28-06-2018 11:32 ~ FAVTRAX:MiX ~ 33 FAVOURiTE tracks 2012-2017

28-06-2018 11:32 ~ FAVTRAX:MiX ~ 33 FAVOURiTE tracks 2012-2017  >>Grinderman, Andrea Schroeder, Lydia Lunch, little hurricane, Ryley Walker, King Gizzard And The Lizard Wizard, Seasick Steve, Charles Howl, Savages, Jo Passed, Mike Stern, Lana Del Rey<<

M U S I C

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2012-2017

A noisier and more musically experimental side project for Nick Cave and three members of his band, the Bad Seeds.  While Nick Cave's music has evolved from the harrowing post-punk wail of the Birthday Party to the eloquent and often poetic approach he explored on the albums The Boatman's Call and No More Shall We Part with his group the Bad Seeds, the troublemaking noise merchant of his youth has never entirely gone away, and in 2006 Cave founded Grinderman to give this side of his musical personality a new outlet.
Grinderman
Super Heathen Child feat: Robert Fripp 6:30
Bellringer Blues [Nick Zinner Remix] 4:30
Hyper Worm Tamer (Remix) 5:57
from Grinderman 2 RMX 2012
Nick Cave's garage band to issue Grinderman 2 RMX, featuring 12 last pieces of gnarly noise before their 'indefinite hiatus' 
Although Nick Cave announced the end of the Grinderman last month, the band are set for one last hurrah. They will say farewell with a remix album featuring Josh Homme, UNKLE and the National's Matt Berninger. As the band begins an indefinite hiatus, Grinderman 2 RMX, due in March on Mute, will collect 12 reworkings, mix-ups, demos and B-sides, including a collaboration with King Crimson's Robert Fripp.

Once in a while, Germany offers uniquely talented female singers, and Andrea is one of those. Draw yourself a line from Marlene Dietrich over to Nico, add some dashes Chamber Pop in the vein of The Tindersticks to it and you come close. Discovered and loved by such illustrious people like Charles Plymell or Mike Watt, Andrea Schroeder is an exceptional phenomenon. 
Andrea Schroeder ‎
Paint It Blue 2:49
Bebop Blues 3:17
from Blackbird 2012

A pivotal figure in the late-'70s no wave scene, a punk poet/actor who recorded confrontational, sexually charged music. The year 2013 proved to be prolific for Lunch. Her live band offering Retro Virus (her backing trio included guitarist Weasel Walter, drummer Bob Bert, and bassist Algis Kyzis)...
Lydia Lunch
Mechanical Flattery 4:34
Ran Away Dark 2:19
from Retro Virus 2013
...Now based in Spain, Lunch both affirms and rejects the “grand dame of no wave” (or any such terminology) in Retro Virus, a quartet convened with Weasel Walter (guitar), Algis Kizys (bass, ex-Swans/Foetus), and Bob Bert (drums, ex-Sonic Youth/Pussy Galore). Released on Walter’s ugEXPLODE label, the eponymous Retro Virus was recorded live at Knitting Factory Brooklyn at the close of a November 2012 US tour, and it finds Lunch and company in top form...Looking beyond the somewhat dated production values of late-80s/early-90s avant-rock and “industrially-associated” music (which are occasionally played up here), the tunes and their general feel are surprisingly undated, tough and economical in execution but with an underlying ornateness (some might call that excess — to each one’s own). Lunch is a force among vocalists/presences, and it’s wonderful to be reminded of that so keenly. Her nuance, power, and theatrical dynamism are certainly front-and-center here, but with a cracking ensemble sonically dropped in from the prime era of scum, Retro Virus is also some of the most empathetic music Lunch has made.

25-06-2018 11:39 MiX # 33 alter tracks in PRSNT_PRFCT_MiX [from the recent past]

Wussy

25-06-2018 11:39 MiX # 33 alter tracks in PRSNT_PRFCT_MiX [from the recent past] # Wussy, sir Was, Pop. 1280, Kelela, Milky Wimpshake, Ryley Walker, Jo Passed, Spectres, Lithics, Wand, Angel Olsen, The Heliocentrics, Gwenno Saunders

M U S I C

pres_perf_mix # The player always plays the latest playlist tracks. / A lejátszó mindig a legújabb playlist számait játssza. 

