Marvellous Masekela hits amid the kicks at Ystad Sweden International Jazz Festival

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Best known as the location for TV series Wallander, Ystad also hosts what’s become one of the best jazz festivals in Scandinavia. The event was conceived by pianist Jan Lundgren (artistic director) and Thomas Lantz (president) after a chance meeting on a train travelling to Ystad. Now in its seventh edition, this year’s happening boasts 44 shows at 11 venues around the town, with major concerts being held at the lovely Ystad Theatre, constructed in 1894 and seating 400. 

Highlights at this venue were: Mare Nostrum II featuring Paolo Fresu (trumpet) Richard Galliano (accordion) and festival artistic director Jan Lundgren (piano), playing music from their second ACT album; Joe Lovano accompanied by the Bohuslan Big Band and Hugh Masekela brought his Playing at Work band, featuring the excellent Cameron Ward (guitar) and Johan Mthethwa (keyboards). Masekela seems to be really enjoying his music at the moment. Here with his full band he was clearly having a ball. The warmth and energy he brings to his shows together with the sheer quality of the material is magical. He was brought back for a wonderful encore and left to a standing ovation from the sold out theatre.

More adventurous music was to be found at the Klosterkyrkan – a 12th century monastery. The first concert there was a collaboration between Fresu (trumpet, flugelhorn), Daniele Bonaventura (bandoneon) and multi-instrumentalists Mare Balticum, a quartet specialising in early medieval Nordic music and songs. Mare Balticum were using selected instruments from the European Music Archaeology Projects (EMAP) touring exhibition Archaeomusica which is on display here until January 2017. Fresu’s spine-tingling trumpet was the perfect accompaniment to this quite solemn and sacred music and fitted perfectly with the haunting vocals of guests Ute Goedecke and Aino Lund Lavoipierre.

One of many outstanding concerts of the festival came at the same venue the following evening – a solo piano recital from German pianist Joachim Khun. His playing is so intense that it’s impossible not to get swept up in his music – fierce crashing chords or a delicate run of notes that give a brief respite before the next explosion. The best moment for me was undoubtedly his melding of a tricky and complicated Ornette Coleman tune into The Doors’ ‘The End’ – a real master at work!

A couple of nights later at the same site came another stunning concert – this time featuring Michael Woolny (piano) and Heinz Sauer (sax). The Art of the Duo is their take on classic tunes and their own compositions. They’ve played together as a pair for over 10 years now, so the level of understanding and telepathy between them is astonishing. Woolny’s playing is mostly very lyrical, while Sauer slices through almost at right angles to him, neither barely offering any clues as to what they are playing and when the merest hint comes in the form of a few notes from the melody, it sounded simply amazing – ‘Nothing Compares to You’, and ‘So What’ were breathtaking.

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The UK was well represented at the festival with Martin Taylor playing duo guitar with Ulf Wakenius and Zara McFarlane who was the featured singer with Swiss harmonica player Gregoire Maret’s band. Anita Wardellwas brought in at the last minute for Bob Dorough, who was unable to travel. Wardell, being a bit of a Dorough fan, did a sterling job singing his songs and giving insightful information about them.

There were two collaboration concerts between Norwegian and Polish artists at the Ystad Art Museum featuring concerts by the Helge Lien Trio, featuring the quite brilliant violinist Adam Baldych, and then Jacob Young (guitar) and Trygve Seim (sax) playing with the Marcin Wasilewski Trio.

There are two very picturesque outdoor venues in Ystad, both very old and with masses of character. The Hos Morten Café, a 17th century half-timbered building with a cobbled courtyard and Per Helsas Gard, a beautiful square surrounded by craft and coffee shops, both dotted with hollyhocks, which seem to grow just about anywhere here in Ystad.

One of the concerts at the latter space celebrated the 100th birthday of Danish violinist Sven Asmussen. Asmussen has played with all the greats in his long career, including the likes of Duke Ellington, Fats Waller, Josephine Baker, Lionel Hampton, Benny Goodman and Stephane Grappelli. Halfway through the first number and to everyone’s amazement Asmusssen himself appeared from the audience to take his place in front of the stage. The musicians playing the tribute concert had all played with him in the past and it was a touching moment.

