$15 at the Door, 21+, 7PM Doors/8PM Music
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https://creativemusicguild.org/
Briggan Krauss
https://briggankrauss.bandcamp.com/
https://www.briggankrauss.com/
https://www.instagram.com/briggankrauss/
Saxophonist Briggan Krauss has been an internationally recognized key player in New York City's downtown and creative music scene for more than twenty-five years. He connects the extreme edges of technique with the unexplored tonal possibilities of the instrument while making his work as much about shape as it is about his unique signature sound.
He has released several critically acclaimed recordings as a leader and has appeared on over sixty other recordings as a sideman. He has worked with a diverse range of artists including John Zorn, Bill Frisell, Steven Bernstein, Wayne Horvitz, Levon Helm, Fey Victor, Skerik, Eyvind Kang, Robin Holcomb, Norah Jones, Medeski Martin and Wood, Hal Willner, Bernie Worrell, Skuli Sverrisson, Jim Black, Ikue Mori, Joey Baron, Kato Hideki, Satoko Fuji, Dave Harrington, The New York Composer's Orchestra, Butch Morris, Elysian Fields, Iron & Wine, Rufus Wainwright, Sarah Manning, Trey Anastasio, Joan Wasser, Jessie Harris, Beth Fleenor, Lou Reed, Marc Ribot, Anohni, Laurie Anderson, and U2.
Briggan's voice has been a part of Steven Bernstein’s iconic quartet Sexmob from its inception more than twenty years ago. Sexmob earned a Grammy Award nomination for their 2006 recording titled Sexotica and Briggan also recorded with guitarist Bill Frisell on his Grammy Award winning 2007 album Unspeakable.
Besides his work as a saxophonist and composer, Briggan is a guitarist, and he also makes wide-ranging use of Max/MSP for digital audio and video in the areas of sound art, electronic music, and interdisciplinary performance. He is currently an adjunct professor at New York University, The New School, and the New Jersey Institute of Technology.
Wayne Horvitz
https://waynehorvitz.bandcamp.com/
https://linktr.ee/waynehorvitz
https://www.instagram.com/waynehorvitz/
Recipient of the 2019 American Prize in Orchestral Composition, composer Wayne Horvitz performs extensively throughout Europe, Japan, and North America. In addition to creating work for his own ensembles, he has created new work for The Kitchen, BAM, Seattle Symphony, Berlin Jazz, Nocco, Vienna Radio Orchestra, Centrum, and ACT among others. He has received awards from, MAP, McKnight Foundation, the NEA, Meet the Composer, and The Shifting Foundation. among others. Narrative works include pieces centered around the life of Joe Hill, the story of the Everett Massacre, and the poems of Richard Hugo. Installation work has been presented at Ft. Worden, SAM and Arizona State Museum of Art. He is the recipient of the 2016 Doris Duke Performing Artist Award.
Collaborators include Robin Holcomb, Bill Frisell, Reggie Watts, Butch Morris, Alex Guy, Ikue Mori, George Lewis, Steve Swallow, Yukio Suzuki, Billy Bang, Carla Bley, Eyvind Kang, John Zorn (Naked City etc.), Bill Irwin, Gus Van Sant, Paul Taylor, Beth Fleenor, Rinde Eckert, Yohei Saito, Barbara Earl Thomas, David Moss, Carey Perloff, Paul Taylor, Dayna Hanson, and Gus Van Sant. He has produced recordings for the WorldSaxophone Quartet, Human Feel, Fontella Bass, Marty Ehrlich, John Adams, Bill Frisell, Robin Holcomb, and Eddie Palmieri.
Selected Works for Theater and Dance
Score for Invisible Ink based on the life of Mata Hari. Directed by Nikki Apino, Choreography by Wade Madsen, and produced by House of Dames. Premiere at On The Boards, Seattle. (2002)
Town Mouse and Country Mouse: A musical adaptation of the classic Aesop’s fable. Script by Todd Jefferson Moore. Music and Lyrics by Wayne Horvitz. Comissioned by and premiered at the Seattle International Childrenís Festival, May 2001. Featuring Reggie Watts and Danny Barnes.
Score for The Professor, The Puppet, and The Executioner. Written and performed by Todd Jefferson Moore. Directed by Nikki Apino. Premiered April 2001, ACT Theater, Seattle.
