Masada: Live at Tonic, 2001
Tzadik TZ-7334-2

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Masada, for those unfamiliar with the band, sounds like klezmer music as played by Ornette Coleman. But make no mistake, this quartet is one of the most cutting-edge and talented musical ensembles performing today. Their fifth live recording, featuring 16 tracks on two CDs -- each representing a complete set -- was recorded at New York City’s Tonic Club. Intense musical energy overwhelms you from the opening sequence and it never wavers. Various motifs predominate these performances, such as the unique back-and-forth soloing of John Zorn on alto sax and Dave Douglas on trumpet, Joey Baron’s brilliantly upbeat snares-off drum rolls and the deep bass lines from Greg Cohen, the latter two creating the foundation for a unique-sounding rhythm section, imbued with impeccable pace and timing. Each composition is an expansive adventure taking you to different destinations. By the end, you may find yourself wanting more. Not to worry -- there are 10 studio recordings and four other live releases.

Dead Can Dance: Dead Can Dance 1981-1998
WEA 78359

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I’m not sure what I expected when I first encountered Toward the Within. Having never seen pictures, interviews, or this DCD concert, my impression of what Brendan Perry and Lisa Gerrard looked like was tempered by their unique voices and sound, which transcended any description I could heap upon it. To find that this duo was not the black-clad, ashen-white stereotypes my mind conjured up was a surprise. During their 17-year existence, DCD attained a level of melodic and harmonic perfection that has been emulated, but never outdone. Wrapped in a first-class, but slightly user-unfriendly case, this three-CD and one-DVD Rhino-produced compilation of Dead Can Dance’s legacy is a fitting eulogy to a band that will be sorely missed.

Soundtrack: Finding Forrester
Columbia/Legacy CK85350

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Jazz rules the day on this film soundtrack. Featuring six Miles Davis tracks, four by Bill Frisell, two by Ornette Coleman, and a moving acoustic effort by Israel Kamakawiwa’le that combines "Over The Rainbow" and "What A Wonderful World," the music contained here is not of any one particular jazz genre. When I first saw this film, the accompanying music really captivated me. After listening to this disc, I know why: you’ve got assorted pieces of instrumental works, each unique, and each providing a different mood for the various scenes of this film. Of particular significance is the euphonic soundscape created by Bill Frisell’s "Under A Golden Sky" and "Coffaro’s Theme," where each musical note serves a purpose. The common denominator throughout the disc is the excellent interplay between the various musicians. Repeated listening, from beginning to end, will have you wanting more.

Bjork: Vespertine
WEA 62653-2

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There’s nothing mundane about this ex-Sugarcubes member's approach to music. Drawing from a wealth of influences, Bjork defines diversity and accessibility at the same time. Unlike the vapid structures found in some other vocal-centric outfits, she knows how to make her voice fit within the sounds and ambience of synths and traditional instruments. Minimal amounts of destructive processing allow her voice to ride the current of surrounding melodies while still retaining its presence. Endeavoring to make every syllable punctuate the mood, her voice is fundamental to the arrangements without going out of its way to take center stage. Beautiful, original, and epic, Vespertine is an album that never falls to a level of predictability. Unfortunately, the recording quality is not up to the same standard.

Collide: Chasing the Ghost
Next Level Records 4

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The human voice is one of the most beautiful and underrated instruments available. Why some bands choose to color the splendor of it with heavy processing and other "noise" baffles me. Collide is such a band. There are some instances where singer kaRIN’s vocals do poke out beyond these busy, but boring compositions ("Wings of Steel" and "Ocean," for instance). But other times the processing simply drowns her out, and manages to make her gentle, velvety, yet dynamic voice, sound hard and screechy ("White Rabbit"). There’s little doubt that kaRIN could have the talent and vocal prowess to rise to the level of a Kate Bush, Bjork, or even Lisa Gerrard. But with so much sonic clatter dumped upon her it’s a miracle that anything resembling a human would be apparent.