Tag: local musicians

Different Cities Different Voices – Portland OR

Header for the Portland Oregon edition of Different Cities Different Voices showing an image of the Sky Tram

Different Cities Different Voices is a series from NewMusicBox that explores music communities across the US through the voices of local creators and innovators. Discover what is unique about each city’s new music scene through a set of personal essays written by people living and creating there, and hear their music as well as music from local artists selected by each essayist. For our latest edition we are putting the spotlight on Portland, Oregon. The series is meant to spark conversation and appreciation for those working to support new music in the US, so please continue the conversation online about who else should be spotlighted in each city and tag @NewMusicBox.

  • Portland’s signature "maker mindset” and love of all things handcrafted carries over into the way we approach music.

    Amelia Lukas (photo by Rachel Hadiashar)
    Amelia Lukas
  • Instead of six degrees of separation, there are usually no more than two. That interconnectedness and proximity makes for some strikingly original ensembles, and has presented opportunities for me to interact with urban planners, scientists, political activists, entrepreneurs, winemakers, coffee roasters, chefs, and artisans from many fields.

    Darrel Grant (photo by Thomas Teal)
    Darrell Grant
  • During the summer of 2020, when things seemed to be at their most dire, I purchased a battery-powered amplifier and started hosting jazz concerts in my driveway.

    Kerry Politzer
    Kerry Politzer
  • This feels, and will always feel, at least for me, like the perfect place to compose.

    Jay Derderian
  • The spirit of imaginative resourcefulness that keeps Portland “weird” and alive is exactly the reason the new music scene thrives.

    Monica Ohuchi
    Monica Ohuchi
  • I’ve found people in this community to be genuine and passionate. People like experimentalism and nerdiness here. It's cool to be nice here.

    Alex Arnold a.k.a. !mindparade
    Alex Arnold a.k.a. !mindparade

Amelia Lukas

Amelia Lukas (photo by Rachel Hadiashar)

Amelia Lukas (photo by Rachel Hadiashar)

I relocated to Portland in 2014, hoping to shift the “hustle culture” I had adopted in New York City and create a new framework for myself that emphasized balance and a slower pace. I grew up in Boston and have since lived in London, San Francisco, and New York – all incredibly rich cultural epicenters that I fully enjoyed being a part of – but the magic and beauty of the Pacific Northwest had always beckoned. The access to nature here is incredible (something I highly value), and for a smaller city, Portland is home to a remarkable number of talented artists and musicians.

The spirit of the Pacific Northwest emphasizes innovation and social responsibility. The synchronicities, connections, and integrations that abound in this community, and its strong sense of place and presence, are extremely special. Portland’s signature “maker mindset” and love of all things handcrafted carries over into the way we approach music. Energized by creating something new, both in the music itself and in the models through which we experience it, musicians here tend to program with meaning, intention, and a desire to connect deeply with the community. For example, I’m proud to be a member of Fear No Music, an organization that highlights the music of living composers while leveraging its platforms for healing, activism, and social justice. Also, the brand new Patricia Reser Center for the Arts just offered an impeccably curated grand opening spring season featuring all kinds of new music from around the world, dissolving boundaries and emphasizing inclusivity.

Although Oregon is a state that values the arts, Portland faces some challenges, including a dearth of appropriate venues for intimate multi-media performances. Thankfully, potential barriers only serve to fuel the resourcefulness and creativity of local musicians. As the PR representative for SoundsTruck NW, I’m supporting the launch of an unconventional mobile venue that will bring live concerts and enrichment programming into neighborhoods and institutions, increasing access and connection to the arts with a focus on underserved areas. Chamber Music Northwest also adds fantastic variety to the mix with their [email protected] series, featuring shorter, early evening performances in the lobby of a major theater. These types of creative, modernized concert experiences sustain a vibrant new music scene.

As an artist whose career is split between freelance performance and running Aligned Artistry (the arts PR company I founded in 2018), the pandemic was very difficult. I lost all of my performing overnight, as did the vast majority of my clients. It was devastating and overwhelming; I applied for and received several artist relief grants, including one from New Music USA, which proved to be both financially and emotionally supportive, and for that I’m very grateful. With my performing at a standstill, I focused my energy on Aligned Artistry, working closely with each individual client to assess the best path forward, whether that involved putting agreements on hold, or creating new platforms to share work. At the outset of the pandemic, I felt a strong urge to make productive use of my time, and to try to “figure out” what the new paradigm should be and how to implement it. But a louder inner voice told me it was time to slow down and listen. Only after lots of observation, processing, and reflection did I feel equipped to break through the explosion of digital content, recontextualize my clients’ needs within this new framework, and develop what I hoped would be effective, thoughtful solutions that were also meaningful and sustainable. Through this process, I navigated very successful album releases (one of which received a JUNO Award nomination for Classical Album of the Year, solo artist – go Catherine Lee!!); helped clients secure transformative levels of funding; managed transitions to virtual seasons that resulted in exponential audience growth; and have begun to serve clients nationally and even internationally through Aligned Artistry. I’m passionate about using my knowledge and skills to help clients expand the impact of their work, and by staying the course and trusting in the process even when things became quite scary, I ultimately expanded my own impact and business. It’s my great privilege and joy to experience life as an artist, and I hope that my perspective, dedication, and uniquely aligned artistry adds to this community’s depth and resiliency.

