Canadian musician who’d made his or her mark. No one will forget those ten days of sunshine, the 2,000 performers, the 600 concerts attended every day by more than 100,000 spectators. In 1989, Montreal was truly the jazz capital of the world.

With the birth of a new decade, the 11^th edition of the Festival International de Jazz de Montreal began the countdown to the year 2000. Rain or shine, almost a million visitors celebrated jazz on a single vast site around the Place des Arts and the Complexe Desjardins, which this year included the Théâtre du Nouveau Monde and two additional exterior stages. Enlivened by astute decorations and great street performers, it was there in the “jazz village” that more than 2,000 artists gave about 300 concerts in a program both respectful of tradition but also embracing diversity and trends toward the future. The opening concert with Jack DeJohnette, Pat Metheny, Herbie Hancock and Dave Holland was spectacular, as was Oliver Jones’show (who won the Oscar-Peterson Award). The exceptional quality of the open-air entertainment and free concerts was underscored by the Événement Alcan and its super salsa show, entitled Salsa Meets Jazz, with salsa greats Celia Cruz, Oscar D’Leon and jazz soloists Chico Freeman and David “Fathead” Newman. It was the first mega-show to feature Latino music at the Festival and provided some of the more remarkable moments of what eminent American jazz critic Leonard Feather had pronounced to be “the most important jazz festival in the world”.

More than one million Montrealers and music-lovers from around the world celebrated the 12^th edition of the Festival in 1991. It was ten days of exceptional jazz blessed by almost perfect weather. One of the most striking features of this particular edition was the new layout of the "jazz village," unified in 1990 around the Place des Arts and the Complexe Desjardins, to which was added the de Maisonneuve Boulevard axis. Festival-goers won't soon forget performances by Steve Swallow, Branford Marsalis, the Barbara Dennerlein Trio, Kenny Neal, Émeline Michel, Holly Cole, Cab Calloway, the Paco de Lucía trio and many others. The Festival's Grand Événement featured a New Orleans evening with Katie Webster, Wayne Toups, Champion Jack Dupree and Buckwheat Zydeco that attracted an enthusiastic crowd of more than 75,000 people.

This Special Edition of the Festival — coinciding with the 350^th birthday of the City of Montreal — will be remembered for its record sales and record attendance, with more than 1,300,000 people, according to a study conducted by IMPACT Récherche. But the 13^th Festival was just as memorable for its fabulous performances and its recently refurbished site, safer and more attractive than ever thanks to the completion of the Place des Arts esplanade. With the city's 350 th-anniversary celebrations in mind, organizers presented 350 performances over the twelve days of the event. Montreal group UZEB, uniting for one of their last shows together, was given the considerable task of presenting the Festival's Grand Événement. The traditional mega-concert attracted more than 95,000 spectators, who appreciated the urban decor designed specifically for the occasion by Michel Lemieux. Performers supplied the balance of this edition's magical moments: Charlie Haden, Al Di Meola, Larry Coryell, Kind Sunny Ade, the Oliver Jones Trio and the Vic Vogel Big Band were among the 2,000 musicians who made the event such an overwhelming success. National and international media coverage increased dramatically, with more than 300 journalists (including representatives from CNN, Entertainment Tonight and the Chicago Tribune) assigned to cover the event.

