Reimagining Max Roach's 1968 call for perseverance through a contemporary lens, drummer and arranger Tyshawn Sorey leads Adam O'Farrill on trumpet and electronics, Mark Shim on tenor saxophone, Lex Korten on piano, Tyrone Allen II on bass, and Fay Victor on vocals in an expansive live suite of turbulent intensity, patient development, and shattering release.

Bringing Michael Marcus' reeds and tarogato into a quartet with pianist Rod Williams, bassist Ricky Rodriguez, and drummer Allan Mednard, this ESP-Disk release extends Marcus' post-bop and avant-jazz language through compositions shaped by funky Monk-like angles, tight rhythmic interplay, lyrical woodwind clarity, and the seasoned drive of players versed in blues, free jazz, and modern creative music.

A rediscovered 2014 live recording captures Satoko Fujii leading a specially assembled Bielefeld orchestra of professionals and young regional musicians through her monumental Shiki and works by Andreas Kaling, Natsuki Tamura, Luise Volkmann, and Fujii, blending conduction, written structure, collective improvisation, electronics, dual drums, and volatile large-ensemble energy.

A long-overdue first sole-leader album from drummer Charles Downs, formerly Rashid Bakr, bringing his deep history with Cecil Taylor, Jemeel Moondoc, Other Dimensions in Music, and the New York avant-garde into a collective quartet with Hery Paz on saxophone, Jamie Saft on piano, and Joe Morris on bass for five improvisations of fire, lyricism, angular reflection, and seasoned rapport.

Cornetist Josh Berman's trio with Jason Roebke on bass and Chris Corsano on drums brings Chicago's jazz lineage into sharp contemporary focus, balancing compact composition and expansive interaction through playful, adventurous music that draws on early jazz, AACM-rooted invention, melodic swing, textural abstraction, and volatile rhythmic exchange.

Bringing together Swiss-German trio DDK — Jacques Demierre on piano, Axel Dorner on trumpet, and Jonas Kocher on accordion — with Quebec's large improvising ensemble Le GGRIL, this expansive collaboration uses the ensemble as living material for a collective work of juxtaposition, superposition, sonic individuality, and shared compositional energy across a broad electroacoustic terrain.

A limited artist-released solo guitar recording from Henry Kaiser on acoustic guitar, electric guitar, harp guitar, and seven guitars laid across a table, presenting concise to medium-length explorations of resonance, distortion, extended-string sonority, tabletop texture, and improvisational invention from one of creative music's most idiosyncratic and restless guitarists.

An electroacoustic quartet of Phil Durrant on amplified objects and electronics, Jason Kahn on voice, Mark Wastell on percussion, and Caius Williams on double bass, recorded in London in 2025, unfolding four extended improvisations where breath, resonance, friction, signal, and acoustic weight interact through restrained intensity, microscopic detail, and unstable collective form.

A fierce, spontaneous duo of Camila Nebbia on tenor saxophone and Chris Corsano on drums, recorded in Berlin in 2025, merging Nebbia's searching lines, breath-driven textures and unstable lyricism with Corsano's explosive, highly detailed percussion language, moving between delicate abrasion, surging intensity, fragmented melody and raw improvised exchange.

A legendary 1940 live document of Duke Ellington's Blanton-Webster orchestra, captured in Fargo by Jack Towers and Richard Burris, with Ellington on piano, Johnny Hodges and Otto Hardwick on alto saxophones, Ben Webster on tenor, Harry Carney on baritone, Barney Bigard on clarinet, Rex Stewart, Ray Nance and Wallace Jones in the brass, Jimmy Blanton on bass, Sonny Greer on drums, and Ivie Anderson and Herb Jeffries on vocals.

Led by Franz Koglmann's cool-toned trumpet and flugelhorn with Michael Mautner's motifs and electronics, Vienna FLAMMeS joins Lukas Schiske, Andreas Donhauser, Silvia Deixler, Max Buhlmann, and Josef Ka in a post-jazz sound world of fractured grooves, Canterbury echoes, reed color, guitar abrasion, spoken elements, and egalitarian improvisation shaped by Viennese modernism and collective risk.

