Secondly, the technology used is being employed ever more intelligently than before. DJ Olive looms larger than before, by being utilized more prominently in providing percussion and being given more complex assignments. At the same time, Douglas is not one to use technology as a substitute for jazz. Rather, it is being used as a megaphone to amplify ideas that originate from more organic forms of music.

Finally, there's a deeper commitment to the groove.

It's funkier for sure, but at the same time, there's no loss of a sense of the jazz tradition. It's an example of what Andy Battaglia (The Onion) meant when he wrote "Dave Douglas courts tradition and progression with puzzling over the difference." Sometimes the groove is aggressive and at other times it's a chill-out. There's still the interesting change-up's in the middle of many of the cuts, but Keystone is making music that appeals at a gut level, not just at a cerebral level.

"Moonshine," the song, is where the funk of today meets traditional jazz head on with spectacular results. The song gets underway with a nasty James Brown beat that Lake exploits to the hilt with some nifty cymbal work, while Benjamin's gurgling electric piano and Jones accurate bass lines complete a deep, Head Hunters-caliber groove. Douglas' and Strickland's horn lines bring the song back to the bop tradition. That doesn't keep Douglas from expertly playing it in the pocket on top of this groove during his solo break, though.

"Tough" is equally danceable, fading in with a steady, mid-tempo hip-hop beat and a variety of samples. But just before the listener becomes convinced the song is just a backdrop for breakdancing, Douglas and Strickland enter the fray with some darker, slightly dissonant lines that brilliantly bring together music of two generations.

Generations that might be two generations apart!

Of the softer numbers, "Flood Plane" is the most poignant. Without dropping any more of a hint than the song title and the sampled voice of the current president uttering the word "terrorist" over and over again as Douglas puts forth a beautifully mournful solo, the music speaks volumes about misaligned government priorities. Benjamin likewise shines on his warm but tense solo.

Elsewhere, the selections range from "Kitten," a delightfully frantic cocktail of jazz and metal to the spooky "Married Life," where Strickland plays an inspired sax during a passage while the rest of the band all but lays out. Strickland is again showcased on the brief "Scopes." The evocative, heavily-modulated keyboard/sampled riff on "Dog Star" would have felt right at home on Bitches Brew.

Moonshine has been sold through Douglas' own Greenleaf record label since late last year, and as of this week, it has become widely available. Contrary to what some might say, jazz is still very much evolving. With albums like these, Dave Douglas and his Keystone band are moving the genre forward in all the right ways.