Though Christian Scott digs deep into his African-American roots (nowadays he prefers the name Christian aTunde Adjuah), the 31-year-old New Orleans trumpeter proselytises lightly – peppering mini-orations on slavery and American race-relations with gags, street-banter and vibrantly contemporary musical illustration. Scott is visiting the UK with a resourceful sextet, including his vocalist wife, Isadora Mendez-Scott, and rising star 19-year-old Elena Pinderhughes, the most exciting and creatively assured jazz flautist to have emerged in years.

Miles Davis, early New Orleans brass exhortations, Latin music, neo-soul and Radiohead all influence Scott, and his Jazz Cafe set cannily balanced all these and more. He opened with New Orleanian Love Song – inspired by stories of early collaborations between Native Americans and black slaves. An intro of staccato motifs and rumbling percussion developed into an Afro-Latin pulse with tight flute-brass dialogues, and a slow soul-anthem, mimicked by the crowd. The Latin-inflected twister Jihad Joe cruised for a while on the deft riffing of pianist Lawrence Fields, bassist Kris Funn and drummer Corey Fonville before the leader began swerving between flaring New Orleans-inspired outbursts and more cryptic, electric-Miles phrasing. The reflectiveness of Thom Yorke's The Eraser brought a mix of windy swoops and flawlessly timed runs from Pinderhughes. Mendez-Scott then returned for a patiently imploring R&B vocal embroidered by the soul-sax alto of Braxton Cook, and Ku-Klux Klan Police Department, with its tension between soft horn harmonies and urgent percussion, brought exhortatory fierceness and darkly insinuating low sounds from Scott.

He talked too much for a 90-minute set – a luggage-transit glitch had lost several instruments, and probably made a hole in this new group's planned repertoire. But it's an independent outfit under very independent direction, and hopefully it can reconvene often enough to grow.