A restored edition of Tony Williams Lifetime's incendiary 1969 trio debut with John McLaughlin on guitar and Larry Young on organ, documenting one of jazz-rock fusion's earliest and most audacious statements, where Williams' radical rhythmic designs, Young's dense harmonic force, and McLaughlin's searing electric vocabulary collide in urgent, psychedelic, genre-defying improvisation.

Joining Dave Rempis on saxophones, Fred Lonberg-Holm on cello, and Paal Nilssen-Love on drums with bassist Luke Stewart, this live Ballister performance from Roulette expands the trio's ferocious long-running rapport into a dense, high-velocity quartet, Stewart locking with Nilssen-Love in elastic propulsion as cello and saxophone surge through explosive, telepathic collective improvisation.

Rooted in Keith Tippett's late brass suite Winter's Welcome, Hilary Jeffery reimagines the material through multi-tracked brass, computer and improvisational expansions with Julie Tippetts' voice, Tobias Delius' tenor saxophone and clarinet, Paul Dunmall's saxophones and Eleni Poulou's synthesizer and music box, creating a prism-like tribute of resonant harmony, memory, song and exploratory transformation.

Returning to a stripped-down free-blowing setting, Paul Dunmall leads a responsive group with Corey Mwamba on vibraphone, Steven Saunders on electric guitar, Dave Kane on double bass, Miles Levin on drums and Xhosa Cole guesting on flute and piccolo, creating five incisive yet finely detailed improvisations of saxophone fire, resonant texture, electric abrasion and collective momentum.

The first volume in The Remote Viewers' Winter Library series, this live London quartet recording brings David Petts and Adrian Northover together with John Edwards and Steve Beresford, reworking material from The Remote Code into an acoustic chamber of tenor and soprano saxophones, resonant bass, objects and toys, balancing angular themes, brittle textures, oblique melody and free improvisational exchange.

Gerry Hemingway leads a site-specific quartet with pianist Izumi Kimura, multi-reedist Frank Gratkowski and bassist Christian Weber, weaving composed structures, extended techniques, improvisational formations and wood-scrap percussion from Bau 4 itself into a tribute to the venue's founders, balancing melodic fragments, rhythmic propulsion, microtonal color and vivid ensemble transformation.

Documenting Miles Davis' 1969 "lost" third quintet live in Berlin, Stockholm and Rotterdam with Wayne Shorter, Chick Corea, Dave Holland and Jack DeJohnette, this 2-CD set captures the post-In a Silent Way ensemble reshaping material headed toward Bitches Brew, balancing lyricism and abstraction through open forms, electric-piano clusters, volatile rhythmic invention and Davis' fiercely exploratory trumpet.

Gathering key 1965-66 New York sessions, this 2-CD set traces alto saxophonist Marion Brown's emergence in the free jazz vanguard through Capricorn Moon, Why Not? and Burton Greene quartet recordings, with Alan Shorter, Bennie Maupin, Stanley Cowell, Henry Grimes, Sirone, Rashied Ali and others shaping music of lyrical urgency, open-form momentum and evolving collective freedom.

Uniting Albert Ayler's 1964 New York sessions for Spirits (Debut) and Spirits Rejoice (ESP, with Donald Ayler, Charles Tyler, Call Cobbs, Henry Grimes, Gary Peacock, Sunny Murray, Normand Howard and Earle Henderson, this remastered edition captures Ayler's volatile balance of spiritual song, sculptural horn lines, churning bass motion, ecstatic fanfare and free jazz intensity.

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.

Composed between 2023 and 2025 after Jurg Frey withdrew from clarinet performance, this 54-minute chamber work places Heather Roche's clarinet within the string quartet of Mira Benjamin, Chihiro Ono, Bridget Carey and Anton Lukoszevieze, as Apartment House reveal a quietly extraordinary balance of stillness and motion, warm tonal color, intimate dialogue and a slow, organic passage toward unexpected transformation.

The first duo recording from tenor saxophonists Tom Challenger and Evan Parker, captured at Arco Barco in Ramsgate and later resequenced into six sections, reveals two deeply attuned improvisers using shared instrumental language to question control, memory, silence and exchange, expanding the sound of two tenors into a shifting field of breath, resonance, overlap and acoustic invention.

