"If it's in Paris that Sophie Agnel was born in 1964, it is towards other sounding islands in the heart of a reinvented temporality that she dwells today, at the stern of a grand piano, an instrument that she turns into a real living & vibrating organism.

Classically trained, escaped from jazz (drawn away by the too strict treatment of harmony), Sophie Agnel boards the piano from every sonic angle this musical vessel can offer : keys, strings & board are simultaneously apprehended, in a mixed procedure (as we say of painting techniques) that would be understated if it was reduced to the cagian definition of the prepared piano. Considering the instrument - that she extends with several accessories, paper cups, balls or strings - as a poetic supplier of anamorphic textures, the musician takes it to be an equal match to the wider diversity of musical systems, whatever the craft they where conceived in (from physiological to electro-acoustic) ...

We would then no longer be surprised to notice her understandings with Michel Doneda and to find her to the side of the wet saxophone of Alessandro Bosetti, of the acoustified electric guitar of Olivier Benoit, of the voices of Catherine Jauniaux and Phil Minton, or the keyboard of Christine Wodraska...

The same seal of esthetic evidence marks all of her musical companionships, with this same taste, beyond the narrative, for the delicate sonic quests and blossoming of dimensions to which the auditor takes part through an active listening : in the heart of Jean Pallandre's phonographic worlds, of Jerôme Noetinger & Lionel Marchetti's small scale cinema, John Butcher or Axel Dörner's crimpy tissues, by the lovely machines of Erik M or Ikue Mori, the harmonico-stratospheric rustling of Stéphane Rives...

The originality of the research conducted by Sophie Agnel today leads her to develop, in solo or with significantly chosen companions, a most refined and highly poetic approach to sound that makes each of her concerts a moving construction filled with chiseled musical gestures, a soft and sumptuous irradiation."-Guillaume Tarche

"Hélène Breschand is a French harpist, composer and improviser. Breschand leads a career both as a solo artist as well as in ensemble work, playing both a contemporary repertoire and premiering new works as much as she plays improvised music and musical theater.[1] She is a musician who plays on the verge of several genres ranging from contemporary music to jazz. She plays both written and improvised music."

"A French guitarist and composer, Gilles Coronado is a near-constant presence on the French jazz and improvised music scene. Influenced by the muscular and uniquely French jazz-rock fusion of the '70s zeuhl scene as well as European guitarists like John McLaughlin and Robert Fripp, Coronado has played and recorded with such bands as Thot, AKA Moon Electric, Urban Mood, Triple Gee, and Collectif Alka; as well as composing and performing music for a variety of theater and dance performances. His albums as a leader include 1999's Urban Mood."

Philippe Deschepper is a French guitarist, born 6 August 1949 in Roubaix, France.He has played with the groups Christophe Marguet Sextet, Claude Tchamitchian Grand Lousadzak, Claude Tchamitchian Septet, Claude Tchamitchian Sextet, Das Deutsch-Französische Jazz Ensemble, Electric Pop Art Ensemble, Henri Texier Quartet, Jacques Di Donato Quintet, La Cour Des Miracles, Louis Sclavis Septet, Rémi Charmasson Quintet, Samuel Silvant Quartet, Sylvain Kassap Quartet, Système Friche, Tabato, and Yves Robert Quartet.

"Fidel Fourneyron - Trombone

Born in southwestern France, Fidel Fourneyron moved to Paris in 2006 to complete his training in the class of jazz and improvised music at the Conservatoire. There, he met people and collectives that proved decisive for his aesthetic choices and future collaborations - including the COAX and UMLAUT collectives, les Vibrants Défricheurs and le Tricollectif, all of whom he still works with regularly.

Drawn to improvisation (as part of the National Orchestra for Creation, Experimentation and Musical Improvisation) as much as to contemporary music (he worked with the Ensemble Hodos), Fidel is also fond of great swing orchestras and is a soloist in the Umlaut Big Band, which specializes in 1920-30s dance music.

Spotted by the biggest names in contemporary jazz - among whom Marc Ducret who asked him to be part of his Real Thing #3 sextet - Fidel joined Olivier Benoit's Orchestre National de Jazz in 2014.

Together with Roy Nathanson (Lounge Lizards), he was a guest musician for French quintet Papanosh's thunderous tribute to Charles Mingus, called "Oh Yeah Ho!"

His recognizable touch can also be found in Radiation 10, Jukebox, Eve Risser's White Desert Orchestra, Marc Ducret's Tower Bridge and Tricollectif's Tribute to Lucienne Boyer.

Fidel is often invited to perform as a soloist (European Youth Jazz Orchestra, MGH Orkestar) and asked for masterclasses (Conservatories of Poitiers, Tarbes, Blois, Angoulême, or for Dijon's Tribu Festival, etc.). Since September 2014, he has been conducting the Fanfare du Carreau du Temple - an amateur orchestra composed of some 40 musicians and for which he wrote an original repertoire.

"Un Poco Loco," the trio he is part of, revisits 1950s standards with both elegance and humor. The band released their eponymous debut album in November 2014, on the Umlaut Records label; it was included in the program for Jazz Migration's 2015-2016 tour.

Fidel also performs as a solo musician. His work is recorded on High Fidelity, a record coming out in the fall of 2015."