In a study of memory and the way we alter or prioritize what we remember, NY guitarist Wendy Eisenberg composed this intimately personal long form text score in four movements to be memorized and then performed using the nonlinear randomness of recollection, recorded in two performances at Firehouse 12 in 2019, once on acoustic guitar and once on banjo.

Two collaborations in a split LP, and the continuation of a series of duo pieces for piano and other instruments that pianist and keyboardist Eric Wubbels has been pursuing since 2006: first an intensive 3-part "Field Of Action" with vocalist and noise artist Charmaine Lee; then "Contraposition" with trombonist Weston Olencki in a duo with Wubbels on prepared piano.

New York creative scene stalwarts drummer Andrew Barker, bassist William Parker, and saxophonist Jon Irabagon debut as a trio, delivering five collectively improvised explorations that emphasize call-and-response dynamics, weaving and reacting with technically impressive, extended, and unconventional techniques and expressions delivered with confident assertion.

Celebrating the profound compositional legacy of Julius Hemphill through inventive string adaptations of his saxophone quartet and sextet works, violinists Curtis Stewart and Sam Bardfeld, violist Stephanie Griffin, and cellist Tomeka Reid channel Abdul Wadud's expressive spirit, transforming Hemphill's blues-inflected jazz into vividly textured chamber improvisations with lyrical intensity.

Highlighting the profound skill and musical connection of alto saxophonist Tim Berne, drummer Tom Rainey, and guitarist Gregg Belisle-Chi, in a captivating journey through meticulously composed pieces, dynamic improvisation, and structured arrangements of spontaneous creativity in a studio recording that emphasize their exploratory artistry and evolution within creative jazz.

Brooklyn trumpeter Adam O'Farrill leads a superb octet — Mary Halvorson (guitar), Patricia Brennan (vibes), Tomas Fujiwara (drums), and others — through dramatically inventive compositions inspired by the literature and arts of the 1930s, balancing angular rhythmic intensity, rich melodic lyricism, and expressive improvisational depth with adventurous sophistication.

A stunning 1981 live performance at Internationales Jazzfestival Zurich, from pianist Irene Schweizer's short-lived but explosive quartet with Rüdiger Carl, Johnny Dyani, and Han Bennink, blending theatrical flair, fierce intensity, bold humor, and spontaneous surprises in a powerhouse set that channels the spirit of Mingus, the wit of Waller, and the raw energy of punk jazz.

Chimaera is the ensemble of Sylvie Courvoisier on piano, her core trio with Drew Gress on bass, Kenny Wollesen on drums & vibraphone, expanded by two trumpeters--Wadada Leo Smith & Nate Wooley--and affected by Austrian guitarist Christian Fennesz who provides sonic backdrops for the improvisations over Courvoisier's compositions, focusing on aura over pyrotechnics; absolutely sublime.

Recorded live at the 2023 Music Unlimited Festival in Wels, Austria, this powerhouse quartet of Joe McPhee, Susanna Gartmayer, John Edwards, and Maria Portugal delivers an electrifying set of spontaneous composition, blending fierce improvisation, commanding technique, and bold interplay in a dynamic performance brimming with vitality and creative approaches to improv.

A collective trio of vanguard improvisers and frequent New York collaborators, Daniel Levin on cello, Chris Pitsiokos on alto saxophone, and Brandon Seabrook on electric guitar, a working band captured here in the studio at Firehouse 12 for a powerful set of idiosyncratic and exhilarating improvisations with tracks and the title named for a family of deep sea fish.

An explosive and intricately balanced trio performance dedicated to the late bassist Hans Schneider from sopranino and alto saxophonist Stefan Keune, guitarist Sandy Ewen, and bassist Damon Smith, recorded live at the Moers Festival, where jagged breathwork, meticulous micro-noise, and deep-string abstraction collide in a fiercely expressive set of free improvisation.

A fiery and tightly woven 2004 quintet session led by alto saxophonist and composer Marco Eneidi, recorded before his move to Europe, with trumpeter Darren Johnston, guitarist John Finkbeiner, bassist Damon Smith, and drummer Vijay Anderson performing dynamic, sharply articulated compositions that balance exuberant improvisation with finely honed structure.

Legendary saxophonist and composer Anthony Braxton releases the first saxophone duet recording of two ghost trance compositions performed with reed player Kyle Brenders.