After six albums reimagining Ahmed Abdul-Malik, Pat Thomas, Joel Grip, Antonin Gerbal and Seymour Wright turn their transformative [Ahmed] project toward Thelonious Monk, atomising his compositions across two CDs into volatile, time-bending forms where piano, bass, drums and alto saxophone fracture and reassemble melody, rhythm and space through free jazz intensity, pulse and radical collective invention.

John Zorn continues his lyrical acoustic guitar writing with a Shakespeare-inspired book of seven intimate compositions for Julian Lage and Gyan Riley, whose long collaboration as interpreters of Zorn's music brings warmth, precision and conversational clarity to pieces that draw on early music, minimalism, contemporary classical forms, folk, jazz and soundtrack-like atmosphere.

Bassist and composer Michael Formanek leads a trans-Atlantic septet with John O'Gallagher, Chet Doxas, Joao Almeida, Mary Halvorson, Alexander Hawkins on Hammond B3 and Tomas Fujiwara, unfolding a bold contemporary jazz architecture where braided horns, off-axis guitar, organ-driven momentum and elastic rhythms move between dense collective force and sharply focused small-group interplay.

Alto saxophonist Marion Brown leads a remarkable quartet with Gunter Hampel on vibraphone, Barre Phillips on bass and Steve McCall on drums, revealing two rare European performances from 1968 and 1972 in which lyrical free jazz, chamber-like openness, shimmering percussion, bass mobility and Brown's searching melodic voice converge with quiet intensity.

Reuniting cornetist Bobby Bradford, bassist Mark Dresser and Hafez Modirzadeh on b'kongofon and tenor saxophone, this chamber-scaled trio session unfolds through five collective pieces that balance Bradford's warm, incisive lyricism, Dresser's resonant five-string bass language and Modirzadeh's pitch-bending reed work in a quietly radical exchange of free jazz, color and space.

Expanding Matthias Muche's BONECRUSHER into a 12-trombone ensemble with Etienne Nillesen on extended snare drum, this powerful ezz-thetics release explores the trombone as a massive yet highly detailed acoustic organism, moving between composition and improvisation through crackling chords, microtonal pressure, resonant overtones, dense brass clouds and fiercely sculpted collective sound.

Klaus Lang's chamber works for Apartment House trace a patient, inwardly focused music of sustained tones, structural clarity and lyrical restraint, drawing from Pre-Raphaelite poetry, Basho's autumnal imagery and Keats' epitaph as clarinets, strings, piano and electric organ reveal slowly shifting architectures where beauty, stillness and sound become forms of quiet protest.

A deeply elegiac final statement from Nate Wooley's Columbia Icefield, with Susan Alcorn's pedal steel, Ava Mendoza's guitar and voice, and Ryan Sawyer's drums joining Wooley's trumpet, amplifier, voice, whistling and footwork in music shaped by grief, memory and gratitude, responding to the deaths of Ron Miles and Alcorn through expansive, emotionally weighted improvisation.

CD edition of the first set performed by the trio of Peter Brotzmann, Steve Noble and John Edwards at Cafe OTO in January 2010 during Brotzmann's first residency at the venue, and the first time this trio had played together.

Composer Sylvia Lim's quietly individualistic chamber works explore fragility, decay and timbral richness across solo, duo, trio and small ensemble settings, using prepared cello, resonant piano, clarinets, percussion and guitars to let intimate gestures, unstable sounds and microscopic details slowly unfold into hushed, tactile sound worlds.

Judith Wegmann and Marlies Debacker perform John Cage's 1989 Two2, a late work for two pianos whose thirty-six short lines unfold through independent tempi, shared pauses and resonant decay, allowing the duo's deep experience in composed and improvised music to shape a live performance of patient asymmetry, concentrated listening and quietly radical spaciousness.

The sixth entry in Ivo Perelman's expanding Duologues series, and the sixth album in Squidco's digital label Squid Note Records, pairs his searching tenor saxophone with Damon Smith's commanding double bass, a freely improvised exchange of raw physical immediacy and deep listening, where intertwining lines, extended techniques and spontaneous form turn dialogue itself into the core of the music.

Collecting Machinefabriek works from singles, EPs and compilations released between 2015 and 2025, Rutger Zuydervelt presents a 17-track, 76-minute continuous mix that serves as both a personal selection of favourites and an inviting entry point into his immersive world of ambient detail, drone, field recordings and electro-acoustic texture.

