Virginia Genta - Amplified tenor and sopranino saxophones
Brandon Lopez - electric bass
David Vanzan - drums, percussion

“This release captures what is sure to become a legendary coupling. Genta and her long-time-partner-in-crime David Vanzan plus one Brandon Lopez, all amasse under the moniker Jooklo Trio. As you can imagine the meeting plays out like a stellar collision, their sonic masses caught in an accelerating spiral and merged in a blast of power and intensity. Amplification...

Anna Kaluza - alto saxophone
Jan Roder - double bass

“Anna and Jan first met in 2004 when they started playing together in different combinations as the Kaluza Quartet (with trombonist Christof Thewes and drummer Kay Lübke), trios with pianst Niko Meinhold or with drummer Michael Griener and various others. In 2020 they played their first duo concert on a boat in Berlin (Hosek Contemporary) and decided to continue with their work as duo. The same year they went to Christian Betz’ studio...

Joe Morris (guitar)
Tomeka Reid (cello)
Taylor Ho Bynum (cornet
Kyoko Kitamura (voice)

“Geometry of Distance is the sophomore album by Geometry. This recording follows their debut album, Geometry of Caves, released in 2018 from Relative Pitch Records. Seth Colter Walls of The New York Times called the quartet's first album a "vibrant new recording", Stereo Gum's Phil Freeman described it as "hardcore improvised music" and Dusted Magazine wrote, "The foursome behind the fifty-minutes.

“Google is a useful tool in the topical unpacking of Uncompahgre, an improvised conclave between cornetist Kirk Knuffke and clarinetist Ben Goldberg that makes the absence of other instruments inconsequential and even preferred. The album title derives from the Ute phrase for ‘muddied water’ and references a plateaued peak in the San Juan Mountains that is also the most elevated section of the Colorado River drainage basin. Geography and language aside, the instrumentation also directly recalls earlier...

“Two of the most fascinating musicians of the free improvisation scene are Ingrid Laubrock on sax and Tom Rainey on drums, partners in life and partners in music. Their musical universe is something special, one of resonance and emphasis, of intimate immediacy and deep restraint, rather than effects and spectacular outbursts.
Or to put it differently, the rawness of the duo setting is softened by the lyricism and accuracy of the playing. Laubrock's tone is warm and round as usual, while Rainey's...

Ingrid Laubrock - soprano and tenor saxophones
Tom Rainey - drums

One of the great creative music duos of our present time!

“Ingrid Laubrock and Tom Rainey played relentlessly during the pandemic. Laubrock and Rainey clearly have finely honed their improvising skills through touring and rehearsing together. This release is comprised primarily of composed pieces by Laubrock and Rainey.”

Audrey Lauro, alto saxophone, preparations

"Using 'everyday' objects to prepare the instrument in a simple way structures this « prose métallique », in which each piece offers a poetic approach to language and textual references. Recorded in one day, these close-miked solo pieces for alto saxophone explore the area where voice and instrument converge."

“Contrabassist Joélle Leandre and West Coast woodwind player Phillip Greenlief work out 11 different compositions between their two respective instruments and voices on That Overt Desire of Object. The flexibility and space that each provides the other seems to be reflected in the line note comments about the negative effects of greed. The title is a variation of the Luis Bu±uel movie That Obscure Object of Desire (1977), with a playing field that appears a bit more level when compared to the bassist's...

Robbie Lee - sopranino saxophone, tuning forks with live electronics

“Robbie Lee is an improviser and sound creator in New York City, performing on an eclectic range of instruments, across the fringes of creative music in many scenes. On Prismatist he plays only two things: sopranino saxophone and tuning forks with live electronics. They are like two currents alternating through the album, a double helix of contrasting extremities. The sopranino, even higher than the soprano saxophone, twists...

Jon Lipscomb - guitar

"Jon Lipscomb's dissonant tones push the guitar to its limits, the power and energy of his improvisations is visceral."

Brandon Lopez - bass
Steve Baczkowski - saxophones
Gerald Cleaver - percussion
Cecilia Lopez - synthesizer (track 5)

“Brandon Lopez works at the fringes of jazz, free improvisation, noise and new music. This collaborative powerhouse never lets up with underground sax hero Steve Baczkowski and Gerald Cleaver who is among the most agile and wide-ranging first-call musicians on the 21st century jazz scene.”

CECILIA LOPEZ: Electronics and processing
INGRID LAUBROCK: Soprano and tenor saxophone

“MAROMAS is the debut recording of the duo of Ingrid Laubrock and Cecilia Lopez. Recorded in April 2022, the album is a collection of improvised pieces for tenor and soprano saxophone, processing and electronics. Maromas refers to the doing of tricksters, conjurers and acrobats. The music is dark, harsh but also playful in its pirouettes. The electronics process the saxophone as much as the saxophone...

Ramon Lopez – drums
Mark Feldman – violin

“One of the most prominent violin players, Mark Feldman, meets one of the most creative and innovative drummers, Ramon Lopez. The results of this magic encounter consists of seven tunes. Seven pearls of contemporary improvisation, where the synergy and energy, abstraction and melodic concept, lyricism and powerful expression unite forming a gigantic superposition.”-Maciej Lewenstein.

