From Bo'Weavil... Obliquity is a free jazz record, if you'll forgive the use of such a hoary, old fashioned phrase. Its scorching, heads-down momentum, rhythm and drive places it in direct line of descent from the fierce originators of the genre: Ayler, Sanders, Graves, Frank Wright. It also swings. At times it dances. >Obliquity is a free jazz record through the prism of the improvisational movement in Europe, though. This is no attempt at polite revivalism or looking back/up to the 1960s. Wilkinson/Edwards/Noble are producing new, vital music of and for now. You need form to work at this level of spontaneity and certainty and any frequenter of the outer limits of the European music scene could vouch for the jazz porridge these three have put away. Obliquity: advancing obliquely; deviating from the straight; freedom from the humdrum constraints of time and place.

his music and its exponents defy categorization. The word 'band' doesn't cover it. Concept; project; workshop; experiment; energy; assembly; community; association. Black Top is all of the above and more, and although the music industry would call the British multi-instrumentalists Orphy Robinson and Pat Thomas a group that is augmented by different guests for their performances there is too much imagination and unpredictability in the results for the term to be really a propos. Black Top is its own thing, or something, or some kinda ting for our times, if one adapts the zeitgeist that the visionary dub poet Linton Kwesi Johnson has referred to as 'tings an' times'. Since its genesis in 2011 Black Top has been through significant changes in sound and personnel so that any signature they present is most likely to be soon rewritten. Two previous recordings have seen two great British saxophonists, Steve Williamson and Evan Parker, respectively, each become the third point of the triangle, but on this session it is two stellar American improvisers, drummer Hamid Drake and double bassist William Parker, who join the fluid fraternity. They duly cement a pivotal transatlantic exchange in creative music, a kinship that builds on Robinson's work with such as Lester Bowie in the early part of his career and Thomas's with Butch Morris in his. As much as the four players in this latest incarnation of Black Top represent iconic spaces in the world of western music – London and New York, whence they emerged during the '70s and '80s – they also have non-western common denominators. Thomas and Robinson maintain a deeply rooted interest in Caribbean folk that chimes with Parker's avowed love of calypso – heard in his own bands and in collaborations with Trinidadian-American vocalist Faye Victor – while all three and Drake have immersed themselves in African, Middle Eastern and Asian music. This vast amount of information permeates and percolates in pieces that fearlessly uphold the principle of spontaneous composition. When the players convened at east London's Café Oto in August 2016 during Black Top's two-day residency there was great expectation over what the meeting would produce, but the extent to which they deeply personalized the myriad vocabularies housed by the word 'jazz' was gripping. A reprise of Moanin', the anthem forever linked to drum-star pioneer Art Blakey, drops rakish dissonance into the gospel-fired theme to present hard bop and avant-garde as cousins at play rather than brothers in arms, while the 42 minute opus For Joe Harriott investigates the kind of skilful mutation-elaborations synonymous with the Jamaican legend. Yet amid all the fiery disruption there is sensual dance. This is where the ensemble unveils its most boldfaced dynamic range, turning a two-beat tick-tock of marimba into a time-stretch suite whose vigorous rhythmic invention sees clavé, shekere and cabassa phrases swerve around hammer-headed keyboard syncopations. Stark shifts in tempo and attack push the music into both floating freeform and a groove broken free of a 12 bar shackle before Sun Ra's space organ skanks into view and the music fades to black over a tantalizing roots reggae surge. Histories rather than history are in effect. Traditions rather than tradition are in vivo. Black Top is a laboratory of sound, and in this third offering of its evolutionary trials four audio scientists play with notes and tones as if tomorrow's blues had come today. - Kevin Le Gendre, London, 2017.

Sophie Agnel plays the whole piano. Its body matters as much as its strings. The keyboard's lid is just as good closed as it is open - in fact it’s best slammed open and closed rapidly. Joined by bassist John Edwards and drummer Steve Noble, Three on a Match explodes the piano trio - each player sparking off the other so quickly that it’s impossible to figure out who lit the flame.  Recorded at OTO in 2023, this was the second two night residency for a trio that has fast become one of our favourite improvising groups. Each individually brilliant, Agnel, Edwards and Noble’s enduring connection is in their seriously playful approach to their instrument - in their way of looking at it as a whole and then tearing it apart, breaking it down into its raw materials - wood, brass, steel.  Born in Paris in the 60’s and playing her parents piano as soon as she could stand up, Agnel is classically trained and had a turn in modern jazz. What frustrated her was the strange disconnect between the frame of the piano and its keyboard - a weird boundary that seemed to form some hushed code of etiquette. “The first thing I put inside the piano was a plastic goblet. I’d seen a few pianists do it: Fred Van Hove, for example, put rubber balls inside his. But what didn’t appeal to me was that there seemed to be no link between the piano’s outside and inside.” If you see Agnel play now, the body of her piano is littered with fish tins, ping pong balls, wooden blocks - not that you’d recognize their sounds. Steve Noble surrounds his drum kit with whistles, tubes and towels alongside gleaming brass cymbals and gongs. Their stage is a heady mix of high and low - the grand piano and the gong alongside rubber balls and tiny bells; players half stood up, reaching in, bending toward - relentlessly working their instrument to unburden its sound from genre.  Free improvisation is always a leap of faith, a test of commitment, and these three players are completely unafraid. The music switches deftly from super taut string manipulation to extremely loud percussive collisions. The trio can play microscopic mutations on a bass note and then scale up on the turn of a pin to plunge into huge, black chords and ricocheting sonority - dissolving the boundary between body and sound. The crescendo of Part Two is shaped by such cumulative repetition that it feels like a confrontation - a controlled test for breaking point. What happens if we keep going?   As so we left Part Three as the last encore of the residency. It’s a totally exhilarating, skittering reprise - short and energetic - delivered with the kind of grounded abandon you hope to see improvisers play with but rarely do. 

Pat Thomas returns to OTOROKU for his fourth collection of solo piano improvisations, this time recorded in a studio setting at London’s Fish Factory.  For 25 years now, beginning with Nur (Emanem) and continuing through Al-Khwarizmi Variations (Fataka), The Elephant Clock of Al-Jazari (OTOROKU), and now The Solar Model of Ibn Al-Shatir, Pat Thomas has drawn on the Arabic world for titles for his solo piano work - specifically the long-standing Islamic tradition of astronomical invention. For Thomas, the work of the polymaths he dedicates his music to has been sidelined by Eurocentrism, just as the Arabic origin of “jass” and the scalar, intervallic and polyphonic contributions made by Arab musicians have been routinely overlooked. Islamic innovation is at the heart of Thomas’ solo projects and draws a direct link between his Sufi faith and a totally unique style of playing. Each of his solo piano records is a dedication - not just to the innovators Thomas names but to the beauty of the universe in all its complexities.    Starting standing up with one hand inside the piano and one on the keys, ‘The Solar Model’ begins with single staccato bass notes appearing like chondrites in the darkness, occasionally tumbling towards a rhythm and then falling out of it. Metallic string work starts to pull towards an unseen centre and eventually notes from the upper registers appear, clear and light. With both hands drawn to the keys, Thomas builds towards scintillating beauty, carried through “The Laws of Motion” and propelling us towards the A-side closer, “For George Saliba”. Notes fall rapidly, colliding to form a crowded core with a warped sort of bebop in its middle - distinctive Pat with a nod to the Duke’s groove. The whole landscape of the A side swings with this one movement, until its energy is spent on one last sweeping rotation.  On the B-side, “The Oud of Ziryab” notes to the instrument maker who added a 5th pair of strings to the Oud. The single bass notes of the first side are swapped for clusters, bursting together and decaying in space. Making use of the sustain pedal and the silence of a studio setting, it’s one of the most open, lush recordings of Thomas at the piano we’ve heard - more Muhal Richard Abrams than Monk, the lower end thundering under rapid, crystalline blues.  “For Mansa Musa” brings back a swing instantly recognisable as Pat, with a huge euphoric lift halfway that crowns the record but the album’s end title “The Birds are Singing” is more celestial, more chromatic - a reminder that the spiritual matters just as much as the physical for Thomas. --- Released in an edition of 500 LPs and 500 CDsRecorded at the Fish Factory, London on Wednesday 6th March, 2024 by Benedic LamdinMixed by Benedic Lamdin Mastered by Giuseppe Ielesi Photographs by Abby Thomas Pressed at Vinyl Press UK