Chicago multi-reedist Ken Vandermark in a solo concert at Alchemia, Krakow performing portraits and works for Peter Brotzmann, Coleman Hawkins, Evan Parker, Anthony Braxton, Jimmy Guiffre, Fred McDowll, John Carter, & Eric Dolphy.

A brilliant album of subtle and masterful improvisation recorded in 2012 at and using the reverb of the St. Peters church in Whitstable by soprano saxophonist Evan Parker with two percussionists: Toma Gouband on lithophone-based percussion and Mark Nauseef on metallophone-based percussion.

Improvising vocalist Linda Sharrock in a 2 CD release, one live with a sextet including trumpeter Itaru Oki and pianist Eric Zinman, one in the studio in a quartet with Derek Saw on trumpet and John Jasnoch on electric guitar, both performing the complex 3 part title track.

Since 2007 NEXMAP has produced "Binary Cities", a performance series bringing together artists from different cities; in 2009 they brought guitarist Fred Frith and saxophonist Michel Doneda together in San Francisco for the first time for an incredible night of improvisation.

Braxton's Composition 361 is a staggeringly detailed 70 minute tour-de-force for his 12-tet, a work of shifting layers, counter-structures, quiet tensions and scorching explosions.

Ken Vandermark's amazing Resonance Ensemble crossing Chicago, Polish & Ukraine players, with Pere-Ake Holmlander, Magnus Broo, Michael Zerang, Tim Daisy, Devin Hoff, Mikolaj Trzaska, Dave Rempis, Waclaw Zimpel, and Steve Swell.

Austrian composer Peter Ablinger wrote this study, which is not intended for live performance, using a violin performing a slow glissando over one octave, here performed by violinist Johnny Chang, the recording then composed in the studio as a proportion canon, virtually layering 16 violins in a study displaying the harmonic interactions of that single glissando.

Composer Andrew Lafkas' large ensemble piece with performers including C. Spencer Yah, Ron Stabinsky, Barry Weisblat, Sean Meehan, Ben Owen, &c. is a meditative work intended for live performance, this album the 2nd of 3 performances, a brooding and resonant rendering of rich and subtle detail that evolves over 70 minutes, carrying its listeners in a profound revery.

The culmination of 15 years of work is this ambitious installment of Bryan Eubanks with Joe Foster, Dan Brown, and Dan Reynolds' sound project, in a CD of diverse compositions merging concrete, acousmatic sources and field recordings, with an accompanying 391 page book of letters, notes, aphorisms, scores, images, and commentary from the artists & contributors.

These 2016 recording between Bryan Eubanks and Xavier Lopez demonstrate the analog networked sytem they developed, based on the harmonics of random feedback, using this information in real time to shape generative rhythms and other juxtapositions from soprano saxophone and percussion, in four recordings improvised live at Studio 8 bar in Berlin.

A unique document of Don Brown and Dan Reynolds' unconventional compositional practice, recorded live to tape in 2008 with an 8-piece ensemble performing four decades-spanning works at Multnomah Grange #71, this unauthorized cassette release captures a pivotal moment in Portland's experimental scene, offering singular music with deep references and no clear precedent.

Exploring the ethereal resonance of chant through intimate compositions for solo to quartet voice and bass flute, Laura Steenberge draws on the mysticism of medieval music, performed by Rebecca Lane, Catherine Lamb, Julia Holter, Yannick Guédon, and Evelyn Saylor in nuanced layers that reveal harmonic shadows, breath-bound relationships, and otherworldly sonic artifacts.

The duo of Katie Porter on bass clarinet and Bob Bellerue on electronics, zither, and feedback create rich, multidimensional drones through live performance, blending harmonic wind tones with resonant feedback and overtone manipulation in two expansive recordings from Berlin and NYC that explore the porous boundary between intention and indeterminacy.

Pianist and keyboardist Pat Thomas plays transcriptions of Derek Bailey's early recordings, and the music of Monk performed at the 2007 Cohesion Festival at Oxford.

Live recordings from 1973-74 from the trio of drummer John Stevens, guitarist Derek Bailey, and saxophonist Trevor Watts, dynamic works performed "impromptu" with a wealth of ideas as these innovators demonstrate the skills that helped define them as masterful players.

