For an incredibly interesting and refreshing performace of Srdjan Vukasinovic can be said that it has strenghtened him among the leading performers on accordion in the world today. His fresh and innovative approach to music provided him an excellent reputation as a great concert master, who can always satisfy the needs of different kinds of audience. He is always bringing new ideas and methods in his performace, based on improvisation and mixing of different musical genres with a lots of influence of jazz and world music sound. On the other hand, he is an established performer of classical and contemporary classical music. This is evidenced by numerous cooperations with a lots of contemporary composers of classical music.

On the other hand, he is an established performer of classical and contemporary classical music. Starting from his early years when he was singled out in one of the most important competitions for accordionists, he took the first prize in the World-Trophy competition for accordion in Spain in 1999. From then on Srdjan has participated in many successful performances, appearing as a soloist and as part of various ensembles, such as Arte Diversa, Chaarts Chamber Artists, Klassik Nuevo Orchestra, Zürcher Kammerorchester and many more. In recent years we have seen Srdjan successfully performing with leading musicians worldwide, such as the legendary violinist Gilles Apap, pianist Fazil Say, and flamenco and jazz bassist Carles Benavent. He has formed an exciting and unusual duo with Taylan Arikan on baglama (anatolian lute) called Meduoteran, which
specialises in World Music.
Upcoming performances include his performance in various festivals in Switzerland and abroad, such as Klassik Nuevo Festival, Lucerne Festival, Gstaad Menuhin Festival, Cully Jazz Festival, along with SoNoRo Festival Romania, Kronberg Academy Festival Germany, I Suoni delle Dolomiti Italy, Akkordeonfestival Wien Austria, and Witten Days for New Chamber Music Germany. You can see performances on our page concerts. Srdjan’s explosive energy and his original approach to classical music, alongside the breadth of jazz influences and improvisation skills make him stand out as one of the top players in the world. His virtuosity, power and charm has captivated audiences around the world and justifies the win of ‘best accordionist in the world’, a title he won in his youth. Srdjan is an alumnus of Zuricher Hochschule der Kunste, Switzerland from 2001, where he got his master degrees in Music Pedagogy and Concert Performance in 2005. Since then he has also been teaching Balkanmusic at the Zuricher Hochschule der Kunste Music Department.

Srdjan has invented the first quarter tone accordion in the world. With this multituning accordion it is possible to play 24 tones in one octave. Also, there is a possibility to combine many different tunings at the same time (for baroque, modern, oriental music etc.). One more of Srdjan’s innovations is his new accordion brand ’’Carboneon.“ This innovative instrument is the first one made from carbon fiber, which renders Carboneon the lightest accordion in the world.

Gwen Sampé is a jazz singer for whom the art of improvising is an integral and indispensable part of her musical soundscape. Born into a family of singers in Houston, Texas her approach to jazz singing is rooted in the past yet unapologetically modern.

Nurtured on John Coltrane and Betty Carter, she brings surprise and daring to her performances. Her artistic background is rich and diverse. As well performing on the jazz circuit, she has also performed in, and directed, contemporary jazz inflected mixed media theatre pieces, including a self-produced one woman show, “From the Fields to the Concert Hall,”  first performed in Italy.

Gwen studied dance with Yolande Burke and Bill Louther in London, and with Elsa Wolliaston in Paris.  Upon receiving her AGSM from the Guildhall School of Music and Drama, London, Gwen immediately started performing in jazz venues in and around London. She also directed and composed the music for Turnings, a theatre piece based on Wole Soyinka’s A Shuttle in the Crypt. In 1990 she took the role of God in Benjamin Britten’s Noye’s Fludde, the first woman to play the part. In 1994 she joined Ariya opera-company and played the part of ‘Spirit’ in Henry Purcell’s opera Dido and Aeneas. Yet through all of these wonderfully diverse experiences she continued to concentrate on her main musical interest, jazz, performing in clubs and festivals in England, Ireland, Iceland, Italy, and Germany, releasing her first album, Water Gazing, in 2002, a mixture of her own compositions as well as songs from the standard repertoire.

Gwen has worked with many musicians and artists over the years, from pianists to kora players, flutist to cellists, dancers and plastique artists, such as John Betsch, Peter Giron, Bobby Few, Jobic Le Masson, Harry Swift, John Stevens, Dudu Pukwana, Bheki Mseleku, Aldridge Hansberry and Mehdi Farajpour among others. Her duo project with pianist Jobic Le Masson resulted in an album the Conversions, released the fall of 2014. The album, a mix of compositions and standards “revisited,” is a reflection of the improvisational work they do together, a reflection in her belief in the ephemeral nature of sound and its transformative powers.  While continuing her work with Jobic, she is also involved with other projects — a duo with the bassist Harry Swift, “Flowers for Strayhorn,” the songs of Billy Strayhorn, the African Jazz Quartet with José Pendje and the eponymously named Gwen Sampé Quartet

