Milton Nascimento & The Jobim Trio - 20/11/08 RFH, LJF

Milton Nascimento is a true great of modern Brazilian music. An iconic singer, his unique voice is matched by exultant songs that betray the influence of the Beatles as much as samba or MPB. Playing alongside Brazilian musical royalty in the form of the Jobim Trio, including the son and grandson of Antonio Carlos Jobim, the concert proved to be one of the highlights of the festival.

The Bays & The Heritage Orchestra - 22/11/08 RFH, LJF

The concept for tonight’s concert was incredibly innovative. The Heritage Orchestra teamed up with The Bays for an hour and a half of improvisation spanning the jazz, classical and dance genres.

Kenny Werner and Martin Speake Quartet - 23/11/08 Wigmore Hall, LJF

‘Even the handclaps sound good in this room’ remarks Martin Speake in reference to the fine acoustics of Wigmore Hall, and it was indeed a fitting venue in which to listen to the closing refrains of this year’s London Jazz Festival, played by a line-up of truly accomplished musicians.

Get the Blessing - 19/11/08 The Vortex, LJF

Emerging as a major strand throughout this year’s London Jazz Festival is indie influenced jazz. Identified by simple and infectious rhythms, blaring horns and thrashing drums Get the Blessing certainly match the criteria. Half of the band, drummer Clive Deamer and electric bassist Jim Barr earned their song writing credentials in 90s trip-hop chart success Portishead, they are joined by trumpeter Pete Judge and saxophonist Jake McMurchie to create a pianoless quartet, what is fast becoming a standard line-up for this newly branded jazz.

Tommy Smith/Arild Andersen/Paolo Vinaccia – 22/11/08 Purcell Room, LJF

Progressive improvised music: an ethic which typifies Arild Andersen’s work as a double bass player and composer. It is an approach which transcends the constraints imposed by narrow musical categorisation and finds space for musicians to express the purist form of their musical voice. Andersen, Smith and Vinaccia were thereby able to penetrate beyond the recognised parameters of the saxophone-trio.

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