Tim currently resides in the Los Angeles area. His background includes a degree in music from the University of Iowa and has studied with Harold Jones, an alumnus of the Count Basie Band.
In the early and mid 70’s, Tim was a member of the fusion group Solstice. His tenure with this innovative collection of musicians provided a great foundation in various musical styles from jazz fusion and World music to be-bop.
In late 1978, Tim arrived in New York City from Minneapolis to further his real world music education. During his twenty-one year stay, he has had the opportunity to perform with Warne Marsh, Sal Mosca, Jaki Byard, Johnny Ray, Charles McPherson, Frank Lowe and Kurt Rosenwinkel.
Tim moved to the Los Angeles area in 2000 and has become a mainstay of the vibrant Los Angeles Jazz scene. He has performed with many of the L.A. area’s most noted jazz musicians, some of which include Alan Pasqua, Anthony Wilson, John Pisano, Charlie Haden and Larry Goldings.
John Leftwich Composer/Bassist/Singer/Music Director John Leftwich has toured with numerous great musicians including Carmen McRae, Dizzy Gillespie, Freddie Hubbard, Sergio Mendez, and Lyle Lovett, and played in the movie "Let's get Lost" with Chet Baker. He also toured and recorded with Rickie Lee Jones for many years as music director, singer and bassist. He continues to tour and record as well as composing music for TV and film.
Jake Reed is a professional drummer based in Los Angeles, who is quickly gaining a reputation for his ability to fit into a variety of musical situations. He has performed and/or recorded with Bill Holman, Johnny Mandel, Bill Cunliffe, Bruce Forman, Cow Bop, Seth MacFarlane, the Baltimore Symphony Orchestra, Bob Mintzer, Bob Sheppard, Les McCann, Freda Payne, the Long Beach Symphony Orchestra, Mako, Tata Vega, Ellis Hall, Kait Dunton, Trumpetology, the Vibrometers, and Kiven.
“Jake is my first choice for all playing and teaching recommendations.” — Peter Erskine
"Jake Reed is a fantastic young drummer who excels at bringing the best to every situation. A true accompanist and textural master of time and dynamics, he always supports and drives the ensemble musically and in an intuitively sensitive way. I have been on tour and in the studio with him and am always impressed by his maturity, command and artistry. A most valuable player in my book!” — Bruce Forman
"Jake Reed is a well rounded, team playing, swingin mofo!" — Bob Mintzer
Gifted beyond his years"…Twenty five-year-old saxophonist Zane Musa has performed and recorded with some of the nations finest musicians. Larry Koonse, John Heard, Kei Akagi, Phil Ranelin, Pharoah Sanders, Darek Oles, & Otmaro Ruiz. …" Zane has the ability to improvise with flourishes while remaining in contact with the song's essential melodic content".
Zane Musa has solidly established himself as one of the most innovative and studied musicians of the current Los Angeles, California jazz scene. His playing has been sought out and showcased by the likes of Arturo Sandoval, Roy Hargrove, Macy Gray, Christina Aguilera, and John Mayer. He has also lent his talents to the house bands of several popular television shows including The Voice, Jimmy Kimmel Live, and The Carson Daily Show. He currently plays regularly in the prominent clubs of Hollywood with several bands, including Jeff Goldblum and the Mildred Snitzer Orchestra, fronted by the well-known actor and accomplished pianist, Jeff Goldblum. He can also currently be heard as a featured artist touring and recording with Arturo Sandoval, and is featured on the recording “Be Bop” on Arturo’s most recent album, Dear Diz.
As a musical virtuoso, Zane has taught many saxophone players, from beginners to working professional musicians throughout his 20 years as an accomplished and celebrated player. Many of his amateur students have gone on to have successful careers as professional saxophone players. Zane’s passion for song interpretation is rivaled only by his desire to teach others the skills needed to find their own musical voice through the development of a higher sensitivity as a listener and the mastering of technique. Zane is available for both private instruction and group clinics.
“I came into Zane’s class feeling pretty confident in my playing, but wanting to gain more of a technical and musical edge. I was not disappointed. The way that Zane approached improvisation technique was like nothing I’d thought of before. He explained what seemed like a complicated soloing technique in a way that made sense, and I was able to replicate the style for the first time ever in my playing.”
- Daniel P.
Zane’s Clinics focus mainly on the improvisational aspect of playing, by both studying the charts and scales, but also, listening with a critical ear. The study of respected and innovative artists throughout history is utilized to solidify understanding of the fundamentals. Students will learn to easily transcribe not only notes, but also inflection and tone through critical listening. Focus will be on understanding how to improvise through chord progressions using linear, intervallic, and chromatic approaches. Students will also spend time understanding rhythmic development, syncopation, playing in odd time signatures, and developing phrasing.
Born in Camaguay province in Cuba, Yunior Terry is a part of one of Cuba's most gifted musical families. He graduated from the prestigious National School of Art (ENA) in Havana with a double major in violin and bass. He played violin with the Cuban National Symphony and bass with both folkloric and Latin jazz groups. Mr. Terry came to the United States to attend CALARTS in Los Angeles where he graduated in 2002 with honors; he has played with, Lila Downs, Steve Coleman, The Latin Jazz All Stars, Jerry Gonzalo and Fort Apache and the Caribbean Project.
