Portuguese string improvisers João Madeira on double bass and Miguel Mira on cello move from extended solo statements into a long-form duo and encore, using bowed drones, elastic pizzicato, harmonics, friction, percussive attacks and resonant textures to shape a patient, highly controlled exchange of shifting lyrical forms, contrasts, irregular cadences and finely detailed acoustic interaction.

Alto saxophonist and flutist Chad Fowler joins pianist Eri Yamamoto for an intimate duo session balancing composed material with spontaneous song forms, moving between grief, memory, tenderness and celebration through deeply lyrical improvisation, including Fowler's elegiac "Ash" and the standard "Polkadots and Moonbeams," recorded by Jim Clouse at Park West Studios.

David Moss leads a remarkable cross-section of New York's 1980s Downtown scene with Fred Frith, John Zorn, Tom Cora, Arto Lindsay, Christian Marclay and Jules Moss, merging percussion, theatrical vocals, electronics, turntables and improvisation with tightly constructed rhythmic forms in a volatile collision of experimental rock, noise, free improvisation and infectious groove, newly remastered for its 40th anniversary.

David Moss revisits a key document of New York's early-1980s Downtown scene, joining Arto Lindsay, Fred Frith, Bill Laswell, Jamaaladeen Tacuma, John Zorn, Christian Marclay, Phil Minton and others in nineteen concise, rapidly shifting studies that fuse percussion, reeds, guitars, turntables, electronics, manipulated voice, groove and free improvisation into a restless collage of experimental composition and performance.

Meeting in the studio in Germany, Fred Frith's electric guitar & effects combine with Johannes Tonio Kreusch's classical & prepared guitars and brother Cornelius Claudio Kreusch's piano & keyboards in an expansive trio improvisation balancing drones, atmospheric textures and volatile interaction, moving fluidly between meditative restraint, abstract sound exploration and explosive free improv.

Meeting in the studio in Germany, Fred Frith's electric guitar & effects combine with Johannes Tonio Kreusch's classical & prepared guitars and brother Cornelius Claudio Kreusch's piano & keyboards in an expansive trio improvisation balancing drones, atmospheric textures and volatile interaction, moving fluidly between meditative restraint, abstract sound exploration and explosive free improv.

Launching Sylvaine Helary's tenure as artistic director of the Orchestre National de Jazz, this expansive 17-piece ensemble revisits twelve Carla Bley compositions through Remi Sciuto's inventive arrangements, blending brass, reeds, strings, rhythm section and improvising soloists in a vivid orchestral tribute that preserves Bley's wit, formal daring and stylistic breadth through new contemporary perspectives.

In their first meeting, drummer Tyshawn Sorey and pianist Pat Thomas deliver a fiercely dynamic live improvisation at Cafe OTO, moving through dense clusters, inside-piano resonance, metallic percussion, brushes, string slides and sudden silences with remarkable precision, building a volatile dialogue that shifts between thunderous rhythmic density, delicate texture and sharply focused spontaneous interplay.

Drummer and electronic artist Federico Ughi joins his sons Alberto, Martino, and Benjamin, with additional family voices, transforming improvisations, conversations, and childhood performances recorded from 2021-2025 into a vibrant collage of free-form hip hop, electronics, percussion, song, and sound design, preserving spontaneous family creativity while shaping it into a deeply personal collective document.

Using microphone, tractor, shovel and tape, Henry and Ken's Dead Mallard project turns rural machinery and found objects into raw electroacoustic noise on a winter 2026 recording from Pennsylvania, extending the absurdist farm-equipment experimentation of their self-titled debut through mechanical drone, object percussion, environmental resonance and tape manipulation.

A constantly shifting electroacoustic balance of percussion, piano, saxophones and electronics, as Sofia Borges (drums & percussion), Rieko Okuda (piano & keys) and Peter Van Huffel (saxophones) shape three extended live improvisations through changes in density, resonance and momentum, moving between sparse acoustic detail and richly layered electronic texture.

Portuguese duo Ricardo Guerra Pires (electric guitar) and Bruno Parrinha (alto saxophone) follow their debut vas-y with thirteen intense free improvisations using live electronic processing and loops to transform their instruments into dense layers of industrial noise, fractured free jazz, glissandi, distortion and resonant detail, balancing abrasive sonic force with remarkably controlled interaction.

