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Sound (Dis)obedience 2022 - program


Thursday, 31.3. 2022

Drago Ivanuša - piano / Vita Kobal – violin

Drago Ivanuša is a composer, pianist and accordionist. By 2021 he had created music for more than 150 theater and dance performances, collaborated with prominent directors and choreographers, and in the late 90's began working in the field of film music, where he participated in major projects in the revival of Slovenian film (Idle Running, Bread and Milk, Ruins, Circus fantasticus and others). He received two Vesna Awards at the Slovenian Film Festivals, and with the film Bread and Milk the ˝Lion of the Future Award˝ at the Venice Film Festival. He received the ˝Golden Bird Award˝ for his work. In addition to working for theater and film, Drago Ivanuša also creates independent projects in various fields of music. He is the author of chamber instrumental music for various ensembles, symphony orchestra, author of libretto and music for the musical drama Orlando, for the full-length ballets etc. He performs as a solo pianist (La Bête Humaine) and in collaboration with many musicians in Slovenia and abroad.

Vita Kobal is a violinist who is currently studying jazz at the Gustav Mahler Privatuniversität in Klagenfurt with professor Max Grosch. After finishing school at the Ljubljana Conservatory of Music and Ballet, where she acquired a classical education, she began to engage in improvisation and improved her knowledge in other musical genres. She has participated in groups and music projects such as Sezam, Počeni škafi, Bowrain, Kukushai and others. She is currently active mainly in the research of jazz and ethno music, plays in the bands Divota and the duo Vivo and participates in the project Magnetik with Drago Ivanuša.

Jonas Kocher - accordion / Gaudenz Badrutt - electronics

The two musicians have been collaborating for many years in interdisciplinary projects, with other musicians or dancers but they are above all a duo where improvisation is at the heart of their music-making. A music in which the accordion and electronics become one, a music that is both disconcerting (one does not know when or how the sound events they propose will appear) and exciting, so much so that the quality of the sounds brought into play, their diversity and their ruptures invite one to a playful listening experience in which the ear discovers breaths, clicks, whistles, rustles and other manifestations of a sound world that is as much organic as it is reserved. Badrutt and Kocher have been invited to present their work at the Festival Le Bruit de la Musique (F), Sokolowsko Sanatorium of Sound (PL), JOLT Festival (CH), Ring Ring Festival Belgrade (RS), Unlimited Wels (AT) and have been extensively touring in Europe and Russia since 2012.They currently work closely with musicians such as Hans Koch, Christof Kurzmann, Kai Fagaschinski or Ilia Belorukov.

Jonas Kocher is a sound artist and accordionist born in 1977. He has a strong interest in process oriented works, unstable situations and improvisation. Active in numerous artistic and social contexts, his regular collaborators are musicians such as Joke Lanz, Axel Dörner, Jacques Demierre, Hans Koch, Gaudenz Badrutt, Tomaž Grom or Bertrand Denzler. He also works with Radu Malfatti, Irena Tomažin, Kasper T.Toeplitz, Christof Kurzmann, Christian Kesten, Michel Doneda, Kai Fagaschinsky and many others.As sound artist and composer Jonas Kocher has realized works that are situated between composed theatre, installation and concert pieces. He has been invited to present his work as accordionist or composer by major festivals such as Festival Météo Mulhouse, Festival Le Bruit de la Musique, Art Biennale Thessaloniki, Music Unlimited Wels, Ring Ring Festival Belgrade, Cerkno Jazz Festival…

Gaudenz Badrutt (*1972) works since more than 20 years mostly as an electroacoustic musician in the field of improvised and composed music. He is mainly known for his collaborations with Jonas Kocher (accordion) and Hans Koch (bass clarinet, clarinet, soprano saxophone), as Solo-Performer as well as one half of the electroacoustic duo Strøm. Badrutt’s music is coined by a very instrumental use of computer/live sampling and electronic devices. Badrutt is further occupied in the fields of sound & video installation and musicology. He works on current projects with Ilia Belorukov, Christof Kurzmann & Kai Fagaschinski (Baldrian Quartet), Jean-Luc Guionnet & Frantz Loriot (Trio)… He plays concerts at home and abroad, including at the Festivals Jauna Musika Vilnius, RingRing Belgrade, Music Unlimited Wels, Le Bruit de la Musique Saint-Silvain-sous-Toulx (F), Sanatorium of Sound Sokolowsko (Poland), Irtijal Beirut, Zwei Tage Zeit Zürich, Transmediale Berlin or Taktlos/Tonart Bern. Gaudenz Badrutt lives as a freelance musician in Biel (Switzerland).

Ute Wassermann - voice / Joke Lanz – turntables
Joke Lanz and Ute Wassermann have been working as a duo since 2016. They surprise with a mix of vocal, physical and electronic actions, shifts ’n’ cuts, super speedy turns, twisted melodies, stop & go grooves and obscure loops. In 2019 they performed an excellent concert at Konfrontationen Festival in Nickelsdorf which was recorded by the Austrian state radio ORF and released on CD by the label Klangalerie in 2021. The CD Half Dead Half alive is on the longlist for Preis der Deutschen Schallplattenkritik 2021.
… The listening experience may leave you shocked but guarantees tons of fun. If you can imagine rare, colorful birds, with a flair for dadaist mischief, dance along anarchistic techno grooves that threaten to melt your brain, you may get closer to what happened in this outstanding performance…
(Eyal Hareuveni, The Free Jazz Collective, April 2021)

Joke Lanz is a pioneer of the electronic Independent scene and crossover artist whose work spans improvised and experimental music, noise and turntablism, performance art and musique concrète. In addition to theatre and film music, radio works, installations, paintings and collages, there are two constants in his work: Turntablism - making music by manipulating vinyl records - and his longtime action project Sudden Infant which morphed into a trio in 2014 after 25 years as a one-man operation. He collaborated with: Shelley Hirsch, Peter Kowald, Christian Marclay, Olaf Rupp, Astro, Z’EV, Ken Vandermark, Johannes Bauer, Lasse Marhaug, Jorge SanchezChiong, Rudolf, Strotter Inst, Christian Weber, Charlotte Hug, Audrey Chen, Mat Pogo, Ute Wassermann etc.

Ute Wassermann  is a German vocalist and visual artist. She tours the world as an improviser, she realises audiovisual voice performances / installations and compositions for soloists and ensembles. Over the years she has developed an ever-growing catalogue of multifaceted vocal expressions which has inspired improvisors and composers all over the world. Her workshops which are often described by the participants as a liberating experience involve improvisation or composition from solo to choir. She is a member of bands like: Speak Easy / Phil Minton, Thomas Lehn, Martin Blume, MUT / Thomas Rohrer, Michael Vorfeld, electrovoX / Thomas Lehn, Richard Scott, radiotweets / Birgit Ulher, Tree 23 / Joke Lanz, N.E.W. / Andrea Neumann, Sabine Ercklentz, shohob (Raed Yassin), Hatifnatten (Sabine Vogel).

Friday, 1.4. 2022

Samo Šalamon - guitar / Bojan Krhlanko - drums / Cene Resnik - saxophone / Jošt Drašler - double bass

The quartet SALAMON, RESNIK, DRAŠLER & KRHLANKO will present new music from the upcoming album Before It Rains. It is a mixture of improvisation and composition!
Samo Šalamon, according to world critics, is one of the most important modern jazz musucians in Europe. As band leader he recorded more than 30 albums with many outstanding jazz musicians, including Howard Levy, Paul McCandless, John Hollenbeck, Mark Turner, Arild Andersen, Bob Moses, Michel Godard, Drew Gress, Tony Malaby, Mark Helias, Tom Rainey, Tim Berne, Donny McCaslin, David Binney, Josh Roseman, Gerald Cleaver, John Hebert, Francois Houle, Julian Arguelles, Dominique Pifarely, Carlo DeRosa, Tyshawn Sorey, Bruno Chevillon, Stefano Battaglia, Christian Lillinger, Arildal Andersen,, Matt Brewer, Loren Stillman, John O'Gallag and many others. His debut album Ornethology was placed among 1001 best records in the jazz music history by prestige English Penguin Books publishing house! In the beginning of 2022 he released solo album  Dolphyology: Complete Eric Dolphy for Solo Guitar.

Bojan Krhlanko studied at the Austrian Regional Conservatory in Klagenfurt with prof. Erich Bachträgl and Klemens Marktl. As a student, he collaborated with world-renowned jazz musicians and regularly performed with The Stroj in European and Asian countries. He is currently creating in many projects: Boštjan Simon; There Be Monsteres, Brest, Samo Šalamon trio, Abstract Construction Collective, Bojan Krhlanko - Circle Of Pax. He is a very creative musician who is always exploring areas of the unheard and in 2014 he released the album Pocket Music- Rise Of The Androids, which was made entirely on a smartphone. In 2017, he also became a member of the legendary band Laibach, with which he currently performs regularly around the world.

