The 2012 Seattle Improvised Music Festival
2012, February 8, 9, 10, 11 @ 7 PM
Chapel Performance Space, Fourth floor of the Good Shepherd Center
4649 Sunnyside Ave N, Seattle
SIMF 2012 Performers:
taku sugimoto – guitar – tokyo
jeph jerman – objects – arizona
jack wright – saxophone – pennsylvania
johan nystrom – percussion – pennsylvania
mathieu ruhlmann – objects – vancouver
jamie drouin – objects – berlin
lance olsen – electronics – victoria
doug theriault – electronics – portland
tim duroche – percussion – portland
matt carlson – synthesizer – portland
jason e anderson – modular synthesizer – seattle
jonathan way – field recordings – seattle
paul hoskin – reeds – seattle
gust burns – piano, inside piano – seattle
tyler wilcox – soprano saxophone – seattle
wilson shook – alto saxophone – seattle
mara sedlins – viola – seattle
mark collins – bass – seattle
john teske – bass – seattle
tari nelson zagar – violin – seattle
the seattle phonographers union
Presented by Seattle Improvised Music
Co-presented by Nonsequitur.
Made possible in part by support from the Seattle Mayor’s Office of Arts & Cultural Affairs.
Now in its 27th year, the SEATTLE IMPROVISED MUSIC FESTIVAL will be held February 8, 9, 10, 11, 2012 at the Chapel Performance Space in Wallingford.
The longest running festival of its kind in North America, SIMF is an annual meeting place for improvisers at the forefront of Improvised Music in North America, and from around the world.
This year’s festival features visionary musicians visiting from Tokyo, Berlin, Arizona, BC, Philadelphia, Portland and of course Seattle.
The Seattle Improvised Music Festival is Seattle’s annual opportunity to witness international innovative experimental improvisation in music and sound by a host of practitioners representing a sampling of the world’s major players/ scenes/ movements.
The 2012 festival will feature visiting Improvisers performing in solo and duos, as well as first-time collaborations with Seattle Improvisers.
Set Lists:
All Shows Start At 7 PM
Wednesday:
jeph jerman / jonathan way / matthieu ruhlmann
paul hoskin / lance olsen / wilson shook / john teske / mark collins
the seattle phonographers union
jamie drouin / lance olsen / mattieu ruhlmann
Thursday:
jamie drouin / john teske / matthieu ruhlmann / jonathan way
taku sugimoto composition
mara sedlins / jamie drouin / lance olsen / mark collins / jack wright
paul hoskin / jeph jerman / doug theriault
Friday:
matthew carlson / jason anderson
jack wright / gust burns / tim duroche
jonathan way / tyler wilcox / jeph jerman / mara sedlins
taku sugimoto solo
Saturday:
tim duroche / tari nelson-zagar / wilson shook / mark collins / doug theriault
jack wright / johan nystrom
taku sugimoto / jeph jerman / tyler wilcox / gust burns
large group
Artist Bios:
Taku Sugimoto
Guitar player, born in Tokyo, December 20, 1965.
Taku Sugimoto started playing guitar when he was a high school student. At first he played rock and blues, and then he also became interested in free jazz, European free improvised music, and avant-garde classical music.
In 1985, Sugimoto co-founded the improvisational psychedelic rock band Piero Manzoni, whose main influences were the Velvet Underground and MC5. The group, including Masaki Bato on bass and Sugimoto on guitar, disbanded in ’88. For the next few years, Sugimoto was involved in solo performance and session work. It was during this period that he released his first solo LP, Mienai Tenshi (’88), which had a big, heavy sound.
In ’91, Sugimoto started playing cello, and for the next two years abandoned the guitar in order to focus completely on this instrument. He formed Henkyo Gakudan (which was active in ’91-’92) with alto sax player Hiroshi Itsui and guitarist Michio Kurihara. The group’s music sounded like somewhat high-volume improvised chamber music. Sugimoto was also briefly a member, in ’93, of the psychedelic rock band Ghost, and in ’94, of Tetuzi Akiyama’s avant-garde classical music band Hikyo String Quintet. After releasing his cello solo CD Slub in ’94, Sugimoto gave up the cello.
Sugimoto and Tetuzi Akiyama launched their guitar duo Akiyama-Sugimoto in ’94. From that time, Sugimoto gradually shifted from a loud, heavy sound to the extremely quiet sound, full of silences, which he established through solo and other projects as his own unique style. In 1998, together with Akiyama and Toshimaru Nakamura, he launched the inspiring monthly concert series The Improvisation Meeting at Bar Aoyama (renamed The Experimental Meeting at Bar Aoyama in ’99, and Meeting at Off Site in 2000), which he continued to organize until his retirement from the series in February 2001.
