A-F / G-L / M-S
Chicago-raised drummer Chad Taylor grew up in Atrium Village near
Wells and Division, and briefly studied classical guitar (which he'd
briefly begun studying at the age of 8) at Millikan University in
Decatur, fleeing to the NYC's New School to study jazz drumming. After
a stint in the big apple, (where he played with the Life Ensemble,
Junior Mance, Lou Donaldson and Mark Turner, among others), he returned
in the summer of '97 for good. He is Rob Mazurek's partner in the
Chicago Underground Duo, Chicago Underground Trio, and Chicago Underground
Orchestra. Taylor also plays regularly with some of the city's free-jazz
giants, Ernest Dawkins and Fred Anderson, and earlier played for awhile
with saxophonist Lin Halliday.
A native of Chicago, Carl Testa has been playing music since 1997.
Primarily a bassist, he has begun to take up other instruments such as
bamboo flutes, piano and most recently bass clarinet. He has studied
bass with Donn De Santo in Chicago since 1998. He has also studied
at the AACM School of Music with Steve Berry, Ann Ward and Avreeyal Ra.
Currently he is at Wesleyan University in Connecticut, where he performs
in a wide variety of jazz, classical, free and non-western ensembles.
In the CORE trio, along with Aaron Getsug and Stephen Ptacek he contributes
compositions to the group1s repertoire.
Multi-reedist Richard Theodore's first musical
experiences with improvising and arranging began with
the dance bands he played in in his youth. Another
Chicago native, he was a member of several progressive
groups in the 60's and 70's, including Research
Defense Squad, Burden of Friendship, Methong, and
Maluco Samba. For 1,2,3,4 he employs a different
saxophone and/or reed instrument each time. Recently,
Richard can be heard on poet Joe Roarty's spoken-word
album "Cracktopia". Richard provides brilliant moments
in "Total Improv!" with his bass clarinet and C-melody
saxophone, and in live settings he is the barometer
for the performance's direction.
Blair Thomas is a puppeteer. For nine years he was co-artistic director
of the Redmoon Theater, a puppet and spectacle company he founded
in 1989. There he made all sorts of puppet shows, parades, pageants
and awardwinning productions most notably : Moby-Dick, Frankenstein,
The Evil Flower, Red Devil Green Devil, You Hold My Heart Between
Your Teeth, The Winter Pageant and the Halloween Lantern Parade and
Spectacle. Since leaving Redmoon he has created a one-man version
of Lorca's The Puppet Show of Don Cristobal and recently directed
and designed Manuel deFalla's chamber puppet opera Master Pedro's
Puppet Show for Chicago Opera Theater and the City's Storefront Theater.
Currently he is the coordinator for the Puppetry Institute, a summer
training and research program at the School of the Art Institute and
co-curated the Chicago International Festival of Puppet Theater with
Susan Lipman and Performing Arts Chicago this last June. He is a second
year Dharma Student studying at Maitreya Buddhist Seminary at the
Zen Buddhist Temple.
Born in Istanbul, now living in Zurich, Saadet Trköz performs
Kazakh and Turkish songs and contemporary improvisations. Looking
to transform memory, she seeks to evoke pictures and atmosphere by
means of voice and music that transcends boundaries: cultural, traditional
and new music. She has performed with Elliott Sharp, Burhan Ocal,
Joelle Leandre Martin Schutz and Fredy Studer.She has performed all
over Europe, Brazil, and America giving concerts: solo, duo, and concerts
with larger formations. She performs with both improvising musicians
and new music composers. She is something special to hearÑand
something that we have not heard before.Saadet Trköz merges
experimental vocalizing with the traditional songs of her native Kazakhstan.
ROGER TURNER was exposed to a broad cross-section of jazz as well
as blues and pop. After moving to London in 1968, he worked extensively
with the Ghanian drum ensemble, Mask, and toured with Ritual Theater,
an innovative experimental band at the time. Since 1974, he has primarily
focused on developing a personal style of percussion. His performances
show new possibilities for subtle and specific expression through
the drum. His extensive research in to the language of drumming has
lead to work with Annette Peacock, Phil Minton, Alan Silva, Derek
Bailey, Evan Parker, Cecil Taylor, Toshinori Kondo, Lol Coxhill, Elton
Dean, Otomo Yoshide, John Russell, and many others.
Roger Turner grew up amongst the Canterbury musical life of the 1960s
with a strong broad jazz root. His first formal performance in improvisation
was in duo with Chris Biscoe for the British Council, Brighton in
1966. He moved to London in 1968 and worked with the Ghanian drum
ensemble Mask and toured with the experimental and innovative Ritual
Since 1974, he has primarily concentrated on opening the way to a
more personal percussion language. Extensive solo work followed (including
concerts at the Bracknell Jazz Festival and the Bruxelles Festival
of Percussion) and he was also granted two Arts Council bursaries
(1980 and 1983) for investigation into percussion and electronics.
It was during this period that he recorded his solo LP The blur between,
though it focusses on very specific aspects of percussion and certainly
does not represent his wide current interests.
In 1984 and 1985, he undertook workshop residences at Alan Silva's
Institut Art Cultur Perception in Paris. In the same period, collaborations
with experimental rock musics and open song form included extensive
duo work with Annette Peacock (1983-1985) and recordings with post-wave
band The Nose Flutes (1986-1987).
Roger Turner has worked with numerous jazz-based ensembles including
those of Elton Dean, Alan Silva and Lol Coxhill. Music making with
European and international improvisors in ad hoc and group collaborations
has over the years included Toshinori Kondo, Derek Bailey, Trio'z
with Carlos Zingaro and Tom Cora, Evan Parker, Cecil Taylor, Otomo
Yoshihide, Shelley Hirsch, JoŒlle Léandre; Keith Rowe; Wolfgang
Fuchs and many others.
Collaborations with film-makers and image projection include work
with Martin Klapper & Chikako Oyama and music for dance includes
work with Alexander Frangenheim's concepts of doing (Stuttgart); Matthew
Hawkins Company (London); Carlos Zingaro's Encontros projects (Lisbon
& Macau, China).
Roger Turner's current main collaborations are The tradition trio
with Alan Silva and Johannes Bauer; The Recedents with Lol Coxhill
and Mike Cooper; Konk Pack with Tim Hodgkinson and Thomas Lehn; The
Phil Minton Quartet with Veryan Weston and John Butcher; duos with
John Russell and Phil Minton.
Performances in major festivals have included: Edinburgh; Actual,
London; Setubal and Avante, Portugal; CRIM, Pisa; Bracknell, England;
Ulrichsberg and Nickelsdorf Austria; Kongsberg, Norway; Philadelphia
Free Music; Taklos, Switzerland; Chantenay, France; Budapest; Berlin
Jazzfest; Camden Jazz Festival, London; Vancouver; Victoriaville;
Sound Symposium, Newfoundland; Banlieu Bleu, Paris; Vandoeuvre; Copenhagen
Voice Festival; Macau; etc.
If you're from Chicago you've undoubtedly heard of Ken Vandermark.Since
his arrival in the Windy City in 1989, Ken has played tenor saxophone/clarinet
in some of the most influential music groups of the decade including
the NRG Ensemble (Delmark 485), DKV Trio, The Vandermark 5, and the
Peter Brotzmann Chicago Tenet, just to name a few. Since that time
Ken has released numerous records and is currently celebrating his
second release on theDelmark label with his innovative group the Sound
In Action Trio, entitled Design In Time(Delmark516). The group features
Tim Mulvenna on percussion and the legendary percussionist Robert
Barry, best known for his work with Sun Ra's Arkestra not to mention
Sonny Stitt, Von Freeman, Lin Halliday and Johnny Griffin.The Sound
In Action Trio, provides a vehicle for expression unlike any other
group that Ken has led. While the instrumentation gives him the harmonic
freedom to stretch musically, the presence of Robert Barry adds an
historical foundation to the music that can only be accomplished with
a player of Barry's stature.Design In Time will undoubtedly become
known as one of Ken Vandermark's greatest accomplishments to date.
