Alexander McLeanBorn on Chicago’s west side, DEE ALEXANDER is one of Chicago’s most gifted and respected female vocalist/songwriters. Her talents span every music genre, from Gospel to R&B and Blues to Neo-Soul, yet her true heart and soul are experienced through her performance of Jazz. Whether in a soft, sultry ballad or a scat-filled romp, she delivers with a passion for music that comes across in every note, and a grace that is truly her own. Alexander boasts long and fruitful associations with Chicago’s jazz elite, including Ramsey Lewis, Orbert Davis, Nicole Mitchell, Chicago Jazz Orchestra, and the Association for the Advancement of Creative Musicians (AACM). She leads her own Dee Alexander Quartet, as well as the Evolution Ensemble, whose music ranges from original compositions to renditions of James Brown and Jimi Hendrix. Her Jazz Institute of Chicago-commissioned tribute to Nina Simone and Dinah Washington, Sirens of Song, marked the beginning of worldwide recognition, and her performance on the Millennium Park Pritzker Pavilion stage launched a period of extensive touring in Europe. Alexander has received the Chicagoan of the Year in Jazz award and the 3Arts Award for Music. Her CD, Wild is the Wind, was named the album of the summer in France; earned her top votes in Downbeat’s Readers’ and Critics’ polls; received 5 stars in Downbeat; and was chosen as one of the magazine’s top ten recordings in the first decade of the new millennium. She has garnered accolades in African, Australian, European, and North American press. She is currently a host on the WFMT Jazz Radio Network.  JOHN McLEAN’S career has included work as a guitarist, composer, arranger, producer, bandleader, and educator. Since completing his studies at the Berklee College of Music and the University of Miami, he has toured throughout the world and appeared on over fifty recordings. He has performed and/or recorded with such artists as Kurt Elling, Mose Allison, Randy Brecker, Branford Marsalis, Anat Cohen, Jeff “Tain” Watts, Rudresh Mahanthappa, Richie Cole, Ken Nordine, Joe Locke, Regina Carter, Louis Bellson, Dr. Lonnie Smith, Terry Callier, Renee Fleming, John Patitucci, Adam Nussbaum, Ernie Watts, Dave Douglas, Patricia Barber, Kendrick Scott, Arthur Blythe, Eddie Gomez, and many others. Over the course of his thirty years of touring both as a leader and sideman, he has performed in virtually every major city in North America as well as London, Paris, Moscow, Johannesburg, Tokyo, Beijing, Sydney, Sao Paolo, Jakarta, Dublin, Rome, Madrid, Warsaw, Berlin, Oslo, Reykjavik, Oslo, Stockholm, Istanbul, Bucharest, Helsinki, Seoul, Lisbon, Vienna, Budapest, Brussels, Prague, Copenhagen, and Zurich. He has conducted clinics throughout the United States and Canada, as well as Europe and Asia. He currently resides in the Chicago area and teaches at North Central College. 

Alexander McLeanBorn on Chicago’s west side, DEE ALEXANDER is one of Chicago’s most gifted and respected female vocalist/songwriters. Her talents span every music genre, from Gospel to R&B and Blues to Neo-Soul, yet her true heart and soul are experienced through her performance of Jazz. Whether in a soft, sultry ballad or a scat-filled romp, she delivers with a passion for music that comes across in every note, and a grace that is truly her own. Alexander boasts long and fruitful associations with Chicago’s jazz elite, including Ramsey Lewis, Orbert Davis, Nicole Mitchell, Chicago Jazz Orchestra, and the Association for the Advancement of Creative Musicians (AACM). She leads her own Dee Alexander Quartet, as well as the Evolution Ensemble, whose music ranges from original compositions to renditions of James Brown and Jimi Hendrix. Her Jazz Institute of Chicago-commissioned tribute to Nina Simone and Dinah Washington, Sirens of Song, marked the beginning of worldwide recognition, and her performance on the Millennium Park Pritzker Pavilion stage launched a period of extensive touring in Europe. Alexander has received the Chicagoan of the Year in Jazz award and the 3Arts Award for Music. Her CD, Wild is the Wind, was named the album of the summer in France; earned her top votes in Downbeat’s Readers’ and Critics’ polls; received 5 stars in Downbeat; and was chosen as one of the magazine’s top ten recordings in the first decade of the new millennium. She has garnered accolades in African, Australian, European, and North American press. She is currently a host on the WFMT Jazz Radio Network.  JOHN McLEAN’S career has included work as a guitarist, composer, arranger, producer, bandleader, and educator. Since completing his studies at the Berklee College of Music and the University of Miami, he has toured throughout the world and appeared on over fifty recordings. He has performed and/or recorded with such artists as Kurt Elling, Mose Allison, Randy Brecker, Branford Marsalis, Anat Cohen, Jeff “Tain” Watts, Rudresh Mahanthappa, Richie Cole, Ken Nordine, Joe Locke, Regina Carter, Louis Bellson, Dr. Lonnie Smith, Terry Callier, Renee Fleming, John Patitucci, Adam Nussbaum, Ernie Watts, Dave Douglas, Patricia Barber, Kendrick Scott, Arthur Blythe, Eddie Gomez, and many others. Over the course of his thirty years of touring both as a leader and sideman, he has performed in virtually every major city in North America as well as London, Paris, Moscow, Johannesburg, Tokyo, Beijing, Sydney, Sao Paolo, Jakarta, Dublin, Rome, Madrid, Warsaw, Berlin, Oslo, Reykjavik, Oslo, Stockholm, Istanbul, Bucharest, Helsinki, Seoul, Lisbon, Vienna, Budapest, Brussels, Prague, Copenhagen, and Zurich. He has conducted clinics throughout the United States and Canada, as well as Europe and Asia. He currently resides in the Chicago area and teaches at North Central College. 

