German saxophone titan Peter Brötzmann remains one of the great collaborators of our times, having worked extensively with key improvisers from all over the world from a wide variety of backgrounds. This latest duo is one of his most surprising hook-ups yet, teaming him with Heather Leigh, an American- born, Glasgow-based pedal steel guitarist who originally came to prominence in the US free folk movement of the early noughties. Don’t expect any traces of country and western in Leigh’s sound. She deals in an overtly psychedelic palette: providing a queasy cushion of microtonal arpeggios for Brotzmann’s plaintive, Eastern-facing tárogató; matching the saxophonist’s wild altissimo keening with high, Hendrix-like swoops of distortion; and embracing the tenor sax’s smoky tone with a haunted, dreamlike swirl. The single 28-minute improvisation (which will presumably be split in two for the forthcoming vinyl edition) unfolds thoughtfully as a cavernous, roaring lament – an abstract, blues-drenched, late- night corollary to Brötzmann’s previous string and sax work with Japanese koto player Michiyo Yagi.