Programme

In the realm of orchestral jazz, few names command as much respect as American conductor and composer Maria Schneider. She is virtually worshipped by those who believe that the big band tradition didn’t end with Gil Evans. Indeed, the legendary innovator of large ensemble sound was a key mentor to Schneider, now 63 years old.

 

Maria Schneider collaborated with Gil Evans after completing her studies at several prestigious arts colleges, serving as his assistant on his final major projects: the tour with Sting and the music for The Color of Money. Following Evans’ passing in 1988, Schneider briefly formed her first ensemble, which she later re-established in 1992 as the Maria Schneider Orchestra. This group, which continues to thrive today, serves as the main platform for her extraordinary work in composition, arrangement, and conducting.

While Schneider frequently guest-conducts for other ensembles worldwide, her primary creative output is through her own orchestra and under her independent label. Her influence is celebrated across the music world, as evidenced by numerous Grammy nominations and wins—nearly ten to date—and other prestigious accolades.

Her 2020 album, Data Lords, won two Grammy Awards for Best Large Jazz Ensemble Album and Best Instrumental Composition, while also earning a nomination for the Pulitzer Prize. The double album is divided into two contrasting parts: The Digital World and The Natural World. Some pieces were commissioned by the U.S. Library of Congress. Through this work, Schneider reflects on the tension between nature and technology, offering a vivid yet cohesive musical narrative about how digital corporations profit from the personal data we provide. The music is as layered and complex as the modern world it portrays.

During her 2025 European tour, Maria Schneider will primarily perform compositions from Data Lords. She will be conducting the Norwegian Oslo Jazz Ensemble, a group she has collaborated with for over a decade. Together, they premiered select pieces from Data Lords in 2018.

Line-up:

Maria Schneider, musical director
Børge-Are Halvorsen – alto sax and flutes, Joakim Bergsrønning – alto sax, flutes and clarinet, Atle Nymo and Martin Myhre Olsen – tenor sax, Tina Lægreid Olsen – baritone sax and bass clarinet
Frank Brodahl, Marius Haltli, Richard Köster and Anders Eriksson – Trumpet and flugelhorn, Even Skatrud, Nils Andreas Granseth and Magnus Murphy Joelson – Trombone, Ingrid Utne – Bass trombone
Jørn Oien – piano, Kalle Moberg – accordion, Jens Thoresen – guitar, Trygve Waldemar Fiske – bass, Håkon Mjåset Johansen – drums

Sometimes, a young virtuoso emerges, shines brightly, and then fades away. However, the Italian guitarist Matteo Mancuso, who blends jazz, rock, and funk fusion, is still relatively young but has already proven that the hopes placed in him are far from misplaced.

 

“His improvisational skills are light years ahead of the rest of us,” says Al Di Meola, praising Mancuso’s talent. “I was absolutely blown away when I heard Matteo. The future of guitar is in the hands of people like him,” adds Steve Vai. Joe Bonamassa also weighs in: “I’ve never seen anything like it; it feels like he’s invented a new instrument!”

Matteo Mancuso began playing guitar at the age of ten, taught by his father, a professional guitarist. Just a year later, the young prodigy was already performing. Hailing from Palermo, Sicily, he primarily trained in Italy, earning a diploma in jazz guitar, and also spent time at Boston’s Berklee College of Music on a scholarship.

His first band, Snips, was a fusion power trio formed in 2017. The band created original music and reinterpreted funk and jazz classics. Their rendition of Pee Wee Ellis’s instrumental „The Chicken,“ posted on YouTube, went viral, amassing over two million views. Other covers, such as Allan Holdsworth’s „Fred“ and Chick Corea’s „Spain,“ also garnered significant attention.

Three years later, Mancuso formed The Trio, which performed at European festivals and toured the United States. Alongside bassist Stefano India and drummer Giuseppe Bruno, he recorded his first album, Journey, in 2024. The album, which features entirely original material, showcases his virtuosic fingerstyle playing—performed entirely without a pick—reminiscent of classical and flamenco guitar techniques.

