Bob Gluck (http://www.electricsongs.com) is an intuitive, expressive pianist, always listening closely to the world around him. He has been described as "...an accomplished and passionate pianist in the most elusive tradition of avant-garde masters Cecil Taylor, Andrew Hill, McCoy Tyner, and Don Pullen." (Chronogram) and "...a brilliant improviser." (Cadence)
Gluck¹s journey through life has been like a labyrinth in which spirituality, politics and music-making all come together in his creative consciousness. Raised in New York as a conservatory student and political activist, Gluck spent many years away from music, leading a life as a rabbi. His return to composing in 1995 and to the piano in 2005 marked the beginning of unique, continually unfolding career as a musician, educator and writer. With influences as diverse as Herbie Hancock, Jimi Hendrix, Johann Sebastian Bach, Ornette Coleman, John Coltrane, and Karlheinz Stockhausen, Gluck discovered a way to marry interests in electronic music with his love of jazz.
His approach as a pianist and composer is like a creative caldron that intuitively merges intuition with a broad sonic palate. Lyricism and abstraction find a shared home. It should come as no surprise that the title of his upcoming book is "You'll Know When You Get There: Herbie Hancock and the Mwandishi Band" (forthcoming, University of Chicago Press). Gluck's two new recordings on FRM records plus an Innova release of music by Neil Rolnick, coming in January 2011, add to his previous four CDs. These include The Bob Gluck Trio, "Sideways" (2008). Gluck, a natural communicator, teaches music at the University at Albany. Keyboard magazine named him June 2009 "Unsigned Artist of the Month." albanyjazz.com observes: "Gluck never uses a sound in isolation - each tone is part of the picture, providing context and comprehension."
Joe Giardullo (http://www.joegiardullo.com) is a soprano saxophonist/ composer whose work encompasses avant jazz, new complexity, indeterminate and new music genres. Although he began his music studies in elementary school, he is primarily a self-taught instrumentalist, with isolated studies with Don Cherry and Leo Smith. However, in 1967 he began his study of Indian music. Those studies, over a period of seven years, became primarily focused on rhythm. At the conclusion of those studies Joe began intensive private study of the Lydian Chromatic Theory of Tonal Organization as developed by composer George Russell.
In 1976, Joe began composing what he considered to be ³experimental² works; those pieces remained unplayed for 2 years. A chance meeting, however, with pianist Paul Bley, resulted in a recording of those compositions, collectively called GRAVITY (1979), works for Creative Chamber Ensemble. That recording met with both commercial indifference and critical acclaim. At the same time, unknown to Joe, his Indian music teacher sent copies of the Gravity scores to Nadia Boulanger, her former teacher. Madame Boulanger responded by inviting Joe to attend her classes at the Paris Conservatoire. However, Joe's circumstances prohibited him from attending.
From 1977 to 1980, Joe divided his time between New York and Europe, working on his Gravity compositions in private and publicly performing as an avant jazz instrumentalist. He became involved with the composer Anthony Braxton, doing pre-production work on Braxton's Music For four Orchestras (Arista) and through his association with Braxton, became familiar with the work of Stockhausen and Berio, among others. Joe received a National Endowment for the Arts Fellowship in 1979, sponsored by Mr. Braxton. Joe retreated from public performance in 1981 and did not emerge again until 1991. During this time, he played privately and the evolution of his Gravity compositions for Creative Chamber Ensemble continued. It was again a chance meeting, this time with the internationally known multi-instrumentalist Joe McPhee that brought Joe back to performance, and also introduced his music to composer Pauline Oliveros. Ms. Oliveros has commissioned 2 works from Joe and she has performed numerous of his compositions in the last 15 years. A series of residencies, commissions, recordings and international performances have followed. As an instrumentalist, Joe has performed throughout the US, Canada and Europe, and with artists Pauline Oliveros, Stuart Dempster, The Deep Listening Band, Joe McPhee, Steve Lacy, Carlos Zingaro, Milford Graves, Bill Dixon, Marilyn Crispell, Vinny Golia, Bobby Bradford, Thomas Buckner, and Lori Freedman, among many others, including Lester Lanin and Peg Leg Bates.
