@ Exapno: 33 Flatbush Avenue in Brooklyn  [Nevins St. 2/3/4/5, Atlantic Terminal  B/D/N/Q/R, Fulton Av. G, Lafayette Av. A/C]



Photo © 2010 Reuben Radding

James Ilgenfritz approaches the double bass as an archeologist, examining rarified aspects of the instrument’s sonic palette to confound the status quo. His work has been praised in Time Out New York, Signal To Noise, All About Jazz –New York, and Downbeat Magazine. A tireless musical traveler, James has taken part in recent performances including work with Anthony Braxton, Pauline Oliveros, George Lewis, Elliott Sharp, John Zorn, Lukas Ligeti, Gary Lucas, Steve Swell, and Denman Maroney. He is a member of Billy Fox’s Blackbirds and Bullets, Eric Eigner’s Mysterium Project, Gordon Beeferman’s Imaginary Band, Chris Botta/Joe Branciforte’s The Cellar And Point, and Ted Hearne’s The Delusion Story.

Collaborative projects include Trio Caveat (improvisational salon jazz featuring Jonathan Moritz and Chris Welcome), Hypercolor (spastic jazz-inflicted art- rock noise fest with Lukas Ligeti and Eyal Maoz),  and Urbana (cinematic jazz nostalgia and imaginings for quintet, with Evan Mazunik, John O’Brien, Frantz Loriot, and Bryan Pardo).

James’ own projects include Ensemble NSFW (contemporary chamber works dealing with the integration of traditional and graphic notation, indeterminacy, and improvisation), the  Anagram Sextet (extended chamber works for 2 woodwinds, 2 guitars, and bass and percussion), and his solo developments of original music and that of various contemporary composers (including an upcoming recording of the music of Anthony Braxton).

Photo © 2010 Peter Gannushkin



Jason Brogan works with musical and non­musical materials; he resides in Brooklyn, New York. His work has been featured as part of Bowerbird (Philadelphia), Dog Star Orchestra (Los Angeles), An Exchange with Sol LeWitt at MASS MoCA, Konzerte in der Galerie Mark Müller (Zürich), Moments Musicaux Aarau, Nothing New? Understanding Newness in Medieval and Contemporary Music at the University of Huddersfield, the S.E.M. Ensemble Reading of New Compositions Workshop (Brooklyn), Significant Landscapes at Oxford Brookes University, and Wandelweiser at the Goethe­Institut Amsterdam, among others; it has been included on Wandelweiser und so weiter (Another Timbre) and in Word Event: Perspectives on Verbal Notation (Bloomsbury). With the South Carolina­ based New Music Collective he founded the concert series Silent Music: 4’33’’ and Beyond and organized a ten­year conspectus of the work of Michael Pisaro. He worked with the Edinburgh­based Arika for the 2012 Whitney Biennial program A Survey is a Process of Listening. Brogan has been a visiting artist at the Black Mountain College Museum + Art Center, Florida State University, Harvard University, and Oberlin Conservatory. Frequent collaborators include Julia Holter, Andrew Lafkas, Michael Pisaro, Sam Sfirri, Mark So, Greg Stuart, and Manfred Werder.

Photo © Brad Buehring