Over the years, jazz trio the Bad Plus has established itself as one of the most engaging and bewildering acts on the avant-garde scene. Their forays into rock leave jazz purists scratching their heads, and their twisting, contorting arrangements leave rock fans astonished. On their new album, For All I Care, the Bad Plus join forces with fellow Minnesota native Wendy Lewis to make the familiar strange once again.

The album, which is the Bad Plus’ first to feature a vocalist, is also their first not to contain any original material; rather, For All I Care hinges on interpretation and utilizes carefully selected classical pieces to facilitate transitions between rock covers ranging from Nirvana (“Lithium”) to Heart (“Barracuda”) to the Flaming Lips (“Feeling Yourself Disintegrate). Revolving around feelings of desolation and agony, Lewis’ anguished alto evokes heart-wrenching emotions, and drummer David King and pianist Ethan Iverson work in concert to heighten the album’s hysteria and resolve its fears.

Cautiously, the band resists succumbing to the progressive jazz vortex and render interpretations that remain true to their original sources, and, at the same time, stretch their dimensions. Wilco’s “Radio Cure”—a sure standout—moves from a strained state of depression to a sailing cry of despair as Iverson’s silvery keys sweep up Reid Anderson’s protracted harmonies. The album’s most stirring moment arises as the Bee Gees’ “How Deep Is Your Love” is transformed from a sparkling, disco anthem into a devastating, jazz lamentation.

For too long has post-modern jazz been preoccupied with making the strange, stranger. Here’s to the Bad Plus and Wendy Lewis for eroding the borders that separate jazz and rock.