NN North Sea Jazz Festival - Vrijdag Dagkaart
Rotterdam Ahoy | RTM Stage, Ahoyweg 10, 3084 BA Rotterdam Kort
fös. 10.07.2026 14:30
Flytjendur
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Asaf Avidan“An artist that writes like Leonard Cohen, sings like Robert Plant, and has the charisma of a cabaret performer” - Jon Pareles, The New York Times “Billie Holiday, Janis Joplin and Bob Dylan are all in there, but they add up to a wholly original sound, with songs that are beautifully written and fervently performed”. - Bob Boilen, NPR Asaf Avidan has released 7 studio albums which received multiple Gold and Platinum awards in over 15 countries. He has headlined the largest festivals in Europe and sold out his own tours over the past decade.
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Diana Krall
Diana Krall is the only jazz singer to have nine albums debut at the top of the Billboard Jazz Albums chart. To date, her albums have garnered two Grammy® Awards, ten Juno® Awards and have also earned nine gold, three platinum and seven multi-platinum albums. Krall's unique artistry transcends any single musical style and has made her one of the most recognizable artists of our time. As The New York Times recently noted Krall possesses, “A voice at once cool and sultry, wielded with a rhythmic sophistication”
Born in Nanaimo, British Columbia which is outside of Vancouver, Krall grew up in the western part of Canada and began studying the piano when she was four years old. By the time she was 15, she was performing jazz locally and with the encouragement of her father, a stride pianist with a vast knowledge of such Twenties and Thirties keyboard masters as Fats Waller, James P. Johnson, and Earl Hines, she devoted herself to music. "I think Dad had every recording Fats Waller ever made," she says, "and I tried to learn as many as I could."
Krall was still a teenager when she was awarded a scholarship to the prestigious Berklee College of Music in Boston. After two years in Boston, she moved to Los Angeles, where she met her first jazz heavyweights, including bassist John Clayton, drummer Jeff Hamilton, pianist/singer Jimmy Rowles, and Ray Brown, the legendary bassist who served as her musical mentor. In 1993, the Montreal-based Justin Time Records released her debut album, Stepping Out. The following year she signed with GRP Records and recorded Only Trust Your Heart, which featured Ray Brown on bass and Stanley Turrentine on tenor saxophone. Only Trust Your Heart also marked the beginning of her association with Tommy LiPuma, a collaboration that would continue until LiPuma’s untimely passing in 2017.
Krall’s success continued with her subsequent releases All for You, and Love Scenes but her watershed moment came in 1999 with the release of When I Look in Your Eyes, her first release for the historic Verve record label. The recording spent an unprecedented 52 weeks in the #1 position on Billboard's Jazz chart, won two Grammy Awards and went platinum in the U.S. and Canada. Krall's next album, The Look of Love, continued her international success and became a top ten seller on Billboard’s Top 200 Album charts. Since then she has released a string of recordings that have created an impressive body of work, including her critically acclaimed Turn Up The Quiet, which won two Juno Awards including “Producer of the Year.” Diana Krall’s most recent release finds her collaborating with her long-time friend and colleague Tony Bennett. Love Is Here To Stay was recorded with the Grammy award winning Bill Charlap Trio and the stunning result is a subtle, sophisticated and beautifully rendered love letter to The Gershwins’ music and their status as one of the premiere songwriters of the American popular standard. It is a masterclass in vocal delivery and phrasing and the command that Bennett and Krall display of the material in both their duets and solo tracks makes it appear effortless, belying the honed skills of the vocalists. The duet tracks include “Love Is Here to Stay”, “S’Wonderful,” “They Can’t Take That Away from Me” and “Fascinating Rhythm,” among them.
Diana Krall’s recordings have been included in several film soundtracks and she has expanded upon her role as a performer to include songwriting, producing and arranging and has brought her talents to collaborate with many other artists including Paul McCartney, Barbra Streisand and Tony Bennett. She tours extensively around the globe to sold out audiences, appearing at premiere jazz festivals and concert halls throughout North America, Europe, Asia and Australia.
