Programme 2026

The trio, known by the acronym BEATrio, is one of those projects in modern instrumental music that immediately sparks curiosity. In this unusual combination of instruments come together true masters: banjo virtuoso Béla Fleck, harpist Edmar Castañeda, and drummer Antonio Sánchez. As Sánchez himself once put it, BEATrio represents “one of the most unlikely trio configurations anyone has ever seen.” Béla Fleck added that the curiosity and amazement of audiences remind him of the early days of his pioneering band Flecktones, when people also used to ask, “How the hell is that supposed to work?”

For Fleck — who has been pushing the banjo into uncharted territories for decades — the choice of this unconventional lineup is a deliberate one. He always seeks collaborators who can play in ways no one else can. Castañeda and Sánchez fit that description perfectly, and Fleck sees their first joint album, BEATrio, released this year, as only the beginning of a long journey.

BEATrio unites three musical giants, each deeply rooted in different traditions — and each a virtuoso who has redefined the possibilities of his instrument. Across all genres, Béla Fleck is undoubtedly the most renowned, recognized worldwide as the leading and most progressive banjo player of our time. Over the course of his career, he has been nominated for Grammy Awards in more categories than any other artist in history and has won nearly twenty of them. His career is defined by a fearless openness to musical exploration — expanding from traditional bluegrass and folk into jazz, fusion, classical, and world music. From New Grass Revival through his world-famous jazz-rock group Flecktones, duets with Chick Corea, and even his own reimagining of Rhapsody in Blue, Fleck has consistently broken instrumental boundaries.

Harpist and composer Edmar Castañeda, born in Bogotá, Colombia, has done for the harp in Latin music what Fleck has done for the banjo in American music. Castañeda masterfully blends Colombian folk traditions with jazz language, adapting intricate finger techniques to perform jazz melodies and Afro-Cuban rhythms. He is the “glue” of BEATrio — playing bass lines with one hand (routed through a bass amplifier) while harmonizing with the banjo in the other. Watching this duality in action is utterly mesmerizing, as anyone who attended BEATrio’s spring concert in Prague can confirm.

Antonio Sánchez, a five-time Grammy Award winner, hails from Mexico City and has built a reputation as one of the most sought-after drummers in contemporary jazz. His name is most often associated with his long-standing collaboration with guitarist Pat Metheny, with whom he worked for over eighteen years on nine albums. Sánchez gained worldwide recognition beyond the jazz world in 2014, when he composed the groundbreaking all-drums score for Alejandro González Iñárritu’s Oscar-winning film Birdman.

Though these three masters come from the United States, Colombia, and Mexico, and represent distinct musical roots, their shared history of transcending genre boundaries makes them ideal partners for this inspired, virtuosic, and — despite its technical brilliance — wonderfully accessible cross-cultural project.

The media called it a “shocking surprise,” a moment that made her the first jazz artist ever to win this prestigious award. But it wasn’t just a personal triumph — it was also a turning point that, for the first time in many years (and, unfortunately, for a long time to come), brought modern jazz back into the bright lights of popular culture and made the wider public ask: “Wait… who’s Esperanza?”

For Esperanza Spalding, the award also had a very tangible impact. Her then-current album Chamber Music Society instantly climbed the mainstream charts, making her one of the best-selling artists in contemporary jazz worldwide. Yet she was no newcomer to the scene — by then, she had already performed at the White House at the invitation of President Barack Obama, and at the Nobel Peace Prize ceremony in Stockholm.

Born in Portland, Oregon, Esperanza Spalding was what people often call a child prodigy. Guided by her ear, she taught herself the basics of piano, guitar, oboe, and clarinet, and went furthest — in the field of classical music — on the violin. But it was during high school that she discovered the double bass, and it completely captured her heart. Within just a few months, she was performing in local clubs, blending pop, rock, hip-hop, and especially jazz. Her talent was so exceptional that shortly after graduating from the prestigious Berklee College of Music in Boston, she became, at only twenty years old, one of the youngest instructors in the school’s history.

