The payoffs of shouting for attention have often seemed to be on a hiding to nothing in jazz - a genre that frequently gets results via the understated and the oblique. This was evident in the clamour for encores that met the hypnotically subtle duo of young violin virtuoso Regina Carter and the fluent and experienced pianist Kenny Barron.

Regina Carter, the American jazz violinist, is an irresistible presence in her own right. Slight and undemonstrative, she exhibits a classical player's sense of dynamics and meticulous tone control, and the lower she drops her volume the more compelling she can be.

Barron was the perfect companion. A pianist of flawless technique and immense sophistication he galvanised his partner without crowding her. His own solos were like miniature improvised concertos.

Carter's thoughtfulness lent a muted quality to the music in its opening minutes, but then Barron developed There Is No Greater Love as a relaxed walking bassline with fragmented Thelonious Monk-like arpeggios, and the violin took on a looser playfulness. Billie Holiday's Hush Now, Don't Explain drew on Carter's most classical aspect, and became a tone poem of sighing, barely-released sounds, and softly shifting textures. In jauntier guise she eased Swing Low Sweet Chariot into a freewheeling account of Blue Monk, which Barron then cranked up into a walking boogie. The encores revealed more of Carter's flexibility, bouncing the bow on the strings to echo a Latin-jazz percussion section.