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Esperanza Spalding
esperanza spalding (a.k.a. irma nejando) is an eaabibacliitoti* artist, trained and initiated in the North American (masculine) jazz lineage and tradition. Her work interweaves various combinations of instrumental music, improvisation, singing, composition, poetry, dance, therapeutic research, storytelling, teaching, restorative urban land & artist-sanctuary custodianship, and growing in love as a daughter, sister, cousin, niece, auntie, great-auntie, friend.
She is co-founder and curator of Prismid Inc., a 501c3 that ushers and stewards restorative artist residency & workshop space in Portland, Oregon.
With her dance company Off Brand gOdds (co-founded with Antonio Brown) and the Songwrights Apothecary Lab she leads multi-week performance, workshop, teaching, and therapeutic-arts research residencies.
*European-African ancestored being influenced by American cultures living in Indigenous Territories of Turtle Island
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Jalen N'Gonda
Born in Maryland, USA, Jalen NGonda chose the city of Liverpool as the place in which he would flourish as a musician. It was at the age of 11 he began getting into music, inspired by his father's collection of jazz, hip-hop, and soul records.
Since moving to Liverpool Jalen has been playing gigs across the UK and beyond. Two years later Jalen is selling out headline shows in Germany, UK, and Switzerland, is breaking into Spotify's Viral Charts and is supporting touring acts such as Laura Mvula, Martha Reeves and Lauryn Hill at the Montreal Jazz Festival.
His debut EP is due in early summer 2018.
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James Brandon Lewis
Musician , Composer
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Joshua RedmanJoshua Redman is one of the most acclaimed and charismatic jazz artists to have emerged in the decade of the 1990s. Born in Berkeley, California, he is the son of legendary saxophonist Dewey Redman and dancer Renee Shedroff. He was exposed at an early age to a variety of musics (jazz, classical, rock, soul, Indian, Indonesian, Middle-Eastern, African) and instruments (recorder, piano, guitar, gatham, gamelan), and began playing clarinet at age nine before switching to what became his primary instrument, the tenor saxophone, one year later. The early influences of John Coltrane, Ornette Coleman, Cannonball Adderley and his father, Dewey Redman, as well as The Beatles, Aretha Franklin, the Temptations, Earth, Wind and Fire, Prince, The Police and Led Zeppelin drew Joshua more deeply into music. But although Joshua loved playing the saxophone and was a dedicated member of the award-winning Berkeley High School Jazz Ensemble and Combo from 1983-86, academics were always his first priority, and he never seriously considered becoming a professional musician.
In 1991 Redman graduated from Harvard College summa cum laude, Phi Beta Kappa with a B.A. in Social Studies. He had already been accepted by Yale Law School, but deferred entrance for what he believed was only going to be one year. Some of his friends (former students at the Berklee College of Music whom Joshua had met while in Boston) had recently relocated to Brooklyn, and they were looking for another housemate to help with the rent. Redman accepted their invitation to move in, and almost immediately he found himself immersed in the New York jazz scene. He began jamming and gigging regularly with some of the leading jazz musicians of his generation: Peter Bernstein, Larry Goldings, Kevin Hays, Roy Hargrove, Geoff Keezer, Leon Parker, Jorge Rossy and Mark Turner (to name just a few). In November of that year, five months after moving to New York, Redman was named the winner of the prestigious Thelonious Monk International Saxophone Competition. This was only one of the more visible highlights from a year that saw Redman beginning to tour and record with jazz masters such as his father, Jack DeJohnette, Charlie Haden, Elvin Jones, Joe Lovano, Pat Metheny, Paul Motian, and Clark Terry. For Joshua, this was a period of tremendous growth, invaluable experience and endless inspiration.
