Check out some of Norm’s work here: http://normanadams.ca/media-2/
Pierre-Yves Martel (Montreal: viola da gamba, objects)
Philip Zoubek (Cologne: prepared piano)
Following a unique artistic path, Pierre-Yves Martel is constantly renewing his musical identity and practice. Though an instrumentalist, he identifies himself first and foremost as a sound artist whose work oscillates between research and experimentation. It is in this spirit that he has revisited the viola da gamba, utilizing this traditional instrument in new contexts and thus reengaging it with the contemporary world. Having created an authentic musical language through non-conventional techniques and instrumental preparations, he also works outside of instrumental music altogether, using a variety of objects rife with new sonic possibilities, from contact-mics and speakers to motors, wheels, surfaces and textures. He lives in Montréal, Québec.
Born in Freiburg, Carl Ludwig Hübsch, grew up playing clarinet in the local brass band, and drums in punk and rock bands. Around 1983 he exchanged the clarinet for a tuba. Mostly self-taught, he explored all kinds of music including a wonderful mediocre dance music trio. Musical roots to be mentioned are Frank Zappa, King Sunny Ade, The Dead Kennedys… The discovery of jazz and improvisation led to studies in improvisation with M.A.Fataah. Hübsch received certification at the Pedagogic College in Freiburg in singing, theory and drums. He studied electronic music with Klaus Weinhold, and in Cologne he studied as guest in the composition class with Johannes Fritsch. Since 1990 Carl Ludwig Hübsch has lived in Cologne where he was awarded a livelong stipendium at his own university.
Philip Zoubek was born in 1978 in Tulln, Lower Austria. He studied jazz piano in Vienna and Cologne, and now works as a pianist and composer in Cologne. Zoubek has collaborated with Gratkowski, Wilbert deJoode, Thomas Lehn, Clayton Thomas, Paul Lytton, and many others, at venues such as the Vienna Konzerthaus, Philharmonie Luxembourg, Moers Festival, Ullrich Kaleidophon, and GetItLouder Festival Shanghai / Beijing.
Listen to hübsch martel zoubek: http://www.pymartel.com/hubsch-martel-zoubek-ii
Nicole has been the recipient of multiple grants from the Canada Council for the Arts, and the Ontario Arts Council, most notably to record and release albums with the Shaw/Rampersaud Project (a group she co-leads with Alto Sax Player, Evan Shaw), and with the improvising trio, cRL. She has also worked actively to promote the improvised music community in Toronto, sitting on the Board of Directors for the Association of Improvising Musicians, Toronto, and co-curating the long running Leftover Daylight Series.
Nicole’s Quintet was invited to perform a set of new compositions at the Festival of New Trumpet Music, where she was also a part of the New York premiere of Anthony Braxton’s Composition #103 for Seven Choreographed and Costumed Trumpets, with Mr. Braxton conducting. She has since performed the piece with Mr. Braxton at the Ars Nova Workshop in Philadelphia. Nicole also performed with Braxton as a member of the AIMToronto Orchestra at the Guelph Jazz Festival. The performance was documented and released on Spool Records.
Born and raised in Toronto, Nicole holds an undergraduate degree from the University of Toronto’s Jazz Performance Program. Upon graduating from the University, Nicole was offered a scholarship to continue her studies at the New England Conservatory, where she earned her Master’s Degree in Jazz Studies. While at the Conservatory, Nicole studied with Danilo Perez, John McNeil, Jerry Bergonzi, Joe Morris, Herb Pomeroy, Joe Maneri, and Bob Moses. She also studied composition with Michael Gandolfi and Ken Schaphorst.
Today, Nicole continues to maintain an active performance schedule as both a sideperson and bandleader in a wide variety of groups across Canada. Upcoming projects and events include performing at the first edition of the Festival of New Trumpet Music Canada, as well as a vinyl release of solo trumpet compositions.
watch/hear Nicole here: https://www.youtube.com/watch?v=piwulvPkE6U
(Halifax: trombone) is an acclaimed Canadian trombonist and composer. His versatility and unique sound have made one of the Maritimes first-call players. He is an artist always looking to create new sounds and not afraid to push musical boundaries. Jackson keeps a busy playing schedule with many groups in Halifax including: PANOS, The New Bridge, Chronos Band, Party Boots, Jerry Granelli, Unidentified Funk Object and Jubilee Swing Orchestra. Jackson has also established himself as an emerging composer and arranger. He has completed works for orchestra, chamber ensembles and big band, as well for his own bands, The Andrew Jackson Group and The Blakey Project. Andrew holds a Bachelor of Music from the Humber College, where he had the opportunity to study with some of the finest musicians, including Al Kay, William Carn, Pat Labarbera and Mike Downes. While attending Humber, Andrew had the opportunity to perform with a “who’s who” of jazz such as Chris Potter, John Clayton, Terence Blanchard Bob Mintzer, and with legendary bassist Dave Holland. Andrew is a relative new-comer to the improvised music scene, his first forays being at suddenlyLISTEN workshops two years ago. He has been hooked ever since, constantly looking to explore new sonic territory and delve into the unknown.
Hear Andrew here: https://ajacksmusic.bandcamp.com/
With a rigorous and pan-idiomatic approach to both composition and improvisation, guitarist Ken Aldcroft is a key practitioner in Toronto’s dynamic creative music scene. After establishing himself as a compelling new voice in the jazz scene of his hometown, Vancouver, Ken moved to Toronto in 2001 and quickly made connections with like-minded collaborators. Since then, his own multi-faceted development as an improvising guitarist, bandleader, composer, producer, and organizer has corresponded with the re-emergence of Toronto as an important centre for creative improvised music-making.
As a guitarist, Ken extends the jazz tradition that lies at the core of his music education. Through his commitment to a wide-open field of musical influence and to forging new collaborative ties, Ken has systematically sought new and challenging contexts in which to improvise. As a result, his playing reflects the breadth of his interests, from the extended bebop of a jazz repertory project like Hat & Beard, performing the music of Thelonious Monk, to the language of free improvisation that he explores in collective improvisational settings such as ongoing collaborations with NY bassist William Parker and saxophonist Andy Haas or one off performances with artists such as Wilbert DeJoode, Joe McPhee, John Oswald and Lori Freedman to name just a few. This variety comes into its fullest view with Ken’s two solo recordings; “Home: Solo Guitar Compositions” (2011) and “Vocabulary: Solo Guitar Improvisations” (2009). Both are passionate musical reflections on his ongoing development as an improvising guitarist.
Emily Denison is a trumpet player in Toronto’s jazz and creative music scenes. She is currently studying at the University of Toronto, working towards a Bachelor of Music in Jazz Performance. Since beginning at U of T, Emily has been a recipient of the Paul Read Jazz Scholarship, the Noreen and Phil Nimmons Jazz Scholarship, and the Mary Alice Stuart Jazz Scholarship. She recently attended the Banff International Workshop in Jazz and Creative music as a TD fellow. Emily can be heard on the U of T 12tet’s debut album, Rebirth, as well as around Toronto with fusion band Snaggle, Ken Aldcroft’s Convergence Ensemble, and her own trio Denison, Ballyk, Davis.
Originally from New Brunswick, bassist Wes Neal studied at St. Francis Xavier University and the New England Conservatory prior to settling in Toronto, where he is in demand for musical contexts of multiple genres. He combines sympathetic and rock-solid accompaniment on song-based material with fabulous improvising instincts that put his technical command of the bass to compellingly creative use. Apart from several of Ken Aldcroft’s projects, Wes has been part of numerous key groups in Toronto’s creative music scene: Out of Order, Marcel Aucoin, The Rent, Shaw/Rampersaud/Neal/Martin, and the AIMToronto Orchestra.
Alto saxophonist Karen Ng received her education from Humber College’s renowned jazz program and earned her Bachelors of Fine Arts in Music at York University. She has had the great opportunity of studying with the country’s top saxophonists, including Pat LaBarbara, Alex Dean, Kirk McDonald, Mike Murley and Kelly Jefferson. Noted for her involvement with Toronto based bands Do Make Say Think, Broken Social Scene, Woodshed Orchestra and Contemporary Jazz Juno award winning group the Happiness Project, she has had the pleasure of touring Europe, Asia and North America. Canadian festival appearances include Hillside, Ottawa Folk Festival, Guelph Jazz, Halifax Jazz, Sappy Fest, and TD Toronto Jazz.
Joe Sorbara is a highly inventive drummer and percussionist with a penchant for coaxing music out of practically anything. Joe’s drum kit is regularly augmented with found and prepared material that ensures that the sounds at his ready disposal are practically orchestral in scope. He combines these skills with an extraordinary time-feel that makes him one of the most swinging drummers in Canada when the music demands it of him. Joe’s primary creative outlet is his Other Foot First septet. Elsewhere, Joe plays in the Remnants Trio, Ronda Rindone’s Quorum, the AIMToronto Orchestra and a trio with Wes Neal and British saxophonist Evan Parker.
Scott Thomson is a trombonist and composer who works in Montréal and Toronto. He plays in regular ensembles in many styles, and prizes ad hoc improvising as a way to meet many creative people. He has studied with Roswell Rudd, Jean Derome, Eddie Prévost, and John Oswald. He leads The Rent, a quintet dedicated to repertory by Steve Lacy as well as Scott’s songs. The Rent’s all-Lacy self-titled debut recording was released on Ambiences Magnétiques in 2010. Scott has composed a series of site-specific works that he calls “cartographic compositions” for mobile musicians and audiences in unconventional performance contexts for which he has had several notable commissions and residencies.
Watch Rhonda here: https://vimeo.com/169795259
Watch Sara here: https://www.youtube.com/watch?v=qN3SY6sq144
Nick is the founder and Artistic Director of the Capella Regalis Men and Boys Choir in Halifax, Nova Scotia. He is the founder and Director of The King’s Chorus, a choir for members of the King’s and Dalhousie University communities in Halifax. Nick is also the Assistant Director of the acclaimed University of King’s College Chapel Choir directed by his father, Paul Halley. He is Cantor and Director for the chapel’s male Compline choir. He is also Assistant Director of Music at the Cathedral Church of All Saints, Halifax. In 2012, Nick was awarded the Queen Elizabeth II Diamond Jubilee Medal in recognition of his contribution to Canada and Nova Scotia through the arts, particularly for his work with Capella Regalis Men and Boys Choir. Nick was the Host of CBC’s Choral Concert for the 2013-14 season.
Check out Nick’s varied work here: http://nickhalley.com/media/
Watch Jacinte here: https://www.youtube.com/watch?v=34Glkl0fC0M
His formal training includes a B Mus (Honors in Composition, McGill, 2007) and a B Sc (Mathematics, UQAM, 2009), which lead him to an MA (Music Theory, McGill, 2011). As a teacher, his open but structured approach was recognized in 2010 (Schulich School of Music Teaching Award Graduate Teaching Assistant/Course Instructor Category), a year during which he also taught rock (Garage Band Camp) and Calculus (Cégep du Vieux-Montréal). He is now creator and director of the Contemporary Improvisation Ensemble of McGill.
His first documented improvising started in Québec City in the early 2000s. He is then singer and guitarist of noise rock duo KL6 39e (self released, 2003) and member of Soda Pop (Pilé dans plate-bande, compilation Déluge/Alterflow ds-07, 2003), an experimental and cacophonous trio in which he plays prepared acoustic guitar, roaring acoustic bass and an assorted set of loud objects. He later turned to classical upright bass (McGill, 2006), but eventually switched over to cello and forms Duo Bélanger, a telepath duo for solo amplified cello and dance (France Bélanger, 2006-). As a composer, Rémy Bélanger de Beauport’s premiered works include a piano solo (Les ailes de la perruche, 2006), a piece for flugelhorn and tape (Fluggiari, 2007), and some electroacoustic (Musique cohérente, 2008; Literie, 2010). But he says that most of his creative energy goes to — and comes from — the forward drive, the instantaneity of free improv.
