Jaap Blonk: «(born 1953 in Woerden, Holland) is a self-taught composer, performer and poet. He went to university for mathematics and musicology but did not finish those studies. In the late 1970s he took up saxophone and started to compose music. A few years later he discovered his potential as a vocal performer, at first in reciting poetry and later on in improvisations and his own compositions. For almost two decades the voice was his main means for the discovery and development of new sounds. From around the year 2000 on Blonk started work with electronics, at first using samples of his own voice, then extending the field to include pure sound synthesis as well as work with analog synthesizers. He took a year off of performing in 2006. As a result, his renewed interest in mathematics made him start a research of the possibilities of algorithmic composition for the creation of music, visual work and poetry».
Lou Mallozzi: «Lou Mallozzi (b. 1957) is an artist working with a variety of strategies including sound, installation, performance, public intervention, drawing, and improvised music. He explores the unstable relationships among perception, mediation, ideology, and power by intertwining materials, human relationships, research, and sites. What are often described as “disciplines” or “media” – performance, drawing, sound, etc. – he considers to be strategies deployed in a particular context, be it gallery, museum, theater, or public space».
Ken Vandermark : «Born September 22, 1964 in Warwick, Rhode Island. For the past 20 years, Ken Vandermark has been exploring and working to expand the possibilities of improvised and composed music in North America and Europe. Since moving to Chicago from Boston in 1989, he's performed and recorded in a variety of contexts, and with many internationally renowned musicians».
Potevo tradurre e pubblicare come farina del mio sacco, perpetuando un malcostume piuttosto diffuso, ma ho preferito un utilizzo più pulito e salutare del provvidenziale copia e incolla.
Fatta così luce sui tre protagonisti passo a elencare una strumentazione che comprende voce, trattamenti elettronici, vinili, cd, mixer, microfoni, clarinetti e sassofoni …, il tutto indirizzato alla costruzione di una musica – o non-musica, sfuggente e mal definibile se non con termini come new forms o, meglio ancora, no forms. Miscelando stili sia musicali, sia altrimenti artistici, e scivolando con metodo certosino fra i piedi di linguaggi quali l’improvvisazione jazz, la recitazione poetica, la destrutturazione dada, il bruitismo futurista, il concretismo elettroacustico, la novelty elettronica e altro, raccomandano la sospensione per i colpevoli di disciplina e fabbricano un atto d’accusa nei confronti del concetto balordo di genere.
Il disco viene pubblicato sul marchio Kontrans, gestito dallo stesso Blonk, in una specifica collana chiamata “improvisors” (ce ne siamo occupati almeno in un’altra occasioni, vedi al link riportato sopra).