Zen Widow 2

Improvising Trio, featuring Sicilian saxophone virtuoso Gianni Gebbia and SF Bay Area greats Matthew Goodheart & Garth Powell

Biography:

This international jazz – improvised music group was formed in the spring of 2003 by long time collaborators saxophonist Gianni Gebbia (Palermo, Sicily), pianist Matthew Goodheart (Berkeley, CA), and drummer – percussionist Garth Powell (Santa Rosa, CA). While the members have been playing together in various combinations for over 13 years, their similarity of approach drew them together to create this long-term project.

They share a quest for seamless interaction, built upon a broad base of style and genre such as post-bop, modal, and free jazz, world music, and modern classical / spectral music. These musical touchstones inform, but do not determine the directions of their compositions and improvisations.

In three short years Zen Widow has already headlined the 2004 San Francisco Alternative Jazz – Improvised Music Festival, Seattles’ Polestar Improvised Music Festival, the 2005 Blaue Fabrik Jazz Series in Dresden Germany, and the 2005 Improvised Jazz Musik Series in Wuppertal Germany as well as performing throughout United States and Western Europe. Zen Widow’s first (self titled) CD is available on Evander Music – 022 www.evandermusic.com

“The Zen Widow Trio of Gianni Gebbia (saxophones), Matthew Goodheart (piano), and Garth Powell (percussion) is a marvelous construct. Blessed with real character and always just the next moment away from creating more delicious riddles. They marshal an incredible diversity of sounds, both real and implied, into tightly focused gems which are never less than fascinating and strangely perfect. Possessed of a natural fire and remarkable sense of intuition they are a testament to the virtues of deep listening and the practice of instant composition when in the able care of three master improvising musicians.

zen widow. all into one. no dichotomy. no division.
truly of the moment”.

Brad Winter
Portland Creative Music Guild – February 2003

“Zen Widow, the phenomenal trio featuring Sicilian sax-wonder Gianni Gebbia with long-time SF Bay cohorts Matthew Goodheart (p/ perc) and Garth Powell (d/ perc). This band has grown immensely in the awesome breadth of their collective power. Though separated by great distances, the efforts of these three to continue to work together on a regular basis has really paid off and is reflected in music which is real, rich, and meaningful. Their possibilities as a unit appear boundless.

Brad Winter
Cadence Magazine – Vol. 30 No. 7 July 2004

Gianni Gebbia
Alto, C-Melody, Sopranino Saxophones – Flutes

Born in Palermo, Italy, where he still resides, Gebbia is perhaps best known for his circular-breathing technique developed through his studies of the Sardinian bagpipe. An extremely versatile musician with a prominent international reputation, he frequently finds himself in a great variety of collaborations including traditional jazz players, free improvisers, DJ’s, and Butoh dancers. In addition to touring extensively in Europe, North America, and Asia, he also has an extensive list of CDs to his credit.

A small sampling of the international music festivals that have prominently featured Gianni Gebbia are:

Festival Le Mans-France, Jazz e interferenze Schio, Link Bologna, Druga Godba Lubjana-Slovenia, Ring Ring Beograd 98, Butoh Festial London 96, Theater X Tokyo, Contemporary Sicily-The New School New York, The Red RoomBaltimore,TimeFlies-Vancouver-Canada, Brooklyn College N.Y. Beanbender’s Berkeley-California, Fimav 97 Victoriaville Quebéc- Canada, Les Inaccottoumés Paris- Menagerie de verre, International Jazz festival Saalfelden 1999, Controindicazioni 99 Rome, Icebreaker festival Wien 99. Japan tour March 2000, Usa West Coast April 2000 Portland, Munchen 2000, Noci fest. 2000, Womad in Palermo, Rive De Gier October 2000,Groningen Zomer Jazz festival, Butoh festival Palermo 2000, Curva Minore
2000 pa, Akut Mainz 2000, Rive De Gier 2001, Dansem Marseille 2001. Northsea Jazz Festival 2003. Le trois Jours Groningen. Jazz Nomades Paris.

Further information can be had with a visit to his web-site – www giannigebbia.com

Matthew Goodheart
Piano – Prepared Piano – Percussion

A native of the San Francisco Bay Area, Goodheart explores a variety of forms and processes as solo performer, collaborative artist, and composer. He has toured extensively in North America and Europe, and was a featured artist at the 2003 International Conference/Festival of Spectral Music in Istanbul.

