"PEK (aka David Peck) is a multi-instrument improviser who plays all kinds of instruments including saxophones, clarinets, double reeds, percussion, electronics and auxiliary sound making devices of all kinds.

PEK was born in 1964 and started playing clarinet and piano in elementary school. In 7th grade he started saxophones, first on alto, then switching to tenor in high school. He spent 10 years playing in rock bands and studying classical and jazz saxophone with Kurt Heisig in the San Jose CA area before moving to Boston in 1989 to attend Berklee where he studied performance with George Garzone. While Berklee was an excellent place to study harmony, voice training and other important aspects of a conventional formal music training course of study, it was not a very good environment for learning contemporary (or pure) improvisation (apart from his work with George). PEK did find, however, that Boston had a thriving improvisation scene, and it was here that he developed his mature pure improvisation language.

During the 90s, PEK performed with many notable improvisers including Masashi Harada, Glynis Lomon, William Parker, Laurence Cooke, Eric Zinman, Glenn Spearman, Raqib Hassan, Charlie Kohlhase, Steve Norton, Keith Hedger, Mark McGrain, Sydney Smart, Matt Samolis, Martha Ritchey, Larry Roland, Dennis Warren, Yuri Zbitnov, Craig Schildhauer, Keith Fullerton Whitman, Leslie Ross, Rob Bethel, Wayne Rogers, Eric Rosenthal, Taylor Ho Bynum, Tatsuya Nakatani, James Coleman, B'hob Rainey and George Garzone.

PEK met cellist Glynis Lomon when they played together in the Masashi Harada Sextet which existed between 1990 and 1992. They developed a deep musical connection which they continued following the MHS; first with the Leaping Water Trio for a few years and then with the first version of Leap of Faith in 1994. Leap of Faith was very active in Boston from that time until 2001 and went through a series of several core ensembles which always included both PEK and Glynis. Other key Leap of Faith core members during this period were Mark McGrain (trombone), Craig Schildhauer (double bass), Sydney Smart (drums), Yuri Zbitnov (drums) and James Coleman (theremin). Leap of Faith was always a very modular unit with constantly shifting personnel and many different guests. The early Leap of Faith period concluded in 2001 with a dual bill at an excellent room at MIT called Killian Hall with George Garzone's seminal trio the Fringe.

At this time, PEK changed careers for his day gig, returning to college for a computer science degree and beginning to work in the structural engineering industry at Simpson Gumpertz & Heger. He became far too busy to continue the heavy music schedule, and preferring not to do music casually, he entered a long musically dormant period.

Flash forward to early 2014. PEK was a regular mail order customer of Downtown Music Gallery, the premiere specialty shop in Manhattan for free jazz, contemporary classical and other new music. While in New York on SGH business, he went down to DMG and had a lengthy conversation with proprietor Bruce Lee Gallanter about the early Leap of Faith period. He then sent Bruce a package of about 15 CD titles from the 90s and was pleasantly surprised when Bruce managed to sell nearly all of it. This public interest in the old catalog spurred PEK into getting back into performance. He reformed Leap of Faith with Glynis Lomon (cello, voice, aquasonic), Yuri Zbitnov (drums) and newcomer Steve Norton (clarinets and saxophones) and started to record and perform in early 2015.

Now having access to financial resources always absent in the early period, PEK began to accumulate a huge collection of instruments both for himself and also to expand the palate of Leap of Faith and the other projects soon to follow. He acquired new recording equipment and many new saxophones, clarinets, double reeds, metal and wooden percussion instruments, electronic instruments, signal processing equipment and other sound-making devices from many cultures. He revived his old record label, Evil Clown, and created reissues and new releases for much of the early period work by Leap of Faith and many of his other projects to sell at shows, DMG and the internet (around 100 archival titles).

The Arsenal of equipment has a grand purpose: To establish a large scale aesthetic problem to use the instruments to make long form broad palate improvisations with dramatic transformation and development. The very broad palate enables the long improvisations to evolve with very different movements and pronounced development over their length. PEK started the Leap of Faith Orchestra, a greatly expanded Leap of Faith, to achieve this purpose along with a number of smaller ensembles which are sub-units of the full orchestra including String Theory (focusing on orchestral strings), Metal Chaos Ensemble (focusing on metallic percussion), Turbulence (horn players), Mekaniks (electronics) and Chicxulub (space rock). In all, the Evil Clown roster includes over 40 musicians who contribute to one or more of the various projects, with PEK participating in all of them. Leap of Faith has also had some special guests like Steve Swell (trombone), Thomas Heberer (trumpet), Jeremiah Cymerman (clarinet) and Jim Hobbs (alto sax). The Leap of Faith Orchestra happens whenever several of these groups play together at the same time, or the ensemble exceeds 7 or 8 players. The Full Orchestra is a special case discussed below.

