A respected innovator on the Rio de Janeiro music scene since the mid-1990s, Ricardo Dias Gomes is perhaps best known for his work on the trio of critically acclaimed albums Caetano Veloso released in the late 2000s: Cê (2006), Zii and Zie (2009), and Abraçaço (2012). Playing bass on these modern milestones in post-Tropicalia, and subsequently touring the world with Veloso, inspired Gomes to record his debut album -11 (2015), followed by the mini-album Aa, which featured Arto Lindsay (2018). His third album Muito Sol (2023) is a deep, widescreen exploration in classic Brazilian song that brings all the subtlety and delicacy you'd expect from the pioneers of musica popular Brasileira coupled with a thoroughly 21st-century sensibility and taste for sonic innovation.

Jessika Kenney is a vocalist and composer internationally regarded for her spellbinding timbres and her in-depth study of oral traditions. Her work takes the form of sound installations, talismanic scores, music for film, electronics, and choir. She released the groundbreaking experimental gamelan album Atria (Sige) in 2015, and has collaborated with Lori Goldston, Holland Andrews, Niloufar Shiri, Tashi Wada, Alvin Lucier, Sarah Davachi, Melati Suryodarmo, Ensemble Nist-Nah, Sunn O))), and numerous others.

Eyvind Kang, a multi-instrumentalist, composer and arranger, works across genre and discipline, bringing subtlety, fluidity, and emotional intensity to each of his varied projects. In addition to creating a striking body of solo works that has traced its way across the last two and half decades—most recently including Sonic Gnostic (Aspen Edities, 2021) and Ajaeng Ajaeng (Ideologic Organ, 2020)—he has played on albums by Bill Frisell, Joe McPhee, Sun City Girls, Ikue Mori, Laurie Anderson, Blonde Redhead, William Hooker, Animal Collective, and numerous others.

Since beginning to work together as a duo in the early 2000s, Kang and Kenney have collaborated on sound installations, music for orchestra, choir, and mixed ensembles in addition to releasing numerous widely acclaimed full-lengths: Aestuarium (2005), The Face Of The Earth (2012), Live In Iceland (2013), At Temple Gate (2014), Reverse Tree (2016), Seva (2017), The Cypress Dance (2020).

Fidan Aghayeva-Edler presents her program Glass Houses for solo piano featuring works by Linda Catlin-Smith and Ann Southam.

Fidan Aghayeva-Edler is a Berlin-based pianist currently focused on performing contemporary music and improvisation and music of women composers. Her solo album Verbotene Klänge: Sechs Suiten (Kreuzberg Records 2019) showcased the music of persecuted composers, while Fenster (GENIUN 2022) featured the works of seven contemporary female composers and was nominated for the Preis der Deutschen Schalplattenkritik and ECHO Klassik. 

Program:

Ann Southam, Glass Houses 1 

Linda Catlin Smith, White Lace 

Linda Catlin Smith, Nocturnes and Chorales

Ann Southam, Glass Houses 4 

Linda Catlin Smith, Tide Pool

Ann Southam, Returnings 1

Linda Catlin Smith, Unbroken

Ann Southam, Returnings 2 Meditation

Ann Southam, Glass Houses 5

Heather Frasch, Dissolving for violin and piano

Saviet/Houston Duo 

Michael Pisaro-Liu, Fields Have Ears 3

Jon Heilbron (double bass), Joseph Houston (piano), Heather Frasch (objects & electronics) & Eric Wong (electronics)

Tobias Delius (tenor sax & clarinet) and Christian Lillinger (drums)

Delius and Lillinger have been playing together for nearly 20 years, notably on all four releases by Christian Lillingers Grund. Occasionaly, we can hear them interract in their purest form as a duo, as documented on Dicht (Relative Pitch, 2007). 

Martin Schray of The Free Jazz Collective describes this record as "a high speed conversation in different idioms. It’s fun to listen to it over and over again to discover Delius’ hidden references and just to acknowledge that Lillinger is the most interesting European drummer at the moment."