Balanyà, Rogers i Sanders: música improvisada que inclou el jazz més autèntic, el radical, l'experimentació, la música ètnica i l'expressió d'avantguarda contemporània. Llibertat i innovació absoluta de la mà d'un grup de músics que sempre dona lloc a complicitats i expectatives inesperades. La forta personalitat musical dels intèrprets i la seva ressonància en l'escena musical del jazz fan que els seus concerts despertin sempre un gran interès.

El trio té una identitat i un so propi. El contrabaix de Paul Rogers, fabricat per ell mateix, té 7 cordes en lloc de les 4 habituals i ofereix sons més greus i més aguts, impossibles d’obtenir en altres contrabaixos, és un prototip únic al món.

Balanyà - Rogers - Sanders han tocat amb Evan Parker, Keith Tippett, Tom Cora, Sophia Domancich, Louis Sclavis, John Stevens, Elton Dean. Rosco Mitchell, Derek Bailey, Roswell Rudd, Peter Brotzmann, Barry Guy, Charles Gayle, Peter Evans, William Parker, John Butcher, Borah Bergman, Hans Koch, Joachim Kühn, Das Neue Ensembe Hannover, Franz Hautzinger, Carlos Zingaro i molts d’altres.

Aquest projecte es va estrenar al Mercat de Música Viva de Vic (Catalunya, Espanya) el 17 de març de 2017.

Paul pertany a la més selecta pura raça. Músic rebel, fa tres dècades que segueix un viatge exemplar, sense cap concessió, amb integritat, una exigència, una sinceritat que causen una gran admiració i respecte. Toca un contrabaix de 7 cordes de disseny propi.

Mark és increïble i immensament divers, està al centre de “Kwingyaw" (Barry Guy, Ken Vandermark, Mark Sanders) i és difícil saber què està fent per obtenir alguns d'aquests sons. Bruce L Gallenter Downtown Music Gallery. NY

"El més valuós entre les qualitats de Balanyà és la seva llibertat, la seva permanent recerca del desconegut, la frescura, la sorpresa, la seva notable inventiva i domini tant del piano com de la percussió, que li permet expressar tota la complexitat de l'ésser humà, el tema principal de la seva música."

Balanyà, Rogers y Sanders: música improvisada que incluye el jazz más auténtico, el radical, la experimentación, la música étnica y la expresión de vanguardia contemporánea. Libertad e innovación absoluta de la mano de un grupo de músicos que siempre da lugar a complicidades y expectativas inesperadas. La fuerte personalidad musical de los intérpretes y su resonancia en la escena musical del jazz hacen que sus conciertos despierten siempre un gran interés.

El trío tiene una identidad y un sonido propio. El contrabajo de Paul Rogers, fabricado por él mismo, tiene 7 cuerdas en lugar de las 4 habituales y ofrece sonidos más graves y más agudos, imposibles de obtener en otros contrabajos, es un prototipo único en el mundo.

Balanyà - Rogers - Sanders han tocado con Evan Parker, Keith Tippett, Tom Cora, Sophia Domancich, Louis Sclavis, John Stevens, Elton Dean. Rosco Mitchell, Derek Bailey, Roswell Rudd, Peter Brotzmann, Barry Guy, Charles Gayle, Peter Evans, William Parker, John Butcher, Borah Bergman, Hans Koch, Joachim Kühn, Das Neue Ensembe Hannover, Franz Hautzinger, Carlos Zingaro y muchos de otros.

Este proyecto se estrenó en el Mercado de Música Viva de Vic (Cataluña, España) el 17 de marzo de 2017.

Paul pertenece a la más selecta pura raza. Músico rebelde, lleva tres décadas siguiendo un viaje ejemplar, sin ninguna concesión, con integridad, una exigencia, una sinceridad que causan una gran admiración y respeto. Toca un contrabajo de 7 cuerdas de diseño propio.