The current roster is comprised in part of: - Core Leap of Faith: PEK, Glynis Lomon, Yuri Zbitnov (Steve Norton has since left to go to Graduate School) - Percussion: Andria Nicodemou (vibes), Kevin Dacey (perc), Joe Hartigan (perc), Syd Smart (drums) - Strings: Jane Wang (cello), Clara Kebabian (violin), Tony Leva (bass), Mimi Rabson (violin), Kirsten Lamb (bass), Brendan Higgins (bass), Silvain Castellano (bass), Rob Bethel (cello), Kit Demos (bass), Matt Scutchfield (violin), Helen Sherrah-Davies (violin) - Piano: Eric Zinman, Peter Cassino, Emilio Gonzales - Horns: Dave Harris (tuba, trombone), Charlie Kohlhase (saxes), Bob Moores (trumpet), Sara Honeywell (trombone), Forbes Graham (trumpet), John Baylies (tuba), Dan O'Brien (woodwinds), Zack Bartolomei (woodwinds), Kat Dobbins (trombone), Steve Provizer (trumpet, baritone horn), Matt Samolis (flute) - Electronics: Greg Grinnell, Jason Adams (electric bass, electronics) - Guitar: Dru Wesely, Grant Beale, Chris Florio - Voice: Dei Xhrist

Evil Clown is documenting the ongoing solutions to this aesthetic challenge by creating limited CD editions and digital download albums of every performance and studio session by this array of ensembles. Interested audience can track the development of the grand scale project over the many releases - over 80 albums recorded and released so far between Jan of 2015 and March of 2017. All of the bands are highly modular, changing personnel and instrumentation with each meeting. The result is an enormous amount of music that shares the same fundamental improvisational language but differs from event to event greatly both in sonority (overall sound) and specific detail.

For the full Leap of Faith Orchestra, PEK composes a graphic notation score to guide the improvisation. The full Orchestra is comprised of roughly 20 players from the roster and performs twice a year. Two performances have occurred to date - The Expanding Universe in June of 2016 and Supernovae in November of 2016. Composition for Possible Universes is completed and the work will be performed on May 28, 2017 with another performance (score not yet begun) scheduled for November.

The scores use a device called Frame Notation where written English descriptions of the overall sonority desired and simple graphic symbols are given durations for each player on their part along with direction on when to play and when not to play. The directions are put in little boxes called frames which are arranged on a timeline and are simple enough to be immediately understood by the performers. Horizontal lines, called Duration Bars, extend across the page indicating when each Event (the Frame + the Duration Bar) begins and ends. An Event can be intended for the full ensemble, a defined group within the ensemble (for example, Metal Chaos Ensemble), a custom group (for example, Tubas), or an individual (for example, Andria Feature).

Parts are the full score annotated with Hiliters so that each player's instructions stand out. They can clearly see their individual instructions, but can also see the big picture, enabling far more knowledge about the pending actions of the rest of the ensemble than typical in pure improvisation. The players track the elapsed time on a very large sports clock. There is no melodic, harmonic or rhythmic information specified. This system allows PEK to compose detailed Ensemble Events without having to notate pitches or rhythms which would require significant rehearsal to accurately achieve."

Michael Anthony Caglianone is an American sax player, producer, recording, mixing & mastering engineer, voice-over actor, co-founder of Studio 7A West. Based out of Boston, MA. He is known for the band Zen Bastards.

"As a kid growing up on New York's Upper West Side, I was a voracious reader of science fiction and related genres that sparked my imagination, as they have ever since. This preoccupation also stimulated an interest in following developments in science and technology, a path that eventually influenced my academic career as a political scientist from the mid-1960s through the 1970s. At campuses including UC Davis, Case Western Reserve University (Cleveland) and Rensselaer Polytechnic Institute (Troy, NY) I brought to the classroom a passion for such topics as the study of alternative world futures, issues of sustainable resource use and science fiction as a social science literature.

