Francois Moutin - upright bass; Tigran Hamasyan - piano;
Rick Margitza - saxophones; Louis Moutin - drums

Back in 1999 Louis and Francois Moutin decided to form THE MOUTIN REUNION QUARTET in order to perform their original compositions. They had a common desire: to create music expressing the energy of life; full of emotion and spontaneity - a music close to them, to what they intimately feel, inhabited by Jazz' spirit, swing and grooves, inviting listeners and musicians to celebrate beauty and imagination.

They are sharing this desire with their two outstandingly skilled partners: the amazingly talented pianist Pierre de Bethmann and the immensely gifted saxophonist Rick Margitza. Not only Rick is a former partner of Mr. Miles Davis, but also both he and Pierre can pride themselves on their profoundly creative and extremely successful respective solo careers.

Since then the band has toured extensively in both America and Europe, performing for more and more big and enthousiastic audiences.

Carl Allen - drums; Rodney Whitaker - bass; George Colligan - piano

The pursuit of knowledge, experience, and ever-present swing is a recurring theme in the life of drummer/composer and Milwaukee native Carl Allen. It's a theme that began to take shape when, as a teenager, he performed with such greats as Sonny Stitt and James Moody and it's a theme to which he held fast as his musical quest took him to The University of Wisconsin - Green Bay (1979-81) and New Jersey's William Patterson College (1981-83). While at William Patterson, he pursued his life-long dream -- the drum chair in trumpeter Freddie Hubbard's band. He got the position in 1982 and remained with Hubbard for eight years - also serving as the trumpeter's musical director and road manager.

Allen says, "my ultimate goal is to get to a level like Art Blakey, Art Taylor, Elvin Jones and Billy Higgins and these cats who, every time they sit down behind a set of drums it's swinging. The power of swing is something else and once I get to that level everything else falls into place."

In a true Messenger (as in Art Blakey) state of mind, Allen began to extend Blakey's ideals into his efforts outside of Hubbard's band. In 1988, Allen co-founded Big Apple Productions (with altoist Vincent Herring), which through its production of several albums for labels in Japan (Alfa, King, Venus, Keystone Music International and others), introduced now rising stars like Roy Hargrove, Nicholas Payton and Cyrus Chestnut.

Allen maintains an exhaustive schedule of recording and touring. He remains active as a leader (most recently leading Carl Allen & The Art of Elvin - a musical tribute to Art Blakey and Elvin Jones), Carl Allen's Pilgrimage, New Spirit and as an in-demand sideman (recent recordings with Eric Reed, Vincent Herring, and many others).

It's well-known nationally that Seattle boasts an inordinately large number of world-class High School big bands, among them, Garfield, Roosevelt, Mountlake Terrace, Newport, Edmonds Woodway, Shorewood & Ballard. The Ballard Festival has proudly presented combos from all of these schools at each of the last two festivals. This year, in addition to hearing the great small groups, we decided to present a festival big band to allow more students from these programs to be involved with the festival, and to also allow us an opportunity to present the writing of some of the Northwest's great big band composers. The 2007 Ballard Jazz Festival Big Band opens the mainstage concert performing the music of Seattle pianist Marius 'Butch' Nordal.

sponsored by Cornish College of the Arts

Vic Juris - guitar; Corey Christiansen - guitar; Jeff Johnson - bass; Matt Jorgensen - drums

Jay Thomas - saxophone; Buddy Catlett - bass; Greg Williamson - drums

Vic Juris began his musical ascent in the early 1970s through appearances and recordings with Phil Woods, Dizzy Gillespie, and Miroslav Vitous. Vic participated in the jazz fusion movement with the Barry Miles group and in duets with Larry Coryell. His virtuosity and creativity both in acoustic and electric ensembles allowed him to steadily build a broad fan base.

