Program 2027
Punch Brothers
Tuesday
26/1/2027, 18.00, 20.30
Sono
The acoustic ensemble led by mandolinist Chris Thile takes bluegrass far beyond the boundaries of the genre. The precision of classical chamber music meets the freedom of jazz improvisation, the earthiness of American roots music, and the energy of the contemporary indie scene. The band will perform music from their new album, The Unsung Adventures of Punch Brothers.
There are musicians who appeal mainly to fans of narrowly defined genres, with little reach beyond them. And then there are Punch Brothers and a small handful of others whose music leaves virtually everyone wide-eyed with admiration, regardless of their musical background.
The American band Punch Brothers, led by virtuoso mandolinist Chris Thile—who dazzled audiences at Besední dům with his solo recital in 2022—returns to the Czech Republic after several years for an exclusive two-night engagement in Brno. Widely regarded as one of the finest contemporary acoustic ensembles in the world, the group is celebrating its twentieth anniversary while also presenting a brand-new instrumental album.
Punch Brothers were formed in 2006 at the initiative of Chris Thile, who, following the success of his previous band Nickel Creek, sought a space for more ambitious genre-crossing experimentation. Since the beginning, the group has resisted simple classification as a bluegrass band. Although the instrumentation—mandolin, guitar (Chris Eldridge), banjo (Noam Pikelny), double bass (Paul Kowert), and fiddle (now played by Brittany Haas)—resembles a traditional bluegrass lineup, their musical language draws equally from classical composition, jazz improvisation, and indie-rock energy.
London’s The Times described Punch Brothers as “brilliant, daring, original and, above all, entertaining.” It is precisely this combination of technical mastery and audience appeal that has made the band a cult phenomenon around the globe. Their discography, including albums such as Antifogmatic (2010) and the Grammy-winning All Ashore (2018), traces the evolution of musicians capable of referencing Johann Sebastian Bach one moment and launching into a furious jam evocative of an acoustic version of Radiohead the next.
The upcoming concerts in Brno will also be special because Czech audiences will see the band’s new lineup for the first time. Longtime fiddler Gabe Witcher was replaced in 2023 by Brittany Haas, whose playing brings fresh energy and dynamics to the group. Together with her, Punch Brothers recorded their seventh studio album, The Unsung Adventures of Punch Brothers, for the prestigious Nonesuch Records label. The album marks an important milestone for the band—it is their first entirely instrumental release. It features eight new original compositions and three unique arrangements of traditional songs. Brno audiences will therefore have a rare opportunity to hear this new material among the very first in the world.
Chris Thile – mandolin
Brittany Haas – fiddle
Noam Pikelny – banjo
Chris Eldridge – guitar
Paul Kowert – bass
Julian Lage Quartet
Tuesday
16/2/2027, 19.30
Sono
Once a child prodigy, Julian Lage is now one of the most distinctive guitarists of our time. He has carved out his own niche with an original, vibrant, and eclectic take on Americana, dominated by blues, jazz, and bluegrass. He presents it all with a romantic sensibility that helps make his music accessible to a wider audience.
When Julian Lage picks up a guitar, complex jazz structures are transformed into natural elegance, infectious lightness, and the immediate joy of playing. He is a figure who today helps define the sound of the modern guitar, connecting pure musicianship across genres and generations.
The story of the California native began like something from a textbook on child prodigies. At the age of eight, he was the subject of the documentary Jules at Eight; at nine, he jammed on stage with Carlos Santana; at twelve, he performed at the Grammy Awards; and at fifteen, he became a bandmate of the legendary vibraphonist Gary Burton. Yet Lage never became trapped in the category of a child prodigy. Over the past three decades, he has grown into one of the most versatile and respected instrumentalists in the world.
His own highly acclaimed recordings, regularly nominated for Grammy Awards — including his very first, Sounding Point from 2009 — alternate with guest appearances on dozens of albums by icons such as Charles Lloyd and avant-garde visionary John Zorn. With complete naturalness, he crosses the boundaries of modern jazz: in a duo with Chris Eldridge of Punch Brothers, he explored the acoustic roots of bluegrass and American folk music; elsewhere, he immerses himself in the world of song alongside his wife, Margaret Glaspy. And this summer, none other than Bob Dylan, the king of all singer-songwriters, invited him into his touring band. Lage’s signature voice is instantly recognizable in every setting — he does not compete in speed or put technical wizardry on display, but captivates with a warm sound, flawless phrasing, and the gift of telling a complete story in every bar.
