John Zorn’s Tzadik label will present three veterans of the Japanese avant-garde together for the first time this weekend at the Japan Society for its New Voices of Japan concert series. Yamataka Eye, Haino Keiji, and Makigami Koichi will perform in different configurations and will be joined by four equally daring American musicians – percussionist Ikue Mori, guitarist Jim O’Rourke, vocalist Mike Patton, and saxophonist Zorn.

Together, Eye, Keiji, and Koichi encompass more than 30 years of musical experimentation. Given the prolific breadth of their careers and their improvisational verve, just what, exactly, the two concerts may entail can’t be predicted – except that the music created will be anything but cliche.

Of the three, Eye is the most renown in America. The vocalist first explored the possibilities of noise in Hanatarash , which he formed in the mid-1980s. Its noisy assault resembled that of Einsturzende Neubauten, where power tools and industrial equipment were favored over such traditional instruments as guitars, bass, and drums. Hanatarash’s confrontational sound and ethic gelled with the nascent noise underground of the time, which included Eye’s countrymen in Masami Akita (Merzbow) and Maso Yamazaki (Masonna), as well as such personalities as J. G. Thirlwell (Foetus), William Bennett (Whitehouse), and the practically subterranean Michael Tolson. Eye’s experimentations also caught the ear of Zorn, who recruited Eye to scream in his late-1980s pan-everything jazz-rock band, Naked City.

Eye’s version of power electronics might have remained one of many noise bursts below the radar had he not also co-founded Boredoms in the late 1980s. A loosely organized group of witty and fun Japanese musicians, Boredoms debuted in the United States with the 1990 album “Soul Discharge.” Since then, the group has lost and gained members many times and its sound has reflected these changes. Boredoms became the weirdest band in that now meaningless “alternative music” niche of the 1990s, playing Lollapalooza en route and building an adoring cult with infrequent, if consistently astonishing, North American tours.

Zorn’s forward-thinking Japanophilia has exported a baseball team’s worth of unknown Japanese musicians, and Tzadik is the label most responsible for exposing Magakani Koichi to American minds. A theater performer since the early 1970s, Koichi formed the rock outfit Hikashu, whose recordings rarely, if ever, made it into American stores. It wasn’t until Tzadik released “Koroshi No Blues” in 1993 that Koichi started to gain wider exposure.

Given Koichi’s background and continued involvement with the stage, his approach to music is highly expressive and, like butoh dance, viscerally dramatic. He is also schooled in Tuvan throat singing and its circular-breathing techniques. The result is an otherworldly music created entirely with the human voice, and the best introduction to this is heard on 2005’s “Koedarake.” Sniffing, slurpling, gurgling, laughing, kissing, moaning, groaning, growling, hiccuping, and more – Koichi transforms non-verbal mouth noises into a thrilling, stirring experience that sounds like bebop scat from a planet somewhere near Sun Ra’s spiritual home.

Dismiss the desire to suspect Haino Keiji – a lean, wiry figure forever clad in black and hiding behind his mane of straight black hair and smokescreen sunglasses – as an alien from another planet. Everything the man has ever done, either solo, in groups such as Vajra and Fushitsusha, or in collaboration, is laced with the reflective, almost metaphysical melancholy that could only come from a human being.

A prolific enigma since the early 1970s, Haino’s work is by turns chaotic and volume-drenched, ornate and fragile, rhythmic and bluesy, completely incomprehensible, and – as during his 1998 collaboration with Boris – full-tilt contemporary metal.Not everything he does is sublime, nor does appreciating one Haino album necessarily translate into an interest for his entire discography – in 30 years the man has never settled for repeating himself.And since the death of Derek Bailey this past December, few such creative iconoclasts remain in music.

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In tribute to the late British guitarist, Zorn’s East Village performance space, the Stone (www.thestonenyc.com) , has turned its May calendar into a Derek Bailey memorial. Bailey was slated to curate the space’s performance schedule this month, and his widow, Karen Brookman – working from Bailey’s list of performers – has assembled a roster of New York’s more fecund players, including Zorn, Mori, and O’Rourke and other living guitar innovators such as Henry Kaiser, Fred Frith, Arto Lindsay, Joe Morris, Duck Baker, and Eugene Chadbourne. The late show on May 19, is a dedicated Bailey remembrance with Ms. Brookman in attendance and special guests slated to perform.

New Voices From Japan on May 12 & 13 at 7:30 p.m. (333 E. 47th Street, 212-832-1155).