Vic has recorded and performed with an extensive roster of jazz greats, including David Liebman, Freddie Hubbard, Gary Peacock, John Ambercrombie, Bireli Lagrene and Lee Konitz. A master of fluid lyricism, subtle phrasing and engaging harmonies, Vic is especially well known for his seductive ballads. He is a prolific composer and recorded many of his previous works with the Steeplechase label.

As senior editor for Mel Bay Publications, jazz-guitarist Corey Christiansen took advantage of an opportunity to record the first release for a promising new label. He teamed with long-time friends and colleagues Per Danielsson (piano), Danny Gottlieb (drums) and Mark Neuenschwander (bass) to record Awakening, released on Mel Bay Records in June 2004.

Earshot Jazz Buddy Catlett Tribute says: “Buddy Catlett, a man who makes the bass sound as warm as a mother’s embrace, is honored by long-time colleagues. In the late 1940s, he gigged on Seattle’s fabled Jackson Street with Quincy Jones and Ray Charles, then hit the road from the 1950s to 1970s with Jones, Cal Tjader, Count Basie, and Louis Armstrong, and recorded landmark albums with them, Frank Sinatra, and others. In 1978 he returned to Seattle, where he is held in both awe and admiration.” His first CD as a leader, "Here Comes Buddy Catlett," is available from Pony Boy Records.

sponsored by Tully's Coffee

Back in 1999 Louis and Francois Moutin decided to form THE MOUTIN REUNION QUARTET in order to perform their original compositions. They had a common desire: to create music expressing the energy of life; full of emotion and spontaneity - a music close to them, to what they intimately feel, inhabited by Jazz' spirit, swing and grooves, inviting listeners and musicians to celebrate beauty and imagination.

They are sharing this desire with their two outstandingly skilled partners: the amazingly talented pianist Pierre de Bethmann and the immensely gifted saxophonist Rick Margitza. Not only Rick is a former partner of Mr. Miles Davis, but also both he and Pierre can pride themselves on their profoundly creative and extremely successful respective solo careers.

Since then the band has toured extensively in both America and Europe, performing for more and more big and enthousiastic audiences.

Continuing the tradition that was started in 2005, Matt Jorgensen +451 will take the stage at Midnight and perform their Late Night Set which will feature music from their 3 CDs for Origin Records as well as new material featuring some special guests.

Matt Jorgensen ranks high among the new breed of young musicians who will shepherd jazz into this next millennium. Drummer and percussionist, bandleader and composer, concert tour director and road manager, Matthew is the epitome of a modern jazzman, with a keenly personal musical voice, plus the wherewithal to help the music reach its potential audience.

Matt Jorgensen's work, both as a leader and sideman, reflects a deep immersion in the jazz tradition. He is known for the freshness of his playing, his ability to say something new and appropriate to each musical occasion, favoring directness and passionate sincerity over mere bombast. His own groups, the intensely driving, rock-tinged unit, 451, and the hard-bop RadioAction, look simultaneously forward and back, with honest, daring jazz which updates the modern classics by finding its own path through demanding and new terrain.

sponsored by Seattle Divorce Services

Richard Cole - saxophone; John Hansen - piano;
Chuck Deardorf - bass; Dave Coleman - drums

Fans, critics and musicians place Richard Cole in the first rank of his generation's players. A nationally acclaimed talent, Richard is among the most in-demand musicians in the burgeoning jazz scene in the Pacific Northwest. Beside work with such jazz greats as Randy Brecker, Dave Holland, Adam Nussbaum, Julian Priester and John Fedchock, he has toured regularly with fusion star Dan Siegel, performed with r&b legends Gladys Knight, The Temptations and The Four Tops while also composing and performing his own music. Richard's music is clearly jazz, following forward from the intense traditions of the jazz masters, yet it is enriched by the many lessons learned from his wide range of musical experiences.

Richard cites numerous influences including the seminal jazz performances of John Coltrane and Joe Henderson. He studied music at Western Washington University and taught woodwinds, ensembles and improvisation at the prestigious Cornish School of Music in Seattle, Washington.

