Sean Mason stands as one of the most compelling jazz pianists, composers, and record producers of his generation. A Grammy Award nominee, Bessie Award winner, and Bistro Award recipient, Mason has quickly distinguished himself in contemporary music through his innovative approach and profound connection to jazz tradition. His discography, highlighted by his critically acclaimed 2023 debut album The Southern Suite and Grammy-nominated collaborations, reflects an artist of significant impact on the global jazz landscape.

Mason’s musical journey began at age 13 in his native Charlotte, North Carolina, where he taught himself piano, influenced by gospel music and the music of Ray Charles. At 15, his talent led him to enroll in the JazzArts Initiative Camp in Charlotte, North Carolina. At age 17, Mason won the inaugural Loonis McGlohon Young Jazz Competition, an award that included an opportunity to perform as guest soloist with Delfeayo Marsalis.

A pivotal moment arrived in 2017 while Mason was attending the University of North Carolina at Greensboro (UNCG). He met Branford Marsalis, who was giving lessons there. Marsalis, recalling their encounter, recounted how Mason impressed him by quickly learning and memorizing complex pieces. Marsalis subsequently advised Mason to consider The Juilliard School, telling him directly: "You might want to consider Juilliard. Go to their website, put in your audition tape, and they will call you." He also contacted his brother, Wynton Marsalis, Director of Juilliard Jazz, asking him to "Be on the lookout for this kid." This significant endorsement propelled Mason to Juilliard, where he was accepted and enrolled in 2018, leading to his relocation to New York City for his studies.

Upon arriving in New York in 2018, Mason quickly established himself in the city's jazz scene through his work as a sideman. Concurrently, he formed his own trio, featuring bassist Butler Knowles and drummer Malcolm Charles. This trio performed at notable New York City jazz venues such as Dizzy's Club and Smoke Jazz Club. From 2019 to early 2020, Mason's trio cultivated a dedicated following through a consistent after-hours residency at Smalls Jazz Club, performing every other Monday, from 1:00 AM to 4:00 AM. This residency continued until the onset of the COVID-19 pandemic. During this initial period in New York, Mason also contributed as the pianist for the soundtrack of the 2020 Netflix film Ma Rainey's Black Bottom.

The years following the pandemic saw Mason continue his vital work as a sideman, touring globally with various artists and contributing to numerous album recordings. His versatility expanded into film and theatre; he served as pianist for the soundtrack of the 2021 Emmy-nominated History Channel documentary Tulsa Burning: The 1921 Race Massacre, and the Netflix film Rustin. In theatre, Mason was involved in various musical roles for Broadway productions such as Hadestown and Phantom of the Opera.. During this time, Mason also served as musical director for The Soapbox Presents, a Harlem-based performing arts organization. In August 2022, Mason was recognized by NPR's Jazz Night in America as a member of their inaugural Youngbloods class, a sub-series featuring up-and-coming jazz musicians acknowledged for revolutionizing the genre. Also in 2022, Mason formed his quintet, the ensemble featured on his debut album The Southern Suite. This group, consisting of Tony Glausi (trumpet), Chris Lewis (tenor saxophone), Felix Moseholm (bass), and Domo Branch (drums), performed on a two-week tour sponsored and presented by Jazz at Lincoln Center as part of an initiative to develop new music.

On October 27, 2023, he released his debut album as a leader, The Southern Suite, on Blue Engine Records, Jazz at Lincoln Center's in-house label. This marks Mason's emergence as a formidable bandleader, composer, and recording artist. Featuring his quintet, the album received widespread critical acclaim. Jazziz Magazine praised its "captivating blend of sophistication and raw emotion," noting its "contemporary jazz sound rooted in tradition while remaining utterly fresh." Paris-Move lauded it as "a powerful and sophisticated work" and "a masterpiece of contemporary jazz." NPR recognized the album as part of his "meteoric rise" and praised its unique sound. The Southern Suite is a deeply personal exploration of Mason's North Carolina roots, woven into a cohesive artistic statement. Mason’s artistic contributions were further recognized with a Bessie Award in 2023 for Outstanding Sound Design and Music Composition for his work on The Jazz Continuum.

