At 43 Courtney Pine is a mature saxophonist with magnificent technique. All he needs to learn is the value of subtlety and restraint. As it is, his shows are largely empty displays of virtuosity and remorseless power.

Even for listeners familiar with his material, it becomes a chastening experience, like visiting an old friend in hospital while somebody in the next bed is having a screaming fit.

Facing a less than full house he did not hold back, blowing at full power from the moment he marched on stage, his upraised soprano sax sounding the rallying call of a contemporary pied piper.

Roaring funk-rock versions of Mercy Mercy, Sunny, Moanin' and Osibisa found his frontline partner, Cuban violinist Omar Puente, punctuating his solos with similar fast-fiddling tricks.

Behind them, bassist Darren Taylor, drummer Robert Fordjour, guitarist Cameron Pierre and organist Chris Jerome squared their shoulders and dug in. Fordjour was grafting particularly hard, punishing his kit virtually without a break.

For jazz lovers the most rewarding moments came on Pierre's guitar feature, John Leslie, an octaved tribute to the great Wes Montgomery, and Round Midnight, when Courtney produced a surprisingly beautiful sound from his EWI reed synthesiser.