There's a pull between craftsman and artist in Guy Barker, one of the UK's best jazz trumpeters. Riffling at dazzling speed through the book of classic jazz-trumpet styles, he's can be almost as technically impressive as Wynton Marsalis, and just as emotionally impassive. Yet on a spacious piece such as the delectable version of Nature Boy that he played on this opening night, Barker can also be remarkably affecting. His phrasing is spare and subtle, and the contrasts between an early-Miles fragility and dramatic upper-register defiance are hugely expressive. There's considerable new promise, too, in the sophisticated originals he has been writing, from convoluted contemporary groovers to an ambitious suite devoted to 1940s and 1950s Hollywood film noir.

Barker began accompanied only by Orlando Le Fleming's bass, on a poignant account of Hoagy Carmichael's Baltimore Oriole. The tortuous uptempo twister that followed was a chance to witness the skills of Italian alto-saxophonist Rosario Giuliani. The young be-bopper's quick thinking and fertile ideas are Charlie Parker-esque, but with a raw, post-Coltrane edge. With a fluency and fill-every-chink intensity, the diminutive Giuliani - on tiptoe when the going got hot - was the perfect contrast for the more relaxed, sonorous Denys Baptiste on tenor, and plummy-toned trombonist Barnaby Dickinson.

The second half was mostly devoted to Barker's new movie-inspired suite, with its evocative ensemble harmonies - if you closed your eyes, you could almost see the typefaces they used to roll the credits in. Powerful blues from leader Giuliani caught the era's swooning sound, and Baptiste found a quirkily mellow, Ben Webster-like melodiousness. Soon to be recorded, this is Barker's most ambitious project to date.

Until Sunday. Box office: 020-7439 8722.