The entire first set and the final selection from the last set of a live concert at at Tago Jazz Cafe, in Quezon City, Philippines from the trio of Simon Tan on acoustic bass, Rick Countryman on alto saxophone, and Sabu Toyozumi on drums, including the full performance of material from their Chasing the Sun album; fluid, intelligent, captivating free jazz.

A stellar collective collaboration between British and Australian improvisers recorded at the Kazz Lab/Jazz Club, in Melbourne, Australia as part of a joint recording project between MONASH and RMIT Universities, with performers Raymond MacDonald on alto sax, Robert Burke on tenor sax, Paul Grabowsky on piano, Nick Haywood on double bass and Antony Floyd on drums.

Two 2022 live free jazz sessions from Malaysia, the first a saxophone duo between US ex-pat based in The Philippines, Rick Countryman on alto and Malaysian tenor saxophonist Yong Yandsen, appropriately recorded at The Saxophone Store in Kula Lumpur; then 5 trio improvisations recorded in concert at Live Fact in Petaling Jaya, Selangor, Malaysia on the same tour.

Italian composer and multi-instrumentalist Matteo Ciminari leads an adventurous sextet through a labyrinth of polyrhythms, dissonant harmonies, and unexpected textures, with virtuosic contributions from Maurizio Moscatelli, Simone Maggio, Mattia Borraccetti, Michele Sperandio, and Luca Orselli, creating an unpredictable yet lyrical fusion of progressive structure, free jazz, and playful experimentation.

The trio of Sabu Toyozumi, Richard Allan Bates, and Rick Countryman delve into a contemplative exploration anchored by Bates's electric upright bass, whose resonant tones foster rich harmonic dialogues between Toyozumi's textured percussion and Countryman's fluid alto saxophone, emphasizing the nuanced interplay of sound and space.

The British improvising trio of tenor saxophonist Paul Dunmall, 7-string bassist Paul Rogers and drummer Tony Bianco performing two long and serpentine improvisations at Delbury Hall, Shropshire in 2010.

A stunning example of collective free improvisation from the quartet of frequent collaborators and superb improvisers, Paul Dunmall on tenor & soprano sax, Liam Noble on piano, Mark Sanders on drums, and John Edwards on bass, recording in the studio in Birmingham.

Udo Schindler's Salon for Sound and Art at Krailing in Krailing, Germany is the setting for this superb live duo concert, capturing Schindler and Ove Volquartz both on bass and double bass clarinet, showing the breadth of sonic possibilites and diverse approaches from the deepest of clarinets performed by two masterful musicians.

The stellar quartet of Paul Dunmall on tenor and soprano saxophone, John Edwards on bass, Liam Noble on piano, and Mark Sanders on drums performing 2 extended improvisations balancing energetic playing with contemplative conversation, captured live at the Vortex, in London, England, in 2016.

Dedicated to Cecil Taylor and taking advantage of NY saxophonist Irabagon's UK visit, this album presents four drum duets "time two", as two tenor saxophonists--Paul Dunmall and Jon Irabagon--meet two lyrical drummers--Mark Sanders and Jim Bashford--following Dunmall long-standing interest in drum and sax duets, the results this ebullient and remarkable album.

Looking back and fondly imagining some of the locations and configuration that UK guitarist Ian Brighton played in the 70s, Brighton developed the pieces on this album, each compositions varying the personnel from life-long partners (Taylor, Wachsmann, Mattos) to musicians Brighton has performed with since his 2016 return to improvisation (Carrier, Beresford, Metcalfe).

Paul Dunmall's 2018 studio album in a quartet with James Owston on bass, Jim Bashford on drums, Philip Gibbs on guitar, and Dunmall on tenor saxophone, Gibbs's hollow-body opening up the band sound as Owston and Bashford trade rapid responses or provide solid grooves, the themes of the dialogs focused on space and time through intricate, complex and profound interaction.

Reissuing the 1977 album from UK guitarist Ian Brighton, written as an instrumental story for children, apparently very sophisticated children, in a mix of composed and freely improvised passages, using non-idiomatic approaches with unusual and extended techniques, open atmospheric passages and strange transitions, a peculiar and wonderful album of imaginative playing.

The 2nd concert at Eastside Jazz Club for the quintet of Paul dunmall on saxophone & penny whistle, Percy Pursglove on trumpet, Steve Tromans on piano, Dave Kane on bass, and Hamid Drake on drums, in a powerfully passionate and profoundly masterful set of lyrical free jazz, the perfect example of Dunmall's skill at assembling inspired jazz bands; highly recommended!

A smoking session recorded at Bristol Fringe Club, UK in 2019 from the quartet of frequent collaborators Percy Pursglove on bass & trumpet, Mark Sanders on drums, and Paul Dunmall on soprano & tenor saxophones and alto flute, and on this concert John Etheridge (Soft Machine, Zappatistas) on electric guitar, adding great technical skill and intensity to this exceptional concert.

British saxophonist Paul Dunmall and American trombonist Steve Swell in a quartet with master drummer Mark Sanders and emerging UK bassist James Owston took the stage at Jubilee Center Birmingham, UK in 2019 for this dynamic album of collective improvisation, in a staggering concert of powerful technique and upbeat, ultimately swinging free jazz.

Paul Dunmall's nonet with Neil Metcalfe, Philip Gibbs, Trevor Taylor, Hannah Marshall, Sarah Farmer, Theo May, Alison Blunt and John Edwards on one track, is a larger ensemble blurring improvisation and compositional approaches through violin, viola, cello, double bass guitar, reeds, flute, and guitar; sophisticated chamber improvisation of superb quality.

New York saxophonist Jon Irabagon, performing on alto and Swanee saxophone, joins alto & tenor saxophonist Paul Dunmall for a burning live performance at Sanson Studios in Birmingham in a quartet with bassist James Owston and drummer Tymek Jozwiak, the saxophones weaving and climbing over the powerful and adept rhythm section; formidable!

Collecting 4 albums with pianist Keith Tippetts: The Bern Concert, a 1993 live duo with Howard Riley; Linückea, a 2000 studio album with The Kreutzer String Quartet plus a narrated work; The Dartington Trio of Keith Tippett, Julie Tippetts & Paul Dunmall live in 2003; and The Dartington Trio Live at The Priory at the Southend International Jazz Festival.

A studio project led by Paul Dumall on alto & tenor saxophones and alto flute, recorded while on touring hiatus during the pandemic, composing six passionate and melodically charged works performed by the brilliant sextet of Percy Pursglove on trumpet, Richard Foote on trombone, Steven Saunders on guitar, James Owston on bass, and Jim Bashford on drums.

A convergence of reeds across the range of clarinets, from double bass clarinet to piccolo clarinet, in this live recording at Udo Schindler's 88th SALON fur Klang+Kunst in Krailling/Munich between reedists Schindler and Ove Volquartz, with particular emphasis on the deepest of reeds, the most challenging of clarinets, handled masterfully by both players.

A solo album from Belfast double bassist Alan Niblock, known for his own group Ambient Forces, and his work in a trio with Paul Dunmall and Mark Sanders (Dark Energy), on his own demonstrating a powerfully warm approach to the large strings, augmented and transformed through preparations and objects, improvising in a flowing continuum of rich strategies and concepts.

A superb 2009 concert at Command House, in Chatham, UK from the trio of saxophonist Evan Parker, double bassist John Edwards, and late drummer/percussionist Tony Marsh, a single 36 minute improvisation of cohesive and energetic free jazz where all three pull together as a nearly telepathic unit, plus two extended duo sections between Edwards and Marsh and a Marsh solo.

Originally formed in 1985, this free improv ensemble continues in a new rendition of the Örchestrü, with original members Mark Charig (cornet), Paul Lytton (percussion), Alfred Zimmerlin (cello) and Phillipp Wachsmann (violin) joined by new members including Axel Dorner (trumpet), Phil Minton (voice), and Melvyn Poore (tuba), for two exceptional examples of advanced collective and cooperative improvisation.

Rich in melody that's tinged with European folk music, beautifully orchestrated with viola, vibraphone, double bass, drums & percussion, Serbian violist Szilárd Mezei's compositions take listeners on a journey from melodic optimism to poignant moments of timeless history, indeed a narrative as from a timeless novel read with passion and sincerity; exquisite.

Saxophonist Paul Dunmall's quintet with Hamid Drake, Dave Kane, Steve Tromans, and Percy Pusgove, bridge traditional with chamber jazz and world music, including a work for bagpipes and frame drum, in a monumental suite of improvisational possibilities.

For their third studio release, bassist and composer Ingebrigt Håker-Flaten leads his (Exit) Knarr septet through graphic scores that blend visual art, mythology, electronics, and free jazz into a vivid collective process, the ensemble — now including Amalie Dahl and Marta Warelis — shaping long and short forms alike into explosive, texturally rich works of improvisational energy and imagination.

Bringing together his Knarr ensemble for a second recording, bassist and composer Ingebrigt Håker Flaten leads Mette Rasmussen, Karl Hjalmar Nyberg, Erik Kimestad Pedersen, Oscar Grönberg, Jonathan F. Horne, Olaf Moses Olsen, Oddrun Lilja Jónsdóttir, and Joakim Rainer Petersen in an exuberant homage to Jaimie Branch, weaving spirited improvisation, textured arrangements, and collective joy into a vibrant and heartfelt statement.

For their third studio release, bassist and composer Ingebrigt Håker-Flaten leads his (Exit) Knarr septet through graphic scores that blend visual art, mythology, electronics, and free jazz into a vivid collective process, the ensemble — now including Amalie Dahl and Marta Warelis — shaping long and short forms alike into explosive, texturally rich works of improvisational energy and imagination.

Picking up from their last album in 2005, Lapis Exilis, alto saxophonist Jim Hobb's Fully Celebrated Orchestra joyfully returns with a new set of lyrical Hobb's compositions, Timo Shanko still creating a solid bass foundation and Luther Gray taking Django Carranza's place, extending the band with AYCH member Taylor Ho Bynum on cornet and Ian Ayers on guitar.

Two phenomenal string players improvising remotely across two continents using SonoBus real-time streaming software: former Downtown NY pioneering double bassist Mark Dresser, now located in San Diego, and Australian violinist Jon Rose positioned between the Australian deserts at Alice Springs, presenting eight recordings from their animated and inspired intertwining.

A remarkable live performance uniting South African harpist Jacqueline Kerrod and American guitarist Joe Morris, recorded at the Morpeth Contemporary gallery in New Jersey, their first collaboration of adventurous improvisations blending Kerrod's virtuosic harp techniques with Morris's innovative guitar approach, heard in three dynamic and exploratory string interactions.

A compelling collaboration between guitarist Fred Frith and innovative harpist Shelley Burgon — known for her work with Anthony Braxton, Trevor Dunn, and Okkyung Lee — in a series of concise and precise improvisations recorded in Oakland, CA, in 2002 and 2005, as Burgon blends seamlessly with Frith's acoustic guitar to create seemingly telepathic synchronicity and an expansive sonic palette.

A first-time meeting in the studio for alto saxophonists Tim Berne and Masayo Koketsu with percussionist Nava Dunkelman, captured in a dynamic session of collective free improvisation where contrasting approaches — Berne's grounded tone, Koketsu's extended techniques, and Dunkelman's textural percussion — intertwine with clarity and spontaneous expression.

Recorded live in Berlin, the debut from Camila Nebbia's working trio with Kit Downes and Andrew Lisle captures six dynamic, unrestrained pieces that navigate shifting textures and rhythms, fractured lyricism, and tightly woven interplay, avoiding individual soloing as the group explores contrast and transformation through raw energy, deep listening, and collective momentum.

Drawing on deep collaborative history and shared risk-taking instincts, the trio of alto saxophonist Signe Emmeluth, bassist Ingebrigt Håker Flaten, and drummer Axel Filip deliver a debut of fierce, textural improvisation, recorded in Trondheim and shaped by dynamic interplay, shifting atmospheres, and a fearless drive to chart new sonic terrain.

Two concert recordings between alto saxophonist Bertrand Gauget and pianist John Tilbury, one at Eglise Saint Maximin, in Metz, France in 2016 and the other at Festival Paysages d'écoute at Les Quinconces, France in 2019, leveraging the natural resonance of both spaces as they perform with concentrative pacing using advanced techniques to create drama and intensity.

Recordings of improvisations from different rooms with unique resonant properties, manipulated and organized into 5 compositions mixing musique concrete and e-a improv.

Four reed players of the European improv community in a series of compositions exploring drones, flutters, grainy tones, and powerfully radical approaches to the sax.

Four recordings of subtle improvisation for saxophone & percussion, recorded for Radio Nationale Slovene in Ljubljana, and in the library of Jean-Paul Manganaro, Paris.

Beautifully paced and enigmatically interesting compositions from Marc Baron, using only analog processes in three compositions for reel to reel tape, blending field recordings, cut-up, noise, found sound, pre-recorded and degraded tapes in unusual and absorbing ways.

Composer Jean-Luc Guionnet wrote "Distances ouies Dites" ("Distances: Hearsay") for the 7-piece Dedalus Ensemble, who are positioned in separate rooms at Le Consortium, each having to use the features of the room and distance from each other to confer liked musical ideas.

Electro-acoustic improv from the Phosphor grouping, an amazing set of musicians who began working together in 2001 and have developed a complex and incredible form of interplay.

This very strange CD-ROM-enhanced recording combines 20 tracks of what can only be called deliciously weird music coupled with surreal visual images.

Using an alto saxophone where the original mechanisms have been replaced with water, gas & compressed air taps, saxophonist Sergio Merce can microtonally move the tuning of any note and create multiphonics, allowing him to play several sonic layers while using circular breathing.

Two rich sound works: "Grounded Cloud" which gathers fragments of noise and tone into a continuous fabric; and "Hearing Metal (4)", an investigation into metallic resonance, performed by Pisaro with Dedalus members Stephane Garin (percussion) and Didier Aschour (guitar).

Created by Felicie Bazelaire, CoO is a string ensemble drawn from the French new music ensemble ONCEIM; CoO develops new repertoire for strings, collaborating with composers like Bertrand Denzler, who wrote this innovative composition "Arc" in two parts, a work applying unusual techniques to bowed strings, particularly lower bass tones, for fascinating results.

The first meeting of AMM guitarist Keith Rowe and pianist John Tilbury after Rowe departed in 2004, a delicate and intricate long improvisation, fascinating dialog between two long-acquainted and innovative conversationalists.

Seminal figures in the evolution of free or nonidiomatic improvisation, guitarist Derek Bailey and percussionist/pocket trumpeter John Stevens are heard in a 1989 London performance vividly captured by Michael Gerzon at The Duke of Wellington, their restless and enthusiastic interplay shifting from angular invention to lyrical reflection in a compelling document of their remarkable rapport.

A tribute to avant jazz saxophonist and composer Frank Lowe by assembling players who had never previously played together as a group, but who had all individually performed and been influenced by Lowe: Chad Fowler on saxophones, Christopher Parker on piano, Bernard Santacruz on bass, Anders Griffen on drums & trumpet, Kelley Hurt on vocals and Bobby Lavell on saxophone.

Known first as one of New York's finest audio engineers running Park West Studios, Jim Clouse is also a drummer and saxophonist, this his first recorded foray into free jazz partnering with legendary multi-instrumentalist Daniel Carter on sax, trumpet, piano & drums, for seven diverse and extremely well informed improvisations as each follows their natural inclinations.

Recorded at Vision Festival XXIV in June of 2019, legendary drummer Alvin Fielder's friends and long time partners Kidd Jordan on tenor saxophone, Joel Futterman on piano and William Parker on contrabass are joined by drummer/percussionist Hamid Drake for an emotional and potent swinging free jazz tribute to Fielder, who passed away in January of that year.

Sounding as though they'd played together for decades, this 1st meeting between pianist Joel Futterman, bassist William Parker, saxophonist Chad Fowler and drummer Steve Hirsh is a single 52-minute free jazz exposition as the four immediately fall into an invigorating conversation that continues through diverse moods from pinnacles of activity to reflective tone worlds; masterful!

A masterful album of collective free improvisation captured in Brooklyn's Park West Studios by Jim Clouse, of the trio of tenor saxophonist Joe McPhee, trombonist Steve Swell and drummer Chris Corsano, ten conversations of diverse approach, from reflectively abstract to uncompromisingly assertive discourse that is ultimately fueled by a joyful camaraderie.

With exceptionally quick spontaneity and astute anticipation, free improvising pianist Joel Futterman and drummer Steve Hirsh engage in a series of extended dialogs across two CDs of "Warp" & "Weft" in multiple parts, pushing each other in both technical and expressive interaction, weaving complex interplay with startling ease and creative intention.

Confront initiates their new Core Series with the text piece "There Is No Love" with David Sylvian on voice, vocal treatments and electronics, Rhodri Davies on harp, vibraphone and radio, and Mark Wastel on tam tam and percussion, a sophisticated spoken word piece of shadowy atmosphere and innuendo, leveraging approaches from experimental, improvised and composed music.

NY Tuba-driven trio The Gate led by Dan Peck on tuba & effects, with Tom Blancarte on upright electric bass and Brian Osborne on percussion, in a studio album of shorter pieces exploring the dark side of the huge brass instrument and the band's dark, enormous sound, with tongue-in-cheek titles like "Black Bird of Death Spewing Death Puke"; ominously impressive.

Legendary improvising vocalist Jaap Blonk in a solo work, a mesmerizing and hallucinating piece of electronic music presenting myriads of voices and melodies that never repeat themselves.

The first working band for Dutch vocal improviser Jaap Blonk in 20 years, as he passes 65 years and is clearly NOT ready for retirement, assembling Miguel Petruccelli (Native Aliens Ensemble) on guitar, Jasper Stadhouders (Cactus Truck) on bass, and Chicago ex-pat Frank Rosaly on drums for a double CD of new work, collective improvisation and reworked Blonk classics.

The first documented meeting of bassist John Edwards, trumpeter Luís Vicente, and percussionist Vasco Trilla channels the duo rapport of Vicente/Trilla into a volatile trio language, where tensile bass arcs, quicksilver trumpet figures, and textured percussion intertwine from hush to rupture across four expansive studio improvisations captured in Portugal — forcefully fractured.

Recorded at The Bunker Studio in Brooklyn in 2025, this first document of Peter Evans (trumpet), Joe Morris (bass), and Tyshawn Sorey (drums) captures four expansive improvisations where Evans's quicksilver trumpet, Sorey's architecturally detailed drumming, and Morris's tensile bass cohere into a lucid, high-energy trio language that balances raw edge with striking clarity.

Drawn from three 2024 concerts in Berlin, St. Johann, and Cormons, drummer Joe Hertenstein's touring trio with Michael Moore (reeds) and Michael Formanek (bass) welcomes trombonist Ray Anderson, the quartet forging strong themes and free-form interplay where Anderson's ebullience, Moore's lyricism, Formanek's foundational lines, and Hertenstein's flexible drive spark constantly evolving momentum.

Tenor saxophonist Ivo Perelman and trombonist Ray Anderson distill their proven chemistry heard in the quartet album Molten Gold (FSR 03|2023), here in twelve concise, alchemy-titled improvisations, Perelman's elastic lines and altissimo edge intertwining with Anderson's plunger color, slide glissandi, and buoyant phrasing to forge vividly conversational miniatures of texture, tension, and release.

Performing together since 1989, at first frequently and now as very special events, this concert at Concertgebouw in Brugge of pianist Georg Graewe, cellist Ernst Reijseger, and drummer and marimba player Gerry Hemingway, is a superb example of the both telepathic and confidently confrontational interplay of their chamber-oriented and superbly paced improvisation.

A set of Eric Dolphy compositions and one Colonna composition in the style of Dolphy and a Dolphy-esque take on Billie Holiday's "God Bless the Child", from pianist Alexander Hawkins and Marco Colonna on clarinet, bass clarinet & sopranino saxophones, recorded live in Rome in 2020 for a spirited and tender hommage to one of the great and most singular figures in jazz history.

After the Desalambrado duo album album between Spanish pianist Agustí Fernandez and drummer/percussionist Lucía Martinez, Fernandez enjoined UK bassist Barry Guy to record with them while he was in Spain working on his Via Augusta; the results are this album of mysterious environments that lead to intense and exciting interaction, expansive improv through Martinez' percussive elements.

Referring to the brass saxophone and the piano's ivory keys, Brazilian saxophonist based in New York City Ivo Perelman celebrates his 60th birthday with this 9-CD set of diverse approaches to sax & piano duos, performed with some of world's finest improvising pianists: Dave Burrell, Marilyn Crispell, Aaron Parks, Augusti Fernandez, Craig Taborn, Angelica Sanchez and Vijay Iyer.

The third duo album focusing on the relationship between the bass and piano interplay of New York improvisers Michael Bisio and Matthew Shipp, whose long relationship as collaborators, particularly in the Matthew Shipp Trio and Quartet, afford them a nearly telepathic compatibility in their work together, heard in nine detailed recordings of superb dialog.

In 2004 legendary European Free Jazz pianist Georg Graewe and German multi-reedist Frank Gratkowski met with Chicago cellist Fred Lonberg-Holm on the stage at LOFT in Cologne, Germany to perform these six collective improvisations with an innate chamber jazz feeling, particularly the four part "Trilinear Polarity"; a spectacular set available for the first time.

