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Montreux Jazz Festival

The Montreux Jazz Festival is an annual international held in , , on the shores of . Founded in 1967 by Swiss enthusiast , it originally focused on performances but has expanded to encompass genres including soul, blues, , pop, and . The event spans 16 days each summer, typically in , featuring approximately 380 concerts across 11 stages, with 250 free performances, drawing around 250,000 attendees annually. The 2025 edition marked the last use of the iconic Lake Stage ahead of planned renovations. The festival originated as a three-day event with a budget of 10,000 Swiss francs, organized by Nobs alongside René Langel and Géo Voumard, and opened with the Charles Lloyd Quartet. It quickly established its reputation through landmark recordings, such as ' 1968 concert, which earned a Grammy Award. A pivotal incident occurred in 1971 when a fire, ignited by a flare gun during Frank Zappa's performance at the , destroyed the venue and inspired Deep Purple's song "." The festival has since rebuilt and grown, with Nobs directing it until his death in 2013, after which Mathieu Jaton assumed leadership. Over its history, the Montreux Jazz Festival has hosted transformative performances by jazz and music icons, including Nina Simone's legendary 1976 set, Marvin Gaye's sole appearance in 1980, ' final Montreux concert in 1991 conducted by , David Bowie's 2002 rendition of his album Low, and Prince's surprise 2007 jam session. These events, along with others featuring artists like , , , and , have solidified its status as a cradle for musical innovation and spontaneous collaborations. The festival's diverse programming now includes global editions in cities like and , extending its influence beyond . Central to the festival's legacy is its vast audiovisual archive, comprising over 11,000 hours of recordings from more than 7,000 concerts spanning various genres since 1967. This collection, which includes rare moments like Marvin Gaye's only televised performance and ' last show, was inscribed on UNESCO's Memory of the World Register in 2013 for its enduring cultural value. The archives, managed by the Foundation and digitized since 2017, underscore the festival's role in preserving 20th- and 21st-century .

Overview

Founding and Evolution

The Montreux Jazz Festival was founded in 1967 by Swiss jazz enthusiast and organizer , with assistance from local figures Géo Voumard and René Langel, as well as and Nesuhi Ertegun of . The inaugural edition spanned three days at the , operating on a modest budget of 10,000 Swiss francs, and featured headline performances by the Charles Lloyd Quartet, , and . Initially conceived as a platform for pure , the event aimed to elevate Montreux as a hub for musical excellence amid Switzerland's burgeoning tourism scene. By the 1970s, the festival began evolving beyond its jazz roots, incorporating influences from , , and to attract a broader audience. Key early expansions included acts like in 1970 for rock elements and in 1971 for soul, marking a shift toward genre fusion while retaining jazz at its core. A pivotal milestone occurred in 1971 when a fire broke out at the during Zappa's performance, an incident that not only disrupted the event but also inspired Deep Purple's iconic song "." This era's diversification laid the groundwork for the festival's reputation as an innovative music gathering. Over decades, the Montreux Jazz Festival grew from a niche local event into a major international spectacle, now spanning two weeks annually and drawing nearly 250,000 attendees for around 380 concerts across 11 stages, including approximately 250 free events. This expansion reflects sustained commitment to accessibility and variety, with free programming encompassing concerts, workshops, and DJ sets from noon to early morning. Since , under director Mathieu Jaton, the festival has emphasized innovation—such as international editions and digital archiving—while honoring founder ' legacy of musical discovery and community engagement.

