And, at the same time, it itself can be seen as rejection of the shallow materialism of the world of goods by igniting something indescribable between the poly rythmic interlocking, the whirring sounds, the thundering clusters and the hovering micro tonalities: magic.

Douglas offers the strangest contributions: the true wild card of the concert, he keeps on introducing new ideas, from electronic-sounding textures to warped, bluesy licks, to no-brainer rhythmic chugging... Honsinger also displays a wide range of creative moves, his performance corresponding to what he usually brings to Taylor's groups.

"[6] Writing for The Village Voice, Francis Davis remarked: "The most consistently rewarding of this year's Taylors is Incarnation... As on many of his numerous collaborations with European free improvisers for the German label, the story of this 1999 concert recording is the supporting cast, which is a dilly.

Once he gets his bearings, Franky Douglas, a Curaçao guitarist based in Amsterdam, uses his whammy bar for spaceship landings that are more Sun Ra than Cecil Taylor, also daring a hint of funk now and then.

The drummer’s part in Taylor’s pair of late ’60s albums for Blue Note, Unit Structures and Conquistador, was a crucial agent in the reshaping of the role of rhythm in creative improvised music.

Cellist and regular Taylor confrere Tristan Honsinger completes the quartet and even gets in on the rampant divorcing from antecedents, laying down a jagged pizzicato groove in the opening minutes of the half-hour long 'Focus.'