25
Mar, 2026
The Whistling Heads | New Wave/Post Punk (IT)

The Whistling Heads | Dance Punk (IT)

The Whistling Heads

Dance Punk | IT

AVAILABILITY FOR EUROPE

2026/27 | Dates upon request (EU-based band)

Line-up

Alberto Zaccaro aka Albert Mud | Vocals, guitar
Santino Mondello | Guitar
Samuele Costa | Bass
Giuseppe Arnao “Ziffo” | Drums

Style

A Messina dance-punk band with a wiry guitar attack, a restless rhythm section, and a clear instinct for hooks. Their sound moves from raw art-rock tension into dance-punk propulsion, keeping the urgency of British crank wave and new wave alive without sounding derivative. Sharp, youthful, and physically driven, they turn nervous energy into songs built for both small clubs and international showcases.

Profile

The Whistling Heads are a Messina-based dance-punk band shaped by rehearsal-room intensity, local underground culture, and a fast-developing live identity. Emerging from the Retronouveau orbit, they built their early profile through lean songs charged with alternative rock friction, noise-pop edges, and a youthful sense of tension. Since the first singles and the 2023 debut album Dull Boy, the project has expanded quickly through Italian dates, UK shows, growing international press attention, and the Gabe Gurnsey / Factory Floor remix of “Well…I Mean”.

Their 2025 release Better and Better than Before… widened the frame further with remixes, live cuts, and unreleased material, confirming a band that is no longer interested in staying inside one strict lane. What defines them is the balance between abrasion and melody: angular guitars, elastic basslines, alert drumming, and vocals that channel irony, pressure, and youthful disillusion with directness rather than pose.

Details

Alberto Zaccaro aka Albert Mud | Vocals, guitar
Frontman and co-founder of the project, Alberto Zaccaro is the most visible narrative voice of the band. Public release credits list him as Albert Mud for lyrics, while interviews place him at the centre of the group’s stylistic shift from classic post-punk toward a more dance-punk direction. His delivery gives the songs their tension between sarcasm, anxiety, and immediacy.

Santino Mondello | Guitar
Santino Mondello belongs to the original nucleus that launched the band and remains crucial to its guitar identity. His playing helps define the band’s angular, British-facing language, balancing abrasion with shape and momentum. He has also publicly explained the origin of the name The Whistling Heads, underlining the project’s rooted Messina identity.

Samuele Costa | Bass
Samuele Costa is the bassist whose arrival helped turn an early idea into a stable working band. In interviews he describes the chemistry of the settled line-up as the moment the project became serious. His bass work is central to the spring-loaded grooves and to the more dance-oriented direction of the recent material.

Giuseppe Arnao “Ziffo” | Drums
Known as Ziffo, Giuseppe Arnao is the drummer whose arrival stabilized the line-up that wrote most of Dull Boy. His drumming gives the band lift, bite, and rhythmic discipline, carrying both the nervous post-punk drive and the newer club-leaning accents. He is also regularly present in the band’s public interviews and live presentations.

 

Biography

The Whistling Heads belong to the new Italian wave of bands reclaiming dance-punk as a live language rather than a museum code. Their identity is rooted in Messina, but the project already reads beyond its local scene through a British-facing guitar vocabulary, dance-aware bass movement, and a frontman presence that turns irony and pressure into direct stage communication. The result is a band that can work in clubs, alternative festivals, and showcase circuits with the same sense of urgency.

Discography

October — single — 2022-10
Teenage cliché — single — 2023-03
Shoot Shoot — single — 2023-06
Dull Boy — album — 2023-09-01
Well…I Mean — single — 2024-02
Well…I Mean (Gabe Gurnsey / Factory Floor Remix) — single — 2024-04
Shut Me Up — single — 2024-05
Lullaby Lady — single — 2024-08
Wreck — single — 2025-03
Better and Better than Before… — compilation — 2025-09-13

Quotes

“One of the most interesting acts in today’s Italian underground.”
Stefano Gallone | Rockit | 2023-10-02

“From Messina, beyond the borders of rock.”
Giandomenico Morabito | Musica Intorno | 2023-11-22

“A gripping indie post-punk where electric crash, lively rhythms, and melodic pop taste all come through clearly.”
Gianluca Polverari / Radio Città Aperta | 2023-12-01

“A band who knows exactly how to write a funky indie-rock tune.”
Fred Bambridge | It’s All Indie | 2024-02-12

“They are injecting fresh vitality into that spirit.”
Alice Teeple | Post-Punk.com | 2024-05-27

Reviews

The Whistling Heads: “Dull Boy” recensione / Rockit / Stefano Gallone / 2023-10-02

Dull Boy, The Whistling Heads oltre i confini del rock / Musica Intorno / Giandomenico Morabito / 2023-11-22

Intervista The Whistling Heads ad Alternitalia / Radio Città Aperta / 2023-12-01

The Whistling Heads drop their funky new tune, “Well…I Mean” / It’s All Indie / Fred Bambridge / 2024-02-12

The Whistling Heads – Well…I Mean (Disasters by Choice) / The Big Takeover / Dave Franklin / 2024-02-15

Sicilian Post-Punk Quartet The Whistling Heads Debut Video for “Shut Me Up” / Post-Punk.com / Alice Teeple / 2024-05-27

WHATS GOING ON

7
Mar, 2026
Mikah Maquá | IndiePop/Rock (NL)

Mikah Maquá | Quirky Alt-Pop Rock (NL)

Mikah Maquá

Quirky Alt-Pop Rock | NL

AVAILABILITY FOR EUROPE

2026-2027 | July 1st, 2026 to December 31st, 2027

Line-up

Mikah Maquá | Voice
Fay Arapatsani | Drums
Federica Fornaro | Guitar
SiYu Liu | Keys

Shortly about Mikah

Mikah Maquá stands out for her sharp songwriting, turning vulnerability, irony and neurodivergent self-awareness into catchy, emotionally direct indie-pop. A two-time finalist of the European Music Contest in the singer-songwriter category (2018 and 2021), she was also selected for the Hedon Beurs 2025 development trajectory. In 2026 she released her debut EP people pleaser with support from Music Support Overijssel, confirming her as a rising voice with both personality and momentum.

Style

Confessional indie-pop with the nerve of alt-rock and the bounce of spring-loaded guitars. Retro-leaning keys and sharp backbeats keep the songs moving between irony, tension, and release. The band DNA is intimate but not soft: melodic, emotionally direct, and built for dynamic live lift.

Profile

Mikah Maquá sits where diaristic indie-pop meets wiry alternative rock. The center of gravity is a voice-first songwriting identity shaped by confession, irony, and emotional overshare, then pushed outward by a rhythm section that favors momentum over polish and by guitar work with a rougher art-rock edge. Fay Arapatsani brings physicality and dark-toned dynamic contrast from an art-pop and heavy-alt background; Federica Fornaro widens the harmonic field with psych, prog, and jazz-adjacent color, adding grain, tension, and movement rather than decorative texture. With keys functioning as both glue and counterpoint, the project lands in a sweet spot between catchy hooks and nervous energy: retro synth flashes, springy riffs, abrupt emotional pivots, and a live interplay that turns vulnerability into impact.

Details

Mikah Maquá
Dutch-Canadian singer-songwriter Maaike Girardin fronts the project with a writing voice built on self-exposure, humor, and emotional contradiction. Public profiles consistently frame the material around neurodivergence, people-pleasing, awkward love stories, and revenge-fantasy wit, but the songs stay hook-led rather than purely confessional. Production and release history point to a collaborative studio axis with Lennert Klaui, giving the project a polished but still elastic alt-pop frame. Live, the material is built to scale from intimate confession to sharp collective lift.

“Her relatable yet catchy pop songs let vulnerability collide with brutality.” (Hedon Zwolle event text, 2026-01-22)

Fay Arapatsani
Athens-born and based in Utrecht, Fay Arapatsani brings a drummer-songwriter sensibility that favors weight, contour, and dramatic pacing. Her public bio maps a path from early piano study into drums, composition, and darker art-pop writing, with threads of ethnic jazz, pop, fusion, and electronics. That background translates well inside Mikah Maquá’s frame: she can support hook-based material while adding urgency, asymmetry, and a harder emotional undercurrent.

