Flippant though it might have seemed at first, ­Bancroft had approached his “Home, Small as the World” project with deep thought. From the easy-­loping, conventional quartet depiction of the daily swim with his dog and a graceful round adding fiddle, trumpet and guitar to denote home comforts, the music moved into less calm waters as Bancroft expanded his thesis into disturbed upbringings, the tyranny of domestic technology, politics and war.

As a musical work it might benefit from further performances – but, as ever with Bancroft, there were oodles of strong themes and a variety of settings, from jazz-rock to free improvisation, designed to challenge and get the best from his musicians, who responded with a sense of involvement that belied the fact they were separated from the audience by a couch.

Stanton Moore may be separated from his audience by a drum kit but the rhythms he, Hammond organist Robert Walter and guitarist Will Bernard create are as interactive as that dance they used to call “the bump”. Supernaturally tight, their music has all the hallmarks of the New ­Orleans soul-groove style, with Walter’s dirty organ licks, Bernard’s bluesy picking and urgent chording and Moore’s crisp oomph conspiring in a notion-stirring potion.

Bosco Theatre;

Stanton Moore,

Voodoo Rooms