In the last couple years, this Brooklyn quartet has brought its keenly designed tumult to plenty of stages, scrutinizing their music’s nooks and crannies, beveling its sharp edges, and refining its flow. That’s one reason the new Shadow Man is so impressive—the newfound group chemistry is eloquent enough to make the saxophonist/composer’s most hurtling passages wax graceful while still flaunting their turbulence. And the fact that percussionist Ches Smith commandeers an array of mallet instruments this time out has widened their textural palette. Long story short? There’s nothing like ’em anywhere.
Wed., Oct. 16, 7:30 & 9:30 p.m., 2013