Born on September 22, 1964 in Rhode Island, Ken Vandermark was exposed
to Jazz and Classical music at an early age. While growing up in Boston,
Ken and his father went to nearly every jazz concert whether it be
swing, be bop, or avante-garde. Ken started playing trumpet in the
4th grade, but upon hearing Joe McPhee's "Tenor" album he
decided to switch to playing tenor saxophone at age 17. Ken attended
McGill University in Montreal to study film, but upon graduating in
1996 he decided to pursue music full-time. Through his dedication,
unyielding will, and endearing persona, Ken has succeeded in reviving
the avant music scene, inspiring a younger generation to support jazz
and avante music in Chicago and around the world. This year Ken's
achievements were recognized on a national level when he received
the prestigious MacArthur Foundation "Genius Grant".
DYLAN VAN DER SCHYFF
The leading drummer on the Vancouver creative music scene, van der
Schyff is acclaimed by Down Beat as "a master manipulator (who)
tests and expands common notions of timbre," Van der Schyff has
recently been devoting considerable attention to international collaborations
with artists such as Dave Douglas, Mark Dresser, John Butcher, Rene
Lussier, Barre Phillips, and Louis Sclavis.
Anzai, a saxophonist who uses electronics as a compositional tool,
is from a wave of younger musicians in Vancouver influenced by (among
other things) John Zorn, noise, and ambient musics. The Barking Sphinx
Ensemble will combine acoustic textures in an electronic soundscape
that moves from ambient transparency to a dense and kinetic sonic
Ute Volker (accordéon) fait elle partie -avec e.a. Gunda Gottschalk,
avec qui elle forme aussi un trio avec Jacquemyn- de l'ensemble du
musique improvisée Partita Radicale à Cologne. Nace en 1963 y vive en
Wuppertal. Trabaja en la improvisación con Michel Doneda (Francia),
Camel Zekri (Argelia), Le Quan ninh (Francia), Armanda Steward
(Australia), Marc Wastel (Gran Bretaña), Karlheinz Essl (Alemania),
etc. Participa en distintos festivales de improvisación como: Human
Noise (Wiesbaden), Real-Time-Festival (Hamburgo), Vu díun Noeuf
(Verdun), Nozart (Colonia). En 1994 colabora con el grupo de teatro Un,
deux, trois- la soleil (París) y forma parte de la agrupación de
músicos africanos y europeos del Festival de líeau. En 1996 estudia y
da conciertos en Nigeria. En 1997 participa en la performance: das 4.
Geraune im Rahmen der Stille. En 1998 participa en la produccion de la
obra de teatro Klavier am Hosenträger. En 1999 hace la música para
Andorra , de Max Frisch. En el 2000 participa en la producción de la
pieza sonora entweder-oder con Steff Flächsenhaar.
Zachary wallace makes and listens to sounds in ann arbor, michigan.
he plays the doublebass regularly as a member of memorize the sky
(improvisations with matt bauder, aaron siegel) and flashpapr (folk
songs with fred thomas, ben bracken, jacob danziger, ida pearle).
he has improvised with greg kelley, jeb bishop, curt newton, kyle
bruckmann, fred lonberg-holm, tatsuya nakatani, ben bracken, boris
hauf and others; and recorded and performed with rock bands his name
is alive, warn defever's 100 years band, saturday looks good to me,
and low. other projects include tape music and installations involving
organic materials and field recordings under the name field &
dream, and sound environments, a weekly radio program of location
recordings broadcast on 88.3 wcbn fm, ann arbor (www.wcbn.org).
Composer/multi-instrumentalist specializing in confrontation, chaos
and asymmetry of form. Founding member of Chicago-based No Wave/Free
Jazz/Death Metal ensemble The Flying Luttenbachers (since 1991). Has
appeared on more than 50 recordings as a leader, band member or side
person and performed more than 600 concerts throughout the U.S. and
Europe. Has made and/or recorded improvised music with Kevin Drumm,
Fred Lonberg-Holm, Jeb Bishop, Nandor Nevai, Jim O'Rourke, Michael
Zerang, Jeff Parker, Ken Vandermark, Hal Russell a.o. Website:
Percussionist and electronicist Matt Weston has performed throughout the
US and in Europe. He has studied and/or collaborated with Arthur Brooks,
Dixon, Charles Gayle, Milford Graves, and William Parker. His unique
approach to percussion has earned him critical praise in such magazines as
Cadence, Signal To Noise, and Bananafish for his debut solo release
As a member of the Arthur Brooks Ensemble V, his performances have
included a live broadcast on Boston's WERS; the Three Days In October
(commemorating the 30th anniversary of the October Revolution In Jazz);
the 1999 Vision Festival in New York; an extended collaboration with the
Rotterdam Improvisers Pool; and a month-long workshop at the School For
New Dance Development in Amsterdam.
