Beady Belle and Farvel inaugurate Wesseltoft's Kings Place residency

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Bugge Wesseltoft's Kings Place residency began with a night celebrating 20 years of his Jazzland Recordings featuring two of the label's flagship acts.

Formed in 2010, Isabel Sörling's Farvel is one of the label's more recent signings and has been winning awards across Scandinavia, but this was its first visit to the UK. The sextet opened with 'Mörka Hav' (Dark Sea), in which a persistent bass and piano tremolo was punctuated by drifting, pulseless melodies, depicting the claustrophobic sensation of drowning in insomnia. Sörling's voice soared above the texture, showcasing her extensive range and facility with different techniques and electronic effects. Sometimes breaking into pop-tinged tones redolent of Susanne Sundfør, elsewhere Sörling would probe the extremes of her range to serve the wider contemporary textures of the group. 'Rök', the title track of Farvel's 2015 album, translates as smoke, but Sörling uses the word to create a metaphor for the physical sensations of anxiety. Over a quietly insistent ostinato, Sörling shared unison melodies with Otis Sandsjö on tenor and trumpeter Kim Aksnes, their lines twisting and turning – one moment angular and dissonant, the next leaping higher and brightening. Despite Alfred Lorinius losing the E string of his bass halfway through the set (with no replacement in the building), Farvel maintained a compelling exploration of their distinct and unpredictable sonic world.

After the interval came singer Beate S. Lech – more commonly known as Beady Belle – accompanied by Wesseltoft on piano, Christian Meaas Svendsen (bass) and Gregory Hutchinson (drums). One of Wesseltoft's earliest Jazzland signings, Lech certainly demonstrated the vocal firepower at her disposal, but the set never really took off. 'Marbles' and 'Castle' felt harmonically and rhythmically unadventurous, and too often the lyrics of 'On My Own' strayed into cliché. By contrast, 'Ghosts' – Beade Belle's first single back in 2001– still sounded fresh, with the catchy central hook and drum'n'bass groove imaginatively transformed in the hands of the trio.

– Jon Carvell
– Tim Dickeson

Mingus Underground Octet rock the Ropetackle Centre

"Come on, you motherf*****rs!" roars an imposing six-foot clown in white make-up and gold epaulettes while a suitably testosterone-fuelled brass section punctuate his spoken word with punchy, sharp retorts. Welcome to the jazz circus... and emotionally you are in for a true roller-coaster ride.

A cornucopia of live performance assaults the senses in tonight's exploration of the work and art of Charles Mingus, whose album Ah Um is a record collection staple on a par with Kind of Blue.

The Octet, brainchild of bandleader Andy Pickett, formed in 2014, clearly enjoy bringing out the sheer fun, modernity, energy and accessibility of the music. Double bassist Terry Pack , makes the bass in 'Haitian Fight Song' alternately sing and groan. On Fables of Faubus, this takes on a more isolated, alienated tone – perhaps like the anti-establishment Mingus himself.

Trombonist Mark Bassey proves himself a dry-witted frontman, making his bandmates mime Pithecanthropus Erectus to much audience laughter. His pacy, direct and communicative approach, together with Rob Leake's quixotic baritone sax and Sam Miles' assertive tenor sax solos, accent and illustrate each musical and lyrical story, while Milo Fell's drumming drives the dramatic tension.

The well-known 'Goodbye Pork Pie Hat' , is a lovely, mellow reflection, arranged by pianist David Beebee, as is the Pickett-arranged 'Reincarnation.' Trumpeter Martijn van Galen, spices up the evening with lounge-lizard passion, heat, brightness and a certain seediness.

As the improvisational cues are passed to each band member, these musicians somehow manage to stay true to the original Mingus recordings while finding their own voices within the music's framework: no mean feat. They have an insatiable desire to create music. Catch them at the South Coast Jazz in January 2017. If you don't like jazz, you will by the end of the show.

