Heard nearly four decades after its 1968 performance, The Malcolm X Memorial (A Tribute in Music) remains an ambitious, expansive achievement. The 12-piece ensemble opens with their vision of what a childhood Malcolm heard, played bluesily by none other than Pete Cosey on guitar. The conga-beating, chant-enriched "Malcolm X" is, in composer Phil Cohran's eyes, a musical portrait of Malcolm "awakening and embracing of Black values," as the original liner note claims. "Always talking brotherhood/White man you just ain't no good," goes the chant, and the music churns alongside. The tribute's second half is where the vision emerges: Charles Handy plays a fabulous musette solo to capture Malcolm's Eastern turn, and the band grooves via Bob Crowder's drumming. This is a great, audio verite snapshot of Chicago's musical genius, from composer/bandleader Phil Cohran on cornet to Cosey and Crowder and baritone saxist Donald Myrick. Interestingly, the funky turns in Malcolm go hand-in-hand with the Association for the Advancement of Creative Musicians' aesthetics--wherein Muhal Richard Abrams and the Art Ensemble of Chicago were vigorously exploring free improvisation. Right here on Malcolm X is an aural illustration of how Chicago sits at the musical crossroads. --Andrew Bartlett