Totally beautiful and rare piano performance from Loren Connors, joined on guitar by long time collaborator Alan Licht.  Celebrating thirty years of collaboration, Loren Connors and Alan Licht performed for two nights at OTO on May 5 and 6th, 2023. On the second night, with the stage lit in blue, Connors took up a seat on the piano stool whilst Licht picked up the guitar. What followed was the duo’s first ever set with Connors on piano - one of only a few times Connors has played piano live at all - here captured and issued as The Blue Hour. Its spacious warmth came as a total surprise live, but makes complete sense for a duo whose dedicated expressionism takes inspiration from a vast spectrum of emotion. Both opening with single notes to start, it doesn't take long before a surface rises and begins to shimmer. A run up the keys, the drop of a feedback layer on a sustained and bent note. The two begin to exchange notes in tandem and brief touches of melody and chord hover. After a while, Connors picks up the guitar, stands it in his lap and sweeps a wash of colour across Licht’s guitar. Sharp, glassy edges begin to form, open strings and barred frets darkening the space. When his two pedals begin to merge, Licht finds a dramatic organ-like feedback and it’s hard not to imagine Rothko’s Chapel, its varying shades of blue black ascending and descending in the room. When Connors goes back to the piano for the second side, the pair quickly lock into a refrain and light pours in. It’s a kind of sound that Licht says reminds him of what he and Connors would do when the duo first started playing together 30 years ago. It’s certainly more melodic than some of their more recent shows, and the atonal shards of At The Top of the Stairs seem to totally dissolve. What is always remarkable about Licht is that his enormous frame of reference doesn't seem to weigh him down, and instead here he is able to delicately place fractures of a Jackson C Frank song (“Just Like Anything”,) amongst the vast sea of Connors’ blues. Perhaps it's the pleasure of playing two nights in a row together, or the nature of Connor’s piano playing combined with Licht’s careful listening, but the improvisation on The Blue Hour feels remarkably calm and unafraid. There’s nothing to prove and no agenda except the joy of sounding colour together. Totally beautiful.  --- Recorded live at Cafe OTO on Saturday 6th May 2023 by Billy SteigerMixed by Oli BarrettMastered by Sean McCannArtwork by Loren Connors Layout by Oli BarrettScreenprint by Tartaruga Manufactured in the UK by Vinyl Press.  Edition of 300 standard LPs, 100 LPs with screenprinted artwork by Loren Connors printed as inserts. Also available on a limted run of 200 CDs. 

Recorded in 1989 and only now released, this studio album includes Pat Thomas on keys & electronics in a sextet with guitar & bass, synth, turntables, electronic wind instruments, drum machines, samplers, &c., merging ea-improv approaches with disruptively odd asides, fragmented voices, and swelling interventions, making something otherworldly out of then-revelatory technology. Keyboards, Electronics, Composed By – Pat Thomas Drum Machine, Samples, Electronics, Producer, Composed By – Geoff Serle Electric Bass – John McCullough Electronic Wind Instrument [WX7], Composed By – Pete McPhail* Guitar, Composed By – Richard Chapman Turntables, Composed By – Neil Palmer

Recorded at Outside In Festival, Crawley, 1989 Cello, Electronics – Marcio Mattos Drum Machine [Rx5 Drum Machine], Electronics – Geoff Serle Electronic Wind Instrument [Wx7 Wind Synthesizer] – Pete McPhail* Keyboards, Electronics, Computer, Conductor, Composed By – Pat Thomas Percussion – Matt Lewis (7), Roger Turner Trumpet – Jon Corbett Turntables – Neil Palmer (8) Violin, Electronics – Phil Durrant Voice – Phil Minton

