In the liner notes to his second album as a leader, Berkman thanks one Terry Coen for "exceeding all expectations in his battle against the forces of conservatism." Whatever that actually means, it can be applied to the music-making on this CD, which is lively, unpredictable, not afraid to veer out of control, and full of inventive ideas. Berkman is an intelligent pianist, making every note count without finding it necessary to flaunt his technique, with echoes of Bud Powell and Lennie Tristano (one fine non-spotlit example of his work is the fancy obbligato work to a front-line chorus in Blue Poles). Most of all, he is an imaginative composer; one of the best pieces is the jolly tune that goes until the name Interesting, Perhaps, but Hardly Fascinating Rhythm (he needn't be so modest, it's a fine piece). Really Little Waltz is an affectionate piece of work, closer to Dave Brubeck than Bill Evans perhaps, while Communication Theory #1 seems influenced by twelve-tone classical music as it destabilizes into freeform thrashing about. Berkman fields an unusual three-sax front line -- tenor Chris Cheek, alto Steve Wilson, soprano Sam Newsome -- sometimes pitting them against each other, sometimes stacking them, sometimes using only one on a tune, always getting stimulating solos from them. Brian Blade is the volatile drummer, Ugonna Okegwo discreetly mans the bass. ~ Richard S. Ginell, Rovi

1		Blutocracy (Blues for Bluto)
2		Colby
3		Interesting, Perhaps, but Hardly Fascinating Rhythm
4		Blue Poles
5		Communication Theory, No. 1
6		Really Little Waltz
7		Weird Knock
8		Communication Theory, No. 2
9		Back in the 90's
10		Remission
11		No Crosstalk
12		Communication Theory, No. 3