Marking three decades of collaboration, tenor saxophonist Ivo Perelman and pianist Matthew Shipp distill their remarkably intuitive improvisational language across two Park West Studios sessions recorded weeks apart, their spontaneous exchanges moving through melody, silence, density, rhythmic momentum and abrupt shifts of register with the immediacy of a conversation shaped by years of shared musical experience.

Jessica Pavone expands her long-running solo viola practice with effects and guest contributions from Fred Frith on guitar and Joe Lally on bass, using open-string resonances, electronic texture, and remotely developed collaborative material to create a set of compositions that balance solitude, resonance, and carefully structured interaction.

Recorded live at Cafe Oto, this first-time quartet of percussionists Paul Lytton and Eddie Prevost, trumpeter Nate Wooley and saxophonist Seymour Wright brings together overlapping histories of long-standing, renewed and entirely new collaborations, using those contrasting degrees of familiarity to shape a freely improvised performance of shifting alliances, layered interaction and distinct individual voices.

Marty Ehrlich directs a rotating cast of leading reed players through the forty known saxophone quartet compositions of Julius Hemphill, combining works written for the World Saxophone Quartet with previously unrecorded pieces recovered through Ehrlich's archival research, revealing Hemphill's singular language of layered counterpoint, blues-rooted melody, rhythmic invention, and chamber precision.

"Philadelphia-based artist Morgan Evans-Weiler performs on violin and is known as a member of the contemporary classical music ensemble Ordinary Affects. Percussionist Carlo Costa, who was born in Rome, has lived in New York since 2005....

A strikingly restrained side of Albert Ayler emerges on this 1964 session of spirituals and devotional songs, with his tenor and soprano saxophones joined by Call Cobbs Jr. on piano, Henry Grimes on double bass and Sunny Murray on drums, emphasizing melody, blues-inflected tone and deep vibrato while revealing the gospel and New Orleans roots underlying his more radical later language.

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.

A bit late for 2007, but an excellent rock grooved rendition of the holiday chestnut "A little Drummer Boy" from Swans and all-around NY drummer Jonathan Kane.

The second duo album from French harpist Helene Breschand and New York guitarist Elliott Sharp, pairing harp and guitar in an angular, hard-edged exchange that moves freely between composed and improvised forms, with Sharp's extended sonic language and Breschand's theatrical, Dada-tinged vocal presence giving the music a restless, expressionistic character.

In their first meeting, drummer Tyshawn Sorey and pianist Pat Thomas deliver a fiercely dynamic live improvisation at Cafe OTO, moving through dense clusters, inside-piano resonance, metallic percussion, brushes, string slides and sudden silences with remarkable precision, building a volatile dialogue that shifts between thunderous rhythmic density, delicate texture and sharply focused spontaneous interplay.

NYC electronic composer and improviser Ikue Mori gathers music created from 2016-2025 into an imaginative CD/DVD work pairing her intricate electronic worlds with handmade dolls, puppets, animation and miniature sets, joined on pieces by Satoko Fujii and Natsuki Tamura, Koichi Makigami, and Zeena Parkins in eight pieces moving through fantasy, science fiction, Japanese ghost imagery and detailed electroacoustic sound.

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.

Blending Afro-Puerto Rican rhythms with modern jazz and exploratory improvisation, guitarist Gabriel Vicens leads a sextet of guitar, saxophone, piano, bass, drums, and percussion — performing lyrical and sophisticated compositions that move through propulsive, textural, and meditative passages, balancing ancestral pulse, temporal reflection, and avant-garde expression.

On his first solo recording, Cuban-born drummer and composer Francisco Mela transforms memories of Santiago de Cuba's annual carnival, Carnaval De Oriente, into an intimate meditation on family, place, joy and loss, performing drums, voice, glockenspiel, percussion and guitar in a fluid blend of vocal improvisation, original songs, spontaneous invention and ritual.

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.

Composer and reedist Henry Threadgill reconvenes his long-running Zooid quintet with Liberty Ellman on acoustic guitar, Jose Davila on tuba and trombone, Christopher Hoffman on cello, and Elliot Humberto Kavee on drums, extending his interval-based language through shifting meters, compact forms, and non-hierarchical interplay in music that balances structural rigor with elastic, conversational improvisation.

