This is an Enhanced CD, which contains both regular audio tracks and multimedia computer files.
Dapp Theory: Andy Milne (vocals, piano, keyboards); Gregoire Maret (harmonica); Rich Brown (electric bass); Sean Rickman (drums).
Additional personnel includes: Bruce Cockburn (vocals, guitar); Kokayi (vocals); David Gilmore (guitar); Carla Cook (background vocals).
Producers: Sean Rickman, Dick Rausch, Andy Milne.
Recorded at Systems Two, Brooklyn, New York and Sir Eel Recording Complex, Brookville, Maryland in 2001.
Personnel: Bruce Cockburn (vocals, guitar); Andy Milne (vocals, piano, keyboards); Sean Rickman (vocals, drums); Kokayi (vocals); David Gilmore (guitar); Gr‚goire Maret (harmonica); Vashon Johnson (acoustic bass); Mark Prince (drums, percussion); Rick Lazar (percussion); Vinia Mojica, Carla Cook (background vocals).
Audio Mixers: Andy Milne; Sean Rickman.
Liner Note Author: Andy Milne.
Recording information: Sir Eel Recording Complex, Brookville, MD (05/16/2001-10/14/2001); Systems 2, Brooklyn, NY (05/16/2001-10/14/2001).
Authors: Phil Upchurch; Bobby Colomby.
Illustrator: Haber Schaim,Tamar.
Photographers: P.C. Jackson; Jose Ivey.
Arranger: Andy Milne.
Jazz is one of the few genres that seemed open for real adventure during the early 2000s, and the wild and wacky mix of avant-garde, fusion, and social commentary by Canadian pianist Andy Milne on Y'all Just Don't Know will bend a few minds the first time through. A veteran of alto saxman Steve Coleman's groundbreaking Five Elements band, Milne seems after a unique melodic-rhythmic-improv symbiosis with compatriots like Gregoire Maret on harmonica and with twists off the main chords and melodies from minute to minute. The opening track, "Trickle Down," features vocals by Canadian icon Bruce Cockburn, then MC/vocalist Kokayi (who raps) before evolving into a Steely Dan-like chorus. Then the lush ivory olympics begin (every bit of insanity seems to lead back to Milne's beautifully realized piano chords and melodies). "Neoparadiegma"'s wild fusion is built around the high hat and various drum tonalities of Sean Rickman, and soon you realize that the vocals will be spread out among the colorful and crazy instrumentals. Milne finds a gentle oasis on the ballad "Con Alma" in between more aggressive and edgy numbers like "Bermuda Triangle." The whole point seems to be that the listener has no idea what to expect -- flowing trad jazz, nutty fusion, folk music, chit-chat, whatever. Somehow, though, the idea seems to be to have fun while defying all conventions. ~ Jonathan Widran