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Statement from George Koller, Gary Karr Library Manager, Friend, and Devoted Fellow Musician

Eric Alper
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Statement from George Koller, Gary Karr Library Manager, Friend, and Devoted Fellow Musician

In the wake of Gary Karr’s passing, my heart is full — with sorrow, yes, but also with an overwhelming sense of gratitude. Over the last three years, I had the rare gift of knowing Gary deeply: as a colleague, a friend, and as the manager of the Gary Karr Library, now housed in the lower level of Hugh’s Room in Toronto. In that time, I came to see what many have known for decades — that Gary was not just a musical genius, but a radiant soul who lived each day with clarity, humility, and a childlike wonder.

Gary’s mantra, even in his final days, was one of joy. When he learned of his Stage 4 diagnosis, he said without hesitation: “I’ve lived a most incredible life.” And it’s true. A full solo career on double bass — once thought impossible — dozens of recordings, hundreds of commissioned works, and thousands of students across the globe. He awoke each day at 5:30 a.m. to play music while the sun came up, often Bach. He believed in beauty and in sharing knowledge freely, and he lived those values until the very end.

Though we’re not ready to announce memorial plans just yet, I can share that there will be celebrations of Gary’s life in both Victoria and Toronto in the coming months and a recent posting of a tribute concert at the Bass festival in Belgium on August 22. These will be true to who Gary was: generous, loving, filled with music, and open to all. We know how many in the bass community — and beyond — want a moment to come together and remember this extraordinary man.

The Gary Karr Library in Toronto will continue — and grow. It remains a living, breathing tribute to Gary’s legacy, offering inspiration to new generations of players, thinkers, and dreamers. There are still unreleased recordings to come, and we are committed to honouring and preserving his artistry with the care and attention it so richly deserves.

A recent development that thrilled Gary was the digital reissue of 17 of his recordings through Japan’s King Records. These performances, once available only on vinyl and CD, are now accessible to listeners around the world. It means the next generation can hear Gary’s mastery as vividly as those who sat in concert halls decades ago. These recordings are a bridge — from the past to the future — and a fitting addition to his ongoing legacy.

What stood out most in Gary was how he gave others permission to shine. Whether in a one-on- one lesson or on the stage of a bass convention, he had a way of planting a tiny seed of insight that could transform a student’s life — if they were open to it. He was both virtuoso and gentle guide. A performer who could dazzle with ease, and a teacher who listened with care.

In the hundreds of bass events, masterclasses, and casual conversations I’ve witnessed, I saw the respect and affection Gary commanded — not just as an artist, but as a human.

being. He could move effortlessly between solitude and celebration, criticism, and praise, and he always stayed true to who he was. Simply, humbly, joyfully.

Gary Karr was — and remains — a North Star for so many of us. I miss him deeply. But I also know that his spirit plays on: in his recordings, in the library that bears his name, in the students who carry forward his teachings, and in the sunrise music that still echoes every morning.

— George Koller Gary Karr Library Manager Toronto, Ontario August 2025

Vancouver’s Mark Ledlin Hits the Gas with Blue-Collar Anthem “Wish I Was”

Eric Alper
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Vancouver’s Mark Ledlin Hits the Gas with Blue-Collar Anthem “Wish I Was”

— Mark Ledlin is swinging for the fences again. His new single “Wish I Was,” out now via XOXO Entertainment Corp./Believe, is more than a summer anthem—it’s a working-class dream set to a driving country-rock beat, penned by a man who traded his pro hockey gear for a guitar and never looked back.

Written by Ledlin alongside powerhouse collaborators Dan Botch, Garrett Ward, and David Borys, guaranteed Song of the Summer “Wish I Was” is sure to reach the same success as his breakout hit “Jealous of Jesus” which has amassed 2 million streams across your favourite streaming platforms. “Wish I Was” is the next chapter in a story that’s inspiring fans from coast to coast.

“I’ve always had these massive dreams—whether it’s music, sports, or just building something cool,” says Ledlin. “This one’s for anyone who’s sat there thinking ‘man, that’d be cool to have’ and decided to make it happen.”