I moved to Boston in the early 1980s to take a job as policy analyst with the Massachusetts government's anti-poverty program. Bad timing for the Reagan years, which saw budgets drop for dealing with the consequences of economic inequality. I changed careers again, becoming a business editor for High Technology Magazine, then a feature writer for Systems Integration, a trade industry publication that catered to the burgeoning computer sector. On the way I garnered an award from the Computer Press Association in 1989 for best feature story of the year, an article on NASA's plans for an international space station - which necessitated a research trip to Houston's Johnson Space Center, a sci fi fan's dream come true.

My career hopping took another twist from the 1990s on when I returned to the family trade - music. Roll the tape back to my teen years, when my musical tastes ran toward classical music - especially Baroque and 20th century composers - and though I played piano, my main performing instrument became and remains the flute. I was also growing up with a mom who had been a big band singer under the name Ruth Brent in the 1930s and a dad, Jerry Livingston, who was a prolific and successful songwriter in the Tin Pan Alley era and beyond. His output includes such iconic numbers as "The Talk of the Town," "Mairzy Doats," "The Twelfth of Never" and the score for Disney's animated Cinderella. In my adult years, after ignoring this heritage, my musical universe expanded to encompass a deep appreciation of the American Songbook along with musical theater, jazz, world music, contemporary classical and other diverse styles that I grew to love.

Out of this foundation grew a desire in mid-life to try my own hand as a composer/lyricist of songs. When I pondered what kind of material to create in the methodical way I approach each new life event, I was inspired to devise contemporary versions of the witty lyrics, memorable tunes and story-driven themes that characterized so many of the standards from my dad's era, filtered through a diverse set of musical influences and range of concerns reflecting life in our times. I decided the only possible audience for this kind of sophisticated songwriting was the passionate world of cabaret singers, fans and clubs.

You can hear the results on a CD titled "The Stories In My Mind," recorded live at a New York revue of my songs, and at this website, which contains full tracks of all my pieces, videos of songs presented in revues, song lyrics and much more at the SONGS page. The SONG PERFORMANCES page provides details about showcases and cabaret shows that have included performances of my work. The CABARET LINKS page connects you to websites of singers who have recorded my songs on commercial CDs and demos, along with links to selected cabaret publications and organizations. There's also a comprehensive section on the life and career of my dad at the JERRY LIVINGSTON page.

It seems that music is not yet done with me. I have always had a knack as a flutist for improvising tunes, abstract riffs and responses to the playing of others at jams. I'm now bringing these skills to the public as a member of The Alchemists, a band of musicians devoted to the art of group improvisation. We have released two CDs so far, "Potions" and "Journey To The East."

I wonder what's next."

"Dedicated improvisor and electro acoustic pioneer, Bonnie Kane's music is formed from equal exposure to the avant-garde, hard core and the psychedelic.

Integrating saxophone, flute, feedback and electronics, her solo and group work traverse the genres of noise, free jazz and improvisation, psych rock, jam band, and bio-composition. She brought her "Fresh Sound Guarantee" to her first show at the Rochester Planetarium, performances at a Bosnian refugee camp, outdoor festivals, art spaces, rock, jazz, and punk clubs. She has toured nationally and worldwide, performing extensively throughout her Eastern USA base.

A bandleader since the 1990s, with over 30 releases, those she has performed and recorded with include: John Spencer, Tatsuya Nakatani, Chris Forsyth, Kevin Shea, Shayna Dulberger, Jeffrey Hayden Shurdut, Blaise Siwula, Ernesto Diaz-Infante, Chris Welcome, Federico Ughi, Walter Wright, Andrea Pensado, Chris Strunk, and John Loggia. New collaborations are continually evolving."

"John Fugarino received his Bachelor of Music from the University of Wisconsin, Madison. He then attended the New England Conservatory of Music and earned a Masters in Music Composition. John has performed and taught trumpet in both the classical and jazz idioms. Has performed a wide range of music including Orchestral, Jazz, Rhythm and Blues, Free Form Improvisation and Microtonal Music. Currently John can be seen playing his own jazz compositions and lead trumpet with "The Hornzone" an R&B/ Funk band. John is a music teacher at the Butler Middle School where he teaches in the Midi-Music Lab and directs the school Jazz Ensemble. Trumpet recordings are on the Lyra Ohm label and Zoning Records. Orchestral music recorded by the Radio and Television Orchestra of Bratislava."

"Bob Moores Having spent most of his life flying under the radar working on obscure projects that may some day come to the light of day, trumpeter/guitarist/composer/improviser/artist/photographer/poet/conceptualist Bob Moores has finally started to emerge into the light playing in the free improvisation collective Fable Grazer and through his solo project Resonator.

