Trummerflora, or rubble plants and trees, are a special phenomenon unique to heavily bombed urban areas. The bomb acts as a plow, mixing rubble fragments with the earth which often contain seeds dormant for a century or more. These seeds come to light and those that can live in this new and special earth grow and flourish.
The Trummerflora Collective is an independent group of music makers that embraces the pluralistic nature of creative music as an important means of artistic expression for the individual and the community, and provides an atmosphere that nurtures the creative development of its members.
Spring Reverb. Emerge from the rubble. Thanks for listening.
Spring Reverb 2004 Artist Information
Click on artist images to download high resolution print version.
His playing ranges through free improvisation, various structurings, his own compositions, multitracked saxophone pieces and work with live electronics, amplification and feedback.
He has toured and broadcast throughout Europe, Japan and North America, and was featured, playing solo, in the BBC TV programme Date with an Artist. Compositions include pieces for the Austrian group Polwechsel and the American Rova Saxophone Quartet .
He started playing the saxophone at Surrey University, where he was studying physics. In 1977 he moved to Imperial College to began a Ph.D. on the theoretical properties of charmed quarks. At the same time, he was struggling to find the ways of playing that eventually led him to a commitment to 'free' improvisation.
After getting his doctorate in 1982, Butcher left academia and went off with music; releasing Fonetiks - a duo with Burn - and playing in trumpeter Jon Corbett's Freelance (with Elton Dean). Around this time he began working in trio with guitarist John Russell and violinist Phil Durrant. They started the label ACTA to release Conceits and were joined in 1988 by drummer Paul Lovens and trombonist Radu Malfatti to form News from the Shed.
The quartet Frisque Concordance, formed in 1991 with Georg Gräwe and Martin Blume, meant more regular visits to Europe - whilst in London he joined what became the final version of John Stevens' Spontaneous Music Ensemble, and played in a number of Derek Bailey's Company Weeks.
He has worked in many contexts with singer Phil Minton and their collaborations continue with a new duo CD - Apples of Gomorrah. Minton's quartet (with Veryan Weston and Roger Turner) has taken Mouthfull of Ecstasy - utilising texts from Finnegans Wake - throughout Europe and the US.
Electronic music was an early influence on Butcher's approach to saxophone playing, and has become explicit in his electromanipulation duo with Phil Durrant which started in 1997. In the same year he joined the Austrian group Polwechsel, which has released 3 CDs - the last a collaboration with computer/guitar player Christian Fennez.
Since the late '90s Butcher has become involved with many North American musicians - in particular duos with three drummers; Gerry Hemingway, Gino Robair and Dylan van der Schyff; and a trio with cellist Fred Lonberg-Holm & drummer Michael Zerang.
Other current groups include, Thermal with EX guitarist Andy Moor & synthplayer Thomas Lehn - a sax/bass/drums trio with Fabrizio Spera & John Edwards - and duos with John Edwards, Steve Beresford (electronics), harpist Rhodri Davies and Christof Kurzmann (laptop).
Solo concerts have long been a particular enthusiasm, and 4 solo CDs are available. Thirteen Friendly Numbers also includes pieces for multitracked saxophones, whilst London and Cologne and Fixations (14) focus on live performance. The most recent, Invisible Ear (2003) explores close-miking, amplification and saxophone-controlled feedback.
As an improviser Butcher continues to play in many occasional, sometimes just one-off encounters. These have ranged from large groups such as Fred van Hove's t'nonet - Radu Malfatti's Orkestra - Butch Morris' London Skyscraper - the EX Orkestra - to duo concerts with Fred Frith, Carlos Zingaro, Kaffe Matthews, Joe Morris, Jin Hi Kim, Toshimaru Nakamura and Paul Lovens.
John Butcher Press
In the world of saxophone music, players using extended techniques to make unusual sounds with the horn are common, but few have established a voice as original as John Butcher's. His saxophone acts as an extension of his own voice as he employs such techniques as growling and flutter tonguing to make his saxophone talk, sing, cry, whisper and laugh.
What is more impressive is how he has incorporated all of this into a
musical language that is both complicated and accessible. One of the central
figures in Europe's avant-garde music scene.
There may well be no other saxophonist so determinedly pushing his
instrument forward, so ruthlessly dispensing with decades of baggage, than
English saxophonist John Butcher long ago tossed out 90% of his instrument's
conventional vocabulary and created a highly individual dialect from the
sounds that were left. He's so developed his mastery of multiphonics that he
can shift between grainy gargles and pure sculpted tones, and back again,
within a single phrase. He's also an impressive manipulator of acoustic
effects: the last time I saw him, he set up a pattern of overones whose
dizzying psychoacoustic effects were in the same league as the electronic
music os Marianne Amacher, Alvin Lucier and Ryoji Ikeda.
Hit and Run FMP CD
No one has gone beyond John Butcher's hypermodern language of sounds rooted
in the resources of the saxophone: there may not be a "beyond" to go to.
John Butcher is currently the most radical saxophone experimenter on the
Butcher's tender accuracy winds up more devastating than those wild blowers
who think that mere volume will allow them to capture the ghosts of Ayler
John Butcher has been excavating new areas for saxophone improvisation that
few even realised existed and doing so with both intelligence and beauty.
