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I Cakewalked With a Zombie
Author: Phillip Johnston
The Greasy Chicken Orchestra
Phillip Johnston: soprano sax
Peter Farrar: alto sax
Tim Clarkson: tenor sax
Jim Loughnan: baritone sax
Peter Dasent: piano
Tim Rollinson: banjo
James Greening: sousaphone
Nic Cecire: drums
Sydney-based saxophonist/composer and New York expat Phillip Johnston leads the 8-piece miniature repertory ensemble, The Greasy Chicken Orchestra, through innovative arrangements of jazz of the 1920s and 1930s, as well as his original music reflecting that musical language on their new release, I Cakewalked With a Zombie. This long-evolving project continues Johnston’s exploration of the history of orchestration and composition-focussed ensembles, such as The Microscopic Septet, Big Trouble, and The Silent Six.
The group consists of a four-saxophone front line and rhythm section, featuring leading jazz artists from Sydney. The music leaves room for individual expression of its unique soloists and aims to express a combination of freedom and discipline, a love of jazz history and creativity, and the infectious rhythm, mystery and sheer joy of the jazz of this era.
You can listen to/purchase the recording on Bandcamp here.
Streaming services here.
“Johnston has always understood that jazz’s history is a rich resource rather than a liability, and with this band he immerses himself almost completely in this era of energised and good-humoured dance music . . . a nuanced and blended sonority, combined with an emphasis on pinpoint arrangements and concise solos.” – John Shand, Sydney Morning Herald (27 Apr 2016)
Phillip Johnston:
New Music for Silent Films
Phillip Johnston’s first live performance of an original score for historical silent film was commissioned by the American Museum of the Moving Image, and premiered at the Silent Movies: Loud Music festival on 19 Sep 1993. That film, Tod Browning’s The Unknown (1927), starring Lon Chaney and the then 19-year-old Joan Crawford, with Johnston’s score, began a 30+-year body of work, including multiple feature films, numerous short films, and related multimedia works (such as Wordless! [2013] with Art Spiegelman).
The most important of these works, aside from The Unknown, are The Merry Frolics of Méliès (1899-1907), a collection of eight short films including the iconic “Trip to the Moon”; Teinosuke Kinugasa’s Japanese Expressionist masterpiece Page of Madness (1926); F.W. Murnau’s Faust (1926), and Lotte Reiniger’s silent silhouette animation The Adventures of Prince Achmed (1926). In addition to the 12 works that combine comics/comix and music in Wordless!, recent works include comics He Done Her Wrong (Gross, 1930), Big Head Pointy Nose (Pratap, 2022) and Buster Keaton’s short film masterpiece, and Cops (1922).
Over the last three decades, he has performed these works widely in the US, Europe and Australia, at cinematheques, film and music festivals, universities and local movie houses. Australian venues include The Sydney Film Festival, Sydney Opera House, Sydney Vivid, Melbourne Festival of the Arts, MONA FOMA, Woodford Folk Festival, Revelation Perth Film Festival, Australian Centre for the Moving Image, National Film and Sound Archive and Melbourne International Jazz Festival. (list of US and international venues upon request).
In 2015, he completed a PhD in Music Composition at the Newcastle Conservatorium, University of Newcastle, with the thesis title: ‘The Polysynchronous Film Score: The Relationship Between Music and Image/Narrative In Contemporary Scores For Silent Film’. He expanded these ideas in his book Silent Films/Loud Music: New Ways of Listening to and Thinking about Silent Film Music (Bloomsbury, 2021; paperback published in 2023).
His work has been commissioned by the American Museum of the Moving Image, the Film Society of Lincoln Centre and the Sydney Opera House. His career as a composer of music for sound films includes, Philip Haas’ The Music of Chance (1993), Paul Mazursky’s Faithful (1996) and Henry Bean’s Noise (2008). He has taught music composition for film for the last 25 years at NYU, AFTRS, University of Sydney, the Sydney Conservatorium of Music, and the Australian Institute of Music, among others.
In 2018, he was awarded the Johnny Dennis Award for Film Music Composition ($20,000).
His new current project is Puffs of Smoke: Weird and Wild Artifacts from the Early Era of Australian Silent Film, a study of short works, with original music performed live by the composer on solo saxophone, with electronic and pre-recorded accompaniment.
Phillip Johnston: New Music for Silent Films: list of performances.