Alexander McLeanBorn on Chicago’s west side, DEE ALEXANDER is one of Chicago’s most gifted and respected female vocalist/songwriters. Her talents span every music genre, from Gospel to R&B and Blues to Neo-Soul, yet her true heart and soul are experienced through her performance of Jazz. Whether in a soft, sultry ballad or a scat-filled romp, she delivers with a passion for music that comes across in every note, and a grace that is truly her own. Alexander boasts long and fruitful associations with Chicago’s jazz elite, including Ramsey Lewis, Orbert Davis, Nicole Mitchell, Chicago Jazz Orchestra, and the Association for the Advancement of Creative Musicians (AACM). She leads her own Dee Alexander Quartet, as well as the Evolution Ensemble, whose music ranges from original compositions to renditions of James Brown and Jimi Hendrix. Her Jazz Institute of Chicago-commissioned tribute to Nina Simone and Dinah Washington, Sirens of Song, marked the beginning of worldwide recognition, and her performance on the Millennium Park Pritzker Pavilion stage launched a period of extensive touring in Europe. Alexander has received the Chicagoan of the Year in Jazz award and the 3Arts Award for Music. Her CD, Wild is the Wind, was named the album of the summer in France; earned her top votes in Downbeat’s Readers’ and Critics’ polls; received 5 stars in Downbeat; and was chosen as one of the magazine’s top ten recordings in the first decade of the new millennium. She has garnered accolades in African, Australian, European, and North American press. She is currently a host on the WFMT Jazz Radio Network.  JOHN McLEAN’S career has included work as a guitarist, composer, arranger, producer, bandleader, and educator. Since completing his studies at the Berklee College of Music and the University of Miami, he has toured throughout the world and appeared on over fifty recordings. He has performed and/or recorded with such artists as Kurt Elling, Mose Allison, Randy Brecker, Branford Marsalis, Anat Cohen, Jeff “Tain” Watts, Rudresh Mahanthappa, Richie Cole, Ken Nordine, Joe Locke, Regina Carter, Louis Bellson, Dr. Lonnie Smith, Terry Callier, Renee Fleming, John Patitucci, Adam Nussbaum, Ernie Watts, Dave Douglas, Patricia Barber, Kendrick Scott, Arthur Blythe, Eddie Gomez, and many others. Over the course of his thirty years of touring both as a leader and sideman, he has performed in virtually every major city in North America as well as London, Paris, Moscow, Johannesburg, Tokyo, Beijing, Sydney, Sao Paolo, Jakarta, Dublin, Rome, Madrid, Warsaw, Berlin, Oslo, Reykjavik, Oslo, Stockholm, Istanbul, Bucharest, Helsinki, Seoul, Lisbon, Vienna, Budapest, Brussels, Prague, Copenhagen, and Zurich. He has conducted clinics throughout the United States and Canada, as well as Europe and Asia. He currently resides in the Chicago area and teaches at North Central College. 

Alexander McLeanBorn on Chicago’s west side, DEE ALEXANDER is one of Chicago’s most gifted and respected female vocalist/songwriters. Her talents span every music genre, from Gospel to R&B and Blues to Neo-Soul, yet her true heart and soul are experienced through her performance of Jazz. Whether in a soft, sultry ballad or a scat-filled romp, she delivers with a passion for music that comes across in every note, and a grace that is truly her own. Alexander boasts long and fruitful associations with Chicago’s jazz elite, including Ramsey Lewis, Orbert Davis, Nicole Mitchell, Chicago Jazz Orchestra, and the Association for the Advancement of Creative Musicians (AACM). She leads her own Dee Alexander Quartet, as well as the Evolution Ensemble, whose music ranges from original compositions to renditions of James Brown and Jimi Hendrix. Her Jazz Institute of Chicago-commissioned tribute to Nina Simone and Dinah Washington, Sirens of Song, marked the beginning of worldwide recognition, and her performance on the Millennium Park Pritzker Pavilion stage launched a period of extensive touring in Europe. Alexander has received the Chicagoan of the Year in Jazz award and the 3Arts Award for Music. Her CD, Wild is the Wind, was named the album of the summer in France; earned her top votes in Downbeat’s Readers’ and Critics’ polls; received 5 stars in Downbeat; and was chosen as one of the magazine’s top ten recordings in the first decade of the new millennium. She has garnered accolades in African, Australian, European, and North American press. She is currently a host on the WFMT Jazz Radio Network.  JOHN McLEAN’S career has included work as a guitarist, composer, arranger, producer, bandleader, and educator. Since completing his studies at the Berklee College of Music and the University of Miami, he has toured throughout the world and appeared on over fifty recordings. He has performed and/or recorded with such artists as Kurt Elling, Mose Allison, Randy Brecker, Branford Marsalis, Anat Cohen, Jeff “Tain” Watts, Rudresh Mahanthappa, Richie Cole, Ken Nordine, Joe Locke, Regina Carter, Louis Bellson, Dr. Lonnie Smith, Terry Callier, Renee Fleming, John Patitucci, Adam Nussbaum, Ernie Watts, Dave Douglas, Patricia Barber, Kendrick Scott, Arthur Blythe, Eddie Gomez, and many others. Over the course of his thirty years of touring both as a leader and sideman, he has performed in virtually every major city in North America as well as London, Paris, Moscow, Johannesburg, Tokyo, Beijing, Sydney, Sao Paolo, Jakarta, Dublin, Rome, Madrid, Warsaw, Berlin, Oslo, Reykjavik, Oslo, Stockholm, Istanbul, Bucharest, Helsinki, Seoul, Lisbon, Vienna, Budapest, Brussels, Prague, Copenhagen, and Zurich. He has conducted clinics throughout the United States and Canada, as well as Europe and Asia. He currently resides in the Chicago area and teaches at North Central College. 

