Japanese K Trio unites Kei's poetry with Takao Miyazaki's electric guitar and objects and Yoichi Ichikawa's piano, objects and subjective stereophonic recording, preserving performances from three differently scaled rooms as language, improvisation and environmental resonance interrupt and reshape one another, shifting between intimate spoken detail, unstable acoustic perspective and exploratory sound.

Collecting most of Lenny Bruce's first four Fantasy albums from 1958-61, this 2-CD set captures the comedian's freewheeling blend of satire, social criticism, and taboo-breaking language as he targets religion, politics, show business, sexuality, and American hypocrisy, documenting the fearless improv style that reshaped stand-up comedy and made his obscenity battles a landmark in the history of free expression.

Chris Potter's suite draws on abolitionist John Brown's 1859 raid on Harpers Ferry to examine conviction, sacrifice and America's unresolved conflicts, with Bill Frisell's grainy guitar joined by Burniss Travis, Nate Smith, Sara Caswell, Rane Moore and Zekkereya El-magharbel in an American-rooted sound of blues, folk melody, spacious orchestration and rhythmic drive, balancing historical gravity with vivid ensemble color.

Collecting eight Jaki Byard albums from 1960-67, this 4-CD set follows the pianist and occasional alto saxophonist through his extraordinary synthesis of ragtime, stride, swing, bop and free jazz, joined across varied sessions by Booker Ervin, Rahsaan Roland Kirk, Joe Farrell, Richard Williams, Ron Carter, Roy Haynes, Alan Dawson and others in music of encyclopedic reach, sharp humor and restless invention.

Spanning Ike Quebec's Blue Note work from 1940s swing-era 78s through his early-1960s comeback, this four-CD set follows the tenor saxophonist's broad, breathy sound across blues, ballads, jukebox organ sessions, hard bop and Brazilian-inflected soul jazz, joined by Sir Charles Thompson, Earl Van Dyke, Skeeter Best, Milt Hinton, Sam Jones, J. C. Heard and others in performances of warmth, weight and direct emotional power.

Uniting Jane SpokenWord's poetry with Albey onBass's fretless bass and voice, Axioms expands into a quintet as PEK, Michael Caglianone, and John Fugarino deploy reeds, brass, electronics, percussion, and resonant studio instruments around the text, yielding a dense but attentive improvisation that moves between contrapuntal detail, ritual color, and sudden collective turbulence.

A balanced sextet of reeds, brass, bass, percussion, electronics, and real-time processing, with PEK, John Fugarino, Eric Dahlman, David Welans, Scott Samenfeld, Michael Knoblach, and Joel Simches moving through continuous instrumental changes to shape an expansive improvisation of shifting sonorities, dense textures, resonant percussion, electroacoustic color, and boldly contrasting ensemble formations.

David Peck and John Fugarino move between reeds, brass, synthesizers, electroacoustic devices, and percussion alongside Robin Amos's keyboards and processed instruments, and Michael Knoblach's global percussion ,creating a long-form improvisation whose lean quartet framework supports rapid instrumental shifts, spacious electronic textures, resonant objects, and sharply contrasting sonorities.

Reissuing the 1979 debut from the Colorado collective that evolved through Mnemonists into Biota, four extended improvisations place Hugh Ragin, William Sharp, John Herdt and a large ensemble amid brass, reeds, prepared piano, electric instruments, voices, found percussion and tapes mixed live into volatile intersections of free jazz, musique concrète, sound poetry and industrial texture.

Carla Kihlstedt and Matthias Bossi's Rabbit Rabbit Radio return for their 4th volume of music poised between art rock, folk, chamber music, industrial texture and improvisation, joined by Jeremy Flower and Jon Evans as voice, strings, drums, electronics, guitars and bass shape finely crafted pieces on the border between popular music and art song, balancing experimental detail with direct emotional impact.

Satoko Fujii conducts her 14-piece Orchestra Kobe through a four-part work composed during the pandemic as an optimistic vision of shared humanity, joining layered reeds and brass with Takumi Seino's volatile guitar, Keishiro Saito's bass and dual drummers Yoshikazu Isaki and Hiromasa Sadaoka in a sweeping progression from stately melody and intimate subgroups to dissonant mass, fiery improvisation and a jubilant final theme.

Drawing on live performances shaped by changing audiences, weather, and landscape, J.J. Gregg's sitar and Ravi Albright's tabla unfold through intricate rhythmic cycles, resonant drones, and spacious melodic exploration, balancing North Indian classical traditions with an open improvisational sensibility that lets environmental sound and spontaneous interaction become part of the music's quietly immersive flow.

Reissuing Henry Grimes' concise, darkly lyrical 1965 trio album with clarinetist Perry Robinson and drummer Tom Price alongside Marzette Watts' turbulent 1966 octet session, this remastered edition contrasts free improvisation with a dense collective of Byard Lancaster, Clifford Thornton, Sonny Sharrock, Karl Berger, Juini Booth and J. C. Moses, Grimes the link between two vital expressions of 1960s freedom

Restoring New York sessions from 1947 to 1949, this collection places Fats Navarro's brilliant, cleanly articulated trumpet within Tadd Dameron's harmonically refined bebop writing, joined by Charlie Rouse, Dexter Gordon, Ernie Henry, Leo Parker, Wardell Gray, Cecil Payne, Art Blakey, Kenny Clarke and others as the ensembles move between intricate modern lines, swing-rooted lyricism and early Afro-Cuban color.

Spanning home recordings from 2018 to 2026 with selected archival material, this four-CD set closes John Tilbury's recording career through piano, clavichord, organ and voice, joined by Keith Rowe, Klaus Filip and six pianists in music ranging from Elizabethan songbooks and contemporary compositions to quiet improvisation and reflection.

Eugene Chadbourne marks May Day with a solo program of labor songs, originals and political parodies drawn from folk and country traditions including Utah Phillips and Merle Haggard, using acoustic guitar, banjo and voice to combine working-class history and protest with caustic humor, spontaneous reinvention and the unruly experimental instincts that have long distinguished his song performances.

Developed through remote, spontaneously layered exchanges between the Philippines, Malaysia, and Minnesota, Rick Countryman's alto flute, replacing his customary alto saxophone, joins Richard Allan Bates' electric bass and effects and Steve Hirsh's reflective drumming in an organically connected improvisation of spacious textures, subtle rhythmic tension, and lyrical interaction.