"Christopher McIntyre leads a varied career in music as a performer, composer, educator, and curator/producer. He performs a wide variety of material on trombone and synthesizer, ranging from fully notated concert works to open improvisations. Current projects include TILT Brass (Co-Founder & Director), Either/Or Ensemble (curator, performer), and frequent collaborations with choreographer Yoshiko Chuma and the School of Hard Knocks. McIntyre's trombone skills have been utilized in ensembles including SEM, Talea, Musikfabrik, The Knights, the Tri-Centric and Flexible Orchestras, Merce Cunningham Dance Co. (Legacy Tour including Park Ave Armory Events), among many others. He has worked directly with many composers, in their projects and in his own ensembles, including Joan La Barbara, Kitty Brazelton, Zeena Parkins, Lois V. Vierk, Richard Barrett, David Behrman, Jonathan Bepler (w/ Matthew Barney), Anthony Braxton, Anthony Coleman, James Fei, Fast Forward, David First, Daniel Goode, Chris Jonas, John King, Phill Niblock, Elliott Sharp, Michael Schumacher, Charles Waters, and Nate Wooley. Recordings of his performing and composing can be heard on New World, Tzadik, Mode, Edition Modern, POTTR, zOaR, and Non-Site Records, and on Archive.org.

McIntyre has contributed to the revival of composer, pianist, and vocalist Julius Eastman's (1940-90) music, having transcribed and/or created score realizations for several works since 2006 including Stay On It (1973), Trumpet (1971), and Femenine (1974). McIntyre also led performances of Eastman's music during Philadelphia-based Bowerbird's Julius Eastman Festival in May 2017 and again during The Kitchen's Julius Eastman: That Which Is Fundamental Festival in January 2018. He was interviewed by the NY Times to discuss the process of realizing the score for Trumpet.

McIntyre's compositions express a wide-range of musical and intellectual interests. He often experiments with spatialization, improvisative strategies, serialized rhythmic cycles, and symmetrical pitch construction. He uses conventional, instructional, and graphic notation systems to achieve these conceptual ends, frequently employing combinations of them within a single piece. He often finds inspiration in the work and ideas of visual artists, in particular Robert Smithson (Smithson Project), Sol LeWitt (Stuplimity Series), and Richard Serra (Precensing Pieces.) The work invests a great deal in the creativity and musicianship of its players; each performance is a unique iteration of the original material. His compositions have been performed by TILT Brass, Ne(x)tworks, 7X7 Trombone Band, Ullu, and Flexible Orchestra, with performances at venues including The Kitchen, Gagosian Gallery, City Center, ISSUE Project Room, Knockdown Center, Roulette, and Wave Farm.

Since 2018, McIntyre has been a member of the Brass & Chamber Music Faculty at Mannes School of Music at The New School. His nearly 30 years of experience in the fields of contemporary and experimental music inform every interaction with students. At Mannes, McIntyre created Chamber Brass Workshop, a course designed to expose students to a wide range of practices via performative work and research, approaching brass repertoire from historical, contemporary, and varied cultural perspectives to encourage inclusivity in 21st century brass practitioners. Prior to Mannes (his graduate school alma mater), he taught in various contexts, ranging from beginning trombone students to co-leading a lecture/workshop for Ensemble Connect at Carnegie Hall called Exploring Graphic Notation (for educators).

