There are a few different approaches to free improvisation: you can let it rip and rage as long and loud as you can [downside: numbing blare]; you can take the minimal route, maximum quietude and subtle interplay [downside: meandering, self-absorbed, self-indulgent]; or you could take the middle path, where the musicians actively listen to each other and "structure" is suggested subtly, where dynamics, "grooves" and textures (masses or aspects of sounds occurring together to "make" a sonic notion that one might not "assume" where it’s coming from, like how film scores compliment what one sees on screen) - abstract, real or imagined - are part of the ebb ‘n’ flow. That’s what Hooker, Miller and Ranaldo do here for one 50-minute piece. Though the lineup in nominally drums, bass/electronics and guitar, this is no "power trio," no theme/solos/theme context - using the instruments at their disposal, these hepcats weave a tapestry/soudscape that’s hypnotic yet not soothing, at least not in the traditional sense. Hooker’s drums are stark as thunder and solid as earth, providing both foundation and counterpoint to the ethereal sounds and drones of Ranaldo and Miller, but he splashes paint on the canvas with them, too. Monsoon is similar to the painting of Jackson Pollock, the "free" flow of both the Grateful Dead and the Art Ensemble of Chicago, and the chance-based compositions of John Cage - it seems both a work in progress and a complete work unique unto itself. HIGHLY recommended for those who prefer focus and subdued grandeur as aspects of their group free improv (whether in rock or jazz contexts - this set will likely have appeal for fans of Joseph Jarman and Cul de Sac, Amon Duul and Evan Parker).... it’s confoundingly beautiful.