“The Greek artist carries the set with her powerful rock voice, which she can take impressively high.” (Rogier van Nierop, 3voor12 Leiden, 2025-12-23)

Federica Fornaro
Federica Fornaro adds the project’s rougher guitar grain. Her documented work with Basiliscus P points to a player comfortable with psych rock, prog structures, 1990s alternative edges, and jazz-adjacent openness, which makes her especially useful in a band that needs songs to move beyond pure singer-songwriter framing. She is less about ornamental lead lines than about shape, texture, and expansion: widening choruses, introducing friction, and giving hooks a more physical body.

“A talented and eclectic Messina band.” (Nadia Cornetti, Off Topic Magazine, 2022-12-21)

SiYu Liu
SiYu Liu is the keys chair in this lineup. In band-DNA terms, the role is important: keys soften transitions, reinforce hooks, and connect the project’s retro-pop sheen to its more nervous rock edge. Public-facing January 2026 band posts identify the keys position as Sharon Liu under the handle @cactusinpoppy, so this profile keeps the role in the lineup while avoiding unverified biographical or discographic claims beyond its ensemble function.

 

Biography

Mikah Maquá is the project of Dutch-Canadian songwriter Maaike Girardin, building songs around awkward honesty, pop immediacy, and emotional whiplash. Public-facing bios and event texts consistently frame the act as a mix of retro synths, springy guitars, and catchy songwriting that turns vulnerability, humor, and instability into hooks built for the stage rather than the diary page.

Discography

Mikah Maquá
Singles: something to remember (2025), wish you were dead (2025), ADHD (mental break-up) (2025), someone else (2026), HELLO?! (2026). EP: people pleaser (2026).

Fay Arapatsani
Single: Hardpill (2024). EP: will I go under (2024). With Amalphi: album Acheron I (2019), EP Valley – Serpent – Womb (2023).

Federica Fornaro
With Basiliscus P: album Placenta (2017), singles Urban Safari (2022) and Magenta (2022), album Spuma (2022). Feature: Giadar, Mirror in the Mirror feat. Federica Fornaro (2022). Additional credited appearance: La Stanza della Nonna, Dove gli occhi non possono arrivare (2019).

SiYu Liu
No public discography could be independently verified under the supplied name.

Quotes

  • “Her relatable yet catchy pop songs let vulnerability collide with brutality.” Hedon Zwolle, 2026-01-22
  • “The Dutch-Canadian artist makes a mix of retro synths, springy guitars and catchy pop songs.” Poppunt Overijssel, 2026-01-22
  • “This band has the most unique sound of the evening.” Rogier van Nierop, 3voor12 Leiden, 2025-12-23
  • “The Greek artist carries the set with her powerful rock voice, which she can take impressively high.” Rogier van Nierop, 3voor12 Leiden, 2025-12-23
  • “A talented and eclectic Messina band.” Nadia Cornetti, Off Topic Magazine, 2022-12-21
  • “A more mature, experimental, complex and enveloping sound.” Laura Lipari, LetteraEmme, 2022-10-13

Reviews

  • Mikah Maquá brengt met hulp van MSO debuut EP uit – Poppunt Overijssel – 2026-01-20 – https://poppuntoverijssel.nl/mikah-maqua-brengt-met-hulp-van-mso-debuut-ep-uit/
  • Van zangles in De Meerpaal naar eigen muziek: Mikah Maquá’s muzikale reis – FlevoPost – 2025-12-24 – https://flevopost.nl/dronten/van-zangles-in-de-meerpaal-naar-eigen-muziek-mikah-maqua-s-muzikale-reis-47898303.html
  • MIKAH MAQUÁ – Hedon Zwolle – 2026-01-22 – https://www.hedon-zwolle.nl/voorstelling/32766/mikah-maqua
  • Formula Indie Schedule 5th to 11st January 2026 – European Indie Music Network – 2026-01-05 – https://euroindiemusic.info/2026/01/05/formula-indie-schedule-5th-to-11st-january-2026/
  • Euro Indie Music Chart 3.26 – European Indie Music Network – 2026-01-27 – https://euroindiemusic.info/2026/01/27/euro-indie-music-chart-3-26/
  • Douze points voor Griekenland – 3voor12 Leiden | Rogier van Nierop – 2025-12-23 – https://3voor12.vpro.nl/lokaal/leiden/artikelen/overzicht/2025/december/Nobel-Award-2025-finale.html
  • Basiliscus P – Spuma (Tuma Records/The Orchard, 2022) – Off Topic Magazine | Nadia Cornetti – 2022-12-21 – https://offtopicmagazine.net/2022/12/21/basiliscus-p-spuma/
  • Urban Safari: il nuovo singolo dei Basiliscus P in uscita il 13 ottobre 2022 – LetteraEmme | Laura Lipari – 2022-10-13 – https://www.letteraemme.it/urban-safari-il-nuovo-singolo-dei-basiliscus-p-in-uscita-il-13-ottobre-2022/
  • Interview – Basiliscus P – Indie-Roccia | Smoking Area – 2022-09-08 – https://www.indie-roccia.it/interviste/interview-basiliscus-p/
WHAT’S GOING ON

https://www.coralriff.biz/events/

BOOKING REQUEST

4
Feb, 2026
ALLEN HINDS 4tet ft. JIMMY HASLIP, MICHELE PAPADIA & GERGO BORLAI (USA)

ALLEN HINDS 4tet ft. JIMMY HASLIP, MICHELE PAPADIA & GERGO BORLAI | Groove Fusion (USA)

Allen Hinds 4tet

ft. Jimmy Haslip, Michele Papadia & Gergo Borlai

Groove Fusion (jazz‑blues‑rock) | USA

AVAILABILITY FOR EUROPE

2026 | August 19th to 30th

Line-up

Allen Hinds | Guitar
Natalie Cole, Roberta Flack, Randy Crawford, James Ingram, Bobby Caldwell, BeBe & CeCe Winans, The Crusaders, Hiroshima, Boney James, Eric Marienthal

Jimmy Haslip | Bass
Allan Holdsworth, Pat Metheny, Bonnie Raitt, Rod Stewart, Donald Fagen, Al Jarreau, Bruce Hornsby, Jeff Lorber, Robben Ford, Bobby McFerrin

Gergő Borlai | Drums
Al Di Meola, Tony MacAlpine, Nathan East, Tom Scott, Vernon Reid, Terry Bozzio, Bob Mintzer, Scott Henderson, Gary Willis, Hadrien Feraud

Michele Papadia | Keys
Ana Popovic, Joe Bonamassa, Noemi, Fabrizio Bosso, Gianluca Petrella, Patty Pravo

Style

A blues-rooted, guitar-led fusion set where hooks matter as much as solos: Allen Hinds’ vocal phrasing rides a pocket built by Jimmy Haslip’s melodic, harmony-aware bass lines and Gergő Borlai’s high-definition drive-tight on the backbeat, fearless when the meters start to bend. Michele Papadia adds Hammond grit and electric-piano shimmer, widening the harmonic canvas as the quartet moves from lean funk vamps to open, melodic jazz-rock studio-clean in tone, live-wire in momentum.

Profile

Allen Hinds Quartet brings groove fusion into a modern, song-forward frame-equal parts blues narrative, jazz harmony, and rock attitude. Hinds’ lyrical phrasing and expressive articulation lead the line, while Jimmy Haslip anchors the band with a producer’s ear and an electric sound that can feel as warm and upright-like as it is punchy. Gergo Borlai adds high-definition fusion vocabulary without losing the jazz feel, turning metric shifts into momentum rather than complexity. Michele Papadia widens the harmonic spectrum with Hammond and keys that can move from velvet pad work to biting, percussive comping an ideal foil for Hinds’ bends and melodic themes. The set stays built on groove: head-nodding backbeats, elastic pocket funk, and slow-burn blues that open into fearless improvisation and tight, conversational interplay.

