Developing a cerebral interactive program three European musicians augment sonics with extended techniques, while incorporating unique percussion into the program. French alto/tenor saxophonist Sakina Abdou and Polish pianist Marta Warelis, both comfortable in large and small ensembles, add sophisticated expressions of unusual acoustic mechanics to the nine improvisation. Yet the standout interactions involve responses to and projections from Gaul Toma Gouband idiosyncratic idiophones which encompass stones and leaves as well as a drum kit.

Gouband who perfected these percussion advances playing with the likes of Evan Parker, doesn't overemphasize their singularity, but uses leafy swishes to mix with ringing piano chords and shaking reed slurs as on "Roll the Leaf," or clanks stones alongside keyboard interjection as on "Leaf the Hammer". This is precisely the way rim shots, cymbal splashes and drum rumbles are used to break up the rhythm elsewhere.

Meanwhile Warelis' stopped keys, pressurized clips and multi-tempo patterning often supplies the throbbing beats Gouband foregoes, while also using languid ("Roll") or lively ("Roll the Hammer") chording to define and propel the expositions. Stop-time keyboard clinks and responsive drum thumps are given addition direction as Abdou's tones swoop over or embed themselves within the layered narratives. Emphasizing innate scoops and flutters as well as unexpected deviations into wails, split tones and stutters, she shores up the narratives while making room for subtle reed variations that confirm invention.

Making room for idiosyncratic asides without upsetting linear motion, this European trio helps define engrossing post modernism in music.