Cultural and Global Impact

The Montreux Jazz Festival's audiovisual archives, encompassing over 5,000 hours of live recordings from 1967 to 2012, were inscribed on UNESCO's Memory of the World Register in 2013, recognizing their universal cultural significance as a unique collection of , , and rock performances. These archives include rare footage of artists such as , whose only filmed performance occurred at the festival in 1980, and , alongside improvised jams that capture pivotal moments in music history. The Foundation, established to preserve this legacy, maintains and digitizes over 50 years of recordings, ensuring their accessibility for future generations through initiatives like the Montreux Sounds platform. The festival significantly boosts the economy and in and the , generating approximately CHF 80 million in annual economic impact and over 80,000 hotel nights during its run. As a key cultural and social driver, it fosters partnerships that enhance local engagement, such as collaborations with Vaudoise Assurances for annual poster competitions that attract international artists and promote . In extending its global reach, the festival has launched Montreux Jazz Cafés as branded outposts, including locations at Geneva Airport and EPFL Lausanne, where visitors can experience festival archives and live broadcasts in immersive settings. This international branding supports spin-off events, such as the Montreux Jazz Festival China, which debuted in Hangzhou in 2021 to bridge Eastern and Western music traditions, and the 2025 Miami edition curated by Jon Batiste, featuring headliners like Chaka Khan and Janelle Monáe. The festival's broader legacy includes landmark recordings like the 1969 live album Swiss Movement by Les McCann and Eddie Harris, which achieved gold certification and exemplified soul jazz's crossover appeal. It also advances global jazz education through the Montreux Jazz Artists Foundation, which nurtures emerging talent via residencies, coaching programs, and talent awards that facilitate international exchanges and for young musicians.

History

Origins and Early Development (1967–1979)

The Montreux Jazz Festival was established in 1967 by Swiss musician and organizer , alongside René Langel and Géo Voumard, with the inaugural edition spanning three days from June 16 to 18 at the overlooking . The event operated on a modest budget of 10,000 Swiss francs and featured prominent acts including the Charles Lloyd Quartet, on piano with Ron McClure and , and the Norwegian trumpeter Bjørn Johansen. This debut emphasized pure traditions, drawing a small but dedicated audience to the intimate casino setting and laying the groundwork for Nobs' vision of blending high-caliber performances with the scenic Swiss Riviera ambiance. In its early years, the festival solidified its summer timing and began experimenting with broader programming to attract wider appeal. The 1968 edition, held from June 12 to 18, included Bill Evans' trio performance, which was recorded live and later earned a Grammy Award for Best Jazz Instrumental Album in 1969. By 1969, running June 18 to 22, the lineup introduced soul elements with Ella Fitzgerald's debut and captured the fusion breakthrough of Les McCann and Eddie Harris' album Swiss Movement, which was certified gold and sold over 500,000 copies and marked the first gold record from a Montreux performance. That year also saw the first non-jazz rock inclusion with Ten Years After, signaling Nobs' willingness to evolve beyond strict jazz boundaries while maintaining artistic integrity. Carlos Santana's post-Woodstock appearance in 1970 further diversified the roster, enhancing the festival's growing reputation. A pivotal challenge arose in 1971 when, on December 4 during a special off-season concert by and at the , a fan fired a that ignited the wooden roof, destroying the venue in a blaze witnessed by , who were in town to record. Nobs, leveraging his familiarity with the building from years of organizing , personally rescued several young attendees hiding inside by breaking through walls with a fire axe, preventing casualties. The incident inspired 's 1972 hit "," immortalizing the event and boosting global awareness of Montreux. Despite the summer festival having concluded successfully that June with acts like , the casino's destruction forced a temporary relocation to the nearby Pavillon for the 1972 edition and beyond, until reconstruction in 1975. Through the 1970s, the festival overcame these setbacks with Nobs' hands-on leadership, expanding from three days to approximately 16 days by 1979 and integrating soul, blues, and genres. Highlights included Nina Simone's intense 1976 set and collaborative fusion performances by and in 1979, alongside blues icons like , reflecting the event's maturation into a multifaceted platform that preserved roots while embracing innovation.

Expansion and Modernization (1980–2012)

