When the DJ Gilles Peterson rekindled interest in 1960s British jazz with his Impressed compilation in 2002, the now 77-year-old saxophonist, flautist and teacher Don Rendell was one of the surprised beneficiaries. Still a regular guest of house rhythm sections around the country, Rendell displays a melodic ingenuity and broad frame of reference that retains much of the character that marked him out 40 years ago.

Rendell turned up at Enfield's Googlies Jazz Supper Club, fronting pianist Colin Peters' resident trio, and briefly entering into some bluff two-tenor swing with local saxophonist Trevor Barker. The appeal of Rendell's playing is closely tied to his longevity as a player: his roots in the work of Lester Young are always apparent on tenor sax, but his early fascination with John Coltrane is audible too. Rendell's work also occasionally suggests visits to world music, with the soprano saxophone sometimes taking on the characteristics of a north African or oriental instrument.

The latter qualities were apparent in Rendell's squirming soprano break and whooping, descending runs on the up-tempo Delilah. His shimmering expressiveness on alto flute (Rendell's flute-playing has long rivalled his sax sound for eloquence) was at its most bluesily tender on Polka Dots and Moonbeams. The Young connection was made explicit in Rendell's original Spotlight on Pres, with the saxophonist's blearily epigrammatic solo barely visiting the tune and his timing constantly challenging the beat.

Blues for Carl Barriteau was a mainstream swinger for Rendell's equally fluid clarinet. In the second half Euphrates, a fast waltz, sounded like a McCoy Tyner feature, with Peters' trio gathering steam on it. Rendell returned to the clarinet for a sweeping investigation of I Gotta Right to Sing the Blues. He most certainly has.