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Samuel Burt has been improvising since childhood. His first forays into free improvisation were in high school. In college, he found his first free improv community in Athens, Georgia, playing with people like Killick and Colin Bragg.

The High Zero Foundation welcomed him into the Baltimore experimental community where he learned about large group improv and instrument building. For the past few years, he has led High Zero's monthly workshop on free improvisation.

Improvisation has impacted many composers. For Burt, it has given him more trust to give performers opportunities to create interesting material in a composition. It has increased his ability to think of performance as dynamic conversation. Above all else, it has introduced him to worlds of sounds often ignored by composers. Instruments are capable of so much more color, if you are willing to take them apart, bow them the wrong way, stop them up, or change embouchure.

Samuel Burt has worked with some of the finest experimental musicians in the world. Co-curating the High Zero Festival and the Red Room series has given him access to a diverse menagerie of outside-the-box thinkers.

Here's a list of a few:
Sarah Hughes, Maria Shesiuk, Dan Ostrow, Nate Scheible, Susan Alcorn, Liz Allbee, John Berndt, Jac Berrocal, Tom Boram, Shelly Blake-Plock, John Dierker, Neil Feather, Michael Formanek, Katt Hernandez, Robert van Heumen, Shelly Purdy, Thomas Lehn, Phil Minton, Scott Moore, Dafna Naphtali, Paul Neidhardt, Tom Nunn, Christine Sehnaoui, Dorothea Schürch, Liz Tonne, Birgit Ulher, Christofer Varner, Dan Conrad, Tom Boram, Stewart Mostofsky, Bonnie Jones, Eric Leonardson, Michael Evans, Lea Bertucci, Stephanie Barber, Jimmy Joe Roche, Patrick Crossland, Dave Moré, Will Redman, Raed Yassin, Hans Grüsel