The song was born on the water—literally. While vacationing with his girlfriend’s family in Bamfield, BC, the song took shape between fishing trips and life advice. “My father-in-law was putting fish on ice and dropping wisdom at the same time,” he says. “That ended up right in the lyrics. It’s all real.”

With guitar in hand and work boots on, Ledlin wrote “Wish I Was” for the dreamers building their lives one swing of the hammer at a time. “From second jobs to second verses, this is where real life meets country soul,” he says. “A blue-collar anthem for anyone grinding until there’s no more ‘wish I was’ left.”

Produced by Ledlin, Dan Botch, and Garrett Ward, the song showcases a rock-solid connection between artist and team. “The vibe was already in my head when we stepped into the studio,” says Ledlin. “Once we found the right chords, it just clicked. Like a lightbulb moment.”

The release continues a meteoric rise for Ledlin, who retired from pro hockey to chase his musical passion full-time. “I may still work 40+ hours a week, but music makes me a richer man than any number in my bank account,” he says.

With lyrics that dig deep and a melody built for late nights and long drives, “Wish I Was” captures the essence of Ledlin’s approach to songwriting: honest, driven, and rooted in experience. “I didn’t sing four years ago,” he adds. “Now I sing for thousands. Free will is beautiful—because there’s a million ways to your dream. You just have to wish it enough to get moving.”

Mark Ledlin Tour Dates:

August 15th – Chilliwack Mural Festival 

August 22nd – Cold Lake Mudfest

September 14th – Barnside Festival Ladner

5 Surprising Facts About Sade’s ‘Stronger Than Pride’

Eric Alper
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5 Surprising Facts About Sade’s ‘Stronger Than Pride’

When Stronger Than Pride arrived in 1988, it carried the warmth of sunlit studios and the clarity of a band confident in its direction. Its sound was spacious yet intimate, balancing restraint with emotional depth. This was Sade refining their voice, shaping each track with precision, and allowing silence to speak as powerfully as melody.

1. A Vision of Space and Simplicity
Sade Adu set the tone for the album’s production with a clear intention: to keep the arrangements basic, let the quiet songs breathe, and make the harder songs hit with more force. She wanted the voice to stand front and center, creating a direct connection between the music and the listener.

2. From Spain to the Bahamas
The album’s writing sessions began in Spain and London, capturing ideas in varied surroundings. Recording then took place in France and the Bahamas over the course of a year, bringing in the warmth and openness of those environments into the final sound.

3. First Steps as Sole Producer
With Robin Millar no longer able to continue after going blind during the making of Promise, Adu took on the role of self-producing the album. This was the first time she guided the record’s sound entirely, marking a milestone in her artistic independence.

4. A New Way of Writing Together
Stuart Matthewman noted that Stronger Than Pride was the first Sade album where songs were written piece by piece rather than as a collective. This shift in process brought a fresh dynamic to the songwriting, allowing each element to be carefully shaped before being woven into the whole.

5. Critical Recognition Across Decades
Upon release, the album became a commercial success, reaching the top 10 in multiple countries and spawning five singles. Decades later, it continues to be celebrated—Pitchfork ranked it number 37 on its list of “The 200 Best Albums of the 1980s,” underscoring its enduring influence.

Stronger Than Pride remains a work of poise and precision. Its understated production and carefully crafted songs speak with lasting elegance, embodying the quiet strength at the heart of Sade’s music. It stands as both a statement of independence and a testament to the beauty of musical restraint.

5 Surprising Facts About Leonard Cohen’s ‘I’m Your Man’

Eric Alper
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5 Surprising Facts About Leonard Cohen’s ‘I’m Your Man’

Released in 1988, I’m Your Man brought Leonard Cohen into a new era of sound and storytelling. With its bold embrace of synthesizers, drum machines, and cinematic arrangements, the album became a defining chapter in his career. Each track carries both precision and emotional weight, offering an intimate look at an artist deeply attuned to his craft.

1. A Global Studio Journey
The album was recorded across Los Angeles, Montreal, and Paris, bringing together a trio of contributing producers alongside Cohen himself. It was the first studio album where he took sole production credit, weaving modern textures with traditional instrumentation such as bouzouki, oud, and violin. This combination created a sonic space that was both contemporary and timeless.

