To a generation of contemporary jazz guitar aficionados, Mike Stern is regarded as one of the true guitar greats of his generation. A player of remarkable facility whose searing lines are informed mainly by bebop and the blues while also carrying a rock-tinged intensity, Stern made his mark with Miles Davis in the early ‘80s before launching his solo career in 1985. Since then he has released 17 recordings as a leader, six of which were nominated for GRAMMY® Awards. His latest, Trip, is his first since recovering from a serious accident in the summer of 2016 that left him with two broken arms and nerve damage in his right hand that prevented him from even holding a pick. But Stern is back on top of his game, playing with typical authority and prodigious chops on this all-star outing, which features such longstanding colleagues as trumpeters Randy Brecker and Wallace Roney, saxophonists Bob Franceschini and Bill Evans (a bandmate of Mike’s in Miles Davis’ ‘comeback band’ of 1981), bassists Victor Wooten and Tom Kennedy and drummers Dave Weckl, Dennis Chambers and Lenny White.

Leni Stern was named one of the “50 Most Sensational Female Guitarists of All Time” in Guitar Player magazine’s 50th anniversary issue in 2017, with the publication aptly dubbing her “a genre-defying adventurer.” Leni’s example shines beyond just prowess on her instrument. The pursuit of her career across more than four decades has been in effect a political act – a practice in strength and defiance to be a woman and a bandleader, a female electric guitarist and a composer, an artist who produces her own albums and manages her own career. Moreover, given our recent political climate, it is now more essential than ever to celebrate the immigrant experience that brought Leni to the U.S. from Germany and her bandmates from Senegal and Argentina. Leni’s inspiration has long been the interconnectedness of music, history and our humanity. She says: “Music is one of the truest, most beautiful expressions of the human spirit, crossing borders, dissolving tribalism, binding us together – if we let it.” Leni has been on an evolutionary road over the past decade and a half, as she fused her long-honed contemporary jazz sound with a deeply felt exploration of West African styles. She has traveled and studied extensively in Mali and Senegal, performing with the likes of iconic singer-songwriter Salif Keita and other African notables. The Munich-bred New Yorker’s trans-Atlantic journeys have yielded a fresh, personal idiom, one where progressive virtuosity blends seamlessly with age-old folk traditions. Leni’s trio with bassist Mamadou Ba and percussionist Eladji Alioune Faye – both natives of Senegal – released the albums 3 in 2018 and Jelell in 2013, along with figuring into the expansive cast of her Dakar Suite of 2016. Now the trio has become a quartet with the addition of Argentinian keyboardist Leo Genovese, a highly regarded talent on the New York scene as both a leader and as a collaborator with the likes of Esperanza Spalding and Jack DeJohnette. Leni’s first album with her quartet – released in summer 2020 and aptly titled 4, for showcasing the new foursome – drew on the crystalline guitar, West African rhythms and multilingual songs that listeners know from her recent string of releases, with Genovese’s improvisational fire and hints of South American lyricism now integrated into the mix. The result earned 4 glowing reviews in both DownBeat and JazzTimes, among other publications. The newest album from Leni is Dance, to be released in June 2021. A product of pandemic times, Dance was written and rehearsed in autumn 2020 and then recorded, under safe conditions, at Shelter Island Sound in December 2020, with Leni producing. For those in need of music to purge the pandemic blues, Dance fits the bill perfectly, brimming as it does with rhythmic joie de vivre and hum-along melody. The album sees Stern again fronting her cross-cultural New York quartet, featuring Genovese, Ba and Faye. One of Leni’s confreres from her days playing in Salif Keita’s band, Haruna Samake, also added his harp-like kamele n’goni to several tracks from afar and co-wrote one song with Leni, the buoyant “Kono” (“Bird”). Dance – Leni’s 23rd album since 1986 and surely her most irresistible to date – is another set of hook-heavy, multilingual songs colored with a blend of international rhythms and Leni’s jazzy, ever-melodious six-string sound. The release of Dance will be preceded by multiple singles, the first being the swaying, prayer-like “Yah Rakhman,” written by Leni and Faye. Other Dance highlights include the freshly arranged, richly harmonized traditional West African griot tune “Daouda Saane” and the hard-grooving, Genovese-penned “Kani” (“Spicy Pepper”), which includes some characteristically high-flying solos by the pianist. About the new album, Leni says: “Well, first of all, the music we made is so bouncy – the rhythms just took over! You can’t keep still, playing or listening – that’s why I titled it Dance. But it felt special just to be in the studio. Simply getting together to make music is something to cherish, now more than ever – you can’t take anything for granted. Some of these conditions, though, I’m used to… I’ve worked a lot in Africa over the years, and health precautions were just a part of being there, taking care not to catch malaria or dengue fever. That’s part of the reality of life there. Trying to make the best of things during a lockdown has also been part of my experience. I made my album Smoke, No Fire in Mali during the military coup there in 2012, with curfews and all the anxiety. When the world around you is threatened, it creates a sense of urgency and focus. We made Dance like that, but trying to invoke a spirit of joy – and resilience.”  