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Eclectic, atmospheric, and darkly brilliant American indie band led by Chuck Cleaver (ex-Ass Ponys) and Lisa Walker. Wussy are one of the most celebrated independent bands in the American Midwest, a group whose idiosyncratically thoughtful songs and atmospheric, forceful guitar attack have won them a fervent cult following and a growing stack of rave reviews.
Wussy
One Per Customer (Chuck Cleaver) 4:46
Skip (Lisa Walker) 3:52
from What Heaven is Like 2018
...There's always been something out of time about Wussy. Their take on rock and roll harkens back to classic garage, pop, and psychedelic reference points of the past yet they consistently surprise. Like the tchotchkes and artifacts of our recent, schlocky past, Wussy's sound resonates as if from some other world that resonates with optimism for the future. In Wussy's world, time moves recklessly forward like a souped-out jalopy, fuzzy dice bobbing from the rearview mirror the driver is steering by...

Following myriad musical and travel experiences throughout his early life, Joel Wästberg emerged under the pseudonym sir Was with wide-ranging musical tastes. Wästberg grew up in Frillesås on the western coast of Sweden, and he played music from an early age, starting with the saxophone at ten...
sir Was
In the Midst (sir Was) 5:01
Digging a Tunnel (sir Was) 4:01
Bomping (sir Was) 2:25
from Digging a Tunnel 2017
Considering Digging a Tunnel's persistently chilled vibe, it's somewhat surprising to read sir Was (aka Joel Wästberg) describe it as an "existential dread-filled debut." That surprise is validated to a degree by the album's opener, "In the Midst." The Curtis Mayfield sensibility of the snappy percussion and super-smooth bassline are matched by the relaxed flow of Wästberg's rap. His avowal that "If you wanna have it you gotta start searching/If you wanna keep it you gotta start living" has more in common with Wooderson's (played by Matthew McConaughey) Dazed & Confused mantra, "You gotta keep on livin'...L-I-V-I-N," than it does with Camus or Sartre. But it would be foolish to dismiss the Swedish multi-instrumentalist on the basis of one line from a record that is an extremely dense confluence of musical themes and motifs. The album absorbs a myriad of styles and influences that include, but are not limited to, '90s hip-hop beats, psychedelia, and shades of trip-hop, all of which are bathed in light electronic washes...

Noisy, minimalist Brooklyn quartet influenced by post-punk and no wave. Indebted to no wave and post-punk, and named for one of noir novelist Jim Thompson's bleakest tales, Brooklyn's Pop. 1280 was started by Chris Bug and Ivan Lip in 2009.
Pop. 1280
In Silico (Pop. 1280) 7:11
Paradise (Pop. 1280) 3:36
from Paradise 2016
The band Pop. 1280 named themselves after a book by infamous pulp novelist Jim Thompson, in which the dimwitted sheriff of a small Southern town unwittingly discovers his capacity for corruption and bloodshed. While their music suggests they exist in some otherworldly universe rather than the American Southwest, Pop. 1280's third full-length album, 2016's Paradise, sure sounds like the soundtrack to a story full of violence, betrayal, and bad karma...

L.A.-based alternative R&B singer and writer who appeared on tracks by Teengirl Fantasy and Kingdom prior to releasing her 2013 debut mixtape. Kelela synthesizes contemporary R&B and progressive electronic music with an aptitude for prompting club play as much as bedroom listening. The vocalist and songwriter, born Kelela Mizanekristos in Washington, D.C., was raised in suburban Maryland and didn't have aspirations as a singer until she started studying jazz.
Kelela
All the Way Down 4:29
Hallucinogen 2:20
from Hallucinogen 2015
...Her new EP, Hallucinogen, uses the gristle and guts of feeling as a thematic base for exploring new textures in music. Like Cut 4 Me, the sound is like being enveloped in the black-lit silence of the intro to Belly: it’s a sensuous, sensitive, hi-definition approach to R&B. Some of the producers are the same (Kingdom, Nguzunguzu’s MA) and some are new (Arca, Kendrick and Drake collaborator DJ Dahi), but these partnerships hew to what’s now the Kelela template: soulful songs with unpredictable, assaultive drum patterns, whorls of whimsical synthesizer effects, and so much processing on the vocals that it sounds like you’re listening to a transmission from tomorrow. The deconstructed clatter of FKA twigs—who also worked with Arca—might be from another dimension altogether, but Kelela, whose music feels like there is blood flowing through it, looks to a future with a decidedly human shape...

