Robin Eubanks is an American jazz and jazz fusion slide trombonist, the brother of guitarist Kevin Eubanks and trumpeter Duane Eubanks. His uncles are bassist Tommy Bryant, his mother, Vera Eubanks, was famed pianist Kenny Baron's first piano teacher. Robin Eubanks was born on October 1955, in Philadelphia. After graduating cum laude from the University of the Arts, he moved to New York City, he first appeared on the jazz scene in the early 1980s. He played with Slide Hampton, Sun Ra, Stevie Wonder. Eubanks the musical director with the jazz drummer Art Blakey and the Jazz Messengers, he was a member of jazz drummer Elvin Jones Jazz Machine. He was a contributor on fellow jazz trombonist Steve Turre's 2003 release One4J: Paying Homage to J. J. Johnson. Eubanks has released several albums as a bandleader, he played for 15 years in double bassist Dave Holland's quintet, sextet and big band. J. J. Johnson recommended Eubanks for the position at the Oberlin Conservatory in Ohio, where he taught for 20 years as a tenured professor of Jazz Trombone and Jazz Composition.
He has taught at New England Conservatory and Berklee College of Music in Boston. He was a member in the all-star group the SFJAZZ Collective for 10 years 2008-2019. Robin is one of the pioneers of M-Base, he has appeared on numerous television shows and specials, including The Tonight Show, Saturday Night Live and The Grammys. He pioneered the use of electronic effects with the trombone. Robin is a frequent lecturer, guest soloist and clinician at various colleges and universities in the U. S. and around the world. Eubanks was voted # 1 Trombonist by Down Beat Jazz Times. Different Perspectives Dedication - with Steve Turre Karma Mental Images Wake Up Call Robin Eubanks Sextet: 4: JJ / Slide / Curtis and Al Mental Images: Get 2 It EB3 Live Vol. 1 Robin Eubanks and Mental Images: Klassik RocK Vol. 1 Robin Eubanks and the Mass Line Big Band: More Than Meets The Ear With Geri Allen Open on All Sides in the Middle The Gathering With Art Blakey Not Yet I Get a Kick Out of Bu With Steve Coleman World Expansion With Sonny Fortune A Better Understanding With Craig Handy Split Second Timing Reflections in Change With Joe Henderson Big Band With Dave Holland The Razor's Edge Points of View Prime Directive What Goes Around Not for Nothin' Extended Play: Live at Birdland Pathways With Ronald Shannon Jackson Decode Yourself With Elvin Jones The Truth: Heard Live at the Blue Note With Bobby Previte Weather Clear, Track Fast Slay the Suitors Hue and Cry With Hank Roberts Black Pastels With Herb Robertson Shades of Bud Powell With others Kenny Drew: Follow the Spirit Bill Hardman: What's Up Andrew Hill: But Not Farewell Abdullah Ibrahim: Good News from Africa: Portrait Joe Jackson: Symphony No. 1 J. J. Johnson: The Brass Orchestra The Uniphonics: Crawl B.
B. King: Live at the Apollo Mingus Big Band: Essential Mingus Big Band Barbra Streisand: The Concert Sun Ra: Other Side of the Sun Superblue: Superblue 2 Talking Heads: Naked McCoy Tyner Big Band: Uptown/Downtown McCoy Tyner: Uptown/Downtown Grover Washington Jr.: All My Tomorrows Sadao Watanabe: Remembrance Chip White: Harlem Sunset Official site Paul Olson, "Robin Eubanks: Master Trombonist... And Would-Be Rock Guitarist?", November 12, 2007. Josef Woodard, "Robin, Kevin & Duane Eubanks: Wake-Up Call", JazzTimes, July 1, 2001
Caribbean Rhapsody is an album by saxophonist James Carter composed and orchestrated by Roberto Sierra, released on the EmArcy label in 2011. The Allmusic review by Matt Collar says, "A bold, adventurous performer with a titanic facility on the saxophone, Carter is suited for performing with large ensembles, the orchestrations here are gorgeously rendered landscapes for Carter to play against. In fact, composer Sierra purposely left certain cadenzas and other areas of the scores on Caribbean Rhapsody open for Carter to improvise, the results are nothing short of thrilling". In JazzTimes Bill Beuttler said, "It’s unusual, remarkable, in that it’s a full-fledged orchestral work penned with Carter’s improvisational genius in mind, it manages to blend rhythmic nods to Sierra’s native Puerto Rico". On All About Jazz C. Michael Bailey noted, "In a field populated by "good" and "exceptional" recordings, it is nice to hear a Caribbean Rhapsody, outstanding"; the Guardian critic John Fordham wrote, "It's a stylish success in a crossover territory fraught with pitfalls".