Closing the festival in the theatre was a majestic performance from Avishai Cohen and his new trio featuring Omri Mor (piano) and Daniel Dor (drums). Cohen was in brilliant form and his new band are great finds (this was only their third live gig) together.

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It was a fitting end to a festival in a picturesque setting (Ystad has miles of sandy beaches, with lots of places to stay making it an ideal place for the jazz tourist). It comes highly recommended.

– Story and Photos by Tim Dickeson

Rubin-Atzmon team-up brimful of vim at The Verdict

 

Saul ‘Zeb’ Rubin epitomises an aspect of the Manhattan jazz scene that receives scant media coverage but lies at the heart of the city’s reputation as one of the jazz centres of the world. Since graduating from Hartt School, where he studied with Jackie McLean, he’s built an enviable reputation as a player among his fellow guitarists, and has sporadically entered the wider public’s consciousness through work as a player/arranger with Roy Hargrove’s big band and a continuing association with that doyen of the Manhattan jazz tradition, Sonny Rollins. Yet, for much of his career, he’s alternated a day job as a graphic animator with a night-time existence tirelessly working at the grassroots, running Zebulon Sound And Light, a not-for-profit performance space that’s helped germinate the career of Gregory Porter for one, organising the NYC Guitar festival, and plying his trade in the clubs and bars that nourish the scene.

He’s over in Europe for a rare string of dates, and tonight’s show at Brighton’s The Verdict is the second of a pair of UK gigs sharing the frontline with Gilad Atzmon, who’s brought his longtime associate Yaron Stavi on bass, with Enzo Zirilli on drums rounding off this truly international quartet. ‘Say It (Over And Over Again)’ opened proceedings; Atzmon on tenor showing off his hard, biting tone in the tradition of the song’s most famous interpreter, but with his own characteristic romantic slurs and wide vibrato applied at will, Rubin giving a lesson in creative pianistic comping and ripples of Lenny Breau-style tapped harmonics. ‘Invitation’ followed, a sultry tango – Rubin’s solo mixed radical reharmonisation with Benson-esque soul-to-bop licks in a compendium of technique which Zirilli matched in his irrepressibly imaginative drum exchanges. This was in the best tradition of improv; songs from the repertoire, selected more or less on the fly, allowed the band to demonstrate their individual strengths. ‘Sweet Georgia Brown’ provided an excuse for a proper tear-up, with the zurna-like wail of Atzmon’s high register, Rubin’s NYC funk licks and Zirilli’s quirky percussion held down by the the unobtrusive rock-solid foundation of Stavi’s unamplified bass. The whole was truly more than a sum of its parts.

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Atzmon’s ebullient personality made a perfect foil for his co-leader’s self-effacing charm. If his sheets of 16ths on ‘All Or Nothing At All’ tended to dissipate the energy rather than stoke the fires, he was all focused sincerity on ‘Here’s That Rainy Day’, embellishing the hell out of the melody with a tumultuous flock of slurs and trills. His own middle-eastern flavoured original gave the band a chance to show what they could do outside the post-bop idiom, as did Rubin’s future-funk piece. The latter had a blast on ‘Cute’, swinging out the riffs like a Basie band stalwart, and played a stunning solo on ‘What’s New’ that reached deep into his harmonic bag.

All four players seemed delighted to encounter the very different voices each brought to the mix, and were stimulated to the extent that they were still playing as midnight approached. They gave the impression that they could have continued all night were it not for the vagaries of train timetables and airline schedules. Plaudits are due to promoter Andy Lavender for bringing this connoisseurs’ delight to Brighton and filling the house at such short notice.