“Playing music is a deeply spiritual experience for me – it is sacred. When it is pure it can be like traveling without moving – a gateway to another world or reality.”
In the current jazz environment, the art of jazz expression and the world of formal education are fully intertwined. Serious dedication to either path takes powerful commitment, but fully pursuing both demands a level of diligence and focus that is immensely challenging. Jeff Denson is a man who is meeting that challenge.
Fully immersed in both worlds since the late 1990s, the bassist/composer has balanced a full career as sideman and leader while taking a full course of studies leading to his doctorate. In addition to maintaining an intense performing and touring schedule in the U.S. and Europe while in school – including a long relationship with legendary saxophonist Lee Konitz that continues to this day – Jeff has also taught extensively all over both continents.
Today he is a full professor at the California Jazz Conservatory in Berkeley, California and the Director of its Outreach Program designed to develop the Bay Area’s most talented musicians while making the local scene a productive and fertile environment for jazz. While this intensive level of activity is easily a full-time job, Jeff takes a relentless 24/7 approach, composing for and leading three distinct ensembles, participating in a few cooperative groups and working on his three-act Chamber Opera, WEBS.
At first glance, it might seem that Jeff Denson, like so many of the younger generation that has emerged in the past 20 years, is a product of the formalized jazz education system. This is simply not the case. In reality, he has developed in the age-old tradition that dates back to the earliest days of jazz – listen to the masters, sharing in oral traditions through his personal mentors, and straight-up hands-on experience in the trenches.
“I have the highest degree that a person can earn in music; however I owe a great deal of my ‘education’ to my experiences on the ‘street’ or on the bandstand.”
Jeff’s “bandstand” credentials are indeed impressive. He has recorded 10 albums as leader/co-leader and over a dozen more as a featured sideman – four with Konitz (including live recordings at the Village Vanguard and Birdland). Over the past 15 years, he has shared the bandstand with an impressive and diverse array of remarkable musicians including Anthony Davis, Mark Dresser, Joe Lovano, Jane Ira Bloom, Kenny Werner, Dave Douglas, Bob Moses, Giacomo Gates, Howard Alden and many more.
Born in Arlington, Virginia – just outside of Washington, D.C. – in 1976, Jeff grew up in a fertile musical environment and began playing the alto sax at 8 years old, switching to electric bass in high school. His mother’s love of the Beatles became his own, and he also discovered R&B, especially Stevie Wonder, James Brown & the J.B.’s and Marvin Gaye– particularly affected by the legendary Motown Records bassist James Jameson. By the time he was completing his high school education, Jeff was playing and singing with his own funk and rock bands. His interest in jazz started with fusion – Jaco Pastorius and Stanley Clarke – but shifted direction one fateful day. Like countless musicians over the past 50+ years it was a chance encounter with Miles Davis’ Kind of Blue – specifically Paul Chambers playing lead on So What – that provided an epiphany. Soon after, Charles Mingus’ Haitian Fight Song locked the young bassist into this new direction, both as a player and an artist.
“Mingus came to represent more to me than ‘just’ a great bassist – he represented a man with great conviction who no matter what he was up against, he would make his it his way!”
After two years of studying visual arts (painting and photography) at Virginia Commonwealth University, Jeff entered Northern Virginia Community College in 1997. Here he met Herb Smith, an intense and influential teacher, with whom he played professionally for a number of years in every corner of the local scene. A single lesson with the great post-bop bassist Butch Warren led to another traditional aspect of true jazz education – a personal mentorship built upon hanging out on the scene and listening, questioning and learning first-hand from musicians. He also continued listening intently to the bass masters – he names Ron Carter, Ray Brown and Scott LaFaro as major influences – and for two years studied privately with an extraordinary teacher, Pepe Gonzalez, who made a profound impact upon the young musician. The element of intensely personal mentorship that he has experienced – especially the one that Pepe provided to him as a musician and a man – has powerfully influenced Jeff’s commitment to his own students, laying the foundation for his own contribution to the passing-down continuum that is the legacy of jazz at its most sacred.
In 1999, Jeff began his studies at the renowned Berklee College of Music, and after graduating cum laude in 2002, his career hit full stride. Jeff began performing extensively with Minsarah, the internationally acclaimed cooperative trio he had formed in 2001 with fellow Berklee students, pianist Florian Weber and drummer Ziv Ravitz. Touring extensively in the U.S. and Europe, they recorded their first album for the now-defunct hubermusik Records label in 2003 and were signed by Enja Records in 2006, recording two albums. Growing rapidly in stature, they performed at top concert halls and festivals, including the Berlin Jazz Festival, JVC Jazz Festival in Paris and the Montreal Jazz Festival among many others. In 2007 they joined forces with Lee Konitz, becoming the legendary figure’s first regular ensemble. They recorded three albums together for Enja and toured regularly, especially in Europe with dozens of tours since 2007. In 2010 Jeff moved to New York City and became a highly in-demand member of the local scene. Amidst all this activity Jeff continued his studies, while continuing to play, perform and teach.
He received his Master of Music in Jazz Studies from Florida State University; and his Doctorate of Musical Arts in Contemporary Music Performance with an Emphasis on Composition from the University of California, San Diego in 2010. Jeff’s intensely focused experience at UCSD, where he also studied privately with Anthony Davis and Mark Dresser (who Jeff cites as a most powerfully influential teacher and a very close friend), added another important dimension to his musical vision – a deep love of the Western Classical traditions, especially Bach, Debussy, Ravel and the 12-tone masters, Berg and Schoenberg, along with Eliot Carter. Weaving this influence into his own composing and theoretical imperative, particularly in the context of his Secret World ensemble, Jeff has embarked on a truly unique path as a composer and performer.
In 2011, with extensive experience in providing workshops, master classes, lectures and clinics all over Europe and the U.S., and seven years of institutional teaching while pursuing his advanced degrees, Dr. Denson accepted an offer from the Jazzschool Institute (now the California Jazz Conservatory) to become a full professor in order to focus upon his goals as an educator. Despite Jeff’s educational commitments he remains a fully committed active musician and remains powerfully focused on his own sweeping musical journey.
An acknowledged and highly respected master of his instrument in both the jazz and Western Classical disciplines, Jeff clearly expresses his view on technique:
“I’ve spent a great deal of time developing pretty extensive technique on my instrument but that is only because it’s a means to open the channel between the ear, heart and mind. It’s the key to communicating with as little impediment from the instrument as possible.”
That mastery fully serves his purpose as a composer and leader. A man of limitless creativity and vision, he is influenced by a wide variety of interests including film, nature and painting (particularly Vincent Van Gogh). All of this is reflected in his broad-based and ambitious artistic imperative, which includes vocal music (he is an accomplished singer), electric music, experimental forms, larger ensemble works, multi-media presentations and video.
He is currently focused on four projects as a leader, Jeff Denson’s Secret World (a quartet featuring Jeff on bass and vocals and has included such extraordinary trumpeters as Ralph Alessi and Cuong Vu), Electreo (an experimental ensemble of electric bass, electric bassoon and percussion), the Jeff Denson Trio, featuring pianist Joshua White, and the Jeff Denson Trio +1 – a project that will feature a special guest artist each season, beginning appropriately with Lee Konitz in 2014/15, already slated for more than a dozen performances in the U.S. In addition, Jeff performs solo and in some special duets. He has recently released two duo recordings on pfMENTUM Records: I’ll Fly Away, a re-imagination of hymns and spirituals with Joshua White; and Two, with the remarkable European clarinetist Claudio Puntin.
From his position as Outreach Director for the CJC, Jeff is nurturing young musicians into the world of professional performance, promoting partnerships and relationships among various elements of the Bay Area scene. A key part of his mission is to provide that special growth experience of allowing young musicians to share the bandstand side by side with the professionals with whom they will become colleagues in the future. His ultimate goal is to not only foster this emerging talent, but also to create an atmosphere of activity and productivity that is intended to make the local scene a viable professional option for young musicians. It’s his hope that this will keep this young talent in the area rather than departing for other cities in search of career success.
“As an educator I want to pass on my passion for music to the next generation and to help foster a community that contributes works of depth and meaning to a world that so desperately needs it.”
For Jeff Denson, this multiple commitment does not create conflict, but rather, confluence

Susanna Lindeborg, piano and keyboard, started her professional musical career at the middle of the 70th. From her classical upbringing she turned into work with jazz and improvisation, which showed to be her right element. The thing you first think of together with Susanna Lindeborg is her work with the mix of acoustic and electronic instruments, which has been known most of all through the group MWENDO DAWA, which she is the leader of together with saxophone player Ove Johansson. Mwendo Dawa has been succesfully touring in 22 countries in Europe, North and South America and China performing at festivals like Montreux, Northsea and Montreal.