In addition, the last seven years have seen a great variety of projects from Goodheart. He’s performed at a variety of festivals, including Fire in the Valley, Garden of Memory Festival of New Music, Illuminations New Music & Arts Festival, and the Glenn Spearman Festival. He has toured the US and Canada, recorded several CDs, including projects with Wadada Leo Smith and Dominic Duval, all of which have received high critical praise, including critic’s picks among “the year’s 10 best” in Cadence, Coda, JazzIz, and JazzTimes magazines.

He has also continued performing contemporary piano works, including Maggi Payne’s Minutia, José Maceda’s Music for Four Winds and Two Pianos, Morton Feldman’s Atlantis and For Bunita Marcus, and Glenn Spearman’s Untitled Work for Solo Piano, a massive four movement piece written specifically for Goodheart.

One recent group, the Goodheart-Allen-Powell Trio, has toured the US, played several festivals including the Glenn Spearman Festival, Berkeley Arts Festival and the Olympia Experimental Music Festival, and released their first disc I Can Climb a Tree, I Can Tie a Knot, I Can Have a Conversation.

“Sonorous. . .clusters of notes, from counterpoint to meticulous detail; strange, complex, enigmatic.” —Nuno Marins, Clube de Jazz, Portugal

Garth Powell
Drums – Percussion – Musical Saws

For a Percussionist/Composer, time, rhythm, and pulse are undeniable, non-negotiable components of the craft. Yet, the sonic domain remains for many, a peripheral concern. Timbre is not only of equal importance; it is an integral part of the harmonic, melodic, and rhythmic construct. All four exist in the parallel sub-division of frequencies and waves. This relationship demands understanding, discipline, and mastery. In Powell’s music, these elements are meticulously combined, creating a transcendent force enveloping the listener. Ultimately, we are drawn into the ecstatic, and the inexplicable.

Garth Powell has performed and recorded throughout North America and Europe with preeminent Jazz and improvised music masters such as Wadada Leo Smith, Nels Cline, Peter Van Bergen, and Mats Gusstafsson, Vinny Golia, Peter Kowald, and Glenn Spearman , and was a featured artist at the Copenhagen Jazz festival, Curva Minore Improvised Music Festival, San Francisco Alternative Jazz Festival, Olympia Improvised Music festival among others, and is currently a Rastascan, Roadcone, Leo, Evander, K Records, and 9 Winds recording artist.

“Powell plays in a deceptively serene manner, establishing an illusion of tranquility that is often shattered by his breakaway tactics. He is a mercurial performer who turns the direction of the performance around with his dynamic execution and just as easily reverts to pensive, pastoral expression. Segments filled with tenderness and compassion often follows his most robust playing.”
Frank Rubolino – One Final Note – issue #9 Winter 2002

Aaron Novik

composer, clarinetist, bandleader

Link to home page : http://www.aaronnovik.com

Biography:

I am a musician and an artist. By artist I mean I use music as my medium of expression. I use music to convey ideas beyond merely collecting a group of sounds together. I compose music that addresses thoughts and emotions and abstractions.

I enjoy playing with genre and have a hard time defining/confining myself. In the past few years I have written music for different projects that could be defined as pop songs, chamber classical, psychedelic jazz, gypsy folk, and even heavy metal. Within these obviously disparate stylistic choices are a unifying compositional esthetic that slowly reveals itself, the more projects you hear of mine. This esthetic relies heavily on rhythm, harmony, melody and order. All elements of good music that can be tossed away by many in the name of experimentation. Personally I find that it is more interesting to experiment within these confines to push each to new and exciting places. New rhythmic subdivisions and poly-rhythms, surprising melodic and harmonic choices.

I moved to San Francisco 10 years ago and began studying clarinet with the great Ben Goldberg. I began leading ensembles soon after and eventually went to UC Berkeley to study composition with Eitan Steinberg and Olly Wilson. I also studied new concepts of rhythm and improvisation with Steve Coleman at UC Berkeley, a boundary pushing alto sax player from New York.

The past few years have been highly productive ones, seeing the creation of two suites; the first, music inspired by my grandfather’s immigration and life in America as a Jew escaping war torn Europe; the second, a commission to write music for the Saint Joseph Ballet in Orange County in 2004. My most recent cd is a conceptual tone poem steeped in retro future psychedelic science fiction, that has received significant praise given it’s limited release.

Other ventures of note include performing with the bass clarinet Edmund Welles, which has received grants from Chamber Music America, and Yerba Buena’s new composers series, and performing with Patrick Cress’ Telepathy which has also received numerous grants in conjunction with Dandelion Dance Theatre and ODC.


