My musical career kicked off when I was 16, when I began playing folk-style guitar and then took up the banjo. A group of friends and I then decided to create a bluegrass group called "BLACKJACK". I went on tour with them every summer from 1987 to 1991. I learned to play the mandolin in 1991, which coincided with the start of my professional career as a musician. I play in groups that perform a wide variety of styles: bluegrass, country (Les Westerners), cajun (Louisiana), Irish (I perform in a trio with J-P Marie on violin & A. De Rosa on percussion), New Orleans (good time jazz music), popular songs (mandolin with G. Quittot), Neapolitan music ( Aldo & Co ), jazz ( 3eme Hémisphère ), unclassifiable ("Fredaline" duo with A. Quéant on the accordion ), Latin American (Tequila trio). At the same time I have created a home studio with my friend J-G Kerbiguet and I am now concentrating on composing music. My first CD " 3eme hémisphère" was issued in 1994: this featured seven jazz-influenced instrumental compositions. My second recording " jeux de rôles " came out in 1996: it comprised two original compositions and five reinterpretations of standards. Recorded "like live" with a trio, the recording was distributed by NIGHT&DAY until 1998. My "Zenitude" CD was issued in 2004. This features four compositions: two instrumentals and two with singing. I have also been involved in the recording of a dozen or CDs self-produced by groups or musicians with whom I have performed.

Acoustic guitarist and singer Aj Fischer's songs are seamlessly crafted originals, poetry set to melodies which are by turns lilting, playful, moody, spare, and haunting. "A poet with a guitar as a prop."is how Aj describes her art and what she does. Her songs are crafted with a sure melodic sense and performed with a smoky elegance. As she treks across musical terrain from folk-bop to finely etched character pieces, the geographic landscapes of her nomadic lifestyle is evident throughout the album. "Stonehouse Music Cooperative - Marquette Edition" is a collection of twelve songs ranging from Bluegrass instrumentals to Acoustic Jazz & Folk songs. Inspired by Fischer's desire to bring musicians together after years of solo work, "Placing different styles of music together from Bluegrass to Ballads, keeps the listener entertained and of course is way more fun than doing a solo CD… ". Aj performs five tunes on the collection, and is backed by mandolinist great Don Julin.

The group, Steve Bernstein/mandolin, Mark Bernstein/guitar, and Robert Bard/bass is a sound to experience. Deep...rich... shimmering, their music 'speaks to the ear of the heart'.

The romance of tango, mazurka, the many shades of waltz... a warm breeze of island, bossa nova, a fiery samba, the blues-this trio can swing-rock, bop and stop on a dime!

Unfettered by boundaries of style, Bernstein-Bard crafts anything they get their hands on into something uniquely original and beautiful; they are all about communication and affirm what is human in the music.

Mandolinist Steve Bernstein also plays guitar and mandola. He has played folk and country blues guitar with the “Bear Brothers Band,” rock and reggae electric mandolin with “Quallah Battoo,” and folk with “Shot of Redemption,” and “The Jay Mankita Trio.” Steve also plays solo Italian mandolin, plays in Carlo Aonzo’s mandolin orchestra, records in Metropolitan area studios, writes songs, and teaches.

Rio Trio's debut CD provides a window onto their delightful musical melange. Combing Brazilian rhythms, jazz improvisations and California new-acoustic melodic contours, their sound is familiar and fresh by turn.

This CD showcases a musically interesting group that is part of the new sound of Brazilian acoustic music that incorporates elements of older styles with new sensiblities. And in keeping with centuries of Brazilian musical tradition, they create a sound that, while original, is also clearly from Brazil. Rio Trio is part of a living, breathing, evolving tradition of Brazilian music--part choro, part samba, part jazz, part classical.

The compositions are mainly by mandolinist Paulo Sá, with guitarist Daniel Miranda adding a couple of pieces to the mix. The players, including Henrique Drach on cello, are virtuosic, sympathetic, romantic and decidedly cool.

Michael Lampert received his BA in music theory and composition from Drew University, and his Master of Music degree from the New England Conservatory of Music.

He has studied jazz and improvisation with Harry Leahey, John Carter, Dave Pike and Charlie Banacos; his principal instructors on the mandolin have been Ben Buccola, Andy Statman, and Robert Paul Sullivan. He has also studied classical domra with the distinguished artist Irina Orlova.

