"Composer/Performer Ned Rothenberg has been internationally acclaimed for both his solo and ensemble music, presented for the past 33 years on 5 continents. He performs primarily on alto saxophone, clarinet, bass clarinet, and the shakuhachi - an endblown Japanese bamboo flute. His solo work utilizes an expanded palette of sonic language, creating a kind of personal idiom all its own. In an ensemble setting, he leads the trio Sync, with Jerome Harris, guitars and Samir Chatterjee, tabla, works with the Mivos string quartet playing his Quintet for Clarinet and Strings and collaborates around the world with fellow improvisors. Recent recordings include this Quintet, The World of Odd Harmonics, Ryu Nashi (new music for shakuhachi), and Inner Diaspora, all on John Zorn's Tzadik label, as well as Live at Roulette with Evan Parker, and The Fell Clutch, on Rothenberg's Animul label."

"Jerome Harris has won international recognition as one of the more versatile and penetrating stylists of his generation on both guitar and bass guitar.

Jerome's first major professional performances were as bass guitarist with Sonny Rollins in 1978; from 1988 to 1994 he was Rollins' guitarist, and appears on five of his recordings. Over the past two decades, Jerome has also recorded and/or performed live on six continents with such jazz notables as Jack DeJohnette, Bill Frisell, Ray Anderson, Don Byron, Bobby Previte, Oliver Lake, Amina Claudine Myers, Bob Stewart, George Russell, Julius Hemphill, and Bob Moses.

His extensive international work has included several stints in Japan with Sonny Rollins, as well as tours sponsored by the U.S. State Department: to six southeastern African countries with saxophonist Sam Newsome and guitarist Marvin Sewell, to India and southeast Asia with flutist Jamie Baum and guitarist Kenny Wessel, to India and several Middle Eastern countries with vibraphonist Jay Hoggard's group, and to five African nations with saxophonist Oliver Lake's reggae/jazz/funk band "Jump Up."

In 1999, Harris served as arranger, rhythm guitarist and assistant to musical director Vernon Reid in the "Joni's Jazz" tribute concert staged in New York's Central Park--with Joni Mitchell herself in attendance--accompanying singers as diverse in style as Chaka Khan, Jane Siberry, Duncan Sheik and P.M. Dawn. Other Harris credits include a Broadway stint as guitarist in the South African R&B/rock musical Kat and the Kings, as well as work on industrial, commercial and film score dates for Galen Communications Group, Rick Lyon Music, and Richard Eisenstein.

Over the years, Jerome Harris has appeared on more than fifty recordings, making for a lengthy and wide-ranging discography. His most recent CD as a leader is Rendezvous--the first-ever jazz release by the audio connoisseur magazine Stereophile--which captures the drive and grace of his quintet in gorgeous high-resolution sound. On Hidden in Plain View (New World), Jerome's acoustic bass guitar underpins an all-star group reinterpreting compositions by jazz trailblazer Eric Dolphy. In Passing (Muse) showcases the first of Jerome's groups to utilize a reeds-trombone-vibes-bass-drums line-up. Jerome's debut as a leader was Algorithms (Minor Music), featuring saxophonist Marty Ehrlich, who has also appeared on the three subsequent Harris releases.

Among Harris's appearances on record as featured sideman are Don Byron's A Fine Line: Arias and Lieder (Blue Note), Malinke's Dance, by Marty Ehrlich's Travelers Tales (Omnitone), Jack DeJohnette's Oneness (ECM), the Ray Anderson Lapis Lazuli Band's Funkorific (Enja) and Ned Rothenberg & Sync's Inner Diaspora (Tzadik), Harbinger (Animul), and Port of Entry (Intuition). Each showcases Jerome's expressive range, stylistic insight, and creativity.

Jerome Harris conceived and organized "Living Time": George Russell's Musical Life and Legacy, an in-depth examination of the work and life of legendary composer/bandleader/theorist/educator George Russell (1923-2009). While Russell's innovative music, challenging ideas and pivotal position in jazz history have been celebrated around the world, he remains somewhat under-recognized in the United States. This event provided a major appraisal of Russell's multi-faceted career and his important contributions to African American improvisational art music. Panelists included David Baker, Gary Giddins, Cameron Brown, Joe Hunt, Stanton Davis, Marty Ehrlich, Ken Schaphorst, Ben Schwendener and Russell biographer Duncan Heining. Professors Ingrid Monson of Harvard and John Howland of Rutgers served as panel moderators. The event was presented by Boston's New England Conservatory of Music on March 21, 2010, as part of its celebration of the 40th anniversary of its jazz studies program, the first fully accredited jazz program at a music conservatory; George Russell taught at NEC from 1969 to 2004.

Harris's scholarly interests have led to an essay, "Jazz on the Global Stage," published in the anthology The African Diaspora: A Musical Perspective, edited by Ingrid Monson (Garland). In this study, he offers an insider's view of the history, present state and future implications of the spread and flourishing of jazz in locales far from its African-American birthplace. He is currently (fall 2009; 2007-2008) adjunct Assistant Professor of Music at Hampshire College in Amherst, Massachusetts, teaching courses on the history and social context of jazz and blues.

Born and raised in New York, Jerome began his instrument studies on accordion, then played violin in a middle-school orchestra. Self-taught on guitar as well as bass guitar, as a teenager he immersed himself in a broad range of musics--rock, pop, blues, country, gospel, folk and R&B--as both fan and player.

After earning a B.A. in psychology and social relations at Harvard College in 1973, Harris attended New England Conservatory of Music as a scholarship student in jazz guitar. He graduated with honors in 1977.

In addition to his work on guitar and bass guitar, Jerome performs as a singer, has done voice-over work for audio production houses, and studies several percussion instruments."

"Over the last twenty-five years, drummer Michael Sarin has been at the center of New York City's genre-bending jazz and improvisation community. His versatility and musical wit helped forge long associations with forward-looking artists Thomas Chapin, Dave Douglas, Myra Melford, Ben Allison, and David Krakauer.

Born in 1965, Michael was raised on Bainbridge Island, WA-a ferryboat ride from Seattle. His interest in music and the drums came early, nourished by both the record collections of his parents and older sister, and by the AM radio he received at age seven.

His formal music education began during high school with drummer Dave Coleman, Sr. He went on to study drums and percussion with Tom Collier at the University of Washington, and later with master drummer, Jerry Granelli.

Since moving to New York in 1989, Michael's unique style and approach to the drum set has been highly sought after by NYC and European musicians looking to expand the definitions of jazz and improvised music. He has contributed to recordings by the aforementioned artists as well as those of Frank Carlberg, Anthony Coleman, Mark Dresser, Marty Ehrlich, Mark Helias, Denman Maroney, Simon Nabatov, Mario Pavone, and Ned Rothenberg--recordings found on numerous music critics' Top Ten CD year-end lists.

Michael performs all over the world--in major and minor festivals; concert halls famous and infamous, big and small. He can be heard on recent recordings of Frank Carlberg, Mark Dresser, Joe Fiedler, Erik Friedlander, David Krakauer, and Leslie Pintchik."