"Rashied Ali, born Robert Patterson (July 1, 1933) was a progenitor and leading exponent of multidirectional rhythms and polytonal percussion. A student of Philly Joe Jones and an admirer of Art Blakey, Ali developed the style known as "free jazz" drumming, which liberates the percussionist from the role of human metronome. The drummer interfaces both rhythmically and melodically with the music, utilizing meter and sound in a unique fashion. This allows the percussionist to participate in the music in a harmonic sense, coloring both the rhythm and tonality with his personal perception. By adding his voice to the ensemble, the percussionist becomes an equal in the melodics of collective musical creation rather than a "pot banger" who keeps the others all playing at the same speed. Considered radical in the 1960s and scorned by the mediocre, multidirectional rhythms and polytonal drumming are now the landmark of the jazz percussionist.

A Philadelphia native, Rashied Ali began his percussion career in the U.S. Army and started gigging with rhythm and blues and rock groups when he returned from the service. Cutting his musical teeth with local Philly R&B groups, such as Dick Hart & the Heartaches, Big Maybelle and Lin Holt, Rashied gradually moved on to play in the local jazz scene with such notables as Lee Morgan, Don Patterson and Jimmy Smith.

Early in the 1960s the Big Apple beckoned, and soon Rashied Ali was a fixture of the avant-garde jazz scene, backing up the excursions of such musical free spirits as Don Cherry, Pharoah Sanders, Paul Bley, Archie Shepp, Bill Dixon and Albert Ayler. It was during this period that Rashied Ali made his first major recording ("On This Night" with Archie Shepp, on the Impulse! label) and began to sit in with John Coltrane's group at the Half Note and other clubs around Manhattan.

In November 1965 John Coltrane decided to use a two-drummer format for a gig at the Village Gate; the percussionist Trane chose to complement the already legendary Elvin Jones was Rashied Ali. Thus began a musical odyssey whose reverberations are still felt in the music today--Trane probing the outer harmonic limits and changing the melodic language of jazz while Rashied Ali turned the drum kit into a multi-rhythmic, polytonal propellant, helping fuel Coltrane's flights of free jazz fancy. The rolling, emotion-piercing music generated by the Coltrane/Ali association is still being discussed, analyzed, reviewed and enjoyed as the internet and new audio technology introduces their era to a new host of the sonically aware.

After Coltrane's passing in 1967, Rashied Ali headed for Europe, where he gigged in Copenhagen, Germany and Sweden before settling in for a study period with Philly Joe Jones in England. Upon his return from the continent, Rashied Ali resumed his place at the forefront of New York's music scene, working and recording with the likes of Jackie McLean, Alice Coltrane, Archie Shepp, Gary Bartz, Dewey Redman and others too numerous to mention here.

In response to the decaying New York jazz scene in the early 1970s, Rashied Ali opened the loft-jazz club, Ali's Alley, in 1973 and also established a companion enterprise, Survival Records. Ali's Alley began as a musical outlet for New York avant-garde but soon became a melting pot of jazz styles. Although the Alley closed in 1979, its legacy continues in the New York jazz scene. During that time, Rashied recorded and released several albums on the Survival Records label and was busy gigging with a virtual Who's Who in jazz, refining his music and encouraging up-and-coming younger musicians.

In the '80s and '90s, his presence on the scene was sporadic; he performed on occasion with bassist Jaco Pastorius, and recorded with tenor saxophonist David Murray. In 1987 he recorded and performed as a member of the group Phalanx, with guitarist James "Blood" Ulmer, tenor saxophonist George Adams, and bassist Sirone. Also in that year Rashied formed a group with multi-instrumentalist Arthur Rhames, saxophonist Antoine Roney, bassist Tyler Mitchell, and pianist Greg Murphy. In 1991, he made the critically acclaimed album "Touchin' on Trane" with bassist William Parker and tenor saxophonist Charles Gayle, a group called By Any Means that was formed in the '80s and continued to perform until 2009. In the early '90s he formed a quintet with Ravi Coltrane, Matt Garrison, Greg Murphy and guitarist Gene Ess, later releasing his 1992 recording "No One in Particular" in 2001 on Survival Records. One tour of France with this group featured Carlos Santana and Archie Shepp. The '90s also found Ali at the helm of the band, Prima Materia, an ensemble dedicated to interpreting the late works of Coltrane and Albert Ayler. This group toured extensively and in 1994, 1995, and 1996, they recorded "Peace on Earth," "Meditations," and "Bells" for the Knitting Factory Works label. He also appeared on more than half a dozen discs with guitarist Tisziji Muñoz--the majority of which were recorded in Rashied's own Survival Studios.

In 2003 Rashied formed another version of The Rashied Ali Quintet. In 2005 they released two CDs--"Judgment Day Vol. 1" and "Judgment Day Vol. 2," both of which received significant national airplay and volumes of critical acclaim. In 2009 "Live In Europe" by the Rashied Ali Quintet was released, also on the Survival Records label. This group, which Jazz Times critic Bill Milkowski called "...one of the more potent working quintets in jazz today," developed a style that combined modern post-bop with Ali's trademark free jazz. This group toured frequently, with their final performances taking place at The Art of Jazz festival in Toronto in June and at the Zinc Bar in NYC in July of 2009.

