November 20th – 9pm
Mike Khoury& Leyya Tawil
veRmulsCHt : a haphazard trio using video projections, field recordings, laptops, objects, saxophones, and spoken texts…most of which we collect during our trips through the universe. In putting them together, improvising with them, we deconstruct the narrative of the subjective traveler’s memory in an incongruous collage-type style that creates bizarre combinations of sound and sight.
peter barel – founder with umlaut records, saxophone, field recordings, found objects
karla kunger – video (http://www.kkdixneuf.tumblr.com)
paul n roth – saxophone, voice, written texts, field recordings, also on curatorial team for ausland-berlin (http://www.paulnroth.com)
Palestinian-American musician Mike Khoury (1969) was raised in Mt. Pleasant, MI. He studied violin in the local school systems with instructors Kerry Goodwin and Nancy Smith. During his formative years, Khoury also played electric bass in several rock groups. Exposure to the visual arts, especially abstract expressionism, played a large role in Khoury’s early years.
An interest in alternative tunings and the desire to create sonically intense music reflective of his ethnic background and interest in psychedelia led Khoury to the Urban Farmers. With multiple shows under their belt, the all instrumental trio issued one full length CD and had several of their pieces issued on various compilations. Khoury was one part of the proprietorship that was Uprising Records with childhood friend and musician Greg Marten. Uprising Records issued records by many notable groups of the era.
Upon migrating to the metro Detroit area, Khoury resumed his violin performance and private studies on the instrument with a focus on free improvisation. Studies with violinist/composer David Litven helped to shape his technique and approach. Performance and recording credits include those with Faruq Z. Bey, Luc Houtkamp, Le Quan Ninh, Maury Coles, Dennis Gonzalez, John Voigt, Gunda Gottschalk, John Butcher, Paul Lytton, and John Sinclair. In 1997, Khoury formed the Entropy Stereo Recordings music label where he documented new and archival works by improvisors. The label is still active today.
In an effort to document his work on a personal level, Khoury formed the Detroit Improvisation label. Detroit Improvisation focused primarily on Khoury’s journey as an improviser where his collaborations with other musicians were well documented including two DVDs of duets with dancer/choreographer Leyya Tawil.
Leyya Tawil is a dance artist, educator, and the Artistic Director of DANCE ELIXIR. Under her direction since 2003, the company has enjoyed national tours and international engagements in Russia, Canada and 13 countries throughout Europe and the Levant.
She has been honored with numerous residencies, including KUNST-STOFF arts (San Francisco), Detroit Contemporary (Detroit), NooderparkKamer (Amsterdam), Hotel Pupik (Austria), Studio Emad Eddin (Cairo) and Central City Artist Project (New Orleans). In 2014, she was a resident artist at Pushkinskaya-10 in Saint Petersburg, Russia.
The mainstay of her work is collaboration with artists from multiple disciplines, particularly new music composers and improvisers. She is currently collaborating with the artists of music duo Tiberius (Dominic Cramp and Mike Guarino), Detroit-based violinist Mike Khoury and Oakland-based saxophonist Phillip Greenlief. Past collaborators include Christopher Keyes (1999-2008), Mark Gergis (2009-2010), Lars J Brouwer (2011-2013). Her research into location-based dance making has birthed projects such as The Grand Re-Map and Destroy// – works that are subject to variations defined by locality. Her approach to dance making has caught public interest: read interviews in Movement Research’s Critical Correspondence, Art Territories, NEA Art Talks and the ART21 Bad at Sports.
November 13th – 9PM $5
VALERIE KUEHNE + RHOMBOID GOATCABIN
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 split 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 7 years running.
Ms. Kuehne’s work operates under principles of surprise, and investigates obsession, comedy, decay, forensic pathology, sex, hypnogogia, viscera, spirituality & death. She is one half of the duo Naked Roots Conducive, one third of the trio Prehistoric Horse, and a histrionic version of herself. She has worked as a resident artist/curator at Panoply Performance Laboratory, Spectrum, JACK, Small Beast and Ange Noir. Ms. Kuehne operates a blog of music reviews and performance philosophy (www.thesupercoda.com) and frequently releases albums that blur the line between comfort and discomfort (www.dreamzoo.bandcamp.com). Ms Kuehne has performed and helped curate many festivals, including bipaf, the brooklyn experimental song carnival, the mpa-b, the hitparaden international festtival for performance kunst, the experiMENTAL festival, Sonic Circuits, jazzPeru, and the Boise Creative & Experimental music festival, to name a few.
