Interview with Jose Di Gregorio and Jared Tharp

Interview with Jose Di Gregorio and Jared Tharp

By Amy Reed

The fullness Di Gregorio lives in his life is evident in his work. He continues to bring our local scene the high energy and camaraderie it needs to thrive. Jared Tharp is an old studio mate and dear friend from Sacramento State days, he is one of my favorite painters and people. “Night” new work by Jose Di Gregorio and Jared Tharp opens Friday, October 4th with a following reception from 6-10pm.

Jose you have been very busy this year, I get the feeling there is much more to come. Please tell us what you have been up to and how this show with Jared Tharp came to be.  

Yes, this year was pretty busy. I feel very fortunate to have participated in some remarkable projects, several of which I was approached without much time to plan. There was the ‘TrA’ installation at the Indianapolis Museum Of Contemporary Art in February, lead art direction for the McKinley Park playground rebuild, the ‘See The Future…’ exhibit with mad-genius Oree Originol at Sol Collective and a group show at Reclamare Gallery in July, the collaboration on the enormous backdrop for the Launch Festival Stage with my incredibly-talented friends Micah Crandall-Bear and Kim Squaglia last month, 
co-chairing the Art Docent program at Theodore Judah Elementary School, the ‘Night’ exhibit with Jared Tharp along with the Ruhstaller beer launch October 4th, and a huge mural which I’m flying out to Indianapolis to paint two days later. I know I’m forgetting some other stuff.
Plain and simple, Jared is incredible. As a person and artist, it’s an honor to know him and exhibit alongside his work. He’s effortless in his process, yet produces the most incredibly dynamic paintings. I look forward to reading about him in the coming years.
 Can you talk about your collaboration with Ruhstaller?

In discussing the collaboration with Ruhstaller proprietor JE Paino and Trisha Rhomberg, I was excited to be designing a bottle that would remain stark in contrast. Black bottle and burlap, white laser-etched text and imagery. I felt that the simple interconnecting circles with celestial undertones would be a good fit. There are several interesting allusions with it. I felt that it strongly conveyed ‘Night’ so that’s what I’m calling it. Night Beer. I chose a California-grown, English-style barley wine. Strong shit.

 What advice would you give to artists interested in entering the local art scene?

Work your ass off, and make the best stuff you can. Be confident in your approach and execution but humble and grateful for opportunities. Don’t slack. Help others. Volunteer your time to projects you believe in. Unfortunately, artists also often get taken advantage of and can rarely get shit in return (the “exposure” pitch, anyone?). Just keep pushing.

What kind of feeling do you get after showing your work to the public?

Mixed. I LOVE that people can recognize my work, whether at McKinley Park or a local gallery. That said, I’ve experienced “traditional” art patrons scoff at my work because it’s not a Sacramento landscape painting or something like that, recently even. Overall though, my most important audience are my family and closest friends. Most are not visual artists, and so there isn’t the over-pontificating critiques that I don’t give two shits about. Just mutual respect and high-fives.

 Does it take some time to get back into the studio after a show?

Nah. I can get right back to it. Helps to mentally plan out future bodies of work so that they can be made tangible when the next show calls.
Jared Tharp
 Tell me about your relationship with painting, you are a great painter, how did that happen?

I don’t actually fully understand my relationship with art to be honest and I don’t know that I ever will. It sometimes seems like I just have a compulsion to make stuff. I just try to paint what I want to see. My Dad is an artist and my mom is a creative person even though she wouldn’t really admit it. They just encouraged me from the beginning.

Are there any surprise elements coming up in this new body of work?

There will be a lot of non-figurative geometric abstraction.

What are you inspired by the most lately?

Working at Short Center, where I teach art to disabled adults. One of my first days working there I asked one of the students what she was thinking about when she painted her abstract watercolor paintings and she just said, “pretty”. I was initially disappointed that she didn’t have some big explanation but I realized that her answer was perfect. There are a lot of truly talented individuals at Short Center and I’m lucky to be around it all the time.

Desperate by Jared Tharp. 2013
RSVP for “Night” Opening Reception Friday, October 4th HERE

Still Life With Bones Workshop. Hosted by Rita Okusako and Grey Cat


Rita Okusako and Grey Cat will set up bones and skeletons for artists to study and draw from. Everyone is welcome to join! Thursday, October 24th 6-10pm. 5$

Artist Bios:

Rita Okusako:
Rita received a BA in Art Studio from UCSB in 2006 and currently works as a designer in Davis, CA. In her free time she enjoys creating her own original artwork and co-running a local t-shirt label called Thought Lion. Over the past ten years she has won numerous scholarships and awards for her artistic endeavors.