Details

Allen Hinds A long-time first-call guitarist in contemporary jazz-blues contexts, with credits spanning soul, pop, and jazz crossover sessions. His writing favors melodic song-forms, dynamic builds, and tone-forward storytelling. Highlights include the 2016 release Fly South. (“Imagine a player with the taste of Robben Ford, the fearless melodicism of Jeff Beck and the joyous musicality of Derek Trucks.” — Jason Sidwell, MusicRadar, 2017-05-10)

Jimmy Haslip Cofounding voice of modern fusion bass, known for lyricism, articulation, and harmonic clarity. Equally at home as sideman and producer, shaping ensembles from the inside out. His work is often praised for bringing an upright-like elegance to the electric instrument. (“Haslip is a most lyrical musician, and he brings the elegant tone of an upright bass to his electric model.” — Ian Patterson, All About Jazz, 2011-05-04)

Gergő Borlai A fusion powerhouse with a broad vocabulary—speed, precision, and deep listening in equal measure. Credits include work alongside rock/fusion icons and a strong footprint in modern jazz contexts. His playing turns technical firepower into narrative energy and forward motion. (“Oh, he can shred—boy, can he shred.” — Ilya Stemkovsky, Modern Drummer, 2018-11-30)

Michele Papadia Keyboardist, composer, arranger, and producer with a reputation for high-impact groove playing and rich harmonic color. Active across jazz-fusion and blues-rock circuits, including long-term work in international touring line-ups. His keys parts are valued for shaping the identity of recordings from the earliest demos. (“Michele Papadia, with me for 17 years… sent me keys parts for the first demos of the songs and I kept them all.” — Ana Popovic, American Blues Scene, 2023-05-02)

Biographies

Allen Hinds

Allen Hinds is a guitar storyteller whose career sits at the crossroads of blues grit, jazz harmony, and modern fusion drive. Raised in Auburn, Alabama and drawn early to blues and R&B, he pushed toward jazz and fusion as a teenager and studied at Berklee before relocating to Los Angeles to attend Musicians Institute. In MI’s own profile of his path, that move was made possible by the Larry Carlton Scholarship, and Hinds has remained closely tied to the school as a long-standing faculty member in jazz improvisation and phrasing.

In L.A., Hinds built the kind of résumé that only comes from being consistently called for the right gigs: tracking and touring across soul, pop, and jazz-adjacent sessions with major artists and bandleaders while also cultivating his own catalogue. His playing has been repeatedly described in terms of “taste” and melodic fearlessness vocal-like bends, liquid legato, and a climactic sense of solo architecture that makes improvisation feel like narrative. That dual identity-first-call sideman and leader with a signature voice shows up in how he writes: tight, song-centered forms that can expand into open improvisation without losing their arc.

Hinds’ music has also found a life in broadcast placements, with compositions used across TV and cable programming, reinforcing a key point about his artistry: hooks matter as much as chops. As a leader he frames groove as the engine and melody as the headline blues-rooted themes, jazz-inflected chord movement, and rock-ready dynamics that keep the audience locked in even when the harmony and phrasing get adventurous. The arc of his career is defined less by stylistic pivots than by deepening: the same unmistakable tone applied to increasingly refined writing, increasingly conversational ensembles, and an ever-clearer sense of what makes a guitar line memorable.

Jimmy Haslip

Jimmy Haslip is one of the defining electric bass voices in contemporary jazz-fusion a musician whose career spans virtuosic performance, composition, and a major body of work as a producer. For more than three decades he was a core figure in Yellowjackets; in a 2020 interview he reflected on spending 32 years with the band and then stepping away in 2012 as touring demands collided with a growing production workload and a desire to be closer to family. That long arc helped set the template for modern fusion: a rhythm section that can be both pocket-deep and harmonically agile, supporting strong melodies without sacrificing risk.

Haslip’s role was never limited to “the bass chair.” He shaped sound and direction from the inside, contributing as a writer and as a studio-minded architect of the rhythm section. In interviews he has described making records as a social and musical craft: gathering players, shaping atmosphere, and protecting the song’s identity through the recording process. A JazzTimes conversation captures how seriously he takes that craft, framing production as its own discipline and describing a catalog that runs deep into dozens of albums.

Recognition has followed that breadth. Yellowjackets’ long GRAMMY history is well documented by the Recording Academy, and Haslip’s own credits include multiple GRAMMY wins and a long run of nominations an indicator not just of playing excellence but of sustained relevance across projects and decades. Musically, his signature is lyricism with authority: a full tone, precise articulation, and harmonic intelligence that lets the bass function as both anchor and melodic counter-voice. Even when working at the highest technical level, his lines remain singable always serving the music first, which is exactly why so many artists trust him with the foundation.

Gergő Borlai

Gergő Borlai represents the modern fusion drummer at full bandwidth: explosive technique, deep time, and an ear for arrangement that turns virtuosity into story. Originally from Hungary, he developed early as a professional player in his teens and later expanded into an international career as a session, touring, and recording drummer, as well as a composer and producer. The through-line is not just speed or precision, but the ability to make complex rhythmic information feel like momentum odd meters that breathe, metric shifts that land like downbeats.

Borlai’s discography and live profile connect him to a broad network of high-level fusion and contemporary jazz artists guitar heroes, modern bass innovators, and cross-genre projects where the drummer is expected to carry both precision and personality. Industry bios and festival line-ups regularly cite an unusually high volume of recordings and performances, alongside an awards footprint tied to his work in Hungary and beyond: gold-record acknowledgements, major national prizes, and prominent international visibility.

His career has also been marked by headline milestones in the drumming world. In 2019 he placed third in Modern Drummer’s reader poll for “Best All-Around Drummer,” and in 2021 a legacy manufacturer released a signature snare drum developed with him. A 2025 profile also notes that his 2020 solo album The Missing Song was in consideration for GRAMMY recognition, while his broader public presence has grown through clinics and educator roles that bring his approach to drummers worldwide.

Importantly, those achievements have not pulled him away from the working drummer’s craft; they have amplified it. Borlai’s most consistent calling card is that he makes technical content feel human groove-first, reactive to the band, and always aimed at lifting the music rather than displaying the machinery.

Michele Papadia

Michele Papadia is an Italian keyboardist, composer, arranger, and producer whose career has been built in the engine room of contemporary blues and groove-based music: touring bands, high-pressure sessions, and the day-to-day discipline of making songs work. His musical identity is rooted in Afro-American traditions blues, funk, soul, and jazz filtered through a modern player’s toolkit: Hammond organ authority, electric-piano nuance, clavinet bite, and a producer’s instinct for what a track needs.

Papadia’s profile is strongly tied to long-term collaborations, especially in the international blues-rock circuit where consistency and trust matter. A vivid example comes from Ana Popovic’s own account of making the album Power (2023): Papadia described as working with her for 17 years at that point sent keyboard parts for the earliest demos, and those original parts were kept in the final masters while other elements were recorded around them. It is a telling detail: he is not only a live band member, but a foundational voice in the production chain, shaping arrangement and feel from the earliest stage.

In interviews, Papadia has also described formative “professional rites of passage” that map his path from Italy to the wider touring world: high-level encounters, sessions, and tours that placed him in demanding contexts where taste and reliability matter as much as vocabulary. Those experiences sit behind his practical musical philosophy: the blues is not a museum piece but a living language, strengthened by groove, call-and-response, and the ability to support a singer or guitarist while still adding harmonic depth.

Across his work as a musician and educator, Papadia’s signature is the same: parts that lock the pocket, color the harmony, and make the song feel inevitable—whether on a festival stage or inside the studio, where a great take can become the identity of the record.

Quotes

Hinds

Haslip

Papadia

Borlai

BOOKING REQUEST
22
Jan, 2026
Dany Noel Cuban Collective — Detalles | Cuban Jazz / Latin Jazz (CU/ES)

Dany Noel Cuban Collective — Detalles | Cuban Jazz / Latin Jazz (CU/ES)

Dany Noel Cuban Collective

Cuban Jazz / Latin Jazz (CU/ES)

 AVAILABILITY FOR EUROPE
2026 | July / August / September

Style

A journey of fusion from the heart of Cuban Latin Jazz: Afro-Cuban pulse, modern harmony and funk propulsion—DETALLES turns micro-textures into big emotion, on record and on stage.

