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Matana Roberts

Matana Roberts is a jazz saxophonist, composer and improviser based in New York City.[1] She is a member of the Association for the Advancement of Creative Musicians (AACM).[2] The Jazz Journalists Association selected Roberts as a finalist nominee for the 2008 "Up and Coming Musician of the Year" award (which Lionel Loueke ultimately won).[3] Born in Chicago, Illinois, Roberts was raised on the city's South Side and studied classical clarinet during her youth.

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Amiri Baraka

Amiri Baraka is an influential American poet, dramatist and music critic. Known for his outspoken political activism, he may be best remembered for his controversial tenure as Poet Laureate of New Jersey. Important writings include Preface to a Twenty Volume Suicide Note (1961) and Blues People: Negro Music in White America (1963), which remains one of the most influential volumes of jazz criticism. Baraka's website is http://www.amiribaraka.com/.

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Hamid Drake

Hamid Drake (b. Monroe, Louisiana, August 3, 1955) is an American jazz drummer and percussionist. He lives in Chicago, IL but spends much of his time traveling around the world for concerts and studio dates. He first became known for his work with Chicago tenor saxophonist Fred Anderson. Drake was one of the founders, along with Foday Musa Suso and Adam Rudolph, of The Mandingo Griot Society. His other frequent collaborators include New York bassist William Parker, saxophonist David Murray, composer and percussionist Adam Rudolph...

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Don Byron

Don Byron (b.1958) is a U.S. composer and clarinettist. While he is considered a jazz musician, he is stylistically very adventurous, having recorded klezmer music, German lieder, and cartoon music. Byron was born on 8th November 1958 in the Bronx, New York City and was raised by his parents who were themselves musicians, his mother a pianist; his father a bass player for calypso bands. His parents raised him listening to all kinds of music, taking him on trips to the ballet and the symphony, and also exposing him to jazz such as Dizzy Gillespie and Miles Davis records.

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Fight the Big Bull

Fight the Big Bull is a Richmond, Virginia based improvisatory ensemble with two 2010 recordings selected for NPR's best of the year lists. The band was founded in the mid-00s by guitarist Matt White, one of the organizers of the Patchwork Collective, an arts group dedicated to creating a vital local music scene.The original configuration- called simply Fight the Bull- was a trio with drummer Pinson Chanselle and trombonist Bryan Hooten. The group was subsequently expanded to eight players (or nine, with the occasional addition of ex-Agents of Good Roots percussionist Brian Jones.

Read more about Fight the Big Bull on Last.fm.

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Vandermark 5

Ken Vandermark formed his quintet, the VANDERMARK 5, during the spring of 1996. Since that time it has been a major outlet for compositional and improvisational ideas that have been fascinating its leader, whose thinking has been developed through years of work with groups like the NRG Ensemble, AALY, the Peter Brötzmann Chicago Tentet, Free Music Ensemble, School Days, Free Fall, the Territory Band, Powerhouse Sound, Frame Quartet, and the Resonance Ensemble- the members of which represent an international gallery of the cutting edge of contemporary music.

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Lotte Anker

Lotte Anker. Soprano- alto and tenorsaxophone. Composer.
www.lotteanker.com Lotte Anker was born 1958 in Copenhagen. As a child and young she studied classical piano but took up the saxophone and improvised music in 1980, primarily influenced through the music of John Coltrane and Wayne Shorter but also the more experimental jazzscene in Scandinavia at that time. She has studied music at the Copenhagen University from 1980-84 and par-ticipated in several courses and workshops lead by e.g.: Joe Henderson, David Liebman, John Tchicai, Marilyn Mazur, David Murray.

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Andrea Parkins

Andrea Parkins is a New York-based sound artist, composer, and improviser who plays electronically-processed accordion, laptop sampler, electronic keyboards, and piano. Parkins sonically expands her accordion with analog electronics and by fragmenting traditional accordion syntax with noise and other disruptive allusions. In live performance, this idiosyncratic approach to the instrument collides with densely polyrhythmic keyboard tactics and laptop sampling that pays homage to mid-20th century musique-concrete and ’70s analog synth sounds.

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