To get caught up for a moment in the world of labels: there is a term, "progressive rock," the biggest commercial practitioners of which are Genesis, Yes, King Crimson, Pink Floyd and the like. Within there are many subgenres. One particular subgenre is known as "Canterbury," which is made up of bands such as Caravan, Matching Mole, Soft Machine and Hatfield And The North. Within this subgenre, there is yet another subdivision termed "Canterbury jazz," made up of In Cahoots, various Hugh Hopper bands, Richard Sinclair�s Caravan of Dreams, Softworks, and so on.

Canterbury jazz, like it�s larger subset Canterbury, has an unmistakably English aesthetic. It is music based in polyrhythms, intricate melodies and well-schooled players with chops to spare. The output of these bands, even though they're largely made up of Canterbury musicians, is generally closer to the jazz/rock fusion of the late 60s and 70s, in its best sense. Before fusion collapsed under its own bloated, note-for-note, pound-for-pound weight, there was something there. Its heady mix of intricate melody and molten soloing made it the listening choice for more than a share of today�s modern jazz musicians and sound improvisers. It opened the doors to new sound possibilities and introduced many to the concept of extended technique. It inspired and informed many a serious player and listener.

In Cahoots is a prime example of the best of the school of modern fusion, and �All That� displays its intricate melodies, precise ensemble playing and chopmeister soloing without forgetting that notes need to mean something and that more is not necessarily better, only occasionally treading distantly near the smooth jazz cesspool.

With new member Mark Fletcher firmly in the drum chair, this band takes a studio jazz journey par excellence. Guitar master Phil Miller shines with superb writing and playing and there are outstanding contributions from all band members: stalwart bassist Fred Baker, keyboardist Pete Lemur, trumpeter Jim Dvorak and best of all Soft Machiner Elton Dean on assorted saxes and his trademark saxello. This record moves.

The band rips through a slew of strong new compositions mostly from bandleader Miller. The recording includes an exotically tropical-sounding, bass-driven tune by Baker. Fletcher takes a decidedly more straight-ahead approach to driving affairs than former skin man Pip Pyle, and to very positive results. The entire band stretches out with beautiful solos, and the playing in general is warm, energetic, very interactive and perfectly executed.

If you�re an old closet fusion cat, it�s time to come back. And if you just dig this sort of stuff, you�ll likely love this. If you�re not sure, give it a spin. It stands up to comparison with Wayne Horvitz�s The President, Hal Russell�s NRG Ensemble, Mark Hewens and Hugh Hopper's duo priojects and most other modern fusion projects.