Marty Ehrlich directs a rotating cast of leading reed players through the forty known saxophone quartet compositions of Julius Hemphill, combining works written for the World Saxophone Quartet with previously unrecorded pieces recovered through Ehrlich's archival research, revealing Hemphill's singular language of layered counterpoint, blues-rooted melody, rhythmic invention, and chamber precision.

A strikingly restrained side of Albert Ayler emerges on this 1964 session of spirituals and devotional songs, with his tenor and soprano saxophones joined by Call Cobbs Jr. on piano, Henry Grimes on double bass and Sunny Murray on drums, emphasizing melody, blues-inflected tone and deep vibrato while revealing the gospel and New Orleans roots underlying his more radical later language.

Pianist Myra Melford's Fire and Water Quintet with Mary Halvorson on guitar, Ingrid Laubrock on tenor and soprano saxophones, Tomeka Reid on cello, and Lesley Mok on drums, continuing Melford's Cy Twombly-inspired balance of cellular composition, collective improvisation, lyricism, counterpoint, and rhythmic momentum in a richly interactive studio recording.

A four-CD survey of Sonny Rollins' formative Prestige years, collecting eight albums recorded from 1951-1956, with Rollins' tenor saxophone joined by Miles Davis on piano, Clifford Brown and Kenny Dorham on trumpet, John Coltrane on tenor, Thelonious Monk, Red Garland and Tommy Flanagan on piano, and rhythm sections featuring Max Roach, Art Blakey, Philly Joe Jones and others, tracing Rollins' rapid emergence as one of modern jazz's defining improvisers.

A remarkable 1967 Radio Bremen session uniting leading figures of emerging European free improvisation, with Alexander von Schlippenbach, Irène Schweizer and Fred van Hove on piano; Peter Brötzmann and Gerd Dudek on saxophones; Manfred Schoof and Manfred Miller on brass; three bassists; and Sven-Åke Johansson, Jaki Liebezeit and Mani Neumeier on drums and percussion.

Composer and reedist Henry Threadgill reconvenes his long-running Zooid quintet with Liberty Ellman on acoustic guitar, Jose Davila on tuba and trombone, Christopher Hoffman on cello, and Elliot Humberto Kavee on drums, extending his interval-based language through shifting meters, compact forms, and non-hierarchical interplay in music that balances structural rigor with elastic, conversational improvisation.

Three cross-cultural improvised dialogues pair voice with instrument: Jean-Michel Van Schouwburg with Pascal Marzan's 10-string microtonal guitar, Bill Young with Noel Taylor's clarinet, and Rodrigo Brandão with João Madeira's double bass, preserving speech and environmental sounds to expose the intimate, spontaneous exchanges behind each performance.

Expanding the Fire Walk With Us project from duo to trio, guitarists Christian Vasseur, Steve Gibbs and Nicolo Vivi explore extended-range classical guitars, quarter-tone tuning and a custom four-way piezo system that brings otherwise inaudible fretboard, contact and string-fragment sounds into the acoustic field, creating finely detailed duos and spatialized trio improvisations across two discs.

Closing Christian Wolfarth's three-part 39 cycle, this solo work for percussion and field recordings transforms numerical constraints, repetition and chance into a spare study of resonance, texture and silence, where skin, metal and environmental sound gradually blur the line between composed structure and pure sonic perception.

Polish cellist Julia Biłat presents ten live solo improvisations for acoustic cello, with voice on one track, using harmonics, rough bow textures, drones, percussion and silence in an intensely physical language shaped by years of intuitive exploration and Butoh practice, each piece named for a beetle species and tracing ideas of hidden space, transformation and metamorphosis.

Drummer Chris Corsano and guitarist Tashi Dorji unleash a volatile live duo set recorded in Asheville, North Carolina, moving between polyrhythmic free-jazz eruptions, fractured rock grooves, angular riffing, feedback, and psychedelic noise in a fiercely interactive performance that captures both players at their most restless, physical, and responsive.

Four major electroacoustic improvisers — Bryan Eubanks on soprano saxophone, electronics and modular synthesizer, Gert-Jan Prins on electronics and percussion, Tetuzi Akiyama on guitar, and Toshimaru Nakamura on no-input mixing board — each recorded separate solo performances, assembled by Prins, Eubanks and Nakamura into four distinct collective works of shifting textures and sonic interplay.

