Though described as the most powerful jazz musician in the United States, trumpeter Wynton Marsalis showed no bluster last night - just a gentle firmness of purpose and gumbo-loads of Louisiana charm.

At one point he paused at the mike. "Don't stop," a ringsider cried.

"Hell no," replied the laidback maestro. "I don't like flying and we've come a long way. We're here to play!"

As an inveterate after-hours jammer, Marsalis probably meant this. Happily, he recently underwent successful laser lip surgery, and altosaxman Wess "Warmdaddy" Anderson was similarly relieved to overcome diabetic problems.

Together they produced some beautiful interplay, sharing high-precision riffs behind bassist Carlos Henriques's solos and harmonising sweetly on Sophie Rosa Lee, a ballad waltz of unusual delicacy and melodic strength.

Free To Be, a familiar number involving straight swing and a distinctive touch of N'awlins shufflebeat, featured nimble piano by Dan Nimmer, a Milwaukee newcomer whose approach suggested Oscar Peterson (an influence confirmed later) and Don Pullen (whose name drew only a blank).

No synths, samples or electronica were heard. This was pure acoustic jazz, but of typically wide range. Wynton's solo on Big Fat Hen, a mixture of N'awlins groove and samba, invoked Louis Armstrong, Clifford Brown and Lee Morgan (plus chicken clucks) over the clean, fast-chattering snare-drumming of Willie Jones III, a capture from Roy Hargrove's band.

Closing his set, Wynton cited Ronnie Scott's, which he first played as an 18-year-old, as a shrine revered by musicians everywhere. He praised its founder for visiting New York, hearing Bird and Diz and attempting to "import the vibe". A bold step, he added, "like opening an Italian restaurant in Kansas".

What a charmer he is. One could almost forgive him for ignoring requests for a telephone interview from the club's new magazine last month. Almost.

• Two more shows tomorrow (020 7439 0747).