|DJ TENSHUN (San Diego)
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 and the group OBSCURICON. 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.
Elise Baldwin, laptop
Raised on a farm in Idaho, Elise Baldwin now resides in San Francisco, where she recently completed her MFA in Electronic Music at Mills College. When not indulging her interest in pyrokenesis or reading compulsively in the bath, E can be found cooking up aurally hazardous byproducts in her studio or building software instruments for video manipulation. She has whiled away much of the past decade as a sound designer and recording engineer, composing for theater, film, computer games, live performance, and audio installations. Active in the Bay Area experimental music scene, she focuses on solo and collaborative intermedia performance, appearing recently at the ARTSfest 2004, E.S.P. Media Lounge, CalArts CEAIT Festival 2003, the Lab and the National Queer Arts Festival. She is a recipient of the 2004 Frogs Peak Award for Experimental Music.
William Fowler Collins, electric guitar
Originally from rural New England, William Fowler Collins (b.1974) is an artist and musician who has been based in San Francisco, CA since 1992. His music explores and synthesizes both musical and extramusical elements. Improvisation, field recordings, electric guitar, laptop computer, processed recordings, microcassette tape recorders, and home-made electronic devices all play roles in the creating, performing, and recording of his music. He recently graduated from Mills College where he studied with Fred Frith, Maggi Payne, Alvin Curran, and Chris Brown. Collins currently plays electric guitar (and occasionally laptop/electronics) in both solo and group contexts.
Joel Pickard, pedal steel guitar
Joel Pickard has an MA in Composition from Mills College in Oakland, CA where he studied with Fred Frith, Alvin Curran, and Pauline Oliveros. He has a BA in Music from Bethel College in St. Paul, MN where he studied classical guitar. One of his most recent interests has been developing a non-traditional language on the pedal steel guitar, an instrument long relegated to providing the weeping backdrop to generations of country music ballads. In addition to freelance work, Joel is active as a performer in both solo and group settings.
Seth Warren, drums & percussion
Seth warren grew up in New Hampshire, studied English Literature and Religion at Lawrence University in Wisconsin and began an MFA in Electronic Music and Recording Media at Mills College in 2003. He creates electro-acoustic music, sound sculptures and installations, sound design for theater and film, and performs as a drummer and percussionist in the bay area and abroad.
Matt Davignon has developed a unique form of improvisation over the last 10 years, focusing on textures, arrhythmic patterns and musical imperfections. Creating music that is at once elemental and intricately ambient, he explores the outer dimensions of experimentation, often hovering around the threshold between chaos and order. His first project “Music at ½ Speed” was well received by critics and experimental music fans.His latest project, “Bwoo”, evokes biology, and the mystery of elemental structure in nature and in sound. (While all the sounds are initially created using a drum machine, Matt avoids its traditional use as a device for making beats. Instead, he processes the sounds beyond recognition, providing a result that is surreal, haunting and otherworldly) “Bwoo” is both profound in its depth and unique in its musicality. He performs on a large variety of less-than-professional grade instruments. (Including samplers, turntable, CD player, toys, found objects, prepared guitar, store-bought keyboards and drum machine.) Matt also organizes a plethora of unusual shows in the bay area, including the Found Objects Festival, the "2 Night Thingy for Voice & Electronics", The Suitcase Ensemble and Himp-Hoxp (which mixes experimental improvisers with underground rappers).
David Kendall is from Southern California. David Kendall began by experimenting with multitrack recordings of degraded sound sources in the early nineties. David Kendall's focus soon shifted to feedback, as an audio phenomenon and as a general principal of recursion in the sound world: first explored in plucked string instruments, then in found objects, found electronics, found computers, and (in the present day) very expensive "top-of-the-line" computers with tons of RAM. David Kendall's music is very performative: improvisation and realtime control are the norm, and much of David Kendall's musical output has been within the context of small ensembles playing improvised music. Projects include or have included the invisible Music Production Ensemble, Improvisatyrs, Honeycomb Wheels, and The Kentucky Knobs. Collaborators include Jeremy Drake, Jessica Catron, Sandor Finta, Bob Bellerue, Bryan Eubanks, David Rothbaum, Jonathan Zorn.
