Many pieces from Matt Roberts’ pen have their inspiration in astronomy, mathematics or natural history. The band’s opener, the Mandelbrot Set (“a mathematical set of points whose boundary is a distinctive and easily recognisable two-dimensional fractal shape” according to Wikipedia) explored a variety of orchestral textures and colours ranging from the reflective to the dramatic, punctuated with fine solos from trombonist Tom White and tenor saxophonist Ben Mallinder. The remainder of their first set was devoted to arrangements by Roberts of four compositions of the great Wayne Shorter (currently celebrating his 80th birthday with a world tour), with special guest Julian Siegel as guest soloist on tenor and soprano saxophones. As Roberts pointed out, Julian had probably taught most if the sax players in his band at one time or other and he earned their applause for his passionate solo on ‘Lady Day’, a lesser known Shorter ballad for his Soothsayer album and his blistering take on an up-tempo ‘E.S.P.’

The second set was devoted to Matt Roberts’ compositions. ‘Australopithecus’, a light-hearted, dramatic depiction of the dawn of mankind in a dangerous landscape, featured an entertaining alto sax solo by Mike Scott which conveyed a spectrum of responses from fear and finally aggression when threatened by the drums of Mike Clowes. Julian Siegel returned to craft a beautiful soprano saxophone solo on the elegant and wistful ‘Hymn for Him’, a ballad in ¾ time dedicated to the tragic computer science pioneer Alan Turing. The concert closed with another Roberts classic, ‘New Horizons’, inspired by photograph from the far side of Saturn with Earth just visible in the distance. It started quietly with a gentle hypnotic figure played over-and-over on harmonics by guitarist Billy Adamson. The band gradually entered, building up the tension until Adamson opened up a guitar solo that built from long sustained notes to a superb climax, before the band returns as Saturn recedes and we are left with Adamson’s repeating harmonics fading in the distance. A great band, stuffed full of outstanding players and led by a composer who brings fresh new ideas to the jazz orchestra.

– Charles Alexander

– photo courtesy Benjamin Amure

The sense of fun that pervades the performance – drummer Christoph Steiner seated at an old manual typewriter apparently writing a letter but beating out a rhythm on the keys or Schaerer’s vocal pyrotechnics laced with humour – is sometimes in danger of obscuring the inventiveness of the leader’s writing and the attributes of the musicians. Schaerer’s vocal resources are extraordinary. Whether articulating fast complex rhythms or venturing into the stratosphere with notes beyond that few men over 50 can hear, he has a broad palette of vocal sounds which he uses to great effect in combination with three horns.

As a composer he never allows an idea or mood to last too long and it often falls to his capable double bassist Marco Müller to administer the coup de grace with an abrupt change of tempo, rhythm or mood. Schaerer writes to the strengths of his musicians and the varied instrumentation at his disposal. Trombonist Andreas Tschopp’s multiphonics, reminiscent of the Swiss alphorn, released mellifluous triads that seemed to float peacefully in the air like wispy summer clouds over an alpine pasture on a summer’s day.

Their UK debut closed, as it had begun, with some fun. After several faux encores bassist Müller reappeared and set up a simple groove on the lower strings. Then a colleague joined him to contribute a slap rhythm on the body of the instrument, followed by another who played a repeating riff on the upper strings until eventually the entire sextet were crowded around the bass, now transformed into a complete groove machine. Entertaining but seriously musical and ambitious, they are unclassifiable but totally worthwhile.

– Charles Alexander

– picture courtesy Cat Munro

Ten minutes previously they had opened her set with a bossa-nova instrumental featuring jaw-dropping solos from pianist Peter Martin, bassist Reginald Veal, drummer Terreon Gully and Brazilian ace Romero Lubambo, a master of dazzling finger-style jazz on the nylon-string guitar. Highlights of the set were ‘Solitude’, a bossa classic whose changes inspired several rich choruses of impassioned vocal improvisation from Dianne, and ‘In Your Eyes’, a George Benson hit subtly reharmonised for her by pianist Billy Childs.

All good stuff, as you would expect from an artist always more satisfying live than on record. Dianne has had the jazz diva field more or less to herself for some while now, but her standards remain formidably high. Checking this year's critics poll in Downbeat magazine, I found her in fourth place, nudged out of the medal positions by Cassandra Wilson, Gretchen Parlato and Esperanza Spalding, all of whom must find that result a little bit embarrassing.

