"The music is rich and beguiling - an original and distinctive soundworld. All compositions are by Santiago Lamisovski. He is a fine, distinctive composer, whose style shows influences from Herbie Nichols and Andrew Hill. If you still b...

Closing Christian Wolfarth's three-part 39 cycle, this solo work for percussion and field recordings transforms numerical constraints, repetition and chance into a spare study of resonance, texture and silence, where skin, metal and environmental sound gradually blur the line between composed structure and pure sonic perception.

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.

"Across Breath, Voice, Silence" is music concerned with elemental process. Specifically it is an improvised solo saxophone performance recorded live at the Zen Center of New York City. I had been drawn to zen practice having felt parall...

"I don't write a lot of harmonies," Hertenstein says. "Following the logic of counterpoint, I write a riff that I like, find a melody, and leave it there. I trust the musicians to come up with spontaneous changes during their improvisat...

"Listening to this music means encountering a quartet that, over the course of four years, has developed a shared language aimed not at recognizability but at presence. It emerges from being there: from four people in a room, from air, ...

"We wander here in an unknown landscape, but with each episode, a new orchestra, a new world, comes into being, discoveries of centuries mysteriously shifted, echoing the magic realism and creative subversion. This music embodies myth, ...

"Microtonal fragments that coalesce into rhythms and melodies. In this process, the divine becomes the idea of the absolute. As a conception of the still unfinished, as well as fragments that form a whole. This duality between the perfe...

"After the pandemic, everything seemed frozen, stuck, exhausted. The Viennese saxophoniste Sophie Hassfurther felt an urge to break this condition apart and reassemble it, like a kaleidoscope: shapes and colors shift into one another, f...

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.

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.

Continuing OM's fusion of rock energy and free improvisation after the death of founding drummer Fredy Studer, soprano saxophonist Urs Leimgruber, guitarist Christy Doran and bassist Bobby Burri are joined by percussionists Gerry Hemingway and Tony Buck for a live set of dense electroacoustic interplay, surging rhythmic force and open-ended collective invention, carrying the group's "ElectroAcoustiCore" language into a new era.

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.

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.

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.

Led by Franz Koglmann's cool-toned trumpet and flugelhorn with Michael Mautner's motifs and electronics, Vienna FLAMMeS joins Lukas Schiske, Andreas Donhauser, Silvia Deixler, Max Buhlmann, and Josef Ka in a post-jazz sound world of fractured grooves, Canterbury echoes, reed color, guitar abrasion, spoken elements, and egalitarian improvisation shaped by Viennese modernism and collective risk.

A restored edition of Tony Williams Lifetime's incendiary 1969 trio debut with John McLaughlin on guitar and Larry Young on organ, documenting one of jazz-rock fusion's earliest and most audacious statements, where Williams' radical rhythmic designs, Young's dense harmonic force, and McLaughlin's searing electric vocabulary collide in urgent, psychedelic, genre-defying improvisation.

A legendary 1940 live document of Duke Ellington's Blanton-Webster orchestra, captured in Fargo by Jack Towers and Richard Burris, with Ellington on piano, Johnny Hodges and Otto Hardwick on alto saxophones, Ben Webster on tenor, Harry Carney on baritone, Barney Bigard on clarinet, Rex Stewart, Ray Nance and Wallace Jones in the brass, Jimmy Blanton on bass, Sonny Greer on drums, and Ivie Anderson and Herb Jeffries on vocals.

An electroacoustic quartet of Phil Durrant on amplified objects and electronics, Jason Kahn on voice, Mark Wastell on percussion, and Caius Williams on double bass, recorded in London in 2025, unfolding four extended improvisations where breath, resonance, friction, signal, and acoustic weight interact through restrained intensity, microscopic detail, and unstable collective form.

Captured in 1968 in Zurich and long shelved before its recent discovery, this early trio session brings Pierre Favre, Irene Schweizer, and George Mraz together in a concise, fiery set of attentive free jazz, balancing Ornette Coleman's title piece with Schweizer's compositions, where dynamic interplay and acute listening reveal a nascent yet fully engaged collective voice.

