New York veteran Peter Evans’ live solo trumpet marathons crackle with energy, clambering to reckless high notes, amplifying and hammering, slashing and burning, suggesting other instruments and amplifying and exploring bestial breaths, leaving audiences sure he can’t continue… only for another surge of invention to come.

He’s an accomplished composer too, and though this new trio with Petter Eldh and Jim Black understandably struggles to communicate his unique concert fire in a studio, their first album’s variety and structured concision has its own virtues.

‘Freaks’ blasts off with Evans’ piccolo dancing over the rhythm section’s bustling funk in a boppish urban glide. Though taped in Lisbon, it suggests blistering Manhattan streets and familiar avenues of jazz tradition. ‘In See’ is staccato and rapid-fire, all aggro, while ‘Boom’ mostly belies its name till Evans’ compressed tone erupts into dazzling slaloms, while drums and bass bounce. ‘Movement’ splits into alternating trumpet currents, interrupted by electronic chitter like alien invaders jamming the airwaves, climaxing in a nightmare cacophony before easing down into a low, mournful frequency.

‘Nova’ surprisingly twists into Evans’s chiaroscuro piano phrases and muted noir trumpet, tolling, low piano notes and uneasy ripples, while bass notes pop. It could be the soundtrack to an existential 1970s thriller, or an unusually glum Nino Rota soundtrack for Fellini. The closing ‘The Lighthouse’ is closer to Evans’ gigs, with its close-miked, ambient, bass-like thrums of breath. The combination of modes and effects indicates his singular talent.