"Giuseppi Logan (May 22, 1935 - April 17, 2020) was a jazz musician, originally from Philadelphia, Pennsylvania, who taught himself to play piano and drums before switching to reeds at the age of 12. At the age of 15 he began playing with Earl Bostic and later studied at the New England Conservatory. In 1964 he relocated to New York and became active in the free jazz scene.

Logan played alto and tenor saxophone, bass clarinet, flute, piano and oboe. He collaborated with Archie Shepp, Pharoah Sanders and Bill Dixon before forming his own quartet made up of pianist Don Pullen, bassist Eddie Gómez and percussionist Milford Graves. After Pullen's departure, pianist Dave Burrell joined the group. Logan was a member of Byard Lancaster's band and toured with and appeared on records by Patty Waters. He recorded two albums for the ESP-Disk record label and later appeared on an album by Roswell Rudd on the Impulse! label. A 1965 press release from ESP-Disk indicates that a third album was planned, but never released, possibly due to Logan's increasingly erratic behavior. This title was supposed to have been ESP-1018, The Giuseppi Logan Chamber Ensemble in Concert, but this catalogue number was eventually assigned to an album by The Fugs.

Vintage footage of Logan comprises a short film by Edward English. Anecdotes about the man are scarce, but those that exist illustrate his influence over those he worked with. [...]

Beset with personal problems, Logan vanished from the music scene in the early 1970s and for over three decades his whereabouts were unknown; however, in 2008 he was filmed by a Christian mission group just after he had returned to New York after years in and out of institutions in the Carolinas. Around this same time filmmaker Suzannah Troy made the first of many short films of Logan practicing in his preferred hangout, Tompkins Square Park. Subsequently, he was the subject of a major piece by Pete Gershon in the spring 2009 edition of Signal to Noise Magazine, which detailed the events surrounding Logan's "comeback" gig at the Bowery Poetry Club in February 2009.

On April 6, 2009, Logan performed, with a group, at Local 269 in NYC as part of the RUCMA performance series. Later that year he appeared in the short documentary film Water in the Boat by David Gutiérrez Camps, where his music improvisations formed the soundtrack of the film.

In 2010, Logan released a comeback record announcing his return to music on Tompkins Square Records with Matt Lavelle, Dave Burrell, Warren Smith and Francois Grillot. In April 2010, this group performed a concert in Philadelphia with Dave Miller playing for Warren Smith at the Ars Nova Workshop

In October 2011, Logan recorded six songs with "a group of younger experimental musicians"; as of April 2012, he was still living in New York and performing as a street musician. At some point around 2011 he was shot and ended up in a home in Far Rockaway, Queens. ref: The Devil's Horn seen on SKY Arys.

Logan died on April 17, 2020 at a nursing facility in Far Rockaway, Queens from COVID-19."

"Larry Roland, poet, bassist, composer, educator, and music producer, has been involved with the creative performance scene for close to 4 decades. His music and poetry has graced National and International Concert Halls, Radio, Television, the Internet; as well as, parks, street corners, outdoor theaters and private living rooms.

Larry graduated from Boston University in 73' with a BS in Education, and a Masters from the University of Massachusetts in 97'.

His poetry career began at BU, and his Bass discovery started in 76' while running a coffee house in the south end of Boston.

Larry has had a wealth of experiences as a performer and a producer.The following is a highlight of some of the activities he's been involved with from 'then' till 'now'.

From 74-84' Larry performed as Poet and Bassist with Jamyll Jones, " Worlds Experience Orchestra". That group recorded two albums, "The Beginning of a New Birth" and "As Time Flows On", which are today considered collectors items.(You Tube).

In 84-88', house band at Wally's in Boston. Wally's is a very popular establishment where the Established, as well as, the young cutting edge musicians from the surrounding formidable music schools (Berklee, N.E. Conservatory, etc.) cut their teeth before moving on to NYC, and other places.