Profile

Recognized as one of the most versatile and expressive bassists on the international scene, Dany Noel is a key figure in the evolution of contemporary Latin Jazz. Originally from Cuba, he is a bassist and composer who has found his voice within the vibrant world of Latin Jazz. With a strong background in both traditional Cuban music and contemporary jazz, he has been part of major ensembles both on the island and internationally.

He stands out for his virtuosity, rhythmic sensitivity, and his ability to craft a unique musical language—one where Afro-Cuban roots meet jazz, flamenco, funk, and wider world-music colours. In his latest project, DETALLES, Dany Noel offers a sonic fusion that transcends genres, blending Latin Jazz with Afro-Cuban elements and funk. This work highlights not only his prowess as a bassist but also his vision as a producer and architect of a contemporary proposal full of nuance, colour, and emotion.

DETALLES is an invitation to listen beyond the obvious: to dive into the textures of rhythm and harmony, and to rediscover the richness of Cuban music from a modern, global perspective. More than just an album, it is a musical statement where technical precision meets heartfelt emotion. Each piece is carefully crafted to showcase the beauty of the small, the intimate, the essential. Dany Noel leads from the bass with elegance—also with his voice—and with the rhythmic drive that defines his signature.

Originally conceived as a trio recording, the project explores subtleties of rhythm and melody with a modern, minimalist aesthetic. In its live version, DETALLES evolves into something bigger: a vibrant collective experience with a full band of eight musicians on stage. With the expanded line-up, the music becomes a thrilling performance—where improvisation, polyrhythms and the energy of live interplay connect the audience to the pure essence of contemporary Latin fusion.

Details

DETALLES blends Latin Jazz with Afro-Cuban elements and funk, balancing technical precision with a direct emotional narrative.

Studio-born as a trio-minded concept with a modern, minimalist aesthetic, the repertoire expands live into a full-band set that amplifies energy, polyrhythm and real-time interaction.

The live format features bass and voice at the centre, surrounded by piano, electric guitar, trumpet, drums, percussion and two backing vocalists—built for call-and-response, groove development and open improvisation.

(“Noel was ripping through a fast solo while simultaneously vocalising it.” — Sebastian Scotney, London Jazz News, 2016-10-02)

Line-up

Dany Noel | Bass & Voice
Cuban-born bassist/composer; bass-led writing, vocal phrasing and Afro-Cuban rhythmic drive at the core of the project.

Adrián Esteves | Piano
Modern voicings and montuno-derived comping; harmonic colour and rhythmic propulsion.

Dani Morales | Drums
Drum-set architecture that shifts between tight funk articulation and open Latin-jazz swing.

Haime Vázquez | Congas
Afro-Cuban percussion layers, tumbao-support and conversational accents with the drum set.

Raúl Venegas | Guitar
Electric-guitar colours: rhythmic hooks, counterlines, and textural support for the melodic writing.

Julio Rigal | Trumpet
Brass lead voice: melodic statements, bright call-and-response and improvisational lift.

Agnese | Backing Vocals
Vocal textures and rhythmic unisons; expands the chorus dimension of the live set.

Elizabeth | Backing Vocals
Backing-vocal power and phrasing; reinforces the groove and opens timbral contrast in the arrangements.

Discography Highlights

DETALLES (album, 2024)

Intercambio (album, 2022)

Haciendo Camino (album, 2020)

Por la Habana (album, 2017)

Tinta Unida (album, 2013)

CONFIDENCE (album, 2013 — with Dario Chiazzolino)

Proposición (album, 2011)

Dime Si Tú Sabes (album, 2006 — as Duo Chocolate)

Mi Sentir (album, 2007)

QUOTES

  1. “Noel was ripping through a fast solo while simultaneously vocalising it.” — Sebastian Scotney, London Jazz News, 2016-10-02

  2. (Translation) “The bottom-end of things is held firm by the superb rumbling of Dany Noel’s bass lines.” — Raul Da Gama, Latin Jazz Network, 2020-12-10

  3. “The accompaniment … is punchy and crisp on a wide soundstage …” — Peghead Nation (review), 2020-09-12

  4. (Translation) “I started playing at the age of 10… and I don’t think I’ll ever stop as long as I have the strength.” — Dany Noel (quoted), Laura Lipari, LetteraEmme, 2022-05-18

  5. (Translation) “Dany Noel Cuban project — Detalles …” — WhatsApp message (provided by user), 2026-01-21

REVIEWS / ARTICLES

REVIEW: Alex Wilson and Friends at the 2016 London Latin Jazz Festival — London Jazz News — Sebastian Scotney — 2016-10-02

David Broza: en Casa Limón — Latin Jazz Network — Raul Da Gama — 2020-12-10

David Broza Celebrates the Spanish Guitar — Peghead Nation — 2020-09-12

Article: Dany Noel presents “Intercambio” at Retronoveau (Thursday jazz night) — LetteraEmme — Laura Lipari — 2022-05-18

Article: Dany Noel Confluence Trio at “Il Torrione” (Oct 21) — Informagiovani Ferrara — 2023-10-19

City programme announcement: “Madrid, a Christmas postcard” fills the city with music… — madrid.es — 2025-11-21

City programme announcement: Madrid lives a Christmas full of music and tradition — madrid.es — 2025-12-12

Track page: “Briga · Dany Noel (Detalles)” — YouTube (Provided to YouTube by CDBaby) — 2024-04-08

Internal / provided material: “EN — Dany Noel Band — Detalles” (PDF, undated)

BOOKING REQUEST
13
Jan, 2024
Daraa Tribes

DARAA TRIBES | Tribal Fusion & Saharan Blues (MA)

DARAA TRIBES Tribal Fusion & Saharan Blues (MA)

SANDS 8 1 DARAA TRIBES | Tribal Fusion & Saharan Blues (MA)
SANDS 8 1 DARAA TRIBES | Tribal Fusion & Saharan Blues (MA)
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Line-up

Rachid Berazougui | Electric guitar, vocals
Playing For Change (Live Outside); international festival circuits (EU/UK/NA)

Mustapha Aqermim | Rhythm guitar, backing vocals
Collective songwriting; linguistic/organizational bridge in international collaborations

Abdelkebir Saadi | Bass, backing vocals
Grounding rhythm section between Regaga and desert‑blues groove; full‑band live set

Abdelhafid “Hafid” Ami | Percussion (cajón/krakebs), backing vocals
Polyrhythms and ritual patterns (Lkaaba) integrated into an electric set

Mohamed Sabir | Drums
Drummer in the band’s amplified live configuration; adds a more driving full-kit pulse to the groove

Balkhir Razgui | Vocals, percussion (founder, in memoriam)
Founding voice of the project (2014–2024)

Style

Tribal Fusion and Saharan Blues from the palm groves of Tagounite: desert‑guitar riffs, trance percussion and call‑and‑response that turn the stage into a shared rite.

Profile

Daraa Tribes formed in 2014 in Tagounite, an oasis town in Morocco’s Draa Valley: a group of friends from different tribes translating their home’s coexistence into sound. Their “blues of the desert” intertwines Gnawa, Sahraoui, Amazigh and Regaga idioms into a contemporary language—dry, hypnotic electric guitars, a pulsing bass, polyrhythmic percussion and multilingual chorus lines (Darija, Tamazight, Hassani). On stage the band builds by accumulation: circular grooves, minimal variation and tight interplay that draws the audience into a collective dance. After consolidating an international trajectory across festivals and clubs, Daraa Tribes have just wrapped up a UK mini‑tour (Bristol–London–Manchester), reaffirming the project’s high‑intensity live dimension.

Details 

• Rachid Berazougui writes and sings part of the repertoire with a desert‑tone electric guitar that leads the set’s hypnosis. (“Immerse yourself in the rich tapestry of sound that is the heartbeat of Daraa Tribes.” Playing For Change, 2025-04-01)

• Mustapha Aqermim is a rhythmic and narrative engine: the band’s identity grew “in a circle,” without hierarchy, from sharing traditions. (“We didn’t plan to start a band. We just started playing together…” Matt Ross, Arab News, 2020-08-16)

• UK mini‑tour (just concluded): Jam Jar (Bristol, 2026-01-03), Hootananny (Brixton, 2026-01-07), Band on the Wall (Manchester, 2026-01-11).

