For the prolific, singular alt.jazz saxophonist-composer Tim Berne, trying something new is nothing new. The chamber trio assembled here, which finds the Brooklyn-based musician alongside a contemporary of his, the veteran downtown-scene ex-Bill Frisell cellist Hank Roberts, and the maverick accordionist/multi-reedist Aurora Nealand, offers a kind of sonic experimentation that, for the most part, is closer to European avant-chamber music than it is jazz.

Opener ‘The Latter’ is not really drone music as such, but sustained tones anchor an eerie exchange between cello, sax and accordion with the blend subtly marking the instruments’ textural similarities as much as their variances. On ‘Framed’ Nealand’s Brecht-ish, gothic accordion sets up a vamp for Berne’s characteristic sax vocalisation and some steadily seesawing and revolving note patterns. On ‘Clustard’ Berne and Nealand (on clarinet this time) contrast caterwauling counterpoint with warm, delicately dissonant tones.

The second half of Oceans And might appeal more to listeners who dig the saxophonist-composer in a warmer setting closer to jazz with more biting rhythmic content. ‘10tious’ is a sensitive dialogue between Berne’s concise, spacious phrasing and Roberts’ barbed pizzicato. ‘Mortal and Pestered’ and ‘Frosted’ are more lyrical originals in a conventional sense, with the insistent Berne and Roberts alongside Nealand, this time in a non-verbal semi-operatic ensemble-sensitive vocal role.

Those Berne fans enjoying the Snakeoil project and his recent duos with guitarist Gregg Belisle-Chi and pianist Matt Mitchell for example, should find it an intriguing diversion.