Work-In-Progress:

New recordings coming up from Simulacra and Crafty Apples

Shaun Naidoo

Composer, Pianist

Biography:

Shaun Naidoo holds a Doctor of Musical Arts degree in Composition from the University of Southern California, a Masters degree in Composition from USC and a Bachelor of Music degree in Music Theory and Piano Performance from Rhodes University in South Africa.

His music has been performed at festivals and halls throughout the United States, Europe and South Africa, including performances at the Lincoln Theater (Miami Beach, Florida), Japan America Theater (Los Angeles), Los Angeles County Museum of Art, Maybeck Recital Hall (San Francisco), PianoSpheres (Pasadena, California), Ernest Bloch Music Festival (Oregon), Edinburgh Festival, Zabalaza Festival (London), Colly Soleri Music Center (Arcosanti, Arizona), SEAMUS festival (Kansas City, Missouri), Kansas City Electronic Music Festival, SCREAM festival (Los Angeles), Ussachevsky Festival (Claremont, California), Market Theater (Johannesburg, South Africa), Jazzart Center (Cape Town, South Africa), South African National Festival of the Arts, Resistance Fluctuations Festival (Los Angeles), Green Umbrella Series (Los Angeles) and the FaultLines Emergency Festival (Los Angeles). Ensembles who have performed his music include the California EAR Unit, the New World Symphony, Xtet, Ensemble Green, FearNoMusic, the Thornton Percussion Ensemble, and the CalArts Percussion Ensemble.

His music has been released by Island Records (New York), C.R.I. (New York), Shifty Records (South Africa) and Evander Music (Oaland, CA). During the 1980s, Naidoo composed extensively for cabaret, musical theater and modern dance in South Africa where he was commissioned by the major modern dance companies and his music received critical acclaim.

In 1989 the Johannesburg Star described him as “South Africa’s premiere composer for modern dance” and in 1990 the Johannesburg Citizen called him “one of the brightest lights in the South African music firmanent”. More recently the “Los Angeles Weekly” described his music as “a hoot and a delight” and added that he is a composer “worth watching”. In 1992 his electronic Found Opera Season of Violence (a collaboration with Warrick Swinney) received an Honorable Mention at the Prix Ars Electronica in Linz, Austria. He is a recipipent of a Fulbright Fellowship, an Italian Government Scholarship, the Halsey Stevens Composition Prize, the Peter David Faith Award in Composition, grants from Meet the Composer, and numerous academic honors and awards.

He taught for six years in the Departments of Theory and Composition, and ElectroAcoustic Media at the University of Southern California Thornton School of Music. In 1997 he co-founded the FaultLines Contemporary Music Series (Los Angeles), which has to-date presented twenty-eight composers, performers, and performance artists from throughout the United States.

Mo’Fone

Larry de la Cruz, saxophone; Jim Peterson, saxophone; Jeremy Steinkoler, drums

Link to home page : http://www.mofone.net

Biography:

Larry de la Cruz, saxophone; Jim Peterson, saxophone; Jeremy Steinkoler, drums

With its surprising and highly combustible line-up of two saxmen and one drummer, the Bay Area-based group Mo’Fone has thrilled audiences with some of the funkiest jazz?and jazziest funk?being played today. Powering its way through inventive high-energy original compositions and navigating unexpected tunes by the likes of Weather Report, John Scofield, and Led Zeppelin, Mo’Fone makes a huge sound that belies its compact size.

Combining serious musicianship with an infectious sense of fun onstage, Mo’Fone also manages to groove with abandon while keeping miraculously in balance, as each member of the band pushes his instrument well beyond its role in a more traditional trio. What’s more, Mo’Fone delivers adventurous riffs and grooves, while achieving a sound that’s not only accessible, but instantly addictive. Their groovy improvisations and original concept have earned them the award for Best Jazz Group in the 2008 East Bay Express Readers’ Poll, and secured them slots at the Monterey, San Francisco and Sonoma Jazz Festivals, in addition to gigs at the Bay Area’s premier live music venues.

“I was hooked from the first track,” wrote the Contra Costa Times of the band’s debut disc, Surf’s Up (Evander Music, 2003). “Mo’Fone proves it’s the biggest little band on the scene. On each piece, the trio finds ingenious ways of creating a full, multitextured, hard swinging sound.”

