"Laura Phillips "Laurie" Anderson (born June 5, 1947) is an American avant-garde artist, composer, musician and film director whose work spans performance art, pop music, and multimedia projects. Initially trained in violin and sculpting, Anderson pursued a variety of performance art projects in New York during the 1970s, making particular use of language, technology, and visual imagery. She became widely more known outside the art world in 1981 when her single "O Superman" reached number two on the UK pop charts. She also starred in and directed the 1986 concert film Home of the Brave.

Anderson is a pioneer in electronic music and has invented several devices that she has used in her recordings and performance art shows. In 1977, she created a tape-bow violin that uses recorded magnetic tape on the bow instead of horsehair and a magnetic tape head in the bridge. In the late 1990s, she developed a talking stick, a six-foot (1.8 m) long baton-like MIDI controller that can access and replicate sounds.

Anderson started dating Lou Reed in 1992, and was married to him from 2008 until his death in 2013."

"Sylvie Courvoisier is a pianist, composer and improviser. Born in Lausanne, Switzerland, Courvoisier moved to New York in 1998 and has lived in Brooklyn since that time.

Courvoisier has led several groups over the years and has recorded over 25 records as a leader or co-leader for different labels, notably ECM , Tzadik and Intakt Records and 30 cds as a sideperson. She has performed and recorded with John Zorn, Mark Feldman, Yusef Lateef, Ikue Mori, Tony Oxley, Tim Berne, Joey Baron, Joëlle Léandre, Herb Robertson, Butch Morris, Evan Parker, Mark Dresser, Ellery Eskelin, Lotte Anker, Fred Frith, Michel Godard, Tomazs Stanko among others. She has been commissioned to write music for concerts, radio, dance and theater. Since 1996, she has been touring widely with her own groups and as a side person in USA, Canada, Japan, Australia and Europe.

Currently, Courvoisier is the leader of her TRIO with Kenny Wollesen and Drew Gress. She performs regularly Solo and since 1997, in Duo with violinist Mark Feldman. She co-leads the Sylvie Courvoisier/Mark Feldman Quartet with Scott Colley and Billy Mintz. Since 2000, she has been a member of Mephista, an improvising collective trio with Ikue Mori and Susie Ibarra. She is currently playing and touring in different projects of John Zorn including Cobra and Masada Marathon. She is also playing in Erik Friedlander's Trio, Herb Robertson's Quintet and Nate Wooley's Quartet. Since 2010, she has been working as a pianist and composer for flamenco dancer Israel Galvan's project "la Curva" with more than 150 performances around the world.

Awards include Switzerland's 1996 Prix des jeunes créateurs; Zonta Club's 2000 Prix de la Création; Switzerland's 2010 Grand Prix de la Fondation Vaudoise de la Culture; 2013's NYFA (NewYork Foundation For the Art) Music/Sound Fellowship."

"Though the point of reference for many remains the iconic band Henry Cow, which he co-founded in 1968 and which broke up more than 30 years ago, Fred Frith has never really stood still for an instant.

In bands such as Art Bears, Massacre, Skeleton Crew, Keep the Dog, Tense Serenity, the Fred Frith Guitar Quartet, Eye to Ear, and most recently Cosa Brava, he has always held true to his roots in rock and folk music, while exploring influences that range from the literary works of Eduardo Galeano to the art installations of Cornelia Parker.

The release of the seminal Guitar Solos in 1974 enabled him to simultaneously carve out a place for himself in the international improvised music scene, not only as an acclaimed solo performer but in the company of artists as diverse as Han Bennink, Chris Cutler, Jean-Pierre Drouet, Evelyn Glennie, Ikue Mori, Louis Sclavis, Stevie Wishart, Wu Fei, Camel Zekri, John Zorn, and scores of others.

