JULY 19 22-25, 2009
San Francisco Community Music Center
544 Capp Street @ 20th, San Francisco, CA click for map
Jul 19 - free admission Jul 22-25 admission $12 General / $6 Student
Q&A Sessions 7:15 -7:30 pm Music Performance Starts @ 8:15 pm

Buy Advance tickets for 8th Annual Outsound New Music Summit
AT A GLANCE
Sun Jul 19 Wed Jul 22 Thu July 23 Fri Jul 24 Sat Jul 25
OutSpoken Events
7pm
Hands-On Expo
Touch The Gear
Amar Chaudhary, Bob Marsh, Cheryl Leonard, CJ Borosque, Conure, Crank Ensemble, Dan Ake, Ferrara Brain Pan, Jim Kaiser, Lx Rudis, Philip Everett, Richard Waters, Rick Walker, Steven Baker, Thomas Dimuzio, Tom Duff, Tom Nunn, Travis Johns more TBA!
7:15 PM
Pre-Concert Q&A
All Artists
7:15 PM
Pre-Concert Q&A
All Artists
7:15 PM
Pre-Concert Q&A
All Artists
7:15 PM
Pre-Concert Q&A
All Artists
Performance
  8:15 PM
Free Improvisation |
Free Composition

Alicia Mangan & Spirit ROVA Saxophone Quartet
Vinny Golia

8:15 PM
Industrial Soundscapes
Forms of Things Unknown Peter Kolovos
Conure
Hans Fjellestad
Thomas Dimuzio
8:15 PM
InterMedia
Jess Rowland with The Dreamland Puppet Theater
Kathleen Quillian & Gilbert Guererro
Bonfire Madigan
8:15 PM
Introspection & Improvisation
Natto
Ghost In the House
featuring Richard Waters
Left Coast Improv Group
 

KFJCArizmendi BakerySonic Stew RecordingsIn The Mood for FoodZellerbach Family Fund
Sunday July 19
Touch the Geartm Expo
7-10pm admission is free - An OutSpoken Event
OutSpokenThe Kick off event to one of the most comprehensive experimental music festivals on the West Coast!
Come and experience this hands-on experience of sound producing gear and instruments!
Presenting Artists to Date: Amar Chaudhary, Bob Marsh, Cheryl Leonard, CJ Borosque, Conure, Crank Ensemble, Dan Ake, Ferrara Brain Pan, Jim Kaiser, Lx Rudis, Philip Everett, Richard Waters, Rick Walker, Steven Baker, Thomas Dimuzio, Tom Duff, Tom Nunn, Travis Johns more TBA!

Ever wanted a closer look at the gear on stage? Wish you could try it yourself? Touch the Gear is Outsound’s free public event that allows audiences to roam among the artists and their sonic inventions, asking questions, making noise and learning how these often one-of-a-kind set-ups work. It’s a hands-on, family-friendly environment that demystifies the technology while inspiring the creativity.
Touch the Gear
     
Wednesday July 22 Free Improvisation | Free Composition
Alicia ManganSpirit
Sacred Unit
Alicia Mangan tenor saxophone
Spirit
percussion

Sacred Unit
is Alicia Mangan on Tenor Saxophone and Percussionist Spirit. These two musicians have played together for over twelve years. Their backgrounds are diverse and cover blues and R&B, Latin, African, Classical, as well as a concentrated commitment to the study of traditional and avant-garde jazz. Both musicians share a dedication to the art of avant-garde jazz and share a commitment to the study of it and the traditional jazz roots from which it comes. Together they seek surrender to the power that moves music. They approach their instruments with the intention of tapping into universal consciousness, breaking down walls, and transcending this plain of existence.

Spirit is a poly-rhythm and sound percussionist who has perfected a mulit-layered style using gongs, bells, rain stick, singing bowl, West African talking drums, sheet metal, rachet, cymbals, & rototom, as well as his modified trap kit. In addition to working with Alicia Mangan he has performed and recorded with the group Positive Knowledge for over twenty years as well as shared moments with John Tchicai, Glenn Spearman, Alan Silva, Cecil Taylor, and Wadada Leo Smith to name a few.