Cosmologic traverses the broad terrain of creative jazz and improvised music, integrating high-energy playing, intense introspection, rich grooves, open textures, and collective alchemy. Their two releases, Staring at the Sun (Circumvention 2000) and Syntaxis (Circumvention 2002), have been highly acclaimed by a wide range of music critics and listeners.
Reedist/improviser/composer Jason Robinson leads a life of fractured multiplicity, dividing his time between a dynamic performance and recording career, teaching activities, organizing efforts, and ethno/musicological research. Robinson is an active member of the improvised and popular music scene(s) of the West Coast - leading his own groups, collaborating in a variety of improvised and experimental contexts, and touring as a sideman with a number of groups. In 1998, Robinson founded Circumvention Music, an artist-run independent record label dedicated to the support and distribution of improvised musics. Robinson has performed/recorded with Peter Kowald, George Lewis, Anthony Davis, Eugene Chadbourne, Earl Howard, Emily Hay, Jeff Kaiser, Eek a Mouse, Bertram Turetzky, Mel Graves, Marco Eneidi, Mike Wofford, Philip Gelb, J.D. Parran, Gerry Hemingway, Contemporary Jazz Orchestra (at Pearl's, San Francisco), the La Jolla Symphony, SONOR (among others), as well as theater-oriented groups such as the San Francisco Mime Troupe and the New Pickle Circus. Robinson's 2002 release Tandem, which showcases collaborations with of number of influential musicians, including Peter Kowald, George Lewis, Anthony Davis, and others, was selected as a "top 10" critic's pick for 2002 in JazzTimes Magazine. Robinson is a member of the San Diego-based Trummerflora Collective.
Bassist and pianist Scott Walton has performed with George Lewis, Wadada Leo Smith, JohnCarter, Bobby Bradford, John Abercrombie, Nels Cline, Phillip Gelb, Davey Williams, Clifford Jordan, Al Cohn, and Frank Wess, among others. He has collaborated with poets, dancers, performance artists, and filmmakers. Current projects as a bassist include work with Cosmologic, the Vinny Golia Quintet, the Rain Trio (with Alex Cline and Eric Barber), and the quartet Unbalancing Act. As a pianist Walton has commissioned and premiered works by numerous composers, and has toured with the Octagon Ensemble for New Music. Recent CD releases include "17 Themes for Ockodektet" with Jeff Kaiser, and "Arcology" with Chris Chafe. He has recorded on the Soul Note, Nine Winds, JazzHalo, Circumvention, pfMentum, Koch, Centaur, Albany, and Revelation labels.
Percussionist Nathan Hubbard's musical style draws from a wide variety of influences and performing approaches, including contemporary classical, the jazz tradition, electronic music, and the musical traditions of the Caribbean, South America, West Africa, Eastern Europe, and Indonesia. He is an accomplished composer in the avant-garde and jazz genres. Hubbard has performed and/or recorded with Mike Wofford, George Lewis, Rick Helzer, Jim Ryan, Anthony Davis, Mike Keneally, Bertram Turetzky, Phillip Wachsmann, David Borgo, Arun Luthra, Martin Blume, and many others he can't remember. He currently splits his time between solo recitals, the Scholl/Hubbard duo, the Glatter/Hubbard duo, the noise trio Quibble, the quartets Cosmologic and Return to One, and the Skeleton Key Orchestra. Hubbard is a member of the San Diego-based Trummerflora Collective.
Guitarist Al Scholl, a recent addition to Cosmologic, has performed and recorded with numerous original ensembles including Denver's eclectic Room 40. He has also played with Jack Wright, Kurt Heyl and Art Lande among others. Largely self taught, his approach to the guitar has been described as "alternately brash and intensely introspective." Credits include the soundtracks to the 2000 Bravo Channel documentary "In the Green Room" and the award winning 1996 theatrical production of "Bird's End" at the Gascon Center Theatre in Los Angeles.
Wildly spontaneous... Fascinating...
Intense peaks of clamorous excitement... Near-spiritual communication...
The group dynamics of Cosmologic are in full effect, and the music is
commanding. As a unit, these four musicians click.
It's a charge when a record immediately makes me say, "Oh yeah," and
then maintains the level... Cosmologic embodies every value that hooked
me on improvised music....
With motivated and talented young musicians of this calibre, there's no
doubt that jazz can be a creative force. Long gone are the days when
things West Coast were considered pallid in relation to anything East
Coast, and for any of the doubters out there, here's the proof positive.
Forget commercial labeling, this is real contemporary jazz.
The musicians show how good a live unit they must be: the solos are wild
.. the beats infectious, the energy freely flowing from one group member
to the next.
What if I was unable to use my body in any way, yet I was still in it? This would mean that I could neither express myself, nor receive any sensory information from the outside world. I would only be able to interact with the thoughts, ideas, memories and potentials inside me. This could be hellish. Just in case this ever happens, I've been practicing, imagining and creating drawings of "nice places" for me to be. I look to moments of awe and complete emotional and intellectual abandon for inspiration drawing on the images I associate with moments such as being underwater, camping and looking at the stars in the night sky, shooting stars, rainbows, aurora borealis, light catching and blinding you unexpectedly for a moment, orgasm, the moments before waking and after dreaming. By rendering these memories and imagined sights, I take the potential of my inner space and render it as I know outer space to look, thereby attempting to collapse the divide between the macrocosm of the universe and the microcosm of my individual mind.
