With the passage of time, Fred Anderson’s potent and freewheeling improvisations have only increased in value; especially now, in a period that venerates formula and imitation, his music is a refreshing but ferocious storm wind, bursting in through the windows and howling past the clutter. Anderson’s burly tenor work represents a “missing link” in the evolution of postbop jazz. His music helped forge a conduit between the late-50s “free jazz” of Ornette Coleman and Cecil Taylor and the he mid-60s flowering of Chicago’s Association for the Advancement of Creative Musicians. With his darkly expressive tone, Anderson crafts a spectacular lyricism from the expanded structures of free jazz and his own romantic inclinations. And he matches this artistic stance with his physical presence, leaning into his work until his saxophone becomes parallel with the floor: a sculptor both embracing and evading the material with which he grapples. Anderson’s trio headlines a triple bill that includes the world-music band Redfish and a relatively new band called Torque-Tet (featuring AACM trombonist Steve Berry and jazz/industrial guitarist Todd Colburn); the entire evening launches the first HotHouse Music Festival, with eight nights of eclectic lineups spread out over two weekends. Thursday, June 17, 8:30 PM, HotHouse, 1565 N. Milwaukee; 235-2334.