AfroCuban Reunión

AFROCUBAN REUNIÓN | Afro-Cuban Jazz Fusion CU/RE

AfroCuban Reunión

Afro-Cuban Jazz Fusion (CU/RE)

 AVAILABILITY FOR EUROPE
2026 | June 11th to 28th

Line Up

Dany Noel | Bass & voice
Chucho Valdés, Horacio “El Negro” Hernández, Roy Hargrove, Diego El Cigala, Bebo Valdés, Buika, Tony Succar, Nella, Ojos de Brujo, Giovanni Hidalgo, Omara Portuondo, Changuito

Meddy Gerville | Keyboards & voice
Wyclef Jean, Fabricio Nicolas, Samuel F’Haye

Dani Morales | Drums & percussion
Jorge Pérez, Aurora García, Jorge Vera, Raúl Venegas, Miguel Núñez, Albita, Lolita, Christian Tonos

Pitch

Three islands, one groove: maloya from Réunion, Afro‑Cuban folkloric drive, and modern jazz harmony.
Singing bass & voice, percussive keys, and drums that pivot from dance‑floor clarity to open improvisation.
A rhythm‑forward trio set designed for jazz and world stages.

Style

AfroCuban Reunión is a three‑way conversation between Réunion Island’s maloya pulse, Afro‑Cuban folkloric drive, and contemporary jazz harmony. Dany Noel anchors the sound with a singing bass and voice—tumbao weight, melodic counterlines, and storytelling phrasing—while Meddy Gerville answers with percussive keys, chant‑like motifs, and Creole‑tinted voicings that keep the music ritual‑leaning and modern at once. Dani Morales keeps the current moving: Afro‑Cuban pulse on the kit and timbales, elastic swing, and sharp dynamic turns that let the trio flip from groove to open improvisation without losing the body.

Profile

AfroCuban Reunión brings together three musicians shaped by deep, place‑specific traditions and an outward‑looking jazz language. Meddy Gerville carries the circular, trance‑leaning energy of maloya into a keyboard vocabulary that can sound percussive, orchestral, or prayer‑like. Dany Noel turns Afro‑Cuban forms (son, rumba, bolero) into open frameworks for interplay, using bass and voice as equal melodic forces—supporting, commenting, and occasionally leading. Dani Morales completes the triangle with a drummer‑percussionist’s command of Afro‑Cuban timelines—cáscara and songo logic on the kit, timbal color when needed—building layered grooves that stay dance‑clear while opening space for improvisation.

The result is vivid and immediate: rhythm‑forward, melodically direct, and improvisational at its core.

Repertoire

The trio’s set blends originals and tradition. As Noel puts it: “We’d play Meddy’s tunes, my Latin‑jazz themes, and a traditional Cuban song sung by me—with jazz always in the influence.” Expect a journey that can touch bolero, son and guaracha, alongside contemporary jazz improvisation.

Members

Dany Noel

Cuban bassist and vocalist with deep roots in Latin jazz and flamenco, Noel is a bandleader and a sought‑after collaborator. His writing privileges groove and song‑form, while his bass lines stay vocal and narrative—often doubling as a second melodic voice. He co‑founded ITALUBA with Horacio “El Negro” Hernández (Grammy‑nominated for ITALUBA 1), and has participated in multiple award‑winning projects (Latin GRAMMY and other international recognitions).

(“Invites us on a fresh and fascinating musical journey that shows the essence of Latin jazz and the culture of his country.” — Ladbroke Hall, 2025-03-07)

Meddy Gerville

Gerville’s keyboard work fuses Creole songfulness with modern jazz touch: left‑hand ostinati, chant‑like motifs, and harmonies that open the music without diluting its roots. His phrasing balances clarity and surprise—often building long arcs over steady, ritual‑like cycles. As a vocalist he favors direct, earthy delivery that sits naturally inside the groove.

(“Grooves from the first note… and the set is a fine one.” — Peter McLaren, Jazz in Europe, 2017-02-14 — translated)

Dani Morales

Madrid‑based Cuban drummer and percussionist (kit & timbales), Morales moves fluently between Afro‑Cuban vocabulary, jazz time, and high‑energy stage formats. Documented in European listings with Dany Noel’s trio and in Patáx lineups, he plays as a groove architect: tight timeline control, quick orchestrations across the kit, and a clear sense of lift that keeps melodies and vocals supported without over‑filling.

(“With Dani Morales on drums… they deliver high‑quality music from the first moment and never stop surprising.” — Natalia Eseverri, El Arcón de Natalia, 2024-10-03 — translated)

Awards

  • Dany NoelITALUBA 1 (Grammy nomination, Best Latin Jazz Album, 2004); participation in Latin GRAMMY‑winning projects (incl. El Último Trago; Más De Mí).

  • Meddy Gerville — Pian’Austral competition prize (2000) (as reported in musician bios).

  • Dani Morales — No independently verifiable major awards found in dated mainstream sources reviewed; documented performance credits with Dany Noel Trio and Patáx in European press.

Releases

Dany Noel

  • INCOHERENTE SOCIEDAD (feat. Chabuco) — Single — 2025-12-17

  • Detalles — Album — 2024-04-08

  • Intercambio — Album — 2022-04-26

Meddy Gerville

  • Tropical Rain — Album — 2025-02-12

  • Lèr larivé — Single — 2024-12-16

  • Le larm dan mon zié (version Séga) — Single — 2023-11-22

Dani Morales

  • La razón — Single (YOSU LAROCA) — 2025-12-13

  • Cántale a la Vida — Single (Albita & Lolita) — 2025-08-22

  • Traigo de Todo (feat. Dany Noel) — Single (Christian Tonos) — 2025-07-31


Press

All excerpts below are translated into English for editorial use. Keep the original links for verification.

Project

  • “AfroCuban Reunion… closes the XXIV edition” — Jazzitalia (staff), 2025-08-04
    Excerpt: “An intense sonic journey between Réunion, Cuba and Europe… maloya, Afro‑Cuban and modern jazz… colors, ancestral rhythms and improvisation.

  • AFROCUBAN REUNION — artist page — BeatOnto Jazz Festival (staff), 2025-07-02
    Excerpt: “A trio that fuses Réunion roots, Afro‑Cuban energy and contemporary jazz… bold improvisations and rhythms that speak to heart and body.

Noel

  • “Dany Noel Cuban Project — Jazz & Dinner” — Ladbroke Hall (event page), 2025-03-07
    Excerpt: “A fresh and fascinating musical journey… the essence of Latin jazz… bolero, son, guaracha… and unreleased original songs.

  • “Dany Noel Trio feat Ivo Neame & Jorge Perez” — EFG London Jazz Festival (event listing), 2023-11-11
    Excerpt: “A new project led by Cuban bass virtuoso and singer Dany Noel…

  • “En Casa Limon” (album review) — Phillip Woolever, All About Jazz, 2021-01-24
    Excerpt: “Percussionist Israel Suárez and bassist Dany Noel provide admirable support throughout.

Gerville

  • “Tropical Rain — Meddy Gerville Trio” — Dot Time Records (label page), 2017-02-17
    Excerpt: “Grooves from the first note… and the set is a fine one.

  • Meddy Gerville — musician bio — All About Jazz (staff), 2017-07-18
    Excerpt: Mentions maloya roots and the Pian’Austral prize (2000).

Morales

  • “Crónica «Patáx» (Teatro Cervantes, Málaga)” — Natalia Eseverri, El Arcón de Natalia, 2024-10-03

  • Excerpt: “With Dani Morales on drums… high‑quality music from the first moment… never stop surprising.”