One of the most distinctive trumpet players in improvised music, Lesli Dalaba combines a mastery of unorthodox playing techniques with a delicate, moving lyricism. Lesli began performing in California in the 1970s with Wayne Horvitz and Henry Kaiser. In 1978 she moved to New York where she performed for 10 years as both a soloist and ensemble player, traveling throughout the U.S. and Europe. Lesli was a member of Wayne Horvitz' and Robin Holcomb's New York Composer's Orchestra, Elliott Sharp's Carbon, and the Balkan brass band Zlatne Ustne, which was twice invited to perform in Yugoslavia. Other musicians she collaborated with include Eugene Chadbourne, Derek Bailey, Fred Frith, LaMonte Young and George Lewis. Lesli's final New York project was Core Sample, a CD of her own compositions, with Elliott Sharp, Herb Robertson, and Sussan Deyhim.
Lesli Dalaba has been living in Seattle, WA since 1989. She has been a steady member of Jeff Greinke's LAND since its inception in 1994. LAND's tour of China in 1996 inspired the formation of Radio Chongching - a looping electronic trio. (For LAND and Radio Chongching info. see firstworldmusic.com.) Lesli is also a member of Fred Frith's quintet, Tense Serenity. Her upcoming releases include a trio with Eric Glick Rieman and Stewart Dempster, and her own project for Tzadik Records, Timelines, with Amy Denio, Carla Kihlstedt, Ikue Mori and Zeena Parkins (both available fall, 2004).
In addition to her musical activities, Lesli works as an acupuncturist and practitioner of Oriental Medicine.
~ Dennis Rea
Ernesto Diaz-Infante, guitarist, multi-instrumentalist, composer and improviser is an active member of the vital San Francisco experimental music scene. Born in Salinas, California, Diaz-Infante's early musical life began with private piano lessons and in high school jazz, marching and concert bands, garage rock bands and Mexican conjunto/pop bands. In his teens, he became immersed in writing poetry, drawing, playing synthesizer and guitar, and lo-fi 4-track recording of songs. He received his formal musical education from the University of California Santa Barbara College of Creative Studies (1992-94) and California Institute of the Arts (1994-96), where he studied a variety of music, composition, electronic music, film music, Gamelan, modern dance, and performance art. Diaz-Infante has composed contemporary chamber music for solo, ensemble and orchestra. He has been awarded residencies at the Centre International de Recherche Musicale (CIRM), the Villa Arson (both in Nice, France), The Millay Colony for the Arts, Centrum, Villa Montalvo, The New York Mills Arts Retreat, The Ucross Foundation and Dorland Mountain Arts Colony. He has recorded more than 15 CDs of music, collaborated with numerous musicans, and he has had performances and radio broadcasts all over the world.
Ernesto Diaz-Infante Press
"Since the mid-'90s, Ernesto Diaz-Infante counts as one of the most prolific avant-garde composer and improviser the U.S. West Coast has seen. He has performed and recorded music on piano, prepared guitar, and electronics; composed chamber music; improvised with a very large number of musicians from California, New York, and Chicago; and released a pile of CDs on very small independent labels such as Pax Recordings, Sweetstuff Media, Zzaj Productions, and Public Eyesore. He also curates the Big Sur Experimental Music Festival (since 1999) and the creative music series at the Luggage Store Gallery in San Francisco (since 2000). His multifaceted career gives him the look of an eclectic or maverick artist, but the persistence and commanding seriousness with which he pursues his career is gaining him a small but dedicated following."
"Ernesto is by now to be considered one of the most attentive, ear-opening, brain-splitting creatives in the new music scene."
"Diaz-Infante is a composer and performer with an instinctive way of creating 'sound paintings" that stress mood and feelings. his atonal adventures here sometimes recall the work of British free guitar icon Derek Bailey."
"He makes a dangerous playmate."
"He's a big talent."
"...a minimalist with an expanded sense of scale..."
"...when the name Ernesto Diaz-Infante appears on the record jacket, the guarantee of a serious experience is rock bottom certain! This guy, in my mind, is positioned, by virtue of his musical significance, side by side with oracles like Karlheinz Stockhausen, Terry Riley and Conlon Nancarrow!"
"...Diaz-Infante breaks down the creative process into its most basic elements of man and instrument."
"Ernesto beckons you into his provoking world of artful and eloquent solos. Technically sound and a brilliant performer."
"Quiet, introspective and solid playing with a masterful touch. MORE need to hear this!"
"...string bending and guitar bashing...Reminiscent of Fred Frith guitars on the table approach."
"a constant presence on the scene of free improvisation and radical instrumental music."
"Diaz-Infante's rampant creativity always manages to surprise and overwhelm me...."
Joelle Dietrick uses the tradition of paper cuts to talk about transnational movement and the psychological impact of dislocation. Rather than working on one-color papers that will allow for an easy reading of the cuts, she adds visual static with the use of patterned paper and silhouettes that are not cut completely from the pattern. This strategy allows for the viewer¹s understanding of the pieces to dramatically shift when read from far away and when approached more closely. Within the predictable, luxurious nature of the patterns, issues of control vs. flexibility as well as absence vs. complicated disconnection come into play.