Marta Warelis leads her first sextet as composer and bandleader in a live Bimhuis performance with Ben LaMar Gay, Ab Baars, Karen Ng, Ingebrigt Håker Flaten and Frank Rosaly, shaping an energetic, interplay-driven music of multilayered reeds, trumpet electronics, piano, synth, bass and percussion into a joyous exploration of multiphonics, beat frequencies and Warelis' expanding compositional language.

Merging solo performances from the US and Italy with fiery duets alongside drummer Hamid Drake at Antwerp's Summer Bummer Festival, guitarist/vocalist Ava Mendoza delivers eight live tracks of charged blues, rock, free improv and psychedelic intensity, her bold electric sound moving from raw riffs and declarative vocals to spiralling abstraction and ego-free guitar heroics.

Myra Melford and Satoko Fujii meet in a rare two-piano encounter rooted in decades of friendship, their live performance unfolding as the heart-to-heart conversation suggested by the title, with both artists so deeply attuned that individual lines dissolve into a shared language of spontaneous form, lyrical intensity, emotional openness and beautifully balanced collective invention.

Marty Ehrlich leads a chamber-jazz septet with poet Erica Hunt reciting her own texts, shaping fifteen concise works where clarinet, flute, alto saxophone, trumpet, bassoon, cello, bass, and percussion move through composed forms, free improv, and spoken word in a vivid, scene-shifting suite balancing dark resonance, bright melodic sparks, and a searching sense of hope.

Blending exploratory jazz with deeply personal free improv expression, the quartet of Chad Fowler, Matt Lavelle, Ken Filiano, and Bobby Kapp engage in a volatile and spiritually charged dialogue using rare horns, elastic rhythm, and richly textural interplay, evoking ritual, memory, transformation, and collective discovery through instrumental gesture, harmolodic freedom, and emotionally raw exchange.

Bringing together poetry, theater, and expansive orchestral jazz, composer and pianist Mike Westbrook leads a remarkable 16-piece ensemble through a sweeping work for jazz orchestra where the vocal artistry of Phil Minton and Kate Westbrook intertwines with richly textured brass, reeds, and improvisation to evoke procession, memory, mortality, and the transformative power of collective expression.

Uniting three masterful improvisers — baritone saxophonist Daunik Lazro, bassist Joëlle Léandre, and drummer Paul Lovens — this Paris concert presents deeply attentive free improv where resonant timbral exploration, fractured lyricism, and highly responsive interplay unfold through spontaneous collective forms of sparse abstraction, visceral expression, and nuanced rhythmic detail.

Reconnecting generations of European free improv, legendary saxophonist Trevor Watts joins longtime collaborator Barry Guy and percussionist Ramon Lopez for a fiercely interactive trio session balancing ecstatic energy, disciplined abstraction, and deeply responsive interplay, as decades of shared musical history erupt into vivid collective expression, explosive rhythmic momentum, and emotionally charged spontaneity.

Bassist Pascal Niggenkemper leads Ensemble Tuvalu in an immersive CD+DVD work inspired by the climate-threatened Pacific island nation, uniting brass, reeds, accordions, strings, voices, and resonant sound installations in a genre-crossing meditation on ecology, displacement, and community, with the audience surrounded by the ensemble in performance and the DVD capturing a live concert realization.

Pianist and composer Simon Nabatov leads two extraordinary ensembles featuring Frank Gratkowski, Angelika Niescier, Ina Stock, and Lucia Mense through deeply personal compositions balancing chamber-jazz lyricism, contemporary classical textures, and adventurous free improv, transforming introspective and emotionally charged themes into richly layered collective expression.

Documenting the expansive collective practice of the French improvising ensemble Le UN across three CDs recorded between 2021 and 2022, this large-scale set brings together 25 performers working in shifting formations through free improv unconstrained by score or direction, exploring acoustics, public spaces, environmental interaction, and richly textural electro-acoustic interplay.

Uniting veteran bassist Joe Fonda with German saxophonist Silke Eberhard and Austrian drummer Emil Gross, this collective trio balances lyrical structure, agile free improv, and Dolphy-informed melodic abstraction through elegant and highly responsive interplay, where tightly focused compositions unfold into fluid spontaneous exchanges driven by rhythmic precision, adventurous harmonies, and a vibrant live energy.

