Jazz bands without drums or bass oblige the remaining participants to be extremely industrious. The absence of traditional tempo and harmony-mapping instruments means that blizzards of notes and rockfalls of chords have to sustain a pulse or a tonal centre instead. A classy exponent of this taxing art is the skilful trio of UK saxophonist Tim Garland and Americans Geoff Keezer (piano) and Joe Locke (vibraphone).

The three often collaborate, and this repertoire mixed familiar material with ingredients from a new album, Rising Tide. The band is more powerful and insistent in a live show than on record. The tall, faintly sinister Locke, is always a dramatic presence, and he carried the great vibes hero Bobby Hutcherson's repertoire of grandiloquent gestures to another level of melodrama. He's a phenomenal technician and gifted improviser, and his tone resembled the late Milt Jackson's in its rich mingling of fast, penetrating bop figures and glowing sustained sounds. Some of his high-speed ostinatos in support of his partners' solos were stunning in their density and unerring adherence to the beat.

Garland was surefooted and secure of tone at the extremes of the tenor's range, and broadened the band's scope considerably with his authority on the bass clarinet. He added further textural materials to the trio by blowing a tenor-sax prelude to the Beatles' Blackbird on to the soundboard of Keezer's piano, and duetting with the resulting eerie overtones. Keezer, a young pianist with an encyclopaedic sweep across jazz piano history, delivered a beautiful keyboard improvisation on this piece. His own elegant but rather sombre feature Shelter had the soprano sax and vibraphone declaring a poignant theme over a dark, repeating piano heartbeat, and Garland's spooky but lively After Dark brought some of the best bluesily collaborative ensemble playing out of all three. It would tax the imagination of the best improvisers on the planet to keep the vitality free of longueurs, but these three make an accomplished job of it.