The Unknown (Browning, 1927)
19 Sep 1993 The American Museum of the Moving Image, NYC (premiere)
1 Oct 1993 Boston Museum of Fine Arts, Boston, MA
9 May 1994 Philadelphia Festival of World Cinema, Philadelphia, PA
30 Oct 1994 Teatro Verdi, Rome, ITALY
23 Feb 1996 Demarest School, Hoboken, NJ
21 Jun 1996 Mellon Jazz Festival, Philadelphia, PA
6 Aug 1998 Celebrate Brooklyn Festival, Brooklyn, NY
26 Jan 1999 World Financial Center, NYC
28 Aug 1999 Mass MoCA, North Adams, MA
22 Oct 2000 American Museum of the Moving Image, Lon Chaney Festival, NYC
11 Jan 2001 Avoca Beach Picture Theatre, Avoca Beach, NSW, AUSTRALIA
14 Jan 2001 Fox Studios, Fringe Festival, Sydney, AUSTRALIA
21 Jan 2001 Uniting Church, Fringe Festival, Sydney, AUSTRALIA
26 Jan 2001 Big Day Out, Homebush Bay, NSW, AUSTRALIA
27 Oct 2001 Virginia Film Festival, Charlottesville, VA
The Georges Méliès Project (8 films, Méliès,1899-1907)
15 Nov 1997 Walter Reade Theater, Lincoln Center, NYC (premiere)
20,21 Feb 1998 Demarest School, Hoboken, NJ
28 Mar 1998 Teatro Verdi, Florence, ITALY
10 Oct 1998 Time & Space Limited, Hudson, NY
19 May 1999 Cleveland Institute of Art, Cleveland, OH
20 May 1999 Wexner Center, Columbus, OH
6 Oct 2000 Erie Art Museum, Erie, PA
7 Oct 2000 EdgeFest, Kerrytown Concert House, Ann Arbor, MI
8 Oct 2000 Indiana University, Bloomington, IN
8 Mar 2006 EtnaFest, Catania, ITALY
22 Aug 2010 Screen Live, Sydney Opera House, Sydney AUSTRALIA
15 April 2012 Parramatta Riverside, Sydney AUSTRALIA
12 May 2012 Randwick Town Hall, Sydney AUSTRALIA
08 July 2012 Revelation Perth Film Festival AUSTRALIA
07 Sept 2012 Avoca Beach Picture Theatre AUSTRALIA
12 June 2016 Penn Museum, USA (Relache)
30 Dec 2016 Woodford Folk Festival, QLD AUSTRALIA
13 July 2019 La Perouse Museum, Sydney, AUSTRALIA
21 Oct 2022 Melbourne International Jazz Festival
(Darebin Arts Centre) AUSTRALIA
Page of Madness (Kinugasa, 1926)
9, 10 July 1998 Walter Reade Theater, Lincoln Center, NYC (premiere) USA
5 Mar 1999 Massachusetts Institute of Technology, Boston, MA USA
23 Jan 1999 Duke University, NC USA
26 Aug 2000 Time & Space Limited, Hudson, NY USA
22 June 2008 State Theatre, Sydney Film Festival, Sydney, AUSTRALIA
Faust (Murnau, 1926)
05 Oct 2002 New York Film Festival, Walter Reade Theater, Lincoln Center, NYC, USA (premiere)
26 Jan 2003 Teatro Manzoni, Apertivo in Concerti, Milan, ITALY
06 Feb 2003 Mass MoCA, Massachusetts, USA
07 Mar 2004 The University of the South, Sewanee, TN, USA
11 Jun 2004 Slovenska kinoteka, Ljubljana, SLOVENIA
12 Jun 2004 UBI Jazz Festival, Venice ITALY
13 Jun 2004 La Palma, Rome ITALY
16 Jun 2004 Brugge, BELGIUM
17 Jun 2004 Antwerp, BELGIUM
11 Dec 2004 Merkin Hall, New York USA
20 Jun 2005 Garda Jazz Festival, Lake Garda Jazz, ITALY
21 Jun 2005 Roma Jazz & Image Festival, Rome ITALY
22 Jun 2005 Cinemazero, Pordenone ITALY
23 Jun 2005 Rote Fabrik, Zurich SWITZERLAND
10 Sep 2007 German Film Festival, Seymour Centre, Sydney, AUSTRALIA
10 Oct 2008 ACMI, Melbourne, AUSTRALIA [Melbourne Int’l Festival of the Arts]
11 Oct 2008 ACMI, Melbourne, AUSTRALIA [Melbourne Int’l Festival of the Arts]
The Adventures of Prince Achmed (Reiniger, 1926)