Now fully committed to a life in music, Redman was quickly signed by Warner Bros. Records and issued his first, self-titled album in the spring of 1993, which subsequently earned Redman his first Grammy nomination. That fall saw the release of Wish, where Joshua was joined by the all-star cast of Pat Metheny, Charlie Haden and Billy Higgins. He toured extensively with Metheny throughout the latter half of that year. His next recording, MoodSwing, was released in 1994, and it introduced his first permanent band, which included three other young musicians who have gone on to become some of the most important and influential artists in modern jazz: pianist Brad Mehldau, bassist Christian McBride and drummer Brian Blade. A later edition of this ensemble included guitarist Peter Bernstein, pianist Peter Martin, bassist Chris Thomas and Blade. Over a series of celebrated recordings including Spirit of the Moment/Live at the Village Vanguard, Freedom in the Groove and Timeless Tales (for Changing Times), Redman established himself as one of the music’s most consistent and successful bandleaders, and added soprano and alto saxophones to his instrumental arsenal. Joshua’s second acclaimed quartet, featuring pianist Aaron Goldberg, bassist Reuben Rogers and drummer Gregory Hutchinson, was formed in 1998 and made its recorded debut on the 2000 album Beyond. The dynamic interplay and uncommon rapport of this group inspired Redman to write and record his first long-form composition, Passage of Time, which was released in 2001.
A year later, Redman began to channel his jazz sensibilities through new instrumentation and formed The Elastic Band, a flexible, electrified, groove-based trio built on an ongoing collaboration with keyboardist Sam Yahel and drummer Brian Blade. The band debuted on the 2002 releases yaya3 and Elastic. Drummer Jeff Ballard began to play regularly with the Elastic Band later that year, and he (along with Blade and Yahel) played a central role in their next recording, the Grammy-nominated Momentum, which was released in 2005 to inaugurate Redman’s affiliation with Nonesuch Records, and featured a diverse and exciting lineup of special guests.
In 2000, Redman was named Artistic Director for the Spring Season of the non-profit jazz-presenting organization SFJAZZ. Redman and SFJAZZ Executive Director Randall Kline had an idea that The New York Times called a “eureka moment”; the creation of the SFJAZZ Collective, an ensemble distinguished both by the creativity of its members and a unique primary emphasis on composition. Inaugurated in 2004, the eight-piece band consists of a multi-generational cast of accomplished musicians. The Collective’s repertoire features both commissioned works and new arrangements of the work of great modern jazz composers. In March 2007, Redman announced that he was taking a hiatus from both the SFJAZZ Artistic Directorship and the SFJAZZ Collective in order to focus on new projects.
The following month, Nonesuch released Redman’s first ever piano-less trio record, Back East, featuring Joshua alongside three stellar bass and drum rhythm sections (Larry Grenadier & Ali Jackson, Christian McBride & Brian Blade, Reuben Rogers & Eric Harland) and three very special guest saxophonists (Chris Cheek, Joe Lovano and Dewey Redman). On Compass, released in January 2009 (Nonesuch), Joshua continues to explore the expansive trio format, and with a group of collaborators as intrepid as he is – bassists Larry Grenadier and Reuben Rogers, and drummers Brian Blade and Gregory Hutchinson – Redman literally and figuratively stretches the shape of the trio approach; on the most audacious of these tunes, he performs with the entire lineup in a double-trio setting.
Starting in late 2009, Joshua began performing with a new collaborative band called James Farm featuring pianist Aaron Parks, bassist Matt Penman, and drummer Eric Harland. The band infuses traditional acoustic jazz quartet instrumentation with a progressive attitude and modern sound. The band’s performances and two albums have been met with rave reviews across the globe.
In May 2013, Redman released Walking Shadows (Nonesuch), a collection of vintage and contemporary ballads produced by his friend and frequent collaborator Brad Mehldau. This is Redman’s first recording to include an orchestral ensemble and includes a core ensemble of Mehldau on piano, Larry Grenadier on bass, and Brian Blade on drums. About Walking Shadows, the New York Times says "there hasn’t been a more sublimely lyrical gesture in his 20-year recording career."
Released in June 2014, Trios Live (Nonesuch), was recorded at New York City’s Jazz Standard and Washington, DC’s Blues Alley during stands with two different trios - Redman and drummer Gregory Hutchinson with bassist Matt Penman (Jazz Standard) and Redman and Hutchinson with bassist Reuben Rogers (Blues Alley). Trios Live features four original tunes by Redman and interpretations of three additional songs.
After their first partnership during 2011 performances at the Blue Note in New York at the invitation of The Bad Plus, and intermittent performances together over the years, Redman and the tight-knit trio released their first studio album titled The Bad Plus Joshua Redman in May 2015 on Nonesuch. Redman explains the draw of this unique collaboration: "Playing with The Bad Plus has allowed me to explore a part of my playing, and my musical heritage, that I’ve never before accessed in quite the same way with any other group. The adventure with The Bad Plus pushes me toward the fringes and draws me into the core." Redman was nominated for Best Improvised Jazz Solo on the track “Friend or Foe” from this debut recording collaboration.
