Mar, 2026

Davide Pannozzo ft. Etienne Stadwijk & Steve Ferrone

DAVIDE PANNOZZO Trio ft. ETIENNE STADWIJK & STEVE FERRONE | Soul-Funk Blues Fusion (USA)

DAVIDE PANNOZZO Trio

ft.

ETIENNE STADWIJK & STEVE FERRONE

Soul-Funk Blues Fusion | USA

AVAILABILITY FOR EUROPE

2026 | October 15th to 27th

DavidePannozzo3

Line-up

Davide Pannozzo | Guitar, vocals
George Benson, Steve Jordan, Will Lee, David Garfield, Phil Palmer, Matt Schofield, Oz Noy, Robben Ford

Etienne Stadwijk | Piano, keyboards, synth bass
Paul Simon, Maxwell, Marcus Miller, Richard Bona, Nona Hendryx, Harry Belafonte

Steve Ferrone | Drums
Tom Petty and the Heartbreakers, Average White Band, Eric Clapton, Duran Duran, George Harrison, Chaka Khan, Michael Jackson

Style

Contemporary blues wired into funk and jazz, with modern arrangements and a true stage-first drive. An iconic rhythm engine and a keyboard chair that can become bass: a trio that sounds like a full band. Set for October 2026, the music moves between wide grooves, singable themes, and high-intensity improvisation without losing song focus.

Profile

Davide Pannozzo leads an essential yet ambitious trio: guitar and vocals up front, with an expanded sound built on the idea of orchestrating every tune. The palette is modern blues, shot through with fusion accents and a decisive funk pulse; improvisation never becomes an end in itself, but stays narrative, shaping dynamics, timbre, and forward motion. Etienne Stadwijk works in textures and counterlines, switching between piano and keyboards while deploying a deep synth bass that redraws the balance of the band: the bass role turns mobile, harmonic, and rhythmic all at once. Steve Ferrone brings the authority of decades at the top of international rock and R&B: timing, weight, and space, with an elasticity that keeps the trio tight and always breathing. The result is high-voltage music rooted in tradition and designed for the present.

Details

Davide Pannozzo | Guitar, vocals
Classical training with an electric identity: a singing phrasing, controlled attack, and a vocabulary that crosses modern blues with jazz sensibility. In original material he favors clear themes and open-ended codas, letting the solo become a second verse. In trio format, the guitar carries melody and harmony without losing rhythmic weight.

“Today there are very few artists who can inspire and be full of ideas: Davide Pannozzo is one of them. From the first listen you know something special is happening…” (Will Lee, GUITARlab Blog, 2018-12-04)

Etienne Stadwijk | Piano, keyboards, synth bass
Pianist and keyboardist with Surinamese roots, Berklee training, and a New York base. His signature is the balance between European voicings, world colors, and an R&B-born sense of pocket. In this project he is also the harmonic bass, shaping synth-bass lines that give body and direction to the groove.

“The band was very tight, with really successful solos… (including Stadwijk’s).” (Maciek Pysz, London Jazz News, 2013-10-08)

Steve Ferrone | Drums
A benchmark for solidity and musicality: heavy hits when needed, but above all control of dynamics. His drumming connects rock, funk, and pop through a precise idea of space, letting the song breathe. In trio, he is the engine that makes every density shift feel inevitable, from raw blues to wide-open fusion.

“Over the past four decades, Ferrone’s taste, timing and impeccable groove have served him extremely well…” (Joe Bosso, MusicRadar, 2010-08-26)

Biography

Davide Pannozzo is an Italian guitarist, singer-songwriter, producer, and educator whose work connects blues roots, soul dynamics, and jazz-informed phrasing. Based between Europe and the United States, he has collaborated with players such as Steve Ferrone, Will Lee, Oz Noy, and David Garfield, building a profile that combines songwriter instinct, groove awareness, and a modern electric guitar voice designed for both records and the stage.

Discography

Davide Pannozzo
Albums/EPs: Born Electric; A Portrait of Jimi Hendrix; Unconditional Love; Room for Joy. Singles: Be Blessed; Keep On Loving You; Love Is a Simple Thing; Without You, Once Again; St. Louis Blues; Imagine; Plug It In; Leroy’s Blues; The Thrill Is Gone; Christmas In New York.

Etienne Stadwijk
Albums/EPs: Lagos Pepper Soup; To Love Again -…; Olatuja; Waltz for Eli. Singles: Then Why?!; Wig Glue.

Steve Ferrone
Albums/EPs: It Up: Steve Ferrone and Friends Live at La Ve Lee; More Head (Steve Ferrone’s Farm Fur); Steve Ferrone & Friends Live; Steve Ferrone & Friends Mo’Live.

Quotes

“Today there are very few artists who can inspire and be full of ideas: Davide Pannozzo is one of them. From the first listen you know something special is happening…” Will Lee, GUITARlab Blog, 2018-12-04
“If you like Eric Johnson, Robben Ford, Carl Verheyen, Jeff Beck and Eric Clapton, then this album and this cool cat are definitely for you.” Simon Redley, Music Republic Magazine, 2017-10-19
“Over the past four decades, Ferrone’s taste, timing and impeccable groove have served him extremely well…” Joe Bosso, MusicRadar, 2010-08-26
“The band was very tight, with really successful solos… (including Stadwijk’s).” Maciek Pysz, London Jazz News, 2013-10-08
“Keyboardist and producer Etienne Stadwijk has released a powerful and moving track…” A.A. Cristi, BroadwayWorld, 2020-06-22
“An outstanding album, Steve Ferrone & Friends Live…” Planet Drum, 2014-09-16

Reviews

Davide Pannozzo & Loud Stuff – Born Electric – Bman’s Blues Report – 2012-04-18 – https://bmansbluesreport.com/2012/04/18/davide-pannozzo-loud-stuff-born-electric-new-release-review/
Davide Pannozzo – Unconditional Love – Music Republic Magazine | Simon Redley – 2017-10-19 – https://musicrepublicmagazine.com/2017/10/davide-pannozzo-unconditional-love-unconditional-love-global-publishing-19th-october-2017/
Celebrated guitarist Davide Pannozzo releases new single Be Blessed – Rock and Blues Muse – 2022-07-07 – https://www.rockandbluesmuse.com/2022/07/07/celebrated-guitarist-davide-pannozzo-releases-new-single-be-blessed/
Review: Richard Bona at Pizza Express – London Jazz News | Maciek Pysz – 2013-10-08 – https://londonjazznews.com/2013/10/08/review-richard-bona-at-pizza-expres/
Multi-Instrumentalist and Producer Etienne Stadwijk Releases a Powerful Response to the Current Social Climate – BroadwayWorld | A.A. Cristi – 2020-06-22 – https://www.broadwayworld.com/article/Multi-Instrumentalist-and-Producer-Etienne-Stadwijk-Releases-a-Powerful-Response-to-the-Current-Social-Climate-20200622
Tom Petty drummer Steve Ferrone talks groove, Charlie Watts and more – MusicRadar | Joe Bosso – 2010-08-26 – https://www.musicradar.com/news/drums/tom-petty-drummer-steve-ferrone-talks-groove-charlie-watts-and-more-289800
Steve Ferrone and Friends Live with Tracktion 5 – Planet Drum – 2014-09-16 – https://www.planet-drum.com/steve-ferrone-and-friends-live-with-tracktion-5/

BOOKING REQUEST

Feb, 2026

15 years of Coral Riff | Looking Back, Booking Forward

15 YEARS OF CORAL RIFF

Looking Back, Booking Forward

This February 2026 Coral Riff turns 15.

It’s a milestone that makes me pause for a moment and look back with gratitude, because between one stage and the next, the most precious things have always been the esteem, trust and affection of the people I’ve met along the way: musicians, promoters, artistic directors, venues and festivals who believed in me, appreciated my work and loved my artists.

