You might think a crowded Ronnie Scott's is no place for a violin player who includes Faure's Pavanne in her repertoire, and often takes the volume below the sound-level of people checking in their bags - but the Detroit virtuoso Regina Carter is one of those performers who is so clearly in charge, people freeze, drinks still halfway to their mouths, when she plays.

Carter is comfortable with everything from funk to Stephane Grappelli swing to symphonic music. Her favourite Black Orpheus theme appears early in the show, and she performs Faure's lilting Pavanne with much the same affection. Alongside them come salutes to bebop with a racing melody of Lucky Thompson's, and a vivacious Latin account of Softly as in a Morning Sunrise.

Playing opposite Carter this week is the sharp hard-bop group led by trumpeter Damon Brown, with sidekick Ed Jones on tenor sax. Brown's glossy sound and agile improvising, and Jones' grainier, Coltrane-influenced sound balance each other well, and the band maintains the appropriate laid-back intensity for the style.

Carter opened with just the sound of shakers and a quiet bass riff, played the Black Orpheus theme, and retired to let pianist Rick Germanson spin a glistening solo. Carter returned with a solo, from hushed whispers to high notes, trills and bluesy chords, winding the piece up with a percussion/drums exchange between Gilad Debrecky and Alvester Garnett.

Germanson hit chord-pounding mode in the Thompson bop swinger, and Carter opened her solo pizzicato sounding like a guitar player. Latin music found its way in into the Faure piece via Germanson, and drove Softly As in a Morning Sunrise, which ended with a firework display of percussion. Attention to detail is Carter's real strength, but an engaging impulsiveness always counterbalances any formality.

· Until Saturday. Tickets: 020-7439 0747.