Music Picks

My performance of Carlos Simon’s move it for alto flute

Recommendation: Remote Together by Catherine Lee; music for oboe, oboe d’amore and English horn with electronics, field recordings and fixed media by Canadian and American composers residing in the Pacific Northwest


Darrell Grant

Darrel Grant sitting in front of a grand piano

Darrel Grant (photo by Thomas Teal)

I moved to Portland in 1997 to join the music faculty at Portland State University after ten years as a touring and recording jazz artist based in New York City. Ironically, I was not looking for a career change when I decided to make the move. I was seeking a sense of community and to feel like my work was making an impact. The series of serendipitous events that led to me accepting a tenure-track teaching position in Portland have always made my being here seem a bit predestined, despite my trepidation about saying goodbye to the New York jazz scene. A friend gave me an important piece of advice at the time that I have remembered ever since. “You don’t need to go in search of a scene,” he said. “Wherever you go, YOU are the scene.”

In my twenty-five plus years here, that has meant using music as a means to build connections, explore stories and history, and invest in serving the needs of this community by cultivating a practice of artistic engagement that promotes positive change. I have driven pianos deep into state forests to support the environment, arranged protest anthems, and shared the stage with Nobel laureate Bishop Desmond Tutu. I have curated live performances, started a record label (Lair Hill Records), launched jazz venues (The Typhoon Lounge and LV’s Uptown) and created a Jazz institute at Portland State. Being in Portland has also allowed me to shift outside the jazz genre as a composer. My 2012 chamber jazz commission “The Territory” explores the state’s geology and cultural history. A Black history month commission for the 100th anniversary of Portland’s Reed College spawned “Step By Step: The Ruby Bridges Suite,” a concert piece based on the life of the civil-rights icon Ruby Bridges. In 2017, I was commissioned by Portland’s Third Angle New Music to compose “Sanctuaries” a chamber opera exploring the racial and political underpinnings of gentrification and the experience of displaced residents of color in Portland, Oregon’s historically black Albina district.

The music scene here reflects a great deal about the city’s ethos. Portland’s progressive reputation attracts creative people of all stripes to the region. It is a large city that feels like a small town. Instead of six degrees of separation, there are usually no more than two. That interconnectedness and proximity makes for some strikingly original ensembles, and has presented opportunities for me to interact with urban planners, scientists, political activists, entrepreneurs, winemakers, coffee roasters, chefs, and artisans from many fields. Added to this is Portland’s DIY culture, which makes for a fertile environment in which to start and incubate new projects. On the downside, the lack of a substantial philanthropic base can make it hard to scale those projects beyond the startup phase.

Its dubious distinction as the whitest city of its size in America means Portland also has plenty of historical and cultural baggage to address. As a Black artist, I often have to look outside my own locale for artists with whom I share cultural identity. At the same time, I have had opportunities to share my voice at tables where folks are reimagining Portland’s future in terms of public space, policy and funding. These encounters have given rise to projects like The Soul Restoration Project’s Albina Arts Salon, a six-month residency in which I activated a historic space in the heart of Portland’s Black community that transformed a vacant storefront into an ongoing hub of arts and cultural activity. In all I’m grateful for the reception and recognition my work has received here. I was inducted into the Jazz Society of Oregon Hall of Fame in 2009. And was named Portland Jazz Hero by the Jazz Journalists Association in 2019. In 2020, I received the Governor’s Arts Award, Oregon’s highest arts honor.

In many ways Portland is still reeling from the twin pandemics of COVID and racial unrest that started in 2020. Our boarded up downtown still bears the signs of protests that turned our streets into an “anarchist jurisdiction”, and the economic impacts that increased homelessness. The past two years have also brought clarity regarding the critical role the arts have to play in reimagining our cities and healing the traumas we face as communities, as well as deepening my engagement with communities of color and my own role in challenging systemic racism. Even as these efforts have drawn me back to my roots in jazz, I have been fortunate to expand my own circle with creators of color from a number of artforms . I am seeing some organizational transitions from performative acts of inclusion to meaningful equity, and I am interested to see how the city navigates the rechartering of its leadership after the vote this fall.

Music Picks

Here is a link to the title track for my upcoming CD entitled The New Black. This piece is both a retrospective of my early years in New York City, and a statement of identity that celebrates the joy and unfettered possibility of Black artistic expression.

This is a link to a track from the latest CD by Blue Cranes, one of my favorite bands that embodies the ethos of generosity, collaboration and genre-crossing expression that defines Portland to me. From their 2021 album Voices, this piece “Tatehuari” is a collaboration with Mexican-American vocalist/composer Edna Vazquez, with whom I created a 2018 performance project around immigration called “21 Cartas.


Kerry Politzer

Kerry Politzer at the piano

Kerry Politzer

I moved to Portland in 2011 because my husband, George Colligan, accepted a position as Jazz Area Coordinator at Portland State University. Currently, I serve there as an adjunct on the jazz faculty as well as at the University of Portland.

As far as what makes Portland unique, there are a lot of creative, innovative artists here fusing different genres and mediums; I think that’s really exciting. One organization that is tremendously supportive of original music and projects is the Portland Jazz Composers Ensemble (PJCE), which operates a record label (PJCE Records) and is also associated with the ten-year-old Montavilla Jazz Festival. This local festival features a wide variety and diversity of Portland-based artists. I will be headlining it this year with my quintet, as we are about to release my seventh album, In a Heartbeat (PJCE Records).

The pandemic has been challenging for all of us, of course. Many venues closed, and we really missed social and artistic connections. I had received a grant from Portland State University to host the excellent Brazilian pianist Cassio Vianna for a concert and master class, but everything went virtual. So, I instead enlisted the help of several musicians (including Cassio) to put together a YouTube mini-series about Brazilian piano legends.

During the summer of 2020, when things seemed to be at their most dire, I purchased a battery-powered amplifier and started hosting jazz concerts in my driveway. This turned into The Driveway Jazz Series, which is now in its third year and has received grants from the Regional Arts and Culture Council. The free series is live-streamed and continues to bring the jazz community together, not just in Portland, but around the country. The pandemic really brought home to me how important it is to build community and to share music together.