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.

Accordionist Luciano Biondini, tubist and serpent player Michel Godard, and percussionist Lucas Niggli weave composition and free improv into a richly expressive dialogue drawing on Mediterranean lyricism, early music, and contemporary jazz, where original pieces, Radiohead and Monteverdi reinterpretations, and spontaneous interplay unfold with poetic depth, wit, and an ever-shifting sense of narrative.

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.

Recorded live at the Archipel Festival, this quintet of Nicolas Field, Thomas Florin, Jerome Noetinger, Fritz Welch, and Nate Wooley delivers an intense electroacoustic performance where composed frameworks erupt into explosive, immersive interactions, as voice, trumpet, piano, percussion, and electronics collide in dense, mutating textures that are disorienting, consuming, often volatile, yet consistently exhilarating.

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.

Gathering 45 small-group recordings from 1924-1928, this restored 2-CD reference traces Bix Beiderbecke's singular cornet and piano artistry alongside Frankie Trumbauer, Miff Mole, Don Murray, Tommy Dorsey, Eddie Lang, Joe Venuti and others, revealing a poised, lyrical and formally lucid voice whose economy, harmonic curiosity and graceful invention helped shape early jazz beyond its dance-band conventions.

Uniting Albert Ayler's 1964 New York sessions for Spirits (Debut) and Spirits Rejoice (ESP, with Donald Ayler, Charles Tyler, Call Cobbs, Henry Grimes, Gary Peacock, Sunny Murray, Normand Howard and Earle Henderson, this remastered edition captures Ayler's volatile balance of spiritual song, sculptural horn lines, churning bass motion, ecstatic fanfare and free jazz intensity.

Gerry Hemingway leads a site-specific quartet with pianist Izumi Kimura, multi-reedist Frank Gratkowski and bassist Christian Weber, weaving composed structures, extended techniques, improvisational formations and wood-scrap percussion from Bau 4 itself into a tribute to the venue's founders, balancing melodic fragments, rhythmic propulsion, microtonal color and vivid ensemble transformation.

"This clarity of creative intention runs across the whole album and the track titles confirm that Lucaciu's experiments with torsion are pursued with an almost scientific rigour. If this process and this material can behave in this way ...

Expanding Matthias Muche's BONECRUSHER into a 12-trombone ensemble with Etienne Nillesen on extended snare drum, this powerful ezz-thetics release explores the trombone as a massive yet highly detailed acoustic organism, moving between composition and improvisation through crackling chords, microtonal pressure, resonant overtones, dense brass clouds and fiercely sculpted collective sound.

Swiss composer Edu Haubensak's 2019-2024 cycle for six scordatura pianos, performed by Simone Keller, Rafael Rütti, Asia Ahmetjanova, Stefan Kägi, Yoko Sawa and Stefan Wirth, builds a monumental field of microtonal resonance and harmonic colour, paying homage to Ivan Wyschnegradsky's Arc-en-ciel while linking Haubensak's mature tuning work to his 1979 Schwarz Weiss.

Judith Wegmann and Marlies Debacker perform John Cage's 1989 Two2, a late work for two pianos whose thirty-six short lines unfold through independent tempi, shared pauses and resonant decay, allowing the duo's deep experience in composed and improvised music to shape a live performance of patient asymmetry, concentrated listening and quietly radical spaciousness.

Swiss saxophonist Christoph Gallio presents two complementary works: a 2016 Lucerne set of concise, aphoristic exchanges with Raphael Loher on piano and effects, and a 1988 NYC electroacoustic session with Matthew Ostrowski on ARP synthesizer and sampling and Alfred Zimmerlin on cello and effects, balancing wit, beauty, abstraction and sharply focused improvisational form.

Composed for the Seoul experimental space Dotolim and originally realized in 2009, Jason Kahn's graphic score is revisited here with a new generation of Seoul-based experimental musicians, combining voice, electronics, tape devices, film projectors, and resonant objects in a subtle electroacoustic performance shaped by texture, space, and collective interpretation.

In this duo setting, Daniel Levin and Laurent Estoppey engage in a deeply exploratory dialogue for cello and saxophone that blurs the line between intention and execution, unfolding mercurial, soaring improvisations that push the expressive limits of their instruments while inviting attentive listening without the need for explanation or resolution.

Marking her return to Chicago, German alto saxophonist Angelika Niescier reunites with a powerhouse sextet of the city's improvisers, including Nicole Mitchell, Dave Rempis, and Jason Adasiewicz, for a high-velocity session of free improv, where fierce interplay, shifting textures, and spontaneous structures bridge European and AACM-informed traditions with raw, contemporary energy.

Recorded on a Steinway in the gallery of Falmouth Arts Centre, pianist Mike Westbrook delivers an introspective solo exploration of the blues, revisiting its forms — eight, twelve, sixteen, and extended bar structures — through spontaneous variations that blur improvisation and instant composition, blending traditional feeling with modern harmonic invention and the ambient sounds around him.

Recorded in Chicago between 1925 and 1928, these seminal Hot Five and Hot Seven sessions led by Louis Armstrong capture a transformative moment in early jazz, where his virtuosic phrasing, rhythmic innovation, and charismatic presence redefine the music's expressive scope, presented here with exceptional restoration and mastering, and accompanied by two postcards detailing recording sessions and personnel.

Previously unreleased recordings from the Albert Ayler Quintet — captured in Copenhagen and Bordeaux during the 1966 Newport in Europe tour and at the Newport Jazz Festival in 1967 — present Ayler with Donald Ayler, Michel Samson, Bill Folwell, and Beaver Harris/Milford Graves in fiercely expressive performances, newly restored and mastered from rediscovered tapes.

Anthony Braxton's 1989 recording of seven compositions (glued together into three performances) in a trio with bassist Adelhard Roidinger and drummer Tony Oxley.

In 1988, on the spur of the moment, Blake and Braxton met to record this set of 8 standards, including pieces by Monk, Parker, Gillespie, Miles Davis, Mal Waldron, &c.

Remaster of the exhilarating second set from saxophonist and composer Anthony Braxton's concert at the Kuumbwa Jazz Center in Santa Cruz, CA, 1993, one of 7 nights performing with the quartet of Marilyn Crispell on piano, Mark Dresser on bass, and Gerry Hemingway on percussion.

Anthony Braxton's and Ray Anderson's short-lived 1979 quartet interpreting seven of Braxton's compositions with amazing results.

Double CD remaster of Braxton's incredible 1978 concert in Koln with a massive orchestra including Ned Rothenberg, Leo Smith, Marilyn Crispell, Bob Ostertag, Marty Ehrlich, JD Parran, &c. &c. &c.!

Reconfiguring the long-running Conference Call quartet with pianist Uwe Oberg alongside tenor saxophonist Gebhard Ullmann, bassist Joe Fonda and drummer/bugler Dieter Ulrich, this first New Conference Call release moves through intricate compositions, spacious collective improvisation and volatile free-jazz exchanges, including tributes to Joe Maneri, Ornette Coleman and Jim Pepper.

Uniting bassist Stephan Crump, drummer Eric McPherson with alto saxophonist Darius Jones, this trio channels a deeply connected improvisational language built on evolving vamps, elastic grooves, and shared momentum, as Jones's emotionally direct alto moves freely through shifting forms shaped by trust, vulnerability, and a collective pursuit of intensity without hierarchy or hesitation.

Swiss pianist Sylvie Courvoisier and legendary trumpeter Wadada Leo Smith meet in a deeply focused duo session, their through-composed material unfolding with stunning restraint, architectural clarity, and a quiet but potent freedom, as each phrase, gesture, and interval feels acutely calibrated in a shared space of mystery, immediacy, and poetic intent.