Born and raised in Zurich, Maya Homburger moved to England in 1986 to pursue a career in the British circuit of classical music, an objective which she achieved with notable success and critical recognition. Her curriculum in this field includes collaborations with ensembles devoted to the interpretation of ancient music such as the John Eliot Gardiner’s English Baroque Soloists or the Trevor Pinnock’s The English Concert, among others of her own initiative and creation, as well as recordings of compositions by J.S. Bach, G.Ph. Telemann and H.I.F. Biber. Ever since her encounter with Barry Guy, Homburger’s work has been focused on the development of her own personal style in baroque violin, both interpreting the compositions of other composers as well as in the context of improvised music.

Agustí Fernández (Palma de Maiorca, 1954) is a Spanish pianist of international reputation in the context of the global scene of free improvisation, and with a relevant body of work in the direction of ensembles. Throughout his prolific and diversified career, Fernández has collaborated with great improvisors of contemporary music, such as Peter Kowald, Evan Parker (of whose Electro-Acoustic Ensemble he was a member), Joe Morris, Peter Evans or Mats Gustafsson, among many other prestigious names, as well as with venerable institutions of jazz such as the London Jazz Composers Orchestra, having participated throughout his career in more than two hundred and fifty discographic editions.

Throughout the last fifty decades of his career the British double-bassist and composer Barry Guy has explored countless musical territories – ranging from ancient music to the most radical experimentation – in the midst of crossed winds of creation intersected with countless ensembles and artists. A simultaneously physical and cerebral, theorical and perceptive, musician with a body of work unfolded through multiple layers of a highly prolific activity as soloist, as leader or in partnership with seminal figures of avant-garde jazz or free improvisation such as Derek Bailey, Tony Oxley, Marilyn Crispell or Evan Parker, Barry Guy is nowadays unanimously considered one of the precursors of what we currently understand to be the most pertinent form of contemporary music – a wide and pluri-idiomatic movement defined not by genres, but by the permanent transgression of artistic and cultural frontiers.

The relation of profound personal and artistic complicity between Maya Homburger and Barry Guy constitutes the spiritual genesis of this project, but the relations between the three musicians also expand through their collaboration in the context of other groups, namely the Blue Shroud Orchestra, an ensemble of fourteen musicians led by Barry Guy which just recently recorded in Porto what will be their third record. Fully integrated in the flux of the European classical tradition and influenced both by the angulous extremities of free jazz as well as by the cosmological abstractions of contemporary composition, from the music of this trio it is legitimate to expect an intellectually challenging and sensorially rewarding musical experience.