2. A Voice in Full Stride
By the time of I’m Your Man, Cohen felt his voice had reached the strength and authority he had long sought. He spoke of being able to deliver songs with the necessary intensity, marking the album as a point where his vocal delivery and lyrical intent aligned completely. The result was a sound that carried both depth and assurance.

3. Poetry in Motion: “Take This Waltz”
“Take This Waltz” was adapted from Federico García Lorca’s poem Pequeño vals vienés, one of Cohen’s personal favorites. Originally recorded for a Lorca tribute album in 1986, it found a new life here with violin and duet vocals from Jennifer Warnes. The song became a chart-topper in Spain, a testament to the enduring resonance of Lorca’s imagery paired with Cohen’s music.

4. “Tower of Song” as a Songwriter’s Testament
“Tower of Song” stands as a meditation on the art of writing itself. Completed in Montreal and first recorded on a toy synthesizer, the piece reflects on aging, inspiration, and devotion to the craft. The lyric “I was born with the gift of a golden voice” became a beloved moment in live performances, celebrated for its humility and humor.

5. An Image That Spoke Volumes
The album’s cover—Cohen in a pin-striped suit, sunglasses, and a banana in hand—was captured spontaneously during a video shoot visit. Cohen felt the image reflected the human paradox of self-assured presentation and the gentle absurdity beneath it. It became not only the album’s visual signature but also the centerpiece of his 1988 tour promotion.

I’m Your Man stands as a pivotal work in Leonard Cohen’s catalog. It bridges his poetic origins with a modern production approach, pairing unflinching lyrical clarity with musical sophistication. Decades on, it continues to invite listeners into a world where every word is measured, every note intentional, and every song a quiet monument.

5 Surprising Facts About Prince’s ‘Dirty Mind’

Eric Alper
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5 Surprising Facts About Prince’s ‘Dirty Mind’

If Dirty Mind were a cocktail, it’d be equal parts sweat, sass, and sonic revolution—served straight, no chaser. In 1980, Prince dropped this raw, genre-bending gem, blurring lines between funk, rock, new wave, and punk, all while turning up the heat lyrically and visually. Let’s crank the volume and dig into five facts that prove Dirty Mind was as bold as it was brilliant.

1. The Basement Where the Funk Got Filthy
Forget plush studios—Prince made Dirty Mind in a 16-track setup in his own basement on Lake Minnetonka. Under the alias “Jamie Starr,” he engineered it himself, often recording entire tracks in a single night. The result? A raw, stripped-back sound that felt more like a live wire than a polished pop product.

2. Born on the Road, Raised on the Edge
Half the songs were born while Prince was touring as Rick James’ opener. With downtime between gigs, he and the band jammed, fusing funk grooves with rock grit. Those rough sketches morphed into the album’s fearless tracks—proof that inspiration doesn’t always wait for a studio booking.

3. “Uptown” Was More Than a Groove
The lead single “Uptown” was funky dance-floor filler, sure, but it was a utopian manifesto against prejudice. Inspired by a Minneapolis artist haven, the song flips an awkward “Are you gay?” encounter into a celebration of racial and sexual freedom. In 1980, that made it one of the boldest R&B radio hits around.

4. The Wildest Tracks Weren’t Just About Shock
Songs like “Head” and “Sister” earned a reputation for being downright notorious. But behind the scandal was Prince’s artful play with identity, taboos, and performance. “Head” drips with synth-funk seduction, while “Sister” explodes in punk energy—both breaking rules with purpose, not just provocation.

5. A Jam That Sparked a Band
“Partyup” started as a bass-and-drum groove from Prince’s friend Morris Day. Prince reworked it into a funk-rock rally against war and the military draft—then offered Day a choice: cash or a record deal. Day picked the deal, leading to the birth of The Time. That’s funk history in the making.

Dirty Mind was a line in the sand. Prince erased all the boundries, making music that was unapologetically raw, political, and sexy. Decades later, it still sounds like freedom with a backbeat.