Richard can be heard in the Seattle area playing with the likes of John Bishop, John Hansen, Jeff Johnson and Bill Anschell. His latest album for the Origin label, The Forgotten, features modern jazz giants Randy Brecker, Joey Calderazzo, and Adam Nussbaum.

sponsored by Chuck Cady/Ann Babb-Nordling, ReMax Northwest

Thomas Marriott - trumpet; Rick Mandyck - guitar;
Jeff Johnson - bass; John Bishop - drums

One of the primary voices in Northwest Jazz for 20 years, John Bishop's drumming is a regular feature at all of the leading music festivals, clubs and studios in the Northwest, complementing the playing of jazz greats Bobby McFerrin, Slide Hampton, Benny Golson, George Cables, Kenny Werner, Eddie Daniels, Joanne Brackeen, Carla Bley, Steve Swallow, Kenny Rankin and countless others. He’s appeared on over 60 albums & videos with projects including: CD sessions with Rudy Van Gelder, Ernie Watts, Ralph Towner & Teo Macero; a Grammy nominated CD with Mark Murphy for RCA; educational videos for REH/Warner Bros., and documentaries for PBS.

sponsored by Windows, Doors & More

Gail Pettis - vocals; Randy Halberstadt - piano;
Larry Holloway - bass; Steve Korn - drum

Two-time nominee for the Earshot Golden Ear "Northwest Vocalist of the Year," and recent winner of the Seattle-Kobe Female Jazz Vocalist Audition, Gail is a welcome addition to the Pacific Northwest jazz scene. Gail's style is at once subtle and elegant, sultry and soulful. Her rich, warm vocals and understated phrasing have inspired comparisons to Nancy Wilson, Sarah Vaughn and Carmen McRae.

Gail inherited a passion for jazz from her family while growing up in Gary, Indiana. Over the years, her desire for creative expression fueled an exploration of instrumental performance and dance, exposing her to many other styles of music, however vocal jazz remains her first love. Now residing in Seattle, she continues to draw

inspiration from these diverse influences and enjoys sharing her unique talent with listeners at home and abroad. Most recently, she was artist-in-residence at the Amersfoort Jazz Festival in the Netherlands, performing with the New Manhattan Big Band and with Eddie C. and the Dutch Jazz Cats on the mainstage and other venues in Amersfoort and Harderwijk. Included on this tour was a stop in Kobe, Japan to perform as a guest artist at Kobe's annual Jazz Vocal Queen Competition.

sponsored by Baxtalo Creative Services

Dan Balmer - guitar; Clay Giberson - piano; Jeff Leonard - bass; Charlie Doggett - drums

Dan Balmer's playing spans the spectrum of contemporary jazz guitar, from melodic to dissonant, groovin' to loose, dense to sparse, clean to distorted, while the songs cover a broad emotional palette as well, all made more memorable by the obvious bond amongst the musicians.

Marty Hughley of The Oregonian states, "Dan Balmer. the veteran Northwest guitar star, teams with two of New York's finest to re-imagine the organ trio. The tunes are bright and inviting as much so for the improvisers here as for listeners and the playing highlights the emotional warmth of Balmer's approach with marvelous technique and vibrant inmgaination."

Enough said.

Upper Left Trio: Clay Giberson - piano; Jeff Leonard - bass; Charlie Doggett - drums

It would be too easy to pigeonhole the Upper Left Trio as a Bad Plus wannabe. Doing so would certainly be inaccurate, as the Upper Left Trio exists at approximately the midpoint between the Oscar Peterson Trio and Medeski, Martin, and Wood. The band’s debut recording, Cycling , consists of 10 well-crafted original piano trio compositions that fall conservatively well short of the Bad Plus, producing a record that will not boast the band being the loudest jazz piano trio. The Upper Left Trio can boast being one of the more articulate and thoughtful new trios to emerge in the mainstream in the 21st century.

