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SPRING REVERB 07
6th Annual Festival of Creative Music, Dance and Art
create + bloom + flourish
Borborygmus first rumbled onto the San Diego music scene at the dawn of the millenium as the performing unit of the newly formed Trummerflora collective. The ensemble's energetic live performances can be heard on "No Stars Please" (2001 Accretions). The Wire described it as "collective improvising: a pool of players immersed in the unfolding of a continuous present, egos submerged in the sound stream. The stream's currents tug towards free jazz, the extremities of rock, the 20th century chamber avant garde and electroacoustic strangeness." Though active only for about a year, the group's rumbling effects can be heard on many of Trummerflora's consewquent releases. After nearly five years, Borborygmus reared its multitudinous head once again at Spring Reverb '06 to cast forth the gurgles and growls from the belly of the musical underground.
Cosmologic traverses thebroad terrain of creativejazz and improvisedmusic, integrating high-energy playing, intenseintrospection, richgrooves, open textures,and collective alchemy.Praised by critics in TheWire, Cadence, Coda,Musicworks, and manyother publications, theSouthern California-based quartet hasreleased three acclaimedalbums of all originalmaterial. Their exciting performances weave together an unusuallywide range of methods and sounds, prompting Greg Burk (LA Weekly)to write that "Cosmologic embodies every value that hooked me onimprovised music."
Since its founding in 1999, the collectively-run ensemble has beenmeticulously building an extensive repertoire of original music.Central to the group's sound is their commitment to developingchallenging and original compositions. Exploratory improvisation isever-present, but takes place within complex pieces that are composedby an individual member and transformed through extensive groupwork. Brian Morton (The Wire) writes that Cosmologic's music is "theperfect antidote to all those piles of ill-thought out... psuedo-Improvdiscs that clog the mailbox. Cosmologic music is initiated by individualmembers and then doggedly worked and reworked until its internallogics are available for genuinely creative improvisation."
Hubbard, Robinson, Walton, and Dessen have performed and studiedwith numerous master composer-improvisers. Their combined creditsinclude performances or recordings with Wadada Leo Smith, YusefLateef, George Lewis, Vinny Golia, Anthony Davis, Peter Kowald,Bobby Bradford, Mark Dresser, Susie Ibarra, Nels Cline, Dana Reason,Eugene Chadbourne, Marty Ehrlich, John Carter, and many others. After seven years together, Cosmologic continues to search for newideas. They have toured in the Southwest and Northeast regions ofNorth America, including Canada and Mexico as well as US venues.Cosmologic is recently back from their first European tour, finishing up their fourth release and happy to perform at Spring Reverb.
Poet Kamau Daáood is the author of The Language of Saxophones: Selected Poems of Kamau Daáood (Citylights Publishers). He is a native of Los Angeles where he co-founded, with legendary drummer Billy Higgins, The World Stage Performance Gallery (a non- profit arts institution is Los Angeles). Kamau recorded the critically acclaimed album Leimert Park (M.A.M.A. Records), winner of the Josephine Miles Pen Oakland Award. He was awarded The Durfee Foundation Artist Fellowship, California Artist Fellowship, Cave Canem Retreat / Workshop Fellowship, to name a few of more than a dozen such honors. Kamau has performed his work at countless venues such as Dunya and North Sea Jazz Festival in Holland, Earshot Jazz and Bumbershoot Festivals in Seattle, the Steppenwolf Theater and Guild Complex in Chicago, Getty and MOCA Museum in Los Angeles, National Black Arts Festival in Atlanta and the Schomburg Center in Harlem. His early development began as a young member of the Watts Writers Workshop and the Pan African People's Arkestra, under the direction of pianist Horace Tapscott. Daáood performs at Spring Reverb 07 on April 20 at the Museum of Making Music.
