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THRILL SEEKERS, PLAYERS, STUDENTS, AND TRAVELERS OF ALL AGES, SKILL LEVEL, AND
INTERESTS ARE WELCOME!

Your Registration for “Breezin’ With The Stars,” 4 Days and Nights with George
Benson and Friends Includes:

* 4 days and nights of immersive entertainment: Enjoy performances,
musicianship, and entry to all concerts.
* Workshops: Participate in workshops, a signing session, and master classes.
* Storytelling: Experience storytelling sessions.
* Jam rooms: Access jam rooms loaded with gear.
* Guidance from George Benson: All activities are led by George Benson and his
All Star Faculty of Players.
* Accommodations and meals: Your registration also includes all accommodations
and meals at the Wigwam Resort.

This event is for all music lovers and enthusiasts. We welcome guitarists, fans,
players of all instruments, and non-players alike – there will be activities and
fun for all during our 4 days together.

JOIN GEORGE BENSON FOR BREEZIN’ WITH THE STARS!

January 3rd to 6th, 2025
Wigwam Resort, Phoenix, Arizona

George Benson is thrilled to invite you to a 4-day musical extravaganza at the
beautiful Wigwam Resort in sunny Phoenix, Arizona. From January 3rd to 6th,
2025, you’ll immerse yourself in a unique experience filled with great music,
fantastic food, and camaraderie.

WHAT’S IN STORE:

* Amazing Music and Performances: Enjoy unforgettable concerts and special
performances by some of the greatest musicians around.
* Masterclasses and Jam Sessions: Dive into masterclasses, jam sessions, and
Q&A panels to boost your skills and knowledge.
* Fun and Learning: Whether you’re a musician or just love music, you’ll deepen
your appreciation, and have a blast doing it.

SPECIAL GUESTS:

* Steve Lukather: Get energized by this incredible guitarist.
* Esperanza Spalding: Be inspired by the Grammy-winning bassist, vocalist, and
composer.
* Patti Austin: Savor the soulful voice of this Grammy-winning vocalist.
* Lee Ritenour: Learn from this iconic jazz guitarist and composer.
* Tommy Emmanuel: Experience the virtuosity of this acoustic guitar master.
* Stanley Jordan: Expand your musical horizons with his innovative techniques.
* Andy Timmons: Feel the power and emotion in his unique guitar style.
* John Scofield: Enjoy the distinctive sound and style of this jazz guitar
great.
* Cory Wong: From a new generation of soulful guitar players.

GUIDED BY:

* Greg Phillinganes: Our extraordinary music director who will enrich your
experience.
* Rick Beato: The insightful host and moderator, known for his jaw-dropping
YouTube channel with 4.1M followers, will keep things engaging and fun.

Join George Benson and fellow music lovers for four days of making music,
sharing stories, and creating memories at George Benson’s very own Guitar Camp!
Don’t miss out on this incredible opportunity to connect with like-minded
enthusiasts and worldclass artists in a serene and luxurious setting.

GEORGE BENSON’S BREEZIN’ WITH THE STARS

ARTISTS

GEORGE BENSON

PATTI AUSTIN

TOMMY EMMANUEL

STEVE LUKATHER

STANLEY JORDAN

LEE RITENOUR

JOHN SCOFIELD

ESPERANZA SPALDING

ANDY TIMMONS

CORY WONG

GREG PHILLINGANES

RICK BEATO

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GEORGE BENSON

Benson was born and raised in the Hill District in Pittsburgh, Pennsylvania. At
the age of seven, he first played the ukulele in a corner drug store, for which
he was paid a few dollars. At the age of eight, he played guitar in an
unlicensed nightclub on Friday and Saturday nights, but the police soon closed
the club down. At the age of 10, he recorded his first single record, “She Makes
Me Mad”, with RCA-Victor in New York, under the name “Little Georgie”.

At the age of 21, he recorded The New Boss Guitar, his first album as leader,
featuring McDuff. Benson’s next recording was It’s Uptown with the George Benson
Quartet, including Lonnie Smith on organ and Ronnie Cuber on baritone saxophone.
Benson followed it up with The George Benson Cookbook, also with Lonnie Smith
and Ronnie Cuber on baritone and drummer Marion Booker. Miles Davis employed
Benson in the mid-1960s, featuring his guitar on “Paraphernalia” on his 1968
Columbia release, Miles in the Sky before going to Verve Records.

Benson then signed with Creed Taylor’s jazz label CTI Records, where he recorded
several albums, with jazz heavyweights guesting, to some success, mainly in the
jazz field. His 1974 release, Bad Benson, climbed to the top spot in the
Billboard jazz chart.

By the mid- to late-1970s, as he recorded for Warner Bros. Records, a whole new
audience began to discover Benson. With the 1976 release Breezin’, Benson sang a
lead vocal on the track “This Masquerade”, which became a huge pop hit and won a
Grammy Award for Record of the Year.

In 1976, George Benson appeared as a guitarist and backup vocalist on Stevie
Wonder’s song “Another Star” from Wonder’s album Songs in the Key of Life. He
also recorded the original version of “The Greatest Love of All” for the 1977
Muhammad Ali bio-pic, The Greatest, which was later covered by Whitney Houston
as “Greatest Love of All”. During this time Benson recorded with the German
conductor Claus Ogerman. The live take of “On Broadway”, recorded a few months
later from the 1978 release Weekend in L.A., also won a Grammy. He has worked
with Freddie Hubbard on a number of his albums throughout the 1960s, 1970s and
1980s.

The Qwest record label (a subsidiary of Warner Bros., run by Quincy Jones)
released Benson’s breakthrough pop album Give Me The Night, produced by Jones.
Benson made it into the pop and R&B top ten with the song “Give Me the Night”
(written by former Heatwave keyboardist Rod Temperton). He got many hit singles
such as “Love All the Hurt Away”, “Turn Your Love Around”, “Inside Love”, “Lady
Love Me”, “20/20”, “Shiver”, “Kisses in the Moonlight”. More importantly, Quincy
Jones encouraged Benson to search his roots for further vocal inspiration, and
he re-discovered his love for Nat Cole, Ray Charles and Donny Hathaway in the
process, influencing a string of further vocal albums into the 1990s.

In 2009, Benson was recognized by the National Endowment of the Arts as a Jazz
Master, the nation’s highest honor in jazz. Benson performed at the 49th issue
of the Ohrid Summer Festival in Macedonia on July 25, 2009, and his tribute show
to Nat King Cole An Unforgettable Tribute to Nat King Cole as part of the
Istanbul International Jazz Festival in Turkey on July 27. In the fall of 2009,
Benson finished recording a new album entitled Songs and Stories, with Marcus
Miller, producer John Burk, and session musicians David Paich and Steve
Lukather.

In June 2013, Benson released his fourth album for Concord Records, Inspiration:
A Tribute to Nat King Cole, which featured Wynton Marsalis, Idina Menzel, Till
Brönner, and Judith Hill. In September, he returned to perform at Rock in Rio
festival, in Rio de Janeiro, 35 years after his first performance at this
festival, which was then the inaugural one.

In July 2017, Benson mark’s his 40th anniversary and Ibanez has created a
limited run of his signature guitars for the occasion.

As an all-time icon and Grammy-winning giant of jazz, we have grown used to
seeing George Benson on the stages that befit his sky-high status. During a
six-decade career marked by awards, acclaim and Billboard-topping output, the
Pittsburgh, Hill District-born veteran has earned his place in both the history
books and the biggest venues around the world.

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PATTI AUSTIN

Patti Austin’s keen interest in being a total entertainer likely started when
she stepped onto the stage of the world-famous Apollo Theater in Harlem at the
age of four at the urging of music legend Dinah Washington. The daughter of jazz
trombonist Gordon Austin, Patti was a recording star in her teens, achieving her
first chart success in 1969 with “The Family Tree” (a Top 50 R&B single) after a
string of 45s that would later become treasured collector’s items among
Britain’s Northern soul community.

