The late Gil Evans took on Duke Ellington's compositional legacy and created tapestries behind Miles Davis's trumpet that are landmarks of 20th century music. Today, Maria Schneider and Mike Gibbs are Evans' most gifted inheritors. Gibbs is celebrating his 70th birthday by touring the UK with a band of British virtuosi, augmented by three high-profile Americans - country-tinged guitarist Bill Frisell, Carla Bley bass guitarist Steve Swallow, and drummer Adam Nussbaum, whose balance of crunching rock patterns and dancing swing is the band's thundering engine.

Gibbs's rare gigs mix inspired jazz covers with country-flavoured and classical-influenced originals that stretch from the early 1960s to the present day. He can be dazzlingly intricate or deceptively simple - the opening You Get the Picture is just ascents and descents of chords, but its impact is in the harmony twists and slow-build percussion intensity.

Alto saxist Chris Hunter hurtles through a fast-bop account of So in Love, and Thelonious Monk's Round Midnight is made languorous and animated by turns in the rich-hued rearrangement, smokily reflected on by trumpeter Henry Lowther, ruggedly swung by saxist Stan Sulzmann. Hunter, flugelhornist Gerard Presencer and trumpeter Claus Stotter fly through an Eric Dolphy hyper-swinger, and pianist Hans Koller delivers a captivating solo of treacly treble lines and offbeat chords on the slow groover Tennis Anyone?

Bill Frisell plays an astonishing unaccompanied improvisation of lyrical repeating motifs and birdlike high-register calls at the start of the second half, and the finale turns breathtakingly from a racing Charlie Parker theme to Gibbs's spinetingling, Charles Ives-like Fanfare. The standing ovation that follows is inevitable.