Sorcerer, the third album by the second Miles Davis Quintet, is in a sense a transitional album, a quiet, subdued affair that rarely blows hot, choosing to explore cerebral tonal colorings. Even when the tempo picks up, as it does on the title track, there's little of the dense, manic energy on Miles Smiles – this is about subtle shadings, even when the compositions are as memorable as Tony Williams' "Pee Wee" or Herbie Hancock's "Sorcerer." As such, it's a little elusive, since it represents the deepening of the band's music as they choose to explore different territory. The emphasis is as much on complex, interweaving chords and a coolly relaxed sound as it is on sheer improvisation, though each member tears off thoroughly compelling solos. Still, the individual flights aren't placed at the forefront the way they were on the two predecessors – it all merges together, pointing toward the dense soundscapes of Miles' later '60s work.

Stunning duo comprised of two of the most important musicians of the Japanese underground/avant-garde, Otomo Yoshihide in a duo with the great Japanese drummer, Hiroshi Yamazaki – who has Kaoru Abe among his extensive list of past collaborators, and was also a member of Masayuki Takayanagi’s pioneering New Directions group. This album is dedicated to Masayuki Takayanagi.

First among many ensembles in different genres that have chosen the name Air, this trio specializing in collective improvisation grew directly from the membership of the Association for the Advancement of Creative Musicians. Throughout 11 albums that appeared over a span of one dozen years this group operated in modes comparable to that of the Art Ensemble of Chicago and at times some of Albert Ayler's early trio realizations. Its inception occurred in 1971, when saxophonist Henry Threadgill agreed to fulfill a request from the theater department at Chicago's Columbia College to devise modern arrangements based upon ragtime compositions of Scott Joplin (a concept borne to fruition by Anthony Braxton and Muhal Richard Abrams in 1976). Threadgill joined forces with bassist Fred Hopkins and drummer Steve McCall, and named the trio Reflection…

Good Night Songs documents a 2003 concert by a trio of two saxophonists—John Tchicai and Charlie Kohlhase—with guitarist Garrison Fewell. Though the lineup is unusual, the results are mesmerizing throughout this two-disc set. Tchicai rose to prominence in the 1960s avant-garde scene in New York. He recorded with Albert Ayler, Don Cherry, John Coltrane, and even John Lennon and Yoko Ono. Forty years later he continues to produce music that is pure, passionate and beyond categorization.

Guitarist Pat Metheny had long expressed admiration for Ornette Coleman's music, had recorded his compositions, and had worked extensively with bassist Charlie Haden, so a collaboration was not totally unexpected, though who would have guessed that it would be on the Geffen label? Metheny's almost rock star status has worked against him in other partnerships from time to time (notably, his overbearing playing on his project with Derek Bailey, The Sign of 4), but here he happily sublimates his showier instincts and works as sympathetic co-leader, deferring to Coleman's experience and genius.

Pianist and composer Paul Bley has been making records now for more than 50 years. His solo recordings encompass a great deal of his generous catalog. Bley has studied so many different aspects of jazz, and improvisational music both American and European, that these recordings always offer a revealing, no-holds-barred glimpse of where he's at as a musician at any given time. About Time, released on the Montreal label Justin Time, contains just two pieces: the 33-plus-minute title track and the Sonny Rollins tune "Pent-Up House," which lasts another ten. They reveal the entire range of Bley's considerable gifts as a pianist and improviser.

Progressive jazz-rock-instrumental, An explosion of guitars, keyboards, percussion, bass in a conundrum of sounds that requires attentive listening but entertaining. This is Jazz from Purgatory. If you fancy Zappa's avant garde's instrumental excursion, then you'll enjoy this one too. Another hidden gem.

With the possible exception of Richard Pinhas' Heldon, Gilbert Artman's Lard Free was probably the premier French progressive group of the '70s. The prolific Heldon might win in terms of amount of material, but the three near-perfect albums by Lard Free (despite the truly wretched band name) probably have them beat in terms of overall quality. Although Artman, a drummer who also dabbles in synthesizers and piano, called Lard Free a group, he was the only constant member; all three albums have different lineups. 1973's Lard Free consists of relatively short pieces with prominent piano and saxophone parts, and as such is the most jazz-oriented of the three. The following year's I'm Around About Midnight consists of three long pieces with much more synthesizer; at times, it sounds almost like early (pre-ambient) Tangerine Dream, or perhaps Clear Light, the French collective Artman and the then-current lineup of Lard Free occasionally worked with around this time. 1977's Lard Free III, also known as Spirale Malax, is Artman's best work, a pair of side-long experiments that combine space music, jazz, and King Crimson-style heavy progressive rock better than many groups (including King Crimson) could ever hope to manage.

One of the great free jazz tenor saxophonists, Frank Wright was a high-energy player with a large tone and a style that made him often sound possessed. On this previously unissued ESP set, he is joined by pianist Bobby Few (who during the latter part of the set hints at his roots in more mainstream jazz), the virtuosic bassist Alan Silva and the powerful drummer Muhammad Ali at the 1974 Moers Jazz Festival. The two selections are continuous, never run out of intensity, and feature some intense playing, particularly from Wright and Ali. Free jazz collectors will definitely want this powerful performance.