On their sixth album, FEN — Otomo Yoshihide, Ryu Hankil, Yuen Chee Wai, and Yan Jun — present four 15-minute works originally devised for the 2018 Gwangju Biennale, combining guitar, electronics, Max/MSP, and field recordings through a blind process of cutting, rearranging, and chance-based assembly that turns separation, chance, and juxtaposition into the music's organizing principles.

Legendary Japanese guitarist Keiji Haino and London drummer/percussionist Steve Noble meet live at Cafe OTO in 2012 for a volatile duo performance moving between near-silence, blues-tinged reflection, dense feedback and explosive free improvisation, with Haino on electric guitar, electronics and wooden flute against Noble's expansive percussion setup, balancing raw intensity with spacious, highly responsive interplay.

Japanese improviser Junji Hirose documents two 2024 solo sessions at Tokyo's Pool using his evolving self-made SSI sound instruments � including bicycle-wheel and metal-tray constructions � plus a final piece directing compressed air onto microphones, producing five works that move between metallic resonance, white noise, subtle textures and explosive acoustic force.

Ken Ikeda on synthesizer and Roger Turner on a reduced kit of snare, floor tom, hi-hat, and cymbals reunite for two extended live improvisations in Tokyo, developing a finely balanced electroacoustic dialogue of hovering electronic tones, metallic resonance, sparse percussion, and sudden dynamic shifts shaped through close, responsive listening.

Seoul-born gayageum virtuoso and vocalist DoYeon Kim makes a striking bandleader debut with a quartet of Tyshawn Sorey on drums, Mat Maneri on viola and Henry Fraser on bass, merging Korean string and storytelling traditions with contemporary improvisation in a forceful, deeply expressive set of compositions and group interactions that move from bristling acoustic intensity to communal, humanist resonance.

Argentine tenor saxophonist Camila Nebbia leads The Hanged One with Julia Bi at on cello, Arne Braun on guitar, Andres Marino on electronics, Vinicius Cajado on double bass and Lukas Akintaya on drums, navigating nine tightly composed yet volatile works where angular ensemble writing, free improvisation, electronics and rock-weighted rhythms continually fracture, regroup and transform.

Composed by Weston Olencki and performed by Rimouski percussion trio Bascaille - Tom Jacques, Antoine Létourneau-Berger and Noam Bierstone - this tactile set uses fiddles, homemade zithers, found debris, piano, guitar, motors, speakers and electronics to build ritualistic, unstable sound worlds of friction, resonance and lopsided pulse, including a transformation of the Québécois "Reel de Rimouski."

Jessica Pavone expands her long-running solo viola practice with effects and guest contributions from Fred Frith on guitar and Joe Lally on bass, using open-string resonances, electronic texture, and remotely developed collaborative material to create a set of compositions that balance solitude, resonance, and carefully structured interaction.

French electronic music pioneer Eliane Radigue performs her three-part composition Triptych, recorded in her Paris studio and inspired by Tibetan Buddhism and the elemental forces of water, air, fire, and earth, presenting a patient, immersive work of sustained electronic tones and subtle transformation, here issued as a double LP with the complete pieces preserved without editing or cuts.

A five-CD survey of Jon Rose's Rosenberg Museum, the violinist's decades-long Gesamtkunstwerk of invented, altered and repurposed string instruments, documenting a practice that treats the violin as a limitless field for acoustic experiment, cultural critique and sonic invention, with John Oswald contributing to this expansive archive of new instruments, new sounds and unstable musical histories.

Colombian reedist María Valencia on alto saxophone and clarinet joins Argentine cornetist Leonel Kaplan for eight finely detailed improvisations recorded in Belgrade, developing patient dialogues of breath, resonance, extended technique and fragile lyricism that shift between sparse isolated gestures, intertwined textures and unexpectedly animated exchanges.

Saxophonist Nathan Hanson on tenor and soprano joins drummer Steve Hirsh for three spontaneously composed improvisations recorded in Sandstone, Minnesota, developing an intuitive dialogue of lyrical and fractured reed lines, shifting rhythmic momentum, texture, and silence as the two allow form to emerge entirely through attentive, moment-to-moment interaction.

Reuniting after a nine-year hiatus, Marteau Rouge — Jean-Francois Pauvros, Jean-Marc Foussat and Makoto Sato — joins longtime associate Daunik Lazro on tenor saxophone for a live Montreuil performance of seven compact improvisations, merging distorted guitar, Synthi AKS electronics, percussion, voices and toys with Lazro's incisive tenor in a volatile mix of free jazz, noise and free rock.

