Full of sonic surprises, the music nevertheless retains a coherent thread with arrangements that frequently place Halvorson more as a texturalist than soloist. The band is a revelation, its dazzling brass and ringing vibraharp carried aloft by a surging rhythm section.

Amaryllis buzzes and hums as the sextet relishes Halvorson’s written-through parts but obviously is bursting to improvise: ‘Night Shift’ has an irresistible line, underwritten by Fujiwara’s fabulous drums until the trombone, very Roswell Rudd style, wins out. Halvorson’s guitar is less prominent than on Belladonna, but her writing liberates this extraordinary band…

But most is pure Halvorson. Take “Night Shift,” with its stuttering, chordal head, and guitar cloud-chords floating over a gruff solo by trombonist Jacob Garchik. Or “Amaryllis,” which sets its dark, breathless melody over an étude-like ostinato that has the band ticking like an overwound clock.