It is the responsibility of the local presenter to arrange for, supply and pay for the following requirements of the Artist:

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1 Ground Transportation If the ARTIST so determines that he needs ground transportation, Purchaser agrees to provide such transportation at his sole cost and expense. Purchaser will provide two 15 passenger van (one with the front bench taken out) to accommodate 17 people, equipment (including an acoustic bass in a hard case) and 10 large pieces of luggage. Transportation must be provided as follows: - Pick up at airport - Bring to hotel - Hotel to concert site - Concert site back to hotel - Hotel to the airport ARTIST will provide purchaser with airline and ground pick up/delivery schedules. IF PURCHASER FAILS TO SHOW UP ON TIME WITH THE PROPER VEHICLES AND ARTIST IS FORCED TO FIND OTHER SUITABLE TRANSPORTATION, PURCHASER WILL PAY AT HIS SOLE COST AND EXPENSE FOR ALL TRANSPORT COSTS INCURRED BY THE ARTIST. Hotel Accommodations If PURCHASER is providing HOTEL ACCOMMODATIONS, A four star hotel hotel with a minimum of (1) Suite and (17) single rooms with king size beds must be provided. The rooms shall be available until the day after the performance with the ARTIST to comply with checkout times and hotel rules. The PURCHASER shall not be responsible for any extra charges during the stay of the ARTIST. Production Rider This Production Rider shall be attached to and become an integral part of the performance agreement or contract between The McBride Company, Inc. ( Artist ) and ( Local Presenter ) This Rider is an integral part of the performance agreement and as such, should be read carefully, signed and returned in order to have a fully executed agreement. No item may be waived or changed, nor any additions or deletions made without the express written consent of the Artist or the Artist representative. In case of any conflict or inconsistency between the terms of this Production Rider and any contract or other rider to which it may be attached, this Production Rider shall prevail. It is the responsibility of the local presenter to arrange for, supply and pay for the following requirements of the Artist: Production and Technical Requirements A. Sound System Requirements A.1 General Local Presenter shall provide at his/her sole cost and expense, a first-class, professional sound reinforcement system capable of providing even, stereo coverage and distortion free sound levels of no less than 115dB to all ticketed areas, seated or standing, of the venue. All necessary cables, parts, rigging and hardware for the safe and efficient operation of the sound system must be included. A.2 Local Sound Technician/Engineer There must be a local sound engineer and/or technician(s) who is an expert with the set up and operation of the front of house sound system and is able to program and adjust the system as requested by the Artist s sound engineer. The technician must present at the front of house position for load in, sound check and all performances. A.3 Front of House Mix Position An in-house, on the aisle mix position that is clear of balcony overhang is necessary and critical to this performance. Mix position in the balcony is not acceptable. Mix position should be physically secured, stable and on the main floor with audience members and as near to center house as possible. A.4 Front of House Console A forty-eight (48) input mixing console with four (4) band equalization per channel (eq. must include a minimum of two <2> sweepable bands). Console should include eight (8) auxiliary sends and eight (8) sub-groups. Acceptable Digital Consoles: Christian McBride Big Band Production Rider Page 1 of 7 Initial

2 DiGiCo SD8, SD7, SD8-24, DigiDesign Venue SC48, Soundcraft Si2, Si3, Vi4, Acceptable Analogue Consoles: Midas Verona 480 or Heritage 1000, 2000 or 3000, Yamaha PM A.5 Main Speaker System and Processing Configuration of speaker system must be coordinated in advance of load in with the Artist s production manager or sound engineer. Acceptable speaker cabinets: D&B, Meyer, JBL (only Vertec), and L Acoustics. Speaker Management/network and system processors must be included in the system provided and shall include DSP software based processing, equalization and delay on all inputs and outputs. Acceptable DSP Processors: Any Proprietary controllers such as Meyer Galileo, D&B R1, or stand alone controller such as DBX Drive Rack, or Klark Teknik DN9848E. The processor should be capable of independently controlling all zones of speakers in the system, including center clusters, balcony fills, and/or delay systems. In case of Analogue Console, additional outboard equipment that must be included: Two (2) digital multi-effects processors. Lexicon PCM-91, TC Electronics M3000, 2000, Four (4) noise gates and four (4) comp/limiters. Avalon, DBX, Drawmer. The system shall have playback and recording devices including: One (1) CD recorder/player and One (1) CD player. Christian McBride Big Band Production Rider Page 2 of 7 Initial