His creative spirit continued to flourish in 2024 with two notable co-releases. He joined forces with poet Mahogany L. Browne for Chrome Valley, a project that uniquely blends jazz with spoken word. The same year, on August 23, 2024, Mason’s collaborative album My Ideal with acclaimed vocalist Catherine Russell arrived on Dot Time Records. This duo album quickly earned a Grammy Award nomination for Best Jazz Vocal Album at the 67th Annual Grammy Awards. My Ideal was further honored with a 2025 Bistro Award for Outstanding Recording, with critics frequently commending Mason’s "sophisticated and nuanced piano playing" and his profound ability to complement Russell's vocals through a deep understanding of jazz standards.

Today, Sean Mason maintains an active and extensive international performance schedule as a bandleader and solo artist. He consistently presents at major jazz festivals and prestigious venues across the globe, solidifying his position as a dynamic and influential force in contemporary jazz.

Acclaimed international Jazz vocalist Lori Williams has a most impressive resume as a performing artist, veteran music educator, songwriter, producer, musical theater actress, radio host, business owner/founder (PositiveMusicPM.org), and artist-in-residence with over 30 years of experience. Her annual vocal jazz tour and performance at music festivals have taken her to Europe (Austria, Germany, Slovakia, Slovenia, Russia, Switzerland, Italy, Czech Republic, and Ukraine), Japan,  The Caribbean (including Barbados, British Virgin Islands, Curaçao, St. Lucia, Turks and Caicos, et. al), Mexico, and across the United States (performing at venues and festivals like The Atlanta Jazz Festivals, Berks Jazz Festival, The Birchmere, Birdland - Hamburg, Blues Alley, Blue Note Hawaii, Capital Jazz Fest/Cruise, City Winery, Disney’s Pleasure Island, Gulf Coast Summer Jazz Festival, JazzFestBRNO, JazzHRAM, Jazzkeller - Esslingen, Jazzland - Vienna, The Kennedy Center, Keystone Korner, Mid-Atlantic Jazz Festival, Myrtle Beach Jazz Festival, Rams Head Live, Rehoboth Beach Jazz Festival, Riviera Maya Jazz Festival, Scullers Jazz, Spivey Hall, Trieste Loves Jazz, and more). Her vocal jazz artist residencies have allowed her to work with and mentor students on college campuses in the USA and abroad.

As a veteran vocal music educator and private vocal coach, Lori's received many honors for her contributions to the arts, including The 2025 South Arts Jazz Road Award, The Atlanta Chapter of the National Hampton Alumni Association’s 2023 Excellence in Arts and Entertainment Award, Outstanding Music Teacher in the October 2000 issue of Teaching Music, the 2007 Superintendent's Arts Teacher of the Year, and the 2010 Vincent E. Reed Teacher of the Year. Lori was nominated for a 2014 Helen Hayes Award as an Outstanding Lead Actress in a Resident Musical for her role as Ella Fitzgerald. Lori has received letters of recognition for her performances by President Joseph Biden (wherein he wrote that Lori Williams has "the voice of an angel…absolutely amazing"), Speaker of the House John Boehner, and Senator C. Anthony Muse.  Immersed in traditional jazz from an early age (earning a B.A. in Mass Media Arts from Hampton University, attending the Jazz Studies Program at The University of the District of Columbia, and currently working on her Master’s degree in Music - Jazz Studies at Georgia State University), Lori Williams hosts a weekly radio program on JazzRadioWETF.org -  "Collector's Choice With Lori Williams". Her weekly broadcast highlights women in jazz, the international scene and young performers dedicated to the roots and traditions of the music. Lori is also the producer and host of Sunday Jazz Lounge at St. James Live! jazz club in Atlanta, Georgia (stjamesliveatl.com).

