Although the "pioneer" label may reflect her role through the decades, it does not completely convey the importance of late pianist Ir�ne Schweizer's contributions to modern art. Aside from the impact that the Swiss pianist's music has had on certain players (including, in this reviewer's case, an enhanced perspective on contrapuntal extemporization and the capacity to stay composed across turbulence), the expressions that arise when I think of Schweizer's music, or observe her gaze up close, are "coherence" and "articulation."

Schweizer's oblique, unpremeditated movements on the keyboard were directed by a thorough awareness of her position within a sonic continuum. Her phrasing always revealed reference points, veritable "acoustic beacons" to assist us in decoding the message. And, last but not least, that scintillating inventiveness � comprising a mastery of extended techniques and preparations � was truly uncommon.

Given all the reasons stated above and beyond, what is offered here by Intakt �; Schweizer's enduring "home" during most of her career � should be embraced with genuine excitement. Ir�ne's Hot Four serves as the audio documentation of the inaugural act by a group of exceptional musicians. Along with the nominal leader, the ensemble is shaped by R�diger Carl on accordion, sax and clarinet, Johnny Dyani on double bass and voice, and Han Bennink on drums, percussion and megaphone. Each artist warrants an individual story, of course, but what is significant in this situation is the outcome of their instrumental (and, on occasion, theatrical) interaction for the listener's advantage. This set, taped by Radio SRF at the 1981 edition of Internationales Jazzfestival Z�rich, was praised by local media as a peak of the event. Upon listening to the recording, one cannot help but agree with that assessment, joining the audience's enthusiastic response at the end of each piece in the time machine of the mind.

In spite of the fact that this was their introductory concert, the participants sound as if they had rehearsed together since childhood, effortlessly seeking, finding, prompting and reacting through superb improvisational skills. The high caliber of the interplay and the diverse sensations of tension and release it generates � from fast-paced, ever-changing superimpositions to circus comedy, from anarchic clatter to the clever organization of spontaneous themes � could be discussed for ages without fully grasping the kind of creative spark that ignited the inner dynamics of these beings, immersed in their own "stage reality" and revitalized by the energy they shared with one another. The gift for us is an exhilarating series of genre-jumping scenarios where Schweizer, Dyani, Carl and Bennink function as distinct leaders who have no need for a negotiating table, the term "compromise" seemingly not appealing to any of them. Accordingly, the distinctiveness of the single voices becomes a combination of twists and turns that surpasses styles, norms and tired ideals, in the interest of a "right now" that conceals expectations for a utopian future.

This is an unquestionable must, from which newcomers might start to delve into Schweizer's recorded history. Collaborations like this, alongside solo piano milestones such as 1996's Many And One Direction, also on Intakt, illustrate the vast expressive range of this empathetic, tenacious, quick-witted woman. Should someone genuinely wish to engage in serious study, do complement these and any additional resources with the outstanding book by Christian Broecking, This Uncontainable Feeling of Freedom: Ir�ne Schweizer � European Jazz and the Politics of Improvisation, which includes, among other features, a photo of Cecil Taylor � indeed � intently observing a Schweizer live performance from backstage. Nothing more needs to be said.