In addition to an enormous number of live, studio, and video-taped performances in Los Angeles, the Stekpanna triumvirate also won the Battle of the Bands at the Musicians Institute in 1996 - the first jazz group ever to do so. The LA Weekly described that performance as “hip, happening and deeply groovy”; when they arrived in Britain to play at the Edinburgh Festival the Scotland on Sunday newspaper booked them to play at its 10^th birthday party, Talk Radio UK hailed them as “the cream of the crop” and BBC Radio Scotland were quick to invite them to play live on The Usual Suspects programme, and then back again to play Live at the Lemon Tree; Jazz UK magazine endorsed these plaudits in a review of their debut CD Standin’ Tall: “a different musical path with impressive results ... The Guardian has also used the phrase “hip and happening” to describe the group.

Steve Kershaw has a lovely rich tone, and his solos were imaginative and funky. Petter Svärd is a natural performer - the harder he hits the drums, the more broadly he grins, but he is far from being a mere basher. The way he plays around with rhythms is clever and understated. Mads Kjølby on guitar seemed to have an almost Mozartian inability to play anything clumsy or ugly". As Jazz Journal International put it  "modern guitar fanciers will take note".

Stekpanna's Russian Collaborations with Leonid and Nikolai Vintskevitch led to an appearance in Oxford Contemporary Music’s Russian Music, Past, Present, and Future series, two tours in Russia (one featured on the BBC World Service's Jazzmatazz programme), and the CD Notes From Underground. As Russia’s Polnyi Jazz observed, “the band was like a child without fear, trying everything intuitively: hot, cool, European, folk-based, heavy and Russian.” The CD is currently available as an ‘official bootleg’ in Russia, and is scheduled for immediate release on the Flat Five Records label (GBHCD007). Vintskevich Website

 

Mads Kjolby In March ´95 he enrolled at the Musicians Institution Los Angeles. During his stay he studied intensively with Joe Diorio, Carl Shcroeder, Scott Henderson and David Pozzi. He graduated in March ´96 with honours and was awarded the price for "outstanding Jazz-stylist". He has been composing frequently since he was 15 and that includes everything from pop tunes to avante garde. He has composed for big-band, string-quartet, for theatre performances and musicals and obviously quite a lot of modern jazz tunes. His tunes are inspired by modern grooves (Björk, Knitting Factory); modern jazz harmony (Herbie Hancock, Scott Henderson); and feature catchy  melodies (Prince and Pat Metheny). Beneath it all is a deep felt love for Frank Sinatra. 

In 1998 Mads enrolled at The Rhythmic MusicConservatory in Copenhagen where he graduated summer 2003. During his time at the Conservatory Mads has been playing with giants like Ed Thigpen, Django Bates and Johnny Vidacovich. He played with the Conservatory Big-band and joined them on their tour to Bejing, China in 1999. In the autumn 2002 Mads studied in New York with guitarplayers Peter Bernstein, Brad Shepich and Wayne Krantz.
For his debut-concert he wrote music for the classic boxing-fight between Muhammed Ali and George Foreman. His concert was described as "excellent jazz-art" by Kjeld Frandsen in major Danish newspaper, Berlingske Tidende Mads is now working out of Copenhagen playing and recording with Even Out, a modern jazz quartet including some of the finest players in Denmark, the Danish Radio Orcestra, and many other local groups.  

Although Petter Svärd's musical outlook has always encompassed every style of music (aslong as it's music), jazz was in his surroundings from the outset. His father played the piano, and his organist grandfather was keen that he should maintain the tradition of the family's keyboard prowess. Indeed, Petter remains an accomplished pianist, and writes his original compositions at the keyboard.

Petter arrived in the mid 1980's in the Gothenburg-based 'Swedish Erotica'. After being fired from that band for being 'too obscene' he moved via Oslo to Los Angeles in 1989, having raised the money for the trip by busking on the guitar. A period of travel to and from Stockholm followed, but in 1992, after a period of study with the likes of Tim Mckintyre, Efrain Toro (Stan Getz), Taka Numazava and the-artist-then-known-as-Prince's keyboardist Cat Grey, Petter graduated from the Musicians Institute as the Outstanding Funk Stylist.