Having played every kind of music imaginable on trumpet in every kind of setting from classical to funk to blues to R&B to pop punk and metal to jazz, in small and large ensembles, Bob has settled on playing only freely improvised music at this stage of his evolution, both in group situations and as a solo artist. Moores is an exponent of what he calls unschooled primitive coloristic guitar having started to play in earnest with Fable Grazer.

He has been composing music since he was a child and composes and arranges for a variety of ensembles types, instrumentations and genres."

"- Performed with free jazz icon Hal Russell & his NRG Ensemble, Aardvark Jazz Orchestra, Travis Chandler Philharmonic, Auddity, Rakalam Bob Moses, DMJE quartet and DME trio. Dahlman has appeared on Fugazi drummer Brendan Canty's Discovery Channel soundtrack "Bridges".

- Music appears in the documentary film "The Bear Cult" (2015 Hyperion).

- Studied with Ingrid Monson, Dave Frank, Anthony Davis & John Luther Adams."

"Kat Dobbins graduated with a Bachelor of Music in Trombone Performance from The Boston Conservatory in May 2009, and is an avid performer and teacher in the Greater Boston Area. Miss Dobbins taught at Natick Public Schools, and has an active and rapidly expanding private studio. Kat is a member of The Frequency Band, and enjoys performing for Musical Theater Pits, Orchestras and Chamber Ensembles. She frequently subs with the Boston Civic Symphony, and has performed with The Mercury Orchestra, Turtle Lane Playhouse and the Boston New Music Initiative."

"Improvising cellist, vocalist and aquasonic player Glynis Lomon graduated from Bennington College in 1975 with a degree in Music/Black Music. At Bennington she studied with musician/composer Bill Dixon and continued to perform and record with his ensembles until his recent death. Glynis has also been privileged to play with Arthur Brooks, Jimmy Lyons, Cecil Taylor, Butch Morris, William Parker, Joe Morris, Greta Buck, Masashi Harada, Lowell Davidson, Raqib Hassan and many others. For almost a decade she and multi reed player PEK performed in the Boston area with their group Leap of Faith."

Jiaxin Wan is a guzheng and keyboard player from Beijing, China, who studied at Berklee College of Music and currently lives in Boston, MA.

"New Orleans based improviser/guitarist/composer Chris Alford utilizes a spherical approach in his artistry. In one hemisphere is the deep tradition of jazz and blues languages of the past and in the other is avant-garde, unconventional, creative syntax. Warping the old with the new, Alford keeps his feet rooted in the ground all the while looking beyond the horizon. He is just as likely to galvanize an audience with peculiar, angular, sharp flourishes as he is to allure with luscious, atmospheric harmony and melodies. An openness to sound and collaboration allows Alford to shape and guide the music in an organic flow.

Alford earned music degrees from The Chicago College of Performing Arts and Belmont University. Alford has had the opportunity to study with Henry Johnson, Regi Wooten, John McLean, Joe Morris, Hank Mackie and Chester Thompson. Chris Alford has performed with legends of jazz and creative music including: Cassandra Wilson, Ra Kalam Bob Moses, 2Face Idibia, Jerry Jemmott, Rhonda Richmond, Leslie Hunt, Ezra Brown, James Singleton , Tim Berne, Albey Balgochian, John Sinclair, Reginald Veal, Algerbra Blessett, Jeb Bishop, Mino Cinelu, Dennis Warren, Mike Burton, Tim Green, Mike Dillon, London Branch,Luke Stewart, Aurora Nealand, Rob Cambre, Hellen Gillet, Gregoire Maret, Robert Walter, Grayhawk Perkins, Evan Gallagher, Matt Ulery, Reed Mathis, Michael Vatcher, Simon Berz, Dr.Jeff Albert and many more. Alford fulfills his passion for creative music education through his teaching, both in the community and at the University of Southern Mississippi, where he was on the Jazz department faculty from 2007- 2019."

"Tim Mungenast is a surrealist guitar shaman with an almost messianic sense of purpose.

He plays both mystical improv and 60s-flavored rock that flirts with psychosis, featuring odd chords and even odder lyrics (not to mention some really weird sounds). His improbably catchy songs often melt into loopy extended jams a la early Pink Floyd."

Albey Balgochian performs on bass, who has performed with Cecil Taylor, Paul Rishell and has led his own band.