The sun was very cooperative for the 14^th edition, held July from 1^st to 11^th. The flow of rhythm and harmony was sustained by the outstanding performances of some of the greatest names in the business: Charlie Haden’s Quartet West, Dee Dee Bridgewater, Chucho Valdés, Gerry Mulligan and Dave Brubeck, Keith Jarrett, Rabih Abou-Khalil, the Odean Pope Saxophone Choir. The closing concert with Ginette Reno, who revealed herself to be a wonderful jazz signer with the help of incomparable pianist Oliver Jones, has now taken its place among the most glorious moments in the Festival's history. For the traditional Grand Événement du Maurier, the British group Galliano came to electrify a crowd of nearly 100,000 stomping fans. With more than 300 journalists from all over the world covering the event, media exposure was greater than ever. The Jazz Journalists’ Association honoured us by holding its annual meeting in the shadow of the Festival during the last weekend of the event. Devoted Festival-goers once again broke the previous attendance record, with 1,400,000 visitors scientifically evaluated by IMPACT Récherche. Revenues from the sale of tickets, souvenirs, and services to the public were also record-breaking in 1993, with a 30-percent increase over the previous year. It also marked the year that du Maurier became a presenter of the Festival, in collaboration with Labatt Bleue.

For its 15^th anniversary season, the Festival welcomed more than 1,500,000 people, where the sweltering heat of a Montreal summer was a star performer. The highlight of this musical celebration was the anniversary evening, held at the Théâtre du Forum, featuring Milton Nascimento, Paco de Lucía, and John McLaughlin. And it was the latter who won the first Miles Davis Award, created by Festival organizers to honour an internationally known Jazz musician who’s made an indelible mark on the evolution of the jazz genre. The Grand Événement, for its part, took the form of a Night of the Gypsies with nomadic ensembles Strunz & Farah, the Rosenberg Trio, and Bratsch giving a taste of the gypsy life to 90,000 delighted spectators. The indoor programs were a summary of the first fifteen years of the Festival and presented, among others, some inspired performances by Dee Dee Bridgewater, Joshua Redman, J.J. Johnson, Bryan Setzer, Colin James, Youssou N'Dour, George Benson and Wynton Marsalis. The special Invitation series was also devoted to the multifaceted talent of double-bassist Ron Carter, who played five memorable nights consecutively at the Gesù theatre. Festival staples since its inception, Holly Cole and Oliver Jones respectively dispatched the opening and closing evening celebrations with true Canadian allure. Finally, the international elite of jazz was reunited in a series featuring past winners of the jazz competition, including the Normand Guilbeault Ensemble, winner of the 1994 du Maurier Jazz Award. Pianist Paul Bley, presented in a solo concert format, became the fifth winner of the Oscar Peterson Award. This musically-packed 15^th edition of the Festival was an enormous success with the fans, attracting more than 300,000 tourists to Montreal, who all appreciated the improvements to the Festival site, such as the musical park for children and the outdoor tiered seating.

The summer of 1995 brought with it the usual heat waves and the eagerly anticipated 16^th edition of the Festival International de Jazz de Montréal, which was held from June 29 to July 9. Despite the intense sunshine, festival-goers were undaunted and came in record numbers, passing the one and a half million mark. And thanks in part to a publicity campaign conducted in the eastern United States, the proportion of visitors from abroad increased significantly, giving the event a more international flavor. But the numbers are only secondary when it comes to the overall success of this 16^th edition: most remarkable was the artistic excellence of the performers who participated. The Grand Événement du Maurier, featuring René Dupéré’s music for the Cirque du Soleil, was a spectacular celebration and drew a record audience of nearly 200,000 people who were treated to a gigantic multimedia happening of sound and stunning visual effects. A few days before this, Oscar Peterson had got things rolling with an opening concert that included Montreal bass player Michel Donato receiving the award that bears the name of the legendary Canadian pianist. Indoors, the Invitation series featured sax player David Murray and pianist Randy Weston each presenting four concerts with different musicians every evening in addition to a duo performance together. Blues was served up in two special events held at the Montreal Forum, transformed for the occasion into a gigantic cabaret. B.B. King, Buddy Guy, Etta James and John Mayall all gave their fans memorable moments to cherish. The first Montreal concert by singer Al Jarreau, the Benny Carter Trio with Charlie Haden and Eric Reed, the return of the Brian Setzer Orchestra and the inspired performance of Toots Thielemans: these were just a few of the highlights offered by the Festival’s extraordinary program. Pat Metheny, the Festival’s emblematic performer, paid us another greatly appreciated visit and received the Miles-Davis Award during the closing concert. And pianist Jean-François Groulx and his trio received the du Maurier Jazz Award from the judges of the Festival’s competition. Innovation was part of the 1995 program as well: for the first time, special workshops were organized to allow the public and jazz connoisseurs alike to rub elbows with international stars. These were a great success all round.

