"Though the point of reference for many remains the iconic band Henry Cow, which he co-founded in 1968 and which broke up more than 30 years ago, Fred Frith has never really stood still for an instant.

In bands such as Art Bears, Massacre, Skeleton Crew, Keep the Dog, Tense Serenity, the Fred Frith Guitar Quartet, Eye to Ear, and most recently Cosa Brava, he has always held true to his roots in rock and folk music, while exploring influences that range from the literary works of Eduardo Galeano to the art installations of Cornelia Parker.

The release of the seminal Guitar Solos in 1974 enabled him to simultaneously carve out a place for himself in the international improvised music scene, not only as an acclaimed solo performer but in the company of artists as diverse as Han Bennink, Chris Cutler, Jean-Pierre Drouet, Evelyn Glennie, Ikue Mori, Louis Sclavis, Stevie Wishart, Wu Fei, Camel Zekri, John Zorn, and scores of others.

He has also developed a personal compositional language in works written for Arditti Quartet, Asko Ensemble, Bang on a Can All-Stars, Ensemble Modern, Concerto Köln, and ROVA Sax Quartet, for example. Fred has been active as a composer for dance since the early 1980s, working with choreographers Bebe Miller, François Verret, and especially long-time collaborator and friend Amanda Miller, with whom he has created a compelling body of work over the last twenty years.

His film soundtracks (for award-winning films like Thomas Riedelsheimer's Rivers and Tides and Touch the Sound, Peter Mettler's Gambling, Gods, and LSD, and Deborah Kaufman and Alan Snitow's Thirst, to name a few) won him a lifetime achievement award from Prague's "Music on Film, Film on Music" Festival (MOFFOM) in 2007. The following year he received Italy's Demetrio Stratos Prize (previously given to Diamanda Galas and Meredith Monk) for his life's work in experimental music, and in 2010 was awarded an honorary doctorate from the University of Huddersfield in his home county of Yorkshire.

Fred currently teaches in the Music Department at Mills College in Oakland, California (renowned for over fifty years as the epicenter of the American experimental tradition), and in the Musik Akademie in Basel, Switzerland."

"Johannes Tonio Kreusch, one of the "most creative classical guitarists of the present" (Acoustic Guitar Magazine), studied at the Salzburg Mozarteum and at the Juilliard School of Musicin New York . Since his solo debut at the Carnegie Recital Hall in 1996, concert tours as a soloist and chamber musician have taken him to many cities in Europe, the USA, the Far East and Latin America. His intensive collaboration with composers of our time resulted in numerous new works for the guitar.

Johannes Tonio Kreusch regularly works with renowned musicians from the fields of classical music and improvised music, such as Markus Stockhausen, Giora Feidman, Klaus Doldinger, FM Einheit (Einstürzende Neubauten), Cornelius Claudio Kreusch or guitar colleagues such as Andy York, Carlos Barbosa-Lima, Máximo Diego Pujol, Pavel Steidl, Fred Frith, Antigoni Goni and Badi Assad. The Carnegie Hall concert debut with metropolitan opera tenor Anthony Dean Griffey called the New York Times a "revelation." With the violinist Doris Orsan, he has been a successful chamber music duo for many years.

Johannes Tonio Kreusch has produced numerous well-received CDs and radio recordings. His recordings include not only the standard repertoire (from the lute music of Johann Sebastian Bach to the Villa-Lobos Etudes) but also world-first recordings of contemporary music and his own compositions. The French music newspaper Classica-Répertoire awarded his CD recording of the Villa-Lobos Etudes the "10 de Répertoire" prize and called it "a new reference recording since the legendary recordings of Narciso Yepes and Julian Bream".

In addition to his concert activities, Johannes Tonio Kreusch gives seminars and master classes at home and abroad. He is the author of numerous guitar-educational publications and artistic director of the International Guitar Festivals in Hersbruck and Wertingen.

Together with Cornelius Claudio Kreusch he leads the music festival "Look into the Future" for the city of Burghausen and founded the concert series "Ottobrunner Konzerte" near Munich in 2008. For their successful work as artistic director of this series, they received the Tassilo Culture Prize of the Süddeutsche Zeitung in 2012."

"Jazz pianist and composer Cornelius Claudio Kreusch has worked with Herbie Hancock, Bobby McFerrin, Salif Keïta, Kenny Garrett, Bobby Watson, Greg Osby, Will Calhoun, Anthony Cox, Terri Lyne Carrington, Marvin "Smitty" Smith, James Genus, and many other major jazz musicians. Originally classically trained by pupils of Francis Poulenc and Vladimir Horowitz, he also studied closely with Charles Mingus's legendary pianist Jaki Byard, and completed his studies with honors at Berklee College of Music (B.M.) in Boston and the Manhattan School of Music (M.M.) in New York City.

He received Berklee Performance Awards in 1993 and 1994, as well as the Manhattan School of Music President's Award in 1995 and 1996. Kreusch was a finalist in the Great American Jazz Piano Competition, a winner in the jazz category of the International Songwriting Competition, and has performed worldwide, from the Montreux Jazz Festival to the Blue Note in New York. He has also appeared in classical concert series and toured extensively, from India to Cuba to Saudi Arabia.

His 32 albums as a leader, including the successful BlackMudSound (ENJA), Scoop (ACT), Live! At Steinway Hall / New York (BMG), Life is Beautiful (MJM), and Heart & Soul (GLM), together with numerous awards and critical praise, testify to his remarkable creative output. His current solo album is the highly acclaimed double CD ZAUBERBERG - A Musical Homage to Thomas Mann (GLM).

Bayerischer Rundfunk once described him this way: "This furious musical alchemist, this obsessive quick thinker, this eruptive producer of sound overwhelms the senses and half the mind: all you can do is take off your hat and surrender. Kreusch pulls all the century's piano titans - whether Tatum or Solal, Horowitz, Gould, Kühn, Hancock, or Jarrett - into the whirlpool of his astonishing virtuosity and, with a few old standards in the back of his mind, embarks on a daredevil keyboard rally of constant metamorphoses, driven by a vast chain reaction of sparkling, incredibly creative imagination."