I come from a family of lawyers and, after finishing school, it was almost taken for granted that I would follow in my relatives’ footsteps. In reality, though, I’ve never been a “bookworm”, but more of an explorer, and my personality and passions led me elsewhere.

First, military service in the Navy, then a couple of years in Messina trying to figure out what I wanted to do with my life. I was looking for my path, and my path brought me to Rome, where I grew as a man and found the beginning of the journey that has brought me here.

In 2009 came the experience with the venue where I met some of the best jazz musicians on the national and international scene. With some of them I built real relationships, and in February 2011 I started this activity.

The name Coral Riff is a little wordplay: halfway between “Choral Riff” and “Coral Reef”. I’ve always been into music and surfing, and when I first started I even thought I might focus on surf-rock bands. In the end I stayed anchored mainly to jazz and world music, but the name kept that original spark.

From 2011 onward I’ve lived I don’t even know how many lives, between relationships and moving house, across Italy, Spain, Germany and then Italy again, but my work has been one of the very few constants in my life ever since, together with my guitar and, not long after, my love for the waves.

Over the years I’ve had the honor of working with extraordinary artists such as Irio De Paula, Stelvio Cipriani, Stanley Jordan, Frank Gambale, Scott Henderson, Oz Noy, Wayne Krantz, Jeff Berlin, Jeff Lorber, Dennis Chambers, Anton Fig, Jimmy Haslip, George Whitty, the Pastorius brothers, Faso, Christian Meyer, Alessio Menconi and so many, many others. I apologize to anyone who doesn’t see their name here, but otherwise the list would truly be far too long.

Every collaboration has left something behind. Music, relationships and memories that will not “be lost in time… like tears… in rain”, but will remain etched in my memory, in my heart, and in the stories of everyone who was part of them.

A quick note about the photos in the slider: they only go back to 2021. I added them simply to give an idea of the journey. To go further back I would have had to spend a lot more time searching, and I can’t do that right now because I need to work on what’s coming next. I also apologize for the quality of many pictures (my old phone’s camera was especially poor) and for the somewhat random selection, but I tried to put together a visual summary.

In the next few days I’ll send a special newsletter with my proposals for the current year. If you’d like to receive it, subscribe by filling out the form below.

Finally, thank you again to all the artists, promoters, colleagues, collaborators and to everyone I’ve met along the way who, in one role or another, helped me write these chapters and keep moving forward. I’m truly grateful.

Fab

Feb, 2026

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

“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) https://www.musicradar.com/news/allen-hinds-talks-teaching-technique-and-jeff-buckley-jazz-jams
“I am sure a lot of that came from… the strange way I hold a pick… being attracted to great sax players…” (Allen Hinds interview; Jason Sidwell, MusicRadar, 2017-05-10) https://www.musicradar.com/news/allen-hinds-talks-teaching-technique-and-jeff-buckley-jazz-jams
“When I was a kid… I had older brothers and sisters and so I heard Freddie King, Jimi Hendrix and The Beatles… before I had even picked up a guitar.” (Allen Hinds interview; Jason Sidwell, MusicRadar, 2017-05-10) https://www.musicradar.com/news/allen-hinds-talks-teaching-technique-and-jeff-buckley-jazz-jams
“You have to have that burning desire to learn — and then have the creativity to do something with it.” (Allen Hinds interview; Jason Sidwell, MusicRadar, 2017-05-10) https://www.musicradar.com/news/allen-hinds-talks-teaching-technique-and-jeff-buckley-jazz-jams
“At some point, I realised it didn’t take a lot of mathematical licks or convoluted harmony to be emotive or expressive…” (Allen Hinds interview; Jason Sidwell, MusicRadar, 2017-05-10) https://www.musicradar.com/news/allen-hinds-talks-teaching-technique-and-jeff-buckley-jazz-jams
“I sit with students for five hours a few days a week and play, play, play.” (Allen Hinds interview; Jason Sidwell, MusicRadar, 2017-05-10) https://www.musicradar.com/news/allen-hinds-talks-teaching-technique-and-jeff-buckley-jazz-jams
“Listen to Joni Mitchell, Led Zeppelin, The Beatles and Stevie Wonder, and learn their songs.” (Allen Hinds interview; Jason Sidwell, Guitar Player, 2025-09-26) https://www.guitarplayer.com/guitarists/i-said-what-happened-he-said-he-just-got-really-nervous-crazy-considering-his-future-allen-hinds-on-jeff-buckleys-guitar-genius-and-his-stupid-question-to-jaco-pastorius
“I encourage songwriting over chops building.” (Allen Hinds interview; Jason Sidwell, Guitar Player, 2025-09-26) https://www.guitarplayer.com/guitarists/i-said-what-happened-he-said-he-just-got-really-nervous-crazy-considering-his-future-allen-hinds-on-jeff-buckleys-guitar-genius-and-his-stupid-question-to-jaco-pastorius
“One, get over yourself.” (Allen Hinds interview; Jason Sidwell, Guitar Player, 2025-09-26) https://www.guitarplayer.com/guitarists/i-said-what-happened-he-said-he-just-got-really-nervous-crazy-considering-his-future-allen-hinds-on-jeff-buckleys-guitar-genius-and-his-stupid-question-to-jaco-pastorius
“Two, don’t make faces when you think you mess up. No one else knows!” (Allen Hinds interview; Jason Sidwell, Guitar Player, 2025-09-26) https://www.guitarplayer.com/guitarists/i-said-what-happened-he-said-he-just-got-really-nervous-crazy-considering-his-future-allen-hinds-on-jeff-buckleys-guitar-genius-and-his-stupid-question-to-jaco-pastorius
“Three, write, write, write. At the end of the day, people remember songs.” (Allen Hinds interview; Jason Sidwell, Guitar Player, 2025-09-26) https://www.guitarplayer.com/guitarists/i-said-what-happened-he-said-he-just-got-really-nervous-crazy-considering-his-future-allen-hinds-on-jeff-buckleys-guitar-genius-and-his-stupid-question-to-jaco-pastorius
“His velvety note-bending articulations, howling upper-register choruses and climactically oriented manner of constructing a solo are constants…” (Glenn Astarita, All About Jazz, 2016-10-10) https://www.allaboutjazz.com/fly-south-allen-hinds-self-produced-review-by-glenn-astarita