17 May 2013 Randwick Town Hall, Sydney, AUSTRALIA
15 Sep 2013 Parramatta Riverside, Sydney, AUSTRALIA
07 Jun 2014 Sydney Vivid Festival Sydney, Australia
17 Jan 2015 MONA FOMA, Hobart, Tasmania, AUSTRALIA
07 Jun 2015 The Capital Jazz Project, Canberra, AUSTRALIA
25 June 2016 Springwood, New South Wales AUSTRALIA
28, 29 Dec 2016 Woodford Folk Festival, QLD AUSTRALIA
26 Sep 2020 Chauvel Cinema/Goethe Institut. AUSTRALIA
27 Sep 2020 Chauvel Cinema/Goethe Institut. AUSTRALIA
02 Oct 2020 NFSA (National Film & Sound Archive), Canberra. AUSTRALIA.
20 Jan 2021 Bangalow Film Festival, Bangalow, NSW AUSTRALIA
26 Feb 2021 Fed Square/ACMI, Melbourne, VIC, AUSTRALIA
Wordless! (with Art Spiegelman, 2013)*
05 Oct 2013 Graphic Festival, Sydney Opera House, Sydney, AUSTRALIA
18 Jan 2014 Brooklyn Academy of Music, New York, USA
22 Jan 2014 Colorado College, Colorado Springs, USA
24 Jan 2014 University of Chicago, Chicago, IL, USA
08 Oct 2014 Oberlin College, Oberlin, OH, USA
10 Oct 2014 UC Berkeley, Berkeley, CA, USA
12 Oct 2014 Seattle, WA, USA
14 Oct 2014 USC, Los Angeles, CA, USA
15 Oct 2014 UCLA, Los Angeles, CA, USA
17 Oct 2014 USCSB, Santa Barbara, CA, USA
19 Oct 2014 Kaufman Center, Kansas City, MO, USA
21 Oct 2014 Lisner Auditorium, George Washington University, Washington DC, USA
26 Oct 2014 Institute of Contemporary Art, Boston, MA, USA
13 Mar 2015 Miller Theatre, Columbia University, NYC, USA
10 Mar 2015 Williams College, Williams MA, USA
20 Sep 2015 Comicópolis, Buenos Aires, ARGENTINA
11 Nov 2016 London Jazz Festival, Barbican Centre, London UK
17 June 2018 Philharmonie de Paris, Paris FRANCE
Silent Shorts (3 films)
He Done her Wrong (Gross, 1930)*,
Cops (Keaton/Cline, 1922),
Trip to the Moon (Méliès, 1902)
02 Dec 2022 Australian Centre for the Moving Image (ACMI)/Federation Square, Melbourne, AUSTRALIA
*Wordless! and He Done Her Wrong are not silent films per se. Wordless! is a live performance involving projection of images from graphic novels and comics, projected as enhanced slide shows, combined with a lecture by Art Spiegelman, and accompanied by a live band. He Done Her Wrong is an extended version (20 minutes) of one of these, encompassing the entire graphic novel.
Playing With Monk is jazz duo of piano and saxophone, focused around the music and influence of jazz iconoclast Thelonious Monk.
This project for the two veteran composer/instrumentalists consists of a unique repertoire drawn from the iconic compositions of Thelonious Monk, both the well-known and the obscure, as well as original tunes both new and old from the two composers’ catalogues that are inspired/influenced by Monk’s work.
The music is swinging, bluesy and spiky, as Monk would have liked it.
Update : Click this link for more information about their latest project:
Jazz Goes To The Movies.
You may know New Zealand émigré Peter Dasent from his film music compositions (including Peter Jackson’s Heavenly Creatures and Meet The Feebles), his long tenure as music director/on-screen pianist for ABC’s long-running ‘Play School’, his Eastside radio show ‘One Size Fits All’, or his recordings of the music of Nino Rota or with his longstanding band The Umbrellas. https://www.peterdasent.com
You may know native New Yorker Phillip Johnston from his film scoring career (Paul Mazursky’s Faithful, Henry Bean’s Noise, Philip Haas’s The Music of Chance), his numerous festival appearances (Sydney Film Festival, Melbourne Festival, MONA FOMA, Sydney Vivid), his silent film scores, his 20 recordings as a leader, or his local bands The Coolerators, The Greasy Chicken Orchestra or Saxophone Special.
