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From the road the King's Place venue is nothing of note but inside it has a distinct barbican-esq feel to it, spacious and multi-levelled it shouts art with various unassuming doors leading off to different numbered halls. It describes itself as a cultural hub and it would appear to live up to that description.

At the back of the complex is the idyllic Regent's Canal Battlebridge Basin featuring quite a lot of long boat barges in addition to the London Canal Museum. The trendy residential housing opposite struts its stuff, instilling no doubt a little envy to onlookers that something so quaint could be positioned just a stone's throw from London's St Pancras.

I had shuffled along to the Not so Silent Movies' second outing which is an afternoon event, held each first Sunday of the month in one of the King's Place smaller downstairs halls.

Whatever my experiences may have been on the day I went, it is almost definite that they were totally different from those that had attended the inaugural event the month before, and totally different once more to people who shall be attending future occasions, as conceptually this is an event that's made up on the spot; as the promotional material boasts, 'music on the edge'.

With a backdrop projecting early cinema black and white silent films, a collection of proficient musicians lay their reputations on the line and entertain the afternoon crowd.

On this occasion there were four silent movies on offer, two starring Buster Keaton, and then one each from Harold Lloyd and Charles Chaplin. You could always expect to have to forgive silent films for having been the pioneers of a revolutionary new medium, but the acting, storytelling and sheer comic intricacy may in ninety years have been equalled, but rarely has it been bettered.

The smorgasbord of musical instruments on show comprised of violin, reeds, guitar, horn, cello and a carpenter's saw, with a Dame, Evelyn Glennie, at the centre of it all along with her assortment of car boot sale percussion 'instruments'.

With no planning, no rehearsal, no prior information of the movies and having never before performed collectively as a group, this may very well be a recipe for disaster.

So does it all work? There were at occasions when the music distracted me from the movie, and different occasions when the movie distracted me from the music, and occasions when the two came together perfectly. It would be unfair and pointless to attempt to attach any kind of label to the music, although 'The Straight Story' sometimes came to mind. This isn't serious music but enjoyable music performed by serious musicians, if anybody did mess up, it went unnoticed, and if it hadn't, it wouldn’t have mattered anyway.

It's always a privilege to witness expert musicians 'jamming', and for them it gave the impression to be a labour of love and what wasn't there to love? A terrific London venue, a selection of classic early cinema, a bunch of proficient musicians, all on a lazy Sunday afternoon.