Haslip

“I know I don’t play the instrument correctly… [I’ve] tried to find my own way of expressing myself.” (Bass Player Staff, Guitar World, 2021-03-22) https://www.guitarworld.com/features/jimmy-haslip-i-know-i-dont-play-the-instrument-correctly-ive-just-tried-to-find-my-own-way-of-expressing-myself
“I’ve put… that many hours into it already, but I’m still not satisfied.” (Bass Player Staff, Guitar World, 2021-03-22) https://www.guitarworld.com/features/jimmy-haslip-i-know-i-dont-play-the-instrument-correctly-ive-just-tried-to-find-my-own-way-of-expressing-myself
“The music has to be what is most important.” (Jim Worsley, All About Jazz, 2020-02-05) https://www.allaboutjazz.com/jimmy-haslip-amperes-beyond-the-bassics-part-one-jimmy-haslip
“If a different bassist is what is best… for the music, then that’s what I do. I have no ego about that sort of thing.” (Jim Worsley, All About Jazz, 2020-02-05) https://www.allaboutjazz.com/jimmy-haslip-amperes-beyond-the-bassics-part-one-jimmy-haslip
“I really loved working with Allan Holdsworth… Allan’s playing was very deep emotionally.” (Jim Worsley, All About Jazz, 2020-02-05) https://www.allaboutjazz.com/jimmy-haslip-amperes-beyond-the-bassics-part-one-jimmy-haslip
“I take on many projects and am always focused on what is next… I have never… rest[ed] on my laurels.” (Jim Worsley, All About Jazz, 2020-02-24) https://www.allaboutjazz.com/jimmy-haslip-amperes-beyond-the-bassics-part-2-jimmy-haslip
“There’s another element to production and that’s psychology… You have to be a therapist on a certain level.” (Lee Mergner, JazzTimes, 2024-07-29) https://www.jazztimes.com/features/interviews/jimmy-haslip-the-multi-tasker/
“You have to… keep motivation at the top of the list.” (Lee Mergner, JazzTimes, 2024-07-29) https://www.jazztimes.com/features/interviews/jimmy-haslip-the-multi-tasker/
“My life has been filled with many incredible experiences… It’s all been an incredible ride… I cherish every moment.” (Jon Liebman, For Bass Players Only, 2010-09-06) https://forbassplayersonly.com/interview-jimmy-haslip/
“[I feel] blessed to be able to share music and the message that music brings: love, harmony and positive vibration.” (Jon Liebman, For Bass Players Only, 2010-09-06) https://forbassplayersonly.com/interview-jimmy-haslip/
“[The] bottom line was that music was intriguing, joyous and wonderful to experience on many levels.” (Jon Liebman, For Bass Players Only, 2010-09-06) https://forbassplayersonly.com/interview-jimmy-haslip/
“Jimmy Haslip is a true musician’s musician with a career filled with hundreds of recording dates…” (NAMM, NAMM Oral History, 2021-08-16) https://ww1.namm.org/library/oral-history/jimmy-haslip

Papadia

“Michele Papadia, with me for 17 years from Italy, sent me keys parts for the first demos of the songs and I kept them all.” (Ana Popovic, American Blues Scene; Lauren Leadingham, 2023-05-02) https://www.americanbluesscene.com/2023/05/internationally-renowned-guitarist-ana-popovic-to-release-new-album-power/
“We pick the keyboardists… either my longtime keyboard player Michele Papadia… or Jeremy Thomas.” (Ana Popovic, Bluesactu; Cédric Vernet, 2025-10-06) https://bluesactu.com/en/ana-popovic-in-interview-dance-to-the-rhythm-of-life/
“Love You Tonight gives Michele Papadia a shining spotlight on the keys, adding an unfathomable groove…” (Robert Sutton, MetalTalk, 2023-03-13) https://www.metaltalk.net/ana-popovic-live-review-at-garage-london.php
“On ‘Johnnie Ray’, Michele Papadia enchants on keys between electric piano and Hammond.” (Fabio Loffredo, TuttoRock, 2020-09-03; translated from Italian) https://www.tuttorock.com/recensioni/ana-popovic-live-for-live/
“Michele Papadia… a great artist of black and white keys.” (Redazione, Musicoff, 2022-01-24; translated from Italian) https://www.musicoff.com/strumenti/tastiere-artisti/la-tastiera-yamaha-yc73-in-una-superba-performance-del-michele-papadia-trio/
“One of the most in-demand Hammond players in the United States.” (Francesca Cecconi, Rocknation, 2020-12-21; translated from Italian) https://www.rocknation.it/intervista-michele-papadia/
“Ana takes the stage with her main band… Michele Papadia on keyboards.” (Robert Barry Francos, FFanzeen, 2010-11-29) https://ffanzeen.blogspot.com/2010/11/dvd-review-ana-popovic-band-evening-at.html
“Kirk Fletcher will be joined by… Michele Papadia (piano, organ).” (Redazione, Musicadalpalco, 2021-09-16; translated from Italian) https://musicadalpalco.com/2021/09/16/pistoia-blues-2021-by-jazzmi-kirk-fletcher-band/
“They’re joined by keyboard players Michele Papadia and Jeremy Thomas…” (Blues Blast Magazine, 2025-12-11) https://www.bluesblastmagazine.com/issue-19-49-december-11-2025/
“Alongside… Michele Papadia who have been playing with you for many years.” (Il Blues Magazine, 2024-11-20) https://www.ilblues.org/interview-with-ana-popovic/

Borlai

“Oh, he can shred… but… has visions well beyond technique… [to] analyze, understand, and apply.” (Ilya Stemkovsky, Modern Drummer, 2018-11-30) https://www.moderndrummer.com/article/january-2019-gergo-borlai/
“Counting kills music… Listen to the music and play the song.” (Jim Worsley, All About Jazz, 2021-03-09) https://www.allaboutjazz.com/gergo-borlai-talkin-drummers-and-drumming-gergo-borlai
“For me it’s about learning the music so completely that you don’t need to be thinking about it… [to] play it naturally.” (Jim Worsley, All About Jazz, 2021-03-09) https://www.allaboutjazz.com/gergo-borlai-talkin-drummers-and-drumming-gergo-borlai
“I don’t want to be playing loud or fast… It’s all about what the music needs… I can be the softest drummer you want.” (Jim Worsley, All About Jazz, 2021-03-09) https://www.allaboutjazz.com/gergo-borlai-talkin-drummers-and-drumming-gergo-borlai
“I never count while I am playing, I just feel it… I think counting kills music.” (Chiradeep Lahiri, Abstract Logix, 2017-07-14) https://abstractlogix.com/tag/gergo-borlai/
“[The] thought process, and level of preparation was meticulous for every drummer and every song.” (Jim Worsley, All About Jazz, 2020-05-29) https://www.allaboutjazz.com/the-missing-song-gergo-borlai-blue-canoe-records
“The drum kit, cymbals, sticks, pedals, everything was anew at the beginning of each piece.” (Jim Worsley, All About Jazz, 2020-05-29) https://www.allaboutjazz.com/the-missing-song-gergo-borlai-blue-canoe-records
“Gergo Borlai is a monster drummer… ‘The Missing Song’… will surely inspire many drummers and musicians…” (Bass Magazine, Bass Magazine, 2020-06-08) https://bassmagazine.com/drummer-gergo-borlai-releases-new-album-with-nine-legendary-bassists/

Jun, 2025

BLACKBYRDS GROOVE COLLECTIVE by Blackbyrd McKnight | Funk (USA)

BLACKBYRDS GROOVE COLLECTIVE | P-Funk (USA)

BLACKBYRD McKNIGHT – BOBBY SPARKS

DENNIS CHAMBERS – GARY GRAINGER

AVAILABILITY FOR EUROPE

2026 | JANUARY 16th/26th

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Line‑Up

BlackByrd McKnight | Guitar
Parliament‑Funkadelic, Herbie Hancock, Red Hot Chili Peppers

Dennis Chambers | Drums
Santana, John Scofield, George Clinton, John McLaughlin

Bobby Sparks | Keyboards
Snarky Puppy, Prince, Marcus Miller

Gary Grainger | Bass
John Scofield, Pockets (Earth, Wind & Fire protégé), Acoustic Alchemy, Bill Evans

Overview

BlackByrds Groove Collective is a once‑in‑a‑generation all‑star ensemble uniting four iconic voices from the worlds of funk, jazz‑fusion and high‑octane improvisation. At its core stands legendary guitarist DeWayne “Blackbyrd” McKnight (Parliament‑Funkadelic, Herbie Hancock/Headhunters, Red Hot Chili Peppers), whose cutting‑edge work helped shape the sound of a musical revolution. This new line‑up pairs McKnight with the heavyweight rhythm section of Gary Grainger (John Scofield, Pockets — Earth, Wind & Fire protégé band, Acoustic Alchemy, Bill Evans, Luther Ingram) and Dennis Chambers (Santana, John Scofield, George Clinton/P‑Funk, John McLaughlin), plus the kaleidoscopic keys of Bobby Sparks (Snarky Puppy, Prince, Marcus Miller) — an elite unit designed for maximum pocket, fearless interplay and modern show impact.

