THE CELLAR AND POINT, Adventurous “Garage-Chamber” Septet Developed by Childhood Friends Joseph Branciforte and Christopher Botta, Unveils Ambitious Debut Recording, AMBIT, on Cuneiform Records.

Still Under 30, Branciforte Known Already For Impressive Recording & Production Resumé, Including Work with Tim Berne, Ben Monder, Vijay Iyer, and Nels Cline.

Featuring Members of Cutting-Edge Contemporary Classical Ensembles JACK Quartet, Mivos Quartet, TRANSIT, Signal Ensemble.

Release Date: October 14th, 2014

Drummer/producer Joseph Branciforte and guitarist Christopher Botta had long imagined a fluid synthesis of their wide-ranging musical interests. The detail of modern concert music; the improvisational sensibilities of downtown jazz; the emotional directness of alt-rock. The production value and formal concision of pop, the head-nodding grooves of hip-hop and electronica, the immersive sonics of ambient music. Might it be possible to draw equally upon these influences, while transcending mere collage? How could these manifold musical experiences be distilled into a personal, unified aesthetic? And could this music be presented in the context of a working ensemble - not just a studio project - but a band?

THE CELLAR AND POINT is one possible answer to those questions. After 3 years spent crafting their debut record, the “garage-chamber” septet will release AMBIT on Cuneiform Records this fall. Time Out New York has described the ensemble's sound as “ethereal chamber-prog” and lauded their live performance as “brainy, yet highly engaging.” The New York Times has taken note of “the chamberlike enterprise of a productive partnership, of the percussionist Joseph Branciforte and the guitarist Christopher Botta.” But AMBIT, which features seven Branciforte/Botta originals, plus arrangements of composers György Ligeti and Anton Webern, marks the group's first complete musical statement.

Hometown friends from Ramsey, NJ, Branciforte and Botta grew up making music together: from their middle-school days of Rage Against the Machine covers and high school explorations of jazz improvisation, to their formal studies of classical and contemporary composition, electronic music, and record production at Berklee College of Music. “We absorbed a lot of the same music at the same time,” says Branciforte. “From Autechre to Morton Feldman to Wu-Tang Clan to J.S. Bach – there was a lot of time spent listening, discussing, analyzing.”

The two eventually moved back to New York and, after several years of composing and creating demos of new material, THE CELLAR AND POINT took shape. The pair began recruiting an impressive cross-section of young talent from New York City’s classical, jazz, and new music scenes to bring their vision to life.

Multi-percussionist Joe Bergen, founding member of Mantra Percussion and TRANSIT, was enlisted on vibraphone. “We knew we wanted to build the group around a distinctive melodic voice – but also something not too indicative of any particular genre,” says Botta. On White Cylinder, a 9.5-minute, drum'n'bass influenced tour de force, Bergen navigates syncopated, angular lines with mechanical precision. On Étude XV, he reveals a more ethereal approach, delicately teasing out the voices in an arrangement of Ligeti's late piano etude.

Violinist Chistopher Otto and cellist Kevin McFarland, members of the internationally acclaimed JACK Quartet, were also early additions to the group. Otto and McFarland command a variety of orchestrational effects: from machine-gun pizzicato runs and webs of rhythmically-complex counterpoint to extended techniques honed from years of Xenakis and Lachenmann. On Ruminant, they improvised multiple layers of spectral effects atop their basic string parts, later edited by Branciforte to form a dense sonic tapestry.

Guitarist Terrence McManus, known for his work with forward-thinking jazz musicians Gerry Hemmingway, Ellery Eskelin, and Tyshawn Sorey, not only had the requisite skills to execute the technically-demanding electric guitar parts, but also brought an improvisational x-factor that helped breathe new life into the meticulously notated music. Tabletop (a) features a scintillating McManus solo, while Tabletop (b) finds him enhancing the group texture with Frisell-like chordal swells and loops.

In early 2011, after a year of performance-testing and polishing, THE CELLAR AND POINT entered the studio. Branciforte and Botta handled engineering duties, with Branciforte additionally acting as producer. “We knew from the start that we wanted to engineer, produce, and mix the record ourselves,” he says. “There has always been something appealing about the DIY recording ethos of someone like Sufjan Stevens, where a homegrown approach to recording seems to amplify the idiosyncratic qualities of the music.”

