snobb Legendary "Headhunter", Mike Clark, who only released a dozen albums as leader in three decades, just released already his second studio work this year. Even more unusual, differently from his work in Hancock's Headhunters and all series of his own albums, the music on both of his new albums isn't funk-jazz at all. Clark is obviously returning to pre-funk-jazz mainstream, propelling it right to the second decade of a new Millennium.

The sextet contains another former Headhunter, percussionist Bill Summers, legendary trumpeter (and former member of another Herbie Hancock band, Mwandishi) Eddie Henderson, veteran double-bassist Henry Franklin, eclectic keyboardist Wayne Horvitz (renown by his collaborations with John Zorn and Bill Frisell among others) and punk-jazz sax player Skerik. It's quite surprising, that such an unorthodox collective plays well controlled and precisely framed bop. True, the arrangements are very contemporary and makes the entire music very attractive. No surprise then, that among the original compositions there is a classic version of Eric Dolphy's "Hat and Beard" from possibly the most renown free-bop album in jazz history, "Out To Lunch". Six decades after the original's release, such music can hardly be described as "avant-garde jazz", as it was in 1964, but the addition of this genre-defining composition from the past helps a lot to understand what Clark's "Kosen Rufu" is about.

In fact, the great drummer recorded his very own "Out To Lunch" for the second decade of 00's. Rooted in the best bop tradition of the 50s, with help from extra-skilled collaborators, Clark presents a very contemporary sounding "new-bop", very percussive, tuneful and full-bodied. Perfectly recorded (with "old school" crystal clear warm sound), the album's music contains extended moody Henderson trumpet soloing over the groovy physical rhythm section on many songs. Former Headhunters' background sparkles perfectly on funky "BBQ on Auseon" and "Signature". "Luconchu's Night Out" demonstrates high energy with both reeds dueling. Some freer improvs never destroy the quite comfortable music flow.

Very modern sounding album which at the same time perfectly illustrates what the real Jazz (with big "J") is, the feeling that has been partially forgotten for a while. Many listeners will return back to this music again and again.