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It can be disorienting at first. But in time, you begin to recognize a certain beauty in that confluence of sounds and cadences, begin to appreciate certain patterns in them, or maybe find yourself humming to new music you hear in them even while acknowledging that you don't always understand the sounds.
On the album's opening cut, Marsh sings lyrics improvised from Antonio Machado poetry as Feld creates loping, savannah-style soundscapes on a 'bass box' an African thumb piano that sometimes (as Townes Van Zandt might say) sounds like tuned 'rain on a conga drum' or an exotic stand-up bass. Meanwhile, Coke plays swirling passages on flute that at certain moments suggest wildness and open sky. Then a new song comes and things really get wild.
'It's Possible' often suggests climates, environments: wind, humidity, the buzz of insects, the moan of the earth, the human moan of Ornette Coleman's 'Lonely Woman.' Coke wanted a concise feeling to the 15 compositions; none is longer than five minutes. On several songs, the musicians improvise in the studio as they listen to environmental source material say, the buzz of a rainforest or the call of frogs or a tolling bell. For the finished album, the original tapes of the frogs and forest have been removed, leaving only the three musicians (vocal, reed, percussion) playing together in a fashion that sometimes suggests free-jazz chamber music.
'We've been working a lot, when the time comes to solo, on the idea that we play together that we all solo together,' says Coke, who is clearly fascinated by diminishing or reinterpreting the notion of 'foreground' and 'background' in jazz playing

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