He has also developed a personal compositional language in works written for Arditti Quartet, Asko Ensemble, Bang on a Can All-Stars, Ensemble Modern, Concerto Köln, and ROVA Sax Quartet, for example. Fred has been active as a composer for dance since the early 1980s, working with choreographers Bebe Miller, François Verret, and especially long-time collaborator and friend Amanda Miller, with whom he has created a compelling body of work over the last twenty years.

His film soundtracks (for award-winning films like Thomas Riedelsheimer's Rivers and Tides and Touch the Sound, Peter Mettler's Gambling, Gods, and LSD, and Deborah Kaufman and Alan Snitow's Thirst, to name a few) won him a lifetime achievement award from Prague's "Music on Film, Film on Music" Festival (MOFFOM) in 2007. The following year he received Italy's Demetrio Stratos Prize (previously given to Diamanda Galas and Meredith Monk) for his life's work in experimental music, and in 2010 was awarded an honorary doctorate from the University of Huddersfield in his home county of Yorkshire.

Fred currently teaches in the Music Department at Mills College in Oakland, California (renowned for over fifty years as the epicenter of the American experimental tradition), and in the Musik Akademie in Basel, Switzerland."

"Jordan Glenn is a drummer, percussionist, composer, band leader, conductor, video maker, and general craftsman who lives in Oakland, California.

Jordan Glenn spent his formative years in Oregon drawing cartoons, taking dance classes from his aunt, and putting on plays with his sisters. As he got older he began making movies with his friends and studying jazz, classical, and rock music. In 2003 Glenn received a bachelor's degree in Jazz Studies from the University of Oregon.

In 2006 he relocated to the Bay Area, received a masters degree from Mills College and since has worked closely with Fred Frith (FF Trio and Gravity Band), William Winant, Zeena Parkins (The Adorables), Roscoe Mitchell, ROVA Sax Quartet, Ben Goldberg, Todd Sickafoose, John Schott, Dominique Leone, Aaron Novik, Darren Johnston, Aram Shelton, Cory Wright, Lisa Mezzacappa, Karl Evangelista, Michael Coleman, Matthew Welch, Rhys Chatham and the bands Jack O' The Clock, Arts & Sciences, Young Nudist, 20 Minute Loop, Beep!, tUnE-yArDs, and the Oakland Active Orchestra. He also leads and conducts the project Mindless Thing, a collaboration with poet/free-jazzer/sage Jim Ryan, as well as the long standing trio Wiener Kids and the ten piece expansion, The Wiener Kids Family Band."

"Jason Hoopes is a bassist and educator. His work as bassist includes numerous bay area groups including but not limited to...Jack O' The Clock, Fred Frith Trio, OrkestRova, Scott Amendola / Karl Alfonso Defensor Evangelista, Perfect Loss, Eat The Sun, Dominique Leone, The Atomic Bomb Audition, Satya Sena, powerdove, Host Family."

"Annie Lewandowski is a composer/performer who works in song and improvisation. As an improviser on piano, accordion, and electronics, she has performed/recorded with musicians including Fred Frith, the London Improvisers Orchestra, Caroline Kraabel, Theresa Wong, Tim Feeney, CAGE, Sarah Hennies, Spinneret.s, and Doublends Vert. As a singer, guitarist, and keyboardist, she has recorded with bands and ensembles including Emma Zunz, Xiu Xiu, The Curtains, Former Ghosts, and Yarn/Wire. Her band Powerdove has released nine recordings, most recently "War Shapes" (Murailles Music, 2017) and "Bitter Banquet" (fo'c'sle records, 2018). She premiered her Euripidean multimedia song cycle "Bitter Banquet" with baroque keyboardist David Yearsley at the Sustaining the Antique Festival of Classics at Cornell University in October 2016.

Annie has performed at festivals and venues across the United States and Europe, including the Casa da Música (Porto, Portugal), the Hippodrome (London), Musica Nelle Valli (San Martino Spino, Italy), the Great American Music Hall (San Francisco), the Frieze Arts Fair (London), Avalon (Los Angeles), and REDCAT (Los Angeles). She is a 2014 Civitella Ranieri Foundation Fellow, and has been awarded grants from the Cornell Council for the Arts and the Atkinson Center for Sustainability for her work on humpback whale song with bioacoustics researcher Katy Payne and the Hawai'i Marine Mammal Consortium. In 2019, she contributed to the creation of Pattern Radio, Google Creative Lab's webtool for teaching AI to recognize patterns in humpback whale song.

