Bryan Lineberry is a Seattle-based sax player and sound pusher known for sonic exploration and dynamic expressionism. Gregg Miller is a Seattle-based sax player and political theorist. He admires work that combines the indeterminacy of sound(s), the openness and risk of collective improvisation, and the force of political commitment. Anjali Grant is a Seattle-based artist and architect.

Since COVID-19 began, Bryan and Gregg, like all musicians who believe in the power of practicing art in person and as part of a community, were sad because they could no longer do just that. As the weather turned warmer, we decided to meet outside and play – at a safe distance. Gregg found a lush dell in Jefferson Park in Beacon Hill. The recording captures the live event more or less as it happened with birds and wind and planes overhead, the occasional chatter of passersby. The session was recorded with field microphones with minimal post-processing. Anjali Grant did the cover art which features the topographic detail of the dell in Jefferson Park.

As if the pandemic weren’t enough, we would be remiss if we didn’t acknowledge the psychologically and politically fraught context of our playing: Say his name: George Floyd. Say her name: Breonna Taylor. Black Lives Matter.

With the Chapel closed indefinitely due to the COVID-19 pandemic, the Wayward Music Series moves from the concert hall to the living room. In place of our usual ten monthly concerts, Nonsequitur is commissioning ten Seattle artists each month to create a series of streaming audio sessions of previously unreleased material.

Haruko Crow Nishimura is a vocalist, dancer and artistically directs Degenerate Art Ensemble, a multi art performance group based in Seattle.
She is always searching to discover how art can create deeper connections, transformations and awakenings. She has been a recipient of Guggenheim Fellowship and Creative Capital award. You can follow her on Instagram or Facebook.

Witness Tree is a multi-layered vocal improvisation.

With the Chapel closed indefinitely due to the COVID-19 pandemic, the Wayward Music Series moves from the concert hall to the living room. In place of our usual ten monthly concerts, Nonsequitur is commissioning ten Seattle artists each month to create a series of streaming audio sessions of previously unreleased material.

Kelsey Mines is a performer, composer and teacher of the upright and electric bass living in Seattle.  In her music, she draws from classical, jazz and pop expressions, exploring the intersection of preconceived music and improvisation. You can support her directly via Patreon.

This collection of pieces taps into the unique position of a musician in quarantine, forced to play and work alone, but also acutely aware of the company of herself. How can we listen more deeply to ourselves, our inner voices, both musical and otherwise in a time of distinct isolation?

With the Chapel closed indefinitely due to the COVID-19 pandemic, the Wayward Music Series moves from the concert hall to the living room. In place of our usual ten monthly concerts, Nonsequitur is commissioning ten Seattle artists each month to create a series of streaming audio sessions of previously unreleased material.

Eric Lanzillotta ran Anomalous Records from 1991 to 2004 and recently has revived it. He is director of the graphic score ensemble Eye Music since its founding in 2006. In addition to the members of that group, he has performed with Bernhard Günter, Aube, Withdrawal Method, and Richard Lerman, and as a member of Jeph Jerman’s animist orchestra. His last physical release was a duet with Matt Shoemaker released on CD in 2018.

This music was created with my primary instrument, the MiniMoog Voyager, on May 29, 2020. Normally my concerts rely heavily on bass frequencies played a moderate volume. Much of this bass disappears at lower volumes because the way we hear, so I have tried to play something that would also work if it is played back quietly on smaller speakers. However, I recommend louder listening via speakers or headphones to fully experience this piece.

With the Chapel closed indefinitely due to the COVID-19 pandemic, the Wayward Music Series moves from the concert hall to the living room. In place of our usual ten monthly concerts, Nonsequitur is commissioning ten Seattle artists each month to create a series of streaming audio sessions of previously unreleased material.

Robb Kunz is a sound artist, musician, and engineer. Growing up in Oklahoma during the Cold War, he was surrounded by powerful tornado and air-raid sirens that sounded on a regular basis. These remain a primary influence his my art: the transformative and intangible effect of sound.

In the Days of the Now Forgotten is an extended remix of a 14-channel installation that is currently installed at Seattle Center underneath the covered walkway adjacent to the International Fountain. It juxtaposes lonely soundscapes virtually void of people with field recordings of crowds in various parts of the world engaging in cultural activities that we won’t see/hear the likes of for awhile. It is funded by the Office of Arts and Culture and Seattle Center.

With the Chapel closed indefinitely due to the COVID-19 pandemic, the Wayward Music Series moves from the concert hall to the living room. In place of our usual ten monthly concerts, Nonsequitur is commissioning ten Seattle artists each month to create a series of streaming audio sessions of previously unreleased material.

Jen Gilleran is a drummer, percussionist, sound designer and teacher. She is on staff at Earwig Studio as engineer and producer. She has performed at past Wayward Series events and often sets music to film.

Flat Felled Seam

‘A seam created by folding raw sides of fabric into one another. A seam that will not fray.’

Jen Gilleran: sounds, drums and design
Neil Welch: sounds and saxophone

Sincere gratitude to Neil Welch & Steve Peters.

With the Chapel closed indefinitely due to the COVID-19 pandemic, the Wayward Music Series moves from the concert hall to the living room. In place of our usual ten monthly concerts, Nonsequitur is commissioning ten Seattle artists each month to create a series of streaming audio sessions of previously unreleased material.

Tamara Zenobia combines the elements of Vocal Alchemy, percussion, electronic music and other world instruments to create a very authentic sound that is all her own. As an Improvisational Storyteller she craftily weaves divination, vocal alchemy mastery, song, spoken word and divine guided body movements into her performance to create a very eclectic mix of groovy sounds and hypnotic beats. Tamara is the founder of Inner Guidance Healing Arts Studio & Gallery AND Butterfly Jazz Intuitive Arts LLC, a multifaceted company that provides holistic healing services through audio, visual and performance arts.

I’m calling this exploration Creating Our Stories. This work is about speaking life into ourselves and into our world. Healing ourselves with our thought vibration frequencies rather than letting the News and the powers that be speak over us and into our lives. The intent of this work is to inspire us to work harder to turn things around for humanity through our thoughts, words and actions  so we can live and be healthy and happy.

With the Chapel closed indefinitely due to the COVID-19 pandemic, the Wayward Music Series moves from the concert hall to the living room. In place of our usual ten monthly concerts, Nonsequitur is commissioning ten Seattle artists each month to create a series of streaming audio sessions of previously unreleased material.

Erin Jorgensen is a musician focusing on acoustic and amplified marimba living in Seattle.

Walking Down the Stairs is an improvisation played on a five octave marimba, focusing on the uniquely meditative sonic qualities of the instrument. Text and vocals are also improvised on the spot, inspired by the live sounds of the marimba and the muffled sounds of the outside world. Headphones are recommended for the best listening experience.

(Photo: Kelly O)

With the Chapel closed indefinitely due to the COVID-19 pandemic, the Wayward Music Series moves from the concert hall to the living room. In place of our usual ten monthly concerts, Nonsequitur is commissioning ten Seattle artists each month to create a series of streaming audio sessions of previously unreleased material.

Gust Burns is a musician, composer, and theorist. In addition to making various kinds of musical, performance, and art works, he writes and thinks around analyses of capitalism and anti-blackness. He is working on his dissertation at the University of Washington’s English department, titled “Dispensation of the faculties: Human capacity and radical incoherence across black arts and audio-visual production.”

title: a subsequent iteration of deferral, like m said

Solo piano and silent dubplate record, recorded simultaneously through turntable with cartridge and stylus.

What is the ontological, and so the political standing of the faculty of listening? This recording should be understood less as an engagement with questions around performance, recording, and objecthood. Rather, it is a presentation of listening’s reliance upon, and integration within the contemporary capacital apparatus that comprises the diversity of capitalism’s temporal and haptic machines.

With the Chapel closed indefinitely due to the COVID-19 pandemic, the Wayward Music Series moves from the concert hall to the living room. In place of our usual ten monthly concerts, Nonsequitur is commissioning ten Seattle artists each month to create a series of streaming audio sessions of previously unreleased material.

A freelance flutist, artist, improviser, and composer, Leanna Keith delights in creating sound experiences that make audiences laugh, cry, and say: “I didn’t know the flute could do that!” Her performance artworks have focused on cultural connection and the breaking of audience/performer boundaries. She is co-founder of the 501(c)(3) arts organization Kin of the Moon and is co-artistic director and flutist of the ensemble. You can support her directly via Patreon.

This improvisation was made while thinking deeply about what it is to make sound when no one is around to hear it, to shout into the void, expecting no answer while still hoping for some form of communication. The first half is entirely on bass flute, and is a bit of a manic expression of emotion. The second half is bass flute + electronics, piccolo, C flute – perhaps the void speaks back. Ultimately, it returns to a single voice, that is still somehow, changed.

With the Chapel closed indefinitely due to the COVID-19 pandemic, the Wayward Music Series moves from the concert hall to the living room. In place of our usual ten monthly concerts, Nonsequitur is commissioning ten Seattle artists each month to create a series of streaming audio sessions of previously unreleased material.