It’s remarkable how many famous guitar virtuosos in jazz, rock, and fusion have Italian roots, though we may not always realize it: Joe Pass, Frank Zappa, Al Di Meola, Steve Vai, John Pizzarelli, Joe Satriani, John Frusciante, and John Petrucci. Now, it’s clear that the next in this illustrious line is Matteo Mancuso—and we’re fortunate to witness his rise to the top.

Line-up:

Matteo Mancuso – guitar, Riccardo Oliva – bass, keyboards, Gianluca Pellerito – drums

It might be enough to say she is a five-time Grammy Award winner for jazz singing—there’s little more that needs to be added. A voice so richly adorned with accolades truly speaks for itself. And not only speaks—but sings brilliantly.

 

For Dianne Reeves, music was a destiny placed in her cradle. She was born into a family surrounded by musicians—her father was a singer, her mother a trumpeter, and her uncle Charles Burrell, a double bassist renowned not only in jazz but also as the first African American member of a major U.S. philharmonic orchestra (specifically in Denver). To top it off, her cousin was the legendary keyboardist and vocalist George Duke. It was Duke who produced her first album after signing with the prestigious Blue Note label. That album earned her her first Grammy nomination and catapulted her to the top of the jazz charts. Musically, it traversed modern jazz, R&B, soul, and fusion—not only due to the producer but also thanks to the stellar musicians invited to the recording, including luminaries like Herbie Hancock, Tony Williams, and Stanley Clarke.

By then, Dianne Reeves had already gained a wealth of experience. She began singing and playing piano at the age of fifteen in 1971 and was a member of a high school band from which trumpeter Clark Terry “recruited” her. After studying classical singing at the University of Colorado, she moved to Los Angeles, one of the main hubs of show business, where she performed in clubs alongside saxophonist Stanley Turrentine and pianist Billy Childs, among others. Even before signing with Blue Note, she released three albums on smaller labels, which served as a prelude to her major career.

Her journey is marked by five Grammys, three of which were for consecutive albums—a unique achievement in the jazz category. These include the live recording In The Moment – Live In Concert (2000), a tribute to the legendary Sarah Vaughan titled The Calling: Celebrating Sarah Vaughan (2001), and a chamber album of jazz standards, A Little Moonlight (2003). She also earned a Grammy for the soundtrack to the 2005 film Good Night and Good Luck, directed by George Clooney, which received six Oscar nominations. Her most recent Grammy came in 2015 for Beautiful Life, a modern album featuring a mix of original compositions and surprising cover versions of songs by Bob Marley, Ani DiFranco, Stevie Nicks, and Esperanza Spalding.

Critics often describe Dianne Reeves as the heir to the unorthodox Dinah Washington, praising her versatility across genres, exceptional taste, consistently excellent song choices, deep connection to lyrics, and remarkable improvisational skills, including her flawless scat technique. The audience at Sono Centrum is sure to experience all of this in abundance.

Line-up:

Dianne Reeves – vocals, John Beasley – piano, Romero Lubambo – guitar, Darryl Hall – double bass, Terreon Gully – drums

Kamasi Washington is one of the most iconic figures in contemporary jazz, embodying its versatility and interconnectedness with other genres. If there’s one thing current jazz is not, it’s an uninspiring soundtrack for quiet moments at a spa.

 

Washington regularly performs not just at jazz festivals but at massive multi-genre events that shape the future of music, such as Barcelona’s Primavera Sound, England’s Glastonbury, and America’s Coachella. He’s the perfect fit for these stages, with his striking physique and even more powerful tenor saxophone tone, leading a brilliantly orchestrated ensemble that brings to mind a street gang.
Kamasi Washington’s music is hard to classify. On one hand, he plays bold, nimble improvisations with a funk edge that could easily fit alongside the sounds of Sly and the Family Stone or Miles Davis. On the other hand, he is a musical architect, using massive orchestral arrangements and techniques influenced by psychedelic music in his conceptual, mostly three-hour-long album projects, The Epic (2015) and Heaven and Earth (2018).

Though his roots are firmly in jazz, Washington’s journey into the genre’s major leagues began with hip-hop and electronica. He was already friends with progressive black music icon Thundercat during his studies and has since recorded with rapper Snoop Dogg and producer Flying Lotus. His first big breakthrough came with his contribution to Kendrick Lamar’s hip-hop masterpiece To Pimp a Butterfly (2015). In 2020, Washington also co-founded the “supergroup” Dinner Party, with keyboardist Robert Glasper, multi-instrumentalist Terrace Martin, and DJ/producer 9th Wonder—fusing jazz with other black music subgenres.