Annie received her Master of Fine Arts in Music Performance and Literature with a Specialization in Improvisation from Mills College. At Mills, she was awarded the Flora Boyd Piano Performance prize for her work on extended techniques for the piano. She is currently a Senior Lecturer in Music at Cornell University."

"Jessica Lurie is an American composer, performance artist and woodwind player, originally hailing from Seattle and now living in Brooklyn, New York.

Lurie first gained notice as a member of The Billy Tipton Memorial Saxophone Quartet, an all-female horn ensemble who released its first album in 1993. In 1995, she also had a first release with the group Living Daylights, which performs jazz-jamband music. She has also performed as the leader of the Jessica Lurie Ensemble since 2002.

Jessica has performed, toured or recorded with international artists such as Bill Frisell, The Indigo Girls, Vinicio Capossela, Marc Ribot, Marty Ehrlich, Wayne Horvitz, Sleater-Kinney, Circus Amok, Les Claypool, Nels Cline, Mike Clark, and Great Small Works, among others.[citation needed] Lurie started her music label Zipa!Music in 2000.

Jessica's touring groups include jazz and alternative music artists. Her current New York line-up features Todd Sickafoose on acoustic bass (best known for his work with Ani DiFranco), Allison Miller on drums (Natalie Merchant) and Erik Deutsch on keyboard.[citation needed] Other regular guests include Scott Amendola (drums, Madeline Peyroux), Jon Evans (bass, Tori Amos), Nels Cline (guitar, Wilco) and Julie Wolf (piano, Ani diFranco) as well as Italian musicians Zeno de Rossi (drums), Danilo Gallo (bass) and Giorgio Pacorig (piano)."

"Miya Masaoka, musician, composer, performance artist, has created works for koto, laser interfaces, laptop and video and written scores for ensembles, chamber orchestras and mixed choirs. In her performance pieces she has investigated the sound and movement of insects, as well as the physiological responses of plants, the human brain, and her own body. Within these varied contexts of sound, music and nature, her performance work emphasizes the interactive, live nature of improvisation, and reflects an individual, contemporary expression of Japanese gagaku aural gesturalism.

Masaoka's work has been presented in Japan, Canada, Europe, Eastern Europe and she has toured to India six times. Venues include V2 in Rotterdam, Cybertheater in Brussels, Elektronisch Festival in Groningen, the Cleveland Performance Art Festival, The Electronik Body Festival in Bratislava, Slovakia, Radio Bremen, Germany, Festival of Lights, Hyberadad, India, and the London Musicians Collective.

Since forming and directing the San Francisco Gagaku Society, Masaoka has been creating new ways of thinking about and performing on the Japanese koto. She has developed a virtuosic and innovative approach, including improvisation and expanding the instrument into a virtual space using computer, lasers, live sampling, and real time processing.

Masaoka has been developing koto interfaces with midi controllers since the 1980's originally with Tom Zimmerman, co-inventor of the Body Glove. Since then, she has she has worked at STEIM, Amsterdam, CNMAT, and with Donald Swearingen to build interfaces with the computer and koto, at times using pedals, light sensors, motion sensors and ultrasound. With the koto connected directly to her laptop, she records her playing live, and processes the samples in real time. This new koto is able to respond dynamically and interactively in a variety of musical environments, and improvise with the processed sounds."

"Ikue Mori moved from her native city of Tokyo to New York in 1977. She started playing drums and soon formed the seminal NO WAVE band DNA, with fellow noise pioneers Arto Lindsay and Tim Wright. DNA enjoyed legendary cult status, while creating a new brand of radical rhythms and dissonant sounds; forever altering the face of rock music.

