The hunched figure of Yaron Herman delicately coaxed a measured and harmonious opening from the sleek Yamaha grand that would be the centrepiece for every act tonight. Herman’s trio put on a performance of contrasts; merging deceptively straight jazz with almost comedic covers that ranged as far into the popular music scene as Britney, and achieving swift transitions between effortless warm bass-centric melodies, reminiscent of Charlie Haden’s film noir style, and spiky discordant jams.

Herman’s trio formed a powerful unit, but, despite her tiny build, the ferociously energetic Japanese pianist Hiromi ‘s solo set somehow managed to take on even bigger proportions. Hiromi played some older pieces along side new compositions ‘Sicilian Blue’ and ‘BQE’ (Broadway Queens Expressway). The sheer speed at which her fingers flit over the keys never ceases to amaze. She appears to have an affinity with her instrument that results in delicate and intensely accurate compositions. Her fantastic showmanship to engages the audience in every one of the thousands of notes she meets along the way.

Despite her unquestionable ability, Hiromi's flippant manner of playing – looking to the audience with her excitable and almost childlike  ‘do you like it?’ expression – may inch her into disfavour with jazz traditionalists. But from her most sincere moments to those that are charmingly playful, she produces a performance that is incredibly engaging and tonight at the Barbican that received a well-deserved standing ovation.

With two acts ripping the heart out of the Yamaha, everything was carefully retuned before Dutch saxophonist Tineke Postma’s quartet performed. A somewhat odd pairing with Yaron Herman and Hiromi; her music never climaxes in the same openly euphoric way, but, as with all the acts this evening, their talent was inspiring and entrancing.

Catherine Marks