DJ, musician, journalist, and self-described "international cheerleader of ambient," Mixmaster Morris has been one of the most visible (and most active) proponents of new ambient and electronic music. He released his first full-length work, "Flying High" (1992), on the Rising High label, and recorded a celebrated collaboration with Frankfurt ambient composer Pete Namlook, "Dreamfish". Both albums landed Morris at the forefront of the new ambient movement - a position he graciously accepted - and a string of remix work for the likes of Coldcut, the Shamen, Barbarella, Rising High Collective, and Higher Intelligence Agency followed. Growing problems with his label, however, would plague Morris into the recording of his second album, which was delayed for two years. Following the release of Global Chillage in 1994, Morris dissolved his relationship with Rising High and began recording for old friends Coldcut on their Ninja Tune label…
Soul Coughing's second album, Irresistible Bliss, finds the band cutting away some of their eccentricities, leaving behind the bare basics of their pseudo-bohemian fusion of jazz, hip-hop, performance art, and alternative rock. Theoretically, the album should be more accessible; in practice, it is simply less involving. Though some engagingly quirky, off-center avant-pop remains, there are no jarring juxtapositions as satisfying as those that dominated Ruby Vroom, with its melded samples of Howlin' Wolf and the Andrews Sisters. There's enough strong music on Irresistible Bliss to suggest that the album is merely a slight sophomore slump, but that still doesn't make the long stretches of tediousness on the album any more forgivable.
There are no great surprises here – he's no innovator – but plenty of good music of the kind one expects from him: a fairly mellow brass sound, jazz touches (including a version of the Gillespie classic, "Night in Tunisia"), solid musicianship and a discreet updating by way of synth voicings.
Jack DeJohnette's first Special Edition recording in five years finds him using completely different personnel than earlier. Greg Osby (on alto and soprano) and Gary Thomas (doubling on tenor and flute) bring M-Base influences to the band (their improvisations have a fresh new logic) while guitarist Mick Goodrick, bassist Lonnie Plaxico, percussionist Nana Vasconcelos and the leader-drummer (who doubles on keyboards) all make strong contributions. Other than Osby's "Osthetics," the repertoire is comprised of DeJohnette's originals and the somewhat unique music gives all of the musicians opportunities to express themselves and inspire each other.