
Relative Pitch released *Scratching at the Surface*, a free‑jazz collaboration between bassist Kelsey Mines and saxophonist Erin Rogers. Both musicians, fresh from solo projects on the same label, recorded the album after a live pairing in Brooklyn. The record blends bowing, plucking, breath‑work and vocalizations, culminating in high‑energy tracks like “Electric Blue.” The release underscores the label’s commitment to avant‑garde improvisation and highlights the artists’ move to a thriving New York scene.

Stephen Godsall’s album *Tingling Skin, Buzzing Wires* repositions the banjo as a lead voice in modern jazz, pairing it with flugelhorn, sax, Wurlitzer piano and synths. The record showcases inventive rhythms, electronic echo effects, and genre‑blending compositions that push the...

The Messthetics teamed up with tenor saxophonist James Brandon Lewis to release their second album, *Deface the Currency*, recorded in just two days after a transatlantic tour. The seven‑track record expands the quartet’s blend of alternative rock, jazz‑rock, and free...

Liz Allbee’s new album *Breath Vessels* redefines folk by using self‑crafted instruments, sine waves and field recordings to imagine a collective sound of a fragmented future. The four‑track record eschews traditional folk tropes, replacing trumpet lines with glass‑jug resonators, tuning...

Peter Evans teams up with drummer Mike Pride for the new album *A Window, Basically*, released on Relative Pitch in 2025. The duo abandons their previous punk‑jazz leanings for a fully improvised free‑jazz approach, delivering three contrasting tracks and three...