Trillium E is the first-ever studio recording of an Anthony Braxton opera, a deluxe 4-disc set of this surreal and witty installment in Braxton's ongoing Trillium cycle, and includes a booklet with libretto, photos, and critical essays.
Label: New Braxton House
Catalog ID: NBH901
Squidco Product Code: 15271
Format: 4 CDs
Packaging: Box Set - 4 CDs in jewel trays and book.
Composed by Anthony Braxton, Synthesis Music. Produced by Taylor Ho Bynum for the Tri-Centric Foundation. Executive producers: Anthony Braxton and Nick Lloyd. Recorded March 18 Ð 22, 2010, at Systems Two, Brooklyn, NY. Recording producer, engineer, mixing and mastering: Jon Rosenberg. Assistant producers: Amy Crawford and Kyoko KitamuraSystems Two staff and assistant engineers: Joe Marciano, Nancy Marciano and Max Ross
Taylor Ho Bynum-conductor
Olivia De Prato-violin
Jason Kao Hwang-violin
Dave Kadden-English horn
Katie Scheele-English horn
Mark Taylor-French horn
Michael Douglas Jones
Highlight an artist name or instrument above
and click here to Search
1. Act I 49:15
2. Act II 43:13
3. Act III 48:33
4. Act IV 40:18
Related Categories of Interest:
Staff Picks & Recommended Items
sample the album:
"Trillium E is the first-ever studio recording of an Anthony Braxton opera. The deluxe four-disc set documents this surreal and witty installment in Braxton's ongoing Trillium cycle, and includes a booklet with libretto, photos, and critical essays. Each of Trillium E's four acts features a different episode: a genie in a bottle, the invention of human cloning, interplanetary space travel, and the exploration of a jungle pyramid. The performers' credits range from major opera companies (New York City Opera, Florentine Opera, Lyric Opera of San Diego); top avant-garde performance groups (Philip Glass Ensemble, Wooster Group, Damstadt Institute); grassroots arts collectives (HERE Theater, Anti-Social Music); and collaborations with legendary jazz and improvised music figures.
Each of Trillium E's four acts features a different episode: a genie in a bottle, the invention of human cloning, interplanetary space travel, and the exploration of a jungle pyramid. The performers' credits range from major opera companies (New York City Opera, Florentine Opera, Lyric Opera of San Diego); top avant-garde performance groups (Philip Glass Ensemble, Wooster Group, Damstadt Institute); grassroots arts collectives (HERE Theater, Anti-Social Music); and collaborations with legendary jazz and improvised music figures. Each act is split into two tracks for the listener's convenience, but they are intended to be heard continuously, without interruption.
ABOUT THE TRI-CENTRIC ORCHESTRA:
The Tri-Centric Orchestra was founded by Anthony Braxton for the recording of the opera Trillium E in the spring of 2010. The project brought together an extraordinary community of creative artists: a family of artists 60-musicians strong, equally comfortable improvising and interpreting the most rigorous notation, wholly committed to pursuing a new American music. The group has grown into a permanent entity, dedicated to performing the large ensemble works of Braxton and similarly forward-thinking composers, as well as developing the composers and conceptualists within its own ranks.
ABOUT ANTHONY BRAXTON
Composer and saxophonist Anthony Braxton has been reinventing musical forms since his emergence from Chicago's Association for the Advancement of Creative Music in the 1960s. His 1968 recording "For Alto" essentially launched the history of unaccompanied recitals of solo instruments (other than piano) in creative music. His dozens of duo projects demonstrate the spectrum of his musical interests, with artists ranging from legendary jazz drummer Max Roach to British free-improv guru Derek Bailey to electronic music pioneer Richard Teitelbaum. Braxton's small ensembles of the '70s through the '90s are considered among the most innovative groups of their respective eras, featuring such collaborators as Leo Smith, Leroy Jenkins, Steve McCall, Chick Corea, Kenny Wheeler, Dave Holland, Barry Altschul, George Lewis, Muhal Richard Abrams, Marilyn Crispell, Mark Dresser, and Gerry Hemingway, among many others. His Creative Orchestra Music has brought together the varying streams of American jazz orchestras, marching bands, and experimental practices with the traditions of European concert music in a wholly individual compositional voice. His ever-evolving Ghost Trance Music of the past fifteen years has been described as "a utopian musical model for an ideal democracy," serving as the artistic incubator for some of the most exciting artists of the current generation, including Taylor Ho Bynum, James Fei, Mary Halvorson, Chris Jonas, Steve Lehman, Nicole Mitchell, and Jessica Pavone.