Music Picks

Here’s a track from my most recent album (not the one that will be released in October):

And here is a recommendation for my endlessly prolific pianist/drummer/trumpeter husband! (I designed the album cover.)


Jay Derderian

Jay Derderian

Jay Derderian

Below my feet are the glistening slabs of concrete leading me towards the waterfront. From my right arrives the compounded smells of 20 different food carts, each offering tastes of their own little worlds. To my left is “Big Pink,” the iconic pink skyscraper so often seen in Portland’s skyline. In front of me about five or six blocks down is the waterfront. If I were to follow the Willamette River along the waterfront towards the north, I could find myself at Saturday Market – a site for local artisans, artists, and food vendors to show off their goods, for folks to mingle, meet, learn, and support these artists – an open-air tapestry of creation. If I were instead to follow the river south, I could eventually find myself passing Salmon Street Fountain and arrive at the Hawthorne Bridge. From there, the entire East Side.

These are paths I’ve walked countless times, and I don’t know if I’ll ever get tired of them. But at the moment I still haven’t moved – instead, I’m looking at the concrete below my feet. There are these little chunks of glass embedded in it. They’re smokey with an airy hue of purple, and offer the faintest hint of what’s below the surface. As it turns out, this smokey glass was the only source of natural light for this section of Portland’s infamous Shanghai Tunnels. Right below my feet are the remnants of Portland’s darker pasts with a present day firebrand of activism that saw 150 nights of protests against the police built on top of it. This feels, and will always feel, at least for me, like the perfect place to compose.

I’ve performed in Portland State’s recital hall, a dance studio, a grocery store, a decommissioned steam boat, the middle of several fields, street corners, a graveyard, a warehouse, living rooms, coffee houses, and many, many other places across this city. I’ve been involved with a local new music organization called Cascadia Composers since 2008. They’ve been absolutely instrumental in getting tons of new music by local composers performed, and are just some of the loveliest people. I’ve also been incredibly fortunate to work with FearNoMusic and Third Angle – two absolutely top tier new music ensembles, both of whom have been leading the way in championing new voices locally and abroad. New Music is alive and well in this city, and remarkably adaptive to our world and our collective circumstances.

For myself, I’m currently in the middle of a graduate program in Computer Science. This has been my adaptation to the last 2 years. I suffered from major burnout at the start of 2020. I couldn’t compose, couldn’t build off old ideas, nor hear anything coming from that internal ether. It just… went silent. Like so many others, I also saw major projects fall apart, plans get canceled, opportunities vanish. The trajectory of the last decade and a half of my life suddenly stagnated. This was all in conjunction with losing my day job, so I needed to find a way to stay above water, if not for myself but for my daughter’s sake. Enter computers.

I’m a long way away from being done with music. I don’t think I ever will be. I still play nearly every day, and have managed to scribble some fragments here and there. I’ve spent the last two years using the skills learned through my CS program to develop algorithmic composition tools to aid me in my creative efforts. I can generate anything from purely random compositions to poly-rhythmic/modal canons (or really any process based composition) in seconds. I’ve been able to use these tools to generate hundreds of facsimiles – there will be ideas forever, and I plan to keep on building this framework. If the last two years have given me anything, it’s the ability to adapt and evolve my creative processes.

Portland is my home. The energy of this city has always fueled me, and I think it always will.

Music Picks

The People They Think We Are (2018) for piano, video, and fixed media. (Me). Performed by Kathy Supové

Your Absence, from Like Water, Like Sound, Like Breath by Bonnie Miksch. Performed by Renée Favand-See, mezzo soprano; Amelia Bierly, cello; Lisa Marsh, piano


Monica Ohuchi

Monica Ohuchi

Monica Ohuchi

I grew up in Seattle, so the Pacific Northwest has always felt like home to me. My husband, composer Kenji Bunch, is originally from Portland, so when we first met in New York City, we connected about this common background and shared desire to return one day. Soon after the birth of our first child, we took a leap of faith and decided to move back to be closer to our families. In a whirlwind, our Brooklyn condo sold in one weekend, I flew out and made an offer on a house, and just a few months later we found ourselves moving to Portland without any concrete work lined up, fingers tightly crossed that things would work out.  We’re both so grateful to have landed on our feet fairly quickly, and were welcomed with open arms by the vibrant music community here. We’ve now been living and working in Portland for nine years, and moving home to the PNW is the best decision we have ever made.  I’m currently wrapping up my eighth season as Executive Director and Pianist of Fear No Music, and my first as Program Director of Music Performance at Reed College.

Portland is well known for its vigorous DIY ethos that embraces creativity and grass-roots initiatives with a cheerful lack of regard for the credentials that traditionally grant “permission” for such undertakings. Everywhere you turn, someone is brewing their own beer, bottling their own hot sauce, writing a novel, or building their social justice-driven non-profit from the ground up. The spirit of imaginative resourcefulness that keeps Portland “weird” and alive is exactly the reason the new music scene thrives. The music community is intimate and supportive of one another. Portland new music groups mostly pull from the same roster of musicians, so we all feel like one big family and celebrate each other’s successes. And just as Portlanders love their books, there’s also a voracious appetite for experiencing live music, and open minds eager to discover new sounds and ideas.

While recognizing the tremendous difficulties so many of us faced during the pandemic, our music non-profit, Fear No Music, fared as well as we could have hoped. There were challenges at the beginning of the lockdown period, given the need for an immediate pivot to online-everything, and the steep learning curve and trial-and-error process to find the right people and resources to help solve various unforeseen difficulties. However, Fear No Music is a relatively small organization, which allowed us to be nimble enough to adapt quickly to the necessary changes, and as a result, we were able to flourish moving forward. Of course, in addition to the pandemic, the nationwide reckoning of our racial history and present-day culture has caused a tremendous upheaval in the music world, bringing long-overdue attention to composers and musicians traditionally overlooked from mainstream audiences. For our organization, this has meant an even greater push for equity and diversity in our programs and initiatives, and a move to a donation-based ticketing model for our concerts, to promote accessibility, while still maintaining excellence in our programming.