“This offering could be depicted as a pulsating mist of near static incandescent vapor. Spiral Reflector starts things off with Lubelskis briskly bowed violin drone taking the fore, backed by Naces subtle volume swells and amplifier manipulation. Mazed finds the duo further probing at the veil. The modulated drones interweave in an unsteady interplay of dipping intonation that is both fascinating and disorienting. In Re/Fract/Ed Nace provides a subtle underpinning of persistent tremolo to Lubelskis gruff...

“The duo kicks off with 'all Jazz is free' ... we first hear Mahall's bass clarinet with a loopimg mid-register melody shadowed by rhythmic and, mostly consonant, comping by Schlippenbach. Soon, it isn't Mahall leading but Schlippenbach's jazz inflected streams of consciousness darting about. The duo proceeds in a good natured pursuit - handing off leads and supporting roles, intensifying as they go. Schlippenbach's rhythms get punchy, giving Mahall something to run into and bounce off in a new...

Clara Weil : vocals
Olivia Scemama : bass
Tom Malmendier : drums

“Vocals, bass, drums, Masked Pickle is three singular "voices" who express their ideas in a unique way, follow their flow but also like to break it, deconstruct the easy path of the sound by yelling, whispering, blowing, bawling, roaring, scraping, declaiming, knocking.”

Joanna Mattrey - viola, stroh violin
gabby fluke-mogul - violin

“Joanna Mattrey & gabby fluke-mogul, two of the most radical & revolutionary New York-based improvisers, join forces in the birth of Oracle. Rejoicing in the strange magic of sound, the duo weaves together new worlds while simultaneously destroying the ones that no longer serve them. Oracle is a declaration, a remedy, and a revelation.

Magda Mayas - piano, composition
Angharad Davies - violin
Anthea Caddy - cello
Aimée Theriot - cello
Rhodri Davies - harp
Zeena Parkins - harp
Michael Thieke - clarinet
Christine Abdelnour - saxophone

“Magda Mayas composed this piece for an octet comprised of a who's who of the avant-garde. The score consists of 12 photos taken over an hour or so, observing the merging waters of the Rhône and the Arve rivers, the artificial wall dividing them, the earthy,

Keir Neuringer-sax
Rafal Mazur-bass guitar

“The aptly named release Diachronic Paths by the free improvising duo of Keir Neuringer and Rafal Mazur continues the transformation discourses of their evolving musical language. One that is based on their dialogue of discovery.
Keir Neuringer, a Philadelphia-based saxophonist lived in Krak≤w and The Hague for a time and established a strong relationship with the Polish bassist Rafal Mazur.
Each piece presented here is an enervating...

Virginia Genta - amplified and processed sopranino saxophone
Michele Mazzani - electric guitar and electronics
David Vanzan - electronics
Matteo Poggi - electronics

“This recording comes from a memorable show the band performed during their first (and so far last) tour in France. The concert had been a heavy mass of around 90 minutes, of whom only a part was caught on cassette, as nobody remembered to flip side when it was time. Anyway what got recorded is here, and it's still...

“Look Like is the first complete solo release from bassist and vocalist Kelsey Mines. A series of improvised solo-duets, Look Like explores how listening to our on-going internal dialogue helps us conjure honest, outward expressions.”

“I must confess this is my first exposure to Crothers' music. What is most attractive to me is the obscurity of her antecedents. With words, Crother's makes sure you know of her debt to Tristano. Sonically, there is additional debt to Cecil Taylor, Thelonious Monk and Andrew Hill. Certainly you'll hear others, though probably not any one clamouring atop the other. Whoever you hear, you will hear them assimilated by a consummate musician and wonderfully able operator of the instrument....

“'Blues for Katie' opens with Greene's simple figures and simpler variations allowing Moondoc space to breathe. No pyrotechnics in his blues, this is straight soul, almost dipping into a sound like southern gospel. It's a lovely opener and one that Moondoc lends to Greene for a quick solo with a few snapped strings before he closes the spiritual.
'Spiritual Melody (Swing Low, Deep River, Wade In the Water)' carries the gospel sound a bit further - no surprise, given the title. This is a more isolated..

“From the opener, "Hurricane Point," you're reminded of the Betty Davis quote from the 1950s movie All About Eve, "Fasten your seatbelts. It's going to be a bumpy night." Morris' guitar shreds notes against the wall of rumbling bass and crush of battered drums. This opening salvo signals a take-no-prisoners session, or what Myles Boisen of Splatter Trio used to call, "club clearing music."
As intense as it is, the inner workings retain the undiluted Joe Morris guitar sound. His unique "language"...

“Automatos’ offers a parabolic curve structure where you can focus, starting from the opening, on very discrete elements of the ensemble - each instrument could be perfectly self-sufficient and this is not always true for every single part of a score if it has not been conceived as a solo piece - merging in a really dense and involving continuous. Fernandez is immediately terse, stinging with short phrases contrasted in the first half by the hoarse voice of Wooley and the initial far grating of Morris...