On the evening of Friday, April 4th, we are delighted to present double bassist Brandon Lopez (NYC), sonic artist Brett Masteller (NY), Reon Moebius’ and Drew Sherrick’s duo project Collector of Dust (CMH) and the Cox/Putnam duo (CMH). Doors 7:30pm, show begins at 8:00pm sharp. $9.25 prepaid, $10 at the door.
Supporters of our 2024-2025 season include the Greater Columbus Arts Council, the Ohio Arts Council, the National Endowment for the Arts, and the Columbus Foundation. Our April 2025 show is organized in partnership with A Tribe for Jazz.
About the artists:
Brandon Lopez is a bassist and composer living in New York City. His work deals with improvisation, finding new sonic possibilities on the double bass. Collaborations with the likes Fred Moten, Gerald Cleaver, John Zorn, The Mat Maneri Quartet, Nate Wooley’s “knknighgh”, Satoko Fuji, Zeena Parkins, Ingrid Laubrock and Tom Rainey, Standing On The Corner, Cecilia Lopez, Ash Fure, Joe Morris, Tyshawn Sorey, and many others. Playing with the New York Philharmonic 2019 season as a featured soloist with the New York Philharmonic in the premier of Ashley Fure’s “Filament” under the baton of Jaap Van Zweden. His solo work has been featured at the Met Museum in a live collaboration with silent films by directors Stan Brakhage and Germaine Dulac. His collaborative work with Fred Moten and Gerald Cleaver was critically acclaimed by publications of note and won Best of Jazz 2022 in the NYTimes. His most recent solo recording won best of 2023 in the NYC Jazz record. He’s been awarded the Van Lier Fellowship (2018) and Jerome Artist in Residence (2020) at Roulette Intermedium, The Artist in Residence at Issue Project Room (2018), commissions from the Robert D. Bielecki Foundation for the recording of SUN BURNS OUT YOUR EYES (2022), 2023 NYSCA grant for the multimedia piece NADA SAGRADA premiered at the Vision Festival, and an award in 2020 from the Doris Duke Charitable Trust. He is currently a instructor of improvisation and double bass at the New School for Jazz.
Brett Masteller is a sonic artist whose work merges the roles of composer, audio engineer, sound designer, performer, programmer, hacker, and maker. Drawing from algorithmic processes, chance procedures, and structured improvisation, he creates intricate and chaotic soundscapes employing technology to play a vital role in his work. Acting as both a tool and a collaborator, technology enables him to explore the dynamic interplay between structure and spontaneity. Brett studied music composition and electro-acoustic computer music at The State University of New York at Buffalo and Northwestern University where his principle teachers were Cort Lippe and Christopher Mercer. With more than 20 years of teaching experience at various colleges and universities, Brett is an Assistant Professor in the Music and Theater Department at SUNY Broome in Binghamton, NY. There, he teaches courses in audio engineering and beat production. Brett has had concert performances of his works in North America, Europe and Australia at conferences, festivals, galleries, universities, concert halls, black-box theaters, gymnasiums, dive bars, cul de sacs, and some other less notable places. Some noteworthy performances took place at the Birchfield Penney Art Center, The International Computer Music Conference, The Society for Electro-Acoustic Music in the United States, The Australian Computer Music Conference, Electronic Music Midwest, the Missouri Experimental Sonic Arts Festival, and June In Buffalo.
Collector Of Dust is the flagship project of Reon Moebius: multi instrumentalist and co founder of the independent label Argali Records whom he has shared operating duties with Nathan James Carter (Nihil Obstat/John Lithium) since the late 2000s. Originally conceived in South Thomaston, Maine during the winter of 2014: Collector Of Dust began as a cultivated outgrowth of Reon’s older band outfit The Jesus Fish Experience until that project was formerly retired in 2019 with it’s final digital release ‘Baptized By The Void’ having reached the limits of it’s shelf life. Since debuting live for The Fuse Factory in September of 2024, Reon is joined by former Dirty Dungarees owner and journeyman multi instrumentalist Drew Sherrick on electric upright bass, both of them having performed in ad-hoc lineups and ensembles in the past. Drew’s heavily effects laden bass playing provides a powerful but sensitive counterpoint for Reon’s similarly treated bowed guitar playing as they weave together soaring melodies anchored by the only inorganic component to Collector Of Dust: Reon’s reverb coated Alesis SR-18 drum machine. Whether it’s hauntingly hypnotic songcraft, intense feedback driven crescendos, or overlapping drones created by electric bowed strings: Collector Of Dust brings to stages an immense and immersive experience to those attending their performances. And regardless of the lineup: each performance is meant to be memorable.
Gerard Cox and Aaron Putnam, two talented musicians from Columbus, Ohio, form a dynamic duo known for their eclectic blend of genres and innovative sound. Combining their skills in various instruments and production, they craft music that seamlessly weaves elements of jazz improv and electronic influences. Their collaborative efforts bring a fresh, experimental energy to the Columbus music scene, creating a unique and captivating experience for their listeners. With a shared passion for pushing musical boundaries, Cox and Putnam continue to evolve and redefine their sound. Gerard is a pianist, trumpeter, and percussionist from Columbus with a keen interest in musical surrealism and the percussive nature of the piano. Born to a piano teacher Mom and a jazz saxophone hobbyist father, clear “rockstar” inclinations were shown at age 8 in an appearance as J.S. Bach at an OMTA music festival and at 10 as Billy Idol in a look-a-like contest for the national pop/rock magazine Star Hits. Cox developed a love for jazz in high school on through college, studying both jazz piano and B3 organ. While initially taken with the straight-ahead jazz of Art Blakey and Clifford Brown, he followed John Coltrane’s discography into his later period music and this proved to be the gateway for a fascination with free jazz and all kinds of other outsider/experimental music.