In May this year, Kamasi Washington will release his new album, Fearless Movement, featuring appearances from rapper André 3000 and funk legend George Clinton, who is 82. Washington has described the album as a „dance album,“ which raised some concerns among listeners. “When I say dance, I don’t mean it literally,” he explained. “To me, dance is something that expresses the movement of the human spirit, so it’s actually kind of music. And that’s what I’m going for on the album.”

The album is marked by two significant influences: much of it was written during the COVID-19 pandemic, a time when Washington became acutely aware of his own mortality, and it was also shaped by the joyous occasion of becoming a father to a daughter. At just two years old, he was already playing her music from his favorite jazz masters—John Coltrane, Ornette Coleman, and Eric Dolphy. “I wanted to show her the best music,” he says. He adds that one of the album’s tracks, Asha The First, was inspired by a motif his daughter repeatedly strummed on the piano.

Kamasi Washington’s performance at JazzFestBrno is another milestone in the career of one of today’s most influential and topical jazz artists—one whose work is currently shaping the history of jazz. In a few decades, his contributions will be the focal point of music history studies, even in the most superficial of analyses.

When we say Jojo Mayer is one of the fifty greatest drummers of all time, it’s not just promotional hype. This recognition was confirmed by Modern Drummer magazine, one of the most respected in the industry, which ranked him in 2014.

 

Though born in Switzerland, a country not typically known for its jazz scene (aside from the Montreux Festival, of course), Mayer grew up in a musically rich environment. His parents encouraged his musical development early on, allowing him to start drumming on a toy kit at just two years old. Before he could even fully embrace his musical passion, he was already sitting in with his father’s band—his father was a professional bassist. At eighteen, he secured his first professional gig with the band of Jamaican jazz pianist Monty Alexander, touring prominent European festivals and sharing the stage with icons like Dizzy Gillespie and Nina Simone.

Mayer soon realized that the music he envisioned in his head would be best realized in the United States, particularly in New York. There, he quickly became known as a “first-call sideman,” the musician everyone turns to when they need a drummer for recordings or performances. While still inspired by his major influences—Tony Williams, Jack DeJohnette, and Buddy Rich—he began to develop his own technique, one that allowed him to apply his musical vision to more rhythmically driven, dance-oriented genres that fuse jazz with drum and bass and jungle music.

In 1997, Jojo Mayer founded the band Nerve, which became the cornerstone of his artistic career. Alongside bassist John Davis, keyboardist Jacob Bergson, and sound engineer Aaron Nevezie, he created a unique sound that blends programmed electronic music with jazz improvisation. The band’s motto, “Nerve sounds like electronic music, but it isn’t. It doesn’t sound like jazz or rock, but it is,” perfectly encapsulates their innovative approach.

At the end of 2024, jazz double bass innovator Adam Ben Ezra will release a new album that promises to redefine the relationship between double bass and drums, elevate grooves to a whole new level, and create a fresh, timeless sound. The material from this album will be showcased during a European tour, performed by the same lineup that recorded it.

 

The journey of this young Israeli artist from Tel Aviv to the double bass was neither straightforward nor arbitrary. At the age of five, he was introduced to music through the violin, which he played for four years before transitioning to the guitar. Eventually, the deeper tones of the four bass strings captured his heart. By the time he graduated with a degree in bass guitar at sixteen, his natural progression led him to the double bass, which he then studied more formally.

Ben Ezra’s performing career began in small clubs and cafés, but he quickly captured the attention of listeners. A significant part of his success can be attributed to YouTube, where he stands as a prime example of how the platform can be used to reach audiences beyond the pop genre. On YouTube, Adam shares live recordings of his original material, as well as creatively arranged renditions of standards and film music themes. His videos have amassed over eight million views.

Since 2013, Adam Ben Ezra has consistently toured Europe and the United States, performing in various ensembles as well as solo. He has developed a unique playing style, using his double bass as both a melodic and percussive instrument, while incorporating electronic effects and real-time looping into his performances. Ben Ezra’s inspirations are diverse, ranging from Bach and Debussy to Chick Corea, Jaco Pastorius, and Sting, as well as flamenco and Arabic music.