For over three decades, Lori Williams has had the honor of working with many notable artists as lead / background / studio session / guest vocalist including Oleta Adams, Marcus Adams, Yolanda Adams, Nikita Agafonov, David Archuleta, Marcos Ariel, Rob Bargad, Regina Belle, Eric Benet, The Blackbyrds, Michael Bowie, Willie Bradley, Karen Briggs, Norman Brown, Tom Browne, Peabo Bryson, Chuck Brown, Wayne Bruce, Jerry Butler, Jonathan Butler, Paul Carr, Terri Lyne Carrington, TC Carson, Gene Chandler, Renato Chicco, Stanley Clarke, Nick Colionne, Collaboration, Michael Colyar, Adrian Crutchfield, John Davis, John Di Martino, Will Downing, Joris Dudli, George Duke, Nathan East, Rodney M. Edge, Troy Sol Edler, Kevon Edmonds (After 7), Herb Fame, Jorel "JFLY" Flynn (HBIYD), Derrick Gardner, James Genus, Jazmin Ghent,  Tres Gilbert, Savion Glover, Chelsey Green, Slide Hampton, Winard Harper, Christian Havel, Walter Hawkins, Norbert Heger, Howard Hewett, Dr. W. Weldon Hill, Tony Hightower, Corcoran Holt, William Hubbard, Daryl Hunt, Yoron Israel, Jessy J, Al Johnson and The A-Team, Allyn Johnson (Divine Order), Marcus Johnson, Stanley Jordan, Jackiem Joyner, Michael Keul, Kindred the Family Soul, Ben E. King, James King, Anatoliy Kirnichnyy, Antoine Knight, Yishai Knoll, Saltman Knowles Group, Ignat Kravtsov, Rayshun LaMarr, Lavahi, Evgeny Lebedev, Alex Malheiros (Azymuth), Jimmy Masters, Maysa, Daniel McClain (After 7), Frank McComb, Marion Meadows, Najee, Jimmy Masters, Nathan Mitchell, Ed Neumeister, Marat Nikolaev, Milan Nikolic, Julia Nixon, Daniel Nösig, Antonio Parker, Phil Perry, Robert E. Person, Anne Phillips, Benjie Porecki, Lloyd Price, Chuck Redd, Robert Redd, Althea Rene, Anton Revnyuk, Lenny Robinson, Gino Rosaria, Ellie Saitoh and The Love Tambourines, Erwin Schmidt, Sylver Logan Sharp, Avery Sharpe, Art Sherrod, Oli Silk, Brian Simpson, Dick Smith, John Toomey, Tony Terry, Unit 3 Deep, Gerald Veasley, Chris Walker, Kevin Walker, Kim Waters, Doug Weiss, Anthony Wellington, Matthew Whitaker, Roz White, Bernhard Wiesinger (Poysdorf All-Stars), Vesta Williams, Larry M. Wilson,  Angela Winbush, Sherry Winston, David Ylvisaker, Frederic Yonnet, et.al. 

Frank Swart was born and raised in Boston. He grew up hearing the big band swing records and classic Broadway show albums that were in his parent’s record collection, along with the music that his sister (who was ten years older) listened to including the Beatles, Jimi Hendrix, Sly and the Family Stone, and Led Zeppelin. He also developed a love for Miles Davis’ 1970s recordings, the spiritual Jazz of John and Alice Coltrane, and the deep soul and blues of Chess and Stax records. After some ungratifying drum lessons, when he was 13, his sister bought him a bass. “I was able to play it immediately, learned some riffs from a guitarist, and was soon practicing eight hours a day.” As a teenager, he worked with rock, blues, and acid funk bands. Very interested in making recordings, Swart rented a recording studio in the basement of a hair salon on the graveyard shift and taught himself how to engineer and produce records.     

After meeting his future wife and deciding to leave Boston, he spent periods living and working in Los Angeles, San Francisco, and Nashville where he led the experimental jam band Funkwrench (which is a nickname for a bass). He engineered the first Pixies demos, worked with Patty Griffin off and on for 17 years, recorded with Morphine, produced and performed with cult underground art-rock band Billy Nayer Show, was part of the acid jazz group Junk/Post Junk Trio, was a founding member of the psychedelic electric blues trio SIMO, and recorded and toured with such artists as Norah Jones, The Indigo Girls, John Hiatt, and Buddy Miller.

After settling back in San Francisco in 2017, Swart and publisher-producer Brian Brinkerhoff founded the Need To Know label, Skunkworks Studios, and Funkwrench Blues. Utilizing Swart’s instrumental blues-oriented compositions and such talents as guitarist Rick Kirch (who worked with John Lee Hooker) and a variety of drummers, they have made recordings with over 200 notable artists. A partial list includes Guitar Shorty, Cash McCall, Fareed Haque, Jim Campilongo, John Hammond, Sonny Landreth, John Primer, Albert Lee, Vieux Farke Toure, Mr. Sipp, Tommy Castro, and Duke Robillard but that only hints at the wide variety of performers.