Music Picks

Fear No Music: Monica Ohuchi, piano, performing BQE by Hiromi Uehara:

Portland Taiko performing Dango Jiru by Kenji Bunch:


Alex Arnold a.k.a. !mindparade

Alex Arnold a.k.a. !mindparade

Alex Arnold a.k.a. !mindparade

I moved to Portland from my home town of Bloomington, Indiana in 2017. I’m a multi-instrumentalist, one of those musicians that played in multiple bands for years. I was lucky enough to travel and see much of the US via touring and independent road trips. I always felt drawn to the PNW; the mystical feeling of the mountains and the dynamic landscapes appealed to me. The mist whispered something important to me. I decided it was time to move to a major city with a larger music scene to grow my band/songwriting project !mindparade. As an outdoorsy person, I thought, well, if I’m going to move my whole life, I should probably move near mountains. I’m so glad I made that choice. As soon as I honed in on Portland as a potential place to live, I began applying for jobs here, and landed an internship at a music licensing music company that I had signed to as an recording artist. I moved as soon as I had the opportunity, and threw myself into every aspect of music in Portland that I could. I didn’t really know anyone here when I arrived, and just started biking around to shows, meeting musicians.

There is a high level of musicianship in the scene here. So many great artists doing their thing, and in so many different genres of music. The city lacks a robust music industry compared to places like NYC and LA, or Nashville or Austin. That means there are less of those kinds of industry jobs, less labels, etc., but maybe that means people in music here may be in it for other reasons than money or prestige. I’ve found people in this community to be genuine and passionate. People like experimentalism and nerdiness here. It’s cool to be nice here. It seems like so many people you meet are in a band or are music fans, and that means more people to connect with. The location is incredible as well, as the surrounding nature provides endless perspective and inspiration. The city is nestled between very tall mountains and a very deep ocean.

Moving here was definitely a good choice for me overall. I was lucky to find an inspiring and engaging community. When everything stopped during the pandemic, I found myself focused on songwriting. I’ve worked up around 4 albums of !mindparade material that I am now chiseling into completion. It wasn’t necessarily a choice I made, it was most likely a coping mechanism. It was definitely a challenge to not play live for so long, which is something I’m so happy is happening again. There is really nothing else in life like live music.

Music Picks

Here’s one of my songs to include…

(!mindparade: “The Vision”)

And a local recommendation:

(Paper Gates: “Ophiuchus”)

Different Cities Different Voices – Austin

The skyline of Austin, TX

Different Cities Different Voices is a series from NewMusicBox that explores music communities across the US through the voices of local creators and innovators. Discover what is unique about each city’s new music scene through a set of personal essays written by people living and creating there, and hear their music as well as music from local artists selected by each essayist. The series is meant to spark conversation and appreciation for those working to support new music in the US, so please continue the conversation online about who else should be spotlighted in each city and tag @NewMusicBox.

Since folks from all over the world made their first post-pandemic pilgrimage to Austin for SXSW in mid-March, we waited a bit for the dust to settle so we could shine light on some of the extraordinarily creative people who are an important part of the Austin music scene all year round. – FJO

  • Austin is a tight knit community of musical creators and producers. There are lots of organizations in this town dedicated to presenting and promoting non-commercial music in favor of free jazz/improvisation, contemporary classical and experimental genres.  Keep Austin Weird? Actively weird?  Yup, we most definitely have!!!

    Tara Bhattacharya
    Tara Bhattacharya
  • I experience a sense of play, curiosity, and exploration that weaves together Austin’s new music scene. There’s a spirit in which all of these musics, and I am saying that deliberately as a plural, kind of comingle together. The classical music scene here feels quite naturally at home next to the indie scene and next to the country and blues and soul and rock and roll and Americana.

    Craig Hella Johnson
    Craig Hella Johnson
  • Austin’s economic and social reality is complex and our art communities are forever adapting to the challenges and opportunities presented by these realities.

    Alan Retamozo
    Alan Retamozo
  • I can reasonably expect there to be a guitar to jam on in anyone’s house (or at the very least, a ukulele). There’s a vibrancy here of people just generally being excited to make art. I hope this energy can continue to flourish as Austin grows rapidly as a city (which, even without a pandemic, can be hard on creatives).

    Kenzie Slottow
    Kenzie Slottow
  • Austin offers a special and unique combination of a world-class conservatory-style music institution surrounded by (and increasingly incorporating) local and popular music styles.

    Omar Thomas (photo by Izzy Berdan Photography)
    Omar Thomas
  • I love Austin, I am Austin, I wouldn’t have it any other way.

    Stephanie Bergara on stage singing with a microphone. (Photo by Jake Rabin)
    Stephanie Bergara

Kenzie Slottow

Kenzie Slottow

Kenzie Slottow

I came to Austin from Ann Arbor, Michigan in 2010 to study flute at the University of Texas. The composition department and electronic music departments especially at the UT Butler School of Music were full of creative, collaborative and bold students and professors – there used to be an annual showcase called Ears, Eyes and Feet, in which composers, choreographers and media artists from three different departments worked together to create multi-disciplinary performances. I didn’t know at the time that Austin had only a few new music ensembles playing very experimental stuff, and there wasn’t a big contemporary classical scene. However, there was some spark at UT in those few years – several of my colleagues at UT went on to start contemporary classical / new music organizations and collectives themselves (Fast Forward Austin, Density512, Tetractys, Line Upon Line Percussion), and some spectacular crossover classical groups came to town as well and stayed (Invoke Sound, Kraken Quartet), intermingling with the existing long-standing organizations that already championed experimental music and cross-disciplinary collaboration in Austin (Church of the Friendly Ghost, Fusebox Festival, and others). It felt like the beginning of a special period of growth for the Austin new music scene, and it has just continued to blossom since then. I was very moved by this year’s ATX Composers Showcase at SXSW, 12 years later, where many of these groups played on the same stage. Especially 2 years into the pandemic, it felt like a joyful reunion and celebration remembering that yes, we are committed and excited to make wild and strange music and soundscapes and improvisations in our city.

