Having reopened its doors in January 2016, following a multi-million-pound refit by new owners The Columbo Group, Camden's Jazz Cafe marks its second anniversary year by continuing its strong jazz programming with a bumper crop of names throughout the summer and into autumn.

Chief among the many highlights are appearances by much-lauded piano luminary Vijay Iyer and his world-class Sextet (pictured above left, 8 Jul); nimble drum maestro Nate Smith (12 Jul) and a star-studded Indo jazz night with Upaj (Indian Jazz) with Sarathy Korwar and Yorkston Thorne Khan (13 Jul). Further essential nights include the welcome return of guitar maestro Julian Lage (above right, 17 Jul); the dub-heavy collaboration between Sly & Robbie and trumpeter Nils Petter Molvær (24 and 25 July) and emerging harp talent Tori Hansley, who plays the music of Alice Coltrane (28 Jul).

Early autumn nights worth catching include saxophonist Cassie Kinoshi's SEED Ensemble (2 Oct); iconic pianist/composer Carla Bley (30 Oct); Pat Metheny drum don Antonio Sanchez (23 Nov); ultra-hip US drummer Makaya McCraven (23 Nov) and fusion-funkateers Native Dancer Play Weather Report (8 Dec).

Mike Flynn

For full listings and tickets visit www.thejazzcafelondon.com

Jon-Hiseman

One of the UK's foremost drummers and bandleaders, Jon Hiseman, who founded the innovative and influential jazz-prog band Colosseum in 1968 and played extensively across the jazz, prog-rock and session worlds died from cancer on 12 June, aged 73. Coming from a jazz background, Hiseman first came to attention with the gifted but wayward pianist Mike Taylor on Taylor's Pendulum album in 1964, now one of the rarest and most valuable of all UK jazz albums. He recorded Neil Ardley's Western Reunion in 1965 and Trio with Mike Taylor in 1966 before his driving swing and hard-hitting solos caught the eye of the Graham Bond Organisation in 1966, where he replaced Ginger Baker who had departed to form Cream.

While with Bond, Hiseman also played sessions, including with The Crazy World of Arthur Brown, and formed a robust working relationship with saxophonist Dick Heckstall-Smith. The pair left to join John Mayall in 1968 at a pivotal time when the big-selling Mayall was refashioning his Bluesbreakers into a more jazz-rock orientated band as the British blues boom looked to expand its musical horizons. The subsequent album, Bare Wires, hit number three on the national album charts, but Hiseman and Heckstall-Smith were already plotting their next move. They left to form Colosseum, whose debut, For Those Who Are About To Die We Salute You, was released in 1969. Together with follow-up Valentyne Suite, it stands as a cornerstone of the then-burgeoning prog-rock and jazz-rock scenes on both sides of the Atlantic, as well as becoming a much sampled favourite of the acid-jazz generation. Hiseman's relentless work ethic also found him recording Peter Lemer's 1968 Local Colour album, which had a 50th anniversary reunion performance at Pizza Express Jazz Club in February 2018, as well as Jack Bruce's Things We Like and Songs For A Tailor.

Following Colosseum's break up in 1971, Hiseman formed Tempest with Allan Holdsworth and refigured Colosseum 11 in 1975 for three albums before extensive live and recording work with the United Jazz and Rock Ensemble and with his wife, saxophonist Barbara Thompson's Paraphernalia. Both he and Barbara opened a recording studio and produced a number of TV and film soundtracks, while he also produced and engineered albums by Nucleus and Keith Tippett, among others. A biography, Playing In The Band, written by Martyn Hanson was published in 2010 and Hiseman had recently formed a new prog-rock power trio, JCM, with former Colosseum alumni, Clem Clemson and Mark Clarke. The 50th reunion with Peter Lemer in February was a memorable night and saw a sold-out audience of fellow players and long-standing jazz industry names come to pay respect at what ultimately proved to be one of this outstanding drummer's final performances.

– Jon Newey

 Airto IMG by-Carl-Hyde

No greater sign of changing times comes than in this declaration: "The last time we were here I couldn't see the audience through the smoke. After the gig I'd hang my clothes out of the hotel window!" So quips vocalist Diana Purim to a wry smile from her father, bandleader, and Brazilian percussion legend Airto Moreira. The heyday of his annual residencies at the club does indeed reach back to the avant-smoking ban era, when the word Brexit had yet to enter the toxic haze of national discourse.

The lengthy hiatus between those early Millennial appearances of Airto's much-loved band, Fourth World, and now also shows physically. The 76-year-old is a more frail figure, moving gingerly to the stage with a slight stoop and speaking with a softer voice as he settles down at his station, a large table on which are stacked woodblocks, cowbells, shakers and whistles, with a couple of tom-toms and cymbals flanking him for good measure. The other members of the sextet, of which guitarist Jose Neto, is easily recognisable with his white axe and black bandana, quickly take up position.