Spinning a mix of ambient, dub, experimental pop and tecno, ejival has been an active citizen of tijuana's cultural scene since the early 90's, working on local radio programs and writing about music in various magazines throughout the world. ejival has worked closely with some of Tijuana's most visible music players and established what is probably Mexico's most influential electronic music label, Static Discos, alongside Fax and Murcof, two of the region's most visible electronic artists. ejival was also the editor of Sube Baja magazine, a contemporary arts and culture magazine and currently hosts Static Radio, a weekly 2 hour electronic music program airing every Tuesday from 8-10PM in the Tijuana-San Diego area on 102.5FM.
Born in Yokohama, Japan, Marcos Fernandes has long been active in San Diego as performer, producer and curator. He has performed in Japan, Hong Kong, Mexico and the US as a solo improviser, phonographer andaspercussionist/sound artist with various ensembles, including Wormhole, a decade-long collaboration with percussionist/sound artist Robert Montoya. Fernandes runs the artist-based independent label Accretions, started nearly two decades ago as a vehicle for his then worldbeat group Burning Bridges and which now features some of today's more innovative experimentalists such as Fred Frith, Barre Philips, and Scott Fields to name just a few. He is a founding member of the Trummerflora collective, dedicated to creative music in Southern California. Fernandes' recordings have appeared on Accretions, Bake/Staalplaat, Pan handler, Phonography.org and Ribosome music.
Vinny Golia is a composer who fuses the rich heritage of Jazz, contemporary classical and world music into his own unique compositions. As a bandleader, Golia has presented his music to concert audiences in Europe, Canada, Mexico, Japan and the United States in ensembles varying dramatically in size and instrumentation. Mr. Golia has won numerous awards as a composer, including grants from the National Endowment of the Arts, The Lila Wallace Commissioning Program, The California Arts Council, Meet the Composer, Funds for U.S. Artists and the American Composers Forum. In 1982 he created the on-going 37 piece Vinny Golia Large Ensemble to perform his compositions for chamber group and jazz orchestra.
A multi-woodwind performer, Vinny's recordings have been consistently picked by critics and readers of music journals for their yearly "ten best" lists. In 1990 he was the winner of the Jazz Times TDWR award for Bass Saxophone. In 1998 he ranked 1st in the Cadence Magazine Writers & Readers Poll and has continually placed in the Downbeat Critic's Poll for Baritone Saxophone. In 1999 Vinny won the LA Weekly’s Award for "Best Jazz Musician". Jazziz Magazine has also named him as one of the 100 people who have influenced the course of Jazz in our Century.
Golia has also contributed original compositions and scores to Ballet and Modern Dance works, video, theatrical productions, and film. As an educator Vinny has lectured on music, improvisation, Jazz History, The History of Music in Film, CD & record manufacturing and self-production throughout the United States, Europe and Canada. He currently teaches at California Institute of the Arts & Art Center College of Design. In 1998 Golia was appointed Regent's Lecturer at the University of California at San Diego.
Vinny has been a featured performer with Anthony Braxton, Henry Grimes, John Carter, Bobby Bradford, Joelle Leandre, Leo Smith, Horace Tapscott, John Zorn, Tim Berne, Bertram Turetzky, George Lewis, Barre Phillips, The Rova Saxophone Quartet, Patti Smith, Harry "the Hipster" Gibson, Eugene Chadburne, Kevin Ayers, Peter Kowald, John Bergamo and the George Gruntz Concert Jazz Band amongst many others.
Katie Herzog recieved her BFA from the Rhode Island School of Design and is currently working towards an MFA at UCSD. The work on exhibit is part of a larger series titled "Harnessing Natural Resources," which explores ideas of gendered space, work, and sexual fantasy by means of repetition and propaganda expressed through architecture.
Skeleton Key Orchestra was formed by Nathan Hubbard in 2001 as a means for growth and change. The orchestra was formed around members of San Diegos creative music scene - groups such as Cosmologic, NOD, the Spectrum Saxophone Quartet, Return To One, Quibble and members of the Trummerflora Collective. In 2001 the orchestra premiered Hubbards large scale compositions raincastle and a murder of crows on KSDS Jazz 88.3's concert broadcast, Jazz Live. In 2002 members of the orchestra were featured on a recital that saw the premiere of eight of Hubbards unheard chamber compositions. Most of this material can be heard on the recording nothing to write home about - compositions 1998-2002 (C&PMCD006). Also in 2002 the orchestra began to appear regularly for concerts at various clubs in San Diego and Los Angeles, premiering many new works by Hubbard written for the large ensemble. 2003 proved to be a busy year, in addition to several concerts, the orchestra was featured on Trummerfloras spring festival, Spring Reverb, at the San Diego Museum of Contemporary Art, Downtown. Much of the summer of 2003 was spent recording the orchestras debut CD , Nathan Hubbard Skeleton Key Orchestra (CMCD039A-B). Currently the orchestra is gearing up for more concerts in 2004, including a performance at Trummerfloras Spring Reverb festival with special guest Vinny Golia.
Malisa Humphrey graduated from the University of California, Berkeley in 1995 and is currently a MFA candidate at the University of California, San Diego. Her most recent body of work consists of large drawings using mostly pen, watercolor and glitter. She works within a stereotypical visual realm of notebook doodles as made by an adolescent girl. This style functions to explore female identity and the construction of gender, aware of the problems inherent in these roles while fascinated by their continuing existence and appeal. The drawing series "Fuck, Marry or Kill!!!" is based on the game in which three people are chosen for the player to assign one of those actions to. An example: Fuck, Marry or Kill - Pipolotti Rist, Matthew Barney or Paul McCarthy? All of the drawings in this series address relationship issues and each image could be reduced to a metaphor for one of those acts.