    Eddie Myer
    Photos by Lisa Wormsley

Swingles mingle with McLaughlin and Garbarek at this year’s Edinburgh Jazz & Blues

In the appropriately named Palais du Variété The Swingle Singers are negotiating chords and athletically inclined melodies for which even their scatting of Bach’s ‘Well-Tempered Klavier’ might not have prepared them. ‘Soul Man’ is giving way to ‘Knock on Wood’ and ‘Little Red Rooster’ is morphing into ‘Johnny B Goode’ then ‘Voodoo Chile’, as the man responsible for all this, Lucky Peterson, swigs a beer and high-fives all-comers while still fretting the guitar licks.

Later, back at the keyboard whose vocal patch facilitated the sampled Swingles interlude, Peterson will duet with the rain battering the tent’s roof and cajole his superb Cuban drummer into doing something different to express himself. It’s tempting to say that we didn’t get anything like this from the festival’s biggest name attractions, John McLaughlin (above) and Jan Garbarek, except that we sort of did.

McLaughlin may have made slightly weary efforts to sell his latest album but his repertoire in a frankly thrilling gig with the 4th Dimension extended to Pharoah Sanders as phrased by Carlos Santana. He was also at least as encouraging to his drummer, the brilliant Ranjit Barot, as Peterson was to his, and Garbarek, before encoring with Blind Faith’s ‘Had to Cry Today’ no less, gave Trilok Gurtu no end of space in which to drum, vocalise and create his inimitable water music with a bucket that he turned into a musical instrument.

The organisers programmed 20 more ticketed events this year than last – almost 200 hundred over 10 days – and most seemed to reward this confidence, with a new venue, the City Art Centre’s fifth floor providing great views and proving popular for music ranging from Tennessean singer Earl Thomas’s urgent gospel-blues to David Milligan’s flowing traditional music-inspired solo piano improvisations. New faces likely to reappear included New York-based Emmet Cohen, whose grasp of jazz piano history impressed mightily and whose drummer, festival cover star Bryan Carter, proved as good at singing as swinging, while local pianist David Patrick’s adaptation of Debussy’s long neglected ‘Jeux’ was transformed into a potent, attractive extended jazz waltz for tentet.

– Rob Adams 

Dave Weckl joins Barker-led big band for Buddy Rich tribute at London’s Royal College of Music

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Dave Weckl was a devoted Buddy Rich disciple long before he stole the show playing ‘Mercy, Mercy, Mercy’ and ‘Bugle Call’ at a LA-staged memorial bash celebrating his hero in 1989. Magazines were running interviews where the skilful young drummer professed to meeting his hero, regularly catching him live, and even slowing down Rich’s records to half speed at home to nail all the insane licks. “I drove my dad nuts learning that stuff”, Weckl recalls, now 56, dusted with a distinct white goatee and taking questions from the floor in the lavish basement theatre of the RCM. He’s appearing here as a special guest of the college, the main draw of their one-day percussion festival that’ll not only present a rare clinic set from the St. Louis-born drum marvel, but also a special salute to his long-time idol, a set that will see him sit in with students of the RCM Big Band, performing a set of Buddy classics under the direction of conductor and trumpeter, Guy Barker.

Ahead of the main show, though, crammed into a busy timetable of timpani and drum-line performances, cajón master-classes, a session on soundtracks and some hard bop in the bar, Weckl spoke to UK drum promoter Mike Dolbear, who quizzed him about various aspects of his near-30-year pro career. The chat eventually eased into clinic mode with Weckl now centre-stage, fixed behind a beautifully-lit kit and dissecting such topics as timing, practice and his approach to feel. Every point discussed was also expertly demoed around the drums, often over whistles and loud cheers from an awestruck audience completely glued to his every move. This informative hour also included a funky sequenced track, ‘Get To It’, over which Weckl displayed (and displaced) some stunning breaks and beats, before closing with an equally-rousing open solo that flipped fluently between double kick-rumbling rock grooves, martial snare tattoos and cowbell-clattering samba patterns with equal aplomb.  