Music and good times joined forces once again this year for the 17^th Festival, which drew more than 1.4 million fans between June 27 and July 7. All cultural communities and every generation were represented in the happy crowds on hand to enjoy a record 406 shows and an eclectic lineup of music. The Grand Événement du Maurier — devoted for the first time to traditional jazz — by itself accounted for 130,000 enthusiasts, who gathered to celebrate the musical genius of legendary jazzman Louis Armstrong. Jazz sparkled in all its forms in the course of this edition, which featured a number of remarkable concerts. Chick Corea and his all-star combo evoked the memory of pianist Bud Powell in a masterly performance, while Charlie Haden and his Quartet West overwhelmed us with the world premiere of his show Now Is the Hour, complete with string orchestra. Canadian musicians made a special contribution to this year’s indoor programming, where Michel Donato and Alain Caron played the perfect hosts for the Invitation series. The Miles-Davis Award for 1996 was bestowed on Wayne Shorter, who presented a glittering demonstration of his way with a sax at Théâtre Maisonneuve. Meanwhile, Toronto’s Roy Patterson Quartet took the du Maurier Jazz Award with an inspired showing on one of the outdoor stages, while the eighth Oscar Peterson Award went to renowned Montreal guitarist Nelson Symonds, an honor long overdue for this pioneer of Canadian jazz. Two new series, Jazz Groove and Flamenco Jazz, met with rousing success upstairs at the Spectrum en Haut. The addition of the Parc des Festivals and the relocation of the Place du Maurier stage to the intersection of de Maisonneuve and Jeanne-Mance proved to be positive modifications to the layout of the site, enabling the throngs to get around more easily. Another innovation, the Galerie d’art du Festival, was a hit with festival-goers, who were delighted to come across works by Miles Davis, Miyuki Tanobe and Yves Archambault. Uncooperative weather patterns notwithstanding, the 17^th Festival turned out to be an exceptional popular and artistic success.

The Festival reached the age of majority in 1997, and celebrated its eighteen years with one of the finest editions in its history. Everything went off like clockwork for the gigantic musical celebration that delighted an estimated 1.5 million visitors or more over an 11-day period. The ambiance was outstanding on a site made even more attractive this year by a slightly modified layout, while the number of American tourists on hand to enjoy the proceedings was up by 28 percent. The new Jazz Café turned out to be a huge success, and the Galerie du Festival was bigger and better than ever, featuring among other things the prestigious contribution of a work by Jean-Paul Riopelle. The weather did its best to cooperate, and included a tropical breeze about midway through the Festival, when upwards of 120,000 spectators frolicked under the stars to the Latin rhythms of the band ¡Cubanismo! in the Grand Événement du Maurier. Making use of such new venues as the Métropolis, the Théâtre du Nouveau Monde and Foufounes Électriques, the indoor lineup had a different look to it, and a record 106 concerts served up their share of memorable musical moments. Tony Bennett, at his most charming, offered two sparkling performances, while Pat Metheny presented his own minifestival, taking part in no less than six shows, all with his habitual flair. In the first half of the Invitation series, trombonist Ray Anderson put on dazzling displays of his talent, as did singer Marianne Faithfull and accordionist Richard Galliano in their own inspired performances. New this year, the collaboration between the Festival and the Casino de Montréal was something else to cheer about, presenting the popular revue Blackbirds of Broadway. In the outdoor shows, the group Afro Celt Sound System and the Révélations du Maurier series were among the things that met with special acclaim. Always highly popular with festival-goers, gospel reigned supreme once again on St.Catherine Street, courtesy of the renowned American group the Angelic Gospel Singers. Meanwhile, the Joel Miller Quintet took the du Maurier Jazz Award, while the awards named for Miles Davis and Oscar Peterson went to pianist Herbie Hancock and trombonist-bandleader Rob McConnell respectively. Diana Krall concocted an unforgettable evening. The 18^th was yet another edition of the Festival that flew the colors of resounding success.