David Kendall earned his MFA from the California Institute of the Arts, where David Kendall with David Rosenboom, Mark Trayle, Laetitia Sonami, and many others.
C. J. REAVEN BOROSQUE
CJ Borosque is a sound artist, turntablist and noisician, living in the San Francisco Bay Area. She has preformed at the NorCal Noise fest, The Big Sur Experimental Music Festival (2003/04), and The Oakland Noise festival. She is the leader of the free-noise trio “Hideous Dream” She is a core member of "Architect of Unconscious". She also plays in Rent Romus's free-jazz trio “The Lords of Outland”. She has played with Kaylee Koombs in the out-ambient duo “Swoon Doll”. She has preformed with many folks including John Berndt, Ellen Weller, and Ignaz Schick. C J Borosque plays noise pedals, turntables, and detuned electric guitar.
“The kind of sounds that suffocate the mind and force it to pay attention. With large chunks of harsh noise the sound weaves the listener in and out of consciousness. A complete joy for the unexpecting soul” - Joe Lombardo
Xome is an harsh noise project conceived and operated by Bob Scott Sato. Xome brings some of the most rude and abrasive sounds to the noise world.
Xome started to lark about with weird sounds around 1989 mostly using computers, synthesizers and midi sequencers. The sounds of Xome eventually evolved into a more free form, scratchy sound by means of more sound processing and the use of any and every source possible.
In May of 1994, Xome relocated from it's home in San Francisco to Tokyo, Japan. In Tokyo, Bob immediately met like-minded musicians (noisicians) and quickly became a part of the bizarre Tokyo underground noise circuit. Bob joined up with artist Eriko and noise/hair guru Shin'ichi Tanaka. In Tokyo, the newly restructured Xome trio performed under the same bill with artists like Incapacitants, C.C.C.C., Killer Bug, Merzbow, Yoshihide Otomo, Satoru Wono, Seiichi Yamamoto, (Boredoms, Omoide Hatoba), Violent Onsen Geisha, Little Fujiko, Yohei Hasegawa, Grand Mother Fucker, Pain Jerk, Cult Junk Cafe, Kiyoshi Mizutani, Barrel Organ, Death Squad, Stimbox, Astro Twin, Urgesnake, Government Alpha, TV Pow, Crack Feirce, Crack Steel, Kazumoto Endo, K2, Melt Banana, TV Pow, Kirihito, Multiplex, Mo*Te, Yukiko, MSBR and more. (Enough for the name-dropping!) During the long stint in Tokyo, Xome's sound developed even further, becoming harsher and more raucous but never losing the element being a fun noise project.
In late 1999, Xome relocated back again to San Francisco. Xome continues it's offensive with live shows all over the U.S. Since returning to the U.S., Xome has performed with the likes of Sleeping with the Earth, Stimbox, Instagon, Thomas Dimuzio, Cock E.S.P., Pedestrian Deposit, Uberkunst, Black Leather Jesus, Goat, Taint, Concrete Violin, Rotten Piece, T.E.F., Critical Theatre, Deconstruct, Delayed Sleep, SICKNESS, Products of Conception, Pop Culture Rape Victim, Vertonen, Compomicro Dexall and many others.
bran(...)pos from San Francisco, CA has blundered his way through nose sounds and electronic mish-mash since 1993 with a theatrical performance history that extends back to childhood (under various stage and screen personas, including child actor Jacob Donner and actor/sound designer Jake Rodriguez). the bran is currently continuing his investigation of various forms of performance and music synthesis, with a focus on sonic plasticization and voice manipulation using both hardware synthesizers and a custom set of software-based sound gremlins that interface with the real world via tactile control and performances rounded out with facial interpretations and physical gesture (suzuki and biomechanics-trained/butoh and max fleischer-inspired). this all combines for an experience that is heavy and heady like a metal band doing xenakis covers/ridiculous and magical like popeye sitting in for jean-jacques perrey (popeye and kingsley). full length cds are self-released on Chitah! Chitah! Soundcrack with a new 2005 release in the works titled Quick Martyr/Deified Danger Duck. bran has been performed from Belgium to Boise alongside many of today's most enigmatic and prolific sound and performance experimenters.