Pianist, improvisor, and composer Anthony Davis eludes easy categorization. Active in a variety of media, including operatic, symphonic, choral, chamber, dance, theater, and improvised musics, Davis has focused upon the integration of improvised and notated expressive resources. His work embodies an intercultural approach, drawing not only upon traditional and current African-American sources, but upon the Javanese gamelan, American Minimalism, and the European and Euro-American avant-garde. Davis has performed with a number of improvisors associated with the Association for the Advancement of Creative Musicians, including Wadada Leo Smith's ensemble, New Dalta Ahkri, as well as with the ensembles of Anthony Braxton, Leroy Jenkins, and Roscoe Mitchell. He has also performed and recorded with such improvisors as David Murray, Abdul Wadud, James Newton, Ray Anderson, Barry Altschul, and Marion Brown, among many others. Davis' award-winning compositional oeuvre includes several operas (X: the Life and Times of Malcolm X, Amistad, Tania, and, most recently, Wakonda's Dream, premiering soon at Opera Omaha, and others); several orchestral works (Notes from the Underground, Esu Variations, Jacob's Ladder, Hemispheres, and others); music for theatre (including incidental music for the Broadway production of Tony Kushner's Angels in America); as well as compositions for his performance group Episteme and numerous mixed media and experimental contexts. Davis has received commissions from the American Music Theater Festival, the Opera Theatre of St. Louis, the Lyric Opera of Chicago, the symphony orchestras of San Francisco, Kansas City, Houston, Atlanta and Pittsburgh, and the American Composers' Orchestra. His compositions and improvisations have been recorded on Koch International, Gramavision, Music and Arts, India Navigation, Soul Note and Black Saint. The recording of his opera X: the Life and Times of Malcolm X, released in 1992 on Gramavision, earned a Grammy nomination for Best Contemporary Classical Composition. Davis has received awards from the American Academy of Arts and Letters, the National Endowment for the Arts, the New York Foundation of the Arts, the Massachusetts Arts Council, Chamber Music America, Lila Wallace Fund/Meet The Composer Fund for Jazz and Opera America, and has won the Down Beat Critics Poll in both pianist and composer categories. A graduate of Yale, Davis has taught in Music and Afro-American Studies at Yale, in Afro-American Studies at Harvard, was a senior fellow at Cornell University's Society for the Humanities, was a visiting composer at Yale, and has been composer-in-residence for the Detroit Symphony Orchestra and the Mississippi Symphony Orchestra. He is currently a Professor of Music at the University of California, San Diego. Davis performs at Spring Reverb 07 on Friday April 20 at the Museum of Making Music as a duo with saxophonist Jason Robinson.
Diastereo (Darryl Rideout) is a generative music composer using mainly the Koan Pro generative music software from SSEYO. The generative music originates from random numbers (rather than DNA sequences or the like), so that each "instigation" (performance) of a particular Koan Pro piece sounds different from the last. Brian Eno was an early booster of Koan software, and has used it on some of his albums. Since 1998, Diastereo has been making music by recording Koan Pro instigations, often mixing with samples and producing with Cool Edit Pro. After making three mp3.com CDs, Diastereo teamed up with Lew Hill (Reason programming, percussion) and Leenya Rideout (vocals) to form Unidentified Wailing Mammals, which released the CD "Topology of Love" in 2005. Diastereo desribes his music as "Ill impressionism", a cinematic blend of trip-hop, illbient, impressionistic music: soundtracks for restless dreams. Diastereo makes his living as a chemist.
Born and raised in Los Angeles, but a resident of San Diego for the past 9 years, Braden Diotte's unique approach to electronic music utilizes computer software to sample and manipulate the sonic environment that exists around us. His electronic compositions, while structured at the core, are ultimately an experiment in improvised electronic music. Extracting environmental textures from radio broadcasts, open microphones, feedback, etc., the compositions strive to create music through pattern, regardless of source.
Braden Diotte studies Electronic Music and Cognitive Science at the University of California, San Diego, and is a member of the rock band Tarantula Hawk.