Winnipeg duo Savant Flaneur — cellist Nathan Krahn and violinist Gage Salnikowski, both on electronics — improvise within a series of custom Max/MSP systems that alternately interrupt, constrain, redirect, and rebalance their interaction, producing five works that move through free improvisation, noise, drone, and experimental chamber music.

Percussionists Ted Byrnes and Jeph Jerman follow their 2023 collaboration Passenger with ten entirely acoustic drum-set improvisations created through iterative file exchange, exploiting heads, rims, shells, hardware and resonant surfaces for dense collisions of impact, scrape, rattle, fractured pulse and finely detailed interaction, dedicated to their friend and inspiration Tim Barnes.

Berlin-based singer, guitarist and composer Margareth Kammerer gathers nine songs recorded between 2007 and 2019 with Chris Abrahams, Werner Dafeldecker, Axel Dörner, Steve Heather, Bernd Jestram, Big Daddy Mugglestone, Valerio Tricoli and Bo Wiget, blending intimate song form, restrained improvisation and electroacoustic detail across music originally developed in part for film.

Reuniting for their first Japanese performances together since 2019, Martin Taxt on tuba, Tetuzi Akiyama on guitar and Toshimaru Nakamura on no-input mixing board present two extended 2024 live improvisations from Tokyo and Kamogawa, balancing low brass resonance, tactile guitar detail and unstable electronic feedback through patient, spacious interaction shaped by a collaboration dating to 2006.

Tenderlonious reimagines John Coltrane's Africa/Brass with pianist On-Ly, bassist Horatio Luna and drummer Tim Carnegie, reducing the original large ensemble to a searching quartet whose extended readings of Africa, Greensleeves and Blues Minor transform Coltrane's melodies and modal foundations through fiery improvisation, rhythmic elasticity and spacious collective interplay.

Pianist Joel Futterman and tenor saxophonist Ike Levin mark their 16th recording collaboration in 25 years with three spontaneously created works balancing intensity and reflection, density and space, drawing on their long-developed improvisational rapport to move fluidly through free jazz, lyrical exchange, rhythmic momentum and layered interaction.

Recorded live at Cafe Oto, this first-time quartet of percussionists Paul Lytton and Eddie Prevost, trumpeter Nate Wooley and saxophonist Seymour Wright brings together overlapping histories of long-standing, renewed and entirely new collaborations, using those contrasting degrees of familiarity to shape a freely improvised performance of shifting alliances, layered interaction and distinct individual voices.

A collection of 12 concise compositions by violinist Morgan Evans-Weiler, performed with percussionist Carlo Costa, exploring minimalist structures through sustained violin tones, gently resonating percussion, and subtle rhythmic repetitions, with sparse gestures and delicate shifts in texture creating an intimate, meditative dialogue between the two instruments, balancing restraint, repetition, and the expressive possibilities of sound.

Lance Austin Olsen and Pierre Gerard construct three extended variations from guitars, voices, MIDI organ, shruti box, field recordings, sho and amplified objects, shaping sparse electroacoustic environments where speech, sustained tones and tactile sounds drift through layered edits, including material from Olsen's *Shadow Worlds*, in a study of texture, memory and transformation.

Inspired by the French Supports/Surfaces art movement, Belgian improviser Pierre Gerard on guitar, voice, and electronics joins French experimental musician Bruno Duplant on electroacoustic devices for 11 restrained compositions that balance sparse gestures, electronic textures, and carefully placed silences, creating delicate sound environments that emphasize subtle variations in resonance, texture, and space.

Italian sound artist Marie Rose Sarri and French composer Bruno Duplant shape two extended electroacoustic studies from analog and digital sources, field recordings and acoustic/electronic devices, building dense but fluid environments where layered textures, shifting resonances and circulating sound events create a lively, continuously transforming sense of space.

Clarinetist Michael Thieke and guitarist Beat Keller explore microtonality, resonance and controlled feedback across six restrained improvisations, Thieke's breath-driven clarinet tones intertwining with Keller's feedbacker electric guitar in slowly shifting sustained textures where acoustic and electronic sounds blur, separate and recombine through minute changes in timbre, pitch and intensity.

"Two longer live works of the now-patented blend of sound collage, crude tape mangling and music concrete sound events executed in a somewhat slapstick manner, where everything is balanced so thin that it can fall apart at any point. Fi...

Drawing on live and studio recordings made in Switzerland in 2005 and 2006 and rediscovered nearly two decades later, Antoine Chessex and Dave Phillips reshape archival material into two extended works of musique concrete, noise and dense electronics, threaded with spectral voices from the Swiss Silvesterchlausen tradition and transformed through layering, decomposition and temporal dislocation.

"Creep Of Paris is the solo project of Thomas LaRoche (aka Eudocimus Ruber). Complementing his audio and visual output, he moonlights as an insect breeder and secondhand book seller. He has recorded on labels such as Drowned by Locals, ...

A nearly hour-long solo construction from Dai Koelakanth, assembling frantic sound poetry, shouted and fractured speech, electronic noise, hiss, distorted textures and obsessive tape-style editing into a deliberately unstable audio collage, balancing abrasive outsider expression and absurd humor with an intensely personal approach to concrete poetry and radio-art composition.

Restoring Rick Potts and Joseph Hammer's 1983 Dinosaurs With Horns cassette for its first CD release, Krim Kram presents fourteen wonderfully dislocated home recordings where Optigan loops, reel-to-reel manipulation, Casios, toy electronics, musical saw and thrift-store sound fragments collide in a woozy LAFMS-bred mixture of musique concr�te, primitive sampling, mutant exotica and spontaneous lo-fi invention.

Composer Amanda Feery, with guitarist/electronic musician Declan Synnott, builds a 43-minute electroacoustic "Mass for the Tenant" from organ recordings made at St. Fin Barre's Cathedral in Cork, choral recordings by 4 in a Bar, electronics, tin whistle and guitar, examining home as sanctuary and contested space through themes of displacement, occupation and belonging.

"A new collaboration between Ross Scott-Buccleuch (Diurnal Burdens) and Andy Jarvis, Precedes has its origins in the series of blank tape compilations released by Ross on his tape label Steep Gloss. After being invited to contribute to ...

"A follow up to 'A Year In Any Other Place' (Falt) from 2022, 'The Root, The Interim' is a tape composition in four parts, drawing on the influences of musique concrete, cinema and dub. Constructed over 14 months in 2022-3, it is a tour...

Collecting four long-form pieces recorded in Fair Oaks, California from 2019-2021, the Bren't Lewiis Ensemble expands its surreal musique-concrète language into spacious improvisations of loops, electronics, distressed guitar, voices, found sound and acoustic debris, balancing eerie drift with the group's characteristic burbles, squeaks, abrupt edits and absurdist interventions.

Berlin improvisational trio Primitive Structures - David Roeder, Kashual Plastik founder Frans Aembient and Timu - shape nine spontaneous pieces from degraded electronics, improvisatory guitar, fractured rhythms and blurred melodic fragments, moving through post-industrial ambience, deconstructed jazz, psychedelia and oblique soundtrack-like spaces with a distinctly woozy, half-dreaming logic.

Guitarist Jon Madof leads bassist Yoshie Fruchter and drummer Nate Rappaport, with percussionist Moshe Sobol, in a powerful trio blending Jewish melodic traditions, surf guitar, jazz improvisation, post-rock, punk and metal, balancing lyrical passages, heavy riffs and open improvisation in a compact extension of Madof's work with Rashanim and Zion80.

NYC electronic composer and improviser Ikue Mori gathers music created from 2016-2025 into an imaginative CD/DVD work pairing her intricate electronic worlds with handmade dolls, puppets, animation and miniature sets, joined on pieces by Satoko Fujii and Natsuki Tamura, Koichi Makigami, and Zeena Parkins in eight pieces moving through fantasy, science fiction, Japanese ghost imagery and detailed electroacoustic sound.

Marking 40 years since its 1985 ZTT release, Andrew Poppy's landmark The Beating of Wings returns newly remastered by Stephan Mathieu, presenting four prescient post-minimal works where Poppy's piano, keyboards, voice and sampler, Glyn Perrin's electric piano, orchestral winds, brass and strings, guitar, bass, Fairlight and drum machine merge acoustic composition with the studio as a compositional instrument.

Reuniting after a nine-year hiatus, Marteau Rouge — Jean-Francois Pauvros, Jean-Marc Foussat and Makoto Sato — joins longtime associate Daunik Lazro on tenor saxophone for a live Montreuil performance of seven compact improvisations, merging distorted guitar, Synthi AKS electronics, percussion, voices and toys with Lazro's incisive tenor in a volatile mix of free jazz, noise and free rock.