That Depends on What You Know: 1:3 The Sirens Return / Keep It Real ‘Til It Flatlines

  • That Depends on What You Know: 1:3 The Sirens Return / Keep It Real ‘Til It Flatlines
  • 2001 : truGROID
  1. Two Bass Blipsich
  2. Screamin Arthur Jaffa
  3. Honeychild Gone Solo
  4. The Sirens Return/ Keep it Real 'Til it Flatlines
  5. (Bas) Kiss
  6. Crazy in the Dark
  7. Castles Made of Sand/ May We be Led Safely Through the Dreadful Ambush of Bardo
Making Love to the Dark Ages

Making Love to the Dark Ages

Chopped and Screwed Volume 2

Chopped and Screwed Volume 2

More Than Posthuman — Rise of the Mojosexual Cotillion

More Than Posthuman - Rise of the Mojosexual Cotillion

If You Can’t Dazzle Them With Your Brilliance, Then Baffle Them With Your Blisluth

If You Can't Dazzle Them With Your Brilliance, Then Baffle Them With Your Blisluth

Not April in Paris; Live from Banlieus Bleues

Not April in Paris; Live from Banlieus Bleues

The Rites: Conductions Inspired By Stravinsky’s Le Sacre Du Printemps

The Rites: Conductions Inspired By Stravinsky's Le Sacre Du Printemps

Black Sex Yall: Liberation & Bloody Random Violets

Black Sex Yall: Liberation & Bloody Random Violets

That Depends on What You Know: 1:3 The Sirens Return / Keep It Real ‘Til It Flatlines

That Depends on What You Know: 1:3 The Sirens Return

That Depends on What You Know: 2:3 The Crepescularuim

That Depends on What You Know: 2:3 The Crepescularuim

That Depends on What You Know: 3:3 Fubractive Since Antiquity Suite

That Depends on What You Know: 3:3 Fubractive Since Antiquity Suite

Blood on the Leaf

Blood On the Leaf

“That Depends on What You Know, has really thrown a wrench into the increasingly calcified "jazz canon." "Two Bass Blipsch" from disc 1 (an obvious reference to John Lewis and Dizzy Gillespie's "Two Bass Hit") opens with Vijay Iyer playing the piano strings with such rhythmic precision that it sounds like it's been "looped"; once Tate brings the drums in percussion becomes the improvisational driving force. While everything is improvised, Tate uses conduction to create particular conversations and dialogues, as in the way he brings out Eisa Davis's voice interpolating triplet figures.”
by  Robin D.G Kelley
Seeing Black.com
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