Musician, composer, and visual artist, SÍLVIO ROSADO was a founding member of the bands Flood, Primitive Reason, Luna Sea Sane, and Nicorette. He composed the soundtrack for an original play for Companhia do Chapitô – O Homem que Perde a Sombra (The Man Who Lost His Shadow) – where he worked in partnership with conductor and composer Paulo Brandão, as well as ELECTRA and Napoleão ou o complexo de Épico (Napoleon or the Epic Complex).
As a composer for dance, his latest work with the Vaca Magra company, Violência das coisas invisíveis, stands out, a play resulting from an artistic residency with the OLGA RORIZ company. Founding member of “Bordell,” a visual and musical project.
Regular composer and sound designer for films and documentaries by director Tiago Pereira. Founding member of the SAMPLADÉLICOS collective together with Tiago Pereira.
Creator of a sound sculpture commissioned by a partnership between TORRE DO TOMBO and BELMONTE MUNICIPAL COUNCIL, where he created a sound installation inspired by Pêro Vaz de Caminha’s letter on the discovery of Brazil. With elements from the local population.
His compositions draw on his roots and then frictionally engage with them, creating new contexts and other forms of life. His work is a staging of the possible based on each individual’s personal concepts of tradition and heritage.
In 2021, he released his first solo album, Música Portuguesa A gostar dela Própria. One day, as if an oracle of string instruments spoke to him, he realized that he had been chosen by an instrument, the ukulele, and began to play it everywhere, on the beach, in the streets of the city, in the countryside, at home, with his children. And in a way, that little stringed instrument became an integral part of him. So many songs were born that the name for his first album, like a writer who writes a diary, had to be either Tomo 1 or Volume 1. With this project, he honors all the hermit artists who create for themselves and are then generous enough to give and show their work to the world. In 2022, he collaborated with director and creator Cláudia Nóvoa and composed the original music and performed in the play UM HOMEM E SEU CRIADO (A Man and His Servant).
In 2023, he collaborated in the creation, performance, and composition of the play Roda-Viva (a Menina e o Círculo) by Cláudia Nóvoa, a journey through the territory of dreams and imagination that combines circus, dance, drawing, and music. Together with Rachel Caiano and Carolina Vasconcelos.

Named for the eleventh consecutive year by the prestigious El Intruso International Critics Poll (more than 50 critics from 18 countries) as one of the five best tenor saxophonists currently active, alongside Evan Parker, Joe Lovano, Charles Lloyd, Ken Vandermark, Jon Irabagon, Ivo Perelman, James Brandon Lewis, Chris Potter, and Ingrid Laubrock, Rodrigo Amado released the first album by The Bridge in 2023, his new all-star quartet shared with three leading names in avant-garde jazz worldwide – Alexander von Schlippenbach, Ingebrigt Haker Flaten, and Gerry Hemingway. “Beyond the Margins” (Trost) was unanimously acclaimed by audiences and critics alike as a key piece of new European improvisation. In 2024, one of his most intense periods to date, he released two more albums that made many of that year’s Best Of lists – “La Grande Crue” (No Business), the fourth album by the trio The Attic, and “Wrecks” (Nariz Entupido), the debut album by his duo with organist David Maranha. 2025 promises to be another intense year for Amado, with the release of two new albums already confirmed – “Further Beyond,” the second record by The Bridge, and “The Healing,” also the second by the duo he maintains with drummer Chris Corsano.
With The Bridge, with his American quartet (Joe McPhee, Kent Kessler, and Chris Corsano), at the helm of the Motion Trio, with Miguel Mira and Gabriel Ferrandini, or as part of the Humanization Quartet, Amado has toured extensively in Europe and the United States in recent years, playing at renowned venues such as Snug Harbor in New Orleans, Hideout in Chicago, The Stone in New York, Bimhuis in Amsterdam, DOM in Moscow, Quasimodo in Berlin, Stadtgarten in Cologne, Jazz House in Copenhagen, Cafe Oto in London, Pardon To Tu in Warsaw, De Singer in Antwerp, Manufaktur in Stuttgart, the Philharmonie in Luxembourg, Ha Concerts in Ghent, and the State Philharmony Hall in Oradea. His work has been acclaimed in leading international publications such as The Wire magazine and the newspapers El País and Folha de São Paulo. With a series of new projects planned for 2025 and 2026, Amado is increasingly establishing himself as one of Europe’s most outstanding improvisers. As American critic and writer Stuart Broomer notes in the liner notes he wrote for “This Is Our Language,” “Amado is an emerging master of a great tradition, more apparent with each new recording or performance.”

In 1985, he joined Aix la Chapelle and, in late 1986, formed K4 Quadrado Azul, which won the second edition of the “Novos Valores da Cultura” contest, organized by the Portuguese Youth Institute, in 1988.
He collaborated with the theater company O Olho, creating the music for the play “El – Levando-os aos Ombros em Passo de Marcha Sincopada ao Quarto tempo,” which received an honorable mention in the Maria Helena Perdigão Award, ACARTE, Calouste Gulbenkian Foundation in 1992.
In the 1990s, he began playing the double bass and devoted himself exclusively to improvised music.
In November 2007, he founded the RED trio with pianist Rodrigo Pinheiro and drummer Gabriel Ferrandini. The trio’s first album was considered the debut of the year by The New York City Jazz Record in 2010.
He is currently a member of the groups Motian & More, Manifesto with José Lencastre and Susan Alcorn, and Rodrigo Amado Unity. He regularly collaborates with musicians Sei Miguel and Ernesto Rodrigues. He was a member of the Trio/Quintet of Japanese saxophonist Nobuyasu Furuya, with whom he recorded “Bendowa” for the Portuguese label Clean Feed, considered the debut of 2009 by the specialist newspaper The New York City Jazz Record.
In 2019, he composed music for the play “E eles não racharam” (And They Didn’t Split Up), staged at the Aljube Museum and directed by Jorge Castro Guedes. He is one of the co-founders of the record label Phonogram Unit. In 2024, he will compose music for the plays “Em Silêncio” (In Silence) and “Class Enemy,” directed by Teresa Sobral.
He has performed alongside musicians such as John Butcher, Mats Gustafsson, Nate Wooley, Alexander von Schlippenbach, Agustí Fernandez, Axel Dorner, Lotte Anker, Mattias Stahl, Carlos Zíngaro, Susana Santos Silva, Jason Stein, Robert Mazurek, Jon Irabagon, Daniel Carter, Peter Evans, Elliott Levin, Dennis Gonzalez, among others.

Born in Lisbon, João Pereira is a musician, composer, and performer present in a myriad of styles and creative contexts, crossing various areas such as jazz, improvised music, theater, dance, and cinema. He is a founding member of the record label, promoter, and collective Robalo Music and programmer at Café Dias.

Singer and songwriter. One of the founders of Peixinhos da Horta, a project that combines Portuguese singing and poetry.

Francisco Vidal is not new to the scene and his name is well known here and there. With a degree in Fine Arts from the School of Technology and Management of Art & Design in Caldas da Rainha and a Master’s in Fine Arts from the School of Visual Arts at Columbia University in New York, he is a leading name in painting, drawing and gesture that becomes color, becomes Africa and becomes magic. With a career that began in the new millennium, this artist’s works are part of prestigious national and international collections, including the EDP Foundation, the Calouste Gulbenkian Foundation, and the Cachola and Sindika Dokolo Collection, among many others.