Ms. Kuehne is also the creator/curator of Trauma Salon, a monthly gathering of performers/musicians/artists as a platform for artists to collectively and individually process trauma or, if necessary, create it. She is an advocate for mental illness and addiction, incessantly seeking new ways to break down stigma and misconceptions about both.
RHOMBOID GOATCABIN opens the night with a strange blend of spontaneous performance and electronic collage.
November 8th – 9pm $6
TIM DAISY + SAPROPELIC PYCNIC
On The Ground is a site-specific, electro acoustic solo performance developed by Chicago based sound artist, percussionist, and composer Tim Daisy. Utilizing an ever expanding arsenal of both traditional and non traditional instruments including: radios, turntables, gongs, chains, bells, a snare drum, brushes, scrap metal, circular saw blades, sticks, and alarm clocks; OTG explores the art of sound collage in a solo improvisational context, multi layered free improvisation, with all of the instruments and objects spread out and assembled on the floor. OTG is a site specific work. Taking location into account, the set up for the performance changes depending on the size and layout of of the work space. Whether performed indoors or outdoors, in a large auditorium or a small living room, the bottom of a swimming pool or on top of a tall building, every OTG performance is integrated into and affected by the environment that it presents itself in. The architecture of the space influences the architecture of the improvising. Multidisciplinary in scope, OTG incorporates acoustic and electronic sound, physical movement, and visual elements throughout every performance. Combining the use of traditional and nontraditional instruments, both acoustic and electronic, with the spatial considerations of the performance environment, OTG presents a creative and unique atmosphere for the art of solo improvisation. Adding Tim Daisy’s 15 + years as a percussionist and sound artist working in a solo context as well as in various groups connected to the international experimental music scene, OTG presents a fresh perspective on contemporary sound art.
Sapropelic Pycnic is the solo project of Kathleen Baird of long running avant psych project Spires That In The Sunset Rise. This fall Sapropelic Pycnic released a collection on piano improvisations “See Sun Think Shadow” through Perfect Wave and is in the process of recording a full length record incorporating her experiments on the electroacoustic potentials of the flute and her voice.”
November 3rd – 9PM $5
The Hero of Warchester is a collaboration between Berlin-based synth player/mask-designer Liz Kosack and Brooklyn-based saxophonists Nathaniel Morgan and Anna Webber. They specialize in long-form, slow-moving improv. They are on tour in November 2015 to celebrate the release of a self-titled cassette on Prom Night Records.
Oct. 11 – 9pm $8
Christoph Erb+Jim Baker+Frank Rosaly & Ken Aldcroft
June 23rd – 9PM $5
Will Guthrie is an Australian drummer / percussionist living in France. He works in many different settings of music: live performance, improvisation and studio composition using various combinations of drums, percussion, objects, junk, amplification and electronics..
He plays solo and in various projects such as THE AMES ROOM, ELWOOD & GUTHRIE & THE SOMMES ENSEMBLE. His music has been released on labels such as Gaffer Records, Erstwhile, Clean Feed, 23five, Editions Mego, Ipecac, iDEAL and his own label Antboy Music.
While studying jazz and improvised music(s) at the Victorian College of the Arts in Melbourne, alongside Ren Walters he started the weekly concert series ‘Improvised Tuesdays’, now known as the Make It Up Club and is Australia’s longest running performance space dedicated to experimental and improvised musics. In Nantes, France he is part of the collective CABLE# which also organizes regular concerts and an annual festival. He also runs the experimental improvised CD label and mail-order service; ANTBOY MUSIC.
He plays solo using different combinations of drums, percussion, amplification and electronics, in minimalist/maximalist free jazz trio THE AMES ROOM (with Jean-Luc Guionnet & Clayton Thomas), in appalachian mutant folk duo ELWOOD & GUTHRIE (with Scott Stroud), as well as the improvised/composed ensemble THE SOMMES ENSEMBLE (with Pierre-Antoine Badaroux, Julien Desperez & Maxime Petit).
Regular collaborators past and present include Jérôme Noetinger, David Maranha, Keith Rowe, Anthony Pateras, Toma Gouband, Erell Latimier, Ava Mendoza, Adam Sussmann, Matt Earle, Ren Walters, Jean-Philippe Gross, Greg Kingston, Helmut Schafer, David Ades, Mark Simmonds.
