Date(s) - 09/01/2019
4:00 PM - 5:30 PM
The Lace Mill
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Frode Gjerstad is a Norwegian jazz musician with alto saxophone as principal instrument, but he also plays other saxophones, clarinet, and flute. He has collaborated with Paal Nilssen-Love, Borah Bergman, Peter Brötzmann, Evan Parker, Derek Bailey, Bjørn Kjellemyr, Terje Isungset, William Parker, Sabir Mateen, John Stevens, Johnny Dyani, Kent Carter, and since 1979 has contributed to more than 50 recordings.
Chicago based cellist Fred Lonberg-Holm has played and studied music in a variety of situations from the Juilliard School to the gutter. A former student of Anthony Braxton, Morton Feldman, Bunita Marcus and Pauline Oliveros, his primary projects are his Valentine Trio and The Lightbox Orchestra. He is also a member of a number of ongoing collective projects (The Boxhead Ensemble, The Friction Brothers with Michaels Zerang and Colligan, The Flatlands Collective, Keefe Jackson’s Fast Citizens) as well as participating in numerous one off “ad-hoc” or in frequently convening ensembles. He also currently plays in groups led by Joe McPhee (Survival Unit III), Peter Brotzmann (Chicago 10tet), and Ken Vandermark (Vandermark 5, Frame 4tet, Territory Ensemble). Improvisors he has worked with include Jim Baker, John Butcher, Wilbert DeJoode, Axel Doerner, Mats Gustafsson, Charlotte Hug, Glenn Kotche, Peter Kowald, Nicole Mitchell, Torsten Muller, Jim O’Rourke, Jeff Parker, David Stakenas, Ben Vida, and Michael Zerang, He has contributed cello sounds to numerous recording projects by rock groups including Califone, Freakwater, God-is-my-co-pilot, L’altra, Smog, Super Chunk, US Maple, Wilco and many others.
Michael Bisio, bassist/composer, has eighty five recordings in his discography, twenty four of these are split evenly between leader/co-leader, ten of them document his extraordinary association with modern piano icon Matthew Shipp. Michael has been called a poet, a wonder and one of the most virtuosic and imaginative performers on the double bass. Nate Chinen in the New York Times writes: “The physicality of Mr. Bisio’s bass playing puts him in touch with numerous predecessors in the avant-garde, but his expressive touch is distinctive;…”