Reuniting more than a decade after their explosive 2011 debut, guitarist Sandy Ewen, bassist Damon Smith, and percussionist Weasel Walter deliver a fiercely focused free improv session recorded with vivid clarity, balancing dense collective eruptions, microscopic textural detail, and deeply evolved ensemble interplay shaped in part through years performing together in Roscoe Mitchell's quartet.

Joining the original Centrifugal Trio of Jeb Bishop, Antonio Borghini, and Michael Griener with Danish saxophonist Mia Dyberg, this live Berlin performance unfolds through fiercely interactive free jazz and free improv, balancing dense collective motion, spacious textural interplay, and sharply responsive exchanges in an organically evolving dialog of lyrical abstraction, raw energy, and collective momentum.

Commissioned for Ensemble Klang's Musical Utopias festival, Matthew Wright leads a twelve-piece ensemble with Sofia Jernberg and Spheric Totemic in a large-scale work structured around a slowly descending tonal "spine," where notated layers and timed frameworks intersect with free improv, while live sampling and post-production deepen the shifting interplay between form, texture, and sonic perspective.

An electronic project from Phillip Klampe following his album The Contaminist, this 16-track release assembles cerebral atmospheres and surreal soundscapes from layered textures and abstract tonal fragments, where familiar and obscure elements blur into shifting, otherworldly environments that invite immersive listening and subtle psychological dislocation.

Captured in 1968 in Zurich and long shelved before its recent discovery, this early trio session brings Pierre Favre, Irene Schweizer, and George Mraz together in a concise, fiery set of attentive free jazz, balancing Ornette Coleman's title piece with Schweizer's compositions, where dynamic interplay and acute listening reveal a nascent yet fully engaged collective voice.

A wide-ranging solo and collaborative release from Amy Denio, this eclectic set blends voice, accordion, clarinet, guitars, bass, percussion, electronics, and field recordings across composed, improvised, and live performances, weaving jazz, avant-garde, and global influences into a playful, genre-blurring sonic journey rich in texture, storytelling, and inventive ensemble interplay.

A Norwegian quintet led by Håvard Wiik, bringing together Eivind Lønning, Espen Reinertsen, Ingebrigt Håker Flaten, and Hans Hulbækmo in a dynamic set that balances composed structures with free improv, blending post-bop lyricism, intricate ensemble interplay, and spacious, timbre-focused passages into a fluid and contemporary jazz expression.

Leading his new quartet Elephant, trumpeter Adam O'Farrill presents a forward-looking jazz session of original compositions that shift fluidly between rhythmic drive and abstraction, where contrasting textures, layered structures, and expressive interplay animate a dynamic ensemble sound shaped by subtle electronic elements and a contemporary, cross-genre sensibility.

Leading his new quartet Elephant, trumpeter Adam O'Farrill presents a forward-looking jazz session of original compositions that shift fluidly between rhythmic drive and abstraction, where contrasting textures, layered structures, and expressive interplay animate a dynamic ensemble sound shaped by subtle electronic elements and a contemporary, cross-genre sensibility.

Expanding her Amaryllis ensemble with the addition of saxophonists Immanuel Wilkins and Brian Settles, guitarist and composer Mary Halvorson presents eight new works, balancing spectral beauty and sly unease as vibraphone, layered brass, flexible grooves, and her singular harmonic distortions cohere into a richly orchestrated and restlessly inventive large-ensemble statement.

Expanding their earlier duo work into a live setting, pianist Chris Abrahams and percussionist Mark Wastell engage in a patient, textural session of free improv, where rippling piano figures and resonant cymbal washes unfold in a deeply attentive dialog, shaping a meditative, slowly evolving sound world defined by subtle interplay, spatial awareness, and restrained, ritual-like intensity.

Two days across 2 CDs capture trio sessions featuring Pauline Oliveros on Roland V-accordion, Miya Masaoka on 21-string koto, and Issui Minegishi on ichigenkin (a single-string koto), in a richly textured and immersive dialogue of cross-cultural instrumentation unfolding with patient sensitivity and Deep Listening, where expressive interplay balances tradition, experimentation, and sonic intimacy.