• Sound imprint: desert‑guitar groove with a Gnawa edge—a writing approach that stays danceable even at its most ritual. (“…incorporate their Moroccan roots into a lilting groove… the edge of the North African Gnawa sounds.” Tony Benjamin, Bristol24/7, 2026-01-02)

Discography

  • Alwan (EP, 2017)

  • Igharman (LP, 2018)

  • Zamane (EP, 2019)

  • Lakbayl (single, 2021)

  • Sahara (single, 2022)

  • Torat Vol. 1 (EP, 2024)

MUSIC REVIEWS

Listening Now : Daraa Tribes – Bshara | 2024-02-02
https://lastdaydeaf.com/listening-now-daraa-tribes-bshara/

Torat Vol. 1, au fil du nouvel EP des Daraa Tribes | 2024-01-29
https://djolo.net/torat-vol-1-au-fil-nouvel-ep-daraa-tribes/

BSHARA REVIEW: The Vitality of North African Pastoral Life | 2024-01-25
https://music.coralriff.biz/bshara-vitality-north-african-pastoral-life/

Daraa Tribes Evoke the Vitality of North African Pastoral Life in the Traditional and Saharan Blues Fusion of “Bshara” | 2024-01-24
https://queencitysoundsandart.wordpress.com/2024/01/24/daraa-tribes-evoke-the-vitality-of-north-african-pastoral-life-in-the-traditional-and-saharan-blues-fusion-of-bshara/

Daily Discovery: Daraa Tribes – Bshara | 2024-01-17
https://rhythmpassport.com/daily-discovery-daraa-tribes-bshara/

Daily Discovery: Daraa Tribes – Sahara (Official Video) | 2022-10-18
https://rhythmpassport.com/daily-discovery-daraa-tribes-sahara-official-video/

Joli moment de convivialité dans le Sahara avec la Daraa Tribes | 2022-10-10
https://djolo.net/joli-moment-convivialite-dans-sahara-avec-daraa-tribes/

LAKBAYL | BLOGS’ REVIEWS | 2021-10-17
https://music.coralriff.biz/lakbayl-blog-reviews-single-release/

Toutes les Daraa Tribes se réunissent sur Lakbayl | 2021-10-08
https://djolo.net/toutes-les-daraa-tribes-se-reunissent-sur-lakbayl/

All the Daraa Tribes meet on Lakbayl | REVIEW ON DJOLO | 2021-10-08
https://music.coralriff.biz/all-daraa-tribes-meet-lakbayl-review-on-djolo/

Globalism //4 | 2021-10-04
https://lastdaydeaf.com/globalism-4/

UltraRadar. Nueva música alternativa mundial – Octubre 2021 | 2021-10-01
https://planarteria.com/2021/10/ultraradar-nueva-musica-alternativa-mundial-octubre-2021/

Quotes 

“…incorporate their Moroccan roots into a lilting groove… the edge of the North African Gnawa sounds.”

Tony Benjamin, Bristol 24/7, 2026-01-02) — https://www.bristol247.com/culture/music/bristols-month-in-world-music-january-2026/

“We are delighted to welcome back Daraa Tribes as the celebratory closing act of our first digital festival.”

Liverpool Arab Arts Festival, 2020-07-18) — https://www.arabartsfestival.com/events/daraa-tribes/

“The track… fusing ancient rhythms with contemporary flair… offering listeners a sonic journey.”

Last Day Deaf, 2024-02-02 — https://lastdaydeaf.com/listening-now-daraa-tribes-bshara/

Reviews / articles / profiles

Profiles & bio

UK tour (just concluded)

Live reviews

WEBSITE

https://www.daraatribes.com/

WHAT’S GOING ON

https://www.coralriff.biz/events/

BOOKING REQUEST
31
Dec, 2023
Electric Lady Tereza Rais

ELECTRIC LADY | Rock (CZ)

ELECTRIC LADY | Rock (CZ)
Guitar shredder and singer

AVAILABILITY FOR EUROPE
2026 | Upon request (EU resident band)
ELECTRICLADY logoleft ELECTRIC LADY | Rock (CZ)
ELECTRICLADY logoleft ELECTRIC LADY | Rock (CZ)
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Line-up

Tereza Rays | Guitar, voice

Kenney Jones, Paul Bond, Nigel Lowis, Ivan Král, Kirk Covington, Rytmus

Cayman | Bass

Canaima, Lucie “Vigly” Jeníčková, Jan “Nedy” Nedoma, Richard “Rítcha” Karel, Marcel “Marco” Kříž

Robin Evans | Drums

PROSE (UK), Kyle Francis Falc, Neeve Zahra, Twelve24, Blinding Talent

Style

Riff-first rock trio built for the stage: short-fuse energy, big hooks, no filler. Blues-rock grit with arena-ready choruses, Hendrix-era swagger, and modern punch. A locked rhythm engine under a frontwoman who writes, arranges, and drives the narrative.

Profile

Electric Lady are a lean, high-voltage trio fronted by guitarist–vocalist and songwriter Tereza Rays. Their sound sits where blues-rock muscle meets modern hard-rock immediacy: tight, riff-driven verses that open into melodic choruses built to travel. The band’s DNA is all about articulation and impact—crisp guitar attack, a bass line that stays warm and physical, and drums that hit with straight-ahead authority while leaving space for vocal phrasing.

On record and on stage, Electric Lady move like a single unit: the rhythm section locks into a punchy pocket, while the guitar alternates between dirty groove and bright, singing leads. References to classic rock icons are present in the tone and swagger, but the writing keeps the focus on direct storytelling and cathartic release.

Details

Tereza Rays | Guitar, voice Writer-arranger at the center of the project, shaping songs around riff clarity and vocal urgency. A blues-rock foundation with a modern, radio-ready sense of structure and hook placement. Known for an assertive stage presence where lead lines stay melodic even at full distortion. Recent studio and live work connects her to high-profile UK production and legacy-rock circles. “Vocalist and guitarist Tereza Rays is a tour de force… Her vocals soared and dipped with effortless control.” (Sara Harding, MetalTalk, 2025-09-11)

Cayman | Bass A bassist who prioritizes weight and glue: round low-end, steady drive, and quick dynamic shifts. Brings a band-player mindset—supporting riffs, reinforcing choruses, and tightening transitions. Comfortable in power-trio arrangements where every note has to hold the room. A background in rock projects beyond Electric Lady feeds a grounded, performance-forward feel. “Cayman on bass and Robin Evans on drums match Tereza’s energy and power… share the same undeniable love for creating music.” (Mariam Atef, Rock Era Magazine, 2025-07-13)

Robin Evans | Drums A drummer built for forward motion: firm backbeat, confident accents, and clean, driving fills. Keeps the groove anchored while staying responsive to vocal phrasing and guitar pushes. Balances punch with economy—no excess, just momentum and control. Active across multiple UK rock contexts, bringing a seasoned live sensibility to the trio. “Riffs blasted through this venue, while Evans and Cayman locked into the groove.” (Sara Harding, MetalTalk, 2025-09-11)

Discography

Tereza Rays Storm (single/EP, 2013) Electrical (album, 2015) Wicked (EP, 2018) Trilogy (project, 2020–2021): Rebelia, Politica, Influenza (singles) Stand Up (single, 2022) I’m Done (I’ve Had Enough) (single, 2025-06-27) One Way Ticket (single, 2025-07-25) I Must Let You Go (single, 2025-09-12)

Cayman Go Down The Way (Canaima, album, 2011-05-01) Storm (Electric Lady, single/EP, 2013) Electrical (Electric Lady, album, 2015) Wicked (Electric Lady, EP, 2018) Trilogy (Electric Lady, project, 2020–2021) Stand Up (Electric Lady, single, 2022) I’m Done (I’ve Had Enough) (Electric Lady, single, 2025-06-27) One Way Ticket (Electric Lady, single, 2025-07-25) I Must Let You Go (Electric Lady, single, 2025-09-12)

Robin Evans Storm (Electric Lady, single/EP, 2013) Electrical (Electric Lady, album, 2015) Wicked (Electric Lady, EP, 2018) Trilogy (Electric Lady, project, 2020–2021) Stand Up (Electric Lady, single, 2022) I’m Done (I’ve Had Enough) (Electric Lady, single, 2025-06-27) One Way Ticket (Electric Lady, single, 2025-07-25) I Must Let You Go (Electric Lady, single, 2025-09-12)

 

Members Quotes

Tereza Rays

  • “Vocalist and guitarist Tereza Rays is a tour de force.” — Sara Harding, MetalTalk, 2025‑09‑11.
  • “A rousing rock energy dazzles… Tereza Rays’ vocals stir with a dynamic appeal.” — Mike Mineo, Obscure Sound, 2025‑08‑07.
  • “A middle finger in the air… a reminder of why rock and roll will never die.” — Natalie Patrick, EARMILK, 2025‑07‑11.
  • “With ‘I’m Done’, she doesn’t just perform the song—she lives it.” — Music‑News (Underground), 2025‑08‑08.

