Concentrated instrumental essence, the four instant compositions created by three adept improvisers confirm the promise of the disc's title. Performed with the dedication and invention of dance masters, fragmented tropes are blended into a distinctive whole without abandoning individual characteristics.

Demonstrating creative music's internationalism, the players also represent different countries and experience. Bassist John Edwards is from the UK and has worked with the likes of Evan Parker and Joe McPhee. Portuguese trumpeter Luis Vicente has recorded with William Parker and Alexander Hawkins among others, while Catalan percussionist Vasco Trilla has played alongside stylists as different as Mars Williams and Szilárd Mezei.

Choreography of Fractures' pivotal essence depends on Trilla's percussion versatility. Rather than using fixed backbeats or ruffs, his idiophone pulses are divided among vibraphone-like ornamentation, triangle shakes, bell-tree vibrations, cymbal scratches and the occasional drum rumbles and pops. Also, as percussive as a drummer would be in similar circumstances, Edwards unyielding string pressure takes the form of col legno slaps, carefully positioned thumps and repeated arco scouring and scraping. As the one front line voice, Vicente alternates between expected melodic, muted and straight-forward passages and more frequent explorations of the horn's outer reaches. Whether it is volleys of pointed triplets, moaning grace notes, strained metallic flutters or half-valve flutters, his preferred texture is lusty rather than lyrical, in order to intersect with the other two's often brawny timbres.

So, while some tunes call for speedy brass intensity with open-horn, ascending blasts to keep up with string stretches and slashes plus ricocheting doorstopper-like wobbles, an extended piece like "Frozen Flow" introduces trope from all concerned that are definitely more fluid than frozen. Beginning with hunting-horn-like echoes from Vincente and ending with mid-range trumpet mouthpiece suckles, timbral variations and alternations are as varied as the superfast pirouettes they reflect. Moderated arco string elaborations swiftly turn prestissimo when mated with Trilla's wooden clip clops and Vincente's expanded half-valve aviary squeaks. At the same time Edwards' understated string crinkles and crackles can suddenly turn frenetic as they adumbrate the trumpeter excavating every nook and cranny of his horn's innards. Joined with percussion pops this leads to the concluding mid-range summation.

Expressing all they can with valves, tubing, string, wood and metal resonations, the trio members create enough variations and surprises to confirm the durability and vigor of in-the-moment improvisations.