Weston also spent 2 ? years in Chicago, where he collaborated with Jim
Baker, Jeb Bishop, Michael Colligan, Kevin Drumm, Fred Lonberg-Holm,
Bob Marsh, Jim O'Rourke, Ken Vandermark, and many others. He was a member
of Corine (with Colligan and Drumm), The October Trio (with bassist Kyle
Hernandez and Vandermark), Signal To Noise Unit (with Drumm and
Vandermark), and Eights (featuring Bishop, Colligan, John Corbett, Drumm,
Terri Kapsalis, Lonberg-Holm, O'Rourke, and Ben Vida). He also enjoyed a
brief stint as the drummer for Chicago pop-rock legends Green.
In 1997 Weston and guitarist Ben Vida produced and compiled Sonance
Quarry, a CD featuring many of the above musicians and groups, released on
now-defunct Chicago-based Tautology label (no relation to the Boston label
of the same name).
In the summer of 1998 Weston moved to Northampton, MA, where he is a
member of Barn Owl (with bassist Andy Crespo and electronicist Chris
Cooper) and frequently performs solo. Barn Owl has played in western
Massachusetts, Baltimore, New York, and Boston. They have collaborated
percussionist Le Quan Ninh and saxophonist Jack Wright, and their
performance at the 2000 Autumn Uprising festival in Boston caused chunks
of plaster to fall from the ceiling.
Jacob Wick. born in the northern suburbs of chicago in 1985, trumpet player jacob wick
is beginning to make his presence known in the new york and chicago jazz and
creative music scenes. he has been playing and studying jazz and improvised
music since he was 10 and has performed in numerous venues, including a
3-week tour of europe in 1999, the aberdeen (scotland) international youth
festival in 2001, and the banff (canada) international workshop in jazz and
creative music in 2004, to which he was personally invited by dave douglas.
he has studied with ralph alessi, rudresh mahanthappa, and dave douglas, and
shared the stage with such luminaries as george lewis, jason moran, han
bennink, and mr. douglas. he has also performed with mark turner. mr. wick
currently resides in new york.
Wolter Wierbos is considered one of the world¹s leading trombone
players. He has played throughout Europe, Canada, USA and Asia. Wierbos
has many awards to his name, including the Podiumprijs for Jazz and
Improvised music and the most important Dutch jazz award, the VPRO Boy
Edgar Prize. Like many Dutch brass players Wierbos started out in a
Œfanfare¹ (brass band), switching from trumpet to trombone when he was
17. "It looked good, and the trombones walk in front...." His interests
range from precise chamber jazz to throbbing post punk and contemporary
composed and improvised music. Described as "a phenomenon, both a
humorous importer of every style into his template-free, fat-backed
sound, and a tireless spy in the house of brass", he is equally at home
using the classic trombone vocabulary or enthusiastically giving a
round-trip tour of his horn, from buzzing mute mutations and grizzly
blurts to purring multiphonics. He is also "a very good instant
composer, good at keeping it moving and not taking it too seriously".
Since 1979 he has played with numerous music ensembles: Cumulus (with
Ab Baars and Harry de Wit), JC Tans & Rockets, Theo Loevendie
Quintet, Guus Janssen Septet, Loos (Peter van Bergen), Maarten Altena
Ensemble and Podiumtrio. He led his own band, Celebration of
Difference, and has been involved in theater, dance, television and
film projects. He has been invited to play with the EX, Sonic Youth,
Gruppo Sportivo and the Nieuw Ensemble (led by Ed Spanjaard). He has
also played with Henry Threadgill, The Berlin Contemporary Jazz
Orchestra (led by Alexander von Schlippenbach), the European Big Band
(led by Cecil Taylor), the John Carter Project, Mingus Big Band
(Epitaph, directed by Gunther Schuller). He is currently active with
Misha Mengelberg¹s ICP (Downbeat Poll winner 2002, Talent Deserving
Wider Recognition), Gerry Hemingway Quintet, Franky Douglas¹ Sunchild,
Bik Bent Braam, Albrecht Maurer Trio Works, Nocando, Carl Ludwig
Hübsch¹s Longrun Development of the Universe, Frank Gratkowski Quartet,
Available Jelly and Sean Bergin¹s MOB. Wierbos also maintains a solo
career. He has a running project under the name Wollo¹s World, where he
brings together different artistic combinations, ranging from duos with
tap-dancer Marije Nie or bassist Wilbert de Joode to larger groups
featuring such musicians as Misha Mengelberg, Mats Gustafsson, Simon
Nabatov, Frankie Douglas and Hamid Drake.