5 Surprising Facts About Talk Talk’s ‘Spirit of Eden’

Eric Alper
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5 Surprising Facts About Talk Talk’s ‘Spirit of Eden’

When Spirit of Eden landed in 1988, it left many listeners bewildered. Gone was Talk Talk’s radio-friendly synth-pop; in its place came a meditative, genre-blending masterpiece that would only reveal its genius over time. Here are five fascinating insights into an album that quietly changed music history.

1. Recorded in Complete Darkness
For much of its year-long creation at London’s Wessex Studios, Spirit of Eden was made in near-total darkness. Candles, oil wheels, and strobes set the mood, disorienting musicians and removing any sense of time. This intense, immersive environment helped coax spontaneous performances that Mark Hollis and Tim Friese-Greene would later painstakingly edit into the album’s final form.

2. Built from Hours of Improvisation
The songs weren’t written in a traditional verse-chorus structure. Instead, Talk Talk recorded many hours of improvised playing, drawing from jazz, ambient, classical, blues, and dub. Hollis and Friese-Greene then sculpted these raw takes—cutting, rearranging, and layering—to create six seamless tracks that feel both spontaneous and meticulously crafted.

3. A Radical Break from Their Past
Talk Talk had found commercial success with 1986’s The Colour of Spring, selling over two million copies. But Spirit of Eden abandoned chart-friendly synth-pop for a sound critics called uncommercial. It was a brave leap that alienated some fans at first but would later earn the album a reputation as a post-rock pioneer.

4. An Anti-Heroin Song at Its Heart
“I Believe in You,” the album’s only single, is a haunting anti-heroin statement. Hollis wrote it after witnessing friends fall into addiction, determined to strip away the glamorization of the drug in rock culture. Despite his reluctance to release it as a single, the song remains one of the album’s emotional high points.

5. A Landmark That Outgrew Its Reception
Upon release, Spirit of Eden was a commercial disappointment compared to its predecessor, peaking at #19 in the UK and fading from the charts after five weeks. But over the decades, critics have embraced it as an underrated masterpiece.

Spirit of Eden is proof that art often outlasts initial misunderstanding. From its shadowy recording sessions to its fearless genre fusion, it stands as one of the most uncompromising and quietly revolutionary albums of the 1980s—a record that continues to inspire musicians who dare to follow their own path.

The Describers Release “Leaving Early From the Big Goodbye” Featuring Eric Slick and Ryan Schwabe

Eric Alper
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The Describers Release “Leaving Early From the Big Goodbye” Featuring Eric Slick and Ryan Schwabe

The Describers, led by songwriter Jason McGovern, return with new single, “Leaving Early From the Big Goodbye.” Blending Americana with indie pop, the song captures the awkward ache of social disconnection—and tells the story of a fleeting spark of a moment that nearly became something more.

McGovern, active in Philly’s DIY music scene and recently a co-producer for The Tisburys’ A Still Life Revisited, has been releasing music as The Describers since 2018. Known for mixing folk storytelling with home-studio experimentation, he strikes a balance here: introspective lyrics delivered with charm.

The new song paints the scene of a house party both crowded and isolating. Two people, equally out of place, share a glance, and then one vanishes before anything real can form. “You slowly slip into the night / I saw you leaving early from the big goodbye,” McGovern sings, capturing the feeling of a connection lost before it began.

With drums by Eric Slick (Dr. Dog) and mastering from Ryan Schwabe (Hop Along, Beach Bunny), the track combines experienced production with raw sentiment. Recorded at both McGovern’s home studio and Kawari Sound, it’s a short story set to music: honest, wistful, and familiar.

Dive into “Leaving Early From the Big Goodbye”—out now on all platforms.