– Jasmine Sharif

An Evening For Jack: A Celebration of the Life & Music of Jack Bruce

A thunder of Afro-Jazz drums roared across the stage during the climactic highlight of a remarkable all-star show, dedicated to the memory of the late Jack Bruce. Former Cream team mate Peter 'Ginger' Baker provided the unique drumming tribute and his presence was all the more welcome, given the circumstances.

Just moments before I was due to announce Ginger's arrival, in my role as guest M.C. Malcolm Bruce, Jack's son who had organised the event with tireless devotion, confided that the legendary drummer was recovering from a recent heart operation. It was touch and go if he could perform. But Baker was determined to please the cheering crowds at the packed-out charity concert. He went on stage to explain his health issues and promised to play a solo, even if he couldn't join in with the vast array of fellow musicians, assembled to play Jack's most memorable songs.

He was accompanied on congas by Ghanaian friend Abass DoDoo and together they unleashed a jubilant barrage of polyrhythms. Ginger fiercely attacked his snare drum and tom toms with the same kind of passion seen for the first time playing with a blues band at the 1962 Richmond Jazz Festival. There had been hours of rehearsal both at the Empire during the afternoon and at John Henry's studios the day before. So, there was tension in the air when guitarists and bass players desperately sought extra leads and microphones and singers patiently waited hours (in some cases) for their turn to sing their one number. Malcolm, who also played bass and keyboards, was kept busy dealing with panic demands, trying to keep the star guests happy and organise the lengthy set list.

The show was full of surprises, like Pete Brown, Jack's erstwhile co-composer, singing 'Politician' with unexpected power and range. The rhythm section was variously beefed up by the indefatigable Gary ('I feel like I've played two shows already!) Husband, the blistering Dennis Chambers and cheery ex-Mountain sticksman Corky Laing. On bass guitars were Jeff Berlin, Mo Foster, Neil Murray and Trevor Horn, the latter on 'Out Into The Fields' and 'Without A Word'. Clem Clempson, a tower of strength on lead guitar, was supplemented by Steve Hackett who played the kind of blues never heard on 'Supper's Ready.' It was also a delight to welcome Micky Moody, Chris Spedding and Mick Taylor on guitars, Mick soloing on an explosive 'White Room' with Terry Reid taking the lead vocals, Malcolm followed in father's footsteps to play bass on Cream favourite 'Spoonful' joined by Judd Lander on harmonica, Steve Hackett and dynamite singer Nathan James, whose stunning performance encouraged Pete Brown to gasp 'Eat your heart out Robert Plant!'

Amid all this mayhem were hard working brass and string players including the dreadlocked Callum Ingram on cello, who drew applause for his vigorous playing, even during the rehearsal. Many fine female vocalists joined the fray notably singer song writer, Eddi Reader, Maggie Reilly and Jack's granddaughter Maya Sage. Biggest shock though was Lulu's appearance in trilby hat and dark glasses, giving a splendid version of 'Sunshine of Your Love' with Clem on guitar and Chambers hammering out the famed Baker-esque tom tom rhythm. Even so, it was Mr. Baker's own appearance that brought the most emotional moments. If Jack Bruce had been looking down, I'm sure he'd have grinned and said 'Ginger...you're playing too loud!'

