Pianist Chick Corea has worked with plenty of great drum/bass pairings over the last 50 years – including Grady Tate and Ron Carter, Roy Haynes and Miroslav Vitouš, Lenny White and Stanley Clarke, Steve Gadd and Eddie Gomez. Tonight’s show puts him alongside his two most celebrated accomplices: drummer Dave Weckl and bassist John Patitucci.

Corea is such a remarkable technician that he can often sound glib. There is no vulnerability, nothing that the spirited novice could relate to, no sense he ever sonically inhabits a world of mere mortals. He starts each song in fifth gear – playing a florid solo introduction that takes us from Liszt to Bartók and occasionally into freeform territory – and increases the intensity and complexity throughout each song.

Such full-throttle playing might be unbearable, so Weckl and Patitucci decipher Corea’s complexity. In particular, Patitucci’s interplay with Corea is almost telepathic. On the jerky, Brazilian-tinged Lifeline, he replicates the lead lines in such tight unison you’d think he was Corea’s third arm. On a version of the Sammy Fain standard That Old Feeling, the two share the melody. On an elaborate, tempo-shifting arrangement of Duke Ellington’s In a Sentimental Mood, Patitucci’s bowed bass takes us into swing fiddle territory.

Even at its best, though, this is dense music, and the encore – a lengthy, exploratory reading of All Blues, by Corea’s old boss Miles Davis – comes as a welcome relief. Hearing Corea swing through a jazz waltz, spraying out blues licks and having fun, he almost sounds mortal.