Mondays at the Enfield Tennis Academy offers up four sidelong pieces recorded live in Los Angeles over the past few years. Here, we get to eavesdrop on Parker, bassist Anna Buttterss, drummer Jay Bellerose and saxophonist Josh Johnson in full freedom flight. It’s an uncommonly intimate live recording — the players seem to be extremely at ease in this small club setting.

The quietly revolutionary Talk Talk singer made one final album before calling it quits: his self-titled solo album debut, from 1998. While often overshadowed by the majestic experimentation of his former project’s late work, Mark Hollis harbors its own secrets and surprises, while building upon the work those albums began. As a final testament, it’s a fitting paradox, full of roaring silences and whispering explosions, a collection of whisper-thin abstractions that have been annealed into something durable and concrete.

Haruomi Hosono’s second solo effort, Tropical Dandy, now released as a standalone album for the first time in the U.S., shows the bassist and bandleader moving on from his folk-rock beginnings. A complex, eccentric and deeply committed commentary on exotica, sonic simulacra and tropical vibes, it’s full of contradictory constructions and proud artificialities that tap into something deeper than the merely real.

In the middle of the heaviest years of a military dictatorship, Ben Jorge wanted, in his own words, to “bring peace of mind and tranquility” to Brazilians. He wanted happiness and imagination, visions of utopia, the quickening of the heart. A Tábua de Esmeralda espoused this ideal of absolute joy through its sweet and comic gestures, making reference at the same time to saints and soccer clubs, Medieval magicians and cartoon characters, as if they all belonged to the same semantic realm …

Making good (and then some) on the promise of their debut, Secular Music Group’s Volume 2 is a gorgeous jazz fantasia that beautifully brings together Sun Ra, Jewel in the Lotus and the European Library Music tradition under one expansive umbrella. The Chicago-based ensemble records everything analog, live and direct to a four-track machine — an approach that might seem unnecessarily fussy at first. But the results are impossible to argue with.

On their third album, the trio of Oren Ambarchi, Johan Berthling and Andreas Werliin continue to condense and refine their approach, with the rhythms as mesmeric, the riffs as repetitive and the tones as mysterious as ever. But Ghosted III also breaks up the pattern, with more songs, shorter tracks and delicate shifts in approach. Minimal jazz, avant-rock, experimental groove, modal funk — whatever you want to call it, it’s mutating before our very ears, and growing stranger and more powerful with every installment.

East of the River Nile is a masterpiece of haunting and hazy ambience from Augustus Pablo (aka Horace Swaby), whose plaintive melodica leads waft through these dubbed-out instrumentals like fragrant and heady strains of ganja mist.

Känguru feels less a product of its circumstances and more like a beam from some kosmische asteroid: four songs of heady, rapturous, meandering rock. They’re jammy but structured, punctuated by climaxes and build-ups, vibe shifts and open space. But it’s about the journey, not the destination: get on the ice floe and float along, man…