Tip! Le Sud trio works from the concept of lower-case free music, which has been a common European currency since the mid-1970s. Despite Brexit, violist Benedict Taylor asserts himself during this continental concert by sawing, sweeping and stretching distinctive patterns from his strings. During the two over half-hour each improvisations however there’s no lead instrument. Positioned power strokes, steel string plinks and diverted chords from Dirk Serries plus Friso Van Wyck hollow pops, metal cascades and sliding rubs are as much part of the organic evolution as Taylor’s jumps and stops. The violinist and guitarist have played together frequently, while the Rotterdam-based drummer plays with multiple local ensembles. Including frequent understated or nearly soundless interludes, his percussion asides include the vibrations of unattached cymbals, xylophone like patterning and chain rattling. These textures and other idiophone asides plus string clunks and clanks are often used to mark sound transitions, at which point high-pitched fiddle shrieks accelerate the expositions with tempos similarly torqued. By the middle of “Part Two” straight-ahead sequences give way to dissected tones divided among drum top wipes, spiccato viola stopped strings and banjo-like clanging from Serries.

A hearty gong-like reverberation from Van Wyck cuts through guitar strokes and viola strains to signal the concluding motif. Diminishing arco fiddle rubs, drum rumbles and percussive taps on guitar wood diffuse textures into a silence as contained as the piece’s first timbres were squeaky and intermittent. Two similarly constituted trios, two ways of handling interaction, and each legitimate and engrossing. (Ken Waxman)