"John Zorn (born September 2, 1953) is an American composer, arranger, producer, saxophonist, and multi-instrumentalist with hundreds of album credits as performer, composer, and producer across a variety of genres including jazz, rock, hardcore, classical, surf, metal, klezmer, soundtrack, ambient, and improvised music. He incorporates diverse styles in his compositions which he identifies as avant-garde or experimental. Zorn was described by Down Beat as "one of our most important composers".

Zorn established himself within the New York City downtown music movement in the mid-1970s performing with musicians across the sonic spectrum and developing experimental methods of composing new music. After releasing albums on several independent US and European labels, Zorn signed with Elektra Nonesuch and received wide acclaim with the release of The Big Gundown, an album reworking the compositions of Ennio Morricone. He attracted further attention worldwide with the release of Spillane in 1987, and Naked City in 1989. After spending almost a decade travelling between Japan and the US he made New York his permanent base and established his own record label, Tzadik, in the mid-1990s.

Tzadik enabled Zorn to maintain independence from the mainstream music industry and ensured the continued availability of his growing catalog of recordings, allowing him to prolifically record and release new material, issuing several new albums each year, as well as promoting the work of many other musicians. Zorn has led the hardcore bands Naked City and Painkiller, the klezmer/free jazz-influenced quartet Masada, composed over 600 pieces as part of the Masada Songbooks that have been performed by an array of groups, composed concert music for classical ensembles and orchestras, and produced music for opera, sound installations, film and documentary. Zorn has undertaken many tours of Europe, Asia, and the Middle East, often performing at festivals with many other musicians and ensembles that perform his diverse output.

Zorn's compositions cross many genres and he has stated "All the various styles are organically connected to one another. I'm an additive person-the entire storehouse of my knowledge informs everything I do. People are so obsessed with the surface that they can't see the connections, but they are there." For Zorn "Composing is more than just imagining music-it's knowing how to communicate it to musicians. And you don't give an improviser music that's completely written out, or ask a classical musician to improvise. I'm interested in speaking to musicians in their own languages, on their own terms, and in bringing out the best in what they do. To challenge them and excite them." "

"Pauline Kim Harris, aka PK or Pauline Kim is a Grammy™-nominated violinist and composer. The youngest student to have ever been accepted into the studio of legendary violinist Jascha Heifetz, she has since appeared throughout the US, Canada, Europe, Asia and Australia as soloist, collaborator and music director. Currently known for her work with classical avant-punk violin duo String Noise with her husband, Conrad Harris of the FLUX Quartet, she has toured extensively with Orpheus Chamber Orchestra, has been a long standing member of the SEM Ensemble and OstravskaBanda in the Czech Republic and has been a guest artist with leading new music ensembles such as Talea, ICE, Alarm Will Sound, Argento, TRANSIT, Object Collection, Glass Farm Ensemble, Ensemble LPR, Wordless Music and Ensemble Signal in New York City.

Committed to the idea that music is one continuous lineage of expression and demonstration of time, Pauline has been dismantling the norm of expectation of a typical classical violinist by performing in concerts presented in museums, churches, nightclubs, out of doors, rooftops, pop-ups to major stages with an openness to genre. As a composer, Pauline searches for a tactile connection between memory and sound. Her music creates a multi-dimensional sonic matrix through composition, transporting the listener to an alternate co-existence. She introduces an environment that alters the listener's emotional identity to what they are experiencing.

Active in the experimental music scene, her work extends into interdisciplinary worlds, crossing boundaries and connecting visual art, electronics, media, film and dance to music. She has premiered and recorded works by Alvin Lucier, John Zorn, Philip Glass, Steve Reich, George Lewis, David Lang, Du Yun, Annie Gosfield and more.

Crossing over into the rock and pop worlds, she has played and recorded as collaborator and leader for Jeff Beck, Lenny Kravitz, David Byrne (Talking Heads), Jonny Greenwood (Radiohead), Greg Saunier (Deerhoof), Tyondai Braxton, Max Richter, Gordon Gano (Violent Femmes), Jon Brion, Savion Glover, Gabriel Kahane, Mica Levi (Micachu and the Shapes), Jay Z/Beyoncé, Adele, Peter Gabriel, Somi, Jane Siberry, Macy Grey, Laurie Anderson, Björk, Roscoe Mitchell, Max Richter, Rostam Batmanglij (Vampire Weekend), Michael Leonhart, Placido Domingo, Joni Mitchell, John Cale (Velvet Underground), Billy Martin (Medeski, Martin & Wood), Jason Moran, Dan Romer, William Basinski, Jherek Bischoff, Stars of the Lid, Goldfrapp, Chilly Gonzales, Louis Michot (Lost Bayou Ramblers), Kishi Bashi, Nico Muhly & Doveman, Nu Deco Ensemble and with Jónsi Birgisson (Sigur Ros) in the fall of 2019.