Mark es increíble e inmensamente diverso, está en el centro de "Kwingyaw" (Barry Guy, Ken Vandermark, Mark Sanders) y es difícil saber qué está haciendo para obtener algunos de estos sonidos. Bruce L Gallenter Downtown Music Gallery.

"Lo más valioso entre las cualidades de Balanyà es su libertad, su permanente búsqueda de lo desconocido, la frescura, la sorpresa, su notable inventiva y dominio tanto del piano como de la percusión, que le permite expresar toda la complejidad de ser humano, el tema principal de su música."

The career of the pianist Josep-Maria Balanyà, born in Barcelona on July 25, 1949, with more of 40 years of work on stage, 28 recorded albums and more than 150 works, has taken him from the classical music and jazz until his specialization in the field of improvisation, new contemporary music, experimental and performance. Internationally recognized, Balanyà is also composer, director of improvisational orchestras, sound artist, painter and photographer.

Balanyà has studied in Barcelona, in Switzerland (Swiss Jazz School and Hochschule für Musik und Theater from Bern) and Germany (Europäische Kunstakademie Trier). He has attended composition workshops, led by Helmut Lachenmann, Walter Zimmermann and Ivan Fedele, and at Borah Bergman's improvisation workshops in New York. He has carried out intense work in researching the sounds of nature in Mexico, working with oceanographers and biologists, and having meetings with the mammalogist Bernardo Villa Ramírez at UNAM University, Mexico City.

Among his works you can find projects for piano, voice, electronics, video, percussion and butoh dance He has created sculptures and interactive sound installations. His works for piano reflect his interest in complementing the pure sound of the instrument with prepared piano parts.

He has developed his most imaginative actions on the border between music and the performance, such as a recital in complete darkness in the Sendesaal in Bremen or the concerts for the bells of Trier Cathedral (Germany).

In his projects he has played with top musicians, such as Joachim Kühn, Claudio Pontiggia, Hans Koch, Franz Hautzinger, Carlos Zingaro, Michiel Borstlap, Walter Quintus, Ksenija Lukić, Das Neue Ensemble Hannover, Americo Rodrigues, Hannah Marshall, Ramón López, Paul Rogers, Mark Sanders, Hannah Ma (dance), Ana Maria Rodríguez and Mimi Barthélemy among others.

Balanyà has played at festivals and radio programs in many countries in Europe and America. He has received several scholarships in Germany (Worpswede and Eckernförde) and Switzerland (Fondazione Marguerite Arp, Locarno). He currently resides in Brussels and Barcelona.

Paul Rogers started playing the guitar at the age of twelve, two years later the bass guitar was added, and in 1973 he bought the first double bass. In 1974, he moved to London, played first in pubs, and finally met the saxophonist Mike Osborne, who introduced him to the free jazz scene, and soon joined musicians like Elton Dean, Keith Tippett, John Stevens, Howard Riley, Stan Tracey, Ken Hyder, Alan Skidmore, Evan Parker, Tony Marsh, Kenny Wheeler and John Etheridge. During this time Rogers often changed the formations and tried to play with as many musicians as possible. In 1984 he became a member of a trio formation with the drummer Tony Levin and alternately with Alan Skidmore or Paul Dunmall. In 1988 the Dunmall / Rogers / Levin Trio performed in the ensemble Mujician, who worked with the pianist Keith Tippett.
In 1987, Rogers moved to the United States, lived for one and a half year in Bronx, New York and played with musicians like Gerry Hemingway, Don Byron, Myra Melford, Mark Dresser, Tom Cora and Tim Berne. After his return to Europe, Pip Pyle was involved in the newly formed jazz quartet Equip'Out. Elton Dean and Sophia Domancich joined the formation, which had only a few performances and recorded only one album, Up!
The musical and personal relationship with Sophia Domancich continued even after the end of the group; Rogers played in their trio, with Bruno Tocanne on drums, which was soon replaced by Tony Levin. This formation continued until 1999 and recorded several albums. After that, Rogers settled down in France and worked there with Michel Doneda, Daunik Lazro and Ram n L pez, but also played with musicians such as Andrew Cyrille, John Zorn, Derek Bailey, Lol Coxhill, Barry Guy, Joachim Kühn, Alexander von Schlippenbach and Uwe Oberg.
Rogers is also a composer; several formations have played his compositions, such as 7 R.P.M. and the Paul Rogers Sextet (a 1990 tour through Great Britain with his suite Anglo-American Sketches). He has also received several composition commissions from the Arts Council of Great Britain. Under his own name, he recorded a quartet album with Paul Dunmall, Sophia Domancich and Tony Levin, later three solo albums, 1989 lists, 1995 Heron Moon and 2007 Being.