In the mid 80's Ikue started in employ drum machines in the unlikely context of improvised music. While limited to the standard technology provided by the drum machine, she has never the less forged her own highly sensitive signature style. Through out in 90's She has subsequently collaborated with numerous improvisors throughout the US, Europe, and Asia, while continuing to produce and record her own music. 1998, She was invited to perform with Ensemble Modern as the soloist along with Zeena Parkins, and composer Fred Frith, also "One hundred Aspects of the Moon" commissioned by Roulette/Mary Flagler Cary Charitable Trust. Ikue won the Distinctive Award for Prix Ars Electronics Digital Music category in 99.

In 2000 Ikue started using the laptop computer to expand on her already signature sound, thus broadening her scope of musical expression. 2000 commissioned by the KITCHEN ensemble, wrote and premired the piece "Aphorism" also awarded Civitella Ranieri Foundation Fellowship. 2003 commissioned by RELACHE Ensemble to write a piece for film In the Street and premired in Philadelphia. Started working with visual played by the music since 2004. In 2005 Awarded Alphert/Ucross Residency.

Ikue received a grant from the Foundation for Contemporary Arts in 2006. In 2007 the Tate Modern commissioned Ikue to create a live sound track for screenings of Maya Deren's silent films. In 2008 Ikue celebrated her 30th year in NY and performed at the Japan Society. Recent commissioners include the Montalvo Arts Center and SWR German radio program and Shajah Art foundation in UAE. Current working groups include MEPHISTA with Sylvie Courvoisier and Susie Ibarra, PHANTOM ORCHARD with Zeena Parkins, project with Koichi Makigami and various ensembles of John Zorn. New duo Twindrums project with YoshimiO　 workshop/lecture in various schools include University of Gothenburg, Dartmouth Collage, New England Conservatory, Mills Collage, Stanford University, The School of the Art Institute of Chicago"

"Pauline Oliveros was a senior figure in contemporary American music. Her career spans fifty years of boundary dissolving music making. In the '50s she was part of a circle of iconoclastic composers, artists, poets gathered together in San Francisco. Recently awarded the John Cage award for 2012 from the Foundation of Contemporary Arts, Oliveros was Distinguished Research Professor of Music at Rensselaer Polytechnic Institute, Troy, NY, and Darius Milhaud Artist-in-Residence at Mills College. Oliveros has been as interested in finding new sounds as in finding new uses for old ones --her primary instrument was the accordion, an unexpected visitor perhaps to musical cutting edge, but one which she approaches in much the same way that a Zen musician might approach the Japanese shakuhachi. Pauline Oliveros' life as a composer, performer and humanitarian was about opening her own and others' sensibilities to the universe and facets of sounds. Since the 1960's she has influenced American music profoundly through her work with improvisation, meditation, electronic music, myth and ritual. Pauline Oliveros was the founder of "Deep Listening," which comes from her childhood fascination with sounds and from her works in concert music with composition, improvisation and electro-acoustics. Pauline Oliveros describes Deep Listening as a way of listening in every possible way to everything possible to hear no matter what you are doing. Such intense listening includes the sounds of daily life, of nature, of one's own thoughts as well as musical sounds. Deep Listening was my life practice," she explains, simply. Oliveros was founder of Deep Listening Institute, formerly Pauline Oliveros Foundation, now the Center For Deep Listening at Rensselaer."

"Evan Parker was born in Bristol in 1944 and began to play the saxophone at the age of 14. Initially he played alto and was an admirer of Paul Desmond; by 1960 he had switched to tenor and soprano, following the example of John Coltrane, a major influence who, he would later say, determined "my choice of everything". In 1962 he went to Birmingham University to study botany but a trip to New York, where he heard the Cecil Taylor trio (with Jimmy Lyons and Sunny Murray), prompted a change of mind. What he heard was "music of a strength and intensity to mark me for life ... l came back with my academic ambitions in tatters and a desperate dream of a life playing that kind of music - 'free jazz' they called it then."