Mike Gruen is a Boston-area bassist, known for the band Red Tail Hawk, and Metal Chaos Ensemble.

"I'm a Boston-based musician who plays all kinds of Jazz and improvised music. I grew up in the New York City area (New Jersey) and moved to Boston in 1970. I attended Berklee and have performed around New England ever since.

Music is an avocation for me. I was called early, and I play every day. I get up in the morning and make coffee, feed my cats and pick up an instrument. My practice routine is really a series of meditations. I don't practice, I play. I learned a long time ago that the word play meant exactly that. For me, it isn't work; it is simply the joy of playing. Improvisation requires that you be in the moment, fully present and an open vessel. Performance challenges me to bring that state of being into the public space.

I currently play in a number of groups. My band Muse Stew has been together since 1990 and performs my original compositions as well as arrangements of tunes I like. There are two Muse Stew CDs: Crossings, recorded in 1996 and Muse Stew Live at The Zeitgeist Gallery, recorded in 2004. Muse Stew performs regularly.

I'm also a member of the Sounds of Swing Orchestra which is a 16-piece big band. I've been holding down the bass chair for 35 years. In the 80s and 90s, we had lots of work playing "society" gigs at the Copley Plaza, Parker House, Harvard Club, etc. We played lots of weddings and annual gigs at the Marblehead Yacht Club. As the DJ thing emerged, wedding gigs became scarce. We've transitioned from being a working band to becoming a rehearsal band over the years and only occasionally play in public. The band is my extended family. Many of the best musicians in the Boston area play in the group, and we've got several composers and arrangers, enabling us to have original charts and a huge library that grows all the time.

I also enjoy performing free improvised jazz whenever possible. Recent performances have included a concert of free jazz and poetry at the Arlington Center for the Arts (ACA) this past January, a Muse Stew concert also at ACA this past May, and a couple of performances with Avant Unguarded at the LilyPad in Cambridge in June and July.

In addition to performing and producing shows, I'm a long-time member of Sustainable Arlington and a member of the Arlington Cultural Council. I'm an arts and climate activist who is trying to work to maintain our humanity, dignity and create a sustainable and humane future. All forms of Art are all about self-expression and empowerment. That's why we artists are so dangerous and scary.

I am, therefore I play music!"

"Eric Zinman was born and educated in Boston, MA . He studied music/composition with Bill Dixon at Bennington College and later George Russell and Jimmy Giuffre at New England Conservatory. He formed a piano trio with percussionist Laurence Cook, bassist Craig Schildhauer and later bassists John Voigt and Jacob William. For years, he has been an active producer, performer and organizer and composer and arranger of ensembles in Boston including Citizen's Orchestra with Stanley Jason Zappa and the ensemble New Language Collaborative with Syd Smart, drums and Glynis Lomon, cello. Turning away from the music scene he worked in theatre, with poets and with painter Linda Clave. Mr. Zinman has collaborated with artist, Aldo Tambellini in presenting performances which used Tambellini's films, videos and poetry read with poet singer actress Lo Galluccio. In 2006, he began to play and gain recognition in Europe in collaboration with Austrian based musician/artist Mario Rechtern, and a trio with French bassist Benjamin Duboc and percussionist Didier Lasserre and later Makoto Sato with bassist Yoram Rosillio He has performed in 6 different countries and has been reviewed in 5 different languages. Since 2005 musician/composer Eric Zinman has been recorded and produced on Cadence(US), Ayler, (France) Studio234(USA), Improvising Beings(France. ) and"Nottwo Records(Poland). He is listed in the 19th edition Penguin Guide To Jazz Recordings."

"Robin Amos is an American keyboardist and founding member of the band Cul de Sac. His first band was The Girls, a punk band that Amos founded in the late 1970s with George Condo, Mark Dagley and Daved Hild. He continued to explore that band's sound with his next band Shut Up, which he formed with guitarist Glenn Jones."

"Originally trained as an electric bassist in funk and jazz in high school, Eric's interest in new music began after studying at Northeastern's Music Technology program, composing acousmatic music on the computer, with an interest in mixed electronic works for live performance, as well as algorithmic and chance operations. While at Northeastern, Eric honed his improvisation skills in the Electronic Music Ensemble, performing pieces such as John Zorn's "Cobra" and Stockhausen's "From the Seven Days".

