"Joao Lencastre is a drummer/composer native from Lisbon. Started playing the drums at the age of 13 and he is now one of the most active and creative musicians on the Portuguese musical scene. He has played all different kinds of music, from avant garde Jazz to mainstream,Alternative Rock, Afro Beat, Reggae, Metal, World,Electronic/Dance, etc.

His interest in jazz started when he first joined the Hot Club Jazz School in 1995, where he studied with the drummer Bruno Pedroso.

Apart from Portugal, has also played in different venues around the world, including New York, Czech Republic, England, Brazil, Poland, Spain, Macau,and Panama.

Over the years, JL had extensive training and practice, in order to stay continuously up to date on new styles and improve his knowledge and skills, which included private lessons with some top drummers, either in England, with Mark Mondesir or in New York, with Ralph Peterson, Billy Kilson, Ari Hoenig and Dan Weiss.

Has played and/or recorded with David Binney, Bill Carrothers, Andre Fernandes, Mario Franco, Thomas Morgan, Jacob Sacks, Afonso Pais, Carlos Barreto, Phil Grenadier, Andre Matos, Demian Cabaud,Leo Genovese,Peter Bernstein, Masa Kamaguchi, Benny Lackner, Nelson Cascais, Spill, Joao Paulo Esteves da Silva, Vojtech Porchaska, David Doruzka, Noah Preminger, Russ Johnson, Sean Conly, Randy Ingram, Demian Cabaud, Jeremy Stratton, Tiago Bettencourt & Mantha, Blasted Mechanism, Jacinta, Cacique 97, among many others...

Lencastre has put out four records as a leader with his group Communion, "One!" and "B-Sides" on Fresh Sound/New Talent and "Sound it Out!" on TOAP Records, all with great national and international reviews on some of the most prestigious magazines, Modern Drummer, Jazz Times, Ipslon, Jazz.PT, All About Jazz, NYC Jazz Record, just to name a few...

The fourth Communion record, featuring David Binney, Phil Grenadier, Jacob Sacks, Thomas Morgan, Andre Matos, plus guests Sara Serpa, Tiago Bettencourt, Ary and Benny Lackner, came out in November 2014 on Auand Records."

"Jacob Sacks is one of the most creative pianists on the NYC jazz scene today. His strong individual voice has been heard in a variety of settings ranging from the mainstream jazz traditions of the Mingus Big Band and Orchestra to the open approach of the Paul Motian Septet to the vamp based fusion of David Binney's Balance.

Originally from Michigan, Jacob was a 1995 Presidential Scholar In The Arts before he moved to New York City to study with Garry Dial at the Manhattan School Of Music. After graduation in 1998, Jacob was a finalist in the 1999 Thelonious Monk International Jazz Piano Competition.

In the last 12 years, Jacob has been a member of many different ensembles, recorded several albums, and has toured the United States, Europe, and Canada several times. He has performed with musicians such as Clark Terry, Joe Maneri, Terumasa Hino, Charles Gayle, Eddie Henderson, Christian McBride, Brian Blade, Tony Malaby, Jacob Garchik, Ben Gerstein, Ohad Talmor, Chris Potter, Mark Turner, Ben Monder, Adam Rogers, Kenny Wollesen, Gene Jackson, and Matt Wilson.

Current projects include a longstanding duo with vocalist Yoon Sun Choi, with whom Jacob recently released a critically acclaimed album of Joe Raposo's music; the quartet "Two Miles A Day" co-led with bassist Eivind Opsvik, featuring violist Mat Maneri and drummer Paul Motian; and a trio with drummer Dan Weiss and bassist Thomas Morgan.

Jacob currently resides in Brooklyn where he is working on several recording projects and teaching 15 or so students in his private practice."

"Born in Oslo, bassist and composer Eivind Opsvik was introduced to music at home. His father loved to play the saxophone and constantly spun records-everything from Ornette Coleman to Billie Holiday and The Beatles. An early memory features Eivind on drums, jamming out "A Hard Day's Night" with his father. Later, a denim-clad rocker cousin lent him a bass guitar and the newfound ability of adding pitch to rhythm was a revelation. Opsvik spent the rest of his teens getting to know this instrument, as well as the double bass, while also experimenting with a 4-track tape recorder and pouring music into his head.

At the age of twenty, Opsvik began studies at the Norwegian Academy of Music, focusing on classical bass. By then, he was already an active participant in Oslo's vibrant jazz scene, regularly playing with musicians like Paal Nilssen-Love, Christian Wallumrød, Bjørnar Andresen, and Håkon Kornstad; while also performing at festivals and clubs around Europe.