Grey Cat:
Grey Cat is a Sacramento, CA based artist who works in a variety of mediums, mostly acrylic/ oil painting, pen and ink illustration, skullpture, jewelry, found art books, masks, and other strange art forms. The most common themes explored in his work are death, dreams, mythology, ancient ruins, the cycles of nature, and the darkest and most forbidden realms of the human imagination. Mostly influenced by the old world artists who are long gone, he is eternally slaving himself away to many different creative projects at any given time and with many more on the horizon. Hopefully, in the not to distant future, he will be able to share with the public all of his creations.




NEW BEER ALERT: Total Domination by Ninkasi Brewing Co.


Ninkasi Brewing Co. is located in Eugene, Oregon and has been around since 2006.  The Total Domination IPA was the first beer Ninkasi founders Jamie Floyd and Nikos Ridge ever produced. Ninkasi’s mission goes beyond just brewing great beer–the brewery is named after the Sumerian goddess of fermentation. The founders wanted their company to represent “a source of community and the root of human existence”. “Throughout human history, beer not only was a catalyst for written language and organized education, but was also the center of community and culture, one never in operation without the other,” reads Ninkasi’s website bio.

Since 2006, Ninkasi has  undergone three expansions. They now have the capacity to produce 95,000 barrels per year and have expanded their flagship beers to include five different styles.


The Total Domination IPA is a powerful Northwest IPA that maintains its drinkability. “Multiple hops collide in balanced perfection, dominating the senses and achieving total satisfaction. From the Pacific Northwest, birthplace of the modern IPA, comes a beer whose name says it all,” reads Ninkasi’s description of the beer.

Beer Stats:

IBU: 65

ABV: 6.7%

Original Gravity: 1067

We are offering Total Domination for $6/pint and $22/pitcher.

Beer Jelly Brunch: 9/22


We are excited to host a Beer Jelly Brunch on September 22nd, featuring beer from Berryessa Brewing Company!

What is Beer Jelly, you say? I asked Sasha from Berryessa Brewing Company some questions to find out.

What exactly is beer jelly? What do you use it for? 

Beer Jelly is a spread or preserve made from fruit juice and in this case, beer, and sugar and boiled to a thick consistency to be used on toast at the Bows and Arrows Beer Jelly Brunch.

What type of beer is the jelly made out of? 
The plan is to use four different beers that have been carefully selected by Gabe for four different jellies prepared by Gabe. At this time, the beers that have been chosen are Common Sense (California Common), Whippersnapper (Mild English Ale), Saison (Farmhouse-Style Ale)and Double Tap (Double IPA). All of the beers are brewed by Berryessa Brewing Company.

Will be serving your beers that day as well? If so, do you know which ones?

Our beer will be available to drink with brunch as well. Who doesn’t love a breakfast beer? I’m guessing that the beers that will be available are the beers that are in the recipe for the jelly. Berryessa beers can often be found at Bows and Arrows!! Olivia and Trisha are awesome supporters of our brewery!
In addition to the beer jelly our regular brunch menu will be available, featuring delicious items such as the Ranchero burrito, Eggs Benedict, and Breakfast Sandwich.
Event will run from 11am-3pm and admission is free of charge!
RSVP to the Facebook Event Here

Richard Pinhas with Barry Cleveland, Practice and Ross Hammond: 9/18


Bows and Arrows is proud to present and host two musicians known well for their unique respective approaches to experimentation and innovation, Richard Pinhas from Paris, France, and Barry Cleveland from San Francisco. Both will perform together as a duo at Bows on September 18th following performances by both Sacramento jazz-guitarist staple, Ross Hammond, and avant-prog quartet, Practice.


Despite his vast influence on experimental and electronic music, Richard Pinhas (b. 1951) still remains unknown to the world at large. Having pioneered progressive guitar and electronic fusion techniques in the 1970s analogous to Robert Fripp of King Crimson, Pinhas came to be recognized as the father of electronic music in France. His works with former outfit Heldon bravely combined analog synthesizers with fierce live instrumentation, achieving a form held all on its own still to this day.

Traces of his influence can be seen everywhere from the costumes donned by Daft Punk, purportedly inspired by the cover of Heldon’s 1978 Interface release, to the wall-of-sound guitar stylings employed by Kevin Shields of My Bloody Valentine. Since the demise of Heldon in 1979, who were also noted for comprising alumni from legendary zeuhl founders, Magma, Pinhas has remained vigilant as a solo artist, releasing five albums under his own name from 1976 to 1982.

