"We don't say what we mean. We play what we imply. And we've been inverting the natural order since... right about now." ~ Zack Page (Probably)
In the chrome-plated lounges of tomorrow's yesterday, where neon hums at 440Hz and the cocktails pour themselves, four sonic cosmonauts have breached the atmospheric ceiling of conventional groove.
KEITH DAVIS mans the control panel of 88 ivory switches, routing harmonic frequencies through dimensions yet unnamed. His fingers decode the melodic algorithms that keep this vessel from spinning into the void.
PETER DIMERY pilots the tenor saxophone—that brass telescope trained on distant nebulae of blue and bebop. His transmissions cut through static like a laser through lunar dust.
RYAN PTASNIK operates the propulsion system: four limbs in perpetual conversation with physics itself, generating the thrust that bends time signatures into submission.
And at the helm—against all laws of gravitational hierarchy—ZACK PAGE has ascended from the engine room to the captain's chair. The low-frequency specialist. The foundation man. Now calling the shots from the bottom of the sonic spectrum while somehow... on top.
It's unnatural. It's unprecedented. It absolutely works.
Featuring
Ryan Ptasnik honed his drumming skills in Pinedale High School band classes in Wyoming, a foundation that would eventually carry him from garage bands to performing at the Opera and Ballet Theatre in Shymkent, Kazakhstan. This jazz-trained drummer has become a versatile force in multiple musical worlds, from his work with the experimental group Moyindau—where he performed Kazakh poetry settings at the base of Pik Lenin in southern Kyrgyzstan on a stage constructed from two pickup trucks—to...
On their twelfth Christmas, Pete Page gave one son a guitar and the other a bass. The old man loved Booker T. & the M.G.'s and worshipped Duck Dunn, and he had a theory that every good band needs a good bass man. He wasn't wrong. Andy got the guitar. Zack — four minutes younger, identical in face, opposite in instrument — got the bass. Their mother came from the McGhees of Pilot Mountain, North Carolina, a family whose old-time music roots run back generations through the Appalachian soil....
It started with his mother's ear.
"I'd wanted to play an instrument, but I didn't know which one I was going to pick. My mom said, 'I like saxophone.'"
And just like that, Florence, South Carolina sent another voice into the continuum.
Peter Dimery didn't just pick up the tenor—he picked up the weight of it. The lineage. The responsibility. He emerged from Furman University with technique and training, but the real education came through obsession: two albums that rewired his...
Some cats talk about paying dues. Keith Davis bought the whole building.
Forty years moving through the jazz continuum—from the polished brass lineage of the Glenn Miller and Artie Shaw Orchestras to the sweat-soaked blues authenticity of Matt "Guitar" Murphy (yes, those Blues Brothers). He's traded phrases with David "Fathead" Newman, Donald Byrd, Wallace Roney, Javon Jackson, and a constellation of giants whose names read like a syllabus for an advanced...