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	  <p><font color="white" style="font-family: Verdana; font-size: 14px; line-height: 1.0">
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	    <font color="#C0C0C0" style="font-family: Verdana; font-size: 11px; line-height: 1.3"><br><br><br><br><br><br>
      <div class="day"><h4>Wednesday April 21, 2010</h4></div> 
	<div class="dat"><span>Metro Music Bar, 8:00 p.m. </span></div> <h5>Admission:  120CZK, Discounted Admission: 90CZK (students, seniors)
</h5>
 	<h3>Ali & the Band (CZ)</h3>

  <em>
Ali Siladi – drums, vocals, Bedřich Pacelt – bass, Frank Nedved – keyboards, Milan Krajíc – saxophones, Jiři Šimek – guitar, Míra Barabáš - trumpet.
</em></p>
 
<div id="p2" class="more"><img src="img/Alisband.jpg" alt="Alisband" /><br><br>

The core of the band of Ali Siládi comes from the city of Karlovy Vary, however, their capabilities outreached regional importance quite some time ago and the band has
been catching attention in Czech clubs ever since. There is no question that Ali Siládi is a truly convincing drummer, but he is quite competent as a singer too, and his
shows tastefully balance on the verge of pop and jazz-rock. Siládi′s musical idols are easily revealed by his extroverted delivery as well as his genuine feeling and plentiful
energy. Similar attributes can be found in the performances of Stevie Wonder, Prince, Earth Wind and Fire or the later phases of Miles Davis´ career.
The remaining band members form a perfect match with the leader and color Ali´s output with intriguing musical statements. Milan Krajíc, the saxophonist, is well
known especially for his collaboration with Milan Svoboda, whose music he instills an element of passion. Guitarist Jiří Šimek is an irreplaceable part of the Prague music
scene and jazz fans praise him for his varied playing with the Nuselský umělecký orchestr (NUO). Ali Siládi and the bass guitarist Bedřich Pacelt easily lock into a firm
groove; they both add earthiness, apparent virtuosity and a great sound. Pianist Frank Nedved startles with soloistic creativity as well as harmonic inventiveness and
Barabáš’s spherical trumpet shines over the musical canvas, occasionally ripping through it like a dagger.<br>
Ali´s music is straight-ahead, entertains, pleases you and forces you to stomp your feet. It is entertaining above all because it is apparent that all band members enjoy
sharing the stage. As a result, they easily project this frame of mind on to their listeners. <br><br><br>
________________________________________________________________________

<div class="day"><h4>Thursday April 22, 2010</h4></div> 
	<div class="dat"><span>Janacek Academy of Music in Brno, 2:00 p.m., concert chamber hall</span></div> <h5> Admission: free
</h5>
 	<h3>The Stoner featuring  David Dorůžka (SWE/CZ)
</h3>
 
<font color="yellow" style="font-family: Verdana; font-size: 12px; line-height: 1.3">
<h5>The workshop is cancelled due to flight cancellations.</h5> 
    <br><br>
</font>

________________________________________________________________________


<div class="day"><h4>Thursday April 22, 2010</h4></div> 
	<div class="dat"><span>New Town Hall, 5:00 p.m., sněmovní sál </span></div> <h5>Admission:  190CZK, Discounted Admission: 120CZK (students, seniors)
</h5>
 	<h3>Jana Koubková a Yandim Band (CZ)</h3>
 
  <em>Jana Koubková – vocals, Vítězslav Janda – guitar, Ivan Doležálek – bass guitar, Michal Hejna – drums, Imran Musa Zangi - percussions</em></p>
 
<div id="p2" class="more"><img src="img/koubkova.jpg" alt="Koubkova" /><br><br>


The name Jana Koubková belongs to Czech jazz as much as the stinky cheese has made Olomouc famous or as Jára Cimrman is synonymous with Liptákov. She has nevertried to preserve jazz in its original form, though. On the contrary, she has provoked a relatively liberal, but often somewhat self-contained jazz world with a positive
anarchy that has broken all possible stylistic barriers with her self-willed musical message.<br>
Koubková’s past career may well serve as a blueprint for the path of the typical artist during the period of communism: full of restrictions, purposeless auditions and
fear. On the other hand, these obstacles helped to select those, whose passion for jazz and music in general was genuine. Koubková studied to become a wire spooler,
worked in the famous ČKD factory, washed windows, worked as a TV moderator, librarian, steel factory worker and even dabbled in modeling. She also had a chance to
travel the world with dance groups. Certainly a rugged run down the path of career development when looked at by today’s average music consumer, wouldn’t you say?
Nevertheless, life experience often helps deepen the musical message and also for that reason Jana Koubková has something additional to offer.
The jazz concept of Jana Koubková requires specific and adaptable band mates, who are creative and distinctive enough to contribute to the overall sound of the band.
Members of the Yandim Band definitely qualify for this task and they enjoy being provoked by the singer into joyful musical wordplay, high-spirited communication not
only in jazz tongue, but in all forms of musical Esperanto. Koubková’s performances are usually as manifold as spring weather, only seldom cloudy, though. Spring is
a season of seeking and creation. And to this, the music of Jana Koubková fits in perfectly.<br><br>