Braxton's five decades worth of recorded output is kaleidescopic, with a discography of over two hundred recordings. He has been the subject of numerous books, anthology chapters, scholarly studies and articles, in addition to his own extensive writings (Tri-Axium Writings 1-3 and his five-volume Composition Notes A-E). Braxton is also a tenured professor at Wesleyan University, which has one of the nation's leading programs for world and experimental music, and his many awards include a 1994 MacArthur Fellowship and a 2009 honorary doctorate from the University of Liege, Belgium."
• Show Bio for Vasco Trilla
"Born in Barcelona, Vasco Trilla started playing drums at the age of nineteen. His first influences were progressive rock and metal, but gradually he developed an interest in a variety of different genres such as jazz, Indian music, African music, klezmer, free improvisation, etc.
Since then he has collaborated, toured and recorded with many different bands and projects such as Boi Akih (an ethno-jazz band from the Netherlands), Planeta Imaginario (progressive jazz-rock) October Equus (avant-rock), The Oddvisers (pop-avant), Fine! (indie pop-rock), Mundo Flotante (ethno-jazz-rock), Kaulakau/Cobla Sant Jordi (an ethno-jazz Catalan orchestra), Filthy Habits Ensemble (a jazz octet playing Zappa's and Stravinsky's repertoire), Cows On Trees (a jazz-improv quartet with Susana Santos Silva and Kaja Draksler), Balimonster (an impro-ethno duo with Angel Ontalva), Yedo Gibson-Vasco Trilla duo (an improv sax & drums duo), Outerzone (jazz-core), Reptilian Mambo (mambo free rock), Liba's Traum, etc.
In the last years he has been playing and experimenting on the free-improv scene, applying extended techniques to the kit and treating it as a textural-melodic instrument. Blowing, bowing, scratching, playing with hands and all kinds of objects, all is valid to expand the vocabulary of this innovative percussionist. He played with improvisers, such as: Lotte Anker, Marshall Allen, Yedo Gibson, Susana Santos Silva, Kaja Draksler, Jasper Stadhouders, Mikloaj Trzaska, Martin Kuchen, Richard Barrett, Jorma Tapio, Christher Bothen, Marc Stucki, Luc Ex. etc...
He has released around 30 CDs in labels such as Cuneiform Records (USA), Altrock Records (Italy), Leo Records (UK) Discordian Records (Barcelona, Spain), Audition Records (Mexico), El Negocito Records (Belgium), Jacc Records (Portugal), Fmr Records (UK)."-Vasco Trilla Website (http://vascotrilla.com/)
^ Hide Bio for Vasco Trilla
• Show Bio for Anthony Braxton
[Anthony Braxton (born June 4, 1945) is an American composer and instrumentalist.]
"Genius is a rare commodity in any art form, but at the end of the 20th century it seemed all but non-existent in jazz, a music that had ceased looking ahead and begun swallowing its tail. If it seemed like the music had run out of ideas, it might be because Anthony Braxton covered just about every conceivable area of creativity during the course of his extraordinary career. The multi-reedist/composer might very well be jazz's last bona fide genius. Braxton began with jazz's essential rhythmic and textural elements, combining them with all manner of experimental compositional techniques, from graphic and non-specific notation to serialism and multimedia. Even at the peak of his renown in the mid- to late '70s, Braxton was a controversial figure amongst musicians and critics. His self-invented (yet heavily theoretical) approach to playing and composing jazz seemed to have as much in common with late 20th century classical music as it did jazz, and therefore alienated those who considered jazz at a full remove from European idioms. Although Braxton exhibited a genuine -- if highly idiosyncratic -- ability to play older forms (influenced especially by saxophonists Warne Marsh, John Coltrane, Paul Desmond, and Eric Dolphy), he was never really accepted by the jazz establishment, due to his manifest infatuation with the practices of such non-jazz artists as John Cage and Karlheinz Stockhausen. Many of the mainstream's most popular musicians (Wynton Marsalis among them) insisted that Braxton's music was not jazz at all. Whatever one calls it, however, there is no questioning the originality of his vision; Anthony Braxton created music of enormous sophistication and passion that was unlike anything else that had come before it. Braxton was able to fuse jazz's visceral components with contemporary classical music's formal and harmonic methods in an utterly unselfconscious -- and therefore convincing -- way. The best of his work is on a level with any art music of the late 20th century, jazz or classical.
