"Teun (April '75) first picked up the drums by the age of eight. After two summer courses with drummer Dre Pallemaerts he went to the Conservatory of Brussels where he was taught by Hans Van Oosterhout. Since graduating from this school in 1999, he became one of the most in demand sideman in lots of different bands and musical styles in no time. His search for a personal touch and wanting to explore all possibilities of playing music and drums, his lack of boundaries and styles and trying to find fresh sounds and freedom in collective improvisation made him work (as sideman)with:

Alexi Tuomarila 4tet and Trio (signed WARNER MUSIC)
Jef Neve Trio (signed: UNIVERSAL)
FES (IPECAC ; CRAMMED) Fes did the first part of Mike Patton's Fantomâs during 10 Europe dates.
VVG trio
Karanova (featuring Hilmar Jensson, Johann Johannssonn from Iceland and Mauro Pawlowski from Belgium), Molo Trio, Jambangle, Rackham, Pascal Schumacher 4tet, "4", JojoBa, Streams, Silent Song, Jozef Dumoulin Trio,...

He worked as a sideman and leader with musicians such as Paolo Fresu (with Jef Neve trio), Uri Cain (With FES), Erwin Vann, Jean Phillippe Viret, Hilmar Jennson, Ernst Reyseger, Jimi Tenor, Toots Thielemans (with FES), Fred Vanhove, Trevor Dunn, Magic Malik, Shelley Burgon, Andrew d'Angelo, Fred Vanhove, Marc Helias, Giovanni Mirrabassi, Edouard Ferlet, Eric Vloeimans, Benny Lackner, Anton Goudsmidt, Harmen Fraanje, John Watts (Fischer Z), Matts Eilertsen, Michel Hatzi (aka moon),Louis Clavis (with FES), Peter Hertmans, Natalie Lorriers, Diederik Wissels, David Lynx, Bart Defoort, Kris Defoort, Arif Durvesh (Knitting Shawney), Kevin Armstrong (Iggy Pop), Pierre Vervloesem, Bart De Nolf, Manu Hermia, Sal La Rocca, Erik Vermeulen, Antton Walgraeve, Tom Wolf, Monsoon, Pieter Embrechts, Point Zéro, Cesarius Gadzina, Marco Locurcio,jacques Pirroton, Steve Houben, Melanie de Biasio, Toine Thys, Nic Thys, Hein Van de Gein ... Teun goes on tour with some of these bands a lot.

He has played on Festivals in Scandinavia, Australia, Mexico, Spain, Italy, South Africa, Portugal, Iceland, Canada, Japan, Austria, Bermuda's, England, Tunisia, Morocco, France, Venice, Bermuda Islands, Holland, United Kingdom, Greece, Cyprus, Finland, Norway, Sweden, Germany, Russia, Poland, ...
He played at the EuroJazzfestival in Greece with Alexi Tuomarila, Jef Neve, "4" and Pascal Schumacher and played on the same festival in Mexico City with Jef Neve.
He played a lot at big festivals such as North Sea, Vancouver, Blue Note, Jazz Middelheim, April Jazz, Gexco Jazz, Kaamos Jazz, Montreal Jazz, Dour,...

Teun was also invited by Jazz Middelheim to open their 25 Jubilee Festival with the program called "Around a Drummer" and he also got a "carte blanche" at the 2005 Time Festival, Ghent.


Did support acts for bands as :
Elvin Jones Jazz Machine, Brad Mehldau Trio, John Zorn's Moonchild, Paul Bley, Brandford Marsalis 4tet, Joey Baron's Killer Joe, Mike Patton's Fantomâs, John Zorn's Electric Masada, Charley Haden Band, John Abercrombie 4tet, Andrew d'Angelo Trio,..."

"Pianist Jozef Dumoulin (Belgium) redefined the Fender Rhodes keyboard through a scope that is at the same time fully contemporary, eclectic and highly personal. He is the first to present a full solo program featuring the instrument. Furthermore he is known for his open and luminous approach to the piano and to music in general, always anchored in tradition without being burdened by it. Besides the Fender Rhodes solo, his own projects include The Red Hill Orchestra (a trio with Ellery Eskelin and Dan Weiss) and a duo with Benoît Delbecq.

Highly-demanded as a sideman, Jozef Dumoulin has recorded and toured with the finest of musicians in the domain of jazz, improvised music, rock and traditional music. He currently lives in Paris."

"Nate Wooley was born in 1974 in Clatskanie, Oregon, a town of 2,000 people in the timber country of the Pacific Northwestern corner of the U.S. He began playing trumpet professionally with his father, a big band saxophonist, at the age of 13. His time in Oregon, a place of relative quiet and slow time reference, instilled in Nate a musical aesthetic that has informed all of his music making for the past 20 years, but in no situation more than his solo trumpet performances.

Nate moved to New York in 2001, and has since become one of the most in-demand trumpet players in the burgeoning Brooklyn jazz, improv, noise, and new music scenes. He has performed regularly with such icons as John Zorn, Anthony Braxton, Eliane Radigue, Ken Vandermark, Fred Frith, Evan Parker, and Yoshi Wada, as well as being a collaborator with some of the brightest lights of his generation like Chris Corsano, C. Spencer Yeh, Peter Evans, and Mary Halvorson.

