Pi Recordings: #Pi01 
http://www.pirecordings.com/album/pi01

* Henry Threadgill: alto saxophone, flute
* Bryan Carrott: vibraphone, marimba
* Brandon Ross: electric guitar, acoustic guitar
* Stomu Takeshi: electric bass, acoustic bass guitar
* Dafnis Prieto: trap drums

Review
~~~~~~ 
http://www.allmusic.com/album/everybodys-mouths-a-book-r554657
by Thom Jurek

Make a Move is Henry Threadgill's electric band in one sense of the word. Though
guitarist Brandon Ross and bassist Stomu Takeishi play acoustic instruments as
well, their primary focus in Make a Move is to make their stringed instruments
scream unto the heavens. Filling out the group is Threadgill on alto and flute,
Bryan Carrott on vibes and marimba, and the only holdover from Zoo-Id, Dafnis
Prieto, on drums. This set is issued simultaneously with Zoo-Id's Up Popped Two
Lips, also on Pi. This set opens abstractly enough with "Platinum Inside
Straight," a meditation on extended mode and interval, with Brandon Ross playing
a gorgeous acoustic line on top of Carrott's marimba and then delicately chorded
vibes. Takeishi's bass holds the thing to the ground by playing a small series
of tone frames over and over, and Threadgill grabs one short flute solo. Things
heat up and get funky on "Don't Turn Around," which is driven by the funk in the
rhythm section's approach. There's a knotty arpeggio here and there by Ross and
Carrott before Threadgill turns "Harlem Nocturne" inside out with his alto. This
is film noir soundtrack music George Clinton-style. There is also the trace of
the Ornette Coleman-styled Texas blues slithering in and out of Threadgill's
playing. The vibes' solo is so off-kilter, it barely holds the time signature
and would move off into inner space if it weren't for the chunky, groove-laden
bassline of Takeishi. The hippest track on the set, though, is "Shake It Off,"
with the staggered bass and guitar solos that constitute the track's opening
melodic statement. The drive Prieto puts in to keep the pair in track is
considerable, and Takeishi just takes off against the snares, followed closely
by the arpeggios and razored riffs of Ross. But before it moves off into fusion
land, Threadgill and Carrott bring it back, with flute and marimbas whirling
around each other and staggering the atonality of the strings with wondrously
loopy and flighty playing grounded in minor-seventh modalities and open-toned
sonorities, which keep the bassist a part of the rhythm section and Ross in
painterly position. This is deft footwork on the part of Threadgill as a leader,
who lets his musicians shine and keeps them focused on the task at
hand. Everybody's Mouth's a Book is as solid top to bottom as its companion
release on Pi.