One easily recognizes Rémy Bélanger de Beauport’s acoustic or distorted classically — but also rock-influenced cello tones. We have seen him in collaboration with dance (Duo Bélanger, 2006-) and theatre (Théâtre Émergence, 2007), but we hear him mainly in free improvised musical contexts. In the last few years, he has played in Montréal, Québec, Rimouski, Toronto, New York and Berlin, with artists such as Lori Freedman, Jean Derome, Joane Hétu, Diane Labrosse, Michel F Côté, Scott Thompson, Kathy Kennedy, Charity Chan, Gordon Allen, Pierre-Yves Martel, DB Boyko, D. Kimm, to name a few. His most recent projects include Fenaison (Ambiances Magnétiques, AM169, 2007), Quintette de l’Halloween (Coup de Cœur SuperMusique 2008), Chat Perdu (Rencontres de Musiques Spontannées in Rimouski, 2010), guest with Erlenmeyer (Festival International de littérature 2009, Francofolies 2010), and his own Windturbine Project, a solo with wind turbines of the world (Toronto, 2007; Berlin, 2008; Gaspésie 2011). Let us not forget he is also a rock singer, bass player, guitarist and drummer, a trained classical pianist, a dilettante poet, music theorist and mathematician. His most recent rock undertakings — whether experimental or not — include sos bambi (1998-), KL6 39e (2003), guest with Les momies de Palerme (2007-), and Elvar, (2010-).
See Remy here: https://www.youtube.com/watch?v=-ax7c343JDQ
Listen to Sebastian here: https://www.youtube.com/watch?v=lHXS-kENPl8
John’s client list is broad and impressive including music recording/mixing for the Merce Cunningham Dance Company’s award winning ‘Beach Birds: For Camera’, twelve CDs and 2 DVDs for Tafelmusik Baroque Orchestra, Sony BMG artists Yo Yo Ma and Emanuel Ax, PSI Factor (Alliance-Atlantis TV series), Anton Kuerti’s final Beethoven Piano Sonatas as well as composition/sound design for Barishnykov’s White Oak Dance Project. John’s work has been honoured with multiple Juno Award for his collaborations with James Ehnes, Tafelmusik Baroque Orchestra and Jane Bunnett. In addition to the many independent recordings, Adams has worked with artists Suzie LeBlanc, Paul Halley, St. Lawrence String Quartet, Old Man Luedecke, Andy Stochansky, Eve Egoyan, Emilie-Claire Barlow and Neil Young. In 2000 the Getty Research Institute in Los Angeles sought the skills of John when embarking on a massive music archival project. Between 2007 and 2009, John was Senior Recording Engineer at The Banff Centre.
Following the completion of his Masters of Music in Sound Recording (McGill University class of ‘91), John spent an inspirational five years in New York City. While in New York he worked intensively as a musician and multi-channel sound designer for the cutting edge Merce Cunningham Dance Company (MCDC) and acted as a hands-on assistant to electronic music pioneer David Tudor. Adams was requested by Tudor to realize and perform his music in the US, France, Belgium, Germany, Italy, and Taiwan. In 1998 Adams joined ranks with New York based Composers Inside Electronics to perform Tudor’s Rainforest IV at the Lincoln Center Festival 98, and for the 2001 realization of Rainforest IV at the Getty Research Institute (Los Angeles) Symposium on David Tudor. Adams continues to perform the works of David Tudor and creates music using his modular analogue electronics.
Adams has had the privilege of collaborating with some of the great musical pioneers of our time, including John Cage, Pauline Oliveros , Walter Zimmerman, Takehisa Kosugi, Steve Lacy, Stuart Dempster and Christos Hatzis. He is currently affiliated with suddenlyLISTEN (Halifax based improvisation series) F.F.O.B. (Toronto based multimedia/electronic ensemble), JERK (Atlantic Canadian experimental improv quintet) and EHRES with Norman Adams and Pauline Oliveros.
As of summer 2008, Gray has made Halifax, Nova Scotia his new home after 23 years in Montreal. He has been appointed Percussion Instructor at Dalhousie University and will begin working on collaborations with a number of Atlantic musicians, including Norman Adams, Karin Aurell, Tony Genge, and others. He was a founding member of New Brunswick’s Motion Ensemble.
Gray is a graduate of the Juilliard School and McGill University. He has received grants from the Canada Council for the Arts, the Conseil des arts et des lettres du Québec, and the Getty Research Institute for the Arts and Humanities. He is a Yamaha Clinician and a Sabian Artist. His collection of studies, “7 Operations for Marimba” are published by Honeyrock in the U.S.
Watch D’Arcy here: https://www.youtube.com/watch?v=kCfgrzcVfSU
Born in Montreal, and raised in Truro NS, Cory Bowles is a proud African Canadian who traces his roots back to the Black Loyalists, Maroons and the original French Colonies. His strong connection with that heritage led him on an odyssey around the world to study and research the origins of Black dance and music.
His work as teacher and mentor has taken him to Canada’s North, the Banff Centre for the Arts, where he was a senior artist in the Aboriginal Arts Program, and the drama department at Bishop’s University, where he is an instructor. Contingent on which hat he’s wearing, Mr. Bowles may be based in Halifax NS, Lennoxville QC or Toronto.
watch Cory’s film making work here: https://vimeo.com/157327155
Listen to Andrew here: https://andrewmackelvie.bandcamp.com/
Lukas’ education includes studies in contemporary musicology at Goldsmiths College in London, UK, contemporary music performance at Dalhousie, but began by studying audio-visual art at the Nova Scotia College of Art and Design.
Lukas has performed with innumerable original Halifax bands and is well represented in the recordings and history of the Halifax independent music scene, appearing on recordings by Blackpool, Buck 65, Al Tuck, Rebecca West, Sixtoo, The Rusty Wheels and Little Miss Moffat, among many others. In addition to this extensive accompaniment experience, he has performed with noted improvising artists and composers including Norman Adams, Rose Bolton, Paul Cram, Christine Duncan, Lori Freedman Francois Houle, Jim Montgomery, Rodger Redgate and Andrew Morgan.
Lukas has written and conducted pieces for the Upstream Orchestra, hosted the Improv at the Khyber series during the Atlantic Jazz Festival, exhibited sonic art installation-performances at the Eye Level Gallery, Mount Saint Vincent Art Gallery, Dalhousie Art Gallery, The Khyber Gallery and the Anna Leanowens Galleries, collaborated on sound installations with audio-visual artists such as Glynis Humphrey, Christof Migone, Kim Dawn and Dan Lander, manipulated radios as part of the BBC’s 2004 John Cage Festival, and scored music for video, film and television.
For two years, Geordie was a co-curator of the Leftover Daylight Series at Array Music Studios, a performance series showcasing improvisation and new composition. Geordie has performed many musicians including: Bruce Cassidy, Lori Freedman, William Parker, Roger Turner, John Oswald, Rebecca Campbell, Andrew Downing, Michael Keith, Dave Clark, along with video artist June Pak and dancers Susie Burpee and Shannon Cooney.
Listen to Geordie here: https://soundcloud.com/geordie-haley
Soon she began to expand the vocabulary of her instrument through her study of modern classical music (Messiaen, Varèse, Penderecki), the deep listening of Pauline Oliveros, Astor Piazzolla’s nuevo tango, free jazz, and world musics (Indian rags, South American songs, and gamelan orchestra). Her pieces reveal the complexity of her instrument and her musical experience while never straying from a very direct, intense, and personal musical expression.
The UK Guardian describes her music as “beautiful, glassy and liquid, however far she strays from pulse and conventional harmony.”
Her latest release Soledad, is available from Relative Pitch Records. You can hear her work here: http://www.susanalcorn.net/#!media