Musicians






East Bond St., NYC, 1976




Ali’s Alley, 77 Greene St., NYC







Ali’s Alley, 77 Greene St., Manhattan


Designed by Thomas Ager

Designed by Thomas Ager



Thomas Ager on Congas, Quentin Gallemore (another student of Andrew’s) on trapset

Maono means “Feelings”

Ali’s Alley, 77 Greene St., Soho, NYC




Oliver Lake quietly walked around the Tin Palace club in the Bowery and gave each one of us this poem on a beautiful Sunday afternoon of music. It was printed on newsprint paper. Such was the irrepressible free-flowing spirit of music and art at that time…

Sam Rivers Loft on E. Bond St., East Village, NYC

Sam Rivers Loft on E. Bond St., East Village, NYC













Ladji Camara's Studio, Fort Apache the Bronx (NYC, 1979)

Multiple Exposure from backstage




In Milford’s basement after a lesson.













I built the balafon for a sculpture class at Pratt Institute. I was on my way to a Debutante Ball at the NY Yacht Club (see NYC photographs page, 35mm).

Douglaston, NY, 1978 (Photograph by Harry Preston)

Douglaston Studio, NYC, 1978 (photograph by Harry Preston)

Shot on a tar beach in the East Village (55 St. Mark’s Place). Thomas Ager, Michael Templeton, Harry Preston

Thomas Ager, Harry Preston, Michael Templeton (seated). Douglaston, NYC, 1978 (photograph by Harry Preston)

Douglaston, NYC, 1978 (photograph by Christina Ager)

Douglaston, NYC, 1978 (photograph by Peter Bellamy)

Douglaston, NYC, 1978 (photograph by Peter Bellamy)

Mutuel Jazz Ensemble, Douglaston Studio, Queens, NYC, 1978

Mutuel Jazz Ensemble, Douglaston Studio, Queens, NYC


Mutuel Jazz Ensemble, Douglaston Studio, Queens, NYC

Douglaston, NYC, 1978 (photograph by Peter Bellamy)

Andrew would occasionally listen to our tapes and provide comments for us…




Lincoln Center, Manhattan, NYC


I shot this as a promotional photo for Two, Inc. and for Freddie.

This card required about 11 separate silk-screed layers which I did in our home in Ballard, Seattle. Freddie died some 40 years later still owing me $100 of the $200 agreed upon fee for these 50 custom business cards.



Seattle, WA

Seattle, WA

Seattle, WA

Seattle, WA

Club on Rainier Avenue

Club on Rainier Avenue
The band included David Murray (tenor) Stanley Franks (guitar), and Amina Claudine Myers (Hammond B-3). Photo by Richard Bell

OTB Theater, Seattle, WA, 2001

Shot in the Cascade Mountains (photo by Christina Ager)


I shot this in Panama on the island home of the Indigenous Kuna Peoples. Andrew phoned and told me the album title, asking if I had anything that might work. I sent him this image — he loved it (I was paid $75 by Soul Note producer, Giovanni Bonandrini).

Description of the Navigator album photograph




With changing, giant projections of Paul’s countless mixed-media “slide-compositions”, Seattle, WA, 1983.

With changing, giant projections of Paul’s countless mixed-media “slide-compositions”, Seattle, WA, 1983.

With changing, giant projections of Paul’s countless mixed-media “slide-compositions”, Seattle, WA, 1983.

With changing, giant projections of Paul’s countless mixed-media “slide-compositions”, Seattle, WA, 1983.

With changing, giant projections of Paul’s countless mixed-media “slide-compositions”, Seattle, WA, 1983.

With changing, giant projections of Paul’s countless mixed-media “slide-compositions”, Seattle, WA, 1983.

With changing, giant projections of Paul’s countless mixed-media “slide-compositions”, Seattle, WA, 1983. Paul Dusenbury (keyboards), Steven Weinberg (poetry) and Thomas Ager (percussion)

With changing, giant projections of Paul’s countless mixed-media “slide-compositions”, Seattle, WA, 1983.

Paul Dusenbury (keyboards), Steven Weinberg (poetry) and Thomas Ager (percussion)


With changing, giant projections of Paul’s countless mixed-media “slide-compositions”, Seattle, WA, 1983. Paul Dusenbury (keyboards), Steven Weinberg (poetry) and Thomas Ager (percussion)

With changing, giant projections of Paul’s countless mixed-media “slide-compositions”, Seattle, WA, 1983. Paul Dusenbury (keyboards), Steven Weinberg (poetry) and Thomas Ager (percussion)

With changing, giant projections of Paul’s countless mixed-media “slide-compositions”, Seattle, WA, 1983. Paul Dusenbury (keyboards), Steven Weinberg (poetry) and Thomas Ager (percussion)

With changing, giant projections of Paul’s countless mixed-media “slide-compositions”, Seattle, WA, 1983. Paul Dusenbury (keyboards), Steven Weinberg (poetry) and Thomas Ager (percussion)

With changing, giant projections of Paul’s countless mixed-media “slide-compositions”, Seattle, WA, 1983. Paul Dusenbury (keyboards), Steven Weinberg (poetry) and Thomas Ager (percussion)

With changing, giant projections of Paul’s countless mixed-media “slide-compositions”, Seattle, WA, 1983. Paul Dusenbury (keyboards), Steven Weinberg (poetry) and Thomas Ager (percussion)

My basement studio on 65th St. NE.