Born in Cuba, Yosvany Terry received his earliest musical training from his father, Eladio "Don Pancho" Terry, violinist and Cuba's leading player of the Chekeré. His father was also known as the founder and director of the "Orquesta Maravillas de Florida," one of Cuba's most important charanga bands. Mr. Terry went on to receive his classical music training and graduated from both the prestigious National School of Art (ENA) and Amadeo Roldan Conservatory.
While in Cuba, Yosvany was known for his musical innovation performing with the likes of legends, such as Chucho Valdez, Silvio Rogriguez, Fito Paez, and Cubanismo, as well as forming the influential group, Columna B. Their work represented the new voice of young Cuban jazz players. "Columna B became this limitless work-shop, where everything could be tried and experimented with. We learned how to polish and develop our craft in a very special and intuitive sense", comments Terry. Columna toured throughout the US and Europe, and in 1998 premiered their Inroads Commissioned-piece by Arts International (through the Ford Foundation) at Stanford Jazz Festival.
Yosvany came to New York in 1999 and was immediately recognized as a "spectacular talent" in the Jazz scene, playing with Roy Hargrove, Steve Coleman, Eddie Palmieri, Dave Douglass, Jeff "Tain" Watts, Horacio "El Negro" Hernandez, and bassist Avishai Cohen. "My move to New York represented an incredible time of growth as a musician, the move gave me access to so much information, and the opportunity to meet and work with talented musicians from all over the world."
Always a student, Mr. Terry has absorbed and incorporated American jazz traditions with his own Afro-Cuban roots to produce compositions and solo work that flow from the rhythmic and hard driving avant-garde to sweet sounding lyricism. His voice and style are unique and complex, and with his new Quintet he has married Cuban and American musical traditions to create a new and exciting sound.
Mr. Terry's latest production, Metamorphosis , represents the investigative work he's being doing since arriving in New York. Yosvany adds, "The sound that I was trying to achieve in this recording is made up of all the musical influences that I've experienced since the beginning of my studies in Cuba, combined with my musical growth in New York during the past five years."
The compositions on this record reflect portraits and experiences of life in Havana and New York, while at the same time recreate the stamp of many other cities Yosvany has passed through, touring as a musician. "Inevitably one learns from what one comes into contact with--a concert, book, film, landscape, painting, hanging out late at night, etc....It's for this reason that the title couldn't be more descriptive of all these sensations: Metamorphosis", concludes Mr. Terry.
*Production: Metamorphosis, 2005
Yosvany Terry- saxophone, chekeré
Luis Perdomo- piano
Dafnis Prieto- drums
Jeff "Tain" Watts- drums
Hans Glawishnig- bass
Yunior Terry- bass
Avishai Cohen- trumpet
Pedro Martinez- percussion, vocals
Mike Moreno- guitar
Will Kennedy was a member of the internationally acclaimed group Yellowjackets for over nine years, recording ten records garnering an amazing fourteen Grammy nominations and accolades that would fill as many pages. In addition to countless world tours, Will's performances with the Yellowjackets included numerous television and radio broadcasts that spanned the globe.
Will won Modern Drummer magazine's reader's poll for best drummer (electric jazz category) three years in a row.
Will has a drumming video, which he co-produced with drum innovator Bob Gatzen. It was released by Warner Bros. as part of the "Inspiring Drummer" series.
Will can be seen performing on ABC's critically acclaimed "Wayne Brady Show." The band is led by Peter Michael Escovedo. (Will and Peter also worked together in the "Demographically Correct Orchestra" on UPN's critically acclaimed "Martin Short Show.")
Music came to Will early in life; he was playing his first drumset at the age of four. His older brother Hershall was involved in San Francisco, CA area funk bands (playing keyboards), and Will would hang out and watch the band and also jam with his brother in the garage. His father had an extensive record collection and music was a big part of life for the Kennedy family.
One afternoon, his brother came home with a record by the great Tony Williams. It was one of Tony's solo albums titled Believe it new lifetime. "I listened to it over and over... I just couldn't imagine the drums being played like that, and when I went to see him play live, my life was changed".
Will played percussion and traps throughout his school years, and by age ten he had his first private instructor: Bill Nawrocki would teach during the day and swing with all sorts of bands at night. He taught Will the basics of drumming and was a great motivator.
Will studied music in college under a professor named Bill Bell, who not only was an incredible instructor in classical and jazz studies, but also became like a second father to Will and ultimately invited Will to perform with him all around the Bay area.
Will was fast becoming a fixture in the Bay area scene. He started playing with a group called Rythmus 21, which was an all-star band featuring some of the top musicians in the community. Through this association Will was introduced to Andy Narrel, who wasted no time snatching Will up. Will did multiple records and tours with Andy, and around this time started getting heavily involved with writing music and became a partner in his first successful publishing company. Also during this time, saxophonist Marc Russo — a member of the Yellowjackets, and fellow Bay area resident — asked Will if he would be interested in joining the group (drummer Ricky Lawson had just left). "It was a tough decision to leave everything I had going on at the time, but after meeting and jamming with the Yellowjackets, I knew this was something I just had to do".