MAY 31st -9PM $5
Jonah Parzen-Johnson is a saxophonist living in Brooklyn, NY. He writes lofi music for solo saxophone and analog synthesizer. Imagine the raw energy of an Appalachian Folk choir, tempered by a lofi, minimal aesthetic inspired by the music of Bill Callahan. His carefully assembled analog synthesizer breathes with his saxophone, building independent melodic layers to support his sound, or soaring above his extended technique driven saxophone playing. All performed live, without any looping or recorded samples.
A Chicago native, Jonah’s circular breathing, multi-phonics and impossibly nimble vocalization owes a debt to the Chicago saxophone legacy, but his devotion to a quirky almost vocal style places him in new territory for the solo saxophone. He has meticulously constructed a world of warm memories remembered in a cold present, as he melds the evocative nature of folk music with the chilling power of experimentalism. In addition to relentlessly touring as a solo saxophonist, Jonah is a co-leader of the nationally touring afrobeat ensemble, Zongo Junction, and an active part of Brooklyn’s ever-expanding independent music community.
April 19th -9PM $5
Jason Zeh + Rosebud
American, multi-media artist, Jason Zeh (born in 1980) has roots in the Midwest noise and experimental music scene. In this context, he has worked for many years developing extended techniques for the use of audio tape in sound production. He has toured the US and abroad presenting his audio works. As a visual artist, Zeh has dedicated himself primarily to the use of copy machines to transform source material into abstract forms. His Xerox art has been featured on concert fliers and record covers for sound artists in his home country and internationally. Both audio and visual works rely on the use of the inherent flaws in reproduction technologies. Zeh devises strategies for intervening in the process
Rosebud , opens the night with synth based noise
MAY 12TH 9:00 PM $10
Jon Mueller + Ross Hammond
Jon Mueller studied literature, film, music, and business, receiving a bachelor of arts degree in English in 1995 and a master of business administration degree in 2008. He has since worked in arts and business communications, marketing and publishing.
Mueller has been a drummer and percussionist since 1985. Covering a variety of genres and techniques over the years, his aim has been to use drums, percussion and sound as a way to express something felt but not easily defined. Audiences throughout the United States, Canada, Europe, Japan, and the United Kingdom have described his performances as ‘cathartic’, ‘intense,’ and ‘meditative’. Notable solo performances have taken place at the Guggenheim Museum, New Museum, SXSW, Alverno Presents, Hopscotch Fest, and Musée des Beaux-Arts de Montréal.
From 2013-15, Mueller created and directed the multi-disciplinary project Death Blues. From music recordings and performances, to writing, video, dance, and more, the aim of the project was to encourage focus on each moment and build understanding for what is important in one’s life. The project issued four critically acclaimed recordings. Non-fiction was cited as one of the ’20 Best Avant Albums of 2014′ by Rolling Stone. Ensemble, created with multi-instrumentalist William Ryan Fritch, was featured on NPR’s ‘First Listen’.
In the late 1990s/early 2000s, Mueller was the drummer in the bands Pele and Collections of Colonies of Bees, both of which released numerous records and toured internationally. He later joined with bandmates from these groups and vocalist Justin Vernon of Bon Iver to form Volcano Choir. Volcano Choir’s 2013 record Repave debuted at number 40 on the Billboard charts. The group performed on the NBC show Late Night With Jimmy Fallon, experienced multiple sold out tours in the US, Canada, and Europe, and performed at international festivals such as Primavera and Osheaga.
From 1999 – 2009 he owned the recording label and promotion company Crouton, which published and promoted over 40 releases in deluxe presentations from artists such as The Hafler Trio, Asmus Tietchens, Z’EV, Osso Exotico, Daniel Menche, Jason Kahn, Raymond Dijkstra, Richard Chartier, Lionel Marchetti, Robert Hampson, Jarboe, and more. Crouton also organized events in the Milwaukee and Chicago areas with artists from around the world. These were documented by the press and even filmed as part of a PBS documentary on jazz musician Ken Vandermark.
Mueller has given talks about listening and creativity at Loyola University, Viva! Art Action, Translator Lab, Wesleyan University, and PechaKucha.
He has published two works of fiction, Pianobread and Endings, and contributed non-fiction writing to ChangeThis, Pear Noir!, and more.
