British composer/pianist Veryan Weston is an uncategorisable musical investigator, but his partnerships with Trevor Watts, Eddie Prevost and the late Lol Coxhill often link him with the jazz/ improv world. The Make Project is closer to the real Weston story however, in its equating of scales with geometry, and splicings of improv-twisted minimalism, literary texts, graceful choral vocals and jagged free-jazzy instrumental sounds. The shorter ‘Hidden Meanings’ and ‘Hidden Words’ respectively explore the hypnotic, delicately-piping counterpoint of a vocal tentet, and a variously staccato and fluid instrumental improv of snappy string-pluckings, rich bass tones, and astute piano punctuation. But the main event is the half-hour ‘Tesselations IV (Make)’ for Canada's improv-aware, 45-voice Element Choir – negotiating a Weston concept in which a sequence of 52 pentatonic (five-note) scales closely intersect, and are improv-diverted on their cyclical journey back to the start. The 52 elements here are short textual quotes for the singers (all including the word ‘make’, the intoning of which triggers a modulation) by influential women from Hildegard of Bingen and Maya Angelou to Mary Wollstonecraft. It's subtly sung, near-jazzy in its bass pulse, percussion accents, and Weston's almost-bop piano comping, improv-loose in its startling abstract sounds. Jazz listeners might flinch at its esoteric resources, and the worthy quotes occasionally sound prosaic in this decontextualised setting, but The Make Project is an inspirational idea, and for the most part beautifully performed.