Sharing compositional credits with the title translating to "the cooked", the trio of Andreas Nordheim on cornet, Ole Schmidt on clarinets, and Chris Weinheimer on flutes, with pianist Jan Gerdes guesting on one piece, present 16 recordings of minimalist harmonic and tonal development, mysterious and haunting works are taxonomically named by their location.

Various facets of German composer and experimenter Florian Wittenburg's interests, in two iterations of two pieces and two compositions, using voice, vibraphones and ringing bowls, treated electronically to emphasize unique characteristics of sound from warmly rich to mysteriously fragile, balanced with space and careful timing; a valuable introduction to his work.

Guitarist, computer musician, and improviser Eric Wong (D.N.A.N.D.N.A. with Simon Rose) focuses on sound textures and perception of sound, in three works composed using Ableton Live that explore concepts of psychoacoustic sound through dissonance, harmonic interference and hallucinatory sound, slowly developing works of rich sonic characteristic.

A live concert of collective free improvisation captured at Elastic Arts in Chicago in 2018 between Rob Magill on tenor & soprano saxophones, Gerrit Hatcher on tenor saxophone, Charlie Kirchen on bass, and Julian Kirshner on drums, an energetic and diverse concert in three conversations that allow for great discourse and extended soloing; numbered edition of 150 copies.

Dark and beautiful improvisation from saxophonist and electronics artist John Butcher and harpist Rhodri Davies, an incredible display of timbre, technique, and pacing.

Bassist Sebastien Beliah leads this French-Polish quartet with Louis Laurain on cornet, Pierre Borel on alto saxophone, and Olga Koziel on voice & percussions, blending free jazz and traditional Polish music & songs with an experimental bent and the flourish of East European folk energy, a passionate mix that entertains and surprises the listener with unexpected twists & turns.

In 2019 pianist Thollem McDonas toured the US -- 12 months and 25 albums worth of recordings -- joining collaborators from a vast spectrum of improvisers and performers, this album presenting two such recordings: one a duo with drummer/percussionist Alex Cline from a live concert in Santa Monica; the other a duo with guitarist Susan Alcorn recorded in Baltimore.

A 4-track collective improvisation project performed by Paul Dunmall (saxophones, fife & bagpipes), pianist Keith Tippett, guitarist Philip Gibbs and drummer Pete Fairclough, recorded at Victoria Rooms at the University of Bristol, UK in 2000 and originally issued on Dunmall's own DUNS label, here reissued 20 years later in the memory of Keith Tippett.

"Mutual aid" is the primary ethic of an anarchistic utopia in which each knows what they have, is honest about what they need, and is prepared to give and receive accordingly; here in 8 compositions from trumpeter Nate Wooley performed with Ingrid Laubrock, Sylvie Courvoisier, Cory Smythe, Josh Modney, Matt Moran, Russell Greenberg, and Mariel Roberts.

Joining the exemplary New York City Flow Trio of Louie Belogenis on tenor & soprano saxophones, Joe Morris on bass, and Charles Downs on drums is NY legendary saxophonist & trumpeter Joe McPhee, performing on tenor saxophone in an album of collective free jazz that reminds its listeners of the power of passionately unfettered yet superbly controlled free playing.

Continuing the collaboration that started in 2013, the duo of drummer Chris Corsano and guitarist Bill Orcutt expand on their free playing during the pandemic, recording remotely, with Orcutt improvising two passes over Corsano's initial drum tracks, creating something that blurs the lines between jazz, rock, folk and something passionately unique to their dialog.

Meeting in sound artist and vocalist Yan Jun's studio in Berlin in 2017, trumpeter Axel Dörner and no-input mixer artist Toshimaru Nakamura recorded these four active and bristling improvisations, Dörner using every inch of his instrument and treating it with electronics to create the controlled chaos and richly jarring recordings that make up this, their 2nd album together.

Two works for solo instrumentalists by Baltimore composer Ian Power, both written in 1984: "mahrem bir eser | a private work" using microtonal harmonics and electronic noise, performed by cellist Mariel Robers and recorded in 2016 at Brandeis Univeristy; and "swathe" using overtone and microtone performed by clarinetist Gleb Kanasevich and recorded in NYC in 2019.

