First Thursdays at 10pm October of 2007 to April of 2008. Admission is $6
The Tank is located at 279 Church Street between Franklin and White www.thetanknyc.org

In an extraordinary career spanning nearly 40 years, drummer Billy Mintz has played and toured the world with some of the biggest names in the jazz and pop. Born in Queens, New York in 1947, and by the age of 15 he was firmly entrenched in several of the show bands of the Catskill Mountain resorts, and as his musicianship developed he would eventually tour with jazz artists such as Lee Konitz, Eddie Daniels, Harold Danko, Mike Garson, Mose Allison, Mark Murphy, and the Kim Richmond Sextet. He also toured and recorded extensively with Bobby Shew. At the same time, his credentials grew in the pop arena, leading to tours with Juliette Prowse, James Darren, Gloria Gaynor, and a stint with the show band for the Merv Griffin Show. Throughout his life, he has continued to study and teach the drums and has written two well known books: Different Drummers, and Advanced Sticking and Sight-Reading.

more information can be found at billymintz.com

Program for the evening includes:

"Silver Streetcar for the Orchestra - for Amplified Solo Triangle" - composed by Alvin Lucier.

"Having Never Written a Note for Percussion" - for John Bergamo, composed by James Tenney.

Jennifer Caputo is a percussionist and Ph.D. candidate in ethnomusicology at Wesleyan University. Her dissertation research focuses on the tammurriata, a folk music and dance from Campania, Italy. Jennifer received her M.A. in Music (ethnomusicology) from Tufts University in 2002 and her Bachelor of Music degree from the Aaron Copland School of Music at Queens College CUNY in 1998, where she majored in percussion performance and music education. She is currently a visiting instructor of music at Wesleyan University and an adjunct instructor of music at Molloy College. Jennifer regularly performs with several groups throughout the tri-state area including Percussion People, the Wesleyan Javanese Gamelan, and the Rhythm Monsters, a New Jersey based West African drumming ensemble. Recently, Jennifer has performed contemporary solo works and ensemble pieces by Bill Dixon, Anthony Braxton, Guillermo Gregorio, Alvin Lucier, James Tenney, Andrew Dewar and Kyle Brenders.

Tonight Bonnie and Andrew are presenting their long running duo collaboration as well as individual solos.

Andrew Hayleck lives on the west side in Baltimore, MD. His work explores intensive and patient listening. He makes field recordings that concentrate on specific phenomena, such as ice, the internal sound of bridges or the underwater sounds of the Chesapeake Bay. As an instrumentalist he often works with resonance, transductance and unstable systems, usually using bowed metal (gong/saw/scrap metal) and a computer. Recordings include "Two Gong/Wire Pieces" (EHSE), "The Disappearing Floor" (Recorded) and "Various Recordings Involving Ice" (HERESEE).

Bonnie Jones works with sound, text and performance. Born in 1977 in South Korea she was raised by dairy farmers in New Jersey, and currently resides in Baltimore, MD. In sound performances Bonnie plays the circuit boards of digital delay pedals. Her primary sound collaborators are Joe Foster in Korea (as the duet "English") and Andy Hayleck. She is also a member of the Performance Thanatology Research Society, a inter-discipinary performance group dedicated to the advancement of a higher histrionics brought on by imminent finalities.

Yasunao Tone (b. 1935, Tokyo), who co-founded the group Ongaku in 1960, devoted to creating events and improvisational music, began participating in the Fluxus movement in 1962. His first concert, "One Man Show by a Composer", was held at the Minami Gallery in Tokyo in 1962. In the years that followed, Tone became an organizer as well as contributor to various avant-garde groups. His activities encompassed happenings, sound installation, experimental music, performance and art and technology. Primarily a composer, Tone has worked in many media, creating pieces for electronics, computer systems, film, radio and television, as well as environmental art.

Since coming to the United States in 1972, he has given solo concerts at the Kitchen, the Experimental Intermedia Foundation, Roulette, P.S.1, and participated in numerous Fluxus concerts. Since 1976, Tone has been designing musical compositions as a compound of cultural studies which have been ideas based on post-structuralist theories and audio visual materials compiled with ancient Oriental texts and musical sounds generated by electronic means. One of these works, Geography and Music, was commissioned by the American Dance Festival for Merce Cunningham's dance Roadrunners. It was part of the Cunningham Dance Company repertory between 1979 and 1986 and was heard in many festivals, including the Festival d'Automne à Paris, the John Cage Festival in San Juan and the Berlin Festival.