Pauline was the first Music Director for the Bill T. Jones/ Arnie Zane Dance Company and has been the featured artist for choreographers David Parker, Kora Radella and Pam Tanowitz. She has performed at MASS MoCA, MoMA, the Metropolitan Museum, Museum of Contemporary Art in Chicago, iMOCA, Baryshnikov Arts Center, Guggenheim, The Drawing Center, Paula Cooper Gallery, Barnes Foundation, Brooklyn Museum and Noguchi Museum to name some.

She has appeared at Lincoln Center Out of Doors, Ghent Jazz Festival, North Sea Jazz Festival, Lincoln Center Festival, White Light Festival, Big Ears Festival, Liquid Music, Jacob's Pillow, Barbican, Miller Theater, Baryshnikov Center, DiMenna Classical Center, Symphony Space, Joyce Theater, Roulette, Issue Project Room, BAM, Sydney Opera House, Library of Congress, FringeArts, Lincoln Center, and Carnegie Hall.

Pauline moved to NYC at the age of 15 to study with Dorothy DeLay at the Juilliard School and is currently a sought after mentor to dance and drama students through the Juilliard Mentoring Program."

"Cellist Jay Campbell has been recognized around the world for approaching both old and new works with equally probing curiosity and emotional commitment. His performances have been described as "brilliant and insatiably inquisitive", "electrifying", and "prodigious" by the New York Times, and "gentle, poignant, and deeply moving" by the Washington Post. A recipient of the prestigious Avery Fisher Career Grant, Jay performed with the New York Philharmonic in 2013 and was a curator for the New York Philharmonic's 2016 Biennale. He has soloed in major venues around the globe including Carnegie Hall's Stern Auditorium, Avery Fisher Hall, and Lucerne's KKL and performed recitals in Carnegie's Weill Hall, the Kennedy, Mondavi, and Krannert centers. Dedicated to introducing audiences to the music of our time, Jay has worked closely with some of the most creative minds of the 20th/21st centuries including Pierre Boulez, Elliott Carter, Matthias Pintscher, Kaija Saariaho, and countless others from his own generation. His close association with John Zorn has resulted in over a dozen works written for him including The Aristos, a Pulitzer Prize runner up ­­resulting in the release of Hen to Pan (Tzadik), listed in the New York Times Best Recordings of 2015. Forthcoming discs in '16/17 include George Perle's cello concerto with the Seattle Symphony and Ludovic Morlot, a disc of Beethoven, Debussy, Stravinsky and Pintscher (Victor Elmaleh Collection), and a disc of works commissioned for Jay by David Fulmer (Tzadik). Also beginning in 2017, Jay will be the cellist of a new piano trio with violinist Stefan Jackiw and pianist Conrad Tao. He has been a guest at the Marlboro, Chamber Music Northwest, Moab, Heidelberger­Fruhling, DITTO, and Lincoln Center festivals."

"Mellissa Hughes enjoys a busy career in both contemporary and early music. a versatile, charismatic soprano endowed with brilliant technique and superlative stage instincts...indispensable to New York's new-music ecosystem" A dedicated interpreter of living composers, Hughes has worked closely with Julia Wolfe, Michael Gordon, David Lang, Steve Reich, Neil Rolnick, and has premiered works by David T. Little, Missy Mazzoli, Ted Hearne, Caleb Burhans, Christopher Cerrone, Jacob Cooper, and Frederick Rzewski, among others. In the classical concert hall she has performed Mozart's Vespers and Requiem under the baton of Sir Neville Marriner, Handel's Dixit Dominus with Sir David Willcocks, and the role of Dido under the direction of Andrew Lawrence King. Equally at home in front of a rock band, Hughes has received widespread acclaim in her role as lead vocalist of Newspeak, an amplified alt-classical band, and for her work with Missy Mazzoli's Victoire. In the 2013/14 season, Hughes continues touring with John Zorn for Zorn@60 celebrations, singing his "Madrigals" and "Earthspirit" in Jerusalem, Paris and at Alice Tully Hall in New York (having sung the works last season in Montreal, Ghent, Warsaw, at the Barbican in London, and at the Guggenheim New York.) She also stars in Jonathan Berger's double bill opera, Visitations, in a Beth Morrison Production/HERE production for Protoype 2014 at Roulette, led by Christopher Rountree. Other highlights include a recital with pianist Lisa Moore for Kettle Corn New Music, and Bach cantatas with Julian Wachner and Trinity Wall Street."