Argentinean Tango grew up as music of despair and desire in the brothels andbars of Buenos Aires' slums. So there was a delicious incongruity in hearing tango in a religious space, even if the andoneón, the button accordion now linked with it, was invented to play religious music in churches without organs.

Tango has since travelled from bordello to the ballroom and, after being re-invented by the classically trained Astor Piazzolla as serious music, to the concert venues. Nonetheless the best tango remains true to its roots as “the vertical expression of a horizontal desire' and as a music of sadness and disillusion.

Tango Siempre were very smooth and very Nuevo Tango. They created pleasing modernist sounds with dissonance in Straw Dogs, and electronic loops in Trip, Hop, and Fugue. Jazz, though, was their main nuevo influence. Pianist and composer Jonathan Taylor is steeped in it and his beautiful long solo intro to Only Human was pure jazz. He also fused tango with jazz hero John Coltraine’s Giant Steps. Even bandoneón virtuoso Paulo Russo had a go and punctuated the old tango war-horse, La Cumparsita, with a jazz interlude, difficult on his instrument.

The band were so tight it was difficult to pick how much was improvisation as they smoothly swapped rhythm and lead roles across the instruments. When Russo's bandoneón took charge it was easy to imagine yourself in Buenos Aires as lots of the audience seemed to be doing by listening with eyes tight shut. It was when Richard Pryce’s played low and dirty double bass in unison with Taylor playing percussive piano, that Tango Seimpre most got back to the earthy roots and sad dark edge of tango. Brilliant playing throughout certainly, but a touch more Carmina Burrana and a little less John Wesley might have made a good night a great one.