Christopher Dean Sullivan (http://www.myspace.com/christopherdeansullivan) is a renowned bassist of many musical languages: Jazz, Funk, Reggae, Latin, Fusion, Caribbean, Indian, African, and Eurocentric perceptions, rock, country, and more. He has shared the stage with Stanley Jordan, Pete Seeger, Archie Shepp, Charli Persip, Yusef Lateef, Grant Green, Horace Parlan, Joe McPhee, Sonny Simmons, Cecil Payne, Joe Lovano, Roy Campbell Jr., to name a few, and led his own ensembles within the U.S. and abroad. Sullivan can be heard on records and CDs from jazz and blues to acoustic folk, funk and gospel. He has recorded with reedist Michael Marcus and drummer Codaryl Cody Moffett; reedist Joe Giardullo, singer Sheila Jordan, as well as Carl Grubbs, Odean Pope, Newman Taylor Baker, and others.
Chris Sullivan also performs with the Cotton Club All Star Orchestra and he has toured with 50's/60's groups including the Marcel's, The Drifters, and the Sharelles. He is also an educator and actor. He has been producer/host of his own Warner Communication award winning television show, The Tree of Arts Alive,¹ which features performances and interviews with musical figures including Max Roach, Chick Corea, Stanley Clark, George Duke, Patrice Rushen, Chaka Chan, Lenny White, and Betty Carter. Chris Sullivan has received several community and arts services municipal and congressional awards.
In live performance, Bob, Joe, and Chris will at times be joined by
Dean Sharp (http://www.myspace.com/dsharpist), prolific creative percussionist, producer and remixer. He has performed and recorded with a strikingly diverse array of creative artists including Moby, Brad Mehldau, Stephen Vitiello, Elliott Sharp, Joe Lovano, Marc Ribot, John Stubblefield, Liz Gorrill (aka Kazzrie Jaxen), jazz legend Hugh Brodie, Tony Levin, Steve Swallow, Carter Burwell, David Arner and Jane Siberry. Sharp has written and recorded with notorious loop-miester David Torn (SPLaTTeRCeLL project), co-lead his own ensembles earmight (w/ Dean Jones, David Hofstra, Russ Johnson and Ken Mcgloin) and trio loCo (w/ Marc Dzuiba and StudioStu) and is the creative catalyst of SONic 150 (with trumpet notebender russ johnson), scribbleScrabbLe (with videographer Thomas Moore), 3:2:1 (with Ken Mcgloin and Russ Johnson) and sanDwich (with percussionist Harvey Sorgen and a changing mysterious third guest). He has played a vital role in the recordings and live performances of such innovative singer/songwriters as Rachael Sage, Greg Brown, Donna Lewis, MIMI (goese), Noe Veneble, Jill Sobule and Todd Sickafoose¹s Blood Orange.
Dean Sharp has studied with the late Elvin Jones, Colin Walcott and Tony Williams, as well as living legends Jack DeJohnette, Michael Carvin, Narada Michael Walden, Nana Vasconcelos and Montego Joe. As a producer/remixer, he has "pushed the envelope" for projects with Indian flutist Steve Gorn, cellist Stephanie Winters, klezmer/world artist Zoe B. Zak, bassist Steve Rust¹s PULSAR and indie faves Louise Taylor and Stoneboat. Multimedia collaborators have included Stephen Vitiello, Nam June Paik and Tom Moore. He has also offered master classes and workshops at SUNY New Paltz, the New School, Unison Arts Center and the Omega Institute. He teaches at Bard College. Music Matters Review declares: "Dean Sharp's drums lend mystery and grace" and The Fairfield County Weekly calls him "capable of quietly extraordinary things," a drummer who "has found a way to make jazz fresh."
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