Here comes the times of a difficult exercise. I started to listen to these three albums altogether, I mean switching tracks like: # 7 of this followed by # 1 of that and right in the middle of the third one. Will I allow myself to say what I really think, feel, get in mind while listening to these beautifully packed and recorded Free or composed, Post-free and pre-composed albums? I would want to compare or at least use as a mirror recordings of »The Thing« (Matts Gustafsson) cause in some ways it’s the other side of the same syndrome. But let me first of all keep away the lovely, deep and part of an ongoing longtime work and duet »Ways out East – Ways out West« by Phil Minton and Veryan Weston. This album focuses on the life and achievements of the late anarchist Nestor Makhno. It’s a series of songs in the most natural way, not far, one could say, from the Brecht-Eisler works but also very different. Here I more wonder how would it sound if recorded for Eminem or by a Post-Rock label. »Oort-Entropy« is the title for Barry Guy New Orchestra (with Evan Parker, Mats Gustafsson, Paul Lytton, Hans Koch, Johannes Bauer, Augusti Fernandez, Per Ake Holmlander and Raymond Strid). And this particular one sounds very »usual« to me, to the point where I feel like in a museum watching bits of ex-revolutionary gestures nailed on a white empty wall. It’s all well done, but it sounds like being made already a long time ago and just repeated here over and over again like predeterminated synthax and vocabulary. As for »Dakryon« (Maya Homburger, Barry Guy and guest Pierre Favre) playing with and around baroque music (Biber, Castello plus Guy’s original compositions) it is also raising the question of »why again the exact same way«? Maybe I’ve listened too much in the past to this music on records and lost the core of it which by definition should rather be live, as improvising means once and now? It has a too strong smell of museum inside and i did not want to expect that. I’ll try again, later.