"Taylor Ho Bynum (b. 1975) has spent his career navigating the intersections between structure and improvisation - through musical composition, performance and interdisciplinary collaboration, and through production, organizing, teaching, writing and advocacy. As heard on over twenty recordings as a bandleader, Bynum's expressionistic playing on cornet and his expansive vision as composer have garnered him critical attention as one of the singular musical voices of his generation. He currently leads his Sextet and 7-tette, and works with many collective ensembles including a duo with drummer Tomas Fujiwara, the improv trio Book of Three, the UK/US collaborative Convergence Quartet, the dance/music interdisciplinary ensemble Masters of Ceremony, and the trans-idiomatic little big band Positive Catastrophe.

His varied endeavors include his Acoustic Bicycle Tours (where he travels to concerts solely by bike across thousands of miles) and his stewardship of Anthony Braxton's Tri-Centric Foundation (which he serves as executive director, producing most of Braxton's recent major projects). In addition to his own bands, his ongoing collaboration with Braxton, past work with other legendary figures such as Bill Dixon and Cecil Taylor, and current collective projects with forward thinking peers, Bynum increasingly travels the globe to conduct community-based large ensembles in explorations of new creative orchestra music. He is also a published author and contributor to The New Yorker's Culture Blog, has taught at universities, festivals, and workshops worldwide, and has served as a panelist and consultant for leading funders and organizations. His work has received support from Creative Capital, the Connecticut Office of the Arts, Chamber Music America, New Music USA, USArtists International, and the Doris Duke Charitable Foundation."

"James Fei (b. Taipei, Taiwan) moved to the US in 1992 to study electrical engineering. He has since been active as a composer and performer on saxophones and live electronics. Works by Fei have been performed by the Bang on a Can All-Stars, Orchestra of the S.E.M. Ensemble, MATA Micro Orchestra and Noord-Hollands Philharmonisch Orkest. Recordings can be found on Leo Records, Improvised Music from Japan, CRI, Krabbesholm and Organized Sound. Compositions for Fei's own ensemble of four alto saxophones focus on physical processes of saliva, fatigue, reeds crippled by cuts and the threshold of audible sound production, while his sound installations and performance on live electronics often focus on electronic and acoustic feedback. Fei received the Grants for Artists Award from the Foundation for Contemporary Arts in 2014. Fei has taught at Mills College in Oakland since 2006, where he is Associate Professor of Electronic Arts. www.jamesfei.com

Works by Fei have been performed at Merkin Hall, The Kitchen, Knitting Factory, Tonic, Roulette, Experimental Intermedia, MATA Festival, Engine 27, The Stone, Issue Project Room (all New York), SFMoma, Empty Bottle (Chicago), Akedemie der Künste (Berlin), Beurs van Berlage (Amsterdam), Steim (Amsterdam), Overtoom 301 (Amsterdam), JFC Club (St Petersberg), Super Deluxe (Tokyo), Shinjuku Pit Inn (Tokyo), Osaka Arts-Aporia, Bridge (Osaka), and National Recital Hall (Taiwan). Fei has lectured at Columbia University, Wesleyan University,The Art Institute of Chicago, Taipei Normal University,Taipei National University of the Arts, San Francisco Conservatory of Music, Theremin Center (Moscow), Pro Arte (St. Petersberg), Krabbesholm (Denmark), IAMAS (Ogaki, Japan) and NUAS (Nogoya, Japan)."

"One of improvised music's most in-demand guitarists, Mary Halvorson has been active in New York since 2002, following jazz studies at Wesleyan University and the New School. Critics have called her "a singular talent" (Lloyd Sachs, JazzTimes), "NYC's least-predictable improviser" (Howard Mandel, City Arts), "one of the most exciting and original guitarists in jazz-or otherwise" (Steve Dollar, Wall Street Journal), and "one of today's most formidable bandleaders" (Francis Davis, Village Voice). The Philadelphia City Paper's Shaun Brady adds, "Halvorson has been steadily reshaping the sound of jazz guitar in recent years with her elastic, sometimes-fluid, sometimes-shredding, wholly unique style."

