�y��vlog

Also on offer was Ewart’s piping, ecstatic approach to the sopranino saxophone, informed by bebop and the avant-garde alike.

When Roscoe Mitchell brandished his sopranino sax on the piece just after “Edge,” it was in short staccato bursts of honk and screech that created a unique layer of syncopation.

His flights of fancy on the sopranino recorder relied on elaborately soulful ornamentation in the slow movement, accompanied by two violins and viola that played with gossamer grace.

Mr. Coltrane, who played much of the set on sopranino saxophone, provided the trio’s most heroic voice, its main source of impassioned exposition.

They favored a twitchier free-form interplay, full of jackhammered clusters and rattling cowbells, with Mr. Mitchell blowing gales through his sopranino saxophone.