Music industry classification would put Murray, Allen and Carrington in jazz, but aside from the common denominator of improvisatory skill all three are deeply bound by soul music. The way that the trio negotiates the deep gospel inflections of ‘Barbara Allen’, handling the traditional with an impressive lightness of touch as well as emotional charge, makes that abundantly clear. But the trio, who, it should not be forgotten, count the likes of Ornette, Haden, Wayne, Herbie and DeJohnette as past collaborators, is entirely able to achieve both intimacy and exuberance without feeling at all lopsided. The combined strength of Allen’s left hand and Carrington’s kick drum creates enough ballast to make the absence of a bass inconsequential. But it is the organic way that the band mutates, deviating from a set pulse and breaking down into duets within a supple structural circle, exemplified by the highly interactive ‘The David, Geri & Terri Show’, that makes the work so appealing. That piece is a reminder that the incumbents are quintessential modern improvisers insofar as they have seamlessly straddled mainstream and avant-garde all the while showing the place of practitioners of each school within a bigger pantheon of black music. The guest appearance of bassist Charnett Moffett, trombonist Craig Harris and trumpeter Wallace Roney on the title track makes for a pleasing expansion of the tonal palette, but, cleverly located at the halfway mark of the set, it serves to highlight the beauty of the group on either side. Power Trio bring to mind electric music played with drive and attitude. Those qualities define this excellent album, but so do subtlety and sensitivity.