Many jazz artists try to force sampling, computer loops and synthesized textures into a relationship with acoustic instruments that just doesn’t work. On his new release, “Freak In,” Dave Douglas, though, lets both sides work things out on their own terms. The result is a musical friction that produces both heat and light.

Following his critically acclaimed work of last year, “The Infinite,” and 2000 Downbeat Jazz Critics’ poll winner, “Soul On Soul” (with several more releases packed in between), Douglas continues to work on paying off his trumpeting, composing and band leading debt to Miles Davis. This debt, though, involves little guilt and a lot of creativity. It would be easy to criticize Douglas for not being Miles, but even Miles himself was criticized for not being Miles after each of his successive transformations. Douglas has his own rich vision of how to fuse rock, funk and jazz elements and how to parcel out sonic space between acoustic and electric sounds.

Douglas uses electronic elements more extensively here than on his past releases. The sonic foreground is still his acoustic jazz trumpeting, but behind it rests a lush background of electronic textures produced by keyboardist Jamie Saft. The other musicians, an eclectic group of downtown New York jazz innovators, including Marc Ribot on guitar and Joey Baron on drums, add their own elements to the overall sound. Occasionally, these mixed-in extras — reverb guitar and thickly synthesized beats — threaten to slow the forward momentum, but even then they make for interesting moments of well-considered pause.

Mostly though, the range of textures forms an organic whole, especially on the upbeat numbers. The title track opens with the high-speed tabla of Karsh Kale zooming alongside Baron’s drumming. Over this, Douglas and saxophonist Seamus Blake launch into intense improvisations. They swoop and dive, stepping aside only long enough to let Ribot tear into rough and raw guitar lines. On “The Great Schism,” also fast-paced, Brad Jones lays down a swirling bass line while the trumpet and tabla take on the complicated melody line in tandem. “Eastern Parkway” starts with a techno-sampled riff that blossoms into a funky groove. Its rockish energy, roaring under long, multipart solos, brings to mind the best of Weather Report.

While these fast numbers hold immediate appeal, the slower numbers are perhaps more intriguing. Moving to a meditative crawl on “Black Rock Park,” moments of silence are set off by minimalist solos, with Ribot and Douglas improvising with finicky precision, giving each note individual attention. This delicate palette also works well on “Maya.” Here, the rippling samples and softly synthesized keyboards form a pool over which the melody glides smoothly. “Porto Alegre” has a lush soundscape, with lingering arpeggios, brushed cymbals and calmly held trumpet notes. On these tunes, the electronics are aimed less at energy and more at feeling. Miles would dig it.

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