Every Cuban bandleader must know how to wear a hat. Pianist Roberto Fonseca, sporting a two-tone leather porkpie model, learned the art from his late boss, Ibrahim Ferrer. And that great singer, to whom he dedicated a touching final encore at the end of last night’s sparkling two-hour show, would have appreciated the way Fonseca kept his natty headgear in place even when staring straight at the ceiling during keyboard climaxes.

These poses typified Fonseca’s showmanship. Having cut his stage teeth with Ferrer and other Buena Vista veterans, he loves entertaining and constantly blended artistry with dramatic devices, from crowd-pleasing double-octave rumba riffs to brick-wall endings that cut numbers dead at their most exciting moments.

He showed finesse by occasionally using only the right hand, a sensible tactic when backed so firmly by bassist Omar Gonzalez, multi-reedman Javier Zalba and two tremendous percussionists, kitdrummer Ramesis Rodriguez and conguero Joel Hierrezuelo. And his accompaniment of guest star Omara Portuondo was a model of tact.

Encores lasted nearly an hour, and involved the welcome recall of Esperanza Spalding, a multi-talented 24-year-old from Portland, Oregon, whose opening set was simply sensational. Dancing in white stilettos and Afro-crowned like a young Roberta Flack, she proved a sweet-voiced balladeer, funky scat-singer, seriously gifted songwriter and dazzling double-bassist.

Her ensemble work with young pianist Leonardo Genovese and drummer Otis Brown was brilliant. Indeed she’s got everything and I’m not alone in thinking so. Her June datebook includes gigs at Yoshi’s in Oakland, the Jazz Alley in Seattle, the JVC jazz festival in New York and a TV slot on the David Letterman show. Jools Holland will just have to wait.