Robin Evans

  • “…propelled by Robin Evans’ relentless drumming…” — LOCK Magazine, 2025‑07‑07.
  • “Cayman on Bass and Robin Evans on Drums match Tereza’s energy and power.” — Mariam Atef, Rock Era Magazine, 2025‑07‑13.

Cayman

  • “…and Cayman’s grumbling bass lines.” — LOCK Magazine, 2025‑07‑07.
  • “Cayman on Bass… match[es] Tereza’s energy and power.” — Mariam Atef, Rock Era Magazine, 2025‑07‑13.

Reviews & Interviews

• “Electric Lady, Dylan Gers & Bitchin’ Hour — A Tantalising Triple At The Black Heart” • MetalTalk • Sara Harding • 2025‑09‑11

https://www.metaltalk.net/gig-review-electric-lady-dylan-gers-and-bitchin-hour-a-tantalising-triple-at-the-black-heart.php

• “Five Artists You Need to Hear” • Rolling Stone UK • Alex Ford • 2025‑07‑29

https://www.rollingstone.co.uk/culture/five-new-artists-to-watch-52472/

• “Electric Lady return with their explosive new single ‘I’m Done (I’ve Had Enough)’” • LOCK Magazine • Lock Editor • 2025‑07‑07

https://www.lockmag.co.uk/electric-lady-return-with-their-explosive-new-single-im-done-ive-had-enough/

• “Electric Lady Drops Fiery New Single ‘I’m Done (I’ve Had Enough)’” • TotalNtertainment • Jo Forrest • 2025‑07‑07

https://www.totalntertainment.com/music/electric-lady-drops-fiery-new-single-im-done-ive-had-enough/
• “Electric Lady shares a uprising with ‘I’m Done (I’ve Had Enough)’” • EARMILK • Natalie Patrick • 2025‑07‑11

https://earmilk.com/2025/07/11/electric-lady-shares-a-uprising-with-im-done-ive-had-enough/

• “Electric Lady — ‘I’m Done (I’ve Had Enough)’” • Obscure Sound • Mike Mineo • 2025‑08‑07

https://www.obscuresound.com/2025/08/electric-lady-im-done-ive-had-enough/

• “Electric Lady drops fiery new single ‘I’m Done (I’ve Had Enough)’” • Music‑News (Underground) • Staff • 2025‑08‑08

https://www.music-news.com/news/Underground/183584/Electric-Lady-drops-fiery-new-single-I-m-Done-I-ve-Had-Enough

• “Electric Lady Reigniting Fire in the Rock N Roll Scene” • Rock Era Magazine • Mariam Atef • 2025‑07‑13

https://rockeramagazine.com/electric-lady-im-done/

• Event: Electric Lady — The Black Heart, London (hosted by Elles Bailey) • Our Black Heart (venue listing) • 2025‑09‑09

https://www.ourblackheart.com/events/2025/9/9/electric-lady

• Czech Centre Recommends: Electric Lady @ The Black Heart • Czech Centre London • 2025‑08‑12

https://london.czechcentres.cz/en/blog/2025/08/electric-lady

• Artist page / releases • Apple Music • 2025

https://music.apple.com/us/artist/electric-lady/424289152

• Single page: “I’m Done (I’ve Had Enough)” • Apple Music • 2025‑06‑27

https://music.apple.com/gb/song/im-done-ive-had-enough/1816434462

• Single upload: “One Way Ticket” (audio) • YouTube Music • 2025‑07‑25

https://www.youtube.com/watch?v=o4ROksdsClg

• Ibanez Artists: Tereza Rays • Ibanez • profile

https://www.ibanez.com/eu/artists/detail/1662.html

• Electrical (album) — release note • MusicGlue • 2015‑04‑01

https://www.musicglue.com/electric-lady/products/electrical

• Electrical (album) — Bandcamp about • Bandcamp • 2015

https://electric-lady.bandcamp.com/album/electrical

BIO

Tereza Rays (ELECTRIC LADY) is a guitarist and singer who was born in the Czech Republic on February 6, 1987 in the Czech Republic. She is the exclusive author of her compositions, lyricist and music arranger, she participates in the current production with producer Roman Rossi – manager. She recorded her debut album in Texas in 2014. Tereza is currently a corporate player of Ibanez and Blackstar, in the past she represented Fender. She has collaborated with many Czech and foreign artists.

She started playing the guitar thanks to the music of Jimi Hendrix. Tereza was born in Kladno and at the age of 15 she started playing the guitar and singing, her parents didn’t support her music much. However, Tereza went her own way and after the founding of the band Electric Lady she recorded many musical successes not only at home, but also abroad. Even this year, 2022, we announced concerts around the world, not only in the USA, but also in Poland, England, Norway, the Czech Republic and Slovakia. Tereza also performed at VIP private events in Russia, at the announcement of music awards “REALNA PREMIE”, etc.

The band was founded in 2013 with the emergence of the single “Storm”, which also reached the European MTV or Russian Music Box, where they even placed 3 clips in monthly rotations. The band plays guitar, bass, drums Tereza flew to New Orleans the same year, where she performs on the streets in small clubs for 3 months, after returning to the Czech Republic she wins the international blues competition Blues Aperitif for young talents. Subsequent years later, as a winner, she performed at Blues Alive in the Czech Republic and Poland. In 2015, she released her debut album “Electrical”, which she went on to record at the invitation of drummer Kirk Covington to the USA in Texas. She completed and released musical material in the Czech Republic and became a corporate player of the world-famous brand Fender.

In 2016, the band went on tour with the Czech popular band Mandrage and performed across Czech Republic and Slovakia. That same year, Tereza collaborated with Ivan Kral on the song “A Part Of My Heart.” That same year, the band performed in front of American bassist NIK WEST and Eric Gales.

In 2020, Electric Lady releases her largest and most expensive musical, Trilogy 2020, under the auspices of the Nemoros Agency and a collaboration with KOBALT, on which Tereza collaborated not only with English producer Nigel Lowis.In 2021, Tereza became a corporate player of the IBANEZ and BLACKSTAR brands, several concerts around the world, participation in the USA at this summit and other events in the USA are planned.

Website: https://en.electriclady.cz/

EPK: https://www.blindingtalent.com/epk/electric-lady

What’s going on: https://www.coralriff.biz/events/

18
Nov, 2023
Andy James & Jon Cowherd All Star - 2025-26

ANDY JAMES & JON COWHERD ALL STAR | Standard/Latin Jazz (USA)

ANDY JAMES & JON COWHERD ALL STAR

AVAILABILITY

2026 | JUNE/AUGUST AND DECEMBER

Line-up

Andy James | Vocals, baile
John Patitucci, Vinnie Colaiuta, Chris Potter, John Beasley, Nicholas Payton, Terell Stafford, Bill Cunliffe

Jon Cowherd | Piano
Brian Blade, Joni Mitchell, Cassandra Wilson, Lizz Wright, John Patitucci, Chris Potter, Norah Jones

Greg Hutchinson | Drums
Betty Carter, Roy Hargrove, Joshua Redman, Diana Krall, John Scofield, Wynton Marsalis, Dianne Reeves

Orlando le Fleming | Bass
Branford Marsalis, Joey Calderazzo, Kurt Rosenwinkel, Jeff “Tain” Watts, Lage Lund, Jane Monheit, Jimmy Cobb

Juan Antonio Suárez “Canito” | Flamenco guitar
Sara Baras, Niña Pastori, Miguel Poveda, Joaquín Grilo, Rocío Molina, Andrés Marín, Rocío Márquez

Piero Pata | Jaleos, palmas, percussion, baile
Andy James, Jon Cowherd, John Patitucci, Chris Potter, Bill Cunliffe, Terell Stafford, Alex Acuña

Style

An ensemble that fuses contemporary jazz vocals, lyrical pianism and flamenco grammar within a format built around dialogue.
Its sonic core emerges from the meeting point between modern swing, Iberian articulation, Afro-Latin pulse and a physical theatricality carried in part by baile.
The result is an internationally resonant flamenco jazz language: warm in timbre, fluid in groove, precise in interplay and able to move naturally from song form to Andalusian rhythmic material.