With one more day of festivities, which this year ran from July 1^st to 12, the 19^th Festival once more plunged Montreal into the special atmosphere of jazz and its musical relatives. No fewer than 27 concerts were sellouts this year, while overall seat sales rose to 84 percent. And despite the worst weather conditions the event has experienced since 1992, festival-goers were once again out in massive numbers. The presence of tourists and foreign journalists continued to grow, contributing to the ever-expanding impact made by the Festival and the City of Montreal throughout the world. A setting for numerous inspired performances on the part of established artists, the 19 th Festival proved to be fertile ground for discovery seekers as well. Queen Esther Marrow and the Harlem Gospel Singers carried off a perfect communion with more than 100,000 spectators at the Grand Événement du Maurier, in one of its most successful manifestations in the event’s history. The two series devoted to guitarist John Scofield and accordionist Richard Galliano offered some of this edition’s most powerful moments, while shows by Steve Winwood / Tito Puente /  Arturo Sandoval, Compay Segundo, the Herbaliser and the Dave Douglas Quartet also left indelible impressions. On the outdoor stages, Jimmy Bosch, Liquid Soul, the Orchestre National de Barbès, Bernard Allison and the John Stetch Trio were some who shone particularly brightly, with Stetch’s trio earning the du Maurier Jazz Award for 1998. The Miles-Davis Award, meanwhile, went to John Scofield, while the Oscar Peterson Award was presented to none other than colorful Montreal drummer Guy Nadon. This year’s edition was an ideal springboard for the 20^th-anniversary celebrations coming up in 1999.

Over eleven days, from July 1^st to 11, 1999, the Festival International de Jazz de Montréal, this year celebrating its 20^th anniversary, once again transformed the heart of downtown Montreal into a festive gathering spot like no other. With the presence of some 2,000 musicians hailing from roughly 15 countries and a diversified lineup of more than 400 shows — almost 300 of them free of charge in the open air — divided up into 40 daily series, festival-goers were in a position to experience evenings that were quite simply uplifting. Some that will be remembered are the opening gala with a radiant Cassandra Wilson paying homage to Miles Davis, the Invitation series featuring Joe Lovano and Oliver Jones, the series given over to past Festival competition winners, the majestic concert by Jan Garbarek and the Hilliard Ensemble at the Notre-Dame Basilica, the performance by the Herbaliser, and the closing concert, which was devoted to Ella Fitzgerald and in whose memory a prestigious award was created this year. On the outdoor site, swing, blues and music from Louisiana played starring roles. The Ray Gelato Giants, Eric Bibb, 8½ Souvenirs and Steve Riley and the Mamou Playboys, to name just a few, concocted unforgettable evenings. And as for grand multimedia happening, it demonstrated that the Festival knows how to innovate and is not afraid to take risks. In addition to confirming the major impact the Festival makes as much in the promotion and dissemination of jazz as at the economic and tourist levels, this 20^th-anniversary celebration met with great success and stimulated new interest, the more so in that the State of Louisiana this year chose the Festival International de Jazz de Montréal to promote its cultural and other riches while marking three centuries of French-language influence in that corner of America, in the same year that the centenary of the birth of jazz in New Orleans was being celebrated. Rain? Only three outdoor concerts had to be cancelled for reasons of inclement weather (which included a few violent storms). The stage technicians’ strike at Place des Arts, meanwhile, launched only a few days before the start of activities, certainly added to the complexity of organizing the event. But thanks to a team determined to rebuff every sling and arrow of outrageous fortune in order to bring the public the great musical celebration to which it has grown entitled (30,000 seats were manually transferred to other venues located not far from the site; a mere two of the 17 concerts affected by the strike had to be postponed or cancelled), and thanks to the support and patience of the public, there was a constant presence at the box office, with an occupancy rate avec of 82%, and near-record sales of refreshments and souvenirs at Festival stands. The public took full advantage of the site’s unique ambiance and the special activities for the entire family that were organized for the occasion. The parade that opened evening activities, the two cruises on the St.Lawrence aboard the Nouvelle-Orléans, the double exposition in tribute to the Festival’s 20 years presented at the Musée d’art contemporain, the 10^th anniversary of Radio-Jazz Bell and the revamped version of the Petite École du Jazz were some of the daily activities that found special favor with festival-goers. Moreover, the superb Chapiteau du Casino de Montréal and the publication of two historical documents, the souvenir album Portrait of a Festival and the 4-DC set 20 Years of Music contributed to expanding awareness of the event around the world like never before. The Festival also played host, in September 1999, to the annual meeting of the European Jazz Festivals Organization (EJFO), of which it is the only North American member. With its future assured, the Festival officially announced, at the beginning of November, that General Motors of Canada was becoming the event’s new presenter, in an agreement to run at least five years and including the special New year’s Eve edition presented on December 31, 1999 at the Montreal Convention Center to crown the 20^th anniversary celebrations and mark with special flair the passage into the new millennium.

