Joe Barna Quintet

This artist does not have a bio yet. Brooklyn-based trumpeter, Greg Glassman, is an advanced improviser, and an active staple of the jazz scene in New York City. A protégé of Marcus Belgrave and Clark Terry, Greg has performed in bands led by some of the world’s greatest musicians, including David Schnitter, Oliver Lake, Eric Lewis, Lakecia Benjamin, Stacy Dillard, Saul Rubin, Frank Lacy, Javon Jackson, and John Esposito. He has toured the world, from Singapore to Siberia, Algeria to Iceland, with artists like Burning Spear, Oscar Perez, Roswell Rudd, The Skatalites, and currently with 2017 MacArthur Genius, Taylor Mac. He maintains a lively performance schedule as a bandleader around town, and teaches jazz trumpet at Bard College. Stacy's concept is original and inspiring. He is completely unpredictable and doesn't bore you with stock licks. In fact he doesn't bog himself down with just playing chord changes, and he plays ideas. He's a true improviser. Eric Reed, pianist & composer Stacy Dillard, raised in Muskegon Heights, Michigan, started playing the saxophone at a rather late age. In his hometown, there isn't much music happening, but only Robert Moore, Stacy's band instructor, and a host of close friends. Athletics was a big part of his life, leading to the late start on the instrument. Stacy attended college at Central State University in Wilberforce, Ohio to study with Dr. William Denza, Jim Smith, Chris Berg, and Lenard Moses. Very quickly, Dillard acquired the necessary knowledge that would soon put his name out on the local scene. It was a run-in with Wynton Marsalis in Dayton, Ohio that would turn his attention to the New York Scene. After graduation, Stacy took the act to Cincinnati, where he stayed for a short time and made his first recording appearance with Mike Wade on trumpet, drummer Melvin Broach and pianist William Menefield. Maturation was very rapid, finally leading the way to New York. Stacy is a one-of-a-kind musician. Seriously." Roy Hargrove A young saxophonist of serious promise (Ben Ratliff, The New York Times), Stacy has caught the attention of many with his large and rich tone, developed ideas, accurate technique, work ethic, and patience, leading to a number of working opportunities. Dillard has played with Winard Harper, Cindy Blackmon, Lenny White, Norman Simmons, Frank Lacy, Wycliffe Gordon, Eric Reed, Roy Hargrove, Stephon Harris, Ernestine Anderson, Terrell Stafford, Herlin Riley, John Hicks, Frank Wess, Mulgrew Miller, Clark Terry, Victor Lewis, Steve Wilson, Johnny O'neal, Antonio Hart, Russell Malone, Lewis Nash, Mark Whitfield, the Mingus Big Band, and a host of others in different genres of music, including Shirley Ceasar, Alex Bugnon, Stephanie Mills, Pete Rock & C.L. Smooth, and more. "Hey man, this (censored) can play. This MF can PLAY! Wynton Marsalis As well as being a sideman, Stacy Dillard is currently leading three bands of his own. cPhyve is the genesis project, along with cPhour, which is stylistically similar to cPhyve. The Other Side is exactly what the name says. The cast of members are the same as cPhyve, but r&b/funk/hip-hop oriented. To sum it all up, Stacy Dillard is a perfect example of the fusing of tradition and innovation, the combination which keeps EVERYTHING fresh, exciting, energetic, theraputic, and more importantly, real. Weblinks: www.stacydillard.com Yukhym (Fima) Chupakhin was born in Krivoy Rog, an industrial city in the Eastern part of Ukraine. He was first exposed to music in the age of 5, when his mother had bought him a small childish piano. Since that time Yukhym fell in love with music and the sound of piano. He was exposed to a classical piano repertoire and choir music when he had entered a music school, and that had significantly influenced his future musical outlook. During the last year in high school Yukhym discovered the world of jazz and had decided to study it along with classical music at the Krivoy Rog Music College. At the college Fima became more confident about his path as a jazz musician, after attending a concert of the famous Ukrainian jazz pianist and composer Segey Davidov. Few years later Davidov became