Beyond performing, creating, and teaching music, McIntyre is active as a curator and concert producer. He currently creates concert programs for Either/Or Ensemble, 2015 awardee of a CMA/ASCAP Award for Adventurous Programming. From 2007 to 2010 he was Artistic Director of MATA, a non-profit organization that commissions and presents the work of young composers. During his tenure, McIntyre conceived and launched the successful concert series Interval (co-presented with ISSUE Project Room) with friend and colleague Missy Mazzoli. He also curated and co-produced (with Mazzoli) three annual, week-long MATA Festivals, featuring groups such as Ensemble Pamplemousse, Argento Chamber Ensemble, Calder Quartet, So Percussion, NOW Ensemble, Either/Or, and Boston Modern Orchestra Project. As curator for the creative music group Ne(x)tworks from 2006 to 2009, he was responsible for concert programming including three annual multi-event residencies. He served as Associate Music Curator at The Kitchen, acting as Artistic Director of the ten-piece experimental chamber orchestra Kitchen House Blend, and lead curator of live events during New Sound, New York Festival (April '04). Independent curatorial projects include After 9 Evenings: A 50th Anniversary Celebration (September, 2016) and Syncretics Series (2017-18) at ISSUE Project Room; Composing With Patterns: Music at Mid-Century heard in the Rotunda at Solomon R. Guggenheim Museum (July '12); A full month of programs at The Stone (East Village) in June 2007 which featured the festival Trombonophilia and TILT Brass' mini-festival ALL TILT; and multi-event projects at The Kitchen including Let's Go Swimming: A Tribute to Arthur Russell (May '08) and A Power Stronger Than Itself: A Celebration of the AACM (Oct '08). McIntyre has served on the Board of Directors for MATA Festival and Tri-Centric Foundation."

"Trumpeter Russ Johnson is a recent Midwest transplant after spending 23 years as an important member of New York City's jazz community. He has 7 recordings as a leader or co-leader and performed on more than 75 recordings as a sideman. Russ has worked alongside many of the legendary figures in jazz including Lee Konitz, Steve Swallow, Bill Frisell, and Joe Lovano. In addition, he has recorded and/or performed with a long list of the most prominent musicians currently on the international jazz scene, including Myra Melford, Ken Vandermark, and Tony Malaby. Russ has performed in more than 40 countries across the globe. His groups have recently performed at the Chicago, Winter Jazz Fest (NYC) Hyde Park, (Chicago) and Bergamo, (Italy) jazz festivals.

His most recent recordings, Meeting Point (Relay Recordings) and Still Out To Lunch! (Enja Records) received 4 1/2 & 4 stars respectively from Down Beat Magazine and appeared on many "Best Recordings of 2014/5" lists including Down Beat, the Chicago Tribune, Chicago Reader, NYC Jazz Record and Magnet magazine. Russ will be releasing a new recording by his "Headlands" Quartet in 2017.

Russ is also active as an educator/clinician, having taught at colleges and universities across the U.S. and Europe. He currently serves as Director of Jazz Studies at the University of Wisconsin Parkside where he won the university wide "Stella Gray" Teaching Excellence award in 2016."

"Shane Endsley is an American trumpeter, drummer, and composer. He is a founding member of Kneebody, as well as an active leader and sideman with other New York City jazz musicians, as well as with pop and rock musicians such as Ani DiFranco and Pearl Jam. He is married to Kali Paguirigan and their children are Mahalia and Desmond.

Endsley was born in 1975 in Denver, Colorado, and studied trumpet, percussion, and composition at the Eastman School of Music, where he met the other members of Kneebody. Since then, he has toured and recorded with Ani DiFranco and Steve Coleman and has done work with Slavic Soul Party, Ralph Alessi, Tim Berne, Ravi Coltrane, John Hollenbeck and others in the downtown music and jazz scenes. He resides in Brooklyn."

"Influenced by two older cousins who both played trumpet, trombonist/composer Joe Fiedler, born and raised in Pittsburgh, PA, and based in NYC since 1993, desperately wanted to become a trumpet player himself, but was instead given a trombone by his fourth grade music teacher who saw Fiedler and the trombone as a good match. The young, shy musician accepted the "arranged marriage", and the fourth grade music teacher has since been proven prophetic. Fiedler and the trombone finding each other coincided with the young musician falling under the abiding influence of two albums from his father's collection, The Cannonball Adderley Sextet-Mercy, Mercy, Mercy, and Oscar Peterson's Night Train.