Tina Butcher's noise experiments include butcheR & smeaR and her new solo noise project If Rebecca Horn Played Guitar. Both pieces use house hold objects such as a lap top, vibrator, chop sticks, and tooth brush then filter and distort sounds, beats and samples from daily happenings with effects processors, pedals, and a sampler. butcheR & smeaR and If Rebecca Horn Played Guitar are both explorations of daily tensions, anxieties, fears, and neurosis.
THE CINEPIMPS, a collaboration of filmmakers Alphonso Alvarez and Keith Arnold and vocalist Laurie Amat will improvise collages of found and abstract 16mm film loops, combining found and processed sound to create cinematic dreamscapes.
EPIC(ABRIDGED), a collective of Bay Area experimental filmmakers / musicians led by Christian Bruno and Charles Kremenak and embracing a roster of intermedia artists (Steve Dye, Ben Furstenberg, Liz Albee, Dina Maccabee, Arturo Cesares, Caroline Chung, Stefan Gustafsson, Joel D. Miller and Steve Yamane) will create live performance soundtracks to super-8 "digest" films.
FRANZ KELLER, multimedia artist recently immigrating from Southern California will present Transcape, a multi-projection live video collage of the artists and audiences of the Corridor itself.
OAKLANDISH, Oakland's local gallery collective of film, music, visual art and spoken word artists will be screening Bay Area Aerosol Heritage Society's "Legendary Eightees" digital slideshow from their second story windows.
SOUND SHACK, a collaborative of video and sound artists will construct a installation that immerses visitors in an exploration of site-specific imagery and audio.
THE SPROCKET ENSEMBLE
What performance art companies like New York's Wooster Group did to create a forum for unusual stage talents like Spalding Gray, The Sprocket Ensemble project attempts to do for the rich new talents of independent filmmakers and animators. A collaborative performing arts endeavor between composer/performers of live music and directors of short film and animation, The Sprocket Ensemble liberates the excitement of live concert performance to create a new milieu for the appreciation of diverse new forms and talents in the cultural development of American film. The Sprocket Ensemble's
collaborative series of screenings set to original live musical performance is entitled Ideas in Animation.
WHORE, a visual art, film and rock music ensemble will present the original films of co-founder Jol Butler. Whore features the vocals of visual artist Katherine Copenhaver, George Cremaschi (bass), John Hanes (drums), and notorious guitarist Myles Boisen (Club Foot Orchestra, Splatter Trio, Tom Waits, David Lynch).
The PornOrchestra is an attempt to radically reinterpret the soundtrack to pornographic film. This complicated genre has taken its share of scorn: from adult film producers who refuse to pay it any mind to legions of consumers who instinctively snap the sound off after pressing Play.
Performing live improvised and composed scores to pornographic film, the PornOrchestra invigorates the mysterious experience of the Voyeur-cum-Auditeur. The equivalent of a circus band with its collective eye on the trapeze artist: the PornOrchestra teases out the thrill, amplifying the collective gasp at pornographic triumph —and tragedy— using the most eclectic and creative musical minds working in the Bay Area today.
With representatives from every active genre of music in the Bay Area, although slightly skewed to those using cake pans in their work, this ensemble of ingenius improvisers brings exemplary musicianship and an awful case of the jitters to each pornorchestral scoring. For the benefit of the Edgetone Summit, the PornOrchestra will attempt to perform in its largest incarnation ever. Which is to say this is the one PornOrchestra where you may consider simply bringing an instrument of your own on the off-chance you'll be asked to make a sound.
We must report right here that the porn will not be shown outside. Stop, already.
And, as you might have guessed, the PornOrchestra is an official presentation of the Bayennale de Refusees.