Petra's Recession Seven: Petra van Nuis - vocals Art Davis - trumpet Eric Schneider - reeds Russ Phillips - trombone Andy Brown - guitar Dan DeLorenzo - bass Bob Rummage - drums At the start of the Great Recession in September 2008, Petra's Recession Seven, an authentic Chicago-style jazz band was born at Chicago's legendary Green Mill. The seven piece ensemble is led by Petra van Nuis, a vocalist praised by the Chicago Tribune for her "interpretive savvy...light-and-silvery vocals and, better still, saucy manner of delivery that emphasizes the art of the double entendre." Petra's Recession Seven features a front line of all-star internationally known Chicago veteran horn players. Trombonist Russ Phillips grew up "in the wings" listening to his dad, Russ Phillips Sr. play trombone in Louis Armstrong's All-Stars. Russ Jr. decided to follow in his dad's footsteps, and in addition to Chicago performances is a popular fixture on mainstream jazz festivals and cruises. Reedist Eric Schneider began his early career as a member of the bands of Count Basie and Earl Fatha Hines. Since then, Eric has played with many legends including Benny Goodman, Tony Bennett, Dizzy Gillespie and Ella Fitzgerald and continues to be one of the busiest working musicians in Chicago. Trumpeter Art Davis is charter member of the Chicago Jazz Orchestra and a highly respected jazz educator. Early in his career, Art toured with Ray Charles, Frank Sinatra and Rosemary Clooney and continues to be the top call trumpeter for musicians touring through Chicago. The swinging rhythm section of bassist Dan Delorenzo and drummer Bob Rummage is led by guitarist Andy Brown, recognized in Downbeat Magazine's annual critics poll as a “rising star.” In their hometown of Chicago, Petra's Recession Seven is a big hit at the Jazz Showcase, the Green Mill, Andy's Jazz Club, Winter's Jazz Club and Fitzgerald's. Festival performances include the Chicago Jazz Festival, the Cedar Basin Jazz Festival, the Juvae Jazz Festival and the American Music Festival. Regionally, the Recession Seven has played jazz societies including the Madison Jazz Society, the Starr-Gennett Foundation, the Illiana Jazz Club, the "Masters of Swing" series at Cincinnati's Xavier University, the Lafayette Jazz Club and the Indianapolis Jazz Club. The American Rag, in a review of the band's 2011 on location recording "Live In Chicago" praises “a killer of a band that grabs your attention and doesn't give it back until they are finished playing." www.petrasings.com 

Bob Lark is recognized regionally, nationally and internationally as a contemporary jazz educator and performer of integrity. His approach to pedagogy and rehearsal techniques has been noted by participation in professional conferences; publication of articles; compact disc recordings as both a performer and ensemble director; and the direction of numerous student honors ensembles. Down Beat magazine recognized Bob’s work in 2010 with their Jazz Education Achievement Award. In speaking of Lark, jazz icon Clark Terry stated, “He’s a very good trumpet player, a very good musician. He’s paid his dues.” Recordings on the Jazzed Media label include those by The Bob Lark/Phil Woods Quintet, Bob Lark and his Alumni Big Band, and Bob Lark and Friends, with Phil Woods, Rufus Reid, and Jim McNeely. Bob’s playing and writing are also featured on the CD recordings Until You and First Steps on the Hallway label. He is an exclusive Yamaha Performing Artist. Bob is an active clinician, soloist and guest conductor.He has served as host for the Carmine Caruso International Jazz Trumpet Solo Competition, is the past-president of the Illinois Unit of the International Association for Jazz Education, and has chaired the International Trumpet Guild jazz improvisation competition.For thirty-one years, Dr. Lark served as Professor of Music and Director of Jazz studies at DePaul University, in Chicago. Currently, Bob is the Director of Jazz Studies at Valparaiso University in Indiana.He holds a Doctor of Musical Arts degree in performance from the University of North Texas, having earlier earned a Master’s degree from that school, and a Bachelor of Music Education degree from The Ohio State University. 

Ryan Bills - Saxaphone Aiden Buck - Trumpet Leon Lewis-Nicol - Piano Sam Mösching - Guitar Jayden Richardson - Drums Jeremiah Hunt - Bass “K.I.M. (Keeping It Moving) is a genre-blending band led by Chicago bassist Jeremiah Hunt, fusing jazz, funk, soul, R&B, hip-hop, and more into a sound that’s fluid, bold, and deeply human. Whether it’s life, love, or the grind—K.I.M. is about pushing forward. With groove-driven performances and soul-charged compositions, this band isn’t just making music—they’re making motion.” 