Wyatt Ellis Reimagines Bluegrass Classic “Country Boy Rock ’N Roll” With Trey Hensley and Michael Cleveland

Eric Alper
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Wyatt Ellis Reimagines Bluegrass Classic “Country Boy Rock ’N Roll” With Trey Hensley and Michael Cleveland

Wyatt Ellis continues to reinvigorate the traditional bluegrass cannon with his powerful rendition of “Country Boy Rock ’N Roll,” a song originally brought to life by Don Reno, Red Smiley, and The Tennessee Cutups in 1956. First discovering the track as a country song through one of his musical heroes, Marty Stuart, Ellis soon uncovered the song’s bluegrass roots. With lyrics that echo his own rural upbringing and go on to mirror his musical journey, the track highlights the enduring appeal of bluegrass and its ability to connect across generations. With his signature mandolin playing and lead vocals, Ellis is joined by two of today’s most accomplished bluegrass musicians. Trey Hensley contributes tenor vocals and powerful guitar work, while Michael Cleveland delivers an electrifying fiddle performance alongside Noah Goebel’s twin fiddle harmony.  

The rhythm section is driven by Gibson Davis on banjo and Sarah Griffin on upright bass, two members of Ellis’ touring band. Together, they breathe new life into this bluegrass classic while staying true to its spirit. This version of “Country Boy Rock ’N Roll” proves that bluegrass can evolve without losing sight of where it came from. At just 16, Wyatt Ellis is one of the most exciting young voices in the genre. Building on the momentum of his debut album Happy Valley, he steps further into his role as a bandleader and vocalist. Inspired by the bluegrass legends who came before him, Ellis’ deep respect for tradition combined with a bold sense of creativity sets him apart as a torchbearer for the next era of bluegrass.

Directed by Joseph Cash, the video was shot at various locations in Paris, KY including Stone Farm, a prestigious location known for breeding champion horses.

Born in the rich musical bed of East Tennessee, Wyatt Ellis has quickly become one of the most-watched young musicians in bluegrass. A skilled vocalist, gifted multi-instrumentalist, and natural bandleader, Wyatt is redefining what it means to carry tradition forward with heart and authenticity. Raised near the Great Smoky Mountains, his first memory of hearing the mandolin—Bobby Osborne’s solo on the bluegrass classic “Rocky Top”—sparked a deep love for the instrument. That early inspiration came full circle when Wyatt was mentored by the legendary musician himself, and later featured on Bobby’s final recording of the Tennessee anthem that first drew his heart to music. During the pandemic, Wyatt poured himself into learning. He studied with master musicians, composed original tunes, and developed a voice and sound all his own. From pickin’ alone in his living room to fronting a dynamic band on stages across the country, Wyatt’s path has been unparalleled. His debut album, Happy Valley, a reflection of his East Tennessee roots and musical virtuosity, debuted at #1 on the Billboard Bluegrass Albums chart—marking the arrival of a bold new voice grounded in tradition.

Luther Dickinson Announces ‘Dead Blues Vol. 1’ Featuring Grahame Lesh, Steve Selvidge, and Datrian Johnson

Eric Alper
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Luther Dickinson Announces ‘Dead Blues Vol. 1’ Featuring Grahame Lesh, Steve Selvidge, and Datrian Johnson

Luther Dickinson of North Mississippi Allstars will release Dead Blues Vol. 1 on October 17, 2025 via Strolling Bones Records. The 9-song set was produced by the 10-time GRAMMY Award-nominated Dickinson and is a collection of blues songs the Grateful Dead performed throughout their career by Blind Lemon Jefferson, Bo Diddley, the Mississippi Sheiks, Willie Dixon, and more. The album features vocals by Datrian Johnson, as well as a host of special guests including Phil Lesh’s son Grahame Lesh, Steve Selvidge of The Hold Steady, Dickinson’s brother and North Mississippi Allstars bandmates, Cody Dickinson, and Ray Ray Holloman (Eminem), and more. 
 
Dead Blues Vol. 1 lands somewhere between the Mississippi Delta and outer space, reimagining an array of traditional blues tunes from the Dead’s catalog through a boldly experimental sonic palette. The songs here bear little resemblance to their forefathers; the musical beds are more Memphis funk and jazz than blues and folk, and the melodies are completely transformed to match. Only the lyrics remain largely unchanged, and the result is an exhilaratingly adventurous work that’s equal parts innovation and preservation. Dead Blues Vol. 1 is a distinctly modern, original take on the foundational building blocks of American music delivered by one of its most steadfast champions. 

Dickinson may have grown up on roots music, but for the last decade, he’s had his mind on the Grateful Dead thanks to the late Phil Lesh, who invited him and his brother to join the Phil & Friends collective back in 2013. “I honestly hadn’t spent much time with the Dead’s music growing up,” Dickinson confesses, “but when Phil invited Cody and I to play with him, we jumped at the opportunity.” The pair then studied up on the band’s catalog in preparation for rehearsals and performances with the legendary bassist. “The more we performed together, the more I realized how many great old blues songs the Dead had played in their time, which led to the Dead Blues concept.” Dickinson adds, “Phil changed my life. He welcomed me into his crew, taught me his repertoire, shared his improvisational approaches, and introduced me to a whole new community of musicians. This record reflects Phil’s wild musical spirit and approach to re-interpretation.”

When the pandemic put a stop to touring and performing in 2020, Dickinson found himself working on an instrumental album written on bass and keyboards. As the project evolved, he began bringing in friends and family to help flesh out the tracks. Just when he thought he was finished, a new friend arrived to change everything. “When John Medeski introduced me to Datrian Johnson, I had this revelation that he could sing the lyrics from the Dead Blues catalog on top of my instrumentals. He’s one of the most moving vocalists I’ve ever worked with on stage, and recording with him was just so effortless. He understood exactly what I was trying to do and brought this record to a whole new level.” 
 
Dead Blues Vol. 1 may end up surprising longtime listeners of Dickinson, and that’s precisely the point. Dead Blues is, in the end, neither a blues record nor a Dead record, but rather something wholly new inspired by the revolutionary impact of both.” 
 
Dead Blues Vol. 1 will be available across digital platforms, compact disc, and standard black vinyl and is available for pre-order NOW via STROLLING BONES RECORDS.

Dead Blues Vol. 1 Track Listing: 
 
1. One Kind Favor 
2. Who Do You Love 
3. Sitting on Top of the World 
4. King Bee 
5. Mystery Train 
6. Minglewood Blues 
7. I Just Want to Make Love to You 
8. Little Red Rooster 
9. High Heeled Sneakers

MONTCLAIR JAZZ FESTIVAL Downtown Jamboree to Feature Christian McBride, Lakecia Benjamin, Jazzmeia Horn, and More September 13

Eric Alper
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MONTCLAIR JAZZ FESTIVAL Downtown Jamboree to Feature Christian McBride, Lakecia Benjamin, Jazzmeia Horn, and More September 13

The nationally-recognized nonprofit organization JAZZ HOUSE KiDS announced the full lineup of the MONTCLAIR JAZZ FESTIVAL Downtown Jamboree and Block Party, taking place in downtown Montclair, NJ on September 13. 

The Gotham Kings led by trumpeter and two-time GRAMMY winner Alphonso Horne kicks off the Downtown Jamboree with the sounds of New Orleans and his high energy second line band. This year’s headliners performing on the main stage sponsored by Signature Cruise Experiences include acclaimed saxophonist Lakecia Benjamin and Phoenix with a meld of jazz, R&B and funk; the multi-awarding winning vocalist Jazzmeia Horn; Christian McBride’s Ursa Major, the nine-time GRAMMY winner’s bold multi-generational quintet; and the JAZZ HOUSE Collective celebrating the music of this year’s Legacy Artist, New Jersey’s own James Moody. 

There is more music on the Emerging Musicians Stage, where more than 50 young artists from the JAZZ HOUSE KiDS program ages 14 to 25 will be featured, including the debut of this year’s alumni JAZZ HOUSE All-Stars, a group of accomplished musicians who will set sail in January 2026 on McBride’s World at Sea, bringing the thrill of live performance across the Caribbean and performing on the same stage as some of the hottest stars today including Samara Joy, Ledisi, Benny Green, Cecile McLaurant Salvant and the Christian McBride Big Band.

