I am a composer, woodwind player, and teacher living in New England. I moved to Hartford, CT at the age of seventeen to study jazz with Jackie McLean, and soon became involved with a community of musical autodidacts in Middletown, an hour to the south. From 1997 to 2001, I apprenticed with Anthony Braxton, touring with him and participating in the development of his Ghost Trance music. I moved to New York in 1999 and continued to pursue an unconventional career inspired by organizations such as the Sun Ra Arkestra and the AACM. From 2005 to 2010 I ran the New Languages Festival, the first jazz festival dedicated to musicians that came up in the eighties and nineties. Since then New Languages has occasionally organized events that explore new conventions, sites, and time frames for live musical collaboration. From 2010 to 2013 I worked at Eyebeam Art and Technology Center, where I explored auditory localization and social practice. I have taught in many settings, including early childhood music, private music lessons, anarchist schools, and Bennington College, where I currently run the digital arts studio.

I'm interested in our drive to synthesize composite events in thought and externalize them through a sensory-motor interface, creating social bonds. My work seeks to intervene in the constraints that determine musical discourse. I intervene culturally by substituting frames with divergent assumptions into familiar settings. I intervene perceptually by designing formalisms that mirror our intuitive capacities, then surveying them for limit cases and thresholds where salience breaks down or finds exemplary footing. I intervene cognitively by designing situations that carve out a space of unconsciousness for musicians, laying bare the inertia of our personal idiosyncrasies and biological faculties.


  • A musical pidgin language. A tiny lexicon that ranges over the phonological space produced by four elementary melodic distinctions: long or short, high or low, near or far, and continuous or separate. At the same time, Moss abandons pitch, pacing, inflection, and other aspects of melody to free variation, where they're magnetized by the desire of the speaker.
  • Songs for the soloist. They lift the foreclosure on tempiā€”no matter what speed one plays at, the meter provides a frame of interpretation: a sense for whether each note is an upbeat or a downbeat relative to any other note, or a sense for whether a phrase is an antecedent or a consequent relative to any other phrase. However, because the songforms are antisymmetrical on every time-scale, the interpretation is always an unexpected one.
  • A chamber that projects auditory architecture around a listener. Using an omnidirectional array of speakers, it produces a sensation of auditory surfaces using ambisonic localization, psychoacoustic cues, and parametric mapping. Effectively, one finds oneself navigating by ear a world in which every surface is covered in sound-emitting pores. The Spacepod functions as a sort of spacecraft that sends the listener flying through auditory spaces that would be impossible or prohibitive to construct physically, without any of the constraints of bodily mass.
  • Life is a series of agent-based large ensemble pieces for creative improvisers. The performers move and interact independently within a performance terrain using a set of simple rules. These rules precipitate a complex global behavior: much like a cellular slime mold, the ensemble becomes a sort of macro-organism that exhibits its own emergent agency. As the interactions of the performers oscillate between a sparsely connected network and a well connected network, this organism begins to evolve anatomically. In the sparsely connected network state, propagation of musical stimuli are constrained to local subsystems, which then have an opportunity to stabilize into robust modules that persist during subsequent highly connected states. The structure of this anatomy can take vary unpredictably given different initial conditions, meaning that every performance leads to different and unexpected consequences.
  • Remote Hearing is a series of performances taking place around the world at predetermined times. The performers record themselves from wherever they happen to be, at an agreed upon moment in time, and only hear one another after the fact, when the recordings are synchronized and superimposed.


  • Septet

    • Jackson Moore: Saxophones
    • Christopher Tordini: Bass
    • Mike Pride: Drums
    • Marcus Gilmore: Drums
    • Eric McPherson: Drums
    recorded August 2014
  • Live at Rose

    • Jackson Moore: Saxophones
    • Eivind Opsvik: Bass
    • Eric Mcpherson: Drums
    recorded May 2007
  • Live at Niagara

    • Jackson Moore: Saxophones
    • Mike Pinto: Vibraphone
    • Eivind Opsvik: Bass
    • Tommy Crane: Drums
    recorded June 2005
  • Standards

    • Jackson Moore: Saxophones
    • Nate Wooley: Trumpet
    • Shelley Burgon: Harp
    • Christopher Tordini: Bass
    • Mike Pride: Drums
    recorded Novermber 2004
  • Duets

    Jessica Pavone
    Brandon Evans
    Seth Dellinger
    recorded 1998-2001
  • Early Music

    Mike Szekely
    Sam Hoyt
    Taylor Bynum
    and others
    recorded 1996-2000

As a sideperson


For booking inquiries, etc.

Chris Diasparra
chris (a) creativeconceptmusic () com

To contact me directly

jacksonmoore (a) gmail () com   [pgp]