Bowerbird is pleased to present a morning birdwalk at the John Heinz National Wildlife Refuge at Tinicum with birding by ear guide Gregg Gorton interspersed with two performances by Will Frendedall, flute, and Carolyn Zaldivar Snow, synthesizers.

Please take note of the weather and dress accordingly with appropriate footwear.
Meet at the pavilion near the parking lot, there are toilets and a water fountain nearby.

Estimated run time: 90 minutes
Distance: less than one mile
Terrain: ADA accessible

ABOUT THE ARTISTS

Gregg Gorton, a musician since he was 5 years-old, grew up on the edge of the Sonoran Desert in Arizona, where he fell in love with the natural world. Listening to music of all kinds has always been important to him, but not until age 40 did he discover birding and the magic of birding by ear when he attended his first birdwalk at the Heinz Refuge. He has led such walks at Heinz for 30 years and is a past President of the Delaware Valley Ornithological Club (founded in 1890).

Will Fredendall is a flutist, improviser, and composer from Philadelphia, Pennsylvania. While attaining his Bachelor’s of Music degree at the New England Conservatory, he had the opportunity to study with renowned flute soloist Renee Krimsier as well as profound improvisers Joe Morris, Jason Moran, Frank Carlberg, Jerry Bergonzi, and Ran Blake. Through these influences, Will has developed a unique sound that reaches the furthest extremes of each musical parameter without sacrificing musicality and expression. Drawing from many improvised and composed styles as well as contemporary extended techniques, Will weaves a vivid story that transports listeners to a world outside our own—one that can be reached only with the flute.

Carolyn Zaldivar Snow is a field recordist and journalist whose work explores the textures of tape, water, and place. Her sound installations have been presented at the Smithsonian’s Hirshhorn Museum and Sculpture Garden, as well as in more ephemeral settings—abandoned chocolate factories, geodesic domes, and overgrown Victorian gardens. She leads editorial at the electronic music label Mystery Circles, where she helps shape conversations around experimental sound, and contributes to Tape Op Magazine, writing about recording, listening, and the spaces in between.
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Organized in collaboration with World Askew