24-06-2018 12:07 - PREHiSTORiC:MiX ~ 33 pieces excavation finds from ancient sounds ~ 1952-1943

Radio DJ Alan Freed in the 1950s.

24-06-2018 12:07 - PREHiSTORiC:MiX ~ 33 pieces excavation finds from ancient sounds ~ 1952-1943   >>Bill Haley, Wally Mercer, Merrill Moore, John Lee Hooker, Les Baxter, Ray Charles, Sarah Vaughan, Lowell Fulson, Thelonious Monk, Alberta Hunter, Cecil Gant, Big Joe Turner, Sister Rosetta Tharpe, Four Clefs, Lester Young, Tommy Dorsey, Lena Horne, Xavier Cugat<<

Z E N E  /  M U S I C



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1952-1943

Wally Mercer - Rock Around the Clock (Wallace Mercer) 2:42
Bill Haley - Rock the Joint (Doc Bagby / Harry "Fats" Crafton) 2:56
John Lee Hooker - Walkin' the Boogie (John Lee Hooker) 2:44
 from Roots of Rock N' Roll Vol 8 1952
This is the eighth volume in a series of double-disc anthologies from French label Fremeaux Records that chronicles the years that led up to the birth of rock & roll. While the magic year of 1954 is usually accepted as the dawn of the rock & roll age, the whole matter has always generated a good deal of debate, and this installment in the Fremeaux series only muddies the waters, since the year it covers, 1952, shows things rocking along pretty well... Whether these tracks contain the musical DNA that begat rock & roll or not is, in the end, fairly irrelevant, since these records rock, pedigree or no.

Exotica pioneer whose blend of Polynesian forms and orchestral arrangements appealed to the bachelor pad set of the 1950s and '60s. 
Les Baxter
Jalousie (Jacob Gade) 2:59
Venezuela (Alfredo Corenzo) 2:38
La Cumparsita (Gerardo Matos Rodríguez) 2:29
from Arthur Murray's Favorites: Tangos 1951
"Personally recommended for dancing by Arthur Murray." 

A brilliant, towering musical figure who through his singing and piano playing helped invent
soul and R&B music. Ray Charles was the musician most responsible for developing soul music. Singers like Sam Cooke and Jackie Wilson also did a great deal to pioneer the form, but Charles did even more to devise a new form of black pop by merging '50s R&B with gospel-powered vocals, adding plenty of flavor from contemporary jazz, blues, and (in the '60s) country. Then there was his singing; his style was among the most emotional and easily identifiable of any 20th century performer, up there with the likes of Elvis and Billie Holiday. He was also a superb keyboard player, arranger, and bandleader. The brilliance of his 1950s and '60s work, however, can't obscure the fact that he made few classic tracks after the mid-'60s, though he recorded often and performed until the year before his death.

Ray Charles
I Love You, I Love You (I Will Never Let You Go) (J. Lee Lawrence) 2:40
Rockin' Chair Blues (Aaron McKee) 2:44
Sitting on Top of the World (Lonnie Chatmon / Walter Vinson) 2:15
from Blues & Rhythm Classics 1949-1950
1949-1950 highlights the earliest Ray Charles sessions for the Swingtime and Downbeat labels, featuring 15 tracks from 1949 and six from 1950. Anyone with the slightest interest in Charles should investigate this material. It's amazing to hear Charles' metamorphosis from silky-voiced pop crooning (imitating his idols Charles Brown and Nat King Cole) into his passionate gospel-powered voice shortly after he signed with Atlantic Records in 1952.

2018. 06. 21. 8:55 # magyarugar:MiX # 33 válogatott szám / 2ó 19p

2018. 06. 21. 8:55 # magyarugar:MiX # 33 válogatott szám / 2ó 19p >>Jazzékiel, Belmondo, Müller Péter Sziámi AndFriends, The Qualitons, Európa Kiadó, Kaktus, Papaver Cousins, Anima Sound System, SmokeFish, Én meg az Ének, Bérczesi Robi, Darvas Benedek, Czitrom Ádám, Elkövetlek Projekt<<

Z E N E  /  M U S I C

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magyarugar címke A lejátszó mindig a legújabb playlist számait játssza. / The player always plays the latest playlist tracks.

