Taking its spirit from both tradition and innovation, the modern direction of jazz is all about inclusivity. The Shuffle Demons weaving their way through the crowd at Huff Estates this year was just the beginning of this year’s lively week of rhythms.

As the Festival’s Chair Emeritus, John Puddy,  notes, “the Festival is evolving in a very positive way. The main stage artists and venues appeal to a broad demographic. Many genres of music feature. We had sold out audiences across most venues. A true testament to the vision of the professional team that is in place.”

In this inclusive spirit, I’ve crowd-sourced some responses to this year’s performances.

One of the highlights was surely the Jeremy Ledbetter Trio at The Regent. Max Valihora, who came in from Toronto for the show, writes:

“The opening number featured Ledbetter’s lush touch on the piano, followed by low-end swells from bassist Rich Brown, culminating in three strong shots that brought in a rolling afro-cuban groove by drummer Larnell Lewis.

“The trio’s fusing various genres — contemporary jazz, soca, and salsa — had audience members from 23 to 83 bobbing their heads and tapping their feet.

“Even my lovely grandmother, whose favourite artist is Dean Martin, gave me a look as though to say ‘these fellas are the real deal’.” And that they are.

“The trio played through their most musically challenging numbers while smiling and connecting with one another. Whether it’s an unexpected chord change or a drum fill played entirely on the cowbell, it was inspiring to watch the players react to each other’s musical choices in real time.”

Local Festival supporter Celia Sage adds about this show, “they opened with what felt like an exercise in jazz theory, but then launched into a cinematic ride that pushed all the buttons: from the tenderness of a baby’s sigh, to a chaotic steel pan parade, to the disturbing inexorability of gravity. And anyone who thinks drum solos are boring has not heard Larnell Lewis!”

The next night at the Regent was also great. “Emilie Claire Barlow was particularly wonderful,” writes John Puddy. “It was her fourth visit as a main stage performer at the festival. In my opinion this was her best performance, as the songs she sang were ones that she was passionate about. This showed through. She was engaged, relaxed and added great personal anecdotes. A great concert from a true professional.”

Huff Estates also featured the return of the Doghouse Orchestra. This genre-blending organization is beyond category. Western Swing, Louis Jordan style jump, Caribbean rhythms, all anchored with a strong dose of some ’60s rock and roll, centered on the electric guitar and punctuated with sharp-toned solos from alto saxophonist Bruce Mackinnon (usually the band’s drummer!). Singer Donovan Locke acted as a member of the band, blending in with the saxophone-flute-violin lineup, and somehow conveying a laid-back attitude amidst the compelling beats.

Flautist Anh Phung seemed to be everywhere. I heard her adding riffs and trading bars with violinist Molefe Mohamid-Mitchell at the Doghouse Orchestra show. Then she sat in with Brian Legere at the Waring House’s Barley Room. She offered a workshop demonstration of her use of digital technologies—which was later the opening act for Jeremy Ledbetter at The Regent. To top it all off, she was on CBC radio during her stay here, earning a well-deserved shout-out to the PEC Jazz Festival.

Festival organizer Alan Weekes said of the inaugural workshop series, “hands-on Brazilian percussion, jazz ukulele and an up-close workshop with Anh Phung. This move from passive concert attendance to being truly engaged with the music is at the heart of the Jazz Festival’s mission to grow people’s knowledge of jazz, and to encourage music participation from everyone. Seeing over 20 people weaving their way through the intricacies of samba rhythms, and a dozen players’ AHA! moments as they discovered the new chords that tie jazz melodies together was pure joy and community at its best.”

Young singer Ale Nuñez, whose first album earned a Juno nomination this year, brought a trio to Sandbanks Winery’s Barrel Room, a wonderful, intimate space. Her style is very much engaged with the great female interpreters of the last century, bringing the Great American Songbook to life with her own twist. I hope she takes up the audience suggestion to call her band The Ale Cats!

The traditional Saturday morning at Glenwood Cemetery, sponsored by Libby Crombie, featured two “festival favourites,” singer-pianist Hannah Barstow and bassist Duncan Hopkins. In the decade since she was a Festival “rising young star,” Ms. Barstow has brought her delicate yet firm voice to the County many times. The duo’s set of originals and slightly off-the-beaten-track standards resonated with the lovely space and a relaxed crowd, grateful for temperate weather.

The final night featured the energetic latin sounds of singer Irene Torres. Karen Valihora reports, “I expected this show to be really good, rousing latin beats — but this was sensational! By the end Torres had the packed Waring Hall — they opened extra tickets at the end, which is how I got a seat — calling back a chorus and clapping along, and earned a standing ovation to bring her back for an encore. Max’s grandmother was along with me and her only complaint was there was no room for a dance floor! Bring her back to the Festival please!”

Norah Rogers of Waring House noted, “everyone we worked with throughout the planning and performance period was so dedicated and enthusiastic and  professional. It was a real pleasure to experience the people and the music and to be part of the audience absolutely enthralled by the quality of the talent on stage.

“We should be so proud to have this first class event happening every summer in the County. Sarah Kim Turnbull and Brian Legere are amazing artistic directors and all the organizers, partners and, of course, musicians that we had contact with were a pleasure to work with. Thank you to everyone including the enthusiastic jazz lovers who came out to enjoy the music.”

She adds an important note: “The Jazz Festival is always a super busy time for restaurants and businesses in the County and is greatly appreciated for what it contributes.”

Ms. Turnbull summed it up: “The 2026 Prince Edward County Jazz Festival was a wonderful celebration of music, community, and the incredible diversity of jazz. This year’s lineup brought together an inspiring range of artists and musical voices. I am especially proud of the way the festival continues to bring exceptional music into the unique spaces and communities of Prince Edward County, creating intimate opportunities for audiences to connect with artists and with one another.

“Of course, none of this would be possible without the generosity of our musicians, audiences, volunteers, sponsors, venues, and community partners. It is a privilege to help shape a festival that remains adventurous, welcoming, and deeply rooted in the County, and I am so grateful to everyone who helped make the 2026 festival such a memorable experience.”