CD version containing Baroque Jazz Trio "Orientasie / Largo" as bonus tracks Mixing Baroque, free-jazz and world music, the unique album of the Baroque Jazz Trio (which is in fact 3/5 of the Bach Modern Quintet) is a difficult-to-label sound object which is far from being typical of the psychedelic sounds associated with the early 1970s. Because, although fusion with Indian music (amongst others) and jazz (but also pop) was popular at the time, rarely had all this been mixed together with Baroque music. Even mentioning Jacques Loussier adapting Bach does not come close, as here, all barriers are broken down, with an audacity which begins with the highly original and extraordinary use of the harpsichord, an instrument which it is unusual to hear in such a context, even though indicated by the ‘baroque’ in the title. Of course jazz specialists will mention Johnny Guarnieri in the Gramercy Five with Artie Shaw, Martial Solal playing "Four Brothers" in 1965, or Lalo Schifrin in his homage to the Marquis de Sade… But no, none of these references really makes sense, as they pale in comparison to the wild adventures of Georges Rabol, probably closer to Call Cobbs with Albert Ayler, or, better still, Odile Bailleux in another remarkable French group, Armonicord, than anyone else. With George, the rhythm section is no less outstanding,: Jean-Charles Capon, who, two years later would record the magnificent L'Univers-solitude on the same label, is a flying cello virtuoso, while Philippe Combelle, a great drummer rarely heard in such experimental circumstances, plays daringly mixed percussion. Also noteworthy is the presence of flutist, Michel Roques on one track, who was also behind a Saravah album, the splendid Chorus. In France, whether or not groups like Moravagine, Confluence or Synchro Rhythmic Eclectic Language, working in similarly unusual areas, are taken into account, it is rare to find a group which, like the Baroque Jazz Trio, have been able to so blur the boundaries, especially by adding an exotic breath of fresh air inherited from the Third Stream. This record, alongside the album by Brigitte Fontaine with the Art Ensemble of Chicago made Pierre Barouh stand out as a pioneering producer and destroyer of stylistic frontiers. 

In 1972, trumpeter Baikida Carroll and some of his colleagues from the Black Artists Group (more precisely saxophonist/flutist Oliver Lake, trombonist Joseph Bowie, drummer Charles "Bobo" Shaw and trumpeter Floyd LeFlore) took the advice of their friends in the Art Ensemble Of Chicago and left their native Missouri to come and discover the bright lights of Paris for themselves. The following year they would even get the chance to record their only album which would rapidly attain mythical status and a collector’s item: “In Paris, Aries 1973”. Therefore, it was not surprising that they crossed paths with Jef Gilson in the capital. He was always on the lookout for new artists for his recently formed Palm label and had been active on many fronts in jazz since the end of the 50s. The French bandleader/pianist/composer/sound engineer had already recorded, in the preceding months other American musicians who would go on to have great careers: Byard Lancaster, Keno Speller, Clint Jackson III, Khan Jamal… Gilson therefore offered Baikida Carroll the chance to record his first album under his own name, which would be the 13th release on the label. Carroll logically asked Oliver Lake to join him. He also recruited Manuel Villaroel, a young Franco-Chilien pianist from the group Matchi-Oul, who had already released an album on Futura in 1971 and would release another on Palm in 1976. The group was completed with the addition of Brazilian percussionist Naná Vasconcelos, who had just released a well-received album on the Saravah label. They were ready to enter the studio for the 3rd, 4th and 5th June 1974. The first side of the album is divided into two long tracks which send free jazz back to its long-lost African roots. The opener “Orange Fish Tears” indeed rolls out a jungle of percussion of all sorts and sizes -the whole group is involved- which weave and mix together reaching a point where all bearings are lost, lending a sense of wonder to the majestic entry of the brass and woodwinds, flying suddenly out from the undergrowth. “Forest Scorpion” (sic) is a real voodoo ceremony where a venomous percussive groove backs the fiery solos from keyboards and saxophone in a furious trance. A warning; after these two tracks listeners are physically and emotionally wiped out! The other side is more introspective. Deliberately using dissonance and repetition, “Rue Roger” -the only composition by Oliver Lake- in a long dialogue between trumpet and saxophone, could almost remind us of Terry Riley in his favourite ballpark. “Porte D'Orléans”, the fourth and final track on the album, has the group back to their old tricks in a long hallucinatory jam which owes as much to the contemporary music of György Ligeti as to the most angst-ridden Jerry Goldsmith soundtrack music (remember the heavy chords which beat through “Planet of the Apes»). With these two sides, and in under 45m, Baikida Carroll and his musicians show just what they can do, from cerebral to charnel without ever simplifying things. This is an indispensable album if you are a fan of free-wheeling avant-garde music from the Art Ensemble of Chicago to Sonic Youth and including Shabaka Hutchings and Rob Mazurek. For those with good taste, in other words. 