Sources

https://www.jazzitalia.net/beatonto-jazz-festival-afrocuban-reunion-e-lisa-manosperti-chiudono-la-xxiv-edizione/
https://www.beatontojazz.com/index.php/il-jazz-festival/edizione-2024/artisti?id=171&task=view
https://iltaccodibacco.it/puglia/eventi/300242.html
https://www.cronachetarantine.it/2025/08/06/jonio-jazz-festival-si-chiude-con-il-trio-afrocuban-reunion/

https://ladbrokehall.com/live-programme/jazz/dany-noel-cuban-project-4/
https://efglondonjazzfestival.org.uk/events/dany-noel-trio-feat-ivo-neame-jorge-perez
https://www.allaboutjazz.com/en-casa-limon-david-broza-s-curve-records__32628

https://www.dottimerecords.com/news/2017/2/17/tropical-rain-meddy-gerville-trio
https://www.allaboutjazz.com/musicians/meddy-gerville

https://www.laringhiera.net/eventi/portanapoli-in-jazz-reloaded-levento-per-sostenere-la-fondazione-cittadella-della-carita/
https://madridenvivo.com/viernes-18-jazz-con-sabor-a-club22/
https://elarcondenatalia.es/cronica-patax-teatro-cervantes-malaga/
https://www.subbeticahoy.com/articulo/lucena/festival-jazz-principal-protagonista-programacion-cultural-mayo-lucena/20240508215349028910.html
https://www.allaboutjazz.com/canarias-jazz-y-mas-2025-jazz-festival-alba-festival-review
https://cadenaser.com/asturias/2025/04/21/jazz-en-el-centro-casi-tres-decadas-mostrando-un-genero-que-gana-adeptos-en-gijon-ser-gijon/

https://music.apple.com/gb/song/la-raz%C3%B3n/1858799462
https://music.apple.com/us/song/c%C3%A1ntale-a-la-vida/1831832681
https://music.apple.com/us/song/traigo-de-todo-feat-dany-noel/1825000509

https://danynoel.bandcamp.com/album/haciendo-camino
https://www.solarlatinclub.com/2020/10/dany-noel-haciendo-camino/

https://music.apple.com/it/artist/dany-noel/308604677
https://music.apple.com/us/album/intercambio/1620621654
https://music.apple.com/us/album/detalles/1739050670

https://music.apple.com/us/album/tropical-rain/1791218875
https://music.apple.com/us/album/l%C3%A8r-lariv%C3%A9-single/1783481921
https://music.apple.com/us/album/le-larm-dan-mon-zi%C3%A9-version-s%C3%A9ga-single/1713117826

https://www.latingrammy.com/awards/11th-annual-latin-grammy-awards-2010
https://www.latingrammy.com/artists/tony-succar/34354-01
https://en.wikipedia.org/wiki/Latin_Grammy_Award_for_Best_Traditional_Tropical_Album
https://en.wikipedia.org/wiki/Latin_Grammy_Award_for_Best_Salsa_Album

Allen Hinds Group | Groove Fusion (jazz‑blues‑rock) | USA

ALLEN HINDS GROUP | Groove Fusion (jazz‑blues‑rock) | USA

Allen Hinds Group

Groove Fusion (jazz‑blues‑rock) | USA

AVAILABILITY FOR EUROPE
2026 | June

Line‑up

Allen Hinds | Guitar

Natalie Cole, The Crusaders, Roberta Flack, Randy Crawford, James Ingram, Boney James

Matt Rohde | Keyboards

Prince, Christina Aguilera, Alanis Morissette, Jane’s Addiction, Maxwell, Kelly Clarkson

Travis Carlton | Bass

Robben Ford, Scott Henderson, Sara Bareilles, Michael Landau, Tak Matsumoto, Larry Carlton

Donald Barrett | Drums

Toni Braxton, George Benson, Sade, Seal, Pink, Colbie Caillat

Style

Blues‑inflected fusion guitar lines that sing first—then open into modern jazz vocabulary.

Keys paint the harmony (Rhodes/organ color, cinematic pads) while bass and drums lock a deep pocket.

Tight hits, elastic time, and room for risk: a groove band built for interplay and lift‑off.

Project profile

Allen Hinds Group sits right at the intersection where jazz harmony, blues articulation, and rock attitude share the same downbeat. The guitar speaks in long, vocal arcs—phrasing that’s as lyrical as it is punchy—while the rhythm section keeps the music grounded in an unshakeable, forward‑leaning groove. Matt Rohde’s keyboard palette expands the band’s harmonic spectrum: warm comping, organ grit, and modern textures that can turn a turnaround into a landscape. Travis Carlton anchors the low end with a pocket‑first sensibility—supportive, melodic, and always in dialogue with the kick—while Donald Barrett’s drumming is tuned for motion: dynamic control, clear subdivisions, and a song‑serving instinct that makes the ensemble feel both tight and open. The result is a Groove Fusion set that moves like a band and improvises like a conversation.

Member details

Allen Hinds | Guitar

Timbre/Articulation: vocal sustain with clean‑to‑edge transitions; blues articulation inside fusion lines.
Technique/Idiomatic: melodic development over chops; dynamic control, phrase‑ending punctuation.
Harmony/Rhythm: jazz‑aware changes, funk accents, rock‑leaning backbeat swagger; leads the form while leaving space for counter‑voices.
(“The guitarist exhibits the epitome of taste via these magnetic arrangements and memorably melodic song‑forms.” — Glenn Astarita, All About Jazz, 2016-10-10)

Matt Rohde | Keyboards

Timbre/Articulation: Rhodes warmth, organ bite, modern pads; touch designed for support and lift.
Technique/Idiomatic: arranger’s comping—voice‑leading clarity, rhythmic restraint, and strategic fills.
Harmony/Rhythm: pop/rock MD experience translated into fusion contexts; locks with bass to widen the groove’s harmonic “floor.”
(“Matt Rohde is a Los Angeles-based keyboardist, Musical Director, Arranger and Composer.” — Beth Rohde, Coast Music, 2025-09-28)

Travis Carlton | Bass

Timbre/Articulation: round low‑end with articulate note starts; melodic motion without crowding the guitar register.
Technique/Idiomatic: pocket‑first lines; syncopation and ghost‑note feel where the groove needs air.
Harmony/Rhythm: bridges blues language and fusion precision; supports solos by shaping the time and the harmony together.
(“Fueled by a top-notch group of musicians, including Travis Carlton … on bass…” — Mike Elliott, Rock and Blues Muse, 2019-01-07)

Donald Barrett | Drums

Timbre/Articulation: clean subdivisions, strong backbeat control, and dynamic shading across sections.
Technique/Idiomatic: session‑honed consistency; grooves that stay elastic while keeping the form readable.
Interplay/Roles: prioritizes song and feel; creates “runway” for guitar/keys while tightening ensemble hits.
(“An incredibly motivated and positive drummer, he’s since become a first call player for touring and session work…” — Craig Garber, Everyone Loves Guitar, 2021-08-13)

Quotes

Allen Hinds

The guitarist exhibits the epitome of taste via these magnetic arrangements and memorably melodic song-forms.” (Glenn Astarita, All About Jazz, 2016-10-10) — https://www.allaboutjazz.com/fly-south-allen-hinds-self-produced-review-by-glenn-astarita

Hinds approaches his craft as a truly seasoned vet, with a penchant for the blues, rock, country, jazz and forays into funk.” (Glenn Astarita, All About Jazz, 2016-10-10) — https://www.allaboutjazz.com/fly-south-allen-hinds-self-produced-review-by-glenn-astarita

