The New York-based Fifer clearly got a kick out of being back in front of a Scottish audience, and didn’t even seize the opportunity to sit down when his teenage guest star Carl Majeau (tenor sax) took centre stage.

Both players were undoubtedly energised by some particularly incendiary playing by Brian Kellock, introduced by Temperley as “Scotland’s greatest pianist”. This was a terrific set, with Temperley especially memorable on a gorgeous version of Sophisticated Lady which followed Majeau’s elegant reading of Chelsea Bridge. This 17-year-old American, whose style for the most part was quite raunchy and blues-infused, is undoubtedly one to watch.

The main evening concert was a strange mix which seemed to require an ­interest in both early Brazilian music and 1920s and 1930s jazz. Creole Clarinets, an international band headed by Thomas L’Etienne, played the first, very long, set, and although their Brazilian music was catchy, their straight jazz was on the bland side. One of the old Edinburgh pub trail venues might have been more ­conducive to their music.

While the Creole Clarinet guys sported jazzy Hawaiian-style shirts in clashing colours, the Echoes of Swing musicians – who included Bernd Lhotsky and Chris Hopkins (this time on sax) from the previous night’s piano extravaganza – wore dinner suits and looked as if they had stepped out of a photo of a 1920s dance band.

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