"Emilio Gordoa is a Mexican composer and vibraphonist based in Berlin since 2012. He's involved in numerous projects including his work as a soloist and in collaboration with theater and dance. Emilio is specially focus in sound art, experimental music, noise, free jazz, improvisation and contemporary music.

He is redefining the vibraphone as a source, treating it with preparations and extended techniques, and is a busy composer as well, writing graphic scores for a variety of ensembles, large and small, for theater, documentary films and audiovisual.

Emilio studied music composition with Vincent Carver and Mario Lavista, and percussion with Raul Tudon. He has collaborated and performed with artist such as John Russell, Tristan Honsinger, Misha Marks, John Butcher, Axel Dörner, Tony Buck, Tobias Delius, Ignaz Schick, Klaus Kürvers, Alexander Bruck, Richard Scott, and Ute Wassermann."

"Don Malfon (Alfonso Muñoz), Improvising saxophonist born in Barcelona 1978.

He began playing the electric bass when he was sixteen years old, changing to the saxophone at eighteen while studying at a local school in Barcelona.

In 2000 he moved to Havana, Cuba, where he studied particularly for five years under the tutelage of the following teachers: Orlando Sanchez (Cuba Jazz), Javier Zalva and Elvira Fuentes. Specializing in baritone and alto sax.

From 2006 he settled again in Barcelona and joined groups such as planeta imaginario (Progressive Jazz Rock), Filthy Habits Ensemble (set dedicated to the instrumental music of Frank Zappa and Stravinski), Reptilian Mambo (mambo avant-garde), B.I.B (Orchestra of improvisers of Barcelona), IED8 (Free Jazz and free improvisation), October Equus (Rock, Contemporary) Outerzone (jazz progressive core) among others.

In 2013 he moved to Mexico City where he collaborated and joined groups such as Zero Point , SIC, Remi Álzarez 4, Chocolate Smoke Gang , Mexican American Jungle Orchestra Of Marco Eneidi, Spontaneous Generation, Carlos Marks, Teoqualo and other free jazz, improvisation and other outfits.

His current experience comes from interpreting in diverse groups, alongside Agustí Fernández, Liba Villavecchia, Barry Guy, Tom Chant, John Edwards, Agustí Martinez, Pablo Rega, Nuno Rebelo , Remi Älvarez , Marco Eneidi among others.

He has been published in more than thirty albums, released on Cuneiform Records, Altrock Records, Discordian Records and Audition Records and other labels.

With some of these groups he has appeared in different festivals of jazz, rock, and free improvisation in Europe, South America and Latin America."

"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."

"I discovered free improvised music at the age of 16. As a drummer who was quite fed up with just filling the "time-keeping-role", the first encounter with musicians as Albert Ayler, Ornette Coleman and Peter Brötzmann altered my musical course quite considerably. The intense musical energy and the immense presence of the musicians simply blew my young brain away.

Since then, I have been fortunate enough to be able to expand my musical perception through playing with truly great musicians (to whom I can never be thankful enough), listening to a tiny bit of the music available in this world (some of it introduced to me by friends to whom I also owe thanks) and through composing music on my own, some of which you can find under SOUNDS in the menu to the left."