Dance follows close on the heels of the album 4, the summer 2020 release that showcases five compositions by Leni (including the beautiful, lullaby-like gem “Chartwell”), two by Genovese (“Japalema” being an LP highpoint) and one by Ba (“Habib,” which includes a guest solo by Leni’s husband, fusion guitar hero Mike Stern). Released digitally and on vinyl by Leni Stern Recordings, 4 was preceded by a clutch of singles from the record, including “Chartwell,” “Luanda” and “Amadeus.” JazzTimes enthused over the record, noting that “the groove is the thing.” And in its four-star review, DownBeat marveled over the “lyrical joy” of Leni’s playing, adding: “If you love the wail of Youssou N’Dour and the jangle of Franco Luambo, but also have a soft spot for música popular brasileira, this multilingual, crisply produced, infectiously melodic and rhythmically percolating album is for you.” Produced by Leni in New York City, 4 features her not only on guitar but also on the n’goni, the “rhythm harp” of West Africa. “I often imitate the sound of the n’goni on my guitar, too – the guitar being such a chameleonic instrument,” Leni explains. “I’ve always been drawn to the sound of the n’goni, as well as to the kora, a similarly harp-like West African instrument. I love the warm, plucking quality to their untempered sound and the gently driving rhythm they can provide. Originally, it was the pentatonic melodies in West African music that I fell for – they called out to me. And they really stick in your ear.”  Having been raised in Germany, Leni grew up on Bach and Mozart, “so the harmonic structures of Western classical music are second nature to me,” she says. “With the music of 4, and now Dance, I wanted to incorporate more harmonic movement into my music again, to go along with its West African and South American rhythms. There’s even a bit of India in there, too. Inspired by John McLaughlin, I went to Mumbai in 2001 to study classical Indian vocal music and its science of ornamental melody, to help give my guitar playing a more liquid, vocal quality. Then, of course, there is the call-and-response from African music and American blues in our music. There are a lot of different sounds within our sound.” Regarding the band’s rhythm section, Leni says: “Mamadou, Alioune and I have developed together an authentic African rhythmic feel, stark and highly syncopated. Mamadou and Alioune are like brothers in their common understanding of rhythm. Mamadou is also a specialist at evoking traditional West African instruments, like the n’goni, on the electric bass. Along with their deep roots in traditional music, the two of them played together in a rock band in Dakar. So, they also know how to write a chorus with a rock feel, with lyrics in the Wolof and Serer languages.” Enthused over the band’s newest member, Leni adds: “Leo Genovese reminds me of the artists I love most from South America: Astor Piazzolla, Hermeto Pascoal, Milton Nascimento. He never fails to put a smile on my face, as well as on the faces of Mamadou and Alioune. They always say, ‘Leo is so baaad!’ They have really bonded. Leo really is a fantastic keyboard player, whether he’s on the piano or a synth. He has classical-level chops but also this deep groove. I’m really excited about this quartet we have.”

Dennis Chambers (born May 9, 1959) is an American drummer who has recorded and performed with John Scofield, George Duke,Brecker Brothers, Santana, Parliament/Funkadelic, John McLaughlin, Niacin, Mike Stern, CAB, Greg Howe, and many others. Despite a lack of formal training, Chambers has become well known among drummers for his technique and speed.[citation needed]Chambers is particularly regarded for his ability to play "in the pocket" but can also stretch very far out of the pocket which is also a hallmark of his technique.[citation needed] Chambers exhibits a powerful style that is technically proficient, yet highly musical and groove-oriented.[citation needed] He can play in a wide variety of musical genres, but is perhaps most notable for his jazz-fusion, funk, and Latin music playing. He is mostly known for his fast hands and triplets on the bass drum. He has helped many young drummers, the most prominent being Tony Royster, Jr. In 2007, just before Led Zeppelin were scheduled to play at the O2 Arena in London, John Bonham's son Jason was asked in an interview that if he himself were to pass up the opportunity, which drummer would he recommend to fill the coveted drum throne. His reply was 'If I were to choose, I would probably want a jazz drummer with a strong swing feel. You know what - Dennis Chambers. I think he would "get it", whereas other rock drummers wouldn't.' In an interview by Bonedo in 2011 Dennis Chambers was asked who some of his influences and favorite drummers were and he mentioned Clyde Stubblefield, Al Jackson Jr.,Steve Gadd, Vinnie Colaiuta, Gary Husband, Jack Dejohnette, Billy Cobham, Buddy Rich, Elvin Jones, Roy Haynes, and Tony Williams. He performed on the critically acclaimed Maceo Parker live album "Roots and Grooves" album with long time friend Rodney "Skeet" Curtis (bass) and the WDR Big Band. He has toured extensively with Carlos Santana and makes appearances with his band Niacin. He plays and endorses Pearl drums, pedals, hardware & racks, Zildjian cymbals, Zildjian drumsticks & general accessories and Evans drumheads. Chambers began drumming at the age of four years, and was gigging in Baltimore-area nightclubs by the age of six. He was recruited in 1981 by the Sugar Hill Label to be their "house drummer." Dennis plays on many Sugar Hill releases .  In 1978 (at 18 years old) he joined Parliament/Funkadelic, and stayed with them until 1985. In 1986 he joined the John Scofield band. Since then he has played with most of the major figures in jazz fusion music. On August 26, 2011 Chambers appeared as a featured drummer on the Late Show with David Letterman's Drum Solo Week II, alongside other such notable players as Tony Royster, Jr., Gavin Harrison, Neil Peart and Stewart Copeland.