In 1991, Pinhas became affiliated with world-renowned experimental/jazz label Cuneiform Records; a partnership that endures to this day. Through Cuneiform, all of Pinhas’s previous works have been reissued, causing a resurgence in attention. This show will mark the first time an artist from the acclaimed label has performed at Bows and Arrows.

The 2000s have seen Pinhas as prolific as ever, with five solo releases to his credit since the dawn of the millennium, amidst collaborations with noise legend Merzbow and prog-rock guru Tatsuya Yoshida, and several others. Now 40 years into his musical career, Richard Pinhas still continues to evolve and expand on his own technique. The release of his latest album, 2013′s Desolation Row shows Pinhas “still in the thick of things, continually reinventing his musical conceptions and recognizing no conventional constraints.”

Recently completing a string of tour dates in Japan, Richard Pinhas is now embarking on his first west coast tour in over ten years, which includes a headlining appearance at the San Francisco Electronic Music Festival before heading to Sacramento for his first performance ever in the city.



Barry Cleveland

Performing alongside Pinhas is fellow guitarist and musical innovator, Barry Cleveland, whose first album Mythos saw release on Larry Fasts’ legendary Audion Recording Company label in 1986.

Beyond his broad palette spanning multiple genres ranging from ambient, experimental, world fusion, psychedelic and progressive rock, Cleveland has also served as associate editor for Guitar Player Magazine since 2002. Having first experimented with looping technology in the early 1980s, Cleveland has since developed a sophisticated technique for live-looping with a plethora of aural possibilities.

Richard Pinhas and Barry Cleveland will arrive in Sacramento fresh out of the studio after recording their first collaborative effort as a duo, and will surely deliver a performance rarely offered anywhere in the region. Of the entire west coast, Sacramento is one of three cities (Oakland and Vancouver, CAN) Pinhas and Cleveland will perform together.

written by Zack Bissell


Opening for Pinhas and Cleveland will be local artists Practice and Ross Hammond.


Show starts at 8
$10 Door Charge
RSVP to the Facebook Event Here

Interview with Stephanie Wickizer




We are very pleased to announce the opening of We Are Sectioned Creatures: New work by Stephanie Wickizer. Stephanie recently completed her MFA at the California College for the Arts in Oakland, CA. Join us for her opening reception Friday, September 6,  6pm-9pm.


by Amy Reed

August 20, 2013

Can you tell me about how you began working with with fabric and string and when your work began to take on such elegance and scale?

Previously, I’d incorporated sparing amounts of string, sewn through these obsessive, acrylic compositions on canvas… also, painting and screening biomorphic patterns on cuts of truly ostentatious, dead-stock polyester, but the shift really happened around the half-point of grad school. I lost three family members over the course of a year.

Mourning rituals, death masks, victorian hair jewelry. Processing through repetitive actions… My grandmother left me with stacks of bedsheets and fabric, folded crisply and hardly worn despite their age. I was broke, couldn’t afford canvas, so I stretched the sheets and attacked them with scissors, like a high school band shirt. Deconstruction of painting, reconstruction through meditative repair. I got off on tying everything back together. According to my own logic.

Then, you know… once you’re comfortable with a process or material, it doesn’t matter how you started, it just morphs. The problems become different. I mostly think of them as membranes now. The thrill is in the entry points, the points of puncture. Points of tension and release. I’m continually intrigued by the discord of the string and substrate. Composite forces, straining against each other, to create a whole.


Can you talk about working between painting and sculpture, and what that means to you?

It allows me to engage my body. I spent ten years using size 0 brushes and just the sight makes my wrists ache. I prefer drills, chop saws, screens, palette knives, even knotting the string is a more kinetic, malleable enactment of a line. Repurposing wood to construct my own stretchers… there was this young, lovely moment in the garage where I realized I’d just vertically integrated. Just stood there and felt like some sort of material overlord with the creative agency to mess with whatever aspect ratio I’d like. I revisit that feeling whenever I determine a new way to punch a hole in something. On a power tool trip.

I was reading a lot of 80s Lakoff and Johnson, Thomas Kuhn’s “incommensurable” in The Structure of Scientific Revolutions… perceiving my work through this lens of embodied cognition, phenomenological positioning, situadeness, searching for any fallible human system or attempt to categorize. Logicizing descriptors of incommunicable phenomena. All these things seemed to fit alongside my material explorations. I liked that I could never resolve my physical relationship to these objects I was making. I love a disintegrating rectangle.

 I can see how sound comes in when looking at your work. Please tell me a bit about your exploration with sound.

Rhythm is the most direct connection. My only musical capability is percussion, so that’s where I’m most comfortable. Thinking about pattern, repetition. I’ll intake certain songs compulsively, and it’s during these periods that I often start new work. Certain pieces are inextricable from mixes I’ve overplayed. Sort of like audible origin stories. Plus, when you zone in, you count beats and stitches in a similar way. Weaving and drumming fulfill the same urge.

