The Spirit of Latin was alive and well at the Fairmont Southampton Princess hotel on Friday night as the first of two concerts headlined by Texas-born conguero Poncho Sanchez and his band played to a large and enthusiastic audience, who clapped and soca-ed the night away to the infections rhythms of Latin jazz.

That Sanchez would deliver was never in doubt - he is, after all, an internationally famous musician and recording artist - but just how effectively he and his band did so was impressive, not just for the energy and drive of their music, but also for the superb musicianship with which it was executed. The three horns (Scott Martin on tenor sax, Francisco Torres on slide trombone, and Sal Criacchiholo on trumpet), for example, were so cohesive that they sounded like one instrument, and the versatility of the artists including Sanchez, as musicians and vocalists, made for great viewing and listening.

Although it took until 10.45 p.m. to hear the stars of the show, the wait was more than worth it for the sheer joy of experiencing such an outpouring of exotic rhythms, all exquisitely arranged and beautifully performed by acknowledged masters of their art.

The Sanchez band opened with the classic Latin jazz number, 'Yesterdays', whose solid beat hinted that there was plenty of good stuff ahead. I did feel sorry for the horn players, however, who looked less than enchanted with the contrived routine (one step forward, one step back!) which kept them moving whilst others played. Their talent was enough!

With Mongo Santamaria's '60s hit, 'Watermelon Man', which followed, came the unspoken word that we were not ticketholders but front row guests at a wonderful, fun party - and so it proved throughout the night. What made this number extra special was the inclusion of gifted Bermudian saxophone student Aaron Daniels, who stood tall, if not in stature then in talent, among the horns. Generously given his own solo run, the young man seized his moment and gave an excellent account of himself, earning a well deserved ovation in the process.

Sherkera (giant African gourds loosely covered in beaded netting) featured prominently and added a fascinating dimension to an Afro-Cuban jazz number whose Spanish title was unclear. Requiring great energy and dexterity to play, these instruments were twisted, turned and spun to compelling effect, both visually and aurally. Amazing, too, was bassist Tony Banda's use of feedback from the microphone to replicate the sound of his instrument on the gourd by rubbing its neck with his finger. Even Sanchez played a gourd, before the horns, bass, piano and percussion helped bring this fabulous piece to a close.

Homage to big band leaders included 'Count' Basie's 'Shiny Stockings', which incorporated great solos by Scott Martin on tenor sax and Papo Rodriguez on timbales, as well as Duke Ellington's 'In a Sentimental Mood', which was introduced by pianist and musical director David Torres, and quickly followed by slide trombonist Francisco Torres laying down the melody. This was a cool, bluesy number whose passages were highlighted by Sanchez on congas, Sal Criacciholo on muted trumpet, the shimmering cymbals of Rodriguez, and the filigree of Francisco Torres' trombone. Impressive in its elegance, this was a work which sat gentle on the mind - but not for long.

Taking the mood way up again was the invigorating 'Batiri Cha-Cha', a splendid number from Sanchez' new CD, which brought to bear all the combinations of instruments that make this band so good, and which again drew flocks of snappy salsa dancers to the floor to strut their stuff.

The cha-cha, 'Sambia', got the second half off to a flying start. Written by Marchito, one of New York's outstanding Cuban band leaders of the 1940s, and also incorporated on the new Sanchez CD, its very soul was plumbed and brought to vivid life by the deep, rich blending of instruments, with plenty of horn, steady use of the guiro (a notched gourd scraped with a stick), and with Sanchez and Banda on vocals.

Not surprisingly, 'Quires Volver' ('I Want You to Come Back') tugged at the emotions, its arrival announced by horns, and including a wonderful sax interlude, as well as some of the most beguiling piano passages of the night, whose notes fell like stardust. The Eddie Harris medley, 'Cold Duck Time' and 'Listen Here', was another winner which had the crowd a-jumpin' and the dance floor again packed with salsa dancers.

In 'From Now On', Scott Martin was heard on flute, providing further proof (though none was needed) that he is an outstanding musician. The bright, shrill voice of this instrument rode the thermals of the music like a soaring bird on a flight of fancy, carrying us with it on an incredible journey. When Sanchez said, "We're gonna groove" he wasn't kidding. With piano passages reminiscent of Ramsey Lewis' 'Walk on the Water', the penultimate piece took the genial Grammy winner back to his roots as a musician. The youngest of eleven children, he credits his older siblings with sowing the seeds of his future when they brought back home to Los Angeles the cha-cha-cha movement which was all the rage in New York.

Dynamic piano, a masterful and long sax solo - in fact, great performances all round - drove this number like a train, with wonderful thematic variations along the way, to a destination no-one wanted: the end. At first promising that, after a short break, we were all going to "groove some more", Sanchez was apparently given a signal to wind it up so instead, at 12.45 a.m., he announced that 'Son Son Cha Ra-Ri', would be the final number. And what an ending!

With his fellow musicians holding the fort, Sanchez cut loose on a "tour" of the stage. First he sang and played the maracas, and then moved back to launch into a mesmerising performance on timbales and cymbals, before finally returning "front and centre" to sing whilst playing the cow bell - all without missing a beat.

Not previously mentioned, but doing sterling work throughout, was George Ortiz on timbales and cowbells. If the band's wardrobe was "low budget casual," its music was high octane gorgeous, and promoter David Frost is to be commended for bringing one of the leading proponents of Latin jazz to Bermuda. 'Quires Volver' indeed!

To backtrack to the beginning, the event was expertly emceed by popular 'Downbeat' radio host, CJ, and opened by two groups of local salsa dancers, Latin Soul and Azuca, whose natty costumes and routines received a warm response from the audience. Nevertheless, they would have been more appropriately placed as an entr'acte between bands since a big international act really requires an equally professional opener, which Howard Rego's Caribbean Project - third on the programme - was clearly well equipped to provide.

This group, combining some of the finest professional musicians living here - Milt Robinson (guitar), Toni Bari (keyboards), Burt Rodney (bass), Steve Dupre (steel pans), Roosevelt Antoine (percussion), George Kezas (tenor sax), and Mr. Rego (drums) - has an exciting repertoire, the beauty of which lies in the fact that much of it is original material written by the very talented Mr. Robinson. His numbers, like 'Double Hibiscus', 'It Could Happen', 'Another Time', and the glorious 'Into the Light', to name a few, were truly magical, and well received. This is a combo which really cooks, and it seems it is on to something big. For those who missed it, the good news is that a CD is coming.

All in all, this was a memorable evening's entertainment, marred only by an unprofessional 40-minute delay in starting. Surely we should be well past the stage where patrons are kept standing outside a venue while sound checks are completed. The time is also overdue for those who wander around socialising during indoor performances to realise they are no longer in a park and need to show more respect for artists and serious listeners alike.