Allen Moore (turntable) and Sharon Udoh (piano) create music where they exist fully as themselves simultaneously. On All I Know In The City, they do this magic act not as a juxtaposition, a collage, or collinearity. What they create can only be described as a co-existential space where each person has total autonomy. In this way they are physically describing with sound the theorist Hakim Bey's concept of T.A.Z., temporary autonomous zone.

On All I Know In The City, Udoh and Moore don't move closer to each other, no soft unisons. They don't hit a groove but a flow definitely occurs as they handhold you through a memory palace of hymns and vocal snippets from various Black-American thinkers/thought providers. Udoh and Moore also don't get out of each other's way; there is collision. There are many moments of abrasion but no push and pull or performative hide-and-seek. If the listener feels a pull, it's gravity, planetary pull. The resultant music is a sort of Black-American bowerbird sound craft, each song a nest and display for the listener to enter and feel, to be inside of.

Much so called abstraction is either old abstraction formalized into repertory or various versions of mathematics as art, grids, lines, maps—the repertory to be taught, the mathematics to be decoded. This music, however, is a music of deep feeling and intuition. It can't be decoded. The music is feeling, the feeling itself is the form. This doesn't mean it's some expression-fest where the artists constantly express all over every song, all over you. This is music of absolute intuitive precision with zero of the fussy conservatory classicism that gets between an artist and the listener, the receiver, between the artist and their sound. It's not jazz. It's not classical. It's part of a continuum of a meta-cosmic theology of sound used by all the pre-eminent African-American musical thinkers.

All I Know In The City also features frequent Udoh collaborator, Detroit bass percussionist, Ben Hall, also heard here on MPC 2000. Hall described the difficulty of interrupting/interrogating the space of/between Moore and Udoh as “a bit like Space eavesdropping on Time." On each of the five songs on All I Know In The City, space and time are the actual sonic materials, themselves drawn through the language of hymnology, vocal quilting, and drums. The total sound is a supremely American Afro-Diasporic synthesis that reflects in, on, and through feeling as opposed to form and speaks to a universal deific presence through what Anthony Braxton would describe as the medium of, “Spacetime."