This configuration has never shared the stage in this exact combination, and that’s the point: the chemistry is fresh, the language is shared, and the result is a live experience with festival‑level energy and club‑grade intimacy. Expect tight arrangements, deep groove, explosive solos and a set that moves like a well‑oiled film sequence — strong open, dynamic arc, and a closer built for standing ovations.

What Happens On Stage

(Audience Experience)

Instant impact: the show opens on an unmistakable groove, hook forward, FOH‑ready sonics from bar one.
Pocket first: Grainger and Chambers lock a low‑end foundation that is both muscular and elastic; time feels big, confident and danceable.
Call & response: McKnight’s riffcraft and Sparks’s harmonic colors bounce lines and hits back and forth, creating genuine conversation on stage.
Dynamics that breathe: half‑time drops, stop‑time breaks, double‑time lifts and unison hits that cue audience response without derailing flow.
Signature moments: guitar features over vamp‑based codas, talkbox/lead‑synth eruptions, and a drum‑and‑bass spotlight with precision fireworks.
Memorable close: a reprise/medley that leaves an ear‑worm designed for highlight reels and social clips.

Artistic Direction & Sound Design

MD direction: McKnight keeps arrangements lean and focused. Themes are concise, solos are purposeful, transitions are musical — no dead air.
Keys palette: Sparks blends Rhodes/Clavinet with contemporary synth layers; strategic synth‑bass doubling adds extra weight on select sections.
Bass authority: Grainger’s tone is round yet articulate, supporting harmony while carving melodic counterlines and song‑within‑the‑song motifs.
Drum engine: Chambers brings micro‑time accuracy and massive dynamic headroom; ghost notes and a granite backbeat make the pocket feel inevitable.
FOH notes: tight kick, present bass, midrange clarity for guitar/keys, stereo keys bus L/R; fast changeovers and short line checks.

Repertoire & Set Flow

The set weaves original material from the Collective with modern takes on the Headhunters/P‑Funk canon and select features that spotlight each member. BPMs, keys and textures are sequenced for an arc that works equally well in 60/75/90‑minute formats. The center slot allows for measured improvisation; the final third ramps energy for a festival‑grade finish.

Why It Works (For Promoters & Festivals)

Bankable musicianship: four top‑tier players with headline résumés; rock‑solid reliability and world‑class stagecraft.
Scalable show: translates from 400–1200‑cap clubs to main festival stages; compact footprint, big sound.
Audience value: musically sophisticated yet accessible; instant hooks and physical groove.
Marketing narrative: “brand‑new super‑band configuration” + “masters of the pocket” is a storyline that converts across trade and consumer media.
Content engine: the show generates high‑impact clips (drops, finales, features) optimized for social and press.

Member Profiles (What They Bring)

Blackbyrd McKnight — Guitar / MD
A living architect of the P‑Funk vocabulary with a rock edge: razor‑sharp riffing, fearless lead voice and a producer’s ear for pacing and dynamics. McKnight aligns the set around groove integrity and the dramatic turnarounds that make a live show memorable.

Bobby Sparks — Keyboards
A colorist and catalyst whose roots in gospel‑jazz and modern fusion translate to Rhodes warmth, Clav bite and synth‑lead attitude. Sparks expands the harmonic field, shapes transitions and delivers the kind of feature moments that audiences talk about.

Gary Grainger — Bass
The anchor and architect of the low end: impeccable intonation, authoritative tone and a DC/Baltimore pocket culture that fuses funk, R&B and jazz. Grainger’s PRS signature lineage and band‑leader sensibility keep the groove deep and the lines musical.

Dennis Chambers — Drums
A once‑in‑a‑lifetime drummer whose backbeat authority, micro‑timing and dynamic control set an elite standard. Chambers drives the ensemble with stadium‑grade punch and studio‑grade precision — the drop‑to‑hit moments become events.

Marketing & Positioning

Taglines: Funk authority, jazz freedom, rock energy. · The pocket elite. · Four masters, one groove.
Imagery: on‑black or color‑gel portraits with instrument focus; video capture of drops/climaxes; short member‑ID bumpers for socials.
Copy block (short): A new super‑band led by P‑Funk legend Blackbyrd McKnight, with Bobby Sparks (keys), Gary Grainger (bass) and Dennis Chambers (drums). BlackByrds Groove Collective blends funk, jazz and rock into a high‑impact live show: deep pocket, fearless interplay and a finale built for standing ovations.

Technical Snapshot (for buyers)

Set lengths: 60/75/90 min.
Changeover: lean patch, short line check; IEM preferred, click optional for cues.
Backline: professional standard; detailed rider on request (bass/amp, drums, keys minimal list).
Advance: press kit, photo assets, social IDs and staging plot available upon confirmation.

Availability

European tour window: 16–26 January 2026. (Additional holds on request.)

Press Excerpts

“The Making of ‘God Make Me Funky’ by The Headhunters… became one of the most‑sampled grooves ever, thanks to Herbie Hancock’s funky fusionists.”
— Uncut Magazine, January 2025

“The Seventies were the building blocks for who and what I was to become. Now it’s time to fly on until I become a nebulous mist.”
— Blackbyrd McKnight, Guitar World, November 2024

“Funk master Blackbyrd McKnight, on stage with P‑Funk, gets freaky with the Framus Diablo Pro.”
— Premier Guitar, 2018

“Blackbyrd McKnight is one of the greatest guitar players around.”
— George Clinton, Premier Guitar, 2016

“McKnight’s guitar can become a sarod, synthesizer, melotron, and laser all at once.”
— Funk: The Music, The People, and The Rhythm of The One

“A jammin’ stomp of P‑Funk’s ‘Tear the Roof Off the Sucker’… highlighted by an appearance by Funkadelic/Headhunters guitar great Blackbyrd McKnight.”
— Los Angeles Magazine, 2025

“McKnight played a customized teal Stratocaster, squeezing out a tone so sharp and hot it could cut through steel.”
— RIFF Magazine, 2020

“McKnight launched into a cosmological guitar solo… with tones that shredded away my shortcomings, my insecurities and my sins.”
— The Daily Lobo, 2019

“A jazz‑funk solo affirming that he is indeed a rock god.”
— Eponymous Review, 2019

“One of the most epic guitar jams of all time… McKnight channeled the spirit of Eddie Hazel beautifully.”
— Soundblab, 2018

“Blackbyrd McKnight… a ten‑minute‑plus guitarmageddon… the most ridiculously ignored player in popular music.”
— B24/7, 2017

Blackbyrd Groove Collective — Member Profiles

(Selected Credits)

A compact, promoter‑friendly module for press kits, one‑sheets, and web pages.

DeWayne “Blackbyrd” McKnight — Guitar / Musical Director

A living architect of the P‑Funk vocabulary with a rock edge and deep jazz‑fusion fluency. Razor‑cut riff design, fearless lead voice, and a producer’s ear for pacing and dynamics. As MD, McKnight keeps the show groove‑first, tightly arranged, and built for big payoffs.

Selected credits: Parliament‑Funkadelic · George Clinton & P‑Funk All Stars · Herbie Hancock / The Headhunters · Red Hot Chili Peppers · Bernie Worrell.

Dennis Chambers — Drums

Micro‑timing precision, granite backbeat, and unmatched dynamic headroom. Chambers propels the band with stadium‑grade punch and studio‑grade control; drops turn into events and unison figures stay laser‑tight at any BPM.

Selected credits: Parliament‑Funkadelic (George Clinton) · John Scofield · John McLaughlin · Santana · Mike Stern · Niacin · CAB.

Bobby Sparks — Keyboards

A colorist and catalyst: Rhodes/Clavinet heritage meets modern synth architecture and talkbox/lead‑synth attitude. Sparks expands the harmonic field, sculpts transitions, and delivers the kind of spotlight moments audiences remember.