Dornob is a cross-generational Persian dastgah band based in San Diego. They play Persian classical, folk, and original music in untraditional ways, using jazz group concepts. Dornob's goal, in addition to friendship, crossing cultural bridges, learning the music, and having fun playing music, is to make Persian music accessible to young and non-Persian audiences. In addition to Persian instruments -tar, tombak, ney, daf, santur, and qanun - they also use fretless bass guitar, Persian-tuned keyboards, and other instruments to enhance their sound.
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, Canada and the US as a solo improviser, phonographer and as percussionist/sound artist with various ensembles. Fernandes runs the artist-based independent label Accretions,home to some of today's more innovative experimentalists. He is a founding member of the Trummerflora collective, dedicated to creative music in Southern California. Fernandes' recordings have appeared on Accretions, Bake/Staalplaat, Circumvention, Pan Handler, Pax, Pfmentum, Phonography.org, Public Eyesore, Ribosome and Solitary B.
Los Angeles musician/filmmaker Hans Fjellestad tours and records extensively as a solo artist and in collaboration with numerous players on the experimental music scene in well over a dozen countries. An "innovative musician" (All About Jazz) and "mad scientist improviser" (IDJ), his music has been described as "unbridled sonic freedom... raw, almost shamanic energy that embodies the true essence of unrestricted music" (XLR8R) and a "spicy concoction... refusing to behave itself, it screams, throws things and makes a mess" (The Wire). A classically trained pianist, these days Hans concocts most of his unbridled sound messes with analog synths and vacuum tubes.
Gunther's Grass began in 2005 as a collaboration between Marcelo Radulovich and Christopher Adler, to bring together two ancient drone-based instruments from across the world, the medieval European hurdy-gurdy and the Lao/Northeast Thai mouth organ khaen.
Chilean-born Marcelo Radulovich is an audio/visual artist residing in the U.S.
Acknowledged internationally as a performer of new and experimental music, cellist Charles Curtis has been closely associated for over fifteen years with the legendary avant-garde composer La Monte Young. As director of Young's Theatre of Eternal Music String Ensemble, Curtis has participated in more performances and premieres of Young's works than any other interpreter. For a number of years Curtis has maintained an interest and a presence in the downtown New York free music scene, performing in clubs like Tonic, the Knitting Factory, the Cooler, ABC No Rio, CBGB and Acme Underground. He collaborated over a period of years with poetry-rock pioneers King Missile, John S. Hall, Dogbowl and Kramer, and has been a guest of artists and groups such as Alan Licht, Michael J. Schumacher Donald Miller, Dean Roberts, Elliott Sharp, David First, Ben Neill Bongwater, Borbetomagus, Circle X, and with individual members of the bands Television, Pere Ubu and Public Image Limited. As an outgrowth of his intensive work with La Monte Young and his presence in the New York avant-garde rock scene, Curtis has evolved into a creative artist straddling the boundaries between art rock, sound art and minimalist composition. Since 2000 Curtis has been Professor of Contemporary Music Performance at the University of California, San Diego, where he had previously been guest lecturer and performer.
Scott Walton (bassist & pianist) is a member of the Trummerflora Collective. His most recent CD release is Venice Suite with Gilbert Isbin and Jeff Gauthier. Current recording projects include Cosmologic's fourth CD, Harris Eisenstadt's All Seeing Eye tribute, the Tracy McMullen Quartet, and a "prepared" trio with Nathan Hubbard and Erik Griswold.
San Diego native Louis Haiman has been composing experimental electronic music for twenty years. Strongly influenced by early Chicago House and Detroit Techno, Louis Haiman's music is known for it's elegant simplicity, syncopated rhythms and textures. His initial works were released on Derrick may's Transmat Records in Detroit, MI.
In 2004, Louis formed his own independent imprint, fwdthought, as a home for his own archive of music and for other like minded artists.
Since 2005, as a core member of the experimental electronic media collectiveSHARE, he has continued to grow as an artist while exploring emerging a-temporal and a-tonal music styles and software music performance platforms.
