The Musicians
A Modern Crooner
Born into a multi-generational musical family, Michael Carter sharpened his craft under Bay Area jazz legend Nate Pruitt of Primary Colors. Through that mentorship, he developed a baritone that’s rich and quietly magnetic. He draws from Sinatra’s swing, Jobim’s sensuality, and Tony Bennett’s ease, shaping a sound that feels timeless without drifting into imitation.
Michael works constantly. On any given week, he’s at the center of lounges, wineries, and jazz rooms from San Francisco to San Jose, setting a tone that feels relaxed, intimate, and lightly swinging. He sings close, trusts the song, and lets phrasing do the work. The night slows down. The room settles in.
As the leader of Vintage Noise, Michael defines the ensemble’s feel. He listens deeply, leaves space, and builds performances in real time alongside the musicians around him. The result is a sound that feels personal and unforced — classic music played with present-day confidence.
As Metro Newspaper wrote, “If there’s a time for crooning to make a resurgence, it’s probably now — it’s totally vintage.” Hailed as “a latter-day crooner who sings in the style of Sinatra,” Michael carries the praise with ease, letting consistency and trust speak louder than spectacle.
Inside Vintage Noise, Michael is not a frontman standing apart — he’s part of the conversation. His voice doesn’t dominate the room. It draws people closer.
Bossa Nova Architect
Ed Johnson is a guitarist, vocalist, and arranger whose playing is deeply rooted in Brazilian music, while drawing naturally from jazz, R&B, Afro-Cuban rhythms, and American popular song. His command of these styles, paired with a refined sense of harmony, gives his music a warmth and sophistication that feels effortless rather than studied.
As a vocalist, Johnson is often compared to Ivan Lins, Milton Nascimento, Kenny Rankin, and Michael Franks. As a guitarist, his sound is lush and rhythmic, unmistakably Brazilian, and grounded in feel. His recordings have earned international airplay for blending Brazilian influence with a modern jazz sensibility.
Johnson is also a respected composer and arranger, known for original songs with a strong Brazilian and Latin undercurrent, along with vocal and instrumental arrangements across jazz, gospel, R&B, Americana, and world music. As Russ Haines, Jazz Music Director at WWSP, noted:
“Ed Johnson is a solid guitarist with a fine touch and a talent for tasty vocals. Johnson’s love for the music is evident and the respect for the roots of the music comes across in each note.”
Within Vintage Noise, Johnson provides the band’s Brazilian core. His guitar sits just behind the beat, shaping the groove and giving the music its relaxed sway. His presence is subtle but essential — the quiet current that gives the ensemble its warmth, depth, and unmistakable sense of ease.
Bossa & Beyond
Franz J. Díaz is a pianist shaped by years on the road, in real rooms, with real audiences. He has perfect pitch, an unshakable sense of time, and the kind of musical memory that lets him step into any setting and immediately sound like he belongs. Nothing rattles him. Nothing is unfamiliar.
Originally from Colombia, Franz built his career performing across international stages, where versatility wasn’t optional — it was survival. Jazz standards, Brazilian repertoire, Latin grooves, pop, soul — whatever the setting called for, he delivered with authority, clarity, and feel. That experience shows in his playing: confident, deeply musical, and always in control.
Now based in the San Francisco Bay Area, Franz brings that worldliness into Vintage Noise. His piano anchors the band with calm precision, shaping harmony, rhythm, and motion without ever drawing focus away from the song. He hears everything, adjusts instantly, and makes the ensemble sound settled, relaxed, and complete.
Franz is the kind of musician bands rely on when the room matters and the music has to work — not just sound good. Inside Vintage Noise, he is the steady hand and the quiet engine, giving the group its polish, its flexibility, and its unmistakable sense of ease.
The Warm Groove
Mike Hallesy is the kind of bassist musicians relax around. His time is deep, his feel is natural, and the music settles the moment he starts playing. Nothing feels rushed. Nothing feels stiff. The groove lands where it should.
Raised on a wide range of music — from folk ukulele and jazz piano to classical cello — Mike brings a lifetime of listening into every note. That breadth shows in his touch and tone, whether on upright bass or electric. He knows how to support a song without crowding it, and how to move a band forward without pushing.
Mike has worked across the Bay Area jazz scene in settings of every size, from intimate combos to full ensembles, including performances featured as part of San Jose Jazz Summer Fest programming. That experience gives him an instinctive sense of how music behaves in a room. He hears everything, locks in quickly, and keeps the foundation steady no matter what’s happening above him.
Inside Vintage Noise, Mike is the anchor. His bass supports Michael’s vocals, gives Franz room to move, and lets the band lean back without losing momentum. He brings warmth, swing, and an easy confidence that audiences feel immediately — even if they don’t know why the night suddenly feels right.
Musical Lineage & Collaborators
These are the players who helped build the Vintage Noise sound and still light it up whenever they join us—friends, collaborators, and extended family.