When New York saxophonist Matana Roberts released the first chapter of her projected 12-part Coin Coin project in 2011, she was already a known commodity in the jazz world. Though she had also collaborated with TV on the Radio, Godspeed You! Black Emperor, and Thee Silver Mt. Zion Memorial Orchestra, the fact that chapters one and two in the series featured a jazz orchestra and a smaller ensemble, respectively, seemed to restrict those records to jazz audiences and those willing to give the genre a chance. Roberts goes solo for chapter three, river run thee, using the studio as a loom to weave together flurries of sax, spoken word, field recordings, and other electronic effects into a startling document that continues her profound exploration of race, gender, history, and identity.