JUNE 11TH – 9PM 

Jason Lescalleet + Bbob Drake

lescalleet_medium_image“For twenty years, Jason Lescalleet has been making electro-acoustic sound work, using all manner of source material to engage listeners in both site and narrative by providing a rich and physical sense of place.” – Bomb Magazine Since establishing himself as a preeminent voice in contemporary electro-acoustic study,Jason Lescalleet has exploded the notion of what is possible within the realm of tape- based music. His recorded catalog acknowledges a diversity of application, from lo-fi reel-to-reel soundscaping and work for hand-held cassette machines, to digital sampling and computer generated composition. Lescalleet’s live actions further expand his ouevre to include work with video, dance, performance art and multi-media concerns. In the past two decades, Lescalleet has gradually and painstakingly compiled a compelling discography on notable labels such as Erstwhile, RRR, Intransitive Recordings, Kye, Celebrate Psi-Phenomenon, Hanson Records, Chondritic Sound, and most recently via his own Glistening Examples imprint. He has collaborated with Kevin Drumm, Aaron Dilloway, Graham Lambkin, Phill Niblock, Joe Colley, John Hudak, Rafael Toral, Thomas Ankersmit, and CM Von Hausswolff, among others, and during this time he’s built a solid reputation for delivering a visceral live experience in concert.—bio via New Music USA https://glisteningexamples.bandcamp.com/album/this-is-what-i-do-volume-14bbob_drake_002Bbob drake has been creating experimental music and audio in Cleveland for the last 45 years. From a start as a guitarist, his current focus is on electro-acoustic improvisation in both solo and group settings. His solo work spans a range from “lowercase” or “onkyokei” aesthetics (quiet, minimalist, abstract), to free jazz and more aggressive noise genres. He designs and builds the majority of his own instruments, both electronic synthesizers and original electo-acoustic designs. bbob has lead workshops in experimental electronics for music at Spaces and other venues, and he designs and sells printed circuit boards for DIY synthesizer enthusiasts. bbob’s most recent recorded releases are “Failure Cake” (solo CD) and “Curiouser” (with Cleveland drummer J. Guy Laughlin) http://fluxmonkey.com/  


May 29th – 9pm

Aaron Levy + Matt Polofka

Levy pic

Aaron Levy is a percussionist and improviser based in Tuscaloosa, AL. His music is deeply based in extremes – very short and very long, very high and very low sounds. With the use of AM radios, feedback looped snare drums, whisks, marbles, and more, his improvisations have been described by listeners as “serene”, “meditative” and “calmly aggressive.” 

Over the course of Aaron’s career, he has performed and studied on four continents and in the spring of 2014 served as the Visiting Professor of Percussion at Eastern Kentucky University. While at EKU, he formed the New Music Ensemble, and collaborated with the Dance Theatre, local and campus art galleries, and the university planetarium. He has commissioned and premiered nearly a dozen works and has been featured as a performer three times at the Percussive Arts Society International Convention. Aaron is a frequent performer with the NOBROW.collective (Athens, OH) and ensembleAMP (Indianapolis, IN). In Tuscaloosa, he is working towards the Doctor of Musical Arts degree at the University of Alabama, where he studies percussion with Tim Feeney and performs with the Tuscaloosa Symphony Orchestra. 

Toledo’s own Matt Polofka opens with dense guitar loops and ambient washes.


MAY 15TH – 9PM

Peter J. Woods + Rosebud


Peter J. Woods has performed at the RCH on numerous occasions, the first time was in January 2009 after driving over 13 hours with the Insurgent Theatre. Although Woods had already carved out a name for himself across the country in the noise scene,  I hadn’t seen him perform, but it was just a matter of time, since Woods tours any chance he gets.  Now, after witnessing nearly a dozen of his wildly  diverse sets which range from intense rage to avant theatre/installation, he always leaves me wondering what’s next. Highly recommended viewing and listening!


Rosebud from Toledo opens. Think dark, patient synth drone with apocalyptic overtones.   


Peter Walker



Guitarist Peter Walker came up in the Cambridge MA and Greenwich Village folk scenes of the Sixties. He recorded two albums for the Vanguard label in the late Sixties in a style best described as American folk-raga. He studied with Ravi Shankar and Ali Akbar Khan, and was Dr. Timothy Leary’s musical director, organizing music for the LSD advocate’s “celebrations.”