Percussionist/Composer/Instrument Builder Nathan Hubbard works in many different fields, but in general his work shows a decided interest in exploring the possibilities of sound and embracing the passing of time. This interest in sound can be seen in everything from his extended sound language as an improvisor to his homemade and found instruments. The different rates of passing time become relevant as both a rhythmic impetus and defining element in his compositions and their changing definitions of form, shape and outcome. Musically his explorations range from solo improvisations through small group collaborations to large scale compositions for his twenty-six member large ensemble, Skeleton Key Orchestra. As a composer his works range from solo pieces to medium scale works for a variety of ensembles, works for tape, electronics and acoustics instruments, large works for orchestras, creative orchestras and traditional big bands as well as pieces involving text, voice and other mediums. In the last several years Hubbard has been more involved with musical situations incorporating acoustics, enviroments and field recordings. His work as an artist can be seen on several of his CD covers and his work as an engineer and producer can be heard on almost all of his recordings. His current projects include solo performances, duo collaborations with Curtis Glatter (the Glatter/Hubbard Duo), Justin Grinnell (Wooden People) and Michael Dessen, the trios ARC Trio (with Rick Helzer and Justin Grinnell) and The Unmentionables (Kris Tiner/Noah Phillips/Nathan Hubbard), the quartet Cosmologic, as well as "splinter groups" based around the large ensemble Nathan Hubbard Skeleton Key Orchestra. His most recent releases include the double disc (compositions 1998-2005) on Circumvention Music and the solo percussion and electronics recording Blind Orchid on Accretions Records. In addition to all this work, Hubbard has performed and/or recorded with artists such as Martin Blume, David Borgo, Vinny Golia, Phillip Greenlief, Rick Helzer, Mike Keneally, Steuart Liebig, George Lewis, Garth Powell, Jim Ryan, Moe! Staiano, GE Stinson, Bertram Turetzky, Phillip Wachsmann and Clay Walker. Hubbard is a member of the Trummerflora Collective.
Originally from Detroit, his versatility comes from his early exposure to a vast array of musical styles. Kamau has worked with jazz greats such as Hubert Laws, Earl Klugh, and Donald Byrd. World tours have taken him to over 20 countries and include stints with Donald Byrd, Carl Anderson and The Supremes,.
Kamau has also collaborated with Hubert Laws in writing the score for "Small Steps, Big Strides" a Fox network documentary concerning the history of African-American film. He has also written and supervised music for "The Dawn At My Back," a Sundance Film Festival award-winning interactive DVD-ROM memoir.
His project "Celebrating Neruda," intertwines dance, Latin American music, and the poetry of the Chilean genius, Pablo Neruda.
"Destiny," his most recent recording as a leader, will be released in the spring of 2007.
George Lewis, improvisor-trombonist, composer and computer/installation artist, is the Edwin H. Case Professor of Music at Columbia University. The recipient of a MacArthur "genius" Fellowship in 2002, a Cal Arts/Alpert Award in the Arts in 1999, and fellowships from the National Endowment for the Arts, Lewis studied composition with Muhal Richard Abrams at the AACM School of Music, and trombone with Dean Hey. He has explored electronic and computer music, computer-based multimedia installations, text-sound works, and notated forms. A member of the Association for the Advancement of Creative Musicians (AACM) since 1971, Lewis's work as composer, improvisor, performer and interpreter is documented on more than 120 recordings, and his published articles on music, experimental video, visual art, and cultural studies have appeared in numerous scholarly journals and edited volumes.
Lower Left is a performance collective committed to artistic innovation, with an emphasis in dance. Since 1994, Lower Left has produced critically-acclaimed work created collaboratively as well as individually. Performance works range from purely technical, highly physical dances to complex theatrical multimedia dance plays that deal with personal, social and political issues.
