Leonardo Pavkovic is a looming presence on the ever-expanding scene of polynational, polymusical globe-gobbling. Some might deem his MoonJune Records operation a special home for European prog rock, but this is only one aspect of its makeup. "MoonJune is a label for progressive music," he announces, holding court, at an Egyptian kebab cafe in Astoria. "Whatever that progression means. It can be rock, jazz, global or avant-garde or any kind of music. I'm a huge fan of progressive rock, but also of blues and jazz."

The divisions between such categories are even harder to discern once they've been propelled through the mincer of general progressiveness. There's an ongoing, bouncing feedback between rock 'n' roll, freeform jazz, modern classical and hardcore ethnic sounds, creating a post '60s fusion whose followers can easily recognize but rarely agree to define.

Pavkovic's varied background begins with his birth in the Bosnian region of former Yugoslavia, with frequent visits to Italy leading to his full residence in its southern parts from 1983. Studying at the University Of baritone, Pavkovic's grasp of five languages was eventually going to be a massive help in his international tour-booking strategies.

"I started by pure accident, in the late '80s. I helped out a couple of my friends, [trumpeter] Pino Minafra and [saxophonist] Vittorino Curci. I was taking Europa Jazz Festival artists from the airport to the hotel." This was Pavkovic's first glimpse of the backstage mechanics of the music business. In 1990, he moved to New York, working as a dishwasher and then joining the team at Studio T, which was created by the photographer and graphic artist Fernando Natalici in the mid '70s. Here, Pavkovic also met publicist Jim Eigo, who was one of the studio's main clients for music graphics. The three of them soon formed the short-lived Jazz Magnet Records and by the time of its collapse, they'd released nine albums.

"In 2000, I met [Soft Machine saxophonist]