Kris Davis’s 2019 album Diatom Ribbons was a giant step forward in the Canadian pianist’s discography, if not in the continued integration of electronics and turntables with jazz. She’s hardly been quiet since then. A duo with saxophonist Ingrid Laubrock, a second album from the Borderlands Trio, and projects with drummer Terri Lyne Carrington and saxophonist Hafez Modirzadeh have kept her busy in the intervening years, not to mention a day job at the Berklee Institute of Jazz and Gender Justice. With such time having passed, returning to the project with a live album—one recorded at New York City’s famed Village Vanguard, no less—might seem like a rehash, but happily it’s anything but. Instead, she upped the ante while paring down the band. Where the first album used different configurations of ten musicians, the new album is a tight quintet, and this time without vocals, other than spoken samples of Stockhausen, Sun Ra, Paul Bley, and Olivier Messiaen. Davis’s new compositions—spread across two CDs—draw from equally disparate influences: Geri Allen, Alice Coltrane, Eric Dolphy, Ronald Shannon Jackson, Conlon Nancarrow, and Wayne Shorter compositions are heard in whole or in part. But the point isn’t the influences, it’s how Davis manages them, bringing the elders together under one roof, just as she mixes acoustic and electronic instruments (and adding Arturia Microfreak synthesizer atop her piano) into something singular and new, held together with the ribbons of her smarts and craft.