Mark has played with many renowned musicians including Roscoe Mitchell, Wadada Leo Smith, Derek Bailey, Henry Grimes, Roswell Rudd, Peter Brotzmann, Barry Guy, Otomo Yoshihide, Jah Wobble, Sidsel Endresen, Charles Gayle, Peter Evans and William Parker.
He works with John Edwards in a duo and with groups including Evan Parker, `Foils` with Frank Paul Schubert and Matthius Muller and groups with Veryan Weston, John Tilbury and Mathew Shipp. Mark works in a regular improvising duo with John Butcher and also performing John’s composition `Tarab Cuts` which has played festivals in Rio de Janiero, Amsterdam, Barcelona, Glasgow, Bristol and London. In a trio with cellist Okkyung Lee, John and Mark have played in Belgium, France, England and Scotland. He also has a longstanding duo with Sarah Gail Brand which has featured on the BBC`s `The Stuart Lee Show`and in the film `Taking the dog for a Walk`.
He has performed solo for a Christian Marclay exhibition at The White Cube Gallery in London, Evan Parker`s festival`Unwhitstable` in Wroclaw, Poland for `Solos Festival` The 100 Years Gallery London, an improvised music series in Derby and Cafe Oto in London.
Working with Christian Marclay in his `Everyday` piece for film and live music, he has performed in Aldeburgh, Ruhr Trienalle, Vienna Bienalle, Holland festival and London`s QEH and has also collaborated with him playing for the film `Screenplay`in London and Lisbon.
In situations using composition in one form or another Mark works in various projects including `13 Vices` with Brian Irvine/Jennifer Walshe, Alex Hawkins Ensemble featuring Peter Evans, Simon Fell Ensembe, groups with Hasse Poulsen and Luc Ex, Sarah Sarhandi`s `Both Universe`, Elaine Mitchener`s `Sweet Tooth` and has played in the groups of Shabaka Hutchings including`Sons of Kemet` Conceptual Artist Sam Belinfante collaborated with Mark in his piece `On the One Hand, and the Other` in two exhibitions at Camden Arts Centre, London For Conceptual artist Henrik Hakensen`s film `The End` he has performed as an improvising soloist with orchestras conductedd by Jessica Cottis, playing the music of John Coxon in Glasgow, Sydney and Monte Carlo As a guest with New York`s ICE Ensemble he has performed John Zorn`s `The Tempest` in London and at Huddersfield New Music Festival. Mark also works in the groups of Paul Dunmall including Deep Whole Trio with Paul Rogers, in duo and `Frisque Concordance` with Georg Graewe , and the ensembles of Mikolaj Trzaska, Uwe Oberg and Peter Jaquemyn. He has performed in the USA, Canada, Brazil, Japan, Morrocco, South Africa, Australia, Mozambique and Turkey, playing at many major festivals including Nickelsdorf, Riga, Ulrichsburg, Glastonbury, Womad, Vancouver, Isle of Wight, Roskilde, Berlin Jazz days, FMP, Mulhouse, Luz, Minniapolis, Banlieue Bleues, among others.