Released in 2016, Nearness (Nonesuch), was recorded at several European concert stops and illustrates in the most direct and intimate way the extraordinary musical rapport between saxophonist Joshua Redman and pianist Brad Mehldau—label-mates, friends, and fellow travelers in jazz for 25 years. After joining Mehldau as a featured soloist on Highway Rider, the two musicians resumed performing as a duo at concert halls and festivals around the world, garnering superb reviews every time out. The tracks on Nearness were culled from recordings made during summer and fall 2011 European dates in concert halls, theaters, and, one night in Norway, at a church.
Still Dreaming, released in May 2018 on Nonesuch, features drummer Brian Blade, bassist Scott Colley, and trumpeter Ron Miles. Touring together since 2016, the quartet seeks to affirm, in their own way, the musical exploration and experimentation which defined one of the seminal jazz bands of the '70s and '80s, Old and New Dreams, which featured Joshua’s father and Ornette Coleman alumni Dewey Redman on tenor saxophone. Busy as these four musicians are with their myriad musical projects, hearing them perform together as Still Dreaming will likely be a rare opportunity, an uncommon musical adventure - informed by the past, but looking toward the future, and navigated by the now.
Joshua Redman Quartet’s Come What May (Nonesuch), was released on March 29, 2019. It marks the first recording in almost two decades for this group of musicians: the recently Grammy-nominated saxophonist and his longtime friends and colleagues pianist Aaron Goldberg, bassist Reuben Rogers, and drummer Gregory Hutchinson. Previous releases were Beyond (2000) and Passage of Time (2001). The Quartet, which has toured internationally over the last several years, recorded seven Redman tunes for Come What May.
2020 saw Redman reunite with his original quartet – Redman (saxophone), Brad Mehldau (piano), Christian McBride (bass), and Brian Blade (drums) − with the July 10 release of RoundAgain (Nonesuch). RoundAgain, the group’s first recording since 1994’s MoodSwing, features seven newly composed songs: three from Redman, two from Mehldau, and one each from McBride and Blade. The quartet returned in 2022 with LongGone, featuring original Redman compositions from the RoundAgain recording sessions, plus a live performance of the MoodSwing track ‘Rejoice’.
In addition to his own projects, Redman has recorded and performed with musicians such as Brian Blade, Ray Brown, Dave Brubeck, Chick Corea, The Dave Matthews Band, Jack DeJohnette, Bill Frisell, Aaron Goldberg, Larry Goldings, Charlie Haden, Herbie Hancock, Roy Hargrove, Roy Haynes, Billie Higgins, Milt Jackson, Elvin Jones, Quincy Jones, Big Daddy Kane, Geoff Keezer, B.B. King, The Lincoln Center Jazz Orchestra, DJ Logic, Joe Lovano, Yo Yo Ma, Branford Marsalis, Christian McBride, John Medeski, Brad Mehldau, Pat Metheny, Marcus Miller, Paul Motian, MeShell Ndegeocello, Leon Parker, Nicholas Payton, John Psathas, Simon Rattle, Dewey Redman, Dianne Reeves, Melvin Rhyne, The Rolling Stones, The Roots, Kurt Rosenwinkel, John Scofield, Soulive, String Cheese Incident, Clark Terry, Toots Thielemans, The Trondheim Jazz Orchestra, Mark Turner, McCoy Tyner, Umphrey’s McGee, US3, Bugge Wesseltoft, Cedar Walton, Stevie Wonder, Sam Yahel, and Patrick Zimmerli. Joshua Redman has been nominated for ten Grammys and has garnered top honors in critics and readers polls of DownBeat, Jazz Times, The Village Voice and Rolling Stone. He wrote and performed the music for Louis Malle’s final film Vanya on 42nd Street, and is both seen and heard in the Robert Altman film Kansas City.
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SIENNA SPIROSIENNA possesses the type of voice that stays with you long after her music has left the room. With her effortlessly soulful tone, cinematic storytelling, and subtly modern yet timeless sound, it’s almost impossible to believe that the London-born singer and songwriter is just 20 years old.
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Isley Brothers
Official channel for American musical group The Isley Brothers featuring Ronald Isley and Ernie Isley. Originally from Cincinnati, Ohio, that started as a vocal trio consisting of brothers O’Kelly Isley Jr, Rudolph Isley and Ronald Isley. The group has been cited as having enjoyed one of the "longest, most influential, and most diverse careers in the pantheon of popular music". Grammy Award-winning and Rock and Roll Hall of Fame inductees the Isley Brothers wrote and recorded hit songs including Shout!, That Lady, Twist and Shout, It’s Your Thing, Fight the Power, I Wanna Be With You, Between the Sheets, Contagious, This Old Heart of Mine, Voyage To Atlantis, Footsteps in the Dark and many others.
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Vincen GarcíaMusician / Bassist
Bassplayer - FUNKIWIS
+ Vídeos YouTube
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Ão[FR]
En 2013, Anthony Mateus, Quentin Regnault, Mathieu Wilmann, Florent Giudicelli et Baptiste Boudoux se rencontrent et décident de former un groupe sous le nom d'Ao, signifiant « Monde, Univers » en Mahori.
À travers son EP Mahara (2015), Ao délivre un metal moderne fort, alliant mélodies, technique, intensité rythmique, groove et efficacité, dans la lignée de leurs influences telles que Gojira, Lamb of God, Architects ou encore Chimaira.
Dans la continuité de sa réflexion musicale et personnelle, le groupe emmène la musique de son EP plus loin, en y développant un style plus intime. De ces introspections, et partant d'un constat de ce qui nous entoure, va naître le premier album du groupe (2019).
Dans cet album, Ao va puiser son inspiration dans les relations cycliques entre l'Univers, la Terre, l'Individu.
À travers cette nouvelle production, Ao invitera son public à un voyage spirituel, dans lequel la puissance du metal moderne, mêlé de nouvelles teintes ambiant et atmospheric portera une quête inassouvie de la sagesse et de la connaissance.
[ENG]
In September 2013, Anthony Mateus, Quentin Regnault, Mathieu Wilmann, Florent Giudicelli and Baptiste Boudoux met and decided to form a band named Ao, meaning " World, Universe " in Maori language.
With its self-produced EP Mahara (2015), the band delivers a modern metal, combining melodies, technical, rythmic intensity and efficiency, in line with influences such as Gojira, Lamb of God, Architects, Devildriver, Nevermore, or Chimaira.
In the continuity of their journey of musical and personal reflexion, the band brings its music further, by developping a more personal style.
From these introspections and the observation of our world, they're going to give life to their first full length release (2019).
In this album, the band will take its inspiration from the cyclical relationship between the Universe, the Earth and the Individual.
Through this new production, Ao will invite his auditors to a spiritual journey, in which the power of a modern metal, mixed with ambient and atmospheric colors, will carry an unfilled quest for wisdom and knowledge. -
Cecile McLorin Salvant
Eftirsóttasta jazzsöngkona heims, þrefaldur Grammy-verðlaunahafi.
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GallowstreetGallowstreet, the Dutch brass band with an attitude. Hailing from the Galgenstraat in Amsterdam they have refined their sound through the course of 4 albums. A decade of innovating brass music. Gallowstreet has been up and at it. This squad of dedicated musicians from Amsterdam has been proving its worth at festivals and clubs both in the Netherlands and abroad. Armed with 7 horn players and 1 drummer the band employs a wide range of musical genres to tell stories with their compositions, most of them beat driven, all of them with anthemic quality.
