This album seductively demonstrates a strong continuity of the free jazz heritage from its mid-’60s flowering to guys like Ivo Perelman, Matthew Shipp and Andrew Cyrille.

The combination of Jack DeJohnette, John Scofield, John Medeski and Larry Grenadier is capable of so much; but ‘Hudson’ delivers in that it doesn’t kowtow to expectations of what kind of music these four legends should make.

As a composite of ideas and influences introduced elsewhere, ‘Vol 1: The Humanities’ is a fine entry point to Ben Goldberg’s catalog that dilutes none of his expansive artfulness.

Bill Laswell and the cast of characters assembled for this 57-minute jam aren’t the ordinary type.

It becomes clear on solo live performances such as the one captured on ‘Invisible Touch At Taktlos Zürich’ that the more Matthew Shipp is exposed, the more fascinating is his music.

What’s the difference between an electric piano and an acoustic one? In the hands of The 1957 Tail-Fin Fiasco, apparently not much, quality-wise.

Baku and Fei’s ‘No One Teaches The Snake To Strike’ is extreme jazz improv, all tracks made up on the spot, no safety net, no overdubs, just a pure outpouring of drums/reeds co-combustion.

‘Astral Cube’ is the latest in a long line of Mazurek projects that demonstrates the leader’s great ability to bring divergent talent together for a chaotic yet cathartic sonic experience.

In thirty-five short minutes, Jaimie Branch said a lot about what she’s offering to the realm of outward-bound jazz. If ‘Fly or Die’ is only her Chapter One, I can hardly wait to hear the rest of this book.

It might have taken a little longer this time, but with ‘Holiday On Fire,’ guitarist, composer and producer Torben Waldorff has done it again.