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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

French double bassist Bruno Chevillon presents only his second solo album in four decades, using bowed resonance, grainy harmonics, percussive attacks, low pizzicato and carefully measured silence to engage the long natural reverberation of a Paris church, treating its stone surfaces, ambient sounds and returning echoes as active partners in a rigorous and deeply expressive acoustic improvisation.

Longtime friends and saxophone innovators Evan Parker on soprano and John Zorn on alto meet for their first dedicated studio collaboration, layering circular-breathed lines, multiphonics, whispers, cries and volatile gestures into five spacious works that treat the reeds as sources of breath, texture and atmosphere, balancing intimate beauty with finely controlled turbulence.

Reuniting fourteen years after their first album, trumpeter Jacob Wick, pianist Marc Riordan and drummer Frank Rosaly revive Tres Hongos for eight live improvisations of fractured piano gestures, searching brass lines and continually reorganized percussion, moving through spacious suspensions, playful melodic exchanges and dense eruptions with the sharp reflexes and volatile rapport of a long-established trio.

An international quartet of Joanna Mattrey on viola, Camila Nebbia on tenor saxophone, Camilo Angeles on flute and effects, and Violeta Garcia on cello and effects, developing seven volatile collective improvisations where breath, bowed resonance, abrasive attacks and subtle electronics move between fragile chamber textures, urgent counterpoint and dense, rhythmically charged eruptions.

Composer Finola Merivale surrounds Catherine Sikora's layered tenor saxophone, breath tones and multiphonics with electronics and field recordings gathered in County Cork, New York and other changing environments, creating three immersive electroacoustic works that move from stark detail to surging masses of sound while exploring landscape, displacement, memory and the unsettled meaning of home.

Swiss guitarist Florian Stoffner presents six concentrated solo improvisations that extend the textural precision of his work with John Butcher and Chris Corsano, using clipped notes, metallic resonance, muted attacks, harmonics and carefully measured silence to transform the electric guitar into an intimate field of fractured melody, tactile detail and spontaneous formal invention.

Reconfiguring the long-running Conference Call quartet with pianist Uwe Oberg alongside tenor saxophonist Gebhard Ullmann, bassist Joe Fonda and drummer/bugler Dieter Ulrich, this first New Conference Call release moves through intricate compositions, spacious collective improvisation and volatile free-jazz exchanges, including tributes to Joe Maneri, Ornette Coleman and Jim Pepper.

Inspired by John Cage and Kenneth Patchen's experimental radio play The City Wears a Slouch Hat, vibraphonist Sergio Armaroli joins Elliott Sharp on guitar and soprano saxophone, Steve Piccolo on speech and electronics, bassist John Edwards and drummer Mark Sanders in an episodic "audio graphic novel" of vivid verbal cues, shifting textures and freely improvised ensemble scenes.

Advancing James Brandon Lewis' "Molecular Systematic Music" into what he describes as a kind of twelve-tone gospel, this sixth quartet album joins his commanding tenor saxophone and compositions with Aruan Ortiz's incisive piano, Brad Jones' grounded bass and Chad Taylor's responsive drumming in spiritually charged music shaped by rigorous structure, lyrical force and deeply interactive ensemble dialogue.

Continuing OM's fusion of rock energy and free improvisation after the death of founding drummer Fredy Studer, soprano saxophonist Urs Leimgruber, guitarist Christy Doran and bassist Bobby Burri are joined by percussionists Gerry Hemingway and Tony Buck for a live set of dense electroacoustic interplay, surging rhythmic force and open-ended collective invention, carrying the group's "ElectroAcoustiCore" language into a new era.

Uniting Candice Hoyes' poetic vocals and electronics, Mimi Jones' bass, voice and pedals, and Val Jeanty's drums and electronic sound design, with guest flutist Nicole Mitchell and trumpeter Milena Casado, Nite Bjuti creates an Afrofuturist blend of Caribbean rhythms, improvised jazz, spoken imagery and layered electronics centered on diaspora, resilience, collective care and the continuing creation of home.

Using David Peck's expanding system of color-coded Frame Notation, this fifth Turbulence Orchestra and Sub-Units performance gathers 19 musicians from the Evil Clown, western Massachusetts and Vermont improvising communities into a large-scale work of voices, reeds, brass, strings, keyboards, electronics and percussion, balancing preplanned entrances and ensemble events with organically unfolding collective invention.

Reduced by winter weather from a planned ten-piece orchestra to a sextet, this Turbulence session brings David Peck, Cliff White, John Fugarino, Eric Dahlman, Scott Samenfeld and Michael Knoblach into a broad-palette improvisation of reeds, brass, electric upright bass, electronics, percussion and invented objects, with Joel Simches' real-time processing shaping a long sequence of shifting sonorities.