Saxophonist Bob Franceschini  (pronounced Fran-chess-ski-knee) was born to a multicultural family and raised in NYC. Attended the High School of Music and Art and shortly thereafter began his musical career, touring, recording, writing, arranging and producing for the cream of the crop of Jazz, Latin Jazz, Pop, Salsa, Funk, R&B and World Music artists such as George Benson, Eddie Palmieri, Woody Shaw, Kenny Kirkland, Chris Botti, Tower Of Power (just song writing and arranging), Randy Brecker, Chaka Khan, Michel Camilo, Willie Colon, Ruben Blades, Richard Bona, Jennifer Lopez, and Paul Simon. His first heavy touring and recording experience was with The Tom Browne Band that also featured, Marcus Miller, Omar Hakim and Bobby Broom. Bob has played sax and various woodwinds on many TV and film scores for directors Sidney Lumet, Paul Schrader and many more. He also played on countless commercial jingles. Franceschini has played on over 200 CD’s. Bob is well known from his work with guitarist Mike Stern. They are still touring the globe together. He has recorded on Stern‘s last five Grammy nominated CD’s as well as two critically acclaimed DVD’s. He been touring on and off for the last 8 years as the sub for Bob Mintzer with the legendary band The Yellow Jackets as well as subbing for Eric Marienthal with Jeff Lorber Fusion. Bob has most recently been part of a trio with bassist Victor Wooten that also features drummer Dennis Chambers. Their CD TRYPNOTYX has been in the top ten in iTunes several times since it’s release September 2017. They are currently touring the world in support of this recording. Bob is known as an educator as well. He frequently does workshops and master classes the world over. He has many private students as well as students via Skype. For the last 7 years he has been an instructor of music theory, composition and improvisation at “Victor Wooten’s Center for Music and Nature” (vixcamps.com) in Nashville Tennessee with students of all ages (8-68) from all over the world. Most notably Bob co-leads and organizes a highly successful week long sax intensive at Wooten Woods called “Inside :Outside Saxophone Retreat”  (www.insideoutsideretreat.com), created with saxophonist/educator Bob Reynolds and saxophonist/naturalist Bob Hemenger. The camp has featured guest instructors,  including Joshua Redman, Chris Potter, Steve Wilson, Kirk Whalum, Branford Marsalis and Jeff Coffin.

London-born, US-based bass player and record producer Janek Gwizdala has been on the international music scene for almost three decades, touring as a band leader and working as musical director and sideman with some of the most respected names in the industry. These include: Randy Brecker, Mike Stern, Carlos Santana, Hiram Bullock, John Mayer, Airto Moreira, Chuck Loeb, Peter Erskine, Flora Purim, Pat Metheny, Eric Marienthal, Billy Cobham, Bob James, John Patitucci, Rick Margitza, Bob Mintzer, Bob Reynolds, Mark Turner, Tosin Abasi, Aaron Parks, Marcus Miller, Jojo Mayer, Paul Shafer, Steve Cropper, Delta Goodrem, Adam Rogers, Gretchen Parlato, Horacio El Negro Hernandez, Donny McCaslin, Lenny Castro, Kazumi Watanabe, Mark Guiliana, Ronny Jordan, Luis Conte, Dennis Chambers, Lionel Loueke, Kenny Werner, Eric Harland, Steve Smith, Vital Information, Benny Greb, Kenwood Dennard, and Wayne Krantz. As a recording artist, Janek has released sixteen albums as band leader; as an author, has published twenty two critically acclaimed books; and has toured the world extensively as both a musician, and as a lecturer & clinician at the world’s leading educational establishments.