When the Bad Plus hit big in 2003 with their cover of Nirvana's grim anthem "Smells Like Teen Spirit," jazz purists howled. I saw the group shortly thereafter and wasn't impressed, though it was obvious that drummer David King, pianist Ethan Iverson, and bassist Reid Anderson possessed superb instrumental technique, what jazz musicians call "chops." Where were the prominent, burn-it-up solos?

I listened closely to the trio's latest disc, Prog (Do the Math/Heads Up), and, tipped off by the title, finally figured it out. In the '80s, "prog" became a dirty word. Short for progressive rock, prog scooped up all those '70s bands—Yes, Genesis, ELP, and Rush, along with lesser-known outfits like Bruford, Egg, and Starcastle—into a single word that still denotes 20-minute songs stuffed with epic guitar solos, spastic synths, and opaque lyrics.

Yet Prog is an ironic title. The Bad Plus avoid the prog bloat by improvising within the cracks of the music. Jazz musicians of old improvised on the theme to popular tunes, varying, twisting, and expanding well-known melodies. King and company do too, but also riff on the tempo and texture ingrained in anyone who has heard the original recordings. Rather than replicate the fat burbling synth that permeates Rush's "Tom Sawyer," Iverson tolls a lone note on the piano, letting it growl and sustain. If you know the original version, you get the sly nod; if not, it's just another elegant embellishment, like the sad, sawing cymbal that shows up for a split second in their slow-mo rendition of Tears for Fears' "Everybody Wants to Rule the World." Don't miss 'em.

The Bad Plus perform Thurs May 17—Sat May 19 (Jazz Alley, 2033 Sixth Ave, 441-9729) at 7:30 and 9:30 pm, and Sun May 20 at 7:30 pm, $21.50.

THURSDAY MAY 17

QUINTON MORRIS
What's the best way to prep for an insanely eclectic program? Do a preview gig. Morris, violinist and founder of the Young Eight chamber group, has corralled soprano Indra Thomas and pianist Byron Schenkman for an enterprising concert of Brahms, William Grant Still, Puccini, Handel, Massenet, Mozart, Saint-Saëns, and Tosti. Morris and friends also perform Sat May 19 at 8 pm at a venue more amenable to careful listening, the Recital Hall at Benaroya. Seattle City Hall, 600 Fourth Ave, 684-7171, noon—1 pm, free.

MUSIC FOR LUNCH
Pianist Joseph Juliano plays a Chopin Nocturne, the comparatively mellow "Harmonies du Soir" from Liszt's finger-breaking Transcendental Études, and the two outer movements of Prokofiev's Sonata for Piano No. 7. Sherman-Clay Piano & Organ, 1624 Fourth Ave, 622-7580, 12:15 pm, free.

HARSH
This monthly series showcases harsh noise, breakcore, power electronics, death industrial, and other sonically aggressive musics. I'm looking forward to the jagged digital noise of the Mutant Data Orchestra as well as Blue Sabbath Black Cheer, whose December Re-bar appearance teemed with roiling, guttural distortion and feedback scree. Bring earplugs. Re-bar, 1114 Howell St, 233-9873,10 pm, $5.

FRIDAY MAY 18

SEATTLE YOUTH SYMPHONY ORCHESTRA
Don't let the name fool you—these kids are good. Conductor Stephen Rodgers Radcliffe leads the band in Bartók's masterpiece, the Concerto for Orchestra, and the overture to Oberon by Carl Maria von Weber (1786—1826). Weber's pellucid instrumental textures inspired Stravinsky to deem him "The Prince of Music." Jun Kim solos in the Sibelius Violin Concerto. Benaroya Hall, 200 University St, 362-2300, 7:30 pm, $8—$35.

SATURDAY MAY 19

MEDIEVAL WOMEN'S CHOIR
The MWC devotes an entire concert to Hildegard of Bingen (1098—1179), who cranked out song after beautiful song in praise of the Virgin Mary and St. Ursula, the now-discredited patron saint of students. Those under 25 get in for $10. St. James Cathedral, 804 Ninth Ave, 264-4822, 8 pm, $15/$19.

ERIC BARBER & TOM VARNER
The Good Shepherd Center has superb acoustics, especially for musicians brave enough to embark on a solo exploration of their instrument. Here, saxophonist Eric Barber shares a bill with the most prominent French hornist in jazz today, Tom Varner. Barber's 2004 disc, Maybeck Constructions (pfMentum), showcases an improviser smitten with Evan Parker's long-limbed, sometimes discordant, and often trance-inducing melodic lines. Yet unlike Parker, Barber's squonks—often flanked by sudden stops and switchbacks—dig deep into stark, heart-sore blues. Fourth-floor Chapel Performance Space, Good Shepherd Center, 4649 Sunnyside Ave N, 8 pm, $5—$15 sliding-scale donation.

SUNDAY MAY 20

SETH KRIMSKY
The principal bassoonist of the Seattle Symphony steps out for a solo recital that reflects his interest in jazz, rock, and the avant. The titles say it all: "Bundles of Sticks" (1997) for bassoon and percussion by Daniel McCarthy; Chiel Meijering's "I can't get no satisfaction"; and Krimsky's own eBsn, written earlier this year for modified bassoon with metallic objects. Brechemin Auditorium, UW campus, 685-8384, 7:30 pm, $10.