All compositions by Roberto Sierra except. "Concerto for Saxophones and Orchestra: Ritmico" - 4:52 "Concerto for Saxophones and Orchestra: Tender" - 7:04 "Concerto for Saxophones and Orchestra: Playful -- Fast" - 7:39 "Tenor Interlude" - 5:34 "Caribbean Rhapsody" - 13:37 "Soprano Interlude" - 6:14 James Carter - soprano saxophone, tenor saxophone Sinfonia Varsovia conducted by Giancarlo Guerrero Regina Carter - solo violin Akua Dixon String Quintet: Patrisa Tomasini, Chala Yancy - violin Ron Lawrence - viola Akua Dixon - cello Kenny Davis - bass
Uri Caine is an American classical and jazz pianist and composer. The son of Burton Caine, a professor at Temple Law School, poet Shulamith Wechter Caine, Caine began playing piano at seven and studied with French jazz pianist Bernard Peiffer at 12, he studied at the University of Pennsylvania, where he came under the tutelage of George Crumb. He gained a greater familiarity with classical music in this period and worked at clubs in Philadelphia. Caine played professionally after 1981, by 1985 had his recording debut with the Rochester-Gerald Veasley band. In the 1980s, he moved to New York City, his solo recording debut was in 1992. He appeared on a klezmer album and other recordings with modern jazz musicians Don Byron and Dave Douglas, among many others. Caine has recorded 16 classical albums, his 1997 jazz tribute to Gustav Mahler received an award from the German Mahler Society, while outraging some jury members. Caine has reworked Bach's Goldberg Variations, Beethoven's Diabelli Variations, as well as music by Wagner and Mozart.
In 2009 Caine was nominated for a Grammy in the category of Best Classical Crossover Album for his work "The Othello Syndrome", re-imagining the Verdi opera Otello as a modern piece featuring soul singer Bunny Sigler. He was Composer-in-Residence of the Los Angeles Chamber Orchestra from 2005-2009, he became a United States Artists Fellow in 2010. In 2012 he performed with the Armenian State Chamber Orchestra in Yerevan, and, in 2013-2014, was Composer-in-Residence at Mannes College. In 2001, he teamed up with drummer Zach Danziger to conceive an original project fusing live jungle and drum'n' bass beats with fusion jazz called "Uri Caine Bedrock 3", they have toured worldwide, including with the New York-based DJ Olive. In 2001, he released with drummer Ahmir "Questlove" Thompson of The Roots and Christian McBride an album called The Philadelphia Experiment which contains jazz, instrumental hip hop and jazz fusion; this album was produced by Aaron Levinson and features collaborations such as Pat Martino on guitar and Jon Swana on trumpet.
