Tim Garland, an eloquent British saxophonist with a classy CV whose most recent employer was Chick Corea, is good at making things happen, on stage and off. His orchestra includes Corea's forcefully imaginative drummer Jeff Ballard, the fluent young American pianist Geoff Keezer and the soulful Spanish altoist Perico Sambeat, as well as a pedigree selection of British sidemen.

For the first set, the band delivered a slice from its own stylistically varied programme, opening with one of Garland's best originals, a sophisticated piece of multi-voiced ensemble writing wrapped around a catchy central motif. The leader's lustrous tenor sax sound contrasted strikingly with Sambeat's brittle, percussive alto phrasing, and trombonist Barnaby Dickinson served several reminders of how accurate, pure-toned and inventive he is.

Garland was at his full-bodied best on his oblique account of Thelonious Monk's Round Midnight, in which the initially gentle account built to a thrillingly clamorous chordal climax. And the vivaciously funky I Wish I Knew What It Was To Be Free brought soulful solos from Sambeat, the delicately resourceful Keezer and Andy Panayi, who delivered a rich flute sound.

The second half brought a surprise: a performance of trumpeter Kenny Wheeler's long-buried Windmill Tilter suite. Wheeler himself arrived as principal flugelhorn soloist, taking much the same central role that Miles Davis did with Gil Evans - a connection reinforced by rousing harmonies often echoing the Davis/Evans classic Sketches of Spain. Wheeler mirrors the human voice far less than Davis did; he fills more space and visits more extremes of register. But his sound is unique in its own stoical and faintly melancholic way.

Also unique is Wheeler's writing (despite its clear antecedents) and the tangled profusion of absorbing melodies and sub-melodies. The buoyancy of the chords under the composer's bittersweet long notes and pristine runs made it a delight to hear this formidable work again.