JOHN STONE wrote and performed the music you hear on the soundtrack of All the Time in the World. On the site right now is Part V of that film: Journey along the underground river. John’s musical gifts and interests are broad-ranging as you can see and hear at www.myspace.com/johnkstone123 and www.johnkstone.info John is also a unicyclist! Read about his cycling in this New York Times article — where there’s also a video of John in action.
GREAT SMALL WORKS is the collective star of The elephant water-clock, part X of All the Time in the World (coming soon to this website!). They “keep theatre at the heart of social life” in their avant-garde toy theatre and street theatre events and also at their legendary Spaghetti Dinners, where they host high-energy variety evenings with extraordinary emerging and veteran performers. Visit them at www.greatsmallworks.org
DENISE IRIS is making a series of fascinating and poetic short films about “the wondrous adventures of daily living” to be found at www.deniseiris.com
DAPHNA MOR is a virtuoso recorder player who performs as expressively with the New York Philharmonic and Sting as she does with the New York Early Music Ensemble and Pharoah’s Daughter. Daphna introduced me to the 14th. century Italian music you hear in My Left Hand Makes Breakfast. You can listen to her at www.daphnamor.com
COLIN SANDERSON composed and performed the music for The four senses and more of Kirche Zeile. He’s also a founding member of the experimental performance and music group Manburger Surgical. They’re into “psychedelia, devil-may-care experimentalism, performance art, ventriloquism and puppetry, free improvisation, progressive rock, theater, and all around freaky good vibes.” Check them out at www.myspace.com/manburgersurgical and www.manburgersurgical.com as well as here
THE MILLENNIUM FILM WORKSHOP is North America’s pre-eminent center for independent filmmaking. I began learning to make films there, and went on to found the Millennium Film Journal and co-edit the first couple of issues. There’s more about Millennium, including the excellent series of film screenings curated by Howard Guttenplan, at www.millenniumfilm.org
BRUCE LAZARUS is performing his November Sonata Part 1 and Part 2 with flutist Barbara Siesel. It’s marvelous — and YouTube’s audio gives a surprisingly good hint about Barbara’s wonderful sonority! You can visit Bruce at www.brucelazarus.net and listen to more of his music here
BILL OCHS is a central figure in Irish music, performing on the uilleann pipes, tinwhistle and flute. Bill brought his low D whistle into the studio, and with Andy Teirstein on viola, recorded a beautiful slow air for my film A Little Tour of Manhattan. I’ll be putting Tour up on the site in the not too distant future. Meanwhile, you can find out more about Bill in this interview and listen to him playing here
ELLIE GA has a fascination with artful research as a way of exploring memories and histories. Her photographs, texts and books, performances, slide-lectures, and installations gather together, classify, and re-interpret an unusual range of things and experiences. From stains on the sidewalks of New York City and the mysteries in the archives of the Explorers Club, to her voyage with scientists in the Arctic pack-ice, she discovers what was thought too mundane to matter, too long forgotten to be remembered, or too prone to being explained – and makes it strange and marvelous again! There’s more about Ellie here
LLOYD McNEILL is one of America’s great jazz musicians. His flute playing is all of a piece with his paintings, photographs and poetry. Visit him at www.lloydmcneill.com and find out more about his music here
JERRY WILLIAMS is the poet who speaks on behalf of the unnamed thing in my riddle-sonnet The Life of Things XXII. Click on “Poetry” here on the website to see and hear his performance – and figure out the name of the thing! Jerry’s own poetry gets at you from every angle: it’s bitter, sweet, passionate, painful, highly articulate, riffy, thoughtful, very funny, and altogether an amazing, unique version of the sound and rhythm of American language. You can read one of his poems and find out here how it came to be.
