Nubya Garcia @ Òran Mór, Glasgow, 3 Mar

Tonight's show gets off on the most serene footing possible courtesy of Marysia Osu's ethereal harp-playing. But as she starts to loop her playing and layer in beats (heavy on the bass), her arrangements grow in intensity and intricacy. For a few songs she's joined by YUIS on flute, a perfectly complementary pairing, especially on songs like memento mori. Good thing she managed to recover her harp after leaving it on the train over from Edinburgh...

It's dark down in the Òran Mór basement, but not dark enough to stop Nubya Garcia wearing sharp sunglasses, earning extra jazz points even if her range of vision takes a hit. She opens with Dawn, the first song from last year's brilliant Odyssey, and immediately displays her democratic bandleading principles. Her name might be the one on the posters, but her crack band all get ample time to shine tonight. Lyle Burton on keys (also part of Nala Sinephro's band) gets a vamping solo even ahead of Garcia herself and establishes his ability early on; his exploratory, quickfire notes almost make you forget we're missing Esperanza Spalding's vocals.

Drummer Sam Jones seizes the spotlight on Solstice with a loose, cascading solo that's heavy on snare and light on fucks given. Each player has a confidence that clearly belies trust in Garcia's overarching vision and no matter how often they sketch outside the lines, they're always able to rein it back with metronomic precision when called upon. Max Luthert on double bass completes the quartet and although he gets less solo time (barring a cracker on We Walk In Gold), his steady, wandering bass is often the guiding force keeping the rest on point.

But it's obviously Garcia who is the focal point. Her tenor saxophone playing is a glory to behold. She can trill up and down notes with a seamless grace like Cannonball Adderley, caress a melody with a light crispness that harks back to a pre-bossa nova Stan Getz, or even ring out improvisatory shrieks with the power of Sonny Rollins or Pharoah Sanders. On Odyssey, themes are made explicit with vocals and the excursions into dub, R'n'B or string sections all add up to a richly produced sensation. But live, these songs are stripped back and set free; they're wild and unpredictable and you're as likely to find skittering drums approximating UK Garage (Lean In) as you are extended saxophone runs that leave the audience gasping for air while Garcia just dances it off.

Triumphance caps off a special performance that even gets some of the reticent crowd moving, which Garcia precedes with a rambling but endearing speech about Scotland, music and whatever random thoughts pop into her head. With her calm, cool demeanour and superlative arranging and playing, it's easy to see why she's carved out a spot right at the top of the consistently brilliant London jazz scene.