"PEK (aka David Peck) is a multi-instrument improviser who plays all kinds of instruments including saxophones, clarinets, double reeds, percussion, electronics and auxiliary sound making devices of all kinds.

PEK was born in 1964 and started playing clarinet and piano in elementary school. In 7th grade he started saxophones, first on alto, then switching to tenor in high school. He spent 10 years playing in rock bands and studying classical and jazz saxophone with Kurt Heisig in the San Jose CA area before moving to Boston in 1989 to attend Berklee where he studied performance with George Garzone. While Berklee was an excellent place to study harmony, voice training and other important aspects of a conventional formal music training course of study, it was not a very good environment for learning contemporary (or pure) improvisation (apart from his work with George). PEK did find, however, that Boston had a thriving improvisation scene, and it was here that he developed his mature pure improvisation language.

During the 90s, PEK performed with many notable improvisers including Masashi Harada, Glynis Lomon, William Parker, Laurence Cooke, Eric Zinman, Glenn Spearman, Raqib Hassan, Charlie Kohlhase, Steve Norton, Keith Hedger, Mark McGrain, Sydney Smart, Matt Samolis, Martha Ritchey, Larry Roland, Dennis Warren, Yuri Zbitnov, Craig Schildhauer, Keith Fullerton Whitman, Leslie Ross, Rob Bethel, Wayne Rogers, Eric Rosenthal, Taylor Ho Bynum, Tatsuya Nakatani, James Coleman, B'hob Rainey and George Garzone.

PEK met cellist Glynis Lomon when they played together in the Masashi Harada Sextet which existed between 1990 and 1992. They developed a deep musical connection which they continued following the MHS; first with the Leaping Water Trio for a few years and then with the first version of Leap of Faith in 1994. Leap of Faith was very active in Boston from that time until 2001 and went through a series of several core ensembles which always included both PEK and Glynis. Other key Leap of Faith core members during this period were Mark McGrain (trombone), Craig Schildhauer (double bass), Sydney Smart (drums), Yuri Zbitnov (drums) and James Coleman (theremin). Leap of Faith was always a very modular unit with constantly shifting personnel and many different guests. The early Leap of Faith period concluded in 2001 with a dual bill at an excellent room at MIT called Killian Hall with George Garzone's seminal trio the Fringe.

At this time, PEK changed careers for his day gig, returning to college for a computer science degree and beginning to work in the structural engineering industry at Simpson Gumpertz & Heger. He became far too busy to continue the heavy music schedule, and preferring not to do music casually, he entered a long musically dormant period.

Flash forward to early 2014. PEK was a regular mail order customer of Downtown Music Gallery, the premiere specialty shop in Manhattan for free jazz, contemporary classical and other new music. While in New York on SGH business, he went down to DMG and had a lengthy conversation with proprietor Bruce Lee Gallanter about the early Leap of Faith period. He then sent Bruce a package of about 15 CD titles from the 90s and was pleasantly surprised when Bruce managed to sell nearly all of it. This public interest in the old catalog spurred PEK into getting back into performance. He reformed Leap of Faith with Glynis Lomon (cello, voice, aquasonic), Yuri Zbitnov (drums) and newcomer Steve Norton (clarinets and saxophones) and started to record and perform in early 2015.

Now having access to financial resources always absent in the early period, PEK began to accumulate a huge collection of instruments both for himself and also to expand the palate of Leap of Faith and the other projects soon to follow. He acquired new recording equipment and many new saxophones, clarinets, double reeds, metal and wooden percussion instruments, electronic instruments, signal processing equipment and other sound-making devices from many cultures. He revived his old record label, Evil Clown, and created reissues and new releases for much of the early period work by Leap of Faith and many of his other projects to sell at shows, DMG and the internet (around 100 archival titles).