Swart will release his newest endeavor, Funkwrench Blues—Mischief In The Musitorium, in the summer of 2025. The album features collaborations with Lenny White, Vernon Reid, Donald Harrison, Nduduzo Makhatini, Jason Marsalis, Joseph Bowie, and more.

Heather Ward has recently released her second album, Gilded & Silver. Her debut album, Honeysweet was released in May 2024. She is Canadian but has been based in Seattle since 1997. She attended art school, but performing at gallery openings led her to music studies at Vancouver Community College and then Capilano University for a degree in Jazz Performance. She has attended the International Jazz Workshop and the first Jazz Vocalist workshop at the Banff Center for the Arts, and Vancouver International Jazz Orchestra Workshops, working with greats such as Hugh Fraser, Sheila Jordan and Jay Clayton. Heather has attended Centrum Jazz Port Townsend Programs, and twice performed in Vancouver’s DuMaurier International Jazz Festival. She teaches private voice lessons as a member of NATS and performs in jazz venues, cabarets and theater in Seattle.

Diego Pinera was born 1981 in Montevideo, Uruguay and has lived in Germany since 2003. He studied drumming at the Berklee College of Music (USA), at the University of Music in Havana (Cuba) and at the University of Music and Theater in Leipzig (Germany).

Pinera’s encounters with Latin American music, and with jazz in all its breadth, have led him to develop an unmistakable style. Through the combination of his advanced conception of rhythm, a jazz sound with a Latin touch, and the freedom of improvisation his strong character comes across vividly. In Pinera´s compositions there is musical complexity and virtuosity in abundance imbued with great subtlety and his love to odd meter grooves. In Uruguay he recorded with the Diego Pinera Trio the album “Buscando” under the Perro Andaluz label. Back in Germany he founded the Berlin Quartet and released in 2010 “Reflexiones” featuring Tony Lakatos. In 2014 the Jazz Thing Next Generation Series “Strange Ways” followed. In May 2016 he went on the cd release tour for “My Picture” with Donny McCaslin and Phil Donkin.

In 2017 Diego Pinera received as bandleader and composer the prestigious prize ECHO Jazz for his album “My picture” in the category drums/ percussion national, recorded in New York with Mark Turner and Ben Street. His first ACT music album “Despertando” was released 2018 and his next ACT album "Odd Wisdom" feat. Donny McCaslin has been considerated for the finalist of the GRAMMY Music Awards 2021. With this project he played at the Jazzbaltica 2022, live recorded by ZDF. In November 2022 he has been invited to play in 30th anniversary event of ACT at the Berlin Philharmonic together with Wolfgang Haffner, Nils Landgren and many more artists. Diego Pinera won the German award Deutscher Jazzpreis 2023 for „BestArrangement of the Year“ of Béla Bartók’s String Quartet No. 3, Sz. 85 and was also nominated for the best composition of the year with „Through Hell“. Since 2022 he has taught at the University of Music Dresden "Carl Maria von Weber" and since 2023 at the University of applied sciences Osnabrück. He is also a first-call session/ sideman/ clinician and has been touring the world with many different settings and bands. He played with musicians like Donny McCaslin, Mark Turner, Ben Monder, Scott Colley and Ben Street. 

​Winner of the German Award "Deutsche Jazzpreis 2023"for "Best Arrangement of the year", Diego recorded with John Patitucci and Dave Kikosko in NY 2024 and is a teacher and part of the Jazzfaculty of the University of Music in Dresden and Osnabruck.

In 1989, Keith LaMar (aka Bomani Shakur) was sent to prison at age 19 for murder. He had been living in Cleveland, Ohio, where he sold drugs as a means of survival in the Crack-infested streets he knew as home. On a day that would forever change his life, Keith was robbed at gunpoint and exchanged gunfire with his robbers. He was shot twice in his legs and hit one of the other men in the chest. That young man, one a childhood friend, died. Keith pled guilty and was sent to prison for 18 years-to-life.

Four years later, Keith was attempting to put together the broken pieces of his life at the Southern Ohio Correctional Facility, hoping for another chance at life. It was an Easter Sunday, and the weather had just turned warmer; Keith and about 400 other men were outside exercising in the rec-yard when commotion broke out inside and it became clear that some type of protest was underway. Keith made a quick decision to slip inside for a few minutes to secure his personal belongings (since his cell assignment was in the area being taken over). Once back out in the yard, he and the others waited to see what would transpire, watching as the bodies of several men were dumped onto the yard.