– Chris Welch

Andrew Bain's Embodied Hope Quartet deal in wish fulfilment at The Verdict

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Andrew Bain is a truly transatlantic talent, dividing his time between Manhattan and Birmingham UK, with an impressive list of musical and educational attainments behind him. Tonight he's here with his all-American quartet to showcase a brand new opus, underpinned by some weighty philosophical ideas borrowed from a book entitled The Fierce Urgency Of Now that links ideas of musical improvisation to struggles for social change. 'Fierce Urgency' is a perfect description of the opening number – an extended, surgingly romantic rubato with George Colligan's rippling piano and Bain's restless drumming maintaining an exhausting intensity, exhorting Jon Irabagon's saxophone to ever greater heights over Michael Janisch's resonant bowed bass. It's a mixture of the free and the lyrical that recalls Jarrett's American quartet of the 1970s. Then there's a typically wide-ranging solo excursion from Janisch, from which emerges a staccato 7/8 line, that doesn't seem to truly settle until the band hit a fat 4/4 swing and Colligan takes off on a solo of seemingly limitless power and inventiveness. Irabagon shows why he's been constantly topping polls in the US – unfazed by the fastest tempo, slightly ahead of the beat, he can deliver a torrent of the most contemporary language, but tempers it with an attractive mellowness lurking within his diamond-hard, centered tone.

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We're being treated to musical interpretations of the seven necessary aspects of embodied hope, as laid down by the guys behind the Fierce Urgency book, and the next offering is another seven metre – a funk with a blues-inflected line reminiscent of Eddie Harris. It's smoking hot solos all round on this one as it breaks into a swinging extended-blues form, but Janisch probably takes the laurels for a staggeringly virtuosic display that leaves no part of the fingerboard unexplored. 'Hope' itself is a celebratory, uplifting melody, developing from a single pulsing note. Bain, his lanky form splayed behind the kit, abandons himself completely to the music, eyes closed and head thrust forward, the picture of transported absorption. His playing is powerful and instantly responsive, and he matches his bandmates in the pinpoint rhythmic accuracy for which New York players are renowned. There's a certain gawky awkwardness to his musical persona – it's probably fair to say that he's not really a groove guy, but the sheer energy of his polyrhythmic flow keeps the music surging forwards.

The second set offers us 'Surprise", a thrilling breakneck-speed slice of swing with Irabagon and Colligan vying for solo honours with superb performances, and 'Listening', a real tour de force going from eerie free explorations to latin-tinged free-bop and some high-energy drum trades. This is an outstanding band with seemingly bottomless reserves of energy and excitement and a strong concept driving the leader – the upcoming recording session should yield some explosive results.

– Eddie Myer

Gonzalo Rubalcaba and Mark Dresser suitably masterful at Umea's Swedish summit

In 1968, the inaugural year of the Umea Jazz Festival in Sweden, an all-conquering cohort of six-string heroes were wiring Fenders and Gibsons into the frontal cortex of popular culture, the ongoing brainwaves of which can be seen in the truly astounding Guitar Museum that is around the corner from the multi-purpose Folkets Huus, whose several auditoriums host some 45 gigs in four days. Fittingly, two guitar-led groups, of which Jimi, Chuck B and Bo D would have been proud, capture the imagination. Norway's Hedvig Mollestad consolidates her growing reputation with a set that builds effectively on the classic power trio template, mixing hefty Led Zep-ish backbeats with slaloming unison riffs and bursts of quite wildly crackling distortion.

Sweden's Susanna Risberg, also opting for a drums and bass accompaniment, couldn't strike a greater contrast, and stakes a strong claim as a potentially significant new arrival in contemporary jazz. Two years ago she impressed at a Jazzahead showcase and she has since grown as a soloist and composer. Many of her pieces have pleasingly askew melodic lines and rhythmic frameworks that shift between the dynamic and static, introducing welcome subtleties into moments when the improvisations reach fever pitch. Risberg has some of the piercing, steely tonal richness of maverick players in the mould of Gábor Szabó, and she deconstructs themes with an eye-of-the-needle precision, finding myriad phrasal variations, often in volleys of quicksilver sixteenth notes, while keeping tight on the pulse of the music. There is also a subversive streak in her personality that draws attention, above all when she takes time to point out that a newly commissioned set of songs is dedicated to African nations as a result of her discovering more about the ghastly realities of colonialism.