In late 2011, Branciforte and Botta traveled to Los Angeles to work with studio bassist Rufus Philpot. Philpot's playing on AMBIT strikes a balance between providing a rich bottom-end foundation and taking an active melodic and textural role. On Purple Octagon Philpot switches to fretless bass and, along with Branciforte's propulsive brushwork, helps set up a infectious, driving groove.

Over the course of 2012 and 2013, the record proceeded in stops and starts. Branciforte soon became busy producing and engineering another epic recording, Ben Monder's Hydra (Sunnyside, 2013), as well as recordings for Tim Berne, Mark Dresser, Michael Attias, Ingrid Laubrock, and Matt Mitchell. He and Botta continued to supplement the basic tracks at their Brooklyn post-production studio – Branciforte laying down piano, Moog bass, glockenspiel, percussion, and drum loops, with Botta adding banjo and guitar loops. Finally, by the end of 2013, a finished product began to emerge.

The record was mixed and mastered by Branciforte in early 2014. But not before adding one final piece. The title track, Ambit, which acts as a coda to the album, was actually the result of a technical error.

“The original version of Ambit was around 7 minutes long. It was certainly one of the tunes we had spent the most time working on, although we were never quite satisfied with it. One day during recording, there was a sudden sample-rate error that ended up glitching the playback to around half the piece's original speed. After a few minutes of sitting there and listening, Chris and I both looked at each other and said, half-jokingly: 'maybe we should just use this instead?'”

The pair ended up treating the clocking error as the inspiration for the final album version, re-conceiving the piece from the ground-up. “It seemed strangely emblematic of the entire project: identifying and striving towards an ideal, reaching the limits of intentionality or control - and then recognizing a new way to proceed through some serendipitous element or event,” says Branciforte. “There truly would have been no other way to arrive at this result without going through the entire process.”

RELEASE DATE: October 14, 2014

For more information contact Fully Altered Media

Matt Merewitz - - 215-629-6155

Stephen Buono - - 267-241-5316

  the cellar and point  // ambit

THE CELLAR AND POINT featured on WNYC’s New Sounds with John Schaefer

Get an advance listen to a tune from the upcoming record called "Purple Octagon":

September 3, 2014


August 20, 2014

Small  Ensembles, Big Sounds

Listen to small ensembles with a big sound for this New Sounds show, featuring music from James Blackshaw, The Cellar and Point, The Bad Plus, Eyot, Matt Ulery, and Bing & Ruth.


September 15, 2014

This weekend we traveled down to Baltimore, MD to play at a Cuneiform Records triple CD release show at Orion Sound. Kevin McFarland of JACK Quartet joined us on cello. The next show is on October 17th in Boston with Birdsongs of the Mesozoic. Tickets here.

A batch of CDs has arrived over at Wayside Music, so if you’d like to get a copy a little before the release date, head over to Cuneiform/Wayside. Otherwise, the record is now available for pre-order on iTunes and Bandcamp.

Other stuff...

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Until next time-

the cellar and point

Chris Otto (violin), Kevin McFarland (cello) , and Joe Bergen (vibraphone) rehearsing some Ligeti.

the cellar and point at Orion in Baltimore.



September 16, 2014

All About Jazz reviews Ambit



“The unique atmosphere of The Cellar and Point's newest record Ambit (Cuneiform, 2014) is difficult to pin down in words, let alone to classify as a particular genre. Drummer Joe Branciforte and guitarist Chris Botta's brainchild, the result of years of absorbing influences as diverse as the Wu-Tang Clan and Anton Webern, is an intriguing mix of contemporary straight-eighth, mixed-meter grooves and textural, atmospheric harmonies and accompaniment, with some electric guitar mixed in for good measure.

Branciforte and Botta describe their one of a kind compositions and arrangements as "garage chamber music," which is about as perfect a description as can be given to their sound. Reminiscent of both Kneebody and some indie rock outfits along the lines of Sufjan Stevens, whom the artists credit as an inspiration, they cover a lot of ground.

Branciforte, who has worked as an engineer for Ben Monder, Tim Berne, Vijay Iyer and Nels Cline, took on role of producer for the record while co-producing it with Botta. The impressive list of artists Branciforte has worked with reveals where the unique production values that are one of the album's most identifying and intriguing elements come from; with electronic beats and effects introducing and highlighting important moments in the compositions, it's obvious that Branciforte is well acquainted with the nuances of the recording studio.

All technical talk aside, the seven original compositions on the album are just as compelling as the arrangements and production. Combining elements of contemporary songwriters like the aforementioned Stevens with the challenging harmonies of modern jazz or the second Viennese school while exploring challenging mixed meter rhythms, these songs are not for the faint of heart. The often very dense textures combine with moments of tense dissonance to make for some pretty heavy music without relying on effects to achieve their goal. These moments of tension also make the contrast and resolution very effective when they open up and mellow out. "Purple Octagon" is a good example of this. Their arrangements are just as compelling. Making music such as Webern's "Funf Canons I, op. 16" work with a completely different instrumentation is a feat in itself, and the two accomplish it beautifully.

From one song to the next, and sometimes between the beginning and end of a single song, Ambit takes the listener on a journey through texture, timbre and time. It is a challenging and fascinating effort by two talented up-and-comers.”

Track Listing: 0852; Arc; Tabletop (a); Tabletop (b); Ruminant; Purple Octagon; Fünf Canons I, op. 16; Etude XV; White Cylinder (a); White Cylinder (b); Ambit.

Personnel: Chris Botta: Guitar; Joe Branciforte: Drums; Terrence McManus: Guitar; Christopher Otto: Violin; Kevin McFarland: Cello; Joe Bergen: vibraphone; Rufus Philpot: Bass.

Record Label: Cuneiform Records.


Another feature on WNYC’s New Sounds with John Schaefer.

Get an advance listen to "Arc" from the upcoming record:

September 17, 2014

“Indie Classical” and “Garage Chamber”

Hear so-called “indie-classical” works on this New Sounds - music which is at home in both the contemporary classical music world and the indie rock/pop music halls, basements, and dive bars.

“The Cellar and Point... use acoustic instruments and electronics to create a sound that is winningly melodic, thoughtful in its balance, groove-heavy, sometimes glitchy, and delightfully unpredictable as the septet straddles all kinds of genres.”


September 26, 2014

All Music reviews Ambit



“A little over one minute into the first track of Ambit, the 2014 Cuneiform label debut album by The Cellar and Point, and you already know you're hearing something extraordinary. Led by drummer/producer Joseph Branciforte and guitarist Christopher Botta, the N.Y.C.-based septet pulls sounds and influences together from across a wide musical map, starting immediately in the opening moments of "0852," which kicks off with a staticky electronic rhythm contrasting with sparse, crystal-clear vibraphone, until the sudden entrance of floor-shaking Moog bass, deep pummeling drums, and...banjo. That's right, banjo. In a world whose musical styles include hick-hop and psychobilly, you might imagine that Branciforte and Botta are staking claim to a new flavor of the week -- drum'n'bluegrass -- but on "0852," like all of Ambit, they aren't merely throwing contrasting styles together for clever effect. As co-composers and co-arrangers for the group, their artistic conception is far more unified and original than that. This rather thoroughly scored music (although electric guitarist Terrence McManus unleashes some impressive jazz-rockish soloing now and then) has been described as "garage-chamber," a term that only begins to capture the striking stylistic amalgam of "0852," as Kevin McFarland's warm cello melody is joined by McManus’ soaring ethereal guitar and Joe Bergen’s reappearance on those sparkling vibes. The track encompasses both immersive, swelling ambience and arpeggiated, throbbing propulsion, simultaneously marked by sharp clarity and imbued with gauzy atmospherics. And the album has hardly begun.

Branciforte and Botta co-engineered (with Andy Taub) Ambit’s recording sessions, while Branciforte produced, edited, mixed, and mastered the album, and the result is a truly kaleidoscopic sonic journey. The balance between acoustic instruments and electronics is clean and pristine, and abrupt shifts from expansive soundscapes to interludes of startling immediacy command the listener's attention -- as when "Arc," with lovely string melodies from McFarland and violinist Christopher Otto, suddenly transitions at the track's midpoint into clipped, layered motifs from all the players, including Rufus Philpot’s limber electric bass. After a sublime interlude of ringing and looping guitars seasoned with pizzicato strings, the ensemble builds with deliberation to revisit the tune's punchy, angular middle in a brief and sudden finale. The two-part "Tabletop" bristles with energy in its interlocking polyrhythms, dizzying rush of segues, and variegated instrumentation, while the dark arpeggiated "Ruminant" creates truly chilling atmospheres and "Purple Octagon" cruises steadily forward on a motorik rhythm, with foot on the accelerator and head in the clouds. The group covers Webern (as darkly as "Ruminant") and a Ligeti piano etude (given a dreamlike ambient treatment), before dramatically expanding upon "0852" territory with another two-parter, the nearly ten-minute multifaceted "White Cylinder." The title track is an altogether fitting closer, with deep reverberations produced in the rotunda of the Bronx's Gould Memorial Library exemplifying The Cellar and Point's spirit of aural exploration. Ambit was several years in the making, and the patience and effort involved have resulted in one of 2014's finest albums of challenging, engaging, and genre-defying contemporary music.”


