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Wade Matthews and Jill Burton are not messing around.
Between the two of them, they have three-quarters of a century of experience as free improvising musicians, and they haven't wasted it. Concerts in places like the Museum of Modern Art of New York, the Stone, The National Center for the Arts (México), the Museum of Contemporary art in Santiago de Chile, Raumshiff Zitrone in Berlin or Phill Niblock's Experimental Intermedia Foundation are balanced out by underground encounters—sometimes deep underground, like Matthews' participation with French, Swiss and Lebanese improvisers in a musical relay through the tunnels under Paris—at performances, festivals and one-off encounters in Tennessee, Cape Verde, Maine, Deir el Kamar, at squats in Catalonia, open spaces in the Pampas of Argentina, radio stations in New Jersey, a violin-maker's shop in Seville, the circus...
You may well ask: but what is their music like? The answer is, you will know as soon as they do. No two concerts are the same, and this is neither idle rhetoric nor hyperbole. They build their music through dialog—with each other, with their surroundings and with the moment. That doesn't just mean that they don't do the same thing twice in a row; it means they can't do the same thing twice in a row. Can you be in the same place at the same time, twice? Einstein doesn't think so. Heraclitus doesn't think so. And neither do Jill and Wade. So their music is like Heraclitus's river, constantly flowing, constantly changing, and fully enveloping. You're either in the river or you're not. Hop in!

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