After three years of study with visionary composer and saxophonist Anthony Braxton, Ms. Halvorson became an active member of several of his bands, including his trio, septet and 12+1tet. To date, she appears on six of Mr. Braxton's recordings. Ms. Halvorson has also performed alongside iconic guitarist Marc Ribot, in his bands Sun Ship and The Young Philadelphians, and with the bassist Trevor Dunn in his Trio-Convulsant. Over the past decade she has worked with such diverse bandleaders as Tim Berne, Taylor Ho Bynum, Tomas Fujiwara, Ingrid Laubrock, Myra Melford, Jason Moran, Joe Morris, Tom Rainey and Mike Reed.

As a bandleader and composer, one of Ms. Halvorson's primary outlets is her longstanding trio, featuring bassist John Hébert and drummer Ches Smith. Since their 2008 debut album, Dragon's Head, the band has been recognized as a rising star jazz band by Downbeat Magazine for five consecutive years. Ms. Halvorson's quintet, which adds trumpeter Jonathan Finlayson and alto saxophonist Jon Irabagon to the trio, has released two critically acclaimed albums on the Firehouse 12 label: Saturn Sings and Bending Bridges. Most recently she has added two additional band members-tenor saxophonist Ingrid Laubrock and trombonist Jacob Garchik-to form a septet, featured on her 2013 release Illusionary Sea. Ms. Halvorson also co-leads a longstanding chamber-jazz duo with violist Jessica Pavone, the avant-rock band People and the collective ensembles Thumbscrew and Secret Keeper."

"Described as "a state-of-the-art musical thinker" and a "dazzling saxophonist," by The New York Times, Steve Lehman (b. New York City, 1978) is a composer, performer, educator, and scholar who works across a broad spectrum of experimental musical idioms. Lehman's pieces for large orchestra and chamber ensembles have been performed by the International Contemporary Ensemble (ICE), So Percussion, Kammerensemble Neue Musik Berlin, the JACK Quartet, the PRISM Saxophone Quartet, and the Talea Ensemble. His recent recording, Mise en Abîme (Pi, 2014) was called the #1 Jazz Album of the year by NPR Music and The Los Angeles Times. And his previous recording, Travail, Transformation & Flow (Pi, 2009), was chosen as the #1 Jazz Album of the year by The New York Times.

The recipient of a 2015 Guggenheim Fellowship and a 2014 Doris Duke Artist Award, Lehman is an alto saxophonist who has performed and recorded nationally and internationally with his own ensembles and with those led by Anthony Braxton, Vijay Iyer, Jason Moran, Meshell Ndegeocello, and High Priest of Anti-Pop Consortium, among many others. His recent electro-acoustic music has focused on the development of computer-driven models for improvisation, based in the Max/MSP programming environment. Lehman's work has been favorably reviewed in Artforum, Downbeat Magazine, The New York Times, Newsweek, and The Wire, and on National Public Radio, the BBC, and SWR.

As a Fulbright scholar in France during the 2002-2003 academic year, Lehman began researching the reception of African-American experimental composers working in France during the 1970s. His article in the journal Critical Studies in Improvisation, "I Love You with an Asterisk: African-American Experimental Composers and the French Jazz Press, 1970-1980," is based on his Fulbright research. More recently, Lehman has published writings and presented lectures on a wide range of topics, including jazz pedagogy, rhythm cognition, and European notions of American experimentalism. His current scholarship, including a forthcoming contribution to the Oxford Handbook of Spectral Music, examines the overlapping histories of spectral composition and jazz improvisation.

Lehman received his B.A. (2000) and M.A. in Composition (2002) from Wesleyan University where he studied under Anthony Braxton, Jay Hoggard, and Alvin Lucier, while concurrently working with Jackie McLean at the Hartt School of Music. He received his doctorate with distinction in Music Composition from Columbia University (2012), where his principal teachers included Tristan Murail and George Lewis.

