Gilad Atzmon, the exiled Israeli from London, delights his listeners again and again with his powerful, sometimes ironic mixture of big bebop and Middle Eastern tone. The predecessor CD "Exile" (BBC Jazz Award 2003) was considered by the magazine "Concerto" as "one of the best albums ever to combine oriental music with the formal language of jazz". In The Guardian, British critic John Fordham calls Atzmon a "master of dynamism and slow construction, mixing lyricism with hoarse, Coltranesque howls, a combination for which he alone would have an enormous international reputation as a soloist. But his self-chosen mission, to give jazz back the cultural / political clout it had in the first bop era and free jazz of the 60s, makes Atzmon even bigger

After the international success of "Exile", the pugnacious multi-instrumentalist dedicates his new album to the power of music itself. The word "musiK", pronounced in German, signals to him the beauty of music before it is turned into a commodity. Here Atzmon is conducting a charming attack against music commercialism and against a globalized "culture" under American aegis. Robert Wyatt, on whose album "Cuckooland" Atzmon participated, gives a small but inimitably diabolical guest performance on "musiK". "Our musical goal," says Gilad Atzmon, "is to recreate the music of the lost European aborigine In a manner that is as serious as it is entertaining, the Orient House Ensemble delivers a "re-arrangement" of 20th century music history: it mixes tango with cabaret and Balkan music, saxophone with accordion, piano with frame drums. Time Out (London) cheers: "Funny, scary, unruly and beautiful: This is a great album!"