Cene Resnik (1978) is a saxophonist, improviser with extensive experience in playing creative, free jazz music, with numerous international collaborations. He lives and works in Ljubljana. In 2007 he graduated with honors from jazz saxophone in Klagenfurt and then regularly visited New York for two years, where he literally got to know the "scene" up close, drew from it and gained his first stage experience there. Between 2007-2013, he spent half his time in India, mainly due to the study of Buddhism and meditation retreats, according to the Tibetan tradition - under the guidance of a teacher, a guru. Resnik has been practicing this kind of practice continuously for more than 20 years. Since 2012, he has had a number of critically acclaimed projects for acclaimed record labels such as Clean Feed, Not Two Records, etc. He has collaborated with famous names of the world creative music scene as well as with a number of great local musicians: Rob Mazurek, Frank Rosaly, Torbjorn Zetterberg, Tanja Feichtmair, Emanuele Parrini, Giovanni Maier, Stefano Giust, Johannes Bauer, Phil Minton, Zlatko Kaučič etc.

We know Jošt Drašler as a double bass player who works in free improvisation, free jazz, jazz and rock and indie rock bands. While studying musicology, he studied double bass at the regional Conservatory in Klagenfurt. He also studied with the famous Slovenian improviser Zlatko Kaučič, with whom he participated in his larger ensembles (Orchestra Senza Confini, Kombo, Cerkno Jubileum Orchestra), with his brother Vid Drašler and wind instrumentalist Marko Karlovčec he formed the fiery free jazz trio DKD Trio, with which they created a record and performed at home and abroad. He is a member of Balžarlorsky-Drašler 3o, the ensemble Olfamoštvo, collective Oholo!, trio TiTiTi and the ensemble of drummer Aleš Rendla, and he collaborates a lot with Mario Rechtern and Linda Sharrock, Aleksandar Škorić and Benedict Taylor. In 2018, he recorded a solo album for double bass The Balloon Catcher. He is also active as an organizer of events in Vrhnika and Bistrica ob Sotli.

Līmen II: Tilen Lebar - composition, electronics / Sae Lee - piano / Mauricio Valdés San Emeterio - sound distribution
In February 2021, after a set of circumstances, I came across the term liminal spaces, which in the Slovenian translation has no other designation than the transitional space. This type of designation refers to abandoned residential buildings, corridors, subways, shopping malls, offices, warehouses, factories, etc. The original purpose of all these spaces is, of course, to be filled and populated. As they become abandoned, they also lose their original purpose. When visiting such sites, people report of individual or even collective emotional and memory reactions, of course within the wider cultural environment of the individual. These include two phenomena: anemoia, which by definition refers to the experience of nostalgia for a time or period that an individual has not experienced, and kenopsia, which refers to experiencing the atmosphere of an individual abandoned space that brings out-of-context silence that was not present before, because the environment or space involved crowds of people in their work. The transitional spaces thus enable the experience of both mentioned phenomena. In further research, I came across the multiplicity of the term liminal, found for example in anthropology and folklore (for example initiation rites), religion (ascension, reincarnation), psychology (state of perception and transience, phase of sensory perception) or philosophy (a milestone between » unity ”and“ otherness ”). In the case of initiation rites, Arnold van Gennep’s theory brought me closer to an anthropological view of transience. Gennep structured the term liminality and in this context linked it to the Latin word Līmen, which expresses precisely transience or transition. Composition Līmen II further develops my fascination with this kind of transience and is a continuation of my work Līmen, which included sound installations, flute concerto, clarinet, sound recording and live electronics and which conceptually exploited the anthropological definition of initiation rites, which expresses precisely this kind of transience of space through the three-part Gennep structure. Līmen II is also divided into three parts. The first relates to "pre-liminality", which metaphorically leaves the original state and in this case realizes the minimalist harmony of tremolo, which we perform with a piece of rubber at the beginning of the piano string fis1 and gradually open a space with isolated aliquots on the string itself. Aliquots are gradually sounded through the immersive six-channel sonority. The environment does not allow development and is extremely static in terms of harmony, sound and macroform. The internal balance, which in this case refers to the ambient sound movements of individual particles of harmony, allows and draws attention to the liveliness of the sound material. In the second part of "liminality" I gradually include other widespread sound techniques, which include condensing sound material through arc with plastic cord, which actually causes "drone" sounds, which gradually merge with the aforementioned "pre-liminality" and open the width of the harmonic spectrum. The incorporation of sound by rubbing the rubber against the strings gradually incorporates sound relationships using e-arcs, thus opening up microprocesses (including interferences with microtonal differences and flickering sonority). The gradual transition to "post-liminality" leads to bright percussive colors and thus the search for palettes that in the transition merge with the technique of prepared register in the piano, jumps of magnets on strings and occasional blows of glass objects against the inner frame of the piano. The macrostructure is thus related to the strictly prescribed sequential development of events that enable changes in the identity of the aforementioned staticity into "destructiveness" and tend to diversify sound within microprocesses and macrostructure that embraces the development of densification and gradually builds its fullness through "spatial" distribution of sound. Post-liminality again leads to static sound connections, which (sound), however, is altered and distorted.
(Tilen Lebar)