During the 70s Patti was the undisputed “Queen” of the New York session scene,
her voice was heard behind everyone from Paul Simon, Cat Stevens, James Brown
and Joe Cocker to Bette Midler, Roberta Flack, Luther Vandross and Diana Ross
and on countless memorable commercial jingles. After a series of much-acclaimed
albums for CTI Records, she signed with her godfather Quincy Jones’ Qwest label
and began achieving mainstream success on an international level thanks to the
GRAMMY®-nominated hit “Baby Come To Me,” her now classic duet with James Ingram
and the follow-up duet, the Oscar-nominated “How Do You Keep the Music Playing?”
as well as her appearance on albums with Jones on his best-selling. Stuff Like
That, his GRAMMY®–winning classic The Dude and later, his From Q With Love Vols.
1& 2.

The GRAMMY®-nominated For Ella album opened new doors for Patti as a performer
and her embrace by the jazz world was further cemented with her Grammy winning
classic CD “Avant Gershwin: Now after more than two decades of touring her take
on the classic American Song Book has expanded Patti’s appeal and garnered
standing ovations all over the USA and Europe.

Patti continues her philanthropic work with her mentoring organization, “The
Over My Shoulder Foundation and with Covid hopefully winding down she has
resumed her touring schedule to the delight of fans all around the world.

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TOMMY EMMANUEL

Tommy Emmanuel

Two-time GRAMMY nominee Tommy Emmanuel CGP is one of the world’s most respected
musicians. With a professional career spanning five decades, Tommy has garnered
hundreds of thousands of loyal fans worldwide.

His unusual talent and life are common lore in Australia: born into a musical
family, Tommy got his first guitar at age 4 and was taught by his mother. He
quickly learned by ear, with no formal instruction, and has never read music. By
age 6 he was working as a professional musician in the family band (variously
named The Emmanuel Quartet, The Midget Surfaries and The Trailblazers). By the
age of 10, young Tommy had already played his way across Australia.

In the 1970s, Tommy was in high demand as a session player and sideman: he
played on recordings for Air Supply, Men at Work and dozens of other popular
bands and artists, as well as thousands of commercial jingles and tunes. Some of
his most notable appearances were on the Air Supply hit singles “Lost in Love,”
“All Out of Love,” “Every Woman in the World,” and “Now and Forever.” Tommy soon
became known as one of the best modern guitarists in Australia. In 1985 he
joined one of the decade’s biggest Australian rock bands, Dragon, and recorded
the platinum-selling album Dreams of Ordinary Men. It is for his successful solo
career, however, that Tommy is best known.

In the 1980s, Tommy finally met and got to play with his hero, Chet Atkins, in
Nashville, TN. From that magical moment forward, Atkins took him under his wing,
and the influences are evident throughout Tommy’s music: in his personal
philosophy, technical precision, virtuosic improvisations and unusually broad
repertoire (encompassing not only country and bluegrass, but pop, jazz, blues,
gospel, even classical, flamenco, and aboriginal styles). Tommy speaks of his
mentor with the love and gratitude of a son, and his dream of recording with
Chet Atkins came true in 1996 when the pair made an album titled “The Day The
Finger Pickers Took Over The World” for which Tommy received his first GRAMMY
award nomination.

Chet honored Tommy with the title of “Certified Guitar Player” (CGP) for his
contribution to guitar music, a very rare distinction shared by only four other
people in the world. After an amazing performance with his brother Phil at the
Sydney Olympic Games Closing Ceremony, the world wanted to know who this
mysterious Australian guitar virtuoso was. In 2001, Tommy released his first
solo-acoustic album, ONLY and his popularity has grown by leaps and bounds aided
by a non-stop touring schedule and increasing exposure in the media.

His album The Mystery earned him another GRAMMY nomination, and in 2008 Guitar
Player Magazine and Acoustic Guitar Magazine named him Best Acoustic Guitarist
and Gold Medalist in the in the Readers’ Choice and Players’ Choice Awards.
Guitar Player’s 2010 Readers Choice awards named him Best Acoustic Guitarist for
the second time.

Tommy Emmanuel is an honorary Kentucky Colonel, a CGP (Certified Guitar Player),
an Order of Australia Medalist (AM) and the holder of both an honorary Masters
Degree (MA) and more recently an honorary Doctor of Arts (DR) from Charles Sturt
University in Australia in recognition of his commitment to rural Australia and
his contribution to music education.

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STEVE LUKATHER

Steve Lukather

Steve Lukather already had a loyal following among his peers in the music
industry before the public got to know him as one of the original members of the
group Toto. A gifted and versatile guitarist, Lukather was one of the busiest
session players of the 1980s and ’90s, contributing to albums by Michael
Jackson, Stevie Nicks, Aretha Franklin, Barbra Streisand, and many more, while
also recording and touring with Toto, where he began to hone his talents as a
vocalist and songwriter. Lukather launched his solo career in 1989 with the
album Lukather; he showed off his technique in a live setting on 2001’s No
Substitutions: Live in Osaka (recorded in tandem with Larry Carlton); he mixed
rock, pop, and blues on 2010’s All’s Well That Ends Well, and 2021’s I Found the
Sun Again featured him with a band of longtime collaborators who were able to
complete each tune in no more than two takes.

Born in Los Angeles, California, on October 21, 1957, Steve Lukather discovered
rock music the way just about every American youngster did during the ’60s, via
the Beatles. When he was seven years old, his father bought him a guitar and a
copy of the album Meet the Beatles, and Lukather immediately began teaching
himself to play. He became proficient in guitar, keyboards, and drums on his
own, and sought out older friends who could teach him new tricks on his guitar.
He started taking lessons from musician and educator Jimmy Wyble, and got to
know drummer Jeff Porcaro and keyboardist Steve Porcaro, brothers who attended
the same high school as Lukather and were already playing professionally. By the
time he was 20, he was already playing sessions, and when the Porcaro brothers
announced they were forming a band, they invited him to join the lineup. The
band was Toto, and they released their self-titled debut album in 1978. It
included the hit single “Hold the Line” and the album rose to the Top Ten — and
Lukather officially became a rock star.

While Toto enjoyed almost immediate success, Lukather still found time for
session work, and his guitar playing can be heard on albums by Boz Scaggs, the
Pointer Sisters, Leo Sayer, Cher, and Alice Cooper. Toto’s next two albums,
1979’s Hydra and 1981’s Turn Back, were only moderately successful, but 1982’s
Toto IV became one of their greatest successes, featuring two massive hit
singles, “Rosanna” and “Africa.” Lukather began expanding his role in the group,
contributing to the songwriting (he wrote or co-wrote four songs on Toto IV),
and adding vocals on the sessions. He and most of his Toto bandmates were
recruited to back Michael Jackson on the sessions for his 1982 release Thriller,
which became a runaway hit and a cultural phenomenon.

As he continued to play sessions and work with Toto, Lukather became
increasingly eager to make music of his own. In 1989, he released his first solo
album, Lukather, which included contributions from Eddie Van Halen, Steve
Stevens, and Richard Marx. 1989 also saw the release of the first album from Los
Lobotomys, a Lukather side project that featured David Garfield, Vinnie
Colaiuta, and Will Lee. In 1991, after several personnel changes, Lukather found
himself as Toto’s lead singer as well as their guitarist; the same year, he
guested on The Way In, an album from noted jazz guitarist Jeff Richman. His next
solo album, 1994’s Candyman, was actually a Los Lobotomys project, released
under the group’s name in the United States and as a Lukather album abroad.
1997’s Luke included two songs co-written by Fee Waybill of the Tubes; he helped
write two of the band’s biggest hits, “Talk to Ya Later” and “She’s a Beauty.”

