Rick Keene Music Scene – Molly Johnson Launches A Much Needed Black History Website

History comes in many forms. Molly Johnson herself – is Canadian music history.

Molly is a pioneer. Musical theater, Theater, Disco, Funk, Rock / Pop and Jazz. Molly has not only done it all, she has excelled in all.

A Member of the Order of Canda

In 2019, Johnson has been nominated for a Juno Award in the Best Adult Contemporary Category. She has already won a Juno for Jazz Recording and this recent album places her in the company of some of her favorite artists.

This year is also fertile ground for a website she is starting up. A Black History informational tool which she hopes will be a go to place for teachers in all Canadian institutions.

Please LISTEN below to my chat with Molly. Hear some great tunes and find out why history is so IMPORTANT to all Canadian’s futures.

Rick Keene Music Scene – A Conversation with Robert Berry


The Rules Have Changed for Musical Virtuoso Robert Berry

Special to Rick Keene Music Scene by Ron Roxtar

Robert Berry always strives to do his best. It seems he’s been good on his word since the release of 3.2 The Rules Have Changed. It is his best work to date.

This album is a follow – up for the original To The Power of Three album released in 1987 by super-group 3. Berry was bassist and lead vocalist on that album and was joined by two prog rock legends. Carl Palmer and the late Keith Emerson. For Emerson, Lake and Palmer fans, wanting a final taste of the legendary keyboardist Keith Emerson; they will get it through Berry’s brilliant playing on this new 3.2 album.

In his career, Berry has performed with some very talented people. Sammy Hagar, Ambrosia, Greg Kihn and GTR. Robert and I spoke at great length about the new album, the glory years of 3 and the fond memories and insights of his friend and fellow band-mate Keith Emerson.

Roxtar : Let me start off by saying I love 3.2 The Rules have Changed. It’s a great album. You yourself have said it’s your greatest musical achievement. Why is that?

Robert : You know it started out to become my dream come true. For 27 years I’ve always wanted to do a follow up album for To the Power of Three with Keith (Emerson) and Carl (Palmer). Keith had been poisoned by the idea of it because of some fans writing him letters saying he shouldn’t do rock songs or have female back up singers. They thought he was ruining his legacy. He was very susceptible to that sort of thing. He thought it wasn’t working out. The thing is we had a top ten record with Talkin’ Bout and Keith was the sound of that song.

Roxtar : It’s a really good song. How did you get this new album to happen?

Robert : Yeah well here’s the thing, the record company put out a live record of that tour we did. I was excited about it. Carl always liked 3 so he was good with it. Keith was like “Whatever it’s money in the bank.” When Keith sat down at night and listened to the live album he called me immediately and said “Robert, we were such a good band. We were on fire.” So I sheepishly said “Why don’t we do a follow up?” I told him if I got us the right deal I’d call him back. I got in touch with Frontier Records and the president of the label was happy about it because he’s wanted a follow up for over 10 years. Now here was a chance for it to happen so they jumped on it. I called Keith back, he got super excited and we started working on it. That was the dream for me. I was so happy. If this was the last thing I’d ever do with my friend I wanted to make sure it was a great one.

After he died, I still had all the materials we had laid out the perimeters for just sitting there. We had at least five songs written and at least 20% of Keith’s keyboards done.

Roxtar : So is it safe to say that there’s still some of Keith’s playing on this album? At least 20% of it?

Robert : I have to be honest. A few months after Keith passed away I called Aaron Emerson up and asked him to get in on it. I sent him some of the stuff we had been working on and he found it too hard to play. After all, anything Keith Emerson plays on is too hard for anybody. Aaron told me I’d have to contact the estate that sort of owned Keith’s music and so I did. A few months went by and I didn’t hear back from them. Finally I said “Look I’ve got this material and you won’t know what Keith played on so I’m going to release it.” They then got back to me saying we couldn’t use his keyboard parts because they wanted Keith to be credited as a songwriter. I was like “That’s crazy.” Everyone knows Keith is remembered as this keyboard virtuoso.

In being honest I had to redo it. The playing came through my fingers from the stuff that he played, but then again he chose the parts. He chose the sound.

It got me excited about the material again. My goal wasn’t to sell millions of copies or have another top ten hit. My goal was to have another album we could be really proud of. I decided I was going to finish this because we had it all mapped out and I can play all kinds of instruments. I also have a state of the art recording studio. It was like because I can, I do. So I decided to finish it up.