3 B. Stage Monitor System Requirements B.1 General Local Presenter shall provide at his/her sole cost and expense a first-class professional stage monitoring system. The system must be capable of providing 8 discrete mix s at distortion free sound levels of no less than 110db at positions as noted on the stage plot. All necessary cables, parts, rigging and hardware for the safe and efficient operation of the sound system must be included. B.2 Monitor Mix Position The Monitor Mix position will be located on the down stage left wing and must have a clear line of sight to the opposite side of the stage from the operating position of the console. Mix position on the stage right side, upstage positions or out of the line of sight of the stage should be avoided. B.3 Console A Forty-Eight (48) input on-stage monitor console with four (4) band equalization per channel (eq. must include a minimum of two <2> sweepable bands. Console should have eight (8) monitor sends and Cue mix with faders on each channel. Acceptable Digital consoles: DiGiCo SD8-24, SD7, Digidesign SC48, Soundcraft Si2, Si3, Vi4. Acceptable Analogue Consoles: Midas Verona 480, Heritage 1000, 2000 or 3000, Yamaha PM 5000M. B.4 Monitor Speakers and Processing Monitor system shall include Eleven (11) floor wedges and one (1) matching cue wedge and amplification as necessary for non-powered speakers. Acceptable monitor speakers: Meyer UM-1P, D&B M6, M4 or M2, MAX12, L Acoustics 112P, 108P, EAW MW12, MW15, SM12, SM15, SM200, Clair Brothers 12AM. In case of analogue consoles, the monitor system shall include twelve (12) channels of 1/3-octave equalizers to be inserted on the monitor sends. In case of conventional, nonpowered speaker s, the monitor system shall include speaker processors, and amplifiers for bi-amplification. Acceptable amplifiers: QSC, Crest, Crown, Lab Gruppen, D&B. Acceptable EQ s: BSS, Klark Teknik, Ashley. In case of Analogue console the monitor system should include one (1) digital multi-effects processor. Acceptable processors: Lexicon PCM-91, TC Electronics M3000, B.5 Local Sound Technician/Engineer There must be a local sound engineer and/or technician(s) who is an expert with the set up and operation of the monitor sound system and is able to program and adjust the system as requested by the Artist s sound engineer. The technician must present at the monitor mix position for load in, sound check and all performances. B.6 Stage Microphone Splitter/Snake System A microphone splitter and snake system must be included in the sound system. It is assumed digital systems will include proprietary equipment based on the system. In the case of analogue systems, the direct outputs of the splitter should be assigned to the FOH inputs and the 1st split should be assigned to the monitor inputs. The splitter system should have ground lifts available for each input channel. Preferred splitter systems: Radial, Whirlwind, Wireworks and Brooks Siren Systems. B.7 Microphones, Direct Box s and Stands All microphones, wireless microphone transmitters and receivers, direct boxes and microphone stands, must be included in the system as noted on the input list unless otherwise noted or agreed to (see attached input list). An assortment of high quality, good looking and condition microphone stands and booms, which are to be all black, (no chrome stands please) shall be included in the system. Acceptable stands: K&M and Atlas (see attached input list for specification by position). B.8 Power Distribution The appropriate stage power distribution shall be clean and independent from all other loads with earth ground for all sound equipment and should be installed by a qualified electrician and include extension cables and multiple outlet boxes for US three prong plugs as necessary to energize the sound system. This system must also be available for the Artist s backline equipment. The voltage for Artist s equipment should be regulated 115 Volts AC. Christian McBride Big Band Production Rider Page 3 of 7 Initial

