Guitarist Okazaki is well established on the NYC jazz scene, but this sequence of 22 vignettes reveals his command of improvisation, new music composition and music theatre into a seamless sphere of oneness, utilising a varied cast of 10 players, grouped in differing sizes of formation. Most pieces lie at a snatch-space of one or two minutes, allowing Okazaki to entrance with great rapidity, keeping listeners alert for fresh strategies. There is great substance to absorb, at speed, a rapid painting of meaningful gestures.

Instrumentation is unusual, combinations are unfamiliar. The three voices are frequently layered, and occasional formalities of style might displease some, although there’s also a wayward complexity that’s reminiscent of Karlheinz Stockhausen or Laurie Anderson. Okazaki’s guitar is mostly spiderwebbed, though with occasional fuzzed coating, always needling gracefully. Time is of the essence, always well-used, with ideas flitting past, fleeting in their precise intent.

The effect is cumulative. Ganavya provides the most mesmerising and distinctive vocals, particularly on the six minute (comparative) epic ‘In The Fullness Of Time’. Garchik provides spherical enunciation on his two trombones, while Irabagon contrasts with his various soprano-range saxes. It’s Webber who has the fullest tone, but her tenor sound is still all foxglove softness.