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phillip greenlief - tenor saxophone   

g.e. stinson - guitars, effects, looping   

steuart liebig - electric basses, effects, looping



greenlief, stinson and liebig established skeleton wire after working with one another in various other groups on the LA new music scene. their first concert explored quiet, electro-acoustic improvisation (EAI), but over time the group's sound became more muscular, adding looping effects and beats on occasion to achieve pulse-based music.

be advised that the trio has no commitment to establishing a formal sound, they are interested in exploring wherever the music wants to go in any given performance.

skeleton wire bako.jpg

skeleton wire at the 9th annual in the flow festival, sacramento


G.E. Stinson's exploration of American music forms began as a child immersed in the gospel music of his family in Oklahoma. He continued in Chicago, studying blues with Cash McCall, Hound Dog Taylor, Willie Dixon, among others and eventually received a composition scholarship with William Russo at Columbia College. In 1972, he co-founded the seminal fusion/world music group, Shadowfax. During his tenure with this group, he performed and composed on seven recordings, toured extensively in the U.S., Europe, South America and Japan including performances at Carnegie Hall, Kennedy Center, Academy of Music, and Wolf Trap. In 1988, Stinson along with the other members of Shadowfax were honored with a Grammy Award from the National Academy of Recording Arts and Sciences and the following year began a collaboration with Momix Dance Theater which culminated in a national tour. 1990 brought the formation of the G.E. Stinson Group in Los Angeles and the subsequent completion of a recording entitled "The Same Without You" in 1993. This was to be the first of many collaborations that would lead to Stinson becoming a prominent member of the Los Angeles New Music community. Among these projects are the Wayne Peet Trio recording "Fully Engulfed"; Adam Rudolph's opera "The Dreamer"; "Right of Violet" featuring Alex Cline and Jeff Gauthier; Unique Cheerful Events (an improvising collective); A Thousand Other Names, Napalm Quartet, Metalworkers, as well as numerous collaborations with Nels Cline, Alex De Grassi,  Steuart Liebig, Phillip Greenlief, VInny Golia, Miller Wrenn, Brian Christopherson, et al. Stinson continues to compose for dance, visual art, film and television.



When prompted to talk about himself in the third person, electric bassist/composer Steuart Liebig will tell you that he has been playing and writing music for a long time. It’s probably more interesting to see what other people have said about him:

“To say only that he plays bass would be misleading. As an improviser, he commands a shocking array of effects. As a composer, he can create rigorous but liberating frameworks for wide-open jazz on one hand and harmonica honk on the other. And mainly, he hears everybody else, assimilates it all and kicks it to another level.”
“A major concern of Steuart Liebig’s is space; acknowledging it, defining it, dividing it up. If anyone can be funky without necessarily grooving, it’s bassist Liebig, a master of the unexpected cosmic event.”
“Liebig is equally at home charting lunar terrain as he is in the pocket.”
“. . . nonpareil rethinker of electric bass . . . “
“Steuart Liebig’s bass isn’t a bass, it’s a giant alien creature in the heaving throes of partition.” 

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