Tenor saxophonist and L.A. native Alicia Mangan honed her chops in bebop, classical, and Latin based music, but opted for total dedication to the calling of avant-garde jazz. Her music is influenced by the exploratory methods used in the tradition forged by Albert Ayler, Cecil Taylor, and Charles Gayle. Much of her early straight-ahead experience was gained in southern California with the popular L.A. salsa group Son Mayor where she played baritone saxophone and in the music program at San Diego State where she studied jazz with pianist Rick Helzer. She spent ten years in the San Francisco bay area where she performed with Eddie Gale’s Orchestra for World Peace, Jim Ryan’s Forward Energy, and Marco Eneidi’s American Jungle Orchestra. Alicia has also worked with the late Peter Kowald, Karen Borca, Donald Robinson, Lisle Ellis, Sabu Toyozumi, Ijeoma Thomas, Bonnie Barnett, Wadada Leo Smith, and Spirit.

Recent projects include a tours with Jim Ryan’s Forward Energy to Minneapolis Chicago Long Beach, L.A., San Diego, and Santa Barbara, participation as a soloist in a Santa Barbara avant-garde music series, performances Dana Reason-Meyers Parallel 66 series in Claremont CA, performing at Disney Hall’s Red Cat Theatre in Downtown Los Angeles as a duo with Lisle Ellis for EarJam, and performing as one of the six soloists at the Schindler House in a SASSAS presentation of Exquisite Corpse II.
Recordings include releases with Jim Ryan's Forward Energy and L.A. Reeds, a C.D. of solos from Los Angeles reed players that is of yet unreleased.
ROVA Saxophone Quartet
ROVA
Saxophone Quartet
Bruce Ackley, Larry Ochs
Jon Raskin, Steve Adams


Utilizing recently discovered ideas, the
Rova Saxophone Quartet will create a new, set-length performance piece especially for Summit, The Contours of the Glass Head, to further explore the intersection of improvisation and composition, using improvisational games and strategies.
A couple of years ago Rova members launched into a new period of exploration during the design phase of Glass Head (originally presented in the Rova:Arts produced Rovaté 2006 concert). This work was characterized by a collective search for new improvisational strategies, resulting in new ways to engage the individual voices of the quartet members. The improvisations were interrelated through unifying concepts both in terms of material and methods of interaction. Many of the ideas developed during this research were never used for the project, and those that were part of the Glass Head piece are readily recyclable for other applications. We discovered a wealth of ideas that we will bring together to create a new performance work, quite different from the prior composition, and at the same time sharing its conceptual base.
The set-long work will showcase the breadth of the quartet's musical range, including extended solos, collective improvisations, development of complex harmonic landscapes, and layered compositional and improvisational strategies.

Rova Saxophone Quartet, the acclaimed all-saxophone ensemble, has fundamentally extended the horizons of music since forming in 1977. Positioning themselves at music's most dynamic nexus, Rova has become an important leader in the movement of genre-bending music that has its roots in post-bop free jazz, avant-rock, and 20th century new music as well as traditional and popular styles of Africa, Asia, Europe and the United States. With its potent mix of stellar musicianship and compositional creativity, Rova explores the synthesis of composition and collective improvisation. The result is adventurous works that are ardent and riveting, exhilarating and free-spirited. While much of Rova's music is composed by its members, the group has also collaborated with and commissioned new works by a wide range of creative artists.
Since its founding, Rova has released over two dozen recordings of original music.
In noting Rova's role in innovatively developing the all-saxophone ensemble as "a regular and conceptually wide-ranging unit," The Penguin Guide to Jazz calls its music "a teeming cosmos of saxophone sounds" created by "deliberately eschewing conventional notions about swing [and] prodding at the boundaries of sound and space..."
more information for ROVA
Vinny Golia
Thollem Mcdonas Rent Romus
Damon Smith Garth Powell
Vinny Golia performing solo and withThollem Mcdonas, Rent Romus, Damon Smith, Noah Phillips, Garth Powell

Vinny Golia, the internationally noted multi-instrumentalist, composer and bandleader has become an important contributor to the vanguard of creative music.
His performance at the Summit this year will consist of Solo & Group
Compositions for Woodwinds on original compositions for woodwind instruments considered obscure, such as the contrabass flute, contrabass clarinet , Tubax and taragoto.

