Bill Frisell's guitar sound is so steeped in drawling, country-blues Americana that it can be hard to imagine he started out playing a music as wired as bebop. Hardliners might call Frisell's new History Mystery quintet (here making its European debut) retro-jazz, but in a way Frisell is always retro - except that few artists impart as much genial freshness to old music as he does.

Frisell's horn partnership (saxist Chris Cheek and cornetist Ron Miles) occasionally sounded as if they were playing Gil Evans or Carla Bley arrangements, sometimes miniaturised Benny Goodman riffs. Cheek's soloing was dynamically cool, and Ron Miles was excellent on everything from lurching country slurs to fast, exclamatory postbop. Frisell's familiar bottleneck-mimicking sounds and lazily pulsating chords periodically accelerated into a succinctly freewheeling, straightahead jazz. Typically, he played the usually airy Lee Konitz bop classic Subconscious-Lee in the lower register, and the whole venture united this imperturbable one-off's broad fanbase.

Earlier in the day, Jack DeJohnette played a solo show on both percussion and piano, memorably time-bending Motown funk licks, and sharing an spontaneous duet with saxophonist Ravi Coltrane. Bobby Previte is more of a composer's drummer, but the latter's precision nonetheless unleashed punchy grooves in his New Bump quartet. Trumpeter Ralph Alessi's music was also subtly built, but sometimes suggested he was unfolding a baroque kind of jazz.

At the other end of the spectrum was Acoustic Ladyland saxist Pete Wareham's punk-jazz quartet, the Final Terror, who played an absorbing thrash metal version of Messiaen's Turangalila Symphony. It could only happen at a jazz festival.