Part of the magic of Austin for me is its open mics. I’ve heard it’s not the same in other cities – they are an extremely collaborative and supportive environment with wildly talented musicians playing almost always original songs. I briefly moved away from Austin after doing my masters at UT and returned as I was starting to write my own music, and every week there were at least 4 incredibly welcoming open mics I could go to and try out my new tunes and arrangements, with a lot of the same supportive, friendly faces frequenting each one. I felt so comfortable finding and refining my musical voice in that environment, and met many friends, future collaborators and even partners. Now you can find that vibe at Mozart’s and Opa’s, with the same open incredibly welcoming and enthusiastic open mic leaders ushering in musicians new to Austin or new to writing their own stuff.

And then there’s the fact that I’ve always been able to find creative projects here. Austin’s known for lots of styles of music and its growing tech scene, but along with that there’s so much other creative activity that happens here – film, dance, visual art, improv comedy all have these vibrant communities around them. If I don’t have a project, and if I didn’t have a network of people to check and see what they were up to, I know I could always go to one of the many amazing local coffee shops and meet an artist or a musician, or if I’m in a more film/theater mood I could find a pre-production meeting happening at least one table. I also love that I can reasonably expect there to be a guitar to jam on in anyone’s house (or at the very least, a ukulele). There’s a vibrancy here of people just generally being excited to make art. I hope this energy can continue to flourish as Austin grows rapidly as a city (which, even without a pandemic, can be hard on creatives). It’s been incredibly challenging during the pandemic as early on, gigs disappeared, and then later venues – even iconic ones – have had to shut down. There is energy and determination here for collective action among artists though, and a few great organizations to support and advocate for musicians (Austin Music Foundation, HAAM), and I hope that we can continue to push for this city to financially support its artists.

I actually ended up finding a new Austin community and creative outlet during the early part of the pandemic. The Hideout Theatre, Austin’s longest running improv theater, moved all its classes and shows online within a couple of months of March 2020. At the time I had just produced and conducted a big experimental concert of improvised chamber music in person, before the shutdown. I was taking inspiration from theatrical improv and improv comedy to see how cross-genre musicians might relate to and connect with each other to improvise in large groups. The Hideout community was so full of creative determination and energy, and they invited me to experiment with livescoring narratives with groups of improvising instrumentalists ONLINE. It was a great feeling to bring many of my musician collaborators into the new improv community I’d entered. Since most of us suddenly had a lot of time on our hands, there was creative fuel and really talented people who would otherwise be busy gigging and touring and whatever, available to experiment with online performance art forms. With some incredible collaborators, I ended up taking part in some projects that really pushed virtual theatre boundaries in 2020 and 2021, and I like to think we’ll all bring the insights and the deep connection we found in those challenges into our work back in person in 2022.

You never know what kind of creative work or wonderful people you’re going to find around the corner here, and as a person who thrives with a variety of creative activities and values community, I can’t think of a place I’d rather call home than Austin. The sunshine also helps! While the various artistic communities haven’t really deeply cross-pollinated much up to this point, there’s definitely a lot of energy of coming together, and room for interweaving those communities, which is something I look forward to in Austin’s current chapter.

Music picks…

Kenzie Slottow: “Neverland” from the EP Hold It Up to the Sun

Cassandra Elese: “Coming In Hot”


Craig Hella Johnson

Craig Hella Johnson conducting

Craig Hella Johnson (photo by Scott Van Osdol)

Austin kind of chose me through a job offer from The University of Texas. I was just finishing a doctoral program at Yale and I had an interview which I decided to do just for fun. I never thought I would actually live in Texas as I had a funky, terrible Northerner’s bias. I enjoyed the interview and had a great time visiting this city. It surprised me with all of its green and beautiful places and all the diversity of music happening. I was offered the job and the rest is history.

Austin seemed like a really great place to set up camp. Much to my delight and surprise, I worked for 10ish years as the Director of Choral Activities at The University of Texas and made many friends there. I got to know so many musicians during that time and also began Conspirare during that period around 1993.  Someone told me something once which was very helpful. I remember it and live by it today: “Welcome to Austin. In Austin we take our work and passions seriously, but we don’t take ourselves seriously.” This was fabulous input for me and I have found that to be true of Austin cultural generally.  It makes it a really pleasurable place to live and work.

I experience a sense of play, curiosity, and exploration that weaves together Austin’s new music scene. There’s a spirit in which all of these musics, and I am saying that deliberately as a plural, kind of comingle together. The classical music scene here feels quite naturally at home next to the indie scene and next to the country and blues and soul and rock and roll and Americana. I think it’s just beginning to almost explode in a wonderful way just like the rest of the city.

The cancellation of SXSW trumpeted the arrival of the pandemic in Austin. For me, it meant more time at home, more time to have that interior relationship with my soul, my heart and my interests. There were times when even though it was very busy there could also be time for reflection and pause.

