Pianist Agusti Fernandez teams with Liudas Mockunas on the soprano sax, tenor sax and floor shaking contrabass clarinet for six “Improdimensions” divided into two sections. Of “Improdimension I”, you have Morse Code messages via the puffing mouthpiece in “Part II”, soprano sax abstractions and dark keys in “Part I” and swirling tones on the eerie “Part III”. “Improdimension II” includes altissimo 
notes, eerie piano strings, subtones of magma that are akin to tonsil gurgles and growls that push the reedist’s mouthpiece to the limits. Soundtrack for Fractured Flickers?
Alto saxes played by Francois Carrier and Masayo Koketsu form a front line for bassist Daisuke Fuwa and drummer-percussionist takashi Itani for a collection of free form 
pieces that range from a 3 minute drum rumble on “Kae To Kumo Ni Noburu” to a 25 minute opus of “Uchi-soto” that is complete with puffing reeds, warm alto tones, humming bird attacks on the ride cymbal and a climactic avalanche. Soft tones of “Rakuyou” and the cirrus “Kacho fugetsu” also include scratchy cymbals, while lots of slapping around, jabs and anger aboud on the scruffy “Yuzu” with Fuwa strolling into a drift on “Ogose”.
Legendary Sam Rivers is caught during a 1978 recording at San Francisco’s Keystone Korner along with bassist Dave Holland and drummer Barry Altschul. The 52 minute single piece of frenzy has Rivers opening up on a free and shrill soprano filled with circular breathing, with Altschul tapping out the cymbals to Rivers’ switch to a tinny piano for an abstract excursion. Holland bows and picks the cello and bass in solo and duet form with some intense and bluesy moments with Rivers going into field hollers and altissimo on the tenor and feathery on the flute. Opus Pocus.
Eight tunes by Jason Cruz on the bass clarinet, guitarist Ben Cruz and drummer Emerson Hunton range from indie guitar strums on a meandering “Threadbare 02” to a bopping and niftly little “Funny Thing Is” with some intricate lines on reed and guitar. Rich strings brood with bass clarinet subtones on a dark “70 Degrees and Counting Down” and Stein’s mouthpiece gets a workout on “Untitled”. Hunton’s drum sticks lean on the cymbals on the dank and spacious “Threadbare” and the team drifts like a Nimbus cloud on the deep “24 Mesh Veils”. Moody moods.
Adam Caine Plays electric bass and guitar, synthesizer and percussion along with guitarist Bob Lanzetti, bassist Adam Lane and drummer Billy Mintz for moods of various hues. The guiears mosey along Lane’s bass line on a C&W-ish “Alien Flower”, and Mintz rocks out on “The Core.” Indie fuzz tones akin to King Crimson create effects on “The Spiral” and the team gets spacey and edgy during the atmospheric “Hell Awaits”. Guitar and bass create rich reflections during “The Girls” and the team drifts well on the soft “Secular Elaborate” wile trudging on the quirky “Night Driver”. Dynaflow transmission.
A 1994 recording features the reed-heavy DUX Orchestra of two bari saxes in Dave Sewelson and Mats Gustafsson with Will Connell Jr. on alto clarinet teamed with bassist Dave Hofstra, drummer Susie Ibarra, drummer Walter Perkins and JC Morrison on electric guitar for three pieces. The 22 minute “Duck Walks Dog” is a three deep reeded traffic jam of sounds and horns veering around like they’re looking for a parking spot on Via Nazionale in Napoli. Morrison picks out some lines on the 8 minute Part One of “Mixed Results” with Ibarra scratching her cymbals with sticks like they had mosquito bites, while Part Two has the drums opening up into howling and wailing reeds as if they were trying to scare away the crows from the fields. Cathartic canine cavortings.
The trio of trombonist Conny Bauer, bassist Matthias Bauer and drummer Dag Magnus Narvesen deliver three “Gifts” of loose improvisations. “Gift I” has brooding, bleating and buzzing brass over an ominous bass line. “Gift II” has scratchy drums and cymbals, a stretched out bass solo and dissonant sliding, while the third “Gift” spotlights Narvesen’s drum trickling like a river losing its water supply. The Magi were better off with franckinsense, myrrh and gold.
A 1987 outing at NYC’s Art Gallery has Vincent Chancey on the French horn, Wilber Morris on bass and drummer Warren Smith for a handful of spirited improvs. Chancy howls on the bluesy “CHAZZ” years before the name became associated with Seattle, while “The Spell” has a hip marimba pulse. “ Free Form #10” is a four minute military snapper that swings to Smith’s drums, and the closing “Afro Amerin” (sp) trudges in a dark blue mood for ten minutes. Shades of blues.