I’ve also been animating during the last two years, rotoscoping by hand on xerox cels, and have wasted hours just plugging in different tracks to finished shorts. I’m entranced by the way sound shifts your visual attention to various elements of the clips. It is uncommonly satisfying to tweak the mood or atmosphere of a project that abruptly. Plus I’ve had the opportunity to work with friends making things that are more communal. It’s a nice change from my hermitage of knot tying.


Do you have any advice to give young artists who are interested in graduate programs?

The one thing I would hazard is, know your program. Make sure you have specific reasons for being at that particular institution (resources, professors, funding, etc.) Develop relationships with advisors and faculty before you enroll. Know what you can offer the school or community and vice versa.




And where are you off to next?

I’m off to enjoy life :)

Join us for the reception Friday, September 6th 6-9pm. RSVP here

Zeal Kombucha now on tap at Bows & Arrows!


We are excited to announce that we are now offering Zeal Kombucha on tap at Bows!


Kombucha is a bubbly, fermented tea made from active bacteria & yeast cultures. It’s been around since the 1900s, but has recently become very popular as a probiotic (and tasty) drink.

Zeal Kombucha was started by Zac Nelson and Bobby Mull, who began home brewing Kombucha and decided to turn it into a business. They’ve experimented with multiple different flavors and brewing techniques. Currently Zeal offers one flavor, aged green tea, which Mull described as “mild and refreshing”. They hope to offer more flavors soon.

“Our focus on kombucha has been brewing with tea, herbs and tisanes,” said Mull. “We brew in Placerville and we will be selling at other places.”
We are offering Zeal Kombucha for $5/pint ($4 for happy hour!)
Learn more about Zeal Kombucha at their Facebook page

Artist Call! 500$ Cash Prize! Deadline September 15th

Selections will be on our  gallery walls in November including a live printing by PAUL IMAGINE of the awarded design.

Capital Public Radio and Bows & Arrows invites public radio fans, art enthusiasts, and the community at large to submit original works of art  for our design contest. Three winning designs will be purchased at $500 each. Please read the artist call details below.


Call to Artists

Create and submit your original designs inspired by the evocative words: curious, information, or source.  Designs must be 6″x6″ and black & white. All 2D art media (eg. drawing, painting, digital media) are welcome, however submissions will only be accepted electronically, in a JPEG format. Each artist may submit one design per inspiration word, for a total of up to three designs.

Artists may submit designs until 11:59PM PDT on September 15th, 2013. The selected designs will be silk-screened onto an array of wearable items and printed artwork and featured at an event at Bows and Arrows on November 1st.


Award Details

Capital Public Radio will purchase each selected design for $500. Capital Public Radio will own the rights to include the design in future marketing and community outreach campaigns.


Competition Entry Rules and Guidelines

  • All entries are due by 11:59PM PDT on September 15th, 2013
  • Each artist may submit one design per inspiration word, for a total of up to three designs
  • Each design must be a 300 DPI jpeg., measuring 6”x6” square, in black and white
  • Each jpeg must be labeled as follows: first name_last name_contest word.  eg: Jane_Doe_Curious.jpeg
  • Winning designs will be purchased by Capital Public Radio for ongoing use.


Submit Your Entries

Option1:  Fill out the PRINT RADIO CONTEST FORM

Option 2: Email your entries to with the subject title: “PRINT RADIO CONTEST”. In email, list artist’s full name, email, mailing address, and telephone number with attached entry. Each jpeg must be labeled as follows: first name_last name_contest word.  eg: Jane_Doe_Curious.jpeg.


Judging Panel and Process

A panel of notable, awesome local experts will determine the three winning designs by September 20th.

Mindful Parenting Class: Every 2nd and 4th Tuesday

Mindful parenting flyer-03
Join Heather Diamond every 2nd and 4th Tuesday at Bows from 11am-12:15 to learn about Mindful Parenting! We asked Heather some questions about Mindful Parenting:
What is Mindful Parenting?

Mindful Parenting is a movement where the elements of Mindfulness, as outlined by Jon Kabat-Zinn, are brought into the parent/child relationship. There are several pilot programs being established, one in particular is in Marin county. The goal of the programs, as I see it, is to establish tools of awareness in how the parent and child interact. Specifically looking at quality of speech, intention and then actions. With a more thoughtful way of being, the relationship has less suffering and therefore has more time for joy and peace.

What inspired you to want to teach people about Mindful Parenting? 

