This performance at the London jazz festival was billed as American saxophone hero David Murray's show, with the Guadeloupian Gwo Ka Masters (a hand-drum and vocals trio) as his guests. But for much of the gig it felt the other way around. This was not a problem for listeners, since the heated, ecstatic rhythms and majestically wailing vocals of the Caribbean players, with Murray's surging tenor sax boiling beneath, sounded for the most part like a natural liaison.

Murray made a triumphant appearance at this festival two years ago, with an octet playing Coltrane classics, but he has also improvised in non-jazz contexts recently. On Thursday he extended what was already a non-US angle on jazz by launching sustained saxophone blasts into the vivid melee set up by percussionists Klod Kiavue, François Ladrezeau and Hamid Drake, a fine jazz drummer with a fizzing, exultant hi-hat technique.

In the early stages, Murray - despite possessing one of the most penetrative sax voices on the planet - had trouble cutting through the seamless chatter and rumble, partly because the intensity, the staccato accents and the mid-range pitch of his playing, were jostling for the same sonic space as the others. But with the arrival of singer Guy Konket (who sounds like a world-music BB King), spaces opened up in the soundscape, and the saxophonist had more opportunities to play in a call-and-response manner.

Some of Konket's sonorously defiant chants had a clipped, impulsive quality peppered with expectant pauses, into which Murray would blow dense, tumbling rejoinders and high, squalling sounds sustained by his remarkable respiratory stamina. One song suggested a Guadeloupian Summertime, with inflections of the blues, then a Murray diversion to the bass clarinet turned the whole band into a percussion ensemble, the leader delivering floor-shaking blurts and thumps through the horn. Maybe not enough unimpeded Murray for loyalists, but a world-music mix paying much more than lip service to jazz.