A special showcase of Young Nordic Jazz Comets is a strong sign that Risberg's generation has much to offer and groups from Finland (Ok:Ko), Denmark (Dyberg/Balvig/Nesheim/Kovacs), Estonia (Anna & Solvi) and Sweden (Daniel & Dundret) all show promise to varying degrees, perhaps with Norway's potent Megalodon Collective making the biggest splash by way of a bulky two-drummer rhythm section and rhapsodic Ra-like horns. To a certain extent a loose summary of all of the above comes courtesy of a pan-Scandinavian ensemble led by a veteran with a strong stage presence: Marilyn Mazur. Her Shamania ensemble blends elements of ritual theatre, dance and predominantly African rhythms laced with a sprite-like humour, and though some of the arrangements are a touch overwrought, the energy is engrossing.

Among the other big names on the bill the pick of the bunch is the outstanding Cuban pianist Gonzalo Rubalcaba (pictured top) whose American quartet, bolstered by the presence of New York-based British alto saxophonist Will Vinson is imperious, playing a Charlie Haden tribute that captures the particular quality of soulful, shadowy lament that pervaded much of the music of the late American (and former Rubalcaba collaborator). The pianist's sound, created both by his articulation and masterful manipulation of pedals, bewitches at times, as does his ornate phrasing and interaction with a fine rhythm section anchored by drummer Jeff Ballard and bassist Matt Brewer. Not all of the headliners deliver as convincingly though. Norwegian trumpeter Matthias Eick's Midwest project is a languorous trawl through a kind of Nordic Americana that is disappointingly formulaic and Swedish electric combo Mats/Morgan's collaboration with the Norrlands Operans Symphony Orchestra does not make judicious use of the significant resources on show. Quite surprisingly, the same can be said of Norwegian pianist-producer Bugge Wesseltoft, whose celebration of 20 years of his highly-influential Jazzland label is a strangely muted affair in which the young talents to which he generously gives a platform shine individually without quite combusting as an ensemble. As is the case with Eick, a very basic failing is a lack of variety in tempo that is compounded by song structures that lean towards sketch rather than fully-fledged arrangement. There is a decisive change in the energy of the room when the pace picks up and the band is emboldened to groove with previously unheard vigour.

The most adventurous piece of programming from artistic director Lennart Strömbäck provides an object lesson in how to do just that and the artist in question is playing solo. American bassist-composer Mark Dresser is a master player whose rhythmic ingenuity – I think of the unforgettable set he played with Andrew Cyrille and Marty Ehrlich at the old Vortex way back when – and conceptual verve leave the audience rapt. His command of a purpose-built bass with a slightly trebly tone that is anything but flimsy is superlative, especially as he is able to draw a kind of vivid organic reverb on some notes by means of his attack. Dresser's sonic creativity goes to another level when he places a metal clamp with long spikes protruding like antenna on the bridge of the bass. It lends a unique mbira-like quality to his timbres, and although not a plugged-in wah wah pedal it still has enough richness to warrant a place in the nearby Guitar Museum. Hendrix would have been charmed. The legacy of black music in Sweden, though, is more direct, certainly when one thinks of the impact that was made by Don Cherry in the 1970s. Umea maintains an intelligent link to a range of exciting voices from America, Europe, Africa and beyond.

– Kevin Le Gendre
– Photo by Melina-Hägglund

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Hosted in the city’s Cultural Centre and featuring a line-up...

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 Cuban Mela fires up at Camden Forge

Cuban Mela fires up at Camden Forge

The Cuban Mela was inarguably the LJF’s most vibrant closing...

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Terri Lyne Carrington and Charenee Wade hit celebratory soulful groove down at Ronnie Scott’s

Terri Lyne Carrington and Charenee Wade …

If there is such a thing as the short straw...

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Liane Carroll Trio wraps up LJF in fine style at 606

Liane Carroll Trio wraps up LJF in fine …

  Consummate performer and every singer’s vocal idol, Liane Carroll, sidles...

