This could have been a simple recreation of that famous New York gig by Thelonious Monk, in which he reworked some of his most famous tunes for a larger ensemble.
And with these musicians - the Moran trio from the US plus a five-piece British horn section - it would have been a fine evening.
But the Texan-born, initially classically-schooled pianist, who saw the jazz light when he first heard Monk, has loftier ambitions - exploring his own musical relationship with his inspiration - and the results made for an electrifying and hugely rewarding night.
If the beginning was arresting - blurry archive images showing on a giant screen behind the stage and a recording of Monk coming from the speakers, as Moran came out alone to join him in a piano duet - the ending was just as original. The band exited through the auditorium, still playing, and wound up in the foyer, horns awailing, the Moran trio banging on cowbells, as a delighted full house walked through to join them.
In between, beneath the ongoing show of grainy archive images and video-art, the band had worked through an unbroken 90 minutes of Monk classics like Little Rootie Tootie, Thelonious and Crepuscule with Nellie, interleaved with Moran originals.
Wonderful performances from all, especially trumpeter Byron Wallen and drummer Nasheet Waits - their generosity of spirit so eloquently shared and passed on to the audience.
When the screen showed scenes from an apartment and words of autobiography it took a few moments to realise that this was not Monk's story but Moran's. So, a profound study of a giant from jazz's past and the enduring influence he has on, it is becoming increasingly clear, one of the giants of jazz's present.