Last night was one of my rare ventures out after dark to hear Bugge Wesseltoft the Norwegian jazz pianist/electronic experimentalist. My ticket stated 'A20' but the seats in the front row at the Bozar were unnumbered. An impromptu game of musical chairs ensued as everyone swapped seats. (It's always fascinating to see how really petty some people can be).

Bugge entered bang on time and explained he wasn't sure what to play - the Christmas carols he's touring Germany with or more 'out' electronic stuff. After a few minutes of effects he realised the microphones weren't working and took this as a sign to play 'straight'. The carols - all suitably reinterpreted - were just about recognisable, 'Greensleeves' being the most faithful to the original. From where I was sitting I had a terrific view of his hands - left hand mostly vamping, right hand doing the exploratory soloing. However, Bugge seems to rarely go up tempo and - for the most part - remains central to the keyboard (two octaves more or less). The result is a sense of calm and restraint, this is meditative music ... . None of the mounting ecstatics of a Jarrett (although there are evident echoes).

After about 40 minutes Bugge went back to his effects - the pick-ups working now - and it was fascinating to see him build his compositions in real time: a simple one-hand melody is made into a loop; hand claps within the body of the grand piano establish a percussive beat (which he then tweezes); further parts are added by mini keyboards. His body starts to jerk and flex to the rhythms - his hands constantly on the move tweaking knobs, adjusting levels. He picks up what might have been an iPad and starts poking at the screen, tipping it this way and that (was he in fact playing a game?). Then the piece seems to run its course - perhaps a final fragment at the piano, an unresolved chord, gets up, nods, a brief 'Thank you'. Norwegian modesty, of course.

There are the predictable two encores, the first being his Dave Brubeck reinterpretation from 'Playing'. I'm chuffed to be sitting hearing it live. The second encore is more daring - lots of knocking and slapping on the woodwork - literally 'playing the piano'. More effects and deliberately silly noises (he mimes surprise). Another abrupt ending. He picks up his effects pedal. Applause. End of concert.

I walk up the stairs and out into the bitterly cold night - only to find it's been snowing. Well how appropriate ...