During his high school years Fiedler entertained a fantasy about going to Berklee and studying with the noted educator, Phil Wilson. But as graduation neared he decided to enroll at Allegheny College in Pennsylvania. Fiedler spent a couple of years having a typical college experience, but the trombone was on the back burner. After that period of time he decided to move back home and transferred to the University of Pittsburgh. He soon learned through an old high school buddy who was in Pitt's jazz band that they were in need of trombone players. "So I joined and once my flame was relit, I was all in, and full on! At that time I had no idea how to make a living playing the trombone, but I was just in love with practicing and the whole process," commented Fiedler.

Upon graduating Fiedler quickly becoming an in-demand sideman, freelancing for several years in Pittsburgh, including hitting the road with the Glenn Miller Orchestra and working in pit orchestras for Broadway shows. Shortly after, Fiedler moved to New York City in 1993, and two big breaks really opened up a career path for the trombonist. He heard through some friends who were members of Billy Bang's quintet that the great Cecil Taylor was forming a new large ensemble. As a young, brave, and perhaps naïve musician, Fiedler crashed the first rehearsal, and when he wasn't asked to leave, he kept showing up. "After a while I guess that I was just in the band. While playing with Cecil was great, it was the players that I met that led to many other projects, either directly or indirectly. Some of those players included: Steve Swell, Susie Ibarra, Chris Jonas, Rob Brown, and Chris Lightcap," said Fiedler.

Fiedler also met many future collaborators through Joey Sellers, one of his all time favorite composers /arrangers /trombonists, who was holding open rehearsals at the Local 802 Union with his 11 piece band. Fiedler explains, "through the grape vine, I ended up at one of those rehearsals and was able to stick around. Up until then I was a bit mired in the free jazz scene-which was cool, but I wanted to play in an open setting, but with some harmony and form. (Much in the vein of my hero Ray Anderson.) It was in that band that I finally met a whole slew of like-minded players and finally felt at home. That band included: Tony Malaby, Dave Ballou, Dave Berkman and my future band mates, John Hebert and Michael Sarin."

Since this time, Fiedler, born March 24, 1965, has gone from strength to strength, happily entrenched in a whirlwind of prestigious sideman activity over the past twenty years (Fiedler is one of the first-call trombonists in the world and is featured on more than 100 recordings). He has also been modestly crafting and releasing an exceptional cluster of recordings as a composer and bandleader that has garnered high praise from fans and the most revered journalists and critics covering jazz and creative music.

Fiedler exploded out of the gate as a leader with a one two punch; Joe Fiedler Plays the Music of Albert Mangelsdorff, followed by The Crab (both on the much-revered label, Clean-Feed Records), that put him on the map as triple threat musician; a seriously gifted improviser, an accomplished composer/arranger and an imaginative bandleader. These recordings garnered such praise as, "one of the small group jazz discs of the year" (Jim Macnie, The Village Voice), "a memorable and brilliant tribute. Highly recommended" (All Music Guide) and, "pointing a way toward the future of the trombone." (Stephen Loewy, Cadence Magazine). In 2011 Fiedler released Sacred Chrome Orb, and once again took the trombone to new heights in the exposed setting of a trio (sans chordal instrument), accompanied by bassist John Hebert (who also appears on the Manglesdorff album), and the ubiquitous drummer Michael Sarin.

The idea for Fiedler's newest band and recording, both titled Big Sackbut, featuring Fiedler, Josh Roseman & Ryan Keberle - trombones, and Marcus Rojas - tuba (on the Yellow Sound Label, September, 2012), was born in the late 1980s when Fiedler first saw The World Saxophone Quartet live. He explains this revelation: "The drive and energy that they put forth, all without a traditional rhythm section was quite compelling. In addition, the tunes had a wonderful balance of 'loose-tightness' or 'tight-looseness' that totally sucked me right in. And this is to say nothing of the four powerhouse solo voices. I immediately thought of how I might incorporate my image of all of those elements into a trombone driven project of my own. Those ideas rattled around in my head for more than 20

years. Then a little more than two years ago, while on a gig with Ryan Keberle, I told him of my intention to finally follow through and put it all together. As it turned out he was curating a series for

the New York Slide Workers Union and offered me a gig. The series was taking place at Josh Roseman's performance space, Northsix Media Labs in Brooklyn, so he was naturally recruited, being one of my favorite trombonists. This gig was just the little nudge that I needed to bring the project to life, and here it is!"

