Here comes the jazz-poll season, that annual PR jolly in which critics' choices are ritually ignored in favour of nominees with (a) more promotional muscle, (b) a recent slot on the Parkinson show, (c) pop or world-music pretensions, and (d) bruised egos after winning nothing last year. This is tough on Troy Miller, who is merely a brilliant drummer, keyboard player and composer admired by his peers.

Greenford's gifted allrounder would enhance any of the Best Band, Best Instrumentalist or even Rising Star categories, but don't bet on it.

He's just too uncommercial, especially when taking a break from Soweto Kinch gigs to lead his own groups. The superb quartet which swung this Dean Street basement for three nights at the weekend was a typical example.

It swung mightily, thanks to Miller and his latest capture, Mike Janusch, a London-based American whose solo talents extend to Paul Chambers-like mastery of bowed-bass.

On piano was Jason Rebello, a former boy-wonder who sparkled on Mr RP, Miller's tribute to US drummer Ralph Peterson.

And on tenor sax, the Virgin Islands' only Jazz Messenger, Jean Toussaint, sounded more erudite and fluent than ever.

Forty Days, the title track of Troy's debut album on J'Noir, and a Toussaint original, Ricehead, sparked powerful interplay.

Xantone Blacq sang Miller's ballad, A Tone Meant, with Troy on piano, before two star guests, pianist Julian Joseph and singer Cleveland Watkiss, conjured a storming finish. The tune was Thelonious Monk's Green Chimneys, and the solos were suitably smokin'.