Martin was never really 'just' a drummer. He played cello on the Mad Season record; he played vibraphone and percussion on Lanegan's fabulous album of cover songs, I'll Take Care of You. He plays a drum kit, African and Brazilian drums, steel drums, vibraphone, marimba, Fender Rhodes, Roland Synthesizers, Indonesian gamelans, kalimba, mbira, and hand percussion electric guitar on Desert. Martin also handles upright bass on more than half the album.

What does Martin's Desert sound like? He and his collaborators (yes, even with all of the instruments Martin plays himself he does find plenty of room for others to contribute) have fused elements of American Jazz with elements of World music to create a consistently engaging album- one that is accessible and challenging at the same time.

Naming the first track on an album after the greatest heavyweight champion in boxing history is a bold statement. "Muhammad Ali" uses trumpets to create a celebration. "Mirage" has a sinister edge to it. A mournful saxophone melody is interspersed and repeated throughout "Afterlife Architecture" and is one of the finer moments on the disc. "The Worm" grooves beneath Skerik's (Tuatara) baritone sax work. "Escuro" features some subtle vibes work from Martin and some fancy flute work from Craig Flory. Martin creates the sound of rain on "The Rumor of Rain." There is a mysterious, dirge-like feel to "The City Slithers." "Survival Portuguese" picks up the tempo and the mood of the album with some nylon string guitar from Luis Guerra and more flute from Flory. "Favela Song" sounds like a journey with its combination of trumpet and percussion. "A Waltz Under the Stars" is simple and pretty. "The Diamond Path" is a gentle, understated way to close the album.

Fans of Martin's previous musical partnerships might be bewildered or turned off by The Painted Desert. Fans of music will not.

GRADE: A-