#ohrenschmaus

The tracks with Parkins serve as a framework, appearing at the beginning, middle and end of Flip Side and featuring the theme of “side” in the titles. Opener “Sidetrack” develops from seemingly random tapping and metallic rustling into something like a small-scale gamelan orchestra. Accordion bleats and a martial percussion breakdown drive “Sideswipe,” and “Sidespin” wraps things up with upper-register trumpet floating over waves of percussion.

The other tracks seem a bit more composed. “Signal” features tight interplay between bass and percussion through which the trumpet percolates. Chimes introduce “Heartstrings,” one of the more straightforward jazz pieces here, after which Allemano delivers a breathtaking solo that evokes not only Miles but Don Cherry and Wadada Leo Smith and even a little bit of Louis Armstrong. “Stricken” begins as a languorous march that gives way at the halfway point to an impressive extended arco solo (which Sundland manages on an apparently unmodified electric bass, as a video of a live performance of “Heartstrings” shows) and is tied together by the return of the trumpet at the end. Griener really shines on “The Line,” constantly introducing new rhythms and sounds.

Like the debut, this is a collaborative effort rather than a trumpet-led trio. The tracks are credited to one or more members of the band, and each player constantly listens and responds to the others. Being through-composed, these tunes can seem a bit challenging at first, but attentive listening reveals countless intriguing combinations of sounds and the virtuosity of the players.