October 9, 2014

Something Else! review of Ambit


“What is this? Post-rock? Experimental chamber music? Out-jazz? The septet The Cellar and Point are elegant but enigmatic practitioners of instrumental music. The Cellar and Point’s main protagonists, Joseph Branciforte, a drummer and producer, and Christopher Botta, a guitarist, grew up together in New Jersey and absorbed, in Branciforte’s words, everything “from Autechre to Morton Feldman to Wu-Tang Clan to J.S. Bach.” Their backgrounds only deepen this mystery. (Branciforte, by the way, has worked with Tim Berne, Vijay Iyer, Ben Monder and Nels Cline, artists who all thrive on elusiveness).

Assembling a group that supplements their guitar and drums with bass (Rufus Philpot), vibraphone (Joe Bergen), Violin (Christopher Otto), cello (Kevin McFarland) and another guitarist (Terrence McManus), their debut album Ambit is poised for release by Cuneiform on October 14, 2014, and is “debut” in name only, because Branciforte and Botta don’t behave like rookies at all.

Compositional savvy and improvisation do exist on these songs, but texturing and flow reign; the production and arrangements are the art. “Purple Octagon” provides a case in point. The backward looping of electric guitar approximates a steel guitar, not Jimi Hendrix. The alternately plucked/bowing of strings, guitar chimes, vibraphones, and a brushed snare hints at everything from bluegrass to Bach. There’s even a hint of fuzzy guitar prowling just underneath the surface that ever-so-slightly disturbs the gentle vibe of all this. You might say that’s a point where the post-rock part of this band’s long description of their music comes in. Critically, it all comes together naturally.

The banjo plucked by Botta on “0852” among the swirling strings and complex rhythms sound more like a programmed synth bit than a backwoods rural instrument in this setting. “Tabletop,” parts ‘a’ and ‘b’, suggests avant-classical but before you know it, it’s morphed into something akin to math rock and goes across several more movements along a single thread but multiple moods. There’s even a rock guitar solo thrown in for good measure. I could listen to this song pair ten more times and find at least ten more things to say about it, there must be a dozen sections in it, and each section seems fussed over.

With all these surprising ingredients applied to each song, I still wasn’t expecting the stilted drum ‘n’ bass of “White Cylinder,” — again, divided into parts ‘a’ and ‘b’ — where the cello/violin, electric guitar and vibes combine leading on a heavily stuffed melody line, their roles eventually splintering apart into several harmony zones. Here, that rock guitar solo is gotten out of the way right at the beginning of the song.

It’s alternately knotty and straightforward, smooth and at times a little abrasive, tonal and dissonant. Anyone can do that. But can they put all these together into a consistent, connected whole like The Cellar and Point does? I doubt it.”

composed and arranged by
Joseph Branciforte

photography and lighting
David McKendree Kline

edited by
Joseph Branciforte

live lighting cues:
Joseph Branciforte and Christopher Botta


October 10, 2014

White Cylinder (a) - Music Video

Here it is. Our very first music video...


October 14, 2014

Ambit released.

5+ years in the making and out NOW on Cuneiform Records!!!


October 15, 2014

Wondering Sound on Ambit


Guitarist Christopher Botta and drummer/producer Joseph Branciforte winningly refer to their oddly constructed, oddly named septet as a “garage chamber” group. That group, called the Cellar and Point, includes both acoustic and electric guitars, violin and cello (Christopher Otto and Kevin McFarland, respectively, from the renowned JACK Quartet), bass, vibes (Joe Bergen of Transit and Mantra Percussion) and drums. The band’s debut, Ambit, claims an impressive amount of sonic territory (as the album title implies): Chamber music, rock, jazz, post-rock and electronic all rub elbows, and the sparks fly. The track “0852″ is a good example — this episodic work goes from vibes and breakbeats to a jazzy prog interlude to a kind of unsettling ambient music. Another key track is “arc,” a lovely, mid-tempo piece with long, flowing electronics, where the strings blend almost imperceptibly into the electronic texture, while guitar and vibes propel the work forward.

A brief moment of ominous electric guitar near the end of “arc” calls back to the shoegaze movement of the ’90s, but a much stronger influence is the first wave of ’90s post-rock bands, like Tortoise and Rachel’s. You hear it perhaps most clearly in “Ruminant,” where drummer Branciforte doubles on piano; the ethereal washes of sound, driven by bass and drums, are reminiscent of the best of Rachel’s. Although it sounds organic, “Ruminant” is actually a studio creation, made from a series of improvisations. The production trickery is somewhat more obvious in “Purple Octagon.” The piece is melodically and rhythmically direct — enabling the group to combine jazz and rock without devolving into the dreaded fusion.

The title track may be the clearest statement of the band’s freewheeling approach. Live parts were played over a track of slowed-down sounds, and then the whole piece was played back and rerecorded, Alvin Lucier-style, into a reverberant rotunda in the Bronx, which adds a dark, spacy texture to the work.

Branciforte and Botta wrote almost all of the music on Ambit, but there are two telling exceptions: the “etude XV” by the Hungarian composer György Ligeti and the first of the Five Canons by the Austrian Anton Webern. If the choice was meant to show the group’s classical bona fides, the arrangements show that Cellar and Point have moved into a territory all their own.


November 1, 2014

Happy to announce our official NYC CD release party at Glasslands Gallery in Williamsburg, Brooklyn. This is going to be a great night of music featuring our friends Empyrean Atlas and The Knells.

Check out our polyrhythmic video promo with members of all three groups.  <<<<<<<<<

Tickets are $10 and available here:

Doors at 8pm.

Copies of Ambit will be available for a special price of $10.

Glasslands Gallery

289 Kent Avenue

Brooklyn, NY


Hope to see you there,

the cellar and point

P.S. read some concert previews here:

CD Release Party for Ambit at Glasslands Gallery :: November 19, 2014

with Empyrean Atlas and The Knells

November 28, 2014

January 9, 2015

January 11, 2015

January 16, 2015

January 18, 2015

Ben Monder  Sunnyside

Morton Feldman’s Piano and String Quartet  Cuneiform/Mode/Carrier

Judith Berkson  ECM

Taylor Deupree/Marcus Fischer  12k

the cellar and point presents:

january 2015 at spectrum, nyc


We are thrilled to announce that the the cellar and point will be hosting a 4-night series in January at Spectrum NYC, featuring some of our favorite music/musicians on the planet.  

Tickets now available at:

January 9: Ben Monder

Guitarist/composer Ben Monder presents a solo guitar performance, featuring original works from his recordings Flux, Dust, Excavation, and Oceana.

January 11: Morton Feldman’s Piano and String Quartet

Morton Feldman's 80-minute late masterpiece, performed by Joseph Branciforte (piano) and members of JACK Quartet, Mivos Quartet, and String Noise.

January 16: Judith Berkson (solo piano/voice)

Singer, pianist, and composer Judith Berkson presents new music for piano and voice exploring microtonal tuning.

January 18: Taylor Deupree and Marcus Fischer (12k)

Legendary sound artist, and founder of 12k, Taylor Deupree in a rare duo performance with labelmate Marcus Fischer, utilizing tape loops, surround sound, piano, and electronics.

All sets are at 9pm. Tickets are $15 for a single set, $25 for 2 sets, and $40 for a series pass.

This is an opportunity to hear some unheralded masters from a variety of musical backgrounds, performing life-altering music in an intimate setting: we cannot encourage you strongly enough to come out and see these shows!

Hope to see you there-

the cellar and point


November 21, 2014

THE CELLAR AND POINT added to the lineup for 2015’s Winter Jazz Fest

It’s official: THE CELLAR AND POINT will be performing at 2015’s Winter Jazz Fest in NYC!

Here’s the full lineup...


December 4, 2014

THE CELLAR AND POINT featured on Q2 MUSIC / The Brothers Balliett

You Heard It Here First

“The new music band/pop group/undefinable collective known as the cellar and point contains some of the finest musicians around, including JACK Quartet's Christopher Otto. Their debut CD is a mix of catchy, overwhelming, bewildering, and unadulterated awesome. We'll hear a mix of pieces, including a raging transcription of some Webern Canons.”


