For more than two decades, the disciple that has most visibly carried on Sun Ra Arkestra’s legacy and sound is their musical director, alto saxophonist Marshall Allen, the iconic fire breather and life force that restored the Arkestra’s vitality in the massive vacuum left by Ra and John Gilmore’s death in the ‘90s. Allen turned 98 in 2022 and, as evidenced by Living Sky, his influence and leadership remain undiminished. Marking the Arkestra’s first new recording since their 2021 Grammy-nominated album Swirling, Living Sky was recorded on June 15, 2021 at Rittenhouse SoundWorks in Philadelphia and features a total of nineteen musicians, including a strings section. It was mixed and mastered by three-time Grammy winner Dave Darlington (Eddie Palmieri, Brian Lynch, Wayne Shorter).

"I come from the generation that went to school to learn music,” says Lewis, a self-described seeker and old soul of thirty-nine who did his undergrad at Howard University in Washington DC and earned his master’s at Cal Arts, where he studied with Charlie Haden and others. “What happens in that environment is everything becomes overly complicated. [After Jesup Wagon] I was aware about how inside my head I tend to get. I started thinking about the importance of breaking out of those thought patterns from school. At this point I have a kind of trained intuition, to know where stuff is supposed to go. I began to challenge that, and the more I did, the more I became obsessed with the basics.”

The third volume in John Zorn's "Olympiad" series is this solo performance in 2007 at the Kompo Cultural Center in Gyungee, Korea by Zorn associate and eccentrically eminent improviser Eugene Chadbourne, performing on electric and acoustic guitars as he interprets 15 compositions for improvisers from John Zorn's seminal 1976 series: The Book of Heads.

Wadada Leo Smith's recorded long-form works in the first half of the 2010s have all been justifiably celebrated. From 2010's Ten Freedom Summers to 2013's Occupy the World and 2015's Great Lakes Suites, his albums have evocatively and provocatively engaged their subjects in a deft musical language that investigates as well as illustrates. The six thematically and musically linked compositions of America's National Parks were birthed by Smith's own research on the congressional passing of the Organic Act in 1916 that created the National Parks Service. Unlike filmmaker Ken Burns' documentary, The National Parks: America's Best Idea, Smith doesn't celebrate the majesty of nature here…

This album marked Vesala's return to ECM a decade after his last release for the label, Satu. Only one musician remained from his last appearance, Pentti Lahti. However, the aesthetic remains the same: a sensuous kind of free jazz with an air of ritual, and one tune from long ago reappears in a new guise ("The Wind" off the Nan Madol album). Most of the tracks here have something very distinctive about them, even if the instrumental lines wildly proliferate in the free jazz fashion. "Frozen Melody" opens with a beautiful introduction from Lahti that sounds like mid-period Coltrane. "Calypso Bulbosa" suddenly turns things electric and slightly funky with its electronic drums.

Louis Sclavis has for decades dazzled and provoked listeners with his literate, ambitious musical projects that examine not only the many dimensions and directions of the sonic spectrum, but also his Renaissance-like embrace of literature, foreign cultures, and now, visual art. With a new quartet collaborating with him – only cellist Vincent Courtois is retained from his previous outing, L'Affrontement des Prétendants – Sclavis turns his eyes, ears, and spirit toward an investigation of the paintings of the French artist Ernest Pignon-Ernest on Napoli's Walls.

The purely magical, tonal, dancing alto or bass clarinet and soprano saxophone of Louis Sclavis are heard fully on this recording with his quintet, where he explores a variety of ethnically inspired motifs guaranteed to delight one and all. Where improvisation has always been his strong suit, here it is relegated to solos, as his written music takes center stage. Fellow front-liner Matthieu Metzger plays alto and soprano sax – together he and Sclavis create a whirling dervish cone of sound that reflects a definite European stance removed from American jazz.

Performance (Quartet) 1979 is a live album by American composer and saxophonist Anthony Braxton recorded in Switzerland in 1979 and released on the hatART label. The album has also been issued as Performance 9/1/79 and Performance for Quartet.

During 1967-69 avant-garde innovator Albert Ayler recorded a series of albums for Impulse that started on a high level and gradually declined in quality. This LP, Ayler's first Impulse set, was probably his best for that label. There are two selections apiece from a pair of live appearances with Ayler having a rare outing on alto on the emotional "For John Coltrane" and the more violent "Change Has Come" while backed by cellist Joel Friedman, both Alan Silva and Bill Folwell on basses and drummer Beaver Harris. The other set (with trumpeter Donald Ayler, violinist Michel Sampson, Folwell and Henry Grimes on basses and Harris) has a strong contrast between the simple childlike melodies and the intense solos.