A healthy portion of that swinging sound comes from the mighty baritone sax and bass clarinet of Jim Peterson, alternating seamlessly between walking bass lines and powerful melodic riffs. A stalwart of the Bay Area scene for more than 20 years, Jim is a veteran of leading bands like Mitch Woods and His Rocket 88s, Indigo Swing, and Motordude Zydeco. Soaring overhead on alto sax, clarinet and flute is Larry De La Cruz, whose own impressive r?sum? includes stints with Phil Woods, Bobby Hutcherson, the Temptations, Boca do Rio, and Doc Severinsen. Completing the Mo’Fone magic is drummer Jeremy Steinkoler, “a master of second line syncopation” (SF Bay Guardian) whose orchestral approach to the traps drives the trio’s turn-on-a-dime dynamics and gives Mo’Fone its third ceaselessly inventive solo voice.

As AllAboutJazz.com summed up the group’s exhilarating and cohesive sound: “This jazz trio is a powerhouse to be reckoned with…. If Mo’Fone doesn’t blow your socks off, you’re not paying attention.”

Jeremy

JEREMY STEINKOLER, “A very swinging drummer who’s mastered the art of coordinated independence,” (East Bay Express) has been playing drums professionally for over 20 years. He has crafted a fresh and unmistakable style from an expansive range of influences, from classic New Orleans second-line street beats to Elvin Jones’ ‘circle of sound,’ and is a powerful force driving Mo’Fone with an exciting and unpredictable approach to the drums. His credits as a sideman include performances and recordings with the likes of Adam Levy and Lee Alexander (Norah Jones), Dave Ellis (The Other Ones, Charlie Hunter), Kirk Joseph (Dirty Dozen Brass Band), plus Guru Garage (funk), Christie McCarthy (rock), Kevin Beadles Band (rock), Hot Links (New Orleans R&B;), Phatlip (funk-jazz), and dozens of top musicians around the Bay Area. He leads and composes for his own group Mo’Fone, the unique saxes-and-drums trio featured at the Monterey, San Francisco and Sonoma Jazz Festivals, and has received radio play across the country and in Europe. Jeremy has been teaching private drum lessons since 1991, and is the Co-Founder of BandWorks, a school of rock for musicians of all ages and levels based in the Bay Area. He has taught workshops and master classes in Dublin, Ireland; Ann Arbor, MI; and in Northern California for the past sixteen years. He is proud to be endorsed by Vic Firth Drum Sticks, Istanbul Agop Cymbals, Aquarian Drumheads, and Protection Racket cases. “Steinkoler’s orchestral approach to the trap set is thrilling. He’s a whirlwind of activity, filling up empty spaces without sounding busy.” (Contra Costa Times)

Jim

JIM PETERSON has been playing the saxophone in the Bay Area for over 20 years. An incredibly diverse reedman, Jim has played tenor, alto, soprano, and baritone saxophones with such well-known Bay Area bands as Mitch Woods and his Rocket 88’s, Red Archibald and the Internationals, Steve Lucky and the Rumba Bums, Indigo Swing, Rhythm Town Jive, Motordude Zydeco, Hot Links, and many others. Feeling just at home playing modern jazz as he does rhythm and blues, Jim leads his own trio, and was a founding member of the groups Mumbo Gumbo and Giant Trio. His walking baritone lines often combine bass and melody together, weaving in and out of the harmonic intricacies of each tune, filling up so much space that the ear doesn’t miss a note. Jim plays with a fire and drive that ignite both the audience and the band to groove with terrific intensity.

Larry

LARRY DE LA CRUZ has played saxophone with such musical legends as Doc Severenson (the Tonight Show Band), Kenny Werner, Phil Woods, Bobby Hutcherson, Lou Rawls, The Temptations, The Four Tops, and the San Diego Symphony. A partial list of CDs that have been graced by his horn are Carlos Angeles’ “Something Real,” Colors’ “Bureacrazy,” Flight 7’s “Sky High,” Allan Phillips’ “Spanglish,” Aldoush Alpanian’s “This Life,” Rob Thorsen’s “First Impression,” and Mike Vax’s “Alternate Route.” Larry’s rich experience as a performer and highly honed skills as a saxophonist and composer have made him one of the pre-eminent horn players on the San Francisco scene. Larry’s dynamic soloing can range from Coltrane-esque runs on up-tempo tunes to soulful wails on slower ballads. Whatever the genre, Larry’s energetic style and musical sensitivity are immediately recognizable, and always memorable. Equally comfortable on the flute, clarinet, and a wide range of percussion instruments, Larry adds many zesty ingredients of sound to the unique gumbo that is Mo’Fone. [More info:www.larrydelacruz.com]

