Captured in this series of photographs are a few of the many artists who made Guelph's late-summer 2002 festival an artistic success:

Alan Silva's non-traditional Tradition Trio, with trombonist Johannes Bauer and drummer Roger Turner, was driven to scintillating heights by Silva's aggressive execution on the orchestral synthesizer.	In one of the many mix-and-match workshops of the Festival, Kidd Jordan and Johannes Bauer bonded with a stellar septet of festival performers in keeping the music true to the session's theme of "on edge and out of bounds."
Stanley Cowell integrated intriguing piano sequences into the spirited concert of the Jane Bunnett Septet that also spotlighted multi-reed player Dewey Redman and vocalist Dean Bowman.	Fred Anderson demonstrated his riveting tenor style in a scorching performance with Kidd Jordan, William Parker, and Hamid Drake in a take-no-prisoners mind assault.
The music of Fred Frith, playing in the Maybe Monday Trio with Larry Ochs and Miya Masaoka, was a techno-acoustic adventure in sorcerous improvised magic.	Roger Turner was power personified during his two appearances, which included a collective featuring guitarist Arthur Bull and reed players Larry Ochs and Fred Anderson.
Miya Masaoka's captivating koto playing blurred cultural lines as she joined forces with George Lewis, Hamid Drake, and Marilyn Crispell for an intricate blending of sonic textures.	Any appearance of Larry Ochs is a welcome treat, and Guelph attendees enjoyed two compelling performances of his inventive phraseology and improvised wizardry on the sopranino and tenor.
Late-night revelers were treated to a barrage of inventive trumpeting by Cuong Vu, who together with Stomu Takeishi and Joe Tomino infiltrated one's psyche with looping electronics and eddying echo effects.	As the spearhead behind Danish saxophonist Lotte Anker's trio, which included pianist Marilyn Crispell, Gerald Cleaver explored the dual worlds of eruptive power and subtle colorization.