Jazzékiel
Porcelán 5:12
Hallo 4:51
~ Belle Époque 2016
Jazzékiel: Ha már beleőszültünk, legyen valami haszna is

Belmondo
Pár piálás 2:59
Várlak a kocsinál 3:11
~ Pár piálás 2017

Müller Péter Sziámi AndFriends
Államosítani kéne 3:16
Így lesz jó 2:47
Kicsi, kicsiszolt kő / Roszik Hella - ének hegedű, vokál  4:11
~ Nevess Magadra! 2018
A helyzet tragikus - de nem komoly…

The Qualitons
Fading 4:05
Conte 4:07
Echoes 4:39
Doubt 9:19
~ Echoes Calling 2018
The Qualitons: Echoes Calling (lemezkritika) - Recorder
...soulfunk-beatgarázs-progjazz-afrosurf elegyük legnagyobb erőssége pont maga a stíluskavalkád stílusos elővezetése volt a 2010-es debütön (Panoramic Tymes). A 2012-es iránymódosítás – nagyon leegyszerűsítve: a hatvanas évek beatprogjából határozottan pszichedelikus lett a megszólalás – a 2014-es második albumon (Tomorrow’s News) karakteresebb dalokban jelent meg,.. Az Echoes Calling ezen az úton megy tovább, már inkább a hetvenes évek esztétikája uralkodik, de az sem viszi el a fókuszt a sokrétű és korszakok felett lebegő összhatásról. Harmadszor is egyben játszották fel az anyagot, utóénekkel, ami ismét jót tett a sodró hangzásnak... A többször hét-kilenc perc fölé kúszó-elszálló-hullámzó dalok (maga)biztosan az eddigi legjobbak, üresjáratoktól mentesek és végig hatásos ötleteket visszhangoznak.
Index - Kultúr - A fejünkben visszhangzik az új Qualitons
Igen, muszáj megemlíteni, hogy a Qualitons volt az a zenekar, aminek a koncertjére lenézett két évvel ezelőtt a Red Hot Chili Peppers, miután meghallották a szállodájuk ablakából. De jelen pillanatban azt is meg kell említeni, hogy a Qualitons nemrég tért vissza a neves austini South By Southwestről is, ahol például egyik nap ők voltak a fesztivál napi ajánlott zenekara. És most ennek a hullámán szörfözve megjelent a harmadik nagylemezük, az Echoes Calling...

19-06-2018 11:41 # WORLD:MiX # 33 selected ETHNiC FUSiON tracks # WmW

Terakaft

19-06-2018 11:41 # WORLD:MiX # 33 selected ETHNiC FUSiON tracks # WmW   Terakaft, Meridian Brothers, The Klezmatics, Duo Milla Viljamaa & Johanna Juhola, Piirpauke, Damon Albarn, Justin Adams, Kolinda, Lila Downs, Lo'Jo

M U S I C

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WmW label The player always plays the latest playlist tracks. / A lejátszó mindig a legújabb playlist számait játssza. 

Terakaft is a gang of guitarists, in the same vein as Tinariwen. Nothing astonishing about that if you consider that Terakaft was founded by Kedou and Diara, two formative and historical guitarists from Tinariwen.
Terakaft
Bismilla 2:24
Rastaman Aridal 3:58
Ter Simawan 4:53
from Bismilla (The Bko Sessions) 2007
Guitar, Vocals – Diara, Kedou Ag Ossad, Liya Ag Ablil, Rhissa Ag Ogham, Sanou Ag Ahmed
Recorded at Studio Bogolan, Bamako, Mali, in January 2007.
Edited at La Fontaine du Mont, Mûrs-Erigné, France.

Bogota's the Meridian Brothers are the creation of Eblis Álvarez, who writes, arranges, produces, plays, and sings everything on their recordings, though when the band plays live he is aided by other musicians. Their music is almost unclassifiable, a bracing meld of electronic and organic instruments, influenced by Latin rock, psychedelia, Frank Zappa, the Residents, modern vanguard electronic music, and South American and Caribbean folk traditions and rhythms.
Meridian Brothers
La Industria del Deporte 4:09
El Cantinero Experimental 5:41
Jornada Nacional Contra La UtilizacióN de AntíDotos 4:14
El Enamorado 4:33
from El Advenimiento del Castillo Mujer 2006
Traditional instruments, electronics and distorted vocals are dragged through an array of influences to create a world that is as original as it is unclassifiable.
Originally released back in 2006 by Colombian label La Distritofonica, the limited CD-only album showcased a rare style of "Abstract folk music" inspired on the experiments of some Bogota collectives from the time (2005-2006).

Inimitable N.Y.C. band blends klezmer music and socially conscious lyrics with contemporary rock, funk, and avant-garde jazz. / The Klezmatics take one of the wildest approaches to klezmer, the traditional dance music of the Eastern European Jews. Although their music is heavily influenced by the recordings of Abe Ellstein and Dave Tarras in the 1940s and 1950s, their lyrics comment on a wide variety of political and social issues and have led the group to be labeled "the planet's radical Jewish roots band." The original members of the Klezmatics -- Dave Lindsay (bass), Rob Chavez (clarinet), Alicia Svigals (fiddle) -- were recruited through an ad in the Village Voice in 1985. Trumpet player Frank London of the Klezmer Conservatory Band joined the group soon afterward. Within a few weeks, the band was expanded with the addition of Lorin Sklamberg (vocals, accordion), Margot Leverett (clarinet), and David Licht (drums). Initially calling themselves "Hortzeplotz," they soon renamed themselves the Klezmatics, a play on words inspired by the rock band the Plasmatics.
The Klezmatics

Joshua Nelson

with Joshua Nelson and Kathryn Farmer
Eyliyohu Hanovi 2:38
Elijah Rock with Joshua Nelson 9:17
Ki Loy Nue with Kathryn Farmer 6:40
Didn't It Rain with Joshua Nelson and Kathryn Farmer 5:01
from Brother Moses Smote The Water 2005

Kathryn Farmer

The Klezmatics are arguably the most genre-bending performers on the klezmer scene today (and perhaps of any day). Here, they combine with an up-and-coming singer from the South. That singer just happens to be of an ancient order of Judaism and is African-American, and he attempts to fuse gospel soul with traditional Jewish works. Of course, they got along marvelously. The album focuses on the similarities and ties between Jews and blacks, particularly in the aspects of slavery, the shared songs from Passover and gospel services, and the vibrant cultures. There are notes of pure klezmer and of pure gospel, but the concert from which the album was recorded is really a masterpiece of fusion. The styles are crunched together nearly seamlessly, the languages used (alternately Hebrew, Yiddish, and English) being the only differential in some parts. Joshua Nelson (the gospel singer) tends toward a Mahalia Jackson sound, and the Klezmatics themselves do what they always do. Slapped together, it's a joyous, powerful affair. For fans of musical cross-pollination, this album is a godsend. It's cross-cultural fusion done right. For an added bonus, the CD includes a short bit of video footage from the Berlin concert.

14-16-2018 19:25 JAZZ:MiX # 33 jazz tracks on the the JAZZ_line 1994-1982 / 3h 18m

Wallace Roney

14-16-2018 19:25 JAZZ:MiX # 33 jazz tracks on the the JAZZ_line 1994-1982 / 3h 18m # Wallace Roney, Joe Henderson, Ron Carter / Cedar Walton Duo, Steve Coleman and Five Elements, Allan Holdsworth, Anderson Ray, Abdullah Ibrahim, Joe Zawinul,  Willem Breuker Kollektief, Mark King, David Friesen, Claus Ogerman / Michael Brecker

J A Z Z   M U S I C

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1994-1982

Trumpeter Wallace Roney is a forward-thinking, post-bop musician with a healthy respect for the jazz tradition. Blessed with a warm yet plaintive trumpet tone and a lithe improvisational style, Roney's distinctive playing bears the influence of such legendary predecessors as Miles Davis, Clifford Brown, and Woody Shaw.
Wallace Roney
Mistérios (Joyce Maestro / Mauricio Maestro) 4:52
Meu Menino (Danilo Caymmi / Ana Terra) 6:17
from Misterios 1994
Trumpeter Wallace Roney avoids the standard repertoire altogether on this CD, playing pieces by Pat Metheny, the Beatles, Egberto Gismonti, Jaco Pastorius and even Dolly Parton among others but, try as hard as he may, he still sounds like Miles Davis every time he hits a long tone or plays a doubletime passage. Backed by a small orchestra that mostly interprets Gil Goldstein arrangements, Roney is the main soloist throughout this interesting ballad-dominated set.