After their trio album Illuminated Silence with bassist Barry Guy, Japanese-born, Irish-based pianist Izumi Kimura and US drummer/percussionist Gerry Hemingway living in Switzerland distill their improvisations into these deeply personal, highly concentrative and masterful dialogs, in five spontaneous compositions, one work from each performer, and a traditional work.

Five years after their extraordinary debut album Illuminated Silence, the trio of pianist Izumi Kimura, bassist Barry Guy and drummer Gerry Hemingway present four compositions for free improv, two pieces reflecting on the current state of warfare, with two from pieces Kimura and one each from Guy and Hemingway, the liner notes from each artist explaining the impetus for their work.

Performing the lyrical compositions from the band's leader, this quartet — featuring Joe Fonda (bass), Michael Rabinowitz (bassoon), Jeff Lederer (clarinets & flutes), and Harvey Sorgen (drums) — explores a uniquely chamber-like soundscape, blending jazz and classical influences through intricately arranged compositions and inspired improvisations with a distinctively rich and unexpected ensemble voice.

Officially taking their group name from the title of their first album, The Dreamstruck trio of Marilyn Crispell on piano, Joe Fonda on bass and Harvey Sorgen on drums are heard in this innately lyrical and masterfully controlled, concise set of studio recordings, with compositions from each performer and two collective improvisations, a remarkable example of the modern piano trio.

Though not well documented, free jazz legendary pianist Cecil Taylor's working band for 3 years in the late nineties was this quintet of Harri Sjostrom on soprano saxophone, Tristan Honsinger on cello, Teppo Hauta-aho on double bass, and Paul Lovens on drums, cymbals & gongs, heard in this energetic concert at Tampere Jazz Happening in Finland, 2018.

A double CD of the complete Cecil Taylor Ensemble's 1990 performance at Junges Theater in Gottingen, Sweden, with personnel similar to his 1989 Cecil Taylor Workshop Ensemble album Legba Crossing, here in an adventurous concert of large group improvisation with Taylor performing on piano while directing and conducting the extended orchestration that includes balafon & elephanthorn!

A truly wild concert of free jazz from Cecil Taylor's transatlantic orchestra, captured live at the 1984 Jazz Jamboree in Warsaw, Poland, bringing together impressive improvisers from the US--William Parker, John Tchicai, Jimmy Lyons, Karen Borca, Frank Wright, & Henry Martinez--with European Free Jazz leaders Tomasz Stank, Enrico Rava, Conrd Bauer & Günter Hampel.

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.

Reissuing three essential album from trumpeter Bill Dixon's work in the 60's, first his 1962 album with saxophonist Archie Shepp in configurations of trio & quartet; then Dixon's septet album from 1964 in two compositions; and his orchestra album from 1967, showing the evolution of the trumpeter's work, approach to soloing, and his unique sense of orchestration.

Evolving after a gig in 1963, saxophonist John Tchicai and trombonist Roswell Rudd developed the NYAQ from loft sessions, adding the creative drumming of Milford Graves and bassist Lewis Worrell; ESP was so impressed that they recorded their 1st 1965 album with an Amira Baraka recitation on one track; Reggie Workman then took over the bass chair for their subsequent Mohawk album on the Fontana label.

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.

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.

Following their debut album, "Geometry of Caves", the quartet of improvising musicians Joe Morris (guitar), Tomeka Reid (cello), Taylor Ho Bynum (cornet) and Kyoko Kitamura (voice) return for this album of passionate free improvisation, here even more attuned as a group as they employ their collective language using unusual technique and incredible expertise; spectacular!

Recorded in Paris in 1979, Steve Lacy (soprano sax) and Steve Potts (alto sax) perform music for the aphorisms of Georges Braque, as sung by Irene Aebi; originally issued on Hat Hut records, this reiusse remasters the original release and includes images from the score.

Originally released on the Hat Hut label in 1979, this 2-CD set of saxophonist Steve Lacy's quintet with Steve Potts on saxophone, Irene Aebi on cello, voice & violin, Kent Carter on bass, and Oliver Johnson on drums, are heard live in two tour-de-force concerts, first at the 1977 Jazz Festival, in Willisau, Switzerland, then in 1978 at Jazz Au Totem in Paris, France.