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This New York/Philadelphia/D.C.-based quintet delivers messages concerning black struggle and Afro-futurist liberation, delivered in expansive arrangements that embrace free improvisation, funk and spiritual jazz. In other words, it’s music that’s part of the black radical tradition and profoundly suited to this moment in time. And there’s not a false step to be found. Camae Ayewa, a poet and experimental musician who also performs as Moor Mother, leads the charge with her spoken-word vocals. Her voice, deep and earthy, is loaded with controlled fury. Sometimes that voice is accusatory, as on the title track, where Ayewa interrogates a police officer: “Did they teach you to walk around with your finger on the trigger?” Other times, it’s a call to action. On “The Code Noir/Amira,” she implores, “At what point do we stand up?/At the breaking point?/At the point of no return?” https://www.youtube.com/watch?v=FLm3HEQgW50 The band adeptly shifts gears from full-throated cacophony to tight grooves to trancelike passages without losing its sense of urgency. On “The Code Noir/Amira,” saxophonist Keir Neuringer and trumpeter Aquiles Navarro’s flowing unison lines create a plaintive cry that floats on top of Stewart’s propulsive ostinatos, creating a tension that underpins Ayewa’s recitation. The funky drive of “No Más” begins with Neuringer and Navarro echoing each other’s Coltrane-like incantatory phrases.The pair eventually meet in unison as bassist Luke Stewart and drummer Tcheser Holmes anchor the driving groove. Of course, these pieces were completed before the names George Floyd, Ahmaud Aubery and Breonna Taylor became rallying cries. Even without that context this record would be required listening — for the group’s intensity, passion and exuberance. But the fact is, this record came to life at a period when Americans, once again, took to the streets chanting “no más.” That’s even more reason to listen, and then listen some more. — John Frederick Moore LISTEN OR BUY: