History of Jazz à Juan… The Gould pine grove, an anthology of live music. The first “Jazz à Juan,” created in homage to a famous adopted Antibes resident who was none other than Sidney Bechet, was the origin of many other festivals that spread across Europe. From July 14 to 24 at 8:30 PM, Pinède Gould in Juan-les-Pins.
Claude Nobs, the inventor of the great event that is Montreux, himself said: “If I hadn’t passed through Antibes, Montreux would not exist.” The concept was revolutionary. For the first time, the general public could discover the main actors of the great saga that jazz had already become.
With the heroes themselves on stage. Up close.
And with the most beautiful setting imaginable, under the century-old pine trees of the Gould pine grove and facing the Mediterranean. A bold bet, certainly, but brilliantly maintained.
While having hosted the jazz pantheon since 1960, the Antibes Juan-les-Pins festival retains a dual appeal.
Firstly, a rich program, true to authentic jazz. But also, and maybe especially, it remains a real laboratory, where everyone can see that jazz remains a vibrant music: high-caliber opening acts, (free) “Off” concerts, hotel bars and streets filled with Brass Bands…
There are numerous discoveries, of music that is both varied, enjoyable, and always at a human scale, in a mythical site, between beach and stars.
In the eyes of stars from around the globe, the Gould pine grove is now akin to what the Scala of Milan represents for an opera artist: a confirmation and an exceptional meeting with the public, an ideal cocktail for a legendary place.
From 1960, Charles Mingus’ anthology concert, followed by the beginning of the “Love Affair” between Ray Charles and the pine grove, Miles Davis’ revelation in 1963, an anthology duo between Ella Fitzgerald and a cicada…
In 1968, after the Coltrane shock and while the controversy rages on all fronts, comes the irresistible saga of free jazz, followed by the pinnacle of Jazz Rock and fusion in 1976, the impressive collection of pianists in 1981 (Petrucciani, McCoy Tyner, Chick Corea, and Keith Jarrett), the revelation of Al Jarreau, the extraordinary duo between Stanley Clarke and Miroslav Vitous in 1986, Sarah Vaughan with Michel Legrand, performances by Carlos Santana or the immense Jessie Norman… Not to forget, of course, the fabulous concerts of three of the most loyal: Dizzy Gillespie, Stan Getz, and Sonny Rollins.
“Jazz à Juan” or the diversity of genres and programs, but also of musicians, beginners who became famous, iconoclast innovators, classical and modern from the great family of jazz…
No other festival has done more for the recognition of mixed and improvised music worldwide: in Juan, the public keeps Africa in its heart, the “Som do Brasil” dances with the Latinos of Cuba, and Tito Puente converts France to the magic of mambo, before John McLaughlin and Shakti open the Route of the Indies…
A series of ongoing happenings, showcasing to infinity New Orleans, Gospel, Blues, Swing, Be-bop, Latin Jazz, Cool Jazz, Hard-Bop, Free Jazz, Jazz-Rock, Modern Jazz or Electro-Jazz, through historic concerts constituting now the memory of European jazz, yet also building its future, as evidenced by recent performances by Roy Hargrove, Richard Bona, Thomas Dutronc, Norah Jones, or Jamie Cullum.
Since 1960, the saga of jazz has written itself in Juan in all its immense diversity, through artists, newcomers or legendary figures, innovators or iconoclasts, classic or modern.
Beyond divisions and trends, it is essential on many levels:
– Essential for the talent of the artists who have performed there.
– Essential also for the diversity of music that can be heard there.
– Essential finally for its exceptional influence, making it one of the most prestigious and effective vectors of communication for Antibes Juan-les-Pins on the international stage.