Ryan Bills - Saxaphone Aiden Buck - Trumpet Leon Lewis-Nicol - Piano Sam Mösching - Guitar Jayden Richardson - Drums Jeremiah Hunt - Bass “K.I.M. (Keeping It Moving) is a genre-blending band led by Chicago bassist Jeremiah Hunt, fusing jazz, funk, soul, R&B, hip-hop, and more into a sound that’s fluid, bold, and deeply human. Whether it’s life, love, or the grind—K.I.M. is about pushing forward. With groove-driven performances and soul-charged compositions, this band isn’t just making music—they’re making motion.” 

Ryan Bills - Saxaphone Aiden Buck - Trumpet Leon Lewis-Nicol - Piano Sam Mösching - Guitar Jayden Richardson - Drums Jeremiah Hunt - Bass “K.I.M. (Keeping It Moving) is a genre-blending band led by Chicago bassist Jeremiah Hunt, fusing jazz, funk, soul, R&B, hip-hop, and more into a sound that’s fluid, bold, and deeply human. Whether it’s life, love, or the grind—K.I.M. is about pushing forward. With groove-driven performances and soul-charged compositions, this band isn’t just making music—they’re making motion.” 

Ryan Bills - Saxaphone Aiden Buck - Trumpet Leon Lewis-Nicol - Piano Sam Mösching - Guitar Jayden Richardson - Drums Jeremiah Hunt - Bass “K.I.M. (Keeping It Moving) is a genre-blending band led by Chicago bassist Jeremiah Hunt, fusing jazz, funk, soul, R&B, hip-hop, and more into a sound that’s fluid, bold, and deeply human. Whether it’s life, love, or the grind—K.I.M. is about pushing forward. With groove-driven performances and soul-charged compositions, this band isn’t just making music—they’re making motion.” 

Julius Tucker is a pillar of Chicago’s jazz and creative music community—a pianist, composer, bandleader, and producer whose expansive artistry transcends genre boundaries. With a career spanning over 15 years, Tucker has solidified his reputation for masterful keyboard fluency, harmonic sophistication, and a multifaceted voice that moves effortlessly between jazz, improvised music, electronic experimentation, and beyond. Rooted in Chicago’s rich musical legacy, Tucker began his classical training at the Van Moody School of Music at age seven. He later honed his jazz sensibility at the Merit School of Music and Whitney Young Magnet High School, ultimately completing his academic journey at Northwestern University earning degrees in both Jazz Piano and Civil Engineering. Tucker is also a recipient of the Luminarts Cultrual Foundation’s Jazz Improvisation Fellowship and is an Artist in Residence at The Cliff Dwellers. A seasoned artist with international experience, Tucker has performed at legendary venues and world-renowned festivals, including The Green Mill, The Jazz Showcase, Sam First, and Red Light Cafe, the Chicago Jazz Festival, Hyde Park Jazz Festival, San Antonio’s Fiesta Jazz Fest, the Iowa City Jazz Festival, and Italy’s JazzIt Festival. Beyond performance, Tucker’s work as a producer and composer reflects a deep commitment to both jazz tradition and contemporary innovation. From intimate trio sessions to genre-blending electronic projects and compositions for film and television, his creative reach extends throughout Chicago’s vibrant music scene and beyond. 

Miguel de la Cerna is a powerhouse pianist, arranger, and composer who bridges the soul of jazz with the pulse of innovation. A Chicago native and third-generation jazz artist, de la Cerna descends from musical royalty—his grandfather, General Morgan, recorded with Billie Holiday, and his aunt, Gloria Morgan, was a noted vocalist and recording artist. Following studies at the American Conservatory of Music and Oberlin Conservatory, de la Cerna toured internationally for over a decade as pianist and conductor. His genre-defying artistry spans continents, collaborating with creative icons like Kahil El’Zabar and Nicole Mitchell and orchestrating major productions such as Corey Wilkes’ Donny Hathaway and House Music tributes at Millennium Park. In theater and opera, he has brought fire and finesse to Regina Taylor’s Crowns and Exhibit, and served as featured pianist in South Shore Opera Company’s world premieres of Harriet Tubman and Fannie Lou Hamer. A two-time Orion Ensemble commission recipient and the 2022 Hyde Park Jazz Festival commissioned composer, his Three Children Songs for Left Hand is featured in the award- winning documentary For the Left Hand. As Music Director for the Jazz Institute of Chicago’s JazzCity concert series, de la Cerna continues to shape the city’s sound—anchored in tradition, driven by innovation. 

Miguel de la Cerna is a powerhouse pianist, arranger, and composer who bridges the soul of jazz with the pulse of innovation. A Chicago native and third-generation jazz artist, de la Cerna descends from musical royalty—his grandfather, General Morgan, recorded with Billie Holiday, and his aunt, Gloria Morgan, was a noted vocalist and recording artist. Following studies at the American Conservatory of Music and Oberlin Conservatory, de la Cerna toured internationally for over a decade as pianist and conductor. His genre-defying artistry spans continents, collaborating with creative icons like Kahil El’Zabar and Nicole Mitchell and orchestrating major productions such as Corey Wilkes’ Donny Hathaway and House Music tributes at Millennium Park. In theater and opera, he has brought fire and finesse to Regina Taylor’s Crowns and Exhibit, and served as featured pianist in South Shore Opera Company’s world premieres of Harriet Tubman and Fannie Lou Hamer. A two-time Orion Ensemble commission recipient and the 2022 Hyde Park Jazz Festival commissioned composer, his Three Children Songs for Left Hand is featured in the award- winning documentary For the Left Hand. As Music Director for the Jazz Institute of Chicago’s JazzCity concert series, de la Cerna continues to shape the city’s sound—anchored in tradition, driven by innovation. 

Miguel de la Cerna is a powerhouse pianist, arranger, and composer who bridges the soul of jazz with the pulse of innovation. A Chicago native and third-generation jazz artist, de la Cerna descends from musical royalty—his grandfather, General Morgan, recorded with Billie Holiday, and his aunt, Gloria Morgan, was a noted vocalist and recording artist. Following studies at the American Conservatory of Music and Oberlin Conservatory, de la Cerna toured internationally for over a decade as pianist and conductor. His genre-defying artistry spans continents, collaborating with creative icons like Kahil El’Zabar and Nicole Mitchell and orchestrating major productions such as Corey Wilkes’ Donny Hathaway and House Music tributes at Millennium Park. In theater and opera, he has brought fire and finesse to Regina Taylor’s Crowns and Exhibit, and served as featured pianist in South Shore Opera Company’s world premieres of Harriet Tubman and Fannie Lou Hamer. A two-time Orion Ensemble commission recipient and the 2022 Hyde Park Jazz Festival commissioned composer, his Three Children Songs for Left Hand is featured in the award- winning documentary For the Left Hand. As Music Director for the Jazz Institute of Chicago’s JazzCity concert series, de la Cerna continues to shape the city’s sound—anchored in tradition, driven by innovation. 

Miguel de la Cerna is a powerhouse pianist, arranger, and composer who bridges the soul of jazz with the pulse of innovation. A Chicago native and third-generation jazz artist, de la Cerna descends from musical royalty—his grandfather, General Morgan, recorded with Billie Holiday, and his aunt, Gloria Morgan, was a noted vocalist and recording artist. Following studies at the American Conservatory of Music and Oberlin Conservatory, de la Cerna toured internationally for over a decade as pianist and conductor. His genre-defying artistry spans continents, collaborating with creative icons like Kahil El’Zabar and Nicole Mitchell and orchestrating major productions such as Corey Wilkes’ Donny Hathaway and House Music tributes at Millennium Park. In theater and opera, he has brought fire and finesse to Regina Taylor’s Crowns and Exhibit, and served as featured pianist in South Shore Opera Company’s world premieres of Harriet Tubman and Fannie Lou Hamer. A two-time Orion Ensemble commission recipient and the 2022 Hyde Park Jazz Festival commissioned composer, his Three Children Songs for Left Hand is featured in the award- winning documentary For the Left Hand. As Music Director for the Jazz Institute of Chicago’s JazzCity concert series, de la Cerna continues to shape the city’s sound—anchored in tradition, driven by innovation. 

A native of Louisville, Kentucky, saxophonist and educator Jarrard Harris attended the Youth Performing Arts School in high school and attended the University of Cincinnati College Conservatory of Music to further his jazz studies. At CCM he studied with Rick VanMatre, Pat Harbison, and Marc Fields. Upon Graduation from CCM Harris moved to Chicago in 1998 to further his studies at DePaul University where under the tutelage of Bob Lark, Tim Coffman, and Marc Colby he earned his master’s degree in jazz studies. Harris currently lives in Chicago, where he is on the jazz faculty of Northwestern University, Columbia College Chicago and the City Colleges of Chicago. He also serves as the director of jazz studies with the Chicago Public Schools Advanced Arts Education Program at Gallery 37. He maintains an active private teaching studio in addition to adjudicating and performing at college and high school festivals, giving master classes, and lecturing, he has performed with musicians in the United States and abroad. Jarrard was a founding board member of the Jazz education Network and serves as a current board member for the Jazz Institute of Chicago. 

The Big Bari Band is big fun ! Where else do you get two bari saxes in one band? For the irrepressibly creative Chicago saxophonist Juli Wood, the only thing better than one big, rumbling baritone saxophone is, well, two of them. The front line features Wood and Chicago saxophonist Rajiv Halim on the two low horns. If you’ve ever heard either one of these musicians, you know that the two together playing baritone suggests considerable sound and energy. “I’ve always been a fan of Rajiv Halim’s playing on alto and tenor — he’s fantastic,” says Wood. “He’s just so soulful and very studied, though. He’s got so much harmonic knowledge, and his technique on saxophone is great. “Then I heard he bought a bari.” That’s all Wood needed to hear to begin conceiving the new band. For periodically she has picked up her baritone and has found audiences apparently eager to hear more.“Whenever I played at Room 43, there were always people who said: When are you going to bring that bari out?” says Wood, speculating they’re familiar with the “Movin’ and Groovin’” quintet recording she made in the 1990s with organist Mel Rhyne. That album, and a later one,”54321 Juli Wood” featured Wood playing baritone on some tracks, and lately she’d come to realize it was time for her to return seriously to the instrument.“The ballads are really mournful and beautiful,” she says. “The bari can be kind of airy and eerie-sounding if you play it softly, so we really use the (hushed) dynamics for the ballads. The baritone actually has a lot of coloring to it. It certainly can get loud and raucous. Some of these tunes we’re playing really fast, and we’ve really got to move it, as with ” The Cooker ” a George Benson tune. Double baritone repertoire is more rarefied, though Wood said she has drawn inspiration from Sun Ra’s 1950s “Sound of Joy” album, which featured Charles Davis and Pat Patrick on baritones. The work of prolific baritone player Ronnie Cuber also has been important to her.As for the Big Bari Band repertoire, Wood says she has arranged ballads such as Horace Silver’s “Peace” and McCoy Tyner’s “Search for Peace,” which “sound really beautiful with the two baris.” Thelonious Monk’s “Pannonica,” Silver’s “Enchantment” and the title cut of guitarist Grant Green’s “Matador” also have proved fruitful, says Wood, the latter because “it’s got a great bass jumping line that sounds really good with the bari picking that off.” – Howard Reich Chicago Tribune The Big Bari Band has been featured twice at the Chicago Jazz Fest and played at Andy’s Jazz Club and the Jazz Showcase. 

The Columbia College Jazz Ensemble directed by Scott Hall with Special Guest Philip Lassiter Featuring the Fusion Ensemble directed by Bill Boris (3/6 and 3/7) and the Latin Ensemble directed by Donald Neale (3/5 and 3/8) Lassiter's pedigree for top-tier compositions and arrangements and virtuosic trumpet playing have landed him gigs that include serving as Prince and New Power Generation’s horn arranger & section leader as well as credits working with Kirk Franklin, Ariana Grande, Timbaland, Roberta Flack, and more. 'Raw in Amsterdam' is an extension of his accolades as it showcases Lassiter as a frontman and songwriter in the brand-new 12-song collection.   As an established fan favorite from Lassiter's 2021 studio release ‘Live in Love,’ "Repent," finds Bernarr putting a dazzling James Brown-esque personal touch on the lyrics originally recorded by mainstay LA vocalist Mackenzie. Filled with swaggering horn lines and energetic vocal chants, the tight-knit ensemble is displayed before launching into dexterous solos by Lassiter and Dulfer. Bernarr is hot off the heels of an NPR Tiny Desk Performance and was named as one of 2019’s “Artists to Know” by Billboard. His loud and proud stage presence complements Lassiter’s composition and arrangement abilities allowing both him and guest saxophonist Candy Dulfer to shine throughout the funk-fueled powerhouse of a track. Lassiter enlists fellow Prince collaborator Candy Dulfer in the aptly titled tribute, “Purple.” Lassiter first connected with Prince in 2010 when he auditioned to be his horn arranger/section leader and landed the gig performing with New Power Generation. Like many of the late genre-defying master’s collaborators, Lassiter was inspired by Prince’s work ethic and dedication to experimentation. With its Prince-like driving quarter note groove and syncopated guitar and bass line, Lassiter helms a 15-piece ensemble in the live recording that embodies the spirit of Prince. The punctuated, shout-like horn melodies trade with layered vocal harmonies before an asserted horn soli launches into rounds of deliberate solos performed by Jordy Kalfsvel on keyboards, Lassiter on trumpet, and capped off with a powerful, extended solo by Dulfer on alto saxophone. Though Lassiter and Dulfer never performed with Prince at the same time (she was in his band during the 2003-2005 Musicology era), the two connected when Lassiter relocated to The Netherlands two years ago and have been collaborating together ever since. "Bump the Man" originally appeared on Lassiter's 2018 Party Crashers album. It's laced with a “fight the power” message that points to hope and a positive mindset. It features blazing horns and soulful and another showstopping vocal appearance from Durand Bernarr as well as an unexpected Latin twist coming out metamorphic pre-chorus that nod to the Beatles’ psychedelic era. Dutch percussion legend Martin Verdonk is also featured throughout the track 

The Columbia College Jazz Ensemble directed by Scott Hall with Special Guest Philip Lassiter Featuring the Fusion Ensemble directed by Bill Boris (3/6 and 3/7) and the Latin Ensemble directed by Donald Neale (3/5 and 3/8) Lassiter's pedigree for top-tier compositions and arrangements and virtuosic trumpet playing have landed him gigs that include serving as Prince and New Power Generation’s horn arranger & section leader as well as credits working with Kirk Franklin, Ariana Grande, Timbaland, Roberta Flack, and more. 'Raw in Amsterdam' is an extension of his accolades as it showcases Lassiter as a frontman and songwriter in the brand-new 12-song collection.   As an established fan favorite from Lassiter's 2021 studio release ‘Live in Love,’ "Repent," finds Bernarr putting a dazzling James Brown-esque personal touch on the lyrics originally recorded by mainstay LA vocalist Mackenzie. Filled with swaggering horn lines and energetic vocal chants, the tight-knit ensemble is displayed before launching into dexterous solos by Lassiter and Dulfer. Bernarr is hot off the heels of an NPR Tiny Desk Performance and was named as one of 2019’s “Artists to Know” by Billboard. His loud and proud stage presence complements Lassiter’s composition and arrangement abilities allowing both him and guest saxophonist Candy Dulfer to shine throughout the funk-fueled powerhouse of a track. Lassiter enlists fellow Prince collaborator Candy Dulfer in the aptly titled tribute, “Purple.” Lassiter first connected with Prince in 2010 when he auditioned to be his horn arranger/section leader and landed the gig performing with New Power Generation. Like many of the late genre-defying master’s collaborators, Lassiter was inspired by Prince’s work ethic and dedication to experimentation. With its Prince-like driving quarter note groove and syncopated guitar and bass line, Lassiter helms a 15-piece ensemble in the live recording that embodies the spirit of Prince. The punctuated, shout-like horn melodies trade with layered vocal harmonies before an asserted horn soli launches into rounds of deliberate solos performed by Jordy Kalfsvel on keyboards, Lassiter on trumpet, and capped off with a powerful, extended solo by Dulfer on alto saxophone. Though Lassiter and Dulfer never performed with Prince at the same time (she was in his band during the 2003-2005 Musicology era), the two connected when Lassiter relocated to The Netherlands two years ago and have been collaborating together ever since. "Bump the Man" originally appeared on Lassiter's 2018 Party Crashers album. It's laced with a “fight the power” message that points to hope and a positive mindset. It features blazing horns and soulful and another showstopping vocal appearance from Durand Bernarr as well as an unexpected Latin twist coming out metamorphic pre-chorus that nod to the Beatles’ psychedelic era. Dutch percussion legend Martin Verdonk is also featured throughout the track 

