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

The Whistling Heads | Dance Punk (IT)

The Whistling Heads

Dance Punk | IT

AVAILABILITY FOR EUROPE

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

Line-up

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

Style

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

Profile

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

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

Details

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

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

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

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

 

Biography

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

Discography

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

Quotes

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

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

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

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

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

Reviews

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

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

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

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

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

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

WHATS GOING ON

8
Mar, 2026
Mike Gotthard/Gergo Borlai Group

Mike Gotthard/Gergo Borlai Group | Modern Jazz Fusion (HU)

Mike Gotthard/Gergo Borlai Group

Modern Jazz Fusion | HU

AVAILABILITY FOR EUROPE

2026/27 | Dates upon request (EU Resident band)

Line-up

Mike Gotthard | guitar
Gergő Borlai, Mohini Dey, Jesús Molina, Scott Kinsey, Al Di Meola, Gary Willis, Hadrien Feraud, Anton Davidyants, Kornél Fekete-Kovács, Dániel Szebényi

Martin Gudics | bass
Gergő Borlai, Frank Gambale, Boca Gambale, Tom Schuman, HAUSER, Péter Ferencz, Attila Závodi, Olivér Magán, Marcell Gudics

Erik Tempfli | keyboards
Bori Hegedűs, Petra Gubik, Dániel Görögh, Frankie Látó, Gergő Szakács, Dániel Szebényi, Dávid Kovács, Peta Lukács, Sándor Zsemlye

Gergő Borlai | drums
Scott Kinsey, Gary Willis, Jimmy Haslip, Hadrien Feraud, Nathan East, Bob Mintzer, Al Di Meola, Matthew Garrison, Scott Henderson

Style

A modern fusion quartet led by guitar, where Mike Gotthard’s blues-rock phrasing meets a broader, more fluid jazz grammar. The rhythm section of Gergő Borlai and Martin Gudics drives the project toward an elastic, sharply defined groove able to absorb odd meters without losing immediacy. Erik Tempfli completes the DNA with open harmonic thinking and a contemporary timbral palette: the result is music that is sensual in attack, brutal in energy, and always melodic in design.

Profile

Mike Gotthard/Gergo Borlai Group is the most compact and readable form of Mike Gotthard’s authorial language: a project built on original compositions that move through jazz, blues, rock, and funk without treating genres as fenced territories, but rather as reservoirs of accents, timbres, and dynamics. Around Gotthard’s guitar, the band works through contrasts: tension and singability, rhythmic precision and spontaneity, electric impact and harmonic breadth. Borlai brings international-level metric drive, Gudics holds the center with a mobile, reactive bass voice, while Tempfli opens depth and color through keyboards that can be both structural and narrative. The dominant traits are energetic articulation, a modern fusion harmonic vocabulary, tight interplay, and a clear live-performance vocation: not a simple all-star vehicle, but an ensemble with its own identity, recognizable for its balance of technique, groove, and writing.

Details

Mike Gotthard
A Hungarian guitarist and composer, he forms the expressive center of the project with phrasing that blends blues lyricism, rock attack, and jazz-fusion development. Official and critical sources describe him as an author more interested in musical narrative than in technical display, with a language built on melody, groove, and reciprocal listening. Within the band, he is the main vector of aesthetic direction: themes, dynamic shifts, and formal design remain readable even when the ensemble opens into improvisation.

“Misi is a real bomb of energy whose musicality can speak equally to rock lovers and jazz devotees.” (György Szentgallay, review of “Intellectual Brutality”, 2016-11-11)

Martin Gudics
A bassist able to move across fusion, songwriter-driven pop, smooth jazz, and high-intensity technical contexts, he brings rhythmic elasticity and structural awareness to the group. His role goes beyond support: he builds links between guitar and drums, keeps metric transitions fluid, and strengthens the groove element without weighing down the texture. Within the band’s DNA, he represents the pole of balance: precise, but always in service of collective musical unity.

“By now we can say with pride that Martin Gudics belongs to the elite of bass players not only in his country, but worldwide.” (JazzMa.hu, presentation of “BVDA”, 2024-04-17)

Erik Tempfli
A pianist, keyboardist, and Artisjus Award-winning composer, he brings broad harmonic thinking and a timbral awareness that avoids both mere filling and decorative virtuosity. His parts help define the group’s breathing space: pads, organ colors, electric piano textures, and modern comping become tools of architecture rather than simple color. He is the member who most clearly expands the quartet’s tonal horizon and reinforces its melodic-contemporary side.

