A true force of nature within European improvised music, Kresten Osgood is primarily a drummer of infinite resources who is also a composer, pianist, saxophonist, vocalist and even a rapper. One of those increasingly rare figures whose voracity for learning, experimentation and creation is total and truly immersive. A life that couldn’t be lived any other way. With credits on more than a hundred records, this Copenhagen-based multi-instrumentalist has played everywhere and with everyone who matters, from legends like Derek Bailey, Lee “Scratch” Perry or Paul Bley to his contemporaries like Mats Gustafsson or Eugene Chadbourne, in a multitude of contexts and languages that he himself incorporates and redefines in his own image. On this path of continuous exploration, driven by the most unusual and exciting encounters, Osgood lands in Portugal to improvise on a good wave with João Hasselberg and José Lencastre. These people are also given to all kinds of urgent collaborations, with jazz as their starting point. Hasselberg went to school, taught and played with various artists across the spectrum – from Pedro Branco or Afonso Pais to Luísa Sobral – while at the same time lending his mastery of the double bass to artists like Janeiro or Nadia Schilling. Recently, he has also ventured into territories close to more exploratory electronics, as well as being a member of Surma’s band. Lencastre is a saxophonist who has already established himself in this field, in a mosaic that leads him to play with equal naturalness with the Creative Sources pandilla, with marimbist Pedro Carneiro or with his Nau Quartet, alongside Hernâni Faustino, Rodrigo Pinheiro and his brother João. An adventurous triangulation. BS

Berlin-based percussionist Joss Turnbull is known for his creative take on Middle Eastern drums. He creates sounds that range from minimalist explorations of the Iranian drum Tombak to raw and massive soundscapes enhanced by electronics. With Turmoil (Boomslangrecords), Turnbull delves into a musical world of uncertainty and tension. He stretches and destabilizes rhythms, distorting them to the point of disappearance between restraint and release. His use of live sampling and electronic effects on his percussion is paired with his breath and voice as percussive tools to create clusters and layers of knocking taps and airborne tones. It’s an immersive sonic experience that challenges conventions and crafts a sound that is unpredictable, honest, and deeply engaging.