Working in Expanse's quieter, chamber-scaled sound world, David Peck, John Fugarino, Eric Dahlman and Michael Knoblach move among reeds, brass, voices, electronics, keyboards and an expansive array of percussion, creating a spacious improvisation of shifting textures, delicate metallic detail, restrained electronics and sudden bursts of color.

Drawn from two Masters of Sonic Revolution performances, this chamber-scaled Leap of Faith quartet brings David Peck's reeds and double reeds, Glynis Lomon's cello, aquasonic and voice, John Fugarino's brass, and Michael Caglianone's reeds and flute into compact, rapidly shifting improvisations shaped by timbral contrast, close ensemble listening and a more focused acoustic palette than the group's expansive studio sessions.

Audrey Lauro's alto saxophone, Christian Pruvost's trumpet and Peter Orins' drums develop a finely balanced language of breath, resonance, friction and unstable pulse, transforming granular textures, acoustic accidents and fleeting gestures through attentive collective improvisation, where silences, tensions and shifting densities continually reshape the trio's shared sonic space.

Quebec trio Dionee creates an expansive, cinematic sound from Clarisse Beriault's oboe, acoustic bass and effects, Eric Normand's electric bass, beatbox and oscillators, and Robin Servant's diatonic accordion and synthesizers, layering chamber lyricism, heavy pulses, post-rock clarity and fragmented electroacoustic textures across two extended works of orchestral scope.

Composer Alexandre David brings together Quatuor Bozzini, Plaisirs du clavecin, Orchestre de l'Agora, conductor Nicolas Ellis, and Innu poet and vocalist Natasha Kanape Fontaine in 3 works that balance concentrated string writing, voice & text, and vivid orchestral color, reflecting David's fascination with sonority, collaborative creation, and the transformation of personal musical memories.

Montreal-based Quatuor Bozzini records Jurg Frey's Streichquartett (1988) at Radiostudio Zurich, shaping spare scales, measured intervals, and quietly sustained tones into music of unusual clarity and concentration, where seemingly anonymous material reveals its own distinct character through space, duration, resonance, and the tactile presence of sound.

Quatuor Bozzini performs works by Canadian composer Owen Underhill, joined by countertenor Daniel Cabena and sackbut player Jeremy Berkman in settings of 17th-century poetry, alongside two string quartets shaped by encounters with John Cage, quoted musical fragments, natural landscapes, specific places, and personal memory, balancing lucid formal design with vocal expression and finely detailed instrumental color.

Toronto percussionist Ryan Scott premieres fourteen commissioned works by Canadian composers, revealing the snare drum's remarkable range through traditional and extended techniques, electronics, objects, cymbal, bass drum, metal plates, and voice, while presenting a vivid survey of contemporary Canadian percussion writing and expanding the instrument's solo repertoire.

Joelle Leandre on double bass and Remy Belanger de Beauport on violoncello engage in eight finely attuned live improvisations, moving between visceral arco attacks, percussive pizzicato, string scrape, fragile micro-gestures, resonant drones, and sudden silences, dissolving conventional instrumental roles through an alert, risk-taking dialog that balances raw intensity with spaciousness, textural detail, and quietly unfolding form.

Returning after their 577 Records debut, Long Island improvisers Tony Orzano on alto saxophone and clarinet, Bryan Rohmer on guitar, and Jeremy Wexler on drums deliver ten volatile, unedited performances, rapidly shifting between abrasive free jazz, fractured punk momentum, distorted noise, skewed grooves, and spacious textural exchanges on the inaugural release from Orzano and Rohmer's Sonic Index Works imprint.

Montreal composer Virginie Reid layers piano, synthesizers, samples, voice, Jeremi Roy's resonant double bass, and Erika Angell's spectral vocals into five patient electroacoustic works, moving from fragile melodic gestures through cavernous drones and luminous choral textures in an intimate, nocturnal meditation on grief, vulnerability, memory, and the persistent search for light.

Expanse Percussion Edition assembles 10 improvisers for a long-form work balancing reeds, brass, fretless bass, electronics, drum sets, membrane percussion, and an immense array of auxiliary instruments, using rapid doubling and constant instrumental changes to create organic transformations through shifting densities, layered rhythms, broad contrasts, and continuously evolving electroacoustic sonorities.

The Neurodivergent Orchestra combines reeds, brass, guitar, bass, drums, electronics, toys, clown horns, and real-time processing with fully improvised "wacky banter," framing a mock academic presentation on evil clowns that moves through history, popular culture, and surreal invention while balancing theatrical humor, spontaneous storytelling, and the broad-palette electroacoustic improvisation of the Evil Clown aesthetic.

Simulacrum's expanded lineup brings David Peck, Michael Caglianone, John Fugarino, Cyrus Shauoul, Robin Amos, Jonathan LaMaster, and Michael Knoblach together for a dense electroacoustic improvisation, layering reeds, brass, violin, bass, synthesizers, spoken-word interludes, signal processing, and unusual percussion into a continuously shifting field of tightly coordinated textures and sonorities.

Drawing on Italian folk melodies, family memory, and the legacy of Blaser's maternal grandmother, Resistance fighter Rosina Pierina Scarpioni, trombonist Samuel Blaser joins Russ Lossing on piano, Masa Kamaguchi on bass, and Billy Mintz on drums in a deeply personal quartet session of open spaces, raucous interplay, lyrical intimacy, and contemporary improvisation shaped by heritage, song, and identity.

Drawing on Italian folk melodies, family memory, and the legacy of Blaser's maternal grandmother, Resistance fighter Rosina Pierina Scarpioni, trombonist Samuel Blaser joins Russ Lossing on piano, Masa Kamaguchi on bass, and Billy Mintz on drums in a deeply personal quartet session of open spaces, raucous interplay, lyrical intimacy, and contemporary improvisation shaped by heritage, song, and identity.

Drawing on drone, ambient sound, and free improvisation, guitarist/electronics player Nils Wohlrabe joins Karin Johansson on piano, prepared piano, and toy piano, with Hasse Westling on double bass, shaping electronically processed ocean waves, resonant strings, and acoustic depth into an unpredictable, atmospheric soundscape of pulsing motion, shifting timbre, and expansive, wave-like momentum.

Extending their TRAC debut Cylinder Plus, Teddy Ryles and Alexander Cooper shape a 90-minute two-CD computer-music composition developed with custom source-filter modeling and cepstral-based transfer methods, transforming digital artifacts, modeled resonance, spectral detail, and unstable electronic textures into a long-form electro-acoustic study of timbre, residue, structure, and abstraction.

Leap of Faith's core duo of David Peck on reeds, electronics, strings, percussion, and invented instruments with Glynis Lomon on cello, aquasonic, voice, and percussion expands to an eight-piece Evil Clown Orchestra with brass, reeds, guitar, bass, drums, electronics, and real-time processing, creating a high-energy improvisation of horn frenzy, dense counterpoint, shifting sonorities, and collective transformation.

Pairing Carver and Steven Meketa's electronica, electronics, and harmonica as Meketa Power Electronics with Cut's solo composer/performer works, this Love Earth Music split moves through devotional power electronics, abrasive noise, breath-driven instability, and concentrated sound pressure, contrasting raw spiritual confrontation with direct, stripped-down underground sound construction.

The solo noise project of Noah Jerge, also associated with the power-electronics project Mindcrawler, Autophagia turns communication into overload on this Love Earth Music release, using harsh electronics, damaged signal, feedback, density, and physical pressure to create a raw California underground statement where speech collapses into rupture and amplified confrontation.

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.

Returning to Chicago with a fierce solo recital for contrabass saxophone, Jon Irabagon explores the instrument's cavernous depth, reverberant resonance, and agile extremities through unaccompanied improvisations and lesser-known works by Julius Hemphill and Anthony Braxton, revealing both the deep blues gravity and structural ingenuity of their music.

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.

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 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.

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 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.

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.

Bridging generations of creative music, pianist Milton Michaeli, double bassist Asaf Shchori, and drummer Hamid Drake form a vividly responsive trio, blending original compositions and improvisation into music shaped by jazz and Latin traditions, deep grooves, bowed textures, lyrical bass movement, spiritual rhythm, and inspirations from Sun Ra and Ras Michael.

Formed from the evolving duo of electric guitarist Pawel Doskocz and drummer Vasco Trilla and expanded in 2023 with flutist Zofia Ilnicka, Hajstra creates a responsive trio language of free improvisation, drones, ambient collage, extended instrumental technique, and richly shifting soundscapes, where each gesture is transformed into fluid, abstract narrative.

Returning Expanse to its quieter, more spacious origins, David Peck, Kelsey Gallagher, David Welans, Eric Dahlman, and Michael Knoblach shape a lower-dynamic session of reeds, flutes, trumpet, overtone voice, electronics, bells, gongs, found percussion, and invented objects, allowing subtle textures, restrained sonorities, and eccentric timbral details to speak with unusual clarity.

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.

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.

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 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.

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.

An intense Argentine free-improvising trio of Luciana Bass on guitar, Ezekiel Jaime on electric bass, and Federico Isasti on drums, shaping spontaneous forms from brittle textures, distorted low-end resonance, scattered rhythmic detail, and explosive collective energy, moving between sparse tension and combustible interaction in a fearless session of attentive, unstable, and deeply physical sound.

A fierce studio document from the Japanese free-improvising trio of Makoto Kawashima on alto saxophone, Louis Inage on bass, and Naoto Yamagishi on drums and percussion, moving through charged silences, abrasive eruptions, fractured melody, dark bass resonance, and scattered percussive force in a raw, intuitive exchange rooted in underground intensity and collective risk.

Longtime collaborators Aaron Russell and Sandy Ewen reunite on guitar and electronics for four works recorded between 2019 and 2025, merging abstract guitar approaches through synthesized drones, processed sound, feedback, and warm hypnotic fields, their distinct palettes unfolding in deftly paced textures that balance intimacy, resonance, and exploratory electronic abrasion.

A three-part solo cassette from Jeph Jerman, transforming found sounds, object textures, and electroacoustic detail into a patient study of friction, resonance, space, and decay, with the title possibly alluding to Alvin "Shipwreck" Kelly's 1920s flagpole-sitting endurance feats, suggesting suspended listening, precarious balance, and heightened attention to an exposed sonic environment.

A boundary-defying percussion quartet with the legendary Joe Chambers on vibraphone, drum kit and percussion, Kevin Diehl on sensory percussion drum kit, Craig McIver on marimba, vibraphone, drum kit and percussion, and Daniel Villarreal on drum kit, sensory percussion, bata okonkolo, conga, cajon and marimba, drawing on Yoruba-rooted ritual energy, avant-jazz, Latin folk and funk.

Uniting the intersecting musical worlds of Satoko Fujii on piano, Taiko Saito on vibraphone and marimba, and Yuko Oshima on drums, this live debut from Trio SAN draws on their histories in duos and first European tour to shape a delicate yet resonant collective language of shifting timbres, prepared piano colors, ringing percussion, and freely developing melodic forms.

A solo work from Australian pianist and composer Alister Spence, performing on piano with preparations and percussion across 16 wholly improvised pieces that expand the instrument beyond the keyboard, using accidents, texture, resonance and spatial detail as compositional forces in a deeply personal exploration of sound, perception and the piano's boundless acoustic possibilities.

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.

Austere and intensely focused, this Chilean duo of Benjamin Vergara on trumpet and Eden Carrasco on alto saxophone draws on more than 20 years of collaboration in experimental music, noise, minimalism, free jazz and site-specific performance, shaping four improvisations where breath, timbre, camouflaged melody, droning blues and submerged cool-jazz gestures blur into textured acoustic abstraction

Bringing together Greg Kelley's extended-technique trumpet with Yoona Kim's non-traditional approach to the ajaeng, this Boston duo explores breath, bow, friction, resonance, and near-silence through taut improvisations where fragile tones, coarse strings, microscopic air bursts, and sudden ruptures forge a focused, unpredictable shared language.

A tender, dreamlike collaboration between Stefano Pilia on guitars and Oliver Mann on vocals, expanded with Mick Turner's guitar, Zona MC's vocals and lyrics, and brass from Christopher Grace on trumpet, Freya Hombergen on horn and Jackson Bankovic on trombone, shaping nine intimate pieces where electro-acoustic texture, art-song fragility and experimental folk merge in a quiet meditation on friendship, memory and distance.

A tactile 12-part acoustic-object improvisation from Jeph Jerman and Ted Byrnes, using kalimba, snares, bells, broken cymbal, cans, concrete floor, pinecones, bowls, pot lids, water, hands and other found or homemade materials to build a restless sound world of rustle, scrape, metallic resonance, loose pulse and strange-beat movement, extending Jerman's found-sound practice through Byrnes' free percussion language.

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.

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.

Stephen Grew performs a completely improvised solo piano session on Sansom Studios' bright-toned Yamaha, recorded in three unedited sections divided only by tea breaks, using the studio setting to explore a different acoustic focus from his church and concert recordings, balancing clarity, momentum, lyric fracture and spontaneous structure, with the closing piece offered in tribute to drummer Tony Bianco.

A first-meeting trio of Teresa Hackel on recorders and voice, Stefan Strasser on piano and synth, and Mia Zabelka on violin, voice and electronics, recorded live in Cologne for Strasser's 60th birthday, unfolding four extended improvisations where breath, strings, keys, electronics and vocal resonance merge into a patient, tactile field of discovery, response, and newly formed collective language.

Italian avant-grind duo Dysmorfic pair Davide Buccedi's volatile drumming with Tom Conte's fretted and fretless bass, then fold in Steve Davis' +DOG+ electronics for five compact assaults where grindcore velocity, prog-jazz dislocation and harsh ambient noise collide, turning riffs into unstable events and brief tracks into dense, abrasive miniatures of rhythm, texture, tension, resistance, and rupture.

The third electronics-only collaboration from Cleveland sound artist Jim Szudy and Steve Davis' +DOG+ unfolds as ten compact-to-extended pieces of industrial drone, electroacoustic noise, distortion, scrape and low-frequency pressure, continuing +Felladog+'s harsh but carefully shaped language of rusted texture, buried signal, abrupt rupture, and immersive sonic decay.