After inflicting serious torture on his own vocal chords in Napalm Death, singer Lee Dorrian assembled a more melodic, Sabbath-inspired unit. Cathedral's tuneful doom-metal continues to glow bright on their seventh full-length. And Sharon Osbourne would probably get the warm fuzzies over Dorrian's vocals on this platter, while Bill Ward would likely approve of BRIAN DIXON's big, brawny chops. But notice all the clever and sometimes subtle intricacies in Dixon's drumming on the semi-acoustic, prog-rock-powered "Aphrodite's Winter" and the stage-stomping "Empty Mirror." (Dig that cowbell!)

From the subtle pulse of "Peladon" to the offbeat drive of "Eleventh Commandment," JON KROSNICK's drumming for Charged Particles is an integral part of this group's sound. A solid jazz fusion album with some Latin and light funk tinges, memorable tunes give the group room to play.

Recorded a few months before Higgins' death, Hyperion is culled from the same sessions as this quintet's previous The Water Is Wide. More energized than Water's tracks, these cuts share Lloyd's signature spiritual boil. From straight swinging to wide-open improv, it's an incredibly warm-toned, connected fellowship. And master Higgins is once again magic. He leads the dance with elegance and understatement. His incredible touch, melodic sense, and surging swing could only come from a great at peak maturity. (ECM)

A quick glance at Charlie Hunter shows a man with a guitar. Then why are you hearing a bass and a Hammond organ? Well, that's just his thang -- to simultaneously coax a stunning variety of tones and rhythms from his custom eight-string. Hunter's new band, which includes horns and harmonica, specializes in funk and Latin grooves. DEREK PHILLIPS plays impeccably, with a deep pocket and a spirited sense of joy. Supportive yet exciting in his own right, he deftly handles whatever's thrown at him: His funk hits the spot, his shuffle percolates, and he whips up a mean songo.

Who else but Chick Corea could pull off a three-week-long 60th birthday celebration at New York City's Blue Note and invite a virtual who's who of jazz-musician friends from past and present collaborations? This two-disc set is chock-full of outstanding performances from former Corea drummers including ROY HAYNES, JEFF BALLARD, DAVE WECKL, and STEVE GADD, performing selections from each of their past projects with Corea. This is a rare opportunity to hear a spirited Akoustic Band reunion (Weckl), as well as the legendary Gadd swinging hard with Corea and Michael Brecker performing the classic Three Quartets Band material.

As its mythical name implies, this Cleveland sextet is a raging beast, blending monstrous extreme metal with various melodic stylings. The aural chaos on this, their third album, is expertly held together by ANDOLS HERRICK's drumming. Herrick takes the spotlight on occasion, as his tribal toms prove on the Soulfly-like "Pure Hatred." Following the eerie sound effects and military-style drum roll of opener "Cleansation," Herrick's speedy footwork and crisp command of his kit give Mark Hunter's madman vocals something to chomp on. Sometimes, Chimaira harks back to the days of long, bluesy guitar solos. But Reason ultimately sounds fresh.

A notable in-demand New Orleans jazz drummer, CHRIS LACINAK wielded his talents in New York during the past decade, freelancing and passing the torch as a teacher at the Drummers Collective. Now returned to his musical homeland, Lacinak embraces his roots on Boom, aided by top local sidemen. The sessions have a loose, jammy feel, complementing the drummer's irresistibly snaky, breathing grooves. The acoustic quintet mixes rootsy second-line inflections with swing and unchained soloing. Lacinak's commanding drumming leads the collective improv with a spontaneity and spirit that says, "Ain't it nice to be home again!" (www.cdfreedom.com)