The received wisdom may be that the ‘energy’ of what is termed the avant-garde is found first and foremost in the eruption of sounds that can often characterise collective and spontaneous improvisation. That's not necessarily true. The likes of Ware and co can create great force by way of tranquility, equipoise and a vivid sense of the communicative impulse travelling inwards as well as outwards. The second part on this potent concert set, presented as a trilogy of ‘Precessionals’ is a gripping example of how effective focus and temperance can be. The bulk of the piece is really a duet between Ware's tenor and Parker's bowed bass and the climactic moments are the ones in which both players hold on to a pitch and stretch it to a half or a whole note, rather than quickly moving on to create a shower of quarters or eighths. Ware has a long held passion for and engagement with Hindu philosophy and religion and the attendant serenity and composure of these practices are strongly implied in the aforementioned moments. This release, a live debut for a supergroup whose 2011 studio debut was something of an event, has many bold passages of introspection and tenderness yet the combustible Sturmund Drang in Ware's aesthetic is also conspicuous by its presence. Rhythmically, the group's motion is an intense, febrile form of ‘jitter swing’, whereby the beat appears to waver and shift its centre with no loss of elan. The constant oscillations of Ali, Parker and Cooper-Moore are a defining feature of the ensemble voice and gel potently with some of Ware's shorter, condensed, choppy phrases, the net result being music that is restless and mercurial. It is incredible to think that he underwent a major operation not so long ago as the leader sounds as vital and impassioned as he has done at any point in his long career.