The latest tour by the chamber-jazz trio Acoustic Triangle finds them playing sacred buildings up and down the country. Given that abbeys, cathedrals and churches tend to boast wonderful acoustics, this seems a natural move for a band famous for their non-amplified performances. But there is another motive: according to bassist and project instigator Malcolm Creese, the tour is an attempt to redefine formerly sacred spaces as secular hubs of culture and community, creating some new venues into the bargain. High-minded ideals, indeed, and fortunately Acoustic Triangle have some high-minded, frequently breathtaking, music to go with them.

The concert began with Creese standing alone. As he began bowing an elegant lament, a disembodied French horn and saxophone floated in from elsewhere, eventually becoming visible in the hands of Gwilym Simcock and Tim Garland, who then joined Creese on stage.

Thereafter, Simcock switched to piano, and the trio launched into an ambitious set which found them perfectly weaving together contemporary British jazz with elements of European concert music.

The set contained ambitious and attractive pieces by Simcock and Garland, along with tunes by Kenny Wheeler, John Taylor and Stan Tracey. There was also a richly layered reading of Ravel's Trois Poemes de Stéphane Mallarmé, in which the division between composed sections and instrumental flights of fantasy became artfully blurred.

Simcock proved himself a jaw-droppingly exciting pianist, particularly on the self-penned tunes such as Rhumba; Garland's propensity for million-note flurries was tempered by his evident interest in atmospherics; and Simcock held down the sustain pedal.

An eclectic, adventurous performance by three undisputed masters of the game.

· At St Mary's, Stapleford (01992 500422), on Friday. Then touring.