In 1998, Lukather toured Japan with jazz guitarist Larry Carlton, and they
brought in an engineer to record one of their performances in Osaka. In 2001,
highlights from the show were released on the LP No Substitutions: Live in
Osaka, which would earn the guitarists a Grammy award in 2002. 2003’s
Santamental found Lukather and his friends (who included Steve Vai, Edgar
Winter, and Slash) putting a unique spin on a set of Christmas songs. Touring
with Toto and Boz Scaggs, along with studio sessions kept him busy, but he found
time to cut his fifth solo album, the introspective Ever Changing Times, which
arrived in 2008. All’s Well That Ends Well followed in 2010, just as his
schedule got even busier. Joe Satriani and Steve Vai invited him to join their
2012 G3 Tour, and later that year he was tapped to join Ringo Starr for live
dates with his All-Starr Band. The following year, he toured with Ringo, Toto,
and Peter Frampton as well as headlining dates of his own, and somehow also
found time to finish work on his next album, 2013’s Transition. Recording and
live work with Toto and frequent touring with Ringo dominated Lukather’s
schedule for the next several years, yet in 2018 Los Lobotomys treated fans to
their third studio album, fittingly titled 3.0, and he gathered a handful of
musical friends (among them Greg Bissonnette, David Paich, and John Pierce) to
make 2020’s I Found the Sun Again, which was recorded live in the studio with no
number requiring more than two takes to perfect.

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STANLEY JORDAN

In a career that took flight in 1985 with commercial and critical acclaim,
guitar virtuoso Stanley Jordan has consistently displayed a chameleonic musical
persona of openness, imagination, versatility and maverick daring. Be it bold
reinventions of classical masterpieces or soulful explorations through pop-rock
hits, to blazing straight ahead jazz forays and ultramodern improvisational
works-solo or with a group-Jordan can always be counted on to take listeners on
breathless journeys into the unexpected.

Key to Jordan’s fast-track acclaim was his mastery of a special technique on the
guitar’s fretboard. Instead of conventional strumming and picking, Jordan’s
innovative “touch technique” is an advanced form of two-handed tapping. While a
handful of other players were using similar techniques, Stanley’s fluid,
multi-layered textures and sheer virtuosity raised the bar for excellence. But
his technique, though impressive, is always a means to a musical end. His music
is imbued with a warmth and sensitivity that has captured the imagination of
listeners worldwide. A classically trained pianist before playing guitar, Jordan
wanted greater freedom in voicing chords on his guitar, so he applied piano
principles to do so. Jordan’s touch technique allows the guitarist to play
melody and chords simultaneously with an unprecedented level of independence. It
also allows Jordan to play simultaneously on two different guitars, or even on
guitar and piano. He says that “I think of it as a single instrument, but one
with a wide range of tonal colors-that’s why I do it.”

To date Jordan has performed in over 60 countries on 6 continents. He has
performed at many festivals, including the Kool Jazz Festival, the Concord Jazz
Festival, and the Montreaux International Jazz Festival. During the 1980s he
collaborated with a diverse array of artists, including performances with Art
Blakey and Richie Cole and recordings with Stanley Clarke and Kenny Rogers. The
track with Rogers, “Morning Desire”, became America’s #1 country song in 1986.
Later Jordan became a frequent guest with Les Paul during Paul’s legendary
Monday nights at Iridium in New York. Today Jordan performs frequently as a
soloist and with his band, as well as collaborating with other guitarists such
as Kevin Eubanks, Sharon Isbin and Muriel Anderson. He’s also a frequent guest
with jam bands such as the Dave Matthews Band, the String Cheese Incident, Phil
Lesh, Moe and Umphrey’s McGee.

Jordan has received four Grammy nominations. His most recent album “Friends” was
nominated for an NAACP Image Award. Los Angeles Times jazz critic Leonard
Feather wrote, “Genius is a word often tossed around in musical circles, but it
has been rightfully applied to Stanley Jordan.”
Stanley Jordan was born in Chicago, Illinois, and grew up in the San Francisco
Bay Area. He began his music career at age six studying piano, then shifting his
focus to guitar at age eleven. He then began playing in rock and soul bands. In
1976, while still in high school, Jordan performed with Quincy Jones and tied
for first place as a soloist at the Reno International Jazz Festival. In 1981 he
earned a BA in music from Princeton University, where he studied theory and
composition with composer Milton Babbitt and computer music with composer Paul
Lansky. While still at Princeton, Jordan performed with Benny Carter and Dizzy
Gillespie.

Jordan came to prominence with the release of his 1985 album Magic Touch, a
revolutionary project that placed him at the forefront of re-launching legendary
Blue Note Records into a contemporary entity in jazz and beyond, as also
established the then-twenty-something Jordan as among the most distinctive and
refreshing new voices of the electric guitar. Jordan had begun applying his
unique technique to his already exemplary traditional playing ten years prior to
the Magic Touch album. Though Jordan showcased the technique in a variety of
musical styles from swing to rock, it was smooth jazz radio support for his
singular versions of “The Lady in My Life” (first recorded by Michael Jackson)
and the Beatles’ “Eleanor Rigby” that sent Magic Touch to the top of Billboard’s
jazz chart for a stunning and record-breaking 51 weeks. The album became a
gold-seller (over 500,000 sold in the U.S. alone) – outstanding for any jazz or
instrumental CD.

Subsequent albums found Jordan ushering his audience into deeper levels of his
artistry and stretching his music beyond stylistic boundaries. These projects
included a solo guitar album titled Standards Volume 1 (1986) where Stanley made
the bold statement that songs by the likes of Stevie Wonder and Jimi Hendrix
deserved recognition as standards just as much as older chestnuts like Hoagy
Charmichael’s “Georgia On My Mind.” He followed that with the dance-pop album
Flying Home (1988) and the especially edgy Cornucopia (1990), which spanned the
gamut from straight-ahead jazz recorded live to multi-dimensional originals
recorded in the studio. Still later in 1994 after a move to Arista Records (then
helmed by pop music maverick Clive Davis), he recorded the bracingly eclectic
Bolero album, featuring covers of Herbie Hancock’s “Chameleon,” Jimi Hendrix’s
“Drifting,” his original “Plato’s Blues” and the CD’s centerpiece, a 17-minute
arrangement of Ravel’s “Bolero”, which flowed seamlessly between rock, African,
Latin, “groove” and “industrial” sections. During this era, Jordan also made
history by creating the seminal “startup” sound for the first generation of
Power Macintosh computers.

In 2002, Stanley released the album Dreams of Peace with the Italian band
Novecento. It was remixed and re-released in the USA in 2004 on Steve Vai’s
Favored Nations label. Independently, he recorded two CDs: Ragas (a
collaboration with musicians from India featuring Jay Kishor on sitar) and
Relaxing Music for Difficult Situations Volume 1, an audio extension of his
interest in music therapy. In 2007 Jordan signed with Mack Avenue Records and
released State of Nature in 2008 and Friends in 2011. For Friends, he invited
musical guests including guitarists Bucky Pizzarelli, Mike Stern, Russell Malone
and Charlie Hunter; violinist Regina Carter; saxophonists Kenny Garrett and
Ronnie Laws; trumpeter Nicholas Payton; bassists Christian McBride and Charnett
Moffett; and drummer Kenwood Dennard. The results proved truly outstanding on
numbers ranging from a Bela Bartok piece to a Katy Perry pop smash, a heady
original blues and three jazz classics spanning swing, cool, samba and modern.

Jordan has been known to TV and film audiences as well. In 1987 he made a cameo
appearance in the Blake Edwards movie Blind Date, starring Bruce Willis and Kim
Basinger. In the tribute film, Les Paul: He Changed the Music Jordan performed
with a guitar supergroup including Les Paul himself, Eddie Van Halen, BB King,
Steve Miller, David Gilmour, and Brian Setzer. In 1995 Jordan created the score
for the short film One Red Rose, starring Hill Harper and Victoria Rowell,
directed by Charlie Jordan. In 1996 he created the score for an ABC afternoon TV
special Daddy’s Girl, directed by Diane Wynter. Since the mid 80s he has
performed on numerous television shows, including The Tonight Show with Johnny
Carson, The David Letterman Show and the Grammy Awards. One notable appearance
was a duet on the Tonight Show with the late rock superstar Robert Palmer.

