Song and politics have gone hand in hand, think Bob Dylan and the protest song. Multi-instrumentalist Gilad Atzmon conjures something as politically potent with the aid of his lyrical and dynamic band. Juxtaposing previous albums and newly released The Tide Has Changed alongside the Orient House Ensemble, with jazz standards, Atzmon played with versatility, mingling ferocious, sometimes soothing bebop lines with middle eastern, dystopian sounds, moving seamlessly between sound worlds. Switching between clarinet, alto and soprano saxophones, the luxurious reedy tones contributed to this unique sound-scape, constantly keeping the audience guessing.

Joining Atzmon and celebrating 10 years of the Orient House Ensemble: bassist Yaron Stavi collaborator with Atzmon for over 20 years, British pianist and 2003 BBC Jazz Album of the Year winner Frank Harrison and Italian drummer Enzo Zirilli, stepping in for regular Eddie Hicks. Harrison played with understated lightness of touch, Stavi with a fire and vivacity rivalling Atzmon, whilst Zirilli provided equal doses of rhythmic assuredness and creativity. This momentum was sustained with gusto for the long three-set evening.

Atzmon’s progressive stylistic elements appeared in numbers like ‘The Tide Has Changed’, involving singing through the alto saxophone and in ‘The Burning Bush’ (dedicated to his bandmate's girlfriend) playing the saxophone sans mouthpiece, then using the mouthpiece alone and establishing a call and response between his own voice and instrument. Vocals play an important role in Atzmon’s music and bandmembers provided sustained drones as in ‘London to Gaza’. Atzmon’s extended solo passages were technically astounding but at times disruptive, compared with more cohesive improvisations alongside bass or drums.

Atzmon switches from sombre to comical, aggressive to jovial, with the turn of a phrase and ever humorous slid in amusing musical references at the unlikeliest of moments: ‘I’m Getting Married In The Morning’ thrown in the midst of a political piece about Palestine. From old Hollywood to Parker-esque passages via emotive and exotic middle eastern sounds, the evening was a masterclass in the modern quartet, punctuated by Atzmon’s tongue-in-cheek showmanship and bitingly critical political commentary. Seeing the group live is the most rewarding listening experience as this is where Atzmon's musical versatility and humour really shine.

– Himali Dave