★Relative Pitch Records
Red Shifts
Redshifts marks the debut collaboration between artists Zeena Parkins and Cecilia Lopez. Recorded in January 2025, the album features a striking interplay between two singular instruments: Parkins’ self-invented electric harp and Lopez’s RED—a large-scale, handwoven electronic instrument made from speaker wire. This collection of pieces captures a vivid sonic dialogue between Parkins’ masterful, expressive performance and López’s sculptural approach to sound and instrument design. These are one-…
Tarabita Espiral
Friendships and musical ties that are born unpredictably and are woven through distance, allowed the fortuitous encounter of Tarabita Espiral. A trio made up of Colombian saxophonist and clarinetist Maria Valencia, Puerto Rican NY- based double bassist Brandon López and NY-based vibraphonist Matt Moran. These three vibrant artists eschew traditional roles to sculpt a musical landscape of restless motion and textural dissonance.
Valencia’s reeds seethe and spiral, channeling both fractured lyrici…
The Unseen Pact
The Unseen Pact marks the first recorded encounter between percussionist Sofia Borges and saxophonist Ada Rave—a meeting shaped by fierce yet lyrical energy, and a shared commitment to spontaneous storytelling through sound. Borges and Rave move like co-conspirators in a ritual of fire and ether, navigating the space between control and surrender. Rave masterfully weaves narratives that evoke characters and shifting personalities—stories that unfold as she plays. Borges, in turn, bends time and …
Abstract Forest
Tip! On this striking new CD, Joe Morris wields his guitar with deliberate restraint, building deep layers that breathe around Brad Barrett’s cello — its bowed lines resonating with both plaintive lyricism and edgy percussive accents. Beth Ann Jones anchors the trio with a sculptural bass, her tone rich and propulsive, providing an essential counterpoint to Morris' explorations. It's a beautifully measured session—each player deep-listening, unfolding subtle dialogues, and seamlessly shifting be…
Peel/Mondo
Ada Rave and Marta Warelis, two luminaries of Amsterdam’s improvised music scene, unite on Peel/Mondo to craft a compelling dialogue between saxophone and piano. Rave, an Argentinian saxophonist renowned for her bold tenor sound and innovative techniques, joins forces with Warelis, a Polish pianist celebrated for her sonic versatility and explorations of the piano’s timbral possibilities.
Points Of Convergences
This double album was recorded on the night of June 3, 2014, at Saint-Merry Church, in the heart of Paris. Beyond its architectural beauty, Saint-Merry possesses an extraordinary acoustic quality, which has shaped countless sonic experiences and left its mark on this recording. It was in this inspiring setting that we had the privilege of recording this music with Michel Doneda, in a moment of deep immersion, carried by the unique resonance of the space. The talented Augustin Muller masterfully …
Spirits Of The Dead Are Watching
Believe’s debut album ‘Spirits of the Dead are Watching’ is a potent statement from four of Australia’s most experienced and dedicated improvisers. A powerhouse unit of rare intimacy, flexibility and passion, Believe connects the spectrum of contemporary creative sound making with the fluid, anything is possible momentum of free jazz.
Taking Place
Asked to create a solo album, Adia started looking for a creative way to re-invent her solo saxophone music. Her new improvisations are inventive pieces which take advantage of the full range of her instrument and different playing techniques, but also the sounds of her surroundings in the unusual locations where she recorded – the echo of a silo, the clucking of a chicken coop, or passing cars. These sounds inspired the music, creating a dialogue with the environment.
Tracks
Frode Gjerstad, Alexander von Schlippenbach, and Dag Magnus Narvesen's first trio recording is powerful convergence of avant-garde improvisation and deep jazz sensibilities. Gjerstad’s fearless saxophone work, Schlippenbach’s adventurous piano explorations and Narvesen’s dynamic drumming create spontaneous compositions that betray a deep mutual respect.
One Another
“The body’s relation to the social is inseparable from, and of the same relation to the world, not a relation of objectification but a carnal intertwining prior to any reflective judgement.” -Rosalyn Diprose
Conversation No. 1 / Collecting Rocks From The Places We've Been
Conversation No. 1/ Collecting Rocks from the Places We’ve Been is a solo for bass clarinet which can be performed as a duo, trio, or maybe someday with many, many bass clarinets, or in collaboration with other artists. Katie Porter is interested in creating systems of music that she can exist in together, for herself and others, music that collapses and expands on itself, where we are free to choose the phrases, iterations, and lean into the occurrences of overlapping tones, vibrations, multi-…
Putting A Hand On The World
"In late 2022 I became a father and lost my own father in quick succession. This music represents a conversation between my selves who met at that nexus of birth and death, sharing what they felt about the past, the present, and the future. The pieces are very intentionally set in different seasons and sonic environments so as to welcome the listener to this metaphysical meeting point for musical ideas and emotions."
Replace The Population
"I had the privilege of meeting Wadada Leo Smith after a show, ‘Everyone thinks the trumpet is made out of brass — it’s really made out of air.' This recording is my exploration of that concept."
Remember Still
“Looking back I remember still” is a graffito I saw on an electrical box near my house and as I prepared for this recording I reflected on my time living in New York and my involvement in the improvised music scene there. My decision to include the standard tune Just Friends is part of looking forward with the hope of highlighting the connections between the practice of free improvisation and the creative tradition of “Great Black Music” sometimes called jazz.
Open Space
I recorded Open Space with in a single continuous take: my cello, an amp, and a distortion pedal. I was watching a film that was a static shot across a very large canyon, the light slowly shifting. I hope it offers the listener room to breathe and dream.
Exhaust
The music of Exhaust unfolds through real-time exploration, where quick reflexes and deep listening shape each performance. Nebbia’s powerful saxophone voice drives the ensemble with intensity, while Downes reveals a side of his playing that leans into raw immediacy and unrestrained expression. Lisle acts as both a catalyst and anchor, crafting fluid rhythmic structures that support and propel the trio’s intricate interplay. Their album moves through a vast spectrum of sound, shifting between me…
Shamanism
This is free improvised music with two saxophones and two drum sets. The theme of the music is about identity that is linked to the region and culture, especially a specific folksy and indigenous characteristic in the Korean peninsula from long ago. The whole album describes a ceremony and its atmosphere and each track follows each step that is named by an ideogram.
See You When I Get There
See You When I Get There is Amy Cimini’s first solo viola album. While playing in noise bands and experimental projects for over 25 years, she has developed a sonic palette for the amplified viola that combines overtone-rich distortion with percussive techniques nestled in reverb and delay effects meant to fill large acoustical spaces. Overall, this record embraces noise abstraction as much as a tuneful directness, that evokes Cimini’s fellow experimental string players, historical protest musi…
Hyperboreal Trio
Hyperboreal Trio’s debut album unites the distinct voices of Signe Emmeluth, Ingebrigt Håker Flaten, and Axel Filip—three seasoned improvisers bridging the musical extremes of the north and south through raw, yet meticulously crafted pieces.
Against Proper Objects
On their debut release, Foster shifts fluidly between tongue slaps, overblown tones, and powerful tenor saxophone screams, while Crawford alternates between non-idiomatic splatter, frenzied banjo maneuvers, and dense, elusive bursts of tangled noise. Meanwhile, Sullivan crafts a metallic clatter that establishes its own expansive sonic territory.