If you can keep a full house hanging on your faintest sound at London's Jazz Cafe - a venue perversely designed to harbour distracting pockets of rival noise - you have to be doing something right. Elegant bass guitarist and singer Richard Bona managed that feat several times in a long set launching his first live album, the follow-up to 2005's Tiki.

Bona was inspired to play electric bass by the late Jaco Pastorius, and his balletically light-stepping runs, lazily grooving ostinatos and rhythmic eruptions are what brings in the jazz fans. But Cuban, Brazilian and Caribbean dance music, Afro-beat and African traditional songs, and a searing drive reminiscent of Joe Zawinul's Syndicate, give the Cameroon-born musician a much broader appeal.

Bona opened with an almost whispered African folk song that was fragile and intimate, until a climactic falsetto squeal echoed without warning from Taylor Haskins' trumpet (Haskins did a great job of sounding like an entire brass section all evening, sometimes with the help of brass-mimicking keyboards); percussionist Samuel Torres and Cuban drummer Ernesto Simpson delivered an explosive salsa feel. A fast, skimming jazzy theme was constantly punctuated by Bona's pinging accents within a racing bassline. A delicate ballad then hushed the room with its fragile high sounds, and Haskins' trumpet took on a muted Miles Davis tone in a whiplash-accented funk feature.

Bona's unaccompanied duet with his own voice was a highlight of the set (even if a shade tricksy for such a warmly eloquent performer), and the inevitable drum and percussion showpiece was made more than usually musical by the remarkable sonorities of Samuel Torres' congas. This is a stylish world-music package delivered by an uncannily tight band. Richard Bona could not make an unmusical sound if he tried.