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James Pearson and WordTheatre presents ‘And All That Jazz’

James Pearson and WordTheatre presents ‘…

WordTheatre, a company specialising in live readings of stories by...

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Sam Braysher, Nick Costley-White, The Dixie Ticklers with Johnny Mars set sail at Jazz Nursery

Sam Braysher, Nick Costley-White, The Di…

The Jazz Nursery, set aboard a magnificent replica of Sir...

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Simon Spillett plays up a storm for Foyles launch of Tubby Hayes – A Man in a Hurry

Simon Spillett plays up a storm for Foyl…

Last Thursday saw the launch of the Tubby Hayes documentary...

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Legends gather in somber tribute to Kenny Wheeler at Cadogan Hall

Legends gather in somber tribute to Kenn…

We were promised a smorgasbord of jazz royalty at this...

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Cécile McLorin Salvant draws on the past to captivate at Cadogan Hall

Cécile McLorin Salvant draws on the past…

After a lovely low-key opening set from Femi Temowo, featuring...

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Alto Sax Reigns Supreme At Belgrade Jazz Fest

Alto Sax Reigns Supreme At Belgrade Jazz…

The theme at this year’s Belgrade Jazz Festival was ‘The...

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Hiatus Kaiyote bring cutting edge future-soul to The Concorde

Hiatus Kaiyote bring cutting edge future…

There’s a crush of boho twentysomethings up against Brighton’s Concorde...

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Steve Smith grooves hard with Vital Information NYC at Ronnie Scott’s

Steve Smith grooves hard with Vital Info…

It was the early 1990s when this writer first discovered...

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Knoel Scott takes on tradition at the 100 Club

Knoel Scott takes on tradition at the 10…

If walls could talk then the 100 Club, squeezed between...

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Hypnotised by Hindi Zahra at London's Elgar Room

Hypnotised by Hindi Zahra at London's El…

Given the limitless ocean of music in which the world...

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Turning up the heat at the Tampere Jazz Happening

Turning up the heat at the Tampere Jazz …

Festival directors often have to unhitch hitches right in the...

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Elephant9 turn up the voltage at Electric Brixton

Elephant9 turn up the voltage at Electri…

While Elephant9’s recent studio sets might’ve inaugurated amassing embroideries of...

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Marcos Valle Makes Do At The Brooklyn Bowl

Marcos Valle Makes Do At The Brooklyn Bo…

When taking an evening to see a true legend of...

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Brian Auger’s Oblivion Express Reunite With Jim Mullen At The Jazz Cafe

Brian Auger’s Oblivion Express Reunite W…

It had been forty years since the legendary Jim Mullen...

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Sheryl Bailey gets playful and virtuosic at the Bull’s Head

Sheryl Bailey gets playful and virtuosic…

Sheryl Bailey, one of New York’s foremost guitarists and now...

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Salzburg swings to Jazz & The City

Salzburg swings to Jazz & The City

Austria’s place in the jazz firmament has been well established...

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Vula Viel Launch Good is Good to a rapturous Rich Mix

Vula Viel Launch Good is Good to a raptu…

Last time Jazzwise took an evening to see Bex Burch’s...

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Sheryl Bailey Quartet get Swinging at 606

Sheryl Bailey Quartet get Swinging at 60…

There is a significant coterie of jazz fans that come...

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Leroy Jones Quintet get Soho swinging in style

Leroy Jones Quintet get Soho swinging in…

Three nights in to his five-night stay at Pizza Express...

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Liane Carroll dazzles with vintage performance at Celebrate Voice Festival

Liane Carroll dazzles with vintage perfo…

Liane Carroll celebrated, life, jazz and the unrestrained joy of...

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Huw V Williams’ Hon storms The Vortex

Huw V Williams’ Hon storms The Vortex

On a rainy evening in Dalston, 21 October – ‘Back...

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Bill Frisell bewitches with Strings at Ronnie Scott’s

Bill Frisell bewitches with Strings at R…

It’s a great recipe: take a string quartet line-up, dispense...

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Mark Guiliana Jazz Quartet digs deep at Ronnie Scott’s

Mark Guiliana Jazz Quartet digs deep at …

For the first time in eleven years, leading US drummer...

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Joel Harrison Quartet get cooking at Pizza Express

Joel Harrison Quartet get cooking at Piz…

The advance billing might have suggested a Joel Harrison solo...

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Aaron Parks Trio goes Zen at Kings Place

Aaron Parks Trio goes Zen at Kings Place…

I’m writing this with one eye on an article about...

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Beat poetry meets backbeats with Barry Wallenstein and Mike Hobart’s Urban Jazz Collective at Vortex

Beat poetry meets backbeats with Barry W…

New York beat poet Barry Wallenstein joined Mike Hobart’s Urban...

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Brighton Alternative Jazz Festival blasts off with Birchall, Brand and more

Brighton Alternative Jazz Festival blast…

With its emphasis on adventurous programming and bids to redress...

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Dave Drake and Riley Stone-Lonergan offer an enthralling glimpse of the future

Dave Drake and Riley Stone-Lonergan offe…

 Anyone bold or foolhardy enough to essay a career in...

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Bobby Wellins brings bright-eyed energy to the Verdict

Bobby Wellins brings bright-eyed energy …

Bobby Wellins is unique; a near contemporary of Rollins, Shorter...

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Stan Sulzmann Quartet weaves wonders at The Vortex

Stan Sulzmann Quartet weaves wonders at …

Stan Sulzmann stepped in for an indisposed Bobby Wellins on Saturday...

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Phronesis, Tingvall and Marsalis power up at Palatia Jazz Festival

Phronesis, Tingvall and Marsalis power u…

The two evenings that we visited the Palatia Jazz Festival...

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Fletch’s Brew whip up an Electric Stew at the Vortex

Fletch’s Brew whip up an Electric Stew a…

As Fletch’s Brew steamed through two sets at the Vortex...

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Robert Glasper Trio digs deep at The Hub, Edinburgh

Robert Glasper Trio digs deep at The Hub…

As the audience waits for the Robert Glasper Trio to...

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Steve Fishwick Trio Out To Lunch at Cadogan Hall, London

Steve Fishwick Trio Out To Lunch at Cado…

I’m tempted to paraphrase the old musician’s joke about not...

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Mark Guiliana, Matt Brewer and John Escreet unlock jazz’s secrets in Siena

Mark Guiliana, Matt Brewer and John Escr…

Such is the quite breathtaking beauty of one of Italy’s...

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Bennett and Gaga, Snarky Puppy and The Bad Plus/Joshua Redman top triumphant Umbria Jazz Festival

Bennett and Gaga, Snarky Puppy and The B…

Umbria Jazz is a brand and like all brands it’s...

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Avishai Cohen and Marcus Miller burn in the heat of Jazz á Vienne

Avishai Cohen and Marcus Miller burn in …

  One of the biggest French summer Festivals enjoyed the hottest...

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Brad Shepik’s Trio explore a Changing Climate

Brad Shepik’s Trio explore a Changing Cl…

Guitarist and educator Brad Shepik’s compositions have attracted sufficient attention...

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Zara McFarlane stretches out at Pizza Express Jazz Club, Soho

Zara McFarlane stretches out at Pizza Ex…

Singer and composer Zara McFarlane played to sold-out crowds at...

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Nigel Price Organ Trio 25 July 2015, Kings Place

Nigel Price Organ Trio 25 July 2015, Kin…

  In Michael Chabon’s 2012 novel Telegraph Avenue, the fictitious jazz...

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A party atmosphere reigns supreme at Jazz à Vienne 2015

A party atmosphere reigns supreme at Jaz…

One of the biggest French summer Festivals enjoyed the hottest...

