gabby fluke-mogul is a New York-based violinist, improviser, composer, educator, organizer and doula. Weaving within the threads of avant and free jazz, with deep roots in improvised and experimental music, their music has been described as “embodied, visceral and virtuosic” and “the most striking sound in improvised music in years”. gabby is humbled to have collaborated with Nava Dunkelman, Joanna Mattrey, Ava Mendoza, Charles Burnham, Fred Frith, Luke Stewart, Zeena Parkins, Tcheser Holmes, Mariá Portugal, Lotte Anker, Paula Sanchez, Susana Santos Silva, Lester St. Louis, William Parker, and Pauline Oliveros among many other musicians, poets, dancers and visual artists. gabby has toured throughout the U.S. and Europe, with recent performances at Cafe Oto (London), Calouste Gulbenkian Foundation (Lisbon), Curva Minore (Palermo), Stadtgarden (Cologne), The Pulitzer Arts Foundation (St. Louis) and The Stone (New York).

AVA MENDOZA is a Brooklyn-based guitarist, singer, songwriter and composer. Born in 1983, she started performing her own music, and as a sidewoman and collaborator in many different projects, as soon as she was legally allowed into venues. As a guitarist, Mendoza has received acclaim for her technique and viscerality. Her most ongoing work is as leader of art rock band Unnatural Ways, and as a solo performer of her own music and works by contemporary composers. In any context she is committed to bringing expressivity, energy and a wide sonic range to the music. Mendoza has toured throughout the U.S. and Europe and recorded/performed with musicians including Carla Bozulich, Malcolm Mooney (CAN), Steve Shelley, Mike Watt, Adele Bertei, Mick Barr, William Hooker, Nels Cline, Matana Roberts, John Zorn, Jamaaladeen Tacuma, Fred Frith, William Parker, Hamid Drake, Object Collection (Travis Just), ROVA, Negativland, the Violent Femmes, and members of Caroliner. She has received composition commissions from film distributor Kino Lorber, new music duo The Living Earth Show, the Jazz Coalition, and John Zorn’s Stone Commissioning Series at National Sawdust. Recordings are available on labels Tzadik, Astral Spirits, SGG, Pyroclastic, Clean Feed, Resipiscent, and New Atlantis.

Billy Martin was born in NYC in 1963 to a Radio City Rockette and a concert violinist. At age 17, he devoted himself to music and dove into Manhattan’s thriving, eclectic musical landscape. In the years to follow, he honed his craft everywhere from Broadway orchestra pits to Brazilian nightclubs and burgeoning underground performance spaces. In the late 1980’s East Village Martin found his home (and his artistic voice) playing at the original Knitting Factory on Houston Street with John Lurie’s Lounge Lizards, The John Lurie National Orchestra, John Zorn’s Cobra ensembles, and many other musical groups.

From the roots of the downtown scene he emerged with Medeski Martin and Wood, bridging the harmonic complexity of jazz, the conversational fluency of free improvisation, and the groove and swagger of classic R&B and funk. A series of albums and high-profile collaborations with John Scofield, John Zorn, iggy Pop, Natalie Merchant, and others, brought the band international acclaim.

Martin has relentlessly pursued diverse musical contexts, from free improvisation to chamber compositions to film scores. Much of his work is available via his Amulet Records label, which recently released the Road to Jajouka—a series of collaborations (produced by Martin) between the Master Musicians of Jajouka and such artists as Ornette Coleman, Flea, Marc Ribot, John Zorn, Lee Ranaldo, Bill Laswell, Mickey Hart, MMW and more.

Martin is also an accomplished filmmaker and visual artist, whose work has been exhibited in solo and group installations around the world including 2014’s Cartegena de indias Bienal in Colombia and the Drawing Sound series at The Drawing Center in NYC (2015)

What began for Martin as tireless enthusiasm for music, percussion, and improvisation evolved into a wide ranging search for the roots of inspiration. Among the most valuable undertakings in this ongoing exploration is teaching. “When I teach,” he explains, “I learn and discover methods to build my vocabulary and style, and I love to help others do the same”

His experiences as a teacher, student, and musician led him to create and direct Life on Drums, a cinematic exploration of percussion and the creative process with his childhood drum instructor, Allen Herman.