Miss Henry

Miss Henry, voice; Alex Candelaria, guitar; Calder Spaniel, saxophone; Michael Blustein, piano; Leo Boumeister, piano; Todd Sickafoose, bass; Tom Lyne, bass; Scott Amendola, drums; Eric Crystal, tenor sax

Biography:

Miss Henry, voice; Alex Candelaria, guitar; Calder Spaniel, saxophone; Michael Blustein, piano; Leo Boumeister, piano; Todd Sickafoose, bass; Tom Lyne, bass; Scott Amendola, drums; Eric Crystal, tenor sax

Lisa Mezzacappa

double bassist, improviser, composer

Link to home page : http://www.lisamezzacappa.com

Biography:

Lisa Mezzacappa is a San Francisco Bay Area-based bassist, composer, and musical instigator. An active collaborator and curator in the Bay Area music community, she leads her own groups Bait & Switch, Nightshade, the Lisa Mezzacappa Trio and the Tangle Trio, and co-leads the ensembles duo B., Cylinder, the Mezzacappa-Phillips Duo, and the Caribbean folk band Les Gwan Jupons. Lisa has released her music on the Clean Feed, NoBusiness, Leo, NotTwo, Evander, Odd Shaped Case and Edgetone record labels, and has recorded as a sideperson for the Tzadik, Kadima and Porto Franco labels. She collaborates frequently on cross-disciplinary projects in sound installation, film/video, sculpture and public music/art.

As curator, she programs the annual JazzPOP concert seres at the UCLA Hammer Museum in Los Angeles, now in its 9th year; and a live cinema series, Mission Eye and Ear, at Artists’ Television Access. She founded the Monday Makeout creative music series in the Mission District of San Francisco, and programs the Best Coast Jazz Composers series as a member of the artistic committee San Francisco’s Center for New Music. In 2012 she started the “Festival-of-Us,” an annual festival celebrating Bay Area creative jazz and improvised music. Recent projects include an avant-folk string band, the Interlopers; Eartheaters, a trio with Brooklyn vocalist Fay Victor; and BODABODA, a cross-planetary collaboration with Venice reed player/composer Piero Bittolo Bon.

Lisa has been artist-in-residence at Djerassi Resident Artists Program (2008, 2013), Headlands Center for the Arts (2006), the Banff International Jazz Workshop (2000), and the Painted Bride Arts Center (2000). She holds an MA in ethnomusicology from UC Berkeley (2003), and a BA in music from the University of Virginia (1997). She has performed at countless Bay Area venues including Intersection for the Arts, Yerba Buena Center for the Arts, SFMOMA, Yoshi’s, the Jazzschool, and the de Young Museum, San Francisco; as well as the Earshot Jazz Festival, Seattle; the Montreal Jazz Festival, Canada; the Monterey Jazz Festival, CA and the Novara Jazz Festival, Italy.

Lisa has been awarded grants by the San Francisco Friends of Chamber Music, the Zellerbach Family Foundation, American Composers Forum, the City of Oakland, Meet the Composer and Southern Exposure/the Andy Warhol Foundation. She performs as a sideperson in original jazz, improv and chamber ensembles led by bandleaders such as Phillip Greenlief, Aaron Novik, Beth Custer, Randy McKean, Marco Eneidi, Vijay Anderson, Aaron Bennett, Steve Adams, Graham Connah, Cory Wright and Ross Hammond, and collaborates often with Darren Johnston, Vinny Golia, Katy Stephan, Aram Shelton, Kjell Nordeson, Murray Campbell, Jason Levis, Dina Maccabee, Noah Phillips, Rob Ewing, Kasey Knudsen, Michael Coleman, Myles Boisen, Sam Ospovat, John Hanes, and many many others.

The Lost Trio

Phillip Greenlief, saxophones; Dan Seamans, bass; Tom Hassett, drums

Link to home page : http://www.myspace.com/thelosttrio

Biography:

The Lost Trio was formed in 1994 by Phillip Greenlief, Dan Seamans & Tom Hassett and stepped into existence with a steady every Thursday night gig at The Rose Pistola in San Francisco’s North Beach district. This residency was followed by four year stint on Sundays at Cato’s Ale House in Oakland. The Lost Trio has a history of touring that has focused on venues up and down the west coast, where they have also enjoyed many live radio appearances and in-store performances. The groups’ repertoire began with a program of mainly standards by Thelonious Monk, Cole Porter, Duke Ellington, Charles Mingus and others before veering into other sources. Since then, the group has fashioned a very unique collection of over 600 songs that range from composers as diverse as Hank Williams, Nino Rota, Steve Lacy, Carla Bley, Billy Stranhorn, Mel Tillis, The Grateful Dead, and PJ Harvey; not to mention numerous original compositions by Lost Trio members Phillip Greenlief and Dan Seamans.

