The first tranche of names to appear across the Love Supreme Jazz Festival weekend, which runs from Friday 29 June to Sunday 1 July, have been confirmed and include heavyweight jazz trio Crosscurrents (featuring Zakir Hussain, Dave Holland and Chris Potter), groove-titan George Clinton and Parliament-Funkadelic plus jazz-influenced singer-songwriting legends Elvis Costello and Steve Winwood.

Set to build on its biggest year to date in 2017, which saw 40,000 people attend the festival over the weekend, 2018's edition looks equally diverse. Once again featuring big name headliners on the main stage such as soul-funk stars Earth, Wind & Fire, the wider programme includes Afrobeat drum legend Tony Allen and gospel vocal diva Mavis Staples, while the new wave of young UK jazz is showcased again with Moses Boyd Exodus, Ezra Collective, Zara McFarlane, Nubya Garcia, Yazz Ahmed and Alfa Mist all set to appear.

Rising international names also confirmed include trumpeter Keyon Harrold, soulful vocalist Curtis Harding, Malian desert-rockers Songhoy Blues and renowned soul singer PP Arnold. Further names added are the Mercury-nominated Portico Quartet, genre-hopping ex-Bombay Bicycle Club frontman Mr Jukes, LA neo-soul group Moonchld – and a very welcome appearance by soul-jazz vocal legend Dwight Trible with the Gondwana Orchestra. Additional names will be announced in Jazzwise, who are media partners for the event, in the coming weeks.

The popular Verve Jazz Lounge will once again host artist interviews, discussion panels and film screenings. There will also be a dedicated kids' area alongside swing dance lessons, a vintage funfair, the Lazy Bird long-table banqueting restaurant, family yoga sessions and many other on-site activities. Set in the picturesque South Downs in Glynde, there are full weekend camping and glamping tickets available now.

Mike Flynn

For more info visit www.lovesupremefestival.com

Roberts

US saxophonist and composer Matana Roberts, arguably best known for her confrontational series of Coin Coin releases, teams up with British sound artist/improviser Kelly Jayne Jones for a new live collaboration and tour, the first in an ongoing series organised by Outlands, a new national experimental music touring network.

Catch this exclusive alliance on the following dates: Cube Cinema, Bristol (4 May), Ghost Notes, London (9 May), De La Warr Pavilion, Bexhill (10 May), St Barnabas Church, Cambridge (11 May), MK Gallery, Milton Keynes (12 May), The House, Peninsula Arts, University Of Plymouth, Plymouth (17 May), Centrala Gallery, Birmingham (18 May), The Portico, Manchester (19 May) and Fuse Art Space, Bradford (20 May).

– Spencer Grady

For more details and ticket information visit www.outlands.network

Ella, Nina, Billie, Dee Dee – figures so distinguished that we can often get away with using first names only. If we're talking women in jazz, the powerful lyricism of these great vocalists is often the first thing on our minds. While some of these legends were also fine players, the instrumental side of female-led jazz would appear to be much more meagre. A somewhat distressing stat comes courtesy of Deirdre Cartwright, compere of this special night at 100 club: women constitute only 5-6% of jazz instrumentalists. It's an uphill struggle, and much more has to be done to get women engaged, in the crowd and especially on the stage.

That said, there are notable green shoots emerging from the UK landscape, aided by events like this and hopefully indicative of a new wave of female jazz artistry. To name but a few – Camilla George, Nubya Garcia, Yazz Ahmed and Nérija are some of the most exciting acts around, regardless of gender.

And it doesn't stop there. This event, organised by Help Musicians UK and Independent Venue Week, turned the spotlight to Helena Kay (above) winner of HMUK's Peter Whittingham award, and Jasmine Whalley (below), saxophonist for Leeds-born group 'Tête de Pois'. Kay leads her 'KIM Trio' assuredly – sharp, jaunty improvisation and telepathic interplay between sax, bass and drums. Tête de Pois have a Snarky Puppy-esque eclecticism to their approach. A rich sound emerges as seven talented musicians lob genres into the communal melting pot.

Tetes-de-pois-photo-Darren-Russell-011

One hitch was the absence of headliner Laura Jurd – afflicted by that uncommon but not unheard-of barrier to entry: food poisoning. She'll be back. Her band, led for the night by trumpeter Chris Batchelor, responded emphatically with a grooving run through some classic tunes. It's a shame that there weren't a few more female musicians performing, but those that did provided a great taster for what could, with more events like this, be a breakthrough year for women in jazz.