It’s like sitting on the front porch of a log cabin, listening to a wise sage, and soaking up every last note.” (Glenn Astarita, All About Jazz, 2016-10-10) — https://www.allaboutjazz.com/fly-south-allen-hinds-self-produced-review-by-glenn-astarita

Matt Rohde

“On the funk and R&B tinged ‘Buckley,’ he trades radiant fours with Matt Rohde’s sweeping Hammond B-3 runs…”
Glenn Astarita, All About Jazz — 2016-10-10
https://www.allaboutjazz.com/fly-south-allen-hinds-self-produced-review-by-glenn-astarita

“Matt Rohde is no Lyle Mays… as his lustrous keyboards compliment Hughes nicely.”
Jeff Winbush, All About Jazz — 2011-09-23
https://www.allaboutjazz.com/fast-train-to-a-quiet-place-brian-hughes-sylvan-house-music-review-by-jeff-winbush

Travis Carlton

Fueled by a top-notch group of musicians, including Travis Carlton … on bass…” (Mike Elliott, Rock and Blues Muse, 2019-01-07) — https://www.rockandbluesmuse.com/2019/01/07/review-keep-on-turning-by-seth-rosenbloom/

…the ebb and flow of the Carlton and Novak rhythm section propel the slow blues ahead while simultaneously anchoring the groove.” (Mike Elliott, Rock and Blues Muse, 2019-01-07) — https://www.rockandbluesmuse.com/2019/01/07/review-keep-on-turning-by-seth-rosenbloom/

Another was its predecessor… Vibe Station from 2015, with bassist Travis Carlton and drummer Alan Hertz.” (Bill Meredith, JazzTimes, 2024-10-08) — https://jazztimes.com/reviews/albums/scott-henderson-people-mover-scott-henderson/

Donald Barrett

An incredibly motivated and positive drummer, he’s since become a first call player for touring and session work…” (Craig Garber, Everyone Loves Guitar, 2021-08-13) — https://www.everyonelovesguitar.com/2021/08/13/donald-barrett-interview/

On this Donald Barrett interview, ‘Big Ears’ and being aware of others…” (Craig Garber, Everyone Loves Guitar, 2021-08-13) — https://www.everyonelovesguitar.com/2021/08/13/donald-barrett-interview/

…serve the song and the groove.” (Jason Mehler & David Frangioni, Modern Drummer, 2025-08-01) — https://www.moderndrummer.com/article/bringing-the-groove-home-to-nashville/

Reviews

– Fly South — Allen Hinds (review) | All About Jazz | Glenn Astarita | 2016-10-10 | https://www.allaboutjazz.com/fly-south-allen-hinds-self-produced-review-by-glenn-astarita

– Matt Rohde (faculty profile) | Coast Music | Beth Rohde | 2025-09-28 | https://coastmusicrocks.com/matt-rohde/

– Drummer Pat Petrillo to Release “Contemporaneous”… (line-up mention) | The Urban Music Scene | Administration | 2025-07-07 | https://news.theurbanmusicscene.com/2025/07/pat-petrillo-to-release-new-project-contemporaneous/

– Recap: ‘Celebrating David Bowie’… (credit list includes Matt Rohde) | Rock Cellar Magazine | Author not listed | 2024-03-21 | https://rockcellarmagazine.com/celebrating-david-bowie-angelo-bundini-adrian-belew-concert-review-apogee-studio/

– Review: Keep On Turning — Seth Rosenbloom (mentions Travis Carlton) | Rock and Blues Muse | Mike Elliott | 2019-01-07 | https://www.rockandbluesmuse.com/2019/01/07/review-keep-on-turning-by-seth-rosenbloom/

– Scott Henderson: People Mover (review; mentions Travis Carlton) | JazzTimes | Bill Meredith | 2024-10-08 | https://jazztimes.com/reviews/albums/scott-henderson-people-mover-scott-henderson/

– Donald Barrett Interview… | Everyone Loves Guitar | Craig Garber | 2021-08-13 | https://www.everyonelovesguitar.com/2021/08/13/donald-barrett-interview/

– Bringing the Groove Home to Nashville | Modern Drummer | Jason Mehler & David Frangioni | 2025-08-01 | https://www.moderndrummer.com/article/bringing-the-groove-home-to-nashville/

 

Jon Cowherd Trio ft. Tony Scherr & Brian Blade | Contemporary Jazz / Post-bop(USA)

JON COWHERD Trio ft. TONY SCHERR & BRIAN BLADE | Contemporary Jazz / Post-bop(USA)

Jon Cowherd Trio

ft. Tony Scherr & Brian Blade

Contemporary Jazz / Post-bop (USA)

AVAILABILITY FOR EUROPE
2026 | March 1st to 11th
JonCowherdTrioftTonyScherrBrianBlade ContemporaryJazz JON COWHERD Trio ft. TONY SCHERR & BRIAN BLADE | Contemporary Jazz / Post-bop(USA)
JonCowherdTrioftTonyScherrBrianBlade ContemporaryJazz JON COWHERD Trio ft. TONY SCHERR & BRIAN BLADE | Contemporary Jazz / Post-bop(USA)
JonCowherdTrioftTonyScherrBrianBlade-ContemporaryJazz
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Line‑up

Jon Cowherd | Piano
Brian Blade, Joni Mitchell, Norah Jones, Cassandra Wilson, Iggy Pop, Rosanne Cash, Lizz Wright, Bill Frisell, John Patitucci, Chris Potter, Kurt Rosenwinkel, James Taylor

Tony Scherr | Bass
Norah Jones, Bill Frisell, John Scofield, Willie Nelson, Feist, Rufus Wainwright, Ani DiFranco, Rickie Lee Jones, John Lurie’s Lounge Lizards, Sex Mob

Brian Blade | Drums
Wayne Shorter, Joni Mitchell, Herbie Hancock, Chick Corea, Joshua Redman, Brad Mehldau, Christian McBride, Norah Jones, Bob Dylan, Daniel Lanois, Kenny Garrett

Style

Cowherd shapes the center with a singing touch and narrative phrasing; voicings fold gospel light into modern extensions and chamber‑like clarity, letting space itself carry melody. Scherr grounds and replies: a warm, woody, song‑centric bass sound, supple time and melodic counter‑lines that hint at Americana while remaining firmly, flexibly jazz. Blade orchestrates motion—tuned cymbal color, brush arabesques and dancing backbeats—making pulse elastic, form alive, and silence part of the groove.

Overall profile

Co‑founder and chief compositional voice of the Brian Blade Fellowship, pianist Jon Cowherd leads a trio that balances deep song sense with contemporary jazz agility. The sound pivots on Cowherd’s cantabile phrasing and modal/tonal palettes, Scherr’s warm, centered tone and melodic counter‑lines, and Blade’s dynamic shading—brushes to explosive figures—without ever breaking the flow. Harmonic vocabulary moves from gospel‑tinged cadences to modern post‑bop extensions; rhythm traces pliable swing, backbeat‑leaning grooves and quietly propulsive ostinati. Roles are fluid: the bass often carries second melody, the drums orchestrate form, the piano frames space as much as it fills it. References surface (Ellis Marsalis school clarity; Fellowship’s pastoral lyricism; Americana hues), yet the trio’s identity is concise and song‑true. Weighted by the leader’s authorship (0.5) and completed by Scherr and Blade (0.25 each), the project’s “DNA” privileges timbre, interplay and narrative arc over display—music that breathes, sings and speaks plainly. (Updated: Oct 3, 2025)