Braxton began playing music as a teenager in Chicago, developing an early interest in both jazz and classical musics. He attended the Chicago School of Music from 1959-1963, then Roosevelt University, where he studied philosophy and composition. During this time, he became acquainted with many of his future collaborators, including saxophonists Joseph Jarman and Roscoe Mitchell. Braxton entered the service and played saxophone in an Army band; for a time he was stationed in Korea. Upon his discharge in 1966, he returned to Chicago where he joined the nascent Association for the Advancement of Creative Musicians (AACM). The next year, he formed an influential free jazz trio, the Creative Construction Company, with violinist Leroy Jenkins and trumpeter Leo Smith. In 1968, he recorded For Alto, the first-ever recording for solo saxophone. Braxton lived in Paris for a short while beginning in 1969, where he played with a rhythm section comprised of bassist Dave Holland, pianist Chick Corea, and drummer Barry Altschul. Called Circle, the group stayed together for about a year before disbanding (Holland and Altschul would continue to play in Braxton-led groups for the next several years). Braxton moved to New York in 1970. The '70s saw his star rise (in a manner of speaking); he recorded a number of ambitious albums for the major label Arista and performing in various contexts. Braxton maintained a quartet with Altschul, Holland, and a brass player (either trumpeter Kenny Wheeler or trombonist George Lewis) for most of the '70s. During the decade, he also performed with the Italian free improvisation group Musica Elettronica Viva, and guitarist Derek Bailey, as well as his colleagues in AACM. The '80s saw Braxton lose his major-label deal, yet he continued to record and issue albums on independent labels at a dizzying pace. He recorded a memorable series of duets with bop pioneer Max Roach, and made records of standards with pianists Tete Montoliu and Hank Jones. Braxton's steadiest vehicle in the '80s and '90s -- and what is often considered his best group -- was his quartet with pianist Marilyn Crispell, bassist Mark Dresser, and drummer Gerry Hemingway. In 1985, he began teaching at Mills College in California; he subsequently joined the music faculty at Wesleyan University in Connecticut, where he taught through the '90s. During that decade, he received a large grant from the MacArthur Foundation that allowed him to finance some large-scale projects he'd long envisioned, including an opera. At the beginning of the 21st century, Braxton was still a vital presence on the creative music scene."-All Music, Chris Kelsey (http://www.allmusic.com/artist/anthony-braxton-mn0000924030/biography)
^ Hide Bio for Anthony Braxton
• Show Bio for Taylor Ho Bynum
"Taylor Ho Bynum (b. 1975) has spent his career navigating the intersections between structure and improvisation - through musical composition, performance and interdisciplinary collaboration, and through production, organizing, teaching, writing and advocacy. As heard on over twenty recordings as a bandleader, Bynum's expressionistic playing on cornet and his expansive vision as composer have garnered him critical attention as one of the singular musical voices of his generation. He currently leads his Sextet and 7-tette, and works with many collective ensembles including a duo with drummer Tomas Fujiwara, the improv trio Book of Three, the UK/US collaborative Convergence Quartet, the dance/music interdisciplinary ensemble Masters of Ceremony, and the trans-idiomatic little big band Positive Catastrophe.
