"George Cartwright is a Minnesota-based composer, performer, bandleader, producer and musical collaborator, with a prolific career spanning over 30 years. His career began in his home state of Mississippi, shaped by a childhood woven through with early memories of singing in church and learning songs at his grandfather's knee. He grew up on rock-n-roll and fell in love with jazz after hearing Charles Lloyd's iconic "Forest Flower," and like the British bands that he listened to in high school, he was also heavily influenced by the blues being played literally in his own backyard of the Mississippi Delta.

Musical instrument exploration naturally followed, beginning with piano lessons and later guitar, learning to play by ear. During this phase, George began his initial foray into composing, writing lyrical pieces, as well as instrumental pieces in the manner of Mississippi John Hurt and John Fahey. He bought his first sax on his 2 birthday from a secondhand thrift store for $65-a gift from his grandmother. Irresistibly drawn to the beauty and passion of jazz saxophone - not to mention experiencing a musical epiphany after hearing Ornette Coleman's "Dancing in Your Head" - George began to purposefully channel his energy into composing.

Post-college, he studied at the Creative Music Studio in Woodstock, NY, where he was exposed to the music and concepts of Dave Holland, Anthony Braxton, Karl Berger, Frederic Rzewski, Kalaparusha, Ursula Oppens, Leo Smith, Oliver Lake, and many other major jazz innovators of the time.

The late 70's involved a move to New York City, where George formed a trio with Michael Lytle and David Moss, known as Meltable Snaps It, performing at such venues as The Kitchen, The Franklin Furnace, Phil Niblock's Experimental Intermedia Foundation, and Inroads. In 1979, he also formed his band Curlew with bassist Bill Laswell, which went on to record 12 CDs and LPs under the Cuneiform Records label, among others. The band included such notables as Tom Cora, Fred Frith, Wayne Horwitz, Davey Williams and Ann Rupel, and performed at high-profile jazz festivals and venues in North America and Europe.

In 1993, George returned to his Southern roots, relocating to Memphis, Tennessee. Over the next six years, he continued to collaborate with fellow musicians, compose, perform and produce recordings with Curlew. During this time, he also produced a solo CD 'The Memphis Years".

George moved to his current home base in the Twin Cities in 1999, where he found a tremendous wealth of like-minded musicians, with whom he continues to collaborate and record to this day. George has worked with a wide range of artists both domestically and abroad. In addition to composing, George continues to perform locally in the Twin Cities. Performances include The Cedar Cultural Center, numerous events at The Walker Art Center, Studio Z, The Black Dog. Jazz Central and others."

"Thomas Henry Corra (September 14, 1953 - April 9, 1998), better known as Tom Cora, was an American cellist and composer, best known for his improvisational performances in the field of experimental jazz and rock. He recorded with John Zorn, Butch Morris, and The Ex, and was a member of Curlew, Third Person and Skeleton Crew.

Tom Cora was born in Yancey Mills, Virginia, United States. He made his musical debut as drummer on a local television program and in the mid-1970s he played guitar for a Washington, D.C. jazz club house band. He took up the cello while an undergraduate at the University of Virginia and studied with cellist Pablo Casals' student Luis Garcia-Renart and later with vibraphonist Karl Berger. During this time he formed his own group, The Moose Skowron Tuned Metal Ensemble and began constructing instruments for it.

In 1979 Cora moved to New York City where he worked with Shockabilly guitarist Eugene Chadbourne, introducing the cello to the honky tonk circuits of North America. He performed at improvising clubs and venues in New York with John Zorn, Fred Frith, Andrea Centazzo, Butch Morris, Wayne Horvitz, David Moss, Toshinori Kondo and others. Cora also collaborated with George Cartwright and Bill Laswell which led to the formation of the art rock band Curlew in 1979 . Cora remained with Curlew for over ten years and appeared on five of their albums.

In 1982 Tom Cora and Fred Frith formed Skeleton Crew, an improvising rock and jazz band best known for their live performances where they played various instruments simultaneously. Cora and Frith were each one-man bands on stage and for their act, Cora constructed musical contraptions he could play with his feet. The band existed for five years during which time they toured Europe, North America and Japan extensively. They made two studio albums, Learn to Talk (1984) and The Country of Blinds (1986), the latter with Zeena Parkins who had joined the band in 1984. In October 1983 Skeleton Crew joined Duck and Cover, a commission from the Berlin Jazz Festival, for a performance in West Berlin, followed by another in February 1984 in East Berlin.

Cora was also a member of the improvising trio Third Person, formed in 1990 as a live collaboration with percussionist Samm Bennett and a "third person" who changed from concert to concert. Two CDs of some of their performances were released, The Bends in 1991 (with "third persons" Don Byron, George Cartwright, Chris Cochrane, Nic Collins, Catherine Jauniaux, Myra Melford, Zeena Parkins, and Marc Ribot) and Luck Water in 1995 (with "third person" Kazutoki Umezu).

Cora performed with a number of other bands, including Nimal with Momo Rossel and post-rock quartet Roof. In 1990, he played two concerts with Dutch anarcho-punk band, The Ex, and the success of this collaboration resulted in Cora performing hundreds of concerts with The Ex and appearing on two of their CDs. In 1995 in The Netherlands, Cora and Frith collaborated, as Skeleton Crew, on Etymology, a CD-ROM sound sample library of sonic sounds and wire manipulations.

Tom Cora died of malignant melanoma at the age of 44 in a hospital in the south of France, where he lived with his wife, singer Catherine Jauniaux, and their son, Elia Corra."