The Arsenal of equipment has a grand purpose: To establish a large scale aesthetic problem to use the instruments to make long form broad palate improvisations with dramatic transformation and development. The very broad palate enables the long improvisations to evolve with very different movements and pronounced development over their length. PEK started the Leap of Faith Orchestra, a greatly expanded Leap of Faith, to achieve this purpose along with a number of smaller ensembles which are sub-units of the full orchestra including String Theory (focusing on orchestral strings), Metal Chaos Ensemble (focusing on metallic percussion), Turbulence (horn players), Mekaniks (electronics) and Chicxulub (space rock). In all, the Evil Clown roster includes over 40 musicians who contribute to one or more of the various projects, with PEK participating in all of them. Leap of Faith has also had some special guests like Steve Swell (trombone), Thomas Heberer (trumpet), Jeremiah Cymerman (clarinet) and Jim Hobbs (alto sax). The Leap of Faith Orchestra happens whenever several of these groups play together at the same time, or the ensemble exceeds 7 or 8 players. The Full Orchestra is a special case discussed below.

The current roster is comprised in part of: - Core Leap of Faith: PEK, Glynis Lomon, Yuri Zbitnov (Steve Norton has since left to go to Graduate School) - Percussion: Andria Nicodemou (vibes), Kevin Dacey (perc), Joe Hartigan (perc), Syd Smart (drums) - Strings: Jane Wang (cello), Clara Kebabian (violin), Tony Leva (bass), Mimi Rabson (violin), Kirsten Lamb (bass), Brendan Higgins (bass), Silvain Castellano (bass), Rob Bethel (cello), Kit Demos (bass), Matt Scutchfield (violin), Helen Sherrah-Davies (violin) - Piano: Eric Zinman, Peter Cassino, Emilio Gonzales - Horns: Dave Harris (tuba, trombone), Charlie Kohlhase (saxes), Bob Moores (trumpet), Sara Honeywell (trombone), Forbes Graham (trumpet), John Baylies (tuba), Dan O'Brien (woodwinds), Zack Bartolomei (woodwinds), Kat Dobbins (trombone), Steve Provizer (trumpet, baritone horn), Matt Samolis (flute) - Electronics: Greg Grinnell, Jason Adams (electric bass, electronics) - Guitar: Dru Wesely, Grant Beale, Chris Florio - Voice: Dei Xhrist

Evil Clown is documenting the ongoing solutions to this aesthetic challenge by creating limited CD editions and digital download albums of every performance and studio session by this array of ensembles. Interested audience can track the development of the grand scale project over the many releases - over 80 albums recorded and released so far between Jan of 2015 and March of 2017. All of the bands are highly modular, changing personnel and instrumentation with each meeting. The result is an enormous amount of music that shares the same fundamental improvisational language but differs from event to event greatly both in sonority (overall sound) and specific detail.

For the full Leap of Faith Orchestra, PEK composes a graphic notation score to guide the improvisation. The full Orchestra is comprised of roughly 20 players from the roster and performs twice a year. Two performances have occurred to date - The Expanding Universe in June of 2016 and Supernovae in November of 2016. Composition for Possible Universes is completed and the work will be performed on May 28, 2017 with another performance (score not yet begun) scheduled for November.

The scores use a device called Frame Notation where written English descriptions of the overall sonority desired and simple graphic symbols are given durations for each player on their part along with direction on when to play and when not to play. The directions are put in little boxes called frames which are arranged on a timeline and are simple enough to be immediately understood by the performers. Horizontal lines, called Duration Bars, extend across the page indicating when each Event (the Frame + the Duration Bar) begins and ends. An Event can be intended for the full ensemble, a defined group within the ensemble (for example, Metal Chaos Ensemble), a custom group (for example, Tubas), or an individual (for example, Andria Feature).

Parts are the full score annotated with Hiliters so that each player's instructions stand out. They can clearly see their individual instructions, but can also see the big picture, enabling far more knowledge about the pending actions of the rest of the ensemble than typical in pure improvisation. The players track the elapsed time on a very large sports clock. There is no melodic, harmonic or rhythmic information specified. This system allows PEK to compose detailed Ensemble Events without having to notate pitches or rhythms which would require significant rehearsal to accurately achieve."

David Welans is a Boston flute player and teacher. He has a BM music composition from Berklee, with graduate studies in flute and composition at Boston University. He is certified by the Massachusetts Department of Education. He is also a quality control/tester /headjoint cutter with the William S.Haynes Flute Company for 20 years, after which I held the same position with the Verne Q. Powell Flute Company. He has beenteaching flute, piccolo, and music composition for over 25 years in both private and classroom settings.