Member details

Jon Cowherd — piano. Co‑founded the Brian Blade Fellowship; studies at Loyola with Ellis Marsalis shaped a lyrical, composer‑forward approach. As a leader, Mercy (2013/2014) and Pride & Joy (2022) define his voice: cantabile lines, modal light, and chamber‑aware form. Longtime partner to Blade and Patitucci, with work spanning Joni Mitchell to Rosanne Cash. (“With music this well‑conceived … ‘Mercy’ was well worth the wait.” — John Kelman, All About Jazz, 2014‑07‑11)

Tony Scherr — bass. A rare double threat (bassist/guitarist), Scherr brings songcraft and pocket from projects with Bill Frisell, Norah Jones, Sex Mob and The Lounge Lizards. Leader albums (Come Around, 2002; Twist in the Wind, 2008) and Frisell’s Guitar in the Space Age! highlight his warm sound and elastic time. (“Propelled by Scherr’s fast‑walking bass.” — John Fordham, The Guardian, 2017‑07‑18)

Brian Blade — drums. A cornerstone of Wayne Shorter’s final quartet and architect of the Fellowship aesthetic. Colorist and time‑sculptor with an orchestral ear; equally at home in trio dialogue or widescreen lyricism. Credits span Shorter, Hancock, Corea, Charles Lloyd. (“The American powerhouse Brian Blade … irradiates the session with his joy at making music.” — Michael J. West, DownBeat, 2024‑05)

Discography highlights

• Jon Cowherd — Mercy (ArtistShare/Blue Note, 2013/2014); Pride & Joy (Le Coq, 2022); Gateway (Newvelle, 2017).
• Tony Scherr — Come Around (Smells Like Records, 2002); Twist in the Wind (2008); with Bill Frisell: Guitar in the Space Age! (2014).
• Brian Blade — with Wayne Shorter: Without a Net (Blue Note, 2013), Emanon (Blue Note, 2018); with Fellowship: Landmarks (Blue Note, 2014).

Quotes

Jon Cowherd

“With music this well‑conceived … it’s been well worth the wait.” — John Kelman, All About Jazz, 2014‑07‑11 — https://www.allaboutjazz.com/jon-cowherd-mercy-by-john-kelman

“I like to arrange standards for singers but if I’m going to create a statement as a player then I want to write my own music.” — Ian Patterson, All About Jazz (interview), 2013‑11‑25 — https://www.allaboutjazz.com/jon-cowherd-mercy-mercy-me-jon-cowherd-by-ian-patterson

“…attacking eight tracks that show their powerful chemistry and technical wizardry.” — Filipe Freitas, JazzTrail, 2022‑08‑23 — https://jazztrail.net/blog/jon-cowherd-trio-pride-and-joy-album-review

Tony Scherr

“…propelled by Scherr’s fast‑walking bass.” — John Fordham, The Guardian, 2017‑07‑18 — https://www.theguardian.com/music/2017/jul/18/bill-frisell-trio-review-jazz-cafe-london

“…with drummer Kenny Wollesen and bassist Tony Scherr locking on the backbeat, it’s sublime.” — David A. Graham, The Atlantic, 2014‑10‑07 — https://www.theatlantic.com/entertainment/archive/2014/10/bill-frisell-guitar-in-the-space-age-review-the-jazz-guitarist-has-stopped-exploring/381111/

Brian Blade

“…the American powerhouse Brian Blade … irradiates the session with his joy at making music.” — Michael J. West, DownBeat, 2024‑05‑29 — https://downbeat.com/reviews/detail/time-again

“…forms the elastic backbone for each track with an incomparable mix of grace and drive.” — Chris Barton, Los Angeles Times, 2013‑02‑07 — https://www.latimes.com/entertainment/music/la-xpm-2013-feb-07-la-et-ms-jazz-album-review-wayne-shorter-without-a-net-20130205-story.html


Reviews

• Jon Cowherd — Mercy — All About Jazz — John Kelman — 2014‑07‑11 — https://www.allaboutjazz.com/jon-cowherd-mercy-by-john-kelman

• Jon Cowherd — Interview “Mercy, Mercy Me” — All About Jazz — Ian Patterson — 2013‑11‑25 — https://www.allaboutjazz.com/jon-cowherd-mercy-mercy-me-jon-cowherd-by-ian-patterson

• Jon Cowherd Trio — Pride & Joy — JazzTrail — Filipe Freitas — 2022‑08‑23 — https://jazztrail.net/blog/jon-cowherd-trio-pride-and-joy-album-review

• Jon Cowherd — “Art of the Story: The pride and joy of Jon Cowherd” — WBGO — Leo Sidran — 2023‑02‑03 — https://www.wbgo.org/music/2023-02-03/art-of-the-story-the-pride-and-joy-of-jon-cowherd

• Jon Cowherd Trio — Pride & Joy — Financial Times — 2022‑08‑22 — https://www.ft.com/content/dddc8aab-67c2-4830-99b2-bcd77f76df7c

• Bill Frisell Trio (w/ Tony Scherr) — Live review — The Guardian — John Fordham — 2017‑07‑18 — https://www.theguardian.com/music/2017/jul/18/bill-frisell-trio-review-jazz-cafe-london

• Bill Frisell — Guitar in the Space Age! — The Atlantic — David A. Graham — 2014‑10‑07 — https://www.theatlantic.com/entertainment/archive/2014/10/bill-frisell-guitar-in-the-space-age-review-the-jazz-guitarist-has-stopped-exploring/381111/

• Wayne Shorter Quartet — Without a Net — Los Angeles Times — Chris Barton — 2013‑02‑07 — https://www.latimes.com/entertainment/music/la-xpm-2013-feb-07-la-et-ms-jazz-album-review-wayne-shorter-without-a-net-20130205-story.html

• Wayne Shorter — Without a Net — The Guardian — John Fordham — 2013‑01‑31 — https://www.theguardian.com/music/2013/jan/31/wayne-shorter-without-net-review

• Wayne Shorter — Emanon — Pitchfork — Matthew Kassel — 2018‑09‑20 — https://pitchfork.com/reviews/albums/wayne-shorter-emanon

• Portrait of Jon Cowherd — SFJAZZ — Rusty Aceves — 2024‑10‑29 — https://www.sfjazz.org/onthecorner/articles/portrait-of-jon-cowherd/

Lage Lund 4tet ft. Danny Grisset, Orlando Le Fleming & Jeff Ballard | Modern Jazz / Post-bop (NO)

LAGE LUND 4tet ft. Danny Grisset, Orlando Le Fleming & Jeff Ballard | Modern Jazz / Post-bop (NO)

Lage Lund 4tet

ft. Danny Grisset, Orlando Le Fleming & Jeff Ballard
Modern Jazz / Post-bop (NO)

AVAILABILITY FOR EUROPE

2026 | Upon request (except March and May)

LageLund4tetEUlineup LAGE LUND 4tet ft. Danny Grisset, Orlando Le Fleming & Jeff Ballard | Modern Jazz / Post-bop (NO)
LageLund4tetEUlineup LAGE LUND 4tet ft. Danny Grisset, Orlando Le Fleming & Jeff Ballard | Modern Jazz / Post-bop (NO)
LageLund4tetEUlineup
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Line‑up

Lage Lund | Guitar
Wynton Marsalis, Ron Carter, Maria Schneider, David Sánchez, Mulgrew Miller, Seamus Blake, Bill Stewart, Eric Harland, Aaron Parks

Danny Grissett | Piano
Tom Harrell, Nicholas Payton, Benny Golson, Jackie McLean, Louis Hayes, Lenny White, Buster Williams, Russell Malone, Vincent Herring, Jeremy Pelt

Orlando Le Fleming | Bass
Branford Marsalis, Kurt Rosenwinkel, Antonio Sánchez, Ari Hoenig, Wayne Krantz, Jeff “Tain” Watts, Billy Cobham, Jimmy Cobb, Jane Monheit, Mark Turner

Jeff Ballard | Drums
Brad Mehldau, Pat Metheny, Chick Corea, Joshua Redman, Kurt Rosenwinkel, Ray Charles, Mark Turner, Larry Grenadier, Avishai Cohen, Danilo Pérez

Style

Lage Lund’s lucid tone and modern harmonic lens lead a quartet that favors lyrical clarity over rhetoric, while never shying from risk.
Grissett’s pianism streamlines advanced harmony into flowing narrative; Le Fleming sculpts supple, melodic bass lines with an elastic, contemporary pocket.
Ballard’s polyrhythmic imagination keeps the music airborne—grooves breathe, forms flex, and interplay remains the core engine.

