The fact that Phronesis’ reputation as one of Europe’s leading avant-garde trios looms every bit as large as the music they serve up, deserves some stars long before tonight’s first set is over and the lights go down to unveil something a little more ambitious.

From the outset, the very idea of staging a high-energy jazz set that relies on the sort of optic interplay one would expect to see at a Phronesis show, but in a pitch black auditorium, would be absurd. But given that such extremities are born out of tragedy – double bassist Jasper Høilby’s sister lost her sight as a result of a cataract - the challenge quickly becomes their art.

In a way, its as if this blanket of black was all too quick to remind the audience of how visually vital this band is, and by axing the act free of drummer Anton Eger’s gymnastic, almost rock-star showmanship, or leader Høilby’s spidery finger systems, the listener is limited to a creeping intensity that can’t help but zero in on the traits that occupy the group’s reckless and fidgety formula.

The Latin-laced lyricism of ‘Green Delay’ tailed by the haunting, almost menacing attack of ‘Happy Notes’- who’s prolonged stay underlined the band’s zeal for eccentric sound-scaping via quaking palm percussion, Høilby’s twisted bass runs and some eerie voicing from pianist Ive Neame – that only added to an already odd atmosphere which would turn ghostly at the sight of bright mobile phone lights held by a small number of those uncomfortable, scribbled up the walls and to the exit, while Eger’s tribal, Lifetime-like ‘CB’ rumbled behind them.

When normality is eventually restored and praise is passed for what was lit in honour of such an occasion, Phronesis’ parting dash though the zany ‘Abraham’s New Gift’ speaks volumes about what this trio has to offer, especially with their senses working overtime.

– Mark Youll