The outstanding and internationally renowned vocalist, guitarist and composer Allan Harris sums up his personal perspective on music in clear and straightforward terms. “There is nothing that I have found that defines and gives credence to my place in this wild and mysterious universe than this thing called music.”

Over the past 20 years, Harris has steadily developed his reputation as one of the finest vocalists of his era. Brooklyn-born and Harlem-based, he has forged his sterling credentials through his ten previous albums, covering a broad range of contexts, all netted together within the rich territory of the jazz tradition. In addition to his recordings, he has performed on a worldwide stage that has taken him to prestigious international festivals and halls in Europe, the Middle East and Asia, as well as the 2012 Olympics in London. At home, he has toured nationally at festivals and top venues, including New York’s Lincoln Center and D.C.’s Kennedy Center. He has received numerous awards, including the New York Nightlife Award for “Outstanding Jazz Vocalist” (which he won three times), the Backstage Bistro Award for “Ongoing Achievement in Jazz,” the Harlem Speaks “Jazz Museum of Harlem Award,” and the DownBeat Critic’s Poll Award for “Rising Star Vocalist.”

The outstanding and internationally renowned vocalist, guitarist and composer Allan Harris sums up his personal perspective on music in clear and straightforward terms. “There is nothing that I have found that defines and gives credence to my place in this wild and mysterious universe than this thing called music.”

Over the past 20 years, Harris has steadily developed his reputation as one of the finest vocalists of his era. Brooklyn-born and Harlem-based, he has forged his sterling credentials through his ten previous albums, covering a broad range of contexts, all netted together within the rich territory of the jazz tradition. In addition to his recordings, he has performed on a worldwide stage that has taken him to prestigious international festivals and halls in Europe, the Middle East and Asia, as well as the 2012 Olympics in London. At home, he has toured nationally at festivals and top venues, including New York’s Lincoln Center and D.C.’s Kennedy Center. He has received numerous awards, including the New York Nightlife Award for “Outstanding Jazz Vocalist” (which he won three times), the Backstage Bistro Award for “Ongoing Achievement in Jazz,” the Harlem Speaks “Jazz Museum of Harlem Award,” and the DownBeat Critic’s Poll Award for “Rising Star Vocalist.”

Lynn Riley enjoys a vibrant career as a jazz musician, composer, and educator, whose primary in-struments are saxophone and flute. As the leader of The World-Mix, Lynn has been described more than once as “Superwoman” of the sax. Born in Washington, D.C., and raised outside of Philadelphia, Pa., she received a B. A. in Ethnomusicology from the University of Hawaii. Her time spent in Hawaii was influential in developing her sensibility to, and awareness of, different musical cultures. She continued her musical studies at the University of Missouri Kansas City, studied privately with Doris Sellers (principal flutist of the Kansas City Symphony), saxophone with Ahmed Alladeen, and im-mersed in its rich jazz tradition, apprenticed and performed with many of KC’s jazz legends. She be-came involved with the Women’s Jazz Festival, an international festival highlighting women musi-cians. There she had the opportunity to play with luminaries like Carmen McRae, Marian McPart-land, Shirley Scott, Emily Remler and Blossom Dearie. After 5 years on the Board of Directors, she headed back east. Since returning to Philadelphia, Lynn has performed with many great artists like Grover Washington Jr., Philly Joe Jones, David Bromberg, Rachelle Farrell, Charles Earland, Gerald Veasley, David Murray and Johnny Pacheco, as well as leading her own group Lynn Riley And The World-Mix. She was chosen to perform at the Painted Bride Arts Center for their series Women Leaders in Jazz in 2000. She has opened for artists such as Najee, Spyro Gyra, Nelson Rangell, Nester Torres, Andy Narell, the Indigo Girls, Brenda K Star, the Mahotella Queens and Compai Segundo of the Buena Vista Club. She has performed throughout the United States, as well as in Europe, Africa, South America and the Caribbean.

Since emerging as a force in contemporary jazz in the mid-90s with a trademark sound captured in the title of his debut album Classical Soul, Marc Antoine has shared his joyous musical wanderlust on a discography infused with extraordinary exotic journeys. After living and recording in Madrid – his wife Rebecca’s hometown – for 12 years, the multi-talented Parisian born acoustic guitarist relocated back to Southern California in 2015.