In 2006, he recorded an album of composition from John Zorn's second Masada book called Moloch: Book of Angels Volume 6. In November 2012, Caine collaborated with drummer Han Bennink to release a live album entitled Sonic Boom. In 2008 he was special guest of the Italian jazz awards red carpet show in Genoa at Teatro della Tosse. With Don Byron Don Byron Plays the Music of Mickey Katz With Dave Douglas In Our Lifetime Stargazer Soul on Soul The Infinite Strange Liberation Meaning and Mystery Live at the Jazz Standard With Forma Antiqva Antonio Vivaldi: The Four Seasons With Frank London Nigunim With Zohar Keter With John Zorn Voices in the Wilderness Moloch: Book of Angels Volume 6 Filmworks XXI: Belle de Nature/The New Rijksmuseum Stolas: Book of Angels Volume 12 - Masada Quintet featuring Joe Lovano Uri Caine.com BBC Radio 2 All About Jazz Interview Uri Caine: Musical Midrashist "In Conversation with Uri Caine" by Ted Panken, Jazz.com Live concert recording, May 2010
Tom Harrell is an American jazz trumpeter, flugelhornist and arranger. Voted Trumpeter of the Year of 2018 byJazz Journalists Association, Harrell has won awards and grants throughout his career, including multiple Trumpeter of the Year awards from Down Beat magazine, SESAC Jazz Award, BMI Composers Award, Prix Oscar du Jazz, he received a Grammy Award nomination for Time's Mirror. Tom Harrell was moved to the San Francisco Bay Area at the age of five, he started playing trumpet at eight, within five years he was playing gigs with local bands. In 1969 he graduated from Stanford University with a music composition degree and joined Stan Kenton's orchestra and recording with them throughout 1969. After leaving Kenton, Harrell played with Woody Herman's big band, the Horace Silver Quintet, with whom he made five albums, the Sam Jones-Tom Harrell Big Band, the Lee Konitz Nonet, George Russell, the Mel Lewis Orchestra. From 1983 to 1989 he was a pivotal member of the Phil Woods Quintet and made seven albums with the group.
In addition, he recorded albums with Vince Guaraldi for whom he did some arranging for the Peanuts television specials, Bill Evans, Dizzy Gillespie, Ronnie Cuber, Bob Brookmeyer, Lionel Hampton, Bob Berg, Cecil Payne, Bobby Shew, Philip Catherine, Ivan Paduart, Joe Lovano, Charlie Haden's Liberation Orchestra, Charles McPherson, David Sánchez, Sheila Jordan, Jane Monheit, the King's Singers and Kathleen Battle among others. Harrell is featured on Bill Evans' final studio recording, We Will Meet Again, which won a Grammy Award for Best Instrumental Jazz Performance, Group. While Harrell recorded several albums as a leader during his tenure with the Phil Woods Quintet, it was after his departure that he started producing albums as a leader, in succession for Contemporary Records, RCA/BMG. During his years as a BMG artist first with RCA Bluebird and Arista, Harrell made six albums, many of which feature his arrangements for larger groups. Since the early 1990s, Harrell has toured and performed with his own groups of various sizes and instrumentation.
Harrell is composer. He has arranged for Vince Guaraldi's work on Peanuts, Carlos Santana, the Metropole Orchestra, the Danish Radio Big Band, the Vanguard Jazz Orchestra, Elisabeth Kontomanou with the Orchestre National de Lorraine, among others, his compositions have been recorded by other jazz artists including Ron Carter, Kenny Barron, Art Farmer, Chris Potter, Tom Scott, Steve Kuhn, Kenny Werner and Hank Jones. Harrell's composition and big band arrangement entitled "Humility" was recorded on the Grammy-winning album by Arturo O'Farrill's Afro-Latin Jazz Orchestra, Song for Chico; as a composer and arranger, Harrell works in different genres, including classical music. Since 1989 Harrell has led his own groups quintets but expanded ensembles such as chamber orchestras with strings, big bands, he has appeared at most major jazz clubs and festival venues, recorded under his own name for such record labels as RCA, Pinnacle, Criss Cross, SteepleChase and HighNote. From 1994 to 1996, the quintet contained Don Braden, Kenny Werner, Larry Grenadier, Billy Hart.
From 2000 to 2005, it contained Jimmy Greene, Xavier Davis, Ugonna Okegwo, Quincy Davis. In contrast to his signature recordings during the RCA/BMG years, where much of his focus was on projects involving large ensembles, big bands and chamber orchestras, Harrell's more recent works demonstrate his skills as a leader of a tight, smaller unit. Harrell's quintet of tenor saxophonist Wayne Escoffery, pianist Danny Grissett, bassist Ugonna Okegwo, drummer Johnathan Blake, was noted for the strong chemistry between the musicians and the distinctive sound achieved through Harrell's compositions, it recorded five albums for HighNote: Light On, Prana Dance, Roman Nights, The Time of the Sun, Number Five. For the last of these, Harrell received his seventh SESAC Jazz Award. In June 2012, Harrell debuted his nine-piece chamber ensemble at the Highline Ballroom as part of the Blue Note Jazz Festival. Harrell arranged the music of Debussy and his own compositions for this ensemble, which consists of trumpet and tenor saxophones, c-flute and bass flute, cello, acoustic guitar, piano and drums.
The Tom Harrell Chamber Ensemble has since performed at the Village Vanguard, Autumn Jazz Festival in Bielsko Biala, the Jazz Standard, the Xerox Rochester International Jazz Festival, the Scripps Auditorium in San Diego, Soka University Performing Arts Center in Aliso Viejo, CA. Harrell considers the arrangements and compositions some of the most challenging works he has written to date. In 2013, Harrell formed a piano-less sextet with two basses called Colors of a Dream, which comprises himself on trumpet and flugelhorn, Wayne Escoffery on tenor saxophone, Jaleel Shaw on alto saxophone, Johnathan Blake on drums, Ugonna Okegwo on bass and Esperanza Spalding doubling on bass and vocal; the group debuted at the Village Vanguard during its six-night run starting March 26, 2013 and the second night's performance was webcast for live streaming by NPR. A studio album by the same name was released on October 22, 2013 for which Harrell received his eighth SESAC Jazz Awards the following year. Harrell recorded with TRIP, a piano-less quartet featuring saxophonist Mark Turner, bassist Ugonna Okegwo and drummer Adam Cruz in 2013.
The group first performed in Rochester, New York, at the Jazz Standard during Dave Douglas' Festival of New
Eric Person is an American alto and soprano saxophone player and leader of Meta-Four and Metamorphosis. Since coming to New York City in 1982, Person has performed with a who's who list of legends on the jazz and rock scene. He's performed and recorded with jazz masters:McCoy Tyner, Dave Holland, Houston Person, Donald Byrd, Chico Hamilton, John Hicks and World Saxophone Quartet. In rock and world music:Vernon Reid, Ben Harper, Ofra Haza and Bootsy Collins. Eric Person started music at an early age, his father Thomas Person a saxophonist started him off with the basics of the instrument, concept of improvisation. He sent his son to study at different music stores. Eric picked up the saxophone but it wasn't until his family moved from the city of St. Louis, to the county of Normandy, he enrolled in Thomas Jefferson Elementary School that a passion for performing and studying music caught fire in him. After he entered Normandy Jr High School he started getting into more and more ensembles in and out of school.
While at Normandy Jr high he was in the jazz band, concert band, competed in his first classical competition where he was given a perfect score. Outside of school he would be in two R&B bands The Black Warriors Express and The Soulful Young Band. Both bands would perform local gigs, some regional touring. In 1977, Eric entered Normandy High School, it was the beginning of an exciting period of discovery for Eric. Normandy High School had one of the top music programs in the state of Missouri and Eric tried to take part in as many bands as he could, he would join the marching band, concert bands, one of the three jazz bands. He would become part of the top jazz band, The Norsemen. While still in high school, he would attend the St. Louis Conservatory of Music, a Saturday afternoon jazz theory class at Washington University. In 1978, While the jazz band was winning many awards at high school jazz competitions throughout Missouri, Eric won a best soloist award, which included a scholarship to attend a Jamey Abersold jazz camp that Summer.