Score for Death of a Salesman, ACT Theater, Seattle. Directed by Gordon Edelstein. (1998)
Musical director and composer, The Last Paving Stone, by Y. York, directed by Mark Lutwak. Idaho Theater for Youth. (1998)
Live Score for Broken Day by Choreographer Crispin Spaeth (with Julian Priester and Eyvind Kang). Performed at On The Boards and Oberlin College. (1997)
Three year collaboration with choreographer Liz Lerman for evening length work Shehechianu. Premiere of final work at Washington D.C.’s Shakespeare Theater. (1997)
Community based performance work with choreographer Liz Lerman in Portsmouth, N.H. One month residency in Portsmouth working with local marching band, women’s choir, tap dancers and others. Composed and recorded electronic works for dancers, choral work for the choir based on Hebrew text, and two 8-10 minute pieces for marching band. All works were performed various times during the last week and all together on the Final Sunday entitled Portsmouth Pages – The Shipyard Project. 90 minute documentary for NH PBS, aired in spring 1999. (1997)
Music for Bill Irwin’s Broadway show Strictly NY. Also performed throughout the US. Music of OZ by choreographer Paul Taylor in collaboration with the White Oak Dance Company.
Music for Ezra Pound’s Elektra and the American premier of Harold Pinter’s Mountain Language. Both works directed by Carey Perloff.
Selected Movie and Television Works
Sound design for Gus Van Sant’s Psycho.
Composed, arranged and performed score for PBS (KCTS) 90 minute documentary on Seattle glass artist Dale Chihuly entitled Chihuly in Venice. First PBS HDTV broadcast. Premiered October 1998.
Produced and performed on the Bill Frisell score for the animated television special Tales from the Far Side by cartoonist Gary Larson. Broadcast nationally on CBS in October 1994.
A sequel entitled Tales from the Far Side II has been completed and is due to be released on Fox Television in 1999.
Composed music for two Interactive CD-ROMS for Microsoft, comprising educational programs for children entitled Ancient Lives and Dinosaurs. Dinosaurs received an EMMA award for Best Sound Design for a Multimedia title (Germany, 1993).
Produced and co-composed score with Robin Holcomb for the PBS documentary A Woman’s Health (produced by KCTS, Seattle WA, and broadcast nationally in November/December 1994.)
Composed and performed music for parts of an Interactive Laser Disc entitled Math Sleuths (produced by Video Discovery, Seattle).
Produced soundtrack for major motion picture La Scuola by Daniele Luchetti, music performed by Bill Frisell. Performed music for Books on Tape: William Burroughs reads Naked Lunch (1996) Composed music for Levi’s 501 Blue Jeans commercial directed by Gus Van Sant (1996).
Composed “Midi File” pieces for Microsoft Network, and special projects: Get a Life and Cannes Film Festival website.
Composed music for 24 Episodes of Elementary Science Sleuths, a children’s science program co-produced by Scholastic in NY and Video Discovery.
Mike Gamble
https://mikegamble.bandcamp.com/
https://www.instagram.com/instagambz/
Mike Gamble is an adventurous guitarist and multi-instrumentalist whose work with electronic modes of composition are integrated endlessly into his setup. Gamble has spent the last 20 years immersed in the creative jazz, experimental rock and improvised music scene primarily in NYC, with close ties to New Orleans, Burlington, Boston, San Francisco and now the Pacific Northwest. He has had the pleasure of recording over 50 albums and has been touring the states, Canada, and Europe with his critically-acclaimed guitar trio The Inbetweens, Mike Gamble Solo,, and alongside doom-metal originators Earth. His more recent collaborators include Bobby Previte, Todd Sickafoose, Nels Cline, Wayne Horvitz, Esperanza Spalding, Matt Chamberlain and Lori Goldston.
Since relocating to Portland, Mike Gamble has dived into the jazz and experimental, Pop, Indie Rock, and electronic/modular scene and gigs 4-7 times a week. He currently holds a position as a Contemporary Music Industry instructor at Oregon State University, and a guitar teacher at both Willamette University and Reed College and is the Artistic Director of Portland’s long standing experimental music organization, The Creative Music Guild.
Quotes
“He has a brain that seems to work faster than other human brains – maybe more like a hummingbird or a spider. Music comes flying out. You just sit and listen to what he thinks of next” Todd Sickafoose
“Mike Gamble is dangerous in the best way” Nels Cline
“Mr. Gamble knows his way around a drone, but he also puts a lot of shifting harmony and texture in his one-man sketches, some of which — like “I’m on Your Side,” with its abstracted trip-hop beat — come across as thoughtfully developed compositions” Nate Chinen NY TIMES
Logan Strosahl
https://www.loganstrosahl.com/
https://loganstrosahl.bandcamp.com/music
https://www.instagram.com/loganstrosahl/
Born in Seattle, Washington, Logan Strosahl is a composer and performer creating genre-defying work that combines classical compositional soundworlds with the aesthetic outlook and improvisation of Jazz.
His most recent -and largest - work (released on September 3rd 2021), is a piece for chamber orchestra and soloist called Sir Gawain and the Green Knight, a translation of the the 14th-century Middle-English poem of the same name. Before that, he released four albums on Sunnyside Records:Up Go We (2015), Janus (2016), Book I of Arthur (2017), and Sure (2019).