Billy is currently Executive Artistic Director and CEO of the legendary Creative Music Studio

He also owns and manages his own record label Amulet Records

Kris Yunker is a funk/soul Hammond organist who brings his unique sound and vintage gear to every gig he plays. Since 2002, Kris has been making himself a name in the music scene with his cosmically rhythmic keys and heavy-hitting left-handed bass lines. In addition to his own project Yunker Funker, he’s also in the rotation of such acts as Bearly Dead, All’s Eye, Alan Evans Trio, On The Spot Trio, Elise Testone, Drew Angus, Love Raptor, The 7 Day Weekend, and many more. He played and toured with Goose in 2017 just before recording his first solo album, Bicoastal Waves. Kris recently subbed for Soulive’s Neal Evans at Bowlive with George Porter, Jr. When not on stage, he’s in the studio, having recently released his single “To Be Fair” with Karl Denson, Will Bernard, Mike Dillon, Alan Evans, and the BT/ALC horns on the Vintage League Records label. Lately, he’s also appeared on the albums of Alan Evans, Joe Marcinek, Sugar Business, Frank Sellman, Drew Angus, Greg Mattson, and Mike Oehmen.

Luke Stewart is a musician, performer, improviser-composer, organizer, and writer-researcher whose work represents a deep reverence for the history and tradition of Creative Music: a tradition which encompasses the diverse styles of expression within the body of Black Music in the United States, Africa, and throughout the world. Stewart’s regular ensembles include Irreversible Entanglements, SILT Trio, Exposure Quintet, and the experimental rock duo Blacks’ Myths; he also performs regularly in numerous collaborations.

In his Works for Upright Bass and Amplifier and Works for Upright Bass and Amplifier Vol 1 and Vol 2 (Astral Spirits, 2018, 2021, 2022), Stewart explores real-time harmonic and melodic possibilities, as well as the intersection of the acoustic and the electronic—the relationship between wood and electricity. He uses the resonant qualities of the bass and one or more amplifiers to create reverberations from the plucking of strings, his bow, and moving the instrument itself back and forth in space.

Over the years, Stewart has performed at Arts for Art’s Vision Festival, New York, NY; Winter Jazzfest, New York, NY; The Kennedy Center, Washington, D.C; Rhizome DC, Washington, D.C.; The Metropolitan Museum of Art, New York, NY; Big Ears Festival, Knoxville, TN; the BIMHUIS, Amsterdam, Netherlands; and Roskilde Festival, Roskilde, Denmark, among many other venues and festivals in the United States and abroad. As a scholar, Stewart has also performed and lectured at Harvard University, Cambridge, MA; Johns Hopkins University, Baltimore, MD; Medgar Evers College, Brooklyn, NY; George Mason University, Fairfax, VA; Wayne State University, Detroit, MI; University of Montana, Missoula, MT; New Mexico State University, Las Cruces, NM; and the University of South Carolina, Columbia, SC.

Stewart has had residencies at Roulette Intermedium, Brooklyn, NY; The Hermitage Artist Retreat, Englewood, FL; and Pioneer Works, Brooklyn, NY. He received a Foundation for Contemporary Arts Emergency Grant (2022) to support his work with KO Arts in New Orleans. Stewart was noted in DownBeat as one of twenty-five performers to “shape jazz for decades” (2020).

He holds a B.A. from American University and an M.A. from The New School, where he is also an adjunct professor in the College of Performing Arts. Stewart is a co-founder and artistic director of CapitalBop, a Washington, D.C.-based jazz nonprofit.

Simon Hanes is a California born, Brooklyn-based composer, performer and arranger. His work revolves around bridging his main influences; soundtrack music from 1960s/70s Italian films, contemporary classical music, and non-idiomatic improvisation.