It starts straightforwardly enough. Pianist Pat Thomas performs the Thelonious Monk standard “ Bye-Ya ” with a delicate approach, as Joel Grip plays a standard shuffle on his upright bass. Drummer Antonin Gerbal joins in with a tumbao-esque rhythm faithful to the tune’s Latin characteristics, followed by Seymour Wright on alto saxophone. Their take is somewhat atypical, but hardly outlandish. Still, even in these fleeting moments, there’s a feeling that things could take a turn for the strange. Bits and pieces of something recognizably “jazz” are present in Wright’s playing, but he stops, stutters, and stammers his way through the tune, sounding like longtime Monk sideman Charlie Rouse filtered through a Burroughsian cut-up technique. As his tone grows more drawn-out and guttural, and Thomas’ lyrical touch gives way to percussive attack, the rhythm section ups the ante, picking up speed like a gathering tornado. Gradually and without warning, the group hits a fever pitch.…