Wolter Wierbos can be heard on more than 100 CD¹s and LP¹s. He has
released two solo CDs: X Caliber (ICP 032, 1995), "a round-trip tour of
his horn, from buzzing mute mutations, grizzly blurts and purring
multiphonics to radiant melodies", and Wierbos (DATA 824), a reissue of
his 1982 solo LP with an additional track.
EDWARD J. WILKERSON, JR.
Edward J. Wilkerson, Jr. is an internationally recognized composer,
arranger, musician, and educator based in Chicago. As founder and
director of the cutting edge octet, 8 BOLD SOULS, and the 25 member
performance ensemble, SHADOW VIGNETTES , Wilkerson has toured festivals
and concert halls throughout the United States, Europe, Japan, and
the Middle East. Defender, a large-scale piece for Shadow Vignettes,
was commissioned by the Lila Wallace/Reader's Digest Fund and featured
in the 10th Anniversary of New Music America, a presentation of BAM's
Next Wave Festival.
His music can be heard on fourteen recordings, including two film
soundtracks and the critically acclaimed albums Birth of a Notion,
and 8 Bold Souls, both on his own Sessoms Records label.
Wilkerson has received grants from the Illinois Arts Council, the
National Endowment for the Arts, Meet the Composer, and the Community
Arts Assistance Program, and has been cited in numerous music polls.
A member of the Ethnic Heritage Ensemble since 1977, Wilkerson has
also played with such artists and groups as the AACM Big Band, Roscoe
Mitchell, Douglas Ewart, The Temptations, Chico Freeman, Gerri Allen,
Muhal Richard Abrams, George Lewis, and many others.
In his free time, Wilkerson, past president and longtime member of
the Association for the Advancement of Creative Musicians (AACM),
teaches composition at the AACM School of Music.
Edward Wilkerson, Jr.
P.O. Box 6812
Chicago, Illinois 60680
Darren Williams is a musical performance graduate from Toronto where he
studied contemporary improvisation at York University with Professor Casey
Sokol. Since 1997 Williams has been active as a performer devoted to
musical improvisation in all its manifestations. Concert appearances have
included collaborations with John Oswald, Eugene Chadbourne, Ig Henneman,
Lori Freedman, Glen Hall, the Vertrek Ensemble, and many others. As a
diverse instrumentalist Williams explores timbral possibilities and various
extended techniques on his saxophones with a penchant for reinvention of
popular musical forms. Williams has been involved in a number of ensembles
over the years, most notably the Vertrek Ensemble and Robots On Fire.
Featuring the somewhat conventional instrumentation of trumpet, tenor sax,
drums, and bass, The Robots are known for high-energy improvisations, and
tender yet eviscerating versions of protest songs and pop tunes entrenched
in the free styling of Albert Ayler or Peter Brotzmann. Currently Williams
lives in Calgary and organizes and curates the nach Hause Concert Series,
an organization devoted to the presentation of improvised and/or
experimental music provided by local and international musicians and
A williwaw is a sudden squall or violent commotion. Williwaw is also
Bill Whitmer, a recovering musicologist, who has performed his own
unique brand of amplified 'ukulele music for eight-some years. "Williwaw
is ultimately one man with one ukulele on a particular mission"
(A. Magilow, Splendid). "Whoever Williwaw is, he's got a lot
of effects pedals, and a taste for both '20s pop conventions and extreme
noise" (R. Edgerton & D. Wolk, CMJ). Williwaw "runs
the gamut from clear and delicate chimes to shuddering, shimmering,
Sonny Sharrock-like frequencies with a paradoxical natural grace"
(M. Kendrick, Chicago Reader). Williwaw is "innovative, heavily
amplified, individualistic, boldly teetering on the brink of oddity"
(A. Rickman, Octopus), "minimalist in the extreme" (G. Garside,
Rubberneck). "I'm so stunned by the versatility, beauty and ugliness
unleashed by" williwaw "that I don't know whether to love
it or fear it" (R. Gibbs, Splendid). More info can possibly be
found at http://www.prairienet.org/~williwaw.
