WILL SELLENRAAD – GUITARIST, COMPOSER Will Sellenraad is a vibrant, innovative jazz guitarist and composer at the forefront of New York City’s creative music scene. With a singular voice that fuses soulful lyricism, rhythmic feel, and improvisational sophistication, he crafts soundscapes that are both evocative and electrifying. BACKGROUND & EDUCATION Born into the downtown Manhattan art world as the son of two prominent New York painters, Sellenraad was immersed in creativity from the beginning. He went on to refine his artistry at The New School University’s renowned Jazz Program, graduating in 1995 after studies with luminaries including John Abercrombie, Gary Dial, Jim Hall, and Reggie Workman. Along the way, his talent earned him multiple scholarships and grants from the New York State Council on the Arts. MUSICAL CAREER & STYLE A cornerstone of New York’s jazz community, Sellenraad has performed in many of the city’s most storied venues, including The 55 Bar, Smalls, Mezzrow, The Blue Note, Birdland, The Iridium, and the legendary Sweet Basil. His playing is celebrated for brilliant improvisations and compelling, melodic compositions that draw from jazz, soul, rock, and funk—melding tradition with innovation to create a deeply personal and emotionally resonant voice. NOTABLE ALBUMS & PROJECTS Streams (late 1990s, debut): Trio recording with James Hurt (piano), Kiyoshi Kitagawa (bass), and Eric McPherson (drums), marking his early mastery. Star Hustler (2002, with Root Down): Featuring Brian Charette (organ) and Darren Beckett (drums); recorded live to ½” tape by Charlie Martinez at Dangerous Music—raw, live, and unedited. Balance (2007): With Abraham Burton, Kiyoshi Kitagawa, and Victor Lewis; a milestone in his compositional development and modern jazz voice. Greene Street Vol. 1 (2019): A deeply collaborative trio album with longtime partners Rene Hart (bass) and Eric McPherson (drums). Widely praised for its melodic warmth and ensemble chemistry, the album drew critical acclaim: Nate Chinen noted it “captures a social dynamic in motion”; DownBeat called it “an arresting album,” while JazzTimes highlighted its “affinity for melody and sparse liquidity.”