The first thing that strikes a listener with this 2024 Bimhuis concert led by Polish Netherlands-based pianist Marta Warelis is her complete aesthetic command over her instrument, from delicate to subversively rhythmic. The second — just as important — is her equitability as a leader, almost to the point of being selfless. There are numerous points during the 50 minutes where she steps back entirely to feature one or more members of her accomplished sextet.

While it would easy to assume this to be deference to more veteran players like Ab Baars (tenor saxophone, clarinet), Karen Ng (alto saxophone, clarinet), Ben Lamar Gay (trumpet, electronics), Ingebrigt Håker Flaten (bass) and Frank Rosaly (drums), given the number of collaborative and multigenerational projects in which Warelis has taken part, more likely she thinks as a composer in terms of groups and the potential afforded by non-hierarchical ensembles.

Warelis is credited for all the pieces apart from "There To The Bridge", an Albanian folk song coming second in the program and beginning with unaccompanied trumpet in bluesy abstraction as foundation for very sparse piano, drums and bowed bass, floating along like early morning mist across a field, the unison theme from trumpet, clarinet and bass emerging only at the end. Opener "Birds" starts as a lovely if puckish piano étude until the addition of lockstep bass and drums three minutes in, horns then entering gradually, like ingredients being sifted into a mixing bowl, becoming a lurching dance with aggressive piano, slowly softening and opening up, trumpet soon left alone for a semi-muted soliloquy, leading into the aforementioned folk song.

The third, fourth and fifth pieces are in marvelous contrast to one another: the freebop-driven "Alternate Endings" by the trio sans horns, which come in with little bleats over rocky terrain, tenor expressive with smears and sirens before giving way to an impressionistic drum solo for its last four minutes; "Intermittent Web of Sorts" introduced by bass, its theme then passed along instruments in a really interesting effect, stretched out like passing through a black hole, especially with Warelis moving to synthesizer and Gay adding electronics; and "The Sky Blushes Sunset", a short and warm clarinet duet.

The concert closes with "Ashes to Sea", heralded by clattering percussion. Wavering bass comes in, followed by piano, horns finally arriving with elegiac long tones. A slight Township feel is present, rising in volume, density and grace, then fragmenting in the last two minutes before masterfully reassembling, slowing and quieting to silence.