This particular performance at the Candlestick Maker will feature
the premiere of the williwaw ensemble, a collection of ukuleles and
fingers to delight all.
wm. mcAllister whitmer
parmly hearing institute / loyola university chicago
firstname.lastname@example.org / 773.508.2723
amplified 'ukulele research headquarters
Dion Workman is a New York based composer of experimental electronic
music. For the past decade Workman has been creating highly complex and
detailed compositions that explore the very outer fringes of music and
audible phenomena. Workman's latest release Ching (Antiopic, 2003) has
been described as "an exemplar of aggressive digital minimalism" and was
awarded the 2003 Max Brand Prize for innovation in electronic and
JACK WRIGHT, from Boulder Colo., is one of the more outrageous saxophonists
and musical personalities of the continent. Continuously on tour,
or organizing the next one, he has been called the Johnny Appleseed
of free improvisation. To some, he is the scorned perpetrator of the
"school of screech," even though at times he is practically
inaudible. But the Washington Post says, "In the rarefied, underground
world of experimental free improvisation, saxophonist Jack Wright
is king", though this is a title he would rather share with his
partners. He plays alto, tenor, and soprano saxes, piano, in every
possible direction, but rarely what is recognizable.
For over twenty years he has been doing this kind of music exclusively,
and his audiences can still be counted on a couple of hands. Which
is either a credit to his "refusal to compromise" or an
indication that he is a fool. He considers himself as much a beginner
as when he started the saxophone, back in the dark ages of the early
fifties. He plays with everyone who asks, and currently visits and
explores sound with over fifty partners around the country. He records,
yes, but the place where he learns what music can do is mainly in
live performance. For him, "free music" is a verb, not a
A recent review in a German publication, Bad Alchemy, had this to
say: "Wright does not make music, he embodies it, he transforms
it with a naiveté of another order. It grows into a sound river, he
is part of the diaphragm through which the heterogeneous whispers."
Recently he has revived his label, spring garden music, to record
his and his partners' music--among them, Bob Marsh, Bhob Rainey, Tom
Djll, Matt Ingalls, and Fred Lonberg-Holm. He has also recorded on
CIMP, Zero-Eggie (Chicago), Recorded (Baltimore), Tautology (Boston),
and Xerx, (Albuquerque).
In Chicago, he has been playing with a variety of notables over the
past several years, among them, Jim Baker, Kyle Bruckman, Jerry Bryerton,
Bob Falesch, Carol Genetti, Eric Leonardson, Fred Lonberg-Holm, Adam
Sonderberg, Nick Sondy, Grant Strombeck, and Michael Zerang
He can be heard on an mp3 as a soloist:
He can also be heard in a quartet:
(quartet, from CIMP cd, with Bob Marsh, cello, Fred Lonberg-Holm,
cello, Bhob Rainey, soprano sax)
for more information, and some of his writings, check his label and
ryan plays stringed instruments. he refers to himself in the third person
sometimes... like now for instance. he doesn't use the "shift" button a
lot. he plays in something like 6 different musical outfits which encompass
quite a plethora of musical styles such as jazz, bluegrass, rock and/or
roll, quiet, loud, good, bad, and happy. he does all this and holds down 3
jobs and 2 girlfriends. he is good.
Michael Zerang is a professional composer and musician since 1978.