The reason why I feel it was my greatest achievement is because it was so emotionally hard to get past the loss of Keith and now hearing the lyrics more I realize what I was writing at the time. The lyrics sort of shifted after he was gone. I used to have these conversations in the studio by myself and it was like I was channeling Keith. I would ask myself “What would Keith do here?” and try to imagine our conversations much like we had done back in ’87, ’88 or conversations we’d had in these later days. It wasn’t meant as a tribute to Keith but when it was done I was really proud of what it was.

Roxtar : You say you didn’t want to make this a tribute to Keith but obviously in some ways it is. In some of what you were saying about the lyrics in particularly with the song Our Bond. You have the line I hold the love of who you are / the passion of your hands / brought to my ears the music’s blood / that became our bond / a good man may we honour him. Then there’s this complicated musical prog piece.

Robert : That was written just a few weeks after he died. We’ve lost so many great musicians over the last few years and people always talk about their music. With Keith it was a bit the same but people were really talking about what a loss it was because he was this great guy. This funny guy. He was the most famous person I ever knew and he was so accessible. People could walk up to him on the street he was just so friendly. People felt like they knew him as a friend like I did. I thought I needed to write something about how everyone feels about Keith. It was not just about the music but the man himself. I was touched by that.

I thought I’m gong to write something and at the same time I’m going to throw a little bit of Fanfare in there. A little bit of Talkin’ Bout in there. A little bit of Tarkus? I rearranged it all. Of course at the end you hear that piano piece. I kind of just left the note hanging there. So that was a tribute to Keith.

Roxtar : This is all incredible stuff you are telling me. Even more incredible is the fact that you played all the instruments on this album as well.

Robert : Yeah I did. It’s not something I like to dwell on but I did. I have my own studio because I’ve been re-creating music for Paramount and other film companies for years. So in this album I was recreating what I felt was the essence of Keith’s playing.

I have a lot of singer / songwriters I produce because they don’t have a band. They want a more one on one. I bring to life their vision. It’s called Soundtek studios. I spent my life building up this state of the art studio. I have five drum sets, over 130 guitars, every amplifier you can think of, super expensive microphones and soundboards, the latest pro tools. I have to have the best of everything because I’m only striving to do my best work.

It’s also like a museum with all the artists I’ve played with like Ambrosia or pictures of Keith and Carl people have never seen. I’ve got a letter from Ian Anderson telling me how much he liked what I did on a Jethro Tull tribute.

Check out Robert’s studio here : http://soundtekstudios.com/

Roxtar : So what about when you joined Keith and Carl to form 3? It was really the third incarnation of Emerson, Lake, and Palmer. It was more like EBP. What was that like for you?

Robert : That’s an interesting question. Both Keith and Carl told me something that has lasted 30 years in my career. They said “We had Greg Lake in the band and now we want you. We want you to do your best work. Don’t try to be Greg Lake.”

That meant a lot to me. Especially with Keith because he wanted something new. For Carl it was kind of like doing Asia. We were doing some stuff that was progressive. He wanted it to be like the success he had with Asia.

Here I was the new guy and I was a Greg Lake fan so it never bothered me if I got critiqued for being the new guy. If people were saying they wanted Greg Lake and ELP back I understood that. The criticism never bothered me personally but it bothered me that it got to Keith so much.

The record company loved it. The new fans loved it and we had such a camaraderie onstage. They treated me like an equal. There were no ego clashes. We had fun and hung out together all the time. They made that happen because they made me feel comfortable. The thing was we were trying to forge forward with this music and into the 90’s. Then all the grunge music with Nirvana, Pearl Jam and all that came along and changed everything.

Roxtar : How did the fans treat you as the ‘new guy’?

Robert : I have to tell you at the time there wasn’t that much feedback back, but now 29 years later it’s fantastic about how good I was (laughing).

The thing is because we had a top ten hit we were getting younger fans. Of course there was the typical older intellectual ELP fans but I remember in New York seeing lots of younger fans in their 20’s. So those younger fans were fine with me.

Remember the great top ten hit from 3 Talkn’ Bout : https://www.youtube.com/watch?v=cQ2Kh1W4l4U

Roxtar : I think another reason why it was easier for you was that it was a whole new band with the name change of 3. Even though you were joining established musicians it wasn’t like joining an established band.

Robert : Yeah exactly. Another thing to keep in mind was we had all new material that we’d written. So everything was new. People talk about it as a failed project but it wasn’t. It was really successful.

That’s another reason why the 3.2 album has been so well received. It’s a continuity to what we did before and with Keith’s contributions. This time we knew exactly what we wanted to do.

Roxtar : You’ve played with so many established musicians in your career. What’s the connection with Sammy Hagar?

Robert : In 1985 when Sammy left his solo band to join Van Halen he was signed to Geffen Records. That label was grooming me to be a Bryan Adams, Sting like artist. John Kaladoner the famous A&R guy, he had an idea for me. He thought he would give my stuff to Sammy’s solo band and they could hook up with me or he was going to give some of my stuff to Carl Palmer. He did both. Carl called me first and really liked my songs so we started to get a band together. Then David Lauser of Sammy’s band called me second so it was too late.

Years later after 3 broke up David called me back and was still interested in working with me. We met up at Sammy Hagar’s house and Gary Phil flew in from Boston since he’d joined the band Boston. Alan Fitzgerald wasn’t in Night Ranger at this time. He had actually been touring with Van Halen playing keyboards and background vocals behind the curtain. So we all got together at Sammy’s and it was magic. We became a band called Alliance. It’s funny you ask me about this because we have a new album coming out.

About the time that Sammy was splitting up with Van Halen in the 90’s he called me up and said “Hey I’ve heard the stuff you’ve done with David would you like to come and play bass with us in a trio called Los Tres Gusanos (The Three Worms). That was great because we played The NAMM show, Cabo Wabo and places like that.

Here’s the thing if you go to see his current band The Circle and there’s a keyboard part in some of their songs, well that’s me. I played the keyboard parts for Sammy’s band The Circle which is pretty much the Van Halen songs they do. I did about five songs for them but I think they only do about three of them. I play with Sammy every night, you just don’t see me (laughing).

Roxtar : Wow! So in a way you’re the fifth member of The Circle.

Robert : There you go.

Roxtar : I also wanted to tell you how much I like the video for Powerful Man.

Robert : Thank you. Yeah, that was done by a friend of mine who did a fantastic job. That video has a deeper meaning that people might think. The song itself has a deep meaning. It’s a song written about Aaron Emerson. When Keith was in ELP he was on the road so much he was never really at home. Someone like Aaron would see how his dad had this positive power over the crowd. For me, Powerful Man was about these kids who have rock star dads.

Check out the Powerful Man video here : https://www.youtube.com/watch?v=cmc87bd-xy4

Roxtar : How come Carl Palmer wasn’t involved in this new album?

Robert : You know initially Keith didn’t want to have him involved because we were going in a different direction. We were going to use Simon Phillips because he worked with me on an ELP tribute album. We did Carn Evil 9 that I rearranged to be a bit tougher. The thing is Carl is just so busy. He’s always touring and this guy’s got so many new ideas. It was Carl who got me into 3.

This time around he gave me his blessing and said I could even call it 3, but he didn’t want to be a part of it because he’s just too busy. I would have loved to have had him. I’m proud of him because he’s playing better than ever.

Roxtar : What’s your best memory of Keith Emerson?

Robert : You know I have to say I really remember the first time Carl and I drove up to rehearse with Keith. We drove up to his big mansion in Essex. There’s this big gate and Carl’s “Asking where is he?” All of a sudden we hear this voice saying “Hey guys I’m up here!” We look up to the second story windows and in one of the windows was Keith with his butt sticking out. He’s talking with his butt cheeks like “Hey how you guys doing?” It was so funny. Here’s one of the best keyboardists in the world and he’s talking to me with his butt cheeks out.

Roxtar : Okay Robert your stranded on a desert island. What are your top three desert island discs?

Robert : Oh man that’s a hard one. I’m so into many different styles of music. I grew up listening to a lot of big band stuff and I’m really into Mexican mariachi music as well. I do remember being in college and in my car I had two albums that I listened to over and over again. One was Stevie Wonder Songs in the Key of Life and the other was Blow by Blow by Jeff Beck. That guy just blows my mind. As far as a third one is concerned I’d probably have to bring a Yes album with me. I mean Chris Squire is just all over the place. I think what Squire, Rick Wakeman and Steve Howe did was just phenomenal.

Roxtar : You spend a good amount of time on the road with Greg Kihn. How did that come about?

Robert : I was in Ambrosia for a while and that was fine. I was trying to get them to do a new studio album and they just weren’t interested. They weren’t even playing as much as I thought they’d be. They’re a great band and I love those guys but I want to put out new music so I quit the band.