 – James Rybacki – @james_rybacki

– Photos by Darren Russell

The twin tenors tradition has a long history, stretching back to the cutting contests of Dexter Gordon and Wardell Gray and frequently revived by promoters with an eye to cashing in on the swaggering, macho appeal of the format. Twin tenors in a quartet, with no harmony instrument and only bass and drums backing, requires a collaborative rather than competitive mindset – tonight's gig is an object lesson in how two high-output creative minds can operate in the same sonic bailiwick without getting in each other's way.

'Hitchcock and Barford' may sound like the name of a respectably conservative gent's outfitters, but this is adventurous, risk-taking music. With no chordal instrument to tie them down, the twin frontliners are free to roam at will, pushing hard against the shifting rhythmic and harmonic boundaries sketched out by the endlessly creative team of Fergus Ireland on bass and James Maddren on drums – the latter's presence in a project seems increasingly to guarantee that something unusual will be going down. Both frontmen look so similar on the Verdict's dimly lit stage that the phrase 'twin tenors' might almost be taken literally, especially as they both seem to patronise the same optician, but when they take off to solo on a deconstruction of Jimmy Heath's 'CTA' the differences are as striking as the similarities. Hitchcock has the softer, more romantic tone – he moves effortlessly in and out of lightning fast, double-time runs, up into the highest register and out again, breaking the flow with short twisting phrases against the beat, reminiscent of, but not beholden to, the style of Mark Turner; Barford's tone is flintier, more unyielding, projecting out into the room; he slips between bop language and modernist abstraction like a true polyglot, his timing and phrasing always impeccable. It's a fascinating echo of the tough/tender tenor dichotomy that stretches back to Rollins/Coltrane, Young/Hawkins and beyond.

HitchBar LWorms 4

There are a number of questingly melodic originals by Hitchcock (above left) - 'A38' features the kind of loose-limbed polyrhythmic backbeat that Maddren specialises in underneath a striking, declamatory melody – and one by Barford (above) – 'The Highly Strung Trapeze Artist' – more austere, but no less rewarding, by contrast. Fergus Ireland on bass contributes a ballad suggestion – Nat Coles' 'Beautiful Moons Ago' – and his playing throughout illustrates why he's so in demand; with a simply awesome if unorthodox technique put in the service of a powerfully individual musical imagination, simultaneously grounding the harmony and sending it into unexpected directions, he's an inexhaustible creative powerhouse. 'Blues For JC' makes the expected venture into Ornette-ish territory, but what's striking about this band is the level of relaxed, good-humoured communication that's present to temper the tropes of the avante-garde – there'a a warm, inclusive spirit at work that doesn't compromise the fierce artistic vision, but permits a mellow, reverent reading of 'This I Dig Of You' that captures the lightness of the original, and a beautiful closing take on 'My Ideal'. Hitchock is busy leading his own band, and Barford has recently been in Real World Studios recording with Iain Ballamy in producer's chair, but let's hope that they both find time to reconvene this project in the studio some time soon.

– Eddie Myer

 – Photos by Lisa Wormsley

Jazzwise received this statement from Trudy Lister of Tomorrow's Warriors this morning regarding award-winning bassist Gary Crosby:

"Gary Crosby OBE, Artistic Director of Tomorrow's Warriors and Jazz Jamaica suffered a stroke on Monday 29 January just a few days after celebrating his birthday with family and friends.

Gary is in his local hospital after being seen by the team in the Hyper-Acute Stroke Unit in A&E (one of only eight such units in the whole of London) and within about an hour of arriving at the hospital, Gary was admitted to the Stroke Unit Ward.

Janine Irons MBE, Gary's partner and Managing Director of Tomorrow's Warriors said; "I can't express how grateful we are to the paramedics for getting us to the unit so promptly. The good news is: we caught the stroke early enough to avoid too much damage to the brain, and the medics expect Gary to make a full recovery within 4-6 weeks, provided he does his physio exercises and takes proper rest, and we'll be doing all we can to help him do just that.

Of course, this means we've had to clear Gary's diary for the whole of February and are having to think carefully about any dates in March, but time will tell. As far as our sessions at Southbank Centre and Rich Mix are concerned, we've pretty much got everything covered, as all members of the Tomorrow's Warriors team have stepped up to lend support.

Meantime, Gary has started a course of physiotherapy and, according to the Stroke Team, is making excellent progress. So we're reassured that, despite the shocking news, Gary is on the mend, in good hands, and confident he'll be back on his bass, cracking his old jokes, and putting our young musicians through their paces again very soon. Gary and I extend our warm thanks to all our family, friends, supporters and colleagues for their support and understanding at this challenging time."
Trudy Lister

Jazzwise wishes Gary a speedy recovery and a return to full strength.

For more info on Tomorrow's Warriors visit www.tomorrowswarriors.org

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