Stanley is committed to music as an artistic, spiritual, and even
health-promoting endeavor. He has been immersed for more than a decade in music
therapy, towards which he is now working for a master’s degree at Arizona State
University. His involvement with music therapy leads him to do outreach in
schools, hospitals and other venues wherever he tours. He is an
artist-spokesperson for the American Music Therapy Association, and he has done
numerous lectures and demonstrations on the healing applications of music.

Jordan has maintained an extensive and consistent international touring
schedule. In between tour stops he is now at work on his next highly anticipated
album from Mack Avenue Records, for release next year.

Jordan is currently a resident of Sedona, Arizona. He has one daughter, Julia.
Julia Jordan is a singer/songwriter living in Lancaster, Pennsylvania who
sometimes collaborates with her dad.

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LEE RITENOUR

For Lee Ritenour, there aren’t many ‘firsts’ left to achieve. During his
dazzling five-decade career, the fabled LA guitarist has taken his music to the
outer limits, alighting on every genre and occupying every position in the rock
‘n’ roll firmament. He’s been an enfant terrible of ’70s fusion, a crossover
star of the ’80s pop chart, an honorary exponent of Brazilian jazz, and the
fingers behind ’90s supergroup, Fourplay. Ritenour’s accolades include: 45
albums,16 Grammy nominations, Alumnus of the year at USC, Los Angeles’ Jazz
Society Honoree (2019), plus thousands of sessions with legends such as Frank
Sinatra, Pink Floyd, B.B. King, Tony Bennett, among others.

And yet, when he checks the rear-view mirror, the 68-year-old acknowledges he’s
never made a record like Dreamcatcher. “People have been telling me for years:
‘Rit, you gotta make a solo guitar record’. In the past, I’ve always been the
band guy, the ensemble guy, the collaborative-guitar-player guy. So this was the
one project I hadn’t done. And this year, I knew it was time.”

Weaving tapestries of instrumental guitar and conjuring eclectic moods, the 12
tracks of Dreamcatcher rank amongst the most melodic and tinglingly beautiful in
Ritenour’s catalogue. But there’s a power and purpose here, too, hinting at the
darker circumstances that sparked this new record. “Our house and my studio in
Malibu, California burnt down in 2018,” he recalls. “About 100 of my guitars
went up in the fire, plus 40 amps, lots of music, the history of my whole
career, pretty much. A week after the fire, I went to the hospital, which I’d
never had to do before, for surgery to replace an aortic valve. So those
incidents and the support from my family and friends absolutely went into this
music. Making this record was a life-saver for me.”

Dreamcatcher might have been born from personal challenges, but the record took
shape against the global tragedy of Covid-19. Ritenour had already written
several key tracks before shutdown. But as he settled into the makeshift studio
at his new home in Marina Del Rey, equipped with little more than seven guitars,
a computer interface and good intentions, the guitarist let the context flood
into the music he was tracking. “It was an important album for me,” he notes.
“Especially now, with everything going on in the world.”

Even without lyrics, every track tells a story. Take the molten blues licks of
“Abbot Kinney”, named for the fabled boulevard in Venice, California. “One day
when everything was shut down,” says Ritenour, “I drove my bike there and was
just devastated to find it completely empty. But then I heard this rock guitar
start up. I don’t know if it was a kid, but somebody nearby had just turned it
up to 10 and said, ‘Fuck it, I’m gonna have some fun’. It brought a huge smile
to my face and inspired me to write that song on my Les Paul.”

Likewise, anyone living through the age of Covid-19 will feel a deep affinity
with “2020”: a three-part symphony in which Ritenour takes the pulse of the
times. “The three parts were a reflection of what was going on this year,” he
nods, “when all of a sudden everybody’s life shut down. I was thinking about the
young musicians that were out of work – and people in every walk of life.”

Elsewhere Dreamcatcher delves beyond the pandemic. While Ritenour strived to
switch up musical styles – from the title track’s dovetailing classical guitars
to the Taylor baritone that drives “Starlight’s” tumbling folk, and the mad
scientist multi-tracking of “Couldn’t Help Myself” – he also ran the gamut of
mood. “Because even I get tired,” he reasons, “of solo guitar albums when it
pretty much all sounds the same.”

As such, “For DG” salutes the harmonic sensibilities of the great producer,
pianist, and long-time comrade, Dave Grusin. But it couldn’t be further from
“Charleston”, whose mellow slink is laced with bittersweet thoughts on the ebb
and flow of US race relations. “A few years ago, I played in Charleston, South
Carolina,” recalls Ritenour, “and it was charming and the people were warm, and
it was a very mixed, soulful audience. Charleston has a history of the
beginnings of slavery, but this was modernday Charleston, y’know? But then, a
few years later, I’m writing this tune while watching the continuation of the
struggle. As musicians who travel all over the world, we go, ‘What? This shit is
still going on in the US?’ So it was appropriate to dedicate that song to Black
Lives Matter.”

Dreamcatcher not only confronts the here-and-now: it also slips back into
Ritenour’s rich history. Long-standing fans will recognize “Morning Glory Jam”
as a rework of the guitarist’s classic 1977 tune. “On 2015’s A Twist Of Rit, I
had revisited a lot of older material, so I wanted to keep this record fresh.
But one day, I remembered when I did sessions for Barry White and how there had
been four or five guitar players all playing these incredible rhythm parts.
That’s the kind of groove I had in my head for this new version of Morning
Glory.”

Casting his mind still further back, The Lighthouse shares its name with the
storied LA jazz club where the teenage guitarist was to be found most nights in
the mid-’60s. “I’d started playing guitar at eight, and by 12, I was very
serious. Everybody’s number was in the phonebook back then, right? So my dad –
who was an amateur piano player and always very supportive – called up Joe Pass
and Barney Kessel and asked them to give me a guitar lesson. Barney ended up
recommending this incredible teacher, Duke Miller, and that was the foundation
of all my playing. The Lighthouse was this very funky jazz club where I met Wes
Montgomery. By the age of 16, I’d take the car over there in the late afternoons
and just watch the bands soundcheck.”

Whatever genre you were into, recalls Ritenour, the guitar scene at that magical
juncture in the mid-’60s was hard to beat. “In every field, there were legends.
In jazz, you had Joe Pass, Wes Montgomery, Barney Kessel, Howard Roberts, Jim
Hall, Pat Martino. In Blues, B.B. King, Albert King, John Lee Hooker. In Rock,
Jimi Hendrix was coming, Clapton and Beck were already there. In Country, you
had Chet Atkins, and the all time great classical guitar master, Segovia, and
Sabicas, and Paco de Lucia for Flamenco! Great guitar playing was everywhere you
turned, and I loved them all…How could you not?

Those eclectic early tastes served Ritenour well. The jazz giants at The
Lighthouse were a passion for life: just check out his love-letter to the great
Mr Montgomery on 1993’s Wes Bound. But from the day he lucked into his first
session for The Mamas And The Papas at age 16, Ritenour had the widescreen
musicality to forge a career as one of LA’s busiest session men. “I remember
John Phillips had this incredible studio in his Beverly Hills mansion and I just
thought, ‘This is what I want’. As for my favorite and memorable sessions, I
remember getting called by Bob Ezrin to record on “One Of My Turns” and
“Comfortably Numb” on Pink Floyd’s, The Wall…incredible. And then there was
Quincy Jones producing George Benson’s, “Give Me the Night” album and all of us
waiting ‘til 4am for Stevie Wonder to show up and play a song he’d written for
George’s album…Ha! Too many memories!”

Like close friend and fellow session ace, Toto’s Steve Lukather, Ritenour was
always more than a gun-for-hire. In ’76, he launched his own solo career with
First Course, and managed the magic trick of following his muse while finding
enviable commercial success, especially in the ’80s. “On the West Coast, fusion
was just starting,” he remembers, “and we were beginning to combine the melodies
of pop music, but with the sophistication of jazz. We were listening to people
like John McLaughlin, Chick Corea, and then at the same time, Grover Washington
Jr, David Sanborn, Bob James. So it was really a natural evolution for my own
records to evolve out of that. When I finally did win a Grammy in 1985 – for
“Early A.M. Attitude” – I think I was actually stuck on the freeway. But awards
aren’t the reason we’re making music.”