There he studied under pianist James Williams and heard many top shelf New York City jazz musicians such as Dave Liebman, Jim McNeely and Adam Nussbaum. There he met St.louis pianist James "Ironhead" Matthews, he would join his jazz quartet for the next four years playing clubs around St.louis such as The Barbary Coast, The Place of Pleasure and Mr. B's in East St. Louis. Eric was living and learning jazz, playing with professionals, getting paid and this was wetting his appetite for more challenges. Around this time he composed his first jazz compositions, he found he had a love for composition and set about composing with the goal of expressing his personal ideas through song. His composition, Magenta which he wrote at age 18, is a personal favorite which he recorded on his Live at Big Sur CD, released in 2002. By the time Eric graduated high school in 1980 he was restless, he was hearing the call of greener pastures. He was reading about his idols in the Jazz Spotlight News, it showed. So that summer he took a trip to New York City with James "Ironhead" Matthews, a trip that would change his life.
He knew. He came back to St. Louis with the goal of coming back to New York in three months, his father, all for his adventure, suggested that he stay home one year to save up some money, "tie up some loose ends." It was wise. In that year he studied with woodwind teacher Lloyd Smith, took theory and piano classes at Florissant Valley Community college while finishing up his stint with the James "Ironhead" Matthews quartet. Eric arrived in New York City on May 17, 1982. Shortly after he arrived, Eric played his first New York City gigs with the John Hicks Big Band at the Public Theater. In September 1983 he auditioned for drummer Chico Hamilton, he would perform with Mr. Hamilton on throughout the 80's and 90's. With Chico, Person would tour the United States and Japan and record six CD releases with him. In 1984 he joined Ronald Shannon Jackson's Decoding Society; this gave Person recording opportunities. He would play with Shannon till 1987, record six recordings with him. In 1993 he joined the World Saxophone Quartet.
Person went into the studio and contributed to the CD the band was finishing, Moving Right Along on Black Saint. He contributed two songs to that recording, "Antithesis" and "Sharrod." From 1994 to 1997 Person was a member of the Dave Holland Quartet, which toured Europe, the United States and Canada. The band's success culminated in their recording of Dream Of The Elders. In 1993 Eric released his first three CD releases on Soul Note Records. Arrival and More Tales to Tell all garnered favorable reviews. About "Arrival" and "Prophecy" Down Beat wrote: 3.5 Stars - Person swerving toward the left, finding a fresh path between mainstream jazz and chancier, more personalized terrain.... In addition to his bold playing, Person has some fine compositional ideas... 4 Stars - shows his bold alto and soprano to be as in touch with complex gradations of joy as...with precise shadings of melancholy. Self-probing compositions and his examinations of time-honored music are utterly fascinating... Person recorded on his CD The Will to Live.
The CD peaked at number 89 on the Billboard 200. It went gold in France. Person arranged a three piece horn section that performed throughout California, in New York City and London; the performance at Royal Albert Hall was released Pleasure + Pain. It fea
Rutgers, The State University of New Jersey referred to as Rutgers University, Rutgers, or RU, is a public research university in New Jersey. It is the largest institution of higher education in New Jersey. Rutgers was chartered as Queen's College on November 10, 1766, it is the eighth-oldest college in the United States and one of the nine colonial colleges chartered before the American Revolution. The college was renamed Rutgers College in 1825 in honor of Colonel Henry Rutgers. For most of its existence, Rutgers was a private liberal arts college but it evolved into a coeducational public research university after being designated "The State University of New Jersey" by the New Jersey Legislature in laws enacted in 1945 and 1956. Rutgers has three campuses located throughout New Jersey: New Brunswick campus in New Brunswick and adjacent Piscataway, the Newark campus, the Camden campus; the university has additional facilities elsewhere in the state. Instruction is offered by 9,000 faculty members in 175 academic departments to over 45,000 undergraduate students and more than 20,000 graduate and professional students.
