free improvisation

Alexander von Schlippenbach (* 1938 in Berlin) is a German jazz pianist and composer.
Schlippenbach started to play piano from the age of 8 and went on to study composition at Cologne under Bernd Alois Zimmermann. While studying he started to play with Manfred Schoof. At the age of 28 he founded the Globe Unity Orchestra.
He produced various recordings and worked for German radio channels. He played with many essential players of the European free jazz community, most notably in the "Alexander von Schlippenbach Trio" with drummer Paul Lovens and saxophonist Evan Parker.

Read more about Alexander von Schlippenbach on Last.fm.

Malcolm Goldstein (b. Brooklyn, New York, United States, March 27, 1936) is a violinist and composer specializing in new music, free improvisation, avant-garde music, and music for dance starting in the early 1960s. Though a native and long time resident of New York City, he has also lived in Boston and has been an active member of the Boston arts community. He now lives in Montreal and Sheffield, Vermont.

Malcolm Goldstein on Last.fm.

Multi-Instrumentalist/Composer Ashley Paul uses a unique mixture of saxophone, clarinet, voice, prepared strings and bells to create a dream-like mash of minimalist, psycho-accoustic experiments, floating melodies, metallic clatter and screeching bit-reed tones. She combines these disparate elements to create introverted songs, and intuitive forms. Performing solo, Ashley brings to the stage her own eclectic set-up, forging a dense sound closer to a small band than just one person, often playing multiple instruments simultaneously to accompany sparse melodies from her voice and saxophone.

Read more about Ashley Paul on Last.fm.

Andrea Parkins is a New York-based sound artist, composer, and improviser who plays electronically-processed accordion, laptop sampler, electronic keyboards, and piano. Parkins sonically expands her accordion with analog electronics and by fragmenting traditional accordion syntax with noise and other disruptive allusions. In live performance, this idiosyncratic approach to the instrument collides with densely polyrhythmic keyboard tactics and laptop sampling that pays homage to mid-20th century musique-concrete and ’70s analog synth sounds.