Nat King Cole sang it beautifully, Elvis made it suave, and Ella made it swing. The Roches harmonized it, Donny Hathaway turned it soulful, and the kids from "South Park" grossed it out. What else could possibly be done with Christmas music?

How about an avant-garde rendition of "Hallelujah Chorus" by Matt Wilson's Christmas Tree-O? The group, which appears in a Bop Shop concert at Lovin' Cup Thursday, interprets classics like "Winter Wonderland," "Angels We Have Heard On High," and "Little Drummer Boy" in styles ranging from playful to free jazz. It also subverts more recent pop-culture favorites like "Christmas Time Is Here," "Happy Xmas (War Is Over)," "The Chipmunk Song," and "You're A Mean One, Mr. Grinch."

The group is the brainchild of Wilson, one of the most inventive - and busiest - drummers in jazz. But no small part of the subversion emanates from the various saxophones and flutes of Jeff Lederer, who often ventures into uncharted territory. The excellent bassist Paul Sikivie rounds out the group.

Wilson began playing Christmas songs with his quartet on a lark. When these performances started showing up on YouTube his record company decided an album was in order. It was a good decision; last year's first run sold out. The company has printed a new run for this year, but Wilson knows there's a short window for holiday records. "Nobody wants to hear it on December 26," he says.

Wilson is happy to join the ranks of jazz musicians who have done something fresh with Christmas music. He loves past holiday albums by B-3 organist Jimmy Smith and guitarist Kenny Burrell. "Christmas Tree-O" is unique in terms of arrangements. They're the opposite of corny, nostalgic, and sentimental. "Sonically it's fun; none of it was rehearsed," says Wilson. "We had a blast."

Of course, not everyone appreciates hearing quirky renditions of cherished favorites. The group got a review last year by "a cranky old guy who just hated Jeff," says Wilson. "It was like, I don't know why Matt Wilson and Paul Sikivie would put up with this." At another show a woman was offended by "Hallelujah Chorus," he says. But you never know; a second, older woman liked a seriously radical Albert Ayler song, Wilson says.

Wilson is a fan of theme albums and he wants to keep the tradition going. He's considering making an album of labor songs, or maybe Valentine's Day songs, "little postcard editions of records only available on line.

"Albums are like little books," says Wilson, whose 10th record as a leader comes out in February. "That's kind of the downfall of the digital era. I don't think people are getting the whole thing. They can buy single cuts, but part of it to me is how one tune goes to the next tune."

Wilson lives with his wife, 13-year-old daughter, and 10-year-old triplet sons in Baldwin, near the southern shore of Long Island. It's about 40 minutes from the jazz clubs of Manhattan, a trip he knows well. He may just claim the title of the busiest drummer in New York.

In addition to his own three groups - the Tree-O, the Matt Wilson Quartet, and another four-piece group called Arts & Crafts - he plays in dozens of ensembles as a sideman. He estimates that he's out playing more than 200 nights a year. The artists he collaborates with range from jazz legends to up-and-coming players.

"I've been really fortunate. I've gotten to apprentice with and play with these great older musicians who have been inspiring." Among them: Dewey Redman, Lee Konitz, Buster Williams, Andrew Hill, Joe Lovano, George Cables, and John Scofield. Younger players include Noah Preminger and Mary Halvorson.

Those musicians also range widely in terms of style, from free improvisation to traditional. How does he handle shifting gears so often?

"Trio M, with Myra Melford and Mark Dresser - that's completely different from playing with Denny Zeitlin's trio [with Buster Williams]," says Wilson. "I always go by the people. How I'm inspired playing with Mark and Myra is different than with Denny and Buster. It's their personalities, it's their sound, it's their history. Things emerge because of their personalities. It brings out something different in me.

"I just recorded a record with a great young guitarist, Mary Halvorson. Then I recorded with Ted Brown, who is an 83-year-old saxophone player. The intergenerational thing brought out something completely different," Wilson says.

Growing up in West Central Illinois, Wilson heard the Count Basie Orchestra and Dizzy Gillespie, and the great drummers Billy Higgins and Roy Haynes. But he traces his desire to be a drummer to a night in the early 1970's when he was watching the Lucille Ball sitcom "Here's Lucy." The plot revolved around Buddy Rich giving a drum lesson to Lucy's son, Desi Arnez Jr. "I thought, Wow, this is really cool," says Wilson.

Once he got started, other heroes emerged. "I remember the first time I heard Max Roach. I thought, this is really happening. I still get that feeling when I hear him; that's always been the beacon," says Wilson, who eventually met Roach. "I'll never forget. He was such a regal and dignified man."

Wilson is known for his imaginative solos, but you might not suspect what's going on in his head while he's improvising. He traces his approach back a pivotal experience that took place while he was in high school.

"When I was a kid, I'd see the great drum soloists so I'd kind of go nuts," says Wilson. "I was playing a nursing home concert when the woman playing piano said, ‘You know, you've got to play over the song.' The first time I did that was on ‘Sweet Georgia Brown.' I just kept hearing the song. It's less the physical aspect of it; I enjoy hearing the composition."

"[Thelonious] Monk once said to someone, ‘It's a great solo, wrong song,'" Wilson says. "I always think: keep playing the song. And the song keeps offering things."

Matt Wilson's Christmas Tree-O

Thursday, December 15

Lovin' Cup, 300 Park Point Drive

8 p.m. | $18-$20 | lovincup.com