"David Moss: Drumming and singing have shaped his musical life.First, his father's drum-set, Bertoia sound sculptures, duos with dancer Steve Paxton.

Later, singing: at Berlin Philharmonie, Lincoln Center, Carnegie Hall, Salzburg Festival.

2018/19: received the German Music Authors Prize for experimental voice; sang in Olga Neuwirth's opera, Lost Highway (Yuval Sharon, director); sang Frank Zappa's music at the Venice Biennale; visited Taipei, Seattle and Bogota with Heiner Goebbels' Surrogate Cities; worked with video artist Lillevan.

Moss received Guggenheim and DAAD Artist-in-Berlin Fellowships. He directs the Institute for Living Voice (and teaches).

In 2019 he made his debut at the ElbPhilharmonie, Hamburg as the baritone soloist in Xenakis ÄIS; with the Rundfunk-SymphonieOrchester Berlin under Peter Rundel

Moss has sung works by Luciano Berio, Carla Bley, Uri Caine, Johann & Richard Strauss, Gershwin, Neuwirth, Oehring, Bach and Coltrane. He is currently touring with the groove-trio Denseland, and with a solo program, Vox Paradiso.

Moss lives in Berlin, Germany."

"Arto Lindsay (b. 1953) has stood at the intersection of music and art for more than four decades. As a member of DNA, he contributed to the foundation of No Wave. As bandleader for the Ambitious Lovers he developed an intensely subversive pop music,a hybrid of American and Brazilian styles.. Throughout his career, Lindsay has collaborated with both visual and musical artists, including Vito Acconci, Laurie Anderson, Animal Collective, Matthew Barney, Caetano Veloso and Rirkrit Tiravanija. Having been involved with carnaval in Brazil for many years in 2004 he began making parades."

"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."

"Over the course of some three decades, visionary bassist-producer Bill Laswell has been one of the most prolific and restlessly creative forces in contemporary music. A sound conceptualist who has always been a step ahead of the curve, he has put his inimitable stamp on nearly 3,000 recording projects by such artists as Mick Jagger, Yoko Ono, Iggy Pop, Laurie Anderson, Brian Eno, Bootsy Collins, Nine Inch Nails, Motorhead, Peter Gabriel, Blur, The Ramones, George Clinton, Pharaoh Sanders, The Dalai Lama, Matisyahu, Angelique Kidjo, DJ Krush, RAMM:ΣLL:ZΣΣ, Sting, The Last Poets, Afrika Bambaataa, Julian Schnabel, Whitney Houston, Manu Dibango, Fela Kuti and most notably Herbie Hancock, who collaborated with Laswell for the pivotal 1983 smash-hit single "Rock-It" which introduced scratching to the mainstream, inspired a generation of turntablists and gave the great jazz pianist instant street credibility among the burgeoning hip-hop cognoscenti.

Laswell's sense of creative daring as a producer was further demonstrated on several recordings that have kept him on the cutting edge, including Afrika Bambaataa's collaboration with John Lydon (aka Johnny Rotten of Sex Pistols fame) on World Destruction and PiL's Album (which brought together an unlikely pairing of drumming greats Ginger Baker and Tony Williams, synth-pop pioneer Ryuichi Sakamoto of Yellow Magic Orchestra fame and rising guitar star Steve Vai). His spoken word collaborations with William S. Burroughs and expatriate writer-composer Paul Bowles have gone against the grain of music industry trends while his radical remixes (or re-constructions) of landmark recordings by Miles Davis (Panthalassa), Carlos Santana (Divine Light), Bob Marley (Dreams of Freedom) and a vast scan of dub-related and atmospheric ambient projects have gone on to further defined Laswell's presence as a revolutionary ikonoklast.

Bill Laswell has helped in generating several innovative recording labels such as Celluloid, Subharmonic, Black Arc, and Innerhythmic. Along with Chris Blackwell, founder of Island Records (Bob Marley and U2), he established the AXIOM label in 1989. M.O.D. Technologies, his most recent imprint is releasing projects by Method Of Defiance, Lee "Scratch" Perry, PRAXIS, Garrison Hawk with Sly & Robbie, Bernie Worrell, The Process (with Red Hot Chili Peppers' drummer Chad Smith and pianist Jon Baptiste) and progressive/futuristic music from Ethiopia (CDs/DVDs).

As a player, Laswell's bass lines resound with rare authority on groundbreaking projects by Tabla Beat Science (with Zakir Hussain and Ustad Sultan Khan), his avant-funk band Material, the apocalyptic assault of Last Exit (with Sonny Sharrock), his progressive dub effected Method of Defiance and the throbbingly intense power trios, Massacre (with Fred Frith and Charles Hayward), Painkiller (with John Zorn and Mick Harris), Praxis (with Buckethead and Brain), Blixt (with Raoul Bjorkenheim and Morgan Agren) and the latest (2014) Bladerunner (with John Zorna and Slayer drummer Dave Lombardo).

Laswell's artistic reach has consistently extended to the continent of Africa, creating ground-breaking, evolutionary snd controversial recording projects in Morocco, Senegal, Mali, Gambia and most recently, Ethiopia where he has established a base for developing new as well as legendary artists, just as he did in the South Bronx some 30 years ago.

A veteran of 300 plus journeys to Japan, where he has worked with everyone from The Gagaku Orchestra (Japan's ancient music, only played for emperors for 1500 years), to avant-jazz, rock, hip-hop and DJ culture. An eternal musical renegade, Bill Laswell has always played by his own rules."

"David Van Tieghem is the recipient of the 2007 Guggenheim Fellowship in Music Composition. He first remembers making music with pots and pans on the kitchen floor when he was about five years old, growing up in Ridgewood, NJ. As a teenager, he taught himself to play drums, and then studied percussion with Justin DiCioccio, of NYC's LaGuardia High School of Performing Arts. He later attended Manhattan School of Music as a student of modern percussion pioneer Paul Price. He is currently based in the New York City and Hudson Valley areas with his wife, abstract photographer/painter/writer Cate Woodruff. Their daughter is actor/singer/dancer/writer/activist Zoë Van Tieghem."

"Few musicians reshape the DNA of their instrument so completely that an entire genre has to rewrite its rules. Electric bassist, composer, producer, arranger, and cultural curator Jamaaladeen Tacuma has spent over four decades doing exactly that. A native Philadelphian renowned for his harmolodic phrasing, fearless agility, and impeccable sartorial presence, Tacuma shattered the traditional boundaries of the electric bass, transforming it from a purely supportive anchor into a commanding frontline voice of avant-garde freedom and razor-sharp funk.

Tacuma first shook the musical landscape in the mid-1970s when legendary saxophonist and theorist Ornette Coleman drafted him into his historic electric ensemble, Prime Time. Tacuma's kinetic, highly melodic playing powered landmark albums including Dancing in Your Head, Body Meta, and Of Human Feelings. By 1983, he launched his solo recording career on Gramavision with Show Stopper, followed by seminal titles including Renaissance Man, Music World, and JukeBox, alongside his genre-bending electro-funk project Cosmetic. His signature sound made history when he garnered the highest number of votes ever cast for an electric bassist in the DownBeat International Critics Poll's "Talent Deserving Wider Recognition" category.

Beyond his groundbreaking work with Coleman, Tacuma has consistently collaborated across the vanguard of modern music. His expansive credits include recordings and stages with icons such as Carlos Santana, Jeff Beck, Stevie Nicks, Bob Weir, Brad Paisley, Steve Jordan, Marc Ribot, Grover Washington Jr., David Murray, Odean Pope, James Blood Ulmer, Derek Bailey, and Peter Murphy (Bauhaus). His production acumen and dynamic versatility have moved effortlessly from symphonic stages with Anthony Davis at Carnegie Hall to collaborations with hip-hop pioneers The Roots, DJ King Britt, DJ Logic, Kindred the Family Soul, and legendary poets Amiri Baraka, Jayne Cortez, and Quincy Troupe. As a producer and collaborator, he helped define modern power-trio improvisation with Free Form Funky Freqs (alongside Living Colour guitarist Vernon Reid and drummer G. Calvin Weston on Urban Mythology and Bon Vivant) and honored his musical mentor with the acclaimed tribute For the Love of Ornette.

Today, Tacuma remains a prolific force in global producing, recording and live performance. His recent production achievements include helming the historic centennial release Marshall Allen's 101: An Audio Odyssey (Ropeadope) for the legendary Sun Ra Arkestra leader, producing hip-hop forebears The Last Poets on their defining opus Transcending Toxic Times, producing multiple studio albums for acclaimed Austrian vocalist Simone Kopmajer, and anchoring the powerhouse Quantum Blues Quartet alongside Tisziji Muñoz, Paul Shaffer, and Will Calhoun.

Driven by the conviction that music is a sacred bridge uniting humanity, Tacuma continues to lead global cultural diplomacy initiatives. His cross-cultural dialogues span ancestral Gnawa trance traditions in Morocco (Gnawa Soul Experience), microtonal folk explorations in Turkey, and traditional drumming and court music partnerships across South Korea, Japan, and Europe. In addition to serving as Founder and Artistic Director of Philadelphia's celebrated Outsiders Improvised & Creative Music Series, Tacuma serves as a Cultural Ambassador for the Third Way Cultural Alliance, actively championing intelligent contemporary music as art, fostering international creative exchanges, and spearheading salon experiences that unite master musicians with visionary visual artists.

Tacuma's pioneering contributions have earned top honors, including the Pew Fellowship in the Arts, the City of Philadelphia Benny Golson Award and Liberty Bell Medal, the Jazz Journalists Association Jazz Hero Award, the Marcus Garvey Foundation 50th Anniversary Award, the Visa For Music Honor (Morocco), and prestigious fellowships at the MacDowell Colony, Headlands Center for the Arts, Civitella Ranieri (Italy), and South Arts.

An artist of boundless creative energy, Jamaaladeen Tacuma continues to run his record label Jam All Productions, curate his Outsiders Improvised & Creative Music Series and tour worldwide, bringing joy, sonic innovation, and uncompromising groove to audiences across the globe."

"John Zorn (born September 2, 1953) is an American composer, arranger, producer, saxophonist, and multi-instrumentalist with hundreds of album credits as performer, composer, and producer across a variety of genres including jazz, rock, hardcore, classical, surf, metal, klezmer, soundtrack, ambient, and improvised music. He incorporates diverse styles in his compositions which he identifies as avant-garde or experimental. Zorn was described by Down Beat as "one of our most important composers".

Zorn established himself within the New York City downtown music movement in the mid-1970s performing with musicians across the sonic spectrum and developing experimental methods of composing new music. After releasing albums on several independent US and European labels, Zorn signed with Elektra Nonesuch and received wide acclaim with the release of The Big Gundown, an album reworking the compositions of Ennio Morricone. He attracted further attention worldwide with the release of Spillane in 1987, and Naked City in 1989. After spending almost a decade travelling between Japan and the US he made New York his permanent base and established his own record label, Tzadik, in the mid-1990s.

Tzadik enabled Zorn to maintain independence from the mainstream music industry and ensured the continued availability of his growing catalog of recordings, allowing him to prolifically record and release new material, issuing several new albums each year, as well as promoting the work of many other musicians. Zorn has led the hardcore bands Naked City and Painkiller, the klezmer/free jazz-influenced quartet Masada, composed over 600 pieces as part of the Masada Songbooks that have been performed by an array of groups, composed concert music for classical ensembles and orchestras, and produced music for opera, sound installations, film and documentary. Zorn has undertaken many tours of Europe, Asia, and the Middle East, often performing at festivals with many other musicians and ensembles that perform his diverse output.

Zorn's compositions cross many genres and he has stated "All the various styles are organically connected to one another. I'm an additive person-the entire storehouse of my knowledge informs everything I do. People are so obsessed with the surface that they can't see the connections, but they are there." For Zorn "Composing is more than just imagining music-it's knowing how to communicate it to musicians. And you don't give an improviser music that's completely written out, or ask a classical musician to improvise. I'm interested in speaking to musicians in their own languages, on their own terms, and in bringing out the best in what they do. To challenge them and excite them." "

"Christian Ernest Marclay (born January 11, 1955) is a visual artist and composer. He holds both American and Swiss nationality.

Marclay's work explores connections between sound, noise, photography, video, and film. A pioneer of using gramophone records and turntables as musical instruments to create sound collages, Marclay is, in the words of critic Thom Jurek, perhaps the "unwitting inventor of turntablism." His own use of turntables and records, beginning in the late 1970s, was developed independently of but roughly parallel to hip hop's use of the instrument.

Christian Marclay was born on January 11, 1955 in San Rafael, Marin County, California, to a Swiss father and an American mother and raised in Geneva, Switzerland. He studied at the Ecole Sup�rieure d'Art Visuel in Geneva (1975�1977), the Massachusetts College of Art in Boston (1977�1980, Bachelor of Fine Arts) in the Studio for Interrelated Media Program, and the Cooper Union in New York (1978). As a student he was notably interested in Joseph Beuys and the Fluxus movement of the 1960s and 1970s. Long based in Manhattan, Marclay has in recent years divided his time between New York and London.

Citing the influence of John Cage, Yoko Ono and Vito Acconci, Marclay has long explored the rituals around making and collecting music. Drawn to the energy of punk rock, he began creating songs, singing to music on pre-recorded backing tapes. Unable to recruit a drummer for his 1979 performances with guitarist Kurt Henry, Marclay used the regular rhythms of a skipping LP record as a percussion instrument. These duos with Henry might be the first time a musician used records and turntables as interactive, improvising musical instruments.

Marclay sometimes manipulates or damages records to produce continuous loops and skips, and has said he generally prefers inexpensive used records purchased at thrift shops, as opposed to other turntablists who often seek out specific recordings. In 1998 he claimed never to have paid more than US$1 for a record. Marclay has occasionally cut and re-joined different LP records; when played on a turntable, these re-assembled records will combine snippets of different music in quick succession along with clicks or pops from the seams � typical of noise music � and when the original LPs were made of differently-colored vinyl, the reassembled LPs can themselves be considered as works of art.

Some of Marclay's musical pieces are carefully recorded and edited plunderphonics-style; he is also active in free improvisation. He was filmed performing a duo with Erikm for the documentary Scratch. His scene didn't make the final cut, but is included among the DVD extras.

Marclay released Record Without a Cover on Recycled Records in 1985, "...designed to be sold without a jacket, not even a sleeve!" Accumulating dust and fingerprints would enhance the sound. A review in Spin at the time cited Marclay's "coolest theatrical gesture" in his live performances of phonoguitar: the artist strapped a record player onto himself and played, for example, a Jimi Hendrix album. In Five Cubes (1989), he melted vinyl records into cubes. In the 1980s and early '90s, he invented album covers. The Sound of Silence (1988) is a black-and-white photograph of the Simon & Garfunkel single of the same title. In a series of cyanotypes (2007�09), white negatives against a blue background, he unspooled cassette tapes.

Thom Jurek writes that "While many intellectuals have made wild pronouncements about Marclay and his art � and it is art, make no mistake � writing all sorts of blather about how he strips the adult century bare by his cutting up of vinyl records and pasting them together with parts from other vinyl records, they never seem to mention that these sound collages of his are charming, very human, and quite often intentionally hilarious."

Marclay has performed and recorded both solo and in collaboration with many musicians, including John Zorn, William Hooker, Elliott Sharp, Otomo Yoshihide, Butch Morris, Shelley Hirsch, Flo Kaufmann and Crevice; he has also performed with the group Sonic Youth, and in other projects with Sonic Youth's members."

"Phil Minton comes from Torquay. He played trumpet and sang with the Mike Westbrook Band in the early 60s- Then in dance and rock bands in Europe for the later of part of the decade. He returned to England in 1971, rejoining Westbrook and was involved in many of his projects until the mid 1980's.

For most of the last forty years, Minton has been working as a improvising singer in lots of groups, orchestras, and situations, all over the place. Numerous composers have written music especially for his extended vocal techniques. He has a quartet with Veryan Weston, Roger Turner and John Butcher, and ongoing duos, trios and quartets with above and many other musicians.

Since the eighties, His Feral Choir, where he voice-conducts workshops and concerts for anyone who wants to sing, has performed in over twenty countries."

Fred Maher is an American drummer, programmer, producer and audio engineer whose work bridges New York's experimental Downtown scene, post-punk, rock and electronic production. A founding member of Material, he also played with Massacre and Scritti Politti and recorded extensively with Lou Reed, including Legendary Hearts, New Sensations and New York. As a producer and studio musician he has worked with artists including Matthew Sweet, Lloyd Cole, Information Society and Chaka Khan, combining an experimental musical background with a long career in recording and audio technology.

"Tom Guralnick has been an arts presenter and performing musician for 40 years. He is the Founding Executive Director of the Outpost Performance Space in Albuquerque- a nationally respected presenting arts organization since 1988, which offers an eclectic mix of jazz, experimental, folk & roots, international music, educational programs and visual arts in its own intimate space as well as in larger venues. Outpost has presented well over 3000 events in its almost 35 year existence. Guralnick is also the Director of the New Mexico Jazz Festival (since 2006), and is a founding director of the Western Jazz Presenters Network. From 1970 until 2001, Guralnick toured nationally and internationally as an experimental saxophonist."