Rashied died August 12, 2009 in a Manhattan hospital after suffering a pulmonary embolism. He was 76. Besides his wife, Patricia, he is survived by two brothers, the jazz drummer Muhammad Ali and Umar Ali, both of Philadelphia, and nine children."

"Born 1944 in Germany, died 21 September 2002 New York City; double bass, voice, tuba.

Peter Brötzmann (Corbett, 1994) recounted that 'there was this young guy trying to play the bass, who was Mr Kowald, at that time seventeen years old. Peter lived with his parents. I had my little studio, so he was always hanging out at my place. But he had to be at home at 10.00, he was drinking milk. But we changed that, very soon. His parents were always very angry with me, because he never showed up at home anymore, he dropped studies of ancient languages, Greek and all that.' By this time (1962) Peter Kowald had been playing bass for two years and, with different drummers the two Peters were playing Mingus, Ornette, and Miles Davis things as well as listening to Coltrane, Stockhausen, Cage et al. Kowald was part of the European tour undertaken by the Carla Bley/Michael Mantler band in 1966 (also featuring Brötzmann) and then came work with other German musicians, membership of the Globe Unity Orchestra and the first recordings: Globe Unity, For Adolphe Sax and Summer 1967, recorded during a brief vacation in London. In particular, Evan Parker credits this visit to London for his invitation to play in the Pierre Favre/Irene Schweizer quartet and his subsequent longstanding involvement with German (and other European) musicians. Kowald's work with Brötzmann continued - on and off - on record at least, to the time of Kowald's death and included the Cooperative Trio with Andrew Cyrille, a duo on the Duos project and a recent mix of free jazz, hip-hop and rap.

Peter Kowald was a member of Globe Unity Orchestra for 12 years (1966 to 1978) and for much of this time played less of a side-man role and more of an equal partner - for example, conducting the band - with the person to whom the group has become most associated, Alex von Schlippenbach. His influence is particularly noticeable on Jahrmarkt/Local fair where the two sides of composition are by Kowald (as is the second side of Live in Wuppertal and he is also credited, along with Paul Lovens as 'producing' the record, presumably sorting out the sprawling theatricality and poor sound into two 'meaningful' fragments. In his notes to 20th anniversary, Schlippenbach emphasises the importance of Kowald in creating a programme that became a lot more 'colourful'; while further pointing out that he and Kowald gradually drifted further apart 'until one fine evening after lengthy discussions which resulted in a fight in a pub in Wuppertal, this chapter also closed'. However, before this ending, from 1973 to 1978, Kowald also worked with the Schlippenbach trio (Schlippenbach/ Parker/Paul Lovens), turning it for much of this time into a regular quartet.

Throughout his career, Peter Kowald worked with a wide variety of improvising musicians worldwide and in many considered and unusual situations. He recorded bass duets with Barry Guy, Barre Phillips, Peter Jacquemyn, Maarten Altena, Damon Smith and William Parker, released two solo bass recordings, and had regular groups with Leo Smith and Günter Sommer; with Joëlle Léandre and dancer Anne Martin (Trio Tartini); with dancers Cheryl Banks and Arnette de Mille and cellist Muneer Abdul Fataah (Music and Movement Improvisation); a trio with pianist Curtis Clark; a trio with Canadian alto saxophonist Yves Charuest and Louis Moholo; and Principle Life with Jeanne Lee, Klaus Hovman, and Marilyn Mazur. During the period 1980 to 1985 he was a member of the London Jazz Composers' Orchestra. He has spent periods in the US and in Japan and recorded three duo LPs (two CDs) with US, European and Japanese musicians. He also lived in Greece and similarly played and recorded with the Greek musicians Floros Floridis and Ilias Papadopoulos. By contrast, the 12 months May 1994 to May 1995 was designated Kowald's 'Year at home' project which comprised a mixture of solo works - out of which, to some extent, the last solo CD grew (Was da ist) - and group performances.

In addition, Peter Kowald collaborated extensively with poets and artists and with the dancers Gerlinde Lambeck, Anne Martin, Tadashi Endo, Patsy Parker, Maria Mitchell, Sally Silvers, Cherly Banks, Arnette de Mille, Sayonara Pereira, and Kazuo Ohno. Specific works included Die klage der kaiserin (1989) with Pina Bausch, Short pieces (since 1989) with Jean Sasportes, The spirit of adventure (1990) with Anastasia Lyra, Wasser in der hand (1990/91) with Christine Brunel, and Futan no sentaku/The burden of choice (1990/91) with Min Tanaka and Butch Morris."

"Assif Tsahar (born Israel, June 11, 1969) is an Israeli tenor saxophonist and bass clarinetist. He lived in New York City from 1990 to the early 2000s, returning to Israel.

He has performed with Cecil Taylor, Butch Morris, William Parker, Mat Maneri, Hamid Drake, Peter Kowald, Susie Ibarra, Rashied Ali, Warren Smith, Wilbur Morris, Le Quan Ninh, John Tchicai, Fred Anderson, Rob Brown, Roy Campbell, Gerald Cleaver, Agusti Fernandez, Ken Vandermark, Kent Kessler, Joe Daley, Herb Robertson, Cuong Vu, Chris Jonas, Ori Kaplan, Oscar Noriega, Roman Stolyar, Alex Harding, Steve Swell, Cooper-Moore, and Tom Abbs

He founded the label Hopscotch Records in 1999. In 2006 he opens the music club Levontin7 with Daniel Sarid in Tel Aviv. "