2002 installment of the popular dance series once again compiled by Stephane Pompougnac. Fresh down-tempo mixed with cool lounge-house. Featuring tracks from Hippiehaus, Rouge Rouge, Physics, Streamer, Cam starring Anggun, Clementine, The Strike Boys & Fantastic Plastic Machine. Deluxe box. Pschent.

Crimson Passion Cry is a hauntingly beautiful album that astounds with the extent of surprising elements it has on offer. Although the genre could roughly be described as classic rock, it must be stressed that the music will narrate and communicate a different style and message to different listeners. Never before has an album quite like this been launched on the South African market. With 13 superb original tracks, all performed live; it is a tour de force. Every care has been taken to ensure a masterpiece, and one is tempted to treat each track as exactly that: a work of art. Ren van den Berg is stunning on vocals, rendering and transforming every nuance and emotion of the superb lyrics into an audio feast. She most certainly proves herself as a vastly accomplished vocalist with beautiful depth and distinctive fundamentals that translates outstandingly. Without any hesitation, lavish credit should be bestowed on Esther Slabbert for her penmanship. Production was handled by Ren herself, in conjunction with Jrgen von Wechmar of Sunset Recording Studios who masterfully lent his touch to the final product. Elben Schutte showcases his ingenuity on the arrangements and is a young talent to watch in the future.

The Seeker is the Aardvark Jazz Orchestra's third album and was recorded live on two separate occasions at MIT's Kresge Auditorium in Cambridge, MA, on April 25, 1998, and April 16, 2000. The album is comprised of three pieces composed by the orchestra's leader Mark Harvey. The 18-minute "The Seeker" is presented as a tribute to John Coltrane. A hearty piece of work, it shifts from conducted improvisations to Mancini-like riffs with a fiery tenor solo by Arni Cheatham. A meditative state is brought to climactic ramblings and then put to sleep, after which the orchestra comes back for a jubilant closing section. "Heartsong," dedicated to Myanmar activist Daw Aung San Suu Kyi, is a lot more delicate and closer to contemporary classical (think Edgar VarŠse) than anything jazz. A little disconcerting at first, it makes a nice break between the two main pieces of the program. "Passages/Psalms IV" is a 40-minute suite reflecting life passages backed by texts taken from Psalms (previous pieces in this series were documented on the orchestra's second CD Psalms and Elegies). Beginning softly and as if picking up where "Heartsong" left, the piece eventually turns into a swing number before breaking down and coming to an almost full stop, a structure that will be repeated a few times. Once again, the musicians alternate from thoroughly written lines to conducted improvisation. This piece bears a few overlong passages and doesn't have the engaging feeling of "The Seeker" (some would say it's too cerebral). Overall, this CD makes an enjoyable listen, but it doesn't break any new ground into avant-garde orchestral jazz or experimental big-band territories. The Aardvark Jazz Orchestra has recorded better material. ~ Fran‡ois Couture

This recording catches bassist Joe Fonda and pianist Michael Stevens leading their legendary quintet in a compilation of three different European concerts. Fonda and Stevens wrote all the pieces on this CD, which also features new music trumpeter Herb Robertson, drummer Harvey Sorgen, and alto saxophonist/clarinetist Mark Whitecage. While most of these performers are identified with the freer styles of jazz, Evolution is a chance to hear them in a diversity of contexts. "Song for my Mother" is a lovely, lyrical ode that encompasses melodic invention and avant-garde playing. "Birdtalk" is dedicated to Charlie Parker and offers some rare bop soloing by Robertson. The head of "Second Time Around" was written only with rhythmic notation, but without predetermined pitches. "Strayhorn" is a moving remembrance of the titan arranger that stretches as it looks back. Robertson and Whitecage are particularly strong performers throughout and clearly enjoy the variety of moods and tempos. While the recording suffers somewhat from poor sound quality, the outstanding musicianship clearly compensates. ~ Steve Loewy

This fourth effort is by far Not Missing Drums Project's best album to date. While the previous ones tended to lack focus, multiplying short tracks, guest contributors, and approaches, The Gay Avantgarde has a clear purpose. Joachim Gies (saxophones, keyboards) and Thomas B�hm-Christl (cello, keyboards) have selected texts from the works of Friedrich Nietzsche, particularly those pertaining to music, and set them in contexts that add an interpretive dimension. The lineup is restricted to six musicians: the two leaders plus trombonist J�rg Huke, bassist Matthias Bauer (who also doubles as speaker), Alex Nowitz (voice and effects), and mezzo-soprano Ute D�ring. The ten pieces take the general form of a contemporary song cycle, with D�ring occupying center stage. Each track offers a different dosage of certain basic elements: composition versus free improvisation, contemporary classical versus jazz, acoustic (two horns, two strings) versus electronic (keyboards and treatments), singing versus speaking, legibility (written text) versus gibberish (vocal improvisation). If this breakdown sounds mechanical, the music doesn't. Nothing is stated in black or white; the interest of each piece resides in the displacements on these various axes and how a whole set of choices enriches the philosopher's aphorisms. It's simply brilliant, both as concept and result. Luckily, the booklet includes English translations. ~ Fran‡ois Couture

This recording session involving leaders Pandelis Karayorgis and Mat Maneri along with their supporting cast (Tony Malaby, Michael Formanek, and Randy Peterson -- all musicians they had both worked with before) was put together hastily. It falls to the jazzmen's credit that Disambiguation sounds so unforced and rehearsed, and flows so naturally. The pianist and violist know each other well enough to share a level of comfort that often finds improv musicians turning lazy and remaining on previously charted ground. If this quintet doesn't explore new, cutting-edge territories, it sure can't be accused of laziness. Karayorgis came up with five loose compositions: heads and sub-group sequences (a bass/piano duet here, a trio section there, etc.). The group members made the music their own (rather than "learned" it) and recorded it as if they had been playing it for years. Nothing here stands out of the ordinary: the pianist's tumbling lines, Maneri's deep viola lines, the rhythm section playing in and out often at the same time. Detractors of free jazz will say that this has been done before, and so forth. But these five players do it well, more than that they do it casually. Unpretentiously, like it is their everyday bread and butter, they pour their hearts and souls into Karayorgis' post-bop themes (that Monk signature again in the opening theme of "Three Plus Three"), break down their sound into every possible combination of players to show everything they can do, and bring it softly "Home" in the end. All in a day's work, right? Disambiguation is the work of professionals still thrilled by what they do. ~ Fran‡ois Couture

This version of one of the great and often underappreciated jazz groups of the modern era features trumpeter Herb Robertson with the usual all-star rhythm section of bassist Joe Fonda, pianist Michael Jefry Stevens, and drummer Harvey Sorgen. The co-leaders share the responsibility for the compositions and arrangements, the intricacy and delicacy of which are a large part of what gives this group its distinct character. If the sensitive nature of some of the pieces causes anyone to question whether any of these players have chops, Fonda wrote the riveting "Fast," for an uplifting, blistering workout. Robertson is the sort of brass player who sends up an endless array of spidery, rubber phrases that wail with the authenticity of a laughing coyote. Favoring mutes and always throwing in touches of humor, the trumpeter impresses with his agility, range, and command. One strength of the quartet is the ability and willingness of each of its idiosyncratic members to subordinate to the ensemble sound. Fonda is a gas when he sings lightly while his fingers bounce along in solo, while co-leader Stevens' more abstractly intellectual approach adds a classically infused element, tempered by his sense of swing. The quality of sound is a bit subpar on the three live numbers, but overall this is another highly satisfying outing from this outstanding ensemble that bills itself as the Fonda-Stevens Group. ~ Steven Loewy