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Pianist Steve Cohn has performed his own works in venues including New York City’s Miller Theatre, New Works October Series, the Newport JVC Festival, Sweet Basil, The Great American Music Hall, NORVA Performance Hall, Norfolk Virginia, Puffin Cultural Arts Forum, and performed and recorded many times in Chicago, Detroit, Boston, San Francisco, Los Angeles, on WBGO-FM, WFDU, WKCR, KJAZ, WNUR, WBUR, KPOO, and Stanford University radio.

Bassist Larry Roland has performed at parks, street corners, outdoor theaters and private living rooms. He toured throughout the Northeastern part of the US, New Orleans, Myrtle Beach, South Carolina, New Hampshire, Vermont, Connecticut, and Rhode Island. Roland has recited his poetry at Harvard University, Boston University, MIT, Boston’s Institute of Contemporary Art, the Vision Festival in New York and at many other schools, festivals, and events in and around the northeast and Canada.

Drummer Chuck Fertal performed with a panoply of stellar jazz artists throughout the US.   Fertal has been on radio for WBUR-FM (BOSTON), WERS-FM (BOSTON), WBAI-FM (NY), WBGO-FM (NEWARK). He toured Sun Valley, Idaho, Great American Music Hall (San Francisco), Bach Dancing and Dynamite Society (San Francisco), Cooper Union (NYC), Sweet Basil, Village Vanguard, 7th Avenue South, Blue Note, Tin Palace and Lincoln Center, all in NYC, New Orleans, military tours through Corpus Christi, Texas, Biloxi, Mississippi, Atlanta, Georgia, and Montgomery, Alabama.

Reed player Michael Moss has been leading groups that have performed in multiple colleges and universities on the East Coast and Mid-West, curated and promoted seven Westbeth Music Festivals from 2007-2013, and collaborated with other jazz lofts in NYC as President of Free Life Communication, a musicians cooperative in New York City, producing two Loft Jazz Music Festivals in the ‘70s. He presented three Loft in the Sky Music Festivals in upstate New York for Art Awareness in the ‘70s, and was on the Board of Directors of the Madison Musicians Cooperative in Madison, Wisconsin in the ‘80s at the same time he was in the University of Wisconsin—Madison Ph.D. program in the Counseling Psychology Department; Moss was graduated with a Ph.D. in 1991. Radio appearances: WKCR-FM, WBAI-FM and WNYC-FM in New York City, WMFM-FM, WORT-FM and WHA-FM in Madison, WI, WLAV-FM in Grand Rapids, MI and others. Moss appeared in the Annual Westbeth Music Festival (NYC) 2007-2013, PS 122 (NYC), Philadelphia Fringe Festival 2005 & 2006, and in the Fishtastacon Music Festival 2005 & 2006 (Philadelphia). As part of a tour sponsored by Pro Helvetia–a Swiss foundation, Moss played the Swiss Embassy (Washington, D.C.), Convergence Centre (Philadelphia), the Swiss Institute in NYC, and at Piano Magic in NYC. As President of Free Life Communication, Inc., a NYC musicians cooperative, Moss coordinated with other NYC jazz lofts including Studio Rivbea, Environ, Space for Innovative Development, Sunrise Studio, The Brook, Jazzmania, and Studio WE in the First and Second New York Jazz Loft Celebrations. Moss has led groups in the New York Musicians Jazz Festival, Isthmus Jazz Festival (Madison, WI), the Jazz and Blues Festival at Grand Valley State College (Michigan), Borough of Manhattan Community College (CUNY), SUNY at Stony Brook opposite Anthony Braxton, the University of Wisconsin–Madison, and at Northeastern Illinois University (Chicago).

Michael Moss (tenor and soprano saxophones, flute–western and bansuri), Steve Cohn (piano, shakuhachi, Hichiriki, trombone), Larry Roland (bass, words/poetry), Chuck Fertal (drums, percussion)

Music is an art that exists only in time. Unlike painting and literature, it cannot be appreciated without the passage of time. One cannot freeze it to study it. You cannot stand in front of a piece of music and examine every detail for as long as you want, at least not the actual sound element of music. A music score is not music; it is merely a visual representation of how to play a written piece. Therefore, one must enter into a time continuum to experience music, whether it be completely notated/composed music or completely improvised music, as is practiced by the New York Free Quartet.