They are co-leaders of the early jazz repertory band The Greasy Chicken Orchestra, who make regular appearances at Sydney jazz clubs and festivals, and have a recently released CD I Cakewalked With A Zombie (Earshift). Johnston’s New York band The Microscopic Septet’s 2010 recording Friday The 13th: The Micros Play Monk (Cuneiform) was given 4 stars, made an Editor’s Pick and called ‘a love letter to Monk’ by Downbeat Magazine.
This unique duo is the latest in a long history of collaboration between Dasent and Johnston on new and inventive projects that combine originality and a deep love of the breadth of jazz history.
Video clip: Playing With Monk plays Monk’s Locomotive
Contact:
Phillip Johnston phillip@phillipjohnston.com 0424 655 317
Peter Dasent peterdasent@mac.com
Categories
Saxophone Special
Phillip Johnston: alto saxophone
Peter Farrar: alto saxophone
Tim Clarkson: tenor saxophone
James Loughnan: baritone saxophone
Saxophone Special is a contemporary saxophone quartet playing a diverse repertoire, ranging from jazz and contemporary classical to tangos and waltzes, with a special focus on quartet arrangements of the music of Steve Lacy.
See Saxophone Quartet music for an overview of Johnston’s history of writing and performing music for saxophone quartets.
Saxophone Special is drawn from the front line of The Greasy Chicken Orchestra–a collection of saxophonists who display an astonishing versatility, stylistically and technically. This allows the group to develop a unique repertoire, combining both challenging composed pieces, improvisational skills in various genres, and dramatic genre music, such as tangos and waltzes: music which is both thought-provoking and moving through the stories they have to tell.
Originally gathered together in 2021 as a quartet to launch the book Steve Lacy: Unfinished, edited by Guillaume Tarche, a unique tri-lingual assembly of writings about the soprano saxophonist/composer Steve Lacy, to which Johnston contributed a chapter entitled “The revolutionary conservatism of Steve Lacy’s Prospectus, they have continued to grow and develop since then.
You can read this chapter online, excerpted in Point of Departure magazine.
At that concert the group performed Lacy’s classic saxophone quartet suite ‘Saxophone Special’, and a number of other Lacy tunes arranged for saxophone quartet, and also a variety of other material, from originals by Johnston written during the pandemic, to a saxophone quartet arrangement of Bernard Herrmann’s Psycho theme.
From that time onward, the group has continued to perform around Sydney and its environs, and develop their repertoire, towards a planned recording. Venues have included both community events and clubs and concert venues such as Johnston Street Jazz, Katoomba’s Avalon Bar, the 2024 Power Up! festival in Sydney’s Inner West. A version of the repertoire was performed at the 2023 MONA FOMA festival, featuring 10 gigs in 10 days by top Tasmanian saxophonists (See Prospectus Sax Quartet at link above).
A short excerpt of the group performing an excerpt from Johnston’s ‘Snake Race’ on the street at the Inner West Pop Up Music Festival.
A short excerpt of the group performing an excerpt from Lacy’s ‘Snake Race’ on the street at the Inner West Pop Up Music Festival.
Categories
The Microscopic Septet
The Adventures of Prince Achmed (1926) is a silent silhouette animation by Lotte Reiniger, considered by many to be the first feature-length animated film. Influenced by Georges Méliès (Voyage dans la lune) and Paul Wegener (Der Golem), Reiniger had an astonishing facility with cutting–holding the scissors still in her right hand, and manipulating the paper at lightning speed with her left hand so that the cut always went in the right direction. She drew the storyboards and devised the plots and characters, which were closely linked[1]. William Moritz describes it as “a brilliant feature, a wonderful film full of charming comedy, lyrical romance, vigorous and exciting battles, eerie magic, and truly sinister, frightening evil.”
The score for Prince Achmed again represents a new approach to music for silent film. Combining electronic and acoustic instruments, the score is structured around a pre-recorded score of sampled electronic loops and percussion. Against this, a live band will perform, consisting of two keyboards, soprano saxophone, & trombone. The music is through-composed, seasoned with elements of improvisation, and invokes elements of jazz, blues, minimalism and classical music.
Taken from The Arabian Nights, The Adventure of Prince Achmed tells the story of a wicked sorcerer who tricks Prince Achmed into mounting a magical flying horse and sends the rider off on a flight to his death. But the prince foils the magician’s plan, and soars headlong into a series of wondrous adventures — joining forces with Aladdin and the Witch of the Fiery Mountains, doing battle with the sorcerer’s army of monsters and demons, and falling in love with the beautiful Princess Peri Banu.