http://www.janakoubkova.cz/<br><br> 
________________________________________________________________________

<br><div class="day"><h4>Thursday April 22, 2010</h4></div> 
	<div class="dat"><span>Metro Music Bar, 8:00 p.m.</span></div> <h5>Admission:  190CZK, Discounted Admission: 120CZK (students, seniors)
</h5>
 	<h3>Motif (NOR)</h3>
 
  <em>Atle Nymo - saxophones and clarinettes, Axel Dörner - trumpet, Håvard Wiik - piano, Ole Morten Vågan - bass, Jon Fält – drums</em></p>
 
<div id="p2" class="more"><img src="img/motif.jpg" alt="Motif" /><br><br>


MOTIF was founded in the fall of 1999, and have since that time been working continuously with the creation of their own sound, a sound that incorporates both precomposed
music and long intervals of improvisation, together with a trademark portion of energy and zest. The musicians hail from bands such as Jaga Jazzist, Bugge
Wesseltoft’s NCOJ, Atomic and Trondheim Jazzorchestra, and are all key players in the young European improvisation scene.
Their first two records on the indie label AIMrec received great reviews from all over Europe, and with their third record, Apo Calypso they are moving to their favorite
label; JAZZLANDrec, and at the same time taking their music further into a world of intricate rhythms and beautiful harmonies.
MOTIF has appeared in a variety of festivals all over the world - the Copenhagen Jazz festival, Bremen Jazz Ahead, Hanoi European Jazz festival, Kongsberg Jazz Festival,
Moldejazz and countless clubs all over the map. They have also toured in Asia, visiting China, Japan (where they played the renowned Pit Inn club in Tokyo) and
Vietnam. The musicians have also performed with/in: Jaga Jazzist, Bugge Wesseltoft’s NCOJ, Håvard Wiik Trio, Atomic, Free Fall, Jaga Jazzist, Joshua Redman, John
Scofield, Lee Konitz, Chick Corea, Jan Garbarek, Joe Lovano, Kenny Wheeler, Maria Kannegaard Trio, Pooka, Motorpsycho, Generator X and the Trondheim Jazzorchestra. <br><br>

http://www.motif.no<br><br>


<h3>The Stoner featuring David Dorůžka (SWE/CZ)
</h3><font color="yellow" style="font-family: Verdana; font-size: 12px; line-height: 1.3">
<h5>The performance with the Swedish band the Stoner is cancelled due to flight cancellations.</h5> 
    Tickets are valid, Motif will perform an all night program. <br><br>
</font>
 
  <em>Nils Berg – tenor saxophone, clarinet, flute, electronics, composer, Jonas Östholm – piano, glockenspiel, keyboard, Nils Ölmedal – double bass, Jon Fält – drums, David Dorůžka - guitar


</em></p>
 
<div id="p2" class="more"><img src="img/stoner.jpg" alt="The Stoner" /><br><br>


Since their debut in 2004, The Stoner have released four albums and have grown into something of a creative center for the new Nordic jazz movement. With outstanding
charisma, they treat traditional jazz with a playfulness inspired rather by The Beatles than John Coltrane.<br>
A concert with The Stoner should feel like a good thriller: exciting, beautiful and unpredictable. Although The Stoner play encores, you don’t get that at the cinemas.
Nils Berg, composer and director of the band, places the music somewhere between The Beach Boys, Broadway and “good old Swedish angst”. “A couple of our new
songs are real heart-achers,“ he says. “Maybe we should find ourselves a shrink. Really, we just want to play music that makes people dance...“
The Stoner have been touring Sweden extensively, when not on the road in South Africa, Scotland or Russia. The members of the band are far from faithful, two-timing
with the Swedish jazz elite alongside international stars like Tomasz Stanko, Bobo Stenson and Mando Diao.<br>
Often labeled “A new kind of jazz” by the press, performances from The Stoner represent “music that holds more than it excludes – it has groove, beauty and something
almost naïvely affirmative to it.” The Stoner stand at the frontline, staring the future of Swedish Jazz straight in the eye.<br><br>

