Horvitz pitched in three very differing contexts. ‘Those Who Remain’ is a concerto for orchestra and improvising soloist (Frisell, who revels in such sonic worlds). It's accompanied by his more intimate fourth string quartet, ‘These Hills of Glory’, featuring Fleenor's clarinet improvisations. Jazzers may feel on safer ground with the trio recording. But, even here, Horvitz, though employing long-time buddies in Eagle and Harper, draws on samples from installation work and his own chamber pieces to build a soundworld that flows freely between gorgeously framed themes, like ‘Trish’, to stinging little blues (‘No Blood Relation’) to the scary minimalism of the ‘55’ variations. ‘Yukio and Nao's Duet’ is a miracle of how to do so much with seemingly so little. It would have been easy to file the Peter Gordon/Robert Sheff material reviewed elsewhere this month under ‘What the f…!’. But it's hard to imagine how we would have arrived at the likes of Horvitz, elegantly weaving classical and jazz worlds, rock and art installations, in ways we now take for granted (though we shouldn't), without Tyranny's mash up of daring and daftness.