Overall profile

The Lage Lund 4tet distills today’s post‑bop language into agile forms where melody, harmony and rhythm are negotiated in real time. Lund’s guitar—clean‑etched, occasionally shaded by subtle effects—threads singable motifs through harmonically saturated spaces. Pianist Danny Grissett balances chromatic voice‑leading with songful pacing, shaping progressions that invite contrapuntal dialogue. Orlando Le Fleming anchors with a springy, melodic time feel that can pivot from straight‑eighth textures to sinewy swing without breaking the line. On drums, Jeff Ballard ignites flexible grooves and conversational polyrhythms, teasing momentum rather than enforcing it.
The quartet’s signature lies in cantilena melodies over shifting harmonic planes, danceable pulse with micro‑metric elasticity, and a chamber‑like ear for space. Influences surface—Rosenwinkel/Metheny guitar lyricism, the interactive verve of contemporary NYC rhythm sections—yet the group’s voice is unmistakably its own: modern, lyrical, and designed for rooms where nuance matters as much as fire.

Member details

Lage Lund — Guitar. Lucid timbre, clean articulation and an ear for long‑line melody. Uses contemporary harmonic palettes—upper‑structure triads, modal shifts, oblique voice‑leading—without losing song form. Interplay‑driven phrasing; effects used as color, not crutch.
“Lund is a highly original guitarist… his subtle, distinctive voicings shimmer.” (Francois van de Linde, Jazz Journal, 2019‑07‑19)

Danny Grissett — Piano. Idiomatic post‑bop refined by European clarity; chordal economy and linear storytelling. Harmonic vocabulary is colorful yet unsaturated; rhythmic design evolves organically within forms.
“Melodies are well‑shaped, harmonies are colorful but never overcrowded… tunes play like miniature suites.” (Nolan DeBuke, The Jazz Word, 2025‑06‑11)

Orlando Le Fleming — Bass. Focused core sound, melodic counter‑lines and tensile groove. Alternates oak‑solid walking with lithe straight‑eighth ostinatos; fluent in odd‑meter subdivisions and funk inflections.
“Intelligent rhythmic grooves with imaginative, multi‑faceted compositions and arrangements.” (Ian Mann, The Jazz Mann, 2024‑12‑31)

Jeff Ballard — Drums. Orchestrates momentum with layered textures, brushcraft and dancing polyrhythms. Shapes forms dynamically—pushing, suspending, then releasing—while keeping the pocket elastic and breathable.
“A charged trio leader and ‘Album of the Year’ contender—Ballard’s rhythmic core makes the music compelling.” (Dan Bilawsky, All About Jazz, 2014‑02‑05)

Discography highlights

Lage LundMost Peculiar (Criss Cross, 2023); Terrible Animals (Criss Cross, 2019); Idlewild (Criss Cross, 2015).
Danny GrissettTravelogue (Savant, 2025); Remembrance (Savant, 2017); Form (Criss Cross, 2009).
Orlando Le FlemingRomantic Funk: Wandering Talk (Whirlwind, 2024); Romantic Funk: The Unfamiliar (Whirlwind, 2020); Romantic Funk (OLF, 2017).
Jeff BallardTime’s Tales (Okeh, 2014); co‑leader Fly (ECM, various) and extensive sideman work with Brad Mehldau, Mark Turner.


Band DNA

Timbre/Articulation: guitar clarity with soft‑saturation hues; piano legato with crisp attacks; rounded, centered bass; cymbal‑led drum spectrum.
Technique/Idiomatic: contemporary jazz syntax; elastic time; subtle effects orchestration.
Harmonic Vocabulary: modal interchange, chromatic voice‑leading, extended tertian stacks; melody‑first resolution.
Rhythm/Groove: swing ↔ straight‑eighth continuum; polyrhythms (3‑over‑2, 5‑over‑4) inside a steady macro‑pulse.
Interplay/Roles: melody in the middle register (guitar/piano), bass as co‑melodist; drums shape form via density and register.
Influences/Schools: NYC post‑bop, chamber‑jazz interplay, Rosenwinkel/Metheny lineage, contemporary rhythm‑section craft.

Members Quotes

Lage Lund

  1. “This subtly inventive record is finely balanced between the driving force of Sorey and Brewer’s rhythm and the sensitivity of Lund’s guitar.” — James Read, UK Vibe, 2023‑10‑10.
    https://ukvibe.org/album_reviews/lage-lund-4/

  2. “A trio to behold… Hidden depths reveal themselves.” — Mike Gates, UK Vibe, 2023‑10‑07.
    https://ukvibe.org/album_reviews/lage-lund-3/

  3. “The provocative music is marked by a variety of musical and emotional contrasts.” — Philip Booth, JazzTimes, 2019‑05‑26 (updated 2024‑09‑03).
    https://jazztimes.com/reviews/albums/lage-lund-terrible-animals/

  4. “As a player of depth and melodic flair, he is already up there with the best.” — Cormac Larkin, The Irish Times, 2015‑04‑16.
    https://www.irishtimes.com/culture/music/lage-lund-idlewild-album-review-1.2178193

  5. “The track is slow and spacious, giving Lund plenty of opportunity to explore melody.” — Andrew Luhn, All About Jazz, 2015‑03‑14.
    https://www.allaboutjazz.com/idlewild-lage-lund-criss-cross-review-by-andrew-luhn

Mark Turner

  1. “The American saxophonist’s ace quartet rise to the challenge of his demanding compositions with real flair.” — Dave Gelly, The Guardian, 2022‑04‑09.
    https://www.theguardian.com/music/2022/apr/09/mark-turner-return-from-the-stars-review-jason-palmer-joe-martin-jonathan-pinson

  2. “After eight years, Return from the Stars is—most resoundingly—a worthy successor to Lathe of Heaven.” — Graham Spry, UK Jazz News, 2022‑03‑21.
    https://ukjazznews.com/mark-turner-return-from-the-stars/

  3. “All eight tracks were written by Turner… the absence of a piano places the focus on his tenor and Palmer’s trumpet.” — Brian Payne, Jazz Journal, 2022‑05‑29.
    https://jazzjournal.co.uk/2022/05/29/mark-turner-return-from-the-stars/

  4. “He demonstrates versatility and depth as a writer.” — Christian Carey, Sequenza21, 2022‑05‑22.
    https://www.sequenza21.com/2022/05/mark-turner-return-from-the-stars-cd-review/

  5. “An exploratory, evocative journey… with spatial quality that puts the focus on interplay.” — Jim Hynes, Glide Magazine, 2022‑03‑24.
    https://glidemagazine.com/272368/saxophonist-mark-turner-leads-an-exploratory-evocative-journey-on-return-from-the-stars-album-review/

Matt Brewer

  1. “Widely respected for the technical wizardry and wide musical scope he has brought…” — Ted Panken, DownBeat, 2020‑08‑04.
    https://downbeat.com/news/detail/blindfold-test-matt-brewer