http://www.thestoner.com/<br>
________________________________________________________________________
<br><div class="day"><h4>Friday April 23, 2010</h4></div> 
	<div class="dat"><span>Jazz Bar U kouřícího králíka, 8:00 p.m.</span></div> <h5>Admission:  120CZK, Discounted Admission: 90CZK (students, seniors)
</h5>
 	<h3>Pat´s Apes (CZ/SK)
</h3>
 
  <em>Pavel Zlámal – saxophone, Lukáš Oravec  - trumpet, flugelhorn, Ondřej Hájek – piano, Juraj Valenčík – double bass, Jakub Tengler - drums.

</em></p>
 
<div id="p2" class="more"><img src="img/pats.jpg" alt="Pat's Apes" /><br><br>


Who would assume that the first destination with a regular jazz college in the Czech Republic would be the city of Brno? Thanks to the joint activity of the Janáček
Academy of Music and Performing Arts (JAMU) in Brno and some of the leading figures from the Prague scene, a jazz department has been founded at JAMU, available for
regular students of the academy this year and open to the public from next season.<br>
Regular work experience is a key to master any kind of human activity and jazz is no exception. Often applied concepts of jazz improvisation are best practiced by
a trial and error method in a working band. Such a band was established under the supervision of Patrik Karpentski by regular JAMU students last year to be able to experiment
with all kinds of musical substances in a new “jazz laboratory.“ The members of the group are definitely no strangers to music, although most of them do not
really have an overwhelming amount of jazz experience. Trumpeter Lukáš Oravec boasts a victory in a competition of conservatories as well as notable experience from
studies abroad. The résumé of saxophonist Pavel Zlámal resembles Oravec’s with quite a few successful performances at international competitions or guest appearances
with various orchestras. The clarinet is his main instrument; however, the saxophone suits him fantastically as well. Ondřej Hájek, the pianist, studies composition
and Pat´s Apes serve him as a superb platform for his compositional output in the field of jazz. Slovak bassist Juraj Valenčík - apart from his plentiful success in conservatory
competitions - likes to devote a part of his time to jazz and his experience certainly makes him stand out. The whole unit is rhythmically propelled by talented
drummer, Jakub Tengler, a graduate of the Ostrava conservatory.<br>
JazzFest Brno has cooperated with JAMU on multiple levels since the very beginning and the offer to present the efforts of its students in the framework of the festival
is a logical outcome of the long-term collaboration. The potential of Pat´s Apes is apparent and their performance at an international jazz event is perhaps the best
motivation for further development.<br><br>


<h3>Ondřej Štveráček Quartet (CZ/SK)
</h3>
 
  <em>Ondřej Štveráček – tenor saxophone, Ondrej Krajňák – piano, Tomáš Baroš – double bass, Marián Ševčík – drums
</em></p>
 
<div id="p2" class="more"><img src="img/stveracek.jpg" alt="Stveracek" /><br><br>


The extraordinarily gifted tenor saxophonist Ondřej Štveráček enjoys freedom of jazz with a similar exhilaration as the remaining up-and-coming Czech musicians. He
has been a regular member of Gustav Brom Big Band for many years now, has collaborated with the most outstanding young musicians from both the Czech and Slovak
Republics as well as with artists from abroad (Ryan Carniaux, Jonathan Crossley). Apart from activities as a sideman, he focuses primarily on his own concept of playing
the saxophone, undoubtedly inspired by the jazz tradition.<br>
Štveráček might already be hypersensitive to his perpetual comparisons to John Coltrane, however, he cannot elude them. Coltrane´s Sheets of Sound concept percolates
through Štveráček´s phrasing and his tone resembles the one of his idol as well. Coltrane and Štveráček also share great horn control and flawless technique.
Štveráček is never intimidated by breakneck tempos, odd meters or complex harmonies. Even though one would be hard pressed to find a better teacher than Coltrane,
Štveráček has recently been drifting further apart from his influence to find his own voice to a great benefit of himself and his listeners. He is preparing a new album
with his band and is touring all major destinations in Central Europe.<br>
Štveráček´s jazz insight is brought to life with the assistance of the real master jazzmen of the up-and-coming generation. Bassist Tomáš Baroš is a talent, whose impact
will soon overgrow the boundaries of the Czech Republic. The manifold playing of the passionate drummer Marián Ševčík reveals some afro-american drumming influences
and the solos of the pianist Ondrej Krajňák resemble a stream of water, which will take the listener down and let him float in the current. No wonder that Ondřej
Štveráček has picked out this line up to let his saxophone shine and easily blend into the group´s chemistry at the same time.<br><br>