Likewise, while the jazz supergroup Fourplay scored a commercial hit with their
eponymous 1991 debut album. For Ritenour, the attraction was all about the
chemistry between the band members. “The magic was immediate between me, Bob
James, Harvey Mason and Nathan East. You can’t draw that sort of thing up on a
chart – it either works or it doesn’t. We did three albums, but then the
business got so complicated that I took a pass in 1997. But there was always
friendship and musical respect, and we are talking about doing one last reunion
project together.”

Respect was palpable, too, when Ritenour made the 2010 album, Lee Ritenour’s Six
String Theory: an all-star album that drafted many of the famous friends he’d
picked up along his path. “In the early days, you could never put country, jazz,
rock and all these styles on the same record. The record companies would say,
‘No, you’ve got to have one theme’. But by 2010, the labels weren’t as powerful
as they were, and they were looking for interesting projects. I went to my buddy
Steve Lukather, and George Benson and B.B. King, and they all said yes. We
opened it up to players like Joe Bonamassa and John Scofield – and everyone
played their ass off”

Collaboration might be a constant, but in a career full of left-turns,
Dreamcatcher is another thrilling detour for Lee Ritenour. Both by necessity and
design, this latest album represents music in its purest form: one man,
channelling his headspace and the history unfolding around him, using the
instrument that has sustained him all these years. There is a first time for
everything and there has never been a better time for “Dreamcatcher”. “I’ve
never done anything like this before and it’s an important missing piece in my
guitar history. It was inspiring and it was meant to happen this year, in these
times – after a lifetime of playing the guitar,” he considers, “this project
reaffirmed just how much I love the guitar.”

Bonus Tracks,

Bonus Tracks (Japan release): “More Stories” and “Thank You Dreamcatcher”?

“More Stories… There were a series of songs that I wrote on the Yamaha classical
guitar – Via Verde, More Stories, and Dreamcatcher. Some of the harmonies and
the way I was interpreting playing solo guitar was somewhat similar on those
three songs. So that was the first time where I wanted to make sure there was
going to be enough variety on the record. Because even I get tired of great solo
guitar albums when it pretty much sounds the same. So that was very much the
challenge I gave myself. That’s why there are different sounds on the record,
the different approaches, and the different compositions – and even a different
way of playing sometimes. And then, “Thank You Dreamcatcher” was one of the
first songs that I wrote for the record on the baritone guitar. I always liked
that song very much… It’s one of my favorite tunes on the record.”

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JOHN SCOFIELD

John Scofield’s guitar work has influenced jazz since the late 70’s and is going
strong today. Possessor of a very distinctive sound and stylistic diversity,
Scofield is a masterful jazz improviser whose music generally falls somewhere
between post-bop, funk edged jazz, and R & B.

Born in Ohio and raised in suburban Connecticut, Scofield took up the guitar at
age 11, inspired by both rock and blues players. He attended Berklee College of
Music in Boston. After a debut recording with Gerry Mulligan and Chet Baker,
Scofield was a member of the Billy Cobham-George Duke band for two years. In
1977 he recorded with Charles Mingus, and joined the Gary Burton quartet. He
began his international career as a bandleader and recording artist in 1978.
From 1982–1985, Scofield toured and recorded with Miles Davis. His Davis stint
placed him firmly in the foreground of jazz consciousness as a player and
composer.

Since that time he has prominently led his own groups in the international Jazz
scene, recorded over 30 albums as a leader (many already classics) including
collaborations with contemporary favorites like Pat Metheny, Charlie Haden,
Eddie Harris, Medeski, Martin & Wood, Bill Frisell, Brad Mehldau, Mavis Staples,
Government Mule, Jack DeJohnette, Joe Lovano and Phil Lesh. He’s played and
recorded with Tony Williams, Jim Hall, Ron Carter, Herbie Hancock, Joe
Henderson, Dave Holland, Terumasa Hino among many jazz legends. Throughout his
career Scofield has punctuated his traditional jazz offerings with funk-oriented
electric music. All along, the guitarist has kept an open musical mind.

Touring the world approximately 200 days per year with his own groups, he is an
Adjunct Professor of Music at New York University, a husband, and father of two.

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ESPERANZA SPALDING

Esperanza Emily Spalding is an American bassist, singer, songwriter, and
composer. Her accolades include five Grammy Awards, a Boston Music Award, a Soul
Train Music Award, and two honorary doctorates: one from her alma mater Berklee
College of Music and one from the California Institute of the Arts.

Born and raised in Portland, Oregon, Spalding began playing music professionally
in her childhood, performing as a violinist in the Chamber Music Society of
Oregon at age five. She was later both self-taught and trained on other
instruments, including guitar and bass. Her proficiency earned her academic
scholarships to Portland State University and Berklee College of Music, both of
which she attended, studying music.

Spalding released her first album, Junjo, in 2006 on the Spanish label Ayva
Musica, after which she signed with the independent American label Heads Up, who
released her 2008 self-titled album. Her third studio album, Chamber Music
Society (2010), was a commercial success, charting at number 34 on the Billboard
200, and resulting in Spalding winning her first Grammy Award for Best New
Artist. She saw further acclaim for her fourth release, Radio Music Society
(2012), which earned the Grammy for Best Jazz Vocal Album, as well as the track
“City of Roses” winning for Best Arrangement, Instrument and Vocals.

After spending the following several years performing as a supporting band
player, Spalding released her fifth studio album, a funk rock-inspired concept
album titled Emily’s D+Evolution, co-produced by Tony Visconti, on Concord
Records. The following year, she released the album Exposure, which was limited
to 7,777 copies. Her subsequent sixth studio record, 12 Little Spells, was
released in 2019, and peaked at number one on Billboard’s Top Jazz Albums. The
album also saw Spalding nominated for two Grammy Awards, winning in the Best
Jazz Vocal Album category.

In addition to writing and performing music, Spalding has also worked as an
instructor, first at the Berklee College of Music, beginning at age 20. In 2017,
Spalding was appointed professor of the Practice of Music at Harvard University,
a position she resigned from in 2022.

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ANDY TIMMONS

As guitarist for pop-metal band Danger Danger, he toured the world opening for
Kiss and Alice Cooper, sold over a million records worldwide, and had two #1
videos on MTV, plus amassing a discography that includes 7 solo releases that
range from blazing guitar instrumentals, to blues, and even a Beatles/Elvis
Costello-inspired collection of pop tunes.

As a session player, he’s been highly featured on CDs by drumming legend Simon
Phillips, a live CD with Olivia Newton-John (Andy has been her music
director/guitarist for several U.S. tours), two internationally acclaimed CDs by
Kip Winger, recording sessions for Paula Abdul, Paul Stanley, and countless
radio and television jingles. He has also played alongside many of his heroes
such as Steve Vai and Joe Satriani (as a regular guest on their G3 tours in
Dallas), Eric Johnson, Steve Morse, Mike Stern, Ace Frehley, Ted Nugent, and
Pierre Bensusan, as well as some of his fave ’60’s singing stars such as the
Beach Boys, Lesley Gore, and Gordon Waller (of Peter and Gordon fame!)

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CORY WONG

Music motivates at the most primal level.

You instinctually hum a tune in order to get pumped up in the morning, for fuel
on the treadmill, to soundtrack your commute, or as the pre-game to a big night
out. As much as he treasures his roles as a guitarist, composer, and producer,
Cory Wong fashions himself “a hype man,” first and foremost. Living up to this
classification, he slings a Stratocaster and hurls “dad jokes” from the stage
with the same panache, poise, and power.

“For me, it’s all about the listener’s experience,” he explains. “I want them to
have a visceral response like: ‘I feel better,’ ‘That was really fun,’ or ‘I got
to escape for an hour.’ You’ll hear my voice through the guitar, but I’m just a
hype man. To uplift audiences with instrumental music that has no singing or
lyrics is a fun challenge. I’m trying to solve the riddle. If I can get one
person to feel good this way, it’s a success.