Stockholm composer Magnus Granberg's first visit to Japan was to perform at the 2019 Ftarri Festival, adapting his extended and subtle work "Come Down to Earth Where Sorrow Dwelleth", originally composed for the Boston ensemble Ordinary Affects, here reworked for sho, koto, prepared piano and electronics performed by Ko Ishikawa, Miki Maruta and Toshimaru Nakamura.

Exploring the difference between the two Greek concepts of time--chronos (measurable) and kairos (qualitative moments)--Bern composer Urs Peter Schneider's 1973 composition uses synthesizers to measure, divide, experience, forget, free from, and embody time; plus a 1968 composition with Ensemble Nueue Horizon Bern, and two recent works with Ensemble Montaigne.

A burning album of free jazz caught live at Au Topsi Pohl, in Berlin, Germany in 2019 between the long-running duo of tenor saxophonist Bertrand Denzler and drummer Antonin Gerbal, best known for their work in Zoor or Denzler-Gerbal-Dorner, here working an "Interstellar Space" area of strength and energy through intense interaction and cathartic playing.

The centerpiece of composer Kevin Good's "Slow" series is this evening-length glockenspiel solo, performed by San Diego based glockenspiel player Michael Jones, the composition of slow, melodic fragments that are increasingly permeated by swathes of silence of increasing length, exploring how the expressivity of the melodies are perceived and framed by these silences.

Using guitars, violin, electronics, field recordings, abstract voice, and a "sound knife in the sand", Pierre Gerard recorded this set of 13 works in Liege, Belgium, and Wimereux, France, in 2019, using intuitive approaches to his minimalist electroacoustic compositions as he assembles his elements to convey human gesture and architectural form in sound.

"An invitation into our perceptual periphery, where noise(s) — and perhaps we — can be somewhat disobedient" read the liner notes to Colombian composer Sergio Cote Barco's sound work, three compositions from extreme minimalism and silence to rich sound, each varying the topography and envelopes of sound, ostensibly performed by "electronic music".

One circular and one continuous composition from Argentinian composer Sergio Merce, using rich tones like clouds of sound generated by a microtonal saxophone, synthesizer and wind synth, the title referring to his sense of music a channel to see, to reveal, a channel that opens through intuition, observation and attention but not through thinking; beautiful.

Four works by Argentinian composer Max Bober living in Warsaw, Poland, performed in solo, duo and trio configurations by pianist Alejandro Peña Gutiérrez, flutists Francisco Rojas and Clara Peláez Hidalgo, and soprano Natalia Jarosiewicz; fragile works of depth and beauty that unfold gracefully.

With "fragments of alien melodies, bizarre call-and-response activities, boiling liquids, airy perturbations, clusters", the electroacoustic improvising quartet of Markus Eichenberger on clarinet, Carl Ludwig Hubsch on tuba, Etienne Nillesen on extended snare drum and Philip Zoubek on synthesizer, focus their listeners on their remarkably turbulent and rich interactions.

Two beautifully subtle works for an ensemble of strings and electric piano from French composer Bruno Duplant, realized by the Boston-based Ordinary Affects ensemble or Jordan Dykstra, Morgan Evans-Weiler, JPA Falzone, Luke Martin and Ashley Frith, the first a quintet and the second a string quartet, creating illusory affects of motion and space through abstraction.

The 2nd release from this Sydney, Austrlian acoustic sextet, creating subtle yet dynamic improvisations influenced by the musical concepts of John Cage and Morton Feldman, balancing contemplative sections with building surges, these works developed on their 2019 Europe tour, which included performances at Copenhagen Jazz Festival as well as shows in Berlin and Stockholm.

The core of the German free improvising Takatsuki Trio is Rieko Okuda (piano, viola, &c.), Antti Virtaranta (bass), and Joshua Weitzel (shamisen, guitar), who, while touring, ask a guest from the area they're performing in to join them, here inviting tenor saxophonist Matthias Schubert in Kassel, Germany, and in Wiesbaden, Germany inviting saxophonist Dirk Marwedel.

