FÖR is a new collaboration between percussionists Kweku Sumbry (Washington, DC), Shakoor Hakeem (Philadelphia) and Swedish saxophonist Isak Ingvarsson. Rooted in the spirit of Don Cherry’s arrival in Sweden in the mid-1960s, the project bridges Swedish folk traditions with the rhythmic folklore of the Afro-Diaspora—fusing into a deep sonic eruption of energy and expression.

Isak Ingvarsson – Saxophone, Clarinet, Flute A rising voice in the European jazz scene, Ingvarsson has performed with Per “Texas” Johansson, Kresten Osgood, Fredrik Ljungkvist, and others. A graduate of Jazz Institut Berlin and currently pursuing a Master’s at City College of New York under Tim Berne and Vincent Herring, his sound blends avant-garde jazz, Scandinavian minimalism, and raw emotional depth.

Kweku Sumbry – Drums, Djembe, Percussion

A key member of the Immanuel Wilkins Quartet, Kweku brings West African rhythmic traditions to a contemporary jazz setting. He has performed with Ambrose Akinmusire, Shabaka Hutchings, Solange, and Reggie Workman.

Shakoor Hakeem – Percussion A fearless, deeply expressive improviser rooted in Afro-diasporic mysticism and ritualistic tradition. Hakeem has worked with Graham Haynes, Maria Grand, Joel Ross, and Wallace Roney, among others, and is known for his powerful yet restrained presence on stage.

Church Car:

(Church of) is the first release from the duo Church Car (NYC/Berlin), blending minimalist psychedelic trance-rock, spoken texts mediated by machine algorithms, and tunings that alter the listener’s auditory perception. Their guitar and drum interactions move between polyrhythmic goatherd meditations and field recordings, creating an imagined folk tradition glimpsed through a screen of urban life.

Ian Douglas-Moore (guitar/voice/electronics) and Big Daddy Mugglestone (drums/voice/electronics) met up a decade ago to rehearse “Church Car,” a text-sound composition by Charles Amirkhanian, and the project quickly became a vehicle to develop their diverse musical interests, influenced by non-western rhythms and tones filtered through their own vernacular. After completing (Church of), the two are performing live shows in the US and Europe, promoting their neo-goat cult.

Ian Douglas-Moore grew up in Denver, Colorado, playing rock, folk, and improvised music. He moved to Berlin in 2010 and joined Ausland, an experimental arts venue and collective. There he developed a minimal approach to improvised guitar, creating psychoacoustic experiences with feedback and resonant long tones. After relocating to New York in 2016, he studied just intonation with noted minimalist/proto-punk pioneer David First, ultimately joining his ensemble for performances at Roulette and Phill Niblock's Experimental Intermedia, as well as recordings on Important Records and Mode Records. He has played bass guitar in Andrya Ambro's polyrhythmic noise rock band Gold Dime, organizes experimental music concerts with guitarist/bagpiper David Watson, and performs with people like Patrick Holmes, Jeff Tobias, and Dominic Coles. His sound design for performance and dance can be heard in works by Annie Dorsen, Moriah Evans, Missy Mazzolli, and others. He recently completed an MFA in Sonic Arts at Brooklyn College, studying with David Grubbs, Marina Rosenfeld, and Ben Vida.

Big Daddy Mugglestone (Aaron Snyder) is a Colorado-born musician and composer. After studying Ethnomusicology at Indiana University and doing field work in Africa, Asia and Central America, he landed in Berlin in 2005. Since then he has worked in many different projects and bands, from stage and dance sound design to Country/Americana and experimental improv. Some of his favorite memories were made with Blindsnakes (w/ Ignaz Shick and Jason Forrest), Cottbusser Chor (w/ Nicholas Bussmann), Nein (w/ Bernd Jestram and Margareth Kammerer), Oska Wald, Erbatur Çavuşoğlu, and the Model Infinity Orchestra (w/ Andrew Lafkas, Catherine Lamb, Bryan Eubanks, etc.). Recent releases include Hangman & the Rainmaker on Rumi Sounds (a solo album of original compositions featuring Ian Douglas-Moore on guitar), and The Microscopic World of Writing from the project The Trappings on Meep Records. He divides his time between the development of his "Valence Composition" system and singing sad songs accompanied by his dapple-grey guitar, Shiro.

accessibility: two steps from street to venue.

Please note, entrance is via the side door on Arizona Street.