I think we can all agree that Jazz has something of an image problem. Once the domain of elderly retirees it know provokes images of bearded musos in berets ejaculating over 12 minute trumpet solos.

With that in mind I had to drag my friend kicking and screaming to the show as he feared two hours listening to some clown scatting over a clarinet whilst surrounded by old ladies. Being a fan of Jamie’s since way back I knew such worries were unfounded but even I was surprised how good he is live.

The James K Polk Theatre in Nashville is a far cry from the down at heel honky-tonks full of drunken tourists that are scattered along The Broadway. The Centre for Performing Arts is an expansive and tasteful arena which seems to be more at home showcasing Russian ballet or Phantom of the Opera then “pop” music.

And make no mistake; “pop” is Jamie’s raison d’etre. He has made a career of trying to drag jazz out of the doldrums and into the mainstream. It is not just about him putting his own spin on contemporary songs like High and Dry or Frontin’ but more about his energetic style and fresh approach to music which blends the fun elements of pop with the technical elements of jazz.

Before the main course we are treated to the unexpected bonus of Imelda May (think of a rock ‘n roll Amy Winehouse) whose retro styling (she is bequiffed and wearing the tightest of leopard print dresses) and rockabilly strut has the whole audience on their feet (unusual for a support act) and suggest her appearance at the Grammys might not be a one-off. She belts out a unique combination of blues, rock ‘n roll and jazz with such gusto that at the interval she receives a spontaneous round of applause by the gaggle of middle age men queuing up to get CD’s signed in the foyer. Certainly one to watch.

Then on comes Jamie to whoops from the sizeable teenage contingent (my friend needn’t worry, grandmothers don’t whoop like that). He is a playful mood, relaxed and confident. The opener is his take on Rhianna’s Don’t Stop The Music which if I’m ultra critical might be Jamie trying a little too hard to keep it contemporary. It is a throwaway track that no amount of musical virtuosity is going to rescue.

It’s not often a cover betters the original but the jazzy version of Pharrell’s Frontin’ cemented him in the popular consciousness when he performed it on Jo Whiley’s live lounge back in 2004 (Pharrell apparently loved it). Tonight’s version teases the audience as Jamie improvises, whispering the vocal in certain areas whilst banging out his trademark drumming on the piano riser.

Next we get Photograph from Catching Tales. Mid-way through, Jamie invites local musician Gabe Dixon on stage to “learn the chords”. He stands to one side and when he thinks he knows the song jumps in and they both sit at the piano and perform an amazing samba version of the song completely off the cuff. It is mind-blowingly good and all the more impressive for the improvisation. We get some chit chat about how Jamie loves Nashville and how the city is musical bursting at the seams. He tells us how he bumped into Jack White at his record store in town but didn’t have the nerve to approach him and in a goofy voice go

“Hello Jack you might not know me but I’m a musician too”

He comes across as a genuinely nice chap and it’s encouraging to know that being successful doesn’t mean you automatically turn into a d*ck.

Jamie intros Wheels from new album The Pursuit telling us its about “staying out until 4 in the morning”. It is the nearest Jamie will come to performing bona fide “dance music”. You could call it piano n’ bass I suppose. It works really well live.

On top of all his improvisations, banter and audience interaction Jamie is not scared to tackle unfamiliar instruments and gives the acoustic guitar a bash for a solo performance of London Skies. For someone who describes himself as “amateur” his guitar playing is pretty competent. As an added bonus we get to do the harmonies on the chorus (as instructed by Jamie) and the acoustics in the theatre help us create some spine tingling moments. Nashville must have some great singers as the crowd is note perfect.

On we go to the stripped back section of the show when the bulk of the band traips off leaving Jamie and double bassist Chris to take a stab at the Cole Porter classic I Get A Kick Out Of You. The playing gets really loose and Jamie vamps and improvises and stretches out the song way past its natural end. You really get the impression of watching an artist at the top of his game.

Much as I like the covers Jamie is a fine songwriter and in Gran Torino he has written his own modern day classic. The audience is completely in silent as the delicate melody floats out across the auditorium. It is truly a special moment.

Mixtape is about making compilations for women he fancied at school in the days before Ipods and the internet. He tells us that he wasn’t “a jock” or very popular and wowed the ladies with his knowledge of music from Morrissey to John Coltrane and NIN to De La Soul. He isn’t doing so bad on the lady front these days if his excitable audience are anything to go by.

Just as I start to think the show has been pretty unique Jamie does something I have never seen before in all my years of concert going. He and his band jump into the audience and play acoustically around one hastily set up mic in an aisle. What we get is a mash up of Justin Timberlake’s Cry Me A River with the Ella Fitzgerald’s number from the 50’s. Up in the balcony Jamie sings at us through cupped hands as he clambers over chairs whilst the band combines the songs. It takes balls and no short amount of talent to do this and he manages to pull it off with some aplomb.

At the end my cynical friend had to shake his head and admit that he was wrong and that the guy sure knows how to put on a show.

Some artists are must be heard live. Jamie is one of them.