Kieran Hebden and Steve Reid

Syncopated, overlaying polyrhythms and unique musical progressions, these two continue to push and prod musical boundaries. What a musical boundary is, you can only hazard a guess at. Is it where music might not be music anymore in the way we muse over the old adage 'what is art?’; or is it that music is simply a rhythmical beat, or just something you relate to as 'music’. I guess we’ll never really know.

The point of this little diatribe is of course that Four Tet’s Kieran Hebden continues to set the pace with his samples, electronic murmurings and even a heavily distorted guitar, while Steve Reid (Mr Steve Reid) sets off on his drumming journey, exploring the nether regions of rhythm and every one of his drums and hi-hats. Not only does he definitely know what hand to start with, but he also knows how to hold a stage.

Somehow this time round ' in comparison to Scala last year ' they were even better. Hebden’s uncanny sense for changing tempos and dropping in the odd glitch is a talent in itself, but it has to be said clearly that the 63 year old Reid finds a depth of drumming which I haven’t witnessed before. Understandably quick handed and lithe with years spent alongside Miles Davis (to name but one of the great jazz old school he’s played with) Reid cuts an unusual figure. A beautifully unfashionable Hawaiian shirt, grey to white afro cropped in neat and every sinew of his neck and wrists attracting the eye, he is sheer pleasure to watch. They’re both understated, belying the fact that they’re essentially overstated progressives.

This tour is to promote they’re third collaboration 'Tongues’. I have no idea what musical phylum it fits into ' alt jazz, electro,.you’re welcome to pigeon hole yourself, but to avoid guessing, go and see them. The album’s good, but the fusion, rhythm, non-verbal communication, progression and as such indefinable boundary pushing ought to be seen up close.