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Come the concert, and with the fireworks of the afternoon set still resounding in the ears of all, Weckl, Barker and the 18-strong band were welcomed to the stage, and to an early ovation which Guy let die down before easing the evening in with Ellington's ‘In a Mellow Tone’. Brassy and sassy, the tune’s seductive melody, trickling with light piano and a propulsive walking line, at once filled the room, surging into a heavier chorus section with a high-register solo from trumpeter Tom Griffiths. This was trailed by a more hard-driven ‘Nutville’ to which Weckl added a seductive, swinging latin figure. The persistent ting of his ride cymbal chilmed over a busy kit groove, prompting horns to blow with more vigour, in particular that of tenorist Azura Ono, whose broad, impassioned solo sailed to the back of the room, slicing through shrill trumpets and raspy trombones still carrying the theme.

Out of Weckl’s first, and arguably best, solo of the night, came a breezy ‘Basically Blues’ tapped along with soft quarter notes on ride, punctuated with light snare and the occasional bomb of bass drum. Pianist Sergei Istratis found gaps in the groove to plant rich bluesy chords or complement fluid jazzy runs from electric guitarist Toby Morgan, a lyrical player whose light, finger-picked style would feature more solidly over waltzer ‘Willowcrest’, and a funky ‘Mercy, Mercy, Mercy’. As he last did in LA all those years ago, Weckl once more made the latter cut his own, refreshing the same snappy, syncopated beat and darting solo he had brought to the arrangement. But while most drummers in attendance would relish the opportunity of watching Weckl deliver hot licks and solos like this in a swing setting, there was much magic to be heard in his tight, effortless phrasing. Whether at full pelt, doubling scissor-sharp sax lines during Sam Nestico’s ‘Ya Gotta Try’ or sweeping a lush brush part under Strayhorn’s silky ‘Chelsea Bridge’, his attention to detail and dedication to the music was worth all the applause.

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During a reading of Cole Porter’s ‘Love for Sale’, Weckl even recreated one of Rich’s infamous breaks over some fours. From a rattle of toms, a short, crisp snare roll abruptly stopped dead, leaving a single thump of bass drum to fill the moment’s silence, cueing back in the band to blow their last screamy note. One last encore, ‘Time Check’, gave Barker the opportunity to break out his horn, ramping up the intensity, leaping registers, and adding extra thrill to all the low-end honks and squealing highs. It was a fitting end to a turbo-charged set from a brilliant band that royally honoured Rich – a show that naturally belonged to Weckl, nearly 30 years on and still a bona fide exponent of Buddy Rich, his drumming and all that dazzling showmanship.

       Mark Youll

Photos by Jon Frost

Pharoah Sanders and Binker & Moses walk on water at North Sea Jazz Fest

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With all the recent Brexit shenanigans it must have been a proud moment for Britain's very own Binker & Moses to kick off the 41st North Sea Jazz Festival in Rotterdam last week. Reputedly the world’s largest jazz festival, held in the village-like setting of the Ahoy complex with 13 different stages, along with dozens of eating and merchandising establishments, at NSJF you can immerse yourself in whatever musical bliss you choose to map out, during a jam-packed three-day programme, offering an eclectic mix to satisfy most tastes from mainstream jazz to contemporary pop. In the area known as Congo Square, Binker & Moses tossed and fielded phrases with minimum eye contact, demonstrating a maturity bordering on telepathy. A perfect start to the three days.

Other highlights of the day included Diana Krall, Christian Scott – who engaged with the audience throughout a performance of his Stretch Music – and Ibrahim Maalouf (this year’s artist-in-residence, pictured top). The latter appeared each day of the festival, with his final gig a stupendous showing with the Metropole Orkest. The same ensemble also joined Snarky Puppy, airing material from their collaborative work Sylva, a cinematic fusion of funk, rock and jazz. Kamasi Washington (below) later utilised the full weight of the Orkest to reproduce elements from his current album usually missing from his touring ensemble. This was indeed Epic!