After college, Eric began playing mandolin as a founding member of the improv collective Fable Grazer. Craving more of the sonic flexibility of his earlier computer music work, Eric was drawn to modular synthesizers in 2012, which has became his primary instrument. He records and performs solo work under the moniker Machine Machine that are largely unedited, improvised recordings. Last year, Eric went on his first nation-wide tour as the synth player in the psychedelic electronic folk trio Vilicon Sally."

"Count Robot was created to carve audio stupidity into art. Since being conjured into existence, Count has been a member of the following active music projects; Astro Al, Amplissima, and Static Apparitions. In another form Count has also contributed words and occasionally performed with Georgia space metal rockers, Spaceseed. The Count has well over 40 recordings to his credit.

What else can be said about this space buffoon? He's wanted for public onstages displays of moronics in Austin Texas, Cullman Alabama, Portland Maine, and New Hampshire, Rhode Island, Bromsgrove England, and Massachuestts."

"A poet of the street Jane SpokenWord's performances represent the spoken word as it is meant to be experienced, raw, uncensored and thought provoking. She believes that Words have Power. Her words speak to humanity, spirituality, soulfulness, ancestors, the yin of crying out against injustice and cruelty, and the yang of assimilating stardust and moonbeams and nature's beauty and the wisdom of the elders.

Committed to shine

To Black Lives Matter

To Standing Rock

To Dreamers

To Youth on the march

To Women on the move

To inspire tribal resolution

Where I and he and she and me

and the rest of yous including you and us become

'We'

She yields her pen like a warriors sword to inspire change. From solos, to slams, duo's, trios, and bands, she brings her poetry and spoken word to a diverse set of venues including museums, festivals, libraries, slam lounges, art galleries, clubs, busking street corners and living rooms everywhere.

Her notable performances and collaborations include; The Whitney Museum with Avant-Garde Maestro Cecil Taylor (All About Jazz's Best of 2016) Min Tanaka, Nuyorican Poet Miguel Algarin, Beat Poet John Sinclair, her son HipHop musician/producer DJ Nastee, and her partner in all things Albey onBass. To preserve the cultural heritage of wording to document life, and foster a broader collective community she combines the elements of spoken word, music, sound and song."

"Michael Knoblach Percussion---Knoblach has played with Ad Frank, Twitcher, Reg Bloor (from Glenn Branca Ensemble), Cul de Sac, John Fahey, Jon LaMaster's Saturnalia, Neovoxer Ensemble, The Boston Village Gamelan, Kiniwe African Percussion Ensemble, Donald "the junkman" Knaack (ex-John Cage), The Calypso Invaders, The Valhalla Kittens, Emily Grogan, Ted Drozdowski's The Scissormen, The Trojan Ponies, Ken Lovelett, John Amaral, Tim Mungenast, Bill T. Miller and others. He played the New Year's Countdown in Copley Square for Boston, MA for a number of years. He has done soundtrack work for the Troma Films release "Terror Firmer." Michael has had extensive studies in Arabic hand drumming and classical Egyptian tambourine, as well as having studied tabla and North Indian classical music with Ali Akbar Khan and Swapan Chaudhuri. He studied drum set with Gene Piccolo (ex-Jack McDuff, ex-Woody Herman, ex-Glenn Miller Band and Piccolo was a long time student of Ed Thigpen (Oscar Peterson Trio, more...) and Shelly Manne (Stan Kenton, more...)). He is currently playing percussion with Dahlman & Nugent in the band Auddity and is playing washboard and old timey percussion with banjo/fiddle player Nicholas Bogosian, as well as other projects."

Jared Seabrook is drummer from Boston, Massachusetts, known for the groups Seabrook Power Plant, and The Abraham Lincoln Brigade.

"Steve Niemitz is a percussionist and pianist with over 15 years of performing experience, 12+ years of recording experience, and 5 years of teaching experience. Well versed in a variety of musical styles including jazz, rock, punk, metal, classical, and experimental/avant-garde, Steve's teaching philosophy emphasizes creativity and independence as well as a solid foundation in practical skills such as music reading, drum rudiments, and technique.

Steve has studied drumset with Jerome Deupree (Morphine, Either/Orchestra, Bourbon Princess), Luther Gray (Tsunami, Ida, Jenny Toomey) and Jeff 'Siege' Siegel (Sir Roland Hanna Trio, Ron Carter, Kenny Burrell, Ravi Coltrane), and has been playing piano/keyboards for over a decade."

John Loggia is a Boston-area drummer who has worked with Bonnie Kane, Blaise Siwula, and the Evil Clown Collective band Turbulence.