Straight out of Minneapolis, Cory positioned himself as music’s answer to
motivational speakers like Tony Robbins since emerging in 2011. Head-spinning
rhythm guitar wizardry, technical ebullience, laugh-out-loud jokes, and radiance
on stage established him as both a sought-after collaborator and celebrated solo
artist alike. He lent his talents to television programs such as The Voice at
the dawn of his career. After an impromptu meeting at the weekly jam hosted by
Prince’s rhythm section (where the Purple One often either performed or
watched), he crossed paths with Vulfpeck who welcomed him as a frequent
collaborator and member of the band. Solidifying a fruitful partnership, the
group named their most popular instrumental track “Cory Wong,” in tribute.
Lighting up the stage in the band everywhere from Red Rocks Amphitheatre to
Madison Square Garden, he remains a cornerstone of Vulfpeck’s storied gigs.

“I try to feature the guitar, but I don’t force myself into being the star of
every song,” he says. “The instrument plays an appropriate role. It’s not all
flash. I’m bringing rhythm to the forefront where it’s not so shreddy. I refer
to it as ‘Covert chops.’ I’m doing things that are sneakily hard, but they lay
in the cut. I allow the song to breathe and present myself as more of a composer
rather than a guitar player.”

In the end, Cory transmits joy in its purest form through the guitar.

“The guiding light is to impart a feeling of joy,” he leaves off. “I want people
to experience instrumental music in a different way. This is hype. It’s more
than just guitar.”

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GREG PHILLINGANES

Gregory Arthur Phillinganes is an American keyboardist, vocalist, and arranger.
A session musician, Phillinganes has contributed to numerous albums over a broad
array of artists and genres. He has toured with artists including Stevie Wonder,
Eric Clapton, David Gilmour and Toto, was musical director for Michael Jackson,
and has released two solo studio albums.

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RICK BEATO

Richard John Beato is an American YouTube personality, multi-instrumentalist,
music producer, and educator. Since the early 1980s, he has worked variously as
a musician, songwriter, audio engineer, and record producer; he has lectured on
music at several universities.

Beato owns and operates Black Dog Sound Studios in Stone Mountain, Georgia; he
has produced for and worked with bands such as Needtobreathe, Parmalee, and
Shinedown in the studio. He is known for his YouTube channel on which he covers
different aspects of rock, jazz, blues, techno, rap, and popular music as well
as interviews with well-known musicians and producers.

SCHEDULE

George Benson “Breezin’ With The Stars” begins January 3 around 3pm and ends
January 7 in the morning. The final concert ends late on January 6. There are no
scheduled events on the 7th.

A final schedule will be released in October but below is an initial schedule of
activities for the 4 days and nights (subject to change).

Scroll for more

FRIDAY JANUARY 03

* Afternoon

Check in

4:00PM – Welcoming remarks/Q&A with George Benson and our Faculty

Dinner

8:00PM – Lee Ritenour recital

9:00PM – Opening night concert with Greg Phillingnes and combinations of Lee
Ritenour, Patti Austin, band and our Faculty

10:30PM – Camper jamming and late night hang!

SATURDAY JANUARY 04

* Morning

Breakfast

9:30AM – Breakout workshops with the likes of Andy Timmons, Stanley Jordan,
John Scofield, Tommy Emmanuel, Lee Ritenour

11:00AM – George Benson and Rick Beato conversation

Lunch, including Andy Timmons guitar recital

2:00PM – Rick Beato and Lee Ritenour conversation

3:30PM – Breakout workshops with Andy Timmons, Stanley Jordan, John Scofield,
and more

5:00PM – George Benson and Tommy Emmanuel conversation

6:30PM – Tea and Cocktails with Greg Phillinganes and Rick Beato

Lunch, including Andy Timmons guitar recital

2:00PM – Rick Beato and Lee Ritenour conversation

3:30PM – Breakout workshops with Andy Timmons, Stanley Jordan, John Scofield,
and more

5:00PM – George Benson and Tommy Emmanuel conversation

6:30PM – Tea and Cocktails with Greg Phillinganes and Rick Beato

SUNDAY JANUARY 05

* Morning

Breakfast

9:30AM – Breakout workshops with Andy Timmons, Stanley Jordan, John Scofield,
and more

11:00AM – George Benson and Rick Beato conversation

Lunch, including Stanley Jordan recital

2:30PM – VERY SPECIAL GUEST TBA and Rick Beato conversation

4:00PM – Breakout workshops with Andy Timmons, Stanley Jordan, John Scofield,
Cory Wong

5:30PM – George Benson and Steve Lukather conversation

7:00PM – Tea and Cocktails with Cory Wong and Rick Beato

Dinner

8:30PM – VERY SPECIAL GUEST half hour recital

9:00PM – Concert with Greg Phillinganes with combinations of Steve Lukather,
Cory Wong, Patti Austin, plus band and our Faculty

10:30 – Camper jamming

MONDAY JANUARY 06

* Morning

Breakfast

9:30AM – Breakout workshops with the likes of Andy Timmons, Stanley Jordan,
John Scofield, Cory Wong

11:00AM – George Benson and Rick Beato conversation

Lunch, including John Scofield recital

2:30PM – Rick Beato and Patti Austin conversation

4:00PM – Breakout workshops with the likes of Andy Timmons, Stanley Jordan,
John Scofield, ALL available Faculty on site

5:30PM – George Benson and Esperanza Spalding conversation

Dinner

8:00PM – Esperanza Spalding set with Greg and band

9:00PM – George Benson set

TUESDAY JANUARY 07

* Morning

Checkout

WIGWAM RESORT

ACCOMMODATIONS

Experience the charm and luxury of the Wigwam Resort in Phoenix, AZ, a historic
oasis that blends Southwestern elegance with modern amenities. Set amidst 440
acres of lush gardens, golf courses, and serene pools, the Wigwam offers a
perfect backdrop for unforgettable events. Delight in soulful melodies in an
intimate setting that promises to be a highlight of your stay. Whether you’re
indulging in fine dining, relaxing at the award-winning spa, or enjoying
world-class entertainment, the Wigwam Resort provides an unparalleled retreat
where every moment is extraordinary.

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PRICING AND REGISTRATION

* Shared Room with Two Beds (Men’s)
2,799

Standard Room with two beds and a male roommate. You may either name a fellow
registrant as your roommate or one will be assigned by Dreamcatcher Events.
Roommate matches are based on age and gender. If signing up with a roommate
in mind, please enter their name in the “Roommate” field as you continue
registration. Pricing is per person.

* Shared Room with Two Beds (Women’s)
2,799

Standard Room with two beds and a female roommate. You may either name a
fellow registrant as your roommate or one will be assigned by Dreamcatcher
Events. Roommate matches are based on age and gender. If signing up with a
roommate in mind, please enter their name in the “Roommate” field as you
continue registration. Pricing is per person.

* Single Room with One Bed
3,799

Standard room with one bed. All attendees must stay at the Wigwam Resort.
Pricing is per person.

* Couple’s Room with One Bed
5,599

If you would like to have your loved one join you at the Wigwam Resort, we
recommend this price point. You both share the accommodations, dine together
with the group for all meals, and attend all evening concerts together. The
room includes one king bed. Pricing is for 2 people.

* Couple’s Room with Two Beds
5,599

If you would like to have a close friend or relative join you at the Wigwam
Resort, we recommend this price point. You both share the accommodations,
dine together with the group for all meals, and attend all evening concerts
together. The room includes two queen beds. Pricing is for 2 people.

* Couple’s Suite
6,699

If you would like to have your loved one join you at the Wigwam Resort, we
recommend this deluxe price point. You both share lavish accommodations, dine
together with the group for all meals, and attend all evening concerts
together. Pricing is for 2 people.