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Buddy Guy created a storm in the packed Nile Arena, delivering gutsy blues guitar, reminding the gathered about the roots of the music. Veteran organist Dr. Lonnie Smith was also on hand, coercing every nuance and texture from his Hammond B3, incorporating aspects of his own electronic gadgetry and that of guitarist Jonathan Kreisberg.

The second day intensified with offerings from relative newcomer James Brandon Lewis, his trio invoking the spirits of Coleman and Coltrane, combined with hip hop rhythms. Performing tracks from his album Days Of Freeman, his composition ‘Speaking From Jupiter’, with its edgy lines, suggested we’ll be hearing a lot more from him in the future. Cécile McLorin Salvant brought the past to life with her sassy renderings tinged with the influences of Vaughn, Fitzgerald, Holiday and Betty Carter, while Charles McPherson and his quartet reasserted the worth of straightahead bebop sax in the snug setting of the Madeira Hall.

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One of the day’s highlights was the duo of Ron Carter and Pat Metheny (above). They played a varied repertoire with hints of Bach and originals such as ‘Eight-One’ and ‘Minuano’, the pure virtuosity of these two masters exposed in perfect unity.

The late evening performance from the Branford Marsalis Quartet featuring Kurt Elling (below) was simply staggering. The lyricism of Marsalis’s saxophone and Elling's stupendous vocal delivery on Sting’s ‘Practical Arrangement’ brought out the theatrical poignancy of it’s lovelorn lyrics before the ensemble beautifully rounded off the set with their recent album’s title track, ‘The Return (Upward Spiral)’.

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The plentiful timetabling of NSJF can often leave you feeling spoilt for choice. Particularly so on the final day, as Esperanza Spalding unveiled her Emily’s D+Evolution alter ego concept, her band accompanied by various vocal actors who explore the substitute personality, coupled with her own faultless vocals and bass work. Slightly more conventional is Henri Texier, presenting his new album and band Sky Dancers 6. Their name comes from the Native American ironworkers who helped build the skyscrapers, working fearlessly on narrow steel beams hundreds of feet above ground. A blend of jazz and Native American textures were identifiable throughout the set, Texier's bass providing drone-like pulses underpinning dense passages of horns, keyboards and moments where guitarist Nguyên Lê throws blues and rock into the sound.

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Charles Lloyd (above) was performing with his New Quartet – comprising Jason Moran (piano), Eric Harland (drums) and Reuben Rogers (drums). Though the name implies it, the band is not a new line-up and have been featured by Lloyd over many years. Performing tracks from his Blue Note album, Wild Man Dance, Lloyd ventured inside the piano during a Moran solo, wildly shaking and rattling percussive items in his oft-declared ‘search for the sound’.

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Chick Corea and John Scofield + Mehliana performed during the closing hours of the festival, while Cory Henry & The Funk Apostles raised the temperature with their rip-roaring rousers. But it was the Pharoah Sanders Trio (above), consisting of Trilok Gurtu (drums, percussion) and William Henderson (piano) that were the final day’s standout. Sanders entered the stage, seemingly a little unsteady on his feet, but seemed transformed as he brought the saxophone to his lips, extracting all he could from his instrument with the use of overtones, high harmonics and even vocalising into the horn. Combined with sounds and textures by Gurtu and Henderson, the look of many faces in the audience suggested they were in jazz heaven and no doubt looking forward to NSJF 2017.

-        Story and photos by Roger Thomas

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Ant Law Trio executes dazzling Oxford ed…

Guitarist Ant Law has made two very well received albums...

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Ma Rainey’s Black Bottom shakes some tail at the NT

Ma Rainey’s Black Bottom shakes some tai…

With Motown The Musical at the Shaftesbury and Soul: The...

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Georgina Jackson, Claire Martin and Pete Long line up for Best of the Big Bands Part II

Georgina Jackson, Claire Martin and Pete…

The concert’s title conceals its inner purpose – put quite...

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Christian McBride and Edgar Meyer bring the bass to Brighton

Christian McBride and Edgar Meyer bring …

The double bass made a comparatively late arrival to solo...