As a composer he fuses the rich heritage of jazz, contemporary classical and world music into his own unique compositions.
As a performer, Golia has presented his music to concert audiences in Europe, Canada, Japan and the United States in ensembles varying dramatically in size and instrumentation. Putting down the paint brushes of a visual artist in 1971, Golia devoted himself full-time to music and has since evolved into one of the world's most celebrated creative jazz artists. At the forefront of improvised music, he plays twenty different woodwinds, plus various ethnic aerophones.
In 1977 Vinny formed his own recording company, Nine Winds Records, since then his label has specialized in music from the West Coast of North America.
Golia has also contributed original compositions and performance to Ballet and modern dance works, video, theatrical productions, including such films as Three Men and a Job, Serpent's Lair, Star Trek IV, Janet Jackson's Rhythm Nation, and The Lost Boys to name a few.
As a composer Golia has received numerous state and national grants in composition and performance for his own works.
As an educator, Vinny has lectured on music, improvisation, Jazz history, record manufacturing and self-production in a variety of formats, ranging from radio broadcasts to workshops and residencies at various music festivals, high schools, and universities, throughout the United States, Canada and Europe including a course in the study of improvisation at the prestigious Art Center in Pasadena California.
Vinny has been a featured performer with Anthony Braxton, John Carter, Bobby Bradford, Horace Tapscott, Bertram Turetzky, George Lewis, Barre Phillips, The Rova Saxophone Quartet, Patti Smith, and George Gruntz Concert Jazz Band, amongst many others.
more information for Vinny Golia
more information for Rent Romus
more information for Thollem Mcdonas
more information for Damon Smith
more information for Garth Powell
more information for Noah Phillips
     
Thursday July 23 Industrial Soundscapes
Peter Kolovos
Forms of Things Unknown

Peter Kolovos

Forms Of Things Unknown
is an acoustic/electronic project dedicated to pan-idiomatic explorations beyond the pale of sectarian orthodoxies, being the brainchild and primary creative enterprise of San Francisco composer/multi-instrumentalist Ferrara Brain Pan. He will perform a studio-generated composition for the Sumit entitled Enantiodromia with live instrumental accompaniment.
Ferrara Brain Pan (birthname Steven Hitchcock) began his formal musical training on the flute as a teenager in the 1970s, later on as an adult extending his instrumental abilities to include other Western orchestral woodwinds such as saxophone, bass clarinet and recorder. A fascination with musical exotica and alternate tonalities led him to explore various ethnic wind instruments including the Australian aboriginal didjeridu, shakuhachi (Japanese bamboo flute), and the kangling (a ritual Tibetan trumpet made from a human thighbone), among others. The subsequent addition of harmonium, bowed psaltery, glockenspiel, percussion, and assorted electronics ranging from vintage oscillators and shortwave radio to digital signal processors led to a further expanded instrumental palette for Forms Of Things Unknown.
more information for Forms of Things Unkown

Peter Kolovos is a free sound artist from Los Angeles, CA. Over the last decade he has developed an intensely personal sound vocabulary based on raw texture, volume, and duration. The result has been physical, abstract work that constantly shifts and evolves in real time. The mechanisms of impulse, memory, intent, restraint laid bear. He has performed throughout the United States both individually and as part of the group Open City. He has also released vinyl as well as CD recordings through his Thin Wrist imprint. His first solo LP "New Bodies" was released this Spring and his second LP will be released later this year by the Belgian Ultra Eczema label.
more information for Peter Kolovos

ConureHans FjellestadConure
Hans Fjellestad

Conure is Mark Wilson of 15 Degrees Below Zero. He started this project in May of 2000, shortly after the formation of Imperial Floral Assault Unit, the pre-cursor to 15DBZ. After years of being a music consumer, he decided it was time to create something of his own. Since that time, he has had numerous CDr releases on such labels as Troniks, Zaftig Research, Immanence Records, and Solipsism, amongst others. He also has CD releases on Crunch Pod and Edgetone Records (forthcoming). In addition, he's been fortunate enough to play multiple shows on both US coasts as well as international shows in Victoria and Montreal, Canada and Berlin, Germany. In the beginning, Mark took a more electronics- and software-based approach to noise. However, over the years, lo-fi equipment and sound sources have begun to dominate, an approach that he feels much more comfortable with, an approach that has led to a considerable evolution in his sound.
more information for Conure

