Recorded in Brooklyn in 2000, bassist Mark Dresser and hyperpianist Denman Maroney engage in a finely tuned duo of extended techniques and agile interplay, Dresser's resonant arcs meeting Maroney's prepared-keyboard timbres in inventive, exploratory conversations that balance subtle detail with adventurous improvisation.

Recorded in concert in 1988 and 1990, Slawterhaus brings Jon Rose, Peter Hollinger, Johannes Bauer, and Kietmar Diesner together in a jagged mix of avant rock, free improvisation, and deconstructed funk, with electric violin, trombone, drums, and electronics colliding in short, high-energy forms that shift between tight grooves and wild, unpredictable noise.

Recorded live in 2004, Quartet Noir unites Urs Leimgruber, Marilyn Crispell, Joelle Leandre, and Fritz Hauser in deep long-form improvisations, where vivid detail and patient interaction shape evolving structures, balancing unpredictability with a cohesive, resonant group sound born of longstanding collaboration.

Recorded between 1989 and 1994, New Winds showcases Ned Rothenberg, J.D. Paran, and Robert Dick in a richly inventive exploration of woodwind timbres, their fluid shifts between reeds and flutes creating agile counterpoint and striking sonorities that blend chamber precision with adventurous free improvisation.

Recorded live at Victoriaville in 2007, the trio of Michael Snow, Alan Licht, and Aki Onda crafts a shifting electroacoustic soundscape where synthesizer, electric guitar and cassette manipulations collide in atmospheric textures and raw industrial edges, improvising form and surprise in a dense yet exploratory sonic environment.

Recorded live at Victoriaville in 2008, Rene Lussier, Martin Tetreault, and Otomo Yoshihide collide guitars, turntables, and a spy-mic in a sharp, unpredictable set, shifting between searching interplay and bursts of tightly-locked exchange, their contrasting approaches sparking inventive textures and raw electroacoustic energy.

Led by bassist Lisle Ellis with a fierce San Francisco contingent, this 1993 studio session brings together saxophonists Christopher Cauley, Joe McPhee, Glenn Spearman, and Larry Ochs with guitarist James Ruthier and drummer Donald Robinson, delivering energetic free jazz rooted in the 1960s tradition but propelled by raw interplay, bold horn lines, and committed group momentum.

Featuring J.A. Deane on trombone, bass flute, lap steel guitar, percussion and sampler, this 1992Ð93 studio project blends atmospheric grooves, ambient textures and loop-based soundscapes, presenting an accessible electroacoustic journey marked by evocative moods and spacious instrumental color.

Combining live recordings from Victoriaville and London with studio sessions in England, pianist Chris Burn explores inside-the-piano techniques and prepared textures, shaping cerebral yet inventive improvisations that reveal a wide sonic palette and a focused, exploratory approach to solo performance.

Recorded live in Toronto and at Victoriaville in 2000, Paul Cram leads a vibrant large ensemble through groove-tinged themes, bold brass writing and energized improvising, blending playful funk elements with adventurous big band strategies for a spirited, contemporary orchestral sound.

Recorded live at Victoriaville in 2007, banjo maverick Eugene Chadbourne teams with Kevin Blechdom for a wild set that blends roots riffs, fractured songs, satire and playful chaos, their banjos, piano and vocals colliding in irreverent, high-energy improvisation that is as sharp as it is unpredictable.

Noted for its live 1999 recording in France, this trio of Michel Doneda (soprano sax), Erik M (turntables, MiniDisc, sampling), and Jean-Marc Montera (guitar, electronics, objects) creates an electrifying mix of acoustic intensity and electroacoustic texture, with Doneda's incisive phrasing pulling guitar noise and manipulated vinyl into agile, unpredictable dialog for sharp collisions and eerie convergences in cutting-edge free improvisation.

Recorded in Montreal during the 1994 Victoriaville Festival, this first solo album from Charles Gayle presents deeply spiritual improvisations for tenor sax, bass clarinet, piano, drums and voice, a raw and passionate outpouring where intense expression and prayerful conviction drive every sound.

Recorded live in Mexico in 1999, violinist Mari Kimura and multi-instrumentalist Roberto Morales Manzanares create a poetic and emotionally charged set of concise improvisations, shifting between violin, flute, piano, harp and electronics as they blend lyrical expressiveness with bold, exploratory interaction.

Recorded in a church in Novi Sad in 1994, saxophonist-composer Boris Kovac leads a chamber ensemble of voice, reeds, piano, strings and percussion through a solemn and meditative suite blending spiritual themes, modern classical elements and traditional dance inflections, shaping an evocative acoustic soundworld rooted in deep cultural reflection.

Recorded in February 1995, guitarist-composer Rene Lussier leads the massive Now Orchestra through a bold score that blends rock rhythms, free jazz blowouts and cinematic improvisation; across two days the ensemble of saxes, trumpet, cello, guitar, bass and drums navigates abrupt shifts, dense textures and playful detours, confirming a singular large-ensemble statement that remains vivid and unpredictable.

Recorded live at Victoriaville in 2006, Italian duo My Cat Is An Alien shape a stripped-down yet cosmic sound world, using droning guitars, fragile percussion, toys and voice to craft spacious, dreamlike improvisations that drift toward the outer edges of space without the cliches of space music.

"... I regard the NOW Orchestra as one of the finest large creative ensembles active in the last decade. The combinations of high levels of individual creativity and virtuosity with a strong sense of collectivity is a rare and treasured combination that the NOW Orchestra manifests very strongly..."-George Lewis, Earshot Jazz

Recorded in Montreal in 1992, pianist Paul Plimley, bassist Lisle Ellis, and drummer-vibraphonist Gregg Bendian shape a dark-hued free jazz session with strong compositional ideas, shifting between shadowy swing, turbulent energy, and adventurous textures, while Bruce FreedmanÕs sax adds sharp focus on select tracks.

Recorded live at Victoriaville in 2003, this French-Japanese quintet of koto, saxophone, acoustic guitar, bass, and percussion explores quiet but intensely focused free improvisation, balancing silence and fine detail as shifting small gestures and subtle textures weave a deep, slow-unfolding dialogue of remarkable sensitivity.