Their name may conjure images of faded British holiday-camp entertainers, but Yellowjackets are something of an American institution. A 30-year career has seen them release 19 albums, glean numerous Grammy nominations and become a popular international festival attraction; not bad going for an outfit which came together as a backing band for a Robben Ford session.

They specialise in neat and tidy post-bop and acoustic fusion, with all the usual Shorter and Brecker influences in evidence. In the opening tune there was also more than a passing nod to the airy textures and good-natured wit of such British outfits as Bill Bruford's Earthworks. Jimmy Haslip's nimble electric bass was quickly pushed centre stage, his lyrical dexterity in the upper registers eliciting gasps of wonder from the bass-heads in the crowd.

A piece called Capetown demonstrated the group's sure and easy grasp of worldbeat jazz. Rusell Ferrante's piano sounded almost baroque among the subtly shifting metres laid down by drummer Marcus Baylor but again it was Haslip who stole the thunder.

With an emphasis on sunny, upfront themes the band was in mild danger of slipping into musak territory. A Thelonious Monk-inspired piece called Monks Habit helped to toughen things up, with its scrambling opening theme and sizzling bebop cymbal attack.

The band went on to explore a sophisticated Coltrane-like ballad, allowing saxophonist Bob Mintzer to showcase his faultless vibrato. Then came a horrid jazz-fusion take on an old bluegrass tune, which featured an electronically treated clarinet and a million too many notes from everybody. Yellowjackets occasionally sound like they should wear waistcoats, ponytails, and appear in 1980s jazz instruction videos. A compliment or an insult, depending on your taste.