Why the preamble? Merely to point out that the time taken to create this music is the exact amount of time it will take to hear it. One must enter into a contract with this type of music. Is the time worth it? Absolutely. Consider all the reasons why that is true.

Sensitive listeners attuned to creatively improvised music don’t need to be told that this is an exceptional quartet who has delivered a superb collection of music with “Promotional Copy.” For those who may be coming to this music for the first time, I can only express envy. This experience is like no other.

Carl Baugher January 2017

 

Monk Meets East Meets West                         11:20

On Their Shoulders                                           13:19

24-8 Aren’t We All?                                            6:03

Fun Key                                                                 5:25

In Between Gigs…Can You Dig?                    12:30

Spirits Here And Not Hear                              8:00

Band Website: https://www.facebook.com/MossCohnRolandFertal/

 

Music is an art that exists only in time. Unlike painting and literature, it cannot be appreciated without the passage of time. One cannot freeze it to study it. You cannot stand in front of a piece of music and examine every detail for as long as you want, at least not the actual sound element of music. A music score is not music; it is merely a visual representation of how to play a written piece. Therefore, one must enter into a time continuum to experience music, whether it be completely notated/composed music or completely improvised music, as is practiced by the New York Free Quartet.

Why the preamble? Merely to point out that the time taken to create this music is the exact amount of time it will take to hear it. One must enter into a contract with this type of music. Is the time worth it? Absolutely. Consider all the reasons why that is true.

“Cage” is a moody, introspective meditation of sorts that slowly shifts between tones and timbres. Bass clarinet probes and bubbles while percussion and contrabass drive the momentum forward. The piano frames the music only to dissolve into the spirit of shakuhachi. The overall effect may be internal but each individual listener will take their own mood from the hearing of it. Micheal Moss reaches into his own personal history to briefly quote Mussorgsky. What does it mean? It means that he exists in the music. Nothing more, nothing less.

“Dorje” begins in much the same way but this time there is a deepening of the meditative quality of the music. A guttural voice beckons and the instruments slowly enter the swirl. Inventive, extended techniques can be heard from all four musicians. The effect is akin to a summoning. Something is going on and it is serious but it is not simple nor is it commonplace. Rather, the music is a lovely tangle of texture and emotion.

“Trane Blew What He Knew” features Larry Roland’s poetic utterances on the historic impact of John Coltrane’s artistic presence in the world. The musical framing of the poetry does not imitate Coltrane, however, except in the most general way. The improvisations leave plenty of space and each of the musicians is mindful of what the others are doing. Their interactions are dovetailed as opposed to leading or following. As things get more active, a special group aesthetic emerges that perfectly encapsulates the spirit of the great Trane. A suitable tribute, to be sure. Roland’s delivery is idiomatic and dramatic while never sounding contrived or pretentious. It’s clear that his poetry is struck with the same talent as his bass artistry.

 

We are slowly drawn into a progressively shifting melange on “Diamondback Dragonfly.” Steve Cohn suggests an almost timeless melding of modern textures with the insistent presence of the blues always working as an undertow in the musical currents. Moss’s flute is precisely probing while Chuck Fertal provides the kind of rhythmic momentum and commentary at which he always excels. In fact, it should be pointed out that much of the quartet’s success could be attributed to Fertal’s ability to listen, react, instigate and direct the music while accompanying his cohorts with solid, sympathetic and inspired contributions. This piece also benefits from Cohn’s dynamic and unfettered trombone playing. Needless to say, his improvisations are unique and his phrasing will be recognizable to those familiar with his pianism. Inside this web of creation, Roland’s active and articulate bass points the way and, like all the members of this improvising ensemble, he both leads and follows with equal eloquence. One of the most impressive features of this extended improvisation is the degree to which the quartet leaves space between their phrases. When improvisers are confident in their abilities, they have no need to play every lick they know in every performance. This seasoned, veteran ensemble is the embodiment of that virtue.