In her music, which she debuted with the 2006 album Junjo, Spalding combines jazz, fusion, neo-soul, R&B, bossa nova, and Latin jazz in her own distinctive way. Critics have especially praised her seamless connection between voice and instrument — a combination of such expressive power in both is inherently rare in today’s music world. This technical precision and her ability to move fluidly between genres have opened doors to collaborations with stars such as Prince, Herbie Hancock, Stevie Wonder, and Wayne Shorter.

After her commercial breakthrough — crowned by a Grammy win for Radio Music Society in 2012 — Spalding recorded several more albums that confirmed her position as the leading jazz–mainstream artist of her generation. By 2018, however, she began to move away from conventional jazz album formats toward more conceptual works. On 12 Little Spells, for example, she created a cycle of songs, each corresponding thematically to a different part of the human body. The experimental album earned her another Grammy Award. The same recognition followed with Songwrights Apothecary Lab (2021), a project developed in collaboration not only with musicians but also with experts in neurology, music therapy, psychology, and ethnomusicology. Conceived during the pandemic, the project was designed to help listeners cope with chaos, aggression, and loneliness.

Spalding’s most recent releases stand apart from the rest of her discography: in 2023 she released a live album with acclaimed pianist Fred Hersch, and in 2024 she fulfilled a lifelong dream — a joint album with her long-time idol, the Brazilian singer and multi-instrumentalist Milton Nascimento.

When Esperanza Spalding arrives in Brno, she will bring with her one of the most remarkable careers in modern jazz. As arguably the most influential jazz artist of her generation, her past achievements are extraordinary — and her future promises to be just as inspiring.

The project’s leader, pianist Jon Cowherd, studied at the renowned Loyola University New Orleans, where his teacher was none other than Ellis Marsalis, the patriarch of one of the most influential jazz families. It was at Loyola that Cowherd met drummer Brian Blade, and together they founded The Fellowship Band — an ensemble that remains active to this day with a series of acclaimed albums and numerous awards.

Cowherd also develops his work as a bandleader on his own albums — Mercy (2013) and Pride & Joy (2022) — and has built an equally strong reputation as a sideman for a wide range of artists. His collaborations span from jazz greats such as Bill Frisell, John Patitucci, and Chris Potter, to singer-songwriter icons like Joni Mitchell and James Taylor, as well as country star Rosanne Cash and rock legend Iggy Pop.

Brian Blade is one of the most sought-after drummers of his generation. Beyond his own projects, he has shaped the sound of the greatest: he was a cornerstone of Wayne Shorter’s final quartet—widely considered the finest jazz ensemble of its era—performed with Herbie Hancock, Chick Corea, and Charles Lloyd, and also worked with Norah Jones and Bob Dylan. Yet Blade is perhaps most fully himself in the Fellowship project he co-leads with Cowherd.

The trio’s bassist, Tony Scherr, is another major figure of the contemporary American scene. His unmistakable sound has defined avant-garde groups such as The Lounge Lizards and Sex Mob, as well as numerous projects by Bill Frisell. At the same time, he has left a distinct mark on the songwriter-driven — yet stylistically wide-open — recordings of Ani DiFranco and Rickie Lee Jones.

There is no doubt that this trio will offer not only brilliant jazz interplay, exceptional improvisational skill, and the harmonic richness characteristic of Cowherd’s compositions, but also touches of americana and songwriting tradition — another deep thread that links all three musicians.

Born and raised in New York, Rodriguez showed undeniable musical talent from early childhood and began playing the piano — his main instrument to this day — at the age of four. He soon became a student at the prestigious Manhattan School of Music and later at the equally renowned Juilliard School, where he refined both jazz and classical technique. This naturally led him to avoid narrowing himself to just one side of the musical spectrum. His passions also included other genres such as gospel and hip hop, which further enriched his eclectic approach. As a teenager, he became a sought-after sideman on the New York scene, performing alongside artists such as Wynton Marsalis and Roy Hargrove.