Will is actively involved in education. He has conducted clinics and Master series all over the world, and he participates in many educational functions sponsored by his equipment endorsees, including Pearl, Zildjian, Promark, Evans, Shure and Drumframe (see Equipment). He also has a series of educational recordings under the heading "Will's Practice Room."
Will Kennedy, literally steaming after an energetic performance at a drum clinic in Tennessee (see Modern Drummer, August 2001 issue).
Will Brock has done a lot of performing in and around his native Philadelphia.
We were able to catch up with Will on the stage of the Old Pasadena Jazz Festival backing up another Philadelphia friend: Gerald Veasley.
Will is a graduate of The University of the Arts in Philadelphia. He teaches music theory, piano and is a vocal coach. He worked and played with Grover during his tenure as Artist in Residence at the University of the Arts. He is the leader of his own band and is co-founder of a music production company, Ghetto Factory Productions.
Keyboard player and co-writer of "Let's Groove", and a lot of other songs from that EWF period, has been working on some new material. The album is titled "3 Generations Of Groove" [L& R Records 1998] and includes a re-recording of "Let's Groove" with The Emotions doing the hooks. Vaughn also played keyboards on both Raise! and Powerlight. More about Wayne on www.wvworld.com
Composer, pianist, and keyboardist Wayne Horvitz performs extensively throughout Europe, Japan, and North America. He is leader and principal composer for the quartet Sweeter Than the Day and performs regularly as an improviser on both piano and electronics throughout the world. Past ensembles include The President and the Horvitz, Morris, Previte Trio, Pigpen, Zony Mash, The New York Composers' Orchestra, Ponga and The Four Plus One Ensemble. His newest ensemble, The Gravitas Quartet, is a chamber group featuring cellist Peggy Lee, trumpeter Ron Miles and bassoonist Sara Schoenbeck.
As a composer, Horvitz has been commissioned by The Kitchen, The Kronos Quartet, Brooklyn Academy of Music, New World Records, The Seattle Chamber Players and Earshot Jazz. He has received commissioning grants from Meet the Composer, The National Endowment for the Arts, The N.Y. State Arts Council, The Mary Flagler Carey Trust, The Seattle Arts Commission, The Lila Wallace-Reader's Digest Fund and The Fund for U.S. Artists. Recent premieres include the V Series for chamber orchestra and Mountain Language for string quartet, Vienna 2001 and 2002. In 2002 he was awarded a Rockefeller MAP grant for the creation of a new piece, Joe Hill, for chamber orchestra and voice, which premiered in October of 2004 in Seattle. His 2003 composition, Whispers, Hymns and a Murmur for String Quartet and soloist, funded in part by a Seattle City Artist grant, premiered in March of 2004. This composition and his earlier string quartet, Mountain Language are released on the Tzadik label. His newest string quartet, These Hills of Glory, was commissioned with support from 4Culture and the Mayors Office of Arts and Cultural Affairs. His recent collaboration with Tucker Martine, Mylab, was on the top 10 CD list for 2004 in jazz in both the New Yorker and Amazon.com. In February 2005 he received the Golden Ear award from Earshot Jazz for "Concert of the Year."
Works for theater and dance include music for the 1998 production of Death of A Salesman for Seattle's ACT theater (directed by Gordon Edelstein); productions of Ezra Pounds' Elektra and the American premiere of Harold Pinter's Mountain Language, both directed by Carey Perloff. In 1992 choreographer Paul Taylor created a new work OZ, to eleven compositions by Wayne Horvitz in collaboration with the White Oak Dance Company. Other theater and dance works include music for Bill Irwin's Broadway show, Strictly NY, and productions by the Liz Lerman Dance Exchage, Ammi Legendre, Nikki Apino and House of Dames and the Crispin Spaeth Dance Company.
Horvitz has also composed and produced music for a variety of video, film, television and other multimedia projects, including two projects with director Gus Van Sant, a full length score for PBS's Chihuly Over Venice and two films about the creation of Seattle’s EMP museum. His 85-minute score to Charlie Chaplin's film The Circus, for two pianos, two clarinets, and violin premiered in January 2000 in Oporto, Portugal.
As a sideman and collaborator he has performed and recorded with Billy Bang, Carla Bley, Curlew, Marty Ehrlich, Bill Frisell, Fred Frith, Robin Holcomb, Butch Morris, David Moss, Bobby Previte, Elliott Sharp, Michael Shrieve, Kazutoki Umezu, Philip Wilson and John Zorn (Naked City, Cobra, etc.), among others. He has produced records for the World Saxophone Quartet, Human Feel, Marty Ehrlich, Fontella Bass, The Living Daylights, Bill Frisell, Robin Holcomb, Eddie Palmieri and local songwriters Cathy Croce, Karen Pernick and David Russell among others.
Born in New York City in 1955, Wayne Horvitz lives in Seattle with his wife, composer Robin Holcomb, and their daughter Nica and son Lowell.