Profile

Andy James & Jon Cowherd All Star is a co-led project in which Andy James’s vocality, shaped by both jazz and flamenco dance experience, meets the harmonic writing and pianism of Jon Cowherd, one of the defining figures of contemporary American jazz. Around that axis sits a line-up that pushes the language toward a fully developed flamenco jazz identity: Greg Hutchinson provides propulsion and flexibility, Orlando le Fleming anchors pulse and melodic design, Juan Antonio Suárez “Canito” brings the historic and idiomatic vocabulary of flamenco guitar, while Piero Pata strengthens the rhythmic and performative framework through jaleos, palmas, percussion and baile. The resulting Band DNA privileges timbre, groove and interplay: not a simple juxtaposition of idioms, but an organic convergence of song form, modal tension, compás architecture and contemporary sensibility. Operational window indicated for 2026: June, August and December.

Details

Andy James | Vocals, baile
An international vocalist with a background rooted in flamenco and an increasingly defined trajectory in contemporary jazz, Andy James approaches song with narrative focus, timbral control and a strong capacity for ensemble interaction. Her signature is not that of a frontwoman standing apart from the group, but of a voice entering the rhythmic and harmonic fabric as part of the collective design. In this project, she is the expressive pole that makes the passage between repertoire, original writing and performative gesture feel seamless.
“One of the finest interpreters of standards working today.” (George W. Harris, Jazz Weekly, 2024-07-22)

Jon Cowherd | Piano
Cowherd is a pianist-composer who combines harmonic clarity, formal intelligence and a strong instinct for dialogue. His contribution is central in keeping writing, color and internal movement in balance: he accompanies without compressing, structures without stiffening. His presence shifts the group’s center of gravity toward a high-level flamenco jazz language that is lyrical yet constantly alive in rhythmic terms.
“A fantastic trio… with potent chemistry and remarkable technical skill.” (Filipe Freitas, JazzTrail, 2022-08-23)

Greg Hutchinson | Drums
Greg Hutchinson brings rhythmic authority forged at the highest level of modern jazz, but above all a rare elasticity of touch. He can open the sound, support its density or lighten it intelligently, always leaving space for interplay. In a formation that moves across swing, Iberian accents and Afro-Latin motion, his role is to stabilize the center without ever making it static.
“Grounded in the jazz tradition, the project reveals Hutchinson’s versatility, dynamism and imagination.” (Leo Sidran, All About Jazz, 2023-10-04)

Orlando le Fleming | Bass
A bassist of melodic precision on both upright and electric instrument, Orlando le Fleming is the kind of musician who turns the bass into a device connecting groove, harmony and counterline. His work as both leader and sideman converges here into an essential function: giving depth, propulsion and continuity to the conversation between piano, voice and guitar.
“Orlando le Fleming’s band fully delivers on the promise of the first two albums, with a dazzlingly virtuosic set.” (Dan Spirrett, Presto Music, 2024-09-13)

Juan Antonio Suárez “Canito” | Flamenco guitar
Canito brings a flamenco vocabulary that is structural rather than decorative: compás, rasgueado, falseta and a deep sense of baile enter the group’s grammar as foundational elements. His profile, shaped in dialogue with major figures of contemporary flamenco, gives the Andalusian side of the project both credibility and historical weight, immediately raising its idiomatic depth.
“The best thing about Canito is that his touch sounds like no one else’s.” (Sara Arguijo, DeFlamenco, 2020-10-25)

Piero Pata | Jaleos, palmas, percussion, baile
Also publicly verifiable as Piero James Pata, he is a hybrid figure working across performance, production and artistic facilitation. His contribution here should not be read as mere auxiliary support: jaleos, palmas, percussion and baile shape accents, scenic response and rhythmic density, helping make the project authentically flamenco in performance as well as sound. His trajectory across performing arts, production and musical curation further reinforces the coherence of the overall concept.

Discography

Discography verified through publicly available sources consulted: releases under the artist’s own name, co-led releases and directly credited singles.

Andy James
Albums: Caravan (2018), Shared Lives (2019), Blue (2019), Tu Amor (2021), An Evening with Andy James & John Patitucci (2021), Rhythm in New York (2022), Let Me See Your Heart (2024), Happy People (2025), Happy People Deluxe (2025), The Architect of My Blues (2025).
Singles: Dance With My Father (2023), I Was Born in Love With You (2024), New York State of Mind (2024), To Be So Young (2025), Fool on the Hill (2026), Gentle Rain (2026), Long and Winding Road (2026).

Jon Cowherd
Albums: Mercy (2014), Gateway (2017), Pride & Joy (2022).
Singles: no standalone singles under his own name were found in the public sources consulted.

Greg Hutchinson
Albums: It’s About Time (2001), Da Bang (2023).
Singles: Losing You feat. Leona Berlin (2023), New Dawn feat. Liselotte Östblom (2023), Karma Police (2023), Ottobre (2024), Goodbye Pork Pie Hat (2024), Orbits (2026), Seven Steps to Heaven (2026).

Orlando le Fleming
Albums: From Brooklyn With Love (2010), OWL Trio (2013), Arts and Letters (2015), Romantic Funk (2017), The Unfamiliar (2020), Life of the Party (2020), Misterioso (2022), Wandering Talk (2024).
Singles: Waynes (2012), Spots of Time Radio Edit (2023), Don’t Dwell On It (2024), Sense of the Sacred (2024), Tragic Magic (2024).

Juan Antonio Suárez “Canito”
Albums: Son de Ayer (2008; digital reissue 2019), Flamenco Crossover (2010), El Atlante (2012), Seis Cuerdas para Dos Tacones (2015; digital edition 2019).
Singles: Jamás with Rocío Márquez (2020), La Perla Azul (2023).

Piero Pata
Albums: no albums under his own name were found in the public sources consulted.
Singles: Sad Life (2019), Life Never Ends (2020), Legends Never Die (2021), After Life (2022), Heartbroken (2023).

Citations

“One of the finest interpreters of standards working today.”
George W. Harris — Jazz Weekly — 2024-07-22
https://jazzweekly.com/2024/07/andy-james-let-me-see-your-heart/

“For me, the track that best sums up everything that’s great about this album may be ‘New York State of Mind’: it sounds so fresh and different that it makes me see the city in a whole new way.”
Will Friedwald — BroadwayWorld — 2024-11-08
https://www.broadwayworld.com/bwwmusic/article/New-Album-From-Jazz-Vocalist-Andy-James-Out-Now-20241108

“A fantastic trio… with potent chemistry and remarkable technical skill.”
Filipe Freitas — JazzTrail — 2022-08-23
https://jazztrail.net/blog/jon-cowherd-trio-pride-and-joy-album-review

“Mercy is a very high-caliber debut.”
Ian Patterson — All About Jazz — 2013-11-25
https://www.allaboutjazz.com/jon-cowherd-mercy-mercy-me-jon-cowherd-by-ian-patterson

“Grounded in the jazz tradition, the project reveals Hutchinson’s versatility, dynamism and imagination.”
Leo Sidran — All About Jazz — 2023-10-04
https://www.allaboutjazz.com/gregory-hutchinson-its-all-about-feel-gregory-hutchinson

“If you love jazz or hip hop, this is the essential listen of the year.”
Graeme Smith — York Calling — 2023-10-11
https://yorkcalling.co.uk/2023/10/11/album-review-gregory-hutchinson-da-bang/

“Orlando le Fleming’s band fully delivers on the promise of the first two albums, with a dazzlingly virtuosic set.”
Dan Spirrett — Presto Music — 2024-09-13
https://www.prestomusic.com/jazz/products/9621922–wandering-talk