Currently Sugimoto’s interest focuses on composition and its performance, rather than improvisation. With Taku Unami and Masahiko Okura, Sugimoto organizes the almost-monthly Chamber Music Concert at Loop-Line and the irregular Taku Sugimoto Composition Series at Kid Ailack Art Hall, both in Tokyo. He runs the label Slub Music, which in addition to Sugimoto’s own recordings releases CDs by Taku Unami, Kazushige Kinoshita, Radu Malfatti, Antoine Beuger, and others.
Jeph Jerman
Jeph is born Agana, Guam. January 16th, 1959.
I have had very little formative musical training, outside from the two years of drum lessons I learned from listening to and playing along with records. My first musical experiences were in garage bands, which led eventually to paying gigs in bars with a large number of dance bands. In high school or thereabouts, I began experimenting with tape recorders and home-made sound devices. This practice continued and by the early 1980′s, I was recording my own music alone and with a variety of musical aggregates, the best known of which are probably BLOWHOLE and HANDS TO. Blowhole was a free jazz/noise outfit that played semi-composed vehicles and musical games, lasting from 1991 until it’s demise in 1998 or so. Hands to was my moniker for solo works using cheap sampling keyboards and tapes.
In the early ’80′s, I also ran a record and tape label, Big Body Parts, which released over 40 tapes, records and video tapes and published a magazine, After Birth. during this time I was also a music programmer (DJ) at KRCC FM in Colorado Springs, Colorado.
In the mid 1990′s, I moved to Seattle where I eventually fell in with the local improvised music community, playing with as many people as I could. For a time I was a member of Wally Shoup’s band PROJECT W. Seattle is where I believe I learned to listen, a practice which continues to this day. In 1999 I formed the first Animist orchestra, an ensemble dedicated to finding ways of playing music not based in self-expression. The orchestra played mostly natural objects (stones, pine cones, shells, etc.) and has performed many times up to the present day, most recently in Austin, Texas.
Currently, I continue to record and release many CD-Rs of many different kinds of sound, collage, improv, drone etc, and build crude self-playing soundmakers. My interest continues to be in what happens when we listen.
REMEMBERANCES….
I remember the first show I ever attended in Seattle, in the back room at the Speakeasy. It was a Climax Golden Twins gig with Doug Theriault on guitar for part of it and a very ill-at-ease looking Jesse Paul Miller squirming in a contact mic’d easy chair. Other things that leapt to mind this morning: the weekly sessions at Paul Hoskin’s house, which later were held at Paul and David Nicholson’s house with TWO pianos and a host of revolving players, the candles and the smoke…opening for Sonic Youth at the Moore Theater with Project W…weekly sessions at Anomalous Records with Aaron Wintersong and Dave Knott…the sounds from upstairs in the back room at the Speakeasy and how different people would react to them, using them or ignoring them while they played. Toshi Nakamura’s set that totally entranced everyone… my first experience of synesthesia listening to one of Paul Hoskin’s legendary 90 minute solo sets…the Tentacle and it’s various members’ conviction that music could indeed change the world…playing on Doug Haire’s Sonarchy radio show for the first time and how it became easier each time I did it…
Greg Powers’ habit of inserting bits of show tunes into just about anything we were playing…my elation during the first Seattle Improv Fest that I played and how I was unable to contain it…the unnamed quartet with Angelina Baldoz, Paul Hoskin and Lori Goldston that played some of the best music I’ve ever been a party to…Paul Hoskin’s multi-reed orchestra…the all day play at Tari Nelson-Zager’s house where I finally got to re-connect with Jack Wright…meeting and playing with John Butcher…attending Malcolm Goldstein’s workshop…the summer of Cobra…
the sad and funny crumbling of Blowhole and the subsequent engagement with everything else…endless streams of gigs and sessions at people’s houses blurring into a seamless musical life…
Jack Wright
After teaching at Temple University in the 1960s and leaving academia in the early 1970s to engage in radical politics and community organizing, by the late 1970s Wright directed his energies into music. He is one of a very small group of musicians in North America that has played improvised music exclusively since the 1970s. Through years of near constant touring, often performing for audiences in cities and towns where improvised music had never before been heard, he came to be regarded as something of an underground legend. He has deliberately eschewed the conventions and socio-aesthetic limitations of musical careerism to pursue his own vision. Although his de-professionalized approach sets him apart from most musicians at his level of accomplishment, his art has always grown, expanded, and synthesized new information. He is unquestionably an original and virtuosic saxophonist, a master improviser who is deeply lyrical, with humor never far away.
Today Wright tours frequently in Europe and North America (and in Japan in 2006), making new musical and human connections, bringing European musicians to the U.S. and bringing musicians everywhere together. His inspiration has provided crucial impetus to hundreds of musicians and has even motivated several people to establish music venues in order to present him and other improvisers (e.g. Baltimore’s High Zero festival). His vast list of collaborators includes some “name” luminaries (William Parker, Axel Dorner, Michel Doneda, Andrea Neumann, Denman Maroney, Bhob Rainey to name a few) but more significant are the many obscure greats he has played with. He has made over 40 recordings (many published on his own Spring Garden label), performed in over 20 countries, and written extensively and insightfully about music and society for journals such as Improjazz (France) and Signal to Noise (US), as well as his own website.
Johan Nystrom
Johan Nystrom is a drummer working with sound and things he finds on the street. Since 2005, he has played high concept composition in a large orchestra for pirate tv, gamelan, amplified food, and countless free improvisation solos and groups. He has developed a range of extended techniques that have more to do with electroacoustic and microtonal musics than paradiddles, but he refuses to relinquish the musicality of simple sticks and skins. Rather than dissociate these two elements, he plays a traditional kit but with a jerky, polyphonic fluidity to move as if he played a pitched instrument: the drum is a voice. He has been active on the East Coast, USA (Pittsburgh to Philly) and in London, U.K.
Mathieu Ruhlmann
Mathieu Ruhlmann is a visual and sound artist. He first began composing soundworks to accompany his visual art based on found material. He has created works for various labels in Europe, Canada and the United States as well as contributed to several compilations. He has also produced sound installations and held performances thorughout North America. He currently resides in Vancouver, British Columbia.
Jamie Drouin
Canadian composer and sound installation artist Jamie Drouin explores the subtleties of experience, with a specific interest in the way audio can alter perceptions of physical and temporal space.
His installations and performances examine the unique palette of electrical-based noise pollution and the auditory phenomena of environments. Incorporating field recordings and synthesized sounds, Drouin’s works create intricately detailed patterns and textures which, while retaining references to corporeal sources, seek to expand and transform audience perceptions of familiar habitats.
Drouin’s work has been featured at several International venues, including the Biennial of the Americas (Denver), Mutek (Montreal), TodaysArt (The Hague), Decibel Festival (Seattle), Montréal Museum of Contemporary Art (Montreal), Henry Art Gallery (Seattle), Communikey (Boulder), La Société de Curiosités (Paris), and General Public (Berlin). His recorded works have been published through con-V, Oral, Dragon’s Eye Recordings, Mutek_Rec, Rope Swing Cities, and Infrequency Editions. He has collaborated with several international artists including recent projects with Lucio Capece, Johnny Chang, Crys Cole, Olaf Hochherz, Hannes Lingens, Seiji Morimoto, Lance Austin Olsen, Mathieu Ruhlmann, and Sabine Vogel.
Jamie Drouin is also the co-founder of INFREQUENCY EDITIONS, and works as one half of DROUIN/OLSEN, a live project with Lance Austin Olsen.
Lance Olsen
Lance Austin Olsen has represented Canada in a number of biennials with his large-scale painting and drawings. After a lengthy career as a visual artist, Olsen moved into sound art in 2000 and quickly established his unique style through works distributed on CD and installations at venues in the UK, Canada, and US. Olsen’s working method is uniform across all of his mediums: a surface is endlessly reworked, with each subsequent piece forming a record or narrative of ongoing discovery. Through this process, or matrix, the viewer experiences an inextricable link between the activity of producing the work as well as the sense that they are seeing but one element in a life-long pursuit. Olsen’s interest is in movement and gesture as a method of sound creation using copper plates, objects, toy guitar and field recording.
Doug Theriault
Theriault is a longtime northwest improviser, composer, sound artist and instrument builder.
Tim DuRoche
Tim DuRoche is a Portland-based cultural advocate, writer, jazz musician, and artist who’s worked at the intersections of the visual, performing, literary and media arts for 20 years.
