The UK trio of Paul Dunmall on saxophone, Paul Rogers on bass and Mark Sanders on drum, performing live at the Lamp Tavern in Birmingham, 2013, for three extended free improvisations of masterful playing.

Guitarist Mary Halvorson's project with Chris Speed on sax & clarinet, Eivind Opsvik on bass, and Tomas Fuijwara on drums, a band formed for a one-off concert at the Blue Note in NYC, that continued on based on the strength of the bond between them, as heard on this superb release.

A demanding duo from New York drummer William Hooker and Lithunian saxophonist Liudas Mockunas, performing live at the 2013 Vilnius Jazz Festival, hard-edged and rugged free music from two outstanding players.

A live recording of two extended improvisations at Audio Rebel's Quintavant in Rio de Janeiro, Brazil from the quartet of Arthur Lacerda on guitar and electronics, electric bassist Felipe Zenicola, guitarist Eduardo Manso, and drummer/percussionist Paal Nilssen-Love.

David Pett's Remote Viewers with 4 saxophonists and keyboards, and the rhythm section of John Edward and Mark Sanders, complete their noir trilogy with an album blending compositional and improvisational forms in mysteriously dark and satisfying forms.

The quartet of Cosottini, Melano, Pisani, Miano (EAQuartet Electroacoustic) in compositions referring to the 4 cardinal map points using graphic scores, games, open readings, &c.

A split 7" release between Cremaster (Alfredo Costa Monteiro (electronics) and Ferran Fages (feedback mixing board and electroacoustic devices); and the Komora A trio of Karol Koszniec (electronics), Dominik Kowalczyk (laptop) and Jakub Mikolajczyk (modular synth).

Six years of songs and compositions reflecting the life and travels of the Montreal quintet of Geraldine Eguiluz (voice, guitar, compositions), Marie-Lys Trudel (violin & viola); Julie Babaz (cello), Sheila Hannigan (cello) and Stephane Diamantakiou (bass).

Lapsteel guitarist and electronic artist Mike Cooper and percussionist Mark Wastell, employing a paiste 32" tam tam and a shruti box, pay homage to the large acoustic sound mirrors used in Britain from 1916 to 1930 as an early form or radar, each of their detailed improvisation referencing one of the locations on the British south and northeast coasts.