http://www.myspace.com/ondrejstveracekband<br><br>

________________________________________________________________________

<br><div class="day"><h4>Friday April 23, 2010</h4></div> 
	<div class="dat"><span>Husův sbor, Botanická 1, 8:00 p.m. (Tyršův sad)  </span></div> <h5>Admission:  120CZK, Discounted Admission: 90CZK (students, seniors)
</h5>
 	<h3>Ondřej Pivec - solo concert (CZ)

</h3>
 
  <em>Ondřej Pivec – Hammond organ 
</em></p>
 
<div id="p2" class="more"><img src="img/pivec.jpg" alt="Pivec" /><br><br>



Gifted organ player Ondřej Pivec has become quite a unique phenomenon in the Czech Republic. He naturally unites talents for music with abilities to promote himself
with more taste and less calculus. He – quoting a classic – simply suits the business. Jazzmen usually underestimate the self-promotion aspect of music, often preferring
to stay inside their own musical ghetto. Pivec has clearly realized this as he soaks up musical experience in his temporary home of New York City. Thus he has easily
earned a leading position among jazzmen of his generation. He leads his Organic Quartet which has released two albums already (Don´t Get Ideas, 2006; Never Enough,
2007), he also left a serious imprint with his project Overseason with Joel Frahm and Jake Langley. He enjoys paying dues as a sideman and lately he has been focusing
on his new trio with the explosive drummer Gregory Hutchinson and the Bohemian king of mainstream piano Naj Ponk.
Pivec has been wayfaring over NYC, visiting jamsessions, soaking up jazz intensively, taking lessons with the best players and, mainly, gathering all kinds of life experiences
and subsequently projecting them to his own playing. Pivec´s NYC mission that he launched with his Organic Quartet bandmate Tomáš Hobzek in 2007 therefore
continues with increased intensity.
For this year of the JazzFest, Pivec has prepared an exclusive solo performance, an exciting, yet intimidating format for most musicians. There is no doubt Pivec will not
meet this challenge successfully – we are talking about one of the most promising representatives of up-and-coming jazz generation. <br><br>

http://www.ondrejpivec.com/
________________________________________________________________________<br><br>

<br><div class="day"><h4>Saturday April 24</h4></div> 
	<div class="dat"><span>Semilasso, 8:00 p.m. </span></div> <h5>Admission:  290CZK, Discounted Admission: 190CZK (students, seniors)
</h5>
 	<h3>Vojtěch Procházka Trio (CZ/NOR)

</h3>
 
  <em>Vojtěch Procházka – piano, Adrian Fiskum Myhr - double bass, Tore T. Sandbakken – drums
</em></p>
 
<div id="p2" class="more"><img src="img/prochazka.jpg" alt="Prochazka" /><br><br>


The international trio of the talented Bohemian pianist Vojtěch Procházka boasts a debut album released on the most progressive Czech jazz label, Animal Music. The CD
was recorded in Prague by Lukáš Martinek, mixed in Copenhagen by August Wanngren and mixed in New York City by Gene Paul.
Procházka found his musical like minds Adrian Myhr and Tore Sandbakken during his studies at the Norwegian Music Academy in Oslo in 2008. In 2009, the promising pianist
was accepted to embark on his Master´s degree studies. All three musicians united their potential to one stream and quickly developed a unique sound with a broad
palette of expression. Graceful and lyrical performances can be replaced with wild swing, open and free spaces or dance evergreen. The repertoire of the trio consists
of both Procházka’s original compositions and intriguing arrangements of musical gems penned by Herbie Nichols, Paul Motian, Kurt Weill and Ornette Coleman.
Procházka has made a name for himself especially as a pianist and as composer of the Vertigo Quintet that has released three albums already. He has also been lucky to
collaborate with some of the leading Czech jazzmen including David Dorůžka or Jaromír Honzák. Currently he is leading a series of chamber improvisation project with
Norwegian aces Per Oddvar Johansen, Ivar Grydeland or Espen Reinertsen.
Inherently, Procházka likes to surround himself by musicians of a similar caliber in his own project too – Adrian Myhr studied double bass at the Music Academy in Oslo,
attended courses in Köln am Rhein and at prestigious workshops in Banff, Canada. His unique sound as well as concept have become a part of many international
projects, his playing can been heard in Facet, Chiba, I Have Seen The Future, Aphrodisiac, You Had Me At Hello or even, Trabant. The rhythmic heart of the band, Tore
Sandbakken, is an all-round and often sought-after drummer with a sense for delicacy and dynamics. He has performed with Speakeasy, Off Topic, Jens Carelius and the
Astrid E. Pedersen Ensemble all over Europe and the USA.<br><br>