Hans Fjellestad will perform his
Slimspor Cosmonaut
, an improvised performance with a specific set of analog electronics and video projection. A tangle of wires and patch cables wind trails thru a darkly lush world of sound, drawing a map to be sounded out as the visuals explore super inner spaces (200X magnified slugs) and super outer spaces (weather on Neptune).
Hans Fjellestad is a musician and filmmaker based in Los Angeles. He studied music composition and improvisation with George Lewis at University of California San Diego (UCSD), and classical piano with Krzysztof Brzuza. Fjellestad has composed for film, video, theater, dance and has presented his music, film and video art throughout the U.S., Canada, Europe, Australia, Japan, Mexico and Brazil.
Fjellestad's MOOG (2004), a feature-length documentary on synthesizer pioneer Robert Moog, was released theatrically across the U.S., Canada, Europe, Australia and Japan. Stephen Holden of the New York Times dubs MOOG a "compelling documentary portrait" of a "provocative, thoughtful and deeply sympathetic figure" and the London Daily Telegraph calls it "brilliantly inspiring on many levels."
He has given master classes and lectures at various academic institutions including Columbia University, San Francisco Art Institute, McGill University, Centro Universitario de Estudios Cinematográficos (el CUEC) and Universidad del Claustro de Sor Juana in Mexico City, Palomar College, Centro Cultural Tijuana (CECUT), University of California San Diego (UCSD), Center for Research in Computing & the Arts (CRCA) in La Jolla, and the Museum of Contemporary Art San Diego. Fjellestad co-founded the Trummerflora Collective, and has worked as a curator/producer for the international art initiative, inSite_05. He is currently in residence at the Steve Allen Theater in Hollywood, curating the monthly music series ResBox
more information for Hans Fjellestad

Thomas Dimuzio
Thomas Dimuzio


Thomas Dimuzio
is a musician, composer, improvisor, mastering engineer, label proprietor, and music technologist residing in San Francisco, California. Inspired as much by John Cage as Led Zeppelin, Dimuzio melds sound, noise, and texture into a compelling musical experience. Cinematic and dramatic in nature, Dimuzio’s music is a sonic excursion that transports the listener to other worldly realms. “His work has a narrative, filmic tug that will draw you into its dark corners, ears alert… brilliant and rarely less than entertaining.” (BBC)
Dimuzio’s innovative use of live sampling and looping techniques furthers his fascination with sound and becomes evident at any one of his live performances. Whether taking signal feeds from a microphone out the window, shortwave radios, MIDI-controlled feedback, field recordings, circuit-bent instruments, and even other musicians, Dimuzio samples and recontextualizes sound in real-time through his custom-designed compositional environment. Much akin to a tactile musical instrument, Dimuzio’s performance system immediately integrates any sound source into his real-time compositions. “Attending a Thomas Dimuzio performance is like lying underneath a web of freeway bridges with your eyes closed; blocking out all visuals except the brief daggers of light that flicker with each passing car. There is a sense of probable dread—metal, wooden or cigarette debris from the vehicles could fly off and injure you—but also one of hypnotized calm, thanks to the amplified hum of Michelin and Goodyear against greased concrete.” (Pitchfork Media)
With hundreds of live performances spanning the stages of North America and Europe under his belt, Dimuzio consistently engages audiences with his unique world of sonics and textures. Many of his live performances have been documented and released as part of his ever-growing discography, including Preacher In Naked Chase Guilty (Ponk/RéR Megacorp, 1994), Quake (RéR Megacorp, 1999), Dust (RéR Megacorp, 2002), Mono::Poly (Asphodel/Gench, 2002), Markoff Process (RRRecords, 1994), Gench Concert Archives (Gench, 2006), Upcoming Events (No Fun, 2008), Hz (Sonoris, 1999), and Remissions (Isounderscore, 2009). Performances at international festivals and prominent venues include New Music America, NorCal NoiseFest, Festival International Victoriaville Musique Actuélle, Knitting Factory, Tonic, Uberschall, Schindler House, Podewil, The Whitney Museum, The Walker Museum, Noise x NoiseWest, The Western Front, The Great American Music Hall, and The Mellon Institute. Dimuzio has also been the recipient of grants from Meet The Composers and private commissions to facilitate his performances.
more information for Thomas Dimuzio
     