Starring some of the greatest jazz musicians of yesteryear and of today, from Louis Armstrong to John Zorn, the 21^st edition of the Festival International de Jazz de Montréal reaped a remarkable artistic success, as well as an unprecedented popular appreciation. To wit, during the eleven days of the Festival, over 100,000 spectators came to one or the other of the 127 concerts and events scheduled in the indoor programming component. 26 of these concerts were sold out, half of them featuring Canadian musicians. In spite of some of the worst weather conditions in its history, the public turnout to the 300 outdoor events was more than satisfactory, with assistance figures estimated at 1.6 million festival-goers. The Grand Événement General Motors, celebrating the 500 th anniversary of Brazil and starring Timbalada, attracted more than 225,000 spectators, breaking all previous records for that event set by the Festival. The gigantic Brazilian free outdoor celebration greatly added to the Festival's international fame, as it was televised live in the Americas, then broadcast at a later date the world over by TV5. The success of the 2000 edition was also due to the financial surplus generated through its activities, which hadn't happened since 1995, and which went toward eliminating the Festival's deficit. In generating increased sales on site, as well as record box office sales to the tune of three million dollars, also a first in its history, the Festival set down strong foundations which will ensure its brilliant future, with renewed support from its partners, private and public, this year notably that of General Motors Canada, the Festival’s official, presenting sponsor. With a more festive, more family oriented outdoor site, increased security and street entertainers that attracted bigger crowds, perambulators for young children, the new du Maurier stage, the important presence of Louisiana, whose most illustrious son, Louis Armstrong, was the focus of celebration in 2000, new rest areas and improved food services, as well as the return of Radio-Jazz Bell, we can state without a doubt that nothing was left to chance in order to please the thousands of festival-goers. Finally, as hundreds of visitors remarked on, the great variety of artistic choices, the many surprises and musical discoveries, the security of the site, the welcoming atmosphere, were especially appreciated this year. As for the concerts, those in the Invitation series warrant to be underlined, as carte blanche was given to Dave Holland and Jim Hall; other concerts well worth mentioning: Brad Mehldau, Dianne Reeves, Ray Brown, Bill Frisell, Charlie Haden, and Shirley Horn. Magical moments were also shared with the likes of Patty Smith, Maceo Parker, Jay-Jay Johanson, Ranee Lee in "Dark Divas", Medeski Martin Wood and friends, and John Zorn. Intensity was the buzzword during the performances by Arturo Sandoval, Holly Cole, John Pizzarelli, and Al Jarreau. As for the revelations and favourite shows of artists performing for the first time ever in Montreal at the 2000 Festival, names that immediately come to mind include Avishai Cohen, the Italian Instabile Orchestra, Enrico Rava, and the Fresu Quintet in "Shades of Chet", Lenine, Marc Ribot y Los Cubanos Postizos, and Marcio Faraco, as well as Erik Truffaz, Rockie Charles, Orishas, Milton Esteban, P18, Mukta, Bernard Primeau, and Jonas & The Blues Blooded. Les Soirées toniques du Maurier, dedicated to ska, managed to enthral a vast public. Also worthy of mention are creations such as Charles  Papasoff 's "Catharsis II", which opened the Festival, as well as the mesmerizing evening presented by Lorraine Desmarais, accompanied by three other great pianists from Quebec, François Bourassa, James Gelfand, and Vic Vogel. And not forgetting Angèle Dubeau and La Pietà, performing works by Dave Brubeck who, in the second part of the evening, joined them on stage with his quartet. And what a magnificent double bill is was, when two leaders of ex-group UZEB, Michel Cusson and Alain Caron, decided to join forces once again! The icing on the Festival's cake was undoubtedly its series dedicated to the young Montreal formation The Lullaby Baxter Trio, and the Jazz d'ici La Presse, of which six concerts were presented to sold out houses. An extraordinary edition, a spectacular entrance into the new millennium with jazz from A to Z! Extended for the first time with year-long, off-season programming that has met with considerable success in giving pride of place to local musicians, by Spring, 2001, the Festival International de Jazz de Montréal was recognized as the 15^th most admired enterprise by Quebecers, with a 79% appreciation rate. This according to an exclusive poll conducted by Léger Marketing that appeared in the March issue of Commerce magazine. For the exceptional quality of its Internet website, the Festival International de Jazz de Montréal wins the Boomerangs Grand Prize in November 2000. The year 2000 also marked General Motors’ debut as Festival presenter, in collaboration with Labatt Bleue.