The university is accredited by the Middle States Association of Colleges and Schools and is a member of the Big Ten Academic Alliance, the Association of American Universities and the Universities Research Association. The New Brunswick campus was categorized by Howard and Matthew Green in their book titled The Public Ivies: America's Flagship Public Universities as a Public Ivy. Two decades after the College of New Jersey was established in 1746 by the New Light Presbyterians, ministers of the Dutch Reformed Church, seeking autonomy in ecclesiastical affairs in the American colonies, sought to establish a college to train those who wanted to become ministers within the church. Through several years of effort by the Rev. Theodorus Jacobus Frelinghuysen and Rev. Jacob Rutsen Hardenbergh the college's first president, Queen's College received its charter on November 10, 1766 from New Jersey's last Royal Governor, William Franklin, the illegitimate son of Founding Father Benjamin Franklin; the original charter established the college under the corporate name the trustees of Queen's College, in New-Jersey, named in honor of King George III's Queen consort, Charlotte of Mecklenburg-Strelitz, created both the college and the Queen's College Grammar School, intended to be a preparatory school affiliated and governed by the college.
The Grammar School, today the private Rutgers Preparatory School, was a part of the college community until 1959. New Brunswick was chosen as the location over Hackensack because the New Brunswick Dutch had the support of the Anglican population, making the royal charter easier to obtain; the original purpose of Queen's College was to "educate the youth in language, the divinity, useful arts and sciences" and for the training of future ministers for the Dutch Reformed Church The college admitted its first students in 1771—a single sophomore and a handful of first-year students taught by a lone instructor—and granted its first degree in 1774, to Matthew Leydt. Despite the religious nature of the early college, the first classes were held at a tavern called the Sign of the Red Lion; when the Revolutionary War broke out and taverns were suspected by the British as being hotbeds of rebel activity, the college abandoned the tavern and held classes in private homes. According to research from Scarlet and Black, "Rutgers depended on slaves to build its campuses and serve its students and faculty.
In its early years, due to a lack of funds, Queen's College was closed for two extended periods. Early trustees considered merging the college with the College of New Jersey, in Princeton and considered relocating to New York City. In 1808, after raising $12,000, the college was temporarily reopened and broke ground on a building of its own, called "Old Queens", designed by architect John McComb, Jr; the college's third president, the Rev. Ira Condict, laid the cornerstone on April 27, 1809. Shortly after, the New Brunswick Theological Seminary, founded in 1784, relocated from Brooklyn, New York, to New Brunswick, shared facilities with Queen's College. During those formative years, all three institutions fit into Old Queens. In 1830, the Queen's College Grammar School moved across the street, in 1856, the Seminary relocated to a seven-acre tract less than one-half miles away. After several years of closure resulting from an economic depression after the War of 1812, Queen's College reopened in 1825 and was renamed "Rutgers College" in honor of American Revolutionary War hero Colonel Henry Rutgers.
According to the Board of Trustees, Colonel Rutgers was honored because he epitomized Christian values. A year after the school was renamed, it received two donations from its namesake: a $200 bell still hanging from the cupola of Old Queen's and a $5,000 bond which placed the college on sound financial footing. Rutgers College became the land-grant college of New Jersey in 1864 under the Morrill Act of 1862, resulting in the establishment of the Rutgers Scientific School, featuring departments of agriculture and chemistry; the Rutgers Scientific School would expand over the years to grow into the New Jersey Agricultural Experiment Station and divide into the College of Engineering and the College of Agriculture. Rutgers created the New Jersey College for Women in 1918, the School of Education in 1
Steve Coleman is an American saxophonist and bandleader. In 2014, he was named a MacArthur Fellow. Steve Coleman grew up in Chicago, he started playing alto saxophone at the age of 14. Coleman attended Illinois Wesleyan University for two years, followed by a transfer to Roosevelt University. Coleman moved to New York in 1978 and would work big bands such as the Thad Jones/Mel Lewis Orchestra, Slide Hampton's big band, Sam Rivers' Studio Rivbea Orchestra, in Cecil Taylor's big band. Shortly thereafter, Coleman began working as a sideman with David Murray, Doug Hammond, Dave Holland, Mike Brecker and Abbey Lincoln. For the first four years in New York Coleman spent a good deal of time playing in the streets and in tiny clubs with a band that he put together with trumpeter Graham Haynes, the group that would evolve into the ensemble Steve Coleman and Five Elements that would serve as the main ensemble for Coleman's activities. In this group, he developed his concept of improvisation within nested looping structures.