My studio at Cho-On-ji, outside Oak Harbor, WA

My studio at Cho-On-ji, outside Oak Harbor, WA

My studio at Cho-On-ji, outside Oak Harbor, WA

His pedagogical comments on a Nobodaddy recording I sent him.

His pedagogical comments on a Nobodaddy recording I sent him.

My studio at Cho-On-ji, outside Oak Harbor, WA

My studio at Cho-On-ji, outside Oak Harbor, WA

My studio at Cho-On-ji, outside Oak Harbor, WA

My studio at Cho-On-ji, outside Oak Harbor, WA

My studio at Cho-On-ji, outside Oak Harbor, WA

They allowed me to sit-in for an entire set and even play timbale, too. A warm, tropical evening outdoors, the moon over the bay was full and the drinks were strong. I was in Panama as part of the video/photo crew for the maiden flight of Project Orbis, the “Flying Eye-Hospital”.


Just prior to a concert that I videotaped in Seattle with Andrew, David Murray, Amina Claudine Myers and Stanley Franks in 1993. We are looking at photographs of Andrew’s new baby girl, Andrea. Photo by Richard Bell.

L-R: Nathaniel Schleimer, Thomas Ager, Andrew Cyrille, and my son Tommy Ager. We’re looking at the 7/4 “Avalokiteshvara Rhythm” that I dreamt in 1978 and told Andrew about at that time. He had notated it in his notebook in 1978 but I had never seen it till that night backstage (40 years later!). He played it on a tune (“Moon Over Sand”) on the album “When Silence Pulls” with pianist Paul Plimley in the 1980s.

Just prior to a concert that I videotaped in Seattle with Andrew, David Murray, Amina Claudine Myers and Stanley Franks, et al in 1993. Photo by Richard Bell.

With transplanted Skunk Cabbage in the foreground.

This “studio” looked out over the Salish Sea all the way to the Cascade Range in a 180-degree view. My dad and I were building a 3200 sf house there (from scratch) and I would practice at the end of each long workday.

Graphic Design by Thomas Ager. Photos by Bill Stickney and Vicki Boeckman.

Graphic Design by Thomas Ager. Photos by Bill Stickney and Vicki Boeckman.

I designed and executed the graphics for the label using photos by Bill Stickney/Vicki Boeckman.

I designed and executed the graphics for the label using photos by Bill Stickney/Vicki Boeckman.

I did the graphic design for this CD. I had picked up trumpet at age 58 and joined this big band, took a solo on the CD and learned a lot (!). Doug Reid was the demanding but terrific band leader.

Nathaniel Schleimer (sax), Samantha Boshnack (trumpet). Seattle, 2011

A gig at Lagunitas Brewery in the summer of 2017. My son and leader of the band, Tommy, is on trombone to my left.

One year later, also at Lagunitas, Seattle, WA, in 2018. David Shere on guitar and Nathaniel Schleimer on alto sax.

The Royal Room, Seattle, WA, 2019

The stage at Music Center of the NW with David Shere (guitar), Lita Muhr (vocals) and Joe Cassalini (bass). Seattle, WA, 2018.

Seattle, 2018

Whidbey Island, 1980
















































































































































Here are a few photographs of musicians in NYC, most of whom I got to know personally. I began studying with the great percussionist Andrew Cyrille in his Times Square studio in 1975. I photographed him often and, having worked as a graphic designer earlier in my career, I designed some of his promotional materials. He kindly allowed me to begin on congas and after a year or so I added trapset. We remain friends to this day. After a year or so Andrew suggested that I might enjoy studying with the late Milford Graves in Jamaica, Queens which he arranged for me. Both Andrew and Milford — and indeed the entire “free jazz” world of musicians who had either recorded on the French BYG/Actuel label or those coming from Chicago (like the Art Ensemble) or St. Louis (BAG) who played extensively at places like Sam Rivers’ “Studio Rivbea”, Rashied Ali’s “Ali’s Alley”, The Brook (Charles Tyler’s loft) or The Tin Palace — ALL of these musicians were my heroes. To study and hang out with them was a dream come true for me. I also had an opportunity to study Jdembeh with Guinean master drummer Ladji Camara in his “Fort Apache” Bronx studio as well as Mridingam with Tanjore Ranganathan (briefly) at Wesleyan. (I had studied tabla at the University of Washington with Zakir Hussain in 1968.) The Mutuel Jazz Ensemble was my own free jazz ensemble. We often added Sam Feldman on 5-valve tuba and performed in lofts and venues in Spanish Harlem and elsewhere in Manhattan, etc.. I continue to study seriously and play music every day and have included some images from my musical adventures in the Seattle area and beyond. Please note that the title of each image appears or disappears in the lower left corner as you “hover” over the image with your cursor.