Selected credits: Snarky Puppy · Prince · Marcus Miller · Kirk Franklin · Lalah Hathaway.

Gary Grainger — Bass

The low‑end anchor and architect: authoritative tone, immaculate intonation, and a DC/Baltimore pocket culture that fuses funk, R&B, and jazz. Natural melodist in counterlines, rock‑solid bandleader instincts, and total reliability on any stage.

Selected credits: John Scofield · Pockets (Earth, Wind & Fire protégé band) · Acoustic Alchemy · Bill Evans (sax) · Luther Ingram · PRS Band · Grainger (Phase I–III).

Notes for Buyers

Set formats: 60 / 75 / 90 minutes · compact changeover · FOH‑ready mix guidelines available.
Assets: portrait on‑black / color‑gel imagery, short member‑ID bumpers, highlight drops/closers.
Advancing: full tech riders and stage plot on request.

May, 2025

BOBBY SPARKS II | Fusion Jazz (USA)

BOBBY SPARKS II

AVAILABILITY FOR EUROPE
2025 | NOVEMBER TOUR CANCELLED

2026 | TBA

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Bobby Sparks II – Keys, Composer, Producer – US

A master of groove, texture, and genre fusion, Bobby Sparks II is one of the most explosive and versatile keyboardists of his generation. Known for his work with Snarky Puppy, Marcus Miller, Prince, Herbie Hancock, Kirk Franklin, Snoop Dogg, and St. Vincent, Sparks blends jazz, funk, gospel, soul, hip-hop, and cinematic sound design into a powerful and unmistakable musical voice.

His live project brings together a collective of high-caliber musicians, creating an electrifying stage experience. The music is dynamic, unpredictable, and deeply rooted in the traditions of Black American Music, while pushing boundaries with cutting-edge improvisation and production sensibility.

Bobby Sparks II’s performances have been described as orchestral and raw, mixing the lush textures of analog synths and organs with high-impact rhythm sections and searing solos. Whether it’s a small club or a major festival, the energy is magnetic and the musicality is second to none.

Live Line-Up

Bobby Sparks – Keys

Snarky Puppy, Prince, Herbie Hancock, Marcus Miller, Snoop Dogg, St. Vincent

Jay Mack – Bass

Erykah Badu, Kirk Franklin, Mononeon

Keith Anderson – Sax

Roy Hargrove, Marcus Miller, Kanye West, Erykah Badu

Cam – Guitar

Nile Rodgers, Musiq Soulchild

DeAnthony McGee – EWI

Snarky Puppy, Kirk Franklin

Adarian Roberts – Drums

Tye Tribbett, Kirk Franklin

Official website: https://bobbysparksmusic.com/

Apr, 2024

Wayne Krantz Power Trio ft. Evan Marien & Josh Dion

WAYNE KRANTZ TRIO ft. EVAN MARIEN & JOSH DION | Fusion Jazz (USA)

WAYNE KRANTZ SUGAR TRIO
ft. Evan Marien & Josh Dion

AVAILABLE IN EUROPE
2025 | MARCH

WayneKrantzPowerTrioftEvanMarienJoshDion

Line up

Wayne Krantz | Guitar

Steely Dan, Michael Brecker, Donald Fagen, Billy Cobham, Chris Potter, David Binney, Carla Bley, Keith Carlock, Tim Lefebvre, Pino Palladino, Vinnie Colaiuta, John Patitucci, Tal Wilkenfeld, Anton Fig, Jeremy Stacey, Paul Stacey, Gabriela Anders, Kenny Wollesen, Nate Wood, Henry Hey, Owen Biddle

Josh Dion | Drums

John Scofield, Wayne Krantz, Bill Evans, Chuck Loeb, Esperanza Spalding, Lucius, Chris Thile

Evan Marien | Bass

Tigran Hamasyan, Tim Miller, Virgil Donati, Elliot Moss, Justin Brown, Allan Holdsworth, Dana Hawkins, Fredrik Thordendal, Plini, Aaron Marshall, J3PO, Cory Wong, Zac Zinger, Button Masher, Miguel Atwood-Ferguson

WAYNE KRANTZ

Wayne Krantz was born in Corvallis, Oregon. He released his first album, Signals, in 1990, sporting an array of recognized jazz musicians such as Dennis Chambers, Don Alias, Anthony Jackson, and others.
In 1992, he formed a trio with bassist Lincoln Goines and drummer Zach Danziger and recorded two albums with them, Long To Be Loose (1993) and 2 Drink Minimum (1995), a live album, and began playing regularly at the 55 Bar, a jazz club in New York City. In 1996, Krantz released an acoustic album with Leni Stern, dubbed Separate Cages. After playing with Steely Dan for several years, Krantz formed a new trio in 1997 with Tim Lefebvre on bass and Keith Carlock on drums; on June 28, 2007, he played his final regular Thursday night gig at New York’s 55 Bar. As of October and November 2018, he is playing regularly at 55 Bar again with a rotating cast of sidemen.

Wayne Krantz’s first three solo albums were released on the jazz label Enja Records. His next three albums, 1999’s Greenwich Mean, 2003’s Your Basic Live, and 2007’s Your Basic Live ’06 were all released from Wayne’s private website. Like 2 Drink Minimum, these albums are excerpts of various sets at the 55 Bar. These albums also include more use of effects pedals, and are more unscripted and improvised than the previous three. He contributed to Donald Fagen’s release Morph the Cat, and toured with Fagen’s band in early 2006. He was featured on tenor saxophonist Chris Potter’s 2006 release, Underground.

Wayne Krantz signed with record label Abstract Logix to release his first studio record in over fifteen years. Krantz Carlock Lefebvre (2009) features the core trio of Krantz, Carlock on drums and Lefebvre on bass. In 2012, Krantz released Howie 61 (a reference to Bob Dylan’s Highway 61 Revisited), which includes performances by Keith Carlock, James Genus, John Patitucci, Charley Drayton, Tal Wilkenfeld, Vinnie Colaiuta, Anton Fig, Yasushi Miura, Jeremy Stacey, Paul Stacey, Pino Palladino, Gabriela Anders, Kenny Wollesen, Nate Wood, Henry Hey and Owen Biddle. In 2014, Krantz released “Good Piranha/Bad Piranha,” a live-in-the-studio album featuring his two dominant trio combinations at the time: Nate Wood/Keith Carlock and Tim Lefebvre/Nate Wood. The bands each recorded the same four cover songs with radically different improvisational results.

https://www.waynekrantz.com/

EVAN MARIEN

Evan Marien is an award-winning bassist, composer, producer, author, educator, and 3D artist, born and raised in the cornfields of Decatur, Illinois. He graduated from Berklee College of Music in 2009 and has lived in the NYC area since 2010.

Known for his collaborations with drummer Dana Hawkins, he has also performed in the bands of Tigran Hamasyan, Wayne Krantz, Tim Miller, Virgil Donati, Elliot Moss, Justin Brown’s NYEUSI, and was the last bassist to perform in guitar legend Allan Holdsworth’s band.

His latest release, ‘Elysian’ features Dana Hawkins, Tigran Hamasyan, Fredrik Thordendal, Plini, Intervals, J3PO, Tim Miller, Cory Wong, Zac Zinger, Button Masher, and Miguel Atwood-Ferguson.

You can hear his bass playing on numerous albums such as Tigran Hamasyan’s “The Call Within,” Virgil Donati’s “In This Life,” and “Ruination”, and Steve Hunt’s “Connections”.

His playing can also be heard on the Mitski song ‘Nobody,’ for which he received a gold record for participating on the album ‘Be The Cowboy,’ as well as on the songs ‘Should’ve Been Me’ and ‘That’s Our Lamp’ from her most recent album, ‘Laurel Hell’.

In partnership with MadeMusicStudio, Evan has composed music for renowned brands such as AT&T, Lexus, and NPR. Most recently, he won a 2022 CLIO award for composing the sonic logo and anthem for Turner Classic Movies (TCM).

As an author, he has written numerous books about his distinctive Hexatonic method for the bass guitar, as well as created video courses describing his specialized right hand technique. His first book, ‘Transcriptions Vol. 1,’ was an Amazon Best Seller in its first week of release.

Evan is also a part-time faculty member at The New School in New York City, where he specializes in providing private lessons to the next generation of contemporary musicians.

Evan Marien is a MarkBass artist!

Evan Marien

https://www.evanmarien.com/

JOSH DION

Josh Dion was born at the tail end of the disco funk era, when popular radio bore the sounds of Quincy Jones, Michael Jackson, and ‘four on the floor’ drum beats! Raised in Storrs, CT, Josh started playing his father’s drums before he even started kindergarten. He grew up playing drums to the simple and beat driven sounds of Nick Mason and Ringo Starr. He also lived across the hall from his older brother, who not only followed the Grateful Dead, but introduced him to Cream at the tender age of seven. Rightfully so, Cream, Zeppelin and the Stones led Dion to Willie Dixon, Robert Johnson and beyond.

A prodigious talent, Josh started playing professionally at age eight and was invited to shed with the UConn Jazz Studies program by the time he was twelve. While he was impressing people with his percussion skills, he was playing piano and singing in his local church, developing talents which would eventually help him stand out even among the world class drummers in whose company he has now found himself.

After a stint in the music program at New Jersey’s William Paterson University, he has made New York City his home. Josh’s college days were greeted by an immersion in the Jam band scene with NYC funk band ulu, who toured the Eastern half of the US. Josh was soon noticed by jazz guitarist Chuck Loeb, who offered Josh an opportunity to be seen and heard by a whole new level of the music audience. From that platform, he has gone on to work with some of the major brand names of the music world: Candy Dulfer, Spyro Gyra, Will Lee, Pat Martino, Jeff Kashiwa, Jason Miles, Anthony Jackson, Edgar Winter, Randy Brecker, Bob James, Eric Marienthal, Til Bronner, Jim Beard, Ivan Lins and on and on.

Meanwhile, Josh Dion has been developing his solo career with the CD releases of the Josh Dion Band (www.joshdionband.net), their debut “Give Love” and the imminent “Josh Dion Band Live.” The Josh Dion Band has another studio release planned for early 2007.

“Give Love” was greeted with effusive praise by the UK’s Drummer magazine, who described it as “Brian Wilson meets Hall and Oates, with possibly Bruce Springsteen looking in and drums that sound like they were recorded at Muscle Shoals Studios. This is a collection of epic songs that build and move as songs used to in the old days when songwriters were exactly that and labels like Motown and Stax were market leaders…Great voice, great drums and great, great tunes…Dion is a young player that is going to create a very big impression indeed. Not only can this fella lay down a super funky beat, but he sings with a soulful voice that totally melts your mind…You are going to be hearing more from this extremely talented young musician…If there is any justice in this world, Dion will be huge.” YEAH!

Josh also enjoys nature-walking, driving, and attending history lectures.

GEAR LIST
Absolute Maple Nouveau
ABD-1518JF 18″x14″
ATT-1512J 12″x8″
AFT-1516 16″x16″
ASD-0545 14″x5.5″
MNS-1470EJ Elvin Jones Signature

https://www.yamaha.com/artists/joshdion.html

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

Dec, 2023

ELECTRIC LADY | Pop/Rock/Funk (CZ)

ELECTRIC LADY | Rock (CZ)
Guitar shredder and singer

AVAILABILITY FOR EUROPE

2026 | Upon request (EU resident band)

ELECTRICLADY_logoleft

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/

Aug, 2023

DAVIDE PANNOZZO TRIO ft. ETIENNE STADWIJK & CLINT DE GANON

DAVIDE PANNOZZO TRIO | Blues/Funk/Fusion (USA)

Davide Pannozzo Trio | Fusion Jazz-Funk (USA)

AVAILABILITY FOR EUROPE
2025 | September
2026 | TBA

Davide Pannozzo Trio Title

Davide Pannozzo | Guitar

Danny Gottlieb, Pippo Matino, Nathan East, Verdine White, Andrew Gouche, Mel Brown, George Benson, David Garfield, Phil Palmer, Nicola Piovani, Steve Jordan, Will Lee, Oleta Adams, Oz Noy, Shawn Pelton

Etienne Stadwijk | Piano

Louis Sclavis, Michel Portal, Tigran Hamasyan, Manu Katché, Youn Sun Nah

Clint De Ganon | Drums

Michael Brecker, David Sanborn, Bob Mintzer, Paul Simon, Lizz Wright

A visionary, modern, and emotionally charged project, the Davide Pannozzo Trio blends the language of contemporary jazz with the deep roots of soul, blues, and Afro-American tradition, delivering a sound that is both authentic and strikingly relevant.

DAVIDE PANNOZZO – Guitar and voice
A guitarist, composer, and producer based in New York City, Davide Pannozzo is widely recognized as one of the most influential voices in today’s guitar scene. His collaborations span a long list of music legends, including George Benson, David Garfield, Steve Jordan, Phil Palmer, Will Lee, Oz Noy, Nathan East, Verdine White, Mel Brown, and Oleta Adams. Pannozzo’s refined technique and soulful touch allow him to effortlessly bridge jazz, blues, fusion, and classical influences, forging a unique and immediately recognizable guitar language.

ETIENNE STADWIJK – Piano
A Dutch pianist and keyboardist with Surinamese roots, Etienne Stadwijk is a prominent name on the international scene. Having performed and recorded with Michel Portal, Louis Sclavis, Tigran Hamasyan, Manu Katché, and Youn Sun Nah, he brings to the trio a lyrical, wide-ranging approach that draws from European jazz, world music, and electronic influences. His elegant phrasing and melodic sensitivity offer the perfect counterpoint to Pannozzo’s guitar, creating a musical dialogue rich in nuance.

Link on Discogs: https://www.discogs.com/it/artist/395683-Etienne-Stadwijk

CLINT DE GANON – Drums
A world-class drummer, Clint De Ganon has worked with icons such as Michael Brecker, David Sanborn, Bob Mintzer, Paul Simon, and Lizz Wright. His mastery of groove and his ability to support with finesse or burst into virtuosic energy make him essential to the rhythmic balance of the trio. His playing is tight, inventive, and the beating heart of this project.

Link on Discogs: https://www.discogs.com/it/artist/319912-Clint-De-Ganon

DISCOGRAPHY AND RELEASES
Davide Pannozzo has released a number of critically acclaimed albums, earning praise from international media and radio airplay across Europe and the United States. Notable works include “Born Electric” (2017), recorded in New York with Will Lee, Steve Jordan, and David Garfield, and “Unconditional Love” (2019), an album that seamlessly blends jazz-blues tradition with modern textures, recorded between Italy and the USA. His EP “Blessed” (2021) further defined his artistic identity with standout tracks like “One Heart,” “Talk To Me,” and “Fallin’,” highlighting his talent as a songwriter who fuses technical brilliance with emotional depth. His releases are available on all major digital platforms, and many of his compositions have become staples for new-generation guitarists and instrumental music enthusiasts. With sophisticated arrangements, deep harmonic exploration, and lyrics that touch on universal themes, Pannozzo’s work is a powerful mix of authenticity and innovation.

A DISTINCTIVE ARTISTIC VISION
The Davide Pannozzo Trio stands out for its original repertoire, drawing from the guitarist’s own compositions as well as reimagined classics from the Afro-American tradition. Each performance is a sonic journey combining jazz improvisation, musical storytelling, and refined interplay.

This project marks a new chapter in Pannozzo’s career—one that embraces mature and conscious writing while balancing accessibility and research, emotion and experimentation. The result is music that speaks to all audiences: profound, engaging, elegant, and alive.

ROOTED IN GREATNESS
The trio’s sound is deeply informed by the personal and artistic history of its members. Pannozzo’s long-standing relationships with artists like Pippo Matino, Nathan East, Verdine White, Andrew Gouche, Steve Jordan, and George Benson, as well as his immersion in New York’s high-level music production scene, give the trio a signature touch shaped by direct exposure to some of the world’s most important musicians.

IMPROVISATION, RESEARCH, EMOTION
Live performances are where the trio’s music truly comes to life. No concert is ever the same. Every show is a unique event shaped by real-time interaction among musicians, the acoustics of the venue, and the energy of the audience. The setlist evolves through original pieces, open improvisation, and moments of high emotional intensity.

Pannozzo’s playing merges seamlessly with that of his bandmates in a continuous flow that shifts between introspective ballads, tight grooves, meditative spaces, and collective virtuosity.

A TRIO FOR FESTIVALS, CLUBS, AND GLOBAL STAGES
With its formal elegance, communicative strength, and emotional charge, the Davide Pannozzo Trio is ideally suited for leading stages in today’s international jazz and world music scenes. It’s a project designed for theatres, major festivals, sophisticated jazz clubs, and all venues seeking powerful, heartfelt, and authentic music.

Feb, 2023

JEFF BERLIN Trio ft. Jorge Vera & Jose San Martin | Fusion Jazz (USA)

JEFF BERLIN TRIO | FUSION JAZZ (USA)

AVAILABILITY FOR EUROPE
2026 | JULY 17th to 31st

JeffBerlinTrioftJorgeVeraMichaelOlivera

Line-up

Jeff Berlin | Bass
Bill Bruford, Allan Holdsworth, Yes, Patrick Moraz, David Liebman, Patti Austin, Kazumi Watanabe, George Benson, Dennis Chambers, Scott Henderson

Jorge Vera | Piano
Miguel Bosé, David Bisbal, Billy Cobham, Horacio “El Negro” Hernández, Dennis Chambers, Ara Malikian, Tony Succar, Alain Pérez, Christian Gálvez, Jeff Berlin

José San Martín | Drums
Hugo Fattoruso, Zeca Assumpção, Mauro Senise, Jerry González, Federico Lechner, Luis Salinas, Antonio Serrano, Juan San Martín, Jorge Vera, Marcelo Peralta

Style

Contemporary fusion jazz: electric bass up front, piano moving between dense harmony and lyricism, drums speaking an Afro‑Latin vocabulary. Shifting meters, “electric” walking lines, and grooves that change perspective without losing swing. A stage‑built trio: instant dynamics, virtuosity in service of storytelling, tight interplay.

Profile

JEFF BERLIN TRIO is a fusion‑jazz workshop where electricity is not a color, but a grammar. Jeff Berlin’s bass leads melodies and walking lines like a front voice, with the rhythmic clarity of a player shaped by the Bruford/Holdsworth school and still committed to “music before technique.” Jorge Vera—Chilean pianist based in Europe—brings writing rich in counterpoint and a sound that shifts from chamber‑like transparency to Latin‑jazz lift. José San Martín completes the triangle with a timbral, narrative approach to drumming: candombe, swing and urban pulses braid into an elastic groove that can hold both unison precision and open improvisation. The project’s DNA is interplay: singing bass lines, mobile harmony, and a drum kit that orchestrates the space.

Details

Jeff Berlin
A key figure in jazz‑rock since the 1970s, he pushed electric bass into a lead role through legato phrasing and uncompromising time. In this trio his sound is both architecture and narrative: walking lines that swing, melodic counterpoint, and improvisations built like a spoken argument.

(“Berlin thinks music… and builds solos that grow according to a musical logic.” Phil Wain, No Treble (via All About Jazz), 2010-09-11)

Jorge Vera
Virtuosity with dynamic control: wide voicings, a dramatic sense of pacing, and a language that blends fusion, contemporary jazz and Latin American roots. In trio format he is the harmonic director—opening lyrical windows and driving energy through percussive accents on piano/Rhodes.

(“Jorge Vera is probably one of the best young pianists based in Spain, and perhaps in Europe.” Raul Da Gama, Latin Jazz Network, 2017-03-03)

José San Martín
Uruguayan drummer and percussive colorist, active in Madrid since the early 1990s: he builds layered grooves where Afro‑Latin tradition and swing become a single pulse. His drumming is physical yet controlled, with timbral work on skins and cymbals that supports the melodic line without covering it.

(“His electrifying speed is matched only by a shimmering timbre and a full palette of colors.” Raul Da Gama, Latin Jazz Network, 2017-03-22)

Discography

Jeff Berlin
Champion (1985)
Pump It! (1986)
Taking Notes (1997)
Crossroads (1998)
In Harmony’s Way (2000)
Lumpy Jazz (2004)
Aneurythms/Ace of Bass (2006)
High Standards (2010)
HBC (Henderson-Berlin-Chambers) (2012)
Low Standards (2013)
Random Misfires (2018)
Joe Frazier: Round 3 (30th Anniversary EP) (2018)
Jack Songs (2022)

Jorge Vera
Groovera (2016-03-15)
Luz (2016-11-04)
Volumen I (with Raynald Colom, Miguel Lamas) (2018-07-20)
My Impromptu (2019-11-29)
Volver a los 17 (2024-02-16)

José San Martín
Tocador (2016)
Entrevías (2022-11-25)

Overview

Jeff Berlin is an American jazz-rock and fusion bassist, composer, and educator whose career has consistently pushed the electric bass beyond its traditional supporting role. Known for a lead-bass concept that treats the instrument as a primary melodic voice, he emerged in the late 1970s at the intersection of progressive rock precision and modern jazz improvisation, then built a parallel reputation as one of the most outspoken advocates for fundamentals-based music education.

Origins

Born in Queens, New York on 1953-01-17, Berlin grew up in a home where music was not an extracurricular activity but a daily language. With an opera-singer father and a pianist mother, he began formal violin study at age five and, by his own accounts in interviews, was recognized early for uncommon musical aptitude, appearing as a young soloist with local orchestras. In his early teens he made a decisive turn to electric bass, initially drawn by the energy of the rock era and the impact of players who proved the bass could lead from the bottom up. The Beatles were a catalyst, and Jack Bruce became a formative compass: Bruce’s sound, phrasing, and imagination set a lifelong benchmark for Berlin’s sense of what a bassist could be.

After the switch, Berlin pursued structured study rather than mythologizing “natural talent”. He attended Berklee College of Music, where the focus on harmony, reading, and professional musicianship aligned with his drive to become fluent in the broader language of jazz, not just the vocabulary of bass technique.

Breakthrough

Berlin’s first wave of professional work came through high-level session and touring situations that demanded both stylistic flexibility and high literacy. In the mid-1970s he worked with major figures on the New York scene and quickly became visible to artists who valued precision and risk in equal measure.

The defining leap arrived in 1977, when drummer Bill Bruford selected Berlin for the Bruford band’s debut recording cycle. Bruford’s environment was a proving ground: intricate compositions, shifting meters, and a jazz-forward improvisational approach inside a progressive-rock frame. Berlin’s bass was not merely supportive. It functioned as a co-equal voice, shaping themes, counterlines, and rhythmic architecture. Across the Bruford years, the combination of technical clarity and melodic assertiveness established Berlin as a distinctive identity in the fusion ecosystem.

From that platform, Berlin’s path intersected with other boundary-pushers. Allan Holdsworth brought him into the guitarist’s orbit for the 1983 album “Road Games”, a context that demanded extreme rhythmic exactness and harmonic agility. Berlin’s work in these settings reinforced a trait that would follow him throughout his career: the ability to sound forward and modern without sacrificing articulation and swing.