After studying at Toho Gakuen School of Music in Tokyo the pianist Sae Lee graduated with honors in piano and chamber music at the Conservatory of Paris with Michel Beroff and Eric Le Sage. She is the winner of several competitions, including the international piano competitions of the City of Padua and Albert Roussel, and the chamber music competitions Fnapec in France, Carlo Soliva in Italy and the Cidade de Alcobaça in Portugal. Lee has performed on the stages of important festivals and events, such as the Enghien Piano Festival (France), the Nevada-Semipalatinsk international conference under the auspices of the Kazakh government and UNESCO, and the TV program of Japan national television NHK Classic Club. As a soloist, she has given concerts with the Sofia and Pleven philharmonic orchestras, Musica Collegia Orchestra from Kojima, the Kansai Philharmonic Orchestra, the Osaka Opus Sinfonia Orchestra and the Slovenian Philharmonic Orchestra. She works artistically with world-renowned ballet dancers such as Aurélie Dupont (director and first ballerina of the Paris (National) Opera Ballet), Kevin O’Hare (director of the Royal Ballet of London) and Rachel Beaujean (artistic director of the Dutch National Ballet). She is currently employed at the Academy of Music of the University of Ljubljana.

Mexican composer, guitarist and improviser Mauricio Valdés san Emeterio has been living in Slovenia since 2011, where he continues his various activities, mostly related to electroacoustic music. He studied with Robert Morales, José Luis Castillo and Åke Parmerud. As a composer, organizer and researcher he is involved in international events through work for Mexican institutions (Harp Helú foundation, Instrumenta chamber music academy, Mexican Center for Music and Sound Arts CMMAS), and as a researcher he has collaborated with Miller Puckette, author of systems Max / SMEs and Pure Data. Valdés creates in various genres of electroacoustic music and sound art. Initially, he composed mainly fixed electroacoustic works with complex treatments of diverse material and gradually developed an increasingly pronounced use of surround sound, which was particularly reflected in the 34-channel work Santa Muerte (2017). In the last decade, while developing tools for spatial projection of electroacoustic works, he focuses on live electronics and combining composition with improvisation, especially on guitar, also prepared one, and since 2010 he has been developing the Arenero application for live electroacoustic modification for the development of the mentioned practice. He currently works as the head of audio and technical research in the HEKA laboratory under the auspices of the PiNA association in Koper.

Tilen Lebar (1993) is a saxophonist, composer and improviser and one of those young musicians who goes beyond his original role of performer, instrumentalist. While studying the saxophone at the Academy of Music of the University of Ljubljana, Lebar created a notable compositional opus and participated in the organization of componiISITI evenings with works by students of the Academy who do not study composition. After the informal compositional mentorship of Uroš Rojko at the Ljubljana Academy, he completed his master's degree in composition at the Royal Conservatory in The Hague in the Netherlands in the classes of Peter Adriaansz, Cornelis de Bondt and Guus Janssen. In his music we can observe special attention to individual instrumental techniques and their color harmony, a thorough knowledge of the tradition of Western art music and at the same time experimental flows. He showed his attention to the overall musical experience with his feature film Layering Time and the work Līmen, a combination of a spatially specific installation and a cycle of compositions for flute, clarinet and electronics. Among others, he collaborates with the ensembles Asamisimasa, Contrechamps, Oerknal, Slagwerk Den Haag and institutions such as the Experimental Studio of Southwest German Radio and the Dutch National Opera & Ballet.