For his new studio and concert project, Heavy Drops, Adam Ben Ezra has teamed up with drummer Michael Olivera (known for his work with Alfredo Rodriguez and Richard Bona). The album’s publisher notes, “With Adam’s virtuoso double bass skills and Michael’s exceptional drumming, this duo breaks new ground in their exploration of melody, rhythm, and improvisation, creating a sound that is truly captivating.” There is much to look forward to!

Line-up:

Adam Ben Ezra – double bass, Shayan Fathi – drums

Guitarist Dominic Miller exemplifies a musician who can seamlessly navigate the highest spheres of show business while also performing in intimate clubs, engaging with a fraction of the audience he‘s accustomed to in larger venues. What’s remarkable is that both types of listeners are not only receptive to him, but these audiences often overlap significantly.

 

It’s true. There’s no denying that Dominic Miller’s long-standing creative partnership with Sting is his main credential, even in his solo career. But it’s not that simple; the relationship is mutually enriching. A large portion of Sting’s audience returns to his concerts not necessarily for a specific player but with the firm belief that, no matter the setting, Sting’s performances will always be backed by outstanding musicians—thanks, in part, to Dominic Miller, who has been a steadfast presence behind Sting for over thirty years.
Miller’s name first appeared in the credits of Sting’s third solo album, The Soul Cages (1991), and he has since contributed to every one of Sting’s albums up to The Bridge, not only as a guitarist but also as a composer and co-author of several hits. Sting’s recordings and performances would be unimaginable without Miller’s distinctively modulated, unmistakable guitar sound.

Of course, Sting is not the only major name associated with this exceptionally inventive and highly sought-after guitarist. Miller has collaborated with a wide range of musicians and bands, including The Chieftains, Level 42, Phil Collins, Youssou N‘Dour, Chris Botti, and Tina Turner. His versatility as a player reflects his rich musical heritage. Born to an Irish mother and an American father in Argentina, Miller spent his early years there before moving to the United States and eventually settling in England. He studied music in London and at Boston‘s Berklee College, and also took private lessons in Brazilian music.

Miller’s early solo work focused on Latin-influenced jazz, which set the stage for his official debut album, First Touch (1995). Since then, Dominic Miller has released nearly fifteen albums, most of which feature his own compositions. An exception is Shapes (2003), in which he recorded guitar versions of classical works by Johann Sebastian Bach and Ludwig van Beethoven. However, Miller’s primary focus has been contemporary music, where his unique guitar sound bridges instrumental jazz influences with a broader audience, even those without a conservatory background. His last three albums—Silent Light, Absinthe, and Vagabond—are standout works in the catalog of the influential ECM label.

Line-up:

Dominic Miller – guitars, Nicolas Fiszman – bass, Mike Lindup – piano, keyboards, Ziv Ravitz – drums

Since leaving the Midwest in 2002 to attend the Brubeck Institute in California, bassist Joe Sanders has had the privilege of performing alongside some of the greatest jazz figures. His impressive journey continued with collaborations with legendary artists such as Dave Brubeck, Christian McBride, Terence Blanchard, Ron Carter, Roy Hargrove, John Clayton, Charlie Haden, Herbie Hancock, Charles Lloyd, and Wayne Shorter—an extraordinary roster by the age of forty.

 

After completing his studies at the Brubeck Institute and further training at the Thelonious Monk Institute, Sanders moved to New York in 2007. There, he continued his education through various programs while actively engaging with the city‘s jazz scene. He built deep musical and personal relationships with both his generation‘s musicians and jazz legends, mastering both classic styles and contemporary trends.

2012 was a breakthrough year for Joe Sanders when he released his debut solo album, Introducing Joe Sanders, on the acclaimed Criss-Cross label. A year later, he joined Charles Lloyd’s band, where Lloyd not only helped Sanders refine his musical abilities but also expanded his understanding of the philosophical and emotional dimensions of shared music.