During the 1980s, the Montreux Jazz Festival underwent significant expansion, diversifying its programming to include a broader array of genres beyond traditional jazz, such as , and , while maintaining its core focus on improvisational styles. This shift was facilitated by infrastructural developments, including the opening of the Montreux Convention Centre in 1988, which introduced the Auditorium Stravinski—a 4,000-capacity venue renowned for its exceptional acoustics and designed to host larger-scale performances. In the early 1990s, co-produced the festival from 1991 to 1993, further broadening its scope to encompass , pop, and emerging influences, exemplified by collaborations like Miles Davis's final Montreux appearance alongside Jones and the Orchestra. The decade saw the introduction of themed nights, such as the Bahia Brazil showcases featuring artists like and , which highlighted Latin American rhythms and contributed to the festival's growing international appeal. Under founder Claude Nobs's direction, systematic archiving of performances began in earnest, with audio and video recordings preserved from the festival's inception in 1967, laying the groundwork for later digital initiatives; by 2000, annual attendance had surpassed 218,000 visitors despite challenging weather conditions. Key moments underscored the festival's evolving dynamism, including David Bowie's emblematic 2002 concert at the Auditorium Stravinski, where he performed his album Low in full, blending with jazz elements and drawing widespread acclaim. In 2005, the event extended to 16 days, accommodating over 220,000 attendees and featuring expanded programming across multiple venues, which amplified its role as a global music hub. The 2000s marked a period of modernization, with technological upgrades including high-definition recordings starting in 1991 and pilot live broadcasts that enhanced global accessibility; partnerships with record labels, such as the longstanding collaboration with initiated in the festival's early years and continuing through joint releases of live albums, supported the production and distribution of performance documentation. The , a historic venue, underwent renovations during this era to improve facilities, unrelated to the 1971 fire that inspired Deep Purple's "." By 2012, the festival hosted approximately 300 concerts annually across 12 stages, with about 40% offered as free events to promote inclusivity; its composition reflected diversification, comprising roughly 50% , 30% pop and , and 20% other styles including and .

Contemporary Era and Leadership Changes (2013–Present)

Following the death of founder in January 2013 after a skiing accident, Mathieu Jaton, who had served as the festival's secretary general since , assumed leadership as , ensuring continuity in programming and operations. Under Jaton's direction, the festival placed increased emphasis on sustainability measures, such as using , banning single-use plastics, and promoting to reduce environmental impact. Jaton also prioritized youth engagement by expanding initiatives to nurture emerging talent, reflecting a commitment to evolving the event while honoring its roots. The prompted significant adaptations in 2020 and 2021, with the 2020 edition fully cancelled to prioritize public health, followed by a reduced-capacity 2021 event incorporating hybrid elements like virtual streams to reach global audiences. Attendance was limited, and safety protocols shaped programming, yet the festival launched its first international edition in in October 2021 in Hangzhou, province, featuring around 20 bands for up to 6,000 attendees amid local restrictions. This expansion marked a strategic push toward global outreach during the crisis. Ongoing renovations to the Montreux Music and Convention Centre, which began in 2023 and are slated for completion in July 2026, necessitated shifts to temporary lakeside venues for the 2024 and 2025 editions, including a floating stage on and a return to the historic Casino Barrière for intimate performances. The 59th edition, held from July 4 to 19, 2025, served as the final lakeside iteration, celebrating the anniversary with over 600 free activities such as concerts, workshops, DJ sets, and screenings across waterfront sites. Recent initiatives under Jaton's leadership include the Montreux Jazz Residency, an annual autumn program organized by the Montreux Jazz Artists Foundation, which in 2025 ran from October 15 to 18 at the in , hosting eight emerging bands in jazz, soul, and funk genres alongside mentors for concerts, workshops, and jam sessions. Complementing this, the MJF Spotlight program, established in 2021, annually highlights 20 rising artists through digital content, live sessions, and dedicated festival stages to foster new talent year-round. The 2025 lineup exemplified broader programming expansions, blending legacy acts with contemporary voices, including a three-hour set by and the on the Lake Stage, performances by , , and , among others like and . The edition's official poster, designed by London-based artist Lakwena Maciver, paid tribute to Nina Simone's 1976 performance with vibrant, text-based imagery incorporating lyrics from her rendition of "Stars," symbolizing the festival's enduring celebration of musical icons.