Friday July 24 InterMedia
Jess RowlandDreamland Puppet Theater
Jess Rowland

& The Dreamland Puppet Theater


This experimental puppet opera by

Jess Rowland
will be a live marionette production featuring the puppeteer and production work of Naia Venturi from the Dreamland Puppet Troupe, and a mix of live and prerecorded sound sources. Jess Rowland will also write the libretto for the production and perform the live aspects of the piece. The piece will be based on the themes and concepts found in Jess’s recent work “The Problem with the Soda Machine”
Although puppet productions of existing live stage opera from the repertoire are not uncommon (see for example Monteverdi’s The Return of Ulysses coming to Theater Artaud), to our knowledge this will be one of the few operas written for, and premiered with, puppets. And although the Dreamland Troupe and Jess Rowland have worked together on many music-related puppet productions, this will explore uncharted terrain in terms of incorporating music with puppetry. The thematic material of the piece is also unique. The story centers around the fate of the company vending machine. With words taken verbatim from real company emails, a drama unfolds about how people feel about the machine, what they really want in the machine, and whether or not they are willing to let go of the machine if insufficient product is sold. The piece addresses our shared awkward relationships with technology, capitalism, junk food, and the place where most of us spend most our lives: at the office.

Jess Rowland is a San Francisco based composer and performer, interested in new approaches to electroacoustic music and multimedia art. Her diverse works have ranged from electronic conceptual pieces, experimental puppet-theater musicals, to video/music collaborations. In 2004 and 2008, Jess received grants from the American Composers Forum to create a new multimedia piece, John Ashcroft vs.The Space Librarians (2004), and to compose music for modern dance and processed chamber ensemble, Ballast (2008). Jess released a CD of solo piano improvisations, H.29 (2005), on experimental label Pax Recordings, which was followed by Scenes from the Silent Revolution – a double disc set featuring a DVD of multi-media video art music. Most recently, a new solo release, The Problem with the Soda Machine, has been released on Edgetone Records. Jess is also composer in residence for Shift Physical Theater modern dance troupe, a collaboration which cumulated in a full-length artist-in-residence show at ODC Theater in San Francisco in 2007. This work formed the basis for her first release on Edgetone Records, The Shape of Poison, called "inspired" by the San Francisco Bay Guardian and "lush and spell-like" by the San Francisco Chronicle.
more information for Jess Rowland
more information for Dreamland Puppet Theater
Guerrero Quillian
Gilbert Guerrero and Kathleen Quillian


performing
Hypnodetonation; sounds and films, hand-made animations and field recordings. Using sounds and images from industrial films, television commercials, radio broadcasts, documentary and educational films, hand-made animations and field recordings, the project re-forms contemporary and historical media into a recombinant audio/visual mandala.
The media will be manipulated, layered, looped, and transformed live through a mixture of analog and digital devices, all with the aim of creating circular and repeating patterns like a traditional mandala. The sound and image memes that are retrieved from the media flow will build up, overlap and then be fed back into the process, providing an ever-evolving stream of new material for consumption. Inspired and fed by sources varying from Busby Berkeley choreography to Mayan astrology, the repetitions and loops will create a multi-dimensional meditation device aimed at freeing cognitive thinking by overloading the senses with dazzling displays. The project ultimately questions what happens when we become transfixed by the sounds and images that bombard us on a daily basis and how we can evolve spiritually in an age of information overload.

Gilbert Guerrero and Kathleen Quillian
formed their collaborative team in 2003 based on their shared interests in technology and non-linear narrative. Their collaborative projects explore the cultural landscape through mapping and mediated movement through space. By re-ordering and overlapping images, narratives and settings and comparing the resulting intertextual sediment their work attempts to draw into question and propose alternative solutions to political, cultural and social boundaries. Their collaborative work has been shown extensively around the San Francisco Bay Area as well as Berlin, Germany and Dublin, Ireland. In between gallery exhibitions, they work together as co-directors of the non-profit multi-media art gallery Artists' Television Access. Gilbert is an artist, teacher, and designer of interactive media. His work in experimental cinema, interactive video, drawing, painting, and performance art has been shown in several galleries and on the streets in the San Francisco Bay Area and New York City. He recently worked in collaboration as a designer and programmer on the project "Strange Weather" which was the winner of Eyebeam's Eco-Visualization Challenge in 2008. He holds a degree in Mathematics from UC Berkeley. Kathleen received her MFA in New Genres from the San Francisco Art Institute in 2003. She is currently the Communications Associate for Leonardo/the International Society for the Arts, Sciences and Technology as well as the Development Director for Artists’ Television Access. Her individual work in video and animation has been shown in San Francisco, CA, Baltimore, MD and New Brunswick, Canada.
more information for Gilbert Guerrero and Kathleen Quillian

Bonfire MadiganThe Transliminal Criminal
Bonfire Madigan Shive


In this installment, Bonfire Madigan Shive performs her original music live debuting a multimedia program for cello, voice, movement, film and sacred geometry entitled Portrait of the Artist as a
Transliminal Criminal.