Parker stayed in Birmingham for a time, often playing with pianist Howard Riley. In 1966 he moved to London, became a frequent visitor to the Little Theatre Club, centre of the city's emerging free jazz scene, and was soon invited by drummer John Stevens to join the innovative Spontaneous Music Ensemble which was experimenting with new kinds of group improvisation. Parker's first issued recording was SME's 1968 Karyobin, with a line-up of Parker, Stevens, Derek Bailey, Dave Holland and Kenny Wheeler. Parker remained in SME through various fluctuating line-ups - at one point it comprised a duo of Stevens and himself - but the late 1960s also saw him involved in a number of other fruitful associations.

He began a long-standing partnership with guitarist Bailey, with whom he formed the Music Improvisation Company and, in 1970, co-founded Incus Records. (Tony Oxley, in whose sextet Parker was then playing, was a third co-founder; Parker left Incus in the mid-1980s.) Another important connection was with the bassist Peter Kowald who introduced Parker to the German free jazz scene. This led to him playing on Peter Brötzmann's 1968 Machine Gun, Manfred Schoof's 1969 European Echoes and, in 1970, joining pianist Alex von Schlippenbach and percussionist Paul Lovens in the former's trio, of which he is still a member: their recordings include Pakistani Pomade, Three Nails Left, Detto Fra Di Noi, Elf Bagatellen and Physics.

Parker pursued other European links, too, playing in the Pierre Favre Quartet (with Kowald and Swiss pianist Irene Schweizer) and in the Dutch Instant Composers Pool of Misha Mengelberg and Han Bennink. The different approaches to free jazz he encountered proved both a challenging and a rewarding experience. He later recalled that the German musicians favoured a "robust, energy-based thing, not to do with delicacy or detailed listening but to do with a kind of spirit-raising, a shamanistic intensity. And l had to find a way of surviving in the heat of that atmosphere ... But after a while those contexts became more interchangeable and more people were involved in the interactions, so all kinds of hybrid musics came out, all kinds of combinations of styles."

A vital catalyst for these interactions were the large ensembles in which Parker participated in the 1970s: Schlippenbach's Globe Unity Orchestra, Chris McGregor's Brotherhood of Breath, Barry Guy's London Jazz Composers Orchestra (LJCO) and occasional big bands led by Kenny Wheeler. In the late 70s Parker also worked for a time in Wheeler's small group, recording Around Six and, in 1980, he formed his own trio with Guy and LJCO percussionist Paul Lytton (with whom he had already been working in a duo for nearly a decade). This group, together with the Schlippenbach trio, remains one of Parker's top musical priorities: their recordings include Tracks, Atlanta, Imaginary Values, Breaths and Heartbeats, The Redwood Sessions and At the Vortex. In 1980, Parker directed an Improvisers Symposium in Pisa and, in 1981, he organised a special project at London's Actual Festival. By the end of the 1980s he had played in most European countries and had made various tours to the USA, Canada, Australia, New Zealand and Japan. ln 1990, following the death of Chris McGregor, he was instrumental in organising various tributes to the pianist and his fellow Blue Notes; these included two discs by the Dedication Orchestra, Spirits Rejoice and lxesa.

Though he has worked extensively in both large and small ensembles, Parker is perhaps best known for his solo soprano saxophone music, a singular body of work that in recent years has centred around his continuing exploration of techniques such as circular breathing, split tonguing, overblowing, multiphonics and cross-pattern fingering. These are technical devices, yet Parker's use of them is, he says, less analytical than intuitive; he has likened performing his solo work to entering a kind of trance-state. The resulting music is certainly hypnotic, an uninterrupted flow of snaky, densely-textured sound that Parker has described as "the illusion of polyphony". Many listeners have indeed found it hard to credit that one man can create such intricate, complex music in real time. Parker's first solo recordings, made in 1974, were reissued on the Saxophone Solos CD in 1995; more recent examples are Conic Sections and Process and Reality, on the latter of which he does, for the first time, experiment with multi-tracking. Heard alone on stage, few would disagree with writer Steve Lake that "There is, still, nothing else in music - jazz or otherwise - that remotely resembles an Evan Parker solo concert."

While free improvisation has been Parker's main area of activity over the last three decades, he has also found time for other musical pursuits: he has played in 'popular' contexts with Annette Peacock, Scott Walker and the Charlie Watts big band; he has performed notated pieces by Gavin Bryars, Michael Nyman and Frederic Rzewski; he has written knowledgeably about various ethnic musics in Resonance magazine. A relatively new field of interest for Parker is improvising with live electronics, a dialogue he first documented on the 1990 Hall of Mirrors CD with Walter Prati. Later experiments with electronics in the context of larger ensembles have included the Synergetics - Phonomanie III project at Ullrichsberg in 1993 and concerts by the new EP2 (Evan Parker Electronic Project) in Berlin, Nancy and at the 1995 Stockholm Electronic Music Festival where Parker's regular trio improvised with real-time electronics processed by Prati, Marco Vecchi and Phillip Wachsmann. "Each of the acoustic instrumentalists has an electronic 'shadow' who tracks him and feeds a modified version of his output back to the real-time flow of the music."

The late 80s and 90s brought Parker the chance to play with some of his early heroes. He worked with Cecil Taylor in small and large groups, played with Coltrane percussionist Rashied Ali, recorded with Paul Bley: he also played a solo set as support to Ornette Coleman when Skies of America received its UK premiere in 1988. The same period found Parker renewing his acquaintance with American colleagues such as Anthony Braxton, Steve Lacy and George Lewis, with all of whom he had played in the 1970s (often in the context of London's Company festivals). His 1993 duo concert with Braxton moved John Fordham in The Guardian to raptures over "saxophone improvisation of an intensity, virtuosity, drama and balance to tax the memory for comparison".

Parker's 50th birthday in 1994 brought celebratory concerts in several cities, including London, New York and Chicago. The London performance, featuring the Parker and Schlippenbach trios, was issued on a highly-acclaimed two-CD set, while participants at the American concerts included various old friends as well as more recent collaborators in Borah Bergman and Joe Lovano. The NYC radio station WKCR marked the occasion by playing five days of Parker recordings. 1994 also saw the publication of the Evan Parker Discography, compiled by ltalian writer Francesco Martinelli, plus chapters on Parker in books on contemporary musics by John Corbett and Graham Lock.

Parker's future plans involve exploring further possibilities in electronics and the development of his solo music. They also depend to a large degree on continuity of the trios, of the large ensembles, of his more occasional yet still long-standing associations with that pool of musicians to whose work he remains attracted. This attraction, he explained to Coda's Laurence Svirchev, is attributable to "the personal quality of an individual voice". The players to whom he is drawn "have a language which is coherent, that is, you know who the participants are. At the same time, their language is flexible enough that they can make sense of playing with each other ... l like people who can do that, who have an intensity of purpose." "

"Gyan Riley (born 1977) is an American guitarist and composer. He is a son of minimalist composer Terry Riley. They frequently collaborate, including a tour in Europe in September 2016. Gyan Riley studied at San Francisco Conservatory of Music. He released his solo album Stream of Gratitude in 2013 on John Zorn's Tzadik Records. He also performed with Zakir Hussain, Dawn Upshaw, San Francisco Symphony among others. In 2015, he released Nayive Eviyan, a collaboration with Czech violinist Iva Bittová."

"Theresa Wong is a composer, cellist and vocalist active at the intersection of music, experimentation, improvisation and the synergy of multiple disciplines. Bridging sound, movement, theater and visual art, her primary interest lies in finding the potential for transformation for both the artist and receiver alike.

Her works include The Unlearning (Tzadik), 21 songs for violin, cello and 2 voices inspired by Goya's Disasters of War etchings, O Sleep, an improvised opera for an 8 piece ensemble exploring the conundrum of sleep and dream life and Venice Is A Fish, a collection of solo songs. Her commissioned works include pieces for Splinter Reeds, Vajra Voices, pianist Sarah Cahill and Del Sol string quartet. At the heart of her work is a desire to expand the sonic possibilities of materials and to explore their potential in many modes of performance.

She collaborates with many singular artists, including Fred Frith, Ellen Fullman, Luciano Chessa, Annie Lewandowski, Chris Brown, Frantz Loriot, John McCowen, Søren Kjærgaard, Carla Kihlstedt, conceptual artist Jonathon Keats and filmmaker Daria Martin. In 2018, Wong founded fo'c'sle, a record label dedicated to adventurous music from the Bay Area and beyond, featuring inaugural releases by Ellen Fullman with David Gamper and Stuart Dempster, Chris Brown, Powerdove and the Lijiang Quintet.

Wong has shared her work internationally at venues including Fondation Cartier in Paris, Yerba Buena Center for the Arts in San Francisco, Cafe Oto in London, Festival de Arte y Ópera Contemporánea in Morelia, Mexico and The Stone and Roulette in New York City. She is the recipient of grants from the Center for Cultural Innovation, American Composers Forum, San Francisco Friends of Chamber Music and Meet The Composer. Wong is a Civitella Ranieri Foundation Fellow and has also been an artist-in-residence at the Headlands Center for the Arts and Yaddo. She currently works and resides in the San Francisco Bay Area."

"Nate Wooley was born in 1974 in Clatskanie, Oregon, a town of 2,000 people in the timber country of the Pacific Northwestern corner of the U.S. He began playing trumpet professionally with his father, a big band saxophonist, at the age of 13. His time in Oregon, a place of relative quiet and slow time reference, instilled in Nate a musical aesthetic that has informed all of his music making for the past 20 years, but in no situation more than his solo trumpet performances.

Nate moved to New York in 2001, and has since become one of the most in-demand trumpet players in the burgeoning Brooklyn jazz, improv, noise, and new music scenes. He has performed regularly with such icons as John Zorn, Anthony Braxton, Eliane Radigue, Ken Vandermark, Fred Frith, Evan Parker, and Yoshi Wada, as well as being a collaborator with some of the brightest lights of his generation like Chris Corsano, C. Spencer Yeh, Peter Evans, and Mary Halvorson.

Wooley's solo playing has often been cited as being a part of an international revolution in improvised trumpet. Along with Peter Evans and Greg Kelley, Wooley is considered one of the leading lights of the American movement to redefine the physical boundaries of the horn, as well as demolishing the way trumpet is perceived in a historical context still overshadowed by Louis Armstrong. A combination of vocalization, extreme extended technique, noise and drone aesthetics, amplification and feedback, and compositional rigor has led one reviewer to call his solo recordings "exquisitely hostile".

In the past three years, Wooley has been gathering international acclaim for his idiosyncratic trumpet language. Time Out New York has called him "an iconoclastic trumpeter", and Downbeat's Jazz Musician of the Year, Dave Douglas has said, "Nate Wooley is one of the most interesting and unusual trumpet players living today, and that is without hyperbole". His work has been featured at the SWR JazzNow stage at Donaueschingen, the WRO Media Arts Biennial in Poland, Kongsberg, North Sea, Music Unlimited, and Copenhagen Jazz Festivals, and the New York New Darmstadt Festivals. In 2011 he was an artist in residence at Issue Project Room in Brooklyn, NY and Cafe Oto in London, England. In 2013 he performed at the Walker Art Center as a featured solo artist.

Nate is the curator of the Database of Recorded American Music (www.dramonline.org) and the editor-in-chief of their online quarterly journal Sound American (www.soundamerican.org) both of which are dedicated to broadening the definition of American music through their online presence and the physical distribution of music through Sound American Records. He also runs Pleasure of the Text which releases music by composers of experimental music at the beginnings of their careers in rough and ready mediums."