Jazz Musician Database

Active Projects

Premium Profiles

Dan Moretti
saxophone

Ken Field
sax, alto

Larry Fuller
piano

Vel Lewis
organ, Hammond B3

Larry Natwick
piano

Samantha Boshnack
trumpet

Debbie Poryes
piano

Mike Vaccaro
reeds

Hanna Kim
flute

Mark Lewis
saxophone

Michele Thomas
vocalist

Pat Metheny
guitar

Billie Davies
drums

Gabriel Mark Hasselbach
trumpet

Quinsin Nachoff
saxophone

Cynthia Hilts
piano

Herschel McWilliams
saxophone

Dan Papirany
piano

Ingrid Nomad
vocalist

Jen de Ness
vocalist

Sara Bielanski
vocalist

Steve Rudolph
piano

The Weekly Reeders
melodica

Charlie Jennison
sax, alto

Activity

Marcio Garcia
piano

Louis Hayes
drums

Rick Germanson
piano

Ruben Gonzalez
piano

Dominic Palombi
drums

Meg Morley
piano

Wanda Houston
vocalist

Jason Newman
piano

Shorty Rogers
trumpet

Ole Mathisen
sax, tenor

Bryan and the Aardvarks
bass

Markus Rutz
trumpet

Sal La Rocca
bass, acoustic

Peggy Stern
piano

Michaela Rabitsch
trumpet

Giulia Valle
bass

Charlie Harrington
drums

Miles Davis
trumpet

Pat Metheny
guitar

John Coltrane
saxophone

Keith Jarrett
piano

Brad Mehldau
piano

Dexter Gordon
sax, tenor

Bill Evans
piano

Preservation Hall Jazz Band
band/orchestra

John Scofield
guitar

Wayne Shorter
saxophone

Mort Weiss
clarinet

The Beatles
band/orchestra

Dave Holland
bass

Gregory Porter
vocalist

Wynton Marsalis
trumpet

Lester Young
saxophone

Chris Potter
reeds

Kurt Rosenwinkel
guitar

Joshua Redman
saxophone

Branford Marsalis
saxophone

John McLaughlin
guitar

Samo Salamon
guitar

Sam Rivers
sax, tenor

Lee Ritenour
guitar

Christian McBride
bass

Louis Armstrong
trumpet

Bobo Stenson
piano

Lionel Loueke
guitar

Bill Frisell
guitar

Mark Egan
bass

Jeb Patton
piano

Miles Davis
trumpet

Duke Ellington
piano

The Beatles
band/orchestra

Keith Jarrett
piano

Louis Armstrong
trumpet

John Coltrane
saxophone

Pat Metheny
guitar

Ella Fitzgerald
vocalist

Charlie Harrington
drums

Thelonious Monk
piano

Charlie Parker
sax, alto

Bill Evans
piano

Hank Jones
piano

Dizzy Gillespie
trumpet

Russell Malone
guitar, electric

Billie Holiday
vocalist

Ahmad Jamal
piano

Jimi Hendrix
guitar, electric

Jaco Pastorius
bass, electric

Herbie Hancock
piano

Kenny Burrell
guitar

David Longoria
trumpet

Stan Getz
sax, tenor

Chet Baker
trumpet

Max Roach
drums

Frank Sinatra
vocalist

Julian "Cannonball" Adderley
saxophone

Chick Corea
piano

Django Reinhardt
guitar

Wynton Marsalis
trumpet

Oscar Peterson
piano

Count Basie
piano

Ace Alonzo
drums

Bryan and the Aardvarks
bass

Vermont Jazz Center Big Band
band/orchestra

Nick Nightingale
guitar, electric

Don Washington
organ, Hammond B3

Joe Pignato
drums

Yuri Turchyn
violin

Dan Brown
bass

Rv Caparros
guitar

HANG EM HIGH
band/orchestra

Janno Trump
bass, electric

DAVID HURN
multi-instrumentalist

Cecily Bumbray
vocalist

Kevin Ellis-Lane
bass, electric

Möbius
band/orchestra

Angiolo Tarocchi
arranger

Ito Kurdhi
bass

Jennifer McMahon
vocalist

Misaki Nakamichi
drums

Tom Haines
composer/conductor

Kris Russell
vocalist

Pedro Melo Alves
drums

Jason A Mullinax
drums

Jay Riley
sax, tenor

The Comet Is Coming
band/orchestra

Alessandro Bortolozzi
guitar, acoustic

Peter Karlsson
sax, baritone

Rahul Mukerji
guitar

Jazz Times 2
composer/conductor

Charles Malcolm Cobb
sax, tenor

Greg Radford
multi-instrumentalist

James Green
guitar

Dave Pell
1935–2017
saxophone

Allan Holdsworth
1948–2017
guitar

Bob Cunningham
1934–2017
bass

Arthur Blythe
1940–2017
sax, alto

Chuck Berry
1926–2017
guitar, electric

Dave Valentin
1952–2017
flute

Misha Mengelberg
1935–2017
piano