“The natural lightness of his touch is in perfect harmony with his personality; his playing and musical humour evoke the very greatest.” (JazzMa.hu editorial, 2020-12-12)

Gergő Borlai
An internationally established drummer and composer, Borlai acts as an identity accelerator for the project: rhythmic precision, dynamic control, advanced fusion vocabulary, and the ability to make even the most complex metric turns feel organic. His presence transforms the ensemble from an author-led group into a band with strong performance traction. In the group’s DNA he carries weight both as rhythmic engine and as a marker of prestige: his signature is recognizable in the energy, the clarity of pulse, and the dramatic handling of climaxes.

“Gergo has become one of the most exciting up-and-coming drummers today and continues to be recognized with each jaw-dropping solo.” (Drumeo, 2022-08-19)

 

Biography

Mike Gotthard is a Hungarian guitarist and composer whose work bridges blues phrasing, modern fusion, and a strong live-performance instinct. Gergő Borlai, with an international career spanning hundreds of recordings and top-tier collaborations, brings world-class rhythmic identity and prestige to the ensemble. Together with Martin Gudics and Erik Tempfli, the group delivers a modern jazz fusion format built on compositional clarity, high-impact groove, and advanced interplay.

Discography

Mike Gotthard
Intellectual Brutality — album — 2016
9 Wheels — single — 2021
Flotation — single — 2024
The Electric Shock Live Session — EP — 2025
The Group Live Session — single — 2026
Sensual Brutality — album — 2026
LesMi — single — 2026

Martin Gudics
Ups & Down — album with Peet Project — 2020
Sweet Lemon — album with Peet Project — 2022
Global Warning — Oliver Zisko album featuring Martin Gudics — 2022
Hard to Say Goodbye — single with Dániel Szebényi and Gudics Twins — 2023
Sensual Brutality — album with Mike Gotthard/Gergő Borlai — 2026
LesMi — single with Mike Gotthard/Gergő Borlai — 2026

Erik Tempfli
Altató — song performed at A Dal with Bori Hegedűs — 2021
Anya — single with Bori Hegedűs — 2022
Unalmas felnőtt — single with Bori Hegedűs and Johanna Lengyel — 2022
ReStar — album with Kodály Spicy Jazz — 2025
Sensual Brutality live set with Mike Gotthard Group — repertory documented from 2024 to 2026

Gergő Borlai
17 — album — 1998
Sausage — album — 2004
M.M.M. — album — 2010
ARC Trio — album — 2018
The Missing Song — album — 2020
Burger Joint on Oxnard Street — single — 2023
Monster Pop — single — 2023
A New Normal — single — 2025
Sensual Brutality — album with Mike Gotthard — 2026
LesMi — single with Mike Gotthard — 2026

Quotes

“Misi is a real bomb of energy whose musicality can speak equally to rock lovers and jazz devotees.”
György Szentgallay | JazzMa.hu | 2016-11-11

“The natural lightness of his touch is in perfect harmony with his personality; his playing and musical humour evoke the very greatest.”
JazzMa.hu editorial | 2020-12-12

“By now we can say with pride that Martin Gudics belongs to the elite of bass players not only in his country, but worldwide.”
JazzMa.hu editorial | 2024-04-17

“Gergo has become one of the most exciting up-and-coming drummers today and continues to be recognized with each jaw-dropping solo.”
Drumeo | 2022-08-19

Reviews

Gotthárd Mihály: Intellectual Brutality / JazzMa.hu / György Szentgallay / 2016-11-11

Katartikus elektrosokk Solymáron / JazzMa.hu / Géza Barcsik / 2020-09-15

‘I meet new inspirations almost every day’ / Secret Eclectic / 2021-03-16

Lamantin Jazz Fesztivál szerda / JazzMa.hu / László Czika / 2025-07-04

WHATS GOING ON

7
Mar, 2026
MATT VON RODERICK Trio ft. Dominique Di Piazza & Joel Taylor

MATT VON RODERICK Trio ft. Dominique Di Piazza & Joel Taylor | Contemporary Jazz (USA)