Tone has developed a specific and groundbreaking approach to altering digital data on CDs by using tape and other obstructions to deliberately alter the playback of information, he calls this technique "wounded cd" and has employed this as an approach in his music since 1985. In the liner notes for his album, "Solo for Wounded CD" (Tzadik, 2000)­ he describes this process in terms of wounding compact discs: "I wondered if it was possible to override the error-correcting system; if so, I could make totally new music out of a ready-made CD. I called my audiophile friend who owned a Swiss-made CD player and asked about it. I bought a copy of Debussy s 'Preludes' and brought it to my friend s place. We simply made many pinholes on a bit of Scotch tape and stuck it on the bottom of a CD. It worked. ... To my pleasant surprise the prepared CD seldom repeated the same sound when I played it back again, and it was very hard to control."

more info available here

Based in Brooklyn, New York, sound artivist, composer, core member of SHARE, o.blaat (Keiko Uenishi) is known for her sound works formed through experiments in restructuring and analyzing one's relationship with sounds via kinesthetic response as well as aural cognition in sociological and environmental context.

She has performed at venues worldwide, including recent MUTEK 07 festival, Montreal (Canada); Ultrahang 07 festival, Budapest (Hungary); Whitney Museum of Art, P.S. 1 Contemporary Art Museum; Netmage 06 festival and Interferenze Festival 2006 (Italy); She has collaborated with numerous artists including but not limited to: Ikue Mori, Christian Marclay, DJ Olive, Miguel Frasconi, Marina Rosenfeld, Lary 7, Eyvind Kang, Sachiko M, Tetsuji Akiyama, Aki Onda, Toshio Kajiwara, Kaffe Matthews, Ralph Steinbrüchel, Anthony Coleman, Kurt Ralske, Lukasz Lysakowski, HC Gilje, Klaus Filip, Nobukazu Takemura, Ryuichi Sakamoto, among others.

Keiko Uenishi was a recipient for Harvestworks' Artist-In-Residence 04-5 and is currently an artist-in-residence at Brooklyn College (CUNY) Center for Computer Music for 06-7.

More info: http://obla.at, http://myspace.com/oblaat , http://cronicaelectronica.org, and http://share.dj

Phill Niblock makes thick, loud drones of music, filled with microtones of instrumental timbres which generate many other tones in the performance space. Simultaneously, he presents films / videos which look at the movement of people working, or computer driven black and white abstract images floating through time.

Phill Niblock is an intermedia artist using music, film, photography, video and computers. He makes thick, loud drones of music, filled with microtones of instrumental timbres which generate many other tones in the performance space. Simultaneously, he presents films / videos which look at the movement of people working, or computer driven black and white abstract images floating through time. He was born in Indiana in 1933. Since the mid-60's he has been making music and intermedia performances which have been shown at numerous venues around the world.

Since 1985, he has been the director of the Experimental Intermedia Foundation in New York, where he has been an artist/member since 1968. He is the producer of Music and Intermedia presentations at EI since 1973 (about 1000 performances) and the curator of EI's XI Records label. In 1993 he was part of the formation of an Experimental Intermedia organization in Gent, Belgium - EI v.z.w. Gent -which supports an artist-in-residence house and installations there. Phill Niblock's music is available on the XI, Moikai, Mode and Touch labels. A DVD of films and music is available on the Extreme label.

more information is at ExperimentalIntermedia.org

Greg Kelley (b. 1973, Boston) began studying trumpet in 1983. He attended the Peabody Conservatory of Music in Baltimore from 1991 to 1995, where in addition to studying the Conservatory curriculum, he also immersed himself in a deep study of avant-garde and experimental music, eventually coming to the conclusion that his musical focus lay outside of the academic environment. After his studies, Kelley moved back to his native Massachusetts and quickly insinuated himself into the local avant-garde circles and soon commenced a period of intense travel and collaboration, bringing him across the United States, throughout Europe, Japan and South America. He has recorded over 40 albums and despite a more limited travel schedule, he still manages to play in a number of groups including Nmperign (as abstract improvisatory duo and as horn section for ex-Galaxie 500-ers Damon & Naomi), Heathen Shame, Cold Bleak Heat, the Life Partners, the Eagles of Hair Metal, and the BSC, among others. Other collaborators have included Jandek, Keiji Haino, Donald Miller (Borbetomagus), Anthony Braxton, Kevin Drumm, Christian Wolff, Pauline Oliveros, Joe McPhee, and Lionel Marchetti.