"Gerard Lebik - sound artist, musician living Wroclaw/Poland. Works with improvised, experimental and intermedia music. He's the author of sound installations and sound interventions in public space. Creates music and sound either by improvisation, musical notation or through direct manipulation of sonic material using electro and acoustic media. Explores the audible phenomena field through various tools and techniques: saxophones, zopan wave generators, air compressors, VHS recorders, video objects, electronics, analog video feedback, software. In 2007 graduated Wroclaw Academy of Music. Performed with: David Maranha, Eryck Abecassis, Kazuhisa Uchihashi, Keith Rowe, Clayton Thomas, Satoko Fuji, Brian Labycz, Hernani Faustino, Miguel A Garcia, Gabriel Ferrnandini, Noritaka Tanaka, Bettina Wenzel, hans w koch, Joker Nies, Rodrigo Pinheiro, Christian Marien, Marc Riordan,, Pawel Janicki, Piotr Damasiewicz, Artur Majewski, Kuba Suchar, Ura Hiroyuki, Sebastian Meissner, Yamaguchi Jin Lang... Events: V:NM-Festival in Graz, Bienale Zagreb, TodaysArt Festival Hague, Tokyo Jazz, Festival Umbrella Chicago, Musica Electronica Nova, Sibiu Jazz and More, Avant Art, Musica Electronica Nova, Musica Polonica, Survival Art Review, SuperDeluxe-Tokyo, Alte Feuerwache-Cologne, CSW-Warszawa, Galeria Kordegarda, De Werf-Brugge, Pit Inn Shinjuku-Tokyo, Ftarri-Tokyo, Quite Que-Berlin."-All About Jazz

"After taking up the bass, around 1987, John Edwards co-formed The Pointy Birds who went on to win awards for their music for The Cholmondeleys and Featherstonehaughs dance troupes. The group appeared at festivals in Glasgow, Edinburgh, Moers, Leverkusen, Copenhagen. Around 1990, Edwards played his first gigs with London improvisers such as Roger Turner, Lol Coxhill, Maggie Nicols, Phil Minton.

Between 1990 and 1995 Edwards was a member of three touring groups simultaneously: B-Shops For The Poor, The Honkies and GOD. During this period he also became an increasingly regular player on the London improvised music scene and performed his first solo gigs; he composed and performed music theatre with the bass and cello duo The Great Explorers, street-busked a lot and appeared at many more festivals in Germany, Estonia, France, Italy, Czech, etc.

Since 1995 John Edwards has become a "mainstay" of the London scene, playing with just about everybody, an activity that has seen him clocking up between 150 and 200 gigs a year. He has become regular player with Evan Parker, in many groupings, and with Tony Bevan, Veryan Weston, and Elton Dean, often in collaboration with Mark Sanders on percussion. He has become a more frequent player on the European (and festival) scene, appearing at Taktlos, Ulrichsburg, Nickelsdorf, Budapest, New Zealand and in the USA. He continues to work on solo performances."

"Born in Aachen, Germany, 6 June 1949; Drums, percussion, musical saw, etc.

Paul Lovens played the drums as a child. Self-taught, from the age of 14 he played in groups of various jazz styles and popular musics and from 1969 has worked almost exclusively as an improvisor on individually selected instruments. He has worked internationally with most of the leading musicians in free jazz and free improvisation, among whom have included the Globe Unity Orchestra, the Berlin Contemporary Jazz Orchestra, the Schlippenbach trio, Quintet Moderne, Company, and a duo with Paul Lytton. He has undertaken concert tours in more than 40 countries, is a founder member of a musician's cooperative and has produced recordings for his own label, Po Torch Records since 1976. He has worked with painter Herbert Bardenheuer. Despite very rare solo performances, and although giving occasional concerts with ad-hoc groups and an involvement in projects with film, dance and actors, Paul Lovens' main interest and work is musical improvisation in fixed small groups. In the mid-1990s these small groups numbered around 16, of which a few were part of a special selection, called 'vermögen'.

Paul Lovens somehow epitomises the free drummer/percussionist who is not there to lay down the beat and kick everyone else into action but to listen, colour, contribute, guide, and occasionally direct, the overall cooperative sound. In concert one cannot fail to be moved by his intensity and concentration and there is an overiding feeling that even the most random events are somehow planned in time. In this respect, there is a nice irony that on the Nothing to read CD with Mats Gustafsson, Lovens describes his kit as consisting of 'selected and unselected drums and cymbals'. Miking seems to be a problem at times with some recordings giving him undue prominence and others insufficient. Good recordings are Elf bagatellen, Nothing to read, Pakistani pomade, and ,stranger than love."