Wild ideas can seem in short supply in contemporary jazz, so it's tempting to lavish indiscriminate praise on anyone who simply makes the effort. But Matthew Bourne's Glenn Miller Project is no run-of-the-mill tribute. Bourne has created a surreal multimedia mish-mash of elements from his childhood, including live Enid Blyton readings, a Vegas-era Elvis impersonator and aural snapshots of famous TV theme tunes.

Rather than weave these seamlessly into his own anarchic rearrangements of Glenn Miller (and Duke Ellington) tunes, Bourne frequently bolts them on in a comically hideous fashion, reminiscent of Frankenstein making his monster. Thus the theme from the A-team collides with Take the A-Train in a piece called (everybody groan now) Take the A-Team. And the piano riff from Cheers rears its head at the climax of a brutally dismembered In the Mood.

Through all the parping chaos, Bourne conducts himself - and the band - in the manner of a rabid football fan: arms waving wildly, head bobbing back and forth. The band are having great fun, grinning into their trombones and throwing themselves with gusto into a mock stage riot, all the time negotiating the most fiendish music.

However, despite some appealingly ethereal singing from vocalist Seaming To and a nightmarish spoken-word version of Kalamazoo, the music frequently fails to connect emotionally. Bourne's background in frenetic improvisation leaks into his composing so that few ideas seem properly developed or taken to a satisfying conclusion. And from a stagecraft point of view, some of the sequencing seems a little misjudged - such as the moment when Elvis explodes on to the stage, only to stand there awkwardly for two minutes, waiting for the bassist to play a solo. Even in a concert that features a song called Take the A-Team, that's just plain daft.