His own music is exceptionally fresh and innovative without losing its jazz core or the dynamic elements drawn from rhythm and blues and hip hop. Within this mixture he enjoys a level of virtuosity that seems practically limitless. At the same time, he is not one of those musicians who let their technical abilities overshadow emotional depth, atmosphere, or storytelling.

He first attracted attention with his debut EP in 2018, but his most significant work so far is the 2022 album Let Sound Tell All, released on the prestigious Verve Records label. The album showcases his wide musical range, collaborations with a number of talented musicians, and Rodriguez’s distinctive compositional voice, which includes memorable, listener-friendly melodies built on a deep jazz foundation. He continued in this spirit two years later with the album Evergreen.

With each new project, Julius Rodriguez pushes the boundaries of what it means to be a jazz musician in the 21st century. It’s not only his technical brilliance, broad musical education, and passion for sound, but also his relentless search for new textures and approaches — both to musical material and to the world itself.

In this duo, two of the most acclaimed artists in contemporary jazz join forces. Brad Mehldau ranks among the most lyrical and introspective pianists of our time. Throughout his career, he has been celebrated by audiences and critics alike and has received numerous awards — both as the leader of his own projects and as a collaborator with some of the most respected names in contemporary music, including Pat Metheny, Renée Fleming, Chris Thile, and Joshua Redman.

What defines Brad Mehldau is his remarkable ability to bridge different musical idioms. His repertoire features brilliant reinterpretations of songs by composers and artists from a wide range of cultural worlds — from The Beatles, Cole Porter, and George Gershwin to Radiohead, Paul Simon, and Nick Drake. At the same time, he continues to build an ever-expanding catalogue of striking original compositions. It’s no coincidence that The New York Times has called him “the most influential jazz pianist of the past twenty years.”

Christian McBride, a nine-time Grammy Award-winning bassist and composer, is equally active as a performer, producer, and educator. He serves, for example, as the artistic director of the renowned Newport Jazz Festival. The list of artists he has worked with is truly impressive: within jazz, Herbie Hancock, Pat Metheny, Diana Krall, Chick Corea, and Wynton Marsalis; beyond jazz, Sting, Paul McCartney, Céline Dion, Isaac Hayes, and James Brown. Since 1994, McBride has also released more than twenty albums as a leader — both studio and live recordings from such legendary venues as Village Vanguard and Tonic.

Christian McBride says of his long-time friend:

“Brad is rightly revered as one of the greatest pianists of all time. I’m very proud to have been his friend and collaborator for almost thirty-five years. He was one of the first people I met when I moved to New York in 1989, and every time we play together, it’s an uplifting experience.”

Brad Mehldau responds:

“Playing with Christian in this duo is a dream come true. Performing with him, especially in this format, is both joyful and humbling. His sophistication, emotional strength, and grace are unmatched. And it’s not only about what he has achieved on his instrument, but about his importance as one of the most powerful voices in music as a whole. It’s a great honor to share the stage with him.”

This long-standing friendship and musical partnership have led to many collaborations over the years — including the albums MoodSwing (1994), RoundAgain (2020), and LongGone (2023) with Joshua Redman and Brian Blade, as well as trio tours with drummer Marcus Gilmore. Now, Europe can look forward to the music of this perfectly attuned duo — a true celebration of artistry and connection.

They have been playing together for more than three decades, and although the history of jazz has seen many Hammond organ–guitar–drums trios, this one forged a unique and organic sound that has become a symbol of sophisticated, groove-driven jazz. Their music is full of telepathic interaction, deep harmonies, and unrestrained improvisation.

Each member of the trio is a star on his own. Organist Larry Goldings has collaborated closely over the years with John Scofield, Michael Brecker, Jim Hall, Maceo Parker, Madeleine Peyroux, and Pat Metheny. He has written music throughout his life for bandleaders he has worked with and is also a respected composer for film and television.