“If something interests me, it comes out in various ways, or if I favor a certain feel, attitude, approach, etc., any work I do is going to contain elements of that,” explains Mueller. “When one wholly engages in something―physically, mentally, spiritually―that thing will carry through to something else we do. It’s now a part of our thinking and understanding. In that sense, we are like drums. How we are struck determines our response.” – excerpt from an interview in Paris Transatlantic
Sacramento guitarist Ross Hammond has played on large stages and in small corners throughout the United States. His sound is equal parts jazz, folk, blues, spirituals and world music. His next release is “Flight,” a solo record for acoustic 6 2tring, 12 string and acoustic slide guitar. Flight is available on 4/14/2015.
Ross has collaborated/gigged/recorded with:
“The music has a sense of exploration where boundaries are ignored and genres fall away into the distance…Hammond is developing a new and original conception and fans of forward leaning music will enjoy the effort”
-Tim Niland, Jazzandblues Blog
“Flight” could easily get lost in the flurry of new recordings but do give this music your attention. Ross Hammond has created a program that takes you out away from the craziness of every-day life; this is music that, ultimately and intimately, soothes the soul, an instrumental salve for your trying times. “
-Richard Kamins, Steptempest
APRIL 22ND – 9PM $10
Trevor Watts /Veryan Weston Duo
Both Trevor and Veryan have been involved in jazz , improvised music and world musics for a period of over 40 years. Their paths have crossed frequently over that period of time, and it’s because they have many of the same interests, and how those interests shape the music together that makes for a very compelling experience for the audience. The music is improvised but it has a very obvious jazz feel and sensibility about it. Because of their sense of composition and the fact that they both are composers of some note, the improvisations always have a strong sense of structure.
There is a common love of traditional musics of the world. Trevor has had long experience playing with African musicians in his Drum Orchestra (circa 1980) and Veryan has researched the relationships between certain pentatonic scales for many years . There is a rigorous study of rhythm which has been important to them both and this is clearly heard in their music together. That sense of where the spaces are rhythmically propels their music.
There are two highly acclaimed recordings on Emanem called “6 Dialogues”, Emanem 4069 (2001) and the more recent “5 More Dialogues”, Emanem 5017 (2011). A double CD was released in 2012 – on the Hi4HeadRecs label called “Dialogues in two places”, HFHCD 010D (recorded 2011). This was the first ‘live’ CD Trevor and Veryan have made. It is a superb document of their 2011 USA and Canadian tour, recorded in Toledo and at the Guelph Jazz Festival. On these two occasions they were met with great enthusiasm and more than once, standing ovations. More recently a new recording from a concert made at the Ad Libitum Festival in Warsaw in 2012 which will released on Polish label – For-tune Records
In spite of the intervening years, Trevor and Veryan sound as fresh as ever because they are genuine improvisers who are always looking for something new within the moment of playing. That sound of surprising themselves with unexpected directions transfers itself to the audience too.
Video example of their playing together at this link:
TREVOR WATTS (Saxophones/Percussion/Composition)
Since the 1960’s, Trevor Watts has been at the forefront of many innovations within the Jazz/World and Improvisational areas of music, both as a saxophone player, percussionist and composer. The only founder member of The Spontaneous Music Ensemble still left, other founder members were John Stevens & Paul Rutherford, and later members included Kenny Wheeler, Dave Holland, Evan Parker and Derek Bailey amongst others. His Amalgam group began in 1967 with bassist Barry Guy and trombonist Paul Rutherford, and he was a founder member of Barry Guy’s London Jazz Composers Orchestra. He was the instigator behind the Moire Music Group and The Drum Orchestra (1980-1997), which involved musicians from North and South Africa and Latin America. He played with other prominent musicians from USA including Don Cherry, Archie Shepp, Steve Lacy, Kent Carter, Rashied Ali, Steve Swallow and Bobby Bradford. Currently (2015) his main involvement is one part of a long standing duo with pianist Veryan Weston. This duo have been highly acclaimed for their recordings and “live” appearances. They have toured in Brasil, USA, Canada, Australia & N Zealand together amongst many other places. Recently