MATT VON RODERICK Trio

ft. Dominique Di Piazza & Joel Taylor

Contemporary Jazz | USA

AVAILABILITY FOR EUROPE

2026 | 18/30 November

Line-up

Matt Von Roderick | Trumpet, vocals
Jon Batiste, Brad Mehldau, Dionne Warwick, Neil Diamond, Saturday Night Live Band, Super Furry Animals

Dominique Di Piazza | Bass
John McLaughlin, Trilok Gurtu, Bireli Lagrene, Dennis Chambers, Didier Lockwood, Andre Ceccarelli, Gordon Beck, Vic Juris, U. Srinivas, Zakir Hussain

Joel Taylor | Drums
Allan Holdsworth, Al Di Meola, Joe Sample, Michael Buble, Stanley Clarke, Herb Alpert, Frank Gambale, Brian Bromberg, Yanni, Andy Summers

Style

A contemporary jazz trio where lyric trumpet-and-voice phrasing meets chordal bass design and high-definition drums. The language moves between intimate songcraft, modal lift, and fusion-grade momentum without losing warmth. Elegant on the surface, restless underneath: this is ensemble jazz built on tone, propulsion, and real-time dialogue.

Profile

Led by Matt Von Roderick’s trumpet-and-voice language, this trio projects a modern jazz identity that balances lyricism, uplift, and edge. Dominique Di Piazza shifts the bass from foundation to harmonic co-author: chordal attack, rapid articulation, and a singing upper register give the ensemble unusual vertical depth. Joel Taylor supplies the architectural frame, combining fusion-trained clarity with the restraint of a first-call accompanist. The resulting band DNA is airy but precise, melodic yet electrically charged: open forms, strong hook-awareness, and a pulse that can pivot from brushed intimacy to high-definition propulsion without breaking the narrative line.

In practical terms, this is a project that can work in jazz clubs, crossover series, and contemporary festival settings alike, because its center of gravity is not genre display but communicative improvisation, ensemble intelligence, and tone-led storytelling.

Details

Matt Von Roderick
Matt Von Roderick brings a highly personal front-line language rooted in jazz trumpet, crooning lyricism, and vocal-trumpet multiphonics. His profile combines conservatory pedigree with stagecraft: he can phrase like a singer, shape atmosphere like an arranger, and still land a melody with straight-ahead clarity. The effect is both classic and post-genre, with an emotional directness that keeps experimentation accessible.

“Fresh, innovative, and just plain different.” (Woodrow Wilkins, All About Jazz, 2005-10-13)

Dominique Di Piazza
Dominique Di Piazza remains one of the rare electric bassists who can alter an ensemble’s harmonic geometry in real time. His right-hand technique, chordal reach, and fast upper-register articulation make the bass function as both engine and second harmonic instrument. In this trio context, he expands the music from support into co-composition, bringing Mediterranean color, fusion fluency, and deep improvisational authority.

“One of the truly important electric-bassists of our time.” (Damian Erskine, Bass Musician Magazine, 2009-02-01)

Joel Taylor
Joel Taylor is the kind of drummer who gives sophisticated projects both polish and momentum. His language is clean, clear, adaptable, and structurally intelligent: strong time, exact cymbal definition, and a refined sense of when to drive and when to leave air. In this line-up, he acts less as commentator than as force-shaper, translating complex motion into flow.

“Possessing a clean, clear, punchy style that he can adapt to any environment.” (Ken Micallef, Modern Drummer, 2019-12-27)

 

Biography

Los Angeles-based trumpeter, vocalist, songwriter, producer, and educator Matt Von Roderick has built a genre-crossing profile that connects jazz trumpet tradition, crooner phrasing, and modern songwriting. He studied at New York University through the Vilar Global Fellowship in the Performing Arts, where he worked with trumpet master Mark Gould, former chair of brass at both the Metropolitan Opera and Juilliard. Active across jazz and contemporary settings, he has developed a signature language that moves fluidly from standards and lyric balladry to post-genre original work while keeping melody, atmosphere, and emotional directness at the center.

Discography

Matt Von Roderick
Albums: So It Goes (2005), So It Goes (2007), A Book Of Five Rings (2008), Hero’s Journey (2016), Celestial Heart (2023), The Perfect Storm (2025). Singles and EPs: Signs (2025), See Me (2025), Coexistence (2025), Wind on My Face (2025), I’m Old Fashioned (2026).