At Conspirare we were dedicated from the first day we knew this was happening to doing everything we could to continue to engage our artists, to offer them work that could be creative and meaningful but also to just be able pay them and help support them through this period. I feel immensely grateful that we were able to do that. Throughout the pandemic period we created concerts at great distances from one another for online presentations. It felt like the demands of this medium called us out to expand the boundaries of the choral music. I got to meet some wonderful new collaborators –editors, filmmakers, videographers, and creatives of all types. Even as we all felt the great burden of this time, we continued to make art, to express ourselves, and to support people in remembering that we are still here, we’re still alive, we still have beating hearts. There is still a need for art that continues to support us moving forward in our lives and invites us into more awareness and the deeper experience of what it means to be human, to be alive.

Music picks…

Craig Hella Johnson: “We Tell Each Other Stories” from Considering Matthew Shepard

Eliza Gilkyson: “Reunion”
She is a favorite singer-songwriter and a cherished friend


Omar Thomas

Omar Thomas

Omar Thomas (photo by Izzy Berdan Photography)

I moved to Austin mid 2020 to begin an appointment as Assistant Professor of Composition and Jazz Studies at The University of Texas at Austin. Prior to moving here, I had completed two separate residencies as the featured composer for the UT Wind Ensemble and the UT Symphony Band. Having participated in many composer residencies all across the country, one of the standout aspects of my UT residency was Austin itself, being a place that feels uniquely its own with amazing culinary offerings as diverse and ubiquitous as its live music venues.

Working predominantly in the wind ensemble field these days, Austin offers a special and unique combination of a world-class conservatory-style music institution surrounded by (and increasingly incorporating) local and popular music styles, while being centrally located among some of the strongest educational music programs and performing ensembles in the country. The wind ensemble field is one that is leading the way in the creation of new works for the medium, and Austin offers access to some of the nation’s leading ensembles who are willing to breathe life into these pieces on some of the field’s largest performance arenas.

The largest challenge of the past two years in my field has been navigating creating music safely (or at all) with ensembles that average forty musicians blowing air through instruments – clearly not ideal for helping to curb the spread of a respiratory virus. It has been truly amazing (and exhausting) to watch large ensemble instrumental and choral music adapt, as composers came together to create music designed to be played by any combination of very few instruments, conductors reached out via Zoom to inspirational figures within the field and beyond to keep musicians motivated as we waited for the opportunity to safely return to making music, and students took it upon themselves to use technology to not only connect with one another via virtual performances, but also to create music that capitalized on our virtual reality. We kept each other motivated long enough to make it to out current moment where we are back sharing space, art, connection, and community with one another and with audiences, grounded
by deeper gratitude than any of us has ever felt.

Music picks…

Mine:
“I Am” performed by the Omar Thomas Large Ensemble

Austin:
John Mackey: “Immortal Thread, So Weak” from Wine Dark Sea (Symphony for Band): performed by the University of Texas Wind Ensemble conducted by Jerry Junkin


Stephanie Bergara

Stephanie Bergara on stage singing with a microphone.

Stephanie Bergara (photo by Jake Rabin)

I’m a born and raised Austinite, so for myself, working and living as an Austin musician has always just been, The Way. It was invested in to my heart and mind at an early age that musicians deserve respect. I have been consuming live music for so long, I couldn’t even tell you what my first concert was. It had just always been the thing that you do. When my son was born, just over four years ago, I knew I Austin would be home forever, or until he finishes school. I love Austin, I am Austin, I wouldn’t have it any other way.

There is just a different unique energy that runs through this town in a way I haven’t quite seen anywhere else. I worked in the music industry for nearly ten years before starting my band where I got to travel the globe, and playing music has allowed me to tour in some of the greatest music cities in America. When the band travels to different places, and we tell people we are Austin musicians, that comes with it’s own branding, it’s own meaning. It’s special, it means something.

Musicians were the first members of the work force to be asked to stop working and they have been the last to be asked to come back to work in any pre-covid capacity. It’s been hard, we’ve been forced to get creative, learn new skills, leave old business models behind and be quick to adapt to change. I also chose to release my first solo effort during the pandemic, which was not ideal, but it was time. The Banda has been lucky to continue to play across the country. We’ve relied heavily on social media to stay in touch with fans and are working through mediums like TikTok to stay active with our audience. Onward through the fog, as they say.

Music picks…

My two selections are my song, “Rear View” —

And a song from Austin band Nané, (who’s lead singer, Daniel Sahad, passed away just two weeks ago) called “Ladybird.”


Alan Retamozo

Alan Retamozo

Alan Retamozo

I moved to Austin about 12 years ago and have since been working across various music and art scenes as a performer, composer, administrator, and teacher. As a jazz guitarist and composer, I’ve worked with various small groups, big bands, and my own conducted group improvisation octets and chamber ensembles. Some of the more experimental and classical Austin ensembles and organizations I’ve worked with include Church of the Friendly Ghost (COTFG), Less Than 10 Music, Collide Arts, and Future Traditions Festival.

Even in my own short time here, the city has gone through dramatic changes. Like most large and mid-sized American cities, Austin has continuing––and in many cases worsening–– problems with gentrification, racism, lack of affordability, inherited and perpetuated segregation, and problems with police brutality. But, Austin is also home to a great variety of community and activist organizations fighting tirelessly against the systemic oppression of our state and sometimes local governments. As Austin booms and tremendous amounts of money comes in through tech and other industries, artists see firsthand the way that that money, and the publicity around it, doesn’t ultimately benefit the communities that give this city its cultural identity. In spite of these challenges, this city generally still takes pride in trying to celebrate inclusivity, acceptance, and counter-culture values, and the artists, ensembles, and organizations that make up our cultural landscape do amazing work. In short, Austin’s economic and social reality is complex and our art communities are forever adapting to the challenges and opportunities presented by these realities.