The Columbia College Jazz Ensemble directed by Scott Hall with Special Guest Philip Lassiter Featuring the Fusion Ensemble directed by Bill Boris (3/6 and 3/7) and the Latin Ensemble directed by Donald Neale (3/5 and 3/8) Lassiter's pedigree for top-tier compositions and arrangements and virtuosic trumpet playing have landed him gigs that include serving as Prince and New Power Generation’s horn arranger & section leader as well as credits working with Kirk Franklin, Ariana Grande, Timbaland, Roberta Flack, and more. 'Raw in Amsterdam' is an extension of his accolades as it showcases Lassiter as a frontman and songwriter in the brand-new 12-song collection.   As an established fan favorite from Lassiter's 2021 studio release ‘Live in Love,’ "Repent," finds Bernarr putting a dazzling James Brown-esque personal touch on the lyrics originally recorded by mainstay LA vocalist Mackenzie. Filled with swaggering horn lines and energetic vocal chants, the tight-knit ensemble is displayed before launching into dexterous solos by Lassiter and Dulfer. Bernarr is hot off the heels of an NPR Tiny Desk Performance and was named as one of 2019’s “Artists to Know” by Billboard. His loud and proud stage presence complements Lassiter’s composition and arrangement abilities allowing both him and guest saxophonist Candy Dulfer to shine throughout the funk-fueled powerhouse of a track. Lassiter enlists fellow Prince collaborator Candy Dulfer in the aptly titled tribute, “Purple.” Lassiter first connected with Prince in 2010 when he auditioned to be his horn arranger/section leader and landed the gig performing with New Power Generation. Like many of the late genre-defying master’s collaborators, Lassiter was inspired by Prince’s work ethic and dedication to experimentation. With its Prince-like driving quarter note groove and syncopated guitar and bass line, Lassiter helms a 15-piece ensemble in the live recording that embodies the spirit of Prince. The punctuated, shout-like horn melodies trade with layered vocal harmonies before an asserted horn soli launches into rounds of deliberate solos performed by Jordy Kalfsvel on keyboards, Lassiter on trumpet, and capped off with a powerful, extended solo by Dulfer on alto saxophone. Though Lassiter and Dulfer never performed with Prince at the same time (she was in his band during the 2003-2005 Musicology era), the two connected when Lassiter relocated to The Netherlands two years ago and have been collaborating together ever since. "Bump the Man" originally appeared on Lassiter's 2018 Party Crashers album. It's laced with a “fight the power” message that points to hope and a positive mindset. It features blazing horns and soulful and another showstopping vocal appearance from Durand Bernarr as well as an unexpected Latin twist coming out metamorphic pre-chorus that nod to the Beatles’ psychedelic era. Dutch percussion legend Martin Verdonk is also featured throughout the track 

The Columbia College Jazz Ensemble directed by Scott Hall with Special Guest Philip Lassiter Featuring the Fusion Ensemble directed by Bill Boris (3/6 and 3/7) and the Latin Ensemble directed by Donald Neale (3/5 and 3/8) Lassiter's pedigree for top-tier compositions and arrangements and virtuosic trumpet playing have landed him gigs that include serving as Prince and New Power Generation’s horn arranger & section leader as well as credits working with Kirk Franklin, Ariana Grande, Timbaland, Roberta Flack, and more. 'Raw in Amsterdam' is an extension of his accolades as it showcases Lassiter as a frontman and songwriter in the brand-new 12-song collection.   As an established fan favorite from Lassiter's 2021 studio release ‘Live in Love,’ "Repent," finds Bernarr putting a dazzling James Brown-esque personal touch on the lyrics originally recorded by mainstay LA vocalist Mackenzie. Filled with swaggering horn lines and energetic vocal chants, the tight-knit ensemble is displayed before launching into dexterous solos by Lassiter and Dulfer. Bernarr is hot off the heels of an NPR Tiny Desk Performance and was named as one of 2019’s “Artists to Know” by Billboard. His loud and proud stage presence complements Lassiter’s composition and arrangement abilities allowing both him and guest saxophonist Candy Dulfer to shine throughout the funk-fueled powerhouse of a track. Lassiter enlists fellow Prince collaborator Candy Dulfer in the aptly titled tribute, “Purple.” Lassiter first connected with Prince in 2010 when he auditioned to be his horn arranger/section leader and landed the gig performing with New Power Generation. Like many of the late genre-defying master’s collaborators, Lassiter was inspired by Prince’s work ethic and dedication to experimentation. With its Prince-like driving quarter note groove and syncopated guitar and bass line, Lassiter helms a 15-piece ensemble in the live recording that embodies the spirit of Prince. The punctuated, shout-like horn melodies trade with layered vocal harmonies before an asserted horn soli launches into rounds of deliberate solos performed by Jordy Kalfsvel on keyboards, Lassiter on trumpet, and capped off with a powerful, extended solo by Dulfer on alto saxophone. Though Lassiter and Dulfer never performed with Prince at the same time (she was in his band during the 2003-2005 Musicology era), the two connected when Lassiter relocated to The Netherlands two years ago and have been collaborating together ever since. "Bump the Man" originally appeared on Lassiter's 2018 Party Crashers album. It's laced with a “fight the power” message that points to hope and a positive mindset. It features blazing horns and soulful and another showstopping vocal appearance from Durand Bernarr as well as an unexpected Latin twist coming out metamorphic pre-chorus that nod to the Beatles’ psychedelic era. Dutch percussion legend Martin Verdonk is also featured throughout the track 

