*Last show of 2013*


9PM $5

Keefe Jackson,Christoph Erb & Tomeka Reid +Ypsmael 

keefe jackson

The talent of Chicago’s Keefe Jackson as an improvising reedist has long been beyond reproach. His work as sideman in groups led by Jason Stein, Pandelis Karayorgis, and Josh Berman, to say nothing of his key participation in the collective Fast Citizens has been astonishing—a consistent source of elegantly constructed, logically flowing improvisations that move easily between postbop and free jazz.

–Peter Margasak, Chicago Reader


Christoph Erb, is a tenor saxophonist / bass clarinetist, improviser, composer and music presenter. He’s born in 1973, in Zürich, and lives in Lucerne, Switzerland where his own label, veto-records, is based. He organized his own festivals including, veto-records Label-Festival and Erb’s Impro Festival. In 2006 he won the ZKB Swiss Jazz prize with his group erb_gut. In 2007 he was awarded the culture prize of the city Lucerne.  He leads his own bands: Lila, Veto, BigVeto and erb_gut. Erb has performed and recorded with some of the most internationally respected improvising musicians and composers in jazz and improvised music: Jim Baker, Michael Zerang, Fred Lonberg-Holm, Jason Roebke, Frank Rosaly, Jason Stein,Christy Doran, Urs Leimgruber, Daniel Humair, Harald Härter, Peter Schärli, Christian Weber, Christian Wolfahrt and many others. As a sideman he has collaborated with Manuel Mengis Gruppe 6.


Chicago based cellist, composer and educator, Tomeka Reid has been described as “a remarkably versatile player,” (Howard Reich, Chicago Tribune). Equally adept in classical and jazz contexts, Ms. Reid predominantly finds herself in experimental and improvisatory settings and composes for a wide range of instrumentation, from big band to chamber ensemble. Ms. Reid’s music combines her love for groove along with freer concepts.

Ms. Reid is an integral part of Dee Alexander’s Evolution Ensemble, Nicole Mitchell’s Black Earth Ensemble/Strings, Mike Reed’s Loose Assembly, the Association for the Advancement of Creative Musicians (AACM) Great Black Music Ensemble, and co-leads the internationally recognized string trio, Hear in Now with performances in Poznan, Poland; Paris, France; Rome, Venice, Milan, Italy; Soazza, Switzerland; and in the US: Chicago, New York and Vermont. In addition to the aforementioned ensembles, Ms. Reid performs with many of today’s forward thinking musicians in the world of jazz and creative music including Anthony Braxton, George Lewis, Roscoe Mitchell, Jeb Bishop, Myra Melford, Fred Lonberg-Holm, Mary Halvorson, Denis Fournier, Edward Wilkerson and Harrison Bankhead. Ms. Reid also leads her own trio featuring guitarist Matt Schneider and bassist Josh Abrams, for which she composes. Ms. Reid can be heard on numerous studio recordings.

As an educator, Ms. Reid has led string improvisation workshops in Italy and the US. Most recently she co-directed the 2012 Vancouver Jazz Festival’s High School Jazz Intensive. For seven years, Ms. Reid co-directed the string program at the University of Chicago’s Laboratory School for students grade 5 thru 12. Ms. Reid is also an ABD doctoral candidate at the University of Illinois: Urbana-Champaign.

As a composer, Ms. Reid has been commissioned by the AACM, the Chicago Jazz Festival and the Chicago Jazz Ensemble and has had several opportunities to showcase her work abroad at festivals such as Umbria Jazz, An Insolent Noise and Vignola Jazz. She has been nominated and awarded residencies for composition with the Ragdale Foundation and the 2nd Annual Make Jazz Fellowship hosted by the 18th Street Arts Organization. Ms. Reid was selected as a 2012 participant in the Jazz Composers Orchestra Institute held at the University of California: Los Angeles.


Picture 1

Ypsmael  from Munich is an electronic music performance and recording project with an interest in extended technique, instant composition and electroacoustic improvisation. Audio feedback takes an instrument-like role. In-situ particles of sound are looped and joined by conventional, prepared, stompbox-treated or modified derelict instruments, voice, percussion and field recordings. A brittle silence, slow-paced dark ambient gleaming, hazy drone swells and washes of lo-fi noise, lined with splinters of audio detritus and subdued vocals.










Thollem’s Confluence is the result of a musician who has been traveling perpetually and playing internationally for years.  “Thollem McDonas travels the world looking for magical sounds that will enlighten and inform him about the possibilities of how to live.” 
(William Parker, US)
 Absorbing approaches to the musics of a wide variety of cultures, these comprovisations contain nuances and collisions from his studies of 350 years of keyboard musics, Gamelan, West African Drumming, Native American musics and those he finds in the ever-changing environments he encounters. “He inhabits a world uniquely his own, rhythmically, harmonically and formally.  A true original.” (Terry Riley)

brilliant, bursting pearls in the astonished air.” 
(Signal To Noise, US)

“jump in this exceptional source of musical energy and enjoy it.” 

– Dolf Mulder, Vital Weekly (Holland)

“Thollem has that rare gift of soulful equilibrium, which he alternates with digital dexterities that have few equals on the current scene.” 

– Massimo Ricci, TouchingExtremes (Italy)

“His inventiveness is facilitated by his highly developed virtuosity, a tool that allows him to confer on his music an extraordinary flexibility and dynamic variability.”  – Eduardo Chagas, TomaJazz (Portugal)

patrick briener

Patrick Breiner inhabits an alter ego, Vartan Mamigonian, while performing his solo saxophone works. This music oozes drama  and demonstrates a virtuosic facility on the tenor saxophone. He often sounds like more than one instrument, using his voice and instrument simultaneously to create contrapuntal melodies or simply playing so fast that multiple melodies become apparent.


rob lundberg

Rob Lundberg is a bassist, photographer and curious person originally from Wisconsin. While residing in New York for the past 7 years, Robert attended the New School, studying jazz and improvised music as well as history, and studying privately with renowned bassist/composer Mark Helias. He has had the opportunity to perform all over the US, Canada and Europe in venues ranging from Carnegie Hall to living rooms and many in between. His solo pieces for double bass often draw on his work with photography as well as his interest in how water is viewed and used in contemporary society.




Meridian is the trio of Tim Feeney, Nick Hennies, and Greg Stuart is dedicated to the exploration of percussion through various non-traditional approaches. Drawing on their experience performing both improvised and composed works, the group approaches percussion in a way that places the exploration of sound in the foreground rather than a focus on rhythm, gesture, or technique. The trio is in the unusual position of having all its members eschewing their training as “classical” percussionists in favor of a musical approach that is primarily concerned with exploring acoustic phenomena rather than exercising their abilities as virtuosos. Meridian performs their own work alongside compositions by like-minded composers such as Peter Ablinger, Michael Pisaro, Antoine Beuger and others.



Fluxmonkey is  Bbob Drake , a veteran electronic improvisor whose refined and playful works with modular synthesizers  acknowledging deep roots in the classically experimental ethics of Cage, Tudor, and Fluxus and the wonderfully zonked folk sciences of mail art and synth DIY, while sitting gracefully and with considerable distinction in the contemporary electroacoustic underground.

While the last few years have seen the effects of their work felt far outside their native Cleveland, Ohio thanks to a string of stunning regional festival appearances, a handful of brilliant recorded editions, and a substantial influence on a generation of artists now emerging from the Rust Belt.