Austin’s music and art communities are full of the most giving, creative, and determined people I have ever met. And the way that the people of this city embrace and honor music and musicians is truly special. For example, the Health Alliance for Austin Musicians (HAAM) provides health insurance, dental coverage, hearing clinics, access to professional mental health services, housing assistance, and more to Austin-based musicians at no cost. When the pandemic caused the sudden collapse of the entertainment and live performance industries, HAAM and other organizations like Austin Creative Alliance, and the City of Austin itself, provided grants, groceries, and other aid specifically for artists.

The onset of the pandemic brought the momentum and direction of my work––rooted in group improvisation and interaction––to a sudden stop. Being unable to work in person with other musicians was shocking and disorienting (an experience so many of us in the performing arts world can relate to). One of the things that kept me going was the opportunity to join a wonderful group of classical new music friends forming Less Than 10 Music, a new music ensemble producing weekly virtual concerts featuring guest artists from around the country. Just having the communication and weekly concert deadlines really helped keep me going and kept me from falling too far into a sense of aimlessness. Some of the guest highlights and collaborations have included Ocelot, Nina Shekhar, Jason Thorpe Buchanan, and a masterclass with George Lewis.

So, what about the actual music scene?  Well, there’s too much to possibly cover here, but I’ll do my best. Some of the many experimental performing arts organizations and ensembles include: Epistrophy Arts; COTFG; Salvage Vanguard Theater; Rude Mechs; Sonic Transmissions; Liminal Sound Series; New Media Art and Sound Summit; Fusebox Festival; dadageek; OUTsider Fest; and Six Square. In addition to year-round performances and premieres by local artists, these organizations have hosted guest artists including Henry Threadgill, Maria Chavez, The Necks, Thumbscrew, Turning Jewels Into Water, and Peter Brötzmann. Among the ensembles and organizations more closely rooted in classical new music, there are groups such as line upon line, Tetractys, Invoke String Quartet, Austin New Music CO-op, and Density 512. There are music education organizations doing great work with young musicians such as Golden Hornet, Austin Chamber Music Center, Austin Classical Guitar, and Austin Soundwaves. Larger institutions like the Blanton Museum of Art, The Contemporary Austin, and Big Medium have recently commissioned and hosted large scale sound installation works by local and international artists like Steve Parker. KMFA, our classical radio station, has a wonderful new concert and recording space where they frequently host and promote new music performances. The University of Texas Butler School of Music composition departments and Electronic Music Studios (UTEMS) do a great job fostering up-and-coming composers and performers from around the world.

Of course, Austin also has a vibrant jazz scene with various weekly jam sessions and performance opportunities. Spaces like The Elephant Room, Parker Jazz Club, and Monks Jazz Club host a year-round lineup of local and touring artists, big bands premiering new works, and live recordings. We are also blessed to have luminary jazz artists and mentors in our community such as trombonist Andre Hayward and pianist/composer Dr. James Polk, among others. Vocalist, Joshua Banbury, splits his time between Austin and New York and has recently worked with The American Lyric Theater, The National Black Theater, The Kennedy Center, and made his solo debut at Lincoln Center with the New York Philharmonic. I’ve attached a link for him below, and I extremely encourage all to listen. Local jazz musicians frequently play and tour as band members in the pop music industry and during Austin City Limits Festival, SXSW and more. I couldn’t even begin to cover that side of the music scene, let alone our thriving dance, visual, and performing arts, food, and improv comedy scenes, in this short essay. Lastly, I can’t forget to mention the amazing Indian Classical Music scene here, supported by organizations like The Indian Classical Music Circle of Austin (ICMCA).

Recently, at a SXSW show featuring Austin composers, I was deeply moved, running into so many people I hadn’t seen in person in years. It was a wonderful experience and sparked a new sense of enthusiasm and hope for continuing my own work that had been dampened for some time. As we sort of continue to emerge from the ups and downs of the last two pandemic years, I’m feeling hopeful about who will be coming through town and what we will be creating together in the coming years.

Music picks…

Ghost Play
Alan Retamozo (guitar, electronics) and Katherine Vaughn (dance)

Brightest and Best
Forgotten Folklore featuring Joshua Banbury and Kevin Sherwin


Tara Bhattacharya

A costumed Tara Bhattacharya holding a small radio and standing near a group of foghorns.

Tara Bhattacharya in the performance of Steve Parker’s Foghorn Elegy (2021) at The Contemporary Austin, Laguna Gloria. (Photo by Brian Fitzsimmons)

I moved to Austin around a decade ago to live and work with experimental composer and synthesizer player Rick Reed. His releases can be found on the local Austin music label, Elevator Bath. We were married for about four years and he was the reason I started playing the ARP Odyssey. Some of my most fruitful collaborations have been with Rick including live scoring for the films of Aldo Tambellini (at the Austin Film Society), Andy Warhol’s Batman Dracula (at Alamo Drafthouse) and composing work together for Ken Jacobs’s Nervous Magic Lantern Festival (at Anthology Film Archives and Secret Project Robot in New York City as well as First Street Studio in Austin).

I was born and raised in London, U.K. to Bengali parents and my early musical exposure is of great importance to my work. My musical training started as a child with Indian music; my mother is a well-known Tagorean artist and she taught me how to play harmonium and learn all the songs from Rabindranath Tagore’s Gitanjali. Throughout school, I learnt to play flute and sang in chamber choir. Also, since I grew up around a large Afro-Caribbean Diaspora in West London, I witnessed the Notting Hill Carnival annually and became closely familiarized with the traditions of reggae and calypso. Both traditions play an important role with the rhythmic aspect of my music, as subtle as it is. By my late teens, l started to experiment with guitar feedback and radio art and started following the Onkyo music scene from Japan. Onkyo expanded my understanding of electroacoustic music, prepared instruments, and analogue synthesizers.  As a curator, I brought Toshimaru Nakamura and Tetuzi Akiyama to play in Austin in 2015, which was a total dream come true.