WHAT'S INCLUDED

* All workshops, activities and entertainment for 4 days and nights
* 4 nights accommodation at Wigwam Resort
* Breakfasts, lunches and dinners for 4 days and nights
* Wi-Fi
* All evening concerts and jam sessions

WHAT'S NOT INCLUDED

* Transportation to The Wigwam (air or ground)
* Alcohol and snacks
* Additional sightseeing or excursions
* Golf and other resort sporting activities
* Personal musical gear

PRICING AND REGISTRATION POLICY

* Registration & Payments
* All rates are per-person, unless stated otherwise.
* All prices are listed in US dollars and subject to change. Prior sales
excluded. Dreamcatcher Events reserves the right to change any price,
package or offering at any time without prior notice.
* All rates are subject to 11.9% surcharge, which includes state and local
taxes plus service fees.
* Installment Payment Plan – Upon checkout, you have the option to pay in full
or one 50% installment.
* Upon registration, a non-refundable deposit of 50% of the total purchase
amount is charged to your credit card.
* The remaining balance will be automatically charged to the credit card on
file on November 1, 2024.
* Cancellations
* All payments and deposits are final and non-refundable unless you enroll in
the Active Cancellation Insurance program. The Active Cancellation
Insurance program is a program that will enable you to receive a full
refund should you cancel your registration for any reason as long as you
file your claim no less than 48 hours before the event.
* To enroll in this program, you can purchase the Insurance at check out. The
cost to consumers is 20% of the cart total after any discounts have been
applied. It will clearly spell out the amount in dollars it will cost at
the time of checkout.
* Active Refund is only available to those in the United States, Canada,
France, Switzerland, Germany, United Kingdom, Australia or New Zealand.
Anyone registering outside of those countries will need to purchase trip
cancellation insurance from a 3rd party of their choice.

If you have any questions, please call our customer service number (+1)
800-852-9277, or send us an email at info@dreamcatcher-events.com

For complete details please see our Registration and Payment Policy and
Cancellation FAQ

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CANCELLATION FAQ

WHO HANDLES CUSTOMER SERVICE?

All customer service related to ACTIVE Refund is managed by ACTIVE Support.
Their fully trained staff deliver a consistently exceptional and professional
service to your customers. Refund requests and other consumer inquiries are
processed entirely by ACTIVE Network. In the event you are contacted by a
customer, simply direct them to ACTIVE Support for a quick resolution.

ARE REGISTRANTS REQUIRED TO PURCHASE ACTIVE REFUND?

Absolutely not. ACTIVE Refund is an optional addition for participants.

WHERE DOES THE OFFER APPEAR?

The offer text and opt-in are served on the cart page. ACTIVE Refund parameters
are available in detail, ensuring customers are fully informed at the time of
purchase and via postpurchase confirmation.

CAN A CUSTOMER PURCHASE ACTIVE REFUND AFTER THEY HAVE COMPLETED THEIR
TRANSACTION?

No, ACTIVE Refund must be purchased during registration. Prominent placement and
required response ensure that registrants are aware of the offer during their
transaction.

HOW DOES A CUSTOMER SUBMIT A REFUND REQUEST?

You will receive a confirmation email with a link to submit their refund request
on https://refund.active.com/event or you can email support@active.com with the
details of what you would like to cancel

WHEN A CUSTOMER SUBMITS A SUCCESSFUL REFUND REQUEST, HOW IS PAYMENT DELIVERED?

Don't worry about complicated transactions. ACTIVE Refund transfers the funds
directly to the customer's original form of payment used to pay for the event.

NOTE:

Active Refund is only available to those in the United States, Canada, France,
Switzerland, Germany, United Kingdom, Australia or New Zealand. Anyone
registering outside of those countries will need to purchase trip cancellation
insurance from a 3rd party of their choice.

BREEZIN' WITH THE STARS IS PROUDLY PRESENTED BY DREAMCATCHER EVENTS AND IBANEZ
GUITARS

Dreamcatcher Events would like to thank

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TRAVEL DIRECTIONS

WIGWAM RESORT

Address
300 E Wigwam Blvd
Litchfield Park, Arizona 85340

Website
Wigwam Resort

Contact
Contact Us

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INSTRUMENT TRAVEL

FAA Rules - Bringing Musical Instruments on Flights

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Dreamcatcher Events
* Terms & Conditions
* Registration & Payment Policy
* Sign Up For Updates
* Contact Us

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TERMS AND CONDITIONS

TERMS & CONDITIONS / PRIVACY POLICY

1. TERMS

By accessing Dreamcatcher Events' Websites, you are agreeing to be bound by
these Websites' Terms and Conditions of Use, all applicable laws and
regulations, and agree that you are responsible for compliance with any
applicable local laws. If you do not agree with any of these terms, you are
prohibited from using or accessing this site. The materials contained in these
Websites are protected by applicable copyright and trade mark law.

2. USE LICENSE

Permission is granted to temporarily download one copy of the materials
(information or software) on Dreamcatcher Events' Websites for personal,
non-commercial transitory viewing only. This is the grant of a license, not a
transfer of title, and under this license you may not:

* modify or copy the materials;
* use the materials for any commercial purpose, or for any public display
(commercial or non-commercial);
* attempt to decompile or reverse engineer any software contained on
Dreamcatcher Events' Websites;
* remove any copyright or other proprietary notations from the materials; or
* transfer the materials to another person or "mirror" the materials on any
other server.

This license shall automatically terminate if you violate any of these
restrictions and may be terminated by Dreamcatcher Events at any time. Upon
terminating your viewing of these materials or upon the termination of this
license, you must destroy any downloaded materials in your possession whether in
electronic or printed format.

3. DISCLAIMER

The materials on Dreamcatcher Events' Websites are provided "as is".
Dreamcatcher Events makes no warranties, expressed or implied, and hereby
disclaims and negates all other warranties, including without limitation,
implied warranties or conditions of merchantability, fitness for a particular
purpose, or non-infringement of intellectual property or other violation of
rights. Further, Dreamcatcher Events does not warrant or make any
representations concerning the accuracy, likely results, or reliability of the
use of the materials on its Internet Websites or otherwise relating to such
materials or on any sites linked to this site.

4. LIMITATIONS

In no event shall Dreamcatcher Events or its suppliers be liable for any damages
(including, without limitation, damages for loss of data or profit, or due to
business interruption,) arising out of the use or inability to use the materials
on Dreamcatcher Events Internet site, even if Dreamcatcher Events or a
Dreamcatcher Events authorized representative has been notified orally or in
writing of the possibility of such damage. Because some jurisdictions do not
allow limitations on implied warranties, or limitations of liability for
consequential or incidental damages, these limitations may not apply to you.

5. REVISIONS AND ERRORS

The materials appearing on Dreamcatcher Events' Websites could include
technical, typographical, or photographic errors. Dreamcatcher Events does not
warrant that any of the materials on its Websites are accurate, complete, or
current. Dreamcatcher Events may make changes to the materials contained on its
Websites at any time without notice. Dreamcatcher Events does not, however, make
any commitment to update the materials.

6. LINKS

Dreamcatcher Events has not reviewed all of the sites linked to its Internet
Websites and is not responsible for the contents of any such linked site. The
inclusion of any link does not imply endorsement by Dreamcatcher Events of the
site. Use of any such linked Websites is at the user's own risk.

7. SITE TERMS OF USE MODIFICATIONS

Dreamcatcher Events may revise these terms of use for its Websites at any time
without notice. By using these Websites you are agreeing to be bound by the then
current version of these Terms and Conditions of Use.

8. GOVERNING LAW

Any claim relating to Dreamcatcher Events Websites shall be governed by the laws
of the State of New York without regard to its conflict of law provisions.