The story is one that will appeal to both young and old, with a strong narrative, surprising twists and turns, and beautiful images that inspire awe and wonder. The program runs a little over an hour in length.
“Johnston’s soundtrack adds an extra dimension to the 2D-nature of the animation, with energetic jazz layered over the pre-recorded percussion track that builds up and flows through the film. While Johnston and Reiniger’s compositions are each complex in their own ways, they come together simply and beautifully, stripping animation back to its abstract qualities of light, shadow, image and sound.”
–Anna Madeleine, The Guardian, 19 Jan 2015
(additional media extracts below)
A sample of Prince Achmed with score
Performances include, The 2014 Sydney Vivid Festival, MONA FOMA (Tasmania), The Capital Jazz Project (Canberra), the Parramatta Riverside Theatres and Randwick Town Hall (Sydney).
“…an atmospheric, occasionally hard-edged yet utterly charming film score that is. . . texturally and stylistically diverse. . . any attempts to pigeon-hole Johnston are an exercise in futility. There are consistent themes that run through the score, which explores Gamelan-like tuned percussion, and knotty explorations of both complex counterpoint and irregular meters. Irrespective of the direction(s) he heads to next, it will be well worth keeping a watchful eye out for anything that Johnston pursues.”
–John Kelman, allaboutjazz.com
“If you’ve seen the film, to hear the music is to have the magical images once more dancing before your eyes. … Johnston’s intricate score…deepens the mystery of the images, while highlighting the humour, drama, and, of course, romance. To listen to it while highlighting the humour, drama, and, of course, romance. To listen to it independently of the film to be struck by the breadth of musical ideas that can hurl themselves from zaniness once moment to explosive grooves the next, and on to eerie beauty, while leaving scope for pithy little solos. …worth the cost of admission…”
– John Shand, Sydney Morning Herald, October 29, 2018
“… a joy, with rousing sax & trombone melodies giving way to some sultry organ, before a lazy, hazy trombone solo takes things out to a fiery conclusion… contain a wealth of groove and funky, futuristic samples, synths, and loops, moving parts of the album into almost full blown electronica. For jazz purists, “Alladin’s Tale” is a lovely piece, smoky organ and old school sax/trombone melodies just grabbing the listener and refusing to let go, while closer “Return to the Land of the Mortals” bridges the gap between classic jazz and spacey electronica.”
– Sea of Tranquility
“… referencing soul jazz (two keyboardists!), Tom Waits-ian percussion, and memories of the Penguin Cafe Orchestra.
– Il Manifesto (ITALY)
This is a complex album, one that needs close attention paid to it as the musicians embrace themes which may or may not be repeated, going off in tangents to the original, with trombone often playing a heavy bass part to contrast against the sax. The keyboards and drums are often in the background, with the brass taking centre stage. It is an album the definitely requires repeated listening, as the first time I felt there were certain passages and sections which were passing me by, all of which made far more sense the more time I allowed myself with the album. Well worth investigating…
– Jazz Music Archives (New Zealand)
“…his music for Lotte Reiniger’s classic 1926 silent film The Adventures of Prince Achmed…wakes up a near century-old classic by serving up a fresh aural slice from the mystical past of Arabia in such a manner that it brings to life not just locale, but smell, taste, sound, etc., too. And magically…in a manner that is far from gratuitously Middle Eastern…a refreshing change from almost all attempts to make the soundtrack “authentic” to the setting.”
– Raul da Gama, Jazz da Gama (CANADA)
“Johnston is creating a new perspective for this film, rather than composing music of the era. …Each segment of Johnston’s score stands on its own merit… Anyone who appreciates Johnston’s composing, whether for his bands or earlier soundtracks (including a few unreleased modern-era films), will devour the wide-ranging, free-spirited music heard here.”
–Ken Dryden, NYC Jazz Record
“4/5 stars. …Johnston’s swirling, engaging and frequently cyclic score… heighten and accentuate Prince Achmed’s adventures… Johnston’s themes regularly embody the personality of the movie’s characters. …there is plenty to hear which is enticing, exciting and sometimes enthralling.”
–Doug Simpson, Audio Audition
Jazz Goes To The Movies is a special project of Playing With Monk.
Dasent and Johnston perform jazz interpretations of beloved themes from classic Hollywood films.
From romantic standards that originated as film themes (The Shadow of Your Smile, As Time Goes By), to varied styles ranging from James Bond, Judy Garland, Walt Disney and Federico Fellini, Jazz Goes to the Movies will be a joy for the lover of film music.