Conducted by Moe! Staiano
alphonso alvarez, visuals
laurie amat voice
alan anzalone alto saxophone
keith arnold, visuals
myles boisen electric guitar, banjo
jol butler, visuals
barbara crawford drums
matt davignon turntable
dina emerson voice, accordion
jeff hobbs, brass, reeds, violin
aaron kierbel drums
schlermie crenshaw [alan korn, do not publish real name] electric bass,
dave mairs drums
bob marsh electric cello, violin, processed voice
william minnozi oboe
kurt morgan guitar, double cello
peter nyboer electronics
rent romus saxophones, accordion
tom scandura drums
david slusser slussomatic
rebekah varela cello
vicky the bass player electric bass
allen whitman voice
theresa wong cello, amplified bicycle
TRI-CORNERED TENT SHOW
Urban, Electro-Acoustic Folk Improv. Free improvisation and orchestrated sound sculpture. Almost everyday in the news there are stories about how a group of scientists after so many decades of painstaking research and work create a new drug or make new discoveries, but how many times does one read about a group of musicians that have done the same thing?
Philip Everett and Ray Schaeffer (later joined by Andre Custodio) called the Tri-Cornered Tent Show has done just that. It has taken them the last part of the last century of dedicated practice, research, and patience.
The musical journey began with initial tracks of their first three releases being recorded using the ancient anti-deluvian technology of electronics from the 70’s. Though methodical deciphering of the Lovcraft short story “The music of Eric Zann”, other related stories expanded upon Lovecraft’s Greater Cthulu Mythos they began recording free improvisation and orchestrated sound sculpture over those many years to create the projects now available on the new bay area label Edgetone Records. Their newest creation Legion of Dagon features guest artists Rent Romus and Jeff Hobbs based on the 28 sonnet by Lovecraft, The Fungi of Yuggoth.
Around 2000 they came out from their exile held up in a well-insulated dank little studio in the depths of Richmond California for almost three decades. By the shear force of will and their dedication to the world of improvisation, they have a unique set of music to merit them worthy of attention. In a world of pop can music they could teach a class in patience and creation.
C.J. Reaven Borosque, noise pedals
Andre Custodio, electronics, t-rodimba
Dina Emerson, voice
Philip Everett, drums, autoharp
Bob Marsh, cello, voice
Ray Schaeffer, electric bass
Rent Romus, saxophones, electronics, acordian, voice
BIG CITY ORCHESTRA
Big City Orchestra is a wild romp through sound and broadcast media that isn't afraid to kick commercialism where it counts while rubbing salt in the wounds of the RIAA. This band of self proclaimed "mutant folk" artists have been around since 1979 commenting on society in a variety of musical styles.
At times their music is little more than dark ambient, built with ominous sounds and eerie atmospheres. But, there are times when Big City Orchestra overlays those tracks with samples that add vicious biting commentary. Revamping commercial moments of nostalgia, reworking The Beatles, and producing recordings of animal sounds is just a small tidbit of what Big City Orchestra has done to tweak the musical perspective of folks everywhere.
Big City Orchestra should hold great appeal for just about anyone with a warped sense of humor and major distaste for today's commercial tactics and America's political state. From creeping ambient tracks to noise intermingled with amusing use of samples, Big City Orchestra's tongue in cheek humor have people gasping and giggling across the nations.
cait mcwhirr (squeezing a box the color of her hair)
ninah pixie (squeezing a box the color of her hair)
melissa margolis (squeezing a box the color of her hair)
cyoakha grace (squeezing a box the color of her hair)
werner v. slack (pushing bit of light)
and dAs will plug things in
JIM RYAN trio
"...Forceful, immediate, inventive." - Signal to Noise
Poet, writer, philosopher and musician, Jim Ryan is an original member of the exploratory family of artists of the 20th century. His powerful playing style and truly original voice permeates the San Francisco Bay Area with vibrant spirit.
