Meanwhile, over on the Tim Jackson Garden Stage, Davina and the Vagabonds kept things rolling with their mix of swing, soul, and vintage sass. They had people dancing barefoot on the grass before the first chorus was done.

One of the most talked-about moments of the entire weekend came courtesy of Alfredo Rodríguez. His extended, heartfelt intro to “Bésame Mucho” was pure magic — a slow build of melody and emotion that had the audience singing along, completely unprompted. You couldn’t script a moment like that.

As the day rolled on, Monterey showed off its younger side. Risingstars like Keyon Harrold, Ekep Nkwelle, Camille Thurman, Brandon Woody, and Alicia Olatuja took turns lighting up the stages — proof that the next generation isn’t just ready, they’re already leading the charge.

Then came the party. Cory Wong brought his signature Minneapolis sound — that blend of jazz, funk, and rock that makes it impossible to sit still. The arena was on its feet for the whole set. And closing out the night, Ledisi reminded everyone why she’s one of the fiercest voices in music. Her set stretched from early hits to brand-new material, and she absolutely owned the stage.

Sunday: From Young Lions to Mardi Gras
Sunday is always a little bittersweet — the energy is still high, but you can feel the weekend starting to wind down. Still, the day began the way Monterey always should: with the Next Generation Jazz Orchestra. This year’s lineup was on fire, featuring Allie Molin (trumpet), Khalil Childs (alto sax), and Ryan Kaplan (tenor sax). Their collaboration with Christian Sands on his commissioned piece was one of those “remember this” moments — so much talent, so much promise.

Then came a global spin on the main stage. Pete Escovedo, joined by sons Juan and Peter Michael, brought those infectious Latin grooves that had everyone moving. It was pure joy — a family sharing their heritage through rhythm.

Lenny White’s “Echoes of an Era” was a highlight for longtime jazz heads. With Javon Jackson, Orrin Evans, Dr. Eddie Henderson, John Patitucci, and the incredible Lisa Fischer, it was both a history lesson and a masterclass. Fischer’s vocals soared — she doesn’t just sing; she channels the music.

Making her Monterey debut, René Marie delivered a warm, playful tribute to Harry Belafonte, complete with a joyful version of “Jump in the Line” that had everyone smiling.

Meanwhile, the younger players continued to shine across the fairgrounds. The San Jose Jazz High School All-Stars, the Regional All-Star Ensembles, and the Big Band showed that the pipeline of talent is alive and thriving. Watching those kids play is always a reminder that this festival isn’t just about celebrating jazz’s past — it’s about building its future.

And then came the big finale. Trombone Shorty closed the festival with an all-out New Orleans-style blowout. Within minutes, the fairgrounds turned into a full-on party. Horns blared, people danced in the aisles, and when Shorty and his horn section marched right through the crowd, it felt like the entire place was part of the band.

As the last notes faded and people started heading for the exits, you could hear it everywhere — “Can’t wait for next year.” Same here.

Final Thoughts
Every Monterey Jazz Festival has its moments, but this one felt especially alive — a blend of renewal, tradition, and pure joy. After the challenges of recent years, seeing Dizzy’s Den reopen and hearing those spontaneous singalongs and roaring cheers felt like a celebration of everything that makes jazz (and this festival) timeless.

If the music is any sign, the future of jazz — and Monterey — is in very good hands.