The Improvised Music Company's regular tenure at the Pendulum came to an end last Sunday with what was possibly one of the finest concerts given there under the IMC's auspices.

A capacity crowd heard one of the finest living jazz brassmen, Kenny Wheeler, give an exhibition of rare lyricism, intelligence and adventurous playing and, in the process, inspire the cream of this country's younger musicians to respond in kind.

Wheeler - mostly using the more mellow flugelhorn and only occasionally turning to trumpet - was part of a quintet completed by Michael Buckley (tenor), Mike Nielsen (guitar), Ronan Guilfoyle (bass guitar) and Conor Guilfoyle (drums).

Although rehearsal time must have been limited - and a degree of ensemble unevenness on theme expositions of original material therefore understandable - it was clear from the start that this was going to be an exceptional evening. Wheeler's opening Every body's Song But My Own revealed his distinctively ordered solo approach, full of contrast and balance; and the succession of solos that followed his, notably Buckley's, were equally on-song.

The rapport which was quickly evident within the group also meant that risks would be taken, and if anything characterised their work it was the equilibrium established between taking chances and keeping a group dynamic in some kind of coherent shape. In that, the rhythm section played a major role.

Just how adventurous the quintet was could be best appreciated, perhaps, on the more familiar material. An oblique, unaccompanied bass guitar introduction heralded an inspired deconstruction of the possibilities offered by Bronislau Kaper's On Green Dolphin Street; notable tenor and flugelhorn solos were a prelude to a guitar solo which, with bass guitar and drums, took it into previously unexplored territory. Strayhorn's A Flower Is A Lovesome Thing was imaginatively recast and, again, the liberties taken produced a uniformly high level of soloing. On this, as on another beautiful ballad, Kind Folk, the understanding between tenor and flugelhorn was a delight.

The closest the quintet came to what might be called straight-ahead playing was on the faster Marking Time (where the Latin 6/8 even gave way to straight four for one of Buckley's best solos of the night) and Salina Street, where outstanding tenor and trumpet outings again preceded a remarkable guitar solo - with the rhythm section, it amounted to a telepathic trio excursion which took the performance to a natural climax.