Pianist Myra Melford's Fire and Water Quintet with Mary Halvorson on guitar, Ingrid Laubrock on tenor and soprano saxophones, Tomeka Reid on cello, and Lesley Mok on drums, continuing Melford's Cy Twombly-inspired balance of cellular composition, collective improvisation, lyricism, counterpoint, and rhythmic momentum in a richly interactive studio recording.

David Moss revisits a key document of New York's early-1980s Downtown scene, joining Arto Lindsay, Fred Frith, Bill Laswell, Jamaaladeen Tacuma, John Zorn, Christian Marclay, Phil Minton and others in nineteen concise, rapidly shifting studies that fuse percussion, reeds, guitars, turntables, electronics, manipulated voice, groove and free improvisation into a restless collage of experimental composition and performance.

David Moss leads a remarkable cross-section of New York's 1980s Downtown scene with Fred Frith, John Zorn, Tom Cora, Arto Lindsay, Christian Marclay and Jules Moss, merging percussion, theatrical vocals, electronics, turntables and improvisation with tightly constructed rhythmic forms in a volatile collision of experimental rock, noise, free improvisation and infectious groove, newly remastered for its 40th anniversary.

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.

Reissuing Henry Grimes' concise, darkly lyrical 1965 trio album with clarinetist Perry Robinson and drummer Tom Price alongside Marzette Watts' turbulent 1966 octet session, this remastered edition contrasts free improvisation with a dense collective of Byard Lancaster, Clifford Thornton, Sonny Sharrock, Karl Berger, Juini Booth and J. C. Moses, Grimes the link between two vital expressions of 1960s freedom

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

Guitarist Jon Madof leads bassist Yoshie Fruchter and drummer Nate Rappaport, with percussionist Moshe Sobol, in a powerful trio blending Jewish melodic traditions, surf guitar, jazz improvisation, post-rock, punk and metal, balancing lyrical passages, heavy riffs and open improvisation in a compact extension of Madof's work with Rashanim and Zion80.

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

Centering the lyrical interplay of piano and violin, Marc Copland and Mark Feldman lead two rhythm sections with Drew Gress (bass), the late Anthony Pinciotti (drums) or Felix Henkelhausen (bass), and Jonas Burgwinkel (drums), through intimate, textural performances balancing standards and originals with subtle, exploratory improvisation.

An electrifying and richly textured electroacoustic quartet of NY improvisers — Patrick Brennan on alto saxophone, Cooper-Moore on diddley-bo, On Ka'a Davis on electric guitar, and Jason Kao Hwang on electric violin — weaving active improvisations where timbre, pitch, and rhythm share equal weight, as KnCurrent channels dynamic musical interaction into a polyglot, collective voice.

Poet and theorist Fred Moten joins bassist Brandon Lopez in their first duo recording, a powerful and searching dialog of voice, text, and bass, recorded at Greyfade Studios, where Moten's incisive spoken word and Lopez's deeply expressive playing fuse into an evocative exploration of Black cultural production, resistance, and creative solidarity.

William Parker's first spoken word album, and the continuing collaboration between Parker and composer, vocalist and sound designer Ellen Christi, who developed the underlying tracks, sung vocals and overall sound architecture for Parker's insightful, observational and revealing words and recitation, Parker also providing bass and flute that complement his life-affirming texts.

Rare and unreleased Sun Ra recordings from the Sun Ra archive are radically reworked by Masami Akita (Merzbow), merging Sun Ra's cosmic jazz language with dense layers of Japanese noise, feedback and electronic abrasion, collecting for the first time the material previously divided between the original vinyl and CD editions, along with the previously unreleased "Granular Jazz Part 5."

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

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

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

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

A heavy and wild ride in the 9th album from New York's The Gate of composer and tuba player Dan Peck, bass player Tom Blancarte and percussionist Brian Osborne, concise pieces of heavy melodic elements, dark riffs and an ominous attitude, intersecting with plundered asides and anxious pauses, a strong addition to their discography and an engrossing collection of deep disturbance.

Approaching the concept of endless repetition, New York composer and pianist Phillip Golub (Tropos, Sarafand Ensemble, Cecil McBee) presents his debut solo piano album, a contemplative set of system-based looping phrases that open up to improvisational variety in live performance, here in four renderings that defy the categorization of a "loop".

