December 14

Nakatani Gong Orchestra
The unconventional, uncontrollable, and uncertain qualities of gong sounds are percussionist Tatsuya Nakatani’s passion. Having played bowed gongs for over ten years, he has toured and performed all over the U.S. and internationally with the instruments in his van, many of which he created himself. While on tour, Nakatani enjoys collaborating with local orchestra crews from the cities he visits.
Nakatani has recently launched the N.G.O. (Nakatani Gong Orchestra), a bold, new project born out of Nakatani’s ten years of solo percussionist experience.  As a solo performer, both of his hands are occupied by bow or mallet, limiting him to just two gongs. But imagine the wall of sound of ten hands playing ten gongs. That’s the sonic power of N.G.O.
An N.G.O. performance starts with five people on five gong kits, usually 8-10 gongs onstage with Nakatani as the ensemble’s conductor.  All stands, bows and mallets are assembled or hand-made by Nakatani as an important phase of the composing process of N.G.O. and its music.
The music of N.G.O. creates a metallic temple of deep harmonies. The gongs are bowed and softly struck by mallets to produce sounds that defy musical categorization.  A 40-inch large gong creates extreme low-frequency wave forms that cross-vibrate with the tones of the other gongs of varying sizes. The result is a sound which emanates from the deepest frequency pool and is felt in the very depths of the body. N.G.O. is now performing nationwide.
Born and raised in Osaka, Japan, Nakatani currently resides in Easton, PA.  He has released over sixty CD recordings in the USA and Europe. Since the late 1990ʼs, he has performed primarily solo percussion across the USA and overseas and has taught master classes at universities as well as holding workshops and lectures.Osaka, Japan, Nakatani currently resides in Easton, PA.  He has released over sixty CD recordings in the USA and Europe. Since the late 1990ʼs, he has performed primarily solo percussion across the USA and overseas and has taught master classes at universities as well as holding workshops and lectures.
Local performers: Jason Zeh, Erik Montgomery, Jason Shapiro, John Hubbell and Bianca Marcia Naves 


November 19th

Brian Labycz/Paul Giallorenzo

Brian Labycz is an improviser hailing from Chicago primarily performing with electronics. Currently working with a modular synthesizer he has also utilized a range of sources such as acoustic instruments, digital manipulations, field recordings, and self-made devices to produce and explore various expressive forms. With a primary focus on improvisation his aim is to produce dynamic gestures with electronics in a live setting. The goal is to transcend gadgetry to arrive at a fully realized performance instrument. Working as a soloist and in various group settings he has performed and released work in the US and Japan. He has also organized events in Chicago and abroad and is actively hosting the Myopic Improvised Music Series as well as the Protest Series at Heaven Gallery.

Paul Giallorenzo is a Chicago-based improviser, composer, and sound designer using piano, synthesizer, and electronics in a wide variety of groups and contexts, ranging from jazz and improvised music to electro-acoustic / noise. Current projects include GitGO (482 Music, free jazz compositions); Breakway (Friends and Relatives, electro/acoustic improvising trio with electronicist Brian Labycz and drummer Marc Riordan); Masul (Creative Sources Recordings, duo with Swiss composer/bass saxophonist Thomas Mejer); The Telegraph Series (Augmented Records, synth-pop duo with drummer/vocalist Allison Stanley); and a piano trio featuring Norwegian bassist Ingebrigt Håker Flaten and drummer Tim Daisy.

Life Size Sharks Killer Creatures Reptile



November 16th

 Travis Laplante 

Saxophonist and Composer Travis Laplante is highly active in New York City’s experimental music scene, and is quickly becoming known as one of the most powerful young voices in improvisational and structured sound.  Laplante has recorded and performed with Anthony Braxton, Mark Dresser, Mat Maneri, Jim Black, Trevor Dunn, Andrew Cyrille, as well as the experimental rock bands Extra Life and Skeletons.  His band Little Women has toured internationally to high acclaim and the band’s first full-length record Throat was recently released on AUM Fidelity records.  In the fall of 2010 Laplante performed his solo music throughout the Northeast US. and Canada on a double bill with Nat Baldwin of the Dirty Projectors.  Travis Laplante also has a trio with Michael Formanek and Gerald Cleaver.
Tiny Mix Tapes describes Laplante’s music as “a timely battle cry for both the unstoppable force of experimental music and the fact that no mode of domination can ever fully conquer the wild energy and potentiality that blooms inside the body, waiting to explode out into the world and shatter that which must be shattered.” The ChicagoTribune simply claims that his music “might change your life, indefinably.”

Saxophonist/guitarist Jason Shapiro, one half of Toledo’s own Construction Telescope, a free improvisational duo will open the night.


3 year anniversary Fest

OCTOBER 16 & 19


   Jaap Pieters & Travis Bird

Dutch artist Jaap Pieters has been taking photographs and making Super 8mm films for three decades. He’s created dozens of films on this small-gauge “amateur” medium, confining himself to the duration of a Super 8 reel (3 minutes). Working with minimal equipment and manipulation, most of Pieters’ films are shot from the window of his Amsterdam apartment. Well-known in Europe where his work is seen regularly at micro-cinemas, alternative venues and festivals, these ephemeral creations are rarely screened in North America. In collaboration with Anthology Film Archives, and as part of his inaugural U.S. tour, Pieters will present his films in person and give commentary, while Chicago musician Travis Bird will improvise sounds to interact with the visual environments.

Travis Bird

Travis Bird is a Chicago-based musician and songwriter. He has explored a wide variety of musical territory on guitar, drums, and an array of other devices, including punk and classic rock as well as experimental and sound art veins. Current projects and collaborations include the psychedelic rockrnof the Leavitt Ours, a guitar duo with Dan Burke (Illusion of Safety) and Dense Reduction with Evan Lindorff-Ellery, with whom he runs a boutique cassette label called Notice Recordings.rn


Matthew De Gennaro

Chances are you have never heard of Matthew De Gennaro’s music, although he has been making music for decades and performing with many better known artists than himself.  De Gennaro’s music is about as honest and as warm as the man himself. Living in a 150 year old school house in rural Michigan and embracing nature in his remote location,  and recording his music himself might offer a better understanding of old world tone and natural sounds De Gennaro is conveying. This performance will be purely acoustic along side with his 8mm films.




Dino Felipe

Dino Felipe is a Miami-based recording artist of Cuban descent. He has released and made appearances on over 50 albums. Since 1999, he has collaborated and released with a number of musicians including Otto Von Schirach, Nick Forté (as Felipe and Forté), Carlos Giffoni (as Old Bombs), and Wolf Eyes. R. Stevie Moore recorded a cover of Dino Felipe’s “Been Waiting” on his 2010 album, Space Bar. He has also recorded with FKTRN, Finesse & Runway, Hair & Nails, Old Bombs, and several other collaborative projects.

Public Eyesore has released albums by Dino’s collaborative projects FKTRN, Hair and Nails, Old Bombs, Onid & Isil, Dino Felipe + Dereck Higgins, and Dino Felipe’s album of songs Sorta’ Bleu will be released on Public Eyesore in August 2011. Dino also has several releases on Schematic and many other labels including: Spite, White Tapes, Freedom From, Rolax, No Fun Productions, Soft Abuse, Recession Recordings and Bananas Eat Girl.

Ricardo Guerrero (This Heart Electric) will be backing Dino up on drums.

“One of the ‘no generation’s’ most prolific voices in experimentalism.” – Ear/Rational Music

“He has gained a cult national reputation on the strength of his music alone, which can veer from experimental noise to post-punky cold wave, from ambient textures to strangely danceable rhythms.” – Miami New Times

“Felipe can turn a gluttonous mess of industrial samples, Moog-noises, disco breaks, and satanic-style backmasking into a heroic tribute to modern life: our freeways, vacant lots, disposal bins full with discarded PC towers, stretch limos with teenagers inside, and lots of commercials-it’s all there in Felipe’s sound. I’m You is the honest truth. He turns our thoughts into sound.”-Asphodel – Dino Felipe – I’m You (Schematic)

“Live, Felipe is Miami’s G.G. Allin. There’s a sense he could injure a member of the crowd or himself at any moment. This record is far removed from that onstage persona. Here we find a sincere man and a collection of bittersweet songs overflowing with emotion. ” – Jose Flores

“These are the sounds of a sonic prodigy. The original unrestrained songs of a fierce intellect that keeps on giving.” – R.R.

This Heart Electric is Miami artist Ricardo Guerrero. Dino Felipe will be backing him up on drums for this tour’s acoustic set.

“Once a one-man cold-wave project, the live show has softened (not as far as Guerrero’s spastic, Freddie Mercury movements, which not only refuse to disappear but have molded themselves to the newer work). There’s still an undercurrent of the beautifully hollow/beautifully rich sound that recalled Ian Curtis and defined his released single, but it has transformed into something resembling sweet-ish, 1950s-inspired pop, albeit fuzzy and dark, with distant, surfy guitars layered on top of heartbroken – and heartbreaking – melodies.” -Monica Uszerowicz of Broward New Times

Aaron Dilloway

Aaron Dilloway is an experimental musician. He has been releasing and recording music since the age of 16. He is a former guitarist and tape manipulator for the noise rock band Wolf Eyes, which he left in 2005 to live most of that year in Kathmandu, Nepal. While his wife did her graduate work there, he roamed the streets recording every sound he could, many of which are used in his recent recordings and performances. Currently he runs the noise record label, record store and mailorder Hanson Records, which he began in Ann Arbor, Michigan in 1994, but has been based in Oberlin, Ohio since February 2008. He performs solo using eight track tapes and vocal sounds, and records modular synthesizer music as Spine Scavenger. Recently, he has played with an ever-changing cast of sound artists under the name The Nevari Butchers.





