In 1999 Paul Rutherford travelled to Japan to play with local drummer Sabu Toyozumi – previous guests in the drummer's ongoing series of duo summit sessions had included Joseph Jarman and Peter Brötzmann. Toyozumi's drum style represents an enthralling, and beautifully executed, mash-up of disparate techniques. A steely discipline is suggestive of the extended rituals of Noh theatre, but the most ear-opening moments in this 70-minute set occur when Toyozumi, without prior warning, abruptly upends ritualistic formality with healthy doses of anarchic, cartoon violence; Baby Dodds slamming into Han Bennink. Pummeled skins and thwacked cymbals are supplemented by washes of gongs and delicate bell-tones from which Toyozumi coaxes some exquisitely supple harmonic undercurrents. Handed so much information, Rutherford can hardly believe his luck and an intriguing chemistry between the two men develops. Often the trombonist will respond to the sheer information overload of his duo partner's input with disarming tickles of notes that simply fall out of cracks in the structure like wobbly teeth – and this combination of Rutherford's furtive minimalism against Toyozumi's explicit maximalism proves utterly intoxicating.