Concert grid (810 Ko)

More than 1.7 million festival-goers, 2,500 participating musicians, 400 accredited journalists, some 500 concerts, 11 days of festivities…Without a doubt, the 22^nd Festival International de Jazz de Montréal, held from June 28 to July 8, 2001, demonstrated this year, perhaps more than any other, that it’s the best musical event of its kind. “ Everything about this festival is superb [ … ] It is my favourite Festival in the world but it's also the best [ … ] The key thing in this festival is STYLE ”, Michael Bourne, Senior writer of Downbeat. Despite cold and gloomy weather, an unprecedented attendance record was set for a festival in Canada. Many factors spell such a success. Of course, the Festival’s legendary welcoming, warm and human atmosphere as well as the site’s beauty, have something to do with it. Odds are, however, that the 2001 program, jam-packed with new acts, first-time performances and musical creations as well as one-of-a-kind classics, offered as much by local talent as by many world-renowned stars, has much to do with the overall appreciation of the event. Proof of this is ticket sales, which, for the first time in Festival history, broke the magic $3M mark, for an increase of 50% over last year, and two-thirds of the concerts were sold out this year. A special mention, tenor and soprano saxophonist David Murray; American trumpeter Wallace Roney’s homage to Miles Davis; the cozy evening with double bassist Charlie Haden accompanied by pianist Gonzalo Rubalcaba; the entire Jazz Europa “Italie” series featuring Italy’s most brilliant musicians; the meeting onstage of trumpeter Roy Hargrove, bassist and double bassist Christian McBride and guitarist Russell Malone; the opening of the festivities by none other than Diana Krall, winner of the 2001 Ella-Fitzgerald Award; the magnificent concert given by the legendary group, Remember Shakti; Prince’s simply impeccable and memorable performance; the stunning vocals of singer Jane Monheit; and the extraordinary evening spent in the company of Manu Chao, who had the Métropolis going as rarely seen before. Also of special note at this 22 nd edition, the performance by singer Nicole Willis and saxophonist Jimi Tenor, Montreal’s own Voodoo Jazz group; the presence of singer Beady Belle, keyboardist Bugge Wesseltoft and the striking Medeski Martin & Wood joined, for the occasion, by John Scofield on guitar and DJ Logic at the turntables. There was also the fabulous concert given by the Chris Potter Quartet; the performance of tenor saxophonist Charles Lloyd joined by John Abercrombie, Marc Johnson, Geri Allen and Billy Hart, as well as the performance of one-of-a-kind Michael Brecker with pianist Danilo Pérez and double bassist Charlie Haden; pianist Jean Beaudet’s inspired playing; the lively performances of Steve Hill and Lulu Hughes; the show by Nick Ali & Cruzao, a Toronto group that received the Grand Prix de Jazz General Motors and the Bourse Galaxie 2001… and so many more! As well, more than two million hits were made on the Festival’s official Internet site (Info-Jazz Bell), an increase of 200% over last year — more