Seeded Plain

Seeded Plain
Nebraska improvised music duo Seeded Plain performs pieces shaped by the possibilities suggested by the instruments they’ve built, graphic scores, and in response to collaborators. Founded in 2007 by Bryan Day and Jay Kreimer, Seeded Plain has performed throughout the Midwest US and Europe. Their first release ‘Land Tracts’ was released in 2008 to positive critical reviews in North America and Europe. Their upcoming release ’2′ will be available this year on Creative Sources. Seeded Plain is currently working with Nebraska playwright and director Robert Stewart on the soundtrack for his upcoming play Inferno Terra Firma.

Bryan Day
Bryan Day is an improviser, composer, instrument builder, and concept artist based in Lincoln, NE. Originally from Minneapolis, he arrived in Nebraska by way of Iowa, where he studied illustration and sculpture. Day focuses on intuitive sound performance using unconventional techniques in prepared environments. His instruments are constructed using practical composite designs, melding everyday objects with finished oak and metal forms. Day’s idiosyncratic compositional methods and personal sonic vocabulary evoke a sense of uncomfortable balance.

Day has toured throughout the US, Europe, Japan, Argentina and Mexico, performing both solo as Sistrum and Eloine and in the Shelf Life and Seeded Plain ensembles. He has collaborated with many artists including Liz Albee, Takashi Aso, Jim Baker, Federico Barabino, Tore Honore Boe, Dirk Bruinsma, Jorge Castro, R.P. Collier, Alan Courtis, George Cremaschi, Ernesto Diaz-Infante, John Dikeman, Jonathan Fretheim, Nancy Garcia, Carol Genetti, Eckhard Gerdes, Greg Goodman, Dereck Higgins, Kommisar Hjuler, Zan Hoffman, Mike Honeycutt, Yoshiaki Kinno, Jay Kreimer, Eric Leonardson, Unconditional Loathing, Bob Marsh, Hal McGee, Patrick McGinley, Tatsuya Nakatani, Keith Nicolay, Brian Noring, Terje Paulsen, Sabrina Siegel, Matthew St. Germain, Jack Wright, Tsukasa Yagihashi, and Toru Yoneyama.

Festival appearances include Transistor festival (Denver, 2009), Quiet Music festival (Cork, Ireland, 2008), Sonic Circuits festival (Washington, D.C., 2007), Soundfield festival (Chicago, 2005), and SubZero festival (Minneapolis, 2001). Day has over 40 solo and ensemble releases on labels such as Friends and Relatives, Gameboy, Freedom From, Digitalis, Featherspines, Neus-318, Journal of Experimental Fiction, Unread, and Seagull.

In addition to sound art production, Day is studying Butoh and physical theater. Since 1997 he has been running the new music label Public Eyesore and its sister label Eh?.

Jay Kreimer
Jay Kreimer is a musician, instrument maker, sculptor, composer and educator. More to the point, he is an alchemist of hardware stores, surplus catalogs, and discarded objects, who assembles new things out of scraps of possibility. Kreimer performs with The Mighty Vitamins and Seeded Plain, as well as solo.

In 2008, Kreimer and Bryan Day crossed Europe performing as Seeded Plain. The tour included Dublin, Cork, London, Glasgow, Berlin, Amsterdam and Paris.. In August 2008, Kreimer performed Red Crickets, Yellow, Blue, in the Move>Sound: Soundwave Series in San Francisco. In October Kreimer did a solo performance at the renowned D-22 in Beijing. He presented an interactive talk/performance at the 2008 ISIM conference in Denver. There he collaborated with India Cooke, LaDonna Smith and Trudy Morse in a Sun Ra tribute. Kreimer performed an interactive piece on his invented instruments and computer at the December 2009 conference in Santa Cruz. In Santa Cruz he also performed with Norman Lowrey and Pauline Oliveros (in her avatar form). Other recent performances include the Re:Makeit festival in Santa Fe, and a Mighty Vitamins collaboration with Kwangwoo Kim and Kikuchi Biyo at Art Farm residency. The Mighty Vitamins have performed at the Intuit Art Center in Chicago, and The Garden of Eden in Lucas, Kansas/


Somewhere between broken jazz and drone,   DBH is Justin Rhody’s junk-improv act which features him and a revolving cast of characters (who all often play multiple instruments) from Bloomington, IN, its about to get strange (r)

Jason Zeh

Always poised and deliberately patient with his machines, Zeh’s conceptual take on tape music or musique concrete has evolved into more of a aural ,surgical performance, with a kind of blind map of sounds sources feeding into a heart ,or his mixer. Zeh’s drones and pulses, shift and disintegrate, eventually set off course with a meticulous manipulation of his machines functions.

Sept 10th 

Jack Wright- solo saxophones

After teaching at Temple University in the 1960s and leaving academia in the early 1970s to engage in radical politics and community organizing, by the late 1970s Wright directed his energies into music. He is one of a very small group of musicians in North America that has played improvised music exclusively since the 1970s. Through years of near constant touring, often performing for audiences in cities and towns where improvised music had never before been heard, he came to be regarded as something of an underground legend. He has deliberately eschewed the conventions and socio-aesthetic limitations of musical careerism to pursue his own vision. Although his de-professionalized approach sets him apart from most musicians at his level of accomplishment, his art has always grown, expanded, and synthesized new information. He is unquestionably an original and virtuosic saxophonist, a master improviser who is deeply lyrical, with humor never far away.

Today Wright tours frequently in Europe and North America (and in Japan in 2006), making new musical and human connections, bringing European musicians to the U.S. and bringing musicians everywhere together. His inspiration has provided crucial impetus to hundreds of musicians and has even motivated several people to establish music venues in order to present him and other improvisers (e.g. Baltimore’s High Zero festival). His vast list of collaborators includes some “name” luminaries (William Parker, Axel Dorner, Michel Doneda, Andrea Neumann, Denman Maroney, Bhob Rainey to name a few) but more significant are the many obscure greats he has played with. He has made over 40 recordings (many published on his own Spring Garden label), performed in over 20 countries, and written extensively and insightfully about music and society for journals such as Improjazz (France) and Signal to Noise (US), as well as his own website.

Matt Endahl – solo piano

Matt Endahl (b. 1985) is a versatile and accomplished musician, active in a variety of styles of improvised music. Matt received a degree in music from the University of Michigan School of Music, Theater & Dance, where he studied with Stephen Rush, Ellen Rowe, Ed Sarath and Geri Allen. He was a member of the UM Jazz Ensemble, Creative Arts Orchestra, and Digital Music Ensemble. In 2008, he was selected as a semi-finalist in the Montreux Jazz Solo Piano Competition. In 2009, he performed George Gershwin’s “Rhapsody in Blue” with the Tecumseh Pops Orchestra, under the direction of James Ball.    In 2008, through his work with improvised music, Matt became involved in the experimental/noise music community, recording with Christopher Riggs and Mike Khoury, and performing with Gino Robair, Charlie Draheim, and Ben Hall. He has performed as an opening act for Pimlo, Aaron Dilloway, Robert Turman, ¿i’d m thfft able?, and Caroliner Rainbow Odure Curl Occupying the Cakebox, among others. Matt has appeared on more than a dozen private releases, including several on his own label, Sound Mansion Recordings. Matt has led or co-led performances at three conferences for the International Society for Improvised Music (ISIM), and has performed four times at the Edgefest music festival in Ann Arbor, MI.

In addition to his performance activities, Matt has taught music privately at Hillsdale College since 2008. He’s currently working for his Master’s in Improvisation from the U of M.



Aug 30th

Headboggle  – San Fransisco



HEAD BOGGLE is an experimental synth/sound project employing the use of vintage andboutique analog synthesizers and found sound. 

myspace.com/headboggle  // facebook.com/headboggle


Collapsed arc/David Russell

Born in Lorain, Ohio. David has been an experimental musician since 1999 active in Cleveland, Ohio and Chicago, Illinois. He owns the record label A Soundesign Recording and the internet entity Polar Envy. David is best known for his work with the Cleveland noise rock band Jerk and his work with Wyatt Howland.


Aug 26th

Jesse Kudler (Philly)/Chandan Narayan, plus Chuck Sipperley

+ Flying monke.e (Toledo) + Joe Panzner

Jesse Kudler, born 1979, creates concrete music on the computer, composes low-tech multi-channel sound works, and improvises on cheap consumer devices: a no-name electric guitar, hand-held cassette recorders, radios and transmitters, various small junk, and pedals/electronics.

Kudler attended public school until Wesleyan University, where he studied music with Ron Kuivila, Alvin Lucier, and a little bit with Anthony Braxton, among others.  He eventually became active as an organizer and performer in improvised, experimental, and electronic music, forming a regular duo with fellow student Jonathan Zorn and leading the large electronic improvising ensemble Phil Collins.  Kudler has also worked as a recording engineer for various projects.

In his various travels, Kudler has performed with Matt Bauder, Kyle Bruckmann, Chris Cogburn, James Coleman, Tim Feeney, Brent Gutzeit, Bonnie Jones, Jason Kahn, Mazen Kerbaj, Toshimaru Nakamura, Pauline Oliveros, Bhob Rainey, Vic Rawlings, Christine Sehnaoui, Mike Shiflet, Jason Soliday, Howard Stelzer, Christian Weber, Matt Weston, Jack Wright, Jason Zeh, and many others.   He has toured the United States several times.  He performed as part of the 2010 No Idea Festival, 2008 Dartmouth Festival of New Musics, and the 2007 Phoneme Festival.

Jesse Kudler lives in Philadelphia.  Current and “recent” projects include: a duo with Ian Fraser; solo performance; HZL, an environmental electronics duo with Tim Albro; duos with Chris Cogburn, Christian Weber, and Chandan Narayan; Benito Cereno (with Dustin Hurt, Chandan Narayan, Tim Albro, and Ian Fraser); Tweeter, a treble-intensive noise trio with Alex Nagle and Eli Litwin; and various ad hoc groupings.  Kudler is the co-founder and co-Director (with Ian Fraser) of the Philadelphia Sound Forum.