Fully integrated, the trio acts a unit as opposed to a collection of three individuals. Clay Giberson displays a piano gift that crosses Horace Tapscot with Tommy Flanagan. His playing with the rhythm section of drummer Charlie Doggett and bassist Jeff Leonard displays the true nature of solution in music. Each musician is fully dissolved in the other. This is best illustrated on the opener, “Fine Line,” where Giberson presents a standard introduction before melting with the other band members. “The Start and the End” is the best ballad on the recording, with Doggett’s perfectly accenting drumming spurring the elasticity of Leonard’s bass beneath Giberson’s melodic concept. The breezy gospel tune “Up and Away” weaves in and out of the blues and avant garde. “Cycling” begins with some elastic virtuosity from Leonard, who sets up a bit of a space mood for the piece that ends up being reflective and outspoken.

sponsored by Boustead Event Services

Dawn Clement - piano; Jon Hamar - bass; Byron Vannoy - drums

The musical delicacy and vivaciousness of pianist/composer Dawn Clement has been heard in some of the world's most premier venues including Carnegie Hall, Le Conservatoire Superieur in Paris, and Seattle's Benaroya Hall, as well as numerous clubs (including Sweet Rhythm and Tonic), art museums, and theaters. Dawn has also toured the U.S. with a number of projects including the Sabella Consort (2000-2003), the Rubin/Clement Piano Dialogues (2000-2002), for which she received a King County Arts Commission Grant (2002), and Jane Ira Bloom.

In August of 2003, Dawn released her first album, Hush, on Conduit Records. Other highlights include performing at the Kennedy Center (Washington D.C.) as one of the top five finalists in the Mary Lou Williams Jazz Piano Competition (2006), an invitation to compete at the 3rd International Martial Solal Jazz Piano Competition in Paris, France (2002), Earshot Jazz awards for "Best Emerging Artist" (2000), "Best Jazz Quartet" and "Best album" for her performance with the legendary trombonist Julian Priester (In Deep End Dance 2003), and a nomination for "Earshot Jazz Record of the Year" (2004) for Hush. She has performed with such notable artists as Pharaoh Sanders, Edmonia Jarrett, Nancy King, Ingrid Jensen, Louis Moutin, Hadley Caliman, Buddy Catlett, John Clayton, Ron Steen, Chuck Deardorf, Reed Whitwell, Mercer Ellington, Jane Ira Bloom, Bobby Previte, and Herbie Hancock.

Dawn's sound has been heard extensively on the radio. She has had interviews and live performances on Seattle's KEXP (Sonarchy Radio), KBCS (The Don and Bud Show) and KUOW (The Beat), and her music regularly receives radio play around the world. She has also been featured in articles for 5/4 magazine, All About Jazz (NY and Italy), Earshot Jazz (Seattle), Jazz Times, and Hot House. Dawn is currently on the faculty of Cornish College of the Arts and maintains a rigorous performance schedule. Along with promoting her album Hush, Dawn will soon release a new album featuring Matt Wilson (drums) and Martin Wind (bass).

sponsored by SuperGraphics

Jeff Baker - vocals; Bill Anschell - piano; Doug Miller - bass; Jose Martinez - drums

Jeff Baker started at the top. At sixteen, backed by the Lionel Hampton Trio, he won the Vocal Solo Competition at the Lionel Hampton Jazz Festival. Though he evinces a strong emphasis in jazz, he has much broader training including classical and theatrical vocal music and contemporary composition, which came during his undergraduate studies at Willamette University. After college, Baker began recording and performing with his group One Way to Where. He has performed to rave reviews and enthusiastic audiences at repeat performances at Jazz in The Canyon (Twin Falls, Idaho) as well as the Gene Harris Jazz Festival (Boise) and the Gene Harris Block Party since 2000. His concert performances are always packed with new and returning fans who like Jeff’s infectious persona, energy, and talent.