  2. “With Unspoken, Brewer re‑affirms his status as a noteworthy bandleader and composer.” — Andrew Luhn, All About Jazz, 2016‑10‑09.
    https://www.allaboutjazz.com/unspoken-matt-brewer-criss-cross-review-by-andrew-luhn

  3. “First‑call bassist Matt Brewer has a new outing… Ganymede.” — Filipe Freitas, JazzTrail, 2019‑04‑25.
    https://jazztrail.net/blog/matt-brewer-ganymede-album-review

  4. “Players stay in their roles, but when they emerge from the ensemble, they burn.” — Thomas Conrad, JazzTimes, 2015‑03‑06.
    https://jazztimes.com/reviews/albums/matt-brewer-mythology/

Kendrick Scott

  1. “It is still a delight when an album like Corridors comes along.” — Will Layman, PopMatters, 2023‑04‑04.
    https://www.popmatters.com/best-new-jazz-february-march-2023/3

  2. “The formidable Corridors… carries on that spirit of interplay and common alliance.” — Mike Jurkovic, All About Jazz, 2023‑03‑10.
    https://www.allaboutjazz.com/corridors-blue-note-records

  3. “Highly recommended… a nine‑part suite born during lockdown.” — Chris May, All About Jazz, 2023‑04‑08.
    https://www.allaboutjazz.com/corridors-kendrick-scott-blue-note-records

  4. “Music is for a message.” — Kendrick Scott (interview), WBGO, 2023‑03‑08.
    https://www.wbgo.org/music/2023-03-08/music-is-for-a-message-kendrick-scotts-lifelong-quest-to-be-of-service-to-others-and-himself

  5. “A rubato set that majors on mood… with swing, bop and funk surfacing.” — Derek Ansell, Jazz Journal, 2023‑03‑27.
    https://jazzjournal.co.uk/2023/03/27/kendrick-scott-corridors/

  6. “Blue Note Spotlight: Kendrick Scott.” — Blue Note, 2023‑03‑03.
    https://www.bluenote.com/spotlight/kendrick-scott/

  7. “Blue Note Announces New Albums…” — uDiscoverMusic, 2023‑01‑21.
    https://www.udiscovermusic.com/news/blue-note-2023-albums-ethan-iverson-go-go-penguin/

Reviews & Articles

Lage Lund

Mark Turner

Matt Brewer

Kendrick Scott

Ari Hoenig Trio | Contemporary Jazz, Neo-bop, Post-bop (USA)

ARI HOENIG TRIO | Contemporary Jazz, Neo-bop, Post-bop (USA)

Ari Hoenig Trio

Contemporary Jazz, Neo-bop, Post-bop (USA)

AVAILABILITY FOR EUROPE
2026 | April, July, October/November
AriHoenigTrio ARI HOENIG TRIO | Contemporary Jazz, Neo-bop, Post-bop (USA)
AriHoenigTrio ARI HOENIG TRIO | Contemporary Jazz, Neo-bop, Post-bop (USA)
AriHoenigTrio
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Line-up

Ari Hoenig | Drums
Jean‑Michel Pilc, Kenny Werner, Pat Martino, Joshua Redman, Wayne Krantz, Richard Bona, Chris Potter, Shirley Scott

Gadi Lehavi | Piano
Ravi Coltrane, Chick Corea, Bobby McFerrin, Ron Carter, Kurt Rosenwinkel, Eddie Gomez

Ben Tiberio | Double Bass
Joel Ross, María Grand, Veronica Swift, Immanuel Wilkins, Shai Maestro, Ben Wendel, Aaron Goldberg

Style

A drummer‑led trio where melody and rhythm are inseparable: Hoenig’s metric imagination sings from the kit.
Lehavi supplies a luminous, Jarrett‑to‑Corea‑tinged lyricism that floats yet speaks with intent.
Tiberio anchors with supple time, modern counter‑lines and a sonorous, singing tone.

Overall profile

Philadelphia‑born drummer/composer Ari Hoenig has long redefined the drum set as a melodic instrument; in this trio he crystallizes that vision with Gadi Lehavi (piano) and Ben Tiberio (double bass). Across Golden Treasures (2022) and Tea for Three (2024) the group frames standards and originals with elastic time, conversational counterpoint and a keen sense of narrative. The language is contemporary jazz—post‑/neo‑bop vocabulary, modal hues and polyrhythmic design—yet the touch remains song‑driven. Hoenig’s lines arc and resolve; Lehavi shades harmony with airy voicings and singing right‑hand rhetoric; Tiberio balances clarity and weight, often guiding form with melodic bass motion. The group’s “band DNA” emphasizes Rhythm/Groove (metric modulation; odd‑meter fluency), Interplay/Roles (leader as melodic voice; chamber‑like listening) and Harmonic Vocabulary (post‑bop with modal‑chromatic color). The result is a trio sound that moves from tight inner clock to widescreen lyricism, built for audiences that prize both sophistication and heart.

Member details

Ari Hoenig — Drums
Melodic drumming, polyrhythms and metric modulations are central to Hoenig’s compositional voice. With this working trio he refines a chamber‑like, dialogue‑first approach documented on Golden Treasures (2022) and Tea for Three (2024). Expect shifting forms, clear song shapes and drum melodies that sing. (“A convergence of three exceptional musical personalities whose creativity, connection and dialogic interplay deserve repeated opportunities.” — Artur Moral, All About Jazz, 2025‑05‑20)

Gadi Lehavi — Piano
Tel‑Aviv–born, New York–based pianist whose lyricism and touch align with the Jarrett/Corea lineage while remaining personal. A close associate of Ravi Coltrane and selected by Chick Corea for JALC’s “Musicians of the Future,” Lehavi brings floating time, luminous voicings and agile, singing lines. (“The lightest‑touch piano trio one can imagine… a case of the caress rather than the assault.” — Sebastian Scotney, LondonJazzNews, 2016‑05‑15)

Ben Tiberio — Double Bass
A modern, song‑aware bassist heard with Joel Ross, Veronica Swift and Immanuel Wilkins, and as a leader on Rare Peace (2021). His sound couples round acoustic presence with articulate counter‑melody; time feels both grounded and elastic. (“The bassist and composer Ben Tiberio delivers an exceptional debut here.” — Take Effect Reviews, 2022‑04‑01)

Discography

  • Golden Treasures — Ari Hoenig Trio (Fresh Sound New Talent, 2022)

  • Tea for Three — Ari Hoenig Trio (Fresh Sound New Talent, 2024)

Quotes

Ari Hoenig

“A convergence of three exceptional musical personalities whose creativity, connection and dialogic interplay deserve repeated opportunities.”  Artur Moral, All About Jazz, 2025‑05‑20 — https://www.allaboutjazz.com/tea-for-three-ari-hoenig-fresh-sound-new-talent

“A big‑band celebration… as thrilling and cool as taking a deep dive in someone else’s pool… focusing a well‑deserved spotlight on Hoenig’s voice.” Ed Enright, DownBeat (Editors’ Picks), 2022‑05‑01 — https://downbeat.com/reviews/editorspicks/2022-05

“The trio… a fluid, unified vibe… all elements leaping together into the fray… while still swinging.” Dusty Groove (album blurb), 2024‑12‑13 https://www.dustygroove.com/item/221596/Ari-Hoenig%3ATea-For-Three

Gadi Lehavi

“The lightest‑touch piano trio one can imagine… the caress rather than the assault.”  Sebastian Scotney, LondonJazzNews, 2016‑05‑15 — https://londonjazznews.com/2016/05/15/round-up-review-second-day-of-inntoene-2016-austria-al-foster-quartet-gadi-lehavi-trio-marcio-faraco-ruthie-foster-bruno-heinen-and-kristian-borring-etc/