than half of the people checking out the Festival’s web site came from the United States — moreover, this year tourists bought 40% of tickets over the Internet, and for another first, purchased more than 30% of the Festival’s entire tickets, and sales registered at the on-site kiosks were higher than last year’s too. That said, around 75,000 ouvenir items and no less than 550,000 units of food and beer were sold, sales of which go toward financing free outdoor concerts. Also of note, the colourful New Orleans jazz quarter left many fascinated with its illuminated “cordelières”, its typically spicy cuisine and its daily shows. Plus, the giant screen and catwalk of the Labatt Bleue stage, the presentation of new series devoted to voice, reggae, soul and acoustic guitar, and the addition of many more seated areas, including new stands, have certainly not gone unnoticed. Likewise for the new Banque Nationale’s stage shaped in the form of a music stand and its ever-packed eating areas, such as the President’s Choice Terrasse and the Languedoc-Rousillon wine and cheese bistro. That said, THE surprise of the summer remains the new du Maurier Club, with which the Festival has finally found the perfect formula for presenting jazz music under the open sky. For its part, the Grand Événement General Motors contributed once again to uniting different cultures as more than 100,000 people came to feel the rhythms of Groove Alla Turca! At the popular du Maurier Jam Sessions, George Benson, Roy Hargrove, James Carter, Russell Malone and Rémi Bolduc, to name just a few, showed up to play. Undeniably, this prestigious edition leaves us anticipating the most memorable moments of musical escapes, whether with family or friends, for years to come!

Concert grid(887 Ko)

This year, the Festival, which has unofficially launched the summer season in Montreal for the past 23 years, coincided with the arrival of the kind of summer that had been eagerly awaited. Cool, gloomy weather was suddenly followed by the start of an occasionally suffocating heat wave. This, however, did not stop 1,650,000 festival-goers from flocking to the event site, which offfered fans of the giant musical celebration an even more festive environment than ever, along with many new activities especially intended to delight children.

Some 500 indoor and outdoor concerts and other events provided innumerable heartfelt moments. Praised by critics and always greatly appreciated by the artists who take part in it, the Festival, which has itself acquired star status in the jazz world, attracted roughly 400 journalists from many far-flung countries, including Germany, South Korea and Italy, who attested to the diversity and remarkable quality of the 2002 program. Among the large number of magnificent concerts staged for the occasion, several supplied the audience, as well as event organizers, with particularly intense emotions. Examples include Richard Galliano's tribute to Astor Piazzolla, who died 10 years ago and whom the Festival introduced to the rest of North America, the breathtaking performance by virtuoso guitarist Biréli Lagrene, the intimate c