Jocelyn Medina & Vitor Gonçalves

Teaches at New York Jazz Workshop

Jocelyn Medina- Born into a family of singers, Jocelyn determined her identity as a musician at the tender age of five through choirs and piano lessons. She later pursued opera work at Stanford University, earned a Bachelors degree in Professional Music from Berklee College of Music, and a Masters in Vocal Jazz Performance from Manhattan School of Music. Currently based in Brooklyn, Jocelyn plays regularly throughout the New York City area showcasing her compositions, accompanied by the areas best musicians including Pete McCann, Nir Felder, Zack Lober, Chris Tarry, Cliff Almond and Todd Isler. In addition to her original repertoire, she sings, plays percussion and arranges for her Brazilan/World-Jazz project, sings and drums and with the NJ-based Rhythm Monsters West African ensemble, and is a member of the classical Brooklyn Conservatory Chorale. 

Vitor Gonçalves is a pianist, accordionist, composer and arranger from Rio de Janeiro, Brazil. After an illustrious career as an in demand musician in Brazil, playing with such icons as Hermeto Pascoal, Maria Bethânia, Itiberê Zwarg, and many others, he made the move to New York City, where he currently resides. Since arriving here in 2012, he has garnered much acclaim and built a star lighted resume, including features in NPR’s Jazz Night in America, hosted by Christian McBride, The New York Times, and Fox News. A frequent resident on the stages of Jazz at Lincoln Center, The Jazz Standard, and the Jazz Gallery, he both leads his own projects, and collaborates with figures in the New York scene such as Anat Cohen, Vinícius Cantuária, Anthony Wilson, Cyro Baptista, and others. He also has played in Jazz Festivals and venues around the world, such as Newport Jazz, Jazz à Vienne, Umbria Jazz Festival, Queen Elizabeth Hall in London, and the Coliseum in Lisbon, Portugal. Growing up in Rio de Janeiro, Vitor was infused with the rich traditions and colorful history of Brazilian music, taking up the guitar as his first instrument at age 10. As he dug deeper into his studies, he developed a taste for the music of the Brazilian songbook, particularly of Antonio Carlos Jobim and the Bossa Nova and Post-Bossa generation. During this time, his father bought a keyboard for his sister, and while she never played it, Vitor stole into her room and took it over, and thus became a pianist.