McBride is JAZZ HOUSE Artistic Director and Curator of the MONTCLAIR JAZZ FEST. Earlier this month, NPR’s Morning Edition aired an interview with McBride and JAZZ HOUSE KiDS Founder Melissa Walker about the organization and its talented alumni making waves in the jazz world including Matthew Whitaker, Isaiah Thompson, Julian Lee and Zoe Obadia.   

“This year’s MONTCLAIR JAZZ FEST lineup is a thrilling showcase of jazz’s boundless creativity.  World-class artists and up-and-coming musicians bring their bold voices and magic to the stage, reflecting the heartbeat of this culturally-rich community full of fans that have supported this festival for more than 15 years. It’s not just a celebration of world-class talent but of the joyful, unifying spirit of jazz that continues to bring us all together.” – Christian McBride, Artistic Director + Curator 

But keeping pace with the festival’s success and popularity has required tremendous effort and resources. For the first time, due to today’s volatile climate and uncertainty, several committed government and corporate sponsors—including the National Endowment for the Arts—have rescinded funding, requiring innovation, adjustments, and new partnerships to sustain the Festival.

Despite challenging times and ongoing uncertainty in arts funding, JAZZ HOUSE KiDS remains steadfast in its mission: to bring world-class jazz to Montclair, attract friends and fans from far and wide, and keep its promise that the MONTCLAIR JAZZ FEST remains a No Tickets Required event —free and open to all—in celebration of the rich multicultural heritage of our nation.

This year, the MONTCLAIR JAZZ FESTIVAL unveils many new surprises and pivots to an exciting new chapter, deepening its roots in the heart of Montclair through two dynamic collaborations: the Wellmont Theater for the summer and BDP Holdings’ Lackawanna Plaza for September.

MONTCLAIR JAZZ FESTIVAL teamed up with the Wellmont and the New Jersey Hall of Fame in June, July, and August for a series of 10 free outdoor concerts at the Wellmont Arts Plaza, including the TD Bank-presented MONTCLAIR JAZZ FESTIVAL Soundcheck Series featuring New Jazz Underground on July 30 and the upcoming series closer featuring Cuban percussionist and singer Pedrito Martinez on August 20.

On Saturday, September 13 the Downtown Jamboree + Block Party will move to its new site on the eight-acre historic Lackawanna Plaza property with the closing of the adjacent Essex County road Grove Street, transforming once again the downtown corridor of Montclair into a vibrant arts and culture hub.

“Our renewed collaborations with longtime partners and supporters reflect the strength of our community and our shared commitment to Montclair’s renowned status as a destination for the arts. Over the years, MONTCLAIR JAZZ FEST and its fans have weathered electrical storms, heat waves and even a State of Emergency. We were proud to be one of the first large-scale events to safely bring people together after the pandemic. This year, with the same spirit, grit, and determination, we’re once again bringing a powerful cultural offering that celebrates the best of who we are—as individuals, as one family—and champions the next generation of young musicians and future leaders.” – Melissa Walker, Founder + President of JAZZ HOUSE KiDS and the brainchild of the MONTCLAIR JAZZ FESTIVAL

From its humble beginnings in 2010 as a student concert in Nishuane Park with a few hundred people, to last year’s glorious 15th Anniversary celebration welcoming more than 26,000 attendees, and activating over $1.5M to support the local economy, MONTCLAIR JAZZ FESTIVAL is recognized as one of the most diverse, inclusive events in the region.  Produced by the nationally-acclaimed jazz education and performance organization JAZZ HOUSE KiDS, now in its twenty-third year, the MONTCLAIR JAZZ FESTIVAL remains free and open to the public — thanks to the strength of both public and private partnerships. 

Inside, the recently reactivated Lackawanna Station is filled with art, food and shops by local entrepreneurs, while outside, the MONTCLAIR JAZZ FESTIVAL is pulsing with energy — 8 hours of world-class jazz on two outdoor stages followed by a funk + soul dance party kicked of by our very own, Christian McBride, DJ Brother Mister followed by DJ Prince Hakin; 150+ artisan and food vendors in the Rao’s Homemade Marketplace; specialty jazz cocktails from Allied Beverage brands and the official 2025 Montclair Jazz Brew from Montclair Brewery at Jazz Bars; the Family Jazz Discovery Zone with community partners Montclair Art Museum, Montclair Public Library, Montclair YMCA, and more; official festival merch; VIP and membership experiences with Egan & Sons; and new many surprises to come. 