In 2017, as the leader of his own band, Joe Sanders’ Infinity, he released his second album, Humanity, a musical commentary on a world filled with violence and his desire for compassion and love among people. During the Covid-19 pandemic, Sanders focused on self-education, exploring electronic tools for his music, as well as honing his production, composition, and skills on other instruments, particularly piano and drums. In October 2024, he released his third album, Parallels, a product of this self-study. The album features both live recordings and music produced in his home studio, where Sanders played all the instruments himself.

For his performance at JazzFestBrno, however, Joe Sanders will present his original music in a more traditional quartet setup.

Line-up:

Joe Sanders – double bass, Logan Richardson – alto saxophone, Seamus Blake – tenor saxophone, Gregory Hutchinson – drums

Saxophone legend Sonny Rollins is not known for flattery, but he made an exception for his fellow saxophonist James Brandon Lewis: „When I listen to you, I listen to Buddha, I listen to Confucius… I listen to the deeper meaning of life. You help keep the world in balance.“

 

James Brandon Lewis, the son of a preacher, grew up in Buffalo, immersed in the church and surrounded by gospel music. At home, he was introduced to jazz legends by his parents, creating a cultural foundation that still influences him today. His early exposure to music and the arts was rich, and as a young saxophonist rooted in clarinet studies from the age of nine, he had the opportunity to meet local artists such as free-jazz saxophonist Charles Gayle and saxophonist Grover Washington Jr.

As a young adult, Lewis moved to New York, where he explored a wide range of musical styles and regularly performed with bassists William Parker and Jamaaladeen Tacuma from Ornette Coleman’s Prime Time band, as well as trombonist Craig Harris and many others.He debuted as a bandleader in 2010 and quickly gained attention, with critics praising his deep gospel roots, which he seamlessly blends with elements of free jazz, funk, and hip-hop. His 2021 album The Jesup Wagon received particular acclaim, where Lewis not only explored gospel but also blues and Southern brass music. An intriguing chapter in his journey was his collaboration with experimental guitarist Marc Ribot, which led him to sign with the respected label ANTI-.

Lewis’s latest experiment is The Messthetics and James Brandon Lewis, released this year. This partnership with the post-punk band The Messthetics, featuring members of the iconic rock group Fugazi, marks an exciting new project. Lewis‘s jazz trio, which features an unconventional lineup of saxophone, electric bass, and drums, also carries a certain “punk” energy. According to Lewis, the key to this extraordinary “power trio” is achieving pure energy. This performance is sure to be anything but tame.

Line-up:

James Brandon Lewis – tenor saxophone, Josh Werner – electric bass, Chad Taylor – drums

Milan Kašuba, one of the oldest active Czech musicians, is an essential figure in Brno‘s jazz scene. His birthday celebration will honor his immense talent and unwavering dedication—qualities characteristic of the generation that emerged in the 1960s.

 

Though initially it seemed he was not destined for a musical career—he was trained as a goldsmith—Kašuba‘s musical gift became apparent early on. He attended violin lessons for seven years at his parents‘ request, and while studying goldsmithing in Prague, he borrowed a guitar from a friend. Soon, he was playing his favorite songs by Jaroslav Ježek, which made it clear that music would be his true calling.

Kašuba‘s early concerts took place in Prague, but upon returning to his hometown of Brno at the end of the 1950s, he continued performing, primarily in cafes. From 1962 onwards, he worked as a professional musician with a permanent engagement at the Večerní Brno theatre and served as a versatile studio musician for radio.

In the early 1970s, Kašuba took a break from performing to refine his skills. However, in the latter half of the decade, he returned to the scene, marking a significant phase in his artistic life. He formed a guitar duo with Jiří Adam, which later expanded to include violinist Jan Beránek and singer Mirka Křivánková, thus creating the legendary band Ornis. Although Ornis was active for just over three years, it earned respect both locally and abroad. After the band‘s disbandment, Kašuba embarked on a solo career, collaborated with Gustav Brom’s big band, and performed with various formations on the Czech club and festival scenes. He also began recording regularly and, from the mid-1990s, began teaching at music schools in Brno, later continuing his work at the Janáček Academy of Music and Performing Arts (JAMU).

For his birthday concert, Milan Kašuba will be joined by a lineup of jazz musicians, some of whom are one or two generations younger than him: saxophonist Radek Zapadlo, multi-instrumentalist Jiří Slaví k, double bassist Peter Korman, and drummer Martin Kleibl.