Venues and Infrastructure

Historical Venues

The Montreux Jazz Festival commenced in 1967 at the , a historic venue featuring an intimate ballroom with a capacity of approximately 1,200 seats, situated prominently overlooking . This lakeside location provided exceptional acoustics and a picturesque setting for the inaugural three-day event, which featured performers like the Charles Lloyd Quartet and kicked off the festival's tradition of blending music with the natural beauty of the Swiss Riviera. The casino served as the primary stage through 1972, hosting legendary acts in a cozy atmosphere that emphasized proximity between artists and audiences. A devastating fire on December 4, 1971, during a and concert—caused by a discharged by an audience member—destroyed the casino's roof and interior, forcing the 1972 edition to relocate temporarily to nearby halls and churches in while reconstruction began. The incident, witnessed by who were in town to record, underscored early logistical challenges but did not halt the festival's momentum. By 1973, the event shifted permanently to the newly inaugurated Montreux Music & Convention Centre (2M2C), which offered expanded indoor facilities and became the hub for the majority of performances until 2023, prioritizing accessibility and the venue's renowned acoustics enhanced by its proximity to the lake. The casino itself was rebuilt and reopened in 1975, occasionally hosting festival events thereafter. Within the convention centre, the Miles Davis Hall—originally the main auditorium with a concert capacity of 1,800—handled a significant portion of indoor shows from the centre's opening, later renamed in 2009 to honor the icon's frequent appearances. In 1984, the Auditorium Stravinski was added as a larger hall with 4,000 capacity, enabling bigger productions while maintaining high-fidelity sound designed specifically for musical events. Pre-2024 enhancements included the Montreux Jazz Cafe, a compact 200-capacity space inspired by founder ' training as a chef and his friendship with , which debuted during the 2000 edition to foster intimate sessions amid culinary offerings. Complementing these, the outdoor Park Stage emerged as a key free-access site for performances, capitalizing on the lakeside environment to broaden public engagement without tickets. Overall, these historical venues reflected the festival's evolution from modest origins to a multifaceted operation, resilient against setbacks like the 1971 blaze and focused on sonic excellence and scenic integration.

Temporary Stages and Layout (2024–2025)

Due to the ongoing renovation of the Montreux Convention Centre, the 2024 and 2025 editions of the Montreux Jazz Festival used a temporary layout centered in Montreux's historic old town, emphasizing proximity to and local landmarks. This configuration featured two main paid stages alongside nine free ones, totaling 11 stages that hosted over 600 events including concerts, workshops, and DJ sets from July 4 to 19, 2025. Among the paid stages, the Scène du Lac (Lake Stage) served as the flagship open-air venue, accommodating up to 5,000 attendees with 600 covered seats overlooking the lake and mountains, creating an intimate yet scenic atmosphere for headliners. It hosted major acts such as Neil Young's Love Earth Tour performance on July 6, 2025, blending folk-rock with festival energy against stunning sunsets. The Casino Stage, with a capacity of 1,300 in a half-seated, half-standing setup, evoked the festival's origins in the iconic , offering a nostalgic indoor space for mid-sized shows. Supporting venues enhanced the diverse programming, with the functioning as a three-storey free hub open from 5 p.m. to 5 a.m., featuring multiple sub-stages like for DJ sets in house and genres, The for jazz workshops and jam sessions, and Le Cinéma for screenings of historic Montreux performances. The provided a free outdoor space dedicated to emerging talent, including awards and intimate showcases, while Music in the Park offered relaxed lakeside free concerts amid the old town's pedestrian-friendly paths. The layout prioritized walkability across the compact old town, allowing attendees to navigate stages on foot within minutes, supported by Switzerland's for eco-conscious access. Sustainability efforts included 100% renewable electricity from sources like , hydraulic, and , minimizing environmental impact during this transitional period. As the "final wave" before returning to the renovated Convention Centre in 2026, the 2025 edition incorporated emotional tributes, such as the official poster honoring , underscoring the lakeside venues' legacy.

