Ahmed Abdul-Malik était joueur de oud, bassiste, éducateur et philosophe. Disparu en 1993, il avait dans son coeur New York, l’Orient, l’Afrique, et le jazz dans la peau. Compagnon de route d’Art Blakey, Thelonious Monk et Randy Weston, Abdul-Malik a créé, à travers une poignée d’albums singuliers, une vision novatrice pour le jazz du XXe siècle, en étant notamment l’un des premiers à y introduire le oud. Le quatuor أحمد [Ahmed], dont l’album paru en 2024, Giant Beauty, fut reconnu album de l’année par les magazines spécialisés The Wire et Jazzwise, a retravaillé sa musique pour créer un nouvel imaginaire constitué de sonorités entraînantes, syncopées, où les ruptures percutent de plein fouet des boucles au fort pouvoir hypnotique.
[Ahmed] make music about the music of Ahmed Abdul-Malik. They excavate, re-inhabit and use a-new the now overlooked documents, and fragmentary plans, of his mid-20th century synthetic vision to produce a new jazz imagination for the 21st century.
Pat Thomas studied classical piano from aged 8 and started playing Jazz from the age of 16. He has since gone on to develop an utterly unique style - embracing improvisation, jazz and new music. He has played with Derek Bailey in Company Week (1990/91) and in the trio AND (with Noble) – with Tony Oxley’s Quartet and Celebration Orchestra and in Duo with Lol Coxhill.
"Thomas belongs to the school of jazz pianism that proceeds from Ellington through Monk, Elmo Hope, Herbie Nichols and Andrew Hill, splintering off via Cecil Taylor to Alex von Schlippenbach, Misha Mengelberg and Alexander Hawkins. He’s a player of great intellectual weight but also of emotional power" – Richard Williams, The Blue Moment
"Deconstructing and reconstructing as part of the interpretative process is second nature to Thomas. The obvious is kept at his arm’s length so from tangential start points, unforgettable melodies would creep back to plant flags firmly in the ground." – London Jazz News
Antonin Gerbal is a percussion player, improviser and composer, active in the field of contemporary musics – from jazz to non-idiomatic languages. He has studied music at Paris Conservatory and philosophy at EHESS. In 2009 he co-founded Umlaut France, an organization which runs the eponymous label and organizes concerts and festivals in Paris and Berlin. Antonin Gerbal is mainly using percussion elements to develop multiple accesses to musical languages in jazz, improvised or written music. He has collaborated with many international artists and played in United States, Japan, Russia and Europe.
Improvising bassist, Joel Grip, makes music at the countenance of the other.
Anchored to a spontaneously fermented musical approach, his music reverberates and transforms within a collective body of timing and sound.
Joel Grip practice improvising, as a way to learn and develop a forthright sound, and embrace its reactiveness, rapidity, and startling
character with the aim of pushing music to intense, ecstatic and transformative levels.
Seymour Wright is a saxophonist. His work is about the creative, situated friction of learning, ideas, people and the saxophone – music, history and technique – actual and potential.
Seymour's solo music is documented on three widely-acclaimed collections - Seymour Wright of Derby (2008), Seymour Writes Back (2015) and Is This Right? (2017).
Current projects include: @xcrswx with Crystabel Riley; abaria with Ute Kanngiesser; [Ahmed] with Antonin Gerbal, Joel Grip and Pat Thomas; GUO with Daniel Blumberg; XT with Paul Abbott; The Creaking Breeze Ensemble; a trans-atlantic duet with Andy Guthrie, and, with Jean-luc Guionnet a project addressing an imaginary lacunae in Aby Warburg's Atlas Mnemosyne.
@xcrswx