In most free improvisation, familiar tricks and phrases generally reappear no matter how gifted the performer, but Dror Feiler seems determined to leap into the void every time he steps onstage. The Israeli-born composer, improviser, and reedist, who's lived in Sweden since 1973, has repeatedly written that chaos and disruptiveness are essential to his work; he strives to create a space where both performer and listener aren't sure what's happening or what will happen next. In each of his settings--the frenetic free improv of his trio Lokomotiv Konkret, the industrial clanging of his Too Much Too Soon Orchestra (with parts for power tools), and his terse solo performances (where saxophone clashes with harsh electronics)--abrasive noise intersects with or flat-out bulldozes more conventional elements. It's not the mere act of disruption that drives Feiler, however, but the desire to discover what results that disruption can create. "The more unplanned applications my music and words get the more it pleases me," he wrote in the liner notes to Sounds 99 (Blue Tower, 1999), a compilation of progressive Swedish improvised and experimental music. On his newest album, The Return of the Real (Tochnit-Aleph), his horn lines are treated electronically to create a crushing din worthy of the most extreme Japanese noise artists--but the blast is richly detailed and kinetic. For his Chicago debut Feiler will present a mix of solo improvisations played on various saxophones--sopranino, tenor, and the unwieldy contrabass (which has a bell large enough to swallow a tenor whole)--as well as those more violent and noisy works that mix saxophone and electronics. Saturday, March 1, 9 PM, 6Odum, 2116 W. Chicago; 312-666-0795 or 773-227-3617.