At last December's solo show, Keith Jarrett lectured his adoring fans on the psychological implications of coughing in the quiet bits. This time – with Gary Peacock's lissome bass and Jack DeJohnette's subtle drumming to fill the spaces - Jarrett did nothing but play. The piano star finished uncharacteristically wreathed in smiles, and even hugging his Standard Trio partners.

West Side Story's Tonight opened the show, first in a slow teasing of its harmonic implications, then in an acceleration into zigzagging double-time. Jarrett's obsession with concentration is about being able to freefall into the improv spaces opening up in real time without distraction – and to sense this momentum building is the most hypnotic feature of a Jarrett gig. Autumn Leaves displayed it as the improvised lines lengthened and the melodies grew more surprising, before a long section built around an ecstatic low-note pedal point took it out in a collective jam.

Classical reflectiveness that soon swung, and some scalding uptempo bebop opened the second half. Then the first of the encores brought back Jarrett's stamping left-hand pulse, this time with a gospel feel that coalesced into God Bless the Child. Peacock soloed in songlike new melodies and dancing runs on the following ballad, the third comeback (after Jarrett had enigmatically but almost enthusiastically declared "there is justice, somewhere") was a mid-tempo bopper, and the fourth a rhapsody opening and closing with a tinkly, music-box fragility. Music always pours out of this unique artist, but this time even the brittle man himself looked gratified by how much of it there had been.

• This article was amended on 31 July 2009. The original said that the concert was held at the Royal Albert Hall. This has been corrected.