By jazz's sometimes taciturn standards, Courtney Pine is an affably charismatic performer, but at root he's a serious man. A mixture of voracious truth-seeking and a commitment to enthusing audiences powers his desire to tell stories through music. His new Europa project applies African, American and Caribbean sensibilities to European genres – from Gregorian chants to the music of the Balkans. Famous as a saxophonist, Pine gives this venture a unique signature by concentrating on the fiercely elemental and quintessentially acoustic sound of the sonorous bass clarinet.

As with most Pine groups, this one works on a strategy of slow-burn insinuations that build to ecstatic, technically dazzling climaxes – to the borders of the formulaic at times, but Pine's use of pop and dance music's anthemic methods has played a big part in his popularity outside the jazz loop.

The bass clarinet mingled with the soft swoops of Amanda Drummond's viola in a deceptively hushed opening, before an ostinato of plosive, popping sounds from the leader, shadowed by Darren Taylor's bass, set up an eloquent viola solo of sensuously bending long sounds and pitch-eliding slurs.

The Celtic jig Druid's Lyre showcased the thrilling Cuban violinist Omar Puente, who launched a glittering display of canny, fresh melody and technical fireworks, mirroring Pine's fondness for finales of semi-abstract, double-time figures and whistling high notes. Pine then played phrase-swapping games with all his partners, delivered the dark folk melody of They Came from the North over Robert Fordjour's thudding drumbeat, and gave way to a powerful unaccompanied display from pianist Zoe Rahman. Guitarist and mandolinist Cameron Pierre didn't get a break until late, but made relaxed and lissome use of it on the slinky tango Darwin's Dream.