This is the third collaboration on record between the Australian pianist Alister Spence and Raymond McDonald, the Scots improviser and Professor of Music Psychology and Improvisation at Edinburgh University. It is probably their best realised, since it embodies electronically generated sounds to produce a completely fresh sonic landscape to explore. Given that free jazz has been around as a quantifiable genre since the late 1950s (that's around 60 years), it is now very difficult to create anything memorable or original within an acoustic context without cross referencing what has been done in the past – much like rock music today, and the jazz mainstream itself. It is perhaps ironic that 60 years ago George Russell was writing that, “sounds and rhythms, many of which are alien to what audiences are used to, will find their way into jazz”, and that “today's musical palette is just not adequate”. Electronics offer an unlimited palette that provides an enormous potential for jazz improvisation, simply because it recontextualises it and forces us to reconsider it afresh. Interesting albums using ambient sounds, electronica, and electronically generated sounds have been surfacing since Weather Report's Live in Tokyo, but like passengers from the Titanic, most have tended to slip beneath the waves without a trace. It seems strange since so much acoustic free improv today sounds like it was made in the 1950s and 1960s. Here then are six episodes that create their own time, space and rhythm, episodes that appear to hang in the air, each with its own mysteries that demand to be explored. Here maximum minimalism really does work, and less is more is king.