robert m has been active in the San Diego music scene for the past two decades as a percussionist, improviser and sound artist. In recent years, his work has focused on sample-based electronic music, creating complex, subtly-evolving soundscapes which can be heard on his eponymous solo release on the Accretions label and in his ensemble projects: Wormhole with long-time collaborator Marcos Fernandes and mrlectronic with Lisle Ellis and Fernandes. He is a founding member of Trummerflora, a musician's collective dedicated to creative music. A Tijuana native, he has performed in Japan, Hong Kong, Mexico and the U.S. He has performed and/or recorded with members of Trummerflora, the Nortec Collective, George Lewis, Le Quan Ninh, Mike Keneally, Ernesto Diaz-Infante, Rent Romus, Eric Glick Rieman, Michael Dessen, David Gould, Scott R. Looney and Ultra 7. http://www.myspace.com/robertm2006
Alicia Marván (Mexico/New York) is a visual and performance artist dedicated to innovative and socially-engaging practices. Her work focuses on creating heightened visual and kinetic experiences which often incorporate dance, experimental music, unique sets/costumes and unconventional performance sites.
Miya Masaoka, musician, composer, performance artist, has created works for koto, laser interfaces, laptop and video and written scores for ensembles, chamber orchestras and mixed choirs. In her performance pieces she has investigated the sound and movement of insects, as well as the physiological responses of plants, the human brain, and her own body. Within these varied contexts of sound, music and nature, her performance work emphasizes the interactive, live nature of improvisation, and reflects an individual, contemporary expression of Japanese gagaku aural gesturalism.
Masaoka's work has been presented in Japan, Canada, Europe, Eastern Europe and she has toured to India six times. Venues include V2 in Rotterdam, Cybertheater in Brussels, Elektronisch Festival in Groningen, the Cleveland Performance Art Festival, The Electronik Body Festival in Bratislava, Slovakia, Radio Bremen, Germany, Festival of Lights, Hyberadad, India, and the London Musicians Collective. Since forming and directing the San Francisco Gagaku Society, Masaoka has been creating new ways of thinking about and performing on the Japanese koto. She has developed a virtuosic and innovative approach, including improvisation and expanding the instrument into a virtual space using computer, lasers, live sampling, and real time processing.
Masaoka has been developing koto interfaces with midi controllers since the 1980's originally with Tom Zimmerman, co-inventor of the Body Glove. Since then, she has she has worked at STEIM, Amsterdam, CNMAT, and with Donald Swearingen to build interfaces with the computer and koto, at times using pedals, light sensors, motion sensors and ultrasound. With the koto connected directly to her laptop, she records her playing live, and processes the samples in real time. This new koto is able to respond dynamically and interactively in a variety of musical environments, and improvise with the processed sounds.
Ogd_S(11) Translation Has Failed
Ogd_S(11) translation has failed - my eyes see combinations, things not obvious to the naked ear. circuits meet, interact. electricity as a constant pulse, shifting in relationship to surroundings. moments of utter bliss wrapped up in the filth of every day.
BOSTICH (Ramón Amezcua) uses POINT LOMA as an excuse for experiments with his collection of obscure analog synthesizers, began his career in electronic music in 1988 with the release of two ambient electronic albums. He worked with PANOPTICA and FUSSIBLE to establish the NORTEC sound, an original musical style blending the sounds of traditional instruments of Tijuana with electronic beats. The result of this collaboration was the danceable 'POLARIS', an aggressively danceable track that fully represented the then newly created Nortec sound, which gained BOSTICH the title The Godfather of Nortec. Besides touring the world and providing quality dentistry, Ramon continues working on his first all Nortec-style Bostich album, as well as doing an alternate project called POINT LOMA. "Amongst the most promising of the new wave of Latin producers is POINT LOMA, a master analog beat-smith whose 'FORANEO' shudders, trips, and drips motor oil on the nice rugs of his indie-tronic bedroom contemporaries".
Point of Contact
Point of Contact is a new trio project featuring Ellen Weller, Bob Weller and Mark Dresser. This group of improvisation veterans offers up spontaneous, energetic interactivity and exploration of fresh sonic spaces through use of extended techniques and other-worldly harmonies. The group recently recorded their first eponymous CD, which will soon be released on the Circumvention label.