Horace Parlan
1931–2017
piano

Larry Coryell
1943–2017
guitar

Clyde Stubblefield
1943–2017
drums

Al Jarreau
1940–2017
vocalist

Barbara Carroll
1925–2017
piano

Svend Asmussen
1916–2017
violin

Charles "Bobo" Shaw
1947–2017
drums

Buddy Greco
1926–2017
vocalist

Nat Hentoff
1925–2017
producer

Alphonse Mouzon
1948–2016
multi-instrumentalist

Pauline Oliveros
1932–2016
accordion

Hod O'Brien
1936–2016
piano

Mose Allison
1927–2016
composer/conductor

Victor Bailey
1960–2016
bass, electric

Leonard Cohen
1934–2016
vocalist

Kay Starr
1922–2016
vocalist

Bob Cranshaw
1932–2016
bass

Al Stewart
1927–2016
trumpet

Rudy Van Gelder
1924–2016
producer

Toots Thielemans
1922–2016
harmonica

Roberto Cassan
1962–2016
accordion

Louis Smith
1931–2016
trumpet

Bobby Hutcherson
1941–2016
vibraphone

Connie Crothers
1941–2016
piano

Pete Fountain
1930–2016
clarinet

Showcase

Buy Now

Gnosis by Taylor Haskins
Buy Now

Small Town by Bill Frisell
Buy Now

Cross My Palm With Silver by Avishai Cohen - Trumpet
Buy Now

The Dreamer Is the Dream by Chris Potter

Jazz Birthdays

Sun Ra b. 1914
Mark Taylor b. 1961
Elek Bacsik b. 1926
Jimmy Bennington b. 1970
Franz Koglmann b. 1947
Jackie Cain b. 1928
Natasha Shneider b. 1956

About Jazz Story

Story of the Day

It’s often said that good music is the music you think is good, but I don’t buy that. Sure, we all have leanings, from artists to genres, even periods, too, but good music exists as a superset, not a subset
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It’s often said that good music is the music you think is good, but I don’t buy that. Sure, we all have leanings, from artists to genres, even periods, too, but good music exists as a superset, not a subset. Otherwise, how could new genres rise to existence? Too often, people confuse “It’s not for me” for “It’s not good,” letting genre preference or peer acceptance set the bounds on their definition of “good.” Genres facilitate discussions, but classification negatively influences progress and feeds biases, thus, it imposes limitations. Listening: honestly, intently, receptively; good music can only reveal itself then. Its incorporeal, living in the now, to be heard and felt and gone, never to be touched, transferring its full value when auditory input creates new connections between brain and gut. For this, the music must communicate something primal, entirely human; this can only occur if those interfaces between musician and instrument, instruments and results (i.e. music) can successfully capture, process, and render individuality, from musician to listener, so that what is shared is honest self-expression. Technology should introduce new schemes to express one’s humanity in new musical ways—as electricity did to the guitar— not eliminate the human factor, or reduce self-expression to adept clicking on specialized software, or the order in which one pushes a button. Sad to see how much of today’s music is synthetic. Empty. Proof that too many aren’t really listening. But, then again, how many “music lovers” only listen to music in their cars or while walking to work or cleaning the house or… People who listen, really, will argue about what and who’s the best, even on what qualifies as good, but there’s one universal criterion all will give: musicianship. When it’s there and felt, good musicianship doesn't need to be defined among listeners willing to hear. Hence why, when asked what I listen to, genres are useless; I usually reply with, “I listen to good music.”
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By Pascal-Denis Lussier
Member since: 2010