4 C. Backline Requirements C.1 General The Local Presenter shall provide at his/her sole cost and expense, instruments, amplification and accessories to include the following. Please coordinate with Artist production manager as the Artist may provide some equipment. For European presenters, please provide two (2) 500w, step down transformers (220V AC converted to 115V AC with three-prong plug availability). C.2 Keyboards Acoustic Grand Piano, (minimum 7 ); Steinway Model B or D, Yamaha C7 or C6, Fazioli F212 or 278), tuned to A440, AFTER piano has been moved into position onstage, One (1) adjustable height Piano Bench. The piano must be tuned no later than 30 minutes prior to sound check, and tuner must be available for touch-up 30 minutes prior to doors opening. Baldwin and Kawai instruments are unacceptable. C.3 Bass Amp and Speaker Cabinet One (1) Epifani 502 Bass Amp with One (1) Epifani 4X10 Bass Speaker Cabinet Alternate choice is One (1) SWR 400 amp head and One (1) SWR Goliath 4x10 speaker cabinet and Two (2) guitar stands. Please provide AC power at bass amp location. Please provide all necessary cables and hardware for all the above equipment. C.4 Drums Ulysses S. Owens Jr. exclusively plays & endorses Remo Drum Heads, Craviotto Snare Drums, and Gretsch Drums and Hardware. Please reference Drum Setup page at: Gretsch New Classic or Vintage B.D 18 X 14 (No Hole In B.D Head) Floor Tom w/ legs -14 x 14, NOT Mounted On A Stand. Tom 12 x 8 with Bass Drum Mount (Or provide an extra snare stand to mount it) Snare 14 x or 6 (Ulysses brings his own) Hardware - Gibraltar 1 Drum Throne 1 Snare Drum Stand 4 Straight Cymbal Stands (Single Brace) 1 Hi Hat Stand 1 Foot Pedal (With no bulky footboard, and a felt beater. Preferably Gibraltar) 1 Drum Rug 2 Boom Microphone Stands (Ulysses brings his own Overhead Microphones) All cymbal stands must have felts and cymbal sleeves, no duck tape on cymbal rods please. Heads - Remo New or Moderately Used All necessary cables and hardware for all the above percussion equipment must be included. C.5 Miscellaneous (1) 3 Bass stool (45) Padded Musicians Chairs (35) Black Manhasset Music Stands with Lights Remo Coated Ambassadors on Toms and Snare (No Snare Drum heads w/ Powerstroke, Power Dot, or reinforcement rings) Remo Clear Ambassadors on Bottom Heads (No tape on Toms or Bass drum) Remo Coated Ambassador Bass Drum Batter Side Gretsch Logo Head with NO hole in it, or Remo Coated Ambassador on Front of Bass Drum. (If the logo head is not Gretsch, please tape and cover it w/black Tape.) Ulysses exclusively plays & endorses Remo Drum Heads, Craviotto Snares, Earthworks Microphones, Gretsch Drums and Gibraltar Hardware. Gretsch/Gibraltar Contact: Kim Graham - Kim.Graham@kmcmusic.com Craviotto Contact: Joe Kenny/ - jkenny@craviottodrums.com Remo Contact: Matt Connors - mconnors@remo.com Earthworks Contact: Kim Hiltonkim@earthworksaudio.com Christian McBride Big Band Production Rider Page 4 of 7 Initial

5 D. Dressing Rooms & Production Office D.1 Band and Choir Dressing Rooms One (1) safe, comfortable, private dressing rooms each equipped with sofas, chairs, mirrors, iron and ironing board and steamer, trash bins, comfortably heated or air-conditioned, ventilated and well lit for 15 people each, clearly labeled Band. D.2 Star Dressing Rooms Six (6) Safe, comfortable, private dressing rooms each equipped with sofas, chairs, mirrors, iron and ironing board and/or steamer, trash bins, comfortably heated or air-conditioned, ventilated and well lit for 1 person each, for soloist, band leader and choir director clearly labeled JD Steele and Christian McBride with the remaining to be determined based on personnel. D.3 Production Office One (1) private production office, supplied with at least three (3) electrical outlets, high-speed Internet connection, access to photocopy machine, fax machine and a working telephone capable of making local and long distance calls. The production office must be available at the start of the load-in through the end of the load out and labeled Production Office. D.4 Room Conditions All dressing rooms are to be clean, dry, well lighted and heated or air-conditioned, as the weather requires. Rooms shall be in easy access to clean lavatories, which are to be supplied with soap, toilet tissue. Dressing room lavatories shall be closed to the general public. They are to be made available to Artist s representatives upon their arrival, and are to remain available to Artist and their staff until two hours after the end of the performance. D.5 Security The Local Presenter shall be responsible for providing the security of all backstage areas including the dressing room area and shall keep all unauthorized persons from entering the area. In addition, these rooms must be capable of being locked, and the keys made available to the Artist s representatives. Christian McBride Big Band Production Rider Page 5 of 7 Initial