Ellen Weller - flute, recorder, ocarina, fife, soprano sax, clarinet: Pianist, Ethnomusicologist, Improvisor, Composer Ellen Weller divides her musical performance activities between improvisation, jazz, klezmer and classical music. She received her Masters in Music Composition from Queens College in New York and the Ph.D. (Critical Studies and Experimental Practices) from the University of California San Diego. Weller has taught music at all levels, from kindergarten through college, and is currently Assistant Professor of World Music at Palomar College in San Marcos, CA, where she teaches Music Theory and Ear Training, Music Appreciation and World Music.
An active member of the Trummerflora Collective (www.trummerflora.com ), Weller has performed with George Lewis, Vinny Golia, Lisle Ellis, Anthony Davis, Muhal Richard Abrams, Lesli Dalaba, Carla Kihlstadt, Bertram Turetzky, Holly Hoffman, Mike Wofford, Ernesto Diaz-Infante, Vanessa Tomlinson, Michael Dessen, and the Second Avenue Klezmer Ensemble. She has appeared at several festivals, including the SF Alt Festival, the Big Sur Sound Shift, and Spring Reverb. Her compositions have been performed in New York, Detroit, San Diego and Los Angeles. Weller's recording credits include Nathan Hubbard's Skeleton Key Orchestra, various jazz recordings, Trummerflora projects as well as her own critically acclaimed 2004 Circumvention release, "Spirits, Little Dreams and Improvisations." She is currently completing a new CD with pianist husband Bob Weller and internationally recognized contrabassist Mark Dresser.
Mark Dresser studied with Bertram Turetzky at the University of California San Diego (B.A. and M.A. degrees), Dresser took part in the Los Angeles avant-garde jazz scene of the early 70's's forming around figures like Stanley Crouch, Bobby Bradford, Arthur Blythe, David Murray, and James Newton while concurrently performing with the San Diego Symphony. After a 1983 Fulbright to Italy to study with Franco Petracchi he joined Anthony Braxton's quartet with whom he performed and recorded for nearly a decade. This group was documented in Graham Locke's Forces in Motion and numerous recordings. Living in NY from 1986 to 2004, Dresser recorded over one hundred CDs including those with Ray Anderson, Jane Ira Bloom, Tim Berne, Anthony Davis, Dave Douglas, Osvaldo Golijov, Gerry Hemingway, Bob Ostertag, Joe Lovano, Roswell Rudd, Dawn Upshaw, and John Zorn. Under his own name he has a recorded twenty projects including, solo, duo, trio, and chamber music. He pushes the sonic limits of the instrument; aided by custom-made electronics. A chapter on his extended techniques for contrabass, "A Personal Pedagogy," appears in the book, ARCANA. He received a 2003 Grammy nomination, two NYFA grants, Meet the Composer commissions, a McKim Fund commission at the Library of Congress, and commissions from sculptor Robert Taplin and flutist, Matthias Ziegler. He is Professor of Music at University of California, San Diego. He has also been a lecturer at Princeton University, faculty at the New School University, and Hampshire College. He is on the board of directors of the International Society of
Pianist/percussionist/composer Bob Weller has enjoyed a significant career as a jazz drummer, working with jazz greats Joe Pass, Mose Allison, Toshiko Akiyoshi, Benny Golson, Kenny Baron, Herb Ellis, Dave Carpenter, Walt Weiskopf, Larry Koonse, Hollis Gentry III, Jeff Beal, Steve Tavaglione, Anthony Davis and Mike Garson. He has also recorded and performed with experimental/free jazz/avante garde artists including George Lewis, Bertram Turetzky, Nathan Hubbard, Lisle Ellis, Vinny Golia, Jason Robinson, David Borgo and wife Ellen Weller.Bob's compositions early on crossed the boundary between jazz and classical chamber music, such as his jazz/chamber ensemble suite based upon J.R.R. Tolkien's Lord of the Rings [1979 - well before the movie!]