The Intercommunal Free Dance Music Orchestra was created in 1971 by an “old hand” of French free jazz, François Tusques. Free Jazz, was also the name of the recording made by the pianist and other like-minded Frenchmen (Michel Portal, François Jeanneau, Bernard Vitet, Beb Guérin and Charles Saudrais) in 1965. But, six years later Tusques had had his fill of free jazz. After having wondered, together with Barney Wilen (Le Nouveau Jazz) or even solo (Piano Dazibao and Dazibao N°2), if free jazz wasn’t a bit of a dead end, Tusques formed the Inter Communal, an association under the banner of which the different communities of the country would come together and compose, quite simply. If at first the structure was made up of professional musicians from the jazz scene it would rapidly seek out talent in the lively world of the MPF (Musique Populaire Française).{French Popular Music, ndlt} Compiled of extracts from concerts given between 1976 and 1978, L’Inter Communal is not the first album from the Intercommunal Free Dance Music Orchestra. But it is the one which shows with the most exuberance the “social function” which inhabited free jazz and popular music at the time. All the more so as, to head up the project, the group (made up of wind instruments: Michel Marre, Jo Maka, Adolf Winkler and Jean Méreu) called upon Spanish singer Carlos Andreu. Andreu, claimed Tusques, was a griot “who created of new genre of popular song improvised with our music, based on events going on at the time”. L’Intercommunal can start the festivities: on “Blues pour Miguel Enriquez”, it is first Thelonious Monk who is invoked in an homage to one of the leading figures of the Chilean revolution, and a victim of Pinochet. The circumstances may be serious, the music, though, is not. The musicians light a bonfire to bring together on the same frequency France and Spain, the Americas and Africa: “L’heure est à la lutte” (the time to fight is here ndlt), is the new song offered by the l’Intercommunal Free Dance Orchestra… As if proof were needed that their music is still more than timely! 

Fred Van Hove's 52 minute solo piano performance at the Jazz à Mulhouse summer festival 2007 reveals one of the giants of improvised music at the height of his creative powers.

A sequence of free improvisations -- eight duos, two piano solos & one tenor saxophone solo -- recorded at Gateway Studios. Recorded 9/28/03. 62 minutes.

"Let's get the facts out up front: Lines Burnt in Light is pure insane genius. Evan Parker, for decades a master of the saxophone in various contexts, steps up about three levels on his new solo disc. As the inaugural release on his new Psi label, this is going to be a hard act to follow. Parker insistently pursues a high-level spiritual energy on these three extended improvisations for solo soprano saxophone. And he does not relent. Lines Burnt in Light documents a live performance with no effects or overdubs (apart from the rich acoustics of London's St. Michael and All Angels Church). Parker wastes no time firing up his engines during the first piece, recorded before the audience's arrival. His playing operates at many levels. At its most literal, the music cycles through a long series of short, high loops. As time moves on, these cycles drift fluidly through musical space, acquiring new elements, leaping up and down, and defining new tonalities. But this music is clearly about much more than the literal. Parker colors his fundamentals with an inexhaustible array of overtones, and it's at this level that these improvisations really come alive. Each note turns furry, spikey, or rounded, depending on how the saxophonist chooses to shape it. The high notes sail through the air with birdlike delicacy, chirps and whistles all about, as if a flock of songbirds have alighted on the microphone. As the recording proceeds, Parker meets his audience head-on with a similar urgency. While some listeners may find the sheer density and intesity of Lines Burnt in Light daunting, those with open ears and hearts can look forward to over an hour of pure invention and delicacy. The saxophonist's pursuit lies far beyond technical fluency (which he happens to have in great abundance), much as Coltrane aimed for a higher realm. It's this process of transcendence which lifts Lines Burnt in Light to a spectacular zenith of light and sound. Maybe it's the glow of the full moon outside as I listen, but this music provides express transportation to another world." - All About Jazz