In that time he has performed with and led over thirty ensembles and
have performed locally, nationally and internationally including the
musical groups Liof Munimula, The Neutrino Orchestra, Trio Troppo,
The Wonderfuls, The Blue Angels, Sam Pappas' Tumbling Strains, Frozen
Lucy, The Quirt Quintet, Musica Menta, The Vandermark Quartet, Peter
Brotzmann Chicago Tentet, , The Sputter Ensemble, In Zenith, and Broken
Wire . In addition to these ensembles, He currently performs with
many innovative musicians including AACM co-founder Fred Anderson,
Mats Gustafsson, Raymond Strid, Sten Sandell, Don Meckley, Jaap Blonk,
Peter Brotzmann, Sebi Tranontana , Kent Kessler, Axel Dorner, Jim
Baker, Hamid Drake, Jeff Parker, Bernard Santacruz, Jeb Bishop, John
Edwards, Tony Bevan, John Butcher, and Fred Lonberg-Holm. He has recorded
for Okka Disc, BOXmedia, Kontrans, Southport, Quinnah, Eighth Day
Music, Garlic, Penumbra, and Platypus, labels as well as many others.
He has been commissioned to compose music and sound scores for over
100 individual choreographer, theater directors, new music ensembles,
and theater companies. He as received the Joseph Jefferson Award three
times for original music composition for Frankenstein (1995), The
Ballad of Frankie and Johnny (1997), Hunchback (1999), all of which
have had their premieres at Steppenwolf Theater in Chicago.
Michael Zerang founded the Link's Hall Performance Series in November
1985 and functioned as artistic director until 1989. Link's Hall continues
to present experimental music, modern dance, traditional ethnic folk
music, poetry and fiction readings, and performance art events. He
also curated events at Club Lower Link's, a venue for experimental
arts in Chicago from 1987-1989. He currently curates a series of new
and experimental music concerts at his own space, The Candlestick
Maker , on Chicago's northwest side. He is a past Board president
for the Experimental Sound Studio of Chicago, and current Board member
of Link's Hall Inc., and The Curious Theater Branch.
Z. was raised in Evanston, Il. He attended North Texas University and
was a member of the world renowned One O¹Clock Jazz Band. In 1982 he
returned home to Chicago. His horn section, "The Splifftone Horns", aka
"The Steel Mountain Horns" was plastered all over Chicago¹s reggae
scene. They also appeared on a LP by Ten City that went gold! On his
own, Dave has excelled in diverse genera, performing with many notable
musicians. Dave has lead his own groups including The Lee Street Band,
a soul group, The David Zielinski Quartet, a jazz group, and Security
Let Us In, a group that sports a 1994 CD entitled Ultimate Communion.
Other CDs that Dave can be heard on include Billy Boy Arnold¹s Eldorado
Cadillac, Dave Gordon¹s Turn, The Andalusion Dog¹s Bitter, Alice
:Peacock¹s Real Day, Sam Cockrell & the Groove¹s I¹m in the
Business and Professor John¹s The Long Walk Home and Big Hands.
Born March 11, 1977 in Wadena, Minnesota. Knows how to use parenthesis.
Son of a social worker and a minister. One brother, one sister. Likes
sentence fragments. Bachelor of music in percussion performance from U of
MN (2000). Master of music in improvisation from U of MI (in progress).
Has taken part in many independent music projects such as: about Ouch!,
Tanya and the Holsum Family Fiscal Planner, Mario Speedwagon, Arp of the
Covenant, Enzo Trio, The Hopscotch Filament, Marginalized and Whoopsy , The
I in Team, The Number F, Gay Cop Moustache, 33 Husky, Young Little Meat and
Skul Raydr as well as co-founding the Recordings of Variable Quality record
label with Adam Patterson. He has also taken part in many subsidized
musical endeavors, such as: The Duluth-Superior Symphony Orchestra, Lake
Superior Chamber Orchestra, Arrowhead Chorale, Minnesota Repertory Theatre,
University of Minnesota, Duluth Wind Ensemble, UMD Symphony Orchestra, UMD
Chamber Orchestra, UMD Percussion Ensemble, UMD African Music and Dance
Ensemble, UMD Jazz Ensemble, UMD Contemporary Chamber Ensemble, Twin Ports
Wind Ensemble, Hillcrest United Methodist Church Bell Choir, University of
Michigan Creative Arts Orchestra, University of Michigan Symphony Band,
University of Michigan Concert Band, University of Michigan Percussion
Ensemble, University of Michigan Composer¹s Forum, University of Michigan
Jazz Ensemble and the University of Michigan Graduate Jazz Quartet. Email: