Recorded outdoors along Stony Kill Creek in Wawarsing and in a Mt Tremper studio, Evan Lindorff-Ellery and Naomi Juniper blend acoustic guitar, voice and glass jar with electric guitar, piano and activated objects into intimate yet friction-laced improvisations that merge environmental presence with tactile surface work, balancing fragile song-forms against raw, textural interplay.

"Music for an Imaginary Ballet is both a creative landmark and a musical diary of Arkady Gotesman's long and rich career spanning over three decades. In 2023, Arkady presented his solo project of the same title. This chamber solo...

Recorded live at Crosstown Arts in Memphis in March 2024, this concert brought together Art Edmaiston, Chad Fowler, Ra Kalam Bob Moses, Damon Smith and Clifford "Pee Wee" Jackson for a spiritually charged free jazz session that channels a deep Southern lineage, blending blues-rooted intensity with fearless collective improvisation into a cohesive, dramatic and wholly spontaneous performance.

Recorded in Easton, Bristol in 2024, the debut release from British duo David / David pairs David Croshaw's dynamic drumming with David Cooper's improvised electronics, capturing a series of volatile live encounters that blur structure and spontaneity through dense rhythmic interplay, fractured samples, and a kinetic balance between danceable momentum and chaotic sonic experimentation.

Bassist and composer Lisa Mezzacappa leads her Bay Area 5(ish) ensemble — with Aaron Bennett, Kyle Bruckmann, Mark Clifford, Brett Carson, Jordan Glenn and guest Fred Frith — through a meticulously structured yet explosively improvisational suite blending Braxtonian processional lines, chamber-textured atmospheres and surging free interplay into a dynamic, "tight-loose" exploration of contemporary creative jazz.

Inspired by Sol LeWitt's Incomplete Open Cubes, Bay Area duo B. — bassist Lisa Mezzacappa and drummer Jason Levis — translate the artist's serial logic into a system of modular compositions and improvisations, shaping asymmetrical grooves, bowed-bass textures and expanded drumset sonorities into a dynamic drums-and-bass dialogue that balances structural rigor with spontaneous interplay.

Inspired by the 1960s Mission Rebels youth movement founded by his father, Rev. Jesse James, Bay Area guitarist David James leads an ensemble of trombone, clarinet, viola, bass, drums and voices in a socially resonant instrumental and song suite that blends chamber textures and improvisation into a reflective, community-rooted work of memory and tribute.

The trio Hearsay — turntablist Allen Moore, cellist/guitarist Ishmael Ali, and drummer Bill Harris — craft a restless and texturally rich improvisational set that bends time through fractured grooves, looping vinyl gestures, and agile acoustic interplay, balancing rhythmic tension, abstract sound manipulation, and aural exploration with striking restraint and spontaneity.

Evan Lindorff-Ellery's cassette-length solo sessions, the inaugural release from Disseminated Light and Sound Recordings blend cymbals, electric guitar, digital piano, snare drum and activated objects into patient, textural improvisations that emphasize resonance, tactile surface and gradual transformation, masterfully shaped into an immersive study of sustained tone and subtle sonic decay.

Recorded at Unison Arts in New Paltz in July 2025, Koyoltzintli and workshop participants perform an impromptu ensemble on pit-fired clay slabs alongside congas, whistles and voice, creating a raw, communal percussion work that transforms earth, breath and rhythm into brittle, resonant and spontaneously evolving sound.

Whisker — the Chicago duo of modular synthesist Ben Baker Billington and bassist Andrew Scott Young — expand their psychedelic, noise-forged language through collaborations with Chris Corsano, Lia Kohl and Norman W. Long, blending polyrhythmic free jazz propulsion, ambient cello-inflected drift and drum-machine-driven electronic abstraction into three high-voltage sessions.

Inspired by Franklin D. Roosevelt's 1941 Four Freedoms speech, trumpeter Dave Douglas shapes a dynamic quartet with pianist Marta Warelis, bassist Nick Dunston, and drummer Joey Baron into a vivid exploration of democratic interplay, where bold themes, elastic swing, and sharply responsive improvisation reflect four independent voices negotiating space, tension, and joy in real time.

The 2nd REMEDY release unites the core trio of Thomas Heberer, Joe Fonda and Joe Hertenstein with trailblazing pianist Aki Takase in a quartet session balancing composed frameworks and collective improv, weaving trumpet, piano, bass, flute & percussion into a fluid, conversational interplay that blends structural clarity with spontaneity shaped by the shared history of Berlin's experimental jazz community.

Composed and led by cellist Ishmael Ali, this wide-ranging studio set moves between raw solo explorations, collaborative improvisations and groove-driven ensemble pieces, blending cello, voice and electronics with a multi-generational Chicago lineup to create an eclectic yet cohesive sound world that balances experimental risk, melodic intimacy and playful collective interaction.

The debut from the duo Flöjter brings together Mats Gustafsson and Delphine Joussein, both collaborators in Fire! Orchestra and Nout, in a wild live encounter expanding the sonic possibilities of the flute, weaving extended techniques, electronics, organ, harmonica and voice into a volatile, exploratory dialogue that moves between raw texture, rhythmic drive and spacious abstraction.

Led by cellist Tomeka Reid, this longstanding quartet with Mary Halvorson on guitar, Jason Roebke on bass, and Tomas Fujiwara on drums delivers a rhythmically propulsive and structurally nimble set that balances grounded low-end drive with agile drumming, incisive guitar textures, and Reid's expressive counterpoint, channeling echoes of 1960s jazz while asserting an exuberant, and yes — danceable — release!

Recorded during the mid-1970s loft-jazz flowering at Studio Rivbea in New York City, this live session finds Oliver Lake leading a volatile ensemble with Baikida Carroll, Michael Gregory Jackson, Fred Hopkins, and drummers Phillip Wilson and Jerome Cooper, blending post-BAG urgency, searching improvisation, and sharp ensemble interplay into a raw, idealistic document of creative rebirth.

Bringing together Ziv Taubenfeld on bass clarinet and gongs, Helena Espvall on cello, and João Sousa on drums, this trio release weaves restless plucked figures, plaintive bowing, and propulsive percussion into searching improvisations that move from hushed lyricism to surging intensity, evoking dreamlike visions, winged melodies, and the fragile beauty of a song discovered in the act of becoming.

Bringing together the Nova Saxophone Group and the William Winant Percussion Group, Zorn's 1978 game piece Curling is realized in two Bay Area interpretations focused on sustained tones, restrained interaction, and subtle sonic collisions, transforming long-form minimalist gestures into hypnotic collective improvisations that explore the quietly unpredictable edges of his early compositional language.

Marking a pivotal artistic evolution for saxophonist John O'Gallagher, this session draws on his deep study of John Coltrane and recent personal transitions to unite guitarist Ben Monder with master drummers Andrew Cyrille and Billy Hart in a fluid program of mostly first-take performances that balance composed structures and open improvisation through an organic, system-aware approach to free jazz expression.

Marking a pivotal artistic evolution for saxophonist John O'Gallagher, this session draws on his deep study of John Coltrane and recent personal transitions to unite guitarist Ben Monder with master drummers Andrew Cyrille and Billy Hart in a fluid program of mostly first-take performances that balance composed structures and open improvisation through an organic, system-aware approach to free jazz expression.

Composed and conducted by Tyshawn Sorey, this expansive work presents a luminous, long-form meditation inspired by Morton Feldman's Rothko Chapel, blending voice, strings, keyboards and percussion into a deeply contemplative soundscape of spiritual fragments, sustained tonal color and quiet emotional intensity, realized by soloists Davóne Tines, Kim Kashkashian, Sarah Rothenberg, Steven Schick and the Houston Chamber Choir.

Interpreting selections from John Zorn�s expansive Bagatelles cycle, this quartet led by pianist Kris Davis brings together guitarist Mary Halvorson, bassist Drew Gress and drummer Kenny Wollesen in a fluid, richly expressive reading of Zorn�s compositions, balancing intricate written forms with lyrical improvisation while weaving delicate ensemble interplay and adventurous harmonic motion.

Composed and led by cellist Ishmael Ali, this wide-ranging studio set moves between raw solo explorations, collaborative improvisations and groove-driven ensemble pieces, blending cello, voice and electronics with a multi-generational Chicago lineup to create an eclectic yet cohesive sound world that balances experimental risk, melodic intimacy and playful collective interaction.

Led by cellist Tomeka Reid, this longstanding quartet with Mary Halvorson on guitar, Jason Roebke on bass, and Tomas Fujiwara on drums delivers a rhythmically propulsive and structurally nimble set that balances grounded low-end drive with agile drumming, incisive guitar textures, and Reid's expressive counterpoint, channeling echoes of 1960s jazz while asserting an exuberant, and yes — danceable — release!

Expanding his In Cahoots quartet into a quintet with Ingrid Laubrock on tenor & soprano sax, composer Frank Gratkowski joins Philip Zoubek on piano & synthesizer, Robert Landfermann on bass, and Dominik Mahnig on drums to perform his fluid compositions that blur the line between writing and improvisation, weaving microtonal nuance, extended techniques with interactive interplay in an important contemporary jazz statement.

The quartet of Ryan Easter (trumpet, voice), Elias Stemeseder (synths, una corda piano), Lester St. Louis (cello, electronics), and Jason Nazary (drums, synths) unleash a feverish collision of noise-encrusted free jazz, spoken word, mutant hip-hop rhythms, and fractured traditions, weaving sinister intensity with playful unpredictability through deeply reactive and explosive improvisation.

Recorded in the former home of self-taught painter Rex Brasher, Christopher Hoffman performs a deeply introspective solo work for acoustic and electric cello, channeling solitude and creative intensity into resonant textures and evolving melodic forms that echo both the environment and Brasher's singular artistic vision, creating a powerful meditation on place, perception, and personal expression.

Spanning Morton Feldman's three expansive trios for flute, piano, and percussion, these performances by the GBSR Duo with Taylor MacLennan immerse the listener in an extended temporal field where quiet intensity, precise timbral balance, and fragile rhythmic relationships unfold with hypnotic patience, transforming duration itself into an expressive element of listening, presence, and sustained attention.

In this duo setting, violinist Angharad Davies and percussionist Burkhard Beins achieve an extraordinary level of focus and trust, unfolding detailed free improvisations through intersecting and consonant playing that moves through episodic, suite-like forms, where texture, space, and timbral transformation dissolve individual roles into a single, continuously evolving musical presence.

Bringing together robot-controlled piano, percussion, and voice, Nicholas Bussmann, Sven-Åke Johansson, and Yan Jun construct a dreamlike improvisation that balances playful artifice and genuine interaction, where fragmented rhythms, unconventional vocal techniques, and mechanized piano gestures blur distinctions between jazz, ritual, and abstraction.

In this duo setting, Daniel Levin and Laurent Estoppey engage in a deeply exploratory dialogue for cello and saxophone that blurs the line between intention and execution, unfolding mercurial, soaring improvisations that push the expressive limits of their instruments while inviting attentive listening without the need for explanation or resolution.

Drawing from a period of intense experimentation in the mid-1980s, Jessica Williams transforms a prepared piano into a newly imagined and startlingly creative instrument, shaping music that moves from Satie-like lyricism to controlled cacophony through altered strings, tactile resonance, and deeply expressive melodic voicing-forward-thinking and intimate work unheard for nearly four decades.

Using self-built breath vessels alongside tuning forks, sine waves, and voice, Liz Allbee creates a form of speculative folk music shaped by respiratory rhythms, resonant drones, and tactile gestures, unfolding a quietly epic, intimate, and immersive soundworld that imagines future collectivity through shared breath, material resonance, and electro-acoustic communion.

Two expansive clarinet-centered works explore psychoacoustic perception and collective illusion, the first album a swarm-like octet performance by The Paranormal Clarinet Society built from simple instrumental language with a rigorously structured multi-track, the second a solo improvisation that imagines ensemble interplay through breath, density, spatial awareness, and finely calibrated sonic detail.

The 3rd of NI-VU-NI-CONNU's 5-LP John Butcher series and part of a 2 night residency at ausland in Berlin coinciding with his 65th birthday, the long-running trio of tenor & soprano saxophonist John Butcher with Thomas Lehn on synthesizer and Gino Robair on percussion, Blipoo Box & found objects perform four perfectly complementary and startling improvisations.

Restored from the December 12, 1977 Padova concert, Evan Parker's soprano/tenor torrents collide with Andrea Centazzo's percussion and electronics, turning audience heckles into rocket fuel as long, scorching sequences leap from whispering key-click detail to volcanic blasts, capturing a decisive moment when Italy's free scene opened wide to Northern Europe's most inventive sax voice.

Captured on the trio's December 12-13, 1977 Rome dates, Alvin Curran's piano, trumpet and synthesizer set melodic fragments and minimalist pulses in motion while Evan Parker and Andrea Centazzo answer with spiralling sax multiphonics and electrified percussion, the three languages finding a volatile common ground where groove, texture and rupture keep swapping roles in real time.

Recorded on December 14, 1977 in Pistoia's cavernous, half-empty sports pavilion, the Curran/Centazzo/Parker trio plays with surprising translucence as piano and synth glint, trumpet flashes, sax lines braid into overtones, and percussion radiates in airy space, the room's unlikely acoustics giving the music an ethereal transparency that makes every attack, shimmer and sudden silence feel magnified.

Expanding their language through dense composition and open improvisation, this iteration of Peter Evans's ensemble moves fluidly between explosive dynamics, electronic textures, orchestral color, and rhythmic propulsion, as brass, vibes, synths, and percussion interlock in a restless, polyphonic music driven by play, risk, and a continually evolving collective imagination.

Drawing from deeply personal listening histories, this richly illustrated volume assembles 100 essential free jazz and improvisation recordings from 1960-80, presenting album art, notes, and reflections that frame the music as non-hierarchical and interlinked, offering an immersive guide for adventurous listeners interested in the lineage, spirit, and lived culture of creative freedom.

Uniting bassist Stephan Crump, drummer Eric McPherson with alto saxophonist Darius Jones, this trio channels a deeply connected improvisational language built on evolving vamps, elastic grooves, and shared momentum, as Jones's emotionally direct alto moves freely through shifting forms shaped by trust, vulnerability, and a collective pursuit of intensity without hierarchy or hesitation.

Recording at the historic Muziekcentrum van de Omroep in Hilversum, Dutch pianist Reinier van Houdt performs twelve solo piano works spanning more than three decades of Swiss composer Jürg Frey's output, revealing an evolving yet remarkably consistent compositional voice through performances of great restraint, sensitivity, and quiet intensity, balancing fragility, warmth, and crystalline clarity.

An historic world-premiere recording of Éliane Radigue's earliest surviving work, performed at Huddersfield Contemporary Music Festival, where a stellar ensemble realizes her flexible "sonic proposition" through evolving textures, mathematical spirals and dynamic transformations that foreshadow her later visionary soundworld.

A rich all-vocal rendering of the Bible's sensual Song of Solomon, featuring five distinguished female voices with narration by Barbara Hannigan and Mathieu Amalric, and guided by Jeremy Fogel's new translation, this lush limited-edition CD book highlights one of Zorn's most evocative and beautifully realized creations in a single extended work.

Exploring the tradition of night music with subtle, dreamlike elegance, Zorn's latest piano-trio work — the fourth in his series with Brian Marsella, Jorge Roeder, and Ches Smith after Suite for Piano, Ballades, and Impromptus — unfolds as a lyrical and expressive creation performed with seemingly telepathic, virtuosic, and finely nuanced interplay.

Blending Arabic maqam with jazz-inflected improvisation, ElSaffar's new quartet — joined by Tania Giannouli, Ole Mathisen, and Tomas Fujiwara — delivers an intense and expressive live performance whose spontaneous, newly composed material unfolds with lyrical depth, microtonal color, and dynamic interplay, captured at Berlin's Pierre Boulez Saal with additional alternate takes.

Recorded live at the Bimhuis, Ziv Taubenfeld's Full Sun gathers Michael Moore, Joost Buis, Yung-Tuan Ku, Nico Chientaroli, Rozemarie Heggen, and Onno Govaert for a slow-unfolding suite steeped in polyphonic colors, lyrical interplay, and spirited homage to Jimmy Lyons, Duke Ellington, Sun Ra, and Misha Mengelberg, shaping a warm, exploratory, and deeply communal sonic journey.

Recorded in two powerful live sets at Café OTO, Sophie Agnel's first solo LP channels her post-recovery reinvention into a fiercely physical language for prepared piano, unleashing dense sound masses, interior textures, and sudden moments of clarity as she reshapes the instrument into a raw, personal terrain of gesture, resonance, and fearless exploration.

Long delayed but bursting with life, guitarist Amanda Monaco's freebopping quartet — Michael Attias, Sean Conly, and Satoshi Takeishi — delivers a sharp, melodic, and mischievously adventurous set, blending playful grooves, quick-turn interplay, and Monaco's distinctive compositional voice into a vibrant, high-spirited vinyl debut from her Deathblow project.

Reimagining and transforming Ahmed Abdul-Malik's Jazz Sahara in their first studio session, the [Ahmed] quartet of Pat Thomas, Joel Grip, Antonin Gerbal, and Seymour Wright ignite four compact, single-take explorations that fuse percussive intensity, kaleidoscopic group interplay, and a fearless reshaping of tradition into dizzying, future-leaning improvisation.

A vibrant 2014 large-ensemble performance recorded live in Nijmegen and Moers, with Fred Frith leading an extraordinary lineup including Marie Abe, Kasey Knudsen, Aaron Novik, Lisa Mezzacappa, Ava Mendoza, William Winant, Dominique Leone, Wobbly, Kaethe Hofstetter, and Jordan Glenn in dynamic, genre-blurring interpretations of his Gravity-era compositions.

The fourth solo piano album from British improviser Pat Thomas on Otoroku, recorded at London's Fish Factory and drawing from his Sufi faith and the legacy of Arabic scientific innovation, as Thomas explores cosmic motion and spiritual resonance through dynamic inside-piano techniques, harmonic clusters, and deeply personal, rhythmically charged improvisations.

A vinyl-only sampler spanning 1970-2007, showcasing Joe McPhee's fiercely inventive spirit through funk-driven grooves, spiritual jazz depth, fiery collaborations with Cato Salsa Experience and The Thing, and intimate duo interplay with Paal Nilssen-Love - a defiant, time-jumping portrait of one of improvised music's most dynamic voices.

Through 64 succinct works, the trio of Sergio Armaroli (vibraphone), Steve Piccolo (electric bass, voices, electronics), and Elliott Sharp (guitars, soprano saxophone) unravels and reimagines the jazz tradition in fascinating fragments where familiar melodies, riffs, and harmonic cues flicker through an inventive, experimental interplay that blurs memory, abstraction, and improvisational wit.

A compelling and distinctive live solo recording from cellist Daniel Levin at Firehouse 12 in 2015, using extended bowing, percussive techniques, and resonant microtonal detail to explore the cello's outer limits, presented in Smeraldina-Rima's distinctive packaging with a handmade screen-printed fold-out poster and heavy-duty printed sleeve.

Composer Henry Threadgill conducts a suite for six acoustic guitars and two pianos, bringing together Bill Frisell, Miles Okazaki, Brandon Ross, Gregg Belisle-Chi, Jerome Harris, Stomu Takeishi, Maya Keren, and Rahul Carlberg in an intricately orchestrated work whose intervallic syntax and meticulous counterpoint entwine with unexpected timbres to reveal his singular and sublime vision.

Seventeen years after their last recording, the New York trio of Steve Lehman (alto saxophone), Vijay Iyer (piano, Rhodes), and Tyshawn Sorey (drums) reunite with dense, high-impact compositions and fearless interplay, blending complexity with groove as they reaffirm their status as one of the most vital ensembles in contemporary improvised music.

Drummer and composer Dan Weiss brings together Peter Evans (trumpet), Patricia Brennan (vibraphone), and Miles Okazaki (guitar) in a set of compositions written for their distinct voices, shifting from meditative calm to intense peaks, weaving intricate contrapuntal textures and improvisations into a mysterious and transcendent collective sound.

Brooklyn pianist Eva Novoa joins saxophonist Daniel Carter and drummer Francisco Mela for the second volume of The Freedom Suite, a set of twelve pieces blending piano, Rhodes, harpsichord, gongs, and vocals with Carter's multi-reed brilliance and Mela's Cuban-inflected drumming, creating an urgent, intimate, and fluidly improvised dialogue of words, sound, and fearless imagination.

An extraordinary solo piano album from UK pianist Pat Thomas, recorded at London's Fish Factory Studio, presenting eight deeply focused improvisations and compositions reflecting Thomas's lifelong engagement with Sufism and spiritual expression through sound; a luminous, exploratory work that unites the traditions of jazz and mysticism into a transcendent, profoundly human statement.

A fascinating double album uniting guitarist Gene Torchia on amplified classical guitar and John Stowell on electric guitar, recorded in the studio between 2023 and 2025, blending composed works written for modern classical guitar and flute with Stowell's improvisations to create a rich and stylistically diverse dialogue spanning blues, Latin, Irish, baroque, and avant-garde forms.

Returning to its core quartet, Natural Information Society — Joshua Abrams, Lisa Alvarado, Mikel Patrick Avery, and Jason Stein — unfolds a single continuous composition of hypnotic polyrhythms and evolving textures, merging minimalism, modal jazz, and dub-inspired production into a richly layered soundfield that pulses with meditative intensity, collective focus, and transcendent rhythmic flow.

Elliott Sharp's impressive series "Never Metaguitar" with releases on Clean Feed and Klanggalerie continues in this 6th volume of 18 remarkable and diverse approaches to the stringed instrument, effected and not, with contributors including Dougie Bowne, Wendy Eisenberg, Charles K. Noyes, Andr� Cholmondele, Toto Alvarez, Zona Zanjeros, David Torn, &c. &c.

Drawing inspiration from rediscovered 1998 Ornette Coleman rehearsal tapes and the spirit of Dewey Redman, tenor saxophonist and composer Ohad Talmor opens a new artistic cycle with his core trio of Chris Tordini and Eric McPherson plus a remarkable array of guests, creating kaleidoscopic variations that merge composed forms, liberated improvisation, and subtly deployed electronics.

Swiss pianist Sylvie Courvoisier and legendary trumpeter Wadada Leo Smith meet in a deeply focused duo session, their through-composed material unfolding with stunning restraint, architectural clarity, and a quiet but potent freedom, as each phrase, gesture, and interval feels acutely calibrated in a shared space of mystery, immediacy, and poetic intent.

Uniting from different continents and generations, guitarist and vocalist Fred Frith and drummer, percussionist, and vocalist Maria Portugal meet in Cologne for four improvised stretches that blend song form, rhythmic invention, exploratory textures, and creative voice work, revealing a shared musical language that dissolves genre boundaries into a vivid, unpredictable exchange.

Five years after their debut, co-leaders Anna Webber and Angela Morris return with a 19-piece large ensemble recording that showcases their next-level compositional voices, unfolding through the "Just Intonation Etudes for Big Band" suite and a series of richly orchestrated works that balance drones, contrapuntal density, rhythmic blasts, and lyrical themes in an adventurous exploration of sound and structure.

With longtime collaborators Jason Lindner, Ben Monder, Tim Lefebvre, Zach Danziger, Nate Wood, Ryan Dahle, and Jonathan Maron, visionary saxophonist Donny McCaslin channels the raw intensity of improvised jams into a cinematic, high-energy sound world, blending jazz with rock, electronica, and soulful urgency, a fierce and timeless statement.

Recorded live at the Donaueschingen Music Festival in 1971, this extraordinary collaboration between Don Cherry, Krzysztof Penderecki, and The New Eternal Rhythm Orchestra merges free jazz with avant-garde composition, blending fiery improvisation, unconventional orchestrations and global influences into a powerful experience that challenges traditional genre boundaries.

Collecting eight albums from the early to late '60s, this generous four-CD set surveys the groundbreaking work of trumpeter, composer, and bandleader Don Ellis, tracing his evolution from post-bop experiments with shifting metric structures into large-ensemble innovation infused with global rhythms, expanded instrumentations, and a fiercely exploratory imagination.

Conducted by PEK using an expanded system of graphic signs, cue windows and directional frames, this large Turbulence Orchestra realises a continuous narrative of shifting density, guided entrances and exits, and evolving instrumentation, the players responding in real time to PEK's visual triggers to create a vivid, shape-shifting electro-acoustic improvisation.

A compelling solo work from Bryan Eubanks, recorded in Berlin in early 2021, where soprano saxophone and electronics trace fragile forms and fleeting memories, shifting from intimate acoustic subtleties to fierce circuit-bent resonances in a poetic exploration of sound, presence, and the quiet suspension of time.

Exploring the fusion of acoustic presence and electronic projection, violinist Anouck Genthon and electronic musician Lionel Marchetti shape a two-disc journey where the violin's resonance folds into shifting synthetic textures, spatial loudspeaker design guiding evolving sound-forms that radiate like a focused beacon through immersive, exploratory improvisation.

A 26-member, non-hierarchical improvising ensemble recorded live over three days in Le Volcan in April 2021, where individual instrumental voices — from saxophone and guitar to rotating surfaces and electronics — merge into a shifting mass of acoustic and electric event, preserving each performer's singular identity even as the group spins into turbulent collective invention.

This double-CD set finds Michael Pisaro and Michael Francis Duch probing the attentive meeting of electric guitar and double bass in extended, quietly rigorous works that privilege the fine gradations of sound, duration and silence, offering a minimal but richly textured listening experience rooted in subtle transformation rather than overt spectacle.

Four master improvisers (Mats Gustafsson, Ken Vandermark, Tomeka Reid, Chad Taylor) from overlapping creative circles engage in a set of powerful interactions, where dense low-end reeds, lyrical cello, and rhythmic elasticity create shifting terrain; through deep listening and long-forged connections, they navigate spontaneous form with urgency, restraint, and a shared sense of sonic purpose.

A contemplative meeting of Pierre Favre, Sergio Armaroli, Andrea Centazzo, and Francesca Gemmo, exploring percussion, vibraphone, and piano in spacious improvised forms that privilege resonance over rhythm, weaving subtle dynamics and reflective timbres into an existential soundscape where silence, decay, and shimmering overtones converge in quietly radical dialogue.

A fierce live collision of Jaap Blonk's phonetic vocal and electronic inventions and Jasper Stadhouders' raw guitar improvisation, forging a surreal language of sputtered syllables, scraped strings, and disruptive humor, where meaning dissolves into texture and every gesture feels simultaneously unhinged and meticulously alive.

Blending incisive lyricism with modern chamber-jazz intensity, vocalist Laura Ann Singh leads a quintet with Scott Clark, Adam Hopkins, John Lilley, and Bob Miller through richly composed pieces that move from fragile introspection to assertive rhythmic drive, intertwining trumpet and saxophone lines with atmospheric bass and percussion in a deeply emotive, genre-fluid statement.

Inspired by Gertrude Stein's experimental poem Yet Dish, Swiss saxophonist Christoph Gallio leads an ensemble with vocalist Sonia Loenne, bassist Vito Cadonau, and percussionist Flo Hufschmid in a nuanced exploration of language and sound, transforming Stein's rhythmic abstractions into vivid musical dialogues where wit, structure, and spontaneity intertwine with poetic precision.

Recorded in Verona, Italy, pianists Francesca Gemmo and Magda Mayas engage in an intricate dialogue between piano and prepared piano, blending Gemmo's contemplative lyricism and impressionist echoes with Mayas's inventive explorations of touch, timbre, and texture, creating a vivid and unpredictable sonic landscape of tension, nuance, and resonance.

A seasoned quartet of trombonist Robert Morgenthaler, vibraphonist Christopher Dell, bassist Fridolin Blumer, and percussionist Heinz Geisser recorded in Zurich, exploring the essence of free improvisation through deep listening and spontaneous structure, where interplay and attentiveness replace convention, revealing the magic that happens in the space between the rules.

Composed by Cat Hope and recorded live at the Tura and Perth Festival, this striking opera for four vocal soloists, bass orchestra, and community choir unites the visceral voices of Caitlin Cassidy, Judith Dodsworth, Sage Pbbbt, and Karina Utomo under conductor Aaron Wyatt in a profound, wordless protest against the inhumanity of refugee detention and a moving appeal to shared compassion.

Marking their 39th year together, pianist Chris Abrahams, drummer Tony Buck, and bassist Lloyd Swanton expand their immersive approach to improv across three discs of evolving intensity, recording in the studio in Australia, where four long-form pieces unfold with hypnotic patience, microscopic detail, and The Necks' hallmark balance of restraint, texture, and boundless improvisational discovery.