Deerhoof's quarter-century career has carved an avant-garde indie-rock corner of their own, at once sweet and abrasive, corralling punk impulses into improvised structures. They are part of rock's move into an abstractly quizzical underground, the sort of adventurous retreat jazz previously made as popular culture moved on. Laura Jurd is among their fans in jazz's newer generation, recognising kindred cross-genre spirits. Wadada Leo Smith's R&B and baptismal AACM roots as an artist have meanwhile given blues conviction and meditative delicacy to his rigorous experiments in American expression. Their collaboration in this live album's second half, taped at New York's Winter Jazzfest, certainly makes sense. Its proceeds will wholly benefit Black Lives Matter, a movement Smith approvingly notes aims to “bring democratic practises to the American society”.

Deerhoof's solo set includes ‘Chandelier Searchlight’'s gossamer guitar glide, ‘Polly Bee’'s fuzzed-up time-signature slippage and ‘Bad Kids at the Front’, where a needle-thin guitar scream scrabbles through fragments of anthemic indie to cacophonic collapse. Smith arrives for the jerky funk groove of ‘Snoopy Waves’, weaving in and out till he's hypnotically calmed Deerhoof's impulse to agitation. Then on the eight-minute ‘Last Fad’ – dwarfing the two-and three-minute improv miniatures preceding it – he clears a warmly contemplative heart to the music, an elegiac sacredness around which the more ironically inclined, sonically bratty band keep a respectful distance. It's a brief and minor connection between two philosophically compatible worlds, showing the adaptability of Smith's noble sound.