A record release with the L.A. based 'Monica Maze Band' followed before Petter returned to Sweden in '93. Further recordings followed, notably with 'Fallen Angel' on a compilation of Sweden's finest artistes released by the proprietors of Soho's famous 'Garlic and Shots' restaurant.

Having grown musically over the period in Sweden, Petter once more returned to Los Angeles, this time to develop his increasing interest in Jazz and Latin music. Again Efrain Toro assisted on the 'attitude' side, whilst veteran Woody Herman sideman Chuck Flores provided the pure jazz element. By now a seasoned veteran of the L.A. scene, Petter was quick to recruit the more recently arrived Mads and Steve for jamming, writing, performing and the odd tequila. Stekpanna's formation grew directly out of those late night jam sessions, and late night jamming driven by Petter's inexhaustible energy is still one of the fundamental tenets of the Stekpanna philosophy.

Nickolai Vintskevitch - A graduate of the Russian Gnesin Academy of Music. Nickolai is a frequenter of the Russian jazz scene, has a CD "V&F Project" in work at the "Boheme Music". A most remarkable new generation jazzman. A prizeman of Moscow Jazz Journalists' Association "Jazz Ear-98" in the nomination "Musician deserving wider recognition". He had a honour to play with Lionel Hampton Orchestra in USA and to play with such figures as Lewis Nash, Grady Tate, Santi Debriano, Bill Charlap, Mike Ellis, Daniel Moreno, Barry Wedgle.

Nickolai took part in the festivals: Lionel Hampton/Chevron Jazz Festival (1999), Jazz Kaar-2000 (Estonia), KaamosJazz-2000 (Finland), Jazz Province-1999, 2000, 2001 (Russia), Boheme Music (Moscow, Russia), Moscow autumn (Russia), Stroom-Jazz (Ukraine), Peter-Lada (S.-Petersburg, Russia).

After his performance on Lionel Hampton Festival in 1999 they wrote: "However, the most striking "Russian surprise" of the festival is Nikolai Vintskevich (ss), the son of the pianist from Kursk. His performance on the first day of the festival did not remain unnoticed: he demonstrated a confident, grasping and bright play. Hampton listened to him from behind the curtain. At last it was the final day of the festival. The field house which hosted the festival was full - nine thousand spectators! The closing was played by Lionel Hampton's orchestra. Hampton, a small man bent with age, braced himself up and made it to the stage. He sang a few couplets, played a couple of short solos and waved his bright mallets, conducting his passionately swinging band.

Here came Nikolai Vintskevich and played solo in a dialogue with Hampton (where did this 90-year-old man get so much energy mingled with high performance, ebullience and vigor?). They played for quite a long time - ten quadrates - only stars can afford playing such long solos with an orchestra! They whipped up a series of storms and roar of acclamation - the audience liked Vintskevich junior. After the performance Nikolai, overwhelmed with emotion, received off-stage hugs and congratulations (not only out of courtesy) from musicians and journalists". (from a review by Kirill Moshkov).

In 2000 Nikolai Vintskevich recorded a CD called V&F Project. Evgeniy Dolgik, editor of jazz magazine "Jazz-square", wrote, "Our Russian acid-jazz seems to have a promising future. At least, I believe that the new project of Nikolai Vintskevich - Alexey Filimonov, is one of the best CDs recently recorded in this jazz style. The boys caught the right balance between computer and live sound which gives the charm of novelty. At the same time, and this is most important, they still play real jazz. Those who are used to tradition and bebop will probably disagree, but that's that - such is the jazz today. Hard synthesized rhythms, lots of various sequencers, programmed bass - what does that all have to do with jazz, you might think… But it has, it seems that all advanced technologies used in disco or electronic music may apply here as well. When the original though more of a rock-like rather than a jazz sound is mixed with really driving, but not flickering jazz sax (or at times piano) - and something extraordinary is born. One can't miss its most evident distinguishing features. Firstly, you can hardly dance to it (though acid jazz originally developed as a sort of dancing music). Secondly, some affectation of its rhythms, which makes a contrast to live and unpredictable acoustic instruments, does not sounds irritating but intriguing, creating a special performing style. And at last, jazz roots obviously prevail here. That is where the shoe pinches - acid jazz may concentrate mainly on clear dancing rhythm, with jazz used to emphasize the novelty of the style; but it may as well be based on jazz and develop it introducing modern hi-tech sound.