I was inspired to offer this to others because of my own understanding and healing with my relationship with my child. We recently returned from living in an Ashram in India for 4 months. During this adventure, we had an opportunity to heal and connect, The ability to slow down and untangle ourselves from previous ways of being was beyond impactful.


Do you have children of your own? How has Mindful Parenting helped you? 

Yes, I have a 7 year old son. This way of being has allowed us out of our flight/fight way of living. Some background here would be helpful. You see our beginning had a bit of trauma from the birth, but then at the age of 2 he was diagnosed with Pervasive Sensory Disorder. At that time he was not speeking, but soon we were able to support his nervous system with food and support from Alta Regional. At that time it was also confirmed that he had Cerebral Palsey. All of these diagnosises are mild, we are grateful, however it does present some intense challenges at home with his sensitivities and impulse control. Lets just say it has been a wild ride being introduced to parenting.

What kinds of topics do you discuss in the class?

Topics we are speaking about are related to the moment where parents are suffering. I like to provide very tangible ways of looking at the situation to create a solution. The themes that tend to come up are: discipline, how to deal with power struggles, how to allow independence with safety, looking at FEAR.
Each class is spent in 10-15 minutues of Meditaion. The gathering is to allow a safe place to speak about parenting, with the emphasis of bringing the elements of Mindfulness. My goal is for the parent to leave the time feeling more positive, feeling heard and empowered.

RSVP to the Facebook Event Here 

Saturday, August 10th FPR Releases ALL AT ONCE! Chikading!

trio4On Saturday, August 10th FPR  comes to Sacramento to deliver a rare performance in celebration of their new release ALL AT ONCE. This will be an night to remember.

FPR Frank Gratkowski – alto saxophone, Bb clarinet Phillip Greenlief – alto & tenor saxophones, Bb clarinet Jon Raskin – alto & baritone saxophones

FPR celebrates the release of ALL AT ONCE – their newest recording on the relative pitch label with two northern california concerts. The group features three of the leading saxophonists of the new music formerly known as jazz – this concert will feature a performance of Composition 322 by Anthony Braxton and works by Gratkowski, Greenlief and Raskin that push the boundaries of technical skill and creative expression. This is the first performance in sacramento by FPR since 2011.


Frank Gratkowski 

Alto saxophone, clarinet, bass clarinet, contrabass clarinet, composition

Born in Hamburg, 1963. Started playing the saxophone at 16 and, following a period at the Hamburg Conservatory of music, moved in 1985 to study at the Cologne Conservatory of Music with Heiner Wiberny, graduating in 1990. Since 2008 he lives also in Berlin.

Further studies with Charlie Mariano, Sal Nistico and Steve Lacy.

Frank Gratkowski has been working as a soloist in various international formations (Grubenklang Orchester, Apartment House, Musikfabrik NRW, BikBentBraam, Zeitkratzer, WDR Orchestra, WDR Big band, Münchener Kammerorchester, etc.). Since 1990 he has been giving solo performances throughout Europe, Canada and USA. With his first solo program “Artikulationen”, he was a 1991 prizewinner in the Musik Kreativ contest. Since 1992 he has been working in a duo with the pianist Georg Graewe. which is often extended through the participation of different additional musicians, such as drummer Paul Lovens and bassist John Lindberg.

In 1995 he founded the “Frank Gratkowski Trio” with Dieter Manderscheid (Germany), bass, and Gerry Hemingway (USA), drums. In 2000 the trio has been extended to a quartet by Dutch trombonist Wolter Wierbos. Since 2003 also appearing as a Double Quartet plus Tobi Delius, Herb Robertson, Wilbert DeJoode and Michael Vatcher. In 2005 he got the SWR Jazzprize. 2001 the Trio Kaufmann / Gratkowski / DeJoode has been

founded and from 2004 he has been co leading and composing for the James Joyce Orchestra which turned in 2008 into the Multiple Joy[ce] Orchestra. Since 2006 he’s working with the Trio Gratkowski / Brown / Winant which played in 2009 at the Donaueschinger Musktage. He is also a co-leader of the Multiple Joy[ce] Orchestra and got in got a commission to compose a piece for the ensemble Apartment House by “November Music “ (Den Bosch NL) and the “Huddersfield Comtemporary Music Fesitival” (England) in 2009. Since 2008 he has been working with the ensemble “Fo[u]r Alto”, specialized in microtonal music for which he composed the first program.

Frank Gratkowski played on nearly every German and on numerous international Jazz and New Music Festivals including Vancouver, Toronto, Chicago, New York, Seattle, Quebec, Les Mans, Muelhuus, Groeningen, Nickelsdorf, Barcelona, Lithuania, Warsaw, Zagreb, Prague, Bratislava, Sofia, Bucharest, Odessa, Belgrad, Madrid, Barcelona, Göteborg, Huddersfield, London and  Roma.