Jim Ryan was born in St. Paul, Minnesota and began listening to bebop at age 15. In 1958 after obtaining a degree in philosophy from the University of Minnesota, Jim was drafted into the army and sent to Europe. After serving for 21 months, Jim found himself attending the Sorbonne in Paris France. After a short time he discovered he was infected with the writing bug and became involved with the beat poet community that was blossoming in France and throughout the world, rubbing elbows with such poets as Boroughs, and Ginsberg. Nearing his mid-30's it became more difficult to make a living writing and he found many of his former-writing friends were becoming involved in painting and other artistic endeavors. In 1968 Jim was given a wooden flute and shortly thereafter acquired a c-melody sax. At the same time many of the American new music musicians, Sonny Murray, Albert Ayler, Sun Ra, Archie Shepp, Anthony Braxton, and the AACM were given funding by the US Government and settled in Europe including France. Jim was in the right place at the right time and found himself jamming and performing with these rebels of creative music. As the migration of cutting edge American artists continued more straight ahead artists like Johnny Griffith and Steve Lacy began to arrive to take advantage of the European scene. In the early 70's Jim participated in a yearlong workshop organized and led by Steve Lacy while continuing to develop his writing. In 1975 Jim formed the Free Music Formation, a group which performed in Paris and other European cities.
In 1975 he returned to the United States in search of a fresh start and settled in Washington, D.C. where he formed the Art Performance Group performing throughout the area. In 1987 he moved California and lived in Marin County until 1993 when he moved to Oakland and became part of the San Francisco Bay Area improv and jazz scene.
After a long hiatus, in 1997, he launched one of his current groups Forward Energy featuring stellar artists like trumpet
player Eddie Gale and drummer Donald Robinson. Jim also performed with Marco Eneidi's "American Jungle Orchestra," and Eddie Gale's "Orchestra for World Peace." In 1998 he became the editor and publisher of Outside, an underground art and music zine in Oakland, which featured such artists as Positive Knowledge, Marco Emeidi, as well as many artists of Bay Area improv scene. For two years beginning in 1999 Jim was the booker for the Luggage Store Gallery Series in San
Francisco. At that same time he was also booking for the Starry Plow new music series in Berkeley, 2310 Telegraph Gallery in Oakland, and he currently curates shows occasionally at 21Grand Gallery in Oakland.
In the spring of 2000, he founded the Electro/Acoustic Sextet of Oakland, which was a melding of free jazz and avant academic styles. The group performed in Oakland and at the Big Sur Experimental Music Festival in May 2000. In the spring of 2000 he performed in the 401 Festival at Theater Artaud in composer Matthew Burtner's piece for nine tenor saxophones, "Portals of Distortion." You can hear this pivotal Bay Area saxophonist presently with Forward Energy and the Left Coast Improv Group.
Stephen Flinn has been a professional musician for over twenty years, and has performed throughout the United States, Europe, and Japan. As well as being an accomplished drummer and percussionist, he works with unusual sound sources including found objects and items not normally used musically. He lives in San Francisco and spends his time teaching, performing, and writing.
Cory Combs is a bassist, composer and teacher living in San Francisco, California. His new CD, Valencia, featuring John Hollenbeck on drums and Dan Willis on sax will be released summer, 2005. Along with his performances as a bassist, Combs is an active composer, writing new music for his own ensembles, and by commission. Combs currently directs the Waldorf High School music program in San Francisco, where he focuses on bringing in new, original music for the ensembles.
Thollem Mcdonas piano, voice
San Francisco Bay Area composer/pianist/vocalist, has enjoyed success in a wide variety of musical situations and his travels as a performer have covered much of the North American Continent and some in Europe. He has performed extensively as a soloist as well with groups. He is a founding member of several innovative ensembles including: ‘The Hundredth Monkey Generation’, ‘Monk and Cage’, and ‘Asterisk* Movement and Sound’. He was commissioned by ‘The Limon Dance Company’ for a large scale composition in commemoration of their 50th year anniversary. He is responsible, in full or in part, for many albums of original music. Currently he is performing as a soloist, with the duo Thollem/Rivera, developing a participatory sound experience called the MakeSoundArium, And scoring a play about Pavel Florensky, an influential Communist era russian scientist and the gulag where he was eventually executed.