The quiet grace of “Birthday 41” arrives on waves of pianistic expansion and it clearly exemplifies the unique approach of Steve Cohn. For years, commentators have attempted to compare Cohn’s style with other popular and well-known artists. Most of those comparisons are invalid because Steve sounds like nobody but himself and has worked a lifetime to make sure his playing stays that way. Michael Moss brings the warmth of clarinet lyricism into the picture before things get more agitated and excited but this music surges and recedes as a matter of course. Listen to the way Roland and Fertal enter and lay out throughout this piece. Masterful. The aggregate effect is pointillistic but moody to a degree and perfectly illustrative of the dreamlike quality of the whole session.

Larry Roland delivers more poetic wisdom and street-level reality in “In Between Gigs…………..You Dig?” The musical accompaniment is sophisticated and shifting as the piano rumbles and the drums scamper. Larry’s pithy statements reflect the daily trials and tribulations of the working musician in New York City. There is also a palpable sense of unity between the words and the musical elements in this piece. This is carefully considered composition, both premeditated and inspired in the moment. When Moss joins the fray the music swirls and propels the poetry to a new level. Cohn’s trombone seems to mark out the boundaries of the ensemble parameters. The walking bass comes and goes and the sense of movement and activity evokes nothing more than the evolution of the struggle to create.

“For Roy” effectively conjures the spirit of the late, creative trumpeter Roy Campbell in a fitting tribute. Michael Moss gets things underway with a beautiful tenor saxophone introduction whose tender lyricism is contrasted with Cohn’s sensitively abstract piano work. Again, Fertal and Roland give the excursion shape with rhythmic jabs and silences. But this quartet is always concerned with forward momentum. Despite the spaces they all leave for each other, they continually push forward and effectively avoid even momentary instances of coasting, the bane of some improvising groups. Moss calls up the spirits of Coltrane and Ayler here but never in an imitative fashion. As the piece comes to a close, it becomes fittingly dramatic and declamatory, with all four musicians blending their statements with great unity.

The album ends with the appropriate “Shaku Yaqui” and a sense of calm conclusion is conveyed. Moss and Cohn blend flute and shakuhachi in a dreamy melange of almost ceremonial intensity. The flow is carefully ramped up and pulled back with percussion punctuating over a continuous arco contrabass background. The timeless quality of this last track is maintained by what can best be described as “group think.” In other words, everyone is on the same page.

Sensitive listeners attuned to creatively improvised music don’t need to be told that this is an exceptional quartet who has delivered a superb collection of music with “Dream Time.” For those who may be coming to this music for the first time, I can only express envy. This experience is like no other.

Carl Baugher

January 2017

 

Open-form extended group improvisation as practiced today has become a highly evolved art. It is as hard to do right, without a safety net, in the full public eye, as anything humanity has taken on in its history. It takes decades of dedication to come together and really play, to make all the difference between a good record and one that is truly transcendent, beyond the given and into a higher plane.

The New York Free Quartet does it–some prime examples of the art, as set down on a live recorded gig (cd entitled FREE PLAY released in 2015) in the heart of New York, on a summer day, July 29, 2014.

When you hear the results in all subtlety and expression, it should come as no surprise that these four artists have put in significant time, both together and in a myriad of similar playing situations. Reedist Michael Moss has been interacting with pianist and multi-ethnic instrumentalist Steve Cohn and bassist Larry Roland for some time now. And Steve’s association with drummer Chuck Fertal goes back 30 years. They all have been musical gladiators in the fight to make improvised music anew for a long time. Mike’s key experience in the early loft scene in Manhattan is only a part of the involvement of all in the music of the trenches. So that by now they well know who they are and how they can channel the experience of the history of improvisation, the wide world of musics, the musical heritage of the eternal Afro-diaspora, the world slipstream that we all still participate in. The music you hear is the culmination of all that.

Then there are the poetic utterances that we get an excellent taste of here, with Larry’s evocative recitations. Like the music it is about being there, becoming in the spirit of creation, surviving a world mostly disposed to have you “eat, lay eggs and run,” to live like roaches, with no room for what else there can be unless like the NYFQ you insist on a repeating soundings of the depths. In spite of it all.