The past few years she has been regularly visiting USA and Canada with Mwendo Dawa. Susanna also writes a lot of the repertoire for the group. Besides Mwendo Dawa Susanna Lindeborg toured a great deal with the female jazz group Salamander during the beginning of the 80th. Salamander arouse a lot of attention on the European continent and in USA and Susanna came to tour a lot internationally with these two groups.

Today you can also hear her in the Lindeborg/Johansson Duo and Natural Artefacts. Susanna has been touring with Natural Artefacts and LJDuo with performances both in the world of improvisation music as well as the world of electro acoustic music. She also is doing solo improvisations together with her computers doing electroacoustical backgrounds.

Susanna Lindeborg writes her own music and some of this got profiled when she released her first soloCD 1989. The CD got a lot of attention and gave her some work for instance in Germany with some radio and TV recordings.

Pressvoices:

Susanna with her blonde appearance showed to hide a volcano under the surface. Where can you today hear piano better played than this?

Folket, Sweden
There are few keyboard players that approach the synthesizer with such a power as Susanna Lindeborg.

Nye Takter, Norway
Susanna Lindeborg showed not to be only a superb instrumentalist but she also shows to be a magnificent talent of composing.

Jazz Podium, Germany
It is great that she – a lone woman – can create just that supplement of sounds and harmonics which she thinks the (very beautifully recorded) good old sounds of grand piano shall be accompanied by. It is lovely to receive noble analogue nice sounds together with the machines keeping other colourings in the background, or the opposite.

Anders Kirkegaard, JazzSpecial Denmark
Susanna Lindeborg is a refreshingly original voice that easily holds the listener´s attention for a full-length solo album: not an easy feat.

Steven Loewy, Cadence, USA

Awarded in 2021 an Artist Respond Award by the St. Hugh’s Foundation for the Arts, Arts Council England support for the 2017 Stations of the Cross Solo Piano Tour and nominated in 2014 for a Paul Hamlyn Award for Artists, Simon-Mary Vincent is an Anglo-Hungarian performer and composer of acoustic and electronic music, who has been challenging the boundaries of genre and musical expression with a highly personal political and spiritual language since the early 1990’s.

“Visionary and expressive”, “rich and surprising”, “incredibly individual”, “masterful compositions”, “an immersive experience”, Simon-Mary’s music has attracted praise and radio play from critics as varied as Fran Wilson, Lauren Redhead, Ben Watson, Julian Cowley, Nick Luscombe, Robert Hugill, Massimo Ricci, and Gilles Peterson, and has been reviewed in publications including The Wire, International Piano, Jazz Journal, De:Bug, and Avant Music News.

Active for many years in the UK’s improvised and experimental music scene, she was also resident DJ in the Cookin’ Room at LTJ Bukem’s Progression Sessions, releasing compositions and performances on Erstwhile Records, EMANEM, L’innomable, Good Looking Records, as well as her own label Vision of Sound to critical acclaim with trumpeter Tom Arthurs, The Occasional Trio featuring bassist Roland Fidezius and drummer Kay Lübke, and Ten Trees Conversations with percussionist Tumi Mogorosi, sound interventionist Robert Machiri and spiritual philosopher Kupawashe Mtata.

She went on to found and direct the EMW Experimental Orchestra at the University of Applied Sciences in Potsdam, premiering works in Berlin at Club Transmediale, Tresor and the Akademie der Künste and has lectured in subjects ranging from acousmatic composition, audio installation and interdisciplinary performance art to urban musical and sonic political/cultural theory (socio-acoustics), afrofuturism, sound design, feminist performance art, and network and game theory.

Her unique work has led to appearances worldwide at the Tallinn Music Week, TechFestival Copenhagen, Erased Tapes Sound Gallery, Glastonbury Festival, Akademie der Künste (Berlin), ICA London, Club Transmediale (Berlin), Huddersfield Contemporary Music Festival, Internationale
Ferienkurse für Neue Musik (Darmstadt), Visiones Sonoras (Mexico City), Q-02 Brussels, as well as on Resonance FM, BBC Radio 3, and Ministry of Sound Radio among many others.

Having completed a commission from RPO Principal trombonist Matthew Gee for 3 electroacoustic miniatures, BBC Radio 3 Late Junction’s Nick Luscombe, The Richard Wagner Museum’s ‘Amor Mundi Festival’, as well as the ‘Bayreuth Blättert’ Literature Festival, she is currently performing and recording
a new album with electro-acoustic trio Nàdair (with Dave Pullin and Chris Dowding) and composing 2 substantials new works for percussion with 4-channel electronics, and piano with 5-channel electronics.

Born in Motala, Sweden in 1955, alto, soprano and tenor saxophonist, arranger, and composer.

Already at the age of 8, Hakan began to play the piano, and when he was 15, he started playing tenor saxophone and Gute. One year later, he was playing alto saxophone in different blues bands in Motala and baritone sax with the Motala Big Band.

In 1972, he moved to Malmö to study at the music high school there, where his teacher was Helge Albin, saxophonist and arranger with Tolvan Big Band. He also began playing soprano saxophone and worked with Raj Montana Band and Dan Hylander. In 1977, he began attending the Malmö College of Music and started composing regularly. He became a member of the Gothenburg group “Waves” led by the legendary drummer Conny Sjöqvist.

In 1978, Hakan joined trombonist Eje Thelin’s group, which made, amongst others, a sensational appearance at the Jazz Jamboree festival in Warsaw in 1979 and also at the prestigious jazz festival in Molde, Norway in 1980. Hakan also took part in the group’s album “Bits and Pieces.”