His varied endeavors include his Acoustic Bicycle Tours (where he travels to concerts solely by bike across thousands of miles) and his stewardship of Anthony Braxton's Tri-Centric Foundation (which he serves as executive director, producing most of Braxton's recent major projects). In addition to his own bands, his ongoing collaboration with Braxton, past work with other legendary figures such as Bill Dixon and Cecil Taylor, and current collective projects with forward thinking peers, Bynum increasingly travels the globe to conduct community-based large ensembles in explorations of new creative orchestra music. He is also a published author and contributor to The New Yorker's Culture Blog, has taught at universities, festivals, and workshops worldwide, and has served as a panelist and consultant for leading funders and organizations. His work has received support from Creative Capital, the Connecticut Office of the Arts, Chamber Music America, New Music USA, USArtists International, and the Doris Duke Charitable Foundation."-Taylor Ho Bynum website (http://taylorhobynum.com/)
^ Hide Bio for Taylor Ho Bynum
• Show Bio for Renee Baker
"Renèe Baker has been at the extreme forefront of creative/avant garde music whiledeveloping this unique ensemble since 1991. Utilizing some of the finest musicians that cross the classical world as well as jazz greates, she has crafted a group of the best traditionalists and married them to dedicated improvisors. A true genre bending experience- her skills as a conductor and musician coordinator have been used by some of the finest musical organizaitons in Chicago.
Ms. Baker is also the Artistic Director of the Chicago Sinfonietta Chamber Ensemble as well as Mantra Blue Free Orchestra. As an improvisor,Renèe has performed and recorded with Nicole Mitchell's Black Earth Stringa, Karl E. H. Seigfried's New Quartet and Galaxy String Quartet, the David Boykin Expanse, Orbert Davis, George Lewis, Mwata Bowden, the Great Black Music Ensemble, the Chicago Jazz Philharmonic and the Chicago Jazz Orchestra. She is a member of the Chamber of the AACM, Association for the Advancement of Creative Musicians. In recent years, Renèe has premiered original compositions with the Chicago Sinfonietta, The Joffrey Ballet Chamber Series, and as part of the PionoForte Salon Series and the Umbria Jazz Festival (Italy.) Future collaborations will include MCA (Museum of Contemporary Art), Chiago Architecture Foundation, South Shore Cultural Center, among others.
Renèe is Principal Violinist of the Internationally renowned Chicago Sinfonietta; she has worked with the orchestra since its founding in 1987. She has been a participant in many international music festivals includign Classical Music Festival (Eisenstadt, Austria), and Philomusica di Chicago (Martigues, France.) She has performed extensively throughout Africa, Asia and Europe.
Her debut at the prestigious Ravinia Festival was as the viola soloist for "Don Quixote" (Strauss), in which she partnered with John Sharp, Principal Cellist of the Chicago Symphony Orchestra. She has performed numerous solo recitals at venues such as the Chicago Cultural Center, and she has been a featured performer with many chamber music ensembles, including her own FAQtet - an ensemble that primarily performs classical repertoire by African-American composers. CMOP represents her debut as a conductor and composer-in-residence of this new music ensemble."-Chicago Modern Orchestra Project (http://www.chicagomodernorchestraproject.org/artistic-director/)
^ Hide Bio for Renee Baker
• Show Bio for Nicole Mitchell
"Nicole Mitchell (b. 1967) is a creative flutist, composer, bandleader and educator. As the founder of Black Earth Ensemble, Black Earth Strings, Ice Crystal and Sonic Projections, Mitchell has been repeatedly awarded by DownBeat Critics Poll and the Jazz Journalists Association as "Top Flutist of the Year" for the last four years (2010-2014). Mitchell's music celebrates African American culture while reaching across genres and integrating new ideas with moments in the legacy of jazz, gospel, experimentalism, pop and African percussion through albums such as Black Unstoppable (Delmark, 2007), Awakening (Delmark, 2011), and Xenogenesis Suite: A Tribute to Octavia Butler (Firehouse 12, 2008), which received commissioning support from Chamber Music America's New Jazz Works.
Mitchell formerly served as the first woman president of Chicago's Association for the Advancement of Creative Musicians (AACM), and has been a member since 1995. In recognition of her impact within the Chicago music and arts education communities, she was named "Chicagoan of the Year" in 2006 by the Chicago Tribune. With her ensembles, as a featured flutist and composer, Mitchell has been a highlight at festivals and art venues throughout Europe, the U.S. and Canada.
Ms. Mitchell is a recipient of the prestigious Alpert Award in the Arts (2011) and has been commissioned by Chicago's Museum of Contemporary Art, the Ravinia Festival, the Chicago Jazz Festival, International Contemporary Ensemble (ICE), the Chicago Sinfonietta Orchestra and Maggio Fiorentino Chamber Orchestra (Florence, Italy). In 2009, she created Honoring Grace: Michelle Obama for the Jazz Institute of Chicago. She has been a faculty member at the Vancouver Creative Music Institute, the Sherwood Flute Institute, Banff International Jazz Workshop and the University of Illinois, Chicago. Her work has been featured on National Public Radio, and in magazines including Ebony, Downbeat, JazzIz, Jazz Times, Jazz Wise, and American Legacy.
