"A native New Yorker who grew up seeing the likes of Monk, Miles, Mingus, and Trane during the twilight of jazz's golden age, Todd Capp started playing drums as a student at the University of Chicago. He cut his musical teeth playing the blues in South Side basements while absorbing fresh approaches to sound, space and time developed by the newly-formed Association for the Advancement of Creative Musicians (AACM). He played his first session with Roscoe Mitchell, Lester Bowie, and Arthur "Big Boy" Crudup (author of Elvis' first hit, "That's All Right, Mama"), made his first recording (unreleased) with Anthony Braxton and Elvin Bishop, and performed his first concert, in l967, with a cooperative group including future AACM leader Douglas Ewart.

After a brief sojourn in Northern California, where he played tabla duets with the Pacific Ocean and performed with the Free Arts Workshop and visionary keyboard genius Eddie Sears, he returned to New York. He performed downtown with Denman Maroney at The Kitchen, uptown with Clyde Cotten's Kwanzaa Ensemble at the Club Baby Grand, and by the late 70's, his Improvising Orchestra, whose members included William Parker, Jason Hwang, and Roy Campbell, was a fixture on the downtown loft circuit. A 1978 recording, Quintessence (released in 1999), was deemed "timeless...a cosmic slice of history to be cherished by out/jazz lovers worldwide!" by Bruce Gallanter in the Downtown Music Gallery Newsletter.

Recipient of a 1980 Meet the Composer grant, he also promoted performances by the legendary Blind Boys of Alabama, and from the Improvising Orchestra's nucleus formed a new band called None of the Above. Working frequently at CBGB and other downtown dive bars (one even called The Dive), they were often compared to Talking Heads as a quirky, intellectual band you could dance to. But a gig in Toronto was cut short when the customers spent more time listening and dancing than drinking, a promised tour of France failed to materialize, and despite their single "Feel Like A Dog" becoming an underground hit via John Peel's pirate radio program, a U.K. tour also fell through. Eventually, he stopped playing, and in 1985 opened an art gallery in the East Village, exhibiting artists including notable "outsiders" Tony Fitzpatrick and Joe Coleman and the venerable folk artist David Butler.

Following the gallery's demise, Capp wrote the liner notes to Pete (La Roca) Sims' Blue Note CD, SwingTime, and the reissue of his classic Turkish Women at the Bath on 32 Jazz. An impromptu duet with John Coltrane's last drummer, Rashied Ali, inspired him to take up the drums again, and he returned to active playing in 2000. Since then, he has toured France with the Open Jazz Quartet, and performed in New York with the John Hagen trio, Joe Giardullo's Language of Swans, and Nobel Prize-winning chemist Roald Hoffman, among others, at Cornelia St. Cafe, The Knitting Factory, Roulette, The Stone, Santos Party House - the gamut from ABC No Rio to Zebulon - as well as the 2010 Vision Festival.

Capp's longstanding ongoing collaboration with Bryan Eubanks and Andrew Lafkas, Oceans Roar 1000 Drums, has performed in Berlin and throughout the East Coast, including a set at the Sonic Circuits Festival in 2015, and produced two CDs. In recent years he has also performed with Connie Crothers at The Stone in New York, international artists Simone Wiessenfels, Per Gardin, and Hannes Buder at the Improhazard Festival in Peritz, Germany, and with Sylvain Kassap, Benjamin Duboc, and poet Steve Dalachinsky in Paris, France. In 2013, he formed Todd Capp's Mystery Train, an inter­generational eletcro­acoustic improvising ensemble blending free jazz, minimal drone, and dream­pop. He currently resides in Downtown Brooklyn, where he continues to improvise."

"Bryan Eubanks (b. 1977, US) is a musician composing electronic and acoustic works for small ensembles, solo instruments, computers, and idiosyncratic electronics; improvising in collaboration; and experimenting with spatial diffusion techniques. Publicly active since 2001, he's had numerous collaborations and presented his work internationally in a variety of settings."

"Andrew Lafkas: bass. Berlin, Germany

Andrew Lafkas is a musician currently living in Berlin, Germany. His primary instrument is the contrabass. He is currently focused on developing pieces for largish ensembles that encourage group intuition; this interest is greatly inspired by and influenced by experiences working in groups led by Milo Fine and Bill Dixon. He is also active in the groups Oceans Roar 1000 Drums, with Todd Capp and Bryan Eubanks, and a trio with Marcia Bassett and Barry Weisblat. He has performed at venues and festivals including Walker Art Center, The Living Theatre, Experimental Intermedia, the Vision Festival, and the Seattle Improvised Music Festival."

"Following interacting points within expanding harmonic space, Catherine Lamb has devoted her structural work to the inner life of tonality, constantly searching through the limits of human perceptions and resonances in overlaying atmospheres.

Lamb's continued series Prisma Interius (2016-ongoing), made with her partner and frequent collaborator Bryan Eubanks, filters the outside environment into a harmonic field, basso continuo, tanpura, or bridge between the musical form and the perceptual listening space. Her first orchestral work, Portions Transparent/Opaque (2014), was premiered by the BBC Scottish Symphony Orchestra at the 2014 Tectonics Festival in Glasgow, Scotland. After an extended tour of her solo work Shade/Gradient (2012) through North America in 2012, Lamb received a travel grant from the Henry Cowell Foundation, allowing her to pursue work with Eliane Radigue and to form new relationships with European musicians.Earlier in her career, Lamb studied under composers James Tenney and Michael Pisaro at the California Institute of the Arts, where she also met director and dhrupadi Mani Kaul. It was during this time that she began diving deeply into her own practice of what she later termed "the interaction of tone."

Lamb is the co-founder of Singing by Numbers (2009-11), an experimental vocal ensemble formed with Laura Steenberge that focused on pedagogical research around pure ratio tuning. She has written for ensembles such as Ensemble Dedalus, Konzert Minimal, the London Contemporary Orchestra, NeoN, Plus/Minus, and Yarn/Wire. Lamb is involved in ongoing research with Marc Sabat on intonation; with Johnny Chang on Viola Torros; develops work regularly with musicians such as Rebecca Lane, Dafne Vincente-Sandova, and Frank Reinecke; as well as taking part in Triangulum with Julia Holter and Laura Steenberge.

Lamb is the recipient of a fellowship from Akademie Schloss Solitude (2016); an Emerging Composers Grant from the Wallace Alexander Gerbode and William and Flora Hewlett Foundations (2008-09); and was a Staubach Fellow at the International Summer Course for New Music in Darmstadt, Germany (2016). Lamb's writings and recordings have been published by another timbre, Black Pollen Press, Kunst Musik, NEOS, THE OPEN SPACE Magazine, Q-O2, sacred realism, and winds measure recordings.She received a B.M. from California Institute of the Arts, and an M.F.A. in music/sound from Bard College."