. Excerpts from "On the Road" features bassist/narrator Bertram Turetzky. Bob's bass concerto Homage to Jackson Pollock was selected to be performed by the Charleston Symphony Orchestra, conducted by Donald Portnoy at the 2002 Piccolo Spoleto Festival, and was performed with a slide show in 2001 by the University of California San Diego Wind Ensemble, conducted by Robert Zelickman. Other compositions include a trumpet concerto, a piece for flute and guitar, and any jazz tunes. In addition to progressive jazz recordings with his brother, LA drummer Dick Weller, he has recorded with the radical klezmer group Rabbinical School Dropouts on John Zorn's Tzadik label. Bob has a Bachelor of Music degree in Percussion Performance from California State University, Northridge. He has studied piano with Phil Markowitz, Dan Hearle, and Mark Copeland; drums with Louis Bellson and Peter Erskine, and composition with Frank Campo, Aurelio De La Vega and Ladd McIntosh. Bob has played percussion with the Phoenix Symphony and the Los Angeles Philharmonic. He has performed percussion/drums and keyboards in numerous musicals, including the West Coast pre-Broadway revival of A Funny Thing Happened on the Way to the Forum directed by Des McAnuff, starring Nathan Lane and which went on to win the 1996 Tony Award for best musical revival. Other productions include The Music Man, Mame, Annie Get Your Gun, Man of La Mancha at the Lawrence Welk Dinner Theater. Bob performs on April 20 with Point of Contact at the Museum of Making Music.
Vocal toning allows an individual to creatively experience and express the influence of sound vibrations in the body and the atmosphere; as a result alter, shift, or change life circumstances and patterns to create balance.
Similar to words or lyrics toning can create forms and imagery in another's mind to relay information. However through the vibration of sound, toning can convey information upon the metaphysical. Hence moving beyond word and lyrical usages, transmitting beyond the mind so that the inherent message of the soul in accordance to Divine Spirit/Will may be attained.
A true and strong believer in peace and freethinking, Toni Pope offers her vocal expression as a sound journey for healing and upliftment. The purity in this energy work is rare. Through vocalized toning she holds the space open for listeners to process, meditate, and/or simply enjoy!
Born a native Southern Californian, Pope comes from a lineage of natural singers. Her musical influences include the harmonic and throatinging voices of Tibet, Mongolia, Tuva, and the women of the Xhosa tribe in South Africa who have been known to sing in a "high whistling sound." Further influences include prayer music of North Africa, India, the Middle East, and the Jazz R&B/Soul singers of America!
Skeleton Key Percussion Ensemble
Skeleton Key Percussion Ensemble brings together San Diegos finest improvising percussionists into a working group situation. In keeping with the splinter group concept, the SKPE works to bring each members "language" to the group, and interaction of each members interests, background and instruments serves as the basis for the music performed.
The collective trio Traveling Light is made up of Kris Tiner, trumpet and flugelhorn, Isaac Schankler, accordion, and James Ilgenfritz, contrabass. The group blends a variety of improvisational traditions with notated music from unlikely sources. They are equally apt to interpret the music of Brian Wilson, Anthony Braxton, or Oliver Messiaen, always within the context of the unique improvisational vocabulary the performers share.
Postures for Realignment
Postures for Realignment (PFR) is an electro-acoustic ensemble exploring the possibilities of electronics, acoustic instruments and live processing within a free improvisation context. PFR features William Brent and Jason Ponce (computer synthesis and processing), Joe Bigham (electric guitar), Fabio Oliviera (percussion), and Jonathan Piper (tuba). PFR's improvisations confuse the identity of instrumentation, vacillate from the delicate to the explosive, and merge the genuine with the absurd. They perform on April 21 at Cal State San Marcos.