In 1979, he established the quartet “Equinox” together with saxophonist Tomas Franck. Other groups in which Hakan played at this time included a quartet with saxophonist Helge Albin, guitarist Ewan Svensson’s group “Albatross,” and guitarist Jan Tolf’s “Resa.” He also participated in the Swedish Radio Jazz Group’s collaboration with American saxophonist Jimmy Heath.

In 1984, “Equinox” was chosen to record the “Jazz in Sweden” album of that year. Hakan also participated in a recording with blues artist Peps Person. He then decided to move to Stockholm, where he began playing with Bernt Rosengren’s Big Band, the Stockholm Jazz Orchestra, and Mikael Raberg’s Big Band. In addition, he played with Tolvan Big Band, which performed concerts with guest soprano saxophonist Dave Liebman. He also began performing with Gustavo Bergalli’s Quintet, which later toured Argentina, Paraguay, Chile, and Uruguay. The group recorded an album in Buenos Aires.

Hakan took part in the Swedish Radio Jazz Group’s project “Chordeography,” with music written by trumpeter Ulf Adaker, and while playing with the Stockholm Jazz Orchestra, he worked with American guests Bob Mintzer and Bob Brookmeyer. Hakan was one of the participants in the composer project Comp-87, where his music was played by, amongst others, Eje Thelin, pianist Bobo Stenson, and bassist Palle Danielsson.

Markus Burger is a German born and raised Concert Pianist, Composer & Educator living in the greater Los Angeles Area in California for the past 20 years.

In developing his signature sound over the years, Burger drew his influences from a wide range of musical styles including J.S. Bach, Claude Debussy, Keith Jarrett, George Winston, Thelonious Monk, Miles Davis, Pat Metheny, Elton John, Stevie Wonder and Esbjörn Svensson .

His musical output is in the meantime has been documented on 15 CDs ranging from Solo Piano work ( Ultreya ) to his renowned Duo with Saxophonist Jan von Klewitz entitled Spiritual Standards to his Trio Accidental Tourist with Jazz legends Bob Magnusson on bass and Peter Erskine on drums.

Burger, a native of the German Moselle Region , started playing the piano at age 6 and was from his early beginnings interested in improvising on classical music and later introduced by his uncle (an avid Jazz pianist himself) to the music of Errol Garner, Oscar Peterson and Thelonious Monk. He furthered his education in Hamburg, Hilversum, Essen and later Maastricht before moving to the USA in 2000.

During his formative years in the city of Cologne he released two albums with his renowned quartet Septer Bourbon which earned him European accolades not only as a pianist but also as a composer earning him a finalist slot in the European Jazz Composition competition in Moncao.

His Duo Spiritual Standards with fellow Septer Bourbon saxophonist Jan von Klewitz hit a spot in the top 20 of the German charts right from the start in 1999, hence allowing both musicians to travel the world presenting this unique crossover project to audiences from Russia to South and North America.

During their annual Tour in December, they have played for the German foreign service worldwide (including the Vatican, Russia, Brazil, Iceland and Brazil).

Since 2012 Burger has returned to his jazz roots and started his new band project Accidental Tourists which has released 3 albums so far.

Collaborators on the three releases so far for renowned label Challenge Records have included Joe Labarbera, Bob Magnusson, Kenny Wheeler and Peter Erskine .

In December of 2021 Burger was inducted in the family of Bösendorfer pianists by Artist Manager Ferdinand Bräu.

New musical projects of Burger include his love for classical and folk music and resulted in the collaborations with the Athos Ensemble and a program featuring the music of Bach and Luther as well as German Folk songs. 2019 also marks the start of another album with Ensemble Katharsis and the North Atlantic Jazz Alliance , as part of the sponsored projects in the 2019 German Amercian Year.

He has been a Professor at Fullerton College since 2005 and was responsible for building their Jazz Piano program as well as establishing the West Coast’s most important Electronic Music Program on a Junior College Level. Since 2012 he has been also teaching the Graduate Jazz Piano and Composition students at San Diego State University . He is now in the process of reshaping and innovating the Music Entrepreneurship Program at SDSU.

The Hurricane Trio, featuring Chris Collins, showcased a fusion of Detroit and Italian jazz at the 2023 Detroit Jazz Festival. This quartet, composed of Milan-based Roberto Mattei on Double Bass, Lorenzo Blardone on Piano, and Massimiliano Salina on Drums, joined forces with award-winning Detroit saxophonist Chris Collins. Together, they epitomized a cross-cultural exchange, delivering refined, dynamic, and modern jazz performances. Their music, born from cultural fusion and extensive study, presented original compositions and sophisticated improvisations.

Director of Jazz Studies at Jacksonville State University, Dr. Andy Nevala currently directs the Downbeat Award Winning Jazz Ensemble I (2015), Jazz Ensemble III, Jazz Ensemble IV, the Latin Ensemble, oversees the Jazz Combo program, produces the annual Jazz Festival (in it’s 11th year), and teaches Jazz piano lessons. As Director of Jazz Studies, he has overseen the JSU Jazz program more than double in size during his time at JSU, with performances in the community, at regional and international festivals, and Middle and High Schools in the Southeast region.
Andy has been recognized by Downbeat magazine on 10 different occasions, winning individual Downbeat Music Awards for composition (2002), arranging (2003), and performing/directing (2000, 2001, 2002, 2015). 
Andy has recorded on over 20 CDs released in the US, Japan, and South America, most recently New West Records “Big Band of Brothers”, which debuted at No. 2 on the Billboard Jazz Charts, and “Three Times Two”, released on the Girod record label out of New Orleans.
Andy’s YouTube Channel can be found here
The newest JSU Jazz CD, “First Circle”, was released in January 2018, and features Jazz Ensemble I, the JSU Steel Band, and the JSU Latin Ensemble. The first CD “Everything In It’s Right Place” was released in 2015 and was recognized in Downbeat Magazine for “Outstanding Performance, Undergraduate Jazz Ensemble”.
Professionally, Dr. Nevala has toured with the Glenn Miller Orchestra (US Touring Orchestra, 1 Tour of Japan, 2 tours of Canada), Steve Lippia (2 US tours, Fresno CA Symphony, Las Cruces NM Symphony, Corpus Christie TX Symphony, Mobile AL Symphony), Eddie Turner (3 tours of Europe), The ProJazz Trio (Bassist Gonzalo Teppa, Drummer Tyer Hornby; two Venezuelan tours, tour of Canada), and his own groups (Denver, CO, Boise, ID, Boulder, CO, Aspen, CO). He currently can be seen with the Atlanta Latin Jazz Orchestra, Orchestra MaCuba (Atlanta, GA), and his own groups. He has performed with the Pensacola Symphony (vocalist Dee Daniels), Mazacote (San Francisco, CA), Orquesta Borinquen (San Francisco, CA), Conjunto Colores (Denver, CO), Nelson Rangell (Denver, CO), Mart Avant and Nightflight (Birmingham, AL), and many more.