Wooley's solo playing has often been cited as being a part of an international revolution in improvised trumpet. Along with Peter Evans and Greg Kelley, Wooley is considered one of the leading lights of the American movement to redefine the physical boundaries of the horn, as well as demolishing the way trumpet is perceived in a historical context still overshadowed by Louis Armstrong. A combination of vocalization, extreme extended technique, noise and drone aesthetics, amplification and feedback, and compositional rigor has led one reviewer to call his solo recordings "exquisitely hostile".

In the past three years, Wooley has been gathering international acclaim for his idiosyncratic trumpet language. Time Out New York has called him "an iconoclastic trumpeter", and Downbeat's Jazz Musician of the Year, Dave Douglas has said, "Nate Wooley is one of the most interesting and unusual trumpet players living today, and that is without hyperbole". His work has been featured at the SWR JazzNow stage at Donaueschingen, the WRO Media Arts Biennial in Poland, Kongsberg, North Sea, Music Unlimited, and Copenhagen Jazz Festivals, and the New York New Darmstadt Festivals. In 2011 he was an artist in residence at Issue Project Room in Brooklyn, NY and Cafe Oto in London, England. In 2013 he performed at the Walker Art Center as a featured solo artist.

Nate is the curator of the Database of Recorded American Music (www.dramonline.org) and the editor-in-chief of their online quarterly journal Sound American (www.soundamerican.org) both of which are dedicated to broadening the definition of American music through their online presence and the physical distribution of music through Sound American Records. He also runs Pleasure of the Text which releases music by composers of experimental music at the beginnings of their careers in rough and ready mediums."

"Ingebrigt Håker Flaten (b. 1971, Oppdal) - studied Jazz at the Music Consevatory in Trondheim, Norway (1992-1995) under the tutelage of bassplayer Odd Magne Gridseth.

When one listens to the great bassists in modern jazz history, a striking thing (though it may not be immediately arrived at) is that greatness is reached through open-mindedness and diversity. William Parker, Malachi Favors Maghostut, Peter Kowald, Wilbur Ware, Bertram Turetsky, Buell Neidlinger - all of these bass players have embraced a lifestyle of playing all sorts of music and the breadth of each musicians' technique is a testament to those experiences. Norwegian bassist and composer Ingebrigt Håker Flaten is also a musician whose experience is both geographical and aesthetic. While the fertile Scandinavian new jazz scene offered a vast amount of opportunities to work in different bands with musicians whose concepts are as individual as the grains in a reed, Flaten has found home and on-the-bandstand education in places as far flung as Chicago and his current residence Austin, Texas.

A muscular player whose tone and attack run the gamut from Paul Chambers to Buschi Niebergall, his sense of both openness and control serves ensembles as diverse as The Thing, Free Fall, Atomic, Scorch Trio and the Kornstad/Håker Flaten Duo. In addition to his own Chicago Sextet and Austin-centric Young Mothers, Flaten has also recorded and performed with Frode Gjerstad, Dave Rempis, Bobby Bradford, the AALY Trio, Ken Vandermark, Stephen Gauci, Tony Malaby, Daniel Levin, Dennis Gonzalez and numerous others. Flaten studied at the Conservatory in Trondheim (1992-1995), turning professional shortly afterward, yet his hunger to play in new situations with new musicians - schooled or amateur, frequently recorded or just starting out - puts him in a rare class, that of a truly broad-minded artist. That mettle has served him well, living and developing the music under his own steam and drawing from influences as diverse as Derek Bailey, George Russell, Chris McGregor, filmmakers Ingmar Bergman, contemporary pop melody and gritty punk music as well as everyday sights and sounds.

There is a calmness and self-assuredness that imbues all great artists, in that the diversity of their work comes with very little ego. Flaten's artistry is often in collective, leaderless ensembles and in fact, following a decade of professional musicianship it wasn't until 2004 that his leader-debut was released - Quintet (Jazzland, followed in 2008 by The Year of the Boar, and a Sextet recording is upcoming). This latter fact is partly due to the necessity of a copacetic situation - in an interview in 2010 with the Austinist he noted that "I use people where I'm located. It's inspiring to have your own band to write for, but you have to make sure that people feel free and not limited by the music; the compositions should lead the way to a player's open mind, and that is a challenge." Certainly not every bandleader/composer thinks this way.

In 2011, he formed another ensemble, The Young Mothers, which includes drummers Stefan Gonzalez (Dallas) and Frank Rosaly (Chicago), trumpeter/poet/rapper Jawaad Taylor (New York), saxophonist Jason Jackson (Houston), and Jonathan Horne (Austin) on guitar. It's a group of varying levels and influences and as it grows organically, will be another excellent lens through which to view Flaten's aesthetic, philosophy, and musicianship. The next few years see him in a position where established ensembles can steep and spread their influence, while experimenting with and nurturing a wide range of new relationships."