Marking her return to Chicago, German alto saxophonist Angelika Niescier reunites with a powerhouse sextet of the city's improvisers, including Nicole Mitchell, Dave Rempis, and Jason Adasiewicz, for a high-velocity session of free improv, where fierce interplay, shifting textures, and spontaneous structures bridge European and AACM-informed traditions with raw, contemporary energy.

A powerful quartet session led by James Brandon Lewis on tenor sax with Aruán Ortiz, Brad Jones, and Chad Taylor, blending lyrical melodic clarity with dynamic, responsive interplay, where rich tonal expression and groove-sensitive improvisation draw from the lineage of John Coltrane, Sonny Rollins, and David S. Ware while forging a deeply personal, contemporary voice.

Captured during a European tour, the trio of pianist Sylvie Courvoisier with bassist Drew Gress and drummer Kenny Wollesen presents a finely honed language shaped through deep trust and evolving interplay, where Courvoisier's compositions unfold with precision and openness, balancing intricate detail, shifting textures, and spontaneous free improv with subtle complexity and vivid expressiveness.

A late-period live recording from AMM — Eddie Prévost, Keith Rowe, and John Tilbury — capturing their refined electroacoustic free improv language of near-silence, where percussion, electronics, and piano dissolve into a shared sonic field shaped by extreme restraint, microscopic detail, and a collective focus on texture, duration, and deep listening.

Blending the raw energy of New York's loft jazz lineage with a transatlantic avant-garde sensibility, drummer Sam Ospovat leads a fiery ensemble through polyrhythmic intensity and expansive improvisation, where searing guitars, layered horns, and driving rhythms converge in a volatile and immersive session that channels historical influence into a bold, unfiltered contemporary expression.

Uniting the long-running trio Harriet Tubman with vocalist and multi-instrumentalist Georgia Anne Muldrow, this expansive set channels collective, largely spontaneous composition into a powerful blend of jazz, funk, rock, and electronics, where incantatory vocals and dynamic interplay drive a deeply expressive free-flowing exploration of texture, groove, and emotional resonance.

Uniting the long-running trio Harriet Tubman with vocalist and multi-instrumentalist Georgia Anne Muldrow, this expansive set channels collective, largely spontaneous composition into a powerful blend of jazz, funk, rock, and electronics, where incantatory vocals and dynamic interplay drive a deeply expressive free-flowing exploration of texture, groove, and emotional resonance.

Expanding the definitive collection from British avant-garde pioneers Henry Cow, this expanded edition compiles the complete 40th anniversary box with remastered studio and live recordings, rare material including Cabinet of Curiosities and Glastonbury and Elsewhere, plus a DVD and three extensive booklets totaling 250 pages, presenting a comprehensive and rigorously documented portrait of the band's uncompromising, genre-defying work.

A powerful free improv statement from saxophonist Paul Dunmall and his quartet with Sophia Domancich, James Owston, and Miles Levin, blending composed themes — including a rendition of "Spiritual" by John Coltrane — with collective improvisation, as the ensemble's masterful interplay unfolds with fluid cohesion, balancing explosive energy and introspective nuance in a deeply expressive album.

Blending acoustic guitars, clarinets, accordion, voice and found objects, Barry Chabala and Clara Byom craft a deeply intuitive duo session that moves between unedited studio improvs and expanded "extractions," weaving folk-inflected fragments, graphic score realizations and haunting textures into a raw yet lyrical free improv language shaped by trust, contrast and evolving interplay.

Recorded live at the Archipel Festival, this quintet of Nicolas Field, Thomas Florin, Jerome Noetinger, Fritz Welch, and Nate Wooley delivers an intense electroacoustic performance where composed frameworks erupt into explosive, immersive interactions, as voice, trumpet, piano, percussion, and electronics collide in dense, mutating textures that are disorienting, consuming, often volatile, yet consistently exhilarating.

Bringing together an octet of long-associated improvisers led by violist Ernesto Rodrigues, this single extended work unfolds as a fluid, introspective collective statement of shifting timbres and spectral harmonies with moments of tension and release, forging a deeply personal and evolving free improv narrative shaped by continuity, interaction and shared intuition.

A fierce interpretation of John Zorn's Bagatelles by the organ trio of John Medeski with guitarist David Fiuczynski and drummer Grant Calvin Weston, this release channels funk, jazz, and psychedelic rock into explosive, high-energy performances, transforming Zorn's concise compositions into a dynamic, groove-driven and sonically adventurous set.