Nicole MItchell is currently a Professor of Music, teaching in "Integrated Composition, Improvisation and Technology," (ICIT) a new and expansively-minded graduate program at the University of California, Irvine. In November 2014, ICIT was approved for the unleashing of a new MA/PhD program, which will be offered starting fall 2015. Mitchell's recent composition, Flight for Freedom for Creative Flute and Orchestra, a Tribute to Harriet Tubman, premiered with the Chicago Composers' Orchestra in December 2011 and was presented again with CCO in May 2014. She was also commisisoned by Chicago Sinfonietta for Harambee: Road to Victory, for Solo Flute, Choir and Orchestra in January 2012. Her latest commission was from the French Ministry of Culture and the Royaumont Foundation in October 2014, which supported the development and French tour of Beyond Black - a collaboration with kora master Ballake Sissoko, Black Earth Ensemble and friends. Currently Mitchell is preparing her next commission supported by the French American Jazz Exchange, entitled Moments of Fatherhood, featuring Black Earth Ensemble and the Parisian chamber group L'Ensemble Laborintus, to premiere at the Sons d'hiver Jazz Festival in late January 2015.
Among the first class of Doris Duke Artists (2012), Mitchell works to raise respect and integrity for the improvised flute, to contribute her innovative voice to the jazz legacy, and to continue the bold and exciting directions that the AACM has charted for decades. With contemporary ensembles of varying instrumentation and size (from solo to orchestra), Mitchell's mission is to celebrate the power of endless possibility by "creating visionary worlds through music that bridge the familiar and the unknown." She is endorsed by Powell flutes."-Nicole Mitchell Website (http://nicolemitchell.com/)
^ Hide Bio for Nicole Mitchell
• Show Bio for Leah Paul
"Leah began her music career in Brooklyn, NY in 2002 after studying flute performance at the University of Michigan.
As a flutist, Leah has played a vital role in NYC's new music and downtown scenes. She has been a longtime member of Matthew Welch's Blarvuster, recently performing his new opera Borges and the Other at Roulette, as well as playing on his Tzadik release Blarvuster. In 2010 Leah recorded with Anthony Braxton's Triilium E Orchestra as a soloist, the first-ever Braxton opera studio recording, Leah is also featured on his upcoming release of Trillium J recorded in the spring of 2014.Leah has also recorded and performed with countless bands and ensembles such as TV on the Radio, the Dirty Projectors, Milagres, Michael Leonhart, Aaron Seigel and City Center.
Leah's upcoming release 'We Will Do the Worrying' is being met with high praise from high places. We Will Do The Worrying is an extension of the rich chamber writing Leah has honed on her previous albums, this time bringing in lushly layered vocals, alluring string quartet arrangements and percussive elements to create vignettes of other-worldly landscapes and experiences. Leah's gift for weaving harmonically textural motifs, playful rhythmic counterpoint and sparse yet meaningful lyrics allow the ten pieces on this album to soar, sparking imaginative daydreams in the minds-eye of the listener.
Leah Paul's album Trenza is unlike any chamber music you've heard. Featuring genre-busting musicians such as Chris Speed and Sara Schoenbeck, every piece takes on an identity in the way your favorite rock song might, unraveling complex counterpoint and harmonic shifts at breakneck pace. Leah's work as a flutist with artists such as Anthony Braxton and the Dirty Projectors informs her compositions as they are simultaneously unexpected and catchy. California Quintet was written during her first year in Los Angeles after relocating from Brooklyn. Each of the six movements chronicles an exploration and shift in perspective that one experiences when completely changing one's surroundings. Steps to Stairs employs lower strings mixed with winds to create an ensemble that blossoms into full orchestral timbres while maintaining an intimate backdrop for sparse melodic textures to emerge. Trenza beautifully braids the nuances of classical, jazz and contemporary music into a singular voice and a joyful listening experience. This is Leah's second release on Brooklyn's Skirl Records.