The Lost Trio recorded its first CD, REMEMBRANCE OF SONGS PAST, in 1994 and the disc was released in 1995, earning a “Pick of the Month” (December 1995) in All About Jazz Magazine while also receiving glowing reviews from numerous other publications.

The Lost Trio’s second recording is the two release set, LIVE AT AVALON & THE GRAVES, with guest guitarist Adam Levy (Norah Jones, Tracy Chapman). “Live at Avalon & The Graves” was listed #1 Jazz Recording of 2000 by the San Jose Mercury News, and was listed on two other Top 10 Recordings lists in the East Bay Express and the San Francisco Chronicle. Disc 1 was recorded at the Morris Graves Museum of Art (Friday night) and Disc 2 was recorded at Avalon in Eureka, CA (Saturday night). Beverley Wolfe produced the recordings for both sessions and is owner at Avalon, home of some one of the finest dining experiences on the north coast.

The group’s 3rd recording, BOXCAR SAMOVAR (2004) continued to feature the trio’s nearly-surreal repertoire, careening recklessly from Hank Williams, Billy Strayhorn and Radiohead to the Grateful Dead, Thelonious Monk, and Carla Bley. The group’s live set at that time included works by film composers Nino Rota, Angelo Badalamente and Giovanni Fusco.

Bassist Dan Seamans was the driving force behind PLAYS THE SOLID GOLD HITS (2007), arranging many of the off the beaten track repertoire from popular composers. Tunes by The Beatles, Bjork, Beck, Black Sabbath, The Band, and Juana Molina populate the microgrooves and offer imaginative recreations with the band’s stripped down sound.

MYSTERIOUS TOBOGGAN (2011) returns with the kind of repertoire and “loose-limbed” feeling the band is known for, along with three new compositions by Greenlief and Seamans.

The Lost Trio celebrates their 20th anniversary in 2014 with the release of KNOWMONK, which features a new approach to the presentation of compositions by Thelonious Monk. The trio’s 5th CD on Evander Music is already receiving airplay and making its way into the hands of the national press.

PRESS QUOTES:

“Though every Bay Area jazz fan knows the Lost Trio, we get ’em only about once a year, so consider this 10th-anniversary epiphany an occasion. Bassist Dan Seamans’ meditative introduction to Radiohead’s muezzinlike “Pyramid Song” eases you into Boxcar Samovar, the trio’s new masterwork; his caressing touch, coupled with phrasing that’s the aural equivalent of eye contact, announces the group’s philosophy. Drummer Tom Hassett flicks like chopsticks on the ride cymbal and rolls almost subliminally on the toms through tunes by Monk, Strayhorn and Carla Bley. And admirers of Mark Turner or Joe Lovano should soak up Philip Greenlief’s golden tone, shaded dynamics and backlit line conception, and see if he’s not blowing the most tenor of anybody right now, evoking Trane and Shepp while remaining all Greenlief.”
-Greg Burk, LA Weekly

“The Lost Trio is a loose-limbed band marked by an off-the-cuff poetic sensibility, full of earthy humor and soaring lyricism.”
-Andrew Gilbert – San Francisco Chronicle

“Think of the early musical joy and humor of Sonny Rollins’ early trios and the haunting beauty of Jimmy Giuffre’s small groups. That is a good place to start when contemplating The Lost Trio. The three players click together remarkably well: Greenlief’s lyrical, yet hard-edged tenor, a fully orchestral Seamans’ bass and the sensitive, swinging drums of Tom Hassett.”
– Grego Applegate Edwards, Cadence Magazine

“In full possession of the concept of interplay, the members of The Lost Trio have equal weight in the construction of the music and contribute balanced possibilities through the extension of their own rich musical dowries.”
– Altrisuoni (Naples, Italy)

^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^

ARTIST’S BIOS
Dan Seamans

I grew up in Washington, DC, where I played bass guitar and occasionally pedal steel in rock bands with my friends. During my freshman year at the University of California at Santa Cruz I began studying the string bass. My teachers were Larry Epstein, from the SF Symphony, and then Mel Graves. Mel Graves encouraged me to quit my job as assistant with a tree surgeon and to get serious about practicing with these words. “If you keep playing like that you’re going to be NJ Dan. Do you know what that means? It means no job Dan.” Another great teacher whom I have studied with very sporadically is Michael Willens. I advise any bass players who read this to take a lesson from him. I graduated from UCSC with a degree in music. The best part of that program was the community of students and professors David Cope and Gil Miranda, both of whom loved music and teaching.

