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.

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.

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.

Bringing Chicago-based Chinese multi-instrumentalist Lao Dan together with pianist Mabel Kwan, bassist Joshua Abrams, and percussionist Michael Zerang, this 2024 quartet set moves through volatile collective improvisation, contrasting Dan's searing tenor saxophone with the crystalline colors of Chinese flute and suona amid dense, responsive ensemble interplay.

Pairing Mats Gustafsson's saxophones, flutes, electronics and assorted winds with Kimmo Pohjonen's electro-acoustic accordion and voice, this debut duo album moves between composed and improvised terrain, fusing forceful rhythmic drive, extreme dynamics and electronic transformation with unexpected passages of folk-inflected lyricism and spacious, highly responsive interplay.

Reuniting the long-running Leap of Faith core of PEK and cellist Glynis Lomon with brass multi-instrumentalist John Fugarino, this intimate 2026 trio improvisation ranges across reeds, cello, brass, electronics, percussion and voice, shaped in real time by Joel Simches into a dense but highly responsive chamber-scale exploration of shifting timbres and ensemble relationships.

Joining alto saxophonist Nick Mazzarella with bassist Silvia Bolognesi and drummer Cristiano Calcagnile, with trumpeter Emanuele Marsico added on two pieces, this 2025 Siena session moves through previously unrecorded originals, open improvisation, piquant balladry, and freebop heat with supple interaction, melodic clarity, and a finely balanced blend of precision and freedom.

Centering Joel Simches' real-time signal processing within a compact improvising unit, this 2026 Perturbations session joins PEK and Michael Caglianone on reeds with brass multi-instrumentalist John Fugarino, moving through spacious, continuously transforming textures of winds, electronics, percussion, and auxiliary instruments shaped by aggressive live electronic manipulation.

Reducing Georg Graewe's Sonic Fiction concept to an agile chamber group with Frank Gratkowski, Laura Strobl and Gerry Hemingway, joined by Earl Howard on electronics and alto saxophone, this 2025 Cologne session unfolds through nine intricate improvisations where acoustic counterpoint, extended timbres and electronic transformation continually reshape the ensemble's shifting sonic relationships.

Bringing violist Laura Strobl together with pianist Georg Graewe and drummer Mark Sanders, this 2025 Vienna session presents eleven freely improvised chamber pieces in which fleeting melodies, abstract gestures, and sharply contrasted textures coalesce into poised, intricate forms, highlighting the trio's acute responsiveness and the viola's distinctive role within the ensemble.

The Verona Sextet develops fluid stream-of-consciousness improvised music of shifting textures, fractured rhythms, resonant percussion and electroacoustic detail, merging Sergio Armaroli's vibraphone, Tony Buck's drums, Francesca Gemmo and Magda Mayas on piano and prepared piano, Steve Piccolo's electronics and voice, and Elliott Sharp on guitar and soprano saxophone.

Uniting Otomo Yoshihide on guitar and turntable with alto/soprano saxophonist and electronic musician Kei Matsumaru, this live Tokyo duo moves fluidly between free jazz, noise and electroacoustic abstraction, their quicksilver exchanges, abrasive textures and sudden shifts of density evoking the album's theme of the unstable, hallucinatory passage between sleep and wakefulness.

Martin Küchen reunites the Håker Flaten/Nordeson core of Angles 3 with longtime Angles 6/8/9 vibraphonist Mattias Ståhl, revisiting older compositions in a lean quartet setting where volatile bass-and-drum momentum meets metallic resonance around Küchen's stark saxophone themes, distilling the larger ensemble's power into a clearer, more spacious and sharply focused form.

Pianist Irene Aranda brings together saxophonist Don Malfon and vocal artist Ami Yamasaki for a first trio recording built from three radically individual approaches to sound, merging prepared and extended piano techniques, Malfon's highly developed acoustic saxophone vocabulary and Yamasaki's echolocation-inspired voice into an unpredictable improvisational exchange of breath, resonance, friction and silence.

The debut recording from B:A:N:S Band brings Sophie Agnel's radically extended piano together with John Butcher's exploratory saxophones, Pascal Niggenkemper's highly physical double bass and Ståle Liavik Solberg's responsive percussion in two long-form collective improvisations of texture, resonance, density and silence, captured live at Austria's 2024 Artacts Festival.

The second volume from Australian quartet BELIEVE's 2023 sessions at Golden Retriever Studio, with Peter Farrar on alto sax, Novak Manojlovic on piano, Clayton Thomas on double bass and Laurence Pike on drums, extending their intensely responsive collective improv through five pieces balancing free jazz, dense interaction, percussion-rich textures and moments of finely suspended restraint.

French trombonist Christiane Bopp strips the instrument down to breath, metal, vibration, and raw physical gesture, using voice, mutes, and extended techniques to transform the trombone into an unpredictable field of whispers, drones, fractured melodies, and sudden eruptions, creating deeply intimate improvised music that moves between delicate precision and overwhelming force.

Irish guitarist Benjamin Dwyer, Polish bass guitarist Rafal Mazur and Spanish percussionist Ramon Lopez form Enso, a trio devoted to spontaneous collective improvisation, drawing on the idea of the single unbroken gesture to create fluid, continuously transforming music in which guitar, bass, drums and tabla interweave through close listening, shifting relationships and a kinetic sense of motion.

Zeena Parkins, Mette Rasmussen and Ryan Sawyer return for Glass Triangle's third album, expanding the electric harp, alto saxophone and percussion language of their earlier releases with voice, preparations and bells, while distilling their volatile free improvisation into shorter, sharply focused pieces balancing texture, space, momentum and spontaneous collective change.

Binker Golding, Olie Brice and Eddie Prévost reduce their earlier Secret Handshake with Danger collaboration to an elemental saxophone, bass and drums trio, bringing contemporary London jazz into Prévost's High Laver Levitations series through vigorous free improvisation where pulse, melody, resonance and abstraction continually test and renew the boundaries of jazz.

Frank Gratkowski's reeds, Sebi Tramontana's trombone and Steve Beresford's piano meet in freely improvised music built on decades of individual experience and mutual trust, moving between playful exchange, dissonance, lyricism and near-organization in a Köln studio session that reveals three instantly recognizable voices continually reshaping their collective language.

A first recorded meeting between British bassist Barry Guy and Italian soprano saxophonist Roberto Ottaviano, bringing two master improvisers into a highly exposed duo setting where Guy's orchestral range of bowed, plucked and percussive bass techniques meets Ottaviano's agile soprano and voice in thirteen alert, rapidly evolving exchanges shaped by instantaneous response, restraint, lyricism and playful confrontation.

Joe Morris leads alto saxophonist Rob Brown, tenor saxophonist/flutist Anna Webber and drummer Matthew Rousseau in a quartet balancing composed structure with spontaneous free improvisation, recorded live at Firehouse 12 in New Haven, where Morris's idea of a "continuous beginning" drives music shaped by collective interaction, change, freedom, hope and possibility.

Summer 2026 issue of Musicworks, featuring Anju Singh on sound art and bodily listening, [MONRHEA] on technology and ancestral knowledge, guitarist Arthur Bull's six decades of improvisation, drummer-composer John Hollenbeck and Mili Hong, plus Panayiotis Kokoras on his prize-winning Viper Snake, Toronto's Ministry of Phonic Services, reviews, and an accompanying compilation of works by featured artists.

Matthew Putman, Hilliard Greene and Francisco Mela reunite after Believe That Was Me for a second trio recording of spontaneous composition, balancing Putman's restless piano, Greene's fluid bass and Mela's drums and whistle in music that moves between abstraction, lyricism, turbulence and restraint, deepening a collective language rooted in free improvisation and attentive listening.

Reviving Cecil Taylor's legendary Unit concept, this searing New Unit performance with Okkyung Lee (cello), Tony Oxley (electronics), Harri Sjostrom (soprano and sopranino saxophones), and Jackson Krall (drums) documents the final concert of Taylor's life in a nearly eighty-minute fusion of music and spoken word, recorded live on April 23, 2016, at the Whitney Museum in New York City.

An extraordinary compilation with an extensive booklet documenting the early pioneers of electronic sound including Schaeffer, Hermann, Posseru, Xenakis, Heiss, Cage, Varese, Ligeti, &c.

A sextet expansion of the long-running Leap of Faith core of David Peck and cellist Glynis Lomon, joined by John Fugarino, Bonnie Kane, Tom Swafford and John Loggia, drawing on deep shared histories and a vast arsenal of winds, strings, electronics and percussion to shape a continuously transforming 70-minute improvisation of dense ensemble interplay, contrasting sonorities and spontaneous structural invention.

Neurodivergent Orchestra expands Evil Clown's improvisational language through a playful collision of horns, strings, electronics, percussion, real-time processing and spontaneously invented "wacky banter," shaping an alien-themed five-act narrative whose absurd humor, shifting textures and free interaction make theatrical storytelling an integral part of the ensemble's densely orchestrated improvisation.

The eighth Evil Clown "Shorties" collection gathers 14 compact improvisations drawn from 14 releases by nine ensembles and 28 musicians, offering a concise survey of the label's early-2026 activity as reeds, brass, strings, electronics, bass, percussion and spoken word cycle through rapidly changing configurations that distill Evil Clown's broad-palette approach into brief, sharply contrasting snapshots.

Drawn together through London's Horse Improvised Music Club, Adam Bohman on amplified objects and strings, Sue Lynch on tenor saxophone, clarinet and flute, and Crystabel Efemena Riley on drums and metallics shape a buoyant, finely balanced trio language of crystalline winds, tactile percussion and eccentric object sound, playful and airy even as the interaction intensifies.

Across six CDs and more than six hours, Kevin Drumm develops a vast electroacoustic environment of drones, micro-acoustic detail and shifting frequency structures, balancing stasis and motion through gradual transformations in density, resonance and spatial depth, for an immersive study in the physical and perceptual qualities of sound; mastered by Jim O'Rourke.

Returning to his custom Koll 8-string guitarbass for the fifth volume of the Octal series, Elliott Sharp builds improvisations from concepts in physics, language and philosophy, using a prime-number-derived tuning system alongside preparations, slides, EBow and spring bows to exploit the instrument's broad bass-to-guitar range, resonant body and richly layered electroacoustic color.

Inspired by John Coltrane�s A Love Supreme, the second album from the Berlin-based quartet Das B — Mazen Kerbaj (trumpet), Mike Majkowski (bass), Magda Mayas (piano), and Tony Buck (percussion) — subverts the tribute format with a radical re-imagining built on free improvisation, textural exploration, and structural homage, resulting in a deeply immersive and conceptually rich work.

Featuring Sei Miguel on trumpet and direction with Fala Mariam, Nuno Torres, Pedro Lourenco, Bruno Silva, Andre Goncalves, Raphael Soares and Luis Desirat, documenting the final performances of O Carro de Fogo in two 2023 Portuguese concerts, where spacious ensemble architecture, microtonal phrasing and tightly controlled collective interplay affirm Miguel's singular late-period vision.

Steve Davis returns to his cryptic Money project with a fifth installment, extending the Love Earth Music series' stark world of dark ambient electronics, glitch, low-frequency vibration and slow-moving noise, an intentionally reduced and enigmatic counterpart to his +DOG+ work where repetition, suspended textures and uneasy electronic stasis become the organizing language.

Philadelphia sound artist, writer and Street Rat creator Gladys Nobriga transforms a 2020 book of original poetry into an intimate sound work, combining the texts with audio created in 2023-24 through a practice rooted in found objects, contact microphones, analog textures and raw performance, connecting written language, physical materials and deeply personal experimental sound.

Indonesian sound artist Theo Nugraha shares a split with Steve Davis' long-running +DOG+ project, pairing Nugraha's 15-minute "Dokset" with +DOG+'s equally expansive "April" in a meeting of Samarinda's experimental noise culture and an American project active since 1991, joining two independent approaches to electronics, improvisation, texture and underground sound.

Drawing on a 20-year musical partnership, Chicago-born saxophonist Frank Trompeter joins drummer, percussionist and wood flutist Richard Gilman-Opalsky for an impassioned studio duo of free jazz and creative improvisation, moving from melodic and swinging exchanges to raw, turbulent intensity shaped by deep familiarity, spontaneous interplay and an explicitly antifascist spirit.

An exciting meeting of French pianist Sophie Agnel, known for her extended and prepared piano techniques, and Swiss turntablist Joke Lanz, renowned for his work in noise, experimental music, and performance art, presenting a dynamic and playful duo of spontaneous improvisation blending percussive textures, sonic collage, and energetic interaction revealing a sense of humor and awe.

Portugese tenor saxophonist Rodrigo Amado met Belgian electric & acoustic guitarist Dirk Serries for this live performance at Jazzblazzt in The Netherlands in 2018 for two extended conversations, the first set finding Serries on electric and the 2nd on acoustic, as the two push and pull each other, intertwining or finding complement in their discourse.

Three variations of quartet settings from iconoclastic free jazz saxophonist Albert Ayler, remastering and combining two Debut Records albums, "Spirits" from 1964 with Norman Howard (trumpet), Sunny Murray (drums), and alternating bass between Henry Grimes & Earle Henderson; and 1965's "Ghosts" on Debut Records with Don Cherry (trumpet), Gary Peacock (bass), and Sunny Murray.

Tenor saxophonist Albert Ayler's 1966 quintet brought a unique orchestration to his music, heard in these live performances in Berlin, Lörrach, Paris & Stockholm in November of 1966, four concerts presented chronologically as performed with the exemplary playing of brother Donald Ayler on trumpet, Michel Samson on violin, William Folwell on bass, and Beaver Harris on drums.

After moving to NYC in the early 60s, filmmaker Michael Snow was introduced the music of saxophonist Albert Ayler's Trio with bassist Gary Peacock & drummer Sunny Murray, inviting them and trumpeter Don Cherry, trombonist Rudd and altoist John Tchicai to record these three brilliant freely improvised tracks, parts of which would be used in his art film "New York Eye and Ear Control".

Seven years into their collaboration, the creative and innovative piano trio initiated by bassist Stephan Crump with pianist Kris Davis and drummer Eric McPherson explore spontaneous free playing on a double CD of lyrically inclined, inventive interplay, borrowing from jazz, contemporary forms and sometimes funky grooves with a patiently rewarding approach to conversation.

Solo piano works from Brennan, also performing on arcopiano, pizzicatopiano, sordinopiano, tamburopiano, frampiano, indian harmonium, Irish whistle, Hohner accordion & melodica, Yamaha e-piano.

Merging and remastering two essential albums from free jazz saxophonist Marion Brown: his 1966 ESP album "Marion Brown Quartet" with trumpeter Alan Shorter, bassist Reggie Johnson and percussionist Rahied Ali; and his 1967 Fontana album "Juba-Lee" in a septet with Reggie Johnson, drummer Beaver Harris, pianist Dave Burrell, trombonist Grachan Moncur III & saxophonist Bennie Maupin.

Stepping away from his quartet, New York alto saxophonist performs solo in the studio for eight recordings using his unique language and creative voice to meditate on the ocean-- the source of our origin and life--through a four-part "Oversea Undersea" suite, and four works with titles referencing marine life and sea faring through engaging waves of innovative reed work.

Having met in William Parker's Little Huey Orchestra, long-time collaborators Rob Brown (saxophone & flute) and Steve Swell (trombone), along with Brown's longest improvising partner, double bassist Chris Lightcap, join with drummer Chad Taylor for an exemplary album of modern creative jazz through five Brown compositions and 4 collective improvisations.

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

The 4-night engagement at the Village Vanguard in November 1961 with sidemen Eric Dolphy, McCoy Tyner, Reggie Workman, Jimmy Garrison & Elvin Jones resulted in saxophonist John Coltrane's 1962 "Live at the Village Vanguard" album, his evolving freedom surprisingly divisive and even decried as "anti-jazz", here reissued and remastered with a bonus version of "Spiritual".

Two quartets performing two live concerts from 1963 led by John Coltrane on tenor & soprano saxophones, the first at the Newport Jazz Festival with McCoy Tyner on piano, Jimmy Garrison on double bass and Roy Haynes on drums, the second at Birdland with Elvin Jones on the drums, plus 2 studio recordings with that quartet at Van Gelder Studio in the same year.

Essential performers on the 80s Downtown NY scene, cellist Tom Cora and percussionist & vocalist David Moss released this album in 1983 on Fred Frith's Rift label, ten active and often absurd duo improvisation of informed interaction, intertwining strings, drums, odd rhythmic sources and strange vocal utterances, yielding to both serious improv and whimsical notions.

Guitarist & vocalist Fred Frith leads the highly creative quintet of Zeena Parkins on keys & voice, Carla Kihlstedt on violin & voice, Mathias Bossi on drums and Shahzad Ismaily on bass, merging free improv, rock and experimental forms; drawn from live performances recorded by The Normal Conquest, this set of compositions captures the group's dynamic interplay and remarkable inventiveness.

Only the second solo album from Swiss-born pianist and composer Sylvie Courvoisier, now based in New York, presenting twelve studio recordings that explore the full range of the piano inside and out, recorded in Germany and showcasing the breadth of her expressive power and spontaneous creativity, shaped by decades of work in innovative transatlantic ensembles.

A uniquely eccentric free improv album by Fred Frith on electric guitar and Lol Coxhill on soprano sax, originally released in 1983 on the French AAA label, the album assembles recordings from the "Musiques de Traverses" Festival 1981, 1978 concerts in Sainte Croix, in Poitiers, and at M.J.C. Aliénor D'Aquitaine in Limoges, plus additional material from 1999 in Munchen & London.

Brooklyn based bassist Stephan Crump (Rosetta Trio) and guitarist Mary Halvorson (MAP, Braxton, &c) perform duos recorded at Butler Plaza in Brooklyn, 2011, thoroughly modern improvisation from two of NY's finest young players.

Elton Dean's 1989 performance at the Covent Garden Jazz Saxophone Festival in London is reissued, bringing to light the powerful performance from saxophonists Dean on alto sax & saxello, Paul Dunmall on tenor & baritone saxophones, Trevor Watts on alto saxophone, Simon Pickard on tenor saxophone, plus the rhythm section of Paul Rogers on double bass and Tony Levin on drums.

A sophisticated and delightful cinematic work from Seattle multi-instrumentalist Amy Denio, who composes and leads a 12-piece ensemble in a dynamic new soundtrack to the 1925 silent film Varieté, blending electric guitar, accordion, voice, and hammered dulcimer with a chamber orchestra of woodwinds, strings, and percussion in a rich, genre-defying studio recording.

A new book of compositions and four interesting interpretations of Billy Strayhorn songs from trumpeter Dave Douglas' premier of a new quartet with tenor saxophonist James Brandon Lewis and two members of the post-rock trio Son Lux — guitarist Rafiq Bhatia and drummer Ian Chang — in a lyrically embraceable and sophisticated album dedicated to the gifts of life and music we all share.

The New York free improvising trio of Matthew Heyner (Test, Malkuth) on bass, Matt Lavelle on trumpet and clarinet and Ryan Sawyer (Tall Firs, Stars Like Fleas) on drums in the follow-up to their 2005 Utech double CD "Embracing The Tide / Making Eye Contact With God", an impressive release of expressive technique and ritualistic drive.

Six compositions for solo piano written by English composer Christopher Fox between 1991 and 2015, performed by Netherlands pianist John Snijders at Abbey Road Studios in London, each work uniquely approached in both writing and performance, each a concept or style that brings something unique to Fox's music while still retaining his voice and character in composition.

Fred Frith's solo performances are amongst some of his most fascinating, and this live album at Ateliers Claus in Brussels, 2018 does not disappoint, Frith using every inch of his guitar and an arsenal of objects, in tandem with his masterful creative intent, to present an extended and fascinating journey in sound, remarkable in its breadth and bold inventive power.

Extended and captivating improvisations using complex and extended techniques from the duo of prepared pianist Annie Lewandowski (London Improvisers Orchestra, Powerdove, Xiu Xiu) and guitarist Fred Frith (Henry Cow, Skeleton Crew, &c &c) in a thoroughly modern improvised conversation, here reissued with 11 minutes of previously unreleased material.

Fred Frith's solo career started on the West Coast Ralph Records label, home of The Residents; Frith met Residents front man Hardy Fox in passing in 1991, making recordings on a Pacific beach using Fox's Walkman, which they brought to a multi-track studio to record the basis for an ultimately unreleased album, now revived decades later as Fox rediscovered this fascinating material.

An evocative album of sublime improvisation between guitarist Fred Frith and trumpeter Susana Santo Silva, recorded live for France Musique/Radio France at Motoco, Mulhouse as part of Festival Météo in 2021, the two inspiring remarkable force and assertive direction in a darkly spirited conversation of deep introspection and cathartic exorcism; magnificent!

Reissuing clarinetist Jimmy Giuffre's 1963 Columbia album Free Fall, presenting trio performances with bassist Steve Swallow and pianist Paul Bley recorded after their 1961 European tour, along with duos between Giuffre and Swallow and several solo tracks from the clarinetist himself, propelling himself and his band into his sophisticated, risk-taking chamber jazz compositions.

Seven works composed in the 21st century by Sebastian Gottschick, who arranges and conducts the Ensemble Fur Neue Musick Zurich, configured as an ensemble with percussion, a sextet, a chamber ensemble with baritone and soprano, and performing himself solo on viola; sophisticated and modern works that employ complex tonality, timbre and playing techniques.

Recordings from two European jazz festivals in 2020--Klangspuren festival in Austria and Moers Festival in Germany--from the duo of pianist Elisabeth Harnik and multi-wind & reedist Frank Gratkowski performing on alto & soprano saxophones, clarinet & bass flute, both of whom bring classical training to their spirited, diverse and far-ranging improvisations.

Swiss accordionist Hans Hassler stands above the (small) crowd of improvising accordionist in the breadth of his career, his ability to balance both lyrical, abstract, serious, and humorous aspects in his approach to the instrument, a true original in intent and ability to engage his listeners, in 15 original and diverse compositions recorded in 2017.

Active since 2010, the German/Swiss duo of classical guitarist Christian Buck and improviser Christian Wolfarth occupies a space between music and sound art, as they perform two works each by Ed Haubensak and Tomas Korber, pieces that make use of time, microharmonies, multiphonics, unusual tuning systems, interference patterns, and other conceptual approaches to music.

Recorded in 2005 with an ensemble of like-minded instrumentalists and then edited and collaged for the next year and a half, this was a project of Charles Hayward during his time at The Albany in Deptford, London, using their digital recording suite to create a large work using a variety of strategies and developed in a dramatic story form, issued here for the 1st time.

Drawing on material from Billy Strayhorn, Thelonious Monk, Michel Legrand, Harry Warren, and Victor Young, the lyrical duo of saxophonist Alex Hendriksen (Swiss Jazz Orchestra) and double bassist Fabian Gisler (Jurg Wickihalder European Quartet) cite the art form of storytelling as central to their music as they reflect thoughtfully on the American Songbook.

As part of her Colonial Piano Project, Australian pianist Gabriella Smart commissioned and performs "Kaps Freed" by Cat Hope, a contemplation of composer Percy Grainger's Free Music ideals, with Stuart James on electronics; and the alliterative "Two New Proposals for an Overland Telegraph Line ..." by Erkki Veltheim, inspired by the 1st piano to arrive in Alice Springs, AU.

Their impetus motivated by the 60's & 70's London improv scene, epitomized by Derek Bailey's Company group, guitarist Dirk Serries leads this assemblage of quick-witted improviser as they challenge each other through pointillistic and sublime passages; from Tom Jackson (clarinet), Colin Webster (sax), Martina Verhoeven (piano), Dirk Serries (guitar) & Teun Verbruggen (drums).

The second album of piano works from Japanese composer Jo Kondo performed by pianist Satoko Inoue--a noted interpreter of solo works by Feldman, Ferrari, and Cage--here presenting all of Kondo's works for solo piano written from 2001 to 2012, alongside two early works from 1975, exploring a wealth of harmonic, rhythmic, and conceptual ideas from a diversity of projects.

Conductor Sebastian Gottschick presents an additional selection of songs and chamber music works from composer Charles Edward Ives that reflect this broad range, 20 mostly brief and innovative works composed between 1898 and 1921, blurring the boundaries between genres through unusual motifs, themes, gestures and phrases that appear in new vocal and/or instrumental contexts.

West Coast composer and saxophonist Noah Kaplan, associated with Anthony Coleman, David Tronzo, Peter Erskine, Rinde Eckert, Joe Morris, Mat Maneri, Joe Maneri, &c., here in his 3rd album with his Noah Kaplan Quartet, in a set of original compositions and one standard performed with Joe Morris (guitar), Giacomo Merega (electric bass) & Jason Nazary (drums, electronics).

Bringing together French clarinetist Sylvain Kassap and bassist Benjamin Duboc with American trombonist Steve Swell and drummer Chad Taylor, this transatlantic quartet delivers eleven adventurous improvisations of shifting textures and rhythmic surges, culminating in Swell's closing tribute to clarinetist Perry Robinson in a vivid and unpredictable exploration of sound.

The innovative string trio of Daniel Studer on double bass, Harald Kimmig on violin, and Alfred Zimmerlin on cello, develop focused environments of timbre, texture, dynamic and space, seemingly abstract yet incredibly concentrative and virtuosic interaction, here joined by Chicago trombonist and electronics artist George Lewis adding a 4th profound layer to their incredible conversation.

The long-running duo since 1987 of spouses, pianist Hildegard Kleeb and trombonist Roland Dahinden, are joined by Swiss-born/ Berlin-based percussionist & vibraphonist Alexandre Babel for an album of interweaving and contrasting instrumental lines, blurring the boundaries between contemporary music and improvisation through exceptional mastery and dialog.

Documenting a 1995 collaboration between Swiss improvisers Hans Koch, Martin Schütz, and Fredy Studer with Egypt's El Nil Troop, blending live and studio recordings of Egyptian folk music and European jazz improvisation into a dynamic, respectful and ecstatic fusion that preserves the essence of both traditions while adding inventive layers in a versatile and passionately energetic release.