Carla Kihlstedt is a founding member of both Tin Hat Trio, (an accordion-violin-guitar trio whose two cds are out on Capitol's Angel/EMI Records), and of the art-rock band Sleepytime Gorilla Museum. Most recently, Carla is working on a solo project, Two Foot Yard, using both her violin and her voice simultaneously. She was one of three singers in the band Charming Hostess for six years.
Though she has strayed far from where she was planted, Carla Kihlstedt has strong roots in classical music. She studied at the Peabody, the San Francisco, and the Oberlin Conservatories of Music. She has become an influential musical voice in the San Francisco Bay Area since moving there 8 years ago, exploring the range of her instrument in many other settings.
Carla has performed as a violinist in the past year with pianist Awadagin Pratt and clarinetist, Don Byron. She is a frequent performer with Ear Play, the Berkeley Contemporary Chamber Players and the San Francisco Contemporary Music Players. Last year, she was a featured soloist on the MATA festival in New York, and was commissioned by Merkin Hall in New York City to write and perform a duo for their emerging composer series (Zoom: Composers Close-Up) for clarinetist David Krakauer. She has contributed to the recordings of Tom Waits, Mr. Bungle, and the Grassy Knoll. Her solo CD for the Tzadik label appears in 2003.
Carla has always been very interested by the influence that music, theater, and movement have on one another. She has worked extensively with choreographers, including Jo Kreiter and her company Flyaway Productions, Eleni Drogaris, and Shinichi Momo Koga/inkBoat.
Born in 1969 in Kobe, Japan and currently based in Osaka, Takashi Kojima has performed regularly ( about 40 concerts a year) in japan, France, Spain, England and Italy. He has organised experimental/improvised music oncerts called "Electro Future Pop" in Osaka since 2000. Beside solo works, he has performed with Suzuki Akio, Otomo Yoshihide, Sachiko-M, Massonna, Haco, Takemura Nobukazu,Gene coleman, Paul Hood,Thomas Ankershumit, Barre Philips, Sam Bennet, CCM4, Bruno Meillier,Hans Koch, Martin Schutz , Broken Consort,members of Trummerflora, Jacob Draminsky, and Carl Stone, and has composed music for theater and dance. Originally a drummer, in 1995 Kojima began to play computer (MAX/MSP and M) in the improvised music scene. since then, he mainly plays a laptop and samplers. His sonic style is colorful and his digital computer sounds have the soul of rock drumming. His current sonic theme of "impressive experiment of the auditory nerve" explores the combined use of digital synthesis, sound systems and venue. In his solo performances, Kojima plays a specialized sound system with 8 speakers. In 1994, his first solo work was released on his own label. Since then, he has continued to compose and release both solo and ensemble works.
Lower Left is a postmodern performance collective committed to artistic innovation, with an emphasis in dance. Founded in 1994, Lower Left became the performance and teaching collective in residence at Sushi Performance and Visual Art in 1997, and at San Diego Center for the Moving Arts in 2003. Lower Left's work deals with personal, social and political issues using original movement vocabulary that is created collaboratively as well as individually. Their aesthetics range from abstract, highly physical dances to complex theatrical multimedia dance plays, centering around an openness and spontaneity that have become the collective's trademark. Lower Left fosters professional artistic development by providing alternative methods of training that investigate both personal and collective art-making in a supportive community environment. Lower Left co-produces CLEAR Journal, a biannual collaborative publication between Sushi Performance and Visual Art and Lower Left that is dedicated to illuminating and expanding upon the common thread of thinking, exploring, learning, teaching and presenting of contemporary performance in Southern California.
Mark Ramos Nishita aka "Keyboard Money Mark" was born in Detroit to a Japanese-Hawaiian father and Chicano mother. He moved to the West Coast when he was six. It was in these West Coast surroundings many years later that he met up with the Dust Brothers and began overdubbing keyboards. This led to his keyboard skills gracing many releases on the Delicious Vinyl label. Mark then hooked up with the Beastie Boys and became a member of their Grand Royalty Posse and is known as the fourth member of the band. Money Mark recorded on Check Your Head and Ill Communication and has just finished a tour with the Beastie Boys which spanned Indonesia, Thailand, Philippines, and Japan. Other credits include a trilogy of 10" singles available through the LA- based Love Kit Records. Time off the road has given Mark the freedom to experiment with his own artistic endeavors which include painting, carpentry and of course, music. These solo projects reflect a pastiche of styles and a blend of musical genres that span different eras. Mark is working on solo projects under the name "Keyboard Money Mark."His first release,, Mark's Keyboard Repair (MO Wax/ffrr), was written performed, and produced by Mark in his home studio. The music is a crucial, trippy, progressive offshoot of scratchy soul and hip hop with a very laid back vibe.
Robert Montoya (improviser-percussionist-sound artist) is an Accretions recording artist, and has been active in the San Diego music scene since the early 1980's. He is a member of the organic-trance-groove improvisation ensemble, Wormhole Effect and a founding member of the Trummerflora Collective. Montoya has performed and/or recorded with George Lewis, Lê Quan Ninh, Mike Keneally, Marcos Fernandes, Marcelo Radulovich, Jason Robinson, Nathan Hubbard, Damon Holzborn, Ellen Weller, Scott Looney, Hans Fjellestad, among others. Montoya has performed in Japan, Hong Kong, Mexico, and throughout California.
