"Ada Rave: Saxophonist, improviser and composer, was born in Chubut (Argentina) in 1974. She began her musical development in 2000 in the Buenos Aires jazz scene. Her musical interests are jazz, free improvisation and composition. She works on her own projects and also collaborates with other musician's - performing in several places around Argentina. Since 2013 she has been based in Amsterdam where she performs with several musicians in the Netherlands and Europe. She continues researching her personal approach to the sound and interaction with other musicians as well as the environment, expanding her passion for the free improvisation.

She is currently involved in the following musical projects:

- new rumors & other noises with Raoul Van Der Weide (contrabass) and Nico Chientaroli (piano)

- Wilbert De Joode (contrabass) and Nicola Hein (guitar)

- Kaja Draksler (piano, composition), Laura Polence and Bjork Nielsdottir (voices), Ab Baars (cl, sax), George Dumitriu (violin, viola), Lennart Heyndels (contrabass), Onno Govaert (drums)

- Felicity Provan (trumpet, composition), Han Buhrs (voice), Harald Austbo (cello), Michael Vatcher (drums)

She studied with the teachers: Carlos Lastra, Enrique Norris and Rodrigo Domínguez and graduated with a degree in jazz at the Manuel De Falla Conservatory of Buenos Aires.

In addition to playing music, she is also the initiator and organizer of a jam session for free improvisation (in both Buenos Aires and Amsterdam), and also a concert organizer. She has also been a music educator since 2000 and she currently teaches saxophone and free improvisation."

"Nicola L. Hein (Born 1988 in Düsseldorf) is a guitarist, composer and soundartist. As a guitarist he is mainly concerned about the search for new sounds on his instrument. He plays electric and acoustic guitar with or without preperations and tries to find new ways of playing the guitar within the context of Free Improvised Music and Jazz. He plays the guitar with his hands and plectrum but also with a lot of different objects: screws, rulers, iron wool, violin bow, abrasive paper, magnets and many other objects which are part of his musical vocabulary. The result is his very own world of sounds, which is using the rich potential of the guitar as a creator of sounds. The manual creation is a very important character of this sound world, which never gets distorted by the use of electronic effects. As a composer he finds different ways of integrating philosophical ideas into music and to play music as a form of philosophy. In order to actualize itself the compositional work is always aimed at the improvising musician as a dialectic partner of the composition. From the interplay of these partners an ästhetic emerges that is based on the spontanity of the performance and the setting of aesthetic action spaces alike. As a soundartist he is developing different ways to project the musical ontology of Improvised Music onto different aesthetic rooms. This is done by creating instruments, installations and other ways of using the guitar, which use the musical ontology of Improvised Music as the center of the sonic practise but generate a lot of different sense structures that differ from the usual practise of Improvised Music (for example by creating a scenic sense layer etc.). He also creates sound installations which involve the recipient as a part of the work. The works encourage the recipient to make a special aesthetic experience with different sounds. The aesthetic of these sounds is inspired by the aesthetics of Free Improvised Music.

He studied Jazzguitar, Soundart/Composition, Philosophy and German philology at the Friedrich-Wilhelms Universität Bonn and the Gutenberg-Universität Mainz. Projects with the support of: Initiative Musik, Staatsministerium für Kultur und Medien, Kunststiftung NRW, Deutscher Musikrat, Akademie der Künste der Welt, Kultursekretariat NRW, Ministerium für Familie, Kinder, Jugend, Kultur und Sport des Landes Nordrhein-Westfalen, Landesmusikrat NRW, Deutsche Oper Berlin, Staatstheater Mainz, Staatstheater Hannover, ON Neue Musik Cologne, RheinEnergieStiftung Kultur, Kulturamt der Stadt Köln, Kulturamt der Stadt Düsseldorf, Kulturamt der Stadt Essen, Kulturbehörde Hamburg, Hamburgische Kulturstiftung, Kunsthochschule für Medien Köln, Köln Musik, Acht Brücken, RWE Stiftung für Energie & Gesellschaft, Second Floor e.V., Jazz Offensive Essen, ZKM Karlsruhe etc. He has worked with: Evan Parker, Phil Minton, John Russell, Paul Lytton, Frank Gratkwoski, Michael Vorfeld, Rudi Mahall, Tobias Delius, Liz Allbee, Christian Lillinger, Ute Wassermann, John Butcher, Axel Dörner, Thomas Lehn, Wilbert de Joode, Tristan Honsinger, Fred Lonberg-Holm, Michael Thieke, Sofia Jernberg, Audrey Chen, Peter Jacquemyn, Carl Ludwig Hübsch, Robert Landfermann, Jon Rose, Sebastian Gramss, Tomomi Adachi, Alfred Zimmerlin, DJ Illvibe etc."

"Wilbert de Joode (1955) is a veritable research scientist of bass pizzicato and bowing techniques. A self-taught musician, he has been playing the double-bass since 1982. He began working in groups that improvised within a jazz framework. Other musicians were soon drawn to his idiosyncratic style, and in the mid 80s he played in groups led by Vera Vingerhoeds, Armando Cairo and Ig Henneman where he further developed his improvisation skills. He came into contact with such musicians as J.C.Tans, Rinus Groeneveld, Michiel Braam, Han Bennink, Han Buhrs (Schismatics) and Ab Baars.

De Joode is currently one of the most active bass players on the European improvised music circuit. His individual style and musicality transforms the double bass into an equal partner in the most varied ensembles. A personal tone colour, exploration of the outer registers, quirky improvisations and the use of gut strings contribute to an instantly recognizable and intriguing sound.

The seventeen improvised pieces on his first solo cd Olo (distributed by ToonDist) show how rich and complex his sound on the double bass is."