“A major rising force on piano… known for revelatory work with Ravi Coltrane.”  Rusty Aceves, SFJAZZ — On The Corner, 2024‑07‑18 — https://www.sfjazz.org/onthecorner/articles/five-things-you-should-know-about-gadi-lehavi/

“Israeli‑born prodigy… invited at thirteen to play with Coltrane at the Village Vanguard and Birdland.” All About Jazz (SFJAZZ review), 2022‑05‑10 — https://www.allaboutjazz.com/ravi-coltrane-at-sfjazz-center-ravi-coltrane

Ben Tiberio

“The bassist and composer Ben Tiberio delivers an exceptional debut here… a diverse and well thought‑out listen.”  Take Effect Reviews, 2022‑04‑01 — https://takeeffectreviews.com/april-2022/2022/4/1/ben-tiberio

“Tiberio plays mostly upright bass… I really love that sound.” Sea of Tranquility, 2021‑12‑27 — https://www.seaoftranquility.org/reviews.php?id=23414&op=showcontent

Personnel on Joel Ross’ KingMaker: Immanuel Wilkins (alto sax), Jeremy Corren (piano), Benjamin Tiberio (bass), Jeremy Dutton (drums)… DownBeat (review credits), 2019‑05‑03 — https://downbeat.com/reviews/detail/kingmaker


Reviews

Ari Hoenig: Tea For Three — Album Review / All About Jazz / Artur Moral / 2025‑05‑20 / https://www.allaboutjazz.com/tea-for-three-ari-hoenig-fresh-sound-new-talent

Editors’ Picks May 2022: Ben Markley Big Band with Ari Hoenig — Ari’s Funhouse / DownBeat / Ed Enright / 2022‑05‑01 / https://downbeat.com/reviews/editorspicks/2022-05

Pared‑back jazz drumming from Ari Hoenig and his fine trio / Marlbank / — / 2024‑12‑20 / https://marlbank.net/2024/12/20/pared-back-jazz-drumming-from-ari-hoenig-and-his-fine-trio/

Tea for Three — Album page / Fresh Sound New Talent (Blue Sounds) / — / 2024‑12‑13 / https://www.freshsoundrecords.com/ari-hoenig-albums/57444-tea-for-three-digipack.html

Golden Treasures — Album page / All About Jazz / — / 2022‑01‑06 / https://www.allaboutjazz.com/album/golden-treasures-ari-hoenig

Ari Hoenig: Golden Treasures / Jazz Journal / François van de Linde / 2022‑08‑30 / https://jazzjournal.co.uk/2022/08/30/ari-hoenig-golden-treasures/

ROUND‑UP REVIEW: Inntöne 2016 — Gadi Lehavi Trio / LondonJazzNews / Sebastian Scotney / 2016‑05‑15 / https://londonjazznews.com/2016/05/15/round-up-review-second-day-of-inntoene-2016-austria-al-foster-quartet-gadi-lehavi-trio-marcio-faraco-ruthie-foster-bruno-heinen-and-kristian-borring-etc/

Five Things You Should Know About Gadi Lehavi / SFJAZZ (On The Corner) / Rusty Aceves / 2024‑07‑18 / https://www.sfjazz.org/onthecorner/articles/five-things-you-should-know-about-gadi-lehavi/

Ravi Coltrane at SFJAZZ Center / All About Jazz / — / 2022‑05‑10 / https://www.allaboutjazz.com/ravi-coltrane-at-sfjazz-center-ravi-coltrane

Ben Tiberio — Rare Peace (review) / Take Effect Reviews / — / 2022‑04‑01 / https://takeeffectreviews.com/april-2022/2022/4/1/ben-tiberio

Tiberio, Ben: Rare Peace / Sea of Tranquility / — / 2021‑12‑27 / https://www.seaoftranquility.org/reviews.php?id=23414&op=showcontent

Vibraphonist Joel Ross to release debut KingMaker / Blue Note (press) / — / 2019‑03‑29 / https://www.bluenote.com/vibraphonist-joel-ross-to-release-debut-album-kingmaker-out-may-3/

Complete Discography — Ari Hoenig / Official site / — / 2025‑10‑03 (accessed) / https://www.arihoenig.com/complete-discography

Lage Lund 4tet ft. Mark Turner, Matt Brewer & Kendrick Scott | Modern Jazz / Post-bop (NO)

LAGE LUND 4tet ft. Mark Turner, Matt Brewer & Kendrick Scott | Modern Jazz / Post-bop (NO)

Lage Lund 4tet

ft. Mark Turner, Matt Brewer & Kendrick Scott
Modern Jazz / Post-bop (NO)

AVAILABILITY FOR EUROPE

2026 | MARCH and MAY

Line‑up

Lage Lund | Guitar
Wynton Marsalis, Ron Carter, Maria Schneider, David Sánchez, Mulgrew Miller, Seamus Blake, Bill Stewart, Eric Harland, Aaron Parks

Mark Turner | Saxophone
Kurt Rosenwinkel, Brad Mehldau, Billy Hart, Tom Harrell, Enrico Rava, Jeff Ballard, Larry Grenadier, Ethan Iverson, Avishai Cohen, Paul Motian

Matt Brewer | Bass
Gonzalo Rubalcaba, Lee Konitz, Steve Coleman, Vijay Iyer, Antonio Sánchez, Mark Turner, Tigran Hamasyan, Tyshawn Sorey, Terence Blanchard, David Sánchez

Kendrick Scott | Drums
Herbie Hancock, Terence Blanchard, Pat Metheny, Charles Lloyd, The Crusaders, Joe Lovano, Roy Hargrove, David Sanborn, Dianne Reeves, Robert Glasper, Kenny Garrett, Kurt Rosenwinkel

Style

A lucid, lyrical guitar voice shapes chord‑light architectures where melody and counterpoint do the harmonic lifting.
An elastic rhythm team—Brewer/Scott—keeps the floor buoyant, balancing flow, color and pulse.
Turner’s tensile lines thread through the textures, amplifying the band’s modern, quietly fearless poetry.

Overall profile

The Lage Lund 4tet distills contemporary jazz language into something lean, melodic and quietly daring. Lund’s guitar favors clarity of attack and long, vocal arcs; he often lets voice‑leading, not density, set the harmony. Around him, Matt Brewer’s resonant bass designs anchor and reframe the changes while Kendrick Scott’s dynamic cymbal language and micro‑metric phrasing give the music lift without weight. Mark Turner’s tenor extends the quartet’s contrapuntal logic—focused tone, long lines and subtle rhythmic displacements—so themes can bloom in negative space as much as in unison. Across the axes of timbre/articulation, harmonic vocabulary and interplay/roles, the vector skews toward lyric precision, advanced but song‑aware harmony, and chamber‑like balance. Weighted by the leader (0.5) and the distinct colors of the others (≈0.17 each), the project’s DNA foregrounds melodic narrative over sheer saturation: grooves breathe, forms invite spontaneous redesign, and the quartet’s sound lands where post‑bop lyricism, ECM‑tinged atmosphere and New‑York rhythmic acuity meet.