"With Tools of Imagination we are treated to a tremendous long form improvisation from Evan Parker and Eddie Prévost recorded in the clubroom of Poland’s Pardon To Tu in September of 2017. Eddie Prévost, a co-founder of AMM and the group’s only physical constant is one of the foremost proponents and practitioners of free improvisation in the world today. His companion for this improvisation is the great English saxophonist Evan Parker, another pillar of the European free improvisation community that’s made this strange and wonderful music his life’s work. The two have recorded together fairly extensively, both as a duo and as part of a larger group, always with spectacular results. Here is no exception as the two masters interlace ideas unhurriedly and with great care for the details.The single track, Tools of Imagination, begins with the sounds of Prévost’s reverberating bowed metal to which Parker offers refined, bubbling shapes, surging occasionally into squelches of harmonics and resonance. Prévost is a master of atmosphere, having honed his skills in his 50+ year career as a professional noise maker. I have no idea how he achieves some of the sounds he does with his bow-work, but it’s fascinating to listen to. Groans and deep shudders are intermingled with piercing scrapes and razor barbs. Parker’s tenor gushes like an artesian well of molten chrome, a turbulent outpouring of aural globules that flow like a river across Prévost’s extraterrestrial atmospherics. At ~ 20 minutes in, the track shifts gears, the din receding momentarily before revealing Parker playing plaintively over gong-work that reminds me a little of La Monte Young & Marian Zazeela’s Study for the Bowed Disc. Parker continues to push forward, to weave webs of ectoplasm in his distinct cadence, his circular breathing technique tracing its heavy fractals in the thick ambience stirred up by Prévost. At around the midpoint the song shifts gears again and the musicians regroup into a quiescent hum interrupted intermittently by cymbal clatter and supine sax shapes. For the final half Prévost gets back to work bowing, scraping, and striking at his contraptions, framing Parker’s saxophone playing with a dense thicket of sound that he plays off and against, alternating between subtle percussive tongue slapping and breathy multiphonics. The final 10 minutes or so begin probing and sparsely adorned before bursting back into Parker’s woven harmonics and the groaning, squealing sound world of Prévost.There are certain practices that in my opinion really benefit from preparation and experience, free improvisation being among them. For as free as the playing is on this release, it’s refined in a way that is almost inexplicable to those that are not well versed in it. That’s not to say that there aren’t any surprises here, it’s just that these gentlemen know how to take surprises and run with them. A highly recommended release, there isn’t a dull moment with this one." - Free Jazz Collective

It’s difficult to say if it was Evan Parker who invited Jacob Anderskov’s trio Kinetics to start this new collaborative project or if the initiative came from the Danish pianist. The doubt results from the permanent equilibrium of forces detected in “Chiasm”: the British saxophonist can be the protagonist, the frontline voice, but the music reflects in every step the most important motivation for Anderskov and his Kinetic partners, Adam Pultz Melbye and Anders Vestergaard: to celebrate the entire evolution of jazz by means of using some particularities of that patrimony through a compositional concept turned to the invention of the future. Either way, we can understand, just by hearing the music, why this connection with Parker is happening. The London-based musician is an illustrious representative in present days of the long line of innovators in both the tenor and the soprano saxophones: nobody else could symbolize better the double focus of this record in History and in the creation of the New. This task to detect and distill the old soul of jazz, at the same time refreshing it, comes from a radical point of view – radical because it goes to the roots in order to finally reach the flowers and make them bloom. Are you fascinated by the way Coltrane resounds in Evan Parker’s playing these last few years? Well, there’s plenty of that here for your delight… Recorded at London’s Vortex club and live in the studio in Copenhagen, Chiasm is a documentation of what interplay may sound like when an established piano trio meets a master of improvisation. On the four improvised tracks, the group explores melodic, timbral and rhythmical structures on both micro and macro levels, creating a matrix of nonlinear dynamics from which emerges an oscillating and shimmering sonic image, propelled by a shared approach to the real-time generation of structure and form.  Evan Parker - tenor saxophone Jacob Anderskov - piano Adam Pultz Melbye - bass Anders Vestergaard - drums

Recorded live by Takeo Suetomi at Café Amores, Hofu, April 29, 1996.The CD version includes a bonus track (“Two Chaps 1“). New, unsealed, includes Obi

This music was inspired by Lynn Margulis’ serial endosymbiosis theory (SET), and is dedicated to her and her amazing insights into the mechanisms of biological evolution.In inviting Paul Lytton, Barry Guy, Walter Prati, Marco Vecchi, Lawrence Casserley and FURT, I was trading on the pre-existing musical structures that these musicians brought with them: the solo works of Guy, Lytton , Casserley and myself; the duos with Lytton, Guy, Prati and Casserley, the trio with Guy and Lytton, the trio with Guy and Casserley; my asking FURT added a further music with its own history. (Evan Parker).Commissioned by Donaueschinger Musiktage 2003. Previously unissued.

"Two improvisations on piano & tenor saxophone, one in concert and the other before the audience arrived, recorded at the Bimhuis in Amsterdam in 2006. The sleeve design is derived from work by the late Tomas Schmit whose work is much loved by both MM and EP."-