He has been teaching saxophone, ensemble and composition at the Cologne, and Arnhem Conservatory of Music and is giving workshops all around the world.

Furthermore he has performed with Robert Dick, Phil Wachsmann, Radu Malfatti, Herb Robertson, Marcio Mattos, Eugenio Colombo, Peter Kowald, Ray Anderson, Michael Moore, Ken Vandermark, Greg Osby, Kenny Wheeler, Louis Sclavis, John Betsch, Jane Ira Bloom, Connie and Hannes Bauer, Xu Fengxia, James Newton, Muhal Richard Abrams, John Lindberg, Michael Formaneck, Ernst Reijseger, Fred van Hove, Theo Jörgensmann, Phil Minton, Peter Brötzmann, Mark Dresser, Mark Feldman, Hamid Drake, Michiel Braam, Han Bennink, Zeena Parkins, Mal Waldron, Misha Mengelberg, Beat Furrer a.m.o.

His discography count’s more than 30 CDs under his own name and many others as sideman.

phillip greenlief (b. 1959, los angeles)

“Phillip Greenlief is a reedman versatile enough to achieve anything except peace in Palestine” – Greg Burke, LA WEEKLY

Acclaimed saxophonist and composer Phillip Greenlief is the founder of Evander Music; an independent record label presenting original composition, improvised music and jazz. Since 1986, his recordings and performances have received critical acclaim in Down Beat, All About Jazz, Jazz Times, Cadence, Modern Saxophone, InfraTunes (France), Altrisuoni (Italy), The Wire (London), Colossus (Finland), St. Petersburg Times (Russia), Cuademos de Jazz (Spain), New Jazz Improv (Portugal), Los Angeles Times, etc. His duo recordings of improvised music with bassist Trevor Dunn and drummer Scott Amendola received 5 stars in the Music Hound Jazz Essential Album Guide. Recordings with the Lost Trio and his compositions on Russian Notebooks (w/PG & Covered Pages) were listed on the Critics’ Top 10 Recording List of 2000 & 2001 (SF Chronicle, San Jose Mercury News, East Bay Express, and Downtown Music Guide (NYC). He is a recipient of the San Francisco Bay Guardian Goldie Award and was recently nominated for a 2013 composer residency at the Marin Headlands Center for the Arts.

Greenlief began playing guitar and trumpet in elementary school and explored various instruments before discovering the saxophone in the mid-1970′s. His ever-evolving relationship with the instrument continues to unfold with an expansive sound vocabulary, extreme dynamic range, a deep regard for melody and form, and a rollicking humor and wit that echoes the Native American Coyote tales. As a composer, he has created nearly 300 works for practically every conceivable ensemble, including numerous pieces for solo saxophone, saxophone and string quartets, jazz ensembles, chamber groups, electro-acoustic improvisers, film projects, live theater, works for large ensemble and orchestra with choir. He is composer in residence with Rough and Tumble and teaches music at San Francisco Waldorf High School, and the East Bay Center for the Performing Arts. As an organizer, he has produced concerts for local musicians and internationally touring artists under the auspices of Evander Music Presents since 1997 and is currently serving as curator at Berkeley Arts.

In addition to solo performance, Greenlief is currently active in duo with saxophonist David Boyce; guitar genius Fred Frith; the electro-acoustic trio shudder with Kyle Bruckmann & Lance Grabmiller; FPR with saxophonists Frank Gratkowski and Jon Raskin; Orchestra Nostalgico (formerly The Clubfoot Orchestra), specializing in the music of classic film composers from Nino Rota to Bernard Herman; the 2 + 2 Project with Jon Raskin and an ever-revolving pair of like instruments; in trio with improvisers Angelica Sanchez & Sam Ospovat; the rock/thrash/metal extravaganza PG13, with John Shiurba and Thomas Scandura; the electric funk trio DIRTIER!, with Paul Olguin and John Hanes; and OrcheSperry, a large ensemble dedicated to performing works by PG and other local SF Bay Area composers. Greenlief is a mainstay in the bay area improvised music scene, working frequently with a host of local and international ad hoc ensembles. Along with bassist Dan Seamans and drummer Tom Hassett he is a member of The Lost Trio, now celebrating 19 years of redefining the term jazz standard.

