For a vocalist of modest range who mostly avoids holding a note above the level of a sigh, Brazilian singer Monica Vasconcelos makes a lot of music. An unassumingly magnetic Sao Paulo expat, she appreciates better than most jazz-samba whisperers the necessary dominance of the groove. She combines subtle timing, the purring tonalities of Portuguese and a restrained vocal percussiveness to convey the hot-breeze sensuality of Brazilian dance rhythms. And with her recent album Oferenda, she has also explored a harder-hitting, contemporary funky feel.

Vasconcelos was with a group that emphasised her capacity for understatement: Ingrid Laubrock's saxophones, Ife Tolentino's acoustic guitar and Chris Wells's drums. At times, the low-key delicacies drifted close to evaporation but, at its most vivid, the music was a true ensemble performance, a balance of pulse, melody and occasional counterpoint.

Laubrock's alto and soprano sax were self-effacingly attuned to the groove, the instrument sometimes evolving into the voice while the singer's canny timing absorbed her into the rhythm section. Laubrock's solos of softly explosive accents, sudden whirlpools of sound and yearning long notes coloured almost every song. But if her work was yielding for most of the set, she was buoyant on soprano on a playful uptempo swinger, and curled solicitously around Vasconcelos's vocals on a graceful mid-tempo Wells original. Tolentino supplied a tireless flow of rhythmic harmony, and added sparing sound-effects, including some engaging rubbed-string bird-calls, and Wells was both the classic shuffling jazz-samba undertow and rattly, inventively disruptive, more contemporary presence. A slightly tentative Vasconcelos show but, as ever, making a lot out of little.