Michael has appeared in numerous clubs and concerts throughout the United States, performing with the eclectic Blue Fish, The Barbara Reed Quartet, singer/songwriter Michele Cummings and the Lenny Carlson Trio, in addition to leading his own trio and quartet. Michael has also appeared with bandolinist and luthier JP Charles in Salvador, Bahia.

A jazz and blues specialist, he is also one of the world's few artists who devotes his attention primarily to the electric mandolin.

Michael Lampert is also active as a teacher and clinician. He has lead jazz and blues workshops at the California Traditional Music Society's Summer Solstice Festival and is currently the jazz and blues improvisation columnist for the international journal, Mandolin Quarterly.

Dominick Leslie has been around live music as long as he can remember. His Dad remembers him tapping his toe (in time) as early as 3 years old. At an early age, he often had the opportunity to play with his Dad’s band giving him stage experience and knowledge of the music. Now at the age of 15, he is writing his own music, he has recorded his first solo CD, and he has shared the stage with The David Grisman Quintet, The John Cowan Band, Chris Thile, Darol Anger, Frank Wakefield and many more of his heroes. Dominick is also a talented guitar and fiddle player, but ever since he first picked one up, at age 10, the mandolin has been his passion.

Dominick has competed in many highly acclaimed contests all over the country. He placed first in Colorado in the National Reflections Original Compositions Contest at age 12, first in the 2004 Rockygrass Mandolin Contest at age 14 and second in the 2005 Merlefest Mandolin Contest at age 15. He has studied with mandolin masters Chris Thile, Mike Marshall, David Grisman, Ronnie McCoury, Matt Flinner, Mike Compton Don Stiernberg, and John Reishman and attended the 2004 and 2005 Mandolin Symposiums in Santa Cruz, California.

Mandolinist and all around string wizard Will Patton, also well known for his fine bass playing, draws a strong influence from jazz, Gypsy, and Brazilian music. His collaborations with the manouche guitarist Ninine Garcia from Paris, documented in the CDs "Peripherique" and "String Theory" have been enthusiastically reviewed both in the U.S. and abroad. He teaches jazz mandolin at Jay Ungar and Molly Mason's Ashokan Camp and the Django in June Festival at Smith College. He has performed with Mose Allison and his bands have opened for such acts as Ray Charles, Bonnie Raitt and Van Morrison.

American-born multi-instrumentalist Michael Kerry discovered Irish music as a young adult, encountering fiddler Kevin Burke at a pub in his hometown of St. Louis, MO. Since then he has chased the muse relentlessly, in the Pacific Northwest, New England, and Ireland itself. A regular fixture of the Boston session scene for several years, he absorbed traditional melodies and styling while accompanying noted local (Kathleen Conneely, Seamus Connolly, Louise Costello, Tommy McCarthy, Jimmy Noonan, Johnny O'Leary) and visiting (Liz Carroll, Martin Hayes, Brendan Mulvahill, Tommy Peoples) musicians at some of Boston's finest pubs. He is equally at home playing for dancers as well as listeners, and can often be found traveling throughout New England and the United States to play for traditional dances. A dance caller as well as a musician, he teaches and leads both American and Irish traditional dance. In 1998 & 1999, Michael won the North American Irish Music championship on banjo and guitar, and represented the U.S. at the All-Ireland Fleadh, taking 2nd in guitar accompaniment in 1998. Currently residing in Boston, he keeps busy with performances, teaching, and recording projects.

Freshet is an international band joining four superb instrumentalists: from Finland, mandolinist Petri Hakala and bassist Tapani Varis; from the USA, fiddler Ruthie Dornfeld and guitarist John Miller. Influenced by traditional Nordic music, American folk and jazz, and Latin American music, Freshet passes effortlessly through musical borders. From a Latin waltz to an evocative air, a jazz samba to a hard driving fiddle tune, Freshet plays with verve, tight ensemble, and lyrical improvisation. Freshet made its debut performance in Finland in 2002, and since then has toured alternately in Finland and in the USA. They released their first self-titled CD in February, '05. Freshet just toured in the Pacific Northwest in May, 2005.

