Since his debut in the 1980s Coleman has periodically unveiled new ensembles in a specific context. In this case the octet Natal Eclipse is deployed on material that is largely inspired by boxing, which has long been an avowed interest of the alto saxophonist-composer. Hence a sense of movement, or more precisely, agility, swerve, thrust and dip, pervades several of the pieces where the horns often flutter and fly provocatively around the tonal centre. Indeed, some of the themes have the swirling, harmonically dynamic, very danceable slant of the music of Sam Rivers, one of Coleman's enduring sources of inspiration. The absence of drums, and the ability of bassist Greg Chudzik to anchor the songs with concise, curt lines produce a clarity that off sets the active flurry of the horns, though the familiar Coleman technique of funky, post-Parker (Maceo) staccato stabs is deployed to good effect. There is some luminous improvising, particularly from the leader and Finlayson, who has a pleasingly wry, if not plaintive turn of phrase, but another point of interest in the music is the timbres created by the instrumentation as well as the arrangements. Woody, willowy clarinet and whirling violin loosely evoke both jazz at the turn of the century and a mildly gypsy/Balkan flavour that locates a piece like ‘Dancing And Jabbing’ at an interesting crossroads of traditions. A notable entry in Coleman's body of work, where originality of premise, richness of personality and skill of execution are all at a knockout premium.