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Chris PotterTaken from the Chris's website... A world-class soloist, accomplished composer and formidable bandleader, saxophonist Chris Potter has emerged as a leading light of his generation. Down Beat called him "One of the most studied (and copied) saxophonists on the planet" while Jazz Times identified him as "a figure of international renown." Jazz sax elder statesman Dave Liebman called him simply, "one of the best musicians around," a sentiment shared by the readers of Down Beat in voting him second only to tenor sax great Sonny Rollins in the magazine's 2008 Readers Poll. A potent improvisor and the youngest musician ever to win Denmark's Jazzpar Prize, Potter's impressive discography includes 15 albums as a leader and sideman appearances on over 100 albums. He was nominated for a Grammy Award for his solo work on "In Vogue," a track from Joanne Brackeen’s 1999 album Pink Elephant Magic, and was prominently featured on Steely Dan’s Grammy-winning album from 2000, Two Against Nature. He has performed or recorded with many of the leading names in jazz, such as Herbie Hancock, Dave Holland, John Scofield, the Mingus Big Band, Jim Hall, Paul Motian, Dave Douglas, Ray Brown and many others. His most recent recording, Ultrahang, is the culmination thus far of five years’ work with his Underground quartet with Adam Rogers on guitar, Craig Taborn on Fender Rhodes, and Nate Smith on drums. Recorded in the studio in January 2009 after extensive touring, it showcases the band at its freewheeling yet cohesive best. Since bursting onto the New York scene in 1989 as an 18-year-old prodigy with bebop icon Red Rodney (who himself had played as a young man alongside the legendary Charlie Parker), Potter has steered a steady course of growth as an instrumentalist and composer-arranger. Through the '90s, he continued to gain invaluable bandstand experience as a sideman while also making strong statements as a bandleader-composer-arranger. Acclaimed outings like 1997’s Unspoken (with bassist and mentor Dave Holland, drummer Jack DeJohnette and guitarist John Scofield), 1998’s Vertigo, 2001’s Gratitude and 2002’s Traveling Mercies showed a penchant for risk-taking and genre-bending. "For me, it just seemed like a way of opening up the music to some different things that I had been listening to but maybe hadn’t quite come out in my music before," he explains. Potter explored new territory on 2004’s partly electric Lift: Live at the Village Vanguard (with bassist Scott Colley, drummer Bill Stewart and keyboardist Kevin Hays) then pushed the envelope a bit further on 2006’s Underground (with guitarist Wayne Krantz, electric pianist Craig Taborn and drummer Nate Smith). As he told Jazz Times: "I've wanted to do something more funk-related...music that seems to be in the air, all around us. But also keep it as free as the freest jazz conception." He continued in this electrified, groove-oriented vein with 2007’s Follow The Red Line: Live at the Village Vanguard (with guitarist Adam Rogers replacing Krantz in the lineup). Says Potter of the adventurous new path he’s carved out for himself with his bass-less Underground quartet: “There was a point where I felt like the context I had been using before wasn’t quite working to express what I wanted or to move forward in some kind of way. My aesthetic as a saxophonist has always been based in Bird and Lester Young and Sonny Rollins and all the other greats on the instrument. What I’ve learned from them in terms of phrasing, sound, and approach to rhythm I’ll never outgrow. However music’s a living thing; it has to keep moving. I’ve been touched by many forms of music, like funk, hip hop, country, different folk musics, classical music, etc., and for me not to allow these influences into my music would be unnecessarily self-limiting. The difficulty is incorporating these sounds in an organic, unforced way. It helps me to remember I want people to feel the music, even be able to dance to it, and not think of it it as complicated or forbidding. If I can play something that has meaning for me, maybe I’ll be able to communicate that meaning to other people, and the stylistic questions will answer themselves.” With the ambitious Song For Anyone (released in 2007 also and dedicated to the memory of Michael Brecker), Potter flexes his muscles as an arranger on original material for an expanded ensemble featuring strings and woodwinds. "That was a learning process," he says of this triumphant tentet project, "because I hadn’t done anything on that scale before. I just decided to sit down and write, and it was extremely gratifying to see how it translated into live performance." Looking back over his 20 years since arriving in New York, Potter says, “I’ve had the chance to learn a lot from all the leaders that I’ve worked with. Each gave me another perspective on how to organize a band and make a statement. It’s taught me that any approach can work, as long as you have a strong vision of what you want to do.” His initial gig with Red Rodney was an eye-opening and