As Easter came to an end, the Ohio State Highway Patrol rounded up those on the yard and secured them into another part of the facility. Prison records prove that Keith was among them. Though no one could have predicted what exactly was happening, or how it would all result, an 11-day siege ensued. In the end, nine inmates and one guard ultimately lost their lives. When the dust began to settle, the State of Ohio needed someone on whom to pin several of the early inmate deaths. This is where Keith’s troubles began…

A few months later, several prisoners were enticed with the promise of early paroles and/or dropped charges if only they would come up with a reasonable story to help the State sweep up the “mess” at their out-of-control prison. They determined Keith would be the fall guy, and they pointed their fingers at him. Thus, to make it all come together convincingly, the prosecution withheld actual confessions from his defense, as well as eyewitness statements that contradicted their fabricated version of events. In spite of zero DNA or forensic evidence, they moved forward with their accusations against Keith. In fact, they made sure his trial would be racially biased in their favor by calling for the removal of the few potential black jurors, and by holding his trial in an all-white county in southern Ohio. In spite of having no motive to kill anyone, no actual proof connecting him, nor any affiliation with any of the groups organizing the uprising, the jury didn’t take long to find Keith LaMar guilty of the murder of five of the inmates. He was sentenced to death.

Albert Marquès is a pianist, composer, and political activist from a working class, industrial town outside of Barcelona, where he worked in factories through school. A member of a Catalan anti-capitalist organization as a teenager, he narrowly escaped being detained for his activism.

Influenced by the local punk scene, as well as jazz recordings of musicians like Chick Corea, Brad Mehldau, Michel Camilo and Herbie Hancock, he was self-taught until he attended Conservatori Superior de Música del Liceu. After graduation, he made two pivotal trips which changed his life, spending a month in the West Bank in Palestine and a month in Cuba.

During his four years in Barcelona, he played with the best musicians of the scene, such as Marc Miralta, thanks to his unique, non-academic sound. Upon graduating, he moved to Paris, where he worked in a McDonald’s until he learned French. In Paris, he played with musicians such as Remi Vignolo and Pierre Perchaud, and became the pianist in African American drummer Leon Parker’s quartet.

At 25, Albert moved to New York City, without knowing even one person, to play jazz. After a year and a half working as a waiter and going to jam sessions every night, he met his mentor Arturo O'Farrill, who gave him his own baby grand piano. In addition to his musical influence and encouragement, O’Farrill hired him to teach with his organization, the Afro Latin Jazz Alliance, a non-profit that gives free Latin jazz music lessons in the most disadvantaged New York City public schools. Albert also plays and collaborates with his sons, Adam and Zack O’Farrill.

In 2014, he married the sculptor Mia Pearlman, with whom he has two children, Aviva and Sol. It is in New York that he finally combined his biggest influences: contemporary jazz, flamenco, Afro Cuban music and social justice by creating Freedom First. He has recorded four albums as a band leader, and regularly collaborates with rhythm master Ari Hoenig, Spanish flamenco singer and saxophonist Antonio Lizana, and other American and European musicians.

​Marques is the Music Director at the Institute for Collaborative Education in NY, a progressive, public middle and high school in downtown Manhattan.

Rosen has been hailed by The New York Times as “insanely ambitious,” “a sort of bridge between genres and generations, embracing Broadway standards, pop songs and the music of Tetris.” Broadway World hailed his orchestrations for “Some Like it Hot” — co-written with Bryan Carter — as “explosive… another first-rate team.” Opined JazzTimes of the 8-Bit Big Band: “[These are] innovative spins on a hidden musical canon that’s arguably just booting up.” In 2021, Grammy.com proclaimed him to be one of “6 Big Band Composers Pushing The Format Forward.”

Rosen was born in 1990 in Los Angeles, to a bassoonist and music teacher mother and pianist, banjoist, and silent movie theater organist father. When Rosen was three, his father ascertained that he had perfect pitch, when he successfully distinguished piano keys by color without seeing them. “That’s a black key, that’s a white key,” Rosen remembers intuiting.

Rosen played flute in an elementary school orchestra, but that didn’t really take. “I played cello for a year. That didn’t really take,” Rosen says. But as his single digits flowed into his doubles, he accordingly took guitar lessons, and proceeded to perform in bands. “That was my first exposure to what it means to collaborate with your musical peers,” Rosen says, “as opposed to receiving rote classical music from a teacher.”