Guitarist Peter Bernstein studied with legendary guitarist Jim Hall, who once called him “the most impressive guitarist I’ve heard — the best in terms of swing, logic, feeling, and taste.” Bernstein has been a member of Joshua Redman’s band and Diana Krall’s quartet, performed with organ legend Dr. Lonnie Smith, and recorded projects with Sonny Rollins, Etta James, and Brad Mehldau.

Drummer Bill Stewart is strongly associated with John Scofield, with whom he has collaborated continuously since 1990. He has also toured extensively with Pat Metheny, Joe Lovano, Joshua Redman, and Charlie Haden, and like his trio partners, he leads his own band, where he fully pursues his personal vision of jazz.

Their shared history goes back to the late 1980s, when they met on the New York jazz scene and, for a time, honed their interplay through weekly club residencies. They reached a level that critics often describe as telepathic, enabling unexpected musical dialogues and spontaneous ideas woven throughout their repertoire — from reimagined jazz standards to original compositions by all three members. Many of their dozen-plus albums are considered benchmarks of quality and inspiration in their field.

During his studies, he became a member of the first major band of his career — the Organic Quartet, led by organist Ondřej Pivec. In 2007, he released his debut solo album On The Playground.

Šmoldas moves fluidly between genres: on one side modern chamber-jazz aesthetics, on the other music inspired by the soul-jazz tradition of organ ensembles. He is also drawn to solo projects exploring Czech musical history, having recorded albums with the music of Jaroslav Ježek or arrangements of classic songs from Czech films of the 1930s. Beyond numerous collaborations with Czech musicians, he has worked with international instrumental stars such as bassist George Mraz, drummer Jeff Ballard, pianist Sam Yahel, and drummer Adam Nussbaum.

His current project, “Sorry, Miles!”, marks the 100th anniversary of the birth of legendary trumpeter Miles Davis. Conceptually, it focuses on compositions that have often been incorrectly attributed to Davis, despite historical sources pointing to different authors. Šmoldas seeks out these pieces, re-arranges them in a contemporary musical language, and complements them with his own compositions — offering the public a fresh look at the little-known story of disputed authorship surrounding one of the defining figures of 20th-century music.

At this concert, Šmoldas’s quartet will perform and christen the conceptual album Sorry, Miles!, which includes nine tracks — six historically associated with Miles Davis (Four, Tune Up, Solar, Donna Lee) and three original compositions by Šmoldas inspired by the context of Davis’s authorship. Everything will be performed in new arrangements for jazz quartet, with an emphasis on improvisation, collective interaction, and a contemporary sound.

Sharkey caught the music bug at home — his father, uncle, and aunt were all professional musicians in Chicago, and he began jamming with his siblings on acoustic guitar at the age of four. The church also played a formative role in his development: he first sang in the choir, then took up bass guitar, and later electric guitar. By the age of fourteen, he could already be found playing jazz and blues at venues across Chicago. And anyone who earns their blues stripes in Chicago can confidently step onto any stage in the world.

That confidence soon paid off. In 2014, Sharkey gained major attention as a member of D’Angelo’s band Vanguard on the album Black Messiah. He had met D’Angelo by pure chance five years earlier in a music store in Virginia. The album won the Grammy Award for Best R&B Album and further cemented the cult status of the late D’Angelo, whose legacy is embraced by both the R&B and jazz communities.

Sharkey has always felt at home in hip hop as well. He joined The Roots, and during one of their public jam sessions met John Mayer, who had dropped by simply to play. Just as with D’Angelo, creative sparks flew immediately, and Sharkey became a key member of Mayer’s touring band.

He also appeared alongside iconic drummer Chris Dave, whom he met during the recording of Black Messiah. Twelve years ago, the two made their first appearance at JazzFestBrno, where — together with trumpeter Keyon Harrold — they mesmerized a packed audience at the Husa na provázku Theatre. What unfolded was a guitar-driven version of the seamless fusion of jazz, gospel, hip hop, and rhythm and blues for which pianist Robert Glasper is so widely acclaimed.

