"Joe McPhee, born November 3,1939 in Miami, Florida, USA, is a multi-instrumentalist, composer, improviser, conceptualist and theoretician. He began playing the trumpet at age eight, taught by his father, himself a trumpet player. He continued on that instrument through his formative school years and later in a U.S. Army band stationed in Germany, at which time he was introduced to performing traditional jazz. Clifford Thornton's Freedom and Unity, released in 1969 on the Third World label, is the first recording on which he appears as a side man. In 1968, inspired by the music of Albert Ayler, he took up the saxophone and began an active involvement in both acoustic and electronic music.

His first recordings as leader appeared on the CJ Records label, founded in 1969 by painter Craig Johnson. These include Underground Railroad by the Joe McPhee Quartet (1969), Nation Time (1970), Trinity (1971) and Pieces of Light (1974). In 1975, Swiss entrepreneur Werner X. Uehlinger release Black Magic Man by McPhee, on what was to become Hat Hut Records.

In 1981, he met composer, accordionist, performer, and educator Pauline Oliveros, whose theories of "deep listening" strengthened his interests in extended instrumental and electronic techniques. he also discovered Edward de Bono's book Lateral Thinking: A Textbook of Creativity, which presents concepts for solving problems by "disrupting an apparent sequence and arriving at the solution from another angle." de Bono's theories inspired McPhee to apply this "sideways thinking" to his own work in creative improvisation, resulting in the concept of "Po Music." McPhee describes "Po Music" as a "process of provocation" (Po is a language indicator to show that provocation is being used) to "move from one fixed set of ideas in an attempt to discover new ones." He concludes, "It is a Positive, Possible, Poetic Hypothesis." The results of this application of Po principles to creative improvisation can be heard on several Hat Art recordings, including Topology, Linear B, and Oleo & a Future Retrospective.

In 1997, McPhee discovered two like-minded improvisers in bassist Dominic Duval and drummer Jay Rosen. The trio premiered at the Vision Jazz Festival in 1998 but the concert went unnoticed by the press. McPhee, Duval, and Rosen therefore decided that an apt title for the group would be Trio X. In 2004 he created Survival Unit III with Fred Lonberg-Holm and Michael Zerang to expand his musical horizons and with a career spanning nearly 50 years and over 100 recordings, he continues to tour internationally, forge new connections while reaching for music's outer limits."

"Mainly known as a tenor player, French multi-instrumentalist André Jaume also excels on alto sax, flute, bass clarinet, and clarinet, his first instrument, and is one of the most emblematic figures of the French jazz scene. His warm and generous tone is his trademark and his career reflects his curiosity and open-mindedness. Classically trained, Jaume developed his interest for jazz going to dances where Sidney Bechet performed and listening to records. His interest quickly moved from Dixieland to more modern musicians, such as Charlie Parker, Duke Ellington, and John Coltrane. He attended the first French jazz school under the direction of Guy Longnon from 1966 to 1969. Social events of the late '60s and inroads made by free jazz encouraged him to find his own path rather than mimicking American artists. After playing with Barre Phillips in the early '70s, he created a duo with percussionist Gerard Siracusa, which soon evolved as a trio with the addition of Raymond Boni on guitar. Later, he joined Jeff Gilson's orchestra from 1976 to 1979. During that time, Jaume met saxophonist Joe McPhee at a festival in Nancy (France) and a long friendship ensued, punctuated by several albums, in particular Old Eyes & Mysteries and Oleo & a Future Retrospective. In the early '80s, Jaume put together an octet to fulfill his ambition to compose for string instruments. Through his association with McPhee, the saxophonist gave his first concerts in the United States in 1985. Although an already well-seasoned musician, Jaume seized this opportunity to write and ask Jimmy Giuffre to study arrangement and composition. Giuffre's positive response resulted in yet another fruitful collaboration with a string of concerts and recordings. It was also Giuffre who encouraged Jaume to resume playing the clarinet. In the '90s, Jaume entered a prolific and diverse period carrying on projects with Charlie Mariano, John Medeski, Charlie Haden, and Barry Altschul, as well as collaborations with musicians from Indonesia or Guinea. He also formed a working trio with guitarist Rémi Charmasson and Randy Kaye, Jimmy Giuffre's former drummer. Jaume retired from his faculty position at the Avignon Conservatory in 2001, hoping to focus entirely on his music.

"Radu Malfatti is an Austrian trombone player and composer. He was born in Innsbruck, in the province of Tyrol, on December 16, 1943. He has been described as "among the leaders in redefining the avant-garde as truly on-the-edge art." His work "since the early nineties... has been investigating the edges of ultraminimalism in both his composed and improvised work." He also operates B-Boim, a CD-R only record label focusing on improvised and composed music, much of it his own."

"Influenced by musicians as diverse as Django Reinhardt and Cecil Taylor, French guitarist Raymond Boni has developed a unique and dazzling style derived from gypsy technique. After studying the piano and switching to the harmonica, Raymond Boni learned how to play the guitar with Gypsies living near his home. This empirical experience would leave a permanent imprint on Boni's approach to the instrument. In the early '60s, still a teenager, he decided to go study in London. Surrounded by a very diverse and creative musical environment, Boni decided to get serious about the guitar and to break from the musical framework of musical academia. Back in France, he settled in Paris where he was among the first French musicians to embrace free jazz and free improvisation. His first major collaboration was a long-lived duo he formed with guitarist Gérard Marais in 1973. In 1976, he joined the André Jaume/Gérard Siracusa duo and worked with saxophonist Claude Bernard. The latter was also responsible for allowing Boni to fulfill his ambition to compose for and perform with dancers.

In 1978, he started a long relationship with Joe McPhee, which produced some stellar albums such as Old Eyes & Mysteries and Oleo & a Future Retrospective and a tour in the U.S. and Canada (1985). In 1981, Boni moved to Marseille where he was not able to perform as often as in Paris. As an alternative, he focused on writing and diversified his projects. In 1982, he met dancer and choreographer Geneviève Sorin and started to compose music for her company. Raymond Boni also continued to foster some old partnerships while developing new ones with accomplished artists such as Les Mistrals with British improvisers Terry Day and Max Eastley. In the '90s, the guitarist worked extensively with musicians from younger generations, most notably Claude Tchamitchian and Eric Echampard. Boni also multiplied collaborations with artists having a background other than jazz but a bent for improvisation. Another worthy project is Boni's Family with Sorin and son Bastien Boni, which honors his Gypsy legacy and capitalizes on his talented household. In 2001, Boni reunited with McPhee for an album, Voices & Dreams, and several concerts in the U.S. and Europe."

"Irène Schweizer (born 2 June 1941) is a Swiss jazz and free improvising pianist. She was born in Schaffhausen, in 1941. She has performed and recorded numerous solo piano performances as well as performing as part of the Feminist Improvising Group, whose members include Lindsay Cooper, Maggie Nichols, Georgie Born and Sally Potter. She has also performed a series of duets with drummers Pierre Favre, Louis Moholo, Andrew Cyrille, Günter Sommer, Han Bennink, Hamid Drake, as well as in trio and quartet sessions with others, including John Tchicai, Evan Parker and Peter Kowald. With Yusef Lateef, Uli Trepte and Mani Neumeier she performed at the Montreux Jazz Festival in 1967. One of her most enduring collaborations is with the improvising musician Rüdiger Carl (de)."

French bassist François Méchali, part of André Jaume's circle and active in European improvisation since the 1970s, is known for his warm tone and melodic phrasing, contributing lyrical counterpoint to McPhee's 1982 European recordings.

Pierre Favre is a Swiss jazz drummer and percussionist, born 2 June 1937 in Le Locle, Switzerland.

"When Pierre Favre began to explore new worlds of sound in drumming in the 1960s, he had already played with many internationally renowned Europeans and Americans as well as with prominent big bands. But it pushed him to an independent music. It all started in a trio with bassist George Mraz, then with Peter Kowald on double bass and from the start with Irene Schweizer on piano. "It is," says Pierre Favre, "a stroke of luck in a long, independent and yet joint development.

Searching for the melodic aspects of drums and percussion, Pierre Favre found his way to the solo. Together with Paul Motian, Fredy Studer and Nana Vasconcelos, he formed a percussion ensemble that increased the orchestral possibilities of percussive solo playing. "Singing Drums", a quartet with four percussionists, underwent a further transformation in the form of The "European Chamber Ensemble", a line-up with two percussionists, horns and strings.

In 2004, the city of Zurich honored Pierre Favre with the city's art prize."-Bert Noglik, Pierre Favre website