His freshest material can be heard on the album Scenes from Above, released by the renowned Blue Note label and serving as a testament to his creative partnership with celebrated producer Joe Henry. Unlike the richly arranged previous project Speak to Me, Lage here deliberately stepped back from the position of a directive bandleader. The compositions were born out of intense twenty-minute improvisations with a clear intention: to create ideal starting points for a unique quartet of old friends who, surprisingly, had never recorded together in the studio before.
Alongside Lage, the album brings together the dependable double bassist Jorge Roeder, dynamic drummer Kenny Wollesen, and renowned keyboard wizard John Medeski, known not only from the trio Medeski Martin & Wood, but also from his solo performances, two of which honoured Villa Tugendhat as part of last year’s JazzFestBrno. The nine compositions absorb echoes of early calypso, Peruvian melodies, blues, and the compositional methods of Béla Bartók. Lage also skilfully avoids the clichés of a typical soul-jazz organ combo — reaching, for example, for the acoustic guitar and allowing Medeski’s richly textured organ sound to breathe freely. The pieces rarely exceed the four-minute mark and rely on absolute equality, empathy, and intimate studio restraint, creating a space where one can play quietly and still be heard perfectly. It is in this aforementioned lineup that the Julian Lage Quartet will also perform in Brno.
Julian Lage – guitar
John Medeski – piano and keyboards
Jorge Roeder – bass
Kenny Wollesen – drums
John Scofield Combo 75
Sunday
28/2/2027, 19.30
Sono
John Scofield has long been a fixture of our festival programme, making regular appearances since its third edition. To celebrate his 75th birthday, he will bring a new repertoire inspired by the music of his youth, effortlessly exploring rock, funk, country, and the American songwriting tradition with his signature ease.
Few musicians have managed to blend jazz sensibilities with the raw energy of blues and rock as naturally as John Scofield. A three-time Grammy Award winner and master of an unmistakable, slightly gritty guitar tone, he ranks among the most influential figures in modern jazz history.
Scofield came to international prominence in the first half of the 1980s, when Miles Davis recruited him for the next chapter of his electric period. On albums such as Star People and Decoy, Scofield made his mark not only as a soloist but also as a composer. What followed was a remarkable solo career spanning more than fifty albums as a leader, during which he established himself as a true stylistic chameleon. He excelled in post-bop alongside Joe Lovano and Pat Metheny, brought infectious jazz-funk to the scene with the trio Medeski Martin & Wood on the cult album A Go Go, and moved effortlessly through the worlds of jam bands, soul, gospel and orchestral projects. Whether sharing the stage with Herbie Hancock, Phil Lesh of the Grateful Dead or pop-blues singer-songwriter John Mayer, he has always retained his distinctive musical identity, characteristic humour and elastic sense of rhythm. The same applies to his masterful, if seemingly unexpected, exploration of country classics, as JazzFestBrno audiences have already had the opportunity to experience.
In 2027, Scofield returns to JazzFestBrno with his special project John Scofield Combo 75, celebrating his 75th birthday. The group follows naturally in the footsteps of the successful Combo 66, presenting both brand-new material and fresh interpretations of older compositions. Scofield has assembled a dream ensemble spanning generations, bringing together the musical maturity and youthful energy of players in their seventies, fifties and forties.
At the rhythmic heart of the band is phenomenal drummer Bill Stewart, whose almost telepathic musical connection with Scofield has developed over more than three decades. It was Stewart who introduced sought-after double bassist Vicente Archer to the project several years ago. A faculty member at the prestigious Berklee College of Music, Archer is one of the most distinctive emerging voices on New York’s bass scene. The quartet is completed by pianist Gerald Clayton, a six-time Grammy nominee, son of renowned bassist John Clayton and longtime collaborator of Roy Hargrove and Charles Lloyd. His harmonic inventiveness brings an entirely new dynamic to the group.
JazzFestBrno audiences can therefore look forward to a meeting of world-class musicians, where virtuosity combines with an effortless groove and the sheer joy of playing together. Just as it always does with Scofield.
John Scofield – guitar
Gerald Clayton – piano
Vicente Archer – double bass
Bill Stewart – drums
Gabrielle Cavassa
Markéta Foukalová Q
Tuesday
16/3/2027, 19.30
Cabaret des Péchés
The winner of the Sarah Vaughan Jazz Vocal Competition is one of the most exciting new voices in contemporary jazz. Her talent also caught the attention of Joshua Redman, who recorded the album Where Are We with her in 2023 and subsequently invited her to join his band. She now makes her debut with her own ensemble and repertoire.
When the prestigious magazine DownBeat described Gabrielle Cavassa as a rising star of global stature, and Stereophile enthusiastically wrote that her voice is guaranteed to get under your skin, it was no cheap promotional exaggeration. You will hear for yourself.