Jazz lovers who chose pianist Bill Anschell as "Northwest Instrumentalist of the Year" in 2005 will welcome his finest work to date. Featuring many of Anschell’s favorite Seattle players, the new recording is a mix of standards (including both spontaneous performances and Anschell’s irreverent "derangements"), and Anschell’s own compositions reflecting his passion for rhythmic experimentation, with influences as diverse as South Indian classical music, traditional Cuban drumming, and New Orleans funk.

Anschell’s previous CDs have enjoyed lengthy stays on the jazz radio charts, and his 1996 release, "a different note all together," was selected by UPI as one of the "10 Best" jazz recordings of the year. He has toured extensively in Europe and South America, both leading his own trio and as pianist/musical director for vocalist Nnenna Freelon. Anschell’s compositions have been featured on network television, cable, and as the theme music for the widely syndicated radio program "JazzSouth."

sponsored by Freund Family Trust

Marco de Carvalho - guitar; Geoff Harper - bass

Marco is a guitarist, composer and arranger originally from Rio de Janeiro, Brazil. He now resides in the Seattle, Washington area.

Marco has played guitar for over twenty years. He holds a bachelor's degree in classical guitar from the Brazilian Music Conservatory, where he was taught by Juarez Carvalho, whom Marco considers his greatest mentor of the guitar. Marco has studied and played with many great Brazilian musicians including Luiz Eca, Affonso Vieira, Lucas Robatto, Ronaldo Miranda, and Helio Delmiro. He also plays with some wonderful Seattle-based musicians including Hans Teuber, Tad Britton, Daniel Carvalho, Rick Houle, Buddy Catlett, Jeff Johnson, Guil Guimaraes, Lori Goldston, Magno Lins, Steve Griggs, Geoff Cooke, Michael White, and many others!

sponsored by All About Jazz / Seattle

Ben Thomas - vibes; Jovino Santos-Neto - piano; Erik Likkel - clarinet

Ben Thomas has been a percussionist since 1985. Playing vibes, drumset, and percussion, he has performed in a wide variety of groups and genres. In the last few years, Ben has performed at the Bumbershoot Arts Festival, Detroit-Montreaux Jazz Festival, Issaquah Jazz Festival, Anacortes Arts Festival, Ellensburg Jazz in the Valley Festival, Tacoma Maritime Festival, Bellingham Art of Jazz Series, and the Seattle Art Museum.

Thomas received his Master of Music with Honors in Improvisation from the University of Michigan in 1994. While in graduate school, he directed the University's Jazz Composers Orchestra and performed with Stephen Rush. His time with Rush resulted in the CD recording of Rush's chamber opera, Murders in the Rue Morgue. Thomas also graduated from Swarthmore College, where he majored in mathematics and music.

As a composer, Thomas has written for chamber groups, big bands, jazz combos, dance and theater. In 1999, he was awarded a grant for music composition by the Seattle Arts Commission. Since moving to Seattle, he has been leading jazz groups and playing with a wide variety of other musicians. Thomas currently teaches at Highline Community College. Working as a clinician/educator, Thomas has taught clinics and masterclasses at Eastern Washington University, the University of British Columbia, Western Washington University, the University of Puget Sound, and Seattle's World Rhythm Festival, as well as high schools and grade schools in Florida, Michigan and Pennsylvania.

Continuing the Ballard Jazz Festival's tradition of presenting up-and-coming jazz artists, Bop Street Records will host two groups from the University of Washington Jazz Studies program.

The Seattle Arts Trio features Josh Alexander on piano, Pete Schmeeckle on drums and Bren Plummer on bass. The group met as students of bassist Phil Sparks combo class in 2005 and have been working together ever since.