6 E. Wardrobe & Hospitality E.1 Wardrobe Staff & Equipment The presenter must provide wardrobe staff of at least two (2), preferably one (1) male and one (1) female, and wardrobe equipment including: two (2) irons, two (2) ironing boards and two (2) large steamers to iron/steam Artists wardrobe. Wardrobe staff should be available to help the Artist as needed with small repairs, stage apparel preparation and dressing as needed for the performance. The call times should be coordinated with the Artist Production Manager. E.2 Total Beverages to be Supplied Freshly brewed coffee...unlimited Assorted teas (including English breakfast)...unlimited Milk...1 gallon Half & Half...1 pint Bottled spring water...8 liters Sparkling mineral water...5 liters Powerade..4 bottles Coca Cola...(2) 6-packs Diet Coke...(1) 6-pack Platter of fresh vegetables...for 3 people Freshly squeezed orange juice...2 quarts Local beer... (1) 6-pack Cups, napkins, utensils and unlimited ice E.3 Hot Meals PLEASE PROVIDE 1 MEAL for the group. The meal should consist of one of the following: meat (Steak or Ribs), Pasta or Chicken with potatoes or rice, salad and dessert (cookies, cake and/or pie). Work out the exact menu with the tour manager. E.4 FOR ALL MULTIPLE NIGHT ENGAGEMENTS: Band meals are to be provided every concert night. Purchaser may choose to pay Artist a dinner per diem in lieu of providing hot meals. The per diem would be $50/person. Christian McBride Big Band Production Rider Page 6 of 7 Initial

7 F. Artist Control Over Production F.1 General Artist shall have the sole and exclusive control over the production and presentation of the performance, the designation and substitution of any of the performing personnel, and the direction of personnel operating all lighting and sound equipment during rehearsals and performances. It is specifically understood and agreed that a representative of the Artist shall have the sole and absolute authority in mixing and controlling all sound equipment while the Artist is performing. F.2 House Open Local Presenter shall not allow audience members to enter the place of performance until technical setup and sound check have been completed. Every effort will be made to see that this is completed 30 minutes prior to start of performance. House will not be opened until cleared by Artist s representative. F.3 Pre Show Activities/Opening Acts Local Presenter agrees the performance shall be presented without any pre-show activities, warm-up act, ceremonies and/or any other performer or other productions without advance notice to the Artist and prior written approval of Artist or Artist representative. All introductions to be reviewed and approved on-site by Artist s designated representative. F.4 Walk In Music No pre-performance music shall be played other than Artist s own choice of music. F.5 Length of Performance/Late Seating This production is a continuous seventy-five to ninety (75-90) minute set, without intermission. Late seating is to take pace at the end of the Section I. (Overture) and the end of Section II. (Main Theme) The concert must start no later that ten (10) minutes after the contracted start time of the performance. F.6 Entire Rider Agreement This Production Rider shall be effective only when signed by Local Presenter and returned to Artist s booking agency. All attachments and addendums are considered a part of this contract rider and are binding. F.7 Contacts Artist Management, Press, Marketing, Transportation and Hotel related questions and inquiries, please contact: Cheryl Guess GuessWorks, Inc cheryl@guessworks.org Production related questions, coordination and inquiries, please contact: Andre Guess GuessWorks, Inc andre@guessworks.org Agreed and accepted: Local Presenter Signature Print Name, Title Date André Kimo Stone Guess Date The McBride Company, Inc. Christian McBride Big Band Production Rider Page 7 of 7 Initial

8 (FT C L EDGE OF STAGE (FT GES gibson entertainment services These drawings, designs and concepts represent ideas and construction suggestion only. Gibson Entertainment Services, LLC (GES) does not accept responsibility for the structural integrity or appropriateness of these concepts, ideas and/or suggestions, and no engineering specifications are implied herein. GES is not qualified to determine the structural appropriateness of these designs and will not assume responsibility for improper engineering, construction and/or handling of any concept herein. All materials, construction and assembly techniques must comply with the most stringent applicable fire, safety, and building codes. These drawings, designs, and concepts remain the intellectual property of GES, and as such, may not be used for any purpose without the written consent of GES. Any unauthorized use is a violation of existing copyright laws. NOTES: Please provide 13 padded chairs, and18 manhasset Type music stand. Please provide a safety kick rail on the rear of the trombone riser. Please drape all risers on three sides (four if audience is seated behind orchestra) Christian McBride Big Band Stage Plot Date: July 2010 Scale: None