A release from the trio of pianist Karoline Leblanc and double bassist Nicolas Caloia, both of Montreal, and Portuguese violist Ernesto Rodrigues, Autoschediasm, recorded in June at the Conservatoire de Musique de Montréal, is an example of discerningly improvised timbral polyphony. From the first instant Leblanc, Caloia and Rodrigues reveals themselves to be possessed of a fine collective chemistry based on keen listening and sensitive responsiveness. Each leaves adequate room for the others’ instruments to breathe and to sound; their music is the product of what appears to be an unforced, natural rapport. As instrumentalists, all three are primarily colorists working with the full palettes that piano, double bass and viola make possible. The group’s fluency in handling color is especially evident on the second track, an exploration of space and tone. The strings are particularly creative here, with Rodrigues spinning out a full spectrum of unpitched sounds against Caloia’s harmonics, plucked and struck notes, and pressure bowing. Leblanc’s discreet interventions serve as the keystone holding Rodrigues’s and Caloia’s centripetal forces in place. By contrast, on the first piece the trio craft a long but coherent improvisation on the basis of skillfully handled dynamics and a seamless blend of conventional and extended techniques. Leblanc is a deft player, playing inside and outside the piano as needed, and alternating lead and support–or simply staying silent–when the collective sound seems to demand it. Caloia gets a robust sound and provides a firm grounding with his powerful mid and lower registers; Rodrigues’s sense of texture comes out nicely in his use of rapidly bowed layers or plucked and tapped points of sound.