Taylor's rarity value in the UK was highlighted on this London jazz festival performance by a collaboration with another septuagenarian jazz pathfinder, the New York trumpeter Bill Dixon. Taylor and Dixon were partnered by the British percussionist Tony Oxley in Monday's second-half set, displaying their radical reinventions of music's rules first as individuals, then together. Everybody had made their own jazz language, which owed little or nothing to the Great American Songbook, or any songbook at all for that matter.

A jazz radical of comparable vision, the saxophonist Anthony Braxton opened the evening with a stunning new quintet. The band played atonal, taut and often staccato music, but two long and seamless Braxton solos were strong candidates for the triumphs of the night, and the confidence of his band, and the sensuous, pliable sound of the percussion beneath it, made this performance a festival highlight.

Oxley's combination of percussion detail and forceful rhythmic momentum opened the second half, followed by Dixon's hypnotic trumpet equivalent of a human beatbox sound, throwing breathy long notes against electronics and evaporating echoes. When the trio played together, a sustained 20-minute storm of piano improvising from the unquenchable Taylor reaffirmed has ability to compress decades of musical evolution into single solos, and to make keyboard lines dazzlingly resemble a flow of hot liquid rather than the blows of hammers on strings.