Every Coleman album has a specific theme or concept and this latest offering is inspired by a subject that is made to measure for an artist whose life has been devoted to the study of rhythm – the pulse of the human body. Hence the regularity and irregularity that define biological functions are evoked in 14 tracks whose relatively short durations (2:34 to 6:53), appear as the specific readings of heartbeat, blood flow and nervous energy in a single individual. The results are bracing primarily for the precision of the composing and the way that Coleman has built on the well-established traits of his aesthetic. The staccato, jolt-like phrasing, floating counterpoint and coiled tension of the drums and bass are instantly recognisable, but the leader takes the Afro-Cuban rhythms that have long been dear to him and both shortens and stretches their cycles with more disruptive intent. ‘Cerebrum Crossover’ is a creative peak in this case. Returning M-Base alumni Sean Rickman and Anthony Tidd play with perceptions of speed and stillness by way of a clattering woodblock and hovering bass while the horns entwine a flurry of pert two, three and four note lines. In addition the snare drum is tuned very high to sound practically like a timbale, the effect of which is to create a dry, airtight audio palette in which the sharp, clenched character of tone is paramount. Rickman’s very spare use of cymbals, which whisper rather than scream when he uses them at all, enhances this. Elsewhere tracks benefit from the presence of guitarist Miles Okazaki whose slithery, koto-like timbre infuses a liquid texture to the crackling warp and weft. Coleman’s recent work has not been devoid of interest, but this release, with its concise scores and urgent rhythmic punch, has arguably a greater appeal to all those minded to move bodies as well as prick up ears.