Leah Paul's 2011 release of her works for quartet Bike Lane, on Brooklyn's Improvisation/new music label Skirl Records has been met with enthusiasm and praise. Bike Lane is a collection of composed music for flute, clarinet, bassoon and viola. The inspiration for this album is the ever-merging scenes of classical, improvised, and rock music that are unique to New York City. It is composed chamber music channeling pop structure, with an improvisational spirit and feel. Peter Margasak of eMusic says "...while operating like a sophisticated chamber ensemble, the quartet reveals a wonderfully fluid, graceful pop sensibility. There's nothing cheap or shallow about the music, but the themes lodge in the memory like radio hits."
Leah's earlier projects include the Bridesmaids, a chamber pop group which received acclaim from TimeOutNY, the Big Takeover and Venuszine.
Currently Leah is currently living in the Silverlake area of Los Angeles, in addition to her career as a composer and flutist, she is also an active teacher working for the Harmony Project of Los Angeles, YoungArts, as well as a guest lecturer at the Longy School of Music and a presenter at the Los Angeles Composer's Salon."-Leah Paul's Website (http://leahpaul.com/bio/)
^ Hide Bio for Leah Paul
• Show Bio for Josh Sinton
"Josh Sinton, a native of Southern New Jersey, born in 1971, is a creative musician who specializes in playing the baritone saxophone and bass clarinet. Growing up, his musical inspirations were his father's record collection, his brothers' record collections and watching his father play stride piano at parties. There wasn't anyone else playing music so to this day Sinton remains mystified that the music bug stuck at all.
He studied composition at the University of Chicago and improvisation at the AACM in the 1990's and then proceeded to carve out a niche for himself in Chicago writing and performing music for dance (with Julia Mayer) and theater (at Steppenwolf Studio and Bailiwick Repertory) as well as performing and studying with local musicians such as Fred Anderson, Ken Vandermark, Ari Brown and Cameron Pfiffner. He would leave Chicago during this time for extended backpacking trips around Europe and India and found a lot of useful information for his later work.
Determined to overcome his technical shortcomings, he gave all this up and moved to Boston in 1999 to resume studies at the New England Conservatory. He spent five years in Boston and met, played and studied with a variety of folks including Steve Lacy, Ran Blake, Dominique Eade, Jerry Bergonzi, Bob Moses, Jim Hobbs and the Either Orchestra. Despite their encouragement, Sinton was overjoyed when he got to leave Boston in 2004.
Since then, Sinton has lived in Brooklyn, New York. He's been fortunate enough to be a long-standing member of Darcy James Argue's Secret Society, the Nate Wooley Quintet, the Andrew D'Angelo DNA Orchestra and Anthony Braxton's Tricentric Orchestra. With these groups he's travelled to several countries in Europe and South America as well as played many festivals (Moers, Newport, BMW, Bergamo, Tampere Jazz Happening, etc.). Sinton is proud of the collaborators he's been able to work with (Kirk Knuffke, Tomas Fujiwara, Chad Taylor, Mary Halvorson, Ingrid Laubrock, Jeremiah Cymerman, Josh Roseman, Harris Eisenstadt, Roswell Rudd, James Fei, Denman Maroney, Han-Earl Park, Greg Tate, Curtis Hasselbring, Mike Pride, Jon Irabagon) but the list of people he still hopes to play with is vast.
As a long-standing member of the Douglass Street Music Collective, Josh Sinton has hosted hundreds of concerts over the past 7 years Brooklyn. His work has been recognized by Downbeat (Critics' and Readers' Poll), Jazz Times (Critics' Poll) and El Intruso (International Critics' Poll) and has been discussed in The Wire, Signal to Noise, Point of Departure, the New York Times and the New York City Jazz Record.
Sinton defines himself as a "creative musician" rather than a jazz musician and has done so since 2011. His reasons for this are varied and personal, but some of them are outlined here and here. Suffice to say, friendly listeners can label him what they will. Sinton will just continue creating sounds with the goal of wasting nobody's time.
