Big Tip! *Limited edition of 500 copies.*  The cultish London-based Mushroom label - already known for releasing some of the most uncompromising British improvised music - brought together three musicians whose approaches seemed fundamentally incompatible. Lol Coxhill, the anarchic genius of British free saxophone, meeting the pure magic of a Dutch rhythm section: Pierre Courbois on drums and Jasper Van't Hof on keyboards. The result was Toverbal Sweet - a clash of titans that somehow worked precisely because it shouldn't have. Coxhill was pure improv energy - unpredictable, anarchic, capable of moving from tender melody to squawking abstraction in a heartbeat. His playing had that particularly British quality: irreverent, humorous, deadly serious, all at once. He'd come up through the British free improvisation scene, worked with everyone from Derek Bailey to Kevin Ayers, developed a voice on soprano saxophone that was instantly recognizable and completely unique.

Courbois and Van't Hof represented something different: the Dutch jazz-rock approach, where rhythmic precision and harmonic clarity served as foundation for improvisation rather than something to be dismantled. Courbois - drummer and bandleader of Association P.C., one of the most important European jazz-rock groups - brought propulsive energy and structural intelligence. Van't Hof - keyboardist whose harmonic sophistication would later make him a first-call player for international projects - provided the straight, almost jazz-rock harmonies that grounded Coxhill's flights. The tension between these approaches - Coxhill's more classical and impro-sounding lines versus the rhythm section's structured foundation - is what makes Toverbal Sweet fascinating. It's not fusion in the sense of everyone meeting in the middle. It's collision, productive friction, the sound of musicians pushing against each other in ways that generate creative heat. The comparison to Keith Tippett's small groups is apt. Tippett similarly brought together British improvisers with more structured rhythm section work, creating music that existed in the space between composition and pure spontaneity. Both Tippett and this trio were part of the rise of a peculiar impro-jazz scene - particularly British but with strong European connections - that was finding ways to incorporate rock energy and jazz-rock structures without abandoning the freedom and unpredictability of free improvisation.

Mushroom's decision to release this makes perfect sense in retrospect. The label was dedicated to documenting the most adventurous British improvised music of the era, willing to take risks on sessions that major labels wouldn't touch. Toverbal Sweet fit perfectly: uncompromising, unpredictable, operating outside commercial considerations, essential documentation of a creative moment.

The album title itself - Toverbal Sweet - suggests the mixture: "toverbal" evoking Dutch language and European sensibility, "sweet" suggesting the melodic and accessible elements that prevent the music from becoming pure abstraction. It's sweet in the way certain kinds of creative tension can be sweet - the pleasure of hearing strong musical personalities working out their differences in real time. For anyone exploring the connections between British free improvisation and European jazz-rock in the early 1970s - a crucial but often overlooked moment when musicians were finding new ways to structure freedom and liberate structure - Toverbal Sweet provides essential evidence. This is what happened when you put Coxhill's anarchy in the same room as Dutch rhythmic precision: not compromise, but creative collision.