educational experience for the 18-year-old saxophonist. “I wish I had had the perspective I have now to appreciate what a larger-than-life character Red was.” Potter's years with Paul Motian's Electric Bebop Band represented a wholly different approach from Rodney’s old school bebop aesthetic on stage. “Motian has really had a big affect on the way that I think about music,” says the saxophonist. “He approaches things from such an anti-analytical way. It’s so different than so many of the other musicians that I’ve had a chance to work with. Motian more relies on his aesthetic sensibility and his instinct. He’s basically just trusting his gut and he’s so strong about it that he can make it work. And it takes a lot of courage to do that.” From bassist-bandleader Dave Holland he learned about the importance of focus and willpower. "Dave is determined to make his music as strong as possible and present it in the best way," says Potter, who has been a member of Holland's groups for the past 10 years. "Playing with him, you have the feeling there’s this mountain standing behind you that you can completely rely on. Working with him over the years has helped me see the true value of believing in what you’re doing.” Potter also cites his time on the bandstand with guitar legend Jim Hall as inspirational. “The way that he can be both melodic and sweet and deeply inventive and open-minded at the same time made a big impression on me," he says. Touring and recording with the enigmatic duo of Donald Fagen and Walter Becker (Steely Dan) offered further insights into the artistic process. “They totally went their own way," says Potter. “I have a lot of respect for them and their commitment to their art.” And Potter has remained committed to his art since his formative years. Born in Chicago on Jan.1, 1971, his family moved to Columbia, South Carolina when he was 3. There he started playing guitar and piano before taking up the alto saxophone at age 10, playing his first gig at 13. When piano legend Marian McPartland first heard Chris at 15 years old, she told his father that Chris was ready for the road with a unit such as Woody Herman’s band, but finishing school was a priority. At age 18, Potter moved to New York to study at the New School and Manhattan School of Music, while also immersing himself in New York’s jazz scene and beginning his lifelong path as a professional musician. Now a respected veteran (as well as a new father), Potter continues to work as a bandleader and featured sideman. Surely many interesting chapters await. As his longtime colleague, alto saxophonist-composer Dave Binney, told Down Beat, “Chris is open to anything now. From here on anything could happen.” saxophonist/composer/bandleader
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KokorokoKOKOROKO are a young, London based Afrobeat 8-Piece band led by trumpeter
Sheila Maurice-Grey.
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LA LOM
The Los Angeles League of Musicians, LA LOM, are an instrumental trio formed in Los Angeles in 2021. They blend the sounds of Cumbia Sonidera, 60’s soul ballads and classic romantic boleros that emanate from radios, backyard parties and dance clubs of Los Angeles with the twang of Peruvian Chicha and Bakersfield Country.
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Robert GlasperRobert Glasper is the leader of a new sonic paradigm with a career that bridges musical and artistic genres. To date, he boasts 5 Grammy wins and 12 nominations across 11 categories, an Emmy Award for his song for Ava Duvernay’s critically hailed documentary “13th” with Common and Karriem Riggins, and a Peabody Award for his Composition of “Mr. Soul!”. His work and accolades bridge all aspects of the music business, from live touring to film scoring, composing and producing.
Evolution is his hallmark. Glasper’s breakout crossover album Black Radio changed the face of the genre and set a new expectation for what popular music could be. The album won him the Grammy for best R&B album and established him as the musician of choice for some of the world’s most iconic artists; notably playing keys throughout Kendrick Lamar's To Pimp A Butterfly, winning another Grammy for the elastic track “These Walls”. The ongoing Black Radio series has since become Glasper’s calling card, upholding a place at the heart of a trailblazing community: from long-time sonic brothers Mos Def and Bilal, to legends including Ledisi, Lupe Fiasco, Kanye West, Jill
Scott, and Erykah Badu.
Glasper’s eternal pursuit to further his sound has been consistent in challenging and transforming his creative horizons across the board. Whether producing a remix album with Kaytranda or as a bandleader, Robert consistently defies the limits of the genre. This is evident in a portfolio that ranges from his acoustic jazz trio; which simultaneously defies and elevates the traditional idiom by uniting it effortlessly with electronics from visionary DJ Jahi Sundance, to August Greene; a collaboration with Common + Karriem Riggins, to R+R=Now; a supergroup at the crossroads of hip-hop and Jazz.