Lehman has taught undergraduate courses at Wesleyan University, the Conservatoire National Supérieur de Musique de Paris, New School University, and Columbia University, and has presented lectures at Amherst College, UC Berkeley, The Berklee School of Music, The Banff Centre, The Royal Academy of Music in London, and IRCAM in Paris, where he was a 2011 research fellow.

Beginning in September 2016, Lehman will join the music faculty at The California Institute of the Arts."

"Nicole Mitchell (b. 1967) is a creative flutist, composer, bandleader and educator. As the founder of Black Earth Ensemble, Black Earth Strings, Ice Crystal and Sonic Projections, Mitchell has been repeatedly awarded by DownBeat Critics Poll and the Jazz Journalists Association as "Top Flutist of the Year" for the last four years (2010-2014). Mitchell's music celebrates African American culture while reaching across genres and integrating new ideas with moments in the legacy of jazz, gospel, experimentalism, pop and African percussion through albums such as Black Unstoppable (Delmark, 2007), Awakening (Delmark, 2011), and Xenogenesis Suite: A Tribute to Octavia Butler (Firehouse 12, 2008), which received commissioning support from Chamber Music America's New Jazz Works.

Mitchell formerly served as the first woman president of Chicago's Association for the Advancement of Creative Musicians (AACM), and has been a member since 1995. In recognition of her impact within the Chicago music and arts education communities, she was named "Chicagoan of the Year" in 2006 by the Chicago Tribune. With her ensembles, as a featured flutist and composer, Mitchell has been a highlight at festivals and art venues throughout Europe, the U.S. and Canada.

Ms. Mitchell is a recipient of the prestigious Alpert Award in the Arts (2011) and has been commissioned by Chicago's Museum of Contemporary Art, the Ravinia Festival, the Chicago Jazz Festival, International Contemporary Ensemble (ICE), the Chicago Sinfonietta Orchestra and Maggio Fiorentino Chamber Orchestra (Florence, Italy). In 2009, she created Honoring Grace: Michelle Obama for the Jazz Institute of Chicago. She has been a faculty member at the Vancouver Creative Music Institute, the Sherwood Flute Institute, Banff International Jazz Workshop and the University of Illinois, Chicago. Her work has been featured on National Public Radio, and in magazines including Ebony, Downbeat, JazzIz, Jazz Times, Jazz Wise, and American Legacy.

Nicole MItchell is currently a Professor of Music, teaching in "Integrated Composition, Improvisation and Technology," (ICIT) a new and expansively-minded graduate program at the University of California, Irvine. In November 2014, ICIT was approved for the unleashing of a new MA/PhD program, which will be offered starting fall 2015. Mitchell's recent composition, Flight for Freedom for Creative Flute and Orchestra, a Tribute to Harriet Tubman, premiered with the Chicago Composers' Orchestra in December 2011 and was presented again with CCO in May 2014. She was also commisisoned by Chicago Sinfonietta for Harambee: Road to Victory, for Solo Flute, Choir and Orchestra in January 2012. Her latest commission was from the French Ministry of Culture and the Royaumont Foundation in October 2014, which supported the development and French tour of Beyond Black - a collaboration with kora master Ballake Sissoko, Black Earth Ensemble and friends. Currently Mitchell is preparing her next commission supported by the French American Jazz Exchange, entitled Moments of Fatherhood, featuring Black Earth Ensemble and the Parisian chamber group L'Ensemble Laborintus, to premiere at the Sons d'hiver Jazz Festival in late January 2015.

Among the first class of Doris Duke Artists (2012), Mitchell works to raise respect and integrity for the improvised flute, to contribute her innovative voice to the jazz legacy, and to continue the bold and exciting directions that the AACM has charted for decades. With contemporary ensembles of varying instrumentation and size (from solo to orchestra), Mitchell's mission is to celebrate the power of endless possibility by "creating visionary worlds through music that bridge the familiar and the unknown." She is endorsed by Powell flutes."