I’ve spent my professional life working in the nonprofit arts and culture sector, as a curator-public programs person, a writer and as a passionate champion of cultural policy that advocates for equity and access for all. As a result of this work I find myself frequently focused at the intersections between creativity, culture and education, and am very interested in the public realm and how we cultivate and nurture our civic ecology. “Rethinking the practices of urbanism is involved in creating a place in which people can talk to each other,” Richard Sennett once noted. Simply put, If we forget how to talk, it’s difficult for us to embody the public realm.
I’m also a jazz musician, and I think these seemingly disparate arenas have a lot to do with each other. Jazz is a highly democratic art form, deeply concerned with participation and community, where collaboration and a confluence of individual voices and greater good are both highly valued. The questions that jazz asks are comparable to the ones you’d pose about how to live actively in a neighborhood or community: How much risk are you willing to take? How participative do you plan to be? How much are you invested in the well-being of the whole?
As a jazz musician-composer and conceptual artist, I’m fascinated by the slim corridors running between art, utility, entertainment, and civic engagement.
Jason E Anderson
Jason E Anderson is an artist from Seattle, WA, whose central focus emerges from the traditions of experimental music and sound art. His work has included performance, recorded works, music for dance, and installation. He performs and records under his own name, as Spare Death Icon and Harpoon Pole Vault, alongside improvisers, and in the collaborative synth duo Brother Raven. He also runs experimental record labels Gift Tapes and DRAFT. Anderson’s recorded work can be found on his own labels, as well as Locust, Digitalis, Aguirre and many others.
Jonathan Way
Jonathan Way works with recordings gathered predominantly in a group of mountains in northeastern Washington, focusing on themes of landscape and texture with straight field recordings as well as improvisations with plants and objects and light electronic processing. He also plays as a member of the Phonographers Union and Eye Music Ensemble. He currently lives in Seattle and translates Japanese texts.
Paul Hoskin
As a soloist, Paul Hoskin does not involve his [compositional] self with Other selves. The eighty minute contrabass clarinet performance is both a statement and a refusal to engage with statement. What occurs is (or, as close to…) the strictly sonic. Multiple phonics, multiple (the complete array of…) dynamics. The musical range bears simply with limits–all of ours.
The history of Paul Hoskin qua soloist may be excessive. To say nothing of his global exercises. In any case, the first solo is via the bass clarinet (1981, Bellingham, WA). While dwelling in New York City, the development of contrabass clarinet “language” was initiated (1990). It has been presented throughout the USA…
Paul Hoskin began his musical work with a program of self-education, playing the bass clarinet exclusively. A native of Seattle, Paul lived on both coasts and traveled globally. Collaborations have included the orchestral as well as numerous smaller formations. Paul currently plays baritone saxophone and contrabass clarinet.
An accomplished solo performer, Hoskin extends the form both in terms of duration and sonority. His annual eighty minute contrabass clarinet solos were legendary. Performances take place in venues ranging from jazz festivals in Czechoslovakia to oyster bars in Jackson, Mississippi.
As a New Yorker (1987-1995), Hoskin worked in innumerable ensemble settings as well as developing his skills as a solo performer. This work
included the ensemble The Same (Chris Cochrane, Evan Gallagher, Ruth Peyser); trio Trigger (Fred Lonberg-Holm-cello, Leslie Ross-bassoon) and the Dierker/Hoskin/Meehan trio, with Baltimorite John Dierker on reeds and Sean Meehan with drumset. Though improvisation informs the work of these ensembles, compositional form (“language”) is an explicit element. Work with dancers (especially Linda Austin) also was a feature of Paul’s development. A longstanding member of a music/dance improvisation workshop, Hoskin worked on the development of vocabularies/structures that both dancers and musicians use.
Returning to Seattle, Paul involved himself with ensembles as well as countless ad hoc formations. Groups included: Tactile: Lori Goldston-cello and Robert Jenkins-guitar; UnFolkUs: Rob Bageant-chapman stick, Bill Horist-guitar, Eveline Mueller-Graf-percussion; BOLT: Angelina Baldoz-trumpet, Aimee Sullivan-saxophones, Greg Powers-trombone, tuba; Jerman/Hoskin/Horist: Jeph Jerman- percussion, Bill Horist-guitar. These groupings reflect Hoskin’s continuing involvement with improvisation. Paul, as founder of the Seattle Festival of Improvised Music (in 1986), continually assisted with organization of events as well. (Even re-fueled the aforementioned Festival in 1996.)
After moving to rurality (Clallam Bay and the Olympic Peninsula), Paul “vacates” from urban music life, as he re/hears to re/begin. From 2002 till July 2005. As Paul begins to play, re/joining with many of his “past” colleagues becomes the present and the future. (And his Astoria performance life began June 2005, at AVA Gallery with percussionist Jeph Jerman.)