Member details

Lage Lund — Guitar. Clear, singing tone; phrasing that privileges melody, inner‑voice motion and dynamic nuance. On recent releases (e.g., Ashes, Most Peculiar), he blends trio transparency with elegant effects for textural lift. Interplay mindset: leaves air around motifs and lets rhythm color the harmony. (“This subtly inventive record is finely balanced between the driving force of Sorey and Brewer’s rhythm and the sensitivity of Lund’s guitar.” — James Read, UK Vibe, 2023‑10‑10)

Mark Turner — Tenor Saxophone. Dry‑focused timbre, long‑line architecture, and contrapuntal clarity; favors chord‑sparse settings where line equals harmony. Roles oscillate between shadow‑melody, canonic counterline and tensile solo flights; rhythmic feel: patient, metrically slippery. (“The American saxophonist’s ace quartet rise to the challenge of his demanding compositions with real flair.” — Dave Gelly, The Guardian, 2022‑04‑09)

Matt Brewer — Bass. Grounded, resonant sound with a composer’s sense of contour; sophisticated harmonic vocabulary and exact intonation. Works as anchor and co‑architect—pivoting the groove, setting knots of counterpoint, and opening form. (“Widely respected for the technical wizardry and wide musical scope he has brought to a panoply of sideman engagements.” — Ted Panken, DownBeat, 2020‑08‑04)

Kendrick Scott — Drums. A big dynamic window, shapely ride‑cymbal logic and orchestrated independence. In chord‑light formats (Corridors), he paints harmony with touch and register; groove ethos: elastic, song‑first, deeply interactive. (“It is still a delight when an album like Corridors comes along.” — Will Layman, PopMatters, 2023‑04‑04)

Discography highlights

Lage Lund — Ashes (JMI, 2023); Most Peculiar (Criss Cross, 2023); Terrible Animals (Criss Cross, 2019).
Mark Turner — Return from the Stars (ECM, 2022); Lathe of Heaven (ECM, 2014).
Matt Brewer — Ganymede (Criss Cross, 2019); Unspoken (Criss Cross, 2016); Mythology (Criss Cross, 2014).
Kendrick Scott — Corridors (Blue Note, 2023); A Wall Becomes a Bridge (Blue Note, 2019).

Members Quotes

Lage Lund

  1. “This subtly inventive record is finely balanced between the driving force of Sorey and Brewer’s rhythm and the sensitivity of Lund’s guitar.” — James Read, UK Vibe, 2023‑10‑10.
    https://ukvibe.org/album_reviews/lage-lund-4/

  2. “A trio to behold… Hidden depths reveal themselves.” — Mike Gates, UK Vibe, 2023‑10‑07.
    https://ukvibe.org/album_reviews/lage-lund-3/

  3. “The provocative music is marked by a variety of musical and emotional contrasts.” — Philip Booth, JazzTimes, 2019‑05‑26 (updated 2024‑09‑03).
    https://jazztimes.com/reviews/albums/lage-lund-terrible-animals/

  4. “As a player of depth and melodic flair, he is already up there with the best.” — Cormac Larkin, The Irish Times, 2015‑04‑16.
    https://www.irishtimes.com/culture/music/lage-lund-idlewild-album-review-1.2178193

  5. “The track is slow and spacious, giving Lund plenty of opportunity to explore melody.” — Andrew Luhn, All About Jazz, 2015‑03‑14.
    https://www.allaboutjazz.com/idlewild-lage-lund-criss-cross-review-by-andrew-luhn

Mark Turner

  1. “The American saxophonist’s ace quartet rise to the challenge of his demanding compositions with real flair.” — Dave Gelly, The Guardian, 2022‑04‑09.
    https://www.theguardian.com/music/2022/apr/09/mark-turner-return-from-the-stars-review-jason-palmer-joe-martin-jonathan-pinson

  2. “After eight years, Return from the Stars is—most resoundingly—a worthy successor to Lathe of Heaven.” — Graham Spry, UK Jazz News, 2022‑03‑21.
    https://ukjazznews.com/mark-turner-return-from-the-stars/

  3. “All eight tracks were written by Turner… the absence of a piano places the focus on his tenor and Palmer’s trumpet.” — Brian Payne, Jazz Journal, 2022‑05‑29.
    https://jazzjournal.co.uk/2022/05/29/mark-turner-return-from-the-stars/

  4. “He demonstrates versatility and depth as a writer.” — Christian Carey, Sequenza21, 2022‑05‑22.
    https://www.sequenza21.com/2022/05/mark-turner-return-from-the-stars-cd-review/

  5. “An exploratory, evocative journey… with spatial quality that puts the focus on interplay.” — Jim Hynes, Glide Magazine, 2022‑03‑24.
    https://glidemagazine.com/272368/saxophonist-mark-turner-leads-an-exploratory-evocative-journey-on-return-from-the-stars-album-review/

Matt Brewer

  1. “Widely respected for the technical wizardry and wide musical scope he has brought…” — Ted Panken, DownBeat, 2020‑08‑04.
    https://downbeat.com/news/detail/blindfold-test-matt-brewer

  2. “With Unspoken, Brewer re‑affirms his status as a noteworthy bandleader and composer.” — Andrew Luhn, All About Jazz, 2016‑10‑09.
    https://www.allaboutjazz.com/unspoken-matt-brewer-criss-cross-review-by-andrew-luhn

  3. “First‑call bassist Matt Brewer has a new outing… Ganymede.” — Filipe Freitas, JazzTrail, 2019‑04‑25.
    https://jazztrail.net/blog/matt-brewer-ganymede-album-review

  4. “Players stay in their roles, but when they emerge from the ensemble, they burn.” — Thomas Conrad, JazzTimes, 2015‑03‑06.
    https://jazztimes.com/reviews/albums/matt-brewer-mythology/

Kendrick Scott

  1. “It is still a delight when an album like Corridors comes along.” — Will Layman, PopMatters, 2023‑04‑04.
    https://www.popmatters.com/best-new-jazz-february-march-2023/3

  2. “The formidable Corridors… carries on that spirit of interplay and common alliance.” — Mike Jurkovic, All About Jazz, 2023‑03‑10.
    https://www.allaboutjazz.com/corridors-blue-note-records

  3. “Highly recommended… a nine‑part suite born during lockdown.” — Chris May, All About Jazz, 2023‑04‑08.
    https://www.allaboutjazz.com/corridors-kendrick-scott-blue-note-records

  4. “Music is for a message.” — Kendrick Scott (interview), WBGO, 2023‑03‑08.
    https://www.wbgo.org/music/2023-03-08/music-is-for-a-message-kendrick-scotts-lifelong-quest-to-be-of-service-to-others-and-himself

  5. “A rubato set that majors on mood… with swing, bop and funk surfacing.” — Derek Ansell, Jazz Journal, 2023‑03‑27.
    https://jazzjournal.co.uk/2023/03/27/kendrick-scott-corridors/

  6. “Blue Note Spotlight: Kendrick Scott.” — Blue Note, 2023‑03‑03.
    https://www.bluenote.com/spotlight/kendrick-scott/

  7. “Blue Note Announces New Albums…” — uDiscoverMusic, 2023‑01‑21.
    https://www.udiscovermusic.com/news/blue-note-2023-albums-ethan-iverson-go-go-penguin/

Reviews & Articles

Lage Lund

Mark Turner

Matt Brewer

Kendrick Scott

Blackbyrds Groove Collective

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

BlackByrdGrooveCollectiveTITLE4tetR BLACKBYRDS GROOVE COLLECTIVE by Blackbyrd McKnight | Funk (USA)
BlackByrdGrooveCollectiveTITLE4tetR BLACKBYRDS GROOVE COLLECTIVE by Blackbyrd McKnight | Funk (USA)
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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.

Bobby Sparks

BOBBY SPARKS II | Fusion Jazz (USA)

BOBBY SPARKS II

AVAILABILITY FOR EUROPE
2025 | NOVEMBER TOUR CANCELLED

2026 | TBA

Bobby1 BOBBY SPARKS II | Fusion Jazz (USA)
Bobby1 BOBBY SPARKS II | Fusion Jazz (USA)
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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/

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