Large ensemble jazz grew to captivate him most; his father frequently took him to see big bands and jazz orchestras, and his mother brought him to her orchestra rehearsals and chamber music performances. Rosen became fascinated by the sheer numbers of the musicians, the volume, and the force of the moving air. Saxophones, flutes, trumpets, banjos, guitars, and mandolins were around the house. “That influenced my love of arranging and discovering new instruments,” Rosen says — and he learned one after the other. Despite his parents’ love of musicals, Rosen initially gravitated far more to classic rock and jazz. Yet in his sophomore year of high school, he nabbed a role in the coming-of-age Broadway musical “13” — which not only featured an entire cast of teenagers, but an all-teen orchestra. This led him to the comedic historical rock musical “Bloody Bloody Andrew Jackson” — conversely, a full-on professional production with adults. Both shows transferred to Broadway one year apart, before Rosen was old enough to drink.

Rosen studied at Berklee College of Music for a few semesters; around 2010, he decided to focus on Broadway for good. At first, he was a multi-instrumentalist in a variety of pits, and it became clear he was capable of much more. “I started being like, ‘I’ll do anything. I can transcribe your piano parts. I’ll write sheet music. I’ll write horn parts for you,’” Rosen recalls. “Just to get my name out there as somebody who could be part of music teams.” In 2012, he started his first New York large ensemble, dubbed Charlie Rosen’s Broadway Big Band. He went on to work on a plethora of Broadway shows, as an orchestrator, music director, music supervisor, and more — from “Moulin Rouge” to “Be Home Chill” to “Some Like it Hot.”

Already, Rosen was reimagining what a big band could do. “I would take songs from Broadway shows, like I do with the 8-Bit Big Band, and totally flip them on their head — rearrange them,” he says, “and I would ask singers from the Broadway community to front it.” He began a long-running residency at Midtown Manhattan’s 54 Below, and “invited as many music directors, supervisors and composers — anybody I could possibly think of — to come to this thing.”

The 54 Below residency demonstrated Rosen’s swelling chops for old-school, Broadway-style arranging. Fast forward through years of shows and connections, and in 2018, Rosen launched the 8-Bit Big Band, and the lifelong gamer picked up the torch of the “Great Video Game Songbook.” To date, they have released four albums: 2018’s “Press Start!,” 2019’s “Choose Your Character,” 2021’s “Backwards Compatible,” and 2023’s “Game Changer.”

In 2021, Rosen won a Grammy for Best Arrangement, Instrumental or A Capella. He won one Tony in 2020, for his work on “Moulin Rouge!, and another in 2023, for “Some Like It Hot.” Another Grammy followed in 2023, for his contributions to the latter production’s cast recording. He was also nominated for both a Tony and Grammy award for his work on the groundbreaking 2022 Broadway show “A Strange Loop.”Other productions Rosen has worked on as a musician, composer, music supervisor, and/or orchestrator include “One Man, Two Guvnors”; “Cyrano de Bergerac”; “Honeymoon in Vegas”; “American Psycho”; “Prince of Broadway”; “Be More Chill”; “Moulin Rouge! The Musical”; and “A Strange Loop”. He was the musical director for the 2016 TV series “Maya & Marty,” and 2020’s “Arthur Miller Foundation Honors,” and arranged, orchestrated, conducted, and/or composed for 2017’s “The President Snow,” the 2021 documentary “Listening to Kenny G,” and that year’s Billy Crystal comedy-drama “Here Today,” as well as the music producer for the 2023 film “Wonka.”

Marc Shaiman, a Tony-winning theater and Oscar-nominated film composer, described Mr. Rosen as a big talent, but without the eccentricities that sometimes come along for the ride. ‘It’s the kind of talent where I almost want to hate him,’ Mr. Shaiman said. ‘But I can’t.’ You don’t get to be Charlie without being insanely ambitious, but I think it’s really an ambition to have as much music in his life and in his head and in his mouth as he possibly can. He just loves making music.”

Gabriela Martina (CH) and Maxim Lubarsky (UA) have been playing together in different musical settings since 2009 and formed this duo officially back in 2019. They both are vivid performers who seek to approach music as a whole, defying any specific style or genre.

