a wild adventure in free jazz…

Current Members

Rent Romus

photo by Peter B Kaars

Rent Romus – alto, soprano, c-melody saxophones, electronics,  voice, misc instruments, objects
He is a force spanning over twenty years of D.I.Y. music production, performance, and curation. He is heavily involved in stretching past the confines of standard music forms performing his original compositions and improvisations in a wide variety of musical settings. He is also focused in presenting and supporting the local experimental and avant-garde community at large with his grass-root philanthropic vision for total artistic self expression and freedom from generic branding.

photo by Rishio.com

CJ Borosque – trumpet, analog pedals
She plays trumpet and analog FX boxes configured in a “no-input” design which allows for the creation of feedback sounds without the use of a typical sound source. She also sometimes plays other various electronics and Instruments: Including an array of analog pedals and also turntable. Her newest instrument (and her favorite) is trumpet.

photo by Peter B Kaars

Ray Scheaffer – electric 6-string bass
He currently performs on fretless 6 string , fretted 4 and 8 string basses using a host of electronic effects that are incorporated to be part of the instrument. After studying music theory and upright bass in high school and junior college, Ray has performed in a diverse array of ensembles from full orchestra to folk rock bands, and experimental improv groups going back to the 70s.

Photo by Peter B Kaars

Philip Everett – drums, autoharp, electronics, clarinet
He began music at the age of 9 on clarinet shortly there after moving on the drums when he was 13 where he began his studies in junior high school with Warren George from the Stan Kenton band. Warren believed in trial by fire and stuck Phillip in a room alone for an hour a day, told him to learn drum rudiments, and put him in advanced orchestra & marching band the following semester. That trial led him directly to Bartok, Debussy, and Gershwin as well as New Orleans style 2nd line marches. Furthering his studies he sought after George Marsh and Eddie Moore where he was taught the finer subtleties of the drums. Phillip states, “These guys taught me to relax and trust my own instincts and that pursuit of one’s own uniqueness was not a negative quality”


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