Master percussionists Adam Rudolph and Hamid Drake are forward-thinking musicians with a penchant for experimentation. They co-lead the innovative Karuna Trio along with Ralph M. Jones, a versatile woodwinds player whose unpredictable lines and unobtrusive posture make him a great fit for the ensemble’s sonic descriptions of landscapes that consolidate the ancient and the future.

Dedicated to the eclectic saxophonist Yusef Lateef, Imaginary Archipelago marks the trio’s return, two years after their debut album, Karuna. Each of the 11 islands depicted here is spontaneously imagined with rhythmic passion and an idiosyncratic tonal palette, yet they connect one another by certain elements that make this archipelago a consistent whole.

“Okomibo” and “Dimahala” share trancing rhythms while exploring a natural freedom in its motions. The latter, for example, is marked by oscillatory electronic vibes, pounding drums subjected to opportune syncopation, and winding flute melodies.

While “Alima” is a close-to-the-nature contemplation professed with some circularity and an emphasized drum work as it moves forward, “Ibak” offers you a wonderful tour into a more jagged territory. Sounds of percussion and organic electronic manipulations come across with aesthetic intention, and its fluxes are occasionally interrupted by unusual slides and scrapes. The prayerful intonations of the soprano sax at the fore is more or less intensified as the rhythmic flow changes, and its phrases echo in the air, way above the entangling polyrhythmic tapestry. You’ll also find replicated phrases on the beautifully layered “Chandirasa”, a lament where flute and vibes collaborate closely, creating a placid mystery that is only shaken by occasional cascading streams.

“Apekweh”’s offbeat and insistent pulsation comes in waves, and on top of it rests a meditative flute abreast of esoteric vocal chants and drones. Chants and drones that get a larger proportion on the hypnotic “Vajna”.

“Madazuba” and “Suwakaba” are two lovely creations. Incorporating different pitches in its sonic architecture, the former evolves with a three time feel until a tribalistic march is imposed by Drake. The latter piece, in turn, gets closer to the avant-garde practices we are familiar with. Yet, still out of its standardized forms. Soaked in flickering effect, Jones’ saxophone is punchier than ever here, but the piece ends calmly brushed and nearly whispered.

In spectacular form, the trio takes their irresistible pulsing rhythms and close-to-the-nature auras to the next level.