They all look to Airto for the green light. Instantly, he takes command, punctuating the beat of 'Alué', the title-track of his first album recorded in Brazil for five decades with the kind of pinball sharp drum-patterns that convey the irresistible dance at the heart of Afro-samba, which is the soul of his music. Airto brought this vocabulary to the prime movers of American jazz, from Miles Davis to George Duke and Chick Corea, to whose group Return to Forever he made a vital contribution, alongside his wife Flora Purim. His graduation to a recording artist in his own right was cemented throughout the 1970s by albums such as Free, Fingers and Touching You...Touching Me. In other words, Airto has a vast repertoire on which to draw, and the songs in the first part of the set, particularly the gorgeous 'Misturada', stand up as real anthems insofar as they have a melodic richness to match the rhythmic intricacy associated with Latin music. Airto is playing a little less vigorously than in times passed, but that simply brings to attention the idiosyncrasy of his voice, a nasal, grainy timbre which he uses powerfully in wah-wah phrases and scat lines, to strengthen the percussive drive of the arrangements, and also heats to an impassioned scream that blends effectively with the higher pitches of saxophonist-flautist Vitor Alcantara.

Airto-band-Carl-Hyde

Drummer Carlos Ezequiel, bassist Sizao Machado and pianist-keyboardist Fabio Leandro form a nucleus that is strong and steady as the solos start to unfurl, particularly Neto's, which climaxes in hyperventilating, treble-time growls. Yet Airto's showpiece moment, where he stands alone on stage with just his pandheiro (tambourine) is still a roof-raiser. With brilliant dexterity he brings out bass and treble in the little instrument to evoke an earth tremor batucada, while his vocal chants are those of a man who understands that the carnival culture he embodies is one of liberation as well as exaltation. Fittingly, the set ends with the pulsating 'Tombo In 7/4', the celebration suite that made 1990s house music producers expose Moreira to worldwide audiences by way of the sample. The ecstatic reaction of the faithful here is a reminder that he is still an essential bridge between Africa, Europe and Brazil.

Kevin Le Gendre
Photos by Carl Hyde

The Harrogate International Festival, which has been running for over half a century, has a strong and eclectic line-up of jazz names all appearing within its splendid Spielgeltent venue as [art of the festival's music strand. Running from 29 June to 8 July in Harrogate's Crescent Gardens, the pop-up venue will host a wide range of UK and international jazz talent curated by MOBO-nominated singer-songwriter Ayanna Witter-Johnson (pictured), who'll also be performing a world premiere of a special commission (30 June).

Among the highlights will be fiery sax and drums duo Binker & Moses (2 July) who return with a storming live album, Alive In The East?, released on 22 June on Gearbox Records. Further concerts include the 1930-40s style swing of singer/guitarist Benoit Viellefon & His Hot Club (29 June); Dutch funk dynamos Tristan who blend acid jazz grooves with singer Evelyn Kallansee's soulful vocals (6 July) and award-winning bassist Misha Mullov-Abbado and his band performing music from their latest album Cross-Platform Interchange (8 July).

Mike Flynn

For full details visit www.harrogateinternationalfestivals.com

Voting is now open for the 2018 Parliamentary Jazz Awards, which will take place at PizzaExpress Live, Holborn in London on Tuesday 16 October 2018. Entries are open to anyone with the final deadline for entries set for 12noon on Wednesday 20 June 2018. The awards are organised by the All Party Parliamentary Jazz Appreciation Group (APPJAG), co-chaired by Kelvin Hopkins MP and Lord Colwyn, and supported by PizzaExpress Live.

Please note the criteria for the different categories as follows:

Jazz Album of the Year (released in 2017 by a UK band or musicians)

Services to Jazz Award (to a living person for their outstanding contribution to jazz in the UK)

Jazz Newcomer of the Year (UK-based artist, musician or group with a debut album released in 2017)

Jazz Education Award (to an educator or project for raising the standard of jazz education in the UK)

Jazz Media Award (including broadcasters, journalists, magazines, blogs, listings and books)

Jazz Venue of the Year (including jazz clubs, venues, festivals and promoters)

Jazz Ensemble of the Year (UK-based group who impressed in 2017)

Jazz Instrumentalist of the Year (UK-based musician who impressed in 2017)

Jazz Vocalist of the Year (UK-based vocalist who impressed in 2017

To cast your votes visit Public Nominations Parliamentary Jazz Awards 2018

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