Relocates to Astoria. Re/enters land of organizing and presenting exciting music as his own playing develops.
Seattle perfomance life also returns.
As an Astorian music, Paul Hoskin was the music curator at the Astoria Visual Arts Center. Three years of bringing musicians from all over the world to create in Astoria. While “feeling at home”, Paul brought in his own version of creative music. Aside from regularly “sitting in” with traveling folk, Paul developed a fifteen to eighteen minute baritone saxophone “world.” For outside summer land in Astoria.
Paul has returned to Seattle (March 2009). He curates Second Saturday music at the Collins Pub, 526 Second Avenue. Playing with saxophonists (Shook, Wilcox, Pittman), clarinetists (Canterbury & Zeifel), and many others. The initiator of Seattle’s festival has returned.
Gust Burns
Gust Burns is a pianist, improviser, and composer based in Seattle, Washington. Gust is foremost an improvising pianist. He continues to develop new routes into improvisation on the piano, working with diverse areas of music such as silence, density, structure and alternative narrative approaches, extending traditional piano technique, and developing new techniques for inside the piano. Burns performs on both traditional piano – playing the keyboard – and ‘inside piano’ or re-assembled and altered piano soundboard and strings, with or without electronics. Burns counts diverse perspectives and lines of tradition as influences. Both jazz and classical traditions, the avant-garde lineages in Europe and America, the traditions of improvised music over the last 40 years, traditional musics from around the world, the hip-hop and grunge he grew up with… However, he does not attempt to assimilate these influences/ interests into one melting-pot musical identity. Instead, he seeks to further develop a relevant vocabulary and identity within several different areas of contemporary Improvisation. He also has a keen interest in how music functions as discourse within the social-political world at large and what this can mean to us as musicians/ listeners. In addition to improvising and composing, Burns is an organizer of improvised music in Seattle. Since 2003 he has been director of the Seattle Improvised Music Festival, North America’s longest running festival dedicated to Improvised Music. Burns is also director of Seattle Improvised Music, a non-profit organization dedicated to supporting and developing the improvised music community in Seattle, and co-founder of gallery 1412, a Seattle music space dedicated to new and experimental music and sound. In the Northwest, Burns has long-standing collaborations with Improvisers including Jeffrey Allport, Wally Shoup, Jonathan Sielaff, Kelvin Pittman, JP Jenkins and others. He maintains collaborative relationships with North American Improvisers including Bob Marsh, Jack Wright, Nate Wooley, Gregory Reynolds, Chris Cogburn, Andrew Lafkas, and others. Burns has also performed and recorded with Improvisers from abroad including Keith Rowe, Andrea Neumann, Tetuzi Akiyama, Stéphane Rives, Jason Kahn, John Edwards, Caroline Kraabel, Lori Freedman, Wade Matthews, rapper Adam ‘Dose One’ Drucker, and others. Burns has one recent release on creative sources, with Ernesto Rodrigues, Vic Rawlings, and David Hirvonen, and another on clean feed, with Wally Shoup, Greg Campbell, and Reuben Radding. He also runs his own label (tone action family) on which several other recordings can be found. http://www.rasbliutto.net/artists/gustburns.html
Tyler Wilcox
Born in 1979 in Silver Spring, Maryland, raised in and around Baltimore. Began composing glacial drone based tape music in 2001. Switched to reeds in 2003 with a desire to embody fleeting sound phenomena. Moved to Washington State in 2005 to experience wild nature in the cascades. Experiencing true silence and the white noise of nature slowed and opened his music. Current collaborators Gust Burns, Jeffrey Allport, Kelvin PIttman, Paul Neidhardt, Mara Sedlins, Wilson Shook, and Mark Collins.
Wilson Shook
From Seattle – alto saxophone
Wilson Shook is an improvising saxophonist living in Seattle, Washington. Wilson’s music emphasizes focus, texture, chance and exploration. It exists in dialogue with its specific and contingent contexts; it is ‘new music’ in that it explores each new moment and seeks to develop a critical awareness of the present. Perhaps better characterized as ‘present music’, it is less concerned with staking out new musical territory than it is with creating relevant and personal communication that places equal value on intention and sensitivity. Sonically, Wilson’s music is informed by lower case and minimalist aesthetics, while embracing the full range of his instrument. Always aware of balance and the fundamental importance of space, Wilson is especially interested in incidental or ‘between’ sounds: material that exists on the edges and in the cracks of the conventional sonic palate. Much of Wilson’s art concerns itself with the actualization of feminist and libertarian ethics. Investigating the interplay between artistic freedom and freedom. At large, Wilson views improvisation as a model of interaction that can inform diverse situations and relationships.
