OCEANS AND
Tim Berne’s work is characterized by
tireless artistic dedication and creativity. His newly
formed trio with accordionist
and multi-instrumentalist Aurora
Nealand and cellist Hank
Roberts takes the listener on a
sonically adventurous jour-
ney on Oceans And and delights with
much imagination and
amazing musical diversity. The
pieces are penned by Tim
Berne and all open doors to infinite
interpretation and de-
velopment. “The breathtaking music,
created by Tim Berne,
Aurora Nealand, and Hank Roberts
can be deservedly and
on all accounts deemed: profound,
probing, intriguing, dis-
tinct, intricate, raw, courageous,
mysterious, and thoughtful.
The group’s concerted effort to
achieve a cohesive blend is a
refreshing relief. An honest crusade
of in-depth imagination,
this music is a beacon of light in an
unsettling world,” writes
Baikida Carroll in the liner notes and
adds: “It stimulates the
brain, animates the imagination, and
charms the heart.”

TIM BERNE is a composer, saxophonist, band-leader and

educator specializing in jazz and improvised music. A tour de

force on this scene, he has been performing internationally since

1982 with various ensembles including, most recently, Snakeoil

and Sun Of Goldfinger. He has made over 50 recordings as a

leader for labels such as Soul Note,Sony,JMT, ECM and Intakt,

while simultaneously running his own independent label

Screwgun Records. He has taught extensively since the late 90s

and given workshops around the world and is the recipient of

many international awards and residencies.

AURORA NEALAND is a sound artist and multi-instrumentalist

(saxophones, accordion, voice) Since moving to New Orleans in

2004 she has become a prominent force in both the traditional

and non-traditional music scene working in bands such as The

Royal Roses, The Monocle Ensemble, Redrawblak Trio, and the

Instigation Orchestra. She is equally at home on the stages of

concert halls and festivals around the world, playing music in the

streets and clubs of New Orleans, or touring in crammed vans to

squat houses. She is also an educator, and has been awarded

several residencies across the US.

Over his nearly four-decade career, HANK ROBERTS has forged

a compelling original voice as a cellist and composer,

encompassing jazz influences, abstract improvisation, soulful folk

melodies, intricate new-music compositions and vigorous rock

songs. Initially making his name on New York’s downtown scene

in the 80s alongside such frequent collaborators as Bill Frisell,

Tim Berne, Marc Ribot and John Zorn, he is now considered a

major innovator as a cellist, and band-leader and recording artist

in his own right. Currently he is a member of Bill Frisell’s

Harmony group and performs regularly with his own sextet.

Lie Very Still 

(John C. Savage-flutes & saxophones, Mike Gamble-guitar, Shao Way Wu-bass,  Ken Ollis-drums) 

The Portland-based flutist and saxophonist, John C. Savage, has corralled some  of Portland’s most adventurous improvisers and created Lie Very Still. Featuring  Mike Gamble on guitar, Shao Way Wu on bass, and Ken Ollis on the drums, the quartet masterfully blends jazz, avant-garde, and world music sounds. Their new  album, Nova Pangaea, is a stunning testament to both the beauty of our planet  and the gravity of the climate crisis. Evoking the chaos and tumult of a  worsening disaster with a vibe that is as much Ornette Coleman as it is John  Zorn, Nova Pangaea, manages to convey the interconnectedness of our global  community and the urgent need for collective action. 

https://pjce.bandcamp.com/album/nova-pangaea

https://www.facebook.com/lieverystill/

http://www.johncsavage.com/ 

“…Savage is a badass, knock-down-drag-out force to be reckoned with….”   —Willamette Week 

“John Savage’s flute, which emulates Japanese shakuhachi, suggests shadows  and mists.”—The Washington Post 

“From the harsh sound of Ian Anderson to the beautiful tone of Herbie Mann….”  —The Oregonian 

“Savage’s yearning flute sound, with the band closing around him like shadows  in moonlight, is exquisite on [Andrew Hill’s] Faded Beauty.” —The Guardian 

“Jan Garbarek-esque saxophone.” —The Jazz Scene (Jazz Society of Oregon)