they performed a master class at Leeds College of Music, which is one of the best in the U.K. They also both play within a new quartet which features drummer Terry Day, who’s career also goes back to the 60’s and bassist Dominic Lash. They recently played a very successful concert at the All Ears Festival in Oslo Norway (2015) and Café Oto in London. Watts is also collaborating again with Gibran Cervantes (Mexico) and they will tour in Mexico in May 2015.Watts has travelled across the world playing music for many years and still continues to do so. Important collaborations include: with Teatro Negro de Barlovento (Black Venezuelan traditional group), Gibran Cervantes from Mexico and Cyro Baptista from Brasil in ‘Urukungolo’, and with master Djembe player Adama Drame in Burkina Faso (W.Africa). Workshops include Film Institute of India and in Jamaica & Trinidad amongst many others. Moire Music Drum Orchestra was the first group to visit Burma for around 15 years in the 1990’s and played a 2nd time there. Also in Cameroon, S Africa, Sarawak, Trinidad, Bahamas, Columbia, Bolivia, Ecuador, Botswana, the Khartoum Festival in Sudan with a large group of Sudanese musicians and so on. Compositional commissions include the U.K. theatre production of “The Connection” by American playwright Jack Gelber (Hampstead Theatre) in 1973 directed by Michael Rudman who became director of the National Theatre in London; Welfare State Theatre and Same Sky Theatre Co. He was commissioned to write a composition by the Bracknell Jazz festival in 1984 for his Moire Music group. Watts is featured in “Jazz Brittanica” (a BBC4 film on British jazz and improvised music, 2005. A major DVD by film maker Mark French called “Hear Now” 2013. This is an interview with live performances, mainly from the Watts/Weston duo. He is featured in many other films on jazz/improv music, some for ARTE TV including filming of two visits to the Roaring Hooves Festival in Mongolia’s Gobi desert that had collaborations with Mongolian traditional musicians. Major Jazz Festival appearances include Womad, Glastonbury, San Francisco Jazz Festival, Monterey Jazz Festival, Freedom of the Plaza Festival July 4th in Washington DC, Singapore Arts Festival, Beijing & Shanghai Jazz Festivals, Berlin Jazz Fest, London Jazz Fest, Cervantino Festival, Mexico, New Zealand Festival of Arts, Wangaratta and Darling Harbour Festivals in Australia amongst very many more.2013 – Commissioned to write a composition for full choir “The Light Vessel” 2013 dedicated to the UK Light Ship communities. Three performances to date. New solo saxophone CD in 2014 called “Veracity” which has been highly acclaimed. Watts is listed in the Who’s Who in the World of Music dictionary.
(born 1950) began working as a jazz pianist in London in 1972, some of his earliest performances being at the Little Theatre Club. In 1975 he was awarded a fellowship and residency at Digswell House, an artists’ collective in Hertfordshire. Here he co-founded and composed for Stinky Winkles and was awarded ‘Young Jazz Musician of 1979’ by the Greater London Arts Association.
In the ’80s, Veryan worked internationally with Lol Coxhill (with whom he made his first recordings – Ogun 525 and Random Radar), the Eddie Prévost Quartet and Trevor Watts – an innovator who, in his band Moiré Music, used a unique combination of African rhythmic structures with the European musical tradition (Arc 02).
In the ’90s, collaborations with Phil Minton included the Ways duos, the ambitious Songs from a Prison Diary choral project commissioned for the Europa Festival in Le Mans which was awarded the Cornelius Cardew composition prize, a Taktlos Festival (Switzerland) chamber choir commission based on the life of Anarchist – Nestor Makhno, a quartet performing extracts from Joyce’s Finnegans wake, and 4Walls with Luc Ex and Michael Vatcher which was a strange synthesis of punk and contemporary jazz but which, like all the projects with Phil combine improvisation with songform.
From 2000, Veryan collaborated with Jon Rose on the ‘Temperament Project’, improvisations using different acoustic keyboards and violins with selected tunings derived from science, history and the imagination. (EMANEM 4207 – a double cd recorded in various European locations) and Tunes & Tuning (HERMES CD 001).
He also collaborated with Caroline Kraabel (EMANEM 4048), John Edwards and Mark Sanders (EMANEM 4028, 4214, and 4205), the Trio of Uncertainty with cellist Hannah Marshall and violinist Satoko Fukuda (EMANEM 4141), Luc Ex in Sol6 (Red Note 15) which included saxophonist Ingrid Laubrock and Hannah Marshall who Veryan worked with as a trio called Haste. A CD was made from a live recording made at the 2011 Hurta Cordel Festival in Barcelona – (EMANEM 5025).
In 2000 Veryan wrote ‘Tessellations’ for piano, using research on pentatonic scales which he had been working on since early 1970s. Project was supported by the Peter Whittingham Foundation (London – 2001) and performed at Brussels Museum of Musical Instruments on the only remaining original Luthèal Piano (EMANEM 4095). A published paper on pentatonic scales preceded a performance of Tessellations at the International Conference of Bridges: Mathematical Connections in Art, Music, and Science, Granada, Spain (2003). Tessellations has been performed widely.
In 2009, Veryan wrote/composed Tessellations II, a commissioned piece for eight singers which was first performed in Graz – Austria. The following year the Vociferous Choir performed in and around London a program which included the young and gifted American pianist – Leo Svirsky, performing the first part of Tessellations I for Solo Piano and the Vociferous Choir performing Tessellations II. The recording made for BBC Radio 3 was later released (EMANEM 5015).
Other peripheral excursions have included working in Carla Bley’s Escalator Over the Hill big band project, the Cobra game piece with John Zorn in Berlin and most recently a Lindsay Cooper memorial project which included many of the original members of Henry Cow (2014).
Veryan has worked with Trevor Watts for more than 40 years; over this time their paths have crossed frequently because of shared musical interests particularly in rhythmic ideas. Now their music has one focus – improvisation, but because of their sense of composition and the fact that they both are composers, the improvisations always have a strong sense of structure.
There are two acclaimed recordings on Emanem called “6 Dialogues”, Emanem 4069 (2001) and the more recent “5 More Dialogues”, Emanem 5017 (2011). A double CD was released in 2012 – on the Hi4HeadRecs label called “Dialogues in two places”, HFHCD 010D (recorded 2011). This was the first ‘live’ CD Trevor and Veryan have made and was a document of their 2011 USA and Canadian tour, recorded in Toledo and at the Guelph Jazz Festival. A new recording from a concert was made at the Ad Libitum Festival in Warsaw in 2012 and will be released on Polish label – fortune
The thread throughout Veryan’s work has been primarily improvisation which reveals new aspects of an ever-changing musical identity depending on who he is playing with. Website with links – HYPERLINK “http://veryanweston.weebly.com/”http://veryanweston.weebly.com/
April 6th – 9PM $8
Andrew Bishop/Gerald Cleaver/Tim Flood
Since 1996, the ensemble includes Andrew Bishop (woodwinds), Gerald Cleaver (drums) and Tim Flood (bass). Founded on a flexible dynamic and aesthetic variety this trio interprets a wide palate of musical frameworks. The group’s debut 2005 recording Time and Imaginary Time (Envoi Recordings) received widespread acclaim from The New York Times, Chicago Reader, All Music Guide, Cadence Magazine, All About Jazz-New York, All About Jazz-Los Angeles, and the Detroit Free Press, The Daily Texan, Downtown Music Gallery Notes and many blogs.
Andrew Bishop is a versatile multi-instrumentalist, composer, improviser, educator, and scholar comfortable in many musical idioms. He maintains an international career and serves as an Associate Professor of Jazz and Contemporary Improvisation at the University of Michigan in Ann Arbor. Bishop’s two recordings as a leader have 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 30 commissions; numerous residencies and awards and recognition from the American Society of Composers, Authors, and Publishers (ASCAP); the Chicago Symphony Orchestra; the Andrew W. Melon Foundation; the National Endowment for the Arts; and a nomination from the American Academy of Arts and Letters. He earned five degrees in music including a DMA in music composition from the University of Michigan.
Gerald Cleaver was born and raised in Detroit, Michigan and is 1992 graduate of the University of Michigan. While pursuing his degree he received a National Endowment of the Arts grant to study with Victor Lewis. He has performed with a wide variety of artists including Muhal Richard Abrams, Ralph Alessi, Franck Amsallem, Bruce Barth, David Berkman, Tim Berne, Ray Bryant, Kenny Burrell, Marilyn Crispell, Marty Ehrlich, Ellery Eskelin, Tommy Flanagan, Charles Gayle, Barry Harris, Mark Helias, Bob James, Hank Jones, John Lindberg, Kevin Mahogany, Roscoe Mitchell, Joe Morris, Andrea Parkins, Craig Taborn, Jacky Terrasson, Henry Threadgill, Mark Turner, Steve Wilson, Matt Shipp, Rodney Whitaker, and Reggie Workman. As a leader, Gerald Cleaver’s Veil of Names—featuring Andrew Bishop, Mat Maneri, Craig Taborn, Ben Monder, and Reid Anderson—recording Adjust (Fresh Sound New Talent), received a nomination for “debut record of the year” from the Jazz Journalists’ Association.