Chandan Narayan (b.1975, Alameda, CA) plays the autoharp and swaramandal. His initial approach to the instrument was guided by complete naivety. Over the years he has refined his non-idiomatic techniques in the hopes of fooling the listener (and himself) with the autoharp as source of acoustic anomalies. He performs and records with the Canadian power trio The Party (with Jeffrey Allport and Joda Clement) as well as a regular duo collaboration with Jesse Kudler. He has shared the stage and living room performing and recording alongside the likes of Kenny Roux, Tomas Korber, Jeffrey Allpost, Joda Clement, Tomascz Krakowiak, Pau Torres, Gunter Muller, Lee Hutzulak, Christine Sehnaoui, Angharad Davies, Chris Cogburn, Jonathan Sielaff, andGust Burns among others. Chandan owns and operates the Simple Geometry label.  He formerly played in the Philadelphia quintet Benito Cereno.


Chuck Sipperley is a recent graduate of Michigan State University who currently lives in Ann Arbor, Michigan. As a student, he contributed pieces to the graduate student composers¹ summer recital, and even more recently, performed a newer piece at the 2003 Ear Candy festival in Dearborn. A new piece was contributed in June 2003 to the visual artist Jon Rajkovich¹s multimedia dance/performance titled ¡Synergizmo!. In addition to composition, he has worked as an improviser with his friends the Rattling Wall Collective, an ensemble of mid-Michigan sound and visual artists, who, in their three years of collaboration, have made music that challenges easy categorization. He has also worked with Rochester, NY based sound artist Chad Oliveiri, and took part in Rochester¹s first annual multimedia show, Init.one. He was a member of a trio that included longtime collaborator Scott De Roche on double bass/electronics, and trumpeter Misty Periard.

Flying monke.e. is the current musical project of Juan St. Brent (who has also gone by whodamathadamus, Bernt Sienna and $.01 in past projects) , A forming member of The Soybeans ( 1989-1994), a “run what you brung” & use what’s at hand improvisational party band blending various instruments noisemakers and cellophane recordings, blending any and all genres ( as all members had very different musical tastes and backgrounds) mainstream and underground late in the eighties. Their common method of collaboration would involve all willing bodies present for a get together as members for recordings.

Primarily unreleased, although the archived catalogues contain a dozen and a half ep and lp length cassettes traded amongst friends and acquaintances in the Mich./Ind./Ohio region. All performances were recorded in one take into “boombox” condenser microphones producing a lo-fi loose quality and the only starting preparation being a song title. to provide loops and additive synthesis and out of phase foundations to twist and tweak and provide

His initial instrument was trumpet in high school, but then he quickly gravitated to guitar for its polyphony and played guitar as his instrument of choice when he wasn’t trading instruments during performances. He has used tape decks and vcr’s but landed onto a lo-fi sampler for his most recent experimentation

He has recorded since, in various one off projects in the nineties to include Dr. Mudbath, Jamiestuff and Carbeans. All bands residing on myspace, the seminal DIY band website. And the lost but not forgotten (contact me if you have any rumors or knowledge of these, PLEASE!) TV Blackout (on BASS), Spiked Weedies (on guitar), Church of What’s Happening Right Now (guitar/drums/trumpet)… none of which have transferred to a digital realm.

Rarely performing publicly, Juan St. Brent has enjoyed a comfortably reclusive musical existence, being very prolific and always collaborating with other musicians, most recently and notably: studio guitar tracks for the Honorable Electronica producer/musician Digi (out of Santa Rosa, Ca.) and using industrial samples and guitar with the Effervescent Dub-Step producer Catesby ( out of Chicago/Berlin) currently under the project name FurEels.

He now lichens (Sic.) his musical brew to a rickety cyberpunk homemade flying machine, under the title of experimental so that it doesn’t need aviation administration approval, complete with an overdeveloped sense of humor, hot air, wooden and metallic autopilot rhythms and various electronics and effects boxes (no room for a compass).  Whatever allows it to get off the ground. Actual soaring/flying/hovering is an unpredictable event.

Joe Panzner draws on the live electronic music of John Cage and David Tudor, the long-form memory experiments of Morton Feldman, and the digital extremism of Peter Rehberg, Florian Hecker, Zbigniew Karkowski, Dion Workman, and Julien Ottavi. He records and performs with scenic railroads (alongside Mike Shiflet), and has performed with David Reed and Larry Marotta.

Panzner works with live electronics and within an ethos of musical materialism, preferring visceral sound experience to representation. He uses treated natural and instrumental sounds, digitally processed analog synthesis, frequency extremes, acoustic and psychoacoustic phenomena.

Presently completing doctoral dissertation in musicology, Panzner’s research,  ‘The process that is the world: Cage/Deleuze/events/performances’ traces the philosophical linkages between Gilles Deleuze and John Cage in the domains of musical ontology, performance, and politics.


Jason Ajemian’s Highlife+Elbows

Jason Ajemian has acquired a high profile in the improvised music scene over the years, performing with Rob Mazurek’s Mandarin Movie, Exploding Star Orchestra, and the Chicago Underground Trio, Ken Vandermark’s Crisis Ensemble, and currently with Marc Ribot’s Sun Ship. Ajemian’s curiosity has ranged far and wide—he’s just as comfortable in the hushed, folksy setting of Born Heller, his duo with Josephine Foster, as he is in the breath-processed arrangements of his large ensemble Who Cares How Long You Sink. Given such a variety of musical interest, a detour like “From Beyond,” Ajemian’s backwards version of Back Sabbath’s “Into the Void” for chamber ensemble, begins to seem like an obvious stop on this bassist’s journey from the foothills of the Blue Ridge Mountains to Chicago and his current home in New York City.

—Jacob Kart


Jacob Wick (trumpet/vox), Peter Hanson (saxophone/vox), Owen Stewart-Robertson (guitar/vox) & Marc Riordan (drums/vox)

Formed at the Harold Arts Residency in Ohio, Jason Ajemian pulls all of his previous conceptual musics together under a solid roof with The HIGH LIFE.
Ajemian creates scores in the architectural drafting program AutoCAD, which guide the musiciansthrough spaces and hallways of musical structures. His blueprints dictate the flow and motion of a musical set, opening the performers up to visual and descriptive influences, while leading them through a diverse musical landscape consisting of Ajemian’s orchestrated poems, American folk forms, Native American chants, Canadian sea shanties, Orbison, jazz expressive motion and balladry — all filtered through the creative/improvised process in a unique communication of the moment.

“The Elbows formed after a meteorite in the shape of a pituitary gland fell through the roof of a tombstone store where they were all taking cover.  In an effort to pass time and divert their attentions to more positive activities they began improvising music and declared that they should recreate scenario this at every available opportunity.  They have.  The Elbows are conjurers of all manner of sounds – from the simple to the sublime.  The Elbows have plenty of room in the moment. – Robert Christgau”Members include;olecranon
capitulumoccasional guest appearance by synovial fluid_________________________________________________________

AUG 13

Kristin Miltner 

Kristin Miltner is a composer, video and installation artist, and sound designer living in Oakland, California. She most often performs music live with versions of her custom software. She has designed this to scan sound files and live input, allowing her to instantly restructure the sounds into sequenced arrays of units of varying lengths. This scanning idea is like imagining a giant octopus in a long thin hallway with continuous windows on each side. One can touch both sides of the hallway with one’s fingertips (if one is an octopus). The length of the hallway is infinite. So the octopus runs up and down the hallway opening and closing windows, letting a little bit of water in here and there, but never stops moving back and forth, and some windows stay open for longer than others. But there’s a rhythm to it; it’s an efficient octopus. The ocean is the sound source, the hallway and octopus are the scanners, the windows determine what gets in, and the octopus’ rhythm is the sequencing mechanism.
Her debut solo recording, “Grains”, can be found at http://www.praemedia.com, and her latest release, “Music for Dreaming and Playing”, can be found here: http://asthmatickitty.com/music-for-dreaming-and-playing

Matt Davignon

Matt Davignon< is an experimental/ambient drum-machinist living in Oakland, California. Originally born in Western Massachusetts, he spent musically formative years in Northern California, tinkering with tools such as lo-fi samplers, cassette tapes, household objects, 4-track compositions, extensive chains of guitar effects, prepared instruments, and field recordings. These explorations fuel and inform his current work, which most frequently involves processing the sounds of a drum machine in real-time with various electronic devices. Characteristics of his music include a focus on textures, arrhythmic patterns and musical imperfections, with a focus on evoking biological systems. Matt has released 3 cds with this setup, the most recent of which is “Living Things” on Edgetone Records, released in 2010. Matt also co-produces the Luggage Store Gallery Experimental Music series in San Francisco, and has produced odd concerts such as the San Francisco Found Objects Festival and Droneshift. http://www.ribosomemusic.com

Five Dollar Ferrari

Brad Henkel: Trumpet

Brad Henkel is a Brooklyn-based trumpeter/improvisor/composer. He is a founding member of the horn trio, Buckminster (http://myspace.com/thebuckminsteraffair ), and ‘Swirm (http://www.acousticlevitation.org/dtmg.html), a duo with drummer David Grollman.    http://bradhenkel.blogspot.com/


Dustin Carlson: Guitar

Dustin Carlson is a guitarist and composer who lives in the Bronx his current projects include his own “We Are the Financial Crisis,” Will McEvoy’s “Mutasm,” and of course the Squiggletone Music Company.   More info atwww.myspace.com/dustinjcarlson






THE MUSIC– Over the past five years, Woods has performed under a number of noise projects (the solo power electronics group Raperies (like Draperies), the straight edge duo xALLxFORxTHISx, the spastic and bizarre Phoned Nil Trio, amongst others), but is best known for the work he’s done under his own name. Under this title, Woods works within a minimalist aesthetic, meticulously layering simple swashes of sound on top of each other to create noise pieces that extend beyond the sum of their parts, bringing in often overwhelming dynamic shifts and a myriad of different textural elements. Recently, Woods has been incorporating theatrical elements, creating pieces that intricately connect the sound work of years prior to simple, non-narrative theatrical arcs.