Coleman collaborated with other young African-American musicians such as Cassandra Wilson and Greg Osby, they founded the so-called M-Base movement. Coleman regards the music tradition he is coming from as African Diasporan culture with essential African retentions a certain kind of sensibility, he searched for their connections of contemporary African-American music. For that purpose, he travelled to Ghana at the end of 1993 and came in contact with the Dagomba people whose traditional drum music uses complex polyrhythm and a drum language that allows sophisticated speaking through music. Thus, Coleman was animated to think about the role of music and the transmission of information in non-western cultures, he wanted to collaborate with musicians who were involved in traditions which come out of West Africa. One of his main interests was the Yoruba tradition, one of the Ancient African Religions underlying Santería, Vodou and Candomblé. In Cuba, Coleman found the group Afrocuba de Matanzas who specialized in preserving various styles of rumba as well as all in Cuba persisting African traditions which are mixed together under the general title of Santería.
In 1996 Coleman along with a group of 10 musicians as well as dancers and the group Afrocuba de Matanzas worked together for 12 days, performed at the Havana Jazz Festival, recorded the album The Sign and the Seal. In 1997 Coleman took a group of musicians from America and Cuba to Senegal to collaborate and participate in musical and cultural exchanges with the musicians of the local Senegalese group Sing Sing Rhythm, he led his group Five Elements to the south of India in 1998 to participate in a cultural exchange with different musicians in the carnatic music tradition. In September 2014, Coleman was awarded a MacArthur Fellowship for "refreshing traditional templates to create distinctive and innovative work in... jazz." Steve Coleman and Five Elements, except otherwise noted Steve Coleman Group: Motherland Pulse Steve Coleman and Five Elements: On the Edge of Tomorrow Steve Coleman and Five Elements: World Expansion Steve Coleman and Five Elements: Sine Die Steve Coleman and Five Elements: Rhythm People Steve Coleman and Five Elements: Black Science Steve Coleman: Rhythm in Mind Steve Coleman and Five Elements: Drop Kick Steve Coleman and Five Elements: The Tao of Mad Phat Steve Coleman and Metrics: A Tale of 3 Cities Steve Coleman and Five Elements: Def Trance Beat Steve Coleman and the Mystic Rhythm Society: Myths and Means Novus/BMG, 1995) Steve Coleman and Metrics: The Way of the Cipher Steve Coleman and Five Elements: Curves of Life Steve Coleman and the Mystic Rhythm Society with AfroCuba de Mantanzas: The Sign and the Seal Steve Coleman and the Council of Balance: Genesis Steve Coleman and Five Elements: The Opening of the Way Steve Coleman and Five Elements: The Sonic Language of Myth Steve Coleman and Five Elements: The Ascension to Light Steve Coleman and Five Elements: Resistance Is Futile Steve Coleman and Five Elements: Alternate Dimension Series I Steve Coleman and Five Elements: On the Rising of the 64 Paths Steve Coleman and Five Elements: Lucidarium Steve Coleman and Five Elements: Weaving Symbolics Steve Coleman: Invisible Paths: First Scattering Steve Coleman: Harvesting Semblances and Affinities Steve Coleman and Five Elements: The Mancy of Sound Steve Coleman and Five Elements: Functional Arrhythmias Steve Coleman and the Council of Balance: Synovial Joints Steve Coleman's Natal Eclipse: Morphogenesis Steve Coleman and Five Elements: Live at the Village Vanguard Vol. 1 Strata Institute: Cipher Syntax Strata Institute: Transmigration With Von Freeman Steve Coleman & Dave Holland Duo: Phase Space M-Base Collective: Anatomy of a Groove With Sam Rivers Colours Rivbea All-Star Orchestra: Inspiration Mixed and produced by Coleman Rivbea All-Star Orchestra: Culmination Mixed and produced by ColemanWith Doug Hammond Perspicuity (L+R, 1991, rec. 1