Tom Djll studied electronic music with Stephen Scott at the Colorado College, working with the EMS Synthi 100 system at Packard Hall. He spent the years 1981-1993 working with the Serge Modular Music System before enrolling in Mills College Contemporary Music Program, where he extended his quest to develop and integrate a personally developed extended trumpet language into an electronic sound environment, while also pursuing advanced improvisation studies, formally, with Pauline Oliveros, and, informally, with Jack Wright. While at Mills, Djll concentrated on microtonal composition, split-tone trumpet technique, and computer music. He also worked extensively with Chris Brown, resulting in contributions to Brown’s recordings LAVA (Tzadik) and DUETS (Artifact).

Further refinement of trumpet languages and free improvisation with his band GROSSE ABFAHRT was undertaken from 1999 – 2010, with international CD releases resulting on the Emanem, Creative Sources, and Setola di Maiale labels. Beginning in 2012, Djll gradually re-introduced electronics into his sound-set. The results are heard in projects such as hackMIDI (extreme electro-mechanical piano music), the hardcore free-noise trio BEAUTY SCHOOL, piano + analog electronics in TENDER BUTTONS (with Tania Chen and Gino Robair), delicate environments in EUPHOTIC (with Cheryl Leonard and Bryan Day), austere acoustic spaces with KOKUO (Kanoko Nishi-Smith, John McCowen, Jacob Felix Heule, and Kyle Bruckmann) and ongoing sessions and performances within the lively and ever-evolving Bay Area scene, with playing partners old and new (including but not limited to Tim Perkis, Amanda Chaudhary, Jordan Glenn, Rova, Clarke Robinson, Suki O’Kane, Matt Ingalls, Tom Nunn, bran(…)pos, and Karen Stackpole.

"“Tom Djll has taken the trumpet as far beyond its silver, snarling vernacular as it is possible to go, and as far from the extended technique proponents as Bill Dixon is from Roy Castle. Djll’s trumpet extensions are in some respects no different to what early jazzmen used as punctuation devices or timbral effects. Few have gone as far as Djll, though, in making such articulations the entire substance of a piece, and none have gone so far in the development of split-channel playing." - The Wire

"...the music is intensely quiet, with instrumental sounds approaching room ambience. Dropping into sustained quietness like this requires great trust between the collaborating improvisers, with the opportunity to take the lead — and the danger of ruining the music — never closer. It is one of the highest states of improvised music." - East Bay Express (writing about Grosse Abfahrt's VANITY)