Michael Brecker, the star of this show, sat on a step at the back of the stalls in the second half to listen to his touring colleagues Joe Lovano and Hank Jones. Lovano is two years younger than Brecker, and considerably less well known, but he's the saxophonist even the leaders of the pack listen to with awe, for his understated technique and the depth of his references. Add Jones (who learned his craft in the swing era) and you have a unique lesson in jazz-making.

Brecker played with his Quindectet, a mixed classical and jazz group performing pianist Gil Goldstein's arrangements of the saxophonist's originals. He crept up on the groups of quizzical two-note figures that underpin an old favourite, Arc of the Pendulum, but soon swept it into a maelstrom, winding up on a thrashing exchange with the ferocious drumming of Clarence Penn. A 1987 piece, Syzygy, drew on all his spectacular multiphonic powers, and the rich textures of the strings made the whole ensemble sound like a Joe Zawinul band in full cry.

Brecker introduced the latest version of his EWI (electronic wind instrument), and evoked the sounds of harmonicas, Hammond organs, and electric guitars. But it was only the ballad Angle of Repose brought some rare moments of respite from the full-on blasting. Lovano, on the other hand, concentrated on classic ballads and lyrical originals in the second half - and drew rapturous applause. His solos sounded like shared secrets, his tone imploring, indignant, resigned and romantic by turns.

But it was the trim, upright and mischievous Jones who stole the show. Jones's irresistible swing never sounded forced or rushed, his solos developed at a relaxed lope occasionally quickening to a trot, and he always played with his partners in mind.