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The Buck Clayton Legacy Band serve up superior swing at Phyllis Court Club, Henley

The Buck Clayton Legacy Band serve up su…

Buck Clayton’s legacy was a box. Packed, it turns out...

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Tim Garland Quartet dive in to folk and fusion at the Dome Pavilion, Brighton

Tim Garland Quartet dive in to folk and …

The relationship between celebrity and credibility is not always straightforward...

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Stirring strings meet stern jazz with Hans Koller Quartet with BCMG at CBSO Centre, Birmingham

Stirring strings meet stern jazz with Ha…

Pianist Hans Koller chooses his fellow musicians with care. Percy...

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Dakhla Brass go ape at Servant Jazz Quarters

Dakhla Brass go ape at Servant Jazz Quar…

“Upstate Dorset!”, volleying from an audience member towards the stage...

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Mike Hobart Quintet evidently soulful at The Vortex

Mike Hobart Quintet evidently soulful at…

Got a definition for soul? No, me neither. But if...

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Skelton-Skinner All-Stars Shine Across The Thames

Skelton-Skinner All-Stars Shine Across T…

  The imposing members-only Phyllis Court Club overlooks the Thames and...

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Tubby tributes top Southend’s NJA opening

Tubby tributes top Southend’s NJA openin…

Brainchild of trumpeter and bandleader Digby Fairweather, the new National...

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 Steve Fishwick Sextet reach righteous outcome at The Verdict

Steve Fishwick Sextet reach righteous o…

There’s a palpable buzz as Steve Fishwick’s Anglo-American crew take...

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Blicher Hemmer Gadd bring the Hammond boogie to Pizza Express Jazz Club

Blicher Hemmer Gadd bring the Hammond bo…

On the band's website, beside big ups from Gilles Peterson...

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Asaf Sirkis Trio and Tori Freestone take flight at The Verdict

Asaf Sirkis Trio and Tori Freestone take…

Music may be the healing force of the universe but...

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Riley Stone Lonergan/Dave Drake Band free-bopping in Brighton

Riley Stone Lonergan/Dave Drake Band fre…

For such a bijou venue, the Verdict has attracted it’s...

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To Be or Not to Bebop – Derek Nash & Alan Barnes keep the flame alight in Shakespeare land

To Be or Not to Bebop – Derek Nash &…

Alan Barnes appeared at Stratford Jazz Club (at No.1 Shakespeare...

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Jasper Høiby unveils Qualia at The Vortex

Jasper Høiby unveils Qualia at The Vorte…

  Bassist and bandleader Jasper Høiby wears a well-earned smile. It’s...

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Young jazz talents shine at Jazztopad Festival

Young jazz talents shine at Jazztopad Fe…

What defines the festive in festival is not hard to...

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Daymé Arocena showcases soulful talents at The Forge

Daymé Arocena showcases soulful talents …

At just 22 years of age, Cuban singer Daymé Arocena...

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Chris Mapp’s Gonimoblast and Arve Henriksen burst out of the sonic darkness at The Crossing

Chris Mapp’s Gonimoblast and Arve Henrik…

Chris Mapp was one of three ‘Fellows’ (the other two...

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Rising sax star Melissa Aldana gets cooking at Pizza Express Jazz Club

Rising sax star Melissa Aldana gets cook…

It isn’t unusual at events such as the London Jazz...

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Filomena Campus’ spellbinding Monk homage at Theatralia Jazz Fest

Filomena Campus’ spellbinding Monk homag…

Curated by the award winning jazz vocalist, lyricist, lecturer and...

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Richard Pite’s Jazz Repertory Company and Alex Garnett’s Bunch of Five & NYSQ swing London Jazz Fest out in style

Richard Pite’s Jazz Repertory Company an…

The EFG London Jazz Festival’s final day allowed the fleet...

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Kurt Elling, Get the Blessing and Ralph Towner ensure Pančevo punches above its weight

Kurt Elling, Get the Blessing and Ralph …

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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