Knoblauch is a supervising analyst from the Institute for the Psychoanalytic Study of Subjectivity in New York City and an experienced jazz musician. His book applies the experiences and insights he has obtained in practising improvisation and accompaniment as a jazz player and listener to analytic listening, to the understanding of the analytic process, and to therapeutic technique. Knoblauch asserts that there is music in therapy and that the musical rhythms, tones, tempo, volume, gestures and accent present in the patient's verbalisations convey emerging meanings and desires. The analyst needs to immerse himself together with his patient in their shared musical ‘performance’ of dyadic improvisations and accompaniment in order to facilitate the emergence in the analysand of unformulated experiences and to establish mutual regulation between them and mutative therapeutic transformation of patterns of interaction and expectations. The musical edge therapeutic approach remains intersubjectively observational by attending to a contiguous