"Jessica Pavone (composer, viola, violin, el.bass) has performed in countless improvisation, avant jazz, experimental, folk, soul, and chamber ensembles since moving to NYC in 2000. She currently plays with Normal Love, in a duo with guitarist Mary Halvorson, with Anthony Braxton's ensembles and as a solo violist. As a composer, The Wire magazine praised her "ability to transform a naked tonal gesture into something special," and The New York Times described her music as "distinct and beguiling...its core is steely, and its execution clear."

Pavone's recent works for solo viola and voice stem from years of concentrated long tone practice and an interest in repetition, song form, and sympathetic vibration. She combines her long tone rituals with delay, understated melodies and sparse lyrical content while continuously experimenting with new forms. She is interested in the physicality of performing her somewhat larger-than-comfortable instrument and believes that cultivating physical bodies as a strong container for her thoughts is part of the creative process.

As an instrumentalist, she has personally worked with and interpreted new music by; Aaron Seigel, Andrew Raffo Dewar, Elliott Sharp, Glenn Branca, Henry Threadgill, Leo Smith, Jason Ajemian, Jason Cady, Jeremiah Cymerman, John King, Matana Roberts, Matthew Welch, Tristan Perich, Tyondai Braxton and William Parker; and, has played strings in bands such as Christy and Emily, Pure Horsehair, White Blue Yellow and Clouds, Joy Mega, and The Artificials.

Pavone has toured extensively throughout the U.S., Canada and Europe, performing in venues ranging from international music festivals, universities, and art galleries, to community centers and basements. Her music has premiered in venues in New York City such as, Roulette, Issue Project Room, and The Kitchen, and at the Klangbad Festival in Sheer, Germany. In 2011 she was featured in NPR's "The Mix: 100 Composers Under 40." She has received grants and commissions from the Aaron Copland Recording Fund, the American Music Center, New Music USA for her collaboration with choreographer, Anna Sperber, The Kitchen, MATA, The Jerome Foundation, The Tri-Centric Foundation, Experiments in Opera, and the chamber music collective, Till By Turning."

"Israeli born and raised trombonist Reut Regev has been out in the New York scene creating and exploring music for over 20 years. Reut enjoys playing with some of the most influential experimental composers, New York style bands blending styles and cultures, and traditional sounds as well. Reut's typical year includes some free improvisation, contemporary compositions, blues, klezmer, latin music, straight ahead jazz, and everything in between. She has recorded and toured with Anthony Braxton, Butch Morris, Elliott Sharp, Burton Greene, Hazmat Modine, Metropolitan Klezmer, Joe Battan, and many more.

Reut's main project as a band leader and composer, for the last decade, is the band that she co-leads with her husband, drummer Igal Foni: "Reut Regev's R*time". R*time features mostly original compositions by Reut and Igal, and encourages soulful musical explorations by the band members. The personnel includes legendary free funk guitarist Jean-Paul Bourelly, as well as master bassist Mark Peterson. Also some wonderful paR*timers including renowned Tubist Jon Sass, and internationally acclaimed bass players Robert Jukic and Andrea Castelli. Since R*time's first release in 2009, "This is R*time", the group has been touring Europe extensively. Following R*time's 2012 Enja release, "exploRing the vibe", the most recent release, "Keep Winning" was released on Enja records earlier this year.

At the same time as holding a successful and exciting musical career, Reut has been building her music education studio - Notes And Beyond LLC. Through Notes And Beyond, Igal and Reut offer music workshops for various ages and levels, as well as private lessons in NJ and beyond."

"Sara Schoenbeck is a bassoonist who dedicates herself to expanding the sound and role of the bassoon in the worlds of classical, contemporary notated and improvised music. The Wire magazine places her in the "tiny club of bassoon pioneers" at work in contemporary music today and the New York Times has called her "riveting, mixing textural experiments with a big, confident sound."

