"Piotr Michalowski grew up in Poland and moved to the United States in 1968 to earn his master's degree and Ph.D. at Yale University. After postgraduate research at Harvard and Penn, he took his first job at UCLA.

He'd been an avid jazz fan since he was a teenager -- he swore off rock 'n' roll after seeing the Jazz on a Summer's Day concert film -- but his tastes leaned more toward the old school, New Orleans-style than the new avant-garde.

In Los Angeles, Michalowski made friends with a record-store clerk who turned him onto some further-out sounds, including L.A. players the clerk also booked at the storied Century City Playhouse. There, Michalowski checked out gigs by adventurous improvisers, like John Carter, Nels Cline, and Golia, the last of whom inspired him to start playing clarinet.

"It was a fantastic scene," he says.

After a stint teaching in Philadelphia during which he didn't really play, Michalowski landed in Ann Arbor in the early '80s to work at the University of Michigan, where he continued to teach until just last year.

He took up music again at the urging of a friend and was soon playing traditional jazz, swing, and standards on alto and tenor sax, performing with David Swain's II-V-I Orchestra and jams with friends. He enjoyed the tunes, but it didn't feel right.

"I was playing 'Body and Soul' at some art place, and I just thought, 'It's totally ridiculous for me to play "Body and Soul."' I have in my head Coleman Hawkins and all these classic performers. It's almost sacrilegious for me to do it. While I love listening to that music, playing it was absurd. You could say playing as an amateur is absurd anyway, but I love doing it. That was just so crazy. I decided I was just making an ass of myself, and I just couldn't really justify it."

So, in the '90s, he turned back to his love of improvisation and found some like-minded, younger players at the University of Michigan and its Creative Arts Orchestra, who he started sitting in with. He collaborated regularly with James Ilgenfritz, Sarah Weaver, and "a whole generation" of musicians until they eventually left town to pursue their music.

Another longstanding collaborator for years was Detroit violinist Mike Khoury, with whom Michalowski has released a half-dozen or so short-run CDs. He's also continued to play with Ilgenfritz when the two are in the same city. In March, the two played as an impromptu trio with U-M music professor Stephen Rush during an Ilgenfritz show at Kerrytown Concert House, and earlier this month, Michalowski and Relyea, a mezzo-soprano vocalist, joined the bassist in Steve Swell's band for a New York performance.

Through Kerrytown and Detroit's free improvisation scene, Michalowski has made connections around the country that have developed into mini-tours with professional musicians and one-off shows in other cities when traveling for work.

He recalls one notable house show in Berkley, Calif., wiith Golia and Jon Raskin of the Rova Saxophone Quartet all playing sopraninos. "It was advertised as a very squeaky evening," he says.

When pianist Thollem McDonas was recruiting musicians to perform with at Kerrytown last summer, he asked Michalowski and Ann Arbor cellist Abigail Alwin to join him. McDonas recorded the session, which is now posted to Bandcamp as part of a 15-album series produced while touring."-Christopher Porter

"Damon Smith studied double bass with Lisle Ellis and has had lessons with Bertram Turezky, Joëlle Leandré, John Lindberg, Mark Dresser and others. Damon's explorations into the sonic palette of the double bass have resulted in a personal, flexible improvisational language based in the American jazz avant-garde movement and European non-idiomatic free improvisation. Visual art, film and dance heavily influence his music, as evidenced by his CAMH performance of Ben Patterson's Variations for Double Bass, collaborations with director Werner Herzog on soundtracks for Grizzly Man and Encounters at the End of the World, and an early performance with the Merce Cunningham Dance Company.

Damon has collaborated with a wide range of musicians, including: Cecil Taylor, Marshall Allen (of Sun Ra's Arkestra), Henry Kaiser, Roscoe Mitchell, Michael Pisaro, Wadada Leo Smith, Marco Eneidi, Wolfgang Fuchs, Peter Brötzmann and Peter Kowald. After many years in the San Francisco Bay Area, and five great years in Houston, Texas working regularly with Alvin Fielder, Sandy Ewen, David Dove & Chris Cogburn, Damon will move to the Boston area in the fall of 2016. Damon has run Balance Point Acoustics record label since 2001, releasing music focusing on transatlantic collaborations between US and European musicians."