"As a kid growing up on New York's Upper West Side, I was a voracious reader of science fiction and related genres that sparked my imagination, as they have ever since. This preoccupation also stimulated an interest in following developments in science and technology, a path that eventually influenced my academic career as a political scientist from the mid-1960s through the 1970s. At campuses including UC Davis, Case Western Reserve University (Cleveland) and Rensselaer Polytechnic Institute (Troy, NY) I brought to the classroom a passion for such topics as the study of alternative world futures, issues of sustainable resource use and science fiction as a social science literature.

I moved to Boston in the early 1980s to take a job as policy analyst with the Massachusetts government's anti-poverty program. Bad timing for the Reagan years, which saw budgets drop for dealing with the consequences of economic inequality. I changed careers again, becoming a business editor for High Technology Magazine, then a feature writer for Systems Integration, a trade industry publication that catered to the burgeoning computer sector. On the way I garnered an award from the Computer Press Association in 1989 for best feature story of the year, an article on NASA's plans for an international space station - which necessitated a research trip to Houston's Johnson Space Center, a sci fi fan's dream come true.

My career hopping took another twist from the 1990s on when I returned to the family trade - music. Roll the tape back to my teen years, when my musical tastes ran toward classical music - especially Baroque and 20th century composers - and though I played piano, my main performing instrument became and remains the flute. I was also growing up with a mom who had been a big band singer under the name Ruth Brent in the 1930s and a dad, Jerry Livingston, who was a prolific and successful songwriter in the Tin Pan Alley era and beyond. His output includes such iconic numbers as "The Talk of the Town," "Mairzy Doats," "The Twelfth of Never" and the score for Disney's animated Cinderella. In my adult years, after ignoring this heritage, my musical universe expanded to encompass a deep appreciation of the American Songbook along with musical theater, jazz, world music, contemporary classical and other diverse styles that I grew to love.

Out of this foundation grew a desire in mid-life to try my own hand as a composer/lyricist of songs. When I pondered what kind of material to create in the methodical way I approach each new life event, I was inspired to devise contemporary versions of the witty lyrics, memorable tunes and story-driven themes that characterized so many of the standards from my dad's era, filtered through a diverse set of musical influences and range of concerns reflecting life in our times. I decided the only possible audience for this kind of sophisticated songwriting was the passionate world of cabaret singers, fans and clubs.

You can hear the results on a CD titled "The Stories In My Mind," recorded live at a New York revue of my songs, and at this website, which contains full tracks of all my pieces, videos of songs presented in revues, song lyrics and much more at the SONGS page. The SONG PERFORMANCES page provides details about showcases and cabaret shows that have included performances of my work. The CABARET LINKS page connects you to websites of singers who have recorded my songs on commercial CDs and demos, along with links to selected cabaret publications and organizations. There's also a comprehensive section on the life and career of my dad at the JERRY LIVINGSTON page.

It seems that music is not yet done with me. I have always had a knack as a flutist for improvising tunes, abstract riffs and responses to the playing of others at jams. I'm now bringing these skills to the public as a member of The Alchemists, a band of musicians devoted to the art of group improvisation. We have released two CDs so far, "Potions" and "Journey To The East."

I wonder what's next."

"Bob Moores Having spent most of his life flying under the radar working on obscure projects that may some day come to the light of day, trumpeter/guitarist/composer/improviser/artist/photographer/poet/conceptualist Bob Moores has finally started to emerge into the light playing in the free improvisation collective Fable Grazer and through his solo project Resonator.

Having played every kind of music imaginable on trumpet in every kind of setting from classical to funk to blues to R&B to pop punk and metal to jazz, in small and large ensembles, Bob has settled on playing only freely improvised music at this stage of his evolution, both in group situations and as a solo artist. Moores is an exponent of what he calls unschooled primitive coloristic guitar having started to play in earnest with Fable Grazer.

He has been composing music since he was a child and composes and arranges for a variety of ensembles types, instrumentations and genres."

"- Performed with free jazz icon Hal Russell & his NRG Ensemble, Aardvark Jazz Orchestra, Travis Chandler Philharmonic, Auddity, Rakalam Bob Moses, DMJE quartet and DME trio. Dahlman has appeared on Fugazi drummer Brendan Canty's Discovery Channel soundtrack "Bridges".

- Music appears in the documentary film "The Bear Cult" (2015 Hyperion).

- Studied with Ingrid Monson, Dave Frank, Anthony Davis & John Luther Adams."