Stanley Clarke's famous percussive-thumbing electric bass technique, now adopted by funk bassists everywhere, put a sting into the sound of the instrument. The Philadelphia musician combined a guitar's singing eloquence with a traditional bass's gravitas, and threw in a pop-songwriter's knack for good measure, writing chart-hit fusion anthems in the 1970s, including the massively successful School Days.

Clarke played School Days this week, and for anyone wanting a bass guitar lesson there were plenty of dramatic solos from the leader himself, and from an astonishing second bassist, Armand Sabal-Lecco. The young man's furious beat almost obviated the need for drums, and his dramatic chordal figures sang with overtones.

An oddly balanced band (two bass guitars, keys, violin, drums) ripped through an opening funk blaster, then visited Clarke's glowing arrangement of Charles Mingus's Goodbye Pork Pie Hat ("You've heard of Charlie Mingus, right?" Clarke asked the audience, slightly anxiously). The leader was haunting over a deep electric drone, until he accelerated it into a rather inappropriately heated funk with a Latin violin break in midstream.

After this, a straightahead acoustic account of Charlie Parker's Confirmation sounded rather meek, but Clarke was his old self on flamenco-strummed acoustic bass in the solo feature Touch, his phrasing sounding like massive beating wings. School Days brought a roar of course. Not really a very musical event, but you craned your neck to see what hoop Clarke and his band would jump through next.

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