Greenlief has performed internationally in a variety of settings since 1982. In addition to club dates and concert tours across North America and Europe, he has performed at the 1st Annual John Coltrane Festival in Los Angeles, Seattle Improvised Music Festival; Freiburg Zelt Muzik Festival in Germany; Big Sur Sound Shift; Olympia Experimental Music Festival; Du Maurier Jazz Festival; the WIM in Zurich; the Ulrichsburg Festival and the Konfrontation Festival in Nickelsdorf, Austria; the Isole Che Parlano Festival in Sardinia and the 2003 Biennale in Venice Italy; and the International Festival of Arts in Sao Paulo, Brazil. In 1998 he lived in St. Petersburg (Russia) where in addition to playing solo he performed and recorded with several jazz groups, singer-songwriter Yelena Kolokolnikova, and the Russian folk ensemble Dubinushka.

Phillip Greenlief has performed or recorded with Bruce Ackley, Ashley Adams, Steve Adams, Susan Alcorn, Lee Alexander, Liz Allbee, Scott Amendola, Ara Anderson, Paolo Angeli, Jen Baker, Barnacled, Bonnie Barnett, Claire Elizabeth Barratt, Max Bennett, Will Bernard, Emily Bezar, Tom Bickley, Big Lou’s Polka Casserole, John Bischoff, Joe Bjornson, Myles Boisen, Anthony Braxton Creative Music Orchestra, Kenny Brooks, Chris Brown, Sheldon Brown, Kyle Bruckmann, Jerome Breyerton, Hermann Buhler, Dennis Burke, Gust Burns, bush assassin, Cactus Truck, JP Carter, Eugene Chadbourne, Bill Clarke, Alex Cline, Nels Cline, Clubfoot Orchestra, George Coates Theater Works, Keller Coker, India Cooke, Keith Compton, George Cremaschi, Crushing Spiral Ensemble, Francesco Cusa, Beth Custer, Matt Davignon, Evelyn Davis, Richard Davis, Les DeMerle, Stuart Dempster, Robert Dick, Dieb13, Frank Difficult, Jorrit Dijkstra, Tom Djll, Sasha Dobson, Smith Dobson III, Michel Doneda, Bill Douglass, Mark Dresser, Trevor Dunn, Tim DuRoche, Dominic DuVal, Harris Eisenstadt’s Ahimsa Orchestra, Lisle Ellis, Alessandra Eramo, Dina Emerson, Marco Eneidi’s American Jungle Orchestra, Korhan Erel, Katie Faulkner, James Fei, Ken Filiano, Karen Fox, Dirk Freymuth, Erik Friedlander, Fred Frith, Wolfgang Fuchs, Philip Gelb, Hannes Giger, Ben Goldberg, Vinny Golia, Lance Grabmiller, Georg Graeve, Frank Gratkowski, Michael Griener, Nora Hajos, Mary Halvorson, Paul Hartsaw, Tootie Heath, Ron Heglin, Mark Helias, Shoko Hikage, Tyrone Hill’s Deep Space Posse (featuring Marshall Allen), Devin Ray Hoff, Motoko Honda, Nathan Hubbard, Carl Ludwig Hubsch, Charlie Hunter, Matt Ingalls, Aurora Josephson, Henry Kaiser, Achim Kaufmann, Elliot Humberto Kavee, Kaleidoscopic Sextet, David Kendall, Carla Kihlstedt, Kyoko Kitamura, Steve Kirk Pop, Oliver Lake, Adam Lane, Joelle Leandre, Adam Levy, Steuart Liebig, Steve Lockwood Ensemble, Cheryl Leonard, The Lost Trio, Maya Magdas, Toshi Makahara, Tony Malaby, Bob Marsh, Eddie Marshall, Andrea Martignoni, Miya Masaoka, Thollem McDonas, Dave McNab, Sean Meehan, Ava Mendoza, Lisa Mezzacappa, Mills College Contemporary Performance Ensemble, Roberto Miranda, Billy Mintz, Hafez Modirzadeh, Meredith Monk, Eddie Moore, Gregg Moore, Michael Moore, Tony Moreno, Joe Morris, Manuel Mota, Jesse Yusef Murphy, Simon Nabotov, Tatsuya Nakitani, Maggie Nichols, Kanoko Nishi, Oakland Active Orchestra, Oakland Bandemonium, Pauline Oliveros’ Sounding the Margins Orchestra, OrcheSperry, Orchestra Nostalgico, Matthew Ostrowski, Tom Osuna, William Parker, Zeena Parkins, Dan Peck, Bruno Pelletier-Bacquaert, Tim Perkis, Barre Phillips, Noah Phillips, Ricardo Pittau, Dan Plonsey, Alexander Popov, Garth Powell, Bhob Rainey, Tom Rainey, Sly Randolf, Jon Raskin, Dana Reason, Amy Reed, Ted Reichman, Gino Robair, Donald Robinson, Ernesto Rodriguez, Scott Rosenberg, Ken Rosser, David Rothbaum, Rough & Tumble, ROVA Saxophone Quartet, Angelica Sanchez, Richard Saunders, Ignaz Schick, Sue Schlotte, Sara Schoenbeck, John Schott, Monica Scott, Jonathan Segal, sfSound Group, Aram Shelton, John Shiurba, Damon Short, Todd Sickafoose, Fausto Sirakowski, Waddada Leo Smith, Ches Smith, Damon Smith, Jimmy Smith, Glenn Spearman, Spirit, Karen Stackpole, Moe! Staiano, GE Stinson, Carl Stone, Joe Strummer, Tom Swafford, Agnes Szelag, Horace Tapscott, Natsuki Tamura, Tango #9, Sonship Theus, They Might Be Giants, Iluyemi Thomas, Suzanne Thorpe, Lauren Tietz, Tiger Lillies, Astrid Thiersch, Tri-Axium West Orchestra (performing music of Anthony Braxton), Trio Putanesca, Bertram Turetsky, Michael Vatcher, Biggi Vinkeloe, Nadezhda Voskaboynik, Michael Vlatkovich, Andrew Voigt, Jane Wang, Christian Weber, Marty Wehner, Ellen Weller, Rich West, Tom White, Andreas Willers, Erling Wold, Kenny Wollesen, Theresa Wong, Nate Wooley, Katrina Wreede, Jack Wright, “Senator” Eugene Wright, William Wynant, and Ottomo Yoshihide.