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Soweto Kinch and Kurt Elling hit the heights at the Malta Jazz Festival

Soweto Kinch and Kurt Elling hit the hei…

Soweto Kinch’s gig is nearing its climax when he finds...

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The cerebral meets the popular at the Rigas Ritmi Festival in Latvia

The cerebral meets the popular at the Ri…

As Ramon Valle explains, the Ritmi in the title of...

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Swanage Jazz Fest swings hard with Jean Tousaint’s Art Blakey Sextet

Swanage Jazz Fest swings hard with Jean …

Swanage’s format is well-established and well-understood. A marquee each for...

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Jason Moran, Justin Kauflin and D’Angelo shine at Montreux Jazz Festival

Jason Moran, Justin Kauflin and D’Angelo…

Thomas Rees is swept away by glamour, history and stand...

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Ant Law Quintet zero in at The Verdict, Brighton

Ant Law Quintet zero in at The Verdict, …

It’s been a scant 18 months since Ant Law played...

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Mammoth 36th Montreal jazz round-up with Lovano, Cullum, Mammal Hands, Abdullah Ibrahim among the highlights

Mammoth 36th Montreal jazz round-up with…

Each visit there are switcheroos at the goliath Montreal Jazz...

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Sly & Robbie with Nils Petter Molvaer create blissful ‘Nordub’ at Barbican

Sly & Robbie with Nils Petter Molvae…

A meeting of the world’s greatest rhythm section, two progressive...

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Average White Band Jarrod Lawson get the Rio funking at Glasgow Jazz Festival

Average White Band Jarrod Lawson get the…

Although the concert hall experience is a major part of...

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Manu Katché and Dado Moroni  get Bari in Jazz bopping

Manu Katché and Dado Moroni get Bari in…

This year’s edition of Bari in Jazz marked a transition...

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Black Top funk up Freedom: The Art Of Improvisation Festival

Black Top funk up Freedom: The Art Of Im…

“Yes… central heating.” These words from Cleveland Watkiss, closing Black...

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Joe Stilgoe goes Big Band at The Old Vic for album launch

Joe Stilgoe goes Big Band at The Old Vic…

A packed venue, atmospheric lighting, crystal clear sound and the...

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Ivo Neame Quintet leap into the Strata at The Verdict, Brighton

Ivo Neame Quintet leap into the Strata a…

His highest profile work so far may have been with...

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Grand Bal Swing: The Espirit Jazz Big Band swing the Irish Cultural Centre, Paris

Grand Bal Swing: The Espirit Jazz Big Ba…

On their arrival at the Irish Cultural Centre in Paris...

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Tommy Smith and Brian Kellock dynamic duo at The Verdict Brighton

Tommy Smith and Brian Kellock dynamic du…

A happy accident of international flight scheduling has brought Tommy...

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Dee Dee Bridgewater and Stacey Kent get down in the docks at Elbjazz Festival

Dee Dee Bridgewater and Stacey Kent get …

Elbjazz is defined by a deep sense of place, enticing...

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VEIN and Dave Liebman get serious at the Vortex

VEIN and Dave Liebman get serious at the…

A lemur with a life ring, a mock political campaign...

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Get the Blessing, John Taylor and Darius Brubeck headline vibrant Amser Jazz Time Festival

Get the Blessing, John Taylor and Darius…

Now firmly established on the jazz festival calendar the Amser...

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The Printmakers leave their mark at Pizza Express Jazz Club

The Printmakers leave their mark at Pizz…

The cellar of Pizza Express Jazz Club, Dean Street was...

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Carleen Anderson and Julian Joseph pay tribute to Sarah Vaughan

Carleen Anderson and Julian Joseph pay t…

The faded victoriana of Brighton’s Theatre Royal provides a suitable...

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Nigel Thomas Quartet and Paul Booth shine at Brighton Festival

Nigel Thomas Quartet and Paul Booth shin…

Some jazz musicians achieve a place in the limelight; some...

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