OCTOBER 19TH 9pm $5

bAgg*fisH & The Wasps Nests and Valerie Kuehne


Michael Fischer (*1963), viennese improviser/instant composition conductor; after finishing institutional studies in Vienna in 1990 expanded exploration of the saxophone and the harmony theory in jazz; his musical language is also based on studies of european improvised music, ‘neue musik’, free jazz and noise. By exploring the language immanency of sound, including the phenomenon of the feedback (since 1999) Michael Fischer is permanently working on new contextualization of the saxophone. In 2005 he founded the Vienna Improvisers Orchestra which has one focus on merging spoken experimental poetry and musical textures; instant composition conducting also for improvising orchestras/choir at festivals in Spain, Japan, Germany, Austria, in 2012 Michael was invited to conduct at the reknown festival Wien Modern /A.
As acoustic and electroacoustic improviser Michael Fischer worked in collaborations and projects since 1996 with John Edwards, Hilary Jeffery, Michael Vatcher, Felicity Provan, Mark Sanders, William Parker, Irene Schweizer, Denis Charles, Peter Kowald, Daisuke Terauchi, Tamaho Miyake, Ito Atsuhiro, Ken Okami, Peter Jaquemyn a.m.o. Extended collaborations with writers in experimental literature, amongst them Dmitri Prigow (t doyen of russian concept art) or Gerhard Rühm (*1930, Wiener Gruppe, A), with artists such as Marc Adrian (t avantgarde filmer, op-art, A), Eileen Standley (dance, video, USA) or Lore Heuermann (installation and performance artist, A), Baby-Q dance comp. Tokyo a.m.o. Michael gives lectures in improvised music and instant composition conducting at Universities, Music Conservatoieres and festivals; as ensemble leader and member concerts and festival appearances throughout Europe, Japan, NY; his last Japan tour in 2010 included 14 concerts in 9 cities. http://m.fischer.wuk.at

Marcos Baggiani
 (*1973), born in Buenos Aires, Argentina, started drumming at the age of 8. Seduced by different music genres (listening grunge and South-American folk, funk and free jazz) and influenced by his early contact with jazz-men in Argentina, he learned different music styles and played with many bands and projects. In 2001, after years of musical development in Bs.As. he moved to Amsterdam where he completed his formal studies (Master/Jazz) at the Conservatorium van Amsterdam. Enlightened by his encounter with the impro-music scene in Amsterdam, Marcos evolved as a very creative and powerful musician, versatile and joyful, working on sound and communication as basic tools for improvisation. Nowadays he’s co-leading The Ambush Party, the CBG and bAgg*fisH. Also remarkable is his work with Lily’s déjà vu or the “Royal Improvisers Orchestra”.

Marcos has worked a.o. with Ellery Eskelin, Sylvie Courvoisier, Michael Moore, Ingrid Laubrock, John Edwards, Ernst Rijsiger, Angel Faraldo, Eric Boeren, Gorka Benitez, Han Bennink, Daisuke Terauchi, Wolter Wirbos, Felicity Provan, Achim Kaufmann, Wilbert de Joode, Burton Greene, Andy Moor, Luc Ex, Yolanda Elizalde, Alfredo Genovesi, Natalio Sued or Harald Austbo. His work has been released on Trytone Label, DePlatenBakkerij, Riot Records, Musifactor, BAU and MDR. He is part of Trytone collective and between 2006 and 2012 he was in charge of the program that the collective hosted at Zaal 100 Amsterdam.


The Wasps Nests and Valerie Kuehne are a loving mix of grindcore, cabaret, performance art, punk, and neo-classical art song, with a dash of free improvisation for good measure. Valerie Kuehne is “part punk classical cellist, part performance artist, but her performance art isn’t the foofy, mannered kind – it’s oldschool 80s style and it has fangs. And it’s hilarious. (Lucid Culture)” The Wasps Nests are Jeffrey Young on violin (thingNY, Food Will Win the War, Valerie Kuehne’s Dream Zoo) and Alex Cohen on drums (Malignancy, Will Lee, Mark O’Connor). The New York-based trio will perform a new set of songs by Valerie about the apocalypse, processed food, torrid love affairs, dead comedians, and West Virginia. Their tour will include dates throughout Illinois, Ohio, Indiana, Pennsylvania, and Michigan. About the Performers

Valerie Kuehne is a cross-pollinated work of chaos. Fusing together music, performance art, narrative, and experimental curation, she has been told that, “if this music thing doesn’t work out, she’d probably make an awesome cult leader.” (Boston Public Space). After moving to New York to study Philosophy at The New School, Ms. Kuehne has systematically bifurcated her time between touring the planet, performing in as many unexpected settings as possible, and building a community for experimental music and performance art in New York. Her series, The Super Coda, is an experimental cabaret that has united electrifying performers 5 years running. Ms. Kuehne’s work operates under principles of surprise, and investigates obsession, comedy, decay, forensic pathology, sex, hypnogogia, viscera, death. She created and composed for the ensemble Dream Zoo and is one third of the improvised music trio Prehistoric Horse.


Jeffrey Young is a violinist and composer from Brooklyn, NY who specializes in experimental classical music and rock music. He performs alone on violin and laptop and with groups including thingNY, Food Will Win the War, Streams of Whiskey, and This Ambitious Orchestra. He has worked with Pierre Boulez during four summers at the Lucerne Festival Academy in Switzerland, played at the Bang on a Can, National Repertory Orchestra, and Aspen Festivals, and twice toured China as an orchestral violinist. Jeffrey has also appeared on The Late Show with David Letterman and The Rachael Ray Show. He graduated from the Oberlin Conservatory of Music in 2007.


Alex Cohen is a drummer from Manhattan, NY who specializes in extreme metal and jazz. One of the founding members of Pyrrhon (one of NYC’s premier avant-garde metal bands), Alex is also the session drummer in NYC metal icons Malignancy, filling in for Fear Factory drummer Mike Heller on both European and American tours. A busy session musician, he has worked and recorded alongside Will Lee, Al Pitrelli, Mark O’Connor, Chris Finney, and more. Alex is also the author of several columns for Drumhead Magazine, and his recorded work has been featured on compilations alongside such luminaries as Vinnie Colaiuta, Mike Mangini, Robby Ameen, and Dave Mattacks. He graduated from New York University in 2011. www.alexcohendrums.com

Press for Valerie Kuehne “Steve Albini would be proud” – Skull-Valley “Brooklyn-based cellist/singer Valerie Kuehne might make the proto-typical classical fan – those Mozart and Mendelsohn worshipers – keel over and die. But I’m not so sure Kuehne would mind. Red hair knotted, cello battered and covered in duct tape, she brings an angst to the instrument that many have long forgotten. Her lyrics float down like hard Wagnerian spats of anger. Her melodies lull you in, only to rip you apart in the next beat. Her final song is a slinkingly dark ode to sleep and death. She had the whole crowd singing along, and me thinking – if this music thing doesn’t work out, she’d probably make an awesome cult leader. Valerie Kuehne, check her out. You will love it. (You will).” – Boston Public Space “sporadic and wild and comical, walking a strange line” – Knocks From The Underground “a *genius* (not a term I use lightly)” – Natti Vogel “She’s part punk classical cellist, part performance artist, but her performance art isn’t the foofy, mannered kind – it’s oldschool 80s style and it has fangs. And it’s hilarious” – Lucid Culture “we remember the age of Karen Findlay where the audience was treated to character aggresssion, extreme theater, bodily fluids, etc…Valerie lives up to that tradition except the only bodily fluids are in the audience because in ‘newyorkese’ she’s not only a pissah but….she knows where Chris Farley is…” – Michael Shaeffer, Our Net News “Not your ordinary lady with a cello.” – Boston Hassle “Life in the United States, in my generational view anyway, is a life of continual loss. You lose things. A piano, friends, a house, a job, parents, your car keys, that important note you wrote to yourself, your youth. And then you (one hopes) gain things too. There’s always new music, for example. Here today is something to gain. It’s the music of Valerie Kuehne” – Gapplegate Classical-Modern Review “Kuehne opts for a slower cadence in ‘West Virginia’ and flails into spoken word theatrics and finger plucking, while ‘Long, Long Sleep’ cuts like a glassy-eyed lullaby sung by Virginia Woolf as the weight of the stones pull her under. Not for the faint of heart.” – Kristen K, Razorcake “Kuehne gigs around town, and far outside of town, with a marathon persistence to rival B.B. King in his most energetic years” – NY Music Daily “A fearless cello master with a relentlessly creative soul….Kuehne’s hair thrashing, undulating cello pieces sent her glasses flying to the ground (she didn’t miss a beat however).” – Shakefist Magazine “..spasmodic bursts of clatter and skree via cello, drums, and guitar, typically played in ways that would make conventional music teachers shudder in horror.” – Seattle Stranger


September 28th 

9PM $5

Eric Hofbauer & Nagual

Eric Hofbauer

Eric Hofbauer has become a significant force in Boston’s improvised-music scene,” declares Stereophile’s David R. Adler, “His aesthetic evokes old blues, Americana, Tin Pan Alley, bebop, and further frontiers. There’s a rule-breaking spirit but also an impeccable rigor, a foundation of sheer chops and knowledge, that put Hofbauer in the top tier of guitarists.”

Hofbauer has been an integral member of Boston’s jazz scene as a musician, bandleader, organizer and educator for the past fifteen years, where he has performed and recorded alongside such notable collaborators as Han Bennink, Roy Campbell, Jr., John Tchicai, Garrison Fewell, Cecil McBee, Steve Swell and Matt Wilson.

Hofbauer is perhaps best known for his solo guitar work featured in a trilogy of solo guitar recordings (American Vanity, American Fear and American Grace). Of the trilogy, Andrew Gilbert of The Boston Globe writes, “No other guitarist in jazz has developed a solo approach as rigorous, evocative, and thoughtful as Hofbauer”.

Hofbauer has also earned critical acclaim for his work in a variety of musical projects, including recordings with the Garrison Fewell/Eric Hofbauer Duo, Garrison Fewell’s Variable Density Sound Orchestra, The Pablo Ablanedo Octet(o) and The Blueprint Project with Han Bennink. In 2007, he founded his own group, Eric Hofbauer & The Infrared Band, which released its debut Myth Understanding (CNM 011) 2008 and followed up with LEVEL (CNM 020) in 2011. Most recently, he has been performing with BOLT, an electro-acoustic improvising quartet featuring the notable Dutch free jazz saxophonist, Jorrit Dijkstra, and the new Eric Hofbauer Quintet, a modern jazz project featuring Hofbauer compositions.

Hofbauer teaches jazz composition, guitar, and jazz history at Emerson College and the University of Rhode Island. In 2009, he was honored with the Massachusetts Cultural Council Artist Fellowship in Music Composition.



Nagual is a musical duo formed in Oberlin, OH in 2010. It consists of David Shapiro (Guitar, Loops) & Ian McColm (Guitar, Voice, Loops).



September 20th – $10

I-75 Ensemble

David Bixler alto saxophone/Andrew Bishop soprano and tenor saxophones/Tad Weed piano/Jeff Halsey bass/Roger Schupp drums and cymbals/Olman Piedra percussion

David Bixler is an artist who manages to take much of the best of the jazz tradition and push it in new directions—push, but never shove. He is original, but his originality is not what I would call radical. He works within the tradition. He is not looking to destroy it. The Nearest Exit May Be Inside Your Head is an album filled with inventive ideas and exciting artistry. Most importantly, it is filled with music you’ll want to hear and hear again.” Jack Goodstein Saxophonist, composer, and educator David Bixler continues to establish himself as a multi-faceted artist.  David has performed and toured the world with the orchestras of Chico O’Farrill, Lionel Hampton, Toshiko Akiyoshi,  and Duke Ellington, among others.  His collaboration with pianist Arturo O’Farrill has resulted in many performances and tours, in addition to several recordings, including the GRAMMY nominated 40 Acres and a Mule.  The Nearest Exit May Be Inside Your Head  is Bixler’s fifth recording as a leader.  In reviewing the recording for All About Jazz, Dan Bilawasky writes,” Bixler has garnered plenty of attention for his contributions to O’Farrill’s music over the years, but this album makes it clear that it’s time to give him his due for his own winning work.”Also active as a composer, David gave the premier of his Concerto for Alto Saxophone and Orchestra, with the South Dakota Symphony Orchestra, under the direction of Delta David Gier in March of 2010.  He has also received numerous commissions one of which, Heptagon or saxophone quartet, is included on a Naxos release of American composers by the Ancia Quartet.  David is the Director of Jazz Studies at Bowling Green State University in Bowling Green, Ohio.  As both a Selmer and Vandoren Artist he is active as a clinician throughout the world.

A recent critic noted that Tad Weed is “a magnificent ‘sound-painter’ at the piano, mixingcolors, lines, layers and patterns and creating textures to build, shade and shape the music in interesting, and often, unexpected ways.”  Tad’s performing experience includes touring internationally with Carmen McRae, Anita O’Day, Paul Anka, and Jack Jones, as well as being a member of various ensembles including Charles Lloyd, Nick Brignola, Woody Herman, Mundell Lowe, John Patitucci, Vinny Golia, Richie Cole, Teddy Edwards, and Dick Berk.Tad is acknowledged in Leonard Feather’s Encyclopedia of Jazz  “…pianist Weed displays a very rare ability to cross over from dashing bop lines to rich impressions, he has all of the bases covered from funky blues to the border of the avant-garde”  Tad’s discography contains over thirty recordings which feature his playing, arrangements and compositions.  He is currently the Adjunct Assistant Professor of Jazz Piano at Bowling Green State University, and the Assistant Professor of Jazz Studies at the University of Toledo.

Andrew Bishop is a versatile multi-instrumentalist, composer, improviser, educator and scholarcomfortable in a wide variety of musical idioms.  He maintains an active national and international career and serves as an Assistant Professor of Jazz and Contemporary Improvisation at the University of Michigan in Ann Arbor.  He earned five degrees in music including a D.M.A. in music composition from the University of Michigan.  Bishop’s two recordings as a leader, Time and Imaginary Time and the Hank Williams Project (Envoi Recordings) received widespread acclaim from The New York Times, Downbeat Magazine, Chicago Reader, All Music Guide, Cadence Magazine, All About Jazz-New York, All About Jazz-Los Angeles, and the Detroit Free Press, among others.  As a composer and arranger he has received over 20 commissions, numerous residencies and awards and recognition from ASCAP, the Chicago Symphony Orchestra, the Andrew W. Melon Foundation, the National Endowment for the Arts, Chamber Music of America and a nomination from the American Academy of Arts and Letters.  His orchestral composition “Crooning” was recorded by the Albany Symphony Orchestra on Two American Piano Concertos (Albany Records). As a sideman he has recorded over 30 compact discs and has performed with Reid Anderson, Karl Berger, Sandip Burman, Kenny Burrell, Eugene Chadbourne, Ray Charles, Gerald Cleaver, Drew Gress, Jerry Hahn, John Lindberg, Chris Lightcap, The Either Orchestra, Mat Maneri, The Manhattan Transfer, Tony Malaby, Ben Monder, Jeremy Pelt, Hank Roberts, Craig Taborn, Clark Terry, Matt Wilson and John Zorn among others.  He regularly performs as a member of Gerald Cleaver’s Violet Hour and Uncle June, the Ellen Rowe Quartet, Phil Ogilive’s Rhythm Kings, the Detroit Jazz Festival Orchestra and the contemporary concert music group Opus 21.