December 7, 2014

A second All About Jazz review of Ambit



“Childhood buddies, drummer Joseph Branciforte and guitarist Christopher Botta should easily heighten their nascent reputations in the jazz community with this classy gem, marking their collaborative debut. Call it garage-chamber with doses of jazz and progressive rock amid some Americana infused treatments, this seamless program also includes members of contemporary classical ensembles, JACK Quartet, Mivos Quartet, TRANSIT and Signal Ensemble.

The musicians interlace a hodgepodge of crossover applications, whether it's a thrusting King Crimson style like vamp with offbeat metrics, meticulously crafted ostinatos and rubato strings passages on the opener "0852,"or on other tracks where dreamy melodic hooks come to the forefront. Electric guitarist and revered improviser Terrance McManus shreds within various movements via bone-crunching chop chords and rippling sustain patterns. At times the band surfaces like a large ensemble version of The Claudia Quintet but for the most part, characterizations and comparisons to other units bridging multi-genre facets together would be slim to none.

"Purple Octagon" features zinging guitar harmonics and Botta's peppery use of brushes and Joe Bergen's sleek vibes patterns to formulate the primary theme, complemented by an articulately modeled arrangement, intercepted by the strings performers. Moreover, the ensemble shifts the storyline, followed by grunge-like guitar licks and circular phrasings, leading to a phantasmagoric string of events tinted with airy overlays. The following piece "Funf Canons I, Op. 16" could illicit imagery of a good-natured nightmare if there is such a beast. Here, the ensemble renders haunting melodramas with a quirky and complex spin on classical rock, embedded with tricky time signatures. And they close the album out with "Ambit," highlighted by low register choruses, electronics effects, accenting strings and a menacing vibe. It's an ambit—ious and extraordinarily impressive rendezvous by these visionary artistes.”

Track Listing: 0852; Arc; Tabletop (a); Tabletop (b); Ruminant; Purple Octagon; Fünf Canons I, op. 16; Etude XV; White Cylinder (a); White Cylinder (b); Ambit.

Personnel: Chris Botta: Guitar; Joe Branciforte: Drums; Terrence McManus: Guitar; Christopher Otto: Violin; Kevin McFarland: Cello; Joe Bergen: vibraphone; Rufus Philpot: Bass.

Record Label: Cuneiform Records.


THE CELLAR AND POINT co-leaders, drummer Joseph Branciforte and guitarist Christopher Botta, recently sat down with Wing Walker Music Podcast host Drew Williams to chat about the beginnings of the band, the process of creating Ambit, and how to best utilize the Rage Against the Machine hi-hat score marking.

Check out the podcast below - and be sure to poke around the Wing Walker site for some other great interviews with creative musicians:

December 15, 2014

Wing Walker Music Podcast 35: The Cellar and Point

Podcast 35: The Cellar and Point

Chris and Joe from The Cellar and Point drop by to talk about their new record Ambit. We talk about how their music has developed since meeting as teenagers, music production and the unique way they recorded this album, and our mutual affection for Rage Against the Machine.


December 31, 2014

Ambit on 2014 Year-End Lists

All About Jazz Italia

The Best of 2014, Vic Albani

Ambit is available on:


January  5, 2015

iTunes Live at the Apple Store SoHo + Winter Jazz Fest / January 10, 2015

On Saturday January 10, at 1pm THE CELLAR AND POINT will be performing at the Apple Store SoHo alongside Eric Harland’s Voyager and Kneebody! This show is open to the public, so if you can’t catch our WJF set that night, come on out to the Apple Store in the afternoon...

Our Winter Jazz Fest performance will be at the Player’s Theater at 1:15am. Line-up and tickets for the Saturday festival are available here:

                                                                                    Hope to see you at one of these events!

                                                                                                - the cellar and point


January  25, 2015

The Metropolitan Museum of Art / January 30th

This Friday, January 30, we're playing at the Metropolitan Museum of Art as part of the Jazz and Colors Festival. Check out The Wall Street Journal’s preview of the event.

A special configuration of the group will perform two sets of well-known jazz standards, with unique arrangements by guitarist Terrence McManus in the Medieval Sculpture Gallery.

Sets at 6 and 7:30 and free with museum admission.

Terrence McManus / guitar

Matt Moran / vibes

Greg Chudzik / bass

Joseph Branciforte / drums

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May 8, 2015

Live on WNYC’s New Sounds

The Cellar and Point joined WNYC’s New Sounds host John Schaefer to talk and perform selections from Ambit earlier this week.

Listen to the interview and performance here:


December 12, 2016

Ambit on sale through march 2017

CDs 50% off through march 2017