Peter Walker’s 1967 debut album, Rainy Day Raga, features one of the first studio appearances by jazz flautist Jeremy Steig, as well as guitarist Bruce Langhorne, who recorded with Bob Dylan and many others. Rainy Day Raga is a gentle and beautiful fusion of Eastern and Western musical traditions, and one of the earliest examples of a style explored by Sandy Bull several years earlier. A second album, Second Poem to Karmela or, Gypsies Are Important (1969) found Walker going even deeper into Indian instrumentation, playing sarod and sitar. During this time, Peter played or was associated with such musicians as Lowell George, Fred Neil, Tim Hardin, and Joan Baez, among many others.

Walker settled in upstate New York in the early Seventies. In more recent years, he has developed an intense interest in flamenco guitar and, through regular trips to Spain, been accepted into the flamenco’s exclusive musical elite.



April 15th – 9PM






These two have been playing together since they met in Detroit in 1986, their duo transforming over time as their music has developed. This despite moving far apart, and never more than at present; after fifteen years in the Bay Area Bob now lives in Pueblo CO and Jack is in Easton Pa, so their meetings are infrequent. They have toured on the East and West Coast and the Midwest, most recently connecting in the Bay Area, before that tours that took them from the east coast to Chicago. Their music has shifted from a huge web of notes and fast-shifting directions on conventional instruments to sound and space, with Bob playing electronics and distorted voice….yet still they are indelibly the same duo. And the best of friends.

A review of a 2012 performance in Philadelphia from Cadence Magazine: “Jack Wright (sax) and his longtime collaborator, Bob Marsh (cello, voicings) sat in cramped quarters with records stacked all around, low ceiling strung with Christmas lights, and frightful paintings lining the wall. The two explorers seemed to like the atmospheric space and quickly went about their business of quietly merging tones and thoughts. Marsh, who was on a rare trip to these parts from this California abode, used everything out of his cello case on his instrument except the kitchen sink, which he was unable to get down the steep stairs of the lair. Also of note was the sighting of Wright in real pants and not his ever-present shorts…”

flandrew Flandrew Fleisenberg and Jim Strong are active members of the Philadelphia Free Improvisation community. Both artists blur the boundaries of sound and movement in performance with their distinct approach and instrumentation. These highly adept improvisers utilize an ever-shifting invented language reaching a fluid range of dynamics amidst a consistent sense of

FLANDREW FLEISENBERG plays percussion on an ever changing assortment of ephemera and modified drum parts coaxin  texture and tone both familiar and bizarre. Attentive to room resonance, ambience and collaborator, Fleisenberg playfully utilizes gravity, friction, acoustics and presence to explore space, time, and relationships. 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 free  improvisation community since 2001 performing solo, in ad-hoc improv groupings, and in set projects in venues small and large across the United States, Canada, and Mexico. A resident of Philadelphia, Flandrew is active as the co-curator of the HOT Series, and is the Director of the Impermanent Society of Philadelphia, an organization focused on promoting the art form of Free Improvisation in Sound & Movement. Favore implements:Cannon ball, 10′ ball chain, catering platter, doors, loose cymbals, sticky sticks, soup pans, coasters, pipe fittings, glass window, steel spring, floors, walls, air, sand, paper, rope, ping pong balls, a couple glasses of wine, some luck, and good fortune.  Recent collaborations:Trio Bajadelphia with Ivan Trujillo (Trumpet) and Ivan Montes (Guitar) from Baja MX, Duo with Dancer Loren Groenendaal (PHL), Duo with Vocal and Cello Improviser Audrey Chen (Berlin). “Marcel Duchamp: funny phony. Flandrew Fleisenberg: Einstein of drums.”   Gordon Marshall, poet laureate of the Boston improv scene Links:http://lifeoffleisenberg.blogspot.comhttps://www.youtube.com/watch?v=QGJtjhPk_ug

