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In an era when jazz and jazz-based music is celebrated largely for its nostalgia factor, the cinematic compositions of multi-reedman Henry Threadgill stand out like a plate of chitlins on Mark Fuhrman’s dinner table. Threadgill is sadly and consistently lumped with other difficult-to-pigeonhole artists, but the wondrous mix of romance, mystery, and violence on titles such as “Like It Feels” have more in common with the tempered drama pres ent in the work of noted film composers like Max Steiner and Dimitri Tiomkin. The tracks on Makin’ a Move find Threadgill’s delightfully versatile ensemble, Very Very Circus, honing its skill at interpreting the leader’s tricky titles (with notable contributions by French horn master Mark Taylor, drummer Pheeroan Ak Laff, and guitarists Ed Cherry and Brandon Ross). Move explores the more pensive side of Threadgill’s compositional personality, as on “Noisy Flowers,” which highlights pianist Myra Melford and a small forest of steel string and classical guitarists, and “Refined Poverty,” a vehicle for Threadgill’s too-seldom-featured alto saxophone.