“Only from the entirely old can the entirely new be born,” Bela Bartok said, and nearly 40 years ago jazz-classical critic Max Harrison applied that line to Cecil Taylor. It kept racing through my mind upon hearing the pianist Jason Moran and at the Jazz Standard this week.

Mr. Moran’s music, as played by his trio Bandwagon (with Tarus Mateen on bass, and Nasheet Waits on drums), is unlike anything I’ve heard in the spheres of jazz, classical music, or pop. If you require a convenient frame of reference, you might says it sounds like Dimitri Shostakovich or Olivier Messiaen playing hip-hop.

In addition to referencing the entire history of jazz piano, Mr. Moran is free in his use of classical style and hip-hop beats. Indeed, he is one of the only musicians who can incorporate either kind of sound into jazz in an organic way that liberates, rather than stifles, the music.

Mr. Moran overlays such additional elements as the outstanding experimental saxophonist Sam Rivers (on the 2001 album “Black Stars”), a series of lesser-known works by Duke Ellington (on the 2000 “Facing Left”), and works from the European repertory by Ravel and Schumann.

On the 2002 “Modernistic,” Mr. Moran referenced the stride piano style of James P. Johnson’s era. On his new album, “Same Mother” (Blue Note 71780), he recruits the guitarist Marvin Sewell (best known for his work with Cassandra Wilson) to address the implications of the blues. “Jump Up” is a thick montage of blues phrases and rollicking vamps, organized in an avantgarde classical fashion, sort of Memphis Slim meets Stockhausen in hi-fi, equal parts roadhouse and Bauhaus.

Sometimes the various components are deliberately not integrated, but held separately, suggesting an acoustic approach to the kind of sonic collage that is more typically created electronically. But Mr. Moran also uses actual sound samples – such as the speaking voices of Fred Astaire and Jelly Roll Morton – in a creative and exciting way.

Mr. Moran takes us in and out of our conventional comfort zones: On “I’ll Play the Blues For You” he and Mr. Sewell do exactly what the title promises – this is an avant-garde you can dance to. “Aubade,” co-composed by Mr. Moran and veteran pianist Andrew Hill (not always known for his accessibility), is a lovely ballad that Mr. Sewell essays on acoustic guitar, full of gentle harmonic sweeps and washes.

The centerpiece of the first set at Jazz Standard (as it is of the CD) is an elaborate construct of 5/4 and 3/4 melodies, “Field of the Dead” by Alexander Prokofiev and “Fire Waltz,” the Mal Waldron composition associated with Eric Dolphy. Mr. Moran gave both pieces the feel of a slow ballad, but broke them up with minor seconds and other unexpected dissonances. He ground out a steady vamp with a rapid tremolo while Mr. Waits laid down swirling energy patterns.

And Mr. Moran’s showstopper is as much “performance art” as it is jazz. In “Ringing My Phone,” Mr. Moran turns speech – abstract human sounds unless one happens to speak Turkish – into music. The quartet accompanies a tape of a woman speaking to her mother in Istanbul. They match her cadence for cadence, and pause when she stops to let her mother speak (we hear only one side of the conversation). Gradually the taped voice fades away and the four players improvise freely.

A brief, poetic annotation in the booklet for the new album, written by Mr. Moran’s brother Yuri, suggests that all human beings come from the “Same Mother.” The two Morans postulate that likewise, all music springs from the impulse of the blues. Everything new, so to speak, is old again.

Until January 20 at 7:30, 9:30 & 11:30 p.m. (116 E. 27th Street, between Park and Lexington Avenues, 212-447-7733).