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Pianist Joe Hill has brought together a classy jazz quintet to celebrate the centenary of the births of both Miles Davis and John Coltrane. The Joe Hill Quintet @rw_crowley With Luke Vice-Coles (trumpet) and Tom Smith (tenor sax) channeling their inner Davis and Coltrane, the evening included a selection of tunes representing some of the most groundbreaking jazz of the late 1950s and early 1960s. Joe, Tom, Mirko and Luke @rw_crowley Alongside Luke and Tom were Joe Hill (piano), Mirko Scarcia (bass) and West Side Jazz impresario Dave Tandy (drums). Just as in the originals, these tunes range from fiendishly difficult and virtuosic to the simply beautiful. The quintet’s version of If I Were a Bell was a great rendition of the Loesser tune made into a jazz standard on the 1958 album Relaxin’ with the Miles Davis Quintet. Similarly great performances came on My Funny Valentine and the marvellous Airegin in the first set. Opening the second set with Four and then the classic Milestones was great programming for an audience that was clearly appreciative of the Davis/Coltrane approach. Particularly outstanding were this quintet’s interpretations of All Blues and Someday My Prince Will Come. Luke and Dave @rw_crowley One of the best features of this evening of fine jazz was the way the musicians shared musical ideas and referenced themes and licks directly from the originals. There was genuine collaboration between these impressive players. Get your tickets now for more great music from the West Side Jazz Orchestra (4 November)

Love Now Pay Later’ from Jo Harrop is the latest collection of tunes from one of the UK’s favourite singers. This latest release from Jo was recorded in Los Angeles, produced by Grammy-nominated Chris Seefried and includes contributions from an impressive band: Chris Seefried (guitars), Deron Johnson (piano), Jonny Flaugher (bass), Denny Weston Jnr (drums). Backing vocals come from Lady Blackbird and Ava Seefried. The title track is a cover of a 1969 soul classic from Clydie King and Jo sets the tone for this soul-based collection of covers and original songs. Writing credits for the originals go to Jo herself, as well as Chris Seefried, Jamie McCredie, Paul Edis and Hannah V. All of that collective collaboration results in a relentlessly soulful and sumptuous album. Tracks like Mr and Mrs Discreet lets both Jo’s voice and Seefried’s guitar fly. Once we get to Smoke Inside a Jar, we have the addition of the beautiful backing vocals of Lady Blackbird: this was rightfully the Track of the Week on Jazz Fm on its release in July. Old Friend is another original track that brings us a pared-back arrangement and allows the soft tones of Jo’s voice to shine through. What we are left with is She Carries On - a lovely ending to what is a stunning album. You can find out more from my Harmonious World interview with Jo in May 2021 and reviews of her performances at Pizza Express Live for the release of The Path of a Tear in April 2025, at Watford Pump House in September 2025, The Cowshed in June 2026 and West Side Jazz in September 2026. Meanwhile, don’t miss out on hearing more from Jo as she has been chosen as October’s Artist of the Month at the UK’s Caffe Nero. The ‘Love Now Pay Later’ album launch is on 7 and 8 October at Pizza Express Live in Soho. If you can’t get there, check out the album on Bandcamp

The London Premiere of Michael Shapiro’s score for the 1931 classic ‘Frankenstein’ heads to the Cadogan Hall on Sunday 25 October. My good friend, composer and conductor Michael Shapiro (above) will be directing the world class Royal Philharmonic Orchestra in two performances of his score to accompany the 1931 Frankenstein’ film. Having seen a similar production in Milan in October 2021, I know this will be a monstrous event! Michael’s music adds dynamics and tension to the magnificent film that really stands the test of time. Author, critic and film historian Pamela Hutchinson will interview the composer and Sara Karloff, Boris Karloff’s only child, ahead of both screenings. You can hear more in my Harmonious World conversations with Michael in December 2020, April 2021 and October 2024. I also spoke to Sara about her father, Frankenstein and life in general in May 2026. Michael said: “The 1931 Frankenstein with Colin Clive and Boris Karloff is, for me, the best of all horror films. It’s listed by the American Film Institute as one of the top 100 films of all time, a serious movie with serious ideas. But it had no music. Imagine Psycho with no music! The film is humanity-driven, it’s all about relationships, and my score provides extra depth and tension to all the relationships - person-to-person and person-to-monster. I aim to scare the living daylights out of the audience at our London premiere at Cadogan Hall. I warned you!” Buy your tickets to see ‘Frankenstein’ with the RPO and Michael Shapiro

The stage at London’s Kings Place was teeming with titans of the finest British jazz when Matt Carmichael met Callum Au and the Kings Place Jazz Orchestra. Matt Carmichael, Callum Au and the KPJO @rw_crowley Matt and Callum were joined by some of the most exciting players around, including the delightfully understated Dom Ingham on violin and the stunning Fergus McCreadie on piano, who I last saw with his trio in Cambridge. This was a show of two halves, with KPJO setting off by roasting through Bandwagon Blues, introducing us to many of the key soloists. A swinging ballad was up next, with trombonist Daniel Hyam taking on Count Basie’s I Can’t Stop Loving You, followed by an Ellington moment with Mood Indigo and Cottontail. Callum introduces Matt @rw_crowley Callum Au’s arrangements and originals fill the stage and he really is an extraordinary band leader as well as a world-class trombonist. The interval beckoned with Galt’s Motor, taken from Callum’s latest album - Sing Seven Seas. As promised, the second set brought a new tone, as Ingham’s violin joined the big band setting and Matt Carmichael took the solo spot. Playing some compositions from his forthcoming album - Held in the Dark - and some from earlier work, there were some simply lovely juxtapositions between the small and large ensembles. Matt’s arrangement add a different flavour that combines huge chords and ensemble sections with gorgeously understated wind backings. Prayer, Red Sky and Flood Lines, all tracks from Held in the Dark, brought the music into a different context with the extraordinary musicians of KPJO. All of Matt’s compositions transported the audience from central London to a wild Scottish landscape, demonstrating his skill as composer, arranger and, as always, a phenomenal sax player. Matt with KPJO @rw_crowley I interviewed Matt for Harmonious World in August 2026 and Kings Place jazz programmer Hannah Hutton in September 2026. When this brilliant concert finished with Callum’s Swipe Right, it proved exactly what a brilliant writer he is, and Matt’s solo concluded a wonderful performance with aplomb and style. The Casey White Quartet The afternoon began with the third KPJO Young Artist Platform performance with the Casey Whyte Quartet of Casey Whyte (violin), John Haslam (piano), Herbie Rees (bass) and Cian Burton (drums). Find out more about the vast array of live music to discover at Kings Place

