most exciting orchestra to hit the city in years." The work The African Game, a 45-minute opus for 25 musicians, was described by Robert Palmer of The New York Times as "one of the most important new releases of the past several decades" and earned Russell two Grammy nominations in 1985. Russell wrote 9 extended pieces after 1984, among them: Timeline for symphonic orchestra, jazz orchestra, chorus, klezmer band and soloists, composed for the New England Conservatory's 125th anniversary; a re-orchestration of Living Time for Russell's orchestra and additional musicians, commissioned by the Cité de la Musique in Paris in 1994; and It's About Time, co-commissioned by The Arts Council of England and the Swedish Concert Bureau in 1995. In 1986, Russell toured with a group of American and British musicians, resulting in The International Living Time Orchestra. He played with Dave Bargeron, Steve Lodder, Tiger Okoshi, Mike Walker, Brad Hatfield, and Andy Sheppard. Music theory Russell's Lydian Chromatic Concept of Tonal Organization re-conceptualized the matching of scales with chords. While the conventional approach to the diatonic major scale is founded on the tones of the Ionian major scale in accordance with classical theory (C, D, E, F, G, A, B for the C major scale, etc.) the LCC derives the scales based on the series of fifths stacked from the root tones of chords with a major third. In the key of C, the stacked fifth series includes C, G, D, A, E, B, and F, which provide an alternate seven tone division for the C major scale with a raised, or augmented, fourth tone. The resulting scale, with an augmented fourth (F) instead of a perfect fourth (F), has more consonance than the conventional Ionian diatonic major scale over chords, avoiding the dissonant half-step from the major third (E). With the conventional major scale, dissonance is avoided by omitting the perfect fourth; by using the Lydian mode with the more consonant augmented fourth, the player or composer gains the tonal freedom that facilitates modal playing over chords with a major third. Lydian major-third chords are specified with a 11, which is equivalent to the 4 in the scale. It was a remark made by Miles Davis in 1944 when Russell asked him his musical aim that led Russell on a quest which was to lead to his theoretical breakthrough. Davis answered that his musical aim was "to learn