Chris Icasiano is currently a Jazz Studies major at the University of Washington under the instruction of Marc Seales, Vern Sielert, Phil Sparks, Tom Collier, and John Bishop. He plays in the Studio Jazz Ensemble 1, the Modern Jazz Contingent, and multiple working bands around the Seattle area.

Jimmy Cho has played both saxophone and piano in UW’s Studio Jazz Ensemble II and currently plays piano in Studio Jazz Ensemble I and Keyboard/Synthesizers in The Modern Jazz Contingent. Jimmy plays extensively throughout the Northwest with his own groups – The Jimmy Cho Quartet and his Piano Trio.

Jason has worked steadily for the past 17 years as a performer and educator both regionally and across the US. Since 2003, Jason's primary commitment has been with the band Death Cab For Cutie and he is featured on their latest albums, Transatlanticism and the Grammy nominated Plans. He has also been very involved as a session player, engineer, studio drum tech and side man working with independent and major label artist that are internationally recognized in various genres of music.

In addition to his busy schedule as a player, Jason has been a core staff member and private instructor at The Seattle Drum School of Music for the past 12 years. While not touring, he holds a steady cliental of students that range in ages as beginners to advanced players, including local and touring professionals.

No one has influenced modern rock drumming in the last 15 years more than Matt Cameron. From his work with Soundgarden to Pearl Jam, Cameron's drumming is always creative and musical.

Matt Cameron had been a part of 'Seattle Sound' until its eventual demise in mid-1990s. His tasteful and inventive playing has turned many heads, including those of many bands that would help pave Cameron's interesting history. After playing in the Buddy Rich memorial benefit concert, Cameron was seen as not only a powerful, yet graceful rock drummer, but also a player with obvious competencies in jazz drumming. His playing was quite well received by the Buddy Rich big band, as well as most of the audience at the concert. Cameron continues to dazzle and satisfy his fans, while at the same time making new ones.

Over the course of his eminent career, Michael Shrieve has written, produced and played on albums that have sold millions of copies worldwide. As the original drummer for Santana, Michael – at age nineteen – was the youngest performer at Woodstock. He helped create the first eight albums of this seminal group, and was on the forefront of shaping a new musical era.

Michael is respected world-wide for his adventurous experimentation with the most creative and masterful musicians. No other drummer has collaborated with such longevity and sophistication alongside artists in such diverse genres as rock, jazz, electronic, DJ and world music. He is well recognized for his groundbreaking adoption of electronic percussion when it was a new medium in the 1970s.

Michael’s recording credits include the masters of popular and avant-garde music – Mick Jagger and the Rolling Stones, George Harrison, Pete Townsend, Steve Winwood, Police guitarist Andy Summers, film composer Mark Isham, and such musical luminaries as John Mclaughlin, Stomu Yamash’ta, Klaus Schulze, Freddie Hubbard, Jaco Pastorius, Wayne Horvitz, Bill Frisell, Zakir Hussain, Airto Moriera and Amon Tobin. Many notable publications have cited Michael’s outstanding work: The New York Times, Downbeat, Billboard, Modern Drummer, Musician, Drum, Paris Match, Melody Maker, and Life Magazine.

Whether he is playing metal or jazz, no drummer has left an impression on Seattle music fans more than Mike Peterson.

One of the primary voices in Northwest Jazz for 20 years, John Bishop's drumming is a regular feature at all of the leading music festivals, clubs and studios in the Northwest, complementing the playing of jazz greats Bobby McFerrin, Slide Hampton, Benny Golson, George Cables, Kenny Werner, Eddie Daniels, Joanne Brackeen, Carla Bley, Steve Swallow, Kenny Rankin and countless others. He’s appeared on over 60 albums & videos with projects including: CD sessions with Rudy Van Gelder, Ernie Watts, Ralph Towner & Teo Macero; a Grammy nominated CD with Mark Murphy for RCA; educational videos for REH/Warner Bros., and documentaries for PBS.