Michael Podolak is a painter, computer artist, and electronic musician exploring techniques of convergence and data transformation. Writing custom software to generate initial compositions, he manipulates how visual information can decay when digitized. Reinterpreting these forms into paint, Podolak investigates how the repetition of the glitch directly references the formal vitality of Abstract Expressionism.
Ed Porter's work is concerned with ideas of place, landscape, and the natural environment. The map-like images he creates, although not maps of actual places, attempt to address the artificiality of the landscape that is constructed around us. He works to visualize terrain and explore value in the environment from the differing points of view of corporations, governments, and the general public. Porter hails from Hartford, CT, attended the School of the Museum of Fine Arts in Boston, and is pursuing his MFA degree at UCSD.
Gino Robair is based in the Bay Area and works with percussion, electronics, prepared piano, and Styrofoam. He has recorded with artists as diverse as Tom Waits, Lou Harrison, Anthony Braxton, Derek Bailey, Terry Riley, Otomo Yoshihide, and Peter Kowald. He is one of the "25 innovative percussionists" included in the book Percussion Profiles (SoundWorld, 2001). Robair is a founding member of the Splatter Trio and served as Music Director for the animated television series The Twisted Tales of Felix the Cat for CBS. He is the author of Making the Ultimate Demo (EMBooks, 2000) and is currently Senior Editor at Electronic Musician magazine. He also runs Rastascan Records, an indie label devoted to creative music.
Composing and performing since 1982, Romus' visions ofart take the darkness and a light of his own personaand translate it into sonic combinations. Through theuse of electronic & acoustic instrumentation, Romushas composed based on themes inspired by writers,painters, and other esoteric ideas. He performs musicto elicit ?feeling? based on images and perception as opposed tone. His music follows a gut level harshnessbuilding upon a sparse structure while utilizing freeimprov, noise, jazz, and everything in-between. Inshort, Romus takes a grunge attitude orbull-in-a-china-shop attitude be it delicate orexplosive also known as (B.I.A.C.S.).
Currently Romus runs his label Edgetone Records, theSIMM Music Series and the Luggage Store New MusicSeries in San Francisco. Some of his best work can beheard with his co-conspirator Ernesto Diaz-Infante inthe group, The Abstractions. Critics have foundsimilarities to his group with Zorn?s Naked City, MikePatton, Yoko Ono, to name a few.
Romus has performed and/or recorded with such artistsas Chico Freeman, John Tchicai, James Zitro, KashKillion, Jon Birdsong, Andrew Borger, ErnestoDiaz-Infante, Philip Everett, Lisle Ellis to name afew. He studied briefly with Stan Getz, and BruceForman in his early years.
The improvisational group soNu, based in Southern California, has been described by Anthony Braxton as producing "the music of the Third Millennium." The group synthesizes the wide range of musics and cultures that its various members have studied and/or absorbed: serialism, post-serialism, Mexican folkloric music, non-western classical musics, Norwegian folk song traditions, Native American musics, rock, electronica and hip hop. Sonu's members-Gustavo Aguilar (acoustic and electronic percussion), Phil Curtis (electronics), Nina Eidsheim (voice/electronics), and Alan Lechusza (woodwinds)-create a collective musical language informed by their individual sensibilities, with digital media providing new resources for the group to engage both past and future forms and textures.
Sonu has collaborated and performed with an impressive group of figures from the world of post-free improvisational music, including performer/composers Anthony Braxton, Anthony Davis, Lisle Ellis, Vinny Golia, Earl Howard, George Lewis, and Wadada Leo Smith.
soNu is committed to extending the music exemplified by these musicians and thinkers by critically reexamining and reconceptualizing improvisational forms and means, with an eye toward the socio-cultural context of contemporary communities.
Nina Sun Eidsheim explores the voice in conjunction with electronics as a creative musician both within and outside the parameters of classical Western music. She is committed to address social and political issues in conjunction with her explorations along the boundaries of current vocal techniques.
A native of Norway, Eidsheim draws upon a wide range of musical and geographical histories. Her most recent work includes Voiced, an interdisciplinary collaboration to be premiered at the music festival Colon Electronico in Bogota, Colombia in 2004. She is also coordinating Powering Up/Powering Down, a multi-media conference/festival taking place at University of California, San Diego in January 2004.
Gustavo Aguilar, percussionist, composer, and improviser, has been active in the creative music scene for almost a decade. His commitment to combining pre-composed (notated) and present-composed (improvised) musical elements has earned him the reputation as an "intuitive, methodical mystic." His music has been called "beautiful, introspective and passionate," "thought-provoking and thoroughly fresh."
A Brownsville, Texas native, Gustavo has appeared both as a solo performer and group collaborator in Australia, Austria, Croatia, Japan, Macedonia, Yugoslavia, and South Korea, as well as throughout the United States, performing improvisational compositions and works written exclusively for him. He has performed and/or recorded with such creative artists as John Bergamo, Roy Campbell, Nels Cline, Vinny Golia, Charlie Haden, Kang Tae Hwan, Park Jae Chun, Robert Reigle and Wadada Leo Smith.