Currently Sinton leads the band Ideal Bread as well playing regularly with the Nate Wooley Quintet and the Tricentric Orchestra. He is busy writing new music for himself and his collaborators as well as contributing essays to the websites of Darcy James Argue, Ethan Iverson's Do The Math, Destination: Out and Sound American."-Josh Sinton Website (http://joshsinton.com/about/)
^ Hide Bio for Josh Sinton
• Show Bio for Sara Schoenbeck
"Sara Schoenbeck is a bassoonist who dedicates herself to expanding the sound and role of the bassoon in the worlds of classical, contemporary notated and improvised music. The Wire magazine places her in the "tiny club of bassoon pioneers" at work in contemporary music today and the New York Times has called her "riveting, mixing textural experiments with a big, confident sound."
Originally from California, Sara spent her time on the west coast freelancing in various orchestral bassoon sections such as Santa Barbara Symphony, California Symphony, Redlands, Mancini Orchestra, the Dakah Hip Hop Orchestra and touring as a member of creative music ensembles Gravitas Quartet with Wayne Horvitz, Ron Miles and Peggy Lee, Anthony Braxton's 12+1(tet) and Vinny Golia's Large Ensemble. Sara also recorded for various sound and film projects including the Matrix 2 and 3 and Spanglish.
Sara now calls Brooklyn home and performs regularly with Petr Kotek's SEM ensemble, the composers group WetInk, Wordless Music Orchestra, LPR, Anthony Braxton's Tri-Centric Orchestra, Gravitas, Harris Eisenstadt's Golden State Quartet,the Lyrica Chamber Orchestra as well as performing with many other creative and inspiring musicians in the New York scene.
She has performed at major venues and festivals throughout North America and Europe, including Carnegie Hall, Lincoln Center Out of Doors, the Kitchen, Iridium, Disney Hall, SXSW, New Orleans Jazz Festival, Berlin Jazz Festival, Free Music Festival in Antwerp Belgium, Biennale Musica in Venice Italy, Montreal Jazz Festival, Ottawa Jazz Festival, the Vancouver International Jazz Festival and the San Francisco Jazz Festival to name a few. Sara received her BFA from the San Francisco Conservatory of Music and MFA from the California Institute of the Arts."-Sara Schoenbeck Website (http://saraschoenbeck.weebly.com/bio.html)
^ Hide Bio for Sara Schoenbeck
• Show Bio for Nate Wooley
"Nate Wooley was born in 1974 in Clatskanie, Oregon, a town of 2,000 people in the timber country of the Pacific Northwestern corner of the U.S. He began playing trumpet professionally with his father, a big band saxophonist, at the age of 13. His time in Oregon, a place of relative quiet and slow time reference, instilled in Nate a musical aesthetic that has informed all of his music making for the past 20 years, but in no situation more than his solo trumpet performances.
Nate moved to New York in 2001, and has since become one of the most in-demand trumpet players in the burgeoning Brooklyn jazz, improv, noise, and new music scenes. He has performed regularly with such icons as John Zorn, Anthony Braxton, Eliane Radigue, Ken Vandermark, Fred Frith, Evan Parker, and Yoshi Wada, as well as being a collaborator with some of the brightest lights of his generation like Chris Corsano, C. Spencer Yeh, Peter Evans, and Mary Halvorson.
Wooley's solo playing has often been cited as being a part of an international revolution in improvised trumpet. Along with Peter Evans and Greg Kelley, Wooley is considered one of the leading lights of the American movement to redefine the physical boundaries of the horn, as well as demolishing the way trumpet is perceived in a historical context still overshadowed by Louis Armstrong. A combination of vocalization, extreme extended technique, noise and drone aesthetics, amplification and feedback, and compositional rigor has led one reviewer to call his solo recordings "exquisitely hostile".
In the past three years, Wooley has been gathering international acclaim for his idiosyncratic trumpet language. Time Out New York has called him "an iconoclastic trumpeter", and Downbeat's Jazz Musician of the Year, Dave Douglas has said, "Nate Wooley is one of the most interesting and unusual trumpet players living today, and that is without hyperbole". His work has been featured at the SWR JazzNow stage at Donaueschingen, the WRO Media Arts Biennial in Poland, Kongsberg, North Sea, Music Unlimited, and Copenhagen Jazz Festivals, and the New York New Darmstadt Festivals. In 2011 he was an artist in residence at Issue Project Room in Brooklyn, NY and Cafe Oto in London, England. In 2013 he performed at the Walker Art Center as a featured solo artist.
