Listeners might be justifiably wary of a band with the word "Legacy" in its title, perhaps surmising that the group in question might be rooted a bit too strongly in the past. And in the case of Soft Machine, the group at its very best -- during the late '60s and early '70s -- confounded listeners by breaking from its own past with each album release, arguably throwing out its own nascent legacy (not to mention bandmembers) on a continual basis. In that sense, one might conclude that this 21st century band featuring Softs alumni might best capture some of the earlier group's spark and spirit by ignoring the legacy question entirely. Of course, the issue is one of balance, building on a foundation of great music even if that music is decades old, while continuing to chart new directions that are exciting and unpredictable in the present moment -- and that's exactly what happens on Steam, Soft Machine Legacy's 2007 release on MoonJune Records. Bassist Hugh Hopper, drummer John Marshall, guitarist John Etheridge, and saxophonist/flutist Theo Travis (in the difficult position of stepping into the spot formerly occupied by sadly departed saxman Elton Dean) are mindful of Soft Machine's history, and the listener certainly hears echoes (literally) of the Softs in the looping effects, fuzz bass, rhythmic inventiveness, melodic accessibility, fiery soloing, and general spirit of adventurousness. But there is also something new here: a cohesiveness and single-minded sense of purpose that elevates not only the group's "tunes," but also its approach to collective improvisation. The more straight-ahead jazz-rock material is handled capably enough and Steam can be recommended on that basis alone, but what truly perks up the ears are the several improv tracks sandwiched between the jazz-rockers, introducing a new dimension yet somehow fitting seamlessly into the whole. Following the capable but somewhat predictable post-Canterbury jazz-rock exercises "Footloose" and "The Steamer," "The Big Man" hits the listener with Etheridge's chunky distorted guitar chords that tip toward post-grunge, as Travis uses his array of electronic effects to harmonically split the notes from his soprano sax and the band heads into a murky, fuzzy swamp of sounds before the instruments emerge into an improvisational interlude and the tune simply collapses and dissipates -- and it's fantastic! What began as entirely competent -- even passionate -- jazz-rock is suddenly exploded, starting from a new place and never quite touching down in the familiar.

1		Footloose
2		The Steamer
3		The Big Man
4		Chloe & The Pirates
5		In the Back Room
6		The Last Day
7		Firefly
8		So English
9		Dave Acto
10		Anything to Anywhere

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