NO COVER

6:30 to 9:30pm

Brandon Wozniak:

One of Minnesota’s most exciting saxophonists. He returned to the twin cities in 2006 after six years in New York City and a six month stint in Shanghai, China. Wozniak studied music at Indiana University with David Baker and privately with Tom Walsh. Brandon performs regularly with Dave King’s(Bad Plus, Happy Apple drummer) Dave King Trucking Company with saxophonist Chris Speed, the Atlantis Quartet(City Pages Best Jazz Artist 2011, Star Tribune Best Jazz Artist 2012), the great drummer Eric Kamau Gravatt(Weather Report, McCoy Tyner), Bryan Nichols Quintet, Chris Bates Red 5, PBR Street Gang, Lars Larson’s Mancrush, Cory Healey’s Beautiful Happy Sunshine Band, Steve Kenny Quartet and DD7. Brandon has also performed with singer Nellie McKay, toured with the Tommy Dorsey Jazz Orchestra and shared the stage with organ great Dr. Lonnie Smith, Jonathan Kreisberg, Francisco Mela(Joe Lovano’s US Five), Steve Davis, David Berkman and Dennis Gonzalez.

Thomas Nordlund:

Thomas Nordlund is a guitarist and composer based in Minneapolis, Minnesota. He is a lyrical guitarist whose command of the instrument allows him to shape vivid musical terrain with only a handful of notes. His compositions stretch from being insular to accessible and unfold like narrative observations of the world around him.

Nordlund released his second album as a bandleader and producer, “Miles Left Behind,” May 7, 2018 on Shifting Paradigm Records. Tracked in a single four-hour session with his quartet featuring Ben Abrahamson (banjo), Doan Roessler (bass), and Zach Schmidt (drums), “Miles Left Behind” picks up where his debut “Divide Avenue” left off, extending ideas about lyrical melody and non-standard form. It also contains elements of atmospheric sound design, processed from the sampled harmonics, open strings, and other noises of his guitars.

Previously, he collaborated with singer Maryam Yusefzadeh on arrangements of traditional Persian folk songs and new compositions, independently released as “Migration” on Feb 15, 2018. His debut record “Divide Avenue,” an instrumental eight-song set featuring the electric baritone guitar, was released independently in 2015.

Nordlund holds a B.A. in guitar performance from the University of Minnesota-Morris, a Certificate in Jazz Studies from the University of Auckland, New Zealand, and completed the Sound Design Program with James Patrick at Slam Academy in Minneapolis.

He is an active sideman with Sarah Morris and Chris Bates’ RED 5, and has performed or recorded with Dead Man Winter, Moon and Pollution, Tim Sparks, Roger Manins, The Adam Meckler Orchestra, The Jana Nyberg Group, and the Katha Dance Company, among many others.

Joey Van Phillips

At the intersection between the head and the heart, lies Joey Van Phillips. On his latest album Punch Bowl, the percussionist has embraced the true meaning of collaboration, composing all of the music and rhythms and asking friends and artists (POS, Dessa, Sims, Cecil Otter, Jacob Mullis, Amy Hagar, Aby Wolf, Open Mike Eagle, Mally, Felix of Heiruspecs, Kristoff Krane, Omaur Bliss, Joe Horton) to create their own parts. This common thread runs through much of the Phillips’ life and musical career, with each musical collaboration leading into something new linking back to his past. On his path to becoming a professional musician, his search to find his compositional voice was “fueled by the urge to make a new and meaningful contribution to an already-teeming modern music culture.” A third-generation drummer, Phillips was a child of the ‘80s who was greatly influenced by hip hop and further molded by extensive training and performance in jazz and improvisation. At another intersection between composer and performer, Phillips has found an honest voice in the fusion of classical percussion and hip hop. His scores are by default rhythmically driven, yet melodic in concept. Using acoustic percussion instruments and voice he achieves a new, modern repertoire that is unique in sound and relevant to pop culture. Punch Bowl is the essence of all of his work over the last two decades. Much like an artist who is finally understanding his role, Phillips embodies and embraces his unrestrained creativity. The ten songs create worlds often unrestrained and wild, but also explains the brilliant tension between utter lawlessness and laser-like focus in his endeavors.