One of the great difficulties young jazz musicians face today is the ever-accruing pile of great records. Like classical composers who aspire to rank with Debussy, Stravinsky, Ligeti, Stockhausen, Crumb, and other thoroughly recorded (and beloved) 20th century greats, jazz musicians are up against audience expectations raised by a half-dozen Miles Davis box sets, the perpetual stream of Blue Note reissues, impenetrable forests of quasi-bootlegs (Historia del Jazz: Bill Evans), and unearthed tapes. Look for John Coltrane Live in Antarctica later this spring.

Despite those piles of records, jazz still has to happen in the moment. Seattle abounds with young groups honing an appealing, personal approach to jazz. Three of them appear on a bill together: Threat of Beauty, Reptet, and Industrial Revelation.

I generally disdain e-mails touting a flurry of influences, but after I caught Threat of Beauty at Lo_Fi last October, the name-checking of "Ives, Debussy, Ravel, Wayne Shorter, Bill Evans, Björk, De La Soul" by bassist Evan Flory-Barnes made sense. His ensemble of cello, bass, drums, and vibraphone translates the anthemic, rhythmic figures of hiphop to every instrument in the group with careful attention paid to dynamics and group polyphony. Barnes is ambitious, so don't be surprised to see an expanded lineup with added violins and harps.

A truncation of "repertoire" and "quartet," Reptet is neither. This effusive sextet play originals that sometimes swing, and at other times obsess over short, insect-like motifs. Rounding out the bill is Industrial Revelation, a hard bop-inspired quartet. Trumpeter Ahamefule Oluo leads the charge with curt, blaring solos backed up by Flory-Barnes, drummer D'Vonne Lewis, and the solid comping of keyboardist Josh Rawlings. CHRISTOPHER DeLAURENTI

Support The Stranger

Catch Threat of Beauty, Reptet, and Industrial Revelation Thurs Jan 26 (Ethnic Cultural Theatre, 3940 Brooklyn Ave NE, 543-4635), 7:30 pm, $8/$10.