Starting tentatively on horn, this works upward gradually from there. A bluesy sort of vocal joins after a time. The arrangement turns its focus to percussive as the vocals continue. A saxophone rises up after a time. The track starts to drive and rock a little more as it develops from there. It has a lot of mainstream bluesy jazz vibes at play. It reverts to instrumental territory before it’s done.

Trippy, weird ambience is on the menu here. It goes about two-and-a-half minutes without vocals. When the voice does join, it just adds to the weirdness. This is freaky stuff. It get more driving later and seems to merge King Crimson weirdness with almost Dixieland vibes.

This instrumental track works with strings rather than the more horn based approach on the first two tracks. It’s no less unusual and avant-garde, though.

Also coming string dominated, this builds out gradually from there. More of a full arrangement eventually takes over, but this instrumental piece still covers a lot of freeform territory. That said, it gets pretty melodic as violin solos later.

More focus is placed on horns here. This is another experimental sounding instrumental track.

Percussion starts this. Then a classy bass line joins. The track moves out gradually from there, absolutely dripping cool as it does. They make good use of every instrument involved. While this is creative and unique, it’s more on the mainstream side than a lot of the stuff here. It’s also compelling and so strong.

This is generally mellower. It’s exploratory and rather freeform, despite the lower intensity. It’s actually one of my favorite pieces here. It’s just so classy.

Built on the noisier side, this has plenty of freeform jamming at its core. It’s another intriguing piece of jazz instrumental weirdness.

Less than a minute-and-a-half long, this is a single instrument, improvised, string-based (cello) interlude of sorts.

An intriguing mix of sounds gets us underway here. The track builds from there. It’s filled to the rim with freeform jazz.

Much more traditional, this is a great melodic jazz romp. It’s one of the most accessible things here. It’s also one of my favorites, even if it’s one of the shorter pieces here.

This starts percussive and very far down in the mix. This eventually grows upward into some killer string based jamming that has both jazz and classical elements built into it. We get a return of vocals on this. It really brings a King Crimson kind of thing to bear, even though the voice doesn’t sound like any of the King Crimson singers. That eventually gives way to another instrumental exploration. When the vocals return, it’s a lot more freeform and strange. The track evolves but remains in the more avant-garde zones the rest of its duration.