Scott Amendola, Ben Goldberg, and Todd Sickafoose – Madison, WI

Scott Amendola, the drummer, composer and bandleader who’s been a creative force on the Bay Area jazz scene (and far beyond) for the past three decades, knows all about the power of subtraction. The trio is Ben Goldberg on clarinet and Todd Sickafoose on bass,
“Amendola’s music is consistently engaging, both emotionally and intellectually, the product of a fertile and inventive musical imagination.” Los Angeles Times

“If Scott Amendola didn’t exist, the San Francisco music scene would have to invent him.”
Derk Richardson, San Francisco Bay Guardian

“Amendola has complete mastery of every piece of his drumset and the ability to create a plethora of sounds using sticks, brushes, mallets, and even his hands.” Steven Raphael, Modern Drummer 

“…drummer/signal-treater Scott Amendola is both a tyrant of heavy rhythm and an electric-haired antenna for outworldly messages (not a standard combination).” Greg Burk, LA Weekly

For Scott Amendola, the drum kit isn’t so much an instrument as a musical portal. As an ambitious composer, savvy bandleader, electronics explorer, first-call accompanist and capaciously creative foil for some of the world’s most inventive musicians, Amendola applies his wide-ranging rhythmic virtuosity to a vast array of settings. His closest musical associates include guitarists Charlie Hunter, Nels Cline, and Jeff Parker, Hammond B-3 organist Wil Blades, violinist Jenny Scheinman, saxophonist Phillip Greenlief, clarinetist Ben Goldberg, bassists Trevor Dunn, and Todd Sickafoose, players who have each forged a singular path within and beyond the realm of jazz.

Ben Goldberg | My musical life was a dichotomy: I played jazz on the saxophone and classical music on the clarinet. While getting a B.A. in music from the University of California at Santa Cruz I studied clarinet with Rosario Mazzeo, the dean of twentieth century clarinet teachers. I started playing and studying klezmer music, which has a virtuosic clarinet tradition. I began to think about how to use the clarinet in jazz and improvised music. Once the task had been defined I looked for help. Steve Lacy provided a good example. He had devoted himself solely to the soprano saxophone and his music really touched me. I was playing in The Klezmorim and for some reason there were a bunch of tours in France that included hanging out for a week or two in Paris between gigs. I used to go down to the Sunset to listen to Steve and ask him for a lesson.  Finally he relented and said come over tomorrow.  He spent an afternoon with me and showed me specific methods of studying the fundamentals of intervals, harmony, and melody. I worked on these exercises for the next five years and began to gain access to the basic materials of music.

I was playing a lot of klezmer music, but getting tired of the search for “authenticity” through note-for-note reconstructions of old recordings. In Sweden I met Ziya Aytekin, a traditional zurna player from the Caucasus.  I heard how much his music had in common with, for example, the late work of John Coltrane. I wondered if I could use klezmer music to explore this connection between the traditional and the “avant-garde.” 

One day I got together with Dan Seamans and Kenny Wollesen, with whom I had often played traditional klezmer music. I suggested we take a familiar tune and cut loose on it to see where it might go. The result was exhilarating and had a powerful, lasting effect on me. It was my first taste of music as a transformative, liberating force.

Joe Lovano said that Mel Lewis could play a downbeat that was so strong it would last for eight bars.  Perhaps there are some downbeats that keep ringing for the rest of your life.  For me, New Klezmer Trio was this downbeat, a moment when the ingredients I had worked hard to prepare first came together in an experience that continues to illuminate the depth and range of musical possibility in this world.  This was the beginning of my creative musical path; in the years since then, I have continued to work with and cultivate the musical forces that were present at that time – research, education, musical fundamentals, diligence, attention to detail, and a relentless pursuit of truth.

Todd Sickafoose is a Tony and Grammy award-winning composer, producer, arranger, orchestrator, bandleader and double bassist. He has performed on hundreds of recordings, toured internationally, appeared at music venues and festivals from Carnegie Hall to New Orleans Jazz & Heritage Festival, and played on national television and radio programs including the Tonight Show with Jay Leno, Late Show with Conan O’Brien, The Artists Den, and NPR’s Mountain Stage. Known as a musical cross-breeder who stretches across genres, Sickafoose has been described by the San Francisco Chronicle as “a captivating improviser, imaginative composer, and master of collaboration”.

In 2004, Sickafoose began performing and recording in a duo format with folk poet, activist and cultural icon Ani DiFranco. Their relationship has developed for nearly two decades – together they have made 7 albums, two concert DVDs, and performed over 1000 shows.

In 2007, Sickafoose began working on Anaïs Mitchell’s folk opera, Hadestown, wearing many hats including arranger/orchestrator and music producer. After years of development and regional productions, the show opened at the Walter Kerr Theater on Broadway in 2019 and won 8 Tony Awards, including Best Musical and Best Orchestrations for Sickafoose and collaborator Michael Chorney. Sickafoose produced the Hadestown Original Broadway Cast Recording which won a 2019 Grammy for Best Musical Theater Recording. Hadestown continues to run both on Broadway and a North American Tour, and will open on London’s West End in early 2024.

Straddling the worlds of folk, indie rock, jazz and chamber music, Sickafoose’s own band Tiny Resistors has performed at the North Sea Jazz Festival, Stern Grove Festival, Angel City Jazz Festival and been featured on many “Best-Of” lists including the Village Voice and JazzTimes. Writing for Tiny Resistors, he recently composed Bear Proof, a long-form chamber jazz hybrid commissioned by the Doris Duke Foundation.