Yukhym's teacher and mentor at the State Kharkiv University of the Arts. In 2005 Fima Chupakhin started his jazz career, entering the First Moscow International Jazz Piano Competition. In 2007 Chupakhin formed his own jazz project "Acoustic Quartet", with whom he recorded 3 albums of mostly original music. In 2010 "Acoustic Quartet" won the Gran-Prix at the prestigious Jazz Competition for the Young Performers within the frames of Usadba Jazz Festival, Moscow. Since that time "AQ" (acronym for Acoustic Quartet) had become one of the most famous Ukrainian jazz groups on the Post Soviet Union area, and Chupakhin - one of the top-ranked young Ukrainian jazz pianists. In addition, Fima has gained the reputation of being a prolific cross-genre keyboardist, as he had participated in the recording of 14 non-jazz albums. He has also been extensively touring with “AQ", as well as with two famous Ukrainian pop/rock artists in Poland, Germany, Czech Republic, Georgia, Israel, Russia and Belarus. In 2012, Fima has been awarded the world prestigious Fulbright Scholarship to pursue his studies in the United States of America in 2012-2014. Chupakhin holds two master's degrees in Jazz Studies: one is from William Paterson University of New Jersey and another one is from Kharkiv State University of Arts (Ukraine). Yukhym has been shaping his unique voice At William Paterson University under the leadership of the highly praised pianist James Weidman, and other great musicians, including Armen Donelian, Steve LaSpina, Vincent Herring, Rich Perry and the legendary pianist Mulgrew Miller. Currently Fima lives and works as a pianist/keyboardist and multimedia composer in New York City. James Robbins is a Brooklyn based bassist, composer, arranger, and educator whose work bridges rigorous jazz tradition with expansive contemporary expression. A deeply intuitive improviser and thoughtful musical architect, Robbins has built a career defined by versatility, collaborative depth, and a clear artistic voice. While his professional experience spans nearly every genre, jazz and improvisational music remain the foundation of his artistic ethos, serving not only as his primary language as a performer, but as the conceptual engine behind his compositional work. Robbins began formal study at age thirteen under the mentorship of master bassist Marcus McLaurine at William Paterson University. By fifteen, he was already performing professionally throughout his local scene, developing the fluency and maturity that would characterize his later career. He went on to attend Berklee College of Music as a scholarship recipient in both performance and composition, where he refined his technical command, expanded his compositional palette, and deepened his engagement with modern jazz traditions. An in-demand bassist, Robbins has collaborated with a distinguished and stylistically diverse roster of artists including Sheila Jordan, Johnny O’Neal, ELEW, Sullivan Fortner, Laurence Hobgood, Jonathan Barber, Kenny Werner, Frank Lacy, Don Braden, Ralph Lalama, Fima Chupakhin, Jay Clayton, Nikolas Anadolis, Stephane Wrembel, Mike Ogletree, Dayramir Gonzalez, Thank You Scientist, and Baklava Express. His playing is noted for its lyrical sensitivity, rhythmic clarity, and ability to move fluidly between straight-ahead jazz, chamber settings, and genre-blending contemporary projects. As a composer, Robbins draws from the lineage of jazz while incorporating structural nuance and textural exploration often associated with contemporary music traditions. His work reflects a commitment to improvisation as compositional process, balancing formal architecture with space for spontaneous dialogue. Equally committed to the jazz lineage of mentorship, Robbins maintains an active teaching practice, mentoring emerging musicians in improvisation, ensemble communication, harmonic fluency, and creative development. His pedagogical approach emphasizes listening as a central discipline, encouraging students to cultivate both technical mastery and personal voice. Through private instruction, workshops, and institutional settings, he contributes meaningfully to the next generation of jazz artists.