Roger B. Schupp is Professor of Percussion at Bowling Green StateUniversity’s College of Musical Arts. Dr. Schupp received his Doctor of Musical Arts (DMA) in percussion performance and jazz studies from the University of Texas at Austin. A versatile performer in the areas of classical, jazz, and world music, Dr. Schupp has performed in a variety of ensembles including the Toledo and Austin Symphonies, Kansas City Civic Orchestra, and the Toledo Jazz Orchestra. He has performed and recorded with such diverse artists and ensembles as the Royal Ballet of London, New York Voices, Marvin Hamlisch, Bob James, Clark Terry, Terrance Blanchard, Chuck Berry, Amy Grant and the touring casts of “A Chorus Line”, “Spamalot”, and “WickedSchupp has presented concerts, clinics, and masterclasses in over 30 states and 20 countries on 5 continents. Dr. Schupp is an artist/clinician for Pearl Drums, Adams Percussion, Zildjian Cymbals, Remo Drumheads, and Innovative Percussion.

Olman E Piedra is the assistant professor of Percussion and Jazz studies at TheUniversity of Toledo. Mr. Piedra left Costa Rica in 1998 to further his music studies and pursue a musical career in the United States. He has performed with a variety of ensembles, including the Sphinx Orchestra (Detroit, MI), the National Symphony Orchestra of Costa Rica, the Waco Symphony Orchestra (principal percussion), the American Wind Symphony Orchestra, the Toledo Jazz Orchestra, the Ensamble de Percusión Costa Rica, the Detroit Chamber Winds and Strings, the Toledo Symphony Percussion Trio, Italian pop artist Patrizio Buanne, NOMO afrofunk band (toured around the United States, Canada, and Europe) and Roland Vazquez’ Latin Jazz Combo (Percussive Arts Society International Convention, Louisville, KY). Olman has also been performing alongside Grammy Award winning artists The New York Voices at Bowling Green State University’s vocal jazz camp since 2009. As an active and versatile jazz, contemporary, Latin American, and concert musician, he can be heard on William Bolcom’s Grammy award winning album “Songs Of Innocence And Of Experience” with Leonard Slatkin, conductor, on His Name Is Alive’s “Detrola”, and “Sweet Earth Flower, a tribute to Marion Brown”, NOMO’s “New Tones”, “The Dreamer” by jazz guitarist/composer Paul Cohn, “Reaching for the Moon” by singer Morgen Stiegler, “Insight” by Los Gatos Jazz Quinteto, and with the University of Toledo Jazz Faculty ensemble CrossCurrents on their debut album on Summit records. Olman E Piedra has studied under Fernando Meza, Bismarck Fernández, Manrique Méndez, Larry Vanlandingham, Michael Udow, Michael Gould, Ellen Rowe, and Roger Schupp. He holds two Master’s in Music degrees, in Percussion Performance and in Improvisation from the University of Michigan, and a BM from Baylor University. He is currently a DMA candidate in Contemporary Music at Bowling Green State University.

Jeff Halsey is a prime example of a regional player who commands all the technique and musical acumen of better-known musicians. Halsey has served as first-call bassist for musicians living and touring in Ohio, Indiana, and Michigan. He possesses a bright, elastic bass tone that serves him particularly well when articulating distinctive, horn-like solos. The son of saxophonist Tracy Halsey, Halsey started out playing piano and trumpet. When he was 13, his father enlisted him as the bassist for his combo’s New Year’s Eve job when the regular bassist canceled. Halsey had never played bass, and his father instructed him to just keep a steady rhythm going. Halsey proved adept enough that his father made him a regular with the group. He began studying bass when he was 16. He is currently on the faculty of the jazz studies program at Bowling Green State University, in Bowling Green, OH. He was a regular member of the bands of drummer J.C. Heard, saxophonist Jimmy Forrest and Cleveland tenor saxophonist Ernie Krivda. Since settling in Bowling Green, he has played with a number of top professionals, including Dizzy Gillespie, Stanley Cowell, Marian McPartland, Lee Konitz, and Arturo Sandoval, as well as top regional players, including Louis Smith, Claude Black, and Gene Parker. Halsey also appears with the BGSU faculty jazz ensemble, which also includes saxophonist David Bixler, guitarist Chris Buzzelli, and drummer Roger Schupp.  Halsey appears on numerous recording on the Cadence, CIMP, Timeless, Steeplechase and Hiroko labels, and has also participated in a multitude of regional recording projects.






tj borden

Tyler Borden, known as T.J. to many, is a cellist comfortable in many different settings.  He has performed in concert halls and basements, art galleries and theaters.  Growing up in Rochester NY, he began classical training at age 6 and has continued it first at Ithaca College and later at the University at Buffalo.  He has performed with various ensembles at Syracuse University, Virginia Commonwealth University, Cornell University, and the Eastman School Music.  He has also developed a passion for experimental and contemporary music which has led to him performing many premieres and working with numerous composers, including Steven Mackey, Tony Conrad (with whom he opened for Godspeed! You Black Emperor), and Paul D. Miller aka DJ Spooky.  He performed at the 2008 Sound Ways New Music Festival in St. Petersburg, Russia and has performed with the Slee Sinfonietta in Buffalo.  Currently, he is a member of Wooden Cities, a Buffalo-based new music collective of musicians dedicated to performing the work of emerging and underrepresented composers.  In the spring of 2012 he will be performing the Lutoslawski Cello Concerto with the University at Buffalo Symphony Orchestra.  A fledgling composer himself, T.J. was also commissioned to write and perform a piece for solo cello by the Cleveland Institute of Art for their 2011 commencement ceremony.

In addition to performing the works of others, T.J. is also an active improviser and collaborator.  Last summer he embarked on a 3 month tour of the US, playing 33 shows in 31 cities in 20 states.  In 2011, T.J. gave workshops on free improvisation at the New Directions Cello Festival and his improvisations will also be used in an upcoming film by Guggenheim fellow Kasumi entitled Shockwaves.  He has been joined in performance by many wonderful improvisers from around the country: Christian Asplund (viola, piano), Bob Bucko Jr (guitar), Thomas Helton (dbl bass), Evan Lipson (dbl bass), Johan Nystrom (drums), Steven Ricks (trombone, objects), Jane Rigler (flute), Nate Scheible (drums), and Jack Wright (sax), as well as upstate NY locals such as Steve Baczkowski (winds), Daniel Bassin (trumpet), Pat Cain (sax, vocals), Martin Freeman (guitar, electronics), Esin Gunduz (voice), Zane Merritt (guitar), Peter Murphy (guitar, voice, electronics) and Rob Phillips (turntables).  He has shared bills with Godspeed! You Black Emperor, Jandek, Nate Young, Jack Wright, Travis Laplante, Ches Smith, Blood Stereo, and Bill Nace, to name a few among many wonderful musicians.  Currently T.J. resides in Buffalo NY but in 2014 he will move to San Diego CA to work towards his DMA in Contemporary Music Performance with Charles Curtis at UCSD. http://tjborden.wordpress.com/

Pat Cain is a self-taught musician who refuses to be limited, playing homemade instruments, saxophone, electronics, and throat singing.

Martin Freeman lives in Rochester, NY and builds synthesizers. hellospiral.tumblr.com


The Black Swamp Underground is a collective of musicians based in Northwest Ohio since 2010. For this particular performance they are: Noa Even and C.RKasprzyk (saxophones); Elise Roy (flute); Michiko Saiki (voice and piano); Zach Seely (electric guitar); and Rob Wallace (percussion).

