The jazz group Skerik’s Syncopated Taint Septet, or ST7, sounds like an eclectic jukebox jittering randomly between albums. The deadly confident collective, led by the Seattle-based tenor saxophonist who goes by the single name Skerik, has the talent to make that blend sound natural. Husky, their second album, was recorded in a single day after the group came off a tour. After many gigs on the road, the septet plays like a band of psychics predicting each other’s moves.

ST7 couldn’t exist without the genre-hopping albums of John Zorn. Hip-hop DJs’ affection for old jazz grooves was necessary before ST7 could exist. The cool kids had to first embrace lounge. Both saxophone quartets and New Orleans brass bands, with their weaving and bobbing horn lines, were needed for ST7 to exist. Funk rhythms were another necessary element. And, most importantly, ST7 owes a debt it will never repay to Duke Ellington.

Too many jazz musicians desperately want the attention of people under 30. Too many groups become obsessed with grooves and never move beyond that. But ST7 is a marvel of musicianship, with each player knowing when to interject an innovative turn and when to step back. Some tracks are built over an echoing riff, such as “Go to Hell Mr. Bush.” At other times, for example on “Don’t Wanna,” a melody and swinging rhythm section set the pace. With five horns, ST7 can play with tremendous power, but the septet can also be as nimble as an athlete. Husky, crackling with energy and ingenuity, makes it clear that ST7 is a group to watch.