“Fantastic. Woods seems to be one of the new generation youth-masters of creating hybrid old school/new death noise pollution without the putrid sense of having to show off arcane references. Fresh meat thrills.”- Thurston Moore, Arthur Magaizine


THE THEATRE- Having worked extensively with a number of different theatre companies around Milwaukee (Insurgent Theatre, Pink Banana Theatre, Damned Theatre, Alamo Basement) and regionally (Bedlam Theatre in Minneapolis, The Chicago Sketch and Comedy Festival), Woods has decided to branch out on his own with the extended monologue “Pity.” Two and a half years in the making, “Pity” chronicles the a slow, tedious, and abstract suicide from an unnamed character as he slowly covers himself entirely in black cloth as he furiously defends the fact that he has absolutely no purpose for doing this in the first place. The piece works through themes such as the shortcomings of our spoken language and the constricting nature of theatre conventions in the process.

“Woods’ art is admirable not least for his defiant disregard of the sacred dictates of the marketplace. His abstractions send out spider-strands into the enveloping dark, inviting us to follow their connections, possibly to get trapped and have our vital juices sucked dry–or just perhaps, to find the exit.”- Jeff Grygny, The Examiner


THE MUSIC- After digesting cracked uvular underbelly, your tonic nausea reveals a true weakness: fear. Boiling blisters swollen rot to core within breeds a system of collapse, too far in progress for reverse. This summer you will be drawn inside by a curious notion, held against your will, forced to admit your own self loathing and desire to torture the bitter ends of every nerve. ICE VOLT is coming.

HYPERLINK “http://insidesmusic.com/icevolt&#8221; http://insidesmusic.com/icevolt

Sophia Nevada plays improvised music(s) with sound-producing machines and traditional Western instruments. They have a history of playing loudly, focusing on force, space, momentum, and stasis in equal or opposing parts, depending on the setting or mood. Although often compared to old school industrial and power electronic acts, the group also frequently features saxophone as well as avant-garde hip-hop sampling and sound techniques and is willing to use anything and everything to accomplish their sonic and performance goals. Sunday’s set will prominently feature new member, Dirtbag, on guitar. They like power strips.


July 20th

Morgan Evans-Weiler- electronics/violin

Morgan Evans-Weiler is a composer, violinist, improviser, electronic musician, sound artist, visual artist, and teacher currently living in the Boston area. He works to explore not only the realm of sound, but also the means of how we produce sound. Not so much interested in the answers, he is more interested in the questions that arise from endless experimentation. He uses relatively traditional instruments, but tries to use them in the least traditional way. He programs electronic music using PureData and Supercollider, improvises using multiple bows, paintbrushes and other accessories on his violin and composes using abstract means. He frequently collaborates with Peter Evans, and Jules Vasylenko. He has performed his music in various venues in Michigan including Western Michigan University, at Longy School of Music and at Outpost 186 in Cambridge, MA.


Thollen Mcdonnas- piano

Skeeter Shelton- reeds

Joel Peterson – bass


Skeeter Shelton is one of the most under-recognized saxophonists in free
jazz/creative music. His father, drummer Ajaramu Shelton, was a charter
member of the AACM who played with Roscoe Mitchell, Muhal Abrahms,
Kalaparusha, Fred Anderson, Sonny Stitt and Gene Ammons. Skeeter
grew-up around these influences and absorbed a whole lot of tenor playing.
His status as a leading figure in Detroit’s creative music community is
undisputed and his obscure national status is due to reticence, not talent.
But he hasn’t completely escaped notice by notable peers- Skeeter has
worked with musicians like James Blood Ulmer, Fred Anderson, Faruq Z.
Bey, Hakim Jami, Dennis Gonzales and The North Woods Improvisers.

Also based in Detroit, multi-instrumentalist Joel Peterson has performed
a wide array of music as a member of groups like Immigrant Suns, The
Scavenger Quartet (with Frank Pahl), Odu Afrobeat Orchestra (with
Adeboye Adegbenro, Lac LaBelle, Xenharmonic Gamelan, ECFA and in
trios and quartets with Faruq Z Bey, Kenneth Green and Michael Carey.
As an improviser, he has performed with people like Tatsuya Nakatani,
Steve Cohn, Amy Denio, Luk Houtkamp, Eugene Chadbourne, Rhys
Chatham, Jason Stein, Carl Smith, Damo Suzuki and many others.
Besides the double-bass, his primary gigging instrument, Joel also
performs on clarinet, oud, qyteli, guitar and more. From 2005-2008 he
ran Bohemian National Home, Detroit’s primary venue for creative arts.

Thollem’s perpetual travels as a performer have covered much of the
North American continent and Europe. In the past 6 years he has added
20 albums to his discography on 9 different vanguard labels in 4 different
countries. His music is diverse, approaching each album and concert
uniquely, often resulting in dramatically new and different outcomes. In
duo he has performed with the likes of Stefano Scodanibbio, LaDonna
Smith, Alex Cline, Gino Robair, Rent Romus, Jack Wright and Ava
Mendoza to name but a few.


July 6

                                           Premoticon (NYC) 

Patrick Breiner – tenor sax/voice

Will McEvoy – bass 

“Patrick’s full toned tenor is bathed in the large room resonance with Will’s bowed bass matching the sax closely. Patrick has that intense Charles Gayle-like attack and abandon, concentrating on certain notes and then twisting them inside-out. Will plays spirited bowed bass midway through “I Thought it was a Stack of…”, providing a cosmic drone while the sax dances on top like a flame flickering. “Please Don’t Ever…” has Patrick making scary animalistic vocal sounds which work well with his biting tenor tirade. The last piece features drifting bowed bass and hushed tenor. The long somber conclusion sounds like a good way to bring this righteous disc to a close. Even at only 24 & a half minutes, this seems like just the right length.”
– Bruce Lee Gallanter, Downtown Music Gallery

Swirm (NYC)

Brad Henkel – trumpet
David Grollman – percussion

Brad Henkel is a Brooklyn-based trumpeter/improviser/composer.  He was born in Southern California in 1985 and in 2003 migrated to the East Coast to study at the Conservatory of Music at SUNY Purchase.  Since relocating to Brooklyn in 2007, he has performed in venues throughout NYC, the U.S. and Europe including The Stone, Issue Project Room, Whitney Museum, Roulette, Boise Creative and Improvised Music Fest. (Boise, ID), Heaven Gallery (Chicago), Project Lodge (Madison, WI), Canadian Music Festival (Toronto) and Rijksmuseum (Amsterdam).

He is a founding member of the experimental horn trio, Buckminster (myspace.com/thebuckminsteraffair), and Swirm (acousticlevitation.org/dtmg.html), an improvising duo with percussionist David Grollman.  He has performed with, among others:  Du Yun, Jeff Kaiser, Katherine Young, Jacob Wick, Owen Stewart-Robertson, Jason Ajemian, Matt Bauder, Dan Peck, Juan Pablo Carletti, Nathaniel Morgan, Peter Hanson, Will McEvoy, Stephe Cooper, Sam Sowyrda and Dustin Carlson.



June 29th

Trevor Watts/Veryan Weston

                                        (Special show $10)

For the first time as a duo in North America, pianist Veryan Weston and saxophonist Trevor Watts present a music developed in the 1960s in England by themselves and others, and which reflect the very conversational nature of improvisation. In 2002, they released a 60-minute set of free improvisation “6 Dialogues,” which has received critical acclaim: “The duo provides a comprehensive glimpse of what can happen, when two giants of the improv scene coalesce…This jubilant union of the musical spirits features a potpourri of minimalist overtures, circular patterns, and flowing thematic initiatives” (Glenn Astarita, All About Jazz). The duo is releasing a new CD, a live recording from a recent performance at the Vortex Club in London.

Trevor Charles Watts (born 26 February 1939 in York) is an English jazz and free-improvising alto and soprano saxophonist. He is largely self-taught, having taken up the cornet at age 12 then switched to saxophone at 18. While stationed in Germany with the RAF (1958-63), he encountered the drummer John Stevens and trombonist Paul Rutherford. After being demobbed he returned to London. In 1965he and Stevens formed the Spontaneous Music Ensemble, which became one of the crucibles of British free improvisation. Watts left the band to form his own group Amalgam in 1967, then returned to SME for another stretch that lasted till the mid-1970s. Another key association was with the bassist Barry Guy and his London Jazz Composers’ Orchestra, an association that lasted from the band’s inception in the 1970s up to its (permanent?) disbandment in the mid-1990s.

Though he was initially strongly identified with the avant-garde, Watts is a versatile musician who has worked in everything from straight jazz contexts to rock and blues. His own projects have come increasingly to focus on blending jazz and African music, notably the Moiré Music ensemble which he has led since 1982 in configurations ranging from large ensembles featuring multiple drummers to more intimate trios. He has only occasionally recorded in freer modes in recent years, notably the CD 6 Dialogues, a duet album with Veryan Weston (the pianist in earlier editions of Moiré Music). A solo album, World Sonic, appeared on Hi4Head Records in 2005.

Watts has toured the world over numerous times, run workshops, received grants and commissions, and he has collaborated with some of the great jazz musicians including Archie SheppSteve Lacy,Don Cherry and Jayne Cortez. As of 2011, he continues to travel and will tour North American with Veryan Weston in the summer.

Veryan Weston moved to London from Cornwall in 1972 and began playing as a freelance jazz pianist as well as developing as an improvisor at the Little Theatre Club. He accepted a fellowship with the Digswell Arts Trust in Hertfordshire in 1975 who commissioned him to revise his book on piano improvisation which he was able to do through a subsidy from the Arts Council of Great Britain. During this time he co-founded and composed for Stinky Winkles. With the group he was voted a ‘Young musician of 1979’ by the Greater London Arts Association and won three major awards in France, Spain and Poland.

Whilst at Digswell, he also collaborated with visual artists, giving exhibition/solo performances at the Victorian & Albert Museum (1979) with potter Liz Fritsch, and at Hammersmith Jazz Festival (1980) with visual artist Stephen Cochrane. During this period he composed and performed music for a range of films and documentaries, most notably with Lol Coxhill for Derek Jarman’s Carravaggio (1985). This interest in music and media collaborations led to a degree course in Performance Art at Middlesex Polytechnic (now University) where he gained 1st class Honours, and in 1990 he was awarded a Masters in Music Composition from Goldsmith’s College, University of London. These qualifications then led to a brief period as a part-time lecturer at Bretton Hall and Middlesex University.