Spiritual Unity was the album that pushed Albert Ayler to the forefront of jazz's avant-garde, and the first jazz album ever released by Bernard Stollman's seminal ESP label. It was really the first available document of Ayler's music that matched him with a group of truly sympathetic musicians, and the results are a magnificently pure distillation of his aesthetic. Bassist Gary Peacock's full-toned, free-flowing ideas and drummer Sunny Murray's shifting, stream-of-consciousness rhythms (which rely heavily on shimmering cymbal work) are crucial in throwing the constraints off of Ayler's playing. Yet as liberated and ferociously primitive as Ayler sounds, the group isn't an unhinged mess - all the members listen to the subtler nuances in one another's playing, pushing and responding where appropriate…

From the time he was signed to Impulse in 1966, it was assumed that Albert Ayler's releases on that label would be motivated by an attempt at commercialism. While the music was toned down from his earlier ESP recordings, by no means did Ayler ever make commercial records. Much in the same way John Coltrane's later-period Impulse releases weren't commercial, Ayler simply took advantage of a larger record company's distribution, trying to expose the music to more people. Ayler's uncompromising musical freedom mixed with his catchy combination of nursery rhythms and brass band marches remained prominent on Love Cry. The interplay between the Ayler brothers also remained fiery as younger sibling Donald is heard playing trumpet for the last time on a recording with his brother…

Aside from being legendary multiple Grammy-winning jazzmen on very different instruments, Chick Corea (piano) and Béla Fleck (the world's premier jazz banjo master) have a shared love for collaboration and the infinite improvisational possibilities their chosen idiom offers them. In some ways, the two have been preparing for this masterful, musical dialogue-driven masterpiece for over ten years. Fleck, who has always credited Corea as being one of his chief influences, invited the pianist to play on the Flecktones' Tales from the Acoustic Planet, as well as the group's live CD Live Art. Some years later, in 2001, Corea found a spot for Fleck on his Rendezvous in New York DVD.

This is the right way for a label to record an anthology of tracks featuring its artists. First, eleven outstanding groups are featured. Second, the anthology includes pieces never before released on CD, rather than selections from previously issued CDs. The exquisite production and extensive liner notes with full discographical information and bonus bibliography make this a "must-buy" for lovers of adventurous jazz. Among the artists represented are trumpeter Dave Douglas, pianist Paul Plimley, clarinetist François Houle, tenor saxophonist Ellery Eskelin, guitarist Ben Monder, and alto saxophonist Briggan Krauss. With a lineup of that caliber, it is no wonder Songlines has emerged as one of the world's up-and-coming small jazz labels. Kudos to producer Tony Rief for fulfilling an ambitious vision.

David Torn is a hardcore looper. He's been creating loops in his music since well before most people ever heard of the term (20+ years). Not only does he do it on studio recordings, he does it in live situations, looping not just himself but other bandmembers! Given that, it's a bit surprising that Only Sky is his first truly solo recording: just Torn, guitar, and loops (plus a bit of oud on one track). Although there's a hovering ambience to all these pieces, this isn't new agey ambience: the pieces are sometimes ominous or uneasy with Torn producing guitar-like tones and very un-guitar-like tones and sometimes manipulating the loops in a not-so-subtle way. He alternates between song-oriented pieces like "Spoke with Folks," which approaches Frisell-y Americana, and more abstract ones like "Was a Cave, There…," with sounds like balloon squeals and ray guns giving way to some serious loop manipulation…

Jay Campbell (JACK Quartet) and Michael Nicolas (Brooklyn Rider) are two of the greatest cellists in new music. Long-time members of Zorn's inner circle, here they perform four compositions written expressly for them. Featuring two works for solo cello and two works for cello and rhythm section, the music is filled with spectacular leaps, intense textures, dizzying tremolos, hypnotic ostinatos, scordatura and more! As always, Zorn pushes the envelope of what is technically possible on the instrument and Mike and Jay come to the plate full force, exhibiting a new level of virtuosity in these breathtaking and dramatic works. With Ches Smith on drums and Jorge Roeder on bass this is a cello recital unlike any other!