"New York-based percussionist Russell Greenberg enjoys exploring the creative and unclassifiable music of our time. Internationally sought-after for his singular approach and interpretation, he strives to share his passion for the musical experience with a wide variety of audiences.

As a founding member of the piano and percussion quartet, Yarn/Wire, Russell has collaborated with many of today's leading composers to craft a body of new, wide-reaching and vital repertoire. At the vanguard of contemporary music, Russell frequently tours the world, having appeared at the Ultima (Oslo), Tectonics (Glasgow), Lincoln Center (NY), Barbican (UK), and Rainy Days (Luxembourg) festivals among others, and is a regular visiting artist at universities including Columbia, Brown, and Stanford.

Russell is also member of Either/OR and the Wet Ink Large Ensemble, and appears with other prominent groups as well such as the International Contemporary Ensemble (ICE), Argento, and sfSound, with performances having been labeled as "fearless" (TimeOutNY), and "intrepid/engrossing" (The New York Times). He has worked with a many leading composers and conductors including Pierre Boulez, Peter Eötvös, Susanna Mälkki, Enno Poppe, Beat Furrer, and others. In addition to his work with contemporary music ensembles, Russell has toured and recorded with the bands Seaven Teares, Kato Dot, and Hi Red Center.

Mr. Greenberg's interdisciplinary work and collaborations include work with Theatre of a Two-Headed calf, the artist David Bithell, and Judy Dunaway. He has also penned music for the Off-Off Broadway theater production of Clubbed Thumb's Gentleman Caller among others.

Russell received his BA in music from the University of California at Berkeley in 2002, where he studied percussion with William Winant, and with Eduardo Leandro at Stony Brook University, where he earned his M.M. in 2004 and a D.M.A. in 2009.

Russell is sponsored by Pearl/Adams instruments and Paiste cymbals and has recorded for the WERGO, Bridge, Mode, Albany, Northern Spy, and Joyful Noise record labels."

"John McLellan (1968 - October 29, 2014). An extraordinary musician; a truly original drummer and improviser in a language of rhythmic orchestration and dynamics, counterpoint in ideas, space, touch, spirit... The recent passing of this dear friend and close associate of ours had a most profound affect on us all. The cause of his death was Mesothelioma. I saw him for the last time on October 26th at Tuft's Hospital in Boston. I was first introduced to Johnny through violist Mat Maneri back in 2004. They already had a rapport going back many years, and a closely related family style of improvisation which can only really be thoroughly understood through aural transmission, listening and first-hand experience, rehearsals... Around the same time I also formed a quartet with Johnny, saxophonist Jonathan Moritz and Eivind Opsvik we called THE UP. It all made a very deep impact on my development as an improviser, and will continue to. For the sake of this work and dedication, I felt it necessary to organize the documentation I have of this history, starting from the beginning."

"Bobby Previte's first stage appearance came in 1956 at the Niagara Falls Talent Show, where, guitar in hand, and adorned in an over-sized suit, he belted out a solo rendition of Elvis Presley's 'Hound Dog.'

Eight years later, thinking drumming might be a good way to get girls, he fashioned a bass drum from a rusted garbage can, a kick pedal from a wire coat hanger wedged between two pieces of linoleum and a rubber ball stuck on top, tom toms from upside-down trash bins, cymbals from aluminum pie plates suspended on plungers, and a box of loose junk for a snare - then practiced for a year in his dark basement with a lone spotlight shining on him before eventually starting a band, the "Devil's Disciples." But when they finally got a job at the church he was fired for not having 'real' drums. Seeking revenge, he took a job as a paperboy, saved every penny, and a year later bought the drum kit he still uses today in concerts all over the world.

Strolling in the East Village one bright afternoon, he peered inside a limo stuck in traffic (crosstown) and suddenly found himself face to face with Jimi Hendrix. Thinking fast, he unfurled the poster of Jimi he had fortunately just acquired, then looked on in astonishment as Hendrix smiled and flashed him the peace sign.

HISTORY: BA, SUNY Buffalo. Moved to New York City in 1979. Has worked for/with an unlikely array of leading lights including John Adams, Terry Adams, Robert Altman, Johnny Copeland, Lejaren Hiller, Charlie Hunter, Lenny Kaye, John Lurie, Sonny Sharrock, Michael Tilson-Thomas, Tom Waits, Victoria Williams, and, the internet swears Iggy Pop, although he can't seem to remember that, exactly.

AWARDS: Guggenheim Fellowship, NEA, NYSCA, NYFA, Franklin Furnace, The American Music Center, MCAF, Mid Atlantic Arts, NY State Music Fund, Lower Manhattan Cultural Council, The Jerome Foundation.

EVENTS: TERMINALS PART 1, WNYC New Sounds Live/Ecstatic Music Festival at Merkin Hall, 2011, Institute of Contemporary Art Boston, 2011, Les Percussions de Strasbourg, 2013-2014; DIORAMA, Groundswell/Wave Farm/Olana State Historic Site, 2013; Franklin Furnace/Chashama, 2012, Lower Manhattan Cultural Council, 2010; THE 23 CONSTELLATIONS OF JOAN MIRÓ, Winter Garden, New York, 2008; THE SEPARATION, Walker Art Center, 2007; DIALED IN (with Benton-C Bainbridge), Lincoln Center, EMPAC, Eyebeam, 2007; Touring various other bands and projects since 1985 at festivals and clubs worldwide.

RECORDINGS: Sony, Nonesuch, Palmetto, Gramavision, Enja, Thirsty Ear, New World, Ropeadope, Veal, Spacebone, Rare Noise.

MASTER CLASSES: Eastman School of Music, Walker Art Center, Art and Music Omi, Merano Jazz Festival and Academy, So Percussion Summer Institute/Princeton University, Cornish University, Purchase College, Bard College, The New School.

RESIDENCIES: The Rockefeller Foundation Bellagio Center, Civitella Ranieri, Montalvo Art Center, eleven MacDowell Colony fellowships.

THEATER/DANCE/PERFORMANCE/ART: The Moscow Circus on Broadway, Theodora Skipitares, Andrea Kleine, Clarinda Mac Low, Aynsley Vandenbroucke, Benton-c Bainbridge, e-team.

FILM SCORES: Chain Letters (dir. Mark Rappoport), Maze (dir. Rob Morrow).

ODDITIES: actor, SATURDAY NIGHT LIVE, "The Mute Marine," w/ William Shatner, 1984; as "The Drummer" in SHORT CUTS - Robert Altman, 1993."

"Born in San Diego, CA and raised in Sacramento, Ches Smith came up in a scene of punks and metal musicians who were listening to and experimenting with jazz and free improvisation. He studied philosophy at the University of Oregon before relocating to the San Francisco Bay area in 1995. After a few years of playing with obscure bands and intensive study with drummer / educator Peter Magadini, he enrolled in the graduate program at Mills College in Oakland at the suggestion of percussionist William Winant. There he studied percussion, improvisation, and composition with Winant, Fred Frith, Pauline Oliveros and Alvin Curran. One of Winant's first "assignments" for Ches was to sub in his touring gig at the time, Mr. Bungle (here he met bassist / composer Trevor Dunn who would later hire him for the second incarnation of his Trio-Convulsant). During his time at Mills, Ches co-founded two bands: Theory of Ruin (with Fudgetunnel / Nailbomb frontman Alex Newport), and Good for Cows (w/ Nels Cline Singers' Devin Hoff). He currently performs and records with Xiu Xiu, and Secret Chiefs 3. He has also performed with Ben Goldberg, Annie Gosfield, Wadada Leo Smith, John Tchicai, Fred Frith, and Trevor Dunn. In addition to Ceramic Dog, he also leads his two of his own projects, Congs for Brums and These Arches. He currently spends his time between Los Angeles, San Francisco and Brooklyn."

"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."

"Fritz Welch is a drummer, percussionist and vocalist determined to stretch the escalator of possibilities into the bloodshot eye of results. He currently plays in Lambs Gamble (with Eric Boros and George Cremaschi), FvRTvR (with Guido Henneböhl) and in various ensembles with guitarist Neil Davidson. He is a primary member of Asparagus Piss Raindrop and makes performance works with the choreographer Louise Ahl. He has played with Blood Stereo, Evan Parker, Crank Sturgeon, Jazzfinger,Tamio Shiraishi, Joke Lanz, Stephen O'Malley, Maya Dunietz, Michael Vorfeld, Tony Conrad, Usurper and Iancu Dumitrescu and Ana-Maria Avram among many others. A longtime Brooklynite of Texas origins, he is now based in Glasgow, Scotland."

"Born in Oslo, bassist and composer Eivind Opsvik was introduced to music at home. His father loved to play the saxophone and constantly spun records-everything from Ornette Coleman to Billie Holiday and The Beatles. An early memory features Eivind on drums, jamming out "A Hard Day's Night" with his father. Later, a denim-clad rocker cousin lent him a bass guitar and the newfound ability of adding pitch to rhythm was a revelation. Opsvik spent the rest of his teens getting to know this instrument, as well as the double bass, while also experimenting with a 4-track tape recorder and pouring music into his head.

At the age of twenty, Opsvik began studies at the Norwegian Academy of Music, focusing on classical bass. By then, he was already an active participant in Oslo's vibrant jazz scene, regularly playing with musicians like Paal Nilssen-Love, Christian Wallumrød, Bjørnar Andresen, and Håkon Kornstad; while also performing at festivals and clubs around Europe.

In 1998, Opsvik relocated to New York City, where he has thrived as a working musician, collaborating on projects with among others Anthony Braxton, Paul Motian, John Zorn, Nate Wooley, and Bill Frisell and performing in a wide range of venues like Carnegie Hall, Village Vanguard, Le Poisson Rouge and The Stone. At the Manhattan School of Music he studied jazz and met some of his closest musical brothers, including Loren Stillman, Jeff Davis, and Jacob Sacks. Building on the bonds and shared musical understanding that developed while at school, Eivind invited these players to help him fulfill his vision for the solo project, Overseas.

Opsvik has stated that "overseas" is a fitting way of describing his life-whether in New York or Norway, he is always an ocean's distance from home. This deep loyalty towards friends and loved ones has, over time, been reflected in Overseas' various lineups. The first record was realized with the help of long-term friendships that went back to Opsvik's earliest days in New York. As he continued his journey through the city via late night gigs, Opsvik connected with other players-visionaries versed in noise improv, electronic, jazz, and classical-who, on subsequent Overseas records, were brought in to augment the lineup. Since 2005, the band has remained consistent, featuring Tony Malaby, Jacob Sacks, and Kenny Wollesen; in 2010, guitarist Brandon Seabrook also became a regular member. Over the years, they have played countless shows around New York City, as well as extensively toured Europe and the American east coast.

In addition to four Overseas albums and his extensive session work, Opsvik's discography also includes four experimental chamber-pop records made in collaboration with songwriter Aaron Jennings (under the moniker of Opsvik & Jennings) and a multimedia project with photographer Michelle Arcila, which pairs tens songs with ten photographic prints. This project, titled A Thousand Ancestors, came out of Opsvik's solo double bass performances, which sometimes featured projections of Arcila's photographs. In recording these bass-centric pieces, he would layer bass with subtle overdubs of lap steel guitar, vintage keyboards, and drum machines, with Arcila's prints displayed around the studio. The project proved to be an auspicious collaboration for the couple, who, as The New York Times put it, "share an aesthetic of haunting introspection, and the desire to seek out beauty in austerity."

Other critics have described Opsvik's work as "sonorous," "like a waking dream," and able "to transport the listener to another time and place, creating a cinematic experience...[like] the soundtrack to an imaginary film." His Overseas records create "a world of unfolding soundscapes" that defy categorization; they have "a compositional complexity that suggests jazz, [but] also references a diverse and imaginative palette of genres and influences." Opsvik's jazz is "the slow burn, down-turned variety that still has plenty of beauty underneath all of its darker undertones." But it's not just jazz for jazz-heads. By tapping into the energy, groove, and directness of rock, Opsvik reach people who are afraid of jazz and think they have to "understand" it.

Ultimately, Opsvik is the epitome of a multi-faceted, multi-instrumentalist working musician. While steadily playing gigs and recording sessions as a bass player, he is also a capable hand on the guitar, the keyboard, or behind the drums. At the Greenwood Underground, his basement studio, Opsvik records, mixes, and produces his own music, as well as various projects for his friends. Since 2007, he has also been running the Loyal Label, releasing a carefully curated catalog of albums, which run the gamut in terms of musical exploration but are all united with careful aesthetic choices and creative graphic design.

Maturing as a musician, Eivind never wanted to be up front in the band, but it would be incorrect to say he's been hiding. As a kid, watching bands perform on Norway's only TV channel, his gaze was instinctively drawn to the rhythm section, waiting for the camera to move the tight frame off the singer so that he could catch a glimpse of the bass player's steady hands or the drummer's hypnotic concentration. The rhythm section were the guys with their heads down doing the real work. Adolescent instincts are pure in that they don't know why they want what they want, but the quiet and focused dignity that Eivind honed in on has driven his life for the past 30 years.

(Eivind is currently a member of these bands/projects: Tony Malaby's Paloma Recio, Die Trommel Fatale, Nate Wooley Quintet, Skuli Sverrison's Seria, Two Miles A Day (Sacks, Maneri, Motian), Anthony Braxton's Tristano Project, Vinnie Sperrazza's Apocryphal, David Binney, Okkyung Lee, Jeff Davis Trio with Russ Lossing, Mary Halvorson's Reverse Blue, Plainville, Kris Davis' Capricorn Climber, Håkon Kornstad, Rocket Engine, Tone Collector, Jesse Harris' Cosmo, The Interaction of Non-Interaction (w Ben Gerstein), Poor Pluto ...and more)"