A live recording from a concert presented during the Workers' Festival at the Municipality of Petit Quebec Libre in 1972 by Quebec counter-culture folk singer and documentary film maker Erica Pomerance, know best for her 1968 ESP album You Used To Think, here performing solo on guitar & voice, with previously unpublished songs and pieces from her ESP album.

Formed in 2014 to explore their own personal history with jazz music, the French trio of Fidel Fourneyron on trombone, Sebastien Beliah on double bass and Geoffroy Gesser on tenor saxophone & clarinet put their focus on the master of be-bop, Charlie Parker, updating, reinventing and making an inventive playground of Parker's music through thirteen classics.

Compositions for violas, bass clarinets and flutes performed by Vincent Royer, Jill Valentine, Jason Alder, Chris Cundy, Tim Hodgkinson, Yoni Silver, Lori Freedman, Carla Rees, Karin de Fleyt, Thanos Chrysakis, Katrina Lauder, with compositions from Gerard Grisey, Iancu Dumitrescu, Thanos Chrysakis, Niels Rasmussen, Salvatore Sciarrino, Lori Freedman, and Tim Hodgkinson.

Bringing together two masterful percussionists -- Norwegian drummer Per Oddvar Johansen and Paris-based Japanese drummer Seijiro Murayama -- for a distinctive drum duo, each musician using a minimal set that combines a snare drum with small objects and cymbals, for an album of six improvisations and two composed pieces, all showing restraint in rhythmic interaction.

Tokyo sound artist Elico Suzuki attached or arranged "gadgets" including a small electric fan, a motor and a radio, to an upright piano whose upper and lower panels were removed and insides exposed, using their inherent sounds and those created by touching them to the piano strings to generate overlapping and evolving sound, ending each piece with force through the keyboard.

Three versions of composer Koen Nutters piece "Intervals, time and space between," performed in Berlin, Switzerland and The Netherlands in 2019 by Ensemble Post-music and DNK Ensemble with special guests Stefan Thut, Luke Martin, Thea Mesirow and Aaron Foster Breilyn, the work open to interpretation as a construction kit for each player to build their own version.

Found dead in the Thames River in 1969, pianist & composer Mike Taylor left a legacy of two solid & lyrical jazz albums, of which the complete Trio album and one track from Pendulum are remastered; but he was also a songwriter for the Eric Clapton/Ginger Baker/Jack Bruce band Cream, of which three Taylor compositions with lyrics and vocals by Baker are included.

Three active Portuguese improvisers in a trio of remarkably sensitive rapport from Gonçalo Mortágua on tenor saxophone, Guilherme Rodrigues on cello and Higino Andrade on double bass, their group name referencing "3 Old Women", though their playing is youthful and adept, bringing a sense of bright space in 14 concise and intensely creative conversations.

The electroacoustic improv trio of flutist Paolo Pascolo and electronics guru Alberto Novello (JesterN') on modular synthesizer, and Slovenian drummer Vid Drašler, for seven haunting improvisations of unfaltering patience, electronic tones commingling with atmospheric flutes and subtle percussive intervention, creating rich sonic environments or quirky conversation.

A solo album from Italian percussionsit Lucio Miele, presenting six works of layered percussion with live electronics and, on three tracks, recitation from actor Simona Fredella, each piece sound-oriented with an incredibly diverse set of percussive variety, detailed atmospheric settings and diverse rhythmic foundation; a remarkable and sometimes hair-raising album.

The trio of Bruno Parrinha on bass clarinet & alto sax, Abdul Moimeme on prepared electric guitar & objects, and Carlos Santos on electronics & objects performed this confrontational improvisation at the 2020 Small Formats Materials Festival, weaving acoustic and electronic expression with assertive confidence, affirming reductionist approaches as commanding statements.

A modern soundscape in three acts from Italian improvisers, drummer Walter Forestier (Death Roars, Angelo Mastronardi Trio) and guitarist Vito Pesce (Minus Tree, Pastel, Squieti), their 2nd album a dialog shifting between pensive introspection and aggressive evocation, a full range of expression that builds and releases suspense as the two unfold their narrative.

The 8-piece String Theory ensemble directed by violist Ernesto Rodrigues performs a beautiful and subtle work inspired by a poem written by Rodrigues, "Une Ombre Du Bonheur", realized through viola, violin, cellos, viola de gamba, double bass, piano, zither and objects, a stunningly beautiful and deceptively tranquil work of exceptional detail and dexterous execution.

Interested in exploring open form improvisation and pairing Western and Korean musical instruments & tradition, baritone saxophonist Simon Rose met gayageum player Youjin Sung, a member of the AsianArt Ensemble playing contemporary music, at the Berlin club Sowieso in 2019 to record these eight exotic and informed dialogs of unique timbral voicing and authoritative skill.

The second album from the duo of cellist Paula Sanchez and oud player Christian Moser, a "restless hodgepodges of tensile agitation, percussive clatter, and nocturnal claustrophobia, with both Moser and Sanchez contributing conventional instruments abused with extended techniques (oud and cello, respectively) as well as objects and found ephemera."

A live recording without an audience and the start of the Welcome To Silkeborg project between Lisbon improvisers Tiago Varela (Equinox Quartet, Isotope Ensemble) on melodicas & voice, and Monsieur Trinité (Equinox Quartet, IKB, Potlatch, Variable Geometry Orchestra) on percussive objects, their first encounter finding the two in a relaxed dialog of creative conversation.

Taking modular synths into unusual territory, Autumn Records label leader and relentless audio explorer Greg Davis spent years using a computer controlled modular synthesizer system to generate an obsessive set of synthetic and electronic sounds -- swooping, burbling, chattering, &c. -- assembled into this quick witted and energetic set of compositions.

Bob Drake continues to tug on the heart-strings of prog in short but smart songs that reference the best of the last few decades of prog/psych/avant rock forms, Drake as always handling all parts in a great balance of guitar, electronic & acoustic instruments, including some newly invented instruments; includes a fold-out poster in Bob Drake style from Joe Mruk.

Dark Tree's Roots series continues to unearth hidden masterworks from the West Coast scene, here with bassist Roberto Miranda's Home Music ensemble in 1985, an 11-piece large band performing Miranda's lyrically rhythmic compositions, with an all-star cast including flutist James Newton, clarinetist John Carter, pianist Horace Tapscott, trumpeter Bobby Bradford, &c.

Spanish electronic musician and artist Estanis Comella in 14 concise pieces of angular electronic rhythmic intersections and interventions, quirky pieces that deconstruct and reconstruct in unusual ways, using the electronica language of, but definitely not intended for, the young dance/edm generation.

An actualization of Manfred Werder's text score, "2015³", taking a quote from Walter Benjamin, "through excessive fatigue I had thrown myself on my bed in my clothes in the brightly-lit room, and had at once, for a few seconds, fallen asleep", the Regler trio present an abstract interpretation through location recordings of the band setting up and falling asleep.

Four pieces from Oier Iruretagoiena (Tusuri, Larraskito Audio Dissection Unit) using computer generated sound of an abstract nature, with irregular rhythms and intersections in harmonics and feedback, actively reserved and avoiding extremes while creating a cohesively curious collection of quirky, aberrant, cranky and surprisingly compelling connected sounds.

Cleverly complex yet melodically embraceable, the trio of Beligan pianist residing in Norway, Jonas Cambien's trio with Andre Rolighete on tenor and soprano saxophone and drummer Andreas Wildhagen perform eleven original Cambien compositions, a mix of astute, joyful and irrepressibly creative approaches to jazz and free improvisation.

Recording in the studio in Switzerland, the trio of Sylvie Courvoisier on piano, Ned Rothenberg on alto saxophone, clarinet, bass clarinet & Shakuhachi, and Julian Sartorius on drums & percussion perform a mix of compositions, with 3 from Courvoisier and 1 by Rothenberg, and 4 collective improvisations; a unified and accomplished album of diverse approaches to free improv.

Meeting for the 1st time at the 2016 October Meeting in Holland, the quartet performance there of Susana Santos Silva on trumpet, Mette Rasmussen on alto sax, Ada Rave on tenor sax & clarinet and Kaja Draksler on piano, inspired the formation of Hearth to develop soundscapes focusing on moods and textures, as heard in these six rich, explorative collective improvisations.

The Hammond organ takes the lead sound on this straight-up, melodically grooving and fast-paced album, with compositions coming mostly from Finnish saxophonist Mikko Innanen, performed in this trio with French organist Cedric Piromalli and Danish drummer Stefan Pasborg; an album that puts one foot in the history of 60's jazz and one foot firmly in the creative present.

Following his ECM album Trace Provisoire, violinist Dominique Pifarély's new album with his quartet of Antonin Rayon on piano, Bruno Chevillon on double bass and Francois Merville on drums, expands on the merging of compositional and improvisational form in this set of Pifarély compositions, alongside two co-written with Bruno Chevillon and two with Antonin Rayon.

Their 2020 tour cut short and no prospects of perfomance in March 2020, the trio of trumpeter Thomas Heberer, bassist Joe Fonda and drummer Joe Hertenstein began a weekly discipline of composing and rehearsing new music, doing so for the next five months, recording this superbly defined set of new compositions in August, the day before Herstenstein left NYC for Berlin.

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.

A live recording of insightful collective improvisation recorded in 2019 at the Moers Festival in Germany, from Harri Sjostrom on soprano saxophone, Achim Kaufmann on piano, Adam Pultz Melbye on double bass, Dag Magnus Narvesen on drums, and Emilio Gordoa on vibraphone, in an extended exploration of subtle hues through effortlessly intense and inventive interaction.

Formed in 1990 as a sextet to explore the possibilities of real-time signal processing in an improvising context, the 30 year history of saxophonist Evan Parker's Electro-Acoustic Ensemble and the first new album in 9 years explodes with this incredible 2019 live concert at Wojciech Krukowski Hall, in Warsaw, Poland as a 10-piece ensemble of masterful improvisers.

Existing between composition and free improvisation, this Norwegian quartet of Torstein Lavik Larsen on trumpet, Adrian Myhr on double bass, Fredrik Rasten on acoustic guitar, and Jan Martin Gismervik on drums & percussion are informed by minimal composed, folk and improvised musics, applying unusual technique and methodology to create beautiful textural and impressionistic sound.

The Selva trio of Ricardo Jacinto on cello, Goncalo Almeida on double bass and Nuno Morao on drums join with Rutger Zuydervelt of Machinefabriek who adds unique electroacoustic transformations to their fusion of free improvisation and hydrid world elements, resulting in this wonderfully dark venture inside a virtual jungle of contrasting darkness and refined acoustic beauty.

Discovered in a box of recordings in BPA's possession, this recording from 2003 restores a stimulating freely improvised studio encounter between then-West Coast frequent collaborators, double bassist Damon Smith and percussionist Gino Robair, in a trio with Austrian alto saxophonist & bass clarinetist Tanja Feichtmair, mastered to pristine quality by Weasel Walter.

Since 2010 the Indonesian duo Senyawa of vocalist Rully Shabara and instrumentalist Wukir Suryadi have merged traditional Indonesian music with experimental approaches, heard here in their seventh album, released through a cooperative arrangement with more than 30 labels across the globe, in an attempt to decentralize the hierarchical structures of the music industry.

Recording in live conditions and multitrack, French guitarist and multi-instrumentalist Jeremy Baysse performs a version of Terry Riley's classical minimalist composition "In C" using electric guitar, acoustic guitar, twelve string guitar, effects, banjo, bass, glockenspiel, maracas, cymbal, mandolin, synthesizer, percussion, and drum machine.

Using percussion, cymbals, various objects, computer and sound sculptures made by Bruno Girardi, Italian percussionist Lucio Bonaldo, known for the group L'imbroglio, presents a set of recordings performed live and direct, captured between 2018 & 2019, including a Sonorization of a literary passage taken from "Traviso" by Alberto Cellotto, and "Altken", an overdubbed work.

Two Israeli tenor saxophonists of different generations--Stephen Horenstein, who is associated with Bill Dixon and the Kadima label, and Eyal Netzer of Lab Orchestra and works with Albert Beger--in an intimate dialog of passionate playing merging jazz forms and experimental approaches to improvisation, both taking up drums, Horenstein also performing on soprano sax.

With an ensemble of adept improvisers including Luis Vicente on trumpet, Nuno Torres, Jose Lencastre and Bruno Parrinha on reeds, Luis Lopes on guitar, &c, Creative Sources leader and violist Ernesto Rodrigues' Isotope Ensemble examines the element "Helium" in a monumental 44-minute electroacoustic improvisation recorded live at O'Culto da Ajuda, in Lisbon.

A percussive "Natchtprogramm" and a tonal "Syntax" from composer Torsten Papenheim, recorded in the studio in Cologne and Berlin, the former performed with trombonist Matthias Much, double bassist Achim Tang and pianist Philip Zoubek; the latter with Johannest Trondle (violincello) & Axel Haller (electric bass), then with Elena Kakaliagou (french horn) & Evi Filippou (percussion).

Argentinian sound artist Alexis Perepelycia explores his influences in an extended sonic work, drawing on his roots in the sounds of garage, punk, metal, industrial music into his work in academia, using abstract references of assertive and acousmatic sound with powerful electronic emphasis as he seeks his ghosts amidst references like Russolo, Stockhausen, &c.

Three connected journeys in drifting tones, unidentifiable and sometimes aberrant intersections and melodically abstract guitar work, composed by guitarist Lance Austin Olsen and performed with guitarist Barry Chabala, using layers of sound like an audio version of a colour field painting, emulating a field of seeds waiting for changing conditions to allow them to emerge.

A three part solo improvisation from pianist and composer Joel Futterman, also performing on Indian flute and curved soprano saxophone, each track a complete unedited first take with no overdubs, presented in the order performed, the first part a nearly 53 minute epic of powerful and consequential playing, from vigorous technical runs to beautifully languid moments; stunning.

NY double bassist Sean Ali presents an engrossing journey in seven pieces that depict an inner journey through tone, technique and words, using the double bass to create deep sonic environments through interactively playing and layering, using extended approaches that support and contrast his narration; a compelling and descriptive observation on the nature of self.

While on vacation in Rome in 2018, NY percussionist Carlo Costa took his portable recorder inside a grain silo in the countryside north of the city, eschewing traditional percussion for found bricks, pipes, rocks and branches found nearby, recording in the resonance of the silo with the sounds of cicadas and other ambiance permeating the silo as he unfolds this engrossing, thoughtfully paced improvisation.

The title referencing police tactics used to subdue a suspect, the 2nd solo album from NY trumpeter Joe Moffett finds the imporoviser approaching the instrument with atypical technique and a sense of sonic power in five engrossing works of technical prowess and creative imagination, producing "mangled, oscillating, chittering noises, a collision of muscle, bone, and metal".

The extended and absorbing live performance between Austrian pianist Elisabeth Harnik and Chicago drummer Michael Zerang at Španski Borci,in Ljubljana, Slovenia in 2019 begins in restful interaction, Harnik often inside the piano and Zerang scraping and coaxing sound, building to a disruptive dream of intense interaction that ends in a turbulent awakening.

An exotic album of tradition-spanning improvisation from the trio of tenor saxophonist Ivo Perleman, oud player Gordon Grdina and percussionist Hamin Honari on tombak and daf, avoiding any cliches of "world fusion" as the effusive Middle Eastern rhythmic devices propel Perelman and Grdina into joyful flights of ecstatic playing that bridge the East and West.

An articulate and important collection of songs devoted to the marginalized voices of women around the world from NY vocalist Jen Shyu, performed in a masterful quintet with Ambrose Akinmusire on trumpet, Mat Maneri on viola, Thomas Morgan on bass, Dan Weiss on drums, Shyu singing and performing on percussion, piano, Taiwanese moon lute, and Japanese biwa.

Blurring the boundaries of popular rock, composed and electro/experimental/ea forms, with hints of The Ex, Gang of Four, Talking Heads, LCD Soundsystem and their own happily quirky sound, Squid was formed in Brigton by Ollie Judge (Drums & Lead Vocals), Louis Borlase (Guitars), Arthur Leadbetter (Keys, Strings & Percussion), Laurie Nankivell (Bass & Brass) and Anton Pearson (Guitars).

Drum and percussion improviser Barry Altschul leads his trio with Jon Irabagon on tenor, sopranillo saxophones & alto clarinet and Joe Fonda on bass in their fourth release since forming in 2013, here with five original compositions in free jazz form with strong melodic heads that manifest in tremendous soloing from his players and outstanding drum work.

Eight improvisations named for the month of recording during the challenges of pandemic from British tenor saxophonist Ed Jones and Norwegian drummer/percussionist Emil Karlsen, often reflective work that explores timbral possibilities on each instrument through flowing lines and deceptively active investigations in a variety of empathetic and sublimely ruminative approaches.

Asebeia (ἀσέβεια) was a criminal charge in ancient Greece for the "desecration and mockery of divine objects", for "irreverence towards the state gods" and disrespect towards parents and dead ancestors; here it is also the informed and diverse, freely improvised duo of Spanish improvisers, saxophonist Liba Villavecchia and drummer/percussionist Vasco Trilla.

Live concert recordings at Alchemia club in Krakow captured during the Krakow Jazz Autumn Festival 2019 while double bassist Joëlle Léandre held residence, 3 CDs presenting first a quartet with Zlatko Kaucic on drums & percussion, Mateusz Rybicki on clarinets and Zbigniew Kozera on bass, then one disc in a duo with Zlatko Kaucic and another with guitarist Rafal Mazure.

The third of a 3-album trilogy, Playfield offers the musical equivalency of a walk through the diversity of New York in a loft-style extended improvisation from the octet of Daniel Carter on horns, reeds, Luisa Muhr on voice, Ayumi Ishito on saxophone, Eric Plaks on Nord piano, Aron Namenwirth and Yutaka Takahashi on guitar, Zach Swanson on bass, and Jon Panikkar on drums.

"Actions For Free Jazz Orchestra" was originally written by Polish composer Krzysztof Penderecki for the New Eternal Rhythm Orchestra, assembled by Don Cherry for the occasion and conducted by composer himself; this new extended reading and conduction of the score from 2018 was originated and directed by Mats Gustafsson, a powerful update and expansion of the original work.

A scorching album of instrumental rock bridging avant, prog and jazz/rock forms, from the inspired and burning Norwegian band led by guitarist Hedvig Mollestad Thomassen and her trio with bassist Ellen Brekken and drummer Ivar Loe Bjornstad; reference John McLaughlin, Led Zeppelin, Jimi Hendrix, Black Sabbath, or just focus on the powerhouse that is the Hedvig Mollestad Trio.

The productive and excellent work of Norwegian rock band Motorpsycho, releasing an album a year for 30+ years, continues with this superb example of long form and diverse approaches to the rock medium, the core trio of Saether (bass, vocals, mellotron, &c), Hans Magnus Ryan (guitar, sax, vocals) and Tomas Jarmyr (drums) extended by Reine Fiske on guitar and Ola Kvernberg on percussion.

Reissuing two essential and innovative piano trio albums: Paul Bley Trio's 1965 album Touching with Bley on piano, Kent Carter on double bass and Barry Altschul on drums, plus the title track from the 1967 Bley album In Haarlem - Blood with Altschul and Mark Levinson taking the double bass roll, performing compositions by Paul Bley, Carla Bley and Annette Peacock.

After 3 consecutive nights performing in trio & quartet formats at Balete at Kamias, in Quezon City, Philippines, the duo of drummer Sabu Toyozum and alto saxophonist Rick Countryman performed the final set as a duo, their many collaborations evident in the freedom and flexibility each provides to the other, delivering an exemplary example of a free jazz sax & drum duo.