Originally from California, Sara spent her time on the west coast freelancing in various orchestral bassoon sections such as Santa Barbara Symphony, California Symphony, Redlands, Mancini Orchestra, the Dakah Hip Hop Orchestra and touring as a member of creative music ensembles Gravitas Quartet with Wayne Horvitz, Ron Miles and Peggy Lee, Anthony Braxton's 12+1(tet) and Vinny Golia's Large Ensemble. Sara also recorded for various sound and film projects including the Matrix 2 and 3 and Spanglish.

Sara now calls Brooklyn home and performs regularly with Petr Kotek's SEM ensemble, the composers group WetInk, Wordless Music Orchestra, LPR, Anthony Braxton's Tri-Centric Orchestra, Gravitas, Harris Eisenstadt's Golden State Quartet,the Lyrica Chamber Orchestra as well as performing with many other creative and inspiring musicians in the New York scene.

She has performed at major venues and festivals throughout North America and Europe, including Carnegie Hall, Lincoln Center Out of Doors, the Kitchen, Iridium, Disney Hall, SXSW, New Orleans Jazz Festival, Berlin Jazz Festival, Free Music Festival in Antwerp Belgium, Biennale Musica in Venice Italy, Montreal Jazz Festival, Ottawa Jazz Festival, the Vancouver International Jazz Festival and the San Francisco Jazz Festival to name a few. Sara received her BFA from the San Francisco Conservatory of Music and MFA from the California Institute of the Arts."

"Aaron Siegel has worked as a musician, composer, organizer and educator for 25 years in New York City. In his world, there is little distinction between the activities of producing, writing, performing, listening, and learning. Celebrated as a composer of works for percussion ("hypnotic clouds of chiming tones" - The New Yorker) and the stage ("softly shattering" - NY Times), Siegel has a long history as an improvising percussionist and bandleader. Since 2011, Siegel has co-led the radical opera collective Experiments in Opera ("Raw, funny, surreal, and disarmingly human"- Opera News), helping to bring to the stage countless works by composers and writers and expanding the boundaries of musical storytelling. Always happy to explore in community with others, Siegel has created work with A.M. Homes, Mallory Catlett, Tracy K. Smith, Mantra Percussion, Anthony Braxton, Memorize the Sky, Anthony Roth Costanzo and the EiO Writers Room among others.

Siegel's work has been performed at venues and festivals around the world and been featured on recordings for New Amsterdam Records, Gold Bolus Records, Peacock Recordings, Clean Feed Records, Broken Research, and Lockstep Records. He has been recognized with awards from the Foundation for Contemporary Art, Chamber Music America, the New York State Council for the Arts, New Music USA, Opera America, the Jerome Foundation, and the Aaron Copland Fund for Music among others."

"Carl Testa (b. 1984, Chicago, IL) is a multi-instrumentalist and composer at the intersection of improvised, electronic, experimental music, and new media. As a performer/improviser, he is equally comfortable on string bass, electronics, lighting, and combinations thereof. As a composer, he has written acoustic and electronic music for configurations ranging from solo to chamber orchestra, including multimedia pieces that incorporate electronics, lighting, dance, and theater. His work has been performed throughout the US and Europe, and is documented on many recordings, most recently "Iris (for solo bass and electronics)" (Lockstep Records 2013), and "Sⁿ (for prepared guitar and electronics)", a collaboration with guitarist Christopher Riggs (Gold Bolus Records 2015).

In addition to his work as a leader/collaborator, he performs regularly with composers Anthony Braxton, Mario Pavone, and Tyshawn Sorey. He serves as the Director of Publishing and Creative Technology for Braxton's Tri-Centric Foundation where he manages all facets of the production of digital and print scores for the organization. He is the production manager for noted jazz venue and record label Firehouse 12. He also organized The Uncertainty Music Series from 2007-2017, which was a monthly concert series in New Haven, CT featuring improvised, electronic, and experimental music. He has received support from the State of CT as a 2018 Artist Fellow, from the New Haven Department of Cultural Affairs, and from NewMusicUSA. He lives in New Haven with his wife, vocalist Anne Rhodes, and their son, Florian."