Born in Israel and raised in the Boston area, Noa Even is a saxophonist specializing in the interpretation of contemporary literature. She has performed solo recitals at such venues as the San Francisco Conservatory of Music, Hateiva in Tel Aviv, La Fondation des États-Unis in Paris, and the Music Institute of Chicago. In January 2014, her saxophone duo, Ogni Suono, will be releasing its debut album comprised of commissioned works.  Noa currently serves as Assistant Professor of Saxophone at Kent State University and is a doctoral candidate in the contemporary music program at Bowling Green State University.

C.R. Kasprzyk is a musician and avid “bring your own bag” grocery shopper, specializing in composition, electronics, saxophone, free-improvisation, and video. Deeply informed by his life as a vegan, he strives for an intangible parallel between a cognizance of one’s surrounding and work transcribed from (or inspired by) that environment. Kasprzyk’s work has garnered performance credits including Carnegie Hall, Lincoln Center, Steinway Hall, the Experimental Media and Performing Arts Center (EMPAC), and others throughout North and South America, Europe, Asia, and Australia.

Elise Roy is an active flutist, improviser, and composer who strives to find a unique and modern voice for the flute, which is ultimately the source of her musical expression in all of her various roles.  As a performer-composer, Elise is fascinated in expanding the expressive possibilities of the flute — often through the novel convergence of extended techniques and electroacoustics.  She currently studies in the D.M.A. program in contemporary music at Bowling Green State University.  Elise also holds degrees from the Oberlin Conservatory of Music and California Institute of the Arts.

As a native of Japan, Michiko Saiki has devoted her life to a wide range of music such as classical, jazz, pop and avant-garde music. Her upbringing in Japan and interests in contemporary music/art made it possible for her to create her own expressive styles. Michiko frequently appears in various concert venues not only as a soloist and collaborative pianist, but also as an actress and performance artist. She recently performed a solo piano recital on the Horowitz Steinway Concert Grand at Northeastern State University which was sponsored by SAiED Music Company. She is currently pursuing her doctorate degree in contemporary music at Bowling Green State University. Her works and recordings can be found here: http://michikosaiki.wordpress.com

Composer Zach Seely’s unique works have been heard across the world in more than 30 countries. His music has been described as  “organic, and riveting, with its compelling gestures, and great clarity.” Zach fluently works within a variety of mediums and genres. He is an active performer/improviser with a repertoire expanding from traditional guitar works to contemporary and experimental trends. Zach is currently working on his master’s degree in music composition at Bowling Green State University. His past teachers have included Claus-Steffen Mahnkopf, Arthur Kampela, and Annette LeSiege.

Along with teaching literature, music, and writing at BGSU and other schools, Rob Wallace is an active percussionist in a number of genres, ranging from Hindustani classical music to free improvisation. He has performed and/or recorded with many artists, and his recordings can be found on the pfMentum and Ambiances Magnétiques labels. He recently co-edited (with Ajay Heble) the essay collection People Get Ready: The Future of Jazz is Now! (Duke, 2013).


August 30th – 9PM $10

From France: Jean Louis


Jean Louis is still this impulsive and virtuoso power trio, who has stood up to Zu, Blurt or Akosh S., and ravages the perception of those who cross its path … Their devastating, uncontrollable, sharp and clever compos are at every concert bullied, and even clubbed, by these three over-musicians, eager to look, again and again, for what drags the audience into frenzied or hypnotic trance abysses… It sounds noise, kraut, industrial, jazzcore…, a sound bath, for sure !

Aymeric Avice – trumpet
Joachim Florent – double bass
Francesco Pastacaldi – drums


August 11th @ 9pm $5

Peter J Woods+Lucky Bone +KG Price+

Scene 2: The Thelma & Louise Show


Peter J Woods is a musician, playwright and performance artist from Milwaukee, WI. Up until a few years ago, these three areas were kept isolated, performing music under a number of different monikers and with a handful of different bands (Phoned Nil Trio, xALLxFORxTHISx, Raperies (Like Draperies), Coelacanth, Peter J Woods Free Jazz Ensemble, just to name a few), writing short absurdists pieces for a number of different theatre companies (Insurgent Theatre, Pink Banana, Alamo Basement), and doing random bits of street theatre and more structure performance pieces on the side. On top of all of this, he has spent the past eight years promoting DIY experimental arts in Milwaukee under the FTAM productions banner, releasing music from fellow noise musicians and hosting shows across town, including the annual Milwaukee Noise Fest.


Neil Gravander has been making tape music as Lucky Bone since 2006. His early sets consisted of a table full of various cassette, reel to reel, and 8 track tape players, each playing manipulated field recordings or looped samples. These days he has a much simpler approach to his music, rarely using more than two tape players, playing back improvised arrangements of sound and “looping” them by simply pushing the rewind button.

In 2010 he joined forces with fellow weirdos Peter J. Woods and Dan Schierl (Dan of Earth) to form Phoned Nil Trio, which is 3 x weird. He was also awarded the Mary L. Nohl Fellowship for visual art. Under the fellowship, he created a number of video instruments, one of which he will often play live–the Hand-Spun Video Springer, a VCR one plays by spinning the tape reels by hand, creating very unique and bizarre audio and video effects. It is named after the audio-tape player made by the Springer corporation in the 1950′s, without which the VCR may not have been created.

KG Price

Kg Price, member of the Chicago Scratch Orchestra, will be opening the show with a solo set. Classically trained in percussion and composition, his improvisations are a reflection of twenty years of rudiments and live-sound reinforcement. An attempt to pull every sound from all material on his kit results in landscapes that range from serene to violent, Taoist to evangelical. The forms are open with very little homage to rondo, however, a sense of symmetry is always present through the balance of dynamics and development of thematic material. The amplification of the acoustic sound is an exaggeration of the gestures and in itself becomes a part of the overall form and a catalyst for new themes and resultant new directions and body.

 Local theatre troop will open with “Scene 2: The Thelma & Louise Show”

Bianca Marcia, Silke Goudos, Megan Bremer, Tim Ide, Paul Malak, Erik R. Montgomery, and Sara “Figy” Wells are a collection of Toledo area artists from various backgrounds that have collaborated with some frequency in recent years.  Together they have developed a knack for creating multimedia performance projects that pool their various individual talents in theatre, film, music, painting, costume design, sound design, hair art, installation art, and Arte Útil in an effort to immerse audiences in a unique and thoroughly engaging experience.  Past projects have included the Experimental Afternoon and Bird performance installations at Artomatic419 in 2011 and 2013, Caught in a Vicious Cycle for Artomatic 2009, WORK for Dlectricity 2013, Simulated Drawing Class at the Robinwood Concert House, Hostel Takeover Detroit, and Political? for the Ben Konop mayoral campaign fundraiser.

Their most recent project was produced for the Performance Laboratory at the Contemporary Arts Center Detroit.  On June 21st, 2013 the Performance Laboratory presented the Thelma & Louise show in which seven different performance art groups/artists came together to present a live performance version of the film in its entirety.  Bianca Marcia and friends took on the second performance block of the film which includes the pivotal rape scene and the ultimate decision to hit the road.  The performance took a cue from the Bunraku art form—i.e. traditional Japanese puppet theatre—combined with a two-channel video installation with pre-recorded lo-fi voice acting and foley work.  These elements culminated in an absurdist mass of information overload that was received as hilarious, glitchy, messy, and fun!


August 2nd – $5

Forget The Times/Bill Tucker 

forget the times

Forget The Times is a free improv collective from Kalamazoo, MI led by Sean Hartman. The band combines elements of psych, drone, noise rock, avant garde, post rock and free jazz. The have drawn comparisons to The Dead C, Acid Mothers Temple, U.S. Maple and Captain Beefheart.

Instrumentation is generally very guitar heavy and almost never features a bass player. Rhythms are embedded with tape manipulation, synth drone, field recordings and monotone vocals creating a cathartic and spacey sound.

Formed in the summer of 2010 from members of local Kalamazoo bands Rotten Wood Moon, Son Drop and The Philly Crawlers. Lineups have since featured members of The Reptilian, The Almanac Shouters, Totally Rad, William Bonney and The Dead Mavericks.


bill tucker
Bill Tucker opens with solo guitar & electronics  (mystery set)



July 9th – 9pm

jay K

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 has performed across Europe, including Dublin, Cork, London, Glasgow, Berlin, Amsterdam and Paris, and played at D-22 in Beijing. He presented an interactive talk/performance at the 2008 ISIM conference in Denver, and Santa Cruz. In collaboration with Wendy Weiss, he has shown sound and sculptural work in Beijing, San Francisco, Vancouver, New York, Washington D.C, and showed a major installation in Kansas City and Tulsa. He spent the winter of 2009 in Vadodara, India, rewiring neuromuscular circuits by studying tabla. Kreimer also performs with The Mighty Vitamins and Seeded Plain.

KBD(uo) opens: live electronics


June 30 – Tim Daisy/Jason Zeh

tim daisy

Tim Daisy is a Chicago based percussionist, composer and educator working in the fields of    improvised and composed music. Born and raised in northeastern Illinois, he moved to Chicago in 1997  and has since  performed, recorded, and toured with many acclaimed musicians and ensembles from both the USA and abroad. Tim also maintains an active touring schedule, working with a number of musicians and ensembles and has traveled extensively throughout North America and Europe.  Working in a number of different environments, he has composed for solo percussion, chamber groups, jazz ensembles, dance, theater, and film.

Tim has had the fortunate experience to work with many of the most cutting edge musicians currently working in the filed of improvised music including: Ken Vandermark,  Jeb Bishop , Fred Lonberg-Holm, James Falzone, Dave Rempis, Steve Swell, John Tchicai,  Mars Williams, Joe McPhee, Matt Bauder, Michael Zerang, and Frank Rosaly, and Aram Shelton.

In 2001 Tim joined the acclaimed ensemble The Vandermark 5, making 6 recordings with the group, as well as the 12cd “Alchemia” box set, documenting the groups week long residency at the Alchemia Club in Krakow, Poland.

In 2002 he was  named one of 13 “Drummers For The Future” by Downbeat Magazine.

In 2010 Tim  was commisioned to compose an original percussion score for “Marchland.” A new work for modern dance choreographed by Carrie Hanson and performed by the Seldoms at the Museum of Contemporary Art in Chicago.

Tim has performed drums as well as showcased his original compositions at many festivals throughout North America and Europe including: The Newport Jazz Fetival, The Chicago Jazz Festival, The Umbrella Music Festival in Chicgo, The Wels Music Unlimited Festival in Wels Austria, The North Sea Jazz Festival in the Netherlands and the Suoni Per Il Popolo Festival in Montreal, Krakow Jazz Fall in Krakow Poland, and the Monterrey Jazz Festival.

Along with his busy performance and composing schedule, Tim finds the time to teach private drum instruction both at his studio in Chicago as well as throughout the Chicago metro area.

In 2011 Tim received both the New Music America “Composers Assistance Award” as well as the American Society of Composers Authors, and Publishers “ASCAP Plus Award” recognizing his original contributions to American music.


Jason Zeh is a magnetic cassette tape composer from Bowling Green Ohio, and has recently relocated to Kansas City.. Zeh creates music integrating elements of drone, musique concrete, and noise. In performance, Zeh mixes previously recorded source sounds with real-time manipulation of cassette tape through the use of modified tape decks and dismantled cassettes.

Zeh has performed throughout the Midwest and East and West Coasts with noise artists such as John Wiese, Wolf Eyes, Burning Star Core, Hair Police, Jessica Rylan, Withdrawal Method, Daniel Menche, The Cherry Point, and Peter B and has toured with Mike Shiflet, SIXES, Cotton Museum, Gerritt, Leslie Keffer, 2673 and Jesse Kudler.


JUNE 9th

 Jason Lescalleet / Ben Hall

Jason Lescalleet

New England avant-garde electronics exprimentalist Jason Lescalleet weaves a thin line between harsh noise and contemporary composition. Drawn out electronic notes give way to blistering frequencies, that buzz and twist. Mutated sounds from another realm, Jason draws out the inner most aural landscape with such finite articulation & precision. Turning the vibration of a coil into a world all it’s own. A vast expanse of crushing harsh noise juxtaposed with sparse bleeps in the empties of space, building into a all encompassing layered hum. A stunning control of sound & space.


ben hall

Ben Hall is an improvising percussionist/timpanist from Detroit, Mi and a founding member of 1/4 speed free jazz unit Graveyards with John Olson of Wolf Eyes >Studied trap set with Milford Graves >Working units include: Bill Dixon Trio with Aaron Siegel, >Rope Eater with Joe Morris and Chris Riggs >Trauma with Chris Riggs >Melee with Nate Wooley and Chris Riggs>The New Monuments with C. Spencer Yeh and Don Dietrich >Duos with Don Dietrich and Wally Shoup.


May 7 – 9pm $10


French improv trio

Xavier Charles/Guylaine Cosseron/Frederic Blondy



Rhrr is a trio of French improvisors comprised of Xavier CharlesGuylaine Cosseron and Frédéric Blondy. Their minimalist music is like a secret, or a confession that the voice of Guylaine Cosseron whispers in your ear. Frédéric Blondy’s piano underscores the vocals with a style reminiscent of Morton Feldman, while Xavier Charles makes time stand still through airy, drawn-out sounds on the clarinet. The vocals and clarinet intertwine, combine and separate, punctuated by the piano’s rhythm or harmony, creating a pared down, small, yet infinite space, lightly brushing up against the silence.


Gold medalist at the Conservatory Jazz in Normandy, she began by training in various jazz classic, modern or crossbred with ethnical music.

Fan of “Four Walls”, Guylaine Cosseron formed her own quartet in 2002 “The Bohemian Waxwing”, deliberately and without bass combining original compositions and free improvisations.
Member of vocal group “The Big Mouths” since 2004, she developed a vocabulary rich sound and an imaginary language freer thanks to many meetings such as Lawrence Outside Médéric Collignon, Louis Sclavis, Lucia Recio, Phil Minton, John Luc Guionnet and Joelle Leandre.
From 2005, she decided to devote himself to do improvised music, a duet with Phil Minton (voice), Patrick Martin (saxophone and suitcase), with Mathilde Lechat (vocals) in trio with Nicolas Talbot (bass) and Nush Werschowska (piano and synth) with Camel Zekri (Altersoniq Orchestra), a trio with Phil Minton and John Russell, and with Charles Xavier and Frédéric Blondy, solo (24 solo Sete, exploratory music festival in Crest) and with other artists (dancers, choreographers, directors, actors and artists).


The work of clarinetist Xavier Charles ranges from noise to electro-acoustic via sound poetry. He has played in numerous new music fesivals in France and abroad. Charles collaborates with both Jacques Di Donato and Frederic Le Junter.  In his work with groups and collectives, he has also collaborated with Martin Tetrault, The Ex, Peirre Berthet, Etage 34, Axel Dörner, Jérôme Jeanmart, John Butcher, Jean Pallandre, Marc Pichelin, Chris Cutler, Martine Altenburger, Camel Zékri, Emmanuelle Pellegrini, Michel Donédaand Frédéric Blondy. The artist has composed for the theatre, most notably with the Theatre François Lazaro.

Currently his musical research ranges from performance on the clarinet and bass to the installation of vibrating speakers, at the edge of improvised music, noisy rock and electro-acoustic sound. He’s deeply involved in the music world as an organizer of the fesival «Densités».


On Completing His studies in Mathematics and Physics at Bordeaux University, Frederic Blondy dedicated himself full time to the piano, Firstly as a jazz pianist and subsequently as a student at the Bordeaux National Conservatory. Since moving to Paris He Has Worked with Marie-Christine Calvet at the ” International Piano Center , “refining a body-based approach to the instrument.

As an improvising, Frederic Blondy HAS Performed in many festivals and venues in Europe, North America, Middle East and Asia, working with, Amongst others Paul Lovens , Rhodri Davies , Lê Quan Ninh , Michel Doneda , Joëlle Léandre , Urs Leimgruber , Thomas Lehn , Daunik Lazro, Radu Malfatti , John Tilbury, Otomo Yoshihide , Mats Gustafsson, …. Developed and a Thorough work with ensembles like Hubbub, Ethos.




May 1st

Tatsuya Nakatani/Michel Doneda 



Michel Doneda soprano saxophone, comes from the French South west. He is a self-taught musician.

IN 1980 he formed in Toulouse a wind trio: HIC ET NUNC a group that toured quite a lot in France, playing mostly improvised music. At the same time with musicians, dancers, actors, he formed a place called IREA (Institute of exchanges between arts of improvisation). In the years following, participating in music projects with others groups and he became a regular guest in Chantenay-Villedieu festival where he developed a very personal way with his music and his instrument in improvised music. During this period he played with Europeans musicians: Fred Van Hove, Phil Wachsmann, Max Eastley, Steve Beresford…and Americans: John Zorn, Eliott Sharp,Elvin Jones…In 1985 he made his first record under his own name: TERRA (nato record). A the same time he started to play regularly with: Le Quan Ninh, Daunik Lazro, Benat Achiary, Martine Altenburger, Barre Phillips, Paul Rogers, Tetsu Saïtoh, Kazue Sawai.

The last years developing his work in Europe with Keith Rowe, Gunter Muller, Giuseppe Ielasi, Axel Dörner, Alessandro Bosetti, Ingar Zack, Xavier Charles, In North America with Jack Wright, Bhob Rainey, Tatsuya Nakatani, Ricardo Arias, In South America with Leonel Kaplan, Diego Chamy, Gabriel Pauk, In Japan with Imai Kazuo, Yamauti Katsura and always Saïtoh and Sawai.

He works with dancers as Masaki Iwana, Yukiko Nakamura, Valerie Métivier, Andrea Fernandez and poets, actors.

Since then, he has been very involved in the international improvised music scene, toured in North and South America, Africa, Japan, Asia, Canada, Russia and Australia as well with a lot of improvisers in Europe.

Link on the web site of Sheffield university:



Tatsuya Nakatani is a creative percussionist originally from Osaka, Japan.
He has been residing in the USA since 1994 and is currently based in Easton, PA.Since the late 1990s, Mr. Nakatani has released over sixty recordings in the USA and Europe and has performed countless solo percussion concerts through intensive touring. He has also collaborated with hundreds of other artists internationally and presented masterclasses, workshops and lectures across the USA and around the world.

Nakatani’s approach to music is visceral, non-linear and intuitively primitive, expressing an unusually strong spirit while avoiding any categorization. He creates sound via both traditional and extended percussion techniques, utilizing drums, bowed gongs, cymbals, singing bowls, metal objects and bells, as well as various sticks, kitchen tools and homemade bows, all of which manifest in anintense and organic music that represents a very personal sonic world. His approach is steeped in the sensibilities of free improvisation, experimental music, jazz, rock, and noise, and yet retains the sense of space and quiet beauty found in traditional Japanese folk music. His percussion instruments can imitate the sounds of a trumpet, a stringed instrumentor an electronic device to the extent that it becomes difficult to recognize the source of the sound. He has devoted himself to a musical aesthetic where rhythm gives way to pulse, often in a way that is not always audible or visible, in currents that incorporate silence and texture.Nakatani’s primary music activities include
solo percussion performance, N.G.O. (Nakatani Gong Orchestra) and collaborations with musicians and dancers both in live performance and recordings.

Tatsuya Nakatani has spent the past several years traveling and performing extensively throughout the United States and beyond. His constant touring fosters the raw and fresh quality in his music, which can only survive through an open willingness to share energy, culture, music and self on a global human scale. He has toured and performed in Japan, China, Canada, Mexico, France, Germany, England, Scotland, Belgium, Netherlands, Portugal, Poland,Ukraine, Denmark, Sweden, Norway, Argentina, Chile, Israel and across the USA, coast to coast. While touring, he also conducts master classes and workshops at schools and universities, emphasizing his unique musical approach and philosophy.
Tatsuya collaborates and performs with a wide range of artists, from internationally renowned musicians to students of all ages, occupations and musical skill levels.

Nakatani has performed in all sorts of venues worldwide, from international musicfestivals to local community centers, artist lofts to university concert halls, including a recent performance at the Kennedy Center in Washington, D.C. He values and appreciatesgrass-roots organized shows set up and promoted by local musicians and promoters in all types of settings – independent artist organizations, clubs and bars, private lofts, squat houses, coffee shops and even packed houseshows run by enthusiastic college kids.
Nakatani also works as a sound designer for film and television and heads his own H&H Production, an independent record label and recording studio based in Easton, Pennsylvania.
He was selected as a performing artist for the Pennsylvania Performing Artist on Tour (PennPat) roster and was also awarded a Bronx Arts Council Individual Artist grant.

Website: http://www.hhproduction.org/TATSUYA_NAKATANI_WORKS.html


April 25   9pm sharp !

Hom Nath Upadhyaya/ Paul Livingstone


International performing artist Paul Livingstone is a composer and community activist in Los Angeles. He has performed on sitar and a unique 9 string fretless guitar of his own design throughout the world. In North Indian music he was trained under Amiya Dasgupta, Dr. Rajeev Taranath, and the legendary Pt. Ravi Shankar. He has played and recorded with a number of world music, jazz & popular artists including Swapan Chaudhuri, John Bergamo, Glen Velez, Kenny Burrell, Wadada Leo Smith, Geetha Bennett, Miroslav Tadic, the Liän Ensemble, Ozomatli & Alanis Morissette. He composes creative world music for his group, the Arohi Ensemble, and for film. He is founder and Artistic Director of the Sangeet School of World Music in Northeast Los Angeles was previously a faculty member at Cal Arts. (website:www.tanpura.com)

Hom Nath Upadhyaya: Born in Nepal and educated in Nepal and India, Pandit ( or “maestro”) Hom Nath Upadhyaya is a master teacher, performer, and scholar of the tabla drums, which he has played for over 40 years. He has taught and performed around the world. Early in his career he played in the film orchestra of famed Bollywood music director S. D. Burman and he has performed and/or recorded with top artists from both Hindustani and Western musical traditions, including Pandit Manilal Nag, Pandit Tarun Bhattacharya, Mahesh Kale, Steve Gorn, Jim Pepper, and Paul Livingstone, among many others. He has served as instructor at the Royal Nepal Academy and at Tribuhvan University in Kathmandu, and holds an ongoing teaching position at the University of California, Santa Barbara. (website:www.homnathtabla.com)


April 19 – 9PM

Ben Hall/Mike Khoury duo 

ben hall

Ben Hall is an improvising percussionist/timpanist from Detroit, Mi and a founding member of 1/4 speed free jazz unit Graveyards with John Olson of Wolf Eyes >Studied trap set with Milford Graves >Working units include: Bill Dixon Trio with Aaron Siegel, >Rope Eater with Joe Morris and Chris Riggs >Trauma with Chris Riggs >Melee with Nate Wooley and Chris Riggs>The New Monuments with C. Spencer Yeh and Don Dietrich >Duos with Don Dietrich and Wally Shoup.

Mike Khoury

Mike Khoury was born in Mt. Pleasant, Michigan in 1969. As the son of visual artist Sari Khoury, he was exposed to various forms of visual arts, and creative musical forms. Growing up in a university town also availed Mike to various forms of art and music. Mike is Palestinian. Mike began studying violin at the age of 10 and eventually came under the guidance of Juliard graduate Nancy Smith. Abandoning the violin for electric bass, Mike played in various rock combos and eventually settled with The Urban Farmers. The Urban Farmers are a trio which combine ethnic music with elements of jazz and psychedelic rock. Consisting of Patrick Boyer on guitar, Jason Lewis on persussion and Mike on bass, they have enjoyed some sucess with the release of one CD, and various cuts on many compilations. Mike went on to explore the possibilities of free and improvised music and resumed his studies of the violin. He furthered his involvement in the creative improvised realm with Jason Shearer (winds) and Ben Hall (percussion). Mike also played with Siege Machine, a larger ensemble including Ben Hall, John Olson, Jason Shearer, Mark Sawaski and Joel Peterson. Siege Machine balanced graphical score compositions with improvisation. The development of the improvisational duet has also consumed much of Khoury’s time and is a preferred format. Mike studies violin with composer/violinist David Litven. Mike continues to work on compositions and improvisations as well as operate Entropy Stereo Recordings, a free improvisation music label. Mike has had the good fortune to record and/or perform with John Sinclair, Maury Coles, Le Quan Ninh, Jack Wright, David Prentice, Dennis, Aaron, and Stefan Gonzalez, The Northwoods Improvisers, Faruq Z. Bey, Mike Carey, Luc Houtkamp, John Voigt, John Butcher, Gunda Gottschalk, Gino Robair, Fred Bergman, Hans Buetow, and Wolfgang Fuchs.



April 5 – Sult (Norway/US)   9pm

Jacob Felix Heule: percussion
Guro Skumsnes Moe: contrabass
Håvard Skaset: acoustic guitar


“a precise gravitude whose nodes, voltages, rails and landfills, are the bulk of the speech.” — Guillaume Belhomme, Le son du grisli (via Google Translate)

“music with a preponderance of fundamentally rich percussive traits and sneering anti-melodies … Sult [has existed] since 2008… and it shows: their interplay – in spite of the timbral jaggedness – is solid, even precise, musical in the right spots and also in the ‘wrong’ ones. The quartet is positively willing to let room for a listener to break through the secret corners of what gets conceived on the spot, which is basically the raison d’être behind the enjoyableness of the whole.” — Massimo Ricci, Touching Extremes

“These compositions sound at once orchestral and also mechanistic – a natural industrial sound. Several compositions on Bark reminded me of listening to a wooden boat hull adjusting at sea or a house’s walls shifting. There is an unpredictable yet organic tendency to the creaks and drones.” — Thomas John Filardo, Suave Citation


March 13th – 9PM

DITHER – electric guitar quartet


DITHER, a New York based electric guitar quartet, is dedicated to an eclectic mix of experimental repertoire which spans composed music, improvisation, and electronic manipulation. Formed in 2007, the quartet has performed in the United States and abroad, presenting new commissions, original compositions, improvisations, multimedia works, and large guitar ensemble pieces. With sounds ranging from clean pop textures to heavily processed noise, from tight rhythmic unity to cacophonous sound mass, all of Dither’s music embraces the beautiful, engulfing, and often gloriously loud sound of electric guitars. The quartet’s members are Taylor Levine, Joshua Lopes, James Moore and Gyan Riley.

Dither has worked with a wide range of artists, including Eve Beglarian, Elliott Sharp, David Lang, John Zorn,Fred Frith, Lois V. Vierk, Larry Polansky and Bryce Dessner. Recent performances include the Performa Biennial, The MATA Festival, the Whitney Museum of American Art, and the Bang on a Can Marathon. In Fall of 2008, the quartet traveled to Hong Kong to premiere an evening-length theatrical work by Samson Young, Hong Kong Explodes! In addition to concert programs, Dither conducts workshops with educational institutions across the country, and is a frequent visiting ensemble at Princeton University. Dither’s critically acclaimed debut album was released on Henceforth Records in June 2010.



March 8th – 9PM

Matthew Shipp Trio w/

Whit Dickey & Michael Bisio


Matthew Shipp : piano

Whit Dickey : drums

Michael Bisio: bass

not going with a traditional bio, just reviews:

“Three unique individuals in Matthew Shipp’s trio, himself along with Michael Bisio (b) and Whit Dickey (dr), provided both a physical and metaphysical journey throughout the night.  An organic blend of familiar and unfamiliar themes pulling from Classical, Jazz, Rock, and Folklore.  I know I use the phrase Controlled Chaos a lot on this blog, but this was the perfect example of that concept. The music was free and continued to lift higher and higher.  Yet it was all weighted by a sense of connectivity these three had with one another.”   Matthew Ditullo,  this Shape of Jazz

“Within the Matthew Shipp Trio, there was almost no distinction between soloist and accompanist. In fact, it would seem that the focus of the performance was centered on moving flawlessly from one composition to the next and improvising within each tune’s framework. Forms were somewhat disregarded, or treated so liberally that their architecture remained intriguingly beguiling. As a whole, the performance almost felt more like an hour-long tone poem than a largely improvised free jazz set. The Trio did not employ the often harsh instrumental techniques of many other free jazz artists, instead relying on controlled and surprisingly cohesive musical conversation.” RJ Johnson, All About Jazz

Shipp’s trio walloped the packed Vortex with two richly rewarding, high energy sets which wove obliquely in and out of the standards repertoire.” Geoff Winston, London Jazz


February 16th 9pm 

Flandrew Fleisenberg

& Loren Groenedaal

Flandrew Fleisenberg

Flandrew Fleisenberg plays percussion on an assortment of everyday ephemera and modified drum parts that he has reduced and eroded through a process of playing and breaking them. A graduate of the School of the Museum of Fine Arts, Boston with a focus in conceptual art, he is musically self-taught and has developed a cadre of idiosyncratic techniques that are all his own. Flandrew has been involved in the improvised and creative music community since 2001 performing solo, in ad-hoc improv groupings and in set projects. Additionally, he organizes an ongoing series of performances at the flopera house in Boston.

Loren Groenendaal

Loren Groenendaal is the founder, artistic director, and choreographer for Vervet Dance, a Philadelphia-based contemporary dance company. She earned an MFA in Choreography at the University of North Carolina at Greensboro and holds a BA in dance and visual arts from Oberlin College. Her work has been performed in Massachusetts, New Hampshire, New Jersey, New York, North Carolina, Ohio, and Pennsylvania and presented by various organizations including the the Abington Art Center, the CEC including the New Edge Mix, Cultivate, Green Space Blooms, Inhale, Philly Fringe Festival, the North Carolina Dance Alliance, and the StudioSeries at Studio 34.

Loren is particularly interested in building unique movement vocabularies drawing from her experience with modern, Balinese, social, breakdance and contact improvisation, investigating the community building possibilities of live art, the spectrum between improvisation and composition, and the spectrum between ritual and performance. As an improviser, she explores free and structured improvisation, solo, in duos with musicians, and in larger groups. Her practices of dancing, teaching, improvising, and choreographing are being further informed by her studies of Laban Movement Analysis and Bartenieff Fundamentals.