A remarkable tenor saxophonist whose passionate ballad playing and often fiery solos made him one of the most influential tenors in jazz. / Joe Henderson is proof that jazz can sell without watering down the music; it just takes creative marketing. Although his sound and style were virtually unchanged from the mid-'60s, Joe Henderson's signing with Verve in 1992 was treated as a major news event by the label (even though he had already recorded many memorable sessions for other companies).
Joe Henderson
Isfahan feat: Christian McBride (Duke Ellington / Billy Strayhorn) 5:58
Lotus Blossom (Billy Strayhorn) 4:30
Drawing Room Blues feat: Christian McBride (Billy Strayhorn) 7:32
from Lush Life: The Music of Billy Strayhorn 1992
With the release of this CD, the executives at Verve and their marketing staff proved that yes, indeed, jazz can sell. The veteran tenor Joe Henderson has had a distinctive sound and style of his own ever since he first entered the jazz major leagues yet he has spent long periods in relative obscurity before reaching his current status as a jazz superstar. As for the music on his "comeback" disc, it does deserve all of the hype. Henderson performs ten of Billy Strayhorn's most enduring compositions in a variety of settings ranging from a full quintet with trumpeter Wynton Marsalis and duets with pianist Stephen Scott, bassist Christian McBride, and drummer Gregory Hutchinson to an unaccompanied solo exploration of "Lush Life." This memorable outing succeeded both artistically and commercially and is highly recommended.

The epitome of class and elegance without the stuffiness, Ron Carter has been a world-class bassist and cellist since the '60s. He's among the greatest accompanists of all time, and has made many albums exhibiting his prodigious technique. He's a brilliant rhythmic and melodic player, who uses everything in the bass and cello arsenal; walking lines, thick, full, prominent notes and tones, drones and strumming effects, and melody snippets.
Ron Carter / Cedar Walton Duo
One of the most valued of all hard bop accompanists, Cedar Walton was a versatile pianist whose funky touch and cogent melodic sense graced the recordings of many of jazz's greatest players. He was also one of the music's more underrated composers; although he was always a first-rate interpreter of standards, Walton wrote a number of excellent tunes...
Heart and Soul (Hoagy Carmichael / Frank Loesser) 3:02
Back to Bologna (Cedar Walton) 4:12
from Heart & Soul 1991
Bassist Ron Carter and pianist Cedar Walton both became active on the New York jazz scene around 1960. Walton was soon to gain popularity working with Art Blakey's Jazz Messengers; meanwhile, Carter would become an important anchor in what is arguably Miles Davis' most influential ensemble. In 1981, Timeless Records documented the great rapport between these two giants of post-bop jazz. Heart & Soul is certainly not a loose "blowing session"; it's clear that the duo's repertoire had carefully developed during a year of gigging together in Manhattan. At the same time, the music never feels overarranged and stiff; there is always room for spontaneity. The piano and bass duo is a challenging setting, and there are relatively few successful recordings in the jazz literature...

M-Base founder, composer, and alto saxophonist Steve Coleman hails from Chicago. His earliest years were spent playing in R&B and funk bands in emulation of his first hero, Maceo Parker. Coleman had heard all the greats in his hometown and changed his focus from R&B to jazz, precipitating his move to New York. He gigged with the Thad Jones-Mel Lewis big band, followed by Sam Rivers' All-Star Orchestra and, eventually, Cecil Taylor's big-band project. He began working with other leaders as well: David Murray, Abbey Lincoln, Michael Brecker. But Coleman was restless; he began listening to other music, particularly that of West Africa (he later traveled to Ghana to study). His music evolved and he continued to play side gigs, honing his sound and compositions -- he has a totally original alto tone -- by playing in the street.
Steve Coleman and Five Elements
Rhythm People 7:13
No Conscience 5:31
Dangerous 4:58
The Posse 4:34
from Rhythm People (The Resurrection of Creative Black Civilization) 1990
The music on this "M-Base" recording, despite the difference in instrumentation, does not sound radically different than Ornette Coleman's harmelodic music of the 1980s. Altoist Steve Coleman is the lead voice throughout most of his originals and his solo style (often relying heavily on whole-tone runs and unexpected interval jumps) is intriguing, but it would be surprising if his rhythm section did not get bored playing the funky (although eccentric) rhythms after awhile. Two tunes include angry raps that lower the quality of the record. Steve Coleman's CD is obviously not "The Resurrection of Creative Black Civilization" (its immodest subtitle) for how can one resurrect something that has never died? However it does contain plenty of creative (if disturbing) improvisations.