LIMITATION OF LIABILITY

IN NO EVENT WILL WE OR OUR EVENT PROVIDERS, SUPPLIERS, ADVERTISERS AND SPONSORS,
BE RESPONSIBLE OR LIABLE TO YOU OR ANYONE ELSE FOR, AND YOU HEREBY KNOWINGLY AND
EXPRESSLY WAIVE ALL RIGHTS TO SEEK, DIRECT, INDIRECT, INCIDENTAL, SPECIAL OR
CONSEQUENTIAL DAMAGES OF ANY TYPE OTHER THAN OUT OF POCKET EXPENSES, AND ANY
RIGHTS TO HAVE DAMAGES MULTIPLIED OR OTHERWISE INCREASED, ARISING OUT OF OR IN
CONNECTION WITH THE DREAMCATCHER WEBSITES, THE CONTENT, OR ANY PRODUCT OR
SERVICE PURCHASED THROUGH THE DREAMCATCHER SITES, EVEN IF WE HAVE BEEN ADVISED
OF THE POSSIBILITY OF SUCH DAMAGES, AND REGARDLESS OF WHETHER THE CLAIM IS BASED
UPON ANY CONTRACT, TORT, OR OTHER LEGAL OR EQUITABLE THEORY. WITHOUT LIMITING
THE FOREGOING, YOU EXPRESSLY ACKNOWLEDGE AND AGREE THAT WE WILL HAVE NO
LIABILITY OR RESPONSIBILITY WHATSOEVER FOR (a) ANY FAILURE OF ANOTHER USER OF
THE DREAMCATCHER WEBSITE TO CONFORM TO THE CODES OF CONDUCT, (b) PERSONAL INJURY
OR PROPERTY DAMAGE, OF ANY NATURE WHATSOEVER, WHETHER ARISING IN CONTRACT OR IN
TORT, RESULTING FROM YOUR ACCESS TO AND USE OF OUR WEBSITE AND/OR ANY FACILITIES
RELATED THERETO, (c) ANY UNAUTHORIZED ACCESS TO OR USE OF OUR SECURE SERVERS
AND/OR ANY AND ALL PERSONAL INFORMATION AND/OR FINANCIAL INFORMATION STORED
THEREIN, (d) ANY BUGS, VIRUSES, WORMS, TROJAN HORSES, DEFECTS, DATE BOMBS, TIME
BOMBS OR OTHER ITEMS OF A DESTRUCTIVE NATURE WHICH MAY BE TRANSMITTED TO OR
THROUGH OUR WEBSITE, OR (e) ANY ERRORS, MISTAKES, INACCURACIES OR OMISSIONS IN
ANY CONTENT. YOUR SOLE AND EXCLUSIVE REMEDY FOR DISSATISFACTION WITH THE WEBSITE
IS TO STOP USING THE WEBSITE. THE LIMITATIONS IN THIS SECTION WILL APPLY EVEN IF
ANY LIMITED REMEDY FAILS OF ITS ESSENTIAL PURPOSE. THE ALLOCATION OF RISK
BETWEEN US IS AN ESSENTIAL ELEMENT OF THE BASIS OF THE BARGAIN BETWEEN US. OUR
AGGREGATE LIABILITY ARISING OUT OF THESE TERMS OR THE USE OF THE WEBSITE WILL
NOT EXCEED THE GREATER OF ONE HUNDRED DOLLARS ($100) OR THE AMOUNT YOU HAVE PAID
US IN THE PAST TWELVE MONTHS. SOME JURISDICTIONS DO NOT ALLOW THE EXCLUSION OR
LIMITATION OF DAMAGES, SO THESE MAY NOT APPLY TO YOU. IN SUCH CASES, OUR
LIABILITY WILL BE LIMITED TO THE FULLEST EXTENT PERMITTED BY APPLICABLE LAW. IN
NO EVENT WILL ATTORNEYS' FEES BE AWARDED OR RECOVERABLE.

INDEMNIFICATION

If anyone brings a claim against us related to your use of the Dreamcatcher
Website or your violation of these Terms, you agree to indemnify, defend and
hold us and our affiliated companies, event providers, suppliers, advertisers
and sponsors, and each of our officers, directors, employees, and agents,
harmless from and against any and all claims, damages, losses and expenses of
any kind (including reasonable legal fees and costs). We reserve the right to
take exclusive control and defense of any claim, and you will cooperate fully
with us in asserting any available defenses.

Your privacy is very important to us. Accordingly, we have developed this Policy
in order for you to understand how we collect, use, communicate and disclose and
make use of personal information. The following outlines our privacy policy.

* Before or at the time of collecting personal information, we will identify
the purposes for which information is being collected.
* We will collect and use of personal information solely with the objective of
fulfilling those purposes specified by us and for other compatible purposes,
unless we obtain the consent of the individual concerned or as required by
law.
* We will only retain personal information as long as necessary for the
fulfillment of those purposes.
* We will collect personal information by lawful and fair means and, where
appropriate, with the knowledge or consent of the individual concerned.
* Personal data should be relevant to the purposes for which it is to be used,
and, to the extent necessary for those purposes, should be accurate,
complete, and up-to-date.
* We will protect personal information by reasonable security safeguards
against loss or theft, as well as unauthorized access, disclosure, copying,
use or modification.
* We will make readily available to customers information about our policies
and practices relating to the management of personal information.
* We are committed to conducting our business in accordance with these
principles in order to ensure that the confidentiality of personal
information is protected and maintained.

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REGISTRATION AND PAYMENT POLICIES

REGISTRATION, PAYMENT, CANCELLATION TERMS & CONDITIONS

Your decision to register for Breezin' With The Stars constitutes your
acknowledgement of and consent to all of the registration, payment and
cancellation terms and conditions listed below.

Dreamcatcher Events LLC reserves the right to refuse a sale, reject a sale, deny
admission or remove from an event, any person for any reason, including, but not
limited to, any harm or potential harm that person might cause, violation of the
law, threats, disorderly behavior, failure to make timely payment, illegal
activity, or for any other reason that is not prohibited by law.

REGISTRATION AND PAYMENTS

If you have any questions, please call our customer service number (+1)
800-852-9277, or send us an email at info@dreamcatcher-events.com

CANCELLATION

* All payments and deposits are final and non-refundable unless you enroll in
the Active Cancellation Insurance program. The Active Cancellation Insurance
program is a program that will enable you to receive a full refund should you
cancel your registration for any reason as long as you file your claim no
less than 48 hours before the event.
* To enroll in this program, you can purchase the Insurance at check out. The
cost to consumers is 20% of the cart total after any discounts have been
applied. It will clearly spell out the amount in dollars it will cost at the
time of checkout.

PHOTO RELEASE

Dreamcatcher Events, LLC reserves the right to use photos and videos taken
during Breezin' With The Stars, including photos that include the images of any
attendees, and to use such photos for advertising and marketing purposes.

I hereby agree to release my photograph to Dreamcatcher Events, LLC without
compensation.

I understand that Dreamcatcher Events, LLC reserves all rights in regard to
reproduction of said photograph.

GENERAL LIABILITY RELEASE

I hereby release Dreamcatcher Events, LLC, its employees, managers, vendors,
owners and all associated entities, from all claims, liabilities, loss to
property, damages, injuries, etc. arising out of or in connection with my
purchase and/or participation in any aspect of Breezin' With The Stars.

LIMITATION OF LIABILITY

INDEMNIFICATION

Due to the nature of our events and strict cancellation policies, Dreamcatcher
Events, LLC strongly suggests purchasing travel insurance.

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JOIN THE MAILING LIST

Email Address: *

First Name: *

Last Name: *

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SHARE THIS EVENT!

Share this event with your friends and family.

* Facebook
* Twitter
* Email

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AIR TRAVEL WITH MUSICAL INSTRUMENTS

As of March 6, 2015, it’s official and no longer at the discretion of the
various airlines. According to the U.S. Department of Transportation, musicians
who board planes must be allowed to carry on their instruments provided they fit
in the overhead bin. If this space isn’t large enough, the musician is also
permitted to purchase a second seat in which to stow their musical companion.
One caveat: the airlines don’t have to prioritize musical instruments ahead of
any other carry-on luggage, so if the bins are full, you’ll still have to check
your instrument at the gate. To remedy this, the DoT suggests that musicians may
want to pay the airline’s fee for priority boarding to ensure that there will be
room for their gear.

Read the final ruling here, and for additional information, please review the
Transportation Security Administration’s guide for traveling with musical
instruments.

*Article source: bmi.com - Final Ruling for Air Travel with Musical Instruments

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