Jim has been described as world class and is one of the most highly regarded guitarists and diverse musicians in the Midwest. He has been featured in concert at colleges, theaters, festivals and recorded and broadcast media throughout Illinois. Jim Kanas' professional collaborations have included concerts, recordings and/or performances with other Midwest musicians such as harmonica/pianist, Howard Levy; violinists, Johnny Frigo, Randy Sabien and Peter Ostroushko; mandolinist, Don Stiernberg; bassist, Larry Gray; bluesmen, Eddy Snow and "Pistol Pete"; guitarist, Muriel Anderson; percussionist, Rubén P. Alvarez and others.

A multi-instrumentalist, writer, comedian, visionary, and show producer. He does it all. Trent Wideman brings you his latest release "Flying Solo." It brings you the sounds of Progressive Bluegrass, Jazz, Pop, and Country. This Cd also reflects his major influences such as Chris Thile, Tony Rice, Mark O Conner, and Sean Watkins. This young talent has written six out of the nine tunes and even brings you a new twist with the Stevie Ray Vaughn cover "Skuttle Buttin" on his mandolin. Not only is he playing the mandolin, fiddle, and guitar, but he brings you a sound yet never heard before on his hammered dulcimer. This CD truly reflects his talents and expertise as a musician/songwriter and producer.

The Greencards rapid rise to the top of the acoustic scene has been as natural and organic as the music they make. It all began in Austin, Texas, when Kym Warner (mandolin) and Carol Young (bass) met Eamon McLoughlin (fiddle) in a recording studio to work on a project for another artist. The connection was immediate and based on a shared love of traditional acoustic music. The trio decided to work together after jamming around and realizing they knew an inordinately large number of songs. They joined forces to try to crack the Austin music scene and landed a regular Sunday gig playing three-hour sets of bluegrass and country cover tunes.

"You have to start with something," says Warner. "We knew all these songs and wanted to play out so that's what we did. Part of the reason we all moved to the States was because we didn't have very many opportunities to play this kind of music in Australia and England."

Ah yes, that’s the ironic part of the story—one of the hottest bands in America, making distinctly American music, is comprised of two Australians (Warner and Young) and a Brit (McLoughlin).

That's also why The Greencards music is so uniquely original. They learned traditional acoustic music because they loved it. Their passion was so strong they crossed oceans and continents to chase down the driving rhythm and high harmonies of bluegrass in the land where it was born. But, because of their backgrounds, they couldn't help but infuse their brand of bluegrass with a different, more global energy.

Most jazz-country hybrids tend to emphasize the instrumental side of the equation, but Robinella and the CCStringband, a mostly acoustic bluegrass-tinged quintet from Knoxville, Tennessee, break the mold by putting Robinella Contreras’s stylish vocals front and center. When she sings about getting her kicks from an old fruit jar on her version of Red Foley’s classic "Tennessee Saturday Night," her sophisticated phrasing and the swinging mandolin breaks from her husband Cruz Contreras make it sound as if she’s talking about martinis instead of moonshine. But Contreras still has some twang in her voice, and even when she scats, as she does on "Honey Honey Bee," there’s a "front porch" feel to her singing. For some, Robinella and the CCStringband may sometimes be a bit too laid back, but their easygoing charm is a pleasant change from the frenetic tempos that drive many bluegrass-inspired bands. --Michael Simmons [Amazon]

Jeff Midkiff has been a serious musician and educator for years. He's distinguished himself as a regular in various bluegrass groups, but until now hasn't had a solo podium to fully exhibit his technical virtuosity. His debut CD is a beauty, showcasing his clean, dynamic mandolin playing as well as his rich and tasteful approach as a fiddler. Midkiff authored six of the 10 selections, displaying an eclectic sensibility that takes the listener from good-time folkie rave-ups ("Grey Hawk") and traditional lyricism ("Goodbye Liza Jane") to more exotic realms ("Alhambra"). Midkiff also serves up Reinhardt-esque treatments of Tin Pan Alley standbys like "Summertime" and "Oh, Lady Be Good," then closes with a rousing cover of "Monroe's Hornpipe." 2003 is the year he stepped out into the limelight, and judging by this effort, it's about time. -- Martin Brady [Nashville Scene]