Expansions

By the 1980s and into the following decades, Berlin operated in overlapping worlds: high-level sideman work, solo projects, and long arcs of touring with rotating all-star configurations. One of the more famous “what if” moments in rock history also sits in this period. Berlin has stated in interview that he was invited to join Van Halen and declined the offer, a decision that reflects how consistently he has prioritized musical direction over visibility.

He also spent time in the late-1980s live orbit of John McLaughlin’s trio work with percussionist Trilok Gurtu, a setting where the bass chair required both rhythmic authority and the ability to navigate open-form improvisation at speed.

Records

Berlin’s discography as a leader traces a clear artistic profile: the electric bass as narrative engine, the ensemble as an equal conversation, and a language that can pivot from fusion velocity to straight-ahead jazz clarity.

1985 | “Champion”

1986 | “Pump It!”

1997 | “Taking Notes”

1998 | “Crossroads”

2000 | “In Harmony’s Way”

2004 | “Lumpy Jazz”

2006 | “Aneurythms – Ace of Bass”

2010 | “High Standards”

2013 | “Low Standards”

2022 | “Jack Songs”

2022-08-02 | Jeff Berlin Music Group

Among these, “In Harmony’s Way” is often discussed not only for its musical stance but for the story around it: Berlin described running the project independently and directing proceeds toward family medical needs, a reminder that behind the “virtuoso” narrative there has always been an unglamorous human reality. Two decades later, “Jack Songs” became a large-scale artistic statement and personal tribute, built around Berlin’s lifelong connection to Jack Bruce. The project assembled a broad roster of guests and, as Berlin has explained in interviews, moved forward through persistence and self-financing after conventional label interest failed to materialize.

Education

If Berlin’s playing made him a reference point for bassists, his educational work made him a lightning rod. In the early 1980s he relocated to Los Angeles and became involved with the launch of the Bass Institute of Technology at Musicians Institute, helping shape a new institutional model for bass education at a time when the electric bass was only beginning to be treated as a serious academic discipline.

In 1996, Berlin founded The Players School of Music in Clearwater, Florida. The school’s mission stood out in a crowded lesson-marketplace because it positioned fundamentals as the main product: reading, harmony, ear training, time, and musical problem-solving, rather than shortcuts, “methods,” or device-driven practice routines. Berlin’s stance has remained consistent across decades of interviews and writings: techniques matter, but musicianship is the point. That philosophy also made him a prominent columnist and commentator in the bass and guitar press, where his arguments around education, industry myths, and practice culture earned both strong support and strong pushback.

Accolades

Berlin’s recognitions are rooted less in formal trophies and more in peer regard, reader-voted honors, and the depth of his call-sheet. Industry press materials and profiles have repeatedly noted that he was voted the No. 1 Jazz Bassist by readers of Guitar Player magazine, and high-profile artists have publicly praised his musicianship, with quotes often repeating in the broader bass community.

A different kind of recognition is archival: in 2021, Berlin’s story and perspective were added to the NAMM Oral History collection, documenting his views on performance, education, and the working musician’s life.

Milestones

1953 | Born in Queens, New York

1977 | Chosen by Bill Bruford | international breakthrough in the Bruford band

1983 | “Road Games” with Allan Holdsworth

1996 | Founded The Players School of Music | Clearwater, Florida

2013 | Married vocalist and vocal coach Gabriela Sinagra

2021 | Added to the NAMM Oral History collection

2022 | “Jack Songs” | long-form tribute project honoring Jack Bruce’s legacy

Legacy

Jeff Berlin’s significance is not confined to “how fast” or “how clean.” It is the combination of three things that makes his profile durable: a lead-bass vocabulary that remains unmistakably his own, a career built on high-risk musical environments, and an insistence that the path to real freedom on an instrument runs through literacy, listening, and hard work rather than mythology. In that sense, his legacy is both sonic and cultural: he is a player who expanded the bass’s role on stage, and a teacher who refuses to let the instrument’s future be defined by shortcuts.

Discography

Jeff’s website: https://www.jeffberlinmusicgroup.com/

Nov, 2022

OZ NOY TRIO ft. DENNIS CHAMBERS & JIMMY HASLIP | EU TOUR 2022

OZ NOY TRIO ft. DENNIS CHAMBERS & JIMMY HASLIP

EU TOUR 2022

Ven. 02/12 IT #Roma | CrossRoads Live Club
Dom. 04/12 IT #Bergamo | Druso
Lun. 05/12 HU #Budapest | RaM Theater
Mar. 06/12 IT #Bologna | Bravo Caffè
Mer. 07/12 IT #Forlì | Forum Live Jazz c/ Teatro Dragoni Meldola
Gio. 08/12 IT #Napoli | Teatro Auditorium Salvo D”acquisto
Ven. 09/12 IT #Cosenza | Teatro Auditorium Unical
Dom. 11/12 IT #Bari | Teatro Comunale Luciani di Acquaviva delle Fonti
Mar. 13/12 NL #Zoetermeer | Poppodium Boerderij

Per acquistare i biiglietti:

https://www.bandsintown.com/a/184981-oz-noy

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CONTACT

Fabrizio Borgosano
Email: info@coralriff.net
Mobile: +39 340 6953499
Website: https://www.coralriff.biz/

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Tag Archives: funk

Mar, 2026

DAVIDE PANNOZZO Trio

ft.

ETIENNE STADWIJK & STEVE FERRONE

Soul-Funk Blues Fusion | USA

AVAILABILITY FOR EUROPE

2026 | October 15th to 27th

Line-up

Style

Profile

Details

Biography

Discography

Quotes

Reviews

Feb, 2026

15 YEARS OF CORAL RIFF

Looking Back, Booking Forward

Feb, 2026

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

Style

Profile

Details

Biographies

Allen Hinds

Jimmy Haslip

Gergő Borlai

Michele Papadia

Quotes

Hinds

Haslip

Papadia

Borlai

Jun, 2025

BLACKBYRDS GROOVE COLLECTIVE | P-Funk (USA)

BLACKBYRD McKNIGHT – BOBBY SPARKS

DENNIS CHAMBERS – GARY GRAINGER

AVAILABILITY FOR EUROPE

2026 | JANUARY 16th/26th

Overview

What Happens On Stage

(Audience Experience)

Artistic Direction & Sound Design

Repertoire & Set Flow

Why It Works (For Promoters & Festivals)

Member Profiles (What They Bring)

Marketing & Positioning

Technical Snapshot (for buyers)

Availability

Press Excerpts

Blackbyrd Groove Collective — Member Profiles

(Selected Credits)

DeWayne “Blackbyrd” McKnight — Guitar / Musical Director

Dennis Chambers — Drums

Bobby Sparks — Keyboards

Gary Grainger — Bass

Notes for Buyers

May, 2025

BOBBY SPARKS II

AVAILABILITY FOR EUROPE2025 | NOVEMBER TOUR CANCELLED

2026 | TBA

Apr, 2024

WAYNE KRANTZ SUGAR TRIOft. Evan Marien & Josh Dion

AVAILABLE IN EUROPE2025 | MARCH

Dec, 2023

ELECTRIC LADY | Rock (CZ) Guitar shredder and singer

AVAILABILITY FOR EUROPE

2026 | Upon request (EU resident band)

Line-up

Style

Profile

Details

Discography

Members Quotes

AVAILABILITY FOR EUROPE
2025 | NOVEMBER TOUR CANCELLED

WAYNE KRANTZ SUGAR TRIO
ft. Evan Marien & Josh Dion

AVAILABLE IN EUROPE
2025 | MARCH

ELECTRIC LADY | Rock (CZ)
Guitar shredder and singer

AVAILABILITY FOR EUROPE
2025 | September
2026 | TBA

AVAILABILITY FOR EUROPE
2026 | JULY 17th to 31st