Dominique Di Piazza
Albums: Spiritual Hymns (2002), Seven Steps To Heaven (2003), Front Page (2004), Princess Sita (2008), Living Hope (2016), Il canto delle montagne (2016), Travel (2021). Singles and EPs: Rain in Seoul (2023).

Joel Taylor
Verified recording credits: Tribute by Yanni, Jaco by Brian Bromberg, Basses Loaded by Brian Bromberg.

Quotes

  • “Fresh, innovative, and just plain different.” Woodrow Wilkins, All About Jazz, 2005-10-13
  • “Among a group of young jazz composers who are unafraid to step beyond traditional constraints.” Celeste Sunderland, All About Jazz, 2005-12-13
  • “Few have the mastery of their chosen instrument that Dominique Di Piazza has displayed throughout his career.” Damian Erskine, Bass Musician Magazine, 2009-02-01
  • “Possessing a clean, clear, punchy style that he can adapt to any environment.” Ken Micallef, Modern Drummer, 2019-12-27
  • “A drummer dripping with impeccable touch and timing.” Sea of Tranquility, 2017-05-07

Reviews

  • Matt Shulman: So It Goes – All About Jazz – Woodrow Wilkins – 2005-10-13 – https://www.allaboutjazz.com/so-it-goes-matt-shulman-jaggo-records-review-by-woodrow-wilkins
  • Matt Shulman: So It Goes – All About Jazz – Celeste Sunderland – 2005-12-13 – https://www.allaboutjazz.com/so-it-goes-matt-shulman-jaggo-records-review-by-celeste-sunderland
  • Matt Von Roderick: Hero’s Journey – Jazz Weekly – 2016-07-18 – https://jazzweekly.com/2016/07/matt-von-roderick-heros-journey/
  • Matt Von Roderick Celestial Heart – Making A Scene – 2023-07-21 – https://www.makingascene.org/matt-von-roderick-celestial-heart/
  • Front Page: Front Page – All About Jazz – Walter Kolosky – 2004-01-12 – https://www.allaboutjazz.com/front-page-front-page-sunnyside-records-review-by-walter-kolosky
  • Dominique di Piazza: Spiritual Hymns – All About Jazz – Phil DiPietro – 2002-05-14 – https://www.allaboutjazz.com/spiritual-hymns-dominique-di-piazza-canaan-music-review-by-phil-dipietro
  • Dominique di Piazza: Princess Sita – All About Jazz – Phil DiPietro – 2008-08-19 – https://www.allaboutjazz.com/princess-sita-dominique-di-piazza-picanto-records-review-by-phil-dipietro
  • Joel Taylor – Modern Drummer – Ken Micallef – 2019-12-27 – https://www.moderndrummer.com/article/february-2020-joel-taylor/

BOOKING REQUEST

8
Feb, 2026
15 years of Coral Riff | Looking Back, Booking Forward

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

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

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

Allen Hinds 4tet

ft. Jimmy Haslip, Michele Papadia & Gergo Borlai

Groove Fusion (jazz‑blues‑rock) | USA

AVAILABILITY FOR EUROPE

2026 | August 19th to 30th

Line-up

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

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

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

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

Style

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

Profile

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

Details

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

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

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

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

Biographies

Allen Hinds

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

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

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

Jimmy Haslip

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

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

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

Gergő Borlai

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

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

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

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

Michele Papadia

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

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

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

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

Quotes

Hinds

Haslip

Papadia

Borlai

BOOKING REQUEST
3
Oct, 2025
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)
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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

12
Jun, 2025
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.

27
May, 2025
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/

31
Dec, 2023
Electric Lady Tereza Rais

ELECTRIC LADY | Rock (CZ)

ELECTRIC LADY | Rock (CZ)
Guitar shredder and singer

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

Tereza Rays | Guitar, voice

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

Cayman | Bass

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

Robin Evans | Drums

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

Style

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

Profile

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

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

Details

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

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

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

Discography

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

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

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

 

Members Quotes

Tereza Rays

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

Robin Evans

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

Cayman

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

Reviews & Interviews

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

• Artist page / releases • Apple Music • 2025

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

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

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

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

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

• Ibanez Artists: Tereza Rays • Ibanez • profile

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

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

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

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

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

BIO

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

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

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

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

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

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

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

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