Future Developments and Renovations

The renovation of the Montreux Convention Centre began in July 2023 as a multi-year project to modernize key facilities, including the Auditorium Stravinski and adjacent spaces, ensuring the venue's continued role as the festival's primary hub. This extensive work addresses structural updates and acoustic enhancements while maintaining the site's for live performances. The centre is scheduled to reopen in summer 2026, aligning with the 60th edition of the Montreux Jazz Festival from July 3 to 18, allowing a full return to indoor core venues after temporary adaptations during construction. Looking ahead to 2026 and beyond, the festival envisions a revitalized layout centered on traditional stages like the Auditorium Stravinski, with its capacity of 4,000, alongside improved technical infrastructure for seamless operations. Hybrid streaming integrations will expand global access, building on existing free online broadcasts of select concerts to reach audiences unable to attend in person. The 2025 edition's lakeside stage served as a poignant finale for temporary setups necessitated by the renovations. Under Mathieu Jaton's leadership, these changes emphasize operational efficiency and audience engagement. Sustainability initiatives form a cornerstone of future planning, with efforts focused on reducing environmental impact through measures targeting transport, which accounts for approximately 70% of the festival's CO2 emissions, alongside waste management and energy use. Programming will prioritize expanded free activities, as seen in the 2025 edition's 250 free concerts out of 380 total events, fostering broader accessibility and community involvement. Complementing this, the Montreux Jazz Club in Lausanne opened in early 2025 as a year-round venue for performances, workshops, and cultural programming, extending the festival's influence beyond the summer event. International expansion continues with editions like the Montreux Jazz Festival Miami, which in 2025 featured an expanded lineup curated by Jon Batiste, including Chaka Khan, Janelle Monáe, and Willow, marking its second year and solidifying the brand's global footprint. Additionally, the Claude Nobs Foundation drives enhancements to the festival's digital archive via the Montreux Jazz Digital Project, an ongoing collaboration with EPFL to digitize over 7,000 hours of recordings, enrich metadata, and enable innovative applications in technology and cultural preservation.

Programming and Events

Main Concerts and Lineups

The Montreux Jazz Festival's main concerts form the core of its paid programming, spanning a two-week period in early July, typically lasting 16 days along the shores of . In 2025, the event ran from July 4 to 19, featuring over 130 paid performances across key venues such as the Auditorium Stravinski and the Lake Stage. These headline shows emphasize a balance between established artists and emerging talents, with programming that integrates seasoned performers alongside up-and-coming acts to foster artistic dialogue and innovation. While rooted in jazz traditions such as and , the festival's lineups have evolved to encompass a broad genre diversity, incorporating , , and elements to reflect landscapes. The 2025 edition exemplified this expansion, with icon and British rock artist sharing the bill alongside jazz-rooted acts. Themed nights further bridge genres, such as "Classical Meets Jazz," which pairs orchestral ensembles with improvisational jazz for hybrid performances. Programming for these main concerts is meticulously curated by the festival's artistic team under the direction of CEO Mathieu Jaton, who has led the organization since 2013. Lineup announcements occur annually in April, allowing for strategic artist bookings that prioritize intimate, high-fidelity settings amid the event's large-scale production. For instance, the 2025 reveal included British indie rock band and experimental artist , highlighting the team's focus on diverse, boundary-pushing selections. Recent trends underscore an increasing emphasis on global representation, with approximately half of the 2025 acts hailing from outside , including international stars from the , , and beyond. Collaborations enhance this international flavor, such as & The ' extended set following their headline, blending rock heritage with festival-specific . This approach maintains the event's reputation for scale while preserving acoustic intimacy in venues designed for close audience engagement.

Competitions and Talent Programs

The Montreux Jazz Festival supports emerging musicians through structured competitions and talent development initiatives, primarily organized by the Montreux Jazz Artists Foundation (MJAF). For more than 15 years, the MJAF has hosted three annual international competitions during the festival: the Parmigiani Montreux Jazz Solo Piano Competition, the Voice Competition, and the Guitar Competition, all emphasizing skills. These events originated in the early 1990s following the fall of the , aimed at encouraging participation from Eastern European artists in Western European jazz scenes. Participants in these competitions undergo open calls and rigorous jury evaluations by professional musicians, with winners receiving cash prizes—such as up to CHF 10,000 for first place in the Solo Piano Competition—along with performance opportunities and potential scholarships for further training. The Solo Piano Competition, established in the 2000s, has awarded prizes including instruments and residencies, while the and Guitar Competitions, ongoing for over 15 years, focus on vocal and improvisation, providing winners with main stage exposure at the festival. Notable alumni from these programs have gone on to successful careers, often returning for events like the Autumn of Music Festival, where former prize winners perform in special concerts. Complementing the MJAF initiatives is the annual Montreux Jazz Talent Awards, a free showcase event held at the House of Jazz's La Coupole venue in two one-hour slots from 7–8 p.m. and 9–10 p.m. This program features juried performances by up-and-coming acts, with winners earning a slot on the main stage; for instance, in 2025, the Thomann-sponsored contest selected Tilar as the winner after evaluation by a jury including guitarist Mark Lettieri, granting them a performance on July 14. These programs collectively foster talent development, with over 100 musicians participating yearly across competitions and tying into broader festival residencies, such as the 2025 Montreux Jazz Festival Residency from October 15–18 at the , which highlights MJAF-supported artists in , soul, and genres through concerts and workshops.

