An assertive duo of piano and trumpet from Canadian improvisers Marilyn Lerner playing inside and out of the piano, and trumpeter Nicole Rampersaud performing with powerful and unusually expressive technique, this the first meeting between the two in a set of seven studio recordings, creative interactions of wide-ranging and cohesive approaches to their dialogs.

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.

This trio joins 3 disparate approaches to composition and improvisation--Japanese improviser Ayumi Tanaka, Oslo composer Johan Lindvall, and ECM artist Christian Wallumrod-developing the engaging material on this album by focusing on elements like tuning, register, intervals and dynamics, for an absorbing album of compatible and concentrative playing.

This trio joins 3 disparate approaches to composition and improvisation--Japanese improviser Ayumi Tanaka, Oslo composer Johan Lindvall, and ECM artist Christian Wallumrod-developing the engaging material on this album by focusing on elements like tuning, register, intervals and dynamics, for an absorbing album of compatible and concentrative playing.

Originally released in 1983 as Jean-Marc Foussat's sole solo statement for the next 18 years, Abattage is a frenetic musique concrète collage of Synthi AKS & VCS3 electronics, tapes, voice, guitar, piano and field recordings, reissued in a deluxe remastered edition with 32-page booklet that restores the intensity and inventiveness of his groundbreaking debut.

A remarkable first meeting between legendary Japanese pianist Masahiko Satoh and Greek guitarist Giotis Damianidis, recorded live in Chiba, Japan, where their distinct musical voices — acoustic piano steeped in classical and post-bop cadences and effects-laden electric guitar with rock overtones — intertwine in a boundary-erasing, expressive free improv set of intensity, elegance, and mutual discovery.

A rare meeting across four decades as guitarist Marc Dufourd and synthesist Jean-Marc Foussat revisit their Axolotl roots, juxtaposing the raw collage of their 1982 improvisations — feedback, fractured rhythms, and spectral melodies — with a 2023 counterpart of folk-tinged guitar, toys, and electronics, a reflective dialogue on time, memory, and soundÕs restless possibilities.

Founding member of Bren't Lewiis Ensemble and Glands of External Secretion, and longtime driver of Bananafish magazine, Seymour Glass (as S*Glass) presents three 20-minute works of surrealist musique concrète, layering loops, cassettes, objects, organ, voice, and field recordings into unsettling yet strangely meditative sound collages that conjure fever dreams and altered states.

Recorded largely in an off-grid mountain hut, the fifth A Magic Whistle album finds Andy Puls uniting the chamber-folk intimacy and minimalist electronics of his earlier work into a vivid, wilderness-shaped soundscape where homemade sequencers, modular synths, guitars, whistles, and his resonant "Cascadian Sympathetic Steel" flow with field recordings and wordless voice.

Recorded while on tour in Arizona, Denmark, and Sweden, experimental composer Chester Hawkins transforms keyboards, live loops, field recordings, synths, lapsteel, and music box into immersive and hallucinatory soundscapes, weaving tense, meditative, and otherworldly excursions that trace the shifting orbits of inner and outer space in vivid, exploratory detail.

An immersive meeting of Berlin pianist Magda Mayas and Australian flutist Jim Denley, ffollowing up on their 2017 Relative Pitch release, Tempe Jetz, as they weave flutes, piano, and percussive objects into a delicately balanced exchange where subtle gestures and resonant detail create a patient yet gripping exploration of texture, breath, and sonic space.

London violinist Pei Ann Yeoh started TriYeoh while doing her postgraduate work at Royal Birmingham Conservatoire, bringing together UK drummer Jim Bashford and bassist Ash Trigg as they perform her lyrical and exciting compositions, seeking to elevate the role of the violin in an avant-garde jazz setting; compelling, upbeat, energetic and enthusiastic improvisation!

A remarkable solo statement from Chicago pianist Erez Dessel (b.1998), whose explosive energy, intuitive form, and darkly Romantic lyricism channel influences from Cecil Taylor, Don Pullen, or even shades of Mussorgsky, while embracing playful contrarianism, captured in ten concise improvisations and presented with notes by pianist Sharon Udoh.

Performing two Bill Dixon works alongside pieces by pianist Alexander Hawkins, Hawkins and cornetist Taylor Ho Bynum unite in a deeply intuitive duo recorded live in New Haven, their spacious and lyrical exchange balancing improvisational freedom with structural grace as two distinct voices attuned to form, texture, and expressive subtlety.

Celebrating three decades of collaboration, Loren Connors and Alan Licht performed at Café OTO in 2023, captured in their first set with Connors on piano before shifting to guitar, their improvisation unfolding with spacious warmth, melodic restraint, and shimmering textures that evoke Rothko-like hues, blending blues abstraction and lyrical fragments into a calm, luminous dialogue.