Rick Rivera drums
A native of Boston, MA, Rick Rivera began playing drums at the age of thirteen. Later, he joined his high school’s jazz band which provided him with various performance opportunities throughout the U.S.
After graduation, Rick went on to study music formally with Bob Gullotti. During his 5-year apprenticeship with Bob, Rick performed at the Willow Jazz Club, Wally’s and Berklee College of Music and was a first-call session drummer for some of Boston’s finest musician’s, including Jane Wang, John Aruda, Jeff Rorback and Russell Fortunato. After completing his studies with Bob, Rick went on to pursue jazz across two continents, teaching and performing in Boston, Hawaii, and Japan. While in Japan, Rick appeared at such notable venues as Body and Soul, Live Inn Pier and Shinjuku Pit Inn. He co-led the Monk Tribute Band, alongside Natori Toshihiko, and powered the Mineko Ogata Trio and Hisashi Nakajima Quartet with his traditional and experimental jazz drumming style. Now a resident of San Francisco, Rick continues his pursuit of jazz and experimental music with top musicians in the Bay Area.
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 "jazz" 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, Lisle Ellis, Paul Plimley, Mei Han, 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. His compositions are featured on Trummerflora Collective Rubble 1 (Accretions/Circumvention) (Cosmologic Syntaxis (Circumvention), Jason Robinson Tandem (Accretions), Cosmologic Staring at the Sun (Circumvention), and Jason Robinson From the Sun (Circumvention). 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 in JazzTimes Magazine.
Robinson has performed and presented his work in Europe, Canada, Mexico, and throughout the United States at prominent venues and festivals. He is a founding member of the Trummerflora Collective, a musicians organization dedicated to the support of creative music. Robinson is currently a Ph.D. Candidate in Music in the diverse and challenging Critical Studies and Experimental Practices program at the University of California, San Diego. His areas of focus include improvised musics, African-American music, popular music, and the relationship between musical expression and identity. Robinson teaches at Southwestern College in San Diego, and has taught in Music and African-American studies at the University of California, San Diego and the University of California, Irvine. He was Director of Education for the Creative Music Workshop at Spring Reverb 2003, sponsored by the Trummerflora Collective and the Museum of Contemporary Art, San Diego. He is also the current Curriculum Director for the UCSD Jazz Camp "Inside Out," which strives to emphasize the full spectrum of creative expression embodied in the jazz tradition.
BOB MARSH/DAVID MICHALAK
A well seasoned improviser whose work has involved shaping sounds words images ideas, Bob Marsh originally from Detroit, arrived in the Bay Area in 2000 after ten years in Chicago where he played with most of the avant improvisers in that rich and varied scene. Since his arrival on the west coast, multi-instrumentalist and composer Marsh has been busy with several projects. He currently leads or directs String Theory, a string ensemble focusing on textures and microtonics; the Che Guevarra Memorial Marching (and Stationary) Accordion Band, structured and free improv for six to fifteen accordions; Robot Martians, electronics and processed voice; the Out of the Blue Chamber Ensemble, a mixture of reeds and strings; Opera Viva, voiced physical theater; the Quintessentials, a quintet specializing in interpreting graphic compositions based on alterations to the Michelin Road Guide to France; and the Illuminated Orchestra, structured improves for large ensemble. Additionally Marsh is a member of Romus/Diaz-Infanteâ€™s Abstractions, Jim Ryanâ€™s Left Coast Improv Group, Moe! Staianoâ€™s Moe!chestra and Tom Bickley's Cornelius Cardew Choir. Bob Marsh tours frequently with his long term partner saxophonist Jack Wright. Bob has recently been presenting a solo work involving violin, voice and tap shoes. Marsh's educational background includes a BFA in sculpture and an MA in humanistic clinical psychology. He has studied classical piano, classical guitar and vibraphone and has taught himself various other instruments. He currently is active with cello, accordion, violin, voice, vibraphone and electronics.
