Barry Guy's most recent music has taken a deeper dive inside a concept that has long provided Guy the composer, as opposed to the improvising double-bassist, with a framework around which to organise musical form. Obliging styles normally considered incompatible to coexist generates disruptive energy – witness last year's The Blue Shroud for a large ensemble of improvisers whose contributions were wrapped around slivers of borrowed music by Bach and Biber – and the seven new compositions Guy has written for his long-standing trio with pianist Marilyn Crispell and drummer Paul Lytton range from singing melodic sequences to abrupt outbreaks of itchy, non-tonal slipstreams of motion that obviously links into Guy's history as a free improviser. Sometimes this convenient marriage of styles feels mannered. ‘Fallen Angel’ opens with stampeding piano clusters and shuddering double-bass tremolos, tumbling atonal masonry that falls away to reveal delicately sweetened piano triads underneath. More purposeful is the opening track, ‘Scent’, where melodic cells, evocative of what Jelly Roll Morton might have termed the ‘Spanish Tinge’, are transformed by being massaged more as acquiescent sound than functional harmony. Elsewhere ‘Blue Horizon’ unfolds as a soulful ballad; and if the frenetic webs of counterpoint that ‘Return of Ulysses’ spins fall somewhere between Don Pullen and Greek maximalist composer Iannis Xenakis, ‘Silenced Music’ is, for a long time, hardly there – until Crispell's inconspicuous tickles and pointillistic groans from Guy and Lytton inch towards forging longer paragraphs.