Gustavo has been on faculty at Del Mar College/Texas A&M Corpus Christi, Korea National University of the Arts, and The University of Akron, and has given master classes at universities across the United States and abroad. He holds the position of Composer-in-Residence with GroundWorks DanceTheater of Cleveland, Ohio--a position he has held since 1997.
Phil Curtis is a composer and performer of jazz, classical, pop and uncatagorizable music, whose work has been featured in numerous venues for new and experimental music. Phil also works collaboratively, composing music for film, TV, theater, dance, and the web. Films that he has scored have been shown on PBS and featured in numerous film festivals, including the San Diego Film Festival, the Festival Internacional Del Nuevo Cine Latinamerica in Havana, Cuba, and as a part of the traveling exhibit "Muestra de Cine Colombiano AÒos 90s." Performances of his music have been given by Amsterdam's Nieuw Ensemble, the New Century Players, The New York New Music Ensemble, and he has performed his own music with improvisors Wadada Leo Smith and Vinny Golia. His music has been described as "...predictably acerbic" by the Los Angeles Times, and Alan Rich, writing for the LA Weekly, has observed that it has "genuine wit...not at all perfunctory."
Alan Lechusza, Performer/Composer has performed with James Newton, Kai Akagi, Charles Owens, Dr. Art Davis, Billy Higgins, George Lewis, Anthony Davis, Hamiet Bluiett, Bert Turetzky, Geo! rge Harper, Jack Reidling, Leo Potts, Vinny Golia, Sherman Ferguson, Michael Vlatkovich, Ed Harkins, William Roper, and Chris Garcia.
Alan has had compositions performed by Not Wet Paint, Arcanum, The C.S.U.L.B. Saxophone Ensemble, The U.C.I. Creative Music Ensemble, Arc Ensemble, The Pstiche Ensemble, The World Reform Orchestra to name only a few. The Aulos Saxophone Quartet recently premiered two new works by Alan at the 12th World Saxophone Congress inMontreal,Canada.His latest work for saxophone ensemble,"in the eyes of a child" was premiered at the North American Saxophone Alliance Conference inArizonaby Leo Potts.
Alan can be heard performing with the Vinny Golia Large Ensemble on their most recent recording "The Vinny Golia Large Ensemble live in Oakland 1999" (Nine Winds) as well as on his most recent recording with Burt Turetzky and Ed Harkins "Improvisations One" (Black Phone Records) and Quartetto Nuevo "El Musico" (Lira Productions Records).
Jon Calzo is an eclectic turntable/electronic music artist from San Diego. In recent years, he has performed concerts in Los Angeles and San Diego including the Museum of Contemporary Art Downtown. Calzo is also a member of an electronic music duo called TENSHUN who just released a new recording on their own label. For the past two years, Calzo has been blurring the lines of musical genres with his extensively wide range of influences, mixing his own music with hip-hop, funk, polish jazz and scratch-dub. A very brief list of his influences include David Tudor, John Cage, The Executioners and Qbert.
Titicacaman is the latest creation from Chilean-born audio/visual artist/performer Marcelo Radulovich. It is a multi-faceted project manifested through music, literature (see www.titicacaman.com for the story), video and graphics. The music, which has been described as "deviant South American folklorica" and "sheets of sound being fed through a shedder," is a stimulating cocktail of solid songwriting and intelligent lyrics. A refreshing sound which runs pop culture through a surrealist filter and extracts a creatively skewed product. Pop music for three ears.
Radulovich, the creative force behind "alternative" groups Playground Slap and Merry Go Down (Southern CA, 1983-1992), founding member of Trummerflora and the phonography list and website, has performed and/or collaborated with members of the Nortec Collective, Mike Keneally, George Lewis, japanese singer/songwriter Haco, Le Quan Ninh, The Assholes, Wormhole Effect, Ultra 7, This Way out, Jonathan Glasier, members of Trummerflora, and others.
Titicacaman's live presentation uses samples and sequences, voice and Airsynth, features new arrangements of older Radulovich material and new Titicacaman songs characterized by intriguing collections of sounds, experimental pop sensibility and Titicacaman's raw vocal deliveries. The performance is beat-driven and energetic, a bilingual extravaganza (several songs are in Spanish) fueled by dense layers of electronics and video from the vaults of Titicacaman Studios.
"Radulovich crosses the line to the positively mythopoeic.
Characteristically working with a mix of samples, loops, processed sounds
and field recordings....Radulovich has crash-landed a bizarre magic
unrealist exploration of the invented prophet Titicacaman: a myth so potent
that fragments have burst their bounds....
In a word, fascinating.
This is superb audio crunch work.....Recommended for those who enjoy deep,
dark, and in-your-face.
....Latin-tinged electronic grunge, if you will....it's HIGHLY RECOMMENDED!
Definitely not what you'll be expecting, with twists & turns even the most
jaded listener will find pleasantly surprising.
Quibble is Damon Holzborn, Nathan Hubbard and Marcelo Radulovich exploring electronic noisescapes. Using samplers, computers, acoustic sources and effects, each member finds unique sonic spaces to fill resulting in a diverse blend of textures, beats and programmatic material . Not afraid to fight over sonic territorry, Quibble creates an aggressive brand of electronic improvisation. Originally formed for collaboration with the innovative dance collective Lower Left, they now also present their work in purely musical contexts.