Ustavite se! (˝Stop!˝): Nina Dragičević – composition, text / Irena Z. Tomažin – voice

"Practice serenity, Mrs. Woolf," they said to Virginia Woolf. "Culture has to make money, too," says the simpleton. "I don't have time," almost everyone says. And that "time is money." So does a cultural worker have to work time? Speed, which is supposed to save time and thus save money, is thus supposed to create the conditions for the creation of both, and individuals to survive. In the sonority of inhaling and exhaling, the acceleration of vitality, modernity is condensed. The rhythm of the surviving force sounds in the trembling of the tongue. Listening to a female individual means listening to the whole world.

Nina Dragičević is a writer, composer and doctor of sociology. She is the author of several books (books 'Kdo ima druge skrbi (2014)', Famous Unknowns (2016), The Music Between Them (2017), 'Ljubav reče greva' (2019) and 'To telo, pokončno' (2021)), electroacoustic compositions and sound installations. Her album Parallelax was released in 2016, and in 2019 the album with the electroacoustic operetta Ma’am there is no such thing in reality. She is also the artistic director of the international symposium festival Topographies of Sound International symposium-festival. In 2021 she received the Jenko Award, in 2020 the Župančič Award, and in 2018 she was the first in the history of the Knight of Poetry Award to receive both awards - the Jury Selection and the People's choice award. She was shortlisted for the 'Kritiško sito 2020', the Veronika Award 2019 and the Jenko Award 2019, she also received a certificate from the University of Ljubljana for outstanding achievements, and in 2018 she was a finalist for the european Palma Ars Acustica Award.

Irena Tomažin is a vocalist and dancer who works and creates within experimental improvised music, in movement theater performances and teaches her workshops focused on voice and movement under the name "moved by voice" or "loud workshop" both at home and abroad. She has released three self-titled albums: Crying Games, Taste of Silence and Lumb in the Throat. In her musical or sound experimental work, she explores and develops landscapes of voice that combine words, fragmented lyrics, (traditional) melodic singing as well as extended vocal techniques, including noises, claps or sounds of the oral cavity that do not belong (only) to the voice but also body. She performs solo and in various ensembles with many musicians: Tomaž Grom, Lee Patterson, Xavier Charles, Christof Kurzmann, Jonas Kocher, Gaudenz Badrutt, Šalter Ensemble, Matej Bonin and others. With her solo project iT and as a vocalist she has participated in many festivals both at home and abroad. Her compositions for voice and body have been published in Mathieu Copeland’s books Une exposition à être lue and Chorégraphier l’exposition and have been staged in Geneva, Paris and Madrid. So far, she has created ten authorial vocal-movement performances in which she explores the connections between voice, gesture, body, space and sonority.

GRIFF: Ingrid Schmoliner - piano / Emilio Gordoa – vibraphone and objects / Adam Pultz Melbye - double bass

Formed in 2017, Griff has performed at venues and festivals around Germany and Austria and released its debut album on the label Inexhaustible Editions in spring 2021.
The combination of piano, bass and vibes is utterly inspired, each instrument shining like a sheet of cold silver in a dark sky. (
Simultaneously puzzling and inviting, GRIFF is a welcome invitation to keep on guessing. (Bille Meyer, Dusted Magazine)

The pianist and vocal artist Ingrid Schmoliner lives and works as a freelance musician, composer, curator and pedagogue in Vienna. Artistically she moves in the genres of new music, experimental-improvised music, avant-garde music, free jazz, folk fusion and folk music. A further focus of her work is on the interdisciplinary collaboration with dancers, choreographers, and video artists. She has worked with artists such as Joachim Badenhorst, Joelle Leandre, Liz Albee and Frantz Hautzinger.

Adam Pultz Melbye is a Danish double bass player, electro-acoustic composer, programmer and researcher currently living in Berlin.  Has toured extensively as a solo artist and with several own and co-led projects in Europe, the US, Japan and Australia, creates sound installations and is a frequent collaborator with dancers, film makers and visual artists. Collaborations include Evan Parker, Lotte Anker, Pat Thomas, Axel Dörner and Julia Reidy.

Emilio Gordoa is a Mexican vibraphone player, percussionist and sound artist based in Berlin. His work has been presented at numerous festivals across Europe, Central America and Australia and is often characterised by collaborations with other art forms. He has performed with Ute Wassemann, John Butcher, John Edwards, Nate Wooley, Yuko Kaseki and many others.

Saturday, 2.4. 2022

concert with music workshop participants (Jonas Kocher)
Tilen Kravos, Žiga Ipavec, Vid Drašler, Jure Boršič, Ina Puntar, Žiga Jenko, Lola Mlačnik, Jernej Babnik Romaniuk, Marko Jenič

Jonas Kocher is a sound artist and accordionist born in 1977. He has a strong interest in process oriented works, unstable situations and improvisation. Active in numerous artistic and social contexts, his regular collaborators are musicians such as Joke Lanz, Axel Dörner, Jacques Demierre, Hans Koch, Gaudenz Badrutt, Tomaž Grom or Bertrand Denzler. He also works with Radu Malfatti, Irena Tomažin, Kasper T.Toeplitz, Christof Kurzmann, Christian Kesten, Michel Doneda, Kai Fagaschinsky and many others.As sound artist and composer Jonas Kocher has realized works that are situated between composed theatre, installation and concert pieces. He has been invited to present his work as accordionist or composer by major festivals such as Festival Météo Mulhouse, Festival Le Bruit de la Musique, Art Biennale Thessaloniki, Music Unlimited Wels, Ring Ring Festival Belgrade, Cerkno Jazz Festival…

Doug Hammond Griot solo performance – voice, drums, sanza

Doug Hammond is an American composer, writer, percussionist, singer and producer, who lives and works in Linz, Austria. He has been active for around 6 decades and worked with several known names, such as Charles Mingus, Nina Simone, Sonny Rollins, Ornette Coleman, Betty Carter, James Blood Ulmer ....

A music that's personal to each listener: grooves, moves and blues; jazz, songs, spoken word and raps; swinging in all directions, from the roots to the top of a tree or the blossoming of a rose. A passionate delivery in sound! Performing from CD/LP/ book releases. A stage presentation of a musical adventure into this living, bristling 21st century, for an experience as concertized fantasy. A living adventure in sound and expression.

Step That Resonates: Zlatko Kaučič - drums / Agustí Fernándes - piano / Martin Küchen – saxophone
Zlatko Kaučič is Slovene drummer, percussionist and composer. In 2018 he celebrated forty years of creation in the field of jazz and improvised music, as well as his mentoring to young and perspective musicians. Kaučič focuses on creativity beyond the clichés, on the purity of music, and on the music that risks, provokes, which forces us to think, which is complex and a mix of various musical languages. It is necessary for him to have experiences, not only musical, but also life. He has released over 60 CDs, some of which have gained recognition at home and abroad. From his extensive opus, there were some of them on various top lists and between the best albums. In Nova Gorica, he manages a musical group Kombo and music school. He conceived the Brda Contemporary Music Festival, which he’s curating since 2011. He performed in numerous important festivals and played and recorded with renowned musicians and musical innovators in the field of jazz and improvised music such as John Lewison, Keeny Wheeler, Paul Bley, Albert Mangelsdorff, Chico Freeman, Louis Sclavis, Peter Brötzman, Alexander Balanescu, Ken Vandermark, Joëlle Léandre, Marc Ribot, Evan Parker and many others. He recorded music for several films and collaborated in documentaries in Spain.

Agustí Fernández (Palma de Mallorca, 1954), with a perfectly based career and a wide and well-deserved international reputation, is one of the Spanish musicians of major international projection and a world reference in the field of improvised music. Fernández has worked with great improvisers like Peter Kowald, Derek Bailey, Evan Parker, Joe Morris, Barry Guy, Zlatko Kaučič, Mats Gustafsson and Peter Evans, a.m.o., and with many improvisers all over the world. He is or has been a member of the Evan Parker Electro-Acoustic Ensemble, the Barry Guy New Orchestra, the Blue Shroud Ensemble, the Mats Gustafsson Nu Ensemble and the London Jazz Composers Orchestra, a.m.o. Up to day he has released more than 250 CDs.

Swedish saxophone virtuoso Martin Küchen (1966) feels equally at home in free jazz bands and in projects which move towards the avantgarde. He has been active on the free jazz scene since the mid-nineties, when he performed on the streets and in Stockholm metro stations. By now, he became one of leading new voices in contemporary improvised music, leading bands like Trespass Trio, Angles and All Included. His recent collaborations include duos with Keith Rowe, Anders Lindsjö, Dimitra Lazaridou-Chatzigoga or Steve Noble. Küchen tours internationally within the fields of jazz and impro-related music in various formations and solo.

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