On Big Sackbut one could listen to and enjoy this music immensely without considering the instrumentation, so complete is this music. However, that would be missing most of the soul enriching listening and gratifying fun that is packed into every measure. To hear and contemplate the vast amounts of timbre, tone, rhythm, harmony, melody, charming wittiness and emotion these musicians extract from three trombones and a tuba is an extraordinary experience.

Joe Fiedler's career is always moving full steam ahead, and in addition to leading his own bands, the aforementioned Big Sackbut, and The Joe Fiedler Trio, he is currently working with Miguel Zenon's Large Ensemble, Eddie Palmieri, Fast 'n' Bulbous, Viento De Agua (whose first album, De Puerto Rico alMundo, was selected among the Top 10 Latin albums of the year by The New York Times), the EdPalermo Big Band, Endangered Species-The Music of Wayne Shorter, and many others. Fiedler is alsoin the planning stages for a solo trombone project, and is a regular contributor to The Mingus BigBand. Fiedler's "day job" is Music Director: Arrangements (serving as arranger, orchestrator andtrombonist) for Sesame Street. Over four seasons he has written more than 150 arrangements andcrafted more than 5000 underscoring cues."

"Jacob Garchik, multi-instrumentalist, composer, and arranger, was born in San Francisco and has lived in New York since 1994. At home in a wide variety of styles and musical roles, he has become a vital part of NYC's downtown and Brooklyn scene, playing trombone with the Lee Konitz Nonet, Ohad Talmor/Steve Swallow Sextet, The Four Bags, Slavic Soul Party, and the John Hollenbeck Large Ensemble. In 2012 he released the acclaimed solo CD "The Heavens: the Atheist Gospel Trombone Album".

Since 2006 Jacob has contributed dozens of arrangements and transcriptions for the Kronos Quartet of music from all over the world. His arrangements were featured on "Floodplain" (2009) and "Rainbow" (2010). He composed the score for Kronos for the documentary film "The Campaign" (2013) about the fight for marriage equality in California, which aired on PBS and at the frameline37 film festival in San Francisco.Complete list of arrangements for Kronos

As a trombonist Jacob has worked with many of the luminaries of the avant-garde, including Henry Threadgill, Laurie Anderson, Anthony Braxton, Anthony Coleman, Joe Maneri, Frank London, James Tenney, Josh Roseman, Don Byron, Terry Reilly, George Lewis, and Billy Martin. He has also played in ensembles led by rising artists such as Mary Halvorson, Dan Weiss, Miguel Zenon, and Steve Lehman. In 2013 he was named a "Rising Star" in the Downbeat Magazine Jazz Critic's Poll. Jacob also plays accordion, bass trombone, tuba, computer, and piano."

"John Clark is an American jazz horn player and composer.

John Clark was born in Brooklyn and grew up in Rochester, New York. In 1966 he received a B.A.from the University of Rochester, where he also studied horn with Verne Reynolds at the Eastman School of Music. From 1967 until 1971 he played in the United States Coast Guard Band. Clark received a M.M. degree (with honors) from the New England Conservatory of Music in 1973. He studied composition and improvisation with Jaki Byard, Ran Blake, and George Russell; and horn with James Stagliano, Thomas Newell, and Paul Ingraham. In 1991 he received a patent for the "hornette," an instrument with the same range as a French Horn but with a forward-facing bell for greater projection. He taught at the State University of New York at Purchase from 2001 until 2008, subsequently moving to faculty at Manhattan School of Music.

