Markus Acher discusses ‘News From Planet Zombie’, The Notwist’s return to live-band recording at a Munich community space, and why thirty-plus years together still haven’t settled the tension between political dread and stubborn hope.

While composing ‘Frames,’ her third album with the Danish Radio Big Band, Miho Hazama lost her mentor Jim McNeely — and his absence, folded into the absorbed idioms of six other former conductors, became part of the music.

Born Frank Martinez and raised as a Mennonite in Guatemala, the self-taught musician scoured junk shops and swap meets around the country and abroad for 78 RPM records, reinventing himself as a pre-war folk and blues character during a brief recording career.

With Cluster and Harmonia now recognized as foundations of experimental music, Hans-Joachim Roedelius considers a career built alongside Conny Plank and Brian Eno and insists, at ninety-one, that the only direction worth moving is further into the unknown.

Ukrainian folk ensemble YAGÓDY discuss songs handed down across generations, lyrics using invented phonetic samples, and the theatrical instincts behind their performance at the Big Ears Festival in Knoxville.

Saxophonist Caroline Davis discusses Fallows, her debut solo album recorded in Wyoming, prepared saxophone, the Organelle, and her work as a prison abolitionist.

Composer and conductor Miho Hazama discusses her new album Frames, studying with Jim McNeely, and leading the Danish Radio Big Band.

Cellist and composer Tomeka Reid discusses dance! skip! hop!, twelve years with her quartet, Wyoming family history, and the Chicago Jazz String Summit.

Saxophonist Ben Wendel discusses his new album BaRcoDe, teaching, the Village Vanguard, and a career shaped by musical curiosity.

Julianna Barwick and Mary Lattimore discuss Tragic Magic, recorded at the Philharmonie de Paris in the wake of the LA wildfires.