In 89', Larry was invited Perform with the Raphe' Malik band, and went on the road performing throughout the east coast, Canada and Europe from 91-94'. This band recorded "21st Century Texts"...Live in Berlin in 91' on the FMP lable; Raphe' was a fiery free improvisationalist trumpet player and composer who had been in the Great Cecil Taylor Unit Bands with Jimmy Lyons for several years. Other albums recorded with this group were, "Bells, Whistles, AND Sirens", on the Mapleshade label in the early 90s; and in 99', "Looking East", recorded live by the Boxholder label at the Museum of Contemporary Art in Boston, Ma.

In 96', Larry struck up a musical collaboration and formed the "Urge 4Tet" with Donel Fox, a noted Award Winning Pianist and contemporary classical composer; and Waldron Ricks, a talented trumpeter/composer; and developed a repertoire consisting of originals and non-originals, then set out and toured Southern France in the summer of 97'; The concerts on that tour were recorded, and the CD of that tour, "21st. Century Decisions" on the Boston Composers Group Label, was released it in 2000.

In 2001, Larry released the solo bass and word CD, "As Time Flows On", on his Boston Composer Group Label.One of the pieces on that CD, "The Underground"(Bass with Poetry), was used as a interweaving theme in the Award Winning Indie film documentary, "The History of Jazz In Roxbury" by Taliba Kennedy.

In 2004', Larry met Award Winning Dancer/Choreographer, Adrienne Hawkins, and decided to team up with her after she had been using the CD, "As Time Flows On", for live performances at Dance Festivals and other functions. Out of this collaboration, "Bassline Motion" was created. At first, Larry and Adrienne performed together as a duet, then eventually increased the group to include, 4 musicians and 8 dancers. They both decided on a Theme, while Larry developed the music and poetry, as Adrienne created the movements to ride the music, and to compliment the words. "Bassline Motion" performed in museums, outdoor festivals, universities, art galleries, jazz clubs, poetry gatherings, etc.

2009, Charles Gayle, a highly noted saxophonist on the NY and International Jazz improvisational scene, invited Larry to perform at a major Jazz Festival in Mexico City. .....it turned out to be very successful. In 2010, the trio toured Portugal and the Azores.In the winter of 2012, one of the coldest in European memory, the same trio was involved in a 10-city tour that took them through the countries of France, Austria, Belgium, and Germany. In March of 2011', and after not having recorded in over 10 years, The Charles Gayle Trio released a CD entitled, "Streets". It is said to be one of the top selling CDs of its genre on the European scene.

Currently, Larry is involve with several different projects of his own while writing poetry and music in preparation to present some more of his documented work to whoever will watch and listen in the 21st century.

In the meantime, 2012, Larry has been invited to be a part of the, "We Free Strings" group of which he has become a significant contributor to its repertoire as bassist/poet and composer. In Dec. of 2012, Larry was able to successfully produce the groups first major concert, The Larry Roland Project, Live at "The Stone" located in New York City's' East Village, featuring "We Free Strings".... (You Tube)"

"As an artist, Pettersen has worked long and hard to develop his craft and in doing so has achieved a depth and sophistication that is just now being recognized. An emerging Americana artist in the 90's still driven by the twin influences of Springsteen and the country rebel artists of his youth, Pettersen gained attention for his second release "Somewhere South of Here". Steeped in Americana and country rhythms, the album fell somewhere between the traditional sounds of Americana and the rocking slide guitar of country radio and the tongue in cheek single "DWIOU" (Driving While Intoxicated on You) found a place in jukeboxes worldwide and on the country line dance charts.