Clark has performed or recorded with a wide variety of musicians, including in jazz: Gary Bartz, Carla Bley, Ornette Coleman, Gil Evans, John Faddis, Johnny Griffin, Dave Grusin, Jerome Harris, Jim Hall, Jimmy Heath, Anthony Jackson, Leroy Jenkins, Howard Johnson, Oliver Lake, Joe Lovano, Pat Metheny, Grachan Moncur, Gerry Mulligan, Jaco Pastorius, Rachel Z, Paquito D'Rivera, Mike Richmond, John Scofield, Frank Sinatra, Lew Soloff, Spyro Gyra, David Taylor, Toots Thielemans, the Turtle Island String Quartet, McCoy Tyner, Glen Velez, Paul Winter Consort, Akiko Yano, and the Jazz at Lincoln Center Orchestra.

Outside of jazz, he has worked with the Aspen Wind Quintet, Ashford and Simpson, the Brooklyn Philharmonic, the Fugees, Isaac Hayes, Billy Joel, B. B. King, LL Cool J, Joni Mitchell, Linda Ronstadt, Diana Ross, Carly Simon, Sting, Speculum Musicae, and the Trans-Siberian Orchestra.

He has performed as a studio musician for many films, including Mission to Mars, Fargo, and Pocahontas."

"Kevin Norton was born in Brooklyn and raised in Staten Island, NY. The composer/percussionist came to jazz in an unlikely setting but befriended drummer and fellow record collector Kenny Washington as a teenager. Studies at Hunter College introduced Kevin to Milt Hinton and after a short period, Kevin began to perform with Milt Hinton, eventually recording The Judge's Decision with a quartet led by Milt. Under Milt's encouragement, Kevin went back to school to get his Masters Degree from Manhattan School of Music.

After graduation he played every kind of gig available to a versatile percussionist: classical, jazz, blues, Dixieland, off-Broadway shows, rock, but especially taking part in the blossoming downtown New York City scene that strove to combine all these musics. This lead to him playing with Fred Frith's band Keep the Dog, which also included harpist Zeena Parkins and saxophonist John Zorn. Soon Mr. Norton was asked to play with a vast amount of downtown New York (sometimes called the Knitting Factory scene) ensembles. However, he longed to return to his jazz roots and began to play with downtown outsiders Phillip Johnston and Joel Forrester and their co-led band, the Microscopic Septet (and later Johnston's Big Trouble, with two CDs on Black Saint).

Still unsatisfied on a level of self-expression, Kevin began to devote himself to his own projects featuring his composition work and his improvising on total percussion (predominantly vibes and drums). Kevin has written several multi-movement pieces sometimes based on extra-musical subject matter. For Guy Debord (in nine events)is a piece for quintet and woodwind soloist (originally Anthony Braxton) based on the texts of the radical French philosopher whose thought proved central to the riots of Paris, 1968. Change Dance (Troubled Energy) draws it's inspiration from another radical political activist, Kathy Change (born Kathleen Chang). Both suites are approximately an hour in duration. On February 23, 2006 Kevin's Water and Fire Suite was premiered. It was commissioned as part of the national series of works from Meet The Composer Commissioning Music/USA, which is made possible by generous support from the National Endowment for the Arts, The Helen F. Whitaker Fund, and the Target Foundation.

In less than 10 years he has led and/or co-led about 20 critically acclaimed recordings, many of them making year-end "Best of" lists. On one of the recent recordings, Time-Space Modulator integrates intricate, sophisticated composition work with the deep improvisatory skills of Kevin, Tony Malaby, Dave Ballou and John Lindberg.

Kevin has also played with many highly esteemed European Improvisers such as Paul Rogers, Jo‘lle LŽandre, Paul Dunmall and Frode Gjerstad. Also, for about ten years, Mr. Norton was Anthony Braxton's main percussionist in both the "ghost trance" phase and the "standards" phase, plotting out the course for all percussionists who followed him. His most recent projects include compositions for various sized chamber groups and a duo with pianist Connie Crothers.

In June of 2002, Kevin Norton was a resident composer at the prestigious MacDowell Colony. He has served on the faculty of several schools including the University of Maryland and is currently on the faculty of William Paterson University."

"Anthony Coleman (born August 30, 1955) is an avant-garde jazz pianist. During the 1980s and 1990s he worked with John Zorn on Cobra, Kristallnacht, The Big Gundown, Archery, and Spillane and helped push modern Jewish music into the 21st century.

At the age of thirteen, Coleman started studying piano with Jaki Byard. At the New England Conservatory of Music he studied with George Russell, Donald Martino and Malcolm Peyton.

Coleman's collaborators over the years have included guitarist Elliott Sharp, trumpeter Dave Douglas, accordion player Guy Klucevsek, composer David Shea, former Captain Beefheart bandmember Gary Lucas, classical and klezmer clarinetist David Krakauer, guitarist Marc Ribot, bassist Greg Cohen, drummer Joey Baron and saxophonist Roy Nathanson.

Coleman's compositions and solo work reflect his interest in his Jewish background. His groups Sephardic Tinge and Selfhaters in the 1990s explored both the lively, rich and exuberant musical legacy as well as darkly described the lamentation of a minority culture in Diaspora. Sephardic Tinge toured extensively, especially throughout Europe, in the 1990s and the early 2000s.

Coleman's Disco by Night is a work inspired by his visit to his family's homeland of Yugoslavia and was his first major solo record released by Japan's Avant Records in 1992. Shmutsige Magnaten, in which he played the songs of Yiddish folk composer Mordechai Gebirtig, a victim of the Holocaust was also released by Tzadik Records in 2006. It was recorded live at midnight in the oldest synagogue of Kraków, Poland, a few steps away from Gebirtig's birthplace during the annual Kraków Jewish Music Festival in 2005.

His duo albums, The Coming Great Millenium, Lobster & Friend, and I Could've Been a Drum with Roy Nathanson, mostly explore the fun, frivolous and joyous alongside the nostalgic hearts and minds of Jews in modern and old America. These recordings typify Coleman's "free" playing style as well as his multi-instrumental capabilities with him also operating samplers, trombones, percussion as well as piano and voice. Coleman and Nathanson have performed all over the U.S. and Europe.

Coleman is also an accomplished composer with many works being commissioned by numerous ensembles including the 2006 work Pushy Blueness which was released on Tzadik.

His work includes Damaged by Sunlight, issued on DVD in France by La Huit, the album Freakish: Anthony Coleman plays Jelly Roll Morton (Tzadik); a monthlong residency in Venice as a guest of Venetian Heritage, a commission for the Parisian Ensemble Erik Satie: Echoes From Elsewhere; tours of Japan and Europe with guitarist Marc Ribot's band Los Cubanos Postizos; a lecture/performance as part of the symposium "Anton Webern und das Komponieren im 20 Jahrhundert" (Neue Perspektiven, Basel, Switzerland) and a commission from the String Orchestra of Brooklyn (Empfindsamer).

He has been on the faculty of the New England Conservatory of Music since 2005 and Mannes College New School for Music since 2012. His album The End of Summer features his NEC Ensemble Survivors Breakfast.

Coleman has degrees in composition from the New England Conservatory of Music and the Yale School of Music and attended Mauricio Kagel's seminar at Centre Acanthes in Aix-en-Provence, France. He has received grants and residencies from the New York Foundation for the Arts, the Djerassi Colony, the Civitella Ranieri Center, the Freie und Hansestadt Hamburg Kulturbehörde and the Yellow Springs Arts Center. He spent the spring semester of 2003 teaching theory and composition at Bennington College in Vermont. In 2004 he was the subject of a three-day festival, Abstract Adventures, in Brussels, Belgium.

Coleman writes articles for All About Jazz and Bomb magazine and was a contributor to John Zorn's essay collection Arcana: Musicians on Music in 2000.

In the mid 1990s, Coleman appeared in Sabbath in Paradise, Claudia Heuermann's documentary about Jewish music in the avant-garde downtown scene in New York, A Bookshelf on Top of the Sky, Heuermann's documentary about John Zorn, and Following Eden. In 2005 Coleman was interviewed for the Marc Ribot documentary The Lost String, directed by Anais Prosaic."