But most of all this is about totality, total sound generation. You can hear them speak with the sure vocabulary and eloquence of masters long apprenticed, chained to the lodestone of woodshedding, gigging, communicating in the classroom, on the stage, in the streets. It all leads up to this moment in July when the New Free Quartet gives out with definitive individuality-in-togetherness. Check Michael Moss on bass clarinet or any instrument in his reed arsenal, flowing out with the very together freedom that takes years to reach. Steve Cohn as the pianist who by touch and thought brings significance into sound like very few pianists alive can do. Larry Roland on bass, never wasting a note, making it all mean something. Chuck Fertal on drums, a master of tone, everything hit in just the right place, with second-splitting soul science.

And the more of it, the totality of collectivity. You don’t get what the NYFQ achieved that day in July without all the jousts of life in alleys and cold-water flats combined with the extended free-thinking togetherness of group playing that comes only with much time, talent and perspiration. It’s all here. All on this recorded set. Just sit back and listen!
– Grego Applegate Edwards

Chuck Fertal

Born New York City, New York

Studied at Berklee College of music, Boston, Mass., I completed my formal music education at Berklee College of music where I was a member of the instrumental performance program.

I majored in drums, percussion and piano. Other subjects studied music theory, your training, harmony, improvisation, music history, jazz history, arranging and composition. I studied privately on drums with Alan Dawson, and Sam Ulano.I studied piano with a scholarship from Connie Crothers two years.

Played with Sonny Stitt 1972, Dorothy Donegan 1975 Sir Charles Thompson 1976, Artie Barsamian Orchestra traditional Armenian music, Cecil Payne, the Hoofers–an international jazz tap dance team, worked with Mal Waldron 1979 through 1987, guitarist Roland Prince, Marvin Horn, Steve Cohn trio with Reggie Workman on bass, Jeremy Steig, Harold Danko, Ron McClure, Ratzo Harris, Malachi Thompson, Calvin Hill, Lyle Atkinson, Arnie Lawrence, Byard Lancaster, Bob Neloms, Cameron Brown, Bill Saxton, Sonny Fortune, Jack Wilkins, Santi  Debriano, Junior Cook, Bob Cranshaw,  George Cables, Adam Mackiewicz, Cecil McBee, Richard Wyans.

Credits include stints in which he played with Sonny Stitt, Dorothy Donegan, Sir Charles Thompson, Cecil Payne, the Hoofers, Mal Waldron, Roland Prince, Marvin Horn, Steve Cohn Trio with Reggie Workman, Jeremy Steig, Harold Danko, Ron McClure, Malachi Thompson, Calvin Hill, Lyle Atkinson, Arnie Lawrence, Byard Lancaster, Bob Neloms, Cameron Brown, Bill Saxton, Sonny Fortune, Jack Wilkins, Santi  Debriano, Junior Cook, Bob Cranshaw,  George Cables, Adam Mackiewicz, Cecil McBee, and Richard Wyans.

 

LARRY ROLAND is an acoustic bassist, and poet.

He has performed with trumpeter Raphé Malik, Charles Gayle, Sabir Mateen, Steve Swell, Daniel Carter, Mike Wimberly, Marvin “Boogaloo” Smith, Jamyll Jones, Warren Smith, Waldron Ricks, JD Parren, Donel Fox, and many others here and abroad on the free improvisational music scene, plus award winning dancer/choreographer Adrienne Hawkins. He appears on his Boston Composer Group label and 4th Stream Records.

As a poet, Larry has published in several anthologies and magazines, as well as, received awards for his writings. His most recent recording has been with Yoron Israel’s “VISIONS” CD. Larry also has a solo Bass and Word CD which features his original poetry entitled, “AS TIME FLOWS ON”, on the BCG label. Larry’s most recent recording (2013) has been with the Charles Gayle Trio, “STREETS”.

OGI (LARRY ROLAND)

THINKS OF THE BASS SOUND AS

A HEART BEAT THATS

TRIPPIN’ OFF DANCE

IN AH DIRECTION NAMED-

THE UNKNOWN…

NESTING NOW IN NEW YOURK!

 

Steve Cohn

Music, art and poetry surge through the spirit of pianist & Shakuhachi innovator Steven Louis Cohn. Steve has conducted master classes at the Paris National Conservatory and has had his compositions commissioned for performance with the Wantanbe Dance Company in Japan. Cohn has been awarded performance grants from the NJ Council of the Arts, performed at ‘Ottawa Jazz Festival (’88 & 2000), Fiesta International USSR. Cohesively, Steve With over 25 recordings in his name,has worked with a number of well-renown musicians: Reggie Workman, Jason Kao Hwang, William Parker, Tom Varner, Fred Hopkins, Karl Berger, Oliver Lake, Barry Altschul, Bob Stewart.

Ever innovative, Steve has developed a unique style of improvisation over the course of his career, which has taken him across styles of jazz as well as across the world. With over 25 recordings in his name, Steve has played with the likes of Eddie Henderson, Sonny Simmons, and Reggie Workman, among many others, and has performed his own works at venues such as New York City’s Miller Theatre, the Newport JVC Festival, The Great American Music Hall, and the World Shakuhachi Festival.

“Cohn’s playing is hypnotic and remarkable throughout. He is a true original.” -Robert Spencer “Cadence Magazine”

His playing shows a kind of freedom that can happen when personal vision breaks the boundaries of tradition. Anyone with an open mind will benefit from his workshop”-Perry Yung Shakuhachi Maker

“Cohn’s intricate counterpoint and drama-infused harmonies are equally effective on muscular jazz-hued sprints and pointilistic passages. His cogent use of ethnic instruments goes well beyond stock poses of texture and transcendentalism. There are few American pianists who have Cohn’s talents”-Bill Shoemaker Downbeat

http://thestevecohn.com/

http://unseenrainrecords.com/

MICHAEL MOSS, PH.D.

4th Stream Records

463 West Street, #1006D

New York, NY

m2moss11@gmail.com

http://www.westbeth.org

 

CEO: Fourth Stream Records (1976-present)

CEO: ERG Publishing Company (1976-present)

Publicity Chair: Westbeth Artists Residents Council (2011-2014)

Director, Board of Directors, Madison Music Collective, Madison, Wis.  (1987-1991)

Artistic Director, Loft in the Sky Summer Jazz Festival at Art Awareness, Lexington, NY (1982-1986)

Director, Board of Directors, Art Awareness, Lexington, NY (1981-1986)

President:  Free Life Communication, Inc., New York, NY (1972-1975)

Secretary/Vice President:  Free Life Communication, Inc., New York, NY (1970-1972)

Producer:

HELIX w/ Accidental Orchestra (ERG 10013, 2017)

PROMOTIONAL COPY w/ New York Free Quartet (ERG 10004, 2017)

FREE PLAY w/ New York Free Quartet (ERG 2015, 2015)

INTERVALS (ERG 2013, 2013)

DEATH AND TRANSMIGRATION OF SOULS / BLACK HOLE, PRO VISO (ERG 0220, 2008)

QABALLA/ENTANGLEMENT; PRO VISO (ERG 0130, 2008)

THE IMITATIONS GREAT HALL CONCERT 1965 (ERG 0310, 2008)

DOUBLE VISiOn, PRO VISO (ERG 0022, 2007)

PROVISiOns, PRO VISO (ERG 0013, 2005)

THE VESSEL (ERG 044, 2001)

PYRAMID (ERG 040, 1982)

LIVE AT ACIA (ERG 031, 1980)

CROSS CURRENT (ERG 022, 1978)

UPSTREAM (ERG 013, 1976)

Leader: Accidental Orchestra (2016-present), Moss Music Group (1986-91), Mike Moss/4 Rivers (1974-86), Free Energy (1972-74)

Member: New York Free Quartet (2014-present), Michael Moss/Billy Stein Duo (2013-present), ZONE (2009-present), 3d Ear Band (2016, 1981-1986), PRO VISO (2003–2009), Greene/Moss (w/ Burton Greene (1986), The Collected Works (1970s), Atziluth (1990s), Benny & the Wildachayas (1990s)

Selected Discography from recordings not produced by Moss:

NATURAL, Willamette River Pirates, Michael Mahaffay Archives (2013)

NEW YORK AND ME, Regina Ress (2012)

ETHER-REAL, Jack Bowers (2004)

WELTWUNDER DER KINEMATOGRAPHIE, “Angel Prologue,” Ralph Denzer, composer, on “film history auf DVD,” Polzer Verlog, Potsdam, Germany. (2001)

BENNY & THE WILDACHAYAS (1996)

DREAMCATCHER w/ Collective 4tet (Stork Music 008, 1993)

BINDU (Stork Music 009, 1993)

ATZILUTH w/ Fourth World (1993)

I’M THE ONE (Annette Peacock, Paul Bley, RCA, 1972)

Musician:  reeds–tenor and soprano saxophone, Bb and bass clarinets, flute, karnatic flutes,    bamboo flutes, penny whistle, zurna, Thai khean.

Compositions:

2016: Al Buraq Wailing Wall Road, See Sharp or Be Flat/C# or Bb, The Old One:

I Inception, II Bridge/Dorje, III Qabbala / Tree Of Life, IV Bardo Thödol // Angels And Devils / Wizards And Deatheaters, V The Mind Of God / StreamingàThrone Of Gold

2015: Judy’s Jump, Krishna Emerging from the Weeds, Maestro Higgs, For Roy

2014: Peace Time, Menorah / Chordal Experiment, Mirror, Mount Sinai, Moses on the Mountaintop, Haunted

2013: Westbeth Blues, Swimmin’ Hole

2012: 3 Points-4 Dimensions, Autumnal

2011: O’Shea Oy Vey, 7.27.11 Blues

2010: Chordal Experiment, Elegy for Danny, Going Direct, ‘Hesed-Love, O’Shea Olé, Say                       It Like It Is, Superstring, Touch Me

2008: Can We Forget Being Born Remembering?

2007: Qabbala/Entanglement: A Suite in Ten Movements

2006: Black Hole: A Suite in Eight Movements, Für Frida

2001: Nichts Mehr, Collective Compositions for The Vessel

1993: Collective compositions by the Collective 4tetDreamcatcher (Stork 008,           1993: Flytrack, Oracle, Snap Decisions, Dreamcatcher; Bindu (Stork Music 009, 1993)                                     Bass Clarity, Did You Hear Everything?, Beyond Reason, I Remember Now,                             Bindu, Jig Jag

1982:  Pyramid, Shira Luck

1978:  Ain Soph

1977:  Fertile Crescent, St. Patrick’s Shillelagh, Amitabha

1976:  Jig

1975:  Rising Canyon Shadows, Freedom Chant, Waeving

1974:  Bibbity Bop, Ergic Mandala

1973:  Astral Blue, Wakan, Suite for Middle C or Tout en Rond

1972:  Free Life Communication, Emergence/Consciousness: A Suite in Six Movements

1971:  Inside

1970:  March On, Hardly, Interaction

1969:  After Thought, Resurrection

1968:  Judy’s Tune, Melba toast

1967:  Coal Sack

1963: Bad Bessie, Samson’s Walk

Studied with:  H. Baron Moss (his father), Frank Smith, Harvey Estrin

Worked with:

Reeds:  Sam Rivers, Dave Liebman, Gunter Hampel, Ras Moshe, Elliot Levin, Michael Lytle,     Richard Keene, Samuel Heifetz, Sabir Mateen, Perry Robinson, Mark Whitecage, Paul            Butler

Brass: Steve Swell, Waldron Mahdi Ricks, Vincent Chancey, Marty Cook, Jeff Hoyer, John        Jensen

Pianists: Jack Bowers, Mark Hennen, Dave Burrell, Paul Bley, Richie Beirach, Greg Kogan, John             Fischer, Ben Sidran, Burton Greene, Mel Nusbaum, Dave Stolar, H. Baron Moss

Bassists:  Larry Roland, William Parker, Cameron Brown, Bill Vishnu Wood, Frank Tusa, John   Miller, Noah Young (Richard Youngstein), John Shea, Francois Grillot