– Jack Massarik

This year’s London Jazz Festival gets underway tonight with the annual Jazz Voice opening concert and a dizzying array of gigs across the capital – with no less than 17 on the first night alone. Yet while headliners such as Sonny Rollins, Herbie Hancock (pictured left), Kurt Elling, Jan Garbarek and Robert Glasper are all exciting prospects, the sheer scale of this year’s festival mean there are plenty of high quality events bubbling under these headline-grabbing names. Among the many strands woven together throughout this year’s programme, the Feast Of Film at the Queen Elizabeth Hall (10 Nov), which features three compelling characters from the jazz world captured on film: saxophonist/composer Barbara Thompson in director Mike Dibbs' powerful and heartwarming portrait of her battle with Parkinson’s disease, Playing Against Time; a revealing look at iconic saxophonist Sonny Rollins in Beyond The Notes, and the late great pianist Michel Petrucciani, in a moving documentary by director Michael Radford, on the French virtuoso’s brilliant playing and passion for life.

Among the festival’s many international collaborations are several dynamic link-ups between British and European artists, providing evidence aplenty of the increasingly close musical ties across the Continent. One such meeting that stands out is between fast rising Manchester big band Beats & Pieces who go head to head with equally adventurous Norwegian group Ensemble Denada (Purcell Room, afternoon and evening, 11 Nov), while revered German pianist Julia Hulsmann (pictured below), lines up with excellent UK trumpeter Tom Arthurs on an exciting double bill with improv-heavy trio Bourne/Davis/Kane (Pizza Express Jazz Club, 11 Nov).

The LJF also marks plenty of significant historical milestones, which this year includes the Celebrating Gil Evans concert (QEH, 11 Nov), featuring the Trinity Laban Contemporary Jazz Ensemble directed by Mark Lockheart with special guests including tuba virtuoso Oren Marshall, who salute what would have been the composer/arranger's 100th birthday. Jazz In The New Europe is a strong theme this year and one that is key to a series of high calibre events at St James’ Piccadilly, showcasing artists from three important European record labels: ECM, ACT and Basho. Of the latter UK imprint it’s their recently signed German piano star Christoph Stiefel who appears with his trio in a special collaboration with highly regarded UK multi-reedist Tim Garland on a programme of music entitled Korea Moves (14 Nov). Legendary French bassist Henri Texier, a key figure in the heart of European jazz, lines up at Kings Place with his current trio of saxophonist Sebastien Texier and drummer Louis Moutin (14 Nov), while renowned guitarist Egberto Gismonti, brings contrasting musical flavours from Brazil – no doubt warming up a cold November evening too – as he makes a rare solo appearance at the Southbank (QEH, 17 Nov). Greek saxophone star Dimitri Vassilakis is also worth catching and he’s in town with his band at the Bull’s Head, Barnes (16 Nov) and Artsdepot, Finchely (17 Nov).

Closer to home Britain’s vibrant regional jazz scenes get a mighty shout via Leeds three-piece Roller Trio, who’ve whipped up national excitement thanks to their Mercury, MOBO and Jazz FM award nominations. They perform on a triple bill at the Vortex with Norwegian group Pixel and furious British funk-skronk crew World Service Project (16 Nov). Roller Trio have also helped shine a light on Leeds’ fearsomely creative scene and it’s one of their key influences – trioVD – who headline a special triple bill with fiery French sax man Guillaume Perret’s Electric Epic and Nordic doom-jazzers PUMA at the Bishopsgate Instiute (17 Nov).

While many concerts have already sold out, LJF producers Serious have announced there are a few remaining tickets for the following events: Ambrose Akinmusire (QEH, Fri 9 Nov); Mara Carlyle with Jon Snow (Purcell Room, Fri 9 Nov); John McLaughlin and the 4th Dimension (Barbican, Sun 11 Nov); Herbie Hancock (RFH, Mon 12 Nov); Jan Garbarek (RFH, Tue 13 Nov); Shabaka Hutchings (QEH, Tue 13 Nov) Esperanza Spalding (RFH, Thu 15 Nov), Marcus Roberts Residency (Kings Place, Thu 15 – Sat 17 Nov); Paco De Lucia (RFH, Fri 16 Nov); Jack DeJohnette (QEH, Fri 16 Nov); Michael Garrick: A Tribute (Purcell Room, Sat 17 Nov); Clare Connors (Royal Academy of Arts, Sat 17 Nov); Chick Corea/Christian McBride/Brian Blade (Barbican, Sat 17 Nov); John Surman (Purcell Room, matinee, Sun 18 Nov); and Jim Hall trio plus Kenny Wheeler Big Band (QEH, Sun 18 Nov).

Serious have also confirmed that the Robert Mitchell’s Pancea will play instead of Robert Mitchell with Omar Puente (Charlie Wrights, Fri 9 Nov) and that Fofoulah play The Vortex instead of Outhouse + Imperial Quartet (Fri 16 Nov). They also confirmed that the following shows have been cancelled: Josh Arcoleo (The Forge, Mon 12 Nov); Speech Debelle (Village Underground, Thu 15 Nov); and Cymande (Fairfield Halls, Sun 18 Nov).

For full festival details www.londonjazzfestival.org.uk

– Mike Flynn