Right after that I get a phone call at eight in the morning from Greg Kihn. He says “Hey Robert I guess you might have heard Steve (Greg’s bass player) had a stroke so I want you to be in my band.” So I sat up in bed taking it all in. Right after leaving Ambrosia and wondering what I was going to do next here’s Greg Kihn offering me a gig. Little by little we began writing together and after about six years I got Greg to do a new album called Rekihndled. I’m really proud of that album.

Roxtar : So if you’re not playing with Greg I guess you’re focused on this new tour for the 3.2 album.

Robert : Yes exactly. I’ve got some really great players in my band for this 3.2 tour. They have to be because of all the material we’re playing. We’re doing some GTR songs because I worked with them for a bit. We’re doing some of the songs from the original 3 album. We’re doing an Ambrosia tune and of course my version of Carn Evil 9. We even do a tough version of Roundabout from Yes. Then we do songs from the new 3.2 album. It’s a really hard set so the guys have to be good.

I’ve got Andrew Coyler on keyboards and he’s playing all of Keith’s keyboard parts so you know he has to be good. I’ve got my long time guitar player Paul Weller who got along great with Keith. On drums I have Jimmy Keegan. Jimmy was the drummer in Spock’s Beard for many years. He’s not just a great drummer but a great singer too. So yeah we’re out there playing some great stuff with great musicians.



Rick Keene Music Scene – Canadian Music Legend Murray McLauchlan Talks ‘Voices That Care’ Part Two.

Murray McLauchlan is a founding Father of modern day Canadian music. It is – that simple.

Mr. McLauchlan has won eleven Juno Awards and is a member of the Order of Canada. Not bad for a guy who decided to ride freight trains when his schooling was done.

Please listen below to Part Two of my chat as Murray talks about his career, his new album and Voices That Care; a very worthwhile charity event on April 25th which Murray founded.

Murray? What’s up?

Visit Murray Here

Get Tickets for Voices That Care

Rick Keene Music Scene – Canadian Music Legend Murray McLauchlan Talks ‘Voices That Care’ Part One.

Murray McLauchlan is a founding Father of modern day Canadian music. It is – that simple.

Mr. McLauchlan has won eleven Juno Awards and is a member of the Order of Canada. Not bad for a guy who decided to ride freight trains when his schooling was done.

Please listen below as Murray talks about his career, his new album and Voices That Care; a very worthwhile charity event on April 25th which Murray founded.

Murray? What’s up?

Visit Murray Here

Get Tickets for Voices That Care

Rick Keene Music Scene – Bernard Fowler Turns The Rolling Stones ‘Inside Out’ on Latest Disc

How does it feel to be on your own just like a Rolling Stone?

Singing back – up for The Stones since 1989, Bernard Fowler is ‘grateful’ to be on stage with ‘the big boys’. Even though he and the other supporting players can be headliners in their own right, Fowler remains humble next to The Stones.

“A producer friend of mine introduced me to Mick and that is how I joined.” Says Fowler just a couple of week before he was set to join the Stones for their upcoming 2019 U.S / Canadian tour. ( Mick’s health issues have since cancelled the tour until further notice). Says Fowler; ” Mick liked my voice, my style and soul.’

Upon joining The Stones, Fowler noticed something about his  ‘new band’. They walked how they talked.  

” Everyone knows The Stones came from The Blues”. Says Bernard. ” They eat, breathe and live it all the time. On breaks in rehearsals, before shows – they play those tunes themselves or the original artists’ versions all the time. It is where they came from and it is part of their DNA”.

Almost thirty years after joining the band and having the best ‘seat’ in the house, Bernard’s appreciation for both the band and Mick Jagger have grown.

” Look …” Says Bernard. ” It is simple. There are two types of music. Good music and bad music. The Stones are a real and true Rock band and they perform great music. “

As far as watching Jagger dance, wiggle and take command of stadiums filled with 80,000 or more people …?

” My respect for Mick just keeps on getting higher. Night after night he is outperforming guys half his age. I think that globally, the respect is unanimous. He keeps getting better with age.”

Fowler grew up with Soul and Gospel in the house. Mahalia Jackson and Sam Cooke ( among others) raiding his ears and heart on a daily basis. Musically, because of his background – Fowler is ‘tightest’ with Keith Richards within The Stones. Richards’ musical background is very simular to Fowlers as Bernard’s Mom discovered one tour.

” I was in Keith’s room and I called my Mom”. Laughs Bernard. “Keith was playing a gospel or soul record and my Mom asked where I was. When I told her and she found out it was Keith’s records she said ‘ put that boy on the phone’. I’m not sure she loves Keith the person but she loves Keith’s musical tastes. That’s for sure”

The Rolling Stones are known  ‘commercially’ as a Rock and Blues band. For purists it is the Funk and R&B rhythms that separate them from other bands and give them the title; ‘The ‘Greatest Rock n Roll Band in The World’. One of their greatest live songs (available on the Four Flicks DVD set) is Dance Pt. 1. A tune and performance which releases the pure Jagger and sees the band hit a groove that few can match.

‘ It is funny you brought up that song”. Says Bernard. “Almost from the time I joined I tried to get Mick to do that song live but always in vain. Finally he said yes and as the video shows – that is pure Mick Jagger. That music and those grooves are just in him.”

Fowler has a new album coming out April 19th. It is called Inside Out and it pays homage to Mick but not like one would think …

” Mick writes the greatest lyrics and I wanted to use those lyrics and magnify how good they are. How philosophical they are.  In doing so, even die-hard Stones’ fans may hear words they missed in The Stones’ original recordings. Mick’s style and annotations sometimes blur or mask words and entire phrases.”

Inside Out does not have singing on it. The entire album was always a spoken word project floating in Bernard’s mind. Finally he decided to do it with his favorite Stones’ songs and a thumbs up from Mick.

” I went through their songbook (380 songs) and discovered so many songs. Some I knew because we have done them live but some were more obscure. When I read the words to them – I said, ‘Damn these are good! Whoever was around got a lesson from me and had to read them. “

All the songs on Bernard’s album are unrecognizable as Stones’ music. The only things on the album which Bernard ‘kept’ true are the background ‘ woo woos ‘ and the piano chord progressions in the song Sympathy for The Devil.

” I did not want it to be a Stones record. I wanted to start with the words and then add rythym. Whatever sounded good musically, we ran with it. I was fortunate to have a great cast of players on this album. It made the sounds that much better”.

Darryl Jones (bass) and Tim Ries (horns) of The Stones’ camp join Fowler as well as Steve Jordan from Keef’s other band; The X- Pensive Winos. Walfredo Reyes Jr and Lenny Castro provide African rhythms and Vince Wilburn (Miles Davis) and Clayton Cameron also add percussion. Guitar work is provided by George Evans and Ray Parker Jr. Keys and piano are laid out by Michael Beardon and David Bowie alumni Mike Garson. Keyon Harrold from the Miles Davis Biopic round things out. .

” The first song we did was Dancing with Mr.D. Even though Tim had done a Stones cover record with horns and Darryl is in the Stones, we never found outselves going the Stones’ route. I was focused on making all the songs the way I imagined them. Having Jordan along for the entire ride made me realize how good the ideas and music were. When Steve is on board – you know it is good.”.

Inside Out contains the songs Sister Morphine, Sympathy for The Devil, Tie You Up, All The Way Down, Undercover of The Night and Time Waits for Noone. Lyrically – all contain social statements which Bernard thinks are crucial in today’s ‘crumblin’ world’.

The album will shock the punters on first listen. After all, nobody is quite used to a penis under a dress. Once the barriers are broken and an open mind takes precedence; Inside Out is a masterpiece. No plasticity  going on musically or in Fowler’s profound vocal delivery.

Inside Out may finally give Mick Jagger the accolades he deserves as one of the greatest philosophers, poets and lyricists of all time.

Thanks to the name and face of Bernard Fowler. A headliner on his own. Not like a Rolling Stone.

Visit Bernard Here !

 

 

 

 

 

Rick Keene Music Scene – Canada’s Most Prolific Songwriter Marc Jordan Bares ‘Both Sides’ on New Disc

Marc Jordan has appeared on thirty-five million CDs. Put that in your MP3 player and smoke it …

Marc has written for or co-written with the who is who of the music business. Rod Stewart, Josh Groban,
Diana Ross, Chicago, Kansas, Manhattan Transfer, Kenny Loggins, Amanda Marshal, Bette Midler, Natalie Cole, Roch Voisine, Canadian Tenors, Shawn Colvin, Olivia Newton-John, Joe Cocker and Bonnie Raitt. To name ‘just’ a few.

An amazing body of work which is unmatched in Canadian history. Now Marc has released a CD with some of his favorite tunes that helped inspire his songwriting craft. Add an orchestra and what you have is magical.

Please listen below to my chat with Marc and hear some tunes from the album.

Marc? What’s Up?

Visit Marc Here !

Rick Keene Music Scene – Jazz Festival Coming to Verdun This Year !

The Festival International de Jazz de Montréal, presented by TD Bank Group in collaboration with Rio Tinto, is proud to unveil its new site in Verdun!

Last spring, the festival announced an ambitious development plan that will allow it to increase its presence across the territory and to meet citizens where they live. In relation with the new Cultural Policy of the City of Montréaland the new Tourisme Montréal Development Strategy, the Festival will promote the discovery of the cultural wealth of the various neighbourhoods of the city by anchoring itself in several of them. Thus, in addition to continuing to occupy its central site in the Quartier des Spectacles with large-scale gatherings, indoor shows and family activities, the global Festival will reach a local public thanks to the creation of new festival hubs.

Following a “request for interest”, the evaluation of particularly stimulating applications, as well as many discussions and meetings, the choice of Verdun was obvious for the Festival. Starting in 2019, the Festival International de Jazz de Montréal will also take place in the Verdun borough!

“I’m very proud that our project created so much interest. We received applications from 15 boroughs. Every proposal was very interesting and original. As such, we have inspiration for many years to come. But for the first iteration of the concept, we chose Verdun because of the dynamism of that borough and its population, the SDC Promenade Wellington and the merchants of the sector. We’ll be able to count on solid partnerships, and their financial participation in the project shows the potential of the concept. Wellington Street reminds us of the years of the Festival on St-Denis Street. We’re happy and proud that the Festival will continue its development in the service of our beautiful city’

Jacques-André Dupont, President and Chief Executive Officer of the Festival International de Jazz de Montréal

The new site will host original experiences created especially for the borough and the communities that live there, in collaboration with community organizations, merchants and citizens. It will be accessible for free and will offer the same artistic quality as the rest of the Festival, in addition to respecting sustainable development and eco-responsibility principles.

By further reaching communities and inviting Montrealers and tourists to visit a neighbourhood with which they are less familiar, the new site will foster citizen meetings and generate new benefits for the borough, in a spirit of inclusion and integration.

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Of course, the free programming wouldn’t be possible without the commitment of our major sponsors, particularly TD Bank Group, Rio Tinto and Casino de Montréal, as well as the Government of Quebec, the City of Montréal, Tourisme Montréal, the Verdun Borough and the SDC Promenade Wellington.

Chantal Rouleau, Minister for Transport and Minister Responsible for the Metropolis and the Montréal Region, Nathalie Roy, Minister of Culture and Communications and Minister Responsible for the French Language, and Caroline Proulx, Minister of Tourism

“I am thrilled to see the first local jazz event take place on Rue Wellington, in Verdun. This new initiative by the Festival International de Jazz de Montréal is in line with our efforts to make our neighbourhoods as lively and dynamic as possible. What better way to accomplish this than through music.” Valérie Plante, Mayor of the City of Montréal

“For a number of years now, Verdun has been investing in culture to define itself and forge its identity. We promote expression in all its forms, by creating quality events at unique and magical places, such as the Quai 5160 – Maison de la culture de Verdun, the Verdun Auditorium, the waterfront and also on the street, where people go out and gather naturally. That is why we are very proud of this partnership which provides us with an opportunity to host the Festival International de Jazz de Montréal. It is not only recognition of the collective efforts that have been made to develop culture in Verdun, but also a springboard for the Festival, which gets closer to the neighbourhoods!”, noted Verdun Mayor Jean-François Parenteau, who is also a member of the Executive Committee.

“We’re honoured to be part of this iconic Montreal festival. This is a wonderful recognition of the work done locally in recent years. In my view, this is the outcome of the continuous and positive collaboration between the Borough of Verdun and SDC Wellington.” Billy Walsh, Executive Director – SDC Wellington

“Tourisme Montréal is very proud to be participating in the Jazz Hub project, which we believe holds a lot of promise for our destination. We hope it will encourage tourists to venture into the city’s different neighbourhoods, explore our diverse arts and culture scene, and come away with a truly authentic Montréal experience. This initiative supports our strategic vision to promote tourism in neighbourhoods across the city. It’s also a concrete example of how tourism can benefit the entire community,” said Yves Lalumière, President and CEO of Tourisme Montréal.Yves Lalumière, President and Chief Executive Officer of Tourisme Montréal

The programming and detailed concept will be unveiled in the spring.

The 40th edition of the Festival International de Jazz de Montréal will take place from June 27 to July 6, 2019.

montrealjazzfest.com