The first volume in an ongoing collaboration between composers Kenneth Kirschner and Joseph Branciforte, this work explores the application of software-based compositional techniques — including algorithmic processes, generative systems, and indeterminacy — performed in a superb ensemble including members of Flux Quartet and International Contemporary Ensemble.

Alto saxophonist and flutist Chad Fowler joins pianist Eri Yamamoto for an intimate duo session balancing composed material with spontaneous song forms, moving between grief, memory, tenderness and celebration through deeply lyrical improvisation, including Fowler's elegiac "Ash" and the standard "Polkadots and Moonbeams," recorded by Jim Clouse at Park West Studios.

Changing approaches to his music with new quartet of Jimmy Lyons on alto sax, Alan Silva on double bass and Andrew Cyrille on drums, pianist Cecil Taylor's incredible 1966 concert in Paris presented four extended compositions, here remastered and reissued with a track from a compilation LP--"With (Exit)"--extending his quartet with Bill Dixon on trumpet and Henry Grimes on double bass.

Bringing Michael Marcus' reeds and tarogato into a quartet with pianist Rod Williams, bassist Ricky Rodriguez, and drummer Allan Mednard, this ESP-Disk release extends Marcus' post-bop and avant-jazz language through compositions shaped by funky Monk-like angles, tight rhythmic interplay, lyrical woodwind clarity, and the seasoned drive of players versed in blues, free jazz, and modern creative music.

Documenting Miles Davis' 1969 "lost" third quintet live in Berlin, Stockholm and Rotterdam with Wayne Shorter, Chick Corea, Dave Holland and Jack DeJohnette, this 2-CD set captures the post-In a Silent Way ensemble reshaping material headed toward Bitches Brew, balancing lyricism and abstraction through open forms, electric-piano clusters, volatile rhythmic invention and Davis' fiercely exploratory trumpet.

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.

A fierce, spontaneous duo of Camila Nebbia on tenor saxophone and Chris Corsano on drums, recorded in Berlin in 2025, merging Nebbia's searching lines, breath-driven textures and unstable lyricism with Corsano's explosive, highly detailed percussion language, moving between delicate abrasion, surging intensity, fragmented melody and raw improvised exchange.

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

A long-overdue first sole-leader album from drummer Charles Downs, formerly Rashid Bakr, bringing his deep history with Cecil Taylor, Jemeel Moondoc, Other Dimensions in Music, and the New York avant-garde into a collective quartet with Hery Paz on saxophone, Jamie Saft on piano, and Joe Morris on bass for five improvisations of fire, lyricism, angular reflection, and seasoned rapport.

Elliott Sharp returns to solo piano with a set of compositions rooted in the instrument's physical properties, drawing on his complex history with the piano — from childhood performance to later works such as K!L!A!V!, Mapping, and Oligosono — to explore the poetics of resonance, high-tension strings, attack, volume, and the tactile force of sound through a Steinway B.

Solo guitarist John Bruschini channels lessons from his tenure with Cecil Taylor into a series of sculptural improvisations that deconstruct and reconstruct melodic and harmonic ideas, presenting a reflective and adventurous exploration of the guitar's expressive possibilities shaped by an avant-garde lineage.

Recorded solo at Bruschini's Bru Note Studio in NYC (Jan-Feb 2008), this intimate set invites the listener into a "raw state" process of real-time composition, where construction/deconstruction cycles steer the guitar from groove and grit into textural free improv, revealing fresh techniques as motifs mutate, collapse, and re-form.

Alto saxophonist Marion Brown leads a remarkable quartet with Gunter Hampel on vibraphone, Barre Phillips on bass and Steve McCall on drums, revealing two rare European performances from 1968 and 1972 in which lyrical free jazz, chamber-like openness, shimmering percussion, bass mobility and Brown's searching melodic voice converge with quiet intensity.

Recorded live at Zippy Hall in Japan in 1999, this extraordinary duo unites pioneering free jazz drummer Sunny Murray (Cecil Taylor, Albert Ayler) with Japanese free music innovator Sabu Toyozumi for two extended improvisations, their overlapping rhythmic languages creating a vivid exchange of rolling cymbal fields, sharp attacks, spacious resonance and explosive momentum.

Captured live in the studio in 1996, this powerful quartet brings Daniel Carter on saxophones, flute and trumpet together with Sabir Mateen on saxophones, flute and clarinet, William Parker on bass and Lou Grassi on drums and percussion for three expansive collective improvisations, balancing raw free jazz fire, lyrical exchanges and deep intuition.

Blending the raw energy of New York's loft jazz lineage with a transatlantic avant-garde sensibility, drummer Sam Ospovat leads a fiery ensemble through polyrhythmic intensity and expansive improvisation, where searing guitars, layered horns, and driving rhythms converge in a volatile and immersive session that channels historical influence into a bold, unfiltered contemporary expression.

Commissioned for the for/with series, Eva-Maria Houben presents a long-form work for Nate Wooley's trumpet, voice, and whistling, where sparse, precisely placed tones unfold in a meditative arc, expanding from an early performance into a deeply considered exploration of pure timbre, attentive listening, and the subtle interplay between composition and free improv.

Bassist and composer Michael Formanek leads a trans-Atlantic septet with John O'Gallagher, Chet Doxas, Joao Almeida, Mary Halvorson, Alexander Hawkins on Hammond B3 and Tomas Fujiwara, unfolding a bold contemporary jazz architecture where braided horns, off-axis guitar, organ-driven momentum and elastic rhythms move between dense collective force and sharply focused small-group interplay.

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

NYC saxophonist Michael Foster joins Swiss bassist Christian Weber and Berlin drummer Michael Griener for a visceral trio session of free improv charged with noir tension, drawing on American crime novelist David Goodis-inspired titles as the group moves through fractured momentum, suspenseful restraint and explosive exchanges shaped by deep rhythmic instinct and structural awareness.

Leading his new quartet Elephant, trumpeter Adam O'Farrill presents a forward-looking jazz session of original compositions that shift fluidly between rhythmic drive and abstraction, where contrasting textures, layered structures, and expressive interplay animate a dynamic ensemble sound shaped by subtle electronic elements and a contemporary, cross-genre sensibility.

Reimagining Max Roach's 1968 call for perseverance through a contemporary lens, drummer and arranger Tyshawn Sorey leads Adam O'Farrill on trumpet and electronics, Mark Shim on tenor saxophone, Lex Korten on piano, Tyrone Allen II on bass, and Fay Victor on vocals in an expansive live suite of turbulent intensity, patient development, and shattering release.

Collecting eight Jaki Byard albums from 1960-67, this 4-CD set follows the pianist and occasional alto saxophonist through his extraordinary synthesis of ragtime, stride, swing, bop and free jazz, joined across varied sessions by Booker Ervin, Rahsaan Roland Kirk, Joe Farrell, Richard Williams, Ron Carter, Roy Haynes, Alan Dawson and others in music of encyclopedic reach, sharp humor and restless invention.

Chris Potter's suite draws on abolitionist John Brown's 1859 raid on Harpers Ferry to examine conviction, sacrifice and America's unresolved conflicts, with Bill Frisell's grainy guitar joined by Burniss Travis, Nate Smith, Sara Caswell, Rane Moore and Zekkereya El-magharbel in an American-rooted sound of blues, folk melody, spacious orchestration and rhythmic drive, balancing historical gravity with vivid ensemble color.

Merging solo performances from the US and Italy with fiery duets alongside drummer Hamid Drake at Antwerp's Summer Bummer Festival, guitarist/vocalist Ava Mendoza delivers eight live tracks of charged blues, rock, free improv and psychedelic intensity, her bold electric sound moving from raw riffs and declarative vocals to spiralling abstraction and ego-free guitar heroics.

Joel Futterman and William Parker continue a collaboration of more than forty years in an hour of spontaneous composition, the pianist's heavy, high-energy approach meeting Parker's deeply grounded bass in two extended movements and a brief coda that balance ecstatic force, romantic beauty, collective listening and a rapturous sense of spiritual, improvised communion.

Uniting veteran bassist Joe Fonda with German saxophonist Silke Eberhard and Austrian drummer Emil Gross, this collective trio balances lyrical structure, agile free improv, and Dolphy-informed melodic abstraction through elegant and highly responsive interplay, where tightly focused compositions unfold into fluid spontaneous exchanges driven by rhythmic precision, adventurous harmonies, and a vibrant live energy.

Eric Mingus and Elliott Sharp extend more than twenty-five years of collaboration from Terraplane and Songs From A Rogue State into a concentrated duo album of psychedelic punkfunk No Wave, with Mingus' commanding voice driven by Sharp's guitars, bass, synths, and drum programming in fourteen jagged songs of blues, politics, rupture, and electric urgency.

Charles K. Noyes continues his late-period exploration of electric guitar as a personal electroacoustic language, recording direct to stereo with effects and Ferrous to create nine stark, resonant improvisations where metallic attack, spectral sustain, fractured melody, and raw electronic texture extend his history as a percussion innovator into a solitary, time-bending sound world of memory, landscape, and unease.

Captured during a European tour, the trio of pianist Sylvie Courvoisier with bassist Drew Gress and drummer Kenny Wollesen presents a finely honed language shaped through deep trust and evolving interplay, where Courvoisier's compositions unfold with precision and openness, balancing intricate detail, shifting textures, and spontaneous free improv with subtle complexity and vivid expressiveness.

Blending exploratory jazz with deeply personal free improv expression, the quartet of Chad Fowler, Matt Lavelle, Ken Filiano, and Bobby Kapp engage in a volatile and spiritually charged dialogue using rare horns, elastic rhythm, and richly textural interplay, evoking ritual, memory, transformation, and collective discovery through instrumental gesture, harmolodic freedom, and emotionally raw exchange.

A deeply elegiac final statement from Nate Wooley's Columbia Icefield, with Susan Alcorn's pedal steel, Ava Mendoza's guitar and voice, and Ryan Sawyer's drums joining Wooley's trumpet, amplifier, voice, whistling and footwork in music shaped by grief, memory and gratitude, responding to the deaths of Ron Miles and Alcorn through expansive, emotionally weighted improvisation.

Leading his new quartet Elephant, trumpeter Adam O'Farrill presents a forward-looking jazz session of original compositions that shift fluidly between rhythmic drive and abstraction, where contrasting textures, layered structures, and expressive interplay animate a dynamic ensemble sound shaped by subtle electronic elements and a contemporary, cross-genre sensibility.

John Zorn continues his lyrical acoustic guitar writing with a Shakespeare-inspired book of seven intimate compositions for Julian Lage and Gyan Riley, whose long collaboration as interpreters of Zorn's music brings warmth, precision and conversational clarity to pieces that draw on early music, minimalism, contemporary classical forms, folk, jazz and soundtrack-like atmosphere.

Marty Ehrlich leads a chamber-jazz septet with poet Erica Hunt reciting her own texts, shaping fifteen concise works where clarinet, flute, alto saxophone, trumpet, bassoon, cello, bass, and percussion move through composed forms, free improv, and spoken word in a vivid, scene-shifting suite balancing dark resonance, bright melodic sparks, and a searching sense of hope.

The first full-length collaboration between Bonner Kramer and Thurston Moore, presenting seven requiems for the children of Gaza through a somber mix of improvised guitar, bass, keyboards, sampler and voices, moving between outsider rock, ambient drift, noise and abstraction with an elegiac, often haunted atmosphere shaped by spontaneous interaction and spacious electronic textures.

The seventh entry in Sonic Youth's SYR series documents a pivotal experimental moment from the band's 2000 All Tomorrow's Parties performance, with Kim Gordon, Thurston Moore, Lee Ranaldo and Steve Shelley expanding a 20-minute "New Drone" into the voice-inflected J'accuse Ted Hughes, paired with a 2003 Echo Canyon studio work featuring Jim O'Rourke's bass, electronics and sound processing.

Two days across 2 CDs capture trio sessions featuring Pauline Oliveros on Roland V-accordion, Miya Masaoka on 21-string koto, and Issui Minegishi on ichigenkin (a single-string koto), in a richly textured and immersive dialogue of cross-cultural instrumentation unfolding with patient sensitivity and Deep Listening, where expressive interplay balances tradition, experimentation, and sonic intimacy.

An active trio session at EMPAC from Jonas Braasch on soprano saxophone, Pauline Oliveros on V-accordion, and Doug Van Nort on GREIS electronics engage in a free improv dialog where acoustic, physically modeled, and electronic sound sources continuously merge and diverge, Van Nort's real-time processing reshaping the ensemble's output as Oliveros bends timbral models and Braasch explores extended techniques.

Seoul-born gayageum virtuoso and vocalist DoYeon Kim makes a striking bandleader debut with a quartet of Tyshawn Sorey on drums, Mat Maneri on viola and Henry Fraser on bass, merging Korean string and storytelling traditions with contemporary improvisation in a forceful, deeply expressive set of compositions and group interactions that move from bristling acoustic intensity to communal, humanist resonance.

An overlooked 1976 session led by Marion Brown on alto sax with a rhythmically driven ensemble including Ambrose Jackson, Billy Patterson, Rene Arlain, Fred Hopkins, Ed Blackwell, Jumma Santos, and Chris Henderson, merging funk and Afro-Caribbean grooves with free jazz principles through layered rhythms, collective improvisation, and Brown's distinctive, lyrical tone.

Seoul-born gayageum virtuoso and vocalist DoYeon Kim makes a striking bandleader debut with a quartet of Tyshawn Sorey on drums, Mat Maneri on viola and Henry Fraser on bass, merging Korean string and storytelling traditions with contemporary improvisation in a forceful, deeply expressive set of compositions and group interactions that move from bristling acoustic intensity to communal, humanist resonance.

Blending avant-garde sensibilities with groove-driven electric jazz, guitarist John Bruschini leads a New York quintet through compositions that shift from soulful ballads to funk-infused energy, balancing expressive lyricism and dynamic interplay with a flexible ensemble that bridges fusion, improvisation, and melodic depth.

Blending Afro-Puerto Rican rhythms with modern jazz and exploratory improvisation, guitarist Gabriel Vicens leads a sextet of guitar, saxophone, piano, bass, drums, and percussion — performing lyrical and sophisticated compositions that move through propulsive, textural, and meditative passages, balancing ancestral pulse, temporal reflection, and avant-garde expression.

Uniting the long-running trio Harriet Tubman with vocalist and multi-instrumentalist Georgia Anne Muldrow, this expansive set channels collective, largely spontaneous composition into a powerful blend of jazz, funk, rock, and electronics, where incantatory vocals and dynamic interplay drive a deeply expressive free-flowing exploration of texture, groove, and emotional resonance.

Uniting the long-running trio Harriet Tubman with vocalist and multi-instrumentalist Georgia Anne Muldrow, this expansive set channels collective, largely spontaneous composition into a powerful blend of jazz, funk, rock, and electronics, where incantatory vocals and dynamic interplay drive a deeply expressive free-flowing exploration of texture, groove, and emotional resonance.

Joining the original Centrifugal Trio of Jeb Bishop, Antonio Borghini, and Michael Griener with Danish saxophonist Mia Dyberg, this live Berlin performance unfolds through fiercely interactive free jazz and free improv, balancing dense collective motion, spacious textural interplay, and sharply responsive exchanges in an organically evolving dialog of lyrical abstraction, raw energy, and collective momentum.

Centering the lyrical interplay of piano and violin, Marc Copland and Mark Feldman lead two rhythm sections with Drew Gress (bass), the late Anthony Pinciotti (drums) or Felix Henkelhausen (bass), and Jonas Burgwinkel (drums), through intimate, textural performances balancing standards and originals with subtle, exploratory improvisation.

Uniting tenor saxophonist Ivo Perelman with three distinct guitar voices — Marc Ribot, Elliott Sharp, and Joe Morris — this 3-CD set presents three separate duo encounters recorded at Park West Studios in Brooklyn, highlighting contrasting improvisational languages while exploring timbre, interaction, and the expressive possibilities of the guitar in free improv contexts.

Gathering key 1965-66 New York sessions, this 2-CD set traces alto saxophonist Marion Brown's emergence in the free jazz vanguard through Capricorn Moon, Why Not? and Burton Greene quartet recordings, with Alan Shorter, Bennie Maupin, Stanley Cowell, Henry Grimes, Sirone, Rashied Ali and others shaping music of lyrical urgency, open-form momentum and evolving collective freedom.