[Anthony Braxton (born June 4, 1945) is an American composer and instrumentalist.]

"Genius is a rare commodity in any art form, but at the end of the 20th century it seemed all but non-existent in jazz, a music that had ceased looking ahead and begun swallowing its tail. If it seemed like the music had run out of ideas, it might be because Anthony Braxton covered just about every conceivable area of creativity during the course of his extraordinary career. The multi-reedist/composer might very well be jazz's last bona fide genius. Braxton began with jazz's essential rhythmic and textural elements, combining them with all manner of experimental compositional techniques, from graphic and non-specific notation to serialism and multimedia. Even at the peak of his renown in the mid- to late '70s, Braxton was a controversial figure amongst musicians and critics. His self-invented (yet heavily theoretical) approach to playing and composing jazz seemed to have as much in common with late 20th century classical music as it did jazz, and therefore alienated those who considered jazz at a full remove from European idioms. Although Braxton exhibited a genuine -- if highly idiosyncratic -- ability to play older forms (influenced especially by saxophonists Warne Marsh, John Coltrane, Paul Desmond, and Eric Dolphy), he was never really accepted by the jazz establishment, due to his manifest infatuation with the practices of such non-jazz artists as John Cage and Karlheinz Stockhausen. Many of the mainstream's most popular musicians (Wynton Marsalis among them) insisted that Braxton's music was not jazz at all. Whatever one calls it, however, there is no questioning the originality of his vision; Anthony Braxton created music of enormous sophistication and passion that was unlike anything else that had come before it. Braxton was able to fuse jazz's visceral components with contemporary classical music's formal and harmonic methods in an utterly unselfconscious -- and therefore convincing -- way. The best of his work is on a level with any art music of the late 20th century, jazz or classical.

Braxton began playing music as a teenager in Chicago, developing an early interest in both jazz and classical musics. He attended the Chicago School of Music from 1959-1963, then Roosevelt University, where he studied philosophy and composition. During this time, he became acquainted with many of his future collaborators, including saxophonists Joseph Jarman and Roscoe Mitchell. Braxton entered the service and played saxophone in an Army band; for a time he was stationed in Korea. Upon his discharge in 1966, he returned to Chicago where he joined the nascent Association for the Advancement of Creative Musicians (AACM). The next year, he formed an influential free jazz trio, the Creative Construction Company, with violinist Leroy Jenkins and trumpeter Leo Smith. In 1968, he recorded For Alto, the first-ever recording for solo saxophone. Braxton lived in Paris for a short while beginning in 1969, where he played with a rhythm section comprised of bassist Dave Holland, pianist Chick Corea, and drummer Barry Altschul. Called Circle, the group stayed together for about a year before disbanding (Holland and Altschul would continue to play in Braxton-led groups for the next several years). Braxton moved to New York in 1970. The '70s saw his star rise (in a manner of speaking); he recorded a number of ambitious albums for the major label Arista and performing in various contexts. Braxton maintained a quartet with Altschul, Holland, and a brass player (either trumpeter Kenny Wheeler or trombonist George Lewis) for most of the '70s. During the decade, he also performed with the Italian free improvisation group Musica Elettronica Viva, and guitarist Derek Bailey, as well as his colleagues in AACM. The '80s saw Braxton lose his major-label deal, yet he continued to record and issue albums on independent labels at a dizzying pace. He recorded a memorable series of duets with bop pioneer Max Roach, and made records of standards with pianists Tete Montoliu and Hank Jones. Braxton's steadiest vehicle in the '80s and '90s -- and what is often considered his best group -- was his quartet with pianist Marilyn Crispell, bassist Mark Dresser, and drummer Gerry Hemingway. In 1985, he began teaching at Mills College in California; he subsequently joined the music faculty at Wesleyan University in Connecticut, where he taught through the '90s. During that decade, he received a large grant from the MacArthur Foundation that allowed him to finance some large-scale projects he'd long envisioned, including an opera. At the beginning of the 21st century, Braxton was still a vital presence on the creative music scene."