Plays Well With Others Jim Baker, John Berndt, Tom Bickley, Jeb Bishop, Kyle Bruckmann, Gust Burns, Gene Coleman, George Cremaschi, Matt Davingon, Ernesto Diaz-Infante, Dina Emerson, Bryan Eubanks, R. Albert Falesch, John Finkbeiner, Tara Flandreau, Stephen Flinn, Jonathon Fretheim, Carol Genetti, Greg Goodman, Morgan Guberman, Greg Hamilton, Chris Heenan, Ron Heglin, Jeff Hobbs, Matt Ingalls, Kurt Johnson, Aurora Josephson, Andrew Lafkas, Adam Lane, Eric Leonardson, Jacob Lindsay, Fred Longberg-Holm, Toshi Makihara, Tatsuya Nakatani, Tom Nunn, Suki Oâ€™Kane, Garth Powell, Bhob Rainey, Hal Rammell, Rent Romus, Scott Rosenberg, Jim Ryan, Joe Sabella, Jonathon Segel, John Shiurba, Blaise Siwula, David Slusser, Damon Smith, Adam Sonderberg, Karen Stackpole, Grant Strombeck, Tom Swafford, Ken Vandermark, Matt Weston, Sue Wolf, Theresa Wong, Michael Zelner, Michael Zerang.
Since 1971 I've made over 50 films with original soundtracks. Here are some highlights. I worked exclusively in super-8 for ten years, completing over 25 films, including 3 features. I was a guest writer for White Ox Films in Rochester, N.Y. and for the international magazine Super-8 Filmmaker in San Francisco. In 1978 I moved to San Francisco and started my own mail-order
record business called EARWAX to produce 16mm films. Dreamlife my first 16mm film was premiered at the landmark Castro Theatre in S.F. in 1982. A soundtrack Picture Disc Lp of original music was released later in that year. A two-part Retrospective of my work was held in S.F. from 1992 - 1993. Part 1, When Dinosaurs Roamed The Earth, was held at The No Nothing, and
Part 2 Eye-Full Films Revisited at the Cinematheque. In 1996 I completed Inside-Out, which featured The Kate Foley Dance Company and a score written with Nik Phelps and performed by the Club Foot Orchestra. The film had it's premiere with the orchestra playing live, at The Victoria Theatre in S.F. as part of my 2nd Retrospective called 25 Years Of Eye-Full Films. In 1999, after 10 years of work, I premiered When The Spirit Moves, a mystical fairy-tale featuring (Joe Goode) dancer Vong Phrommala and silent-movie style actress Billie-Marie Gross, at The Film Arts Festival. After nearly 30 years of filmmaking and over 50 completed films a soundtrack trio was formed to play live scores for my movies. The group, called “Reel Change”, started as a trio and has featured: Andrew Voigt (woodwinds), Joe Sabella (samples), David Michalak (lap steel), Phillip Greenlief (saxophones), Adam Hurst (cello), George Cremaschi (Contrabass), Tom Nunn (Homemade Instruments), Kyle Bruckman (double reeds), Thersa Wong (cello) and Tom Djll (trumpet). Reel Change performed a live score for the 1928 silent film, Fall Of The House Of Usher, at Yerba Buena Center For The Arts, somArts and The Exploratorium. The band released it’s first soundtrack CD this year called, “Open In Total Darkness.” A second CD will be released in 2006 featuring soundtracks for the films of Maya Deren. In 2004 I started a new group called “Ghost In The House” and am currently mixing a new CD entitled “Sleepwalk.” The group features Karen Stackpole, Kyle Bruckman and Tom Nunn. In early 2005 Bob Marsh and I started a duo called, “Dr. Bob”. We are currently recording a CD and will perform at The Edge Tone Festival this July.
Some of the other musicians who I have played with live or on soundtracks include:
J.A. Deane, Bruce Ackley, Carla Kihlstedt, Matt Brubeck, Dean Santomeiri, Beth Custer, Club Foot Orchestra, Damon Smith, Ed Herman, Doug Carroll, Jim Heron, Myles Boisen, George Cremaschi, Ron Heglin, Karen Stackpole and Monday Night Music. On occasion I have also played and showed films with Nik Phelp's Sprocket Ensemble.