Born in Escondido, California, and of Italian heritage, Cavassa is one of the most striking figures in contemporary vocal jazz. Her artistry is not built on showy vocal acrobatics, but on mesmerizing intimacy, absolute authenticity, and the ability to inhabit every song so completely that the audience in the hall seems to stop breathing.
Gabrielle Cavassa is largely self-taught. As a child, she listened to her parents’ records and built up a collection of her own, and although she studied music at San Francisco State University, her true education came from the local club scene. The key turning point, however, came after she moved to New Orleans in 2017. It was this cradle of jazz that helped shape her style. In 2020, she released her debut album, and a year later she triumphed at the prestigious international Sarah Vaughan Jazz Vocal Competition.
The story of her meteoric rise also carries the charm of a modern jazz fairy tale. When the manager of the renowned saxophonist Joshua Redman happened to hear her singing at a wedding in New Orleans, it did not take long before Redman invited her to collaborate on his highly acclaimed album Where Are We (2023). For the singer, this meant entering the very top league of jazz.
This fruitful creative chemistry culminated in her own Blue Note debut, Diavola. The album, produced by Redman himself together with the label’s legendary president Don Was, features an all-star lineup: guitarist Jeff Parker, pianist Paul Cornish, bassist Larry Grenadier, and drummer Brian Blade. On the album, Cavassa effortlessly blends original compositions with Italian musical tradition and bold reworkings of Burt Bacharach and Barry Manilow. Her appearance at JazzFestBrno promises an extraordinary experience: an encounter with a voice that honours a deep tradition while bringing fresh, modern energy into it. And last but not least: it is surely a voice with a great future ahead.
What happens when familiar melodies sung around campfires meet the sophisticated language of contemporary jazz, performed by one of the most distinctive voices on the Czech music scene? The result is a new project by an artist who has consistently defied conventional genre boundaries.
From the very beginning, Markéta Foukalová’s artistic career has been characterised by remarkable stylistic openness and a refusal to be confined by formal genre distinctions. She began singing as a child, and at the age of fifteen, following her success in a television talent competition, she was invited to perform alongside the legendary Czech singer Eva Pilarová. She further developed her vocal confidence and technical precision by studying jazz singing at the Jaroslav Ježek Conservatory and College, as well as music education at Charles University. She gained her first significant experience on the club scene with the bands Madfinger and Gang Ala Basta.
A major turning point came in 2006, when she founded the band Lanugo with pianist Viliam Béreš. It was in this genre-crossing group, blending sophisticated pop, jazz, soul and subtle electronics, that she developed into a charismatic frontwoman and distinctive creative artist. Over nearly two decades and five studio albums, Lanugo earned an outstanding reputation among discerning audiences and critics alike.
What makes Markéta Foukalová exceptional is the captivating colour of her voice, her technical mastery and her sensitivity to Czech lyrics. These qualities have made her a sought-after collaborator for leading figures of the Czech music scene, including Michal Pavlíček, Vladimír Mišík, Michal Prokop and Michal Ambrož, among others.
Her intimate musical projects with pianist Martin Brunner have also left a significant mark, whether through the acclaimed recording Svou chvíli with the Czech Radio Symphony Orchestra or their more recent project Zábrana, featuring musical settings of poems by Jan Zábrana. In 2025, Foukalová reaffirmed her artistic independence with her debut solo album Jinak, created in collaboration with producer Radim Vychopeně (Radimo). The album sensitively captures the fragility of everyday life from a female perspective. In both 2022 and 2025, she was included in the longlist for the prestigious Anděl Awards in the Female Solo Artist category.
For 2027, Markéta Foukalová is preparing her first fully jazz-oriented album, Zpátky do lesů, marking another bold step along her genre-defying artistic path. For her new quartet, she has joined forces with leading instrumentalists from different generations of the Czech jazz scene: innovative pianist and arranger Mikuláš Pokorný, legendary double bassist Jaromír Honzák and highly sought-after drummer Marek Urbánek.
The main inspiration for the project comes from well-loved songs traditionally sung around campfires, in pubs, on trips into the countryside and during family gatherings – melodies that have accompanied us since childhood and become an inseparable part of our shared musical memory. The musicians explore unexpected harmonies, fluid polyrhythms and impressionistic moods within these familiar songs, naturally connecting the tradition of communal singing with the expressive language of modern jazz.
Chris Potter Trio
Wednesday
17/3/2027, 19.30
Cabaret des Péchés
The latest project from a saxophonist celebrated not only for his extraordinary command of the instrument and lightning-fast musical instincts, but also for his artistic integrity and ability to adapt to virtually any genre or musical setting. He is joined by two formidable virtuosos: Kendrick Scott on drums and Matt Brewer on double bass.
If there is a saxophonist whose playing combines the fierce energy of New York post-bop with crystal-clear melodic lyricism and an extraordinary sense of ease, it is American virtuoso Chris Potter.
Potter’s exceptional artistry lies above all in his perfect synthesis of technical virtuosity and spontaneous musicianship. Rather than resorting to flashy displays of technique for their own sake, he builds his improvisations around melody, the overall structure of compositions and solos, and, not least, his unmistakable saxophone tone. His rhythmic flexibility allows him to navigate even the most intricate rhythmic challenges with complete confidence, without ever losing his characteristic lightness of touch or natural sense of groove.
Born in Chicago and raised in South Carolina, Potter displayed extraordinary musical talent from an early age. He began playing the saxophone at ten and was already performing professionally in clubs by the age of thirteen. A decisive turning point came when he moved to New York in the late 1980s, where legendary bebop trumpeter Red Rodney recruited the young musician for his band. Potter’s artistic development was profoundly shaped by his long-standing involvement in bassist Dave Holland’s quintet and big band, with whom he helped define the modern sound of acoustic jazz around the turn of the millennium. He also left an indelible mark alongside drummer Paul Motian, guitarist Pat Metheny in the Grammy Award-winning Unity Band, and in studio projects with art-rock icons Steely Dan. As a bandleader and composer, he has explored an impressive range of musical approaches, from the raw club energy of Lift: Live at the Village Vanguard and the electrifying funk-jazz fusion of his Underground group to the compositionally sophisticated albums The Sirens and The Dreamer Is the Dream, released on the Munich-based ECM label.
Chris Potter is currently involved in several diverse projects. Following the star-studded album Eagle’s Point, recorded in 2024 with Brad Mehldau, John Patitucci and Brian Blade, he presented the suite Alive With Ghosts Today in 2026, reflecting on American history through elements of blues and gospel music. For his Brno performance, however, he has chosen a more intimate yet even more open format: an acoustic trio featuring double bassist Matt Brewer and drummer Kendrick Scott. The absence of a chordal instrument gives the leader maximum expressive freedom and room for improvisation, while all three musicians – seasoned by years of intensive interplay in the prestigious SFJAZZ Collective – function as a perfectly interconnected musical organism.
Chris Potter – saxophone
Matt Brewer – double bass
Kendrick Scott – drums
BIGYUKI
Thursday
18/3/2027, 19.30
Kabinet MÚZ
Masayuki Hirano, better known as BIGYUKI, is an innovative composer and exceptional keyboardist who blends jazz, soul, hip-hop, rock, and electronic music into his distinctive sound. His talents as both a producer and musician have been sought after by artists including Kamasi Washington, Jon Batiste, and José James.
A performance by the Japanese keyboard wizard known as BIGYUKI promises an exhilarating experience in which instrumental virtuosity meets the untamed energy of electronic club music, creating a sound rarely encountered on conventional jazz stages.
Masayuki Hirano, as the artist is known offstage, began his musical journey with the rigorous discipline of classical piano, which he started studying at the age of six in his hometown of Kobe. A decisive turning point came when he enrolled at the prestigious Berklee College of Music in Boston. Although he arrived in the United States with an exceptional classical background, jazz and other forms of Black American music were initially unfamiliar territory. His desire to jam with fellow musicians soon led him to an unconventional solution: he began filling in for missing bass players on keyboards. It was in nightclubs and while playing in gospel choirs that he laid the foundations of his unmistakable musical style. While his right hand conjured up richly coloured melodic textures, his left hand delivered uncompromising bass lines on an analogue synthesizer or organ. His ability to instantly find a compelling musical motif and enrich it with a powerful groove made him a sought-after collaborator after his move to New York, where he worked with neo-soul star Bilal and acclaimed rapper Talib Kweli.
BIGYUKI firmly established his international reputation in 2016, when he contributed both as a composer and performer to the final album by legendary hip-hop group A Tribe Called Quest, We Got It from Here… Thank You 4 Your Service. That same year, readers of JazzTimes magazine ranked him among the world’s finest keyboardists, alongside such giants as Herbie Hancock, Chick Corea and Robert Glasper. Prestigious tours as a member of the backing bands of Kamasi Washington and Lauryn Hill soon followed.
At the same time, Hirano was developing his solo career. Following his debut project Greek Fire, he released the landmark album Reaching for Chiron, built around a combination of synthesizers, electronic club music and soulful vocals. Yet his genre-crossing approach never feels like a cold experiment. These influences come naturally to him, and he blends them with remarkable ease. He further developed his distinctive aesthetic on the highly acclaimed album Neon Chapter, inviting renowned drummers Mark Guiliana and Eric Harland, as well as avant-garde guitarist Arto Lindsay, to collaborate.
In autumn 2026, BIGYUKI announced a new album, heralded by the single Yamaste. More recently, he has also attracted attention with his futuristic project John Connor, in which he collaborates with the Qosmo studio to explore the possibilities of artificial intelligence as a live musical instrument. He continues to pursue other live and studio collaborations, including projects with José James and Antonio Sánchez. Brno audiences already had the opportunity to experience his electrifying energy in 2022, when he performed as part of Sánchez’s Bad Hombre project. This time, however, he will return in full force as the leader of his own band.
Stella Cole
Sunday
21/3/2027, 19.30
Sono
Singer Stella Cole has taken social media by storm, introducing classic jazz standards and musical theatre repertoire to a new generation of listeners through both online performances and live concerts. Blending the elegance of old Hollywood with a deep appreciation for the Great American Songbook, effortless charm, and theatrical flair, she creates music that is both accessible and artistically compelling.
American singer Stella Cole has the remarkable ability to transport an entire concert hall, with a single breath, back to the dazzling era of classic Hollywood musicals and the elegance of New York’s legendary jazz clubs. She proves that songs from the Great American Songbook still possess an extraordinary power to evoke genuine emotion.
Cole’s connection to this repertoire is far from a calculated exercise in nostalgia. Rather, it has been a natural part of her life since early childhood. Born in January 1999 in Springfield, Illinois, she discovered music almost immediately. At the age of two, her parents introduced her to The Wizard of Oz, starring Judy Garland. The film captivated her so completely that she insisted on watching it every day for an entire year, and she began singing its melodies before she could even speak in full sentences. She subsequently immersed herself in the golden age of Hollywood musicals. As a teenager, she broadened her musical horizons to include singer-songwriters such as Norah Jones and James Taylor. Although she studied theatre and international relations rather than vocal performance at Northwestern University, it was there that she refined her stage presence and developed a strong sense of dramatic storytelling.
Her career took a decisive turn during the pandemic in 2020 and 2021, when she began recording videos of herself singing in her bedroom and sharing them on social media. Her rendition of Over the Rainbow, from The Wizard of Oz, and several other performances attracted enormous attention, while her version of the timeless standard Moon River was even shared by James Taylor himself. After graduating, she transformed her viral success into a performing career. She quickly established herself on iconic jazz stages such as Birdland and Café Carlyle, and before long she was performing at Carnegie Hall and Madison Square Garden. Her international reputation grew further in 2023 through her collaboration with Scott Bradlee’s Postmodern Jukebox.
What sets Stella Cole apart from other performers of her generation is the absolute authenticity with which she pays tribute to icons such as Judy Garland, Rosemary Clooney and Frank Sinatra, without ever resorting to mere imitation. Her voice also astonished experienced producer and Grammy Award winner Matt Pierson, who was initially sceptical that such a young singer discovered online could possess such vocal maturity and an intuitive sense of phrasing. Their collaboration resulted in Cole’s self-titled debut album, Stella Cole, featuring imaginative interpretations of songs from the Great American Songbook.
Stella Cole released her latest studio album, It’s Magic, in 2025. Working once again with Matt Pierson, alongside renowned conductor and arranger Alan Broadbent, she created a cohesive collection of love songs in which the lush sound of a 24-piece string orchestra blends sensitively with the intimacy of a string quartet. Yet Cole is equally capable of creating this enchanting atmosphere in smaller ensembles, allowing her delicate yet technically assured voice to bring together the nostalgia of a bygone era and the infectious energy of the present. Brno audiences will have the opportunity to experience precisely this at her special concert at Sono.
Stella Cole – vocals
Fraser Urquhart – piano
Neal Miner – double bass
Henry Allen Barfield – drums
Gift Voucher and BAD CAT ID Voucher
Want to surprise someone with a concert ticket, but not sure which one to buy for your loved ones? We have two options for you.
For true jazz lovers, we offer the Bad Cat ID jazz enthusiast season pass, which entitles you to at least two standard concert admissions – and you’ll also get to treat yourself to festival merch. You can buy it in the following values: CZK 2,000 with a tote bag, CZK 3,000 with a T-shirt, or CZK 4,000 with merch of your choice.For those who are still a bit cautious about jazz, there’s the classic gift voucher in values of CZK 1,000, CZK 1,500 and CZK 2,000, which you can also buy in a gift design in person at our concerts.