Jon Raskin (b. 1954; Heppner, OR) – baritone, alto, sopranino saxophones 

Highlights of Rova founding member Jon Raskin’s early career include his ’70s participation in new music ensembles directed by John Adams (San Francisco Conservatory of Music) and Dr. Barney Childs (University of Redlands). Before Rova, Raskin served as music director of the Tumbleweed Dance Company (1974-77), was a founding member of the Blue Dolphin Alternative Music Space and participated in the creation of the Farm- an art project that included a city farm, a community garden, Ecology Center, Dance and Theater companies and organized the creation of a city park. Highlights as a member of Rova include composing a collaborative work for SF Taiko Dojo/Rova, working with Howard Martin on the installation work “Occupancy”, composing music for Mr. Bungle/ Rova, organizing the 30 year Anniversary Concert of John Coltrane’s Ascension, performing the music of Miles Davis at the Fillmore with Yo Miles! , the Glass Head Project with Inkboat and the ongoing Electric Ascension Project.

Raskin has received numerous grants and commissions to work on a variety of creative projects: NEA composer grant for Poison Hotel, a theater production by Soon 3 (1988); Reader’s Digest/Meet the Composer (1992 & 2000); Berkeley Symphony commission (1995) and Headland Center for the Arts Residency 2009.

Besides over 30 recordings with Rova, Raskin’s recording experience include Anthony Braxton, Eight (+3) Tristano Compositions 1989 For Warne Marsh (1989) and The Bass & the Bird Pond with Tim Berne (1996), Wavelength Infinity- A Sun Ra Tribute, Between Spaces with Phillip Gelb, Dana Reason & Pauline Oliveros, Terry Riley’s In C 25th Anniversary, and solo work on the Art Ship Series. His currents CD’s include Let’s go Juke Box Suite (Not Two) with the Rova Saxophone Quartet , JR Quartet (Rastascan) with Liz Allbee, George Cremaschi and Gino Robair, Music + One(Rastascan) a Improvisation compendium for improvisers to play along with and Kaolithic Music, Jaw Harp Music recorded in a 587 Gallon Vase(Evander Music) He is working on several new recordings, one with a JR Quartet for release in 2009, a Rova project of Graphic scores composed by Steve Adams and Jon Raskin, a compilation from the 2 + 2 series that Phillip Greenlief and Jon Raskin presented at the 21 Grand Performance Gallery in Oakland and a poetry and music project with Carla Harryman called “Open Box”

Other groups are the Jon Raskin quartet featuring Liz Albee on trumpet John Shiurba on bass and Gino Robair, a duo with Kanoko Nishi on Koto and a trio with Matthew Goodheart and Vladimir Tarasov.

Also Sacramento’s Chikading!

Tony Passarell – keyboards Robert Kuhlmann – electric bass Dex Lopaz – drums

Chikading!, an explosive music group from Sacramento, CA , has often been referred to as “Medeski Martin and Wood on crack”. Energetic grooves , noisy hooks and machine gun bass propel the listener into cosmic sound adventures. Spontaneous combustion never sounded so good. Check them out on Facebook and Youtube !

Please RSVP here