 He is widely in demand as guest conductor, performer, and clinician, with recent guest artist performances at the Dave Brubeck Institute (Stockton, CA), the University of the Pacific (Stockton CA), California State University, Stanislaus (Turlock, CA), Southeastern Louisiana University (Hammond, LA), and the University of Alabama (Tuscaloosa, AL). He has conducted the 2010 Campbell Union District Music Festival Jazz Ensemble in San Jose, CA, the Rome, GA District 7 Jazz Festival Big Bands (2012,2013), and was the 2013 Alabama Music Educators Association Gold All-State Jazz Ensemble Director. He served as a clinician at the Delta College Jazz Festival (2008, 2009, 2010, 2011), the Folsom High School Jazz Festival (2008, 2010), the CMEA Hanford Jazz Festival (2009), the Sacramento State University Jazz Festival (2008, 2009), the Manteca High School Combo Festival (2010), The Boise State University Gene Harris Jazz Festival (2003, 2008), and the Casper College Jazz Festival (2007). He has also presented at AMEA (2013, 2018), GMEA (2015), performed in the GMEA Sight-Reading Big Band (2015, 2016, 2017, 2018) and founded the AMEA Sight-Reading Big Band (2018, 2019).
An active arranger and orchestrator, Dr. Nevala has been commissioned to arrange for the Glenn Miller Orchestra, the Denver Brass, the Steve Lippia Big Band, and arrangements published by 3-2 Music Publishing. He has also orchestrated, conducted, and arranged music for the Malt Jupiter Theater in Jupiter, Florida, and arranges/orchestrates musicals for the COPA Conservatory. He also arranges for the Atlanta Jazz Orchestra, JSU Jazz Ensemble I, Orchestra MaCuba, and many others.
Having studied under Dr. John Davis, Chip Stephens, Art Lande and Pat Bianci, Dr. Nevala holds a Doctor of Musical Arts degree in Jazz Piano Pedagogy from the University of Colorado, Boulder, a Master of Music degree in Music Theory and Composition from the University of Northern Colorado, and a Bachelor of Arts degree in Music from Boise State University.

Kristian Borring is a Danish guitarist who has made a name for himself on the European jazz scene.
He is known for his melodic approach to contemporary jazz and has worked with many notable musicians, such as saxophonists Tommaso Starace and Will Vinson, vibraphone player Jim Hart, as well as lyrical vocalists such as Polish folk diva Monika Lidke, and Australian jazz singer Chris McNulty.
Kristian is often described as an understated virtuoso with a deeply melodic approach, and a “strong
rhythmic urgency…a lot of discipline and a compelling drive to the playing” (Marlbank). Kristian is
also recognised as having a “contemporary edge whilst never losing his firm grip on the jazz guitar lexicon… a masterful exposition of jazz guitar and the small jazz combo” (Bebop Spoken Here).
He currently resides in Perth, Australia, and continues to tour with his British quartet, which has received much acclaim. The Danish Jazz Magazine, Jazz Special, described the group as delivering “hard swing, lively postbop and mellow Nordic melancholy to edgy jazz-rock fusion…with great force and a controlled ferocity which suits the quartet well”, and BBC Radio 3 presenter Julian Joseph recognised the group as “a band exercising a strong sense of control and empathy”.
Kristian has released several albums. His latest, Out of Nowhere, (2021) was album of the week on both ABC jazz Australia as well Danish Radio Broadcast P8jazz. It was reviewed as being “creative
contemporary jazz at its very best” by Jazz Views, and British jazz reviewer Ian Mann described it as: “A typically classy, intelligent & sophisticated offering from Borring”.
Kristian has released several albums. His latest, Out of Nowhere, (2021) was album of the week on both ABC jazz Australia as well Danish Radio Broadcast P8jazz. It was reviewed as being “creative contemporary jazz at its very best” by Jazz Views, and British jazz reviewer Ian Mann described it as: “A typically classy, intelligent & sophisticated offering from Borring”. He has also collaborated with several musicians both as a leader and sideman. He founded his own record label Cool it Records in response to the decrease in global touring due to the pandemic.
Kristian also works as a lecturer in jazz guitar, composition, and performance at the Western Australian
Academy of the Performing Arts.

The Danish/Australian trio Number Junky is an inventive jazz group to come out of the Southern Hemisphere. They play provocative rhythms and odd-time signatures while retaining a focus on both lyrical melodies and lush harmony. The group is led by Kristian Borring with the rhythm section of Zac Grafton on double-bass, and Peter Evans on drums. Their new album Earth Matters was released in 2022 on Coolit Records to international acclaim by publications such as Jazziz, Jazz Halo, The Australian,
and Jazz Journal. The album’s maturity and appeal has beenpraised for “its lustrous sound and its melodic and harmonic qualities combined with the exploration of skilful rhythms” (Jazz Mania), while Borring was hailed as being a “post-bop wizard” (Vintage Guitars). Number Junky plays original compositions by Borring and modern interpretations of jazz standards. The trio collaborated with the piano virtuoso Fabian Almazan on ‘Earth Matters’ and have recently joined forces with British saxophonist Will Vinson for their next album.

Santi Debriano is acclaimed as one of the most interesting and original voices on the international jazz scene today. His lifelong creative jazz explorations are grounded with a vast knowledge and respect for many diverse cultures and traditions.
As a soloist, he has performed at many of the world’s most renowned festivals and concert halls,
often presenting his own compositions with his
band. His jazz group, Flash of the Spirit, is a band of virtuoso musicians who move easily through modern jazz, latin jazz and the avant garde jazz idioms. Santi Debriano has been playing the instrument since he was a teenager. Born in Panama, he has lived in New York City for many years, serving as the leader of his own groups and as a sideman for others. In the city’s community of
jazz musicians, he is like an oak tree, with roots that
stretch into many different idioms and styles practiced by some of the most accomplished musicians in the indisputable jazz capital of the universe. Santi has realized concerts and albums with such diverse jazz masters as Kenny Clarke, Mal Waldron, Archie Shepp, Kirk Lightsey, David Murray,
Pharaoh Sanders, Oliver Lake, Cecil Taylor, Sam Rivers, Elvin Jones, Randy Weston, Roy Hanes and many others. His two instruction books of Jazz Bass Studies, The Bass Players Toolbox 1 and 2, are for sale on amazon.com
Santi’s newest release, Ashanti, is on JoJo Records. Several of his concerts have been broadcast by WBGO, WNYC and National Public Radio.

Described as a “brilliant, intense” performer of jazz piano by KC Confidential and a “dynamic artist and musical force in today’s jazz world” by allaboutjazz.com,  Michael Pagán has performed for 40 years throughout the United States and in Europe with a long list of jazz luminaries.  He was born into a musical family in Ravenna, Ohio USA and received his first piano instruction from his parents. He remembers hearing recordings of Art Tatum, Oscar Peterson, Bill Evans, and Miles Davis, as well as Beethoven, when he was seven years old.

His formal music training took place at Kent State University (masters in composition) in Ohio, where he began his playing career in Cleveland and surrounding areas. He then attended Northwestern University (doctorate in composition) in Evanston, Illinois. During that time while playing jazz piano in Chicago he was recognized as a “musician deserving wider recognition” by Downbeat magazine.  As a versatile performer of many styles, jazz being his most fluent, he has been a featured soloist with many ensembles and played jazz aboard the legendary Delta Queen on the Mississippi River.

Mike has an extensive list of compositions and arrangements, nearly 200, mostly in the jazz idiom.

Among the numerous awards he has received is First Prize, New Music for Young  Ensembles International Composers Competition for his Impromptu, Chorale & Fugue which included a performance in Carnegie Hall, New York. His big band CD Pag’s Groove received airplay and critical acclaim throughout the United States and Europe and his trio recording Three for the Ages also garnered glowing reviews as did his jazz-infused 12 Preludes and Fugues for saxophone quartet.

Michael Pagán’s jazz compositions and arrangements are published by Dutch Music Partners (DMP) and Percussion Music dotcom of the Netherlands. He can be heard on 25 CDs on the Artists Recording Collective (ARC), Cadence, Capri, DMP, and Tapestry record labels, as well as Apple Music, You Tube and Spotify. He has led his own big band and performs regularly in the venues of Kansas City as a solo pianist, and most recently with his jazz quintet Paganova.

Visit michaelpaganmusic.

Anchoring the rhythm section, bassist Mark Saltman and pianist William Knowles compose and arrange music for their jazz quintet SaltmanKnowles.  Based in Washington, DC, the ensemble plays a combination of primarily original music and standards, as well as original arrangements of a few 80’s tunes.

Saltman and Knowles have recorded and released seven original jazz CDs together over the past 20 years. Originally known as Soulservice, they now record as SaltmanKnowles. Their most recent release Almost peaked at #23 on the Jazz charts. Together they have spent time as Artists-in-Residence for the Kennedy Center Millennium Stage, received two grants from the DC Commission of the Arts and Humanities, and won the Best International Jazz Song Award in 2007 from Toronto Exclusive Magazine. Their fifth release, Return of the Composer, was in the top ten on the Jazz World Week Radio Chart.

Knowles and Saltman met while attending the composition program at the University of Massachusetts, and their similar affection for the music of Billy Strayhorn, Horace Silver, Cedar Walton and Charles Mingus led to their musical relationship. When live performance became impractical during the pandemic, SaltmanKnowles began posting weekly videos using JamKazam, a new technology that allows musicians to play over the internet in real time. The posts can be found on Facebook and Instagram at @saltmanknowles. 

Mark Saltman was born in Bridgeport, Connecticut and now resides in Washington, DC. He holds a BA in Music from Western Connecticut State University and an MA in Composition from University of Massachusetts Amherst, where he studied with musical pioneer and mentor Dr. Yusef Lateef. Over the past couple of decades, he has scored independent films, played numerous jobs on the double bass, and also taught music in the public and charter school systems.

Saltman has written scores for the award winning feature length film Dante, a remake of the original inferno as well as for short films including The Hard Sale, Perchance To Dream, Bells For Her, Jedis From Dallas and currently is working on Sci-Fi trilogy episodes of Paradox.

William Knowles is originally from Milwaukee, Wisconsin, and lives in College Park, Maryland. He received a BA from Howard University (emphasis Jazz Studies) and an MFA from the University of Massachusetts Amherst. During the past twenty-five years Mr. Knowles has amassed credits as a Composer, Arranger, Musical Director and Pianist for many shows at regional theaters around the country, including Dallas Theater Center, Philadelphia Theatre Company, Arena Stage, Northlight (Chicago), CenterStage (Baltimore), Indiana Repertory Theater, and the Milwaukee Repertory Theater, where he has performed in eight different productions.

Other notable productions include Tambourines to Glory, directed by Kenny Leon at the True Colors Theatre Company, and the 2001 regional theater tour of Dinah Was. Mr. Knowles has collaborated with playwright, lyricist, and director Thomas W. Jones II on a number of projects. Their original works include: Slam, Pearl Bailey…By Request, Cool Papa’s Party, Fool In Love, Ladies Swing The Blues, Billie’s Song, Blackberry Daze, and Shake Loose. The Knowles/Jones collaboration has yielded a Helen Hayes Award for musical direction 2010 for Knowles (MetroStage), and Helen Hayes musical direction nominations for Gee’s Bend (MetroStage, 2014) and for Slam (Studio Theatre, 2000).

The eighth SaltmanKnowles record is titled Native Speaker.  The album will be primarily original music, mixed with a few arrangements of tunes that strike us.  The concept of the album is two-fold: First, we are practitioners of the African American music art form called jazz, and we’ve committed our lives to it.  Second, whether you are a native speaker of my language or not, you are welcome here.  You’re in my country, my land, my music, my clothes, my home, my dreams, and in my art.  I wouldn’t want it any other way.

Saltman and Knowles bring the experiences of their independent projects to their recording projects, and their shared philosophy has contributed to their musical partnership:  Write songs that stick to your bones.  Ear catchers that remind you of a person, or coming of age, or a place, or a tune that pulls you through a dark patch.  Selfishness is monochromatic, and we like color.

Ramsay Casadesus Rawson is a Paris-based musician currently performing classic bossa nova and international standards in intimate settings with voice and guitar. Inspired by classic microphone singers from the radio era of the mid 20th century, he sings in multiple languages and performs around the Paris area with his group Paris Bossa Nova. As co-founder and producer of the Brazilian lounge group Luxo 100, he has been a long time collector and connoisseur of Brazilian, Latin and African sounds and DJs as one half of the global beats and electronica duo World Class International with DJ KindB. He has also produced numerous electronic lounge and disco albums under the pseudonym Armando Pelli.

​Through AXIOM, Peter and Phil feel that they are indeed establishing their own special place on the contemporary music scene.  When recently asked “What is AXIOM all about and what are you trying to say, musically speaking?” Peter responds, ‘As the name implies, this is the self-evident truth in music for us!  I grew up playing tunes by Jr. Walker, James Brown, the Allman Brothers, Jimi Hendrix, etc.  I love that stuff and always will.  Then, put that together with my affinity for Jazz and Latin music through people such as Miles, Wes, Bird and Jobim.  Now I have this fantastic opportunity to express all of that here with AXIOM!” Phil adds, “There’s that certain spark of creative spontaneity inherent in all of the music we love and that’s what I’d like to think we’re achieving in AXIOM.  There’s a strong element of teamwork here as all the players get the chance to really be involved from performing as well as from a compositional standpoint

Haruna Fukazawa is a New York-based flutist and improviser, originally from Tokyo, where she studied classical music at the Musashino Academia Musicae. She started visiting New York City regularly to study with Frank Wess, and shortly after with his encouragement, she decided to move to New York. Haruna’s straightforward, joyful, and powerful playing style is inspired most by her legendary teacher and mentor, Frank Wess.

After she arrived in the United States, her career continues to evolve as she works in a variety of groups. Of note is her involvement with legendary jazz improvisational pioneer

Karl Berger. She had been a member of Karl Berger’s Improvisers Orchestra. She has performed in some of the most prestigious venues, among them the Blue Note, Carnegie Hall, The Stone, The 55 Bar, The Bitter End, The Nash and the Edge fest. In 2024, she was invited as a guest improved soloist for Tango Orchestra of the National University of the Arts in Buenos Aires, Argentina. Also, Haruna is a multi-time winner of the National Flute Association.

Her leader quintet released the album from Summit Records in 2019. It was ranked in 50 on Jazz Week. She was also featured on the cover of the Hot House Jazz Magazine.

In addition as an improviser, she gave workshops on free improvisation at the NFA convention (2023), the New York Flute Fair (2024), and The International Low Flutes Festival (2024).

“Ms. Fukazawa has continually amazed me with her ability to create strikingly distinctive styles, always a leap ahead of the hottest and conservative trends. She brings an exceptional level of creativity and technical ability and always surpasses expectations. She is an inspiration and her stylistic genius is of tremendous value”
– Frank Wess

“This album affirms that a flute-led group can be as viable as more conventional from lines”

– Hot House Jazz Magazine

“For a flutist to go head-to-head with a soprano saxophone in a bop milieu takes a lot of guts and in those contexts and contests Fukazawa is exceptional.”

– New York Jazz Records

harunaflute.net

Whispering Worlds is an electronic-acoustic ensemble that connects four musicians with two AbletonLive systems to deliver global music that stretches from the depths of ambient landscapes to Raga-based compositions and interactive experimental Jazz.

Their debut performance paid homage to Jon Hassell at the Festival of New Trumpet Music in NY drawing praise from the artistic director/trumpeter/composer.

“Delving deeply into the sonic and spiritual worlds of Hassell’s work, Aaron Shragge presents a deeply felt homage to the trumpeter and composer. This meditative set demonstrated focus and passion, with beautiful and precise playing. A fantastic vision of what the trumpet can do and be…” -Dave Douglas

AC JAZZ: A Brazilian Saxophone Virtuoso

Prepare to be captivated by the daring (powerful) sounds of AC, a Brazilian saxophone player with an impressive musical journey that spans continents and eras.AC’s musical odyssey began at the prestigious Berklee School of Music, where he earned a Bachelor’s degree in Performance in 1991. His exceptional talent was recognized with the Berklee Performance Achievement Award upon graduation, a testament to his extraordinary skills and dedication.

AC’s quest for mastery took him to the California Institute of the Arts, where he pursued a Master’s degree in Jazz Reeds in 1993. There, his original composition graced the CD “Cal Arts Jazz-93” by Capital Records, introducing his presence in the global jazz landscape.

A thirst for knowledge led AC to the University of Rio de Janeiro (UNIRIO), where he completed his PhD in Music in 2005. His groundbreaking doctoral thesis explored the intricate world of improvisation within the Brazilian jazz repertoire, featuring insightful interviews with some of Brazil’s finest instrumentalists.

AC’s musical interest beyond academia, took him to North America, where he collaborated with luminaries like George Garzone, Hal Crook, Charlie Haden, and Ernie Watts. He lent his artistry to diverse projects, including soulful collaborations with talents like Matt Johnson in Boston and Thom Teresi in LA..

Back in Rio de Janeiro, AC became a prominent figure in the jazz scene, leaving his indelible mark alongside icons like Alaíde Costa and the legendary Zimbo Trio. He shared stages with esteemed drummers Robertinho Silva, Paulinho Braga, and Claudio Infante, saxophonist Nivaldo Ornellas, pianist Weber Drummond, trumpeter Marcio Montarroyos, guitar player Fernando Vidal and bassists Adriano Giffoni, Andre Rodrigues, and Ronaldo Diamante.

AC’s personal projects are a testament to his creative spirit. From the captivating sounds of Solari Jazz and the innovative “Brazilian Acid” collaboration with producer CDC to intimate sax-piano duets and soul-baring solo saxophone ventures, his discography is a kaleidoscope of musical exploration. AC’s musical journey continues to evolve, with recent releases including “A.T.A.C,” a surprising sax-drums duet, and the 2022 gem “Quartets,” a reinterpretation of Chick Corea’s iconic “Three Quartets.”