Drummer Gregg Keplinger enjoys legendary status among aficionados of Northwest music for his powerful, individualistic percussion style. Gregg began his musical career with various rock and jazz projects in the 1960s and was a key member of the free-thinking musical community that formed around late 60s coffeehouse The Llanghaelhyn, the crucible of Seattle's modern-jazz movement. In addition to Stackpole, Gregg's musical resumé includes work in such disparate contexts as Soundgarden, his ongoing duo with jazz saxophonist and guitarist Rick Mandyck, and saxophonist Daniel Carter. He is known internationally for his unique, handmade Keplinger snare drums, used by his major inspiration, Elvin Jones, among other luminaries.

Whether he is leading his band, playing drums, promoting a concert, or making records, Matt Jorgensen is a man who makes the music happen. His creativity, forward thinking and good old fashioned hard work continues to leave its mark on the vibrant Northwest jazz scene and beyond.

First and foremost, Jorgensen is about the music. He has recorded four CD’s with his group Matt Jorgensen +451 for Origin Records, which has toured extensively from New York to LA. In addition, his group was named “Best Acoustic Jazz Group” by Earshot Jazz in 2003. Jorgensen successfully fuses modern and traditional jazz, pushing boundaries, with a deep respect for his musical ancestors. Steeped in Jazz, Jorgensen is not constrained by the idiom. As the New York Post puts it “He knows when to give and when to take within a song and he has a rock aesthetic that lends intensity to his improvisations.” These qualities are also part of what has made Jorgensen a consummate sideman. Once residing in New York City, now in Seattle, Jorgensen has played with an impressive list of musicians including Peter Bernstein, Eric Alexander, Bill Mays, Vincent Herring, George Colligan, Reggie Workman, Tim Ries, Chuck Leavell and others.

Carl Allen and Rodney Whitaker present the clinic "Drum And Bass And Their Role In The Rhythm Section" where they will talk about the importance of musical communication. Allen and Whitaker are co-leaders on the new recording on Mack Avenue Records entitled, "Get Ready."

The pursuit of knowledge, experience, and ever-present swing is a recurring theme in the life of drummer/composer and Milwaukee native Carl Allen. It's a theme that began to take shape when, as a teenager, he performed with such greats as Sonny Stitt and James Moody and it's a theme to which he held fast as his musical quest took him to The University of Wisconsin - Green Bay (1979-81) and New Jersey's William Patterson College (1981-83). While at William Patterson, he pursued his life-long dream -- the drum chair in trumpeter Freddie Hubbard's band. He got the position in 1982 and remained with Hubbard for eight years - also serving as the trumpeter's musical director and road manager.

sponsored by Mel Bay Records

Vic Juris' guitar playing first began to attract attention in the early and mid-70s thanks to appearances and recordings with Phil Woods, Dizzy Gillespie, and Miroslav Vitous. Subsequently, he became part of the jazz fusion movement by joining keyboardist Barry Miles' group and also performing in duets with guitarist Larry Coryell. Vics ability to play in acoustic and electric jazz formats without loss of integrity ensured popular acceptance. Juris has also recorded and performed with: David Liebman, Freddie Hubbard, Gary Peacock, John Abercrombie, Bireli Lagrene and Lee Konitz to name a few.

Vic plays with fluent lyricism, choosing to seduce his listeners with subtle phrasing and engaging harmonies. Not surprisingly, therefore, his playing of ballads is particularly attractive, allowing the romantic element to blossom. In addition to his inventive playing, Juris has also composed many songs, some of which he has recorded on the Steeplechase Record Label. He also has a new album on the Mel Bay Records label entitled Second Look.

Corey Christiansen began playing the guitar at the age of five. He studied with his father, Mike Christiansen, (a seasoned performer, writer, and educator at Utah State University) until he finished his bachelor degree. While at Utah State University, Corey received many honors and awards including the outstanding music student award and outstanding guitarist. The Lionel Hampton Jazz Festival awarded Corey with outstanding big band guitarist in 1995 and outstanding solo guitarist in 1995 and 1996.