Throughout the 1980s and early 90s he worked primarily with the Eddie Prévost Quartet, Trevor Watts‘ Moiré Music and duets with Lol Coxhill and Phil Minton. He also worked in other ensemble projects with Minton, including ‘riverun’ the Phil Minton Quartet with John Butcher and Roger Turner. Major festivals have included Zurich, Berlin, Nicholsdorf, Karlsruhr, Warsaw, Wroklaw, San Sebastian, Bombay, Vancouver, St Etienne, Aukland, Nevers, Washington, Lille, Houston, Le Mans, Straasbourg and Victoriaville.


June 23rd

Bran(…)PosRobert Turman+Startless+Jason Soliday

Bran(…)pos is the solo experimental electronic music project of Jake Rodriguez. Given life in 1995, bran(…)pos focuses on real-time sonic plasticization and voice manipulation, achieving these ends with both hardware synthesizers and a custom set of software-based sound grapplers that interface with the real world via tactile control. bran(…)pos’ recordings (heavy and heady like Cannibal Corpse doing Xenakis covers) and performances (rounded out with facial interpretations and physical gesture-butoh and Max Fleischer-inspired) are consistently praised for their inventiveness and attention to detail. More info: http://www.soundcrack.net/branpos/

Robert Turman- A founding member (along with Boyd Rice) of NON, Turman’s industrial bona-fides are beyond question. His early tape releases featured snarling guitar figures over primitive drumbox and throbbing synth — a dream for fans of early Cabaret Voltaire and DAF. He planted his flag in the sand for keeps with the eleven year-spanning, eight-cassette boxset (!) Chapter Eleven (briefly reissued by Hanson a few years back, and slated for eventual CD treatment). Recently, Dais Records reissued an early Turman tape, Way Down, as an LP in an edition of 500 copies. Turman has seen a spike of activity in recent years, collaborating closely with Hanson Records’ Aaron Dilloway (ex-Wolf Eyes) and issuing both new and archival material on various formats.

Jason Soliday is a stalwart member of the Chicago scene, having performed in many groups (Gunshop, Mora, with members of TVPOW, etc.) and on his own (under his own name and as Coeurl).  He also runs the excellent show-space Enemy.  Live, Soliday presents a dense and detailed sonic stew: heavy noise, but informed by his years of improvising, gigging, recording, building, and programming.   Unlike so many young pretenders-to-the-throne, Soliday does more than just find an engaging sound and stick with it- he constantly shifts, feints, and dodges, pulling the rug out from under you only to smother you in it later.

Startless is Blake Edwards (turntables, cassettes, shortwave, electronics) and Jason
Zeh (cassettes, tape, cassette players, contact mics); they utilize multiple layers of both processed and raw turntable (including hand altered records and turntable motor mechanics), shortwave, cassette, and cassette player motors to create a engaging balance of thick, complex, streams of sound with delicate, highly structured, singular audio gestures to create an engaging deep listening experience.


June 9th

Basshaters+ Beau Finley

Basshaters  (tony dryer: double bass, electronics + jacob felix heule: drum set, electronics) is a duo using double bass, drum set, and electronics to integrate acoustic free improv and electronic noise. Striving to match the fluidity of their textural acoustic music, electronics expand the timbral and dynamic options to new extremes. The duo seeks directness and intensity in execution; subtleties emerge from the bold statement of simple ideas.

In addition to Basshaters, Dryer & Heule have released an album on Creative Sources with clarinetist Jacob Lindsay. They have a trio CD with saxophonist Jack Wright, and have performed live with diverse musicians such as Michel Doneda, C Spencer Yeh, Gino Robair, and Damon Smith. Dryer has toured with the Flying Luttenbachers and Usurp Synapse; Heule remains active with his brutal improv duo Ettrick.


Beau Finley is a guitarist and lawyer from Washington, DC who plays ambient, improvised experimental music. He has done time in both math rock and hardcore bands in and around DC.  Recently, he has been working on two audio installation pieces for Artscape 2011, both of which explore the body’s three dimensional relationship with sound.



May 31 

Andrew Weathers + Quilt+ KBD w/ Keir Neuringer

Andrew Weathers is a young American composer based in Greensboro, NC. His music exists in a space between improvisation and composition – equally influenced by the 20th century American minimalists and underground noise.

In 2010, Andrew’s debut album A Great Southern City was released on Full Spectrum Records. This landmark body of work is a departure from his previous work under the Pacific Before Tiger moniker.

Andrew usually performs solo, but occassionally collaborates with other musicians. One example is The Andrew Weathers Ensemble, a group of constantly shifting membership. This flexibility provides an outlet for unique and exciting environments. He is attending UNC – Greensboro for Music Composition and helps run Full Spectrum Records. When he is not doing these things, Andrew tours relentlessly, bringing his music to you.

Quilt is the Brooklyn-based solo ambient synthesizer project of Seth Graham, best known for his work with the recently disbanded psych-drone quartet Romance of Young Tigers from Ohio.


KBD with Keir Neuringer


May 14th 

“We love you” David Gross & Polly Hanson +Bile and Horseman(Detroit)

Called “One of Boston’s steadfast explorers,” by the Boston Globe, saxophonist

David Gross has been performing for more than a decade. Among a slew of others
whose names are perhaps not as recognizable, Mr.Gross has performed with Phil
Minton, Eddie Prevost, Steve Roden, John Olson, Gino Robair, Martin Tetreault,
Tom Carter, Glenn Spearman, Raphe Malik and many members of the Boston
free-improv scene including Bhob Rainey, Greg Kelley, and Laurence Cook.
Currently, Gross is transforming the saxophone into exactly what it is: a metal
tube with keys, mouthpiece, and a reed. Reviews of his recordings have been as
varied as “The range of textured noise that he cajoles from his instrument is
impressive” to “lengthy episodes of fingernails ripping at a blackboard” and
recently “the intimacy with which he approaches the saxophone, each screw in
each latch, every fiber in the reed, every pad or valve, and all the negative
space in between, is simply astounding”. Gross has performed throughout the US  and Europe including at festivals as diverse as The KNOB (Wichita, KS), Big Sur
Festival of Experimental Music (CA), High Zero (Baltimore, MD), Improvised and  Otherwise (NYC), The No Idea Fest (Austin, TX) and Autumn Uprising (Boston, MA) which he created in 1997. ‘untitled(or not yet)’ (1pt8 seconds) a studio
recording with  James Coleman(theremin), Mike Bullock (contrabass) and Steve Roden (electronics) was released last year. Future releases include a live re-issue of his band FETISH, with bassist Mike Bullock and percussionist Tatsuya Nakatani (Weirdo Records) as well as his second solo disk ‘this is the grizzle’ a double cd. a split lp of his band we love you and duck that wasjust released on feeding tube records.

Polly Hanson is a active percussionist and electronics improvisers based out of Boston.

Bile and Horseman is half Dog Lady and Tarpit from Detroit- a collaboration of dark and broken sound collage/tape music, eerie violin, and disfunctional  electronics.


May 7th (Avant Jazz Night)

Wizards+Construction Telescope

Hasan Abdur-Razzaq (saxophones)

Adam Smith (drums)

Gerard Cox (keys)

It’s early in the 21st, and Wizards brings a fresh take on the “power trio”. In the form of Hasan Abdur-Razzaq (saxophones), Adam Smith (drums), and Gerard Cox (keys), three elements have combined that offer an alchemy of backgrounds and style, but a singular direction of intent.

While rooted in the cosmic music and free jazz of the late 60s and early 70s, the group is only a throwback at first glance. Wizard-ry to these men connotes simply– that all historical, psychological, intellectual, and spiritual resources should be at play in the service of musical communication. In their approach to music, they honor the idea that the freedom inherent to improvisation can take both musician and listener across landscapes that would be difficult to realize with a pre-conceived sequence of musical events. Some of the most interesting musical connections are made in spontaneous revelation.

What Wizards is at heart then is not so much traditional free jazz but a form of “improvised fusion”. The challenge for these musicians is to draw from a large well of music history and styles and to make fresh and compelling connections between these elements. Is it probable or likely to go from a samba groove into a metal vamp, with a foray into organ jazz, all the while retaining a sense of Free Jazz urgency and improvisation? Wizards believes it’s entirely possible, and is compelled to pursue this direction not as a point of novelty or as an arbitrary challenge. Rather, navigating different stylistic elements allows Wizards a greater canvas to work from to communicate more engaging musical messages. It’s not a “potluck” proposition either; it’s about making intriguing, uncommon stews from the base of their musical cauldron.

Wizards is centered around the soaring, immediate voice of reeds player Hasan Abdur-Razzaq. Razzaq (b.Montgomery, AL) is from the generation that came up during the heyday of Free Jazz. He first began playing in earnest on the Cleveland free jazz scene of the early 70s, that same scene that gave life to the Ayler brothers, Pyramids, and Abdul-Wadud. His voice on saxophone has been compared by several writers to Ayler himself, though he is inspired by the whole lexicon of jazz saxophonists and by other influences and experiences.   Having grown up in the Baptist church, Razzaq makes no bones about “preaching” on the horn. His pilgrimage to Mecca broadened his understanding of music and humanity in a global sense, and one hears plaintive echoes of the Arabian diaspora in his soloing. Hasan is also an accomplished hand percussionist and doubles in Wizards on both percussion and electric cello.

Adam Smith (drums) is no stranger to musical exploration and experimentation, having pursued directions in electro-acoustic, improvised, and electronic music from an early age. Having a rich background in playing all kinds of American music (on multiple instruments) allows Smith to keep a very clear perspective on how and why communication with the audience is taking place. Improvised music, Smith believes, can be every bit as communicative and moving as the most primal rock or funk, if the listener is always acknowledged in the process. It should come as no surprise that his drumming style is similarly eclectic; one can hear shades of everyone from Sunny Murray to Tony Williams…to Dave Weckl. On the kit he seeks above all-  to create a dynamic phrasing concept in the context of improvised music. Adam doubles in Wizards on synths and electronics.