http://www.myspace.com/vojtechprochazka<br><br>


<h2>Kurt Rosenwinkel Standards Trio (USA)

</h2>
 
  <em>Kurt Rosenwinkel – guitar, Eric Revis – double bass, Colin Stranahan – drums

</em></p>
 
<div id="p2" class="more"><img src="img/kurt.jpg" alt="Kurt" /><br><br>


The blending of genres, influences, styles is certainly one of the themes of the postmodern time. The musical message of the guitarist and composer Kurt Rosenwinkel is
yet so strong and personal that it does not give in to trends. Moreover, in any musical context its grace and originality shines through. Rosenwinkel has profiled himself
as an extremely gifted musician, who chose to play guitar as if by coincidence. The piano, for that matter, was his first instrument and one can hear an unusual degree
of a pianistic approach to his guitar playing as well as his composing. Rosenwinkel’s current trio, leaves him with a bit less harmonic comfort for him as a soloist, however,
it unleashes his sophisticated guitar harmony concept to a quest for a further discovery.
The bandmates of Kurt Rosenwinkel are always in the leader´s focus and have an essential influence on his writing and playing. “I draw a lot of inspiration for my ideas
from my associates as well as my musical influences,” says Rosenwinkel. “It is great to see them spring up with the help of their contribution.” The enormous level of
empathy set in the band is caused not only by a rarely witnessed grade of musicianship, but by the synergetic musical thought and long-term musical rapport of the
band members. The opportunity to see and hear the unique voice of the front man Rosenwinkel, and the inexhaustible reservoir of inspiration in the form of an excellent
rhythm section Revis – Green is as extraordinary as the group itself.
The added value of the Kurt Rosenwinkel Trio´s music, the value, which places it in the highest class of today´s jazz, is the emotional profundity of its musical message.
In unity with the title of Rosenwinkel´s latest recording Reflections, it passes on ideas with respect to natural musical relationships and without regard to genre limitations.<br><br>

http://www.kurtrosenwinkel.com/<br><br>

<h5>Jamsession after the end of the main program, Starý Pivovar
Kick off band: Libor Šmoldas Quartet<br>
Admission: Free 


</h5>
 
  <em>Libor Šmoldas - kytara, Petr Beneš  – klavír, keyboard, Josef Fečo - kontrabas, Tomáš Hobzek – bicí


</em></p>
 
<div id="p2" class="more"><img src="img/smoldas.jpg" alt="Smoldas" /><br><br>



After successfully leading his own trio (CD On the playground 2007, Jazz in Rudolfinum festival 2008...) Libor Šmoldas is now establishing a new quartet with piano,
drums and bass. The repertoire of the band consists of two parts,“ explains Šmoldas. „One is my original pieces, the other is a rearranged music from the 60`s broadway
play My fair lady by Frederick Loewe. I believe now, when organist Ondřej Pivec, who I used to play with in my trio, has left to New York, it`s the right time for me to
make a new project with a brand new program.“
The quartet´s program was recorded on Libor’s trip to New York by all-star recording band featuring Jeff ballard, George Mraz and Sam Yahel. The CD has been out since
the end of 2009.<br><br>

http://www.liborsmoldas.com/<br><br>

________________________________________________________________________

<br><div class="day"><h4>Sunday April 25</h4></div> 
	<div class="dat"><span>Semilasso, 8:00 p.m. </span></div> <h5>Admission: 250CZK 
Discounted Admission: 160CZK (students, seniors)

</h5>
 	<h3>Pawel Kaczmarczyk Audiofeeling Band (POL)

</h3>
 
  <em>Pawel Kaczmarczyk – piano, Grzech Piotrowski – tenor & soprano saxophone, bass clarinet, duduk, Henryk Gradus - double bass, Dawid Fortuna – drums 


</em></p>
 
<div id="p2" class="more"><img src="img/kaczmarczyk.jpg" alt="Kaczmarczyk" /><br><br>


Would jazz be depleted if there was no Polish scene? Closely observing the rich jazz life of our northern neighbors certainly offers a positive response. Tomasz Stanko,
Krzysztof Komeda, Michal Urbaniak or Marcin Wasilewski are well distinguished voices of current music that bears more or less traces of jazz. Furthermore, our domestic
scene would suffer for certain! Polish jazzmen are integral members of numerous Czech units including those of Jaromír Honzák and David Dorůžka and enhance their
musical output by a mysterious coolness.
Pawel Kaczmarczyk, the Audiofeeling Band leader, is only 26 years of age, however, his virtuosity, concept as well as talent for composition have captivated scouts of the
progressive publishing house ACT, which boast such talent as E.S.T., Nils Landgren or Victoria Tolstoy. Even though Kaczmarczyk can play piano with bursts of energy, the
main feature of his budding unique style is his touch of beauty and lyrical poetry. It fully blossoms especially in ballads, other times he unleashes a post bop rage.
Kaczmarczyk is often inspired by his sidemen, who come from the elite circles of today´s Polish jazz. Bassist Henryk Gradus possesses a strong, woody and sonorous
tone, drummer Dawid Fortuna contributes a startling range of sounds and rhythmic clarity and Grzech Piotrowski often sets off on an atonal trip with his saxophone.
All members of the Audiofeeling band are great craftsmen, but that is a standard feature of today. What they offer on top of that is a compositional variety and an ability
to draw the listener deep into what is happening. The pianist wraps a relatively complex musical organism within a simple and communicative foil and offers it to his
fans as such and perhaps demonstrates the way forward for current creative music.<br><br>

http://www.pawelkaczmarczyk.com<br><br>
http://www.myspace.com/audiofeeling<br><br>


<h3>Emile Parisien Quartet (FRA)

</h3>
 
  <em>Emile Parisien – saxophones, Julien Touery – piano, Ivan Gelugne – double bass, Sylvain Darrifourcq - drums 


</em></p>
 
<div id="p2" class="more"><img src="img/parisien.jpg" alt="Parisien" /><br><br>


Saxophonist Emile Parisien was born in 1982. In early 1990´s he attended the “Jazz class“in Marciac high school, where he learned music with experienced musicians
such as Pierre Boussaguet, Guy Laffitte and Tonton Salut. During his years at high school, he had an opportunity to meet some outstanding jazzmen, when Wynton
Marsalis, Christian Mc Bride, Johnny Griffin or Bobby Hutcherson invited him to join them on stage at the Jazz Marciac Festival. In 1996, he pursued his education in
the Conservatoire of Toulouse, where he studied classical and contemporary music, with, among others, Philippe Lecoq. In 2000, Emile Parisien settled in Paris. Since
then, he has performed in France and abroad with Michel Portal, Jacky Terrasson, Yaron Herman, Paco Sery, Rémi Vignolo, Manu Codjia, Hervé Sellin, Charlier/Sourisse,
Christophe Wallemme, Gueorgui Kornazov, Eric Serra, Bertrand Renaudin and many others.
In 2004, Emile Parisien took part in the creation of HIP 11, a show mixing jazz music and hip hop dance. That year, he also stated his artistic identity by founding
a Quartet with some of the most skilled young French musicians. His band mates Julien Touery, Sylvain Darrifourcq, and Ivan Gelugne have been thoroughly enjoying
contributing with their distinctive voices to fresh and unique performances of the Quartet since then. Inspired by 20th century composers as well as John Coltrane or
Wayne Shorter, this quartet gives an expressionist character to its music, in which improvisation surpasses. Thanks to the musicians’ mutual understanding, the band
reaches a very personal and undoubtedly modern expression. The first album of the Emile Parisien Quartet has been available since October 2006 on Laborie/Naïve.<br><br>

http://www.emileparisienquartet.com<br><br>

<h5>Jamsession after the end of the main program, Starý Pivovar<br>

Admission: Free 


</h5>
 
  <em>Kick off band: Libor Šmoldas Quartet
</em></p>

___________________________________________________________________

<br><div class="day"><h4>Monday April 26</h4></div> 
	<div class="dat"><span>Semilasso, 8:00 p.m. </span></div> <h5>Admission: 350CZK
Discounted Admission: 250CZK (students, seniors)

</h5>
 	<h3>Dan Tepfer Trio (USA)



</h3>
 
  <em>Dan Tepfer - piano, Michal Baranski – double bass, Lukasz Zyta - drums


</em></p>
 
<div id="p2" class="more"><img src="img/tepfer.jpg" alt="Tepfer" /><br><br>



Critics have called New York-based pianist/composer Dan Tepfer “brilliant” (the Boston Globe), “a remarkable musician” (The Washington Post) and “certainly among
those clearly willing to play with familiar formulas and take new approaches, even as he incorporates strokes from the masters” (Jazzreview.com). While he has played
with some of the great names in jazz — Lee Konitz, Steve Lacy, Bob Brookmeyer and Charles McPherson, to name a few — he strives to create music that is distinctly of
our time.
Born in Paris, France, in 1982 to American parents, Tepfer started classical piano studies at the age of six and began to explore improvisation on his own and remained
largely self-taught in jazz into his college years. After earning a bachelor’s in astrophysics from the University of Edinburgh, Scotland, where he also played extensively
on the jazz scene and enjoyed a brief stint as an opera conductor, he was offered a scholarship to complete his Master’s in jazz at the New England Conservatory in
Boston under the guidance of Danilo Pérez. Graduating with honors in 2005, he moved to New York City, where he is in demand as a pianist, composer and educator.
His new release, OXYGEN, follows his acclaimed debut Before the Storm, which was voted one of the top ten CDs of 2005 by Cadence Magazine. Both albums feature his
longstanding trio with bassist Jorge Roeder and drummer Richie Barshay (whom Tepfer shares with Herbie Hancock and Chick Corea). The group has been noted for its
exceptional chemistry on stage, which reflects it’s more than four years of international touring. Dan also pursues an active solo career, with a recent focus on full concerts
of freely improvised music. He has been named a Cultural Envoy of the U.S. State Department, with recent travels to Azerbaijan, Georgia and the Czech Republic.<br><br>

http://www.dantepfer.com/



<h2>John Scofield Jazz Quartet featuring Michael Eckroth, Ben Street and Bill Stewart (USA)


</h2>
 
  <em>John Scofield - kytara, Michael Eckroth – klavír, keyboard, Ben Street - kontrabas, Bill Stewart – bicí
</em></p>
 
<div id="p2" class="more"><img src="img/scofield.jpg" alt="Scofield" /><br><br>


It is a rare artist that can play more than one style of music with true fluency, virtuosity and sincerity. John Scofield can and he has been proving this for years. After
releasing his last few albums including That´s What I Say or Piety Street, this incredibly broad scope of his has once again stepped up a notch. These albums find him
confirming his reputation as a peerless jazz guitarist, while making multifarious music at the higest level.
Scofield began recording as a leader in the late 1970s, establishing himself as an influential and innovative player and composer. His recordings, many already classics,
include collaborations with contemporary favorites like Pat Metheny, Medeski, Martin and Wood, Bill Frisell, Government Mule and Joe Lovano. Well known and highly
acclaimed is his tenure with Miles Davis in the early 1980s. Through it all, this guitarist has kept an open musical mind.
Scofield´s current Jazz Quartet takes listeners on a journey of forward thinking compositions and captivating improvisations. His bandmates help Scofield create a tight
unit with a strong individual on each post. The pianist, Michael Eckroth keeps himself busy in latin and jazz bands all over New York City as well as by teaching and
arranging. Ben Street, the bass player, is highly respected for his tenures with Kurt Rosenwinkel, David Sanchez and others, appreciates many different styles of music
and on top of that he has a perfect temperament as a bassist. A start of Scofield´s musical bond with drummer Bill Stewart dates way back to late 1980´s. Stewart
represents a perfect blend of intellect and intuition and is easily able to make his drums sing with an unsurpassed clarity and instantly recognizable voice. No wonder he
is constantly sought after by a wide variety of leaders. Together with Street they form one of the most remarkable rhythmic tandems in jazz.
John Scofield simply likes jazz, and he likes pop, rock and other styles as well. The music he plays with his current band is a result of thirty years of letting these styles
evolve. Inspired by top-notch sidemen he delivers the best of himself in virtually any context."<br><br>

http://www.johnscofield.com/<br><br>
<h5>Jamsession after the end of the main program, Metro Music Bar<br>

Admission: free

</h5>
 
  <em>Kick off band: Libor Šmoldas Quartet
</em></p>

___________________________________________________________________

<br><div class="day"><h4>Tuesday April 27</h4></div> 
	<div class="dat"><span>Brno City Theater, Musical Scene, 7:30 p.m., festival closing</span></div> <h5>Admission: 450CZK 
Discounted Admission: 350CZK (students, seniors)