But Pettersen's passion for music of all genres was unlimited and led to forming the rock band The Strangely's with friend and drummer Pete Abbott, his brother Mike (one of the finest guitar players Ed knows to this day), and bass player Lori Adams. Despite the great sound of the band, without label support and the inability to tour widely, the Strangely's drifted apart leaving Pettersen with two of his finest rock cuts, the moody and dark "Broken Mirror" and the plaintive "Justine". Around the same time a mysterious illness hit Pettersen hard, sending him through a long odyssey of doctors and hospitals, and being felled by acute physical pain for which there was no visible cause. Temporary paralysis of the vocal chords was a recurring symptom and so for several years Pettersen concentrated on songwriting and production, producing the quirky and gorgeous voiced duo Rosasharn and developing the concept for the Song of America.

An innate drive to hone his craft and work with the best of the best led Pettersen to Nashville in 2002. There, working with the best meant assembling a crack recording unit dubbed The Great American Rhythm section, featuring Reggie Young, Bob Babbitt, Dave Hungate, Catherine Marx, and Ed Greene on drums. The unit played a key role in many of the recordings for Song of America and other Pettersen productions. The only explanation that Pettersen could come up for why they convened at will when called was "They liked to play with each other and I didn't tell them what to do. Am I going to tell Reggie Young who has more number one hits than any guitar player how to play?" So while other songwriters were networking with country artists in town, Pettersen started getting cuts like his marvelous "I Guess We Shouldn't Talk About That Now," on Bettye LaVette's Grammy nominated 2007 The Scene of the Crime and "I Don't Want Anything" on Candi Staton's Who's Hurting Now?, from 2009. The latter includes one of the most delicate and poignantly beautiful lines of all time "Like the beauty of a child's smile, the future on an angel's wing".

In just the last few years Pettersen has re-emerged as a full-fledged recording and touring artist and in the meantime his voice and talents have grown tremendously. Discovering his Norwegian roots and Scandinavian heritage is the catalyst for the hauntingly melodic acoustic tunes on I Curse the River of Time. But it is the amalgamation of his early years honing a few well-crafted words in advertising, working with playwright and mentor John Bishop, trying a hand at film production, overcoming hardship and illness, and through it all constantly studying music, art, literature, and life that makes Pettersen an artist of note and a poet worth discovering."

"As a composer, performer, instrument builder/designer, storyteller, teacher, mentor, and organizer, Cooper-Moore [b. August 31, 1946] has been a major, if somewhat behind-the-scenes, catalyst in the world of creative music for over 40 years. As a child prodigy Cooper-Moore played piano in churches near his birthplace in the Piedmont region of the Blue Ridge Mountains of Virginia. His performance roots in the realm of avant jazz music date to the NYC Loft Jazz era in the early/mid-70s. His first fully committed jazz group was formed in 1970 - the collective trio Apogee with David S. Ware and drummer Marc Edwards. Sonny Rollins asked them to open for him at the Village Vanguard in 1973, and they did so with aplomb. A studio recording of this group was made in 1977, and issued as Birth of a Being on hatHut under Ware's name in 1979 (re-mixed and re-issued in expanded form on AUM Fidelity in 2015!). Following an evidently rather trying European tour with Ware, Beaver Harris, and Brian Smith in 1981, Cooper-Moore returned home and completely destroyed his piano, with sledgehammer and fire, in his backyard. He didn't play piano again until some years after, instead focusing his energies from 1981-1985 on developing and implementing curriculum to teach children through music via the Head Start program. Returning to New York in 1985, he spent a great part of his creative time working and performing with theatre and dance productions, largely utilizing his hand-crafted instruments. It was not until the early 90s, when William Parker asked him to join his group In Order To Survive, that Cooper-Moore's pianistic gifts were again regularly featured in the jazz context. In the early 'aughts the group Triptych Myth was his own first regular working jazz group in decades and together they blazed some trails and released two albums: one rich formative, and one exquisite. A destined creative re-union with David S. Ware in the Planetary Unknown quartet, the Digital Primitives trio with Assif Tsahar & Chad Taylor, and continued work with William Parker followed. Cooper-Moore's creative life continues well-strong and unabated into the present day. He will be/was the Lifetime Achievement Honoree at the 22nd iteration of Vision Festval, NYC on May 29, 2017."