Free and Off-Site Activities

The Montreux Jazz Festival extends its reach through an extensive array of activities that constitute a major part of the event, with over 600 musical, educational, and festive offerings in the 2025 edition spread across 11 stages. These include concerts, DJ sets, jam sessions, screenings, and workshops, making up approximately two-thirds of the total programming and emphasizing accessibility for all attendees. Key free events highlight the festival's community-oriented spirit, such as daily lakeside concerts at open-air venues along , silent discos held on Thursdays at the residence, and pop-up concerts integrated with local entities throughout . The itself serves as a central hub with multiple rooms hosting these activities, including DJ sets focused on , house, funk, and disco sounds. Additionally, the 2025 program introduced interactive elements like the "Montreux Nulle Part Ailleurs" photo contest at the Forum Montreux, where participants could win tickets to the 2026 edition by sharing festival moments online. Off-site extensions broaden the festival's impact beyond the main dates, including year-round programming at the Montreux Jazz Café, which features artist sessions and live performances in collaboration with the festival foundation. International tie-ins, such as the , incorporate similar free elements like intimate jam sessions and emerging artist showcases, fostering global connections. Family-friendly components, such as kids' jazz workshops at The within the , provide educational opportunities for younger participants to engage with music through interactive sessions. All free activities require no tickets, ensuring broad and promoting in participation, with 2025 programming featuring artists from over 20 countries including the , , , and . This approach underscores the festival's commitment to inclusivity, allowing visitors from varied backgrounds to experience and related genres without barriers.

Notable Performances and Recordings

Iconic Live Moments

The Montreux Jazz Festival has been defined by transformative live performances that capture raw energy, innovation, and cultural resonance. One of the earliest standout moments occurred in 1969 during the third edition, when pianist Les McCann and saxophonist Eddie Harris delivered an electrifying set at the Casino de Montreux, later immortalized in the album Swiss Movement. This collaboration produced the track "Compared to What," a fiery protest against the Vietnam War, and became a live jazz album that achieved gold certification in the United States, selling over 500,000 copies and peaking at No. 2 on the R&B charts. In the 1970s, the festival embraced jazz's evolution into fusion and social commentary. Miles Davis made his Montreux debut on July 8, 1973, with a septet featuring electric bass and keyboards, showcasing his pioneering fusion style through extended improvisations on pieces like "What I Say" and "Ife," marking a pivotal shift from acoustic cool jazz to electrified grooves that influenced generations. Three years later, on July 17, 1976, Nina Simone delivered a profoundly emotional solo piano set at the Auditorium, blending haunting renditions of "Mississippi Goddam" and "Four Women" with impassioned spoken rants against apartheid in South Africa, reflecting her lifelong activism and leaving audiences stunned by her vulnerability and fury. The 1980s and 1990s highlighted the festival's openness to improvised jams and rock crossovers. , as co-producer from 1991 to 1993, curated all-star ensembles that fostered spontaneous collaborations, such as his 1991 finale with featuring a trumpet-piano dialogue on "Tutu," exemplifying the era's boundary-pushing group improvisations. In 2007, commanded the stage with a high-octane guitar jam during "Purple Rain," shredding solos that blended , and jazz in a way that electrified the crowd and underscored Montreux's genre-blurring ethos—capped by a surprise after-show . Deep Purple's July 9, 1996, performance at the Auditorium Stravinski featured the band's lineup of the era (, , , , ) for a blistering set including "," channeling intensity within the jazz festival context and nodding to their historic ties to Montreux since the 1971 fire that inspired the song. The 2000s brought soul revival and eclectic surprises. D'Angelo's July 14, 2000, appearance with The Soultronics at the Stravinski Auditorium revived neo-soul through extended jams on "Left & Right" and "Devil's Pie," his falsetto and guitar work fusing R&B grooves with jazz improvisation in a set hailed for its raw sensuality and revival of organic soul traditions. David Bowie's July 18, 2002, concert at the same venue featured a full rendition of his Berlin-era album Low, with atmospheric synthesizers and hits like "Life on Mars?" creating an intimate, experimental vibe that resonated with the festival's innovative spirit; he returned sporadically through 2016, often attending as a local resident before his passing. In 2011, Carlos Santana's reunion with John McLaughlin on July 1 delivered a cross-genre spectacle, merging Latin rock, jazz fusion, and spiritual improvisation on tracks like "The Life Divine," surprising audiences with their telepathic guitar interplay and drawing from diverse influences including blues and Indian classical music. Recent years continue this legacy of bold experimentation. At the 2025 edition, closed the Lake Stage on July 11 with a soulful finale, performing classics like "" in a celebratory spectacle that transformed the lakeside into a disco-infused tribute to her Supremes-era hits and enduring diva presence. Earlier that week, on July 13, took the main stage for an experimental fusion set, weaving electronic beats, R&B vocals, and jazz-inflected percussion into a visually immersive journey on tracks like "," pushing the festival's boundaries with her artistry. These moments, from fiery protests to genre-defying jams, illustrate Montreux's enduring role in fostering unforgettable live synergies.

