"Born in 1961 in São Paulo, Brazil, Perelman was a classical guitar prodigy who tried his hand at many other instruments - including cello, clarinet, and trombone - before gravitating to the tenor saxophone. His initial heroes were the cool jazz saxophonists Stan Getz and Paul Desmond. But although these artists' romantic bent still shapes Perelman's voluptuous improvisations, it would be hard to find their direct influence in the fiery, galvanic, iconoclastic solos that have become his trademark.

Moving to Boston in 1981, to attend Berklee College of Music, Perelman continued to focus on mainstream masters of the tenor sax, to the exclusion of such pioneering avant-gardists as Albert Ayler, Peter Brötzmann, and John Coltrane (all of whom would later be cited as precedents for Perelman's own work). He left Berklee after a year or so and moved to Los Angeles, where he studied with vibraphonist Charlie Shoemake, at whose monthly jam sessions Perelman discovered his penchant for post-structure improvisation: "I would go berserk, just playing my own thing," he has stated.

Emboldened by this approach, Perelman began to research the free-jazz saxists who had come before him. In the early 90s he moved to New York, a far more inviting environment for free-jazz experimentation, where he lives to this day. His discography comprises more than 50 recordings, with a dozen of them appearing since 2010, when he entered a remarkable period of artistic growth - and "intense creative frenzy," in his words. Many of these trace his rewarding long-term relationships with such other new-jazz visionaries as pianist Matthew Shipp, bassists William Parker, guitarist Joe Morris, and drummer Gerald Cleaver.

Critics have lauded Perelman's no-holds-barred saxophone style, calling him "one of the great colorists of the tenor sax" (Ed Hazell in the Boston Globe); "tremendously lyrical" (Gary Giddins); and "a leather-lunged monster with an expressive rasp, who can rage and spit in violence, yet still leave you feeling heartbroken" (The Wire). Since 2011, he has undertaken an immersive study in the natural trumpet, an instrument popular in the 17th century, before the invention of the valve system used in modern brass instruments; his goal is to achieve even greater control of the tenor saxophone's altissimo range (of which he is already the world's most accomplished practitioner).

Perelman is also a prolific and noted visual artist, whose paintings and sketches have been displayed in numerous exhibitions while earning a place in collections around the world."

"Marc Ribot (pronounced REE-bow) was born in Newark, New Jersey in 1954. As a teen, he played guitar in various garage bands while studying with his mentor, Haitian classical guitarist and composer Frantz Casseus. After moving to New York City in 1978, Ribot was a member of the soul/punk Realtones, and from 1984 - 1989, of John Lurie's Lounge Lizards. Between 1979 and 1985, Ribot also worked as a side musician with Brother Jack McDuff, Wilson Pickett, Carla Thomas, Rufus Thomas, Chuck Berry, and many others.

Rolling Stone points out that "Guitarist Marc Ribot helped Tom Waits refine a new, weird Americana on 1985's "Rain Dogs", and since then he's become the go-to guitar guy for all kinds of roots-music adventurers: Robert Plant and Alison Krauss, Elvis Costello, John Mellencamp." Additional recording credits include Soloman Burke, Neko Case, Diana Krall, Beth Orton, Marianne Faithful, Arto Lindsay, Caetano Veloso, Laurie Anderson, Susana Baca, McCoy Tyner, The Jazz Passengers, Medeski, Martin & Wood, Cibo Matto, Jamaaladeen Tacuma, James Carter, Vinicio Capposella (Italy), Auktyon (Russia), Vinicius Cantuaria, Sierra Maestra (Cuba), Alain Bashung (France), Marisa Monte, Allen Ginsburg, Madeleine Peyroux, Sam Phillips, and more recently Joe Henry, Allen Toussaint, Norah Jones, Akiko Yano, The Black Keys, Jeff Bridges, Jolie Holland, Elton John/Leon Russell and many others. Ribot frequently collaborates with producer T Bone Burnett, most notably on Alison Krauss and Robert Plant's Grammy Award winning "Raising Sand" and regularly works with composer John Zorn.

Marc has released over 20 albums under his own name over a 35-year career, exploring everything from the pioneering jazz of Albert Ayler with his group "Spiritual Unity" (Pi Recordings), to the Cuban son of Arsenio Rodríguez with two critically acclaimed releases on Atlantic Records under "Marc Ribot Y Los Cubanos Postizos". His avant power trio/post-rock band, Marc Ribot's Ceramic Dog (Pi Recordings), continues the lineage of his earlier experimental no-wave/punk/noise groups Rootless Cosmopolitans (Island Antilles) and Shrek (Tzadik). Marc's solo recordings include "Marc Ribot Plays The Complete Works of Frantz Casseus" (Les Disques Du Crepuscule), "John Zorn's The Book of Heads" (Tzadik), "Don't Blame Me" (DIW), "Saints" (Atlantic), "Exercises in Futility" (Tzadik), and his latest "Silent Movies" released in 2010 on Pi Recordings was described as a "down-in-mouth-near master piece" by the Village Voice and has landed on several Best of 2010 lists including the LA Times and critical praise across the board. 2013 saw the release of "Your Turn" (Northern Spy), the sophomore effort from Ribot's post-rock/noise trio Ceramic Dog, and 2014 saw the monumental release: "Marc Ribot Trio Live at the Village Vanguard" (Pi Recordings), documenting Marc's first headline and the return of Henry Grimes at the historical venue in 2012 already included on Best of 2014 lists including Downbeat Magazine and NPR's 50 Favorites.

Marc has performed on scores such as "The Kids Are All Right," "Where the Wild Things Are," "Walk The Line (Mangold)," "Everything is Illuminated," and "The Departed" (Scorcese)." Marc has also composed original scores including the French film Gare du Nord (Simon), the PBS documentary "Revolucion: Cinco Miradas," the film "Drunkboat," starring John Malkovich and John Goodman, a documentary film by Greg Feldman titled "Joe Schmoe," a feature film by director Joe Brewster titled "The Killing Zone", and dance pieces "In as Much as Life is Borrowed", by famed Belgian choreographer, Wim Vandekeybus, and Yoshiko Chuma's "Altogether Different". Marc is also currently touring his live solo guitar score to Charlie Chaplin's "The Kid", which was commissioned by the NY Guitar Festival and premiered Jan 2010 at Merkin Hall, as well as a program of new arrangements of classic Film Noir scores commissioned by the New School Noir Arts Festival 2011.

In 2009, Marc was named curator and musical director for the year's Century of Song Festival, part of the Ruhr Triennale in Germany. The concert series sparked new collaborations with Iggy Pop, Marianne Faithfull, David Hidalgo of Los Lobos, master cajón player Juan Medrano Cotito, Carla Bozulich and Tine Kindermann.

Marc's talents have also been showcased with a full symphony orchestra. Composer Stewart Wallace wrote a guitar concerto with orchestra specifically for Marc. The piece was premiered by the National Symphony Orchestra in Washington DC in July of 2004 and also appeared at The Cabrillo Festival in Santa Cruz, CA in August of 2005.

Marc is currently touring with several projects including the Marc Ribot Trio, a free jazz group featuring legendary bassist Henry Grimes and Chad Taylor on drums, his power trio Ceramic Dog with bassist Shahzad Ismaily and drummer Ches Smith, the Philly soul meets the harmolodics of Ornette Coleman's The Young Philadelphians with Jamaaladeen Tacuma and Calvin Weston, and with Caged Funk, a project of funk arrangements of John Cage's music featuring Bernie Worrell of Parliament Funkadelic fame."

"Elliott Sharp is an American multi-instrumentalist, composer, and performer.

A central figure in the avant-garde and experimental music scene in New York City for over 30 years, Elliott Sharp has released over eighty-five recordings ranging from orchestral music to blues, jazz, noise, no wave rock, and techno music. He leads the projects Carbon and Orchestra Carbon, Tectonics, and Terraplane and has pioneered ways of applying fractal geometry, chaos theory, and genetic metaphors to musical composition and interaction.

His collaborators have included Radio-Sinfonie Frankfurt; pop singer Debbie Harry; Ensemble Modern; Qawwali singer Nusrat Fateh Ali Khan; Kronos String Quartet; Ensemble Resonanz; cello innovator Frances Marie Uitti; blues legends Hubert Sumlin and Pops Staples; pipa virtuoso Min-Xiao Feng; jazz greats Jack deJohnette, Oliver Lake, and Sonny Sharrock; multimedia artists Christian Marclay and Pierre Huyghe; and Bachir Attar, leader of the Master Musicians Of Jajouka.

Sharp is a 2014 Guggenheim Fellow, and a 2014 Fellow at Parson's Center for Transformative Media. He received the 2015 Berlin Prize in Musical Composition from the American Academy in Berlin. He has composed scores for feature films and documentaries; created sound-design for interstitials on The Sundance Channel, MTV and Bravo networks; and has presented numerous sound installations in art galleries and museums. He is the subject of a new documentary "Doing The Don't" by filmmaker Bert Shapiro."-Elliott Sharp

"Joe Morris was born in New Haven, Connecticut on September 13, 1955. At the age of 12 he took lessons on the trumpet for one year. He started on guitar in 1969 at the age of 14. He played his first professional gig later that year. With the exception of a few lessons he is self-taught. The influence of Jimi Hendrix and other guitarists of that period led him to concentrate on learning to play the blues. Soon thereafter his sister gave him a copy of John Coltrane's OM, which inspired him to learn about Jazz and New Music. From age 15 to 17 he attended The Unschool, a student-run alternative high school near the campus of Yale University in downtown New Haven. Taking advantage of the open learning style of the school he spent most of his time day and night playing music with other students, listening to ethnic folk, blues, jazz, and classical music on record at the public library and attending the various concerts and recitals on the Yale campus. He worked to establish his own voice on guitar in a free jazz context from the age of 17. Drawing on the influence of Coltrane, Miles Davis, Cecil Taylor,Thelonius Monk, Ornette Coleman as well as the AACM, BAG, and the many European improvisers of the '70s. Later he would draw influence from traditional West African string music, Messian, Ives, Eric Dolphy, Jimmy Lyons, Steve McCall and Fred Hopkins. After high school he performed in rock bands, rehearsed in jazz bands and played totally improvised music with friends until 1975 when he moved to Boston.

Between 1975 and 1978 he was active on the Boston creative music scene as a soloist as well as in various groups from duos to large ensembles. He composed music for his first trio in 1977. In 1980 he traveled to Europe where he performed in Belgium and Holland. When he returned to Boston he helped to organize the Boston Improvisers Group (BIG) with other musicians. Over the next few years through various configurations BIG produced two festivals and many concerts. In 1981 he formed his own record company, Riti, and recorded his first LpWraparound with a trio featuring Sebastian Steinberg on bass and Laurence Cook on drums. Riti records released four more LPs and CDs before 1991. Also in 1981 he began what would be a six year collaboration with the multi-instrumentalist Lowell Davidson, performing with him in a trio and a duo. During the next few years in Boston he performed in groups which featured among others; Billy Bang, Andrew Cyrille, Peter Kowald, Joe McPhee, Malcolm Goldstein, Samm Bennett, Lawrence "Butch" Morris and Thurman Barker. Between 1987 and 1989 he lived in New York City where he performed at the Shuttle Theater, Club Chandelier, Visiones, Inroads, Greenwich House, etc. as well as performing with his trio at the first festival Tea and Comprovisation held at the Knitting Factory.

In 1989 he returned to Boston. Between 1989 and 1993 he performed and recorded with his electric trio Sweatshop and electric quartet Racket Club. In 1994 he became the first guitarist to lead his own session in the twenty year history of Black Saint/Soulnote Records with the trio recording Symbolic Gesture. Since 1994 he has recorded for the labels ECM, Hat Hut, Leo, Incus, Okka Disc, Homestead, About Time, Knitting Factory Works, No More Records, AUM Fidelity and OmniTone and Avant. He has toured throughout the U.S., Canada and Europe as a solo and as a leader of a trio and a quartet. Since 1993 he has recorded and/or performed with among others; Matthew Shipp, William Parker, Joe and Mat Maneri, Rob Brown, Raphe Malik, Ivo Pearlman, Borah Bergman, Andrea Parkins, Whit Dickey, Ken Vandermark, DKV Trio, Karen Borca, Eugene Chadborne, Susie Ibarra, Hession/Wilkinson/Fell, Roy Campbell Jr., John Butcher, Aaly Trio, Hamid Drake, Fully Celebrated Orchestra and others.

He began playing acoustic bass in 2000 and has since performed with cellist Daniel Levin, Whit Dickey and recorded with pianist Steve Lantner.

He has lectured and conducted workshops trroughout the US and Europe. He is a former member of the faculty of Tufts University Extension College and is currently on the faculty at New England Conservatory in the jazz and improvisation department. He was nominated as Best Guitarist of the year 1998 and 2002 at the New York Jazz Awards."