Nate is the curator of the Database of Recorded American Music (www.dramonline.org) and the editor-in-chief of their online quarterly journal Sound American (www.soundamerican.org) both of which are dedicated to broadening the definition of American music through their online presence and the physical distribution of music through Sound American Records. He also runs Pleasure of the Text which releases music by composers of experimental music at the beginnings of their careers in rough and ready mediums."-Nate Wooley Website (http://natewooley.com/about)
^ Hide Bio for Nate Wooley
• Show Bio for Tyshawn Sorey
"Tyshawn Sorey (born July 8, 1980 in Newark, New Jersey) is an American musician and composer who plays drum set, percussion, trombone and piano.
Since graduating from William Paterson University, Sorey has been a sought-after musician in many different musical idioms. He is both a performer and composer, and has had works reviewed in The Wire, The New York Times, The Village Voice, Modern Drummer and Down Beat. In August 2009, Sorey was given the opportunity to curate a month of performances at the Stone, a New York performance space owned by John Zorn. He was selected as an Other Minds 17 (2012).
Sorey recently completed a Master of Arts in composition at Wesleyan University in Middletown, Connecticut. In the fall of 2011, he began pursuing doctoral work in composition at Columbia University.
To date, Sorey has released four albums as a leader: That/Not (2007, Firehouse 12 Records), Koan (2009, 482 Music), Oblique (2011, Pi Recordings) and Alloy (2014, Pi Recordings). He has recorded or performed with musicians including Wadada Leo Smith, Steve Coleman, Anthony Braxton, John Zorn, Steve Lehman, Joey Baron, Muhal Richard Abrams, Pete Robbins, Vijay Iyer, Dave Douglas, Butch Morris and Sylvie Courvoisier, among many others."-Wikipedia (https://en.wikipedia.org/wiki/Tyshawn_Sorey)
^ Hide Bio for Tyshawn Sorey
• Show Bio for CORY SMYTHE
"Pianist Cory Smythe works actively in new, classical, and improvised music. He has performed widely, making appearances as soloist and chamber musician at the Darmstadt International Festival for New Music, the Bang on a Can Marathon in New York City, the Green Mill jazz club in Chicago, and the Mostly Mozart festival at Lincoln Center. In recent seasons, Smythe has played alongside violinist Hilary Hahn in concerts throughout the United States, Europe, and Asia. A Washington Post review of the duo's performance at the Kennedy Center praised Smythe for "...the ferocity and finesse of his technique." Their Grammy-winning album, In 27 Pieces: the Hilary Hahn Encores, documents Hahn's diverse collection of newly commissioned encores for violin and piano.
As a core member of the new music group the International Contemporary Ensemble, Smythe has given numerous premieres, collaborated in the development of new pieces, and worked closely with composers John Zorn, Philippe Hurel, Dai Fujikura, George Lewis, and Alvin Lucier among many others. ICE's 2013 release on Mode Records features Smythe as the piano soloist in Iannis Xenakis's 'Palimpsest'. Smythe has also been a featured guest and soloist with many new music ensembles throughout the United States, including Milwaukee's Present Music, the Boston-based Firebird Ensemble, Chicago Symphony Orchestra's MusicNOW, and the San Francisco Contemporary Music Players. He performs regularly in collaboration with many of the leading concert artists of his generation, appearing this last season with the cellist Joshua Roman, violinist Karen Gomyo, the Imani Winds, and members of the Providence and Rubens string quartets.
An innovative improviser, Smythe performs as a soloist and in collaboration with a wide array of jazz and creative artists, among them, most recently, Peter Evans, Vijay Iyer, Steve Lehman, and Anthony Braxton. This season will see the release of recordings featuring Smythe in projects led by Tyshawn Sorey and Nate Wooley. Smythe's own album, Pluripotent - described by celebrated jazz pianist Jason Moran as "hands down one of the best solo recordings I've ever heard" - is available for free download at corysmythe.bandcamp.com.
Smythe holds degrees in classical piano performance from the music schools at Indiana University and the University of Southern California, where he studied with Luba Edlina-Dubinsky and Dr. Stewart Gordon, respectively. He currently resides in New York City."-CORY SMYTHE Website (http://corysmythe.com/bio)
^ Hide Bio for CORY SMYTHE
Search for other titles on the New Braxton House label.