Beyond his virtuosity as a performer, AC has embraced the role of educator and mentor. He has shared his profound knowledge through private lessons and master classes imparting wisdom on saxophone mastery, jazz improvisation, and harmony. He holds a  tenured professor  at  the Federal University of Rio de Janeiro (UFRJ) Scholl of Communication teaching Audio Technology, Soundtrack, and E-Puc  for the undergraduate program and Music Technology and Market tath the Graduate Program.  In 2022, as a result of a research project AC released,an eBook about Jazz Composition and Jazz History available on  Apple Book.  His next research project is based on the music of Astor Piazzola to be conducted in Argentina with local musicians bridging the musical universe of Piazolla to the jazz idiom.

A dynamic academic and a relentless advocate for Brazilian jazz, AC has presented his insights at international conferences and holds faculty positions at UFRJ’s PPGMC (Master’s in Creative Media) and UNIRIO PROEMUS (Master’s in Music Education) programs. Step into the enchanting world of AC’s music—a journey of passion, innovation, and relentless pursuit of excellence. Discover the saxophonist who harmoniously bridges the realms of performance, education, and scholarly exploration.

Singer-songwriter and a master’s student in vocal studies from Germany, Sebastian Prince, presents his debut album, “Prince,” comprising 10 original songs that traverse various genres such as pop, electronic, indie, soul, funk, rock, R’n’B, and jazz. The album serves as a reflection of his personal experiences, ranging from his school days to the experiences gained in his early twenties. Even though he did not come from a musical family, music has always played a significant role in Sebastian Prince’s childhood. He was fortunate to grow up in a family that strongly supported him, recognizing his talent from an early age and always encouraging him to pursue his dream of becoming a professional musician. After many years of vocal training, he began his music education at the Maastricht Conservatory in 2018, where he completed his undergraduate studies with a major in jazz singing in the summer of 2022.

Coming from a music family, David’s exposure to music was natural, and at the age of 6, he started taking piano lessons. After graduating from the London College of Music at the age of 20, there was always a desire to apply his music knowledge into something more contemporary.

Having been involved in di­frent music projects with other local and foreign musicians, David started to experiment di­frent music styles including rock, blues, reggae and jazz.

X-Factor participant both in Spain and in Malta, David launched his debut single as a sole artist – I’m Gonna Be Your Lover a mix of reggae with tints of jazz, blues and swing. A live acoustic version of the song was performed and transmitted on Spanish

National TV Station La2 de TVE during the tv show D‑esta, aired in December 2018. David’s second single Gone, is a classic rock ballad speaking about an old love now gone. More music followed in 2018. His latest single Viaje al Paraiso is a song in the Spanish language which speaks about the parallel life of a musician and a migrant. This song was recorded in Madrid and produced by Fran Rivera, formerly guitarist of Italo-Spanish sensation Miguel Bose.

Apart from his own music projects, David performs as sole artist or with fellow musicians in di­erent venues and events bothlocally and abroad. His soulful vocals accompanied by his piano or guitar playing, as well as his varied genres of adapted coversand originals, will take you to a unique music journey and experience.

Pritesh Walia is a virtuoso jazz guitarist, accomplished composer, and dedicated educator hailing from the vibrant city of New Delhi, India. His musical journey began at the age of 13 when he immersed himself in the rich traditions of Indian Classical Music. Fueling his insatiable curiosity for music, Pritesh sought Western influences, initiating a lifelong pursuit of mastering diverse musical styles.
Armed with an Associates of Arts Degree from the Musicians Institute College
of Contemporary Music, a Bachelor’s Degree from Berklee College of Music in Contemporary Jazz Performance and Jazz Composition, and a Master’s Degree in Jazz Performance from the New England Conservatory, Pritesh has honed his craft alongside some of the finest jazz musicians in the United States.
Not only has Pritesh showcased his exceptional talent on global stages, but he has also formed collaborative partnerships with prestigious brands. During his tours of India from 2015 to 2017, he proudly represented leading musical instrument retailers. Sponsored by these industry giants, Pritesh conducted master classes and clinics across India, South America, and the United States, including two appearances at the esteemed Panama Jazz Festival. Pritesh’s instructional prowess is further exemplified by his lessons and packages featured on renowned guitar instructional platforms such as Licklibrary.
Currently endorsed by elite brands like Gruvgear, Chicken Picks, Collings Guitars, and Antelope Audio, Pritesh continues to push the boundaries of his
musical exploration. His passion for education is evident in his role as a Jazz educator at institutions such as Bunker Hill Community College, Brookline Music School, and Excelsia College Sydney, where he guides  master’s students in the art of jazz.
Pritesh is poised to make significant waves in the music scene with the upcoming release of his debut album, “Hope Town,” scheduled for a fall 2023 release on all streaming platforms. This album, meticulously mixed and mastered by multi-Grammy winner engineer Dave Darlington, promises to be a testament to Pritesh’s artistic vision. Additionally, Pritesh is set to unveil his organ trio, “PSA,” in mid-2024, followed by a Big Band record featuring the Henry Godfrey Jazz Big Band and a modern Brazilian project with strings, both slated for release in late 2024.

Crabs & Feathers is a music project that was born in 2019. Claudio Niniano (guitar and vocals) and Jonathan Norani (tenor saxophone) met at the Civic Jazz Courses in Milan. Claudio comes from the world of folk and songwriting, while Jonathan has played in various funk-influenced formations. They immediately established a strong personal and musical connection. Soon, they began performing in various venues and clubs in Milan. Their repertoire includes jazz standards and rock, folk, and pop songs arranged in a personal manner. The performances of Crabs & Feathers are characterized by the alternation of moments of great energy and rhythmic drive and more delicate situations with a rarefied and introspective atmosphere. The guitar and saxophone constantly engage in dialogue, creating well-crafted arrangements and always new improvisations.

Over the years, Crabs & Feathers has become increasingly known and has participated in important festivals such as Jazzmi in Milan, City of Guitars in Locarno, and the Ferrara Buskers Festival. Additionally, they have collaborated with internationally renowned artists such as Tony Hadley (formerly of Spandau Ballet), Cutting Crew, Maggie Reily, and Connie Talbot. Currently, Claudio and Jonathan are busy creating their first album of original songs. Both are constantly working to find a sound and musical style that could be described as intimate, where the language of jazz meets the lyricism of folk ballads, embraces the expansive spaces of travel music, and transports the listener to places that are simultaneously unknown and familiar.