Drummers: Warren Smith, Mike Wimberly, Chuck Fertal, Jackson Krall, Badal Roy, Bob Meyer,             Clyde Stubblefield, Laurence Cook, Armen Halburian, Bobby Moses, Rashid   Bakr/Charles Downs, Mike Mahaffey, Heinz Geisser, Norman Taylor Baker, Murugah,   Myron Cohen, Daniel Scholnick

Guitarists: Billy Stein, Rick Iannacone, Steve Kahn, Mel Nusbaum, Dan Rose

Strings: Jason Kao Hwang, Rosi Hertlein, Fung Churn Hwei, Mikko Mikkola, Louisa Bieler,        Michal Urbaniak, Bob Stern (violin), Stephanie Griffin (viola), Lenny Mims, Carol Buck,         David Eyges (cello)

Poets:  Larry Roland, Steve and Gloria Tropp, Emanuel Chassot, Elliot Levin

Vocalists: Tracy Nelson, Arlene Gottfried, Bobby Harden, Gloria Tropp, Irma Routen, Jack     Kessler, Michael Kasper, Sabrina Lipton

Puppeteer: Ralph Lee, Bread and Puppet

Radio appearances:  WKCR-FM (NYC), WBAI-FM (NYC), WNYC-FM (NYC), WMFM-FM, WORT- FM and WHA-FM in Madison, WI, WLAV-FM (Grand Rapids, MI)

Performed at:

ShapeShifter Lab (2014, 2016), ABC-No Rio (2013) ), River Street Theater (2014-16), Westbeth Music Festival, NYC (2007-2013); Westbeth 40th Anniversary Festival (2010); PS 122 NYC (2009), Philadelphia Fringe Festival (2005 & 2006), Fishtastacon Music Festival, Philadelphia (2005 & 2006); Turks & Caicos Friends of the Arts Foundation (2003); Isthmus Jazz Festival, Madison, WI (1990s); Swiss Embassy, Washington, D.C.; Swiss Institute and Piano Magic. NYC, and Convergence Centre, Philadelphia, as part of tour sponsored by Pro Helvetia–a Swiss foundation; NYC jazz lofts including Studio Rivbea, Environ, Space for Innovative Development, Sunrise Studio, The Brook, Jazzmania, Studio WE, and in the First and Second New York Jazz Loft Celebrations (1970s), the New York Musicians Jazz Festival (1970s), Jazz and Blues Festival at Grand Valley State College, Michigan (1970s), Borough of Manhattan Community College CUNY (1970s), SUNY at Stony Brook opposite Anthony Braxton (1970s), the University of Wisconsin—Madison (1960s), Northeastern Illinois University (1960s).

Dancers: 1968 — present:  Judith Moss; 1960-present: Roz Newman, Beth Soll, Leslie Satin, The Collected Works, Turks & Caicos Fine Arts Foundation, Spaghetti Dinner (NYC).

 

Contact:  Fourth Stream Records, 463 West Street #1006D, New York, NY 10014,

(CELL) 646-691-4330

email:   m2moss11@gmail.com

Webpage: m2-Theory.com

ACCIDENTAL ORCHESTRA:  https://www.facebook.com/AccidentalOrchestra/

URBAN FOLK MUSIC:  https://www.facebook.com/michael.moss.9809

NEW YORK FREE QUARTET–NYFQ:   /nyfq Name of page: New YORK Free Quartet/nyfq

ZONE:  https://www.facebook.com/ZONE-185694048216853/

NYFQ CD FREE PLAY  https://michaelmoss.bandcamp.com/releases

ACCIDENTAL ORCHESTRA SEGMENTS  https://soundcloud.com/michael-a-moss/corbb-free-energy-40-v21416-score

YouTube videos all at:

Conjunction
ShapeShifter Lab
1.15.15

Inspired
NYFQ at Bridge Street Cabaret
8.6.15

Pyramid
NYFQ at Bridge Street Cabaret
8.6.15

Mirror
NYFQ at Bridge Street Cabaret
8.6.15

Riverside After Dark Billy Stein (g) & Michael art Moss (Bb clarinet).mov

PYRAMID http://www.youtube.com/watch?v=qlWMGg7lBwA  OR  https://youtu.be/jpKgQJzGeYI