Before I moved to the U.S.A. in the late ’90s, I worked for British guitarist Derek Bailey whose book, Improvisation, which was later turned into a Channel 4 docuseries of the same name, seen throughout many households in the U.K. when I was a child.  I worked for him and his wife Karen Brookman at their label Incus Records for a few years. I was 18 years old when he convinced me to move to NYC. I did and have lived in the US for almost 25 years now. He passed away in 2005. I thought about Derek a lot during the pandemic and what he would’ve felt about it, had he been alive. He preferred playing with other people, much more than playing solo. I share a similar sentiment to him. Playing on my own is a dull activity. Not being able to play with folks because of the pandemic and hospitalization numbers going up and down so rapidly really brought down my spirit and stymied my creative output for about two years. I strive to partake in musical banter with my peers. The pandemic frustrates me because it took away those opportunities.

Also, I missed seeing live music performed. Before the pandemic you could see music every night. Austin is a tight knit community of musical creators and producers. There are lots of organizations in this town dedicated to presenting and promoting non-commercial music in favor of free jazz/improvisation, contemporary classical and experimental genres.  Keep Austin Weird? Actively weird?  Yup, we most definitely have!!!

When I first moved to Austin around 10 years ago, I went to a lot of Church Of The Friendly Ghost (COTFG) events at Salvage Vanguard. COTFG also organizes the NMASS festival (New Music Art and Sound Summit), a genre defying local and national festival of multimedia. This festival continues to this day. Also, throughout the years, I’ve had the great pleasure of attending new music concerts performed by folks like Panoramic Voices, New Music Co-op, Line Upon Line, and Atlas Maior etc. Organizations such as Epistrophy Arts and festivals such as No Idea and Sonic Transmissions have also brought in some of the best national and international free jazz acts to town. Also, in recent years more locally curated music labels have been sprouting up more regularly. Labels such as Astral Spirits, Aural Canyon, and Holodeck Records have done numerous tape releases throughout the years (sold in local stores) in addition to releasing material digitally on Bandcamp. Running any kind of a label is super impressive to me and an essential activity for performing artists.

The one thing Austinites were having a really hard time grappling with prior to the pandemic was gentrification. It had started to become a huge problem in our creative communities and shows very little sign in slowing down, of course. The most well-known casualty (in our experimental music community) of that “first wave” of gentrification was Church Of The Friendly Ghost, who lost their home, The Salvage Vanguard Theater in East Austin. Many smaller spaces stepped in and continued facilitating art, music, and culture. One such example is the local D.I.Y. space and stalwart, The Museum of Human Achievement, which has consistently supported locals film screenings, experimental music, theater, performance art throughout the years.  Other thoughtfully curated spaces such as Dimension Gallery, Co-Lab Projects, Cloud Tree Studios, Volstead Lounge and Ground Floor Theater also carried their weight in supporting the scene. I’m so thankful to belong to this community of folks.

I hope that these venues and support for one another continues to thrive post-pandemic. Rent has sky-rocketed through Austin, TX in the last few months alone.  Big music venues have shuttered through the pandemic. Finding performance spaces continues to be a consistent struggle for artists and presenters alike.

I have been a curator in Austin, TX since 2014. I have organized experimental film screenings with the Experimental Response Cinema collective under Scott Stark. I have also curated my own music events and sound installations under the name Antumbra Events + Installations. I started Antumbra in 2013 to present performance art and sound projects from across the globe.

I did manage to do some really cool and meaningful things during the pandemic.  I organized my festival online called Interference Fest-Women Making Noise in December 2020. The festival headlined a mix of multimedia artists and musicians including Angel Bat Dawid and Sistazz of Tha Nitty Gritty, Yuliya Lanina, and Amanda Gutierrez w/Norman Long. I invited local and national artists to partake and every single person who participated gave it their all. I felt so honored and so amazed by everyone on it. The festival was plagued by technical difficulties and was delayed two weeks from its original date. The themes I had in mind for 2020 were care, consideration, and concern. December 2020 was a particularly bleak period during the pandemic and I wanted to bring myself and people out in the world some joy. The festival aims to be an inclusive space for free expression and artistic experimentation in all forms/genres including film, video, movement, poetry, music, sound, and even mind-body practices. Online wasn’t a perfect scenario, but it was the best I could offer, given the state of the world, at that moment. I actually organized Interference Fest in-person at North Door (now shuttered) in 2019, which was also a very heartfelt festival. I hope to resume to in-person this year. As a curator, as well as someone who is concerned first and foremost with the well-being of others, I don’t want my participants or audience members to get sick from Covid-19 and so that’s why I’m waiting to announce the dates for 2022.

Due to grief and depression from losing friends and family during the pandemic and for being isolated on my own for almost two years, I have started to learn Tai’Chi with local dancer/choreographer Heloise Gold, progenitor of Deep Listening Retreats. Her collaborator and friend was Houston-born composer Pauline Oliveros. Heloise in one of Austin’s most famed residents and her movement-based training has impacted countless artists throughout the years. I am proud to be her pupil and hope to heal from her tutelage.

Music picks…

Here is my collaboration with Rick Reed; a live score for Ken Jacobs’s Nervous Magic Lantern Festival at Anthology Film Archives in 2016. It was one of my proudest moments as an electronic musician:

Ken Jacobs / Rick Reed & Tara Bhattacharya @The Nervous Magic Lantern Festival 2016 from Ken Jacobs on Vimeo.

This is work by one of my very favorite musicians in Austin, TX. Her name is Henna Chou. She is one of the original founders and main curators at Church Of The Friendly Ghost and the NMASS Festival: