His trademark mix of bebop, humour and politics exploded on to the South Bank for the prestigious London Jazz Festival, coinciding neatly with the launch of his new album, Musik.

Spiked with the usual Jewish, Balkan and Arabic influences, there was a certain haunting darkness to the music tonight, possibly due to the addition of nostalgic, aching sounds from the accordion and violin, (ghostly French fairgrounds kept springing to mind...shiver!), not to mention the accompaniment of brooding, evocative imagery projected onto the back of the stage, thanks to innovative video artists Yeast.

The compelling 'Liberating the American People' edged into hard bop, still with a strong Arabic flavour, with Atzmon on fire in a jawdropping saxophone solo, only to saunter off nonchalantly, lean on a speaker at the side of the stage and observe his accomplished band, including the hugely watchable and creative Asaf Sirkis on drums, and intensely sensitive pianist Frank Harrison.

The multi-faceted 'Rearranging the 20th Century' was dedicated by Atzmon to the late Yasser Arafat, who he referred to as a 'great freedom fighter'. This number features a chaotic version of 'Roll Out the Barrel', and a beautifully sardonic 'Mack the Knife': with hints of Acker Bilk and a wry, sinister twist to the lyrics, pointing a powerful finger at Bush, Blair and Sharon.

Now more than ever, The Orient House Ensemble has proved to be a band of noted political significance, producing thought-provoking music with a strong, blatant social slant, but so vibrant and melodic, that I had to restrain myself from grabbing the journo next to me and engaging in some wild dancing.

As well as some intensely beautiful work from new album Musik, we were also treated to a selection from the previous album Exile, featuring flickers of Argentine Tango and the ever-present Atzmon humour. The inventive use of sound was striking, the double bass at times morphed into a groaning, anguished human being, the accordion accurately mimicked the cold sound of a life support machine.

Gilad's colossal talent when it comes to the saxophone is well documented, but it's his searing, heartbreaking clarinet that makes me want to fall over with ecstacy. (Again, I'm happy to say I restrained myself...)

Gilad Atzmon and The Orient House Ensemble, at once dark and incandescent, are stronger than ever, Atzmon showing a gift for bringing together the cream of international musicians. This was, in my mind, the best and most atmospheric gig I've seen them play so far. The future looks bright in the world of Atzmon.

www.gilad.co.uk