 JIM STRONG is an experimental instrument builder and visual artist. His instruments are built intuitively utilizing crank mechanisms, strings, broken electronics and pressurized air. His most recent work explores movement and improvisation through wearable instrumentation. He performs solo and in variable group improvisations and works collaboratively in dance, video, and theater. His video work has been shown internationally notably in RAUMERWEITERUNGSHALLE in Berlin, CPH:DOX (Copenhagen Documentary Film Festival), Louisiana Museum of Modern Art and Icebox Project Space in Philadelphia. Strong is a founding member of the Impermanent Society of Philadelphia an organization focused on promoting the art form of Free Improvisation in Sound & Movement.  In addition, he curates multimedia events under shifting monikers (Freetongue, Membrane Channel, etc.) spanning sound, poetry, screenings and dance in galleries, warehouses, and basements across the Philadelphia area.







In the summer of 2011, APUH! sprung out of a longing for creativity in the moment. To take a break from carefully composed and thought-out music, Adrian Åsling Sellius and Hampus Öhman-Frölund created their own sanctuary in a dirty rehearsal space in the suburbs of Gothenburg, Sweden. Recordings were made, but it wasn’t until late 2012 when the great Mats Dimming joined on double bass that the trio started to play shows. Playing around in Sweden both as a trio and with guest musicians, APUH! were associated with everything from 60s free jazz to Swedish director Roy Andersson’s films. The members´ backgrounds in varying genres such as rock, pop, experimental noise and klezmer create an unpredictable feel and atmosphere. Their debut album “ETT” was released in January 2014 followed by their second release “TVÅ” in September 2015. Both are released on the Swedish label Pälsrobot Records. 

Adrian Åsling Sellius – saxophones and clarinets

Hampus Öhman-Frölund – drums

Mats Dimming – double bass

…APUH!’s music is a nod to tradition, but also a middle finger in the face of it. They do what they want and do not care about what is considered hip or unhip, right or wrong. The trio creates music on their own terms. It has a personality that is often lacking in today’s jazz…APUH! definitely shakes some life into the sleeping Swedish jazz scene. A fantastic and much needed new addition. Finally… – soundofmusic.nu 



March 25th

Woody Sullender + Welling

uncle-woody-sullenderWoody Sullender is an artist based in Brooklyn, NY. His pieces encompass a myriad of media including sculpture, performance, theater, music, installation, architecture, origami, and even sonic weaponry. His recent work examines the social construction of the performance space and how it reinforces specific rituals and modernist ideologies of reception. By minor interventions and reconfigurations in existing spaces, not only can these habits be ruptured but larger notions of social relations can be explored.

Sullender has performed internationally at venues such as the Kitchen (with Sergei Tcherepnin), Issue Project Room (Brooklyn, NY), the River to River Festival, the Schindler House (Los Angeles), SculptureCenter (NYC), Abrons Art Center (NYC), Les Instants Chavirés (Paris), GartenKultur Musikfestival (Germany), Chicago Cultural Center, DNK-Amsterdam (with Seamus Cater), and many others. He has been an artist in residence or visiting artist at art technology hubs STEIM (Amsterdam), Harvestworks (NL), and Brown University’s MEME program. He contributed to Maryanne Amacher’s installation “TEO! A Sonic Sculpture” (which won the Golden Nica prize at Ars Electronica).http://www.woodysullender.com/

Welling is Patrick Peltier. Growing up in a house where music continually, naturally music was always a passion from a very young age. First picking up saxophone studying jazz, then quickly moving on to guitar, bass and piano. From there Patrick cut his teeth touring with a spaz hardcore band and playing in Ska/g, now defunct Toledo harsh free jazz noise band.  During that time, Pat also played in an Ambient duo named Maravich. Song structures and minimalist bliss was the name of the game. The ashes of Maravich and Ska/g gave birth to Daniken, still active Heavy Free Psych collective, taking a more refined look at improvised music. Welling formed a few years after. Where Daniken is apt to find a groove and ride it until hell freezes over, Welling is more self-explorative. Cinematic at points, exploration of minor changes in repeated melodies slowly evolve songs and themes. Often melancholy or minor sounding, the backbone is based in bliss, happiness and escapism. Life is too short to ignore the beauty in every object, action and feeling, whether traditionally viewed as positive or negative, it is beautiful.