In 1998, Opsvik relocated to New York City, where he has thrived as a working musician, collaborating on projects with among others Anthony Braxton, Paul Motian, John Zorn, Nate Wooley, and Bill Frisell and performing in a wide range of venues like Carnegie Hall, Village Vanguard, Le Poisson Rouge and The Stone. At the Manhattan School of Music he studied jazz and met some of his closest musical brothers, including Loren Stillman, Jeff Davis, and Jacob Sacks. Building on the bonds and shared musical understanding that developed while at school, Eivind invited these players to help him fulfill his vision for the solo project, Overseas.

Opsvik has stated that "overseas" is a fitting way of describing his life-whether in New York or Norway, he is always an ocean's distance from home. This deep loyalty towards friends and loved ones has, over time, been reflected in Overseas' various lineups. The first record was realized with the help of long-term friendships that went back to Opsvik's earliest days in New York. As he continued his journey through the city via late night gigs, Opsvik connected with other players-visionaries versed in noise improv, electronic, jazz, and classical-who, on subsequent Overseas records, were brought in to augment the lineup. Since 2005, the band has remained consistent, featuring Tony Malaby, Jacob Sacks, and Kenny Wollesen; in 2010, guitarist Brandon Seabrook also became a regular member. Over the years, they have played countless shows around New York City, as well as extensively toured Europe and the American east coast.

In addition to four Overseas albums and his extensive session work, Opsvik's discography also includes four experimental chamber-pop records made in collaboration with songwriter Aaron Jennings (under the moniker of Opsvik & Jennings) and a multimedia project with photographer Michelle Arcila, which pairs tens songs with ten photographic prints. This project, titled A Thousand Ancestors, came out of Opsvik's solo double bass performances, which sometimes featured projections of Arcila's photographs. In recording these bass-centric pieces, he would layer bass with subtle overdubs of lap steel guitar, vintage keyboards, and drum machines, with Arcila's prints displayed around the studio. The project proved to be an auspicious collaboration for the couple, who, as The New York Times put it, "share an aesthetic of haunting introspection, and the desire to seek out beauty in austerity."

Other critics have described Opsvik's work as "sonorous," "like a waking dream," and able "to transport the listener to another time and place, creating a cinematic experience...[like] the soundtrack to an imaginary film." His Overseas records create "a world of unfolding soundscapes" that defy categorization; they have "a compositional complexity that suggests jazz, [but] also references a diverse and imaginative palette of genres and influences." Opsvik's jazz is "the slow burn, down-turned variety that still has plenty of beauty underneath all of its darker undertones." But it's not just jazz for jazz-heads. By tapping into the energy, groove, and directness of rock, Opsvik reach people who are afraid of jazz and think they have to "understand" it.

Ultimately, Opsvik is the epitome of a multi-faceted, multi-instrumentalist working musician. While steadily playing gigs and recording sessions as a bass player, he is also a capable hand on the guitar, the keyboard, or behind the drums. At the Greenwood Underground, his basement studio, Opsvik records, mixes, and produces his own music, as well as various projects for his friends. Since 2007, he has also been running the Loyal Label, releasing a carefully curated catalog of albums, which run the gamut in terms of musical exploration but are all united with careful aesthetic choices and creative graphic design.

Maturing as a musician, Eivind never wanted to be up front in the band, but it would be incorrect to say he's been hiding. As a kid, watching bands perform on Norway's only TV channel, his gaze was instinctively drawn to the rhythm section, waiting for the camera to move the tight frame off the singer so that he could catch a glimpse of the bass player's steady hands or the drummer's hypnotic concentration. The rhythm section were the guys with their heads down doing the real work. Adolescent instincts are pure in that they don't know why they want what they want, but the quiet and focused dignity that Eivind honed in on has driven his life for the past 30 years.

(Eivind is currently a member of these bands/projects: Tony Malaby's Paloma Recio, Die Trommel Fatale, Nate Wooley Quintet, Skuli Sverrison's Seria, Two Miles A Day (Sacks, Maneri, Motian), Anthony Braxton's Tristano Project, Vinnie Sperrazza's Apocryphal, David Binney, Okkyung Lee, Jeff Davis Trio with Russ Lossing, Mary Halvorson's Reverse Blue, Plainville, Kris Davis' Capricorn Climber, Håkon Kornstad, Rocket Engine, Tone Collector, Jesse Harris' Cosmo, The Interaction of Non-Interaction (w Ben Gerstein), Poor Pluto ...and more)"