The other foundation of the Wizards rhythm section can be found in Gerard Cox. Because of his strong left hand, Cox is not only Wizards’ keyboardist but also its bass player. Playing double keyboards is not something often associated with jazz, but his training in playing jazz organ has served him well in this context. While raised on a steady diet of jazz, Cox has increasingly embraced more and more musical elements into his playing. On Rhodes, one is likely to hear plenty of earthy funk and blues in the equation, and this factors heavily into the electric Wizards sound. When playing acoustic piano, his sound can vary from an angular and percussive approach to a more chromatic and impressionistic vein. Gerard is forthright in acknowledging the influence of the unique sound worlds of McCoy Tyner, Cecil Taylor, Thelonious Monk, Herbie Hancock, and Chick Corea.


Construction Telescope

Toledo’s only current free jazz duo will be filling the RCH once again with their strange and beautiful tones. This duo is comprised of Jerry Glesmer (saxophones and mystery pipe) and Jason Shapiro (saxophones and guitar) pay homage to the great outsiders of jazz of the 1960’s, by reworking styles of Steve Lacy and Albert Ayler.

Construction Telescope


April 28th

Ember Schrag & Corridors (NYC)

Ember Schrag grew up in western Nebraska’s rural Platte River Valley.
Schrag’s spare guitar playingnand unaffected yet soulful voice
have garnered comparisons to Leonard Cohen, Nick Drake
and Edith Frost. Schrag’s love songs recall Karen Dalton and her
spiritual landscapes William Blake or Judee Sill.

She spent several years carving out a solitary musical space in Nebraska
and Missouri, writing dozens of songs and home-recording them onto
eleven barely released cassettes and CD-Rs. After her slow-burning
full-length album, A Cruel, Cruel Woman (Lone Prairie), came out in 2009,
and a critically acclaimed but enticingly brief solo EP, Jephthah’s Daughter (Eh?),
was released in 2010, Schrag booked herself a 70-date US tour and left
Nebraska and Clawfoot House, the outside folk / experimental music venue
she’d started in her Lincoln apartment.

Schrag has collaborated with Kath Bloom, P.G. Six, The Black Twigs,
Amy Denio, Low Hums and The Chiara String Quartet to name a few,
and has shared bills with Simon Joyner, Daniel Higgs, June Panic,
L. Eugene Methe, Windy Weber & Hitoko Sakai, Damien Jurado,
Dark Dark Dark, R. Keenan Lawler, Glenn Jones, Bunnybrains, Ralph
White, Christina Carter and KAMAMA. She plays improvised music
on the side with sound artist / instrument builder Bryan Day in the
band Office Park.

“These are subtle, subdued acoustic guitar ballads, devoid of flash but soaked in

character and a perpetually unsettling sense of mystery.” -RKF (Dead Angel)

“Lands somewhere between Scout Niblett and Karen Dalton, writing about land
and space and hope and despair.” -The Nightlight
“The best female vocalist I’ve heard in Omaha. By a long shot.” -L. Eugene Methe
“There is pure and real talent here…In a world full of throwaway artists, this young
lady comes across sounding like the real thing.” -babysue
 “A song so good it can only be described in clichés about angels and airplanes and
weeping clouds.” -writer Stephen Elliott (The Adderall Diaries) on “I Ain’t A Prophet”


Links to mp3s:


Byron Westbrook (b. 1977) is an artist working with the dynamic quality of physical space using multi-channel sound, images, and objects. His audio/video performances under the name CORRIDORS involve the distribution of processed instrumental and environmental recordings through a multi-channel environment. His installation-based work explores unique and participatory listening formats utilizing common tecnology. He has presented at venues such as Tonic, Roulette, The Stone, Diapason Gallery, Issue Project Room, Experimental Intermedia, Exit Art Gallery, (NYC), Les Voûtes (FR), Wien Konzerthaus (Austria), O’ (Milano), Cave12 (Geneva), NonEvent (Boston), Sonic Circuits Festival (DC), Institute of Intermedia (CZ). He has shared performance bills with Tony Conrad, Phill Niblock, Jandek, Oren Ambarchi, Lawrence English, Keith Fullerton Whitman, Greg Davis, Maria Chavez, Alessandro Bosetti, Jason Kahn, Jon Mueller, Tetuzi Akiyama, among many others. Westbrook has also collaborated with Paris-based composer and former Kitchen curator Rhys Chatham in the drone metal group Essentialist (Table of the Elements), as well as performed in the ensembles of Phill Niblock, Rhys Chatham, Glenn Branca, Duane Pitre, David Watson and Jonathan Kane. He has worked as technical coordinator of Phill Niblock’s Experimental Intermedia Foundation since 2004. In 2007, he was the recipient of the Jerome Foundation Emerging Artists Commission through Roulette Intermedium. In 2008 he was an artist in residence at Hotel Pupik at Sclhoss Schrattenberg. In 2010 he was an artist in residence at Diapason Gallery in Brooklyn, NY. A CD of CORRIDORS was released in 2010 on Sedimental Records. He currently lives and works in Brooklyn, NY and is completing MFA studies in sound at Bard College.


April 22nd

 Family Underground (Denmark) & Matthew De Gennaro

 Family Underground is a duo out of Copenhagen- Denmark. Formed as a trio in 2000 under the name F,.L.O.W.E.R- Aquiring the name FU in 2003, in recognition of the need to express a new way to bend and mend the traditions of psychic sound wich has been the creative core in the band.

Weaving intricate layers of electric storms always with the love for pulsing rhythms.
Inspiration through the whole existence of FU has been the will to try and explore some of the same questions what others before us has asked.

 A slew of releases on the FU’s own label Into the Lunar Night with later CD and LP releases on a wide variety of labels such as Weird Forest, Heavy Tapes, Sound@One, Qbico, Woodsist, Not Not Fun and Sloow Tapes.


 Matthew De Gennaro has performed at the RCH on two separate occasions.  The first was with and old pump organ and strange stringed instruments, the second time, he accompanied a series of 8mm films (which he shot) with and acoustic guitar. Both of these performances were dense with natural tone and concentration, driven by his passion to share his spacious and personal compositions in an intimate setting

__________________________________________________________________________   April 8th @ RCH 

Eugene Chadbourne/Tatsuya Nakatani + Jason Quick

Wow! Word has it that the working title of this duo is “New Directions in Appalachian Music.” It’s a great combination of a pioneer and a young lion of improvised music. Who can summarize better than Doc Chad himself:

Eugene ‘Doc Chad’ Chadbourne and Tatsuya Nakatani continue their ongoing exploration of both classic country and western and radical free improvisation—more often than not conducted simultaneously. “Bigger Country Boobs”, a collection of cover versions of songs by Johnny Cash, Willie Nelson, Roger Miller and others, was released March 6 by Chadbourne’s House of Chadula imprint. Chadbourne and Nakatani recorded the CD at the Greensboro Psychad Studio in early 2011.  Chadbourne’s first album of so-called ‘free improvised country and western bebop’ was issued in 1980. This introduced the listening public to his vocal stylings, as previous releases, beginning with ‘Volume One Solo Acoustic Guitar’ in 1975, had been entirely instrumental affairs.

Percussionist Nakatani, of Japanese descent but now living permanently in Easton, Pennsylvania, is known for his unique solo percussion shows, often presented on epic cross-country tours. He has developed a philosophy of healthy touring that is becoming both a philosophical as well as business model for the discipline of live performing in economies that are increasingly tilted against the arts and non-mainstream activity in general. Circa 2009 the enterprising percussionist e-mailed Doc Chad in Greensboro, announcing his intention to “come South” and his desire to “play Johnny Cash train beat.”



Jason Quick is one of the most active musician in Toledo as well as an extremely talented composer , singer and guitarist. Quick is responsible for the creation of  the successful Jazz Composers Concert series, now in its second year. and going strong. Quick will open the night with a improvised solo performance on guitar


March 31

Keir Neuringer + Joe Panzner

Keir Neuringer composes & improvises acoustic & electronic music, writes socio-political performance texts & essays, & creates interdisciplinary artworks, all with the aim of bringing audiences into a state of emotional & intellectual curiosity that meets the conditions for meaningful dialogue with, & transformation of, the culture at large. Over the last 25 years he has cultivated a personal & intensely physical approach to solo saxophone improvisation that honors & builds upon diverse music-making traditions. He also plays analogue electronics & farfisa organ, & sings & narrates text. He has been an active participant in the experimental music scenes in Krakow, The Hague, and Amsterdam, and currently lives in Central New York.

When not performing solo, Neuringer works with virtuoso bassist Rafal Mazur, experimental turntablist DJ Sniff, Dutch contemporary music group Ensemble Klang, & has performed with free improvisation legends Evan Parker & Mischa Mengelberg & electronic music pioneers Michel Waisvisz, Joel Ryan & Marek Choloniewski. He has released two self-distributed CDs under the moniker THE LOVE STORY as well as UNISON LINES (Not Two 2010) with Mazur. AFGHANISTAN-KABARETT, an EP of songs, is slated for a March 2011 independent release.

“…his percussive riffs and musical spitfire sermons disrupt neurons and reorient thinking – and hit the gut.” (Park Doing of The Atomic Forces)

Joe Panzner draws on the live electronic music of John Cage and David Tudor, the long-form memory experiments of Morton Feldman, and the digital extremism of Peter Rehberg, Florian Hecker, Zbigniew Karkowski, Dion Workman, and Julien Ottavi. He records and performs with scenic railroads (alongside Mike Shiflet), and has performed with David Reed and Larry Marotta.

Panzner works with live electronics and within an ethos of musical materialism, preferring visceral sound experience to representation. He uses treated natural and instrumental sounds, digitally processed analog synthesis, frequency extremes, acoustic and psychoacoustic phenomena.

Presently completing doctoral dissertation in musicology, Panzner’s research,  ‘The process that is the world: Cage/Deleuze/events/performances’ traces the philosophical linkages between Gilles Deleuze and John Cage in the domains of musical ontology, performance, and politics.


 March 23 @ RCH

Loud & Sad + Darger + Golab

Loud & Sad  (Joe Houpert & Nathan McLaughlin)

A few years ago I had the pleasure of hosting this guys @ the RCH. Since then L&S have kept busy recording and inevitably getting noticed, propelling them out of obscurity.

Loud & Sad operate mostly through improvisation and a loose foundation, utilizing keyboards and strange electronics, conjuring dark, heavy waves of tonal textures, and shifting psychedelic moods, always posed and meticulous about there sound.

Loud & Sad was Joe Houpert & Nathan McLaughlin between the years 2005 to 2010 in Pennsylvania recording music we really believed in and quite frankly…we still believe in it. As luck would have it somebody else did too and Digitalis released our Debut in late 2010 after years of rather comfortable obscurity. Nathan has since moved to Minnesota, Joe remains in Pennsylvania….and we are attempting to keep this weird ride going by playing Whale Fall in Toledo. Please join us…as some of you did some years back at the Robinwood Concert House for our performance of Home…and celebrate with us the slow burn…the warm comfort…the heady nowhere talk…the vague classic rock references…


Hailing from Sandusky, Cody Kirkendall (synthesizer) and Matt Bahnsen (guitar) have been steadily been mastering there craft in this drone duo. Darger’s  largely freeform process,  with subtle shifts of space and texture feed the listener with a patient liftoff and sometimes dark return.


Golab is the solo effort of Joel roberts, co-founder of Ohio New-Wave outfit Stylex. With a mix of Beach-boys style harmonies, vintage synthesizers, Casio keyboards and a variety of acoustic instruments, “Simplicity Banquet’s” songs are as unique and catchy as they are haunting.

Drastic Plastic says: “Twenty-nine inventive pop ditties accompanied by a barrage of Pong era keyboards. Reminiscent of a romantic They Might Be Giants, other times a bathetic Brainiac.”

Clamor Magazine says: “An impossibly ingenious blend of synthetic melody and organic creepiness.”


__________________________________________________________________________________  March 15   @ RCH

Rob Wallace/Jennifer Caputo/Andrew Raffo Dewar with special guests

Rob Wallace is a teacher, author, and musician.  He holds a Ph.D. in English Literature from the University of California, Santa Barbara and is also an active percussionist in a variety of musical genres, ranging from free jazz to Hindustani classical music.  He has performed and/or recorded with a variety of artists including Pt. Hom Nath Upadhyaya (his tabla teacher), Colter Frazier, Yungchen Lhamo, Vinny Golia, Jeff Kaiser, Getatchew Mekurya, Hamid Drake, Jim Connolly, Robin Eubanks, Hal Onserud, Matana Roberts, Jane Bunnett, Larry Cramer, Joe Sorbara, Jesse Stewart, Kyle Brenders, Andrew Raffo Dewar, and Frank Rosaly. Rob’s recordings can be found on the pfMentum (www.pfmentum.com) and Ambiances Magnetiques (www. record labels. His most recent publications include Improvisation and the Making of American Literary Modernism (Continuum 2010).

Jennifer Caputo is a percussionist, ethnomusicologist and instructor at the University of Alabama. Jennifer has performed with several percussion and world music ensembles including Percussion People, Ethos Percussion Group, Wesleyan Javanese Gamelan, Boston Village Gamelan, I Giullari di Piazza, and the Rhythm Monsters – a New Jersey based West African drumming ensemble. In the contemporary music scene Ms. Caputo recently performed solo works and ensemble pieces by Bill Dixon, Anthony Braxton, Guillermo Gregorio, Alvin Lucier, James Tenney, and Andrew Raffo Dewar. Locally Jennifer was a featured performer in the Birmingham Experiments concert series at the former Greencup Books this past fall and has performed with the Tuscaloosa Symphony Orchestra. Ms. Caputo directs the newly formed UA African Drumming Ensemble that performs traditional music from Ghana. Jennifer also teaches World Drumming at the Tuscaloosa Magnet School through a partnership with UA’s Community Music School. Before moving to Alabama in 2008 Jennifer previously taught at Molloy College in NY, Southern Connecticut State University and Wesleyan University in CT.

Ms. Caputo has been fortunate to have studied world percussion with a number of outstanding musicians including, Michael Lipsey, Yousif Sheronick, Glen Velez, Allesandra Belloni, Raffaele Inserra, Abraham Adzenyah, David Locke, Robert Levin,David Nelson, Sumarsam, I.M. Harjito, and Barry Drummond.

Andrew Raffo Dewar is Assistant Professor of Interdisciplinary Arts in New College and the School of Music at the University of Alabama. He is a composer, improviser, woodwind instrumentalist and ethnomusicologist. Since 1995, he has been active in the music communities of Minneapolis, New Orleans, the San Francisco Bay Area and New York City, performing his work in North America, Southeast Asia and Europe.

Dewar studied with saxophonist/composers Steve LacyAnthony Braxtonand Phillip Greenlief, composer Alvin Lucier, trumpeter/composer Bill Dixon, and multi-instrumentalist improviser Milo Fine. He has also had a long involvement with Indonesian traditional and experimental music, particularly the Minangkabau music of West Sumatra and Central Javanese gamelan. As a composer, his pieces have been performed by the Flux Quartet (NYC), Sekar Anu (Indonesia), the Koto Phase ensemble (USA/Japan) and the XYZ composer collective (NYC). He has received grants from Arts International, Meet The Composer and the Getty Foundation to support his work.

In addition to leading his own ensembles and performing in collaborative groups with musicians from around the world, he performs with and appears on recordings by the Anthony Braxton 12+1tet and the Bill Dixon Orchestra.As a performer and improviser he has worked with (among many others): Tetuzi AkiyamaMatt BauderJorge Boehringer, Anthony Braxton, Taylor Ho Bynum, Eugene Chadbourne, Jonathan Chen, Loren Kiyoshi Dempster, Bill Dixon, Michel Doneda, Bryan EubanksMilo Fine, Wolfgang Fuchs, Guillermo Gregorio,Andrew Lafkas, Tatsuya Nakatani, Jessica Pavone, Chad Popple, Gino RobairPhillip Schulze, Davu Seru, John ShiurbaAaron Siegel, Alan Silva, LaDonna Smith, Pande Made Sukerta, I. Dewa Nyoman Supenida, A.L. SuwardiMatthew Welch,Davey Williams, and Jack Wright.



 March 10

Forced Collapse (Liz Allbee & Chris Riggs) + Bob Drake/Ryan Jewell

Forced Collapse is the New American Improvisation/Post-Lachenman Extended Technique Laboratory/Michigan Electronic Noise Made Real Through Acoustic Instruments Trumpet and Guitar duo of Liz Allbee and Christopher Riggs.

Liz Allbee is a voracious musician whose work spans many genres, encompassing new music, improvisation, electronic composition, Asian folk and pop, noise, minimalist, free jazz and experimental rock. She plays in the pop band Neung Phak, in the experimental Neanderthal troubaduo Marauder and Alibi, and in the Jon Raskin Quartet, and has performed and recorded with a wide array of musicians.


Christopher Riggs is a guitarist, composer, and improviser from Farmington, MI.  He studied classical guitar performance and music composition at the Oberlin Conservatory of Music in Oberlin, OH and is currently pursuing an MA in music composition at Wesleyan University under Anthony Braxton and Alvin Lucier.  Christopher’s work deals with the development of very specific extended techniques on the FX pedal-less electric guitar.  Equally influenced by the sound of homemade analog electronics and the intentionality of new complexity academic composition, this sonic vocabulary is filtered through a system that explores the intersections of composition, chance, improvisation, and instrumental practice. Christopher is the former operator of the now defunct Holy Cheever Church Records.  All solo recordings and scores will be available for free download on this site.


Bob Drake : modular synthesizer

Bob Drake is an electronic musician based out of Cleveland, Ohio. Sometimes performing under the moniker Fluxmonkey, After completing an 5-year apprenticeship as a violin maker, he’s focused on original electroacoustic instruments, installations, and modular synthesis.

Drake has also has been active in setting up workshops in Cleveland. His instruments vary from a homemade mounted steel cylinder covered with tunable strings to found industrial objects to an elaborate array of strange synthesizer modules. Bob’s music is very manual, always working sounds and timbal nuances, his performance is a both sonically engaging as well as visually stimulating.


Ryan Jewell is a musician, improviser and sound artist currently living in
Columbus, Ohio. He studied percussion and electronic composition
techniques at Capital University and has since studied drum set with Susie Ibarra
and tabla with Dr. Lowell Lybarger. In
addition to being a frequent traveler of
the US, he has toured extensively as a soloist and collaborator in Europe, United Kingdom, Canada, New Zealand, and Australia. Jewell has also
performed at a number of international festivals including the SOWIESO 1
and Les Sciences Bruitistes festivals in Paris, the International
Noise Conference in Miami, SXSW in Austin, Neon Marshmallow in Chicago and the Kraak Festival in Brussels. He has had the honor to perform, collaborate and record with a diverse array of artists such as Greg Kelley, C. Spencer Yeh,
Nate Wooley, Christine Sehnaoui, Bhob Rainey, Jandek, Mike Shiflet, Envenomist, Larry Marotta, Vic Rawlings, Fossils, Rafael Toral,
Psychedelic Horseshit, Pink Reason, Jason Zeh, Wasteland Jazz Unit, and many


January 29 @ RCH

Loop 2.4.3 (Brooklyn,NY) & Dub Starlings (Toledo)

Loop 2.4.3 is a composer/performer duo that has drawn comparisons to Steve Reich, Battles, Harry Partch, Moondog, Konono No.1, Brian Eno, and Belle Orchestre  – an assortment that alludes to their hard to classify, yet visceral aesthetic. They are composers/instrument inventors/improvisers/performers and “virtuosi musicians of the highest caliber” (Gordon Stout, Ithaca College), mixing electro-acoustic techniques with an array of percussion and other instruments. Their new album, Zodiac Dust, features strings and two instruments of their invention, the Rose Echo and eLog. Their music has been described as “transportive percussion odysseys” (The Boston Phoenix), “taut compositions with a stunning improvisational sense” (Time Out Chicago), and as both “action adventures and reveries… all sound[ing] like part of a well-thought-out tradition, only the tradition has never existed until now.” (Milo Miles, Fresh Air – NPR)

Loop 2.4.3, Thomas Kozumplik and Lorne Watson, paid their dues in the Heartland (growing up and gigging all over Michigan and the mid-west), on the reservation (Watson taught for and learned from the Saginaw Chippewa Tribe), and in the Ivy League (Kozumplik went to music school at Yale).  Since transplanting to Brooklyn in 2003, they have become active figures in the NYC arts community (see below for collaborations), which includes presenting S.F.O.S. [Sewing Factory Open Studios], an annual arts festival in Brooklyn’s Bedford-Stuyvesant neighborhood.


The Dub Starlings are a Toledo based duo who blend electronics and live instruments to create a unique set of sounds.  Alan Leizerman is an immensely mutli-talented musical mind.  He has existed in the most interesting corners of Toledo’s music happenings for well over ten years.  Originally from Trenton, MI he has appeared in quite a few ensembles ranging in style as a drummer / percussionist.  A logical second-step for every great drummer, Alan discovered electronic music and soon took on the turntables with huge success.  His philosophy as a DJ was simple: Taste and variety.  He dove deep into Brazil, West Africa, and 70’s American funk.  All the while – on a sort of second musical track – Alan has performed as a lead singer / guitarist on a beautiful repertoire of American songs of the pre-WWII depression era.  Alan’s electronic compositions, performed with Ben Langlois as The Dub Starlings are an exploration of tonal and rhythmic texture.
Ben Langlois is a native of Toledo, and owner of the Toledo based record label Old West End Records.  OWErecs is a project Ben started to combine the efforts and resources of a group of people larger than just a band.  Also a long time veteran of Toledo music, Ben draws from vast experience in a startling variety of musical environments.  He is also a multi-instrumentalist and regular performer in most of the OWErecs roster including his own live-band project called “Mighthaveben”, which features Alan Lezierman on percussion and general sound wizardry.  With The Dub Starlings Ben uses trumpet, melodica, accordion, and live percussion to add a live improvised element to Alan’s compositions.



Peter Evans/Weasel Walter/Mary Halvorson

C.R. Kasprzyk

Peter Evans is an American trumpet player based in New York, who specializes in improvisation and avant-garde music. Evans has been a member of the New York City musical community since 2003, when he moved to the city after graduating from The Oberlin Conservatory of Music. Peter currently works in a wide variety of areas, including solo performance, chamber orchestras, performance art, free improvised settings, electro-acoustic music and composition. In addition, he performs regularly as part of the Festival of New Trumpet Music, which is held annually in New York City.

Evans has toured throughout the United States, Canada, Italy, and England. His solo trumpet album, More Is More was released on Evan Parker‘s psi label in 2006, and his debut album as a leader, titled simply The Peter Evans Quartet, was released by Firehouse 12 in 2007.

He performs often with his quartet (with Brandon Seabrook, Tom Blancarte, &Kevin Shea), Moppa Elliot’s terrorist bebop band Mostly Other People Do the Killing, the hyperactive free-improvisation duo Sparks (with Tom Blancarte), theHistrionics, the free-jazz quintet Carnival Skin (with Klaus KugelPerry Robinson, Hilliard Greene and Bruce Eisenbeil), the Language Of with Charles Evans, the “Christmas Duo” with trombonist Sam Kulik, as well as a sustained interest in solo performance. In New York, Peter also performs contemporary notated music with groups such as the International Contemporary Ensemble,Alarm Will Sound, Contiuum, and Ensemble 21. He has continued to perform on piccolo trumpet in Baroque settings, performing Brandenburg Concerto No. 2 at the Bargemusic series, and in Bach’s Mass in B Minor at St. Peter’s Church. Other recent collaborators include: Mary Halvorson, Dave Taylor, Mark Gould, Perry RobinsonFred FrithBrian Chase (drummer for the Yeah Yeah Yeahs), Nate Wooley, Zach Hill (drummer for Hella), Stefan Tcherepnin, Chris McCintyre, Dave Reminick, Ned Rothenberg, Okkyung Lee, Briggan Krauss, Chris Speed,Weasel Walter, and Andrew Drury.

Weasel Walter (born Christopher Todd Walter in Rockford, Illinois) is acomposer and instrumentalist who founded the band The Flying Luttenbachersin Chicago in 1991 with late jazz cult figure Hal Russell and is a current member of Cellular Chaos, Zs and Behold…The Arctopus. Over the years, The Flying Luttenbachers included noted Chicago musicians such as Ken VandermarkJeb BishopFred Lonberg-HolmDylan Posa, while creating an uncompromising and mercurial body of abstract music drawing equally from no wavedeath metal,free jazzgamelannoise musichardcore punk and modern classical. Walter moved to the San Francisco Bay Area in 2003, where he formed the latest of many Luttenbachers lineups, remaining on percussion with the addition of bassist Mike Green (Burmese), and virtuoso guitarist Ed Rodriguez (ex-ColossamiteGorge Trio). Singular guitar phenomenon Mick Barr(Octis,Orthrelm) joined the group in 2005. The Flying Luttenbachers ceased to operate in late 2007. In addition to leading various free jazz ensembles under his own name, currently he is a member of Burmese. On November 25, 2009, Weasel Walter announced that he was moving to New York City to join the bandBehold… The Arctopus on drums and will be writing “new, more extreme material from scratch.”

Guitarist/composer Mary Halvorson has been active in New York since 2002, following jazz studies at Wesleyan University and the New School. In addition to her own bands, The Mary Halvorson Trio and Quintet, she co-leads a chamber music duo with violist Jessica Pavone and the avant-rock band, People, with drummer Kevin Shea.

A veteran of the ensembles of esteemed saxophonist/composer Anthony Braxton, she has also performed with groups led by Tim Berne, Taylor Ho Bynum, Trevor Dunn, Tomas Fujiwara, Curtis Hasselbring, Tony Malaby, Myra Melford, Nicole Mitchell, Jason Moran, Marc Ribot, Matana Roberts, Elliott Sharp, John Tchicai and Matthew Welch among many others.

In 2008, the success of her trio’s debut, Dragon’s Head (Firehouse 12 Records), led critics to call Ms. Halvorson “probably the most original jazz guitarist to emerge this decade” (Peter Margasak, Chicago Reader) and “the freshest, busiest, most critically acclaimed guitar- slinger out of downtown Manhattan/Brooklyn right now” (Howard Mandel, Jazz Beyond Jazz).

“A singular talent,” adds AllAboutJazz.com’s Troy Collins, “Brooklyn-based guitarist Mary Halvorson has come into her own as a composer and improviser with her trio debut, Dragon’s Head…light years ahead of her peers, she is the most impressive guitarist of her generation. The future of jazz guitar starts here.”

C.R. Kasprzyk (cory kăsp-shick) is a composer, saxophonist, free-improviser, amateur photographer, and avid “bring your own bag” grocery shopper. Working toward an intangible parallel between a cognizance of one’s surrounding and music transcribed from (or inspired by) that environment, his work has garnered performance credits including Carnegie HallLincoln CenterSteinway Hall and throughout the United States, Canada, The Netherlands and Belgium. Cory currently works withElainie Lillios, as well as Mikel Kuehn and Marilyn Shrude, at Bowling Green State University where he is pursuing his doctorate, specializing in music composition and digital media.

Praised for music that is timbrally striking (HurdAudio) and full of wind, height and velocity (Baltimore City Paper), Cory’s work has been supported by The Brannen-Cooper Fund, Northwestern University’s Midwest Graduate Music Consortium, the Randolph S. Rothschild and Ada Arens Morawetz Memorial Awards, two Peabody Career Development Grants, an Encore Grant (American Composers’ Forum) and Grand Valley State University, where he was an artist-in-residence in 2006.

In addition to his efforts spearheading the inaugural 24hc (24 Hour Concert) at the Peabody Conservatory, Cory’s work has been presented at CCRMA (Stanford University), Camden Yards, theLogos Foundation, New York’s St. Peter’s Church, Minneapolis’ Weisman Museum, Miami’s Carnival Center, Baltimore’s Red Room, Philadelphia’s Bowerbird, Charlottesville’s Bridge PAI, the Tribeca, Athens, and HBO/New York International Latino Film Festivals, the International Computer Music ConferenceElectronic Music Midwest, the SparkHigh Zero, and MusicX Festivals, and various other venues. He has also been heard on WCLV Cleveland, Endless Possibilities/WRSU New Jersey, Martian Gardens, Kalvos and Damian, and Columbia University Radio.

A versatile musician, he has collaborated with the Duke and Towson New Music Ensembles, the New World Symphony, the Cleveland Winds, the Ghetto Film School, the 60×60 projectConor Nelson,Dana JessenMichael Sheppard, Daniel Spiegel, Karisa Werdon, Joel GripPeter Jacquemyn, The Mana Duo, Gary LouieGriffin CampbellMichael StrausBrian Sacawa, James McCain, John Berndt,Elizabeth HoffmanMatthew BurtnerPer BlolandRobert HamiltonAsha Srinivasan, Andrew Cole, human beatboxer Shodekeh, and dry ice improviser Catherine Pancake.

Cory has participated in informal study and masterclasses with Kaija SaariahoAlvin Lucier, andTristan Murail, as well as John Sampen. He holds a bachelor of music from Grand Valley State University, as well two masters degrees (composition and saxophone), obtained in two years, from thePeabody Conservatory of the Johns Hopkins University. Cory is a former site coordinator for theCreative Access Outreach Group and has served on the faculties of Morgan State University (MD) andBluefield College (VA).


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