Holzborn has presented his work in the US, Mexico and Japan, performing as a solo artist and with several ensembles, including Donkey (a decade-long collaboration with musician/filmmaker Hans Fjellestad), Quibble, and Titicacaman (with Nathan Hubbard and Marcelo Radulovich). He has performed and/or recorded with Muhal Richard Abrams, George Lewis, Lê Quan Ninh, Eugene Chadbourne, Matt Ingalls, Andrea Polli, DJ Marcus B, Scott Looney, Jason Robinson, Anthony Burr, Marcos Fernandes, Marcelo Radulovich, Scott Walton, Mike Keneally, Ellen Weller, Kristy Cheadle, Alan Lechusza, Nathan Hubbard, Robert Montoya, Joscha Oetz, Mike Khoury, Blaise Siwula, Nortec Collective, Jonathan Glasier and The San Diego Art Ensemble. Holzborn also regularly creates music for dance, often collaborating with innovative dance collective Lower Left, producing both custom compositions and improvised performances.
Adriana holds a BA in communication from the Autonomous University of Baja California (UABC), where she teaches Television, Screenwriting and Production.
Between 1997 and 2001 she participated in the Cinema Workshop "Producciones Bola Ocho" at the School of Humanities, creating works of fiction, documentary, videoclip and experimental video. In 2001 she produced the documentary "Cine y Video Independiente en Tijuana", an in-depth look at the independent producers of video and their works in the border city of Tijuana.
Between 2000 and 2001 she was an assistant researcher in the Department of Cultural Research at the school Colegio de la Frontera Norte.
Between 2001 and 2003 she was in charge of coordination of the Television workshop at the School of Humanities at UABC, where she also created and coordinated the television program "Cultura a Cuadro" in co-production with the Tijuana Cultural Center.
In May 2002 she obtained the assistance of CONACULTA / INBA / CENART through the National Program of Artistic Education and in November of the same year she won first place in the second National Contest of Experimental Video with her piece "Asfalto".
In April 2003 she produces "Natura Sun Set", an experimental video about body, movement and the digital transformation of natural scenery.
In December 2003 she co-directed the "Borderland Film Festival" in Tijuana, which took place in San Diego, Los Angeles, San Francisco and Tijuana.
In January 2004 she directs the music video "Fighter Jets" for Red Racer, a rock band from Washington D.C.
She currently co-directs "Polen Project", a means to diffuse knowledge in the area of audiovisual mediums to adolescents of limited economic resources in the city of Tijuana. The project is sponsored by PACMYC throughout the current year and was selected by the Inter-American Development Bank as a proposal of Young Leaders in Latin America and the Caribbean.
She is also a co-director of yonkeART, a production house of border art. In 2004 she begins her participation mixing video live at multidisciplinary events as vj nebula. She collaborates with the production house Zu33, where she works as production assistant in the documental film "Moog".
Andrew West has spent over half his life attempting to push the boundaries of painting. He has hung paintings on trees, let them crawl around the floor, created site-specific works outside of the gallery, collaborated with other painters, and embarked on an infinite series of paintings. The work of the last three years has resulted in a gradual reemergence of narrative, though a strange and new one, which has developed through his increasingly improvisational approach. West's interests in science fiction, the communicative power of film, (art) history, and responsibility are combining in his work into a search for whatever it is history painting, in its transformational potential, might become in the twenty-first century.
West received his Master of Fine Arts at UCSD, and has also shown in Los Angeles, Chicago, northern Mexico, and Tokyo.
Flutist/Saxophonist/Pianist/Ethnomusicologist/ Improvisor-Composer Ellen Weller divides her musical performance activities between jazz, klezmer and improvisation. One of the original members of Maiden Voyage, an all-female big band out of Los Angeles, Weller has performed with Vanessa Tomlinson, George Lewis, Anthony Davis, Muhal Richard Abrams, Clocked Out Orchestra, Skeleton Key Orchestra, Michael Dessen, various members of the Trummerflora Collective, Second Avenue Klezmer Ensemble, the Binacional Mambo Orchestra and the Weller Family Jazz Quartet. Her compositions have been performed in New York, Detroit, San Diego and Los Angeles, and she composed and performed music for the acclaimed 1996 UCSD revival production of "Terminal" directed by Joseph Chaiken.
Ellen received the Ph.D. in music (Critical Studies and Experimental Practices) from UCSD in 2002. She has taught music at all levels, from kindergarten, junior and senior high, through community colleges, and she currently teaches World Music courses at California State University, Long Beach and the University of California, San Diego. Her research has focused on multicultural performance in San Diego, public arts funding and cultural tourism, with recent interest on a cross-cultural approach to the music of war.
Gerardo Yépiz has been active internationally since 1986. He is a self-taught artist and has cultivated a multidisciplinary style through working in silkscreening shops, computer labs and graphic design firms. He studied formally at the UIA in Tijuana from 1990-1991. Yépiz is a visual artist who has explored the informal possibilities of art and has merged his technical knowledge with the underground art scene. He began his work as a Mail Artist, and is currently engaged in controversial neo-graffiti projects. Yépiz lives and works in San Diego, California, keeping the urban vanguard alive on both sides of the border with his Acamonchi project. He has recently exhibited in México, the United States, Paris, Rotterdam and Japan, and also appeared in films such as Tijuana Remix (Germany, 2002), a film by Annika Seiffert and Frontier Life (USA, 2002) by Hans Fjellestad.