New this year, the day’s festivities kick off with Gotham Kings’ New Orleans styled second line band marching down Bloomfield Avenue from Church Street and Park Avenue to the new site at Lackawanna Plaza.

“I’m proud to support the MONTCLAIR JAZZ FESTIVAL and the incredible work of JAZZ HOUSE KiDS in bringing the arts to our township. This event is a beautiful reflection of Montclair’s creative spirit and community pride, uniting people from all backgrounds through the power of music. I look forward to it every year as a celebration of summer, culture, and connection.” – Mayor Dr. Baskerville, Montclair Township

“BDP Holdings is proud to once again bring the MONTCLAIR JAZZ FEST to the newly activated Lackawanna Station. Honoring the power of music, art and community has always been a cornerstone of BDP’s work, including bringing the Festival downtown, alongside the rest of the team, in 2021. Come see the murals of globally celebrated artists Jerkface, Jeks, D*Face, BK Foxx, Sheryo & Yok and more, plus exciting installations of various mediums throughout the Station. Listen, dance, shop, eat and enjoy the beauty of Montclair’s unique community at this year’s MONTCLAIR JAZZ FESTIVAL!” – David Placek, CEO, BDP Holdings

Back by popular demand, the MONTCLAIR JAZZ FESTIVAL will feature a giant Block Party presented by new sponsor United Airlines, as DJ Brother Mister (AKA Christian McBride) and New Jersey’s own DJ Prince Hakim take over the Signature Cruise Main Stage for a dynamic funk & soul dance party at 8:00 pm following eight hours of live jazz.  Earlier this month, United Airlines sponsored JAZZ HOUSE KiDS’ first European tour with 20 members of its award-winning JAZZ HOUSE Big Band in a six-city tour through Italy, where they had the honor of playing at the historic Umbria Jazz Festival and Ancona Jazz Festival, and meeting and performing alongside legends like Dianne Reeves, Herbie Hancock, Angélique Kidjo, Samara Joy, and Gregory Porter. 

Together with our renewed partnerships — Wellmont Plaza, BDP Holdings, and Montclair Center BID — and the support and advocacy of NJ State representatives, the County of Essex, Montclair Township, Montclair Center BID, a host of corporate sponsors — Xfinity, Rao’s Homemade, Lincoln of Wayne, Signature Cruise Experiences, United Airlines, Optimum and Manhattan Mechanical Contractors– local businesses and individual patrons, MONTCLAIR JAZZ FESTIVAL welcomes all who want to celebrate America’s rich history of jazz, youth development and community building.

Celebrated Newark, New Jersey native, centennial artist and face of the 2025 MONTCLAIR JAZZ FESTIVAL is revered saxophonist James Moody, who is depicted in the festival artwork by visual artist in residence Andres Chaparro. In 2011, his wife Linda Moody founded the James Moody Jazz Scholarship for New Jersey in memory of her late husband. Partnered with JAZZ HOUSE KiDS, this award provides a $10,000 scholarship for an outstanding graduating senior heading to college who embodies the qualities that NEA Jazz Master expressed throughout his life and music – musicianship, creativity, leadership and community involvement. 

HOW TO GET INOLVED!
The JAZZ HOUSE “All Access Pass” Membership Program for individuals and local businesses provides great perks at the 2025 MONTCLAIR JAZZ FEST Soundcheck Series concerts this summer and the Downtown Jamboree and Block Party in September as well as special benefits to JAZZ HOUSE events all year long.

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That Eric Alper

Eric Alper is a 6-time nominee for Publicist of the Year during Canadian Music Week and has overseen the publicity campaigns for over 183 JUNO Award-nominated albums (and 16 in 2025), 45 Grammy-nominated albums, including 47 JUNO Award, 58 Canadian Folk Music Award, 126 Maple Blues Award-winning albums and is also truly honoured to work with some of the biggest and most important artists of our time.

Contact me: eric@thatericalper.com

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