Under the leadership of reedman Ras Moshe, the next band comprised regular partner Matt Lavelle on trumpet and flugelhorn (pictured right), Dave Ross on guitar, Charles Downs (formerly known as Rashid Bakr) on drums, and another welcome appearance for Shayna Dulberger on bass (background, right). Moshe (pronounced Mo- shay) was born in New York into a family of saxophonists, and has been paying his dues around town since 1986, generally operating in the free jazz idiom, and that's how it played out tonight over three pieces of dense fiery avant- garde jazz, with short heads acting as compositional signposts, during a 45-minute set.

An incremental pattering start left everyone going full pelt, at which point Moshe initiated a repeated tenor saxophone/trumpet unison, before subverting convention by indicating that Dulberger should take the first solo. Following the bassist's accomplished outing, Moshe stretched out on his burnished tenor, shadowed by abstract comping from Ross' guitar. Sadly Moshe sounded under-miked and it was only when his long flowing legato lines developed squalling overtones that he really cut through the dense ensemble. Downs kept a constant barrage on his hi-hat throughout, contrasting with more abstract pulsing round the rest of his kit, as part of the group's wall of sound aesthetic.

Dulberger was the star of this particular show—another monster bassist in the making if not yet the finished article. She had a big sound, clear articulation and very fast fingerwork, all put to imaginative use. And she proved a good listener, witnessed by her arco work spicing up a Lavelle solo of alternating high whistles and broken runs, with flurries of sawing and bouncing her bow to weave enhancing colors through the dense rhythmic carpet. A brief duet between Moshe and Lavelle closed proceedings drawing a healthy reaction from the home town crowd.