A barrel-chested, bearded man who looks more like an opera star, Joe Lovano occupies a stage as if it's his natural home. He plays with an impassioned energy and astonishing freedom from repetition and has a remarkably broad background, from famous swing orchestras to free-improv ensembles.

Lovano is touring for the Contemporary Music Network, with an expanded ensemble to play the mix of African-American jazz and Italian-American street-band music from his new disc Viva Caruso.

On Saturday's London jazz festival gig, Lovano's own saxophone playing was the dazzling centrepiece, and his musicians were suitably skilful - but the ambitiousness of the project wasn't always resolved in the outcomes, and there were some unexpected flat spots by Lovano standards.

The promising opening was a small group including Gil Goldstein's accordion, building an initially breathy and sidelong Lovano tenor solo to an explosive climax over a jaunty street-dance feel. Then came the full 10-piece, and the leader switched to moody reflection, shifted into a Latin groove reminiscent of early Return to Forever sessions, and on into rougher, semi-abstract playing over the contrasting bowed sounds of two bassists. The pure-toned, elegant sound of singer Judi Silvano mostly played a textural role, but she made two of the most telling of the show's contributions in featured spots in both halves, and a roaring ensemble finale on the massively ringing main theme from Pagliacci.

There was more loose blowing in the second half, with Lovano exchanging packed, whirling sax runs with Billy Drewes, powerful contributions from the technically awesome guitarist Michael Bocian, and roaring brass fusillades from Gary Valente. Idioms hurtled by, from a clapping flamenco feel, to hard-swinging blues. But the event was a little too crowded and complex in structure for the leader's gifts to show in their best light.

· At the Crucible Studio, Sheffield (0114 249 6000), tomorrow; and the Anvil, Basingstoke (01256 844244), on Wednesday.