Sharkey’s natural ability to cross genre boundaries has led to collaborations with Paul Simon and many other pop stars. He is among today’s most sought-after producers, and as a frontman he combines outstanding musicianship with undeniable charisma. His church background continues to inform his musical language, shaped by influences such as Jimi Hendrix, Spanky Alford, Wes Montgomery, and George Benson. Yet Sharkey’s music remains fully authentic — offering his inspirations a deep, respectful nod rather than imitation.

Marquis Hill’s music is sophisticated, deeply rooted in the jazz tradition, yet constantly searching for new connections with hip hop, R&B, and soul. Born in 1987 in Chicago — one of the major musical centers of the world, home to electric blues, a crucial cradle of both classic and modern jazz, and a strong hip-hop and electronic scene — he was surrounded by music from an early age. He first picked up percussion instruments, but in sixth grade, inspired by his older cousin, he switched to trumpet. Falling in love with jazz came soon after. He studied both jazz performance and music education at Northern Illinois University and later at the prestigious DePaul University. During his Chicago years, he became an active part of the local jazz scene, building a reputation as a talented and innovative young player. After finishing his studies, he moved to another major jazz hub — New York City.

Hill’s music is defined by complexity and stylistic fusion. His playing is firmly grounded in jazz tradition, influenced by greats such as Dizzy Gillespie, Clifford Brown, Miles Davis, and Freddie Hubbard, yet he has crafted his own modern voice. He is a master of deeply soulful tone — in both lyrical passages and fiery improvisations. His compositions incorporate hip-hop rhythms and sampling, giving his music a distinctly contemporary urban character while maintaining strong melodies and refined arrangements.

He debuted in 2011 with the album New Gospel. Two years later, he won the Thelonious Monk International Jazz Competition, which led to a contract with the renowned label Concord Jazz, where he released the highly praised 2015 album The Way We Play. In the following years, Hill shifted toward a more meditative approach (Meditation Moments, 2017) and continued refining his vision of a unique blend of jazz heritage and modern expression. As a trained jazz educator, he shares these ideas with younger generations — yet never sounds academic, rigid, or didactic in his own music.

Lukáš Oravec is a Slovak trumpeter, composer, arranger, and educator, and one of the most prominent figures on the Central European jazz scene. He is known for his drive, penetrating tone, and technical command. He leads several of his own projects and is among the most active jazz musicians in the region. His quintet typically features top Slovak and Czech jazz players capable of interpreting Oravec’s music with both dynamism and sensitivity. He frequently invites international guests to elevate the interpretation of his original compositions to a world-class level. At JazzFestBrno, he has previously performed with outstanding American pianist Aaron Goldberg, and his extensive Central European tours have included collaborations with saxophonists Wayne Escoffery, Jerry Bergonzi, and pianist Danny Grissett.

The international dimension of Oravec’s current project comes from Slovenian saxophonist, composer, and educator Jure Pukl, known for his progressive approach to improvisation, fluid technique, and rich, vibrant tone. Based long-term in New York, he is considered one of the greatest European saxophonists of his generation. His presence brings a strong dose of inspiration and creativity to Oravec’s quintet. The combination of two powerful horn voices — trumpet and saxophone — creates lush harmonies and energetic solo dialogues rooted in hard bop and post-bop, always aligned with the current evolution of contemporary European jazz.

Shai Maestro displayed exceptional musical talent from a very early age, and it is no surprise that at just fifteen he earned a full scholarship to the prestigious Berklee College of Music in Boston — something far from common at that age. He soon became part of the international jazz world, gaining major attention as a member of bassist Avishai Cohen’s trio, with whom he played for five years and recorded four albums. The trio’s drummer was the equally renowned Mark Guiliana. This experience provided Maestro not only with invaluable concert and studio training, which helped him enter the awareness of jazz audiences worldwide, but also shaped the foundations of his own artistic vision.

He began to realize that vision in the early 2010s, when he set out on his own and formed the Shai Maestro Trio, partnering with the flexible and often distinctly melodic bassist Jorge Roeder, while several drummers rotated through the band; on the recent albums the drum chair has been held by the exceptionally dynamic and colorfully expressive Ofri Nehemya. The trio has recently expanded into the Shai Maestro Quartet, enriched by trumpeter Philip Dizack, whose palette ranges from delicate lyricism to bold, expressive tone. Their 2021 ECM release Human received widespread acclaim.

As a composer, Shai Maestro draws from a wide range of influences — classical and modern jazz, Israeli folk elements, and contemporary classical music. His music is often calm, richly harmonic, and full of strong melodies, infused with a distinctive sense of melancholy. This is supported by his almost telepathic connection with his bandmates and the ensemble’s ability to collectively develop musical ideas — from atmospheric, lyrical reflections to spontaneous bursts of energy. The concert of the Shai Maestro Quartet will undoubtedly be one of the highlights of the spring edition of JazzFestBrno.

Nohavica has made his mark not only as the leader of his own projects but also as a sideman across genres, performing with Winterspring (Allison Wheeler Quartet), B/Y Organism, Bardo, Tour Guide Blonde, and Drifter Days (Tom Smith / Daniel Bulatkin). He has also collaborated with leading artists such as Lukáš Oravec, Luboš Soukup, Robert Balcar, and Tal Arditi.

Glance is the result of several years of his compositional work. For the recording of the album, Nohavica invited some of the finest musicians on the Czech jazz scene: guitarist David Dorůžka, pianist Jiří Levíček, saxophonist Cyrill Oswald, and bassist Jaromír Honzák. The record also features guest vocalist Allison Wheeler. Released on the Brno-based label Bivak Records, the album was longlisted for the Czech Anděl Award in the jazz category in 2024.

After a break, Glance returns in a fresh lineup. The band continues with its leader Petr Nohavica and vocalist Allison Wheeler, and is now joined by a new generation of already well-established players: guitarist Martin Hrubec, saxophonist Nela Dusová, and bassist Luan Gonçalves.

This British instrumental trio quickly earned global recognition with their very first album Fanfares in 2012, thanks to their unique and innovative sound. Often described as “acoustic electronica,” their music resists simple categorization. While rooted in jazz, from the beginning they have infused their work with elements of trip-hop, breakbeat, minimalism, and progressive rock.

The true strength of GoGo Penguin lies in their hypnotic and emotionally charged compositions. They create the impression of intricate electronic music while relying solely on acoustic instruments – piano, double bass, and drums. Drummer Jon Scott plays with a precision reminiscent of drum machines, yet always with the creativity of a live musician. His pulsing, complex beats provide the solid foundation for the band’s sound. Pianist Chris Illingworth crafts minimalist, melancholic, and energetic motifs that layer and evolve like a cinematic soundtrack. And double bassist Nick Blacka anchors rhythm and harmony, serving as the vital link between piano and drums with his dynamic playing.

After their debut Fanfares, the band released v2.0 (2014), which marked their breakthrough far beyond the jazz world and earned them a nomination for the prestigious Mercury Prize. Their next album, Man Made Object (2016), was their first on the legendary Blue Note Records, confirming their position on the international jazz scene. Two more Blue Note albums followed – A Humdrum Star (2018) and the self-titled GoGo Penguin (2020).

In 2023, the trio signed with XXIM Records, releasing Everything Is Going to Be OK and, this June, their latest work Necessary Fictions. The musicians themselves describe the album as an attempt to capture “what we believe to be our essential, authentic qualities in this moment.” It is their boldest record to date, with a heightened focus on electronics, including modular synthesizers. Yet they have by no means abandoned the acoustic approach that earned them worldwide acclaim. On Necessary Fictions, GoGo Penguin are at their very best – and that is exactly how they will appear at JazzFestBrno.