Larry Roland/Michael Moss/Chuck Fertal-Children’s Magical Garden—Arts for Art-Sept. 24, 2016:

CONJUNCTION: 1.16.15 by NYFQ

INSPIRED by NYFQ  https://youtu.be/arBJ_W4nKis

MIRROR by NYFQ  https://youtu.be/fMVohVEvugw

THE KEY by ZONE   (Michael Moss, ss; Mel Nusbaum, p; Larry Roland, b; Lou

Selmi, d. Composition by Nusbaum)  https://www.youtube.com/watch?v=xFOgzH5EVuw

NEW YORK AND LOVE CD by Regina Ress and Michael Moss  https://m2-theory.com/2013/02/05/new-york-in-love/

Entanglement has been observed in many different experimental observations at close and relatively far distances. Entanglement itself has been well observed. There is no evidence for entanglement as it relates to the mind which is why I am offering this up as a thought experiment. I do not have the facilities to test these hypotheses. As a theorist all such ideas need to be based in theory with testable hypotheses. Einstein, for example, put forth theories that contradicted the theoretical structures of the era in which he lived. He offered several ways to support them and only when they were carried out did he get any support from the scientific community. That work continues into the present. I would like someone to take my ideas and try to disprove them and iff they fail then we can state that they have some validity. Then the experiments must be replicated.

Perhaps you might be interested in doing something like that. Let me know.

I am initiating a new section about my small Renaissance Jazz Orchestra, the Accidental Orchestra.  Please follow our progress.  Today I am posting the first of three segments prepared for a NewMusicUSA grant application.  They feature some of the musicians and some of the compositions entitled See Sharp or Be Flat/C# or Bb and The Old One. Enjoy.

It is not easy to form your own orchestra from scratch. I have a sense of urgency to complete this complex project. I assembled the best improvisers in New York and Philadelphia to play two extended through-composed suites that involve extensive individual and group soloing. We prepared scores and parts, rehearsed and recorded the two pieces at Systems 2, then mixed and mastered the recording with sound engineer Jon Rosenberg.

 

The credits of each of these musicians are long and profound. I selected people who worked together in past configurations and structured solo sections to combine previously existing groups so as to reveal what long years of creative collaboration can produce. Graphic artist and FIT Professor Karen Santry will use photographer/video editor Bernard Feinsod’s visual documentation (photography and video) to create graphics for the CD. I will work with a writer to develop liner notes and employ publicist Jim Eigo to get reviews and press for this amazing project.

 

I was able to keep costs low by asking for in-kind contributions from all collaborators. Musicians who typically work for upwards of $1000 apiece to rehearse and record, agreed to a $200 “downpayment” to be subsidized by future grants. I am exploring grants to help support performances and further recordings of this very large group. I wish to supplement their “base pay” to pay them an amount closer to what they are worth and ensure they will work with me in the future.

 

I intend to compose more for the AO but it will be difficult to record or perform without financial support. Future musical projects include adapting a poem by violinist Louisa Bieler, Can We Forget Remembering Being Born?, for SATB chorus and the Accidental Orchestra. I also wish to re-record and perform my qaballistic piece Ain Soph (Fourth Stream Records, 1978): https://soundcloud.com/michael-a-moss/03-ain-soph-cross-current-erg. Strings and reeds of the Accidental Orchestra will play previously overdubbed parts.

This work sample represents soloists from the string section, brass section, and the reed section. I excerpted solos from C# or Bb, a 20’ 38” piece recorded Oct. 10, 2016. The soloists in order are Jason Hwang and Rosi Hertlein (violins), Stephanie Griffin (viola), Lenny Mims (cello), Steve Swell (trombone), Ras Moshe (tenor sax), Waldron Ricks (trumpet), all New York based. Between most solos are full orchestral interludes. Soloists represent the sunny side of the street while interludes suggest dark, complex emotion, the essence of C# or Bb.

https://soundcloud.com/michael-a-moss/see-sharp-or-be-flat-c-or-bb-nmusa-2017-grant-segment-1

ENJOY!

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