Guillermo Gregorio was born in Argentina in the early 1940's, the peripatetic Gregorio also lived in Los Angeles (where he studied with saxophonist Warne Marsh) and Vienna, before eventually settling in Chicago. After moving to Vienna from California in the late 1980's, Gregorio met and began
collaborating with the free jazz flügelhornist Franz Koglmann. The Swiss hatART label discovered Gregorio through his association with Koglmann. The company released his first album, Approximately, in 1996; two subsequent efforts -- Ellipsis and Background Music -- were later released on the label's hatOLOGY offshoot.

Growing up in Buenos Aires, Gregorio's first jazz influences were early jazz clarinetists Pee Wee Russell and Jimmy Noone. He eventually became interested in the music of pianist Lennie Tristano and his circle; their cool aesthetic would have a decisive impact on his mature concept (Ornette Coleman's innovations also had their effect). Gregorio studied modern classical music, as well as art and
architecture. He's worked in the latter two fields and teaches Art Appreciation at Purdue University. In the '60s, Gregorio played experimental music in and around Buenos Aires; some of his work from
that time is documented on the Atavistic release Otra Musica: Tape Music, Fluxus & Free Improvisation in Buenos Aires 1963-70.

Jerome Bryerton has been working as a free improvising percussionist for the past eight years. In this time, he has worked with some of the most respected players in the world. In October he was once again acquainted with Berlin multi-reedist Wolfgang Fuchs and San Francisco bassist Damon Smith; presenting two concerts as well as recording on CD (balance point acoustics). In September he worked with bass saxophonist Tony Bevan; with Bevan, he performed in San Francisco with local improvisers Scott Looney and Damon Smith. Last winter Jerome toured in Paris and Monacco with Chicago improvisers Carol Genetti and Andrea Polli. These performances were aligned with the multi-media festival I.S.E.A. as, well as the Monacco dance forum. Jerome´s style
strikes a resemblance close to the likes of European percussionists Paul Lovens, Paul Lytton, and Le Quan Ninh. Intent on using multi-ethnic percussion as well as western percussion - simultaneously
furnishing them with an odd assortment of orchestral metal and Chinese cymbals/gongs. Jerome believes that it is necessary to keep intact many of the European aesthetics revolutionized in the sixties and seventies; but which is also crucial is the synthesis of wit and
experience of a modern American improviser. As a side note, Jerome has
also worked with the following people: trumpeter Axel Dörner, reed player John Butcher, guitarist Henry Kaiser, reedist Peter van Bergen, reedist Jack Wright, cellist Fred Lonbergholm, trombonist Jeb Bishop, and also bassist Kent Kessler.

Damon Smith studied double bass with Lisle Ellis and has had lessons with Bertram Turezky, Joëlle Leandré, John Lindberg, Mark Dresser and others. Damon’s explorations into the sonic palette of the double bass have resulted in a personal, flexible improvisational language based in the American jazz avant-garde movement and European non-idiomatic free improvisation. Visual art, film and dance heavily influence his
music, as evidenced by his CAMH performance of Ben Patterson’s
Variations for Double Bass, collaborations with director Werner Herzog on soundtracks for Grizzly Man and Encounters at the End of the World,
and an early performance with the Merce Cunningham Dance Company.

Damon has collaborated with a wide range of musicians, including, Cecil Taylor, Marshall Allen (of Sun Ra’s Arkestra), Henry Kaiser, Keith Rowe, Jaap Blonk, Roscoe Mitchell, Michael Pisaro, Wadada Leo Smith, Weasel Walter, Marco Eneidi, Wolfgang Fuchs, Peter Brötzmann
and Peter Kowald. After many years in the San Francisco Bay Area, and six great years in Houston, Texas working regularly with Alvin Fielder, Sandy Ewen, Thomas Helton, David Dove & Chris Cogburn. Damon moved to the Boston area in the fall of 2016 and began working with
Jeb Bishop, Pandelis Karayorgis, Joe McPhee and Ra-Kalam Bob Moses and
many others. Damon has run Balance Point Acoustics record label since 2001, releasing music focusing on transatlantic collaborations between US and European musicians