As famed game show host Peter Tomarken could tell you, sometimes you have to stop at a “Whammy!” When I heard about the imminent and untimely demise of local post-hardcore heros Clearmotive, it was as if a red gremlin had popped up before me and taken my money. For six years, the WNY-based outfit has mined a post-hardcore territory, balancing a sinewy, ferocious, dual-guitar attack and intense vocals from band founder Nicholas Mendola. Clearmotive released several EPs and albums, including 2003’s Is There a Market for This?, while fervently touring the East Coast. The band’s amicable breakup precedes a plethora of new projects from Clearmotive members. Mendola, guitarist Nick Tardiff and drummer Rob Ruffino are tackling weird acoustic/singer-songwriter fare with Heaven and Hell Cotillion, while guitarist Chase Middaugh will carry on with his experimental heavy guitar project, Novelist. For their final bow, Clearmotive have assembled a stellar lineup of friends, cohorts and bands they love, including Johnny Nobody, the Old Sweethearts, Minuet, Bison Bison and …By Exposure.

Every good MC loves to bust rhymes over some solid beats, but lately the allure of gold-plated fame and diamond-bezeled dollars has emerged as the madame of commercial rap. In many cases, genuine love for hip-hop has been replaced by a desire for its shinier trappings. So when a group of B-Boys forgoes ego and celebrity to promote authentic hip-hop, they’re not just viewed as being rebels—they’re seen as revolutionaries. Revolutionaries are definitely manifest in L.A. group Dilated Peoples—two MCs and a DJ who have been a staple of the West Coast underground scene since the mid 1990s. The group’s most recent album, 20/20 (Capitol), lets fans know that the group is still seeing clearly. “Don’t worry if I write checks/ I write rhymes,” group member Evidence boasts on the album’s lead single, “Back Again.” This line sets the tone for a record with a raw and honest sound that has always served as Dilated Peoples’ foundation. The group’s live show is also rumored to be one of the best in hip-hop. Fellow Los Angelean Defari and North Carolina act Little Brother fill the bill as opening acts.

It’s entirely possible that more music fans have felt the influence of tenor saxophonist Dewey Redman than have actually heard his music—or perhaps realize that they have heard it. Yet influence, as they say, is the longest-lasting form of commendation. No matter, it’s doubtful that Redman ever set out to find widespread acclaim, as the musician has spent his entire life creating a body of work that is challenging, innovative and adventurous—qualities not normally associated with an artist looking for mass popularity. Both as a band leader and collaborator, Redman has played with some of the most deeply loved—and frequently controversial—figures in jazz. Names like Ornette Coleman, Keith Jarrett and Pat Metheny pepper Redman’s playing resumé and the musician’s work with the Art Ensemble of Chicago has provided many listeners with hours of pleasure or, alternately, hours of debate over the finer points of the free jazz movement. Redman’s style has always incorporated a variety of styles, from bebop to blues to swing and freeform. Now, 40 years into his career, this saxophonist’s playing and presence continue to influence generations of musicians.

Many performance companies become used to wild applause and standing ovations, but it’s not too often that they are honored for their impact on the world outside the auditorium. However, this is true for Les Ballets Africains, the Guinean dance troupe that has been enchanting audiences around the globe for more than 50 years. This group’s pulse-quickening dancing is matched with an undeniably rhythmic and percussive music. With its combination of traditional tribal sounds and movement and storytelling, Les Ballets Africains takes pride in spreading African culture through its heavy tour schedule. The troupe’s frequent performances have earned Les Ballets Africains countless awards and citations—the group has even received a “Certificate of Honor” from the mayor of San Francisco, who officially proclaimed February 25, 2003 as “Les Percussions de Guinee Day.” Yet prestigious recognitions and awards seem small in comparison to the intimate connections that the company makes with each performance. Be prepared to partake in the contagious and hypnotic vigor of Les Ballets Africains.