Wilson currently performs solo, as well as with the Gust Burns Quartet and in various ad hoc and piece-oriented collaborations. Previous and continuing collaborators include: Gust Burns, Nate Wooley, Bob Marsh, Gino Robair, Tyler Wilcox, Greg Kelley, Jaimie Branch, Joshua Manchester, Fred Lonberg-Holm, Jonathan Zorn, Michael Thieke, Robert Blatt, Jonathan Sielaff, Mark Collins, Tom Yoder, Tari Nelson-Zagar, Dave Knott, and the Seattle Improvisers’ Orchestra. Wilson is the director of Gallery 1412, an artists’ collective and performance space, and is a member of the Seattle Improvised Music board of directors.
Mara Sedlins
Mara Sedlins is a classically trained violinist and violist living in Seattle while she studies social psychology at the University of Washington. She has been active in the improvised music community since 2005, performing with Gust Burns, Wilson Shook, Mark Collins, Tyler Wilcox, and others. She has also performed with chamber rock groups Bad Dream Good Breakfast and Pillow Army, and is currently a member of the Seattle Rock Orchestra.
John Teske
John Teske is a composer, improviser and double bassist. John composes solos and chamber music for acoustic instruments and expands the possibilities of acoustic sounds through electroacoustic means. He received his BM in Music Composition from the University of Washington and studied with Joël-François Durand, Juan Pampin, and Josh Parmenter.
Statement:
My recent work has been pursuing the thread of a single concept, that of focus. As a human being, I realize it is not possible to maintain focus indefinitely, and that moments of clarity can have a more profound impact when contrasted with more relaxed or diffused states. The first iteration of this idea became the six graphic scores, which uses broad gestures to explore a variety of musical possibilities. Most recently I have been looking for ways to not only express the dynamics of focus and diffusion, but ways to create sound that opens, expands, and becomes more rich in timbre and texture.
Tari Nelson-Zagar
Tari Nelson-Zagar is a third generation violinist and improvisor whose focus is collaborating with composers, choreographers, and other creative artists. Nelson-Zagar’s involvement with contemporary music began in her late teens when she joined the Berkeley Symphony Orchestra – a freewheeling orchestra led by Kent Nagano and dedicated to performing contemporary music. Tari worked as a professional violinist in orchestras until she left the violin for the contrabass, playing with adventurous jazz and improvised music artists. Tari has lately returned to her home instrument, the violin. If anyone wants to buy a nice bass, hit the contact in the footer.
Recent work includes performances with Jesse Canterbury in a duo recital at Maybeck Recital Hall, appearance on Elizabeth Falconer’s Recital Series “Simply Sawai”, performances with Bay Area composer Ellen Fullman, West Coast appearances with quartet Cipher, and festival appearances with Thingsome Q, an improvising string quartet.
Commissions from composers include Ellen Fullman (duo for Just Intonation autoharp and violin, 2003), Al Hood (violin solo, 1999), Christian Asplund (bass/vocal solo, 1998).
Favorite collaborations include those with; Jesse Canterbury, Stuart Dempster, John Edwards (the bass player from the UK…), Liz Falconer, Viv Corringham, Tara Flandreau, Ellen Fullman, Al Hood, Wayne Horvitz, Matthew Sperry, Gebhart Uhlman, Jack Wright, and the Seattle Chainsaw Quintet. Festival appearances include several Earshot Jazz Festivals, Tonehole Festivals, Seattle Improvised Music Festivals, ArtsEdge Festival, and the Vancouver du Maurier Jazz Festival.
Tari maintains an active teaching studio, and engages students to develop excellent technical and musical abilities.
The Seattle Phonographers Union
The Seattle Phonographers Union convene to explore the ways in which we recognize, differentiate, map and navigate our sonic environment. Our intent is to move beyond habitual experience of sound and uncover what is foreign in the familiar and familiar about the foreign; to explore what we hear and relearn what we know. Some sounds will be familiar; others less so. Both novel and familiar sounds will be juxtaposed in ways unique to each event. Our intent is to investigate and enrich both our intuitive and analytical relationship with sound. The goal is not to excite, confuse or entertain per se, but to attend to the world, which is much more detailed and diverse than any one person’s perception of it.
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