Classically trained at the International School of Classical Guitar, Antoine first became known to urban jazz audiences when he toured with Basia in 1988. After several years recording and performing what was then known as “acid jazz,” he endeared himself to a generation of contemporary jazz fans with his first solo album, Classical Soul. He later scored numerous airplay hits from the albums which have established him as a mainstay in the genre: Urban Gypsy (1995), Madrid (1998), Universal Language (2000), Cruisin’ (2001), The Very Best Of Marc Antoine (2002), Mediterraneo (2003) and Modern Times (2005). He has appeared on numerous albums for other artists (Saisse, Braun, Jim Brickman, David Benoit, Dave Koz, Mindi Adair, ) and has been featured in many of the annual Guitars & Saxes all-star tours and jazz cruises.

Whether referring to the lesser-known repertoire to which she’s drawn or to the singer herself, nurtured in the concrete jungle of her native Philadelphia, Wildflower is the ideal title for Pascale’s captivating new album. Supported by an excellent band led by the session’s producer, pianist Orrin Evans, and a host of special guests including Christian McBride, Kurt Rosenwinkel, Gregoire Maret, Bilal, and Cyrus Chestnut, Pascale finally comes into full bloom, a wildflower whose beauty is emerging into the sunlight.

“Pascale’s singing is the stuff of dreams, whether on the achingly beautiful “I Wanna Be Loved” or the reliably uplifting “Ill Remember You,” where she shines with halogen brightness. “

– Nick Bewsey, Icon Magazine
“Vocalist Joanna Pascale has an enviable commodity: a durable and pliant alto voice over which she has perfect control. Whether she is in a conversational mode, as on Valerie Brown’s “Forget Me” or a slow walk through the Goffin/King classic “Will You Still Love Me Tomorrow,” Pascale readily makes the lyrics real and her own in a comfortable and familiar way that tactilely feels like a favorite blanket… warm, sensual, satisfying.
-C. Michael Bailey, All About Jazz

Whether referring to the lesser-known repertoire to which she’s drawn or to the singer herself, nurtured in the concrete jungle of her native Philadelphia, Wildflower is the ideal title for Pascale’s captivating new album. Supported by an excellent band led by the session’s producer, pianist Orrin Evans, and a host of special guests including Christian McBride, Kurt Rosenwinkel, Gregoire Maret, Bilal, and Cyrus Chestnut, Pascale finally comes into full bloom, a wildflower whose beauty is emerging into the sunlight.

“Pascale’s singing is the stuff of dreams, whether on the achingly beautiful “I Wanna Be Loved” or the reliably uplifting “Ill Remember You,” where she shines with halogen brightness. “

– Nick Bewsey, Icon Magazine
“Vocalist Joanna Pascale has an enviable commodity: a durable and pliant alto voice over which she has perfect control. Whether she is in a conversational mode, as on Valerie Brown’s “Forget Me” or a slow walk through the Goffin/King classic “Will You Still Love Me Tomorrow,” Pascale readily makes the lyrics real and her own in a comfortable and familiar way that tactilely feels like a favorite blanket… warm, sensual, satisfying.
-C. Michael Bailey, All About Jazz

Brian Roberts performs a wide genre of music from jazz; R&B; easy listening; blues; pop and stand-ards.

He has been a part of the Philadelphia, Delaware, Maryland, New Jersey and New York music scene for many years; first performing with the band, “East Coast Connection”, while in college. Since that time, he has performed with several bands and has enjoyed entertaining audiences and performing music in his own unique style.
Brian has opened for an array of bands including Tower of Power; Kool & the Gang; The Spinners, The Average White Band and Gary U.S. Bonds.
He now performs with a distinguished group of musicians who are some of most talented in the ar-ea.
Brian & Company make every genre of music their own, expanding audiences to love music in a way they never have experienced before.

Making his first public appearances as a teenager in Boston, Luke Carlos O’Reilly was drawn to music at an early age. At four he was taking piano lessons and by ten, he was learning the saxophone as well. He has played with many well known musicians in the years since, including Steve Turre, Clark Terry and Joshua Redman. He has played numerous international Jazz festivals and currently hosts the “Classic Jazz Jam” on Tuesday nights at SOUTH.

Sarah Elizabeth Charles

“Trying to categorize or label vocalist Sarah Elizabeth Charles is a futile pursuit. Is she a hypnotic modern jazz vocalist? Is she a neo-soul experimentalist with jazz and R&B inflec-tions oozing from her vocal chords? Is she an incredible talent, bewitching and beguiling with her every vocal gesture? Is she all of that, yet something completely different and unique? The answer to all four questions is the same: absolutely.”
– Dan Bilawsky (All About Jazz)

Meadows was born in West Virginia and grew up in Stamford, Connecticut. He began playing the clarinet and studying classical music at the age of nine. He started playing tenor sax in high school, and then migrated to soprano sax. His passion for various types of music led him down an eclectic musical path.

Meadows attended Berklee College of Music. There he majored in arranging and composition. He later went to the SUNY Purchase School for the Arts. During his college years he played in a number of bands including disco, R&B and various jazz ensmbles. “I got a lot of sideman jobs in college, and I have always said I got my real graduate degree playing clubs,” says Meadows, who perfected his craft studying with Sonny Fortune, Joe Henderson, Dave Liebman and Eddie Daniels.

Meadows first hit the airwaves in 1991 with “For Lovers Only”, but his career really began one day in the late ‘80s at New York’s Grand Central Station. He had been a sideman with Connors for three years, with only vague notions of eventually going solo. One day, while waiting for a train, he pulled out his horn and began playing under the huge dome. His sweet sound caught the attention of fellow traveler, producer and TV composer Jay Chattaway, who happened to be passing by on his way to the train. Chattaway was so impressed with Meadows’ sound that he hooked Meadows up with legendary keyboardist Bob James. Meadows and James collaborated on a recording which unfortunately went unreleased. The experience put him on the road to his eventual success. Meadows hooked up with numerous artists and musicians and became a well known sideman in his own right, recording or performing over the years with Brook Benton, Eartha Kitt, Phyllis Hyman, Jean Carne, The Temptations, Michael Bolton, Angela Bofill, Will Downing , Bob Baldwin, Chuck Loeb, John Lee, among many others. In the late ‘80s, Meadows stretched his boundaries by becoming a member of a New York avant-garde band called the Aboriginal Music Society. In 1990 Meadows submitted a solo project to Steve Backer at Novus/RCA and was signed to a recording contract, thus marking the beginning of his solo career.

Meadows was born in West Virginia and grew up in Stamford, Connecticut. He began playing the clarinet and studying classical music at the age of nine. He started playing tenor sax in high school, and then migrated to soprano sax. His passion for various types of music led him down an eclectic musical path.

Meadows attended Berklee College of Music. There he majored in arranging and composition. He later went to the SUNY Purchase School for the Arts. During his college years he played in a number of bands including disco, R&B and various jazz ensmbles. “I got a lot of sideman jobs in college, and I have always said I got my real graduate degree playing clubs,” says Meadows, who perfected his craft studying with Sonny Fortune, Joe Henderson, Dave Liebman and Eddie Daniels.

Meadows first hit the airwaves in 1991 with “For Lovers Only”, but his career really began one day in the late ‘80s at New York’s Grand Central Station. He had been a sideman with Connors for three years, with only vague notions of eventually going solo. One day, while waiting for a train, he pulled out his horn and began playing under the huge dome. His sweet sound caught the attention of fellow traveler, producer and TV composer Jay Chattaway, who happened to be passing by on his way to the train. Chattaway was so impressed with Meadows’ sound that he hooked Meadows up with legendary keyboardist Bob James. Meadows and James collaborated on a recording which unfortunately went unreleased. The experience put him on the road to his eventual success. Meadows hooked up with numerous artists and musicians and became a well known sideman in his own right, recording or performing over the years with Brook Benton, Eartha Kitt, Phyllis Hyman, Jean Carne, The Temptations, Michael Bolton, Angela Bofill, Will Downing , Bob Baldwin, Chuck Loeb, John Lee, among many others. In the late ‘80s, Meadows stretched his boundaries by becoming a member of a New York avant-garde band called the Aboriginal Music Society. In 1990 Meadows submitted a solo project to Steve Backer at Novus/RCA and was signed to a recording contract, thus marking the beginning of his solo career.