Co-leaders Peter Dasent and Phillip Johnston both have careers as jazz musicians and composers of film music.
Dasent is known for Peter Jackson’s early films Heavenly Creatures, Meet The Feebles and Dead Alive.He has arranged six suites of music from Fellini’s films including the Academy Award-winning La Strada (1954), La Dolce Vita (1960) and 8 1/2 (1963). The music has been released on the CD Bravo Nino Rota, performed by his group The Umbrellas with guest mezzo-soprano Michelle Agius-Hall.
Johnston has scored Hollywood films starring Cher and Ryan O’Neal (Faithful), James Spader and Mandy Patinkin (The Music of Chance) and Tim Robbins and William Hurt (Noise), as well as independent films, documentaries and shorts. Johnston is also a lecturer on film music at the Sydney Conservatorium of Music, where he teaches composition for film, and the University of Sydney, where he teaches the history of film music. His book Silent Films/Loud Music (Bloomsbury) was released in paperback last year. His early film music has been released on the CD Music for Films on Tzadik Music.
Here are a few samples of great film themes as performed by Playing with Monk:
Main Theme from Peter Jackson’s Heavenly Creatures (1994) by Peter Dasent
Main Theme from Federico Fellini’s 8 1/2 by Nino Rota
“The Godfather Waltz” by Nino Rota from The Godfather (Coppola, 1972)
“If I Only Had A Brain” (Arlen/Harburg) from The Wizard of Oz (1939)
“Addio A Cheyenne” from Sergio Leone’s Once Upon A Time in The West (1968) by Sergio Leone
Return to Playing With Monk
Phillip Johnston phillip@phillipjohnston.com 0424 655 317
Peter Dasent peterdasent@mac.com
The Microscopic Septet are widely considered one of the most important and unique bands to come out of the New York Downtown scene of the 1980s. Never sufficiently contained by a single category, the Micros—co-led by by soprano saxophonist Phillip Johnston and pianist Joel Forrester—formed during a remarkable period of musical experimentation and quickly distinguished themselves as a raucously fun, musically adept, and wickedly clever jazz band.
“The past is a big place filled with music. Some players cling to it like a security blanket; others fool themselves that they can invent new sounds out of thin air. The smart ones use the past as a resource: an infinite library from which to steal any number of hooks and probably make a clean getaway. But borrowing from the past is different from wallowing in it, and hip modernity springs from the subtlest tweak of something old. That’s the game the Microscopic Septet plays. Although you might variously hear echoes of Duke Ellington, Sun Ra or Louis Jordan, the compositions by pianist Joel Forrester and soprano saxophonist Phillip Johnston suddenly dart up unforeseen alleys, like the past is chasing with sirens screaming. Even more than the compositional quirks, what ensures their escape is the players’ characters oozing from the music – and it’s a fun ooze. Now, 34 years on, the Microscopics have their own past to cannibalise; their own bones to spit out. The result? One of the most distinctive sounds in contemporary jazz.”
– John Shand / The Sydney Morning Herald
“seminal, brilliant post-modern jazz”
– Downbeat Magazine
“one of the most distinctive sounds in modern jazz.”
– John Shand, Sydney Morning Herald
Musicians
Phillip Johnston: soprano sax
Don Davis: alto sax
Mike Hashim: tenor sax
Dave Sewelson: baritone sax
Joel Forrester: piano
Dave Hofstra: bass
Richard Dworkin: drums
Releases
- All Posts
- Bands
- Concert Music
- Contemporary Film
- Current
- Musical-Theatre-Opera-Dance
- Recordings
- Retrospective
- Silent Film & Comics
The Microscoptic Septet: Been Up So Long It Looks Like Down To Me: The Micros Play The Blues Released on...
The Microscopic Septet: Manhattan Moonrise Released released May 27, 2014 via Cuneiform Records Manhattan Moonrise is the 3rd release by...
The Microscopic Septet: Friday The 13th: The Micros Play Monk Released October 5, 2010 via Cuneiform Records Composer and pianist...
The Microscopic Septet: Lobster Leaps In Released September 17, 2008 via Cuneiform Records “…sounds like someone mistakenly booked the Art...
The Microscopic Septet: Surrealistic Swing: History of the Micros, Volume 2 Released October 10, 2006 via Cuneiform Records The Micros...
The Microscopic Septet: Seven Men in Neckties: History of the Micros vol. 1 Released October 10, 2006 via Cuneiform Records...