With a title translating to The Die is Cast, this formidable piano concerto from composer John Zorn unfolds through abrupt shifts in mood, tempo, and texture, as Brian Marsella, Jorge Roeder, and Ches Smith navigate its exacting, volatile structures with precision and intensity, joined by Sae Hashimoto on vibraphone, adding a resonant counterpoint to this complex, dynamically shifting work.

Performing thirteen selections from John Zorn's 2015 Bagatelles collection, pianist Brian Marsella delivers a dynamic solo recital that navigates angular, atonal forms and moments of striking lyricism, blending classical precision with jazz spontaneity to create an intimate, virtuosic, and emotionally resonant interpretation of Zorn's expansive compositional language.

Reuniting Bill Frisell, Kenny Wollesen, and Carol Emanuel as The Gnostic Trio, John Zorn presents a refined set of compositions that blend chamber minimalism, early music influences, and ambient textures, where delicate interplay, spacious forms, and a touch of electronics from Ikue Mori yield a serene, introspective, and subtly cinematic exploration of tone and atmosphere.

A powerful chamber work from Ukrainian pianist and composer Vadim Neselovskyi, this release blends classical composition and improvisation, as piano and string trio merge structured writing with spontaneous expression, aligning his lyrical, introspective voice with modular, improvisation-driven aesthetics shaped by the tensions and resilience of his homeland.

Chinese Buddhism defines "Hungry Ghosts" as beings who are driven by intense emotional needs in an animalistic way, an apt description of this trio's dynamic and often bristling collective free jazz, with Malaysian saxophonist Yong Yandsen and Norwegians, Christian Meaas Svendsen on bass and Paal Nilssen-Love on drums, performing live in Kuala Lumpur, 2018.

A box set documenting the October 2015 3-day event held at Porgy and Bess in Vienna for the 50th birthday of saxophonist Mats Gustafsson (The Thing, Fire! and innumerable duo/trio/ensemble formations) with a who's-who of collaborators invited to join in various formations.

Blending Afro-Puerto Rican rhythms with modern jazz and exploratory improvisation, guitarist Gabriel Vicens leads a sextet of guitar, saxophone, piano, bass, drums, and percussion — performing lyrical and sophisticated compositions that move through propulsive, textural, and meditative passages, balancing ancestral pulse, temporal reflection, and avant-garde expression.

Recorded live at the 2025 Konfrontationen #45 in Nickelsdorf, this quintet of viola, cello, alto saxophone, piano, and percussion unites frequent Creative Sources players Ernesto Rodrigues, Guilherme Rodrigues, and Nuno Torres with legendary free jazz pianist Alexander von Schlippenbach and drummer Willi Kellers, in a dynamic convergence of textural string abstraction and energetic free jazz interplay.

Uniting tenor saxophonist Ivo Perelman with three distinct guitar voices — Marc Ribot, Elliott Sharp, and Joe Morris — this 3-CD set presents three separate duo encounters recorded at Park West Studios in Brooklyn, highlighting contrasting improvisational languages while exploring timbre, interaction, and the expressive possibilities of the guitar in free improv contexts.

Centering the lyrical interplay of piano and violin, Marc Copland and Mark Feldman lead two rhythm sections with Drew Gress (bass), the late Anthony Pinciotti (drums) or Felix Henkelhausen (bass), and Jonas Burgwinkel (drums), through intimate, textural performances balancing standards and originals with subtle, exploratory improvisation.

Recorded in Chicago between 1925 and 1928, these seminal Hot Five and Hot Seven sessions led by Louis Armstrong capture a transformative moment in early jazz, where his virtuosic phrasing, rhythmic innovation, and charismatic presence redefine the music's expressive scope, presented here with exceptional restoration and mastering, and accompanied by two postcards detailing recording sessions and personnel.

Reuniting after years apart, saxophonist Dave Rempis, bassist Ingebrigt Håker Flaten, and drummer Frank Rosaly revive The Outskirts with a dynamic balance of modular compositions and open-ended improvisation, joined on one disc by pianist Marta Warelis, resulting in two contrasting live sets that move fluidly between structured ideas and spontaneous interplay in an expansive program of ensemble-driven free improv.