Starting on cello at the age of nine,
Bonfire Madigan Shive
began her composing career at fifteen in the Pacific Northwest Riot Grrrl scene releasing music with seminal independent record labels K and Kill Rock Stars. Shive has gone on to establish herself as a singular and trailblazing performer, blending folk, art, punk, classical and avant-baroque styles. Her albums include Sew True, ...from the Burnpile, Saddle the Bridge, Plays for Change, and the recently reissued I Bleed: a Decade of Song; she is currently finishing her sixth full-length album, to be released in collaboration with her label, MoonPuss Music. Shive has collaborated onstage and in studio with artists as diverse and influential as iconoclastic music producer Hal Willner (Lou Reed, Marianne Faithfull, Allen Ginsberg, Laurie Anderson), Joan Jeanrenaud (Kronos Quartet), David Coulter (The Black Rider, The Pogues), Kimya Dawson, Neko Case, Cat Power, Gossip, Fugazi, The Good, the Bad and the Queen, Jolie Holland, Slovenian industrial-music-theater artists Laibach, Finnish chamber-metal showmen Apocalyptica and Academy Award nominee Elliott Smith. Shive's songs have been included in the films Better Luck Tomorrow, But I'm a Cheerleader, and Chain Camera. Commissions include the original score composed and performed for the American Conservatory Theater's 2008 production of the Jacobean tragedy 'Tis Pity She's a Whore, London's Barbican Hall 2008 Twisted Christmas program, prepared solo cello suites for San Francisco Grace Cathedral's 2006 Easter Vigil of Light, as well as the score and starring role in the forthcoming experiMental silent film Transliminal Criminal. She is a contributing author to the recently released anthology Live through This: On Creativity and Self-Destruction (Seven Stories Press), sharing company with bell hooks, Nan Goldin, Kate Bornstein, and other creative pioneers. She is a founding collective member of The Icarus Project, a grassroots support and media network led by people living with experiences commonly labeled "mental illness." BMad band mates and intermittent collaborators have included: Jonathan Egg Hughes, Shawn Biggs, Shelley Doty, Tomas Palermo, Emily Palen, Aurisha Smolarski, Eliana Fiore, Joan Jeanrenaud, Jolie Holland, Matt Lucich, Ashley Adams, David Coulter, Tara Barnes, Ralph Carney, Elliott Sharp, Zef Noise, Sheri Ozeki, Christine Lehmann, Carla Kihlstedt, Chan Marshall, Spazecrafte1, Jane LeCroy, Elliott Smith, Laura MacFarland, Carey Lamprecht, Jake Rodriguez, Thalia Zedek, Kid Lucky, Sunshine Haire and more.
more information for Bonfire Madigan

     
Saturday Jul 25 introspection & improvisation
Natto QuartetShoko Hikage
Chris Brown
Natto

w/ Phillip Gelb, Shoko Hikage, Chris Brown, Kyle Bruckmann

The members of the
Natto Quartet have performed together in various configurations for years, finally solidifying as a quartet in 2002 to perform both composed works and freely improvised music. Gelb has studied the shakuhachi, an ancient Japanese bamboo flute, since 1988, and is one of the only performers in the United States to use the instrument in the new improvised music context. Hikage grew up studying the koto, traditionally a 13-string chamber music instrument taught to women in Japan, and uses her extensive classical training on her instrument in both traditional and new music applications. A founding member of the influential interactive computer network ensemble The Hub, Perkis performs regularly on the improvised music scene where he utilizes customized software and hardware to create his unique and sensitive electronic approach. Brown, who frequently collaborated with Trio Natto before it officially became a quartet, is the Co-Director of Contemporary Music at Mills College in Oakland, an epicenter of live electronics performance. He is a composer, electronic musician, and pianist whose mobile preparations and inside-the-piano technique help redefine the instrument's role. Trio Natto was formed in 2000 and have performed throughout the Bay Area and Japan. They explore the unique combination of two ancient Japanese instruments with a live electronic improviser and are often joined by Chris Brown on grand piano.
more informatin for Natto Quartet

more information for Shoko Hikage
more information for Philip Gelb
more information for Tim Perkis
more information for Chris Brown
Richard WatersGhost In The House
Ghost In the House

featuring Richard Waters
w/David Michalak, Karen Stackpole, Kyle Bruckmann, Tom Nunn

