The idea and challenge behind this trio according to Robertson is approaching free improvisation with saxophone, trumpet and piano in an unidentifiable non-recognizable identity with the instruments in hand. Speaking with Evan and Agustí, Herb suggested that the trio will “go for” areas of improvisation that would include percussive and electronic type sound elements joined together with each individual’s conquest of their own stylistic approach. In this way, the trio’s music will head in the direction of music that will be different from all of the other formations that these three master musicians perform in. Spontaneity and surprise within the mystery of music will thus be realized.
Agustí Fernandéz considers himself a self trained musician even though he studied in Palma de Mallorca\\\'s Conservatory and extended his formation at the Darmstadt Summer Courses and with Iannis Xenakis and Carles Santos, among others. His interest in creative orientation was of a main importance in his discovery of two totemic figures of the avant-garde: Cecil Taylor in jazz and Iannis Xenakis in contemporary music. His continuous collaborations with international free improvisers became fundamental for his maturity and progression, as well as for a later recognition inside this scene. Among many others, Agustí has played with Tom Cora, Evan Parker, Butch Morris, Peter Kowald, Marilyn Crispell, Carlos Zingaro, Lê Quan Ninh, Mat Maneri, William Parker, Susie Ibarra, Matthew Shipp, Assif Tsahar, John Butcher, Ramón López, Frances-Marie Uitti…
Evan Parker has developed his own unique style of improvisation on both soprano and tenor saxophone. He has performed solo as well as in various combinations of duos, trios and various larger groups. His own trio includes Barry Guy and Paul Lytton, and he has played with groups like the Globe Unity and London Jazz composers\\\' Orchestra all of which has established him as one of the most original voices in contemporary music.
The concept of this group is summed up best in Evan’s words, „May I suggest a much more promising line of investigation ... it is the musical process known as group improvisation. This offers an escape from a composer\\\'s inevitable intentions forced on the hierarchically inferior performers (drones?) and leads to a unique sound event made by a group of equal individuals working in social equality in relation to the unique environment (acoustics, listeners, etc.) of the performance.“
Clarence „Herb“ Robertson is internationally renowned as an innovative instrumentalist, composer and arranger in both traditional and avant-garde jazz idioms and new music. Since the 1990’s Robertson has recorded and performed internationally with Tim Berne , the Mark Helias Band, The Fonda / Stevens Group, the Simon Nabatov Quintet, Andy Lasterís Hydra and the Barry Guy New Orchestra along with many others. He has since performed/recorded with Anthony Davis, Bobby Previte, Elliot Sharpe, David Sanborn, The George Gruntz Concert Jazz Band, the London Jazz Composerís Orchestra, the Klaus Konig Orchestra, Rashied Ali, Ray Anderson, Bill Frisell, Paul Motian and Dewey Redman, among many others. Currently Robertson’s own ensembles include his quintet the NY Downtown Allstars , The Double Infinitives, the Herb Robertson Brass Ensemble, his improvising trios with : Dominic Duval, Jay Rosen, Paul Smoker and Phil Haynes; his Space Cadets trio with Frank Gratkowski & Matthias Schubert; his improvising trio with Evan Parker & Agustí Fernandéz, his duos with Frank Gratkowski & Lotte Anker….Among Robertson’s performances and recordings for theatrical and dance productions are the Merce Cunningham Dance Foundation with composer, David Behrman and the Public Theater production of „Track and Field“ with composer, John Zorn.
„Robertson transforms his instrument into many things; makes it squeal, purr and chortle; plays beautiful soaring, almost classically contoured cries; and works out a Doppler shift effect, with fluffier notes approaching and receding, only to gradually skew out of equilibrium and become syncopated with ominous growls and squawks.“ (Joseph Milazzo)