muzycy:
Biggi Vinkeloe: alto sax, flute
George Cremaschi: contrabass
Miya Masaoka: 21-string koto
Gino Robair: percussion, faux sax, bike horn, bowed metals

Editor's info:
On each of these relatively brief and finely shaped tracks, Vinkeloe, Cremaschi, Masaoka and Robair jointly cultivate ground that�s freshly turned every two to five-and-a-half minutes. Regardless of who plants the first seed, with a gesture, a sound, or perhaps some intuitively detected energetic pulse, the four musicians move into a working relationship with clear and forceful intention. Even as they present each other with spontaneously generated ideas and strategic options and respond in kind with gentle graciousness and fierce focus, each piece develops a biochemistry of its own and becomes the fifth living entity in the creative equation. From the outset, depending on how quickly and openly the listener receives each pluck, scrape, flutter, crash, trill, and rootless evocation, the participation broadens. The making and the hearing announce themselves as a single process.

Editor's info:
On each of these relatively brief and finely shaped tracks, Vinkeloe, Cremaschi, Masaoka and Robair jointly cultivate ground that�s freshly turned every two to five-and-a-half minutes. Regardless of who plants the first seed, with a gesture, a sound, or perhaps some intuitively detected energetic pulse, the four musicians move into a working relationship with clear and forceful intention. Even as they present each other with spontaneously generated ideas and strategic options and respond in kind with gentle graciousness and fierce focus, each piece develops a biochemistry of its own and becomes the fifth living entity in the creative equation. From the outset, depending on how quickly and openly the listener receives each pluck, scrape, flutter, crash, trill, and rootless evocation, the participation broadens. The making and the hearing announce themselves as a single process.