A virtuoso double bassist and member of the Ensemble Musikfabrik, but also a sought-after soloist by the greatest contemporary composers (Georges Aperghis, György Kurtág, Helmut Lachenmann), Florentin Ginot likes to develop innovative artistic forms on the borders of genres and practices. Regularly inviting artists from very disparate backgrounds to enter into a dialogue with his double bass (from the Norwegian DJ Deathprod to the oud player Kamilya Jubran), he now embarks in a solitary exercise bringing into play all of his instrument's possibilities. Whether transposing Bach's Chaconne for double bass or transforming the sounds of his instrument through the prism of electronic treatments, Florentin Ginot in solo has only one obsession: to make music the vehicle of genuine escapism.

It's been some fifty years now since they first met in Chicago, in the effervescence of a free music scene marked by the syncretic theses of Great Black Music, that saxophonist David Murray and drummer Kahil El'Zabar have been venturing into the same imaginary territories, exploring the links between all the forms taken by black music in the USA during the 20th century and the original African matrix confiscated by deportation and slavery. Reviving the great tradition of the tenor saxophone, from Coleman Hawkins to Albert Ayler, David Murray, as lyrical, forceful and sparkling with energy as ever, finds in El'Zabar's pulsating, colourful drums the ideal support for updating and renewing the great questions of identity raised by the Afro-American people, with a language deeply rooted in blues.