Line-up:

Moravian jazz duo: Milan Kašuba – guitar & Petr Kořínek – double bass, Geraldine Schnyder –vocals, Jiří Slavík – piano, Radek Zapadlo – saxophone, Peter Korman – double bass, Martin Kleibl – drums

At 43, Canadian pianist Kris Davis is one of the brightest stars in her generation of jazz pianists – and also one of the most industrious. Rarely does a year go by without a new release from her. If one year passes without an album, you can expect at least two the following year.

 

Since entering the recording industry in 2003 with her sextet‘s debut album Lifespan on the respected Fresh Sound label, Davis has released 25 albums as a leader or co-leader. This doesn’t include over two dozen additional recordings as a “sidewoman.” Few musicians are as prominent in contemporary jazz as Kris Davis.

Davis began studying piano at age six in a classical setting, but during elementary school, she discovered jazz, which completely captivated her – particularly the works of Herbie Hancock and Keith Jarrett. She later studied jazz piano in Toronto, then moved to New York, the “capital of jazz,” where she released her first album and quickly launched a meteoric career built on immense talent and hard work.

Davis has never confined herself to one genre. While she excels in traditional jazz, she’s also embraced avant-garde tendencies, including playing prepared piano and composing unique orchestrations, such as a suite for four bass clarinets, guitar, piano, organ, and drums. It’s no surprise that she is part of John Zorn’s circle, performing his Bagatelles around the world, including at the Bagatelles Marathon in Prague in 2019.

Her albums consistently appear in annual jazz rankings. Her 2022 record New Standards Vol. 1, a collaboration with trumpeter Nicholas Payton, won the Grammy Award for Best Jazz Instrumental Album. Two years earlier, Davis was named Best Pianist by DownBeat magazine, sharing the honor with Kenny Barron after receiving the same number of votes.

Davis’ latest album, Run The Gauntlet (her fifth release on her own label Pyroclastic, founded eight years ago), was recorded in a trio with bassist Robert Hurst (who has worked with Wynton Marsalis, Branford Marsalis, and Diana Krall) and drummer Johnathan Blake (known for his work with Randy Brecker, Chris Potter, and Donny McCaslin). This stellar trio will perform at JazzFestBrno.

Line-up:

Kris Davis – piano, Robert Hurst – double bass, Johnathan Blake drums

Pianist and composer Nikol Bóková is one of the most prominent and successful creators of her generation. Just last year, she performed in several countries, including Japan, Austria, Germany, the United Kingdom, and Italy. She performs and records both in various ensembles and as a solo artist, and she will bring the stable lineup of her Trio to Brno.

 

Bóková‘s musical range is vast, extending from Baroque to contemporary music of the 19th and 20th centuries. At the same time, she is a remarkable composer of her own unique music.Her work reflects her classical music education, blending elements of jazz, classical, and popular music, as well as modern rock and minimalism. Her debut album Inner Place, released in 2019, was nominated for the Anděl Award and marked the beginning of a rapid series of recordings. These include albums created with her trio, featuring Michał Wierzgoń and Martin Kocián, as well as collaborations with other musicians such as guitarist David Dorůžka, double bassist Jaromír Honzák, and world-renowned horn player Radek Baborák. Her discography also includes solo piano recordings and explorations into classical music, spanning from Bach‘s harpsichord works to Wagner‘s and Strauss‘s orchestral compositions arranged for solo piano.

Nikol Bóková has received numerous awards from the professional community and is recognized as an emerging figure on the Czech music scene and internationally.

Line-up:

Nikol Bóková – piano, Martin Kocián – double bass, Michał Wierzgoń – drums

The project was founded by double bassist and composer Klára Pudláková as part of her master’s program at the Jazz Department of the Academy of Performing Arts in Prague (HAMU). The original lineup consisted exclusively of string instruments, and in its next phase, wind instruments were added to the ensemble.

