Organizer: L.A.S. Listening and Sounding Foundation
Photos: Tomasz Gawdzik, Beniu Byrski
This project is financed under the National Recovery and Resilience Plan (NRRP)by the European Union — NextGenerationEU
Special Guest: Marcelo dos Reis
A central figure of the evening was Marcelo dos Reis, the special guest of the series and one of the most distinctive voices of the new European improvised music scene. He is a winner and multiple nominee of the El Intruso International Critics Poll, was named Musician of the Year by jazz.pt magazine, and has been recognized by the Free Jazz Blog Collective as one of the key figures in improvisation of the past decade.
His presence added a strong international dimension to the event and confirmed Lublin’s openness to dialogue with the most compelling developments in contemporary improvisation.
More Than a Concert
After the music ended, the evening continued through conversations, encounters, and exchanges of ideas. The audience had the opportunity to speak with the artists, ask about creative processes, inspirations, and performance experiences. These moments of closeness, curiosity, and openness once again showed that Third Ear Music is far more than a concert series.
It is a space for meeting, dialogue, and shared experience — for music that comes into being here and now.
Set I – Flora Trio: Energy and Contrast
The evening opened with Portugal’s Flora Trio, featuring:
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Marcelo dos Reis – guitar, composition
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Miguel Falcão – double bass
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Luís Filipe Silva – drums
Music drawn from the album Flora unfolded with intensity and depth. Elements of avant-garde jazz, psychedelic tension, and European improvisational traditions merged into a sound rooted in strong ensemble cohesion and dynamic interplay.
Sharp contrasts, sudden shifts, and moments of restraint shaped a narrative full of unexpected turns. The trio moved fluidly between structure and openness, creating a set that immediately drew the audience into its sonic world.
Set II – Duo: Intimacy and Dialogue
The second set brought a clear change in scale and perspective. On stage were:
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Miguel Falcão – double bass
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Jan Michalec – trumpet
This encounter between Portuguese improvisational sensitivity and the Lublin scene took the form of a highly intimate dialogue, grounded in tone, breath, and emotion. The music evolved slowly, with close attention to detail and the spaces between sounds.
It was a set defined by focus and subtlety, where improvisation was less about forceful expression and more about precision, listening, and mutual response, creating an atmosphere of rare closeness.
Set III – Quintet: Culmination and a Community of Sound
The final set of the evening brought all musicians together:
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Marcelo dos Reis – guitar
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Miguel Falcão – double bass
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Luís Filipe Silva – drums
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Jan Michalec – trumpet
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Marcin Suszek – trumpet
Originally, Tomasz Piątek (tenor saxophone) was scheduled to perform, but due to illness he was replaced by Lublin-based trumpeter Marcin Suszek, who brought his own energy and sensitivity to the ensemble, seamlessly integrating into the open improvisational format.
This set was the essence of the Third Ear Music idea: collective energy, openness of form, and sonic freedom. Without hierarchy, the musicians built a shared narrative, responding to one another, exploring textures and tensions, and allowing the music to lead them into unpredictable territories.
MUT#11 / 15.11.2025 / PHONOMATIC STUDIO / LUBLIN
The Third Ear Music | 15 November 2025
Intuition, Space, and a Shared Pulse of Improvisation
On November 15, 2025, PHONOmatic Studio at the Centre for the Meeting of Cultures in Lublin became the setting for a remarkable artistic encounter as part of the THE THIRD EAR MUSIC series. That evening, Portuguese musicians shared the stage with artists connected to the Lublin improvised music scene, creating a space for intuitive, open-ended music shaped in real time.
From the very beginning, it was clear that this would not be a concert built on fixed structures or predictable outcomes. Three sets, three distinct perspectives on improvisation, and one common foundation: deep listening, responsiveness, and collective creation. The audience was not merely a group of listeners, but an integral part of the process — witnesses to music coming into being.
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