Richard Waters
is a multi-media artist from Gulfport, MS, best known as the inventor of the Waterphone. Waterphones have been exhibited in museums and galleries and utilized by music/performance groups and symphonies such as the New York Philharmonic and others worldwide. The Renwick Gallery (The Smithsonian Institute), The Oakland Museum, The Walter Anderson Museum of Art, L.A.I.C.A., the San Francisco Folk Art Museum and the Exploratorium are a few of the art spaces to exhibit them. Waterphones are featured in the soundtracks to Star Trek, Poltergeist, The Wide World of Animals - Calling Orcas, Alien Nation, The Young Guns, Bugsy, Powder, No Place to Hide, Truman, Mystery Men, The Matrix, Crouching Tiger, Hidden
Dragon and many other films and TV series. Richard has worked, performed or recorded with a wide variety of musicians and is well represented on albums, tapes and CDs of his music as well as other ensembles. He will be featuring his Waterphones with the members of film maker David Mihalak's quartet Ghost In the House.
The music of
Ghost In The House is a soundtrack for the subconscious. Conceived by filmmaker & musician David Michalak, Ghost in the House explores the ethereal and elemental soundscapes where music suggests an image. It could be a murder mystery, a visitation in a dream or a cataclysmic storm. The scores are images and scenarios to be interpreted by the band creating a unique visual music form. Their performances are a ritualistic experience pounded out on ancient (Stackpole’s gongs) and homemade instruments (Nunn’s sculptural inventions) creating other worldly scenarios with texture and guidance from Bruckmann’s ominous horns and Michalak’s haunting lap steel. The addition of Richard Waters on waterphone and saw will serve to further explore this ritual.
more information for Richard Waters
more informatin for Ghost in the House
more information for David Michalak
more information for Tom Nunn
more information for Karen Stackpol
more information for Kyle Bruckmann
Left Coast Improv Group
Left Coast Improv Group
Tom Nunn, Doug Carroll, Michael Cooke, Ron Heglin, Jeff Hobbs, Darren Johntson, Scott R. Looney, Bob Marsh, Jim Ryan, Karen Stackpole

The Left Coast Improv Group
created in 2001 (LCIG) is a chamber performance ensemble with a difference. It’s mission is to present high quality, totally improvised works for the enjoyment of it’s audience and the pleasure of it’s participants. LCIG’s pieces in concert and on record are examples of spontaneous composition. It’s approach is basically non-hierarchical, non-arboreal. All the players are composers and directors. There is no ‘leader.’ Although Jim Ryan handles the administrative work; he is simply another player when it comes to making the music. In Deleuzian terms this group is based on a ‘rhizomatic’ rather than ‘arboreal’ structure. Musically this means that the players respond as individuals, making decisions about what to play as the music progresses. They react to one another and the over all sound rather than being bound by a score and a conductor. Musical experience and trust amongst the players is required for this to create good music.
The concept of improvised group composition is certainly not new. No doubt ensemble playing originated in this manner until it eventually become codified in various written and unwritten patterns, rules & compositions; until at some point music came to be regarded more as a formalization in thought or notation, rather than the creation of sounds to be listened to. The San Francisco Bay Area has been one of the major seed beds of improvised music for some time. And the Left Coast Improv Group is dedicated to it’s continued production and dissemination.
more information for LCIG
more information for Tom Nunn

more information for Doug Carroll
more information for Michael Cooke
more information for Ron Heglin
more information for Darren Johnston
more information for Scott Looney
more information for Bob Marsh
more information for Jim Ryan
more information for Karen Stackpol
Meet the ComposerLeadership support for Meet The Composer’s MetLife Creative Connections program is generously provided by MetLife Foundation. Additional support is provided by The Amphion Foundation, Argosy Foundation Contemporary Music Fund, BMI Foundation, Inc., Mary Flagler Cary Charitable Trust, Aaron Copland Fund for Music, Inc., The William & Flora Hewlett Foundation, The James Irvine Foundation, Jerome Foundation, mediaThe foundation, National Endowment for the Arts, New York City Department of Cultural Affairs, New York State Council on the Arts, Pennsylvania Council on the Arts and Virgil Thomson Foundation, Ltd.
Zellerbach Family FoundationThe 2009 Ousound New Music Summit is funded in part by the Zellberbach Family Foundation