Twentysomethings Abdias Armenteros (saxophone), Sebastian Rios (bass), and TJ Reddick (drums) met at the renowned Juilliard School and, through Jazz at Lincoln Center, entered the close professional circle of musicians and educators such as Wynton Marsalis (Armenteros became the youngest member of the Jazz at Lincoln Center Orchestra), Victor Lewis, and Eric Lewis, aka ELEW. They couldn’t have chosen a more unusual moment to start a band: the summer of 2020, the height of the global pandemic lockdown. Unable to play in clubs, they returned to the roots of musicianship — performing in the streets and parks — while fully embracing the digital possibilities of their time. In January 2021, they launched a YouTube channel that quickly gained two million views and over one hundred thousand subscribers — an extraordinary achievement in the jazz world, especially for musicians who were essentially “unknowns” at the time. In this sense, they lived up to their name so well that even Czech underground icon Ivan M. Jirous would probably applaud.

Musically, New Jazz Underground build on everything they learned in the foundations of their craft. Their music swings and leans on the blues, but it is shaped by distinctly contemporary improvisation and, above all, energy. And they are anything but brooding introverts — the titles of their tracks, such as “when you a sad boy but you swingin’,” “modern jazz but good,” or “giant steps is not music,” make it clear that along with great music, we can expect a whole lot of fun.

The trio consists of three equal voices whose goal is not necessarily to be in constant agreement. Consonance is just one of many possibilities; conscious presence in the given moment is more valuable.

One side of the triangle is the acclaimed trumpeter, composer, arranger, and conductor Štěpánka Balcarová. Her work spans chamber projects as well as a modern big-band sound, and includes both song-oriented writing and large-scale compositions at the intersection of classical music and jazz. As a composer and performer, Balcarová draws inspiration from jazz tradition but is unafraid to integrate elements of classical music, contemporary art music, and even folk influences. As a trumpeter, she is known for her distinctive tone and a wide expressive range, from lyrical to highly expressive.

The opposite side of the triangle is guitarist Kateřina Hošková, who studies at the jazz department of the Academy of Performing Arts in Prague (HAMU). Recently, she fulfilled one of her dreams by studying jazz guitar in the French capital at the Paris Conservatoire. Among her early influences she cites jazz legends such as Charlie Parker and Wes Montgomery, while contemporary inspirations include Bill Frisell and Tom Ollendorff.

The unshakable foundation of the triangle is Jaromír Honzák, who began his career on the Prague scene in the 1980s with the group Naima and soon collaborated with figures such as Karel Růžička and Emil Viklický. His long-standing collaborations with the Eben Brothers and Iva Bittová continue to this day. In 1989, Honzák received a scholarship to Berklee College of Music, where he studied for three semesters. After returning, he began fully realizing his own musical vision and has since released 11 albums under his own name. Both his albums and individual compositions have received numerous Czech and international awards, with five of his albums winning the Anděl Award for Best Czech Jazz Album of the Year.

Born in Berkeley, California, Redman is the son of legendary saxophonist Dewey Redman and unquestionably one of the most important figures in modern jazz over the past three decades. Yet things could have turned out quite differently. Redman was never one of those musicians who grew up surrounded only by scales, practice rooms, and smoky clubs. He’s an intellectual at heart: in 1991 he graduated summa cum laude in social studies from Harvard University and was immediately accepted to the law school of the equally prestigious Yale University. But he never finished it — music, which until then had been a passionate sideline, ultimately won out. That same year, still a student, he triumphed in the Thelonious Monk International Jazz Saxophone Competition, defeating future stars Eric Alexander and Chris Potter.

Redman’s tenor saxophone style is marked by a rich, rounded tone and a natural phrasing that makes his playing deeply appealing to listeners. His approach is firmly rooted in the modern jazz tradition — one could call it Coltrane-meets-Rollins — yet he never lets tradition constrain him. Redman constantly seeks to fuse emotion and spontaneity with logic and structure, proving that jazz is not merely an intellectual exercise but also a profoundly free and joyful music. Perhaps that’s because, as a young man, he drew inspiration equally from jazz giants and rock icons like The Beatles, The Police, and Led Zeppelin.

Redman made an immediate impression with his self-titled debut album in 1993, where he appeared not only as a leader and saxophonist but also — in most of the material — as a composer. Equally crucial was the following year’s Moodswing, recorded with his then-quartet packed with future jazz superstars. His collaboration helped launch the global careers of Brad Mehldau (piano), Christian McBride (bass), and Brian Blade (drums). The group functioned as an “incubator” for the next generation of jazz leaders. When this very lineup reunited in 2020 — now a true “supergroup” — for the album RoundAgain, it became one of the events of the year. Two years later, their concert at Prague’s Lucerna as part of the Prague Sounds festival was hailed by critics as the jazz concert of the year.

Early in his career, Redman was occasionally accused of being too conservative — an assessment that couldn’t be further from the truth. His diverse projects prove otherwise, among them Elastic, driven by Sam Yahel’s array of synthesizers and electric keyboards, and Momentum, featuring four alternating guitarists and none other than Flea of the funk-rock band Red Hot Chili Peppers on bass. A different kind of modernity emerged from his collaboration with the celebrated trio The Bad Plus on the aptly, simply, and wittily titled album The Bad Plus Joshua Redman (2015).

The latest release from the ten-time Grammy-nominated artist, Words Fall Short, came out on Blue Note Records in June 2025. For this album, Redman assembled an entirely new and younger band — Paul Cornish, Philip Norris, and Nazir Ebo — giving his music a fresh and spontaneous energy. Critics have described the record more as a “conversation” than a solo monologue, highlighting its openness, collective chemistry, and effortless interplay. And in jazz, that’s the highest possible praise.

Skinner’s path to the top was not a straightforward one, however – it led from a childhood passion for everything that made sound, through noisy metal clubs, the centres of London’s jazz avant-garde to the big festival stages.

Tom Skinner was born in London in 1980 into a musical family; his mother was a concert pianist. He first sat down to the drums at the age of nine with a clear plan: to form a rock band. As a teenager in the 1990s, he fell into grunge and extreme metal, with the radical Napalm Death among his biggest role models. It may seem like a strange start for a future jazz star, but Skinner recognized the same energy in the brutality of metal that he later found in the avant-garde jazz of Ornette Coleman. He then transferred this rawness to the prestigious Guildhall School of Music and Drama, where he met his future collaborators. Among others, Shabaka Hutchings studied saxophone here, with whom Skinner co-founded the band Sons of Kemet in 2011.

And this group was no “tea at five”. With two drummers, a tuba instead of a bass and a wild saxophone, they created a sound that was as much jazz as it was ritual dance or rave party. Their most famous album Your Queen Is a Reptile (2018) was even nominated for the prestigious Mercury Prize. Skinner perfected his style here – no unnecessary frills, just pure, hypnotic rhythmic power that won’t leave the listener indifferent.

While jazz fans have long known Skinner, the rock world only fully noticed him in 2021. That was when he became a key member of the project The Smile, where he plays alongside Thom Yorke and Jonny Greenwood from Radiohead. For Yorke, Skinner was not just a “hire player”, but an equal partner who brought a new dimension and ease to their compositions. Their chemistry together worked so convincingly that in a short period of time they released three albums, two of which – Wall of Eyes and Cutouts – even in the single year of 2024.

When Skinner is not touring with the stars, he devotes himself to his own projects. For a long time he performed under the pseudonym Hello Skinny, which he borrowed from the title of a song by the cult American avant-garde band The Residents. In 2022, he released his first album under his own name, Voices of Bishara, on which he fully developed his musical toymanism. He recorded the entire album with friends (including Shabaka Hutchings and another prominent figure of London avant-garde jazz, saxophonist Nubya Garcia) live in one room and then “cut” it up and reassembled it into new loops and soundscapes. The result is a hypnotic blend that sounds both modern and classical.

Skinner is not slowing down even after turning forty. In the fall of 2025, he released his second solo album, Kaleidoscopic Visions. He dedicated the individual songs to his loved ones; they have a relaxed, sometimes even meditative atmosphere and are characterized by colorful, naturally flowing harmonies and melodic lines. It is this repertoire that Tom Skinner will present at JazzFest in the unique environment of Brno’s Vodojemy.