The project “Explorations in Sound” aims at creating compositions in the moment from scratch, drawing Inspiration from various sources: melodic shapes and sounds, improvisation on poetry, and finding a unique and unexpected approach to famous songs in genres such as pop, soul and jazz as well as other contemporary music. Gabriela and Maxim creating a musical dialog and always willing to go wherever music takes them defying any boundaries of style and genre while maintaining compositional cohesiveness of the music. In addition to using their main instruments (piano and voice) – they are experimenting with adding unexpected sounds to their performances such as the use of music stand with brushes as a percussion instrument. The project is rooted in the very foundation of creativity and compositional process as well as a musical conversation that involves deep listening and constant exchange of ideas in the moment. Gabriela and Maxim are always searching for the new ways to approach musical composition and improvisation and always willing to dive into unknown. Every performance is a journey into a world of creativity and imagination.

The audience is part of the creation process since what they will hear will be heard for the first time with every performance. The compositions are born in front of their eyes and any given piece will always have a new twist. This approach leads us back to the passion of making music as genuine as a child at his/her first approach with the instrument.

Sean Imboden is an American saxophonist and composer. Sean has released three albums as a leader, the most recent being Communal Heart by the Sean Imboden Large Ensemble. His music pioneers forward-thinking, original compositions, and presents cutting-edge live performances. Sean has performed and recorded with GRAMMY-winning artists and jazz luminaries, including Slide Hampton, Taylor Eigsti, Mike Rodriguez, Sean Jones, Emmet Cohen, Steve Allee, Kenny Phelps, John Raymond, and Valery Ponomarev (of Art Blakey's Jazz Messengers). A long-time member of Indianapolis-based quartet Tucker Brothers, Sean plays on the band’s four critically-acclaimed albums. An active sideman, Sean has appeared on The Tonight Show Starring Jimmy Fallon and with the Radio City Music Hall Orchestra, the Indianapolis Symphony Orchestra, the Buselli-Wallarab Jazz Orchestra, Aretha Franklin, The Temptations, Barry Manilow, Johnny Mathis, and Idina Menzel. Sean toured internationally for many years with various Broadway productions, and as a featured soloist with Blast II. Sean has taught at the Jacobs School of Music at Indiana University, and is currently on faculty at Butler University and Ball State University. Sean is a Conn-Selmer artist, and works with students around the world through his online Virtual Studio.

Lizzie Lee is a genre-defying vocalist blending classical precision with the soul and spontaneity of New York’s jazz tradition. Her voice—praised for its rich color and “acrobatics and élan”—offers a bold reinterpretation of the American Songbook and beyond. Raised in Alaska and trained in Paris and New York, Lizzie brings a rare combination of global sensibility and emotional connection to her work. Her debut album, 72nd Street, recorded at the legendary Van Gelder Studio, is a striking statement of identity: lush, lyrical, and rooted in both tradition and risk. The album features a stellar lineup including Joe Farnsworth (drums), Stacy Dillard (tenor sax), John Webber (bass), Joe Block (keys), and Rob Nuovo (guitar). With performances across NYC, the northeast and internationally, and acclaim from artists like Bill Frisell and David Broza, Lizzie is merging elegance with edge, storytelling with swing, while fast becoming a name to know among vocalists in the jazz world.

In the classical genre, Lizzie is a dynamic soprano praised for her “brilliant coloratura, acrobatics, and élan” (Opera Magazine) and has performed across the United States, Europe, and Asia. Lizzie debuted in Europe at Staatstheater Darmstadt and has received international acclaim for her roles as the Parrot in the world premiere of Mahosot: Architect of Dreams by Somtow Sucharitkul in Bangkok and as the Countess in Le Nozze di Figaro in NYC. She has appeared as a soloist with the Jenaer Philharmonie, Bergische Symphoniker, and in concerts in Vienna with Maestro Francisco Araiza. Her artistry has been shaped through work with legendary mentors such as Martina Arroyo and the late Dalton Baldwin, whose influence continues to inspire her interpretive depth and stylistic sensitivity. Lizzie has performed at iconic venues such as Carnegie Hall and the Sydney Opera House and has worked closely with artists from many of the world’s most prestigious theaters including the Metropolitan Opera, Royal Opera House, San Francisco Opera, Washington National Opera, and Opéra Bastille.