Sixtieth birthdays in Japan are special and are celebrated as kanreki, when one cycle of life is at an end and another is about to begin. In 2018, avant-garde pianist, composer and leader Satoko Fujii turned 60 and marked this turning point in her life by releasing an album a month with ensembles of all sizes. She is as fine a composer as she is prolific, and on this new disc, made with one of her five orchestras worldwide, ‘the Ellington of free jazz’ works her way through five meatily and mercurially centrifugal compositions. “While we are playing, I can hold up Sign 1, which means play a long tone with any note, or Sign 2, which means play a glissando,” Fujii says of her process, which nonetheless works with predetermined musical materials. The title track begins with a vigorously fissiparous blast of brass that could soundtrack a creepy sequence in a film noir and that serves as a launchpad for a great solo spot for guitarist Nels Cline. This is the eleventh recording from the Orchestra New York, which was founded in 1997, but there’s no sign of any flagging in gusto or invention.