</h5>
 	<h3>Jean-Michel Pilc Trio featuring Boris Kozlov and Billy Hart (FRA/RUS/USA)



</h3>
 
  <em>Jean-Michel Pilc – piano, Boris Kozlov – double bass, Billy Hart – drums
</em></p>
 
<div id="p2" class="more"><img src="img/pilc.jpg" alt="Pilc" /><br><br>



Born in 1960 in Paris and now an American citizen, self-taught, Jean-Michel Pilc has played with Roy Haynes, Michael Brecker, Marcus Miller, Kenny Garrett, Lenny White,
Chris Potter, John Abercrombie, Mingus Dynasty & Big Band, Richard Bona and many others. Jean-Michel moved to New York City in 1995. In the last decade, Jean-Michel
has been intensively touring worldwide, performing trio, solo, and also teaching clinics and masterclasses. In 2006, Jean-Michel has been appointed jazz teacher at NYU
(New York University), where he is giving private lessons, ensemble classes and improvisation workshops.
His current international trio features some of the best jazz musicians available. His bassist, Boris Kozlov, was born in Moscow. He picked up acoustic bass while in College
and later served in the Soviet Army playing horns and bass. In the nineties Boris studied at the State Academy of Music while touring USSR, Europe and USA with
various jazz groups including his own. After winning the first spot in the Young Musician category in USSR Jazz Journal in 1991, Boris moved to New York. While there he
has performed, recorded and toured with Michael Brecker, Bob Berg, Benny Golson, Ravi Coltrane, Alex Sipiagin, David Kikoski, Michel Petrucciani, among others. Since
1998 Boris has been playing Charles Mingus’ bass as well being an arranger and Musical Director for the Mingus Big Band.
Billy Hart is one of the most influential, melodic and creative drummers in jazz. His first steady gigs of note were with Shirley Horn. In the 1960’s he toured with Jimmy
Smith, Wes Montgomery, Eddie Harris, and Pharoah Sanders. In 1970 he joined Herbie Hancock’s Sextet, and after that band broke up in 1973 he joined first McCoy
Tyner (two years) and then Stan Getz (four). He also played with Miles Davis. Billy is featured on about 600 records as a sideman. As a leader, he has formed ensembles
that have been discreet pioneers of musical styles, featuring musicians such as Bill Frisell, Eddie Henderson, Branford Marsalis, Steve Coleman, Kenny Kirkland, Kevin
Eubanks, Chris Potter, Dave Kikoski and many others.<br><br>

http://www.jmpilc.com/<br><br>



<h2>George Duke Band (USA)

</h2>
 
  <em>George Duke – piano, keyboard, Andrew Papastephanou – keyboards, Shannon Pearsons – vocals, Lamont Vanhook – vocals, Jeff Lee Johnson - guitar, , Mike Manson – bass guitar, Gorden Campbell – drums

</em></p>
 
<div id="p2" class="more"><img src="img/duke.jpg" alt="Duke" /><br><br>


Veteran keyboardist and producer George Duke remembers a time when funk was a powerful force – not just in popular music but in social discourse. Frequently with
a measure of wit and irony, and often with a strong dose of positivity at the core, titans like James Brown, Sly and the Family Stone and other funk icons of the ‘60s and
‘70s boldly addressed societal concerns ranging from poverty to racial disharmony to the battle of the sexes.
George Duke was born in San Rafael, California, and reared in Marin City, a working class section of Marin County. When he was just four years old, his mother took him
to see Duke Ellington in concert. “I don’t remember it too well,” says George, “but my mother told me I went crazy. I ran around saying ‘Get me a piano, get me a piano!’”
He began his piano studies at age seven, absorbing the roots of Black music in his local Baptist church. “That’s where I first began to play funky. I really learned
a lot about music from the church. I saw how music could trigger emotions in a cause-and-effect relationship.”
Digging deep and coming up with great music is what George Duke has always been about, and his current project is no exception. It’s a fun and entertaining ride, to
be sure, but underneath the occasional tongue-in-cheek posturing and comedic moments – the stuff that made R&B and funk so engaging in the first place – is music of
substance that speaks to both the lighter and darker sides of the world we live in.
“I feel a responsibility to carry positive messages in my music,” says Duke. “I think music is meant to lift people up. I don’t think you can push things under the rug and
not address them. Those who have the ability and the opportunity to let people know what’s going on musically and socially should not be afraid to say it and do it and
play about it and sing about it.”<br><br>

http://www.georgeduke.com/

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