These are early days in Mariette Radtke's jazz career, a time when the young singer from Munich is gaining experience of working with different musicians and communicating with an audience. She won't - let's hope, anyway - come up against many more ill-mannered and inattentive audiences than the one she encountered here.

A slim figure with quite a small voice and limited projection, she fared poorly in the circumstances. She is already at a disadvantage, singing in a second language, although she perhaps didn't do herself any favours in choosing to work with a quintet, especially when the saxophone and trumpet parts called for quite robust contrapuntal playing.

Some singers actively encourage their musicians to play strongly, almost in battle. Dee Dee Bridgewater springs to mind, although she has big-band experience and can ride the wave, and another American, Carmen Lundy, likes a drummer with muscle and bustle to spur her on. Radtke isn't in this league and, while she offered some interesting, off-the-beaten-track ideas, such as an imaginative arrangement of Afro Blue as well as singers' favourites such as What a Little Moonlight Can Do, she got her ambitions mixed up with her capabilities on Antonio Carlos Jobim's Waters of March. This turned into a bit of an onstage rammy - and, given the audience's behaviour, How Insensitive might have been a more apt Jobim choice.

If not a satisfactory introduction to Radtke, the gig did offer yet more confirmation of pianist Paul Kirby's lovely, lucid and always melodically aware soloing and Adam Sorensen's consistently tuned-in, musical drumming, two of the current Scottish jazz scene's undersung pleasures.