In the last year alone, Glasper has seen a staggering diversity of success. He released Black Radio III and Black Radio III Supreme Edition on Loma Vista Records; with features ranging from Jennifer Hudson, Killer Mike, and the late Mac Miller. On screen he created the original score for Run The World Season 2 and The Best Man television series. In July 2022 he was the Co-Founder and Artistic Director of the first Blue Note Napa Valley Jazz Festival, which brought to the stage a plethora of iconic artists; from Chaka Khan to Maxwell and Glasper’s Dinner Party project featuring Snoop Dogg. October 2022 sees him back in New York for his now-legendary month-long residency at the Blue Note NYC, with the usual array of star-studded appearances from the likes of Dave Chappelle, Chris Rock, Questlove, Alex Isley and Miguel joining him both on and off stage.
With boundless innovation and elite technique as his signature it’s no surprise that Glasper has an avalanche of accolades, awards, and achievements to his name - most recently being asked to play at the 2020 March On Washington with Derrick Hodge and funk legend, Sir George Clinton. In August of 2020, Robert released ‘Better Than Imagined’ which won the Grammy for Best R&B song in 2021; the first taste of his Black Radio 3 album. Featuring H.E.R and Meshell Ndegeocello, the song advocates for Black love and the power, and responsibility, we have to improve our world; again demonstrating that, above all, Glasper is an artist at the heart of a moment - and a movement - to champion Black music, Black people, and the possibility of a better future. The hip-hop-head-nod ballad is a dedication to just that: the beauty and
brilliance of a heritage that is as much Kendrick as it is Coltrane, and which seeks to empower and uplift with every offering. Glasper later went on to win the Grammy for Best R&B Album for Black Radio 3 in 2023
In his own words:
“Black lives matter and so does black love; no one wants a life without love, but we have generations of people in our community who haven’t had the tools to actually be in healthy relationships. It seems like people are finally ready to open their eyes to systemic racism in this country, and if we’re going to talk about it, we have to also talk about how it affects our relationships — how we communicate, how we see ourselves, how we treat each other. It’s not always good, even though maybe it could be.” -Robert Glasper
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Wadada Leo Smith
Bandaríski trompetleikarinn og tónskáldið
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Snarky Puppy“Maybe you didn’t notice, but this is Snarky Puppy’s world, and the rest of us only live in it.”—The New York Times
Snarky Puppy, the five times Grammy® winning collective, “has always been a band that prioritizes the sound of the music,” says bandleader and bassist Michael League. Displaying a wide array of influences including funk, rhythm & blues, hard rock, classic soul, modern gospel, new tech, fusion and jazz, Snarky Puppy isn’t exactly a jazz band, it’s not a fusion band and it’s definitely not a jam band. It’s probably best to take Nate Chinen of the New York Times’ advice, as stated in an online discussion about the group, to “take them for what they are, rather than judge them for what they’re not.”
“Our soundscape has expanded dramatically over the years” says League. “When the band started, we were jazzier, brainy and music oriented. Moving into the Dallas scene we became groovier, more emotional, deeper in a sense. We focused more on communicating a clear message, understandable to a listener without dumbing things down”.
In January 2025 the band collaborated once more with the Metropole Orkest– the Netherlands-based hybrid ensemble renowned for fusing jazz, classical, and popular music on a symphonic scale. Captured live over three nights (January 17–19, 2025) in Utrecht, the project reunites the two groups a decade after their first joint effort, Sylva — an orchestral suite released in 2015 that earned the GRAMMY for Best Contemporary Instrumental Album the following year. The result of this collaboration - Somni - was released in November 2025 via GroundUP Music.
“It’s by far the most ambitious project we’ve ever done … and it was one of the smoothest records we’ve ever made,” he says. “Every individual team just absolutely did their job with so much care and love — from the camera operators to our production team.” That spirit was reflected in the room. “The instant feedback was the warmest we’ve ever had. It was encouraging to know that after 22 years of doing what we do, the music is reaching people.”
Always evolving in its musical output, each new record brings a new vision and progressive direction, “Our rule is that it can’t sound like it sounded before” comments League, he continues, “the music has to feel like it’s moving somewhere”
This also raises the question – where will Snarky Puppy go next? For Snarky Puppy fans, the answer to this is a very exciting prospect.
