I'm glad I didn't leave straight after Marcus Miller's first encore. I was in the crowd, shuffling reluctantly towards the exit, while a smaller number of hardcore fans clapped and chanted and howled for more from the bassist's supercharged jazz-funk sextet. But then Miller appeared and, perhaps sensing that he was calling part of the audience back to their seats, launched into an intense performance of Purple Haze, apparently playing both the Noel Redding and the Jimi Hendrix parts in a flamboyant solo version that filled the venue with his rich, percussive sound. Who needs a band?

Well, Miller does, to properly demonstrate his talents as arranger, composer, reeds player, "lead bass guitar player", funkmeister and quote-laden jazz historian. The other guys strode on to finish Purple Haze as a blues-drenched funk, demonstrating - as if we didn't already know it from Gil Evans - that Hendrix helped change the course of jazz and funk as well as rock music. Then, as if administering a whistle-stop tutorial in pop history, Miller charged into the riff from his version of Burning Down the House, the Talking Heads classic, with shouting horns and a nervy, relentless groove from drummer Poogie Bell.

Miller's band are flexible enough to take any number down several different improvisational roads, but also display a tendency towards predictable (if technically astonishing) solos. There is plenty of playing to the gallery, but that is not necessarily a bad thing. At their best, this is a likable, good-humoured and entertaining band with jazz and funk chops to spare.

Miller played several numbers from his album M2, such as Three Deuces and Amazing Grace, for which he played bass clarinet and soprano sax. He introduced an affecting arrangement of I Loves You Porgy by saying that he had just discovered its beauty after a lifelong antipathy to Gershwin's opera Porgy and Bess. Guitarist Dean Brown made a good foil for Miller; pale and twitchy, he grimaced and wiggled his legs in a little hick dance. For one solo, his left leg looked more like a Midi-controlled multimedia device operating independently to the rest of his body. The first encore was pretty good: a bizarre "LA reggae" version of People Make the World Go Round, followed by a stadium-sized rendition of Tutu (which Miller originally made with Miles Davis) that morphed into urban blues.