The project of Nikolai Vintskevich and Alexey Filimonov attracts first of all with their new performing style I've just mentioned. Nilolai's sax is most interesting - an open, free and aggressive style, nothing excessive and screamy. Compared to western players (and it will surely do good to a young musician), he is approaching, to my mind, to Greg Osby's style. If he keeps going, the fellow is sure to have promising future. It's not by chance that Lionel Hampton once invited him to play at the festival in Idaho." (Evgeny Dolgikh, "Jazz-квадрат", No 7(30)'2000, p.80).Nikolai Vintskevich (V), young saxophonist, the son of a jazz pianist Leonid Vintskevich. Alexey Filimonov (F), young pianist, who studied together with Nikolai in "Gnesinka" (renowned music college in Moscow). As a saxophonist, Nikolai Vintskevich has a drive for smooth jazz - mild romantic melodies caress the ear. Pianist Alexey Filimonov prefers acid-jazz - he experiments with hip-hop samples and employs markedly "low-tech" timbres. These two vectors of opposite directions create an atmosphere of pleasant indefiniteness. In the middle of the album there appears a third vector - guest vocalists Yana Podkar and Andrey Ivashevsky. They sing Michael Franks' "When I Give My Love To You". The drop-curtain number is a very dark and powerful trip-hop song "At The World's End". The album lasts 42 minutes - nowadays undoubtedly a sign of respect to the audience. Moreover, sense of measure and good taste will do anyone good. Even if the vectors run in opposite directions". (Yulia Saprikina, magazine "Afisha", No22, 30.10-12.11 2000).

Leonid Vintskevitch born in 1949 in the town of Kursk, Russia, Leonid has played the piano since the age of seven. As a twenty-year-old student of the piano at the Kazan conservatory, his favorite composers are Musorgsky, Scryabin, Prokofiev, Berg, Messian, he was able to hear the radio broadcast direct of German Lukianov (flugelhorn) and Igor Bril (piano). This performance made a strong and serious impression on him, influencing the conceptions of his own compositions of jazz music. He first turned to the classical style of jazz, the later became interested in studying new, avant-garde jazz. The second strong impression on this style was the folk choir of the South Russia village of Fostchevatovo, in which he heard the harmony of Stravinsky's music.

After finishing the conservatory, he taught in Kursk musical school. There, he established a stage jazz section and in 1976, he formed a professional jazz ensemble. In 1979 he burst into the world of jazz with his distinctive music diffused with Russian folk motives and this time Leonid formed a trio (Sergey Vintskevich - bas, Nicolai Adamov - drums) and write several compositions: "Wood spirit", "Wormwood", "Autumn song", "Burlatskaya" and others, to bore a part in festivals in Fergana (Uzbekistan), Samara (Russia), Tallinn (Estonia). Leonid later formed a duo with saxophone player Vladimir Konovaltsev, which was highly successful.

Then, in 1984, Leonid met Estonian saxophonist Lembit Saarsalu who became his musical partner (and stays his partner until now, despite of the fact that now, after Soviet Union's end, Russia and Estonia are two different countries). Both found, in each other, mutual interests and feelings. The duo form of musical improvisation exhibits a strong artistic expression especially when each musician is tuned to the other and, remaining still himself, is absorbed in his partner. The unique duo - Leonid Vintskevich and Lembit Saarsalu - was first from ex-USSR in the Lionel Hampton/Chevron Jazz Festival. This small ensemble produces its magic music based not only upon jazz music language but also upon both Russian and Estonian folk traditions. 1989 was the year of their first-ever appearance at LHJF. They repeated it in 1990, 1992, 1994, 1997, 1999, 2001. After the performances in the USA "DOWN BEAT" reported of these experiments as "…a perfect, unrestrained Russian avantgarde, where Errol Garner does not contradict Cecil Taylor…"

Leonid Vintskevich takes part in the most celebrated jazz festivals in Europe, Russia, USA and the countries of CIS: Prague, Jazzbuehne in Berlin, Jazztage in Leipzig, the JVS North Sea Jazz Festival in the Hague, the Lionel Hampton/Chevron Jazz Festival, Baltic Jazz, Turku Jazz Festival, Jazz Kaar, Kaamus Jazz, Silda Jazz and others.  Vintskevich Website