George Roberts – poet, visual artist (for example, the cover of Ananke), paper maker, hand typesetter, educator/mentor, co-owner/founder of Homewood Studios in North Minneapolis, and, in the best sense of the description, community advocate* – was unaware of free jazz/improvised music when we first officially met in 2003. (An overview of that encounter from both our … Read More

[Teenage Boatpeople backstory.] Due to the pandemic, but in keeping with the process utilized in post ’09 TBP documents, I recorded my parts for Her Grace listening to the songs on headphones for the first time; in other words, treating them as in-the-moment material for improvisation. (Naturally, adding instruments meant that I was getting somewhat [but … Read More

In the mid 90s, guitarist Derek Bailey (1930-2005) forwarded me a copy of the VHS video “Mountain Stage”, a performance from 1993 featuring himself and dancer Min Tanaka. Upon viewing, I was immediately struck by how their aesthetic paralleled that of Gutter Cleaners, a dance music duo founded by myself and dancer Susan Sperl which … Read More

Thanks to the initiative and diligence of Joseph Damman (with behind-the-scenes guidance and advice from yours truly [smile]), a CD of material culled from our September 9, 2018 duo concert at Studio Toile d’Angles has been published by Aural Terrains. While I chose the first track, Joseph, at my suggestion (and pending/with my approval) programmed the … Read More

Thanks to the gracious generosity of George Roberts, I was able to mount 70 or so concerts at Homewood Studios over a period of 10 years (2003-2013). Had Studio Toile d’Angles not been established, the series at Homewood would almost assuredly have continued. Now in its 20th year, George invited me to return to Homewood … Read More

Just a bit weary of the previous primary post. I generally do one when there’s an out-of-the-ordinary occurrence, i.e.; travel, a forthcoming document that’s close to publication, a new video, etc. But that’s actually antithetical to how I regard the work, because anyone who knows me knows the foremost significance/emphasis I place on the ongoing … Read More