Barry Guy is powerful presence on the UK scene, with a discography that dates back to the Spontaneous Music Ensemble in the 1960s and features superb subsequent work with Tony Oxley, Howard Riley, Evan Parker and Peter Kowald among numerous others. His versatility, both as a composer and as a musician, is reflected in the breadth of these two tracks: one that might be broadly characterised as chamber music, the other more orchestral, but both also drawing heavily on the vocabulary of leftfield jazz. Radio Rondo could have been recorded by an orchestra infiltrated by improv musicians, while improv's stabs and stutters, flurries and flutters also feature – now alongside baroque violin – on Amphi. It's a beguiling, frequently startling mix of chaos and order, and there is first-rate musicianship from the likes of longstanding collaborator Evan Parker – as well as baroque violinist (and Guy's wife) Maya Homburger, featured to superb effect on Amphi.