Steve Hirsh: "About Me

I come from a non-musical family. But every week growing up, I'd get my allowance and go to the local record store to pick up the latest hit. At 10 years old, I started guitar lessons at a neighborhood community center. I wanted to learn Beatles tunes but instead found myself learning classical guitar. I wasn't into it and stopped after a year. Then in junior high, I had a band/orchestra class. I started off playing alto sax. But in the summer after my first year, I got braces on my teeth and my orthodontist told my mother that playing a reed instrument would be bad for my overbite. So in my second year, I started on drums because I figured it would be the easiest instrument to catch up on. The bug bit me then, and I would spend hours playing along to records on my snare drum.

I went to a specialized public high school in New York City that focused on math and science. They had no music classes, except for a single music appreciation class that dealt entirely with European classical music. There was one Black girl in my class (!). One day she asked the teacher why he didn't teach anything about jazz and Miles Davis and John Coltrane. That was the first time I heard those names. The teacher said something dismissive and moved on.

Somewhere around there I got my first drum set and was trying to figure out how to play it. One day in the library, I was thumbing through the record collection and came across Kind of Blue and Blue Trane. I remembered hearing Miles' and Trane's names and took the records home. I was astounded by what I heard, particularly drummer Philly Joe Jones on Blue Trane. I had no idea what or how he was playing and could hardly believe that there was only 1 drummer.

Over the next 10 or so years, I dove deeper and deeper into the music. I worked forwards and backwards - Bitches Brew-era Miles, and late John Coltrane, and Max and Bird and then everyone in between, and then back to Basie and Ellington and Papa Jo Jones. I was playing in rock and blues bands and saw jazz drumming as beyond my abilities. After my 2nd year of college, I told my parents that I wanted to transfer to Berklee College of Music. But I had no one to help me navigate that change and I was unable to do it myself. Eventually, I just quit college, moved to California, and started playing in bands. I wound up hanging out and then working at Keystone Korner. I saw everyone there - Dexter Gordon, Max Roach, Art Blakey, Rhasaan Roland Kirk, Stan Getz, Mary Lou Williamson, the house band with George Cables and Eddie Marshal, Billy Higgins, Woody Shaw, Elvin Jones. And I started trying to play the music. But eventually, I quit playing for a variety of reasons, including the inability to believe I could really ever play it well and authentically, and the need to get away from the drug scene (this was San Francisco in the mid-'70s). But I never stopped listening, and eventually went back to playing in rock and blues bands.

I quit playing again in the early 80s but then picked it back up 20 years later when I bought my son a drum set. I bought it for him, then took it over (I sat down behind it to check it out and didn't come out for a week.). I've been playing steadily since then. I played a lot of straight-ahead jazz gigs, a lot of dinner jazz. But I always had a taste for the more outside sounds, and for the last few years, that's exclusively what I've been playing.

I have led several improvising ensembles in the last few years, and have played most of the Twin Cities venues that are open to this music, including Khyber Pass Cafe, The Icehouse, Jazz Central Studios, The Cedar Cultural Center, and Grand Oak Opry. I started a regular series at the East Side Freedom Library in St. Paul, featuring my groups and other improvising ensembles. I also hosted a weekly open session there, where anyone could come and gain experience improvising with experienced players.

I've played with (among others) William Parker, Joel Futterman, Eri Yamamoto, Matthew Shipp, Ivo Perelman, Luke Stewart, Douglas Ewart, Babatunde Lea, George Cartwright, Donald Washington, Chad Fowler, Zoh Amba, Brad Holden, Dick Studer, Josh Granowski, Matt Trice, Kavyesh Kaviraj, and DeVon Russell Grey.

In the past year, with the isolation of the pandemic and the near-total loss of performance opportunities, I have become involved in several remote collaborations, with both old and new friends. There are a few of those on the Recordings page, if you're curious.

My latest releases are Ebb & Flow, with Joel Futterman and Chad Fowler, Notice That There, with Geirge Cartwright, Chad Fowler, Christopher Parker and Kelley Hurt, Warp & Weft, a collaboration with the extraordinary pianist Joel Futterman, Two Five None, a duo with Chad Fowler, and You Know When It's Time by Original Mind, all on Mahakala Music https://mahakalamusic.bandcamp.com/. There's more stuff coming - follow me on Bandcamp, follow Mahakala Music, and send me a note asking to be added to my email list.

I endorse Canopus drums and Bosphorus cymbals. Beautiful instruments I'm lucky to play.

Born and raised in New York City, I now make my home in the woods of Northern Minnesota."

"Richard Allan Bates plays guitar, bass and electronics. Born and raised in Hong Kong, he's also lived in the UK, Cambodia and the Philippines, and now resides in Malaysia. Richard has played in a number of musical projects and collaborations, bridging a range of genres from jazz to electronics to psych-rock. Rooted in free jazz and improv, he takes a mosaic approach to music with a focus on playing both structured and unstructured free improvisation."

"Rick Countryman (January 31, 1957) is an American jazz saxophonist and flautist.

After years attracting little attention as a baritone saxophone player, including an extended sabbatical, Rick made a late-life change to alto sax, at the urging of bassist, Simon Tan. His first recorded session with Simon and Christian Bucher, avant garde drummer from Switzerland, attracted the attention of French label "Improvising Beings" and was released as "Acceptance - Resistance". The recordings received many positive reviews, both in the United States and Europe.

Rick currently now has 9 releases on 4 labels across Europe, Asia, and the United States, including multiple CDs with Japanese improvisational drummer, Sabu Toyozumi, who has made several trips to Manila to perform and record. The music continues to receive positive reviews and airplay. Two recordings were listed in "Gold Dolphy 2018".

Since 2011, Rick has been an active member of the Manila jazz scene. He leads and performs in ensembles on baritone saxophone, alto saxophone, alto flute and bass flute; performing original compositions, as well as free jazz/improvisation, in his own jazz quartets and trios. His style is heavily influenced by Eric Dolphy, Sonny Simmons and the 60s Free Jazz movement. He was a student of Bert Wilson, and considers Michael Bisio and Rick Mandyck early mentors."