Julia Danielle is a dynamic vocalist, arranger, educator, and composer making her mark in the vibrant jazz scenes of Chicago and New York. A 2022 International Ella Fitzgerald Jazz Vocal Competition winner, Julia earned widespread acclaim performing alongside The Tierney Sutton Band at Washington D.C.'s renowned Blues Alley Jazz Club, where she has since headlined her own shows. Her debut album, Julia Danielle, released in November 2024, garnered praise as “a fresh voice” with “a folksy wisp that floats with a bohemian glide” (Jazz Weekly). Julia has collaborated with celebrated artists, including Ben Paterson, Clark Sommers, Dennis Carroll, Kris Funn, Dana Hall, Ernie Adams, George Fludas, Jeremy Kahn, Lenard Simpson, Geof Bradfield, Chris Madsen, Sharel Cassity, Brandon Woody, and Isaiah Collier. She is also a 2024 Luminarts Winner and was named DownBeat Magazine's "Outstanding Vocal Soloist" in its 46th annual Student Music Awards, featured in the publication's June 2023 issue. Currently pursuing a Master of Music in Jazz Studies at The Juilliard School, Julia is mentored by world-renowned artists Charenee Wade, Marc Cary, Gerald Cannon, Kenny Washington, Isaiah J. Thompson, and Donald Vega. Her studies continue to refine her artistry and shape her distinctive voice in vocal interpretation, composition, and improvisation. Julia has performed at esteemed venues and festivals, including Chris' Jazz Café, Blues Alley Jazz Club, Winter's Jazz Club, The Jazz Showcase, Andy's Jazz Club, Room 623, Bop Stop, Merriman’s Playhouse, The Logan Square Arts Festival, The Hyde Park Jazz Festival, and The Winnetka Music Festival. 

Cameron Pfiffner/ Saxophones and Flute Pat Mallinger / Saxophones  Pete Benson / Organ Neil Hemphill/  Drums  Founded around 1990, Sabertooth is led by two saxophonists:  Cameron Pfiffner & Pat Mallinger. The band started out with the unique pairing of its two lead reedmen at an old musicians hang called Jazz Bulls in Lincoln Park West neighborhood of Chicago. From that night’s collaboration the idea of Sabertooth began to take shape with a driving force behind the widely varied stylings best summed up as, “just groove it”. Sabertooth has often ventured beyond soul-jazz and hard bop and moved into post-bop and modal territory with John Coltrane’s modal recordings of the early to mid-’60s influencing the groups sound. Sabertooth is both a post-bop group and a soul-jazz/hard bop group with a highly diverse repertoire that includes many original compositions and jazz classics by Duke Ellington, Horace Silver, Wayne Shorter, Lester Young, John Coltrane, as well as covers by the Beatles, Grateful Dead, Bob Dylan, Allman Brothers, Lynyrd Skynyrd, and Bob Marley. Special invited guests who have performed with Sabertooth have included Harry Conick Jr., Kurt Elling, Joe Lovano, Roy Hargrove, Wynton Marsalis Band, Jack McDuff, Joey DeFrancesco, Umphrey’s Mcgee Band, and many others. Sabertooth has also performed for numerous jazz festivals, concerts and private engagements. 

Cameron Pfiffner/ Saxophones and Flute Pat Mallinger / Saxophones  Pete Benson / Organ Neil Hemphill/  Drums  Founded around 1990, Sabertooth is led by two saxophonists:  Cameron Pfiffner & Pat Mallinger. The band started out with the unique pairing of its two lead reedmen at an old musicians hang called Jazz Bulls in Lincoln Park West neighborhood of Chicago. From that night’s collaboration the idea of Sabertooth began to take shape with a driving force behind the widely varied stylings best summed up as, “just groove it”. Sabertooth has often ventured beyond soul-jazz and hard bop and moved into post-bop and modal territory with John Coltrane’s modal recordings of the early to mid-’60s influencing the groups sound. Sabertooth is both a post-bop group and a soul-jazz/hard bop group with a highly diverse repertoire that includes many original compositions and jazz classics by Duke Ellington, Horace Silver, Wayne Shorter, Lester Young, John Coltrane, as well as covers by the Beatles, Grateful Dead, Bob Dylan, Allman Brothers, Lynyrd Skynyrd, and Bob Marley. Special invited guests who have performed with Sabertooth have included Harry Conick Jr., Kurt Elling, Joe Lovano, Roy Hargrove, Wynton Marsalis Band, Jack McDuff, Joey DeFrancesco, Umphrey’s Mcgee Band, and many others. Sabertooth has also performed for numerous jazz festivals, concerts and private engagements.