“The best thing about Canito is that his touch sounds like no one else’s.”
Sara Arguijo — DeFlamenco — 2020-10-25
https://www.deflamenco.com/revista/resenas-actuaciones/canito-la-guitarra-de-las-notas-suspendidas.html

Reviews

 
IN COLLABORATION WITH
Le Coq RecordsDog & Pony Industries
 
WATCH OUR ARTISTS’ VIDEOS:

https://www.coralriff.biz/video/artists-videos/

WHAT’S GOING ON?

https://www.coralriff.biz/events/

13
Jan, 2022
Fanck Biyong

Franck Biyong | Afrobeat/Electronic/Jazz/Rock

FRANCK BIYONG

Afrobeat, Electronic, Jazz, Rock

AVAILABILITY FOR EUROPE

2026-2027 | April 1st, 2026 to December 31st, 2027

Fanck Biyong
Fanck Biyong
FranckBiyong1
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Franck Biyong is available with two different amazing projects:
Franck Biyong & Lipombe Jazz (Afrobeat-AfroJazz) and Afrobrainz (Electronic-Funk-Rock)

LIPOMBE JAZZ (Afrobeat-AfroJazz)

Lipombe Jazz is the more organic, Afro-jazz oriented branch of Franck Biyong’s creative universe: a project built around African groove, ensemble writing and a strong narrative impulse. Conceived as a meeting point between Afrobeat, Afro-jazz and Cameroonian musical memory, it develops a warm, ritualistic and cinematic sound, blending tradition with a contemporary outlook. On Ibolo Ini, that identity comes into focus through layered rhythm, rich timbral depth and a distinctly pan-African sense of motion.

AFROBRAINZ (Electronic-Funk-Rock)

Afrobrainz is Franck Biyong’s alternative Afro-electro-rock project, where electronic funk, guitar-driven rock energy and African rhythmic language meet in a consciously crossover form. Built within his broader Afrolectric vision, the project pushes toward a sharper, more urban and more amplified sound, combining groove, distortion, hooks and pan-African pulse. Afrobrainz presents Biyong in his most electric mode: forward-looking, rhythmically charged and designed to connect club energy with live-band intensity.

ABOUT

Franck Biyong’s solo project turns Afrobeat lineage, Afro-rock guitar language and futurist production into one highly individual signature. It moves between makossa pulse, electric funk, psychedelic rock and jazz-minded arrangement without losing dance-floor intent. The result is Afrolectric: historically rooted, rhythm-forward and sonically restless.

Profile

Franck Biyong is a Cameroonian composer, guitarist, bandleader and producer whose work bridges African rhythmic memory with an adventurous electric language. Raised across Gabon, Nigeria and Côte d’Ivoire before settling in the UK as a teenager, and trained at the National Institute of Arts in Abidjan, he developed a musical identity shaped equally by West and Central African traditions, rock guitar culture and forward-looking studio experimentation. As the creator of the Afrolectric sound, Biyong has built a catalogue that stretches from the early Massak records to recent releases such as Moonwatching 2, Radio Masoda and Struggle 4 Money. His artistic profile combines the historical awareness of an archivist, the instinct of a groove architect and the appetite of a sonic explorer. The result is music that can sound ceremonial, urban, psychedelic and political at once, while remaining unmistakably African in pulse and perspective.

Details

Franck Biyong stands out for the way he treats the electric guitar as both lead voice and textural engine. His writing often connects African rhythmic structures to rock tension, jazz openness and cinematic arrangement. Across albums, singles and collaborative projects, he has built a language that is as concerned with memory and lineage as it is with modernity, distortion and motion. That balance makes him a compelling proposition for festivals, theatres, listening venues and editorial platforms looking for an African artist with a clear signature rather than a generic crossover profile.

“The way Franck Biyong composes is unlike any other musician you will find.”
(Sinusoidal Music, review of Moonwatching 2*, 2023-12-19)*

Releases

Albums 2006 — Realms of Atlantis
2007 — Haiti Market
2008 — Spirits into Sounds
2009 — Rhythms of Our Memory
2010 — Visions of Kamerun
2010 — Voodoolectric Ground
2011 — Jazz & Africa: Knowledge Identity Reconstruction
2011 — Meeting the Basic Needs of the People
2012 — Ki I Ye Yi
2015 — Moonwatching
2017 — Afro Bikutsi Live!
2018 — Evening Prayer
2019 — The Lamp, Light and Eye of God
2019 — Afro Galactic Spaceway
2019 — Ibolo Ini (with Lipombe Jazz)
2021 — Celestial Navigation Suite
2021 — The Afrovision Secret
2022 — Kunde
2023 — Moonwatching 2
2024 — Radio Masoda

EPs and singles 2011 — Power of Brain
2012 — C.F.A Music
2012 — 21.12.2012 (Truth or Lies?)
2015 — I.T.T. (International Thief Thief)
2015 — End of the Road
2015 — Liyomba Church
2020 — Trouble
2023 — Silence Is Music (with Florie Namir)
2024 — Oladipo (feat. Chief Udoh Essiet & Tony Allen)
2024 — Lipanda (feat. Mary May)
2024 — Jela Kubwa Na Viboko (feat. Aint4perfect) [Aint4Perfect Remix]
2024 — Radio Masoda (Remixed)
2025 — Struggle 4 Money

Citations

“We are delighted to be presenting ‘Radio Masoda’, the brilliant new album by the Cameroonian master musician and composer Franck Biyong.”
Tangential Music press text, mirrored on EthnoCloud
2024-06-22
https://ethnocloud.com/Franck_Biyong/?blog=2256

“Franck Biyong’s album, Radio Masoda is a remarkable tribute to the classic era of African music.”
Tyler Bennet, World Music Central
2024-11-15
https://worldmusiccentral.org/franck-biyongs-radio-masoda-a-tribute-to-african-musics-golden-era/

“The way Franck Biyong composes is unlike any other musician you will find.”
Sinusoidal Music
2023-12-19
https://sinusoidalmusic.com/reviews/franck-biyong-shows-us-his-afroelectric-mould-taking-shape-with-his-album-moonwatching-2/

“Now delving into the world of electronic rock with a definitive African flavour, Franck’s spectacular electric guitar riffs and modern sound mean he’s certainly one to keep an eye on.”
Music In Africa
2015-05-29
https://www.musicinafrica.net/magazine/cameroon-guitarist-releases-new-video

“But most of the album is upbeat and ‘Diamane Abele’ is another dancefloor killer and ‘Elephant Rumble’ is exactly what it says on the tin.”
Gerry Hectic, You and the Music
2024-07-29
https://www.youandthemusic.com/2024/07/review-franck-biyong-radio-masoda.html

Reviews

Franck Biyong: “I just want to tear down the barrier that separates African music from the mainstream”
Songlines
Daniel Brown
2024-06-13
https://www.songlines.co.uk/features/franck-biyong-i-just-want-to-tear-down-the-barrier-that-separates-african-music-from-the-mainstream

Review: Franck Biyong – Radio Masoda (Tangential Music)
You and the Music
Gerry Hectic
2024-07-29
https://www.youandthemusic.com/2024/07/review-franck-biyong-radio-masoda.html

Franck Biyong’s Radio Masoda – A Tribute to African Music’s Golden Era
World Music Central
Tyler Bennet
2024-11-15
https://worldmusiccentral.org/franck-biyongs-radio-masoda-a-tribute-to-african-musics-golden-era/

Review: Franck Biyong – Radio Masoda Remixed (Tangential Music)
You and the Music
Gerry Hectic
2024-10-15
https://www.youandthemusic.com/2024/10/review-franck-biyong-radio-masoda.html

Franck Biyong shows us his afroelectric mould taking shape with his album, “Moonwatching 2”
Sinusoidal Music
2023-12-19
https://sinusoidalmusic.com/reviews/franck-biyong-shows-us-his-afroelectric-mould-taking-shape-with-his-album-moonwatching-2/

Cameroon guitarist releases new video
Music In Africa
Music In Africa
2015-05-29
https://www.musicinafrica.net/magazine/cameroon-guitarist-releases-new-video

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