Associated Discography

The Montreux Jazz Festival has produced a rich associated discography, with numerous live albums and recordings capturing performances since its inception in 1967. Early releases highlighted the festival's jazz roots, including ' At the Montreux Jazz Festival, a trio album featuring Evans on piano with Eddie Gomez on bass and on drums, recorded on June 15, 1968, and released by later that year, featuring intimate interpretations of standards like "Nardis" and "Turn Out the Stars." Similarly, and ' Swiss Movement, recorded live on June 21, 1969, and issued by in October of that year, blended with hits like "," achieving gold status and peaking at No. 2 on the R&B charts. In the 1970s and 1980s, the festival's recordings expanded to include big band and soul influences, though some iconic moments inspired external works without direct official releases. Count Basie's Basie Jam: Montreux '77, a live album from the July 15, 1977, performance featuring guest artists like Roy Eldridge and Benny Carter, was released by Pablo Records and showcased swinging jams such as "Bookie Blues." Ray Bryant's Alone at Montreux, a solo piano set recorded on June 23, 1972, at the Casino de Montreux and released by Atlantic Records, offered reflective takes on pieces like "Gotta Travel On," emphasizing the festival's intimate venue acoustics. Deep Purple's performances at Montreux, beginning in 1969, influenced their seminal live album Made in Japan (1972, Warner Bros.), though it was recorded during their Japanese tour; the band's recurring appearances, including the 1971 set amid the casino fire, later yielded official releases like Live at Montreux 2011 (Eagle Records). The 1990s and 2000s saw the growth of the "Live at " series through and Montreux Sounds, producing DVD and CD packages of high-profile sets. A notable compilation, Montreux Jazz Festival: 25th Anniversary (1991, ), gathered tracks from festival alumni like and João Bosco, marking the event's milestone with a mix of and international sounds. Alice Cooper's Live at Montreux 2005, recorded on July 12, 2005, and released in 2006 by , captured a theatrical rock performance with tracks like "," expanding the festival's boundaries. More recent discographic outputs include digital and streaming releases drawn from the festival's vast archives. David Bowie's performances across multiple years culminated in the 2025 box set I Can't Give Everything Away (2002–2016) (Parlophone), which features previously unreleased live recordings from the Montreux Jazz Festival, such as the full July 18, 2002, set including "Heroes" and "Life on Mars?" alongside later Heathen-era material up to 2016. The festival's official platform has made over 50 full concerts available for free streaming, encompassing diverse acts like Wu-Tang Clan's energetic 2007 hip-hop set with "C.R.E.A.M." and Johnny Cash's poignant 1994 country performance of "Folsom Prison Blues." The Claude Nobs Foundation, formed in 2007 to preserve the festival's heritage, maintains an extensive archive of over 11,000 hours of video and 6,000 hours of audio since 1967, including unreleased gems such as additional takes from Marvin Gaye's sole 1980 appearance, where he delivered soulful renditions of "" and "" precursors—materials recognized by UNESCO's Memory of the World Register for their cultural significance. These holdings ensure ongoing access to raw, unpolished festival moments beyond commercial releases.

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