Moritz / Ali / Costa
Jonathan Moritz - tenor and soprano saxophones
Sean Ali - double bass
Carlo Costa - percussion
Saxophonist Jonathan Moritz was born in Tehran, Iran. At an early age he moved to California, and since 2000 he’s been living in Brooklyn, NY. He is active in the city’s musical scene both as a leader of the trio Secret Tempo, with bassist Shayna Dulberger and drummer/percussionist Mike Pride (Hot Cup Records), as well as a sideman or collaborator in a variety of groups including  The UP (w/ Ben Gerstein, Eivind Opsvik and John McLellan), Evil Eye (w/ Nate Wooley, Ken Filiano and Mike Pride.), Mike Pride’s From Bacteria to Boys (w/ Jon Irabagon, Alexis Marcelo, Peter Bitenc) and Trio Caveat (w/ James Ilgenfritz and Chris Welcome).http://jonathanmoritz.comshapeimage_3_link_0
Bassist, composer, and improviser Sean Ali from Dayton, Ohio has been living in New York City since 2003, where he participates in the city’s vibrant experimental music scene both as a performer and curator. His current projects include: Fester with David Grollman (percussion), LathanFlin&Ali with Lathan Hardy (sax) and Flin Van Hemmen (drums), Natura Morta with Carlo Costa (percussion) and Frantz Loriot (viola), Hag with Brad Henkel (trumpet) and David Grollman (percussion), PascAli with Pascal Niggenkemper (bass), Mattrey.Bordreuil.Ali with Joanna Mattrey (viola) and Leila Bordreuil (cello), and large ensemble The Mudbath Orchestra. His solo performances center around text and sound-specific preparations for the bass. He is co-founder and member of the new music label Prom Night Records.
http://seanali.com/shapeimage_5_link_0
Sean Ali, Jonathan Moritz and Carlo Costa have been playing together since 2013. Initially the trio was part of the Carlo Costa Quartet, which featured veteran improvising trombonist Steve Swell. The quartet was active until the end of 2016 and released one album, Sediment (Neither/Nor Records), which received praise by the press. After Swell’s departure the trio reconvened in 2017 as a collective.

photo by Peter Gannushkin