Tim Flood is a bassist and composer who has performed with Uri Caine, Frank Lowe, Hank Roberts, Roswell Rudd, and many others. His original electronic compositions and mixed-media installations have been shown at venues such as The Detroit Institute of the Arts, Pauline Oliveros’ Deep Listening Space, and the Sync ’05 Digital Art Festival. Tim is a graduate of the University of Michigan.
April 2nd – 9PM $5
An instrumental group that actually is as hard to pigeon-hole as itʼs membership
suggests, Chatoyant burst on to the Detroit music scene a little less than a year ago. Although the work of all four members is relatively well known there, Chatoyant represents a deﬁnite (if logical) deviation in their output. Collectively theyʼve tapped an energy that is distinctly from their individual work- or anyone elseʼs.
The mixture of spontaneous composition and rock aesthetics is nothing new- yet no one mines the potential of this combination in quite the same way as Chatoyant. Itʼs not a neck-up, intellectualized sound- though there are unrelentingly heady portions. But what dominates the sound is a Kaleidoscopic transformation of ideas that seamlessly moves the music forward into an improvised form. From tranquil to explosive, dense to spare, the band draws on the full range of musical expression and imbues it with a rhythmic intensity thatʼs an inditement of the temped state of rock music.
Guitarist Matt Smith has had a long and quietly inﬂuential career in Detroit music. Locally heʼs best known as the guitarist/singer of the psychedelic-pop perfection quartet Outrageous Cherry and as co-vocalist and guitarist in early alt-country pioneers The Volebeats, both of which are still active after about 20 years. But his most high proﬁle gigs are playing guitar with (Sixto) Rodriguez and keys in Crime and the City Solution. Heʼs produced records and played with a range of artists, including raw-soul legend Andre Williams and early garage-rock icon and producer Kim Fowley; Mattʼs also gigged behind Damo Suzuki and Rhys Chatham and uses Crazy Jimʼs guitar amp.
Drummer Crazy James Baljo is best known as the new guitarist of noise darlings Wolf Eyes, but he performs beautiful American Primitive guitar and (real) tape loop solo sets under the misleading moniker The 696 Blues Band. Crazy James was the original drummer of art-damaged punk outﬁt Human Eye and he plays his own drum kit.
Although heʼs had a notable career on double-bass and other strings, Joel Peterson only plays Crazy Jimʼs Fender Rhodes piano in Chatoyant. His diverse range of projects includes outer-limits improvisation in two groups with pianist Thollem McDonas (Soar Trio and BoxDeserter);2o year ethnic-rock hybrid Immigrant Suns; automaton-fueled art music with Frank Pahlʼs Scavenger Quartet; Afrobeat with Fela Kuti alumni Adeboye Adegbenro (Odu); and groups with Detroit free jazz leading lights: Faruq Z. Bey, Skeeter Shelton, Michael Carey and Kenneth Green (Faruq Z Bey Quartet, Kindred, Absolute Tonalist Society, Spectrum 3). Heʼs played with Jack Wright, Tatsuya Nakatani, Eugene Chadbourne, Rhys Chatham, Damo Suzuki, Amy Denio, Steve Cohn, Elliott
Sharp and many others.
Marko Novachcoff plays nearly every wind instrument in the world, from all corners ofthe globe. His versatility has put him in demand for many musical situations- including most of those mentioned above. His recorded output is most evident with the group Only A Mother and on Frank Pahlʼs various other projects. In addition, heʼs played with Lamont Young, Marcus Belgrave, Gerri Allen, Wendell Harrison, The Shaking Ray Levis, LaDonna Smith and other jazz, improvised and New Music notables. Crazy Jim doesnʼt have any wind instruments, so Marko plays his own.
CURT OREN & Rosebud
CURT OREN – Solo Baritone saxophone
Workout style circular breathing with sharp pivotal harmonic shifts, passionate sequential storytelling via a large saxophone.
Rosebud , opens the night with synth based noise