Percussionist/vocalist Mike Pride (b. 1979) grew up in Southern Maine, performing with third-stream jazz composer & educator David Baker, and the experimental noise, shock-rockers Ned Muffleburger Band.. Moving to New York City in 2000, Mike began studying with percussionist, Milford Graves. Since then Mike has performed and recorded throughout North America, Europe, Asia, & Australia with such varied musicians as:Aarktica, Tyondai Braxton, Anthony Braxton, Califone, Eugene Chadbourne, Nels Cline, Andrew d'Angelo, Trevor Dunn, Brandon Evans, Milford Graves, Mark Helias, Vijay Iyer, Haino Keiji's FUSHITSUSHA, Frank Lowe, Mat Maneri, punk-rock legends MDC (Millions Of Dead Cops), Tony Malaby, Butch Morris, Pale Horse & Rider, William Parker, Perry Robinson, Sonny Simmons, Chris Speed, Steve Swell, Cuong Vu, Nate Wooley, Jack Wright & Otomo Yoshihide. Since his move in 2000, Mike Pride has been featured on over 50 recordings.Mike has composed many chamber works and leads many bands including: Dynamite Club, Big Fucking Sellout (Big Band), the MPTHREE, From Bacteria To Boys, Period & Scrambler.
Reedist, composer and scholar Jason Robinson divides his time between performing, research and teaching. He has performed/recorded with Peter Kowald, Mark Dresser, George Lewis, Anthony Davis, Muhal Richard Abrams, 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 is a published author and teaches regularly at the University of California, Irvine, the University of California, San Diego, Southwestern College, and elsewhere. He holds a Ph.D. in Music. Robinson's 2002 release Tandem (Accretions Records) was a 2002 "critic's pick" in JazzTimes Magazine. Robinson is the founder and artistic director of Circumvention Music and a founding member the Trummerflora Collective. He performs with several groups at this year's Spring Reverb, including his duo with Anthony Davis (April 20 at the Museum of Making Music), Cosmologic (April 21 at Cal State San Marcos), and he moderates a panel discussion titled "Creative Music In and Beyond the Academy: Community Engagement and Experimental Music" (April 22 at CRCA).
Sara Schoenbeck, bassoon, and Harris Eisenstadt, drums, formed in 2001 when they were invited to play at the Earjam Festival in Los Angeles. Since then, they've played concerts in the US and Europe. Saris plays compositions by both members and by some of their favorite composers.
David Scott Stone
David Scott Stone (sometimes referred to as Sir DSS) is a musician who recorded and toured with artists like The Melvins, Unwound, FantômasMelvins Big Band, The Locust, Jello Biafra, Keiji Haino, Mike Patton, Adam Jones (Tool), Merzbow, Masonna, Big Business and others.
He has also been a member of Slug (1993-1996) and a founding member of Get Hustle (1996-2000).
With The Melvins he has recorded on the records Stag, Honky, Hostile Ambient Takeover, and Pigs of the Roman Empire using guitars, bowed cymbals, oscillators, analog synths, and instruments that he has built such as the Electric Thundersheet, and the Electric long thin Wire that "... use piezo elements in a regeneration circuit". He adds texture and noise to their already powerful sound. He is also on Millennium Monsterwork 2000 with Fantômas.
Live with the Melvins he has toured as second guitarist/noise maker from 2000-2001 (2x4 tours) and played bass guitar with them again from 2004-2006 doing shows with Jello Biafra, FantômasMelvins Big Band. He also played live scores to the films of Cameron Jamie playing France's Centre Pompidou, UCLA's Royce Hall as well as the 2006 Whitney Biennial.
Melvins drummer Dale Crover has gone on to say about Stone "...he's the Eno of our band".
Morgan Sully is an electro-acoustic composer, performer and dj. After studying electronic music history at the University of California Santa Cruz, Morgan moved to San Diego where he co-founded the local node of Share, a global network of sound/video artists dedicated to the free and open exchange of ideas around new media and it's performance. Share nurtures these exchanges through participant centered 'open jams', which are a combination workshop, performance, and skillshare.
When not coordinating and directing the San Diego node of Share, Morgan can be found culture jamming with at-risk youth in the juvenile court system.
Morgan currently holds a self-designed B.A. in Critical Inquiries in New Media Technology and considers the mixer his first real instrument.