The tenth duo recording from pianist Satoko Fujii and trumpeter Natsuki Tamura presents eight compositions of slow, lyrical beauty-seven by Tamura and one by Fujii-crafted with exquisite restraint and intimacy, as the long-time collaborators sustain a dignified atmosphere of quiet intensity and emotional depth, shaping silence and subtle detail into music of profound elegance.

A purely electric album by Yoshio Machida recorded in 2023, made entirely with the EMS Synthi AKS; with its patch-matrix routing, built-in 256-step sequencer, spring reverb, three oscillators and analog coloration, Machida improvises tempo and phrasing as if in conversation with a string quartet, layering organic, nostalgic, chamber-like textures entirely without outboard gear.

In a live set at Amsterdam's club & workspace Splendor, Argentinian tenor/sopranino explorer Ada Rave and Polish pianist Marta Warelis shape an intimate but volatile dialogue, fusing air, resonance, clusters, and melody into patient arcs that bloom from microscopic detail to surging release, a great example of the city's improvising community at their most attentive and fearless.

Recorded in the extraordinary resonance of Paris's Saint-Merry Church, this double album captures soprano and sopranino saxophonist Michel Doneda in duo with pianist Frédéric Blondy, their improvisations unfolding in deep dialogue with the architecture itself, as tones and textures expand into the vast acoustics, creating immersive, luminous soundscapes of remarkable depth and presence.

In a fully improvised solo recording, pianist Matthew Shipp channels a lifetime of discipline and influence into an expansive and deeply personal work whose shifting architectures, sly dissonances, and luminous pacing unfold with the gravity of composed modern classical music while retaining the spontaneous intensity of free jazz, reframing his sound in a broader, genre-fluid context.

Finnish composer Antti Tolvi's 72-minute realization of Morton Feldman's Intermission 6 transforms the brief 1953 piano score into an extended meditation on sound and silence, his patient, quietly unpredictable interpretation revealing the work's subtle randomness and serene depth, evoking Feldman's later explorations of duration and near-stillness.

Reuniting pianist Pandelis Karayorgis with bassist Nate McBride and drummer Randy Peterson, and featuring composer-pianist Eric Moe, this microtonal project bridges jazz and contemporary composition through Werntz's Capricious Nocturnal Variations, as Karayorgis' trio expands its themes with richly textured interplay and fluid explorations of the uniquely tuned Werntz Nocturne Scale.

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 deeply personal collaboration between pianists Eri Yamamoto and Matthew Shipp, recorded live in the studio with Yamamoto in the left channel and Shipp in the right, as Yamamoto marks thirty years in New York with a set of original compositions for this occasion, their distinctive voices intertwining in an elegant, searching, and harmonically rich conversation of friendship, individuality, and creative life.

Recorded live in Tainan, Taiwan, the ever-inventive Jason Kahn strips his sound to acoustic guitar, harmonium, and voice, weaving fragile melodies and raw textures into an intimate, exploratory performance that bridges his electroacoustic sensibility with an unvarnished eccentric vocal presence of remarkable immediacy and tension, at times invoking a Basho-like spirit.

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

The third in a series of pieces inspired by ideas in the history of music theory, from composer Marc Sabat and inspired by Renaissance Italian Composer/Theorist Gioseffo Zarlino, performed in a 9-piece ensemble that cycles through voices, strings, harp, and flute, with instruments entering cycles at midpoints of prior loops to create weaving and graceful intersections.

In an incisive Munich set, multi-reedist Udo Schindler and pianist Katharina Weber transform breath, wood and wire into tensile, reductionist improvisations that pivot from hushed, inside-piano timbres to bristling polyphony, their acute listening and timbral agility forging a vivid, moment-to-moment architecture of detail, momentum and quietly luminous intensity.

Uncovering long-shelved recordings from 2006 and 2010, Paul Dunmall reveals a rare side of his artistry at piano and organ, freely improvising with harmonic collisions, lyrical fragments, and bold dynamics that echo the adventurous spirit of Charles Ives, whose humor, vision, and audacity serve as both inspiration and dedication for these spontaneous performances.

Alone with his newly acquired 1947 Steinway Model M, Downtown New York pianist Anthony Coleman crafts an intimate set of solo explorations that probe touch, resonance, and the piano's physical poetry, transforming his long-fraught relationship with the instrument into a deeply personal study of sound, nuance, and the possibilities revealed by playing at home.

Reimagining sounds from his past collaborations with Nels Cline, Pauline Oliveros, William Parker, Terry Riley, and Michael Wimberly, Thollem transforms their performances into new sonic landscapes through real-time improvisation using samples from their improvisations, blending organic and electronic textures into a kaleidoscopic exploration of memory, transformation, and infinite creative possibility.

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

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

An extended work for piano by Sarah Hennies, SOVT (Semi-Occluded Vocal Tract) transforms the instrument through putty-muted strings and resonant sympathetic vibrations, performed with rhythmic precision by Richard Valitutto in a hybrid piano-percussion sound world inspired by vocal-tract exercises and Hennies' exploration of voice, identity, and embodied resonance.

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

The first of two planned volumes of studio improvisations between Brooklyn trumpeter & flugelhorn player Michael Sarian and keyboardist Matthew Putman, recorded in Sarin's home studio during the 2020 pandemic, allowing freedom in exploration as they sought out cadences, rhythms and melodies, this 1st volume presenting the finest of their investigations.

The first of two planned volumes of studio improvisations between Brooklyn trumpeter & flugelhorn player Michael Sarian and keyboardist Matthew Putman, recorded in Sarin's home studio during the 2020 pandemic, allowing freedom in exploration as they sought out cadences, rhythms and melodies, this 1st volume presenting the finest of their investigations.

A powerful 1972 duo performance from alto saxophonist Mike Osborne and pianist Stan Tracey, and the 2nd release on Cadillac Records, recorded live at Surrey Hall and unfolding as a nearly 47-minute continuous improvisation, blending OsborneÕs fierce, vocal intensity with TraceyÕs harmonically adventurous, percussive drive in a richly inventive and compelling exchange.

A refined collaboration between pianist Melaine Dalibert and David Sylvian, transforming Dalibert's algorithmic piano works through subtle, impressionistic electronic treatments that deepen their harmonic resonance, creating a luminous and contemplative soundworld shaped by spectral motion and quiet atmospheric detail.

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

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

Three works from American composer Kory Reeder's Grid Series bring piano and two violas into sparse, quietly shifting environments where structured pitch fields, performer agency, and subtle repetition form reflective sound spaces that balance structure and spontaneity, inviting deep listening through poised restraint and the poetic tension between silence and tone.

A bristling electro-acoustic duo encounter in which Ilia Belorukov's restless modular synthesis collides and intertwines with Alex Riva's recorder work and effects, generating playful yet volatile improvisations that shift between lo-fi textures, glassy winds, and surging electronic fragments, as tension, friction, and timbral curiosity drive the music through constantly mutating sonic terrain.

In a subtly detailed journey, Nate Wooley layers field recordings, trumpet, piano, sine tones, whistling, and bodily sound into a stark, reflective work that probes the uneasy coexistence of nature, machinery, and human presence, shaping a quietly political soundscape in which environmental detail, isolation, and mechanical intrusion collide in fragile, contrapuntal tension.

Performing solo piano at the 2025 New York Forward Festival, Leo Genovese delivers a strikingly fluid and exploratory set where abstract, dreamlike themes move freely between lyricism, volatility, and spontaneous invention, revealing a deeply personal improvisational language shaped by risk, intuition, and the raw immediacy of live performance.

Captured live in Bavaria in February 2025, these six improvisations pair frequent collaborators German wind instrumentalist Udo Schindler and Catalan pianist Jordina Milla in a series of dialogues where timbre, texture, and spontaneous interplay shape an immersive, poetic sound world influenced by Sylvia Plath's Ariel, blurring the line between composition and open improvisation.

The duo of Denman Maroney on prepared piano and Mark Dresser on contrabass at the 2008 Vision Festival in NYC, and at the Storefront Theater, Chicago in 2001.

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

Working alone with electronics, radios, field recordings, homemade instruments, and voice, Georgy Orlov-Davydovsky constructs immersive electro-acoustic pieces shaped by specific physical environments, layering noise, drone, and fragile gestures into meditative sound narratives that explore borderline psychosonic listening states through dense textures and unstable sonic detail.

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

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

Pianist Joel Futterman presents a compelling solo program of concise yet richly layered improvisations, weaving sustained resonances, sharp staccato gestures, evolving tonal relationships, and intimate melodic fragments into a reflective and interconnected musical journey marked by continual transformation and emotional depth.

Pianist Joel Futterman presents a compelling suite of concise yet intricately connected solo improvisations, weaving sustained resonances, sharp staccato gestures, shifting dynamics, and evolving tonal relationships into a richly reflective musical journey that continuously transforms while maintaining a strong sense of unity and expressive depth.

Two Spanish improvisers of distinction meet at DADA Studio, in Brussels, Belgium to record ten diverse and extraordinary dialogs, from percussionist Ramon Lopez and pianist Josep-Maria Balanya, balancing radical jazz with experimental approaches to free and contemporary improvisation, a tour-de-force of expression and innovation.

Pianist Claudia Binder presents 3 concepts for solo piano - the introspective "Room for a Sound" and it's dramatic inverse, "Sound for a Room"; "Polyphony" in 3 parts using piano preparation, one part playful, one part serious, one part peculiar; and an inexplicable "It Takes Two to Tango"--in performances revealing a curious mind and tremendous skill.

Since 2016 pianist Francesco Zago and guitarist & live electronics artist Andrea Bolzoni (The Night Watch, Stormy Six) have collaborated, focused on guitar improvisation, proposing a dialog between lyricism and psychedelic music, here in a 10-part work of fluid & ethereal sounds informed by contemporary music and creative improv, a unique journey presenting a strong narrative sense.

Seven improvisations for solo piano from Swedish composer and pianist Rasmus Borg, recording in Stockholm in a contemplative contemporary mode, as evidenced by titles like "Nocturne", "Waltz", "Toccata", &c, referencing established forms through instant compositions, a reflection of his statement that Borg likes "melody, harmony, going in circles, canons".

Visual artists Maria Lucchese is also a multi-instrumentalist and voice performer based in Berlin, working with Gio Kaptra, a filmmaker, visual artist and scientist based in Urbino, take their listeners on a 7 part cosmic exploration using tibetan bells, theremin, voice, modular synth, breath and sound processing, the title translating to "through hardships to the stars".

A strangely agitated garden sculpted from melody, dissonance and instrumental abberation through profound technique and unusual approaches to their instrument, by French double bassist Louis-Michel Marion and pianist Françoise Toullec, bringing a sense of wonder and turbulent environment through a shared passion balancing ominous space with astute activity.

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Active since 2008, the PLASMA 8 duo of German pianist & vocalist Thomas Reuter and saxophonist Andreas Krennerich explore the geological deposits of porphyr, a hard igneous rock containing crystals, through free improvisation, expressed here in 20 concise interactions of piano keys & strings, soprano & baritone saxophones plus unusual vocal utterance.

Nine numbered improvisations for viola, cello and analog synth from the trio of Ernesto Rodrigues, Guilherme Rodrigues and Richard Scott, recorded live at Audience, in Berlin, Scott's synth layers adding subtle nuance including vocal sampling and static and strange noise as a counterpoint to the Rodrigues' subdued but detailed techniques, textures and intense concentration.

Four voices--Norbert Zajac, Brigitte Kupper, Gala Hummel, Iouri Grankin--sing and speak over the piano work of Russian improviser Andrei Razin in a moody and often startling album that set tonal environments or disorient the listener through constrasting layers of vocalization, as Razin darts among them or sets an atmosphere of lingering tones; often curious, frequently stunning.

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.

Alone with his newly acquired 1947 Steinway Model M, Downtown New York pianist Anthony Coleman crafts an intimate set of solo explorations that probe touch, resonance, and the piano's physical poetry, transforming his long-fraught relationship with the instrument into a deeply personal study of sound, nuance, and the possibilities revealed by playing at home.

Roger Coleman's solo electronics and synthesizer work on Journey to Brno unfolds extended, immersive soundscapes of layered synthesis and nuanced modulation, forging a personal path between contemplative drones, aberrant rhythms, and abstract electronic gestures as shifting timbres and deliberate pacing shape an expansive and sometimes disruptive sonic journey.

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Originally released in 1983 as Jean-Marc Foussat's sole solo statement for the next 18 years, Abattage is a frenetic musique concrète collage of Synthi AKS & VCS3 electronics, tapes, voice, guitar, piano and field recordings, reissued in a deluxe remastered edition with 32-page booklet that restores the intensity and inventiveness of his groundbreaking debut.

Reuniting pianist Pandelis Karayorgis with bassist Nate McBride and drummer Randy Peterson, and featuring composer-pianist Eric Moe, this microtonal project bridges jazz and contemporary composition through Werntz's Capricious Nocturnal Variations, as Karayorgis' trio expands its themes with richly textured interplay and fluid explorations of the uniquely tuned Werntz Nocturne Scale.

Experimental guitarist Fetusk and synthesist Steven Davis collaborate on a brooding electronic work where drones, processed guitars, beats, and field recordings merge into slowly evolving soundscapes, balancing industrial grit, ambient suspension, and textural density in a restrained, immersive exploration of atmosphere and transformation.

The duo of improvisers Stuart Wilding and Mike Adcock transform an array of percussion, prepared objects, piano and unconventional instruments into a playful yet deeply attentive dialogue of texture, shaped by the natural resonance of Whiteshill Village Hall, balancing spontaneity, humor and focused listening in an intimate exploration of improvised sound.