 

The creative principle behind Maomah is the development of original compositions rooted in classical music, enhanced through improvisation and rhythmic freedom inspired by jazz. With a double bass and three violins, the group adheres to the principles of composition, while also embracing the skills and experiences of the musicians to explore free improvisation. As a result, Klára Pudláková’s compositions—described by her as a musical mystery—sound unique with each performance. The musical expression and dynamics are not dictated by sheet music but by the mutual interaction of the musicians in the moment. This approach is reflected in the current lineup, where the original string ensemble (double bass and three violins) has been expanded to include wind instruments (saxophones, clarinet, and trombone).

Klára Pudláková is a quintessential representative of today’s young generation of musicians, who rarely limit themselves to a single genre. She navigates a wide spectrum of styles, blending them and refusing to play by conventional rules. This versatility is evident not only in Maomah, which is closest to classical music in her portfolio, but also in the alternative folk project Avokaduu with Anežka Matoušková, as well as in other ventures that touch on jazz and improvised music, such as Uthando, Pudlax, and her duo with saxophonist Michal Wróblewski.

Line-up:

Klára Pudláková – double bass, Jana Havláková – violin, Milan Jakeš – violin, Anna Romanovská – violin, Michal Wróblewski – saxophon, Štěpán Janoušek – trombone

The founder and leading figure of the group Helicopets is Polish guitarist and composer Adam Baran, a young musician with a wide range of influences who stands out as one of the most promising Polish creators in the realm of jazz-inspired music.

 

Adam grew up listening to Björk, Radiohead, and The White Stripes. In his twenties, he pursued jazz education, graduating from the Karol Lipiński Academy of Music in Wrocław and the Karol Szymanowski Academy of Music in Katowice. During this time, he became deeply influenced by albums from John Coltrane, Tomasz Stańko, and Bill Frisell, which guided his interest toward improvised music—a passion he has since fully embraced.

In addition to founding Helicopets, a group where he experiments with improvisation, electronic sounds, and unconventional arrangements (featuring guitar, bass guitar, bass clarinet, percussion, and electronics), Adam collaborates with alternative bands like Patrick the Pan and Swiernalis, as well as singer Alicja Szemplińska. He has also worked both in the studio and on stage with legendary jazz musician Michał Urbaniak, blues virtuoso Roman Puchowski, and many others.

Adam Baran is well known for his tireless concert activity, performing in clubs and at major European festivals. He has appeared at events such as Budapest’s Sziget Festival and Katowice’s Off Festival. In 2024, his band Helicopets was selected by celebrated trumpeter Nils Petter Molvær to compete in the finals of the Jazz Juniors Competition, where they received a special award. As a result, in 2025, Helicopets will embark on a European tour.

Line-up:

Adam Baran – electric guitar, Panilas – bass clarinet, Józef Biegański – percussion, electronics, Piotr Zygma – bass guitar

On the Czech music scene, guitarist and composer David Dorůžka has long been a prominent figure, with each of his albums receiving close scrutiny. This will undoubtedly be the case for his latest release, When the Child Was a Child, which will be launched at a concert during JazzFestBrno and is being released by Bivak Records.

 

Dorůžka’s “Polish quartet,” featuring pianist Piotr Wyleżoł and other top-tier, experienced musicians, has been enriched by years of international collaboration. Musically, the new album returns to a purely acoustic sound, blending jazz tradition with elements of folk music, delivering a lyrical expression that distinguishes it from Dorůžka’s previous album, Andromeda’s Mystery, which explored rock influences. Nevertheless, fans can still expect surprises on When the Child Was a Child. One highlight is the participation of young harmonica player Nicholas Patu, who not only contributed to the recording but will also join the quartet as a guest at their Brno concert. In addition to original compositions, the repertoire promises a surprising interpretation of a piece by American multi-instrumentalist Sufjan Stevens.

David Dorůžka first made his mark on the Czech music scene during his teenage years. After studying at Berklee College of Music, he gained experience in New York and Paris. He debuted in 2004 with the album Hidden Paths, which earned him his first—and certainly not his last—Anděl Award. Over the years, he has collaborated with prominent musicians from the Czech Republic, Europe, and beyond, including world-class drummers like Jorge Rossy and Jeff Ballard. He is widely regarded as one of the most influential creators of the Czech jazz middle generation.

Line-up:

David Dorůžka – guitar, Piotr Wyleżoł – piano, Michał Barański – double bass, Michał Miśkiewicz – drums, & special guest Nicholas Patu – harmonica