Guiding the undulating, polyrhythmic, genre-ambiguous flow of drummer 's ever-evolving "organic beat music," is a strategy not far removed from the one employed by and on and subsequent dates: Here, moments from continuous improvised performances are digitally looped, cut, spliced, and edited into entirely new compositions. has been developing the approach for some time, though it came to fruition on 2015's brilliant , culled from nearly 48 hours of live improvised performance at a single venue over a year, then processed and remixed into 19 individual pieces. takes a leap further out on the double-length . The set was recorded in four cities (New York, Chicago, London, and Los Angeles) with four ensembles. The players on these include bassist and fellow Chicagoan , cellist and former Chicagoan , U.K.-based saxophonists , L.A. violist/arranger , percussionist , and Chicago ex-pat and current Angeleno guitarist , to name a few. As indicated by the drummer's genre term, the root of this utterly holistic music lies in wholly improvised sessions. All are different in feel. The New York session revolves around a gradually ratcheting spiritual dimension due in large part to 's canny interaction with transcendent harpist . The rhythm section -- vibraphonist , bassist , and -- offer hypnotic hip-hop shuffles, riff-like feints, and drones in an incantatory pace across a suite of six pieces ranging in duration from 33 seconds to five-and-a-half minutes. The spirit and inspiration of permeates the music's flow in rhapsodic whole tones. The Chicago side commencing with "Pharaoh's Intro" stars communicating in post-bop cadences carried by 's frenetic drumming. It follows to "Atlantic Black" with fiery, Nigerian funk rhythms colored by cello and bassline pulses and saxophone loops over a spacy electric piano and a spiky solo pushing the tune outward. It's brought back inside by the Afro-beat rhythms and dubwise basslines undergirding "Inner Flight." The London side skates between trippy, soulful, syncopated jazz-funk and modal jazz courtesy of 's illustrious horn and 's Rhodes piano as the interplay between and bassist balances both ends of the spectrum; they create emphasis, tension, and release. The Los Angeles side contains virtually everything that previously transpired but goes somewhere new. Between frontline players -- guitarist , alto saxophonist -- harmonic ideas are introduced, exchanged, embellished, then repurposed to suit the polyrhythmic flow generated by , , and bassist . The seductive, groove-laden, post-midnight jazz in "Fifth Monk" is a stellar example. At the end of the recording, says "You guys got all that?" then laughs. Given all that's here, one wonders who he was speaking to, the engineers or the listeners? is unique from any other jazz recording in 2018: It marries virtuoso musicianship, technological savvy, a keen editor's ear for creative inspiration, and a plethora of almighty grooves. ~ Thom Jurek