After graduation I continued to live in Santa Cruz for a few years. There were some great players there that I learned a lot from, some of whom I am fortunate to be collaborating with still, for example Graham Connah. Eventually I moved with friends to Oakland, where I was able to deepen my understanding of jazz by playing with three great musicians and educators: Bill Bell, Donald Bailey, and Mark Levine. Around this time Ben Goldberg, Kenny Wollesen and I formed the New Klezmer Trio, where we started by asking the question, “What would klezmer music sound like now if it had evolved continuously since the 1940’s?”

In the early 1990’s I moved with my wife and young daughter to New York. We didn’t stay long enough to accomplish much musically, but I enjoyed occasional jam sessions with inspiring musicians whose names I won’t mention because it seems too much like name-dropping, considering that I only played with them a couple of times and there are so many other musicians that I had more meaningful associations with that I have left out of this bio. In general, it is pretty hard to write something like this without having it turn into a long list of names that would be pretty boring to anyone but me, because one of the best things about music is that you get to spend time with other players and these relationships are the most important thing, really. To give just one example, I haven’t said anything about the guitarist and composer John Schott, who is a dear friend and someone that I have played with off and on for about fifteen years. So to get back to the timeline, after New York we spent a year and a half living in Southern Vermont, where our son was born. Here I was mentored by the great guy and guitarist Attila Zoller. During this period of living on the east coast I was also fortunate to go on several European tours with the New Klezmer Trio.

We moved back to Berkeley in 1994, where I have enjoyed being part of the jazz and improvised music scene. My major musical associations in recent years have been with the Lost Trio (with Phillip Greenlief and Tom Hasset) and with the singer/songwriter Sonya Hunter. I recorded a cd of compositions and improvisations with Carla Kihlstedt and Elliot Kavee that also features my dubious vocal “talents” several years ago, but I just haven’t gotten around to releasing this yet.

Tom Hassett

A stealth member of the SF Bay Area jazz community for over 20 years, Tom Hassett studied drums and overall outlook with Jerry Granelli in the mid-seventies and spent five years in the then thriving Sonoma County jazz scene before returning to San Francisco. His musical alliances include two years (1998-2000) with the Susan Chen Trio at Harris’ restaurant and his continuing work with the Lost Trio (11 years). Tom is currently working in a piano trio with Paul Mindrup and Scott Chapek and his most recent influences include Johnny Vidacovich and Shelby Lynne.

Phillip Greenlief

”The Bay Area’s do-it-yourself ethos has produced a bevy of dazzlingly creative musicians, but few have put the philosophy to work as effectively as Phillip Greenlief.” – Andrew Gilbert, San Francisco Chronicle

Since his emergence on the west coast in the late 1970’s, Evander Music founder Phillip Greenlief has achieved international critical acclaim for his recordings and performances with musicians and composers in the post-jazz continuum as well as new music innovators and virtuosic improvisers. His ever-evolving relationship with the saxophone unfolds with an expansive sound vocabulary, a deep regard for melody and form and a rollicking humor and wit that is not dissimilar to the Native American Coyote tales. He is composer in residence with Rough and Tumble and teaches music at San Francisco Waldorf High School and the East Bay Center for the Performing Arts.

Recipient of the San Francisco Bay Guardian Goldie Award

“…the under-rated West Coast Saxophonist”
– Art Lange, Epulse! Magazine

“Phillip Greenlief is a reedman versatile enough to achieve anything except peace in Palestine”
– Greg Burk, LA WEEKLY


Work-In-Progress:

The Lost Trio celebrates its 20th anniversary with the release of MONKWORK, their newest CD on Evander Music with SF Bay Area shows. Look for a west coast tour in February 2015.

Kaolithic Music

Clayton Bailey, Bob Bassara, Linda Elvira Piedra, Jon Raskin

Biography:

Clayton Bailey, Jaw harps
Bob Bassara: Jaw Harps, Jawsaphone, Voice,
Percussion, ankle bells
Linda Elvira Piedra: Percussion
Jon Raskin: Jaw Harps, Jawsaphone

Jettison Slinky

Graham Connah, Ben Goldberg, Marty Wehner, Rob Sudduth, Jewlia Eisenberg, Nancy Clarke, Lee Alexander, Smith Dobson Jr

Biography:

Graham Connah, Ben Goldberg, Marty Wehner, Rob Sudduth, Jewlia Eisenberg, Nancy Clarke, Lee Alexander, Smith Dobson Jr

Bill Horvitz Band

Bill Horvitz, guitar; Steve Adams, reeds; Joe Sabella, drums

Biography:

Bill Horvitz
Guitarist/composer

Bill Horvitz stretches the boundaries of guitar music and points it in new and exciting directions. Horvitz fuses traditional and extended techniques in a most inventive way; his strikingly personal instrumental vision endows the music with an infinite array of tonal color. His long and varied experience in the realms of jazz, rock, classical, folk, and new music have resulted in an entirely original compositional voice–a voice that is forceful and innovative, yet always intelligently accessible.

Since 1974, Horvitz has led both large and small ensembles. Between 1978 and 1988, he lived and worked in New York City, where he explored and extended the sonic range of the guitar in a wide variety of settings. He has collaborated with many composers and improvisors, notably Butch Morris, J.A. Deane, Joseph Sabella, Elliott Sharp, John Zorn, Bobby Previte, Shelley Hirsch, Denman Maroney, Wayne Horvitz, Herb Robertson, Roy Campbell, Richard Dworkin, George Cartwright, Phillip Johnston, Dave Sewelson, Arthur Blythe, Myra Melford, George Lewis, Bill Laswell, Eugene Chadbourne, Frank London, and Walter Thompson.

He currently leads the Bill Horvitz Band featuring Steve Adams on woodwinds and Harris Eisenstadt on drums. He also works with the improvising quartet Out by Five, the Harris Eisenstadt Ahimsa Orchestra, and Moe Staino’s Moekestra! Horvitz collaborates frequently with poets and other writers, combining electric and acoustic music with spoken word. He recently composed the music for the theater piece Circus Proboscis: A Sneeze of Freaks and the films DamNaged and Gravity Hill and has created music for dance and art installation. He has also composed and performed music for solo acoustic guitar that will be recorded in 2004.

What the critics say:
“Horvitz infuses his jazz compositions with the tunefulness and economy of rock, ‘60s R&B;, and calypso, synthesizing the influences of Sonny Sharrock, early 70s McLaughlin, Derek Bailey, and a touch of Robert Fripp, Roger McGuinn and Yardbirds-era Jimmy Page into his own sizzling, concise style. . . . a rare balance between free jazz and (uncompromised) accessibility.”
MARK KERESMAN–EXPRESS, Berkeley, CA

“. . . the band embodies an earthy, sweaty aura with chops and humor to match.”
T. SEDLAK, OPTION MAGAZINE

“. . .powerful and unpredictable originals deliver a sound-spattered session rife with skewed rhythmic dynamics, spontaneous surprises, and boundary-pushing improvisations. . .tasteful, sophisticated, yet urgent approach to melody, harmony, and rhythm. Dust Devil whirls with exciting musical blends to satisfy the most adventurous listener.”
NANCY ANN LEE, JAZZ TIMES

“ . . . Horvitz has been working on the rugged fringes of guitar culture. . . making music that benefits from the confusing embarrassment of riches facing any open-minded modern jazz player. . . antic, angular themes to wide open spaces . . . kinetically charged.”
JOSEF WOODARD, JAZZIZ MAGAZINE

“funky bite. . .strong rapport. . . joyous artistry. . . brooding lyricism. . .dramatic suspense. This excellent session showcases funk fusion stripped to its dynamic essence. Highly recommended.”
DAVID LEWIS, CADENCE MAGAZINE

“An intriguing composer and a pliant melodicist. While his music might be free jazz, it’s not free form; it’s exceptionally well organized . . . each tune has a personality and life of its own.”
CHRIS KELSEY–JAZZ NOW, Oakland, CA

“A major innovator in guitar music . . . a Zen master’s intuitive certainty . . . few musicians can make abstract music this gorgeous.”
ALEX VARTY–GEORGIA STRAIGHT, Vancouver, BC

“A superb demonstration of structure and expression
. . . a model for postminimal improvisation.”
KYLE GANN–VILLAGE VOICE, NYC

“A mix of melody, fracture, and structure . . . an all-star big band.”
JON PARELES–NEW YORK TIMES (The Bill Horvitz Ensemble)