Jazz is one of those quite overly general terms that covers a broad spectrum of music. I’m a traditionalist; I like my jazz old school, and am a big fan of structure. Dave Brubeck sometimes makes me bop my head like a Charlie Brown reject. However, I find the newer stuff to be quite elusive.

Nonetheless, last night I dropped by Ryles Jazz Club in Inman Square to check out the jazz group the Prana Trio. In the words of front woman sunnY, the “Prana Trio is an eclectic ensemble comprised of sunnY (voice), Evan Halloin (Bass) and Brian Adler (Drums). The group is dedicated to exploring original compositions, free improvisations and works by the poet Rumi.” While I missed their feature on NPR, I heard a few samples of their music on Brian Adler’s web site.

To be honest, after listening to the samples briefly, I didn’t think very much of it, but decided to check out the show anyway. I’m used to fairly metered music, so freeform improvisational music sometimes gets lost on me. I like structure, and much of the music lacked it.

However, it was hearing it live that made it all come together. It’s a completely different experience. Brian Adler’s drumming seemed simple at first, but unfolded in complexity and beat. The bass of Evan Halloin likewise went from simple strumming to inspirational rifts. Sunny Kim’s vocals were surprisingly deep and expansive — I was reminded of Lisa Gerrard’s vocal journeys with Dead Can Dance at parts. The closer I listened, the more the differing lines combined to take you on an imaginative journey.

Not surprisingly, I still appreciated “Regrets” a lot more than the other tracks, mostly because I like structure. However, if you only listen to “Regrets”, you miss out on the other dynamics — you miss out on the freeform exploration of their music. It’s these other, looser tracks that really open up emotionally, and carry you along their composition. The seemingly effortless way the vocals and bass move together quickly and in synchronicity in “Nalgene Bottles” is impressive. The soulful efforts of “Being” put you in an otherworldly David Lynchian realm.

Prana Trio’s after dark is a unique, fresh take on the jazz scene, as a welcome break from the same-old, same-old. The music may not be for everyone, but I found a lot to like in this album. If you’re looking for something a little different (and aren’t confined to simple beats), give them a whirl.

Music is a strange concept in society. It produces nothing, and is valued only insofar as people in society place value in it. One could say it’s an artificial societal construct designed to create jobs, by “fooling” people into placing value in it, thus establishing a demand. There’s definitely pleasurable aspects in it for the individual, but from a rational standpoint, it requires a peculiar justification.

Sites like Music Plasma help track similar styles of music visually, as well as show their impact on a genre. We definitely attempt to codify things and place them in neat categories, but sometimes things just don’t fit. It’s a lot like building castles in the sky — what sort of knowledge are we creating with this categorical structure?

Yes, it’s true. These guys can really kick up the jams — check out their site to learn how to beat box (and try not to look like a fool in the office as you spit on people and make weird flatulent noises).