"Nicky Skopelitis (born January 19, 1960) is an American guitarist and composer of Greek descent. He also has performed on banjo, oud, lute, keyboards and other instruments. Although Skopelitis has recorded few albums as a bandleader, he has appeared on many more recordings, often collaborating with prolific bass guitarist and producer Bill Laswell. Until 1987 or so, he used the spelling "Scopelitis" for his last name. "

"Over the course of some three decades, visionary bassist-producer Bill Laswell has been one of the most prolific and restlessly creative forces in contemporary music. A sound conceptualist who has always been a step ahead of the curve, he has put his inimitable stamp on nearly 3,000 recording projects by such artists as Mick Jagger, Yoko Ono, Iggy Pop, Laurie Anderson, Brian Eno, Bootsy Collins, Nine Inch Nails, Motorhead, Peter Gabriel, Blur, The Ramones, George Clinton, Pharaoh Sanders, The Dalai Lama, Matisyahu, Angelique Kidjo, DJ Krush, RAMM:ΣLL:ZΣΣ, Sting, The Last Poets, Afrika Bambaataa, Julian Schnabel, Whitney Houston, Manu Dibango, Fela Kuti and most notably Herbie Hancock, who collaborated with Laswell for the pivotal 1983 smash-hit single "Rock-It" which introduced scratching to the mainstream, inspired a generation of turntablists and gave the great jazz pianist instant street credibility among the burgeoning hip-hop cognoscenti.

Laswell's sense of creative daring as a producer was further demonstrated on several recordings that have kept him on the cutting edge, including Afrika Bambaataa's collaboration with John Lydon (aka Johnny Rotten of Sex Pistols fame) on World Destruction and PiL's Album (which brought together an unlikely pairing of drumming greats Ginger Baker and Tony Williams, synth-pop pioneer Ryuichi Sakamoto of Yellow Magic Orchestra fame and rising guitar star Steve Vai). His spoken word collaborations with William S. Burroughs and expatriate writer-composer Paul Bowles have gone against the grain of music industry trends while his radical remixes (or re-constructions) of landmark recordings by Miles Davis (Panthalassa), Carlos Santana (Divine Light), Bob Marley (Dreams of Freedom) and a vast scan of dub-related and atmospheric ambient projects have gone on to further defined Laswell's presence as a revolutionary ikonoklast.

Bill Laswell has helped in generating several innovative recording labels such as Celluloid, Subharmonic, Black Arc, and Innerhythmic. Along with Chris Blackwell, founder of Island Records (Bob Marley and U2), he established the AXIOM label in 1989. M.O.D. Technologies, his most recent imprint is releasing projects by Method Of Defiance, Lee "Scratch" Perry, PRAXIS, Garrison Hawk with Sly & Robbie, Bernie Worrell, The Process (with Red Hot Chili Peppers' drummer Chad Smith and pianist Jon Baptiste) and progressive/futuristic music from Ethiopia (CDs/DVDs).

As a player, Laswell's bass lines resound with rare authority on groundbreaking projects by Tabla Beat Science (with Zakir Hussain and Ustad Sultan Khan), his avant-funk band Material, the apocalyptic assault of Last Exit (with Sonny Sharrock), his progressive dub effected Method of Defiance and the throbbingly intense power trios, Massacre (with Fred Frith and Charles Hayward), Painkiller (with John Zorn and Mick Harris), Praxis (with Buckethead and Brain), Blixt (with Raoul Bjorkenheim and Morgan Agren) and the latest (2014) Bladerunner (with John Zorna and Slayer drummer Dave Lombardo).

Laswell's artistic reach has consistently extended to the continent of Africa, creating ground-breaking, evolutionary snd controversial recording projects in Morocco, Senegal, Mali, Gambia and most recently, Ethiopia where he has established a base for developing new as well as legendary artists, just as he did in the South Bronx some 30 years ago.

A veteran of 300 plus journeys to Japan, where he has worked with everyone from The Gagaku Orchestra (Japan's ancient music, only played for emperors for 1500 years), to avant-jazz, rock, hip-hop and DJ culture. An eternal musical renegade, Bill Laswell has always played by his own rules."

"Denardo Ornette Coleman (born April 19, 1956) is an American jazz drummer. He is the son of Ornette Coleman and Jayne Cortez.Biography

Born to Jayne Cortez and Ornette Coleman in Los Angeles, California, in 1956, Denardo Coleman began playing drums at the age of six. At the age of 10 he joined his father's band, making his first appearance on record on the 1966 Ornette Coleman album The Empty Foxhole, with Charlie Haden on bass. Haden said of Denardo's playing on that recording: "He's going to startle every drummer who hears him." Denardo also featured on his father's later releases, including Ornette at 12 (1968) and Crisis (1969), and played as a member of Ornette's Prime Time ensemble in the 1970s. He also worked with his mother in the band The Firespitters, and has played with Geri Allen, Pat Metheny, James Blood Ulmer, and Jamaaladeen Tacuma. In the 1980s Coleman started to manage his father's career, which he continued doing for the next 30 years.

Coleman has also done extensive work as a producer, including on albums by both of his parents, and on In All Languages and Virgin Beauty in the 1980s and Hidden Man and Three Women in the '90s. In 2017, on a new label called Song X Records (referencing the title of one of his father's favorite compositions), he produced Celebrate Ornette, a tribute to his father, in a box set with 24 performances captured on two DVDs, three CDs, and four vinyl LPs."