Seeking a masters degree in jazz performance, Corey sought out renowned jazz guitar educator, Jack Petersen and began studies as a graduate teaching assistant at the University of South Florida. He received his masters degree in jazz performance in the spring of 1999. Jack Petersen retired that same year and Corey was hired to take his place as the adjunct guitar instructor. While teaching at the University of South Florida, Corey worked with the jazz guitar students and directed many of the jazz combos.

Corey left USF to pursue a career at Mel Bay Publications, Inc. as their guitar editor. Corey has a musical background covering many styles of music including jazz, blues, classical, bluegrass, folk, rock and popular music.

Rick Margitza, who has long been regarded as one of the « Young Lyons » of the International Jazz Scene, is nowadays one of the most respected musicians of his generation. Excellent tenor and soprano saxophonist, mostly inspired by John Coltrane, Michael Brecker and Wayne Shorter, he has managed to expand and develop his unique voice, highly poetic and sharply incisive.

He started on the violin when he was four. His grandfather was a cellist and his father a violinist with the Detroit Symphony. He then studied classical piano for a bit, and also played oboe before switching to tenor in high school. He attended Wayne State University, Berklee, the University of Miami, and finally Loyola University in New Orleans, where he lived and played for four years.

Back then, Rick was touring with Maynard Ferguson and also Flora Purim and Airto Moreira. He then moved to New York in 1988.

That same year he joined Miles Davis' group and recorded three albums with them: “Amandla”, “Live around the world” and "Live in Montreux". He then cut three sets as a leader for the prestigious label Blue Note during 1989-1991. Since 1994, his career found itself enriched with five more solo albums and collaborations with such artists as Maria Schneider, Chick Corea and McCoy Tyner.

"One of the best kept secrets in jazz...." Chris Hoven, All About Jazz

George Colligan, an award-winning composer (Chamber Music America/Doris Duke Foundation grant recipient) and player (winner, Jazzconnect.com Jazz Competition), draws fans with his zesty sideman work with players like Cassandra Wilson, Don Byron, Buster Williams, and Lonnie Plaxico, both on the bandstand and in recording sessions (with over 70 sideman credits). He is also prolific as a leader with 16 recordings full of his intelligent writing and impressive technique. His latest CD on the Criss Cross label is entitled Past Present Future . He also has a new CD entitled Realization( Sirocco) featuring his organ trio called Mad Science.

George Colligan has toured, recorded , and/or performed as a sideman with Gary Bartz, Benny Golson, Gary Thomas, Steve Coleman, Eddie Henderson, Ralph Peterson, Vanessa Rubin, Steve Wilson,Richard Bona,a Jane Monheit, Ravi Coltrane, Lenny White, Michael Brecker, Mike Clark, Nicholas Payton, Sheila Jordan, Janis Siegel, Christian McBride, Billy Hart, Charles Fambrough, Mingus Big Band, AL Foster,a Mark Turner, Lee Konitz, Jamie Baum, Michal Urbaniak and Stefon Harris, among others .

“One of the finest vocalists on the scene...” - Dan McClenaghan / All About Jazz

Jeff Baker started at the top. At sixteen, backed by the Lionel Hampton Trio, he won the Vocal Solo Competition at the Lionel Hampton Jazz Festival. Though he evinces a strong emphasis in jazz, he has much broader training including classical and theatrical vocal music and contemporary composition, which came during his undergraduate studies at Willamette University. After college, Baker began recording and performing with his group One Way to Where. He has performed to rave reviews and enthusiastic audiences at repeat performances at Jazz in The Canyon (Twin Falls, Idaho) as well as the Gene Harris Jazz Festival (Boise) and the Gene Harris Block Party since 2000. His concert performances are always packed with new and returning fans who like Jeff’s infectious persona, energy, and talent.