Some of the finest exponents of Korea’s thriving music scene are on their way to London - with K-Music Festival events running from 28 September right through to 23 November. Last year, I discovered some great new artists at the K-Music Festival and I’m looking forward to more this autumn, as the festival spreads across venues from the Southbank Centre and Royal Albert Hall to Rich Mix, EartH Theatre, Stone Nest and Upstairs at Ronnie's. I’m delighted that I’m soon to interview gayageum player and composer Kyungso Park (above) in advance of her concert with Swedish bassist Björn Meyer at the end of October. Together, they will bring their inventive creativity drawing on Korean, jazz and contemporary influences. Jaeyeon Park, Artistic Director of the K-Music Festival, said: “The festival continues to evolve as a space where tradition and innovation exist in dynamic dialogue. This year’s programme reflects the extraordinary breadth of Korea’s musical landscape, from deeply rooted folk practices to some of the most forward-thinking voices in hip-hop, game music, contemporary composition and experimental sound. We are delighted to return to London for our 13th edition and to share these remarkable artists with audiences across the city.” Find out more about the K-Music Festival and book your tickets

Jo Harrop and her exceptional band brought a special mix of arrangements to West Side Jazz in Welwyn Garden City: their collaborative spirit shown across the stage and entranced the audience. Jo Harrop at West Side Jazz @rw_crowley Joined by Nigel Price (guitar), Tom Farmer (bass) and Dave Tandy (drums), Jo featured songs that were familiar and those less well-known. They all swapped ideas and musical motifs all night: whether backing Jo’s inventive vocals or improvising, these musicians were listening closely to each other and responding effortlessly. Nigel and Jo @rw_crowley You can find out more from my Harmonious World interviews with Jo in May 2021 and Nigel in a live episode in October 2025. Although the ballads were - as usual from Jo - heartfelt, inventive and delivered with controlled panache, there were some upbeat numbers that absolutely roasted. There was an opportunity for drummer (and West Side Jazz impresario) Dave Tandy to show off his Latin chops on the wonderful Gershwin classic ‘S Wonderful. Less well-known tunes like the Rodgers and Hart There’s a Small Hotel and Brooks Bowman’s East of the Sun are extra special with the Harrop treatment. One of my all-time favourite tunes is Billy Holiday’s gorgeous Fine and Mellow, which closed the show. Jo swapped four-bar and then two-bar phrases with Dave’s percussive ideas. If you’re quick, you might be able to get tickets to Jo’s album launch for Love Now, Pay Later at Pizza Express, Dean Street on 7 and 8 October. Drummer and West Side Jazz boss, Dave Tandy @rw_crowley Nigel Price @rw_crowley Tom Farmer @rw_crowley The next few months at West Side Jazz promise great music, with 100 Years of Miles and Coltrane (7 October) and the West Side Jazz Orchestra (4 November)

I’ve heard Jamie Safir several times at the piano behind several jazz and pop singers. Now he’s coming out into the limelight with ‘Momentism’, a stunning collection of original tunes. And you don’t just get plenty of Safir himself, there’s also Iain Ballamy (sax), Conor Chaplin (bass) and Luke Tomlinson (drums) to contend with and delight. After the opening, title track, Safir’s trio is joined by the tones of the marvellous Iain Ballamy’s sax on Boulevardier, which gives breadth and depth to every member of the quartet within the whole. It’s clear why this album needed to be made, for us all to enjoy more of the pianist’s touch. Safir says: “I've been writing, recording and performing properly for 15 years. It's been exciting to travel around the world doing that,but I was never the artist; I was never the focus. The folks at Chill Tone really believed in me and put a lot of energy and effort into making this album happen. It happened at a moment when my life was going through a lot of vicissitudes, with the end of a seven-year relationship and a move to the seaside after 10 years in London. It was a pretty mad time, and a lot of that emotion is in the album.” The seductive Zacharius combines drama and reflective moments before the momentum continues in Hirsute Pursuit and onwards until we reach Black Star Sapphire, beginning with Chaplin’s gorgeous bass. Ballamy is back - always on form - for Clocker and we continue through this collection of tunes until the final chords of the too-brief Esprit d’Escalier. Safir leaves us wanting more - back to the start of the album for a repeat listen. Jamie Safir’s ‘Momentism’ is available on Bandcamp now

Romanian pianist Sorin Zlat and his trio proved their creativity and professionalism at the Cowshed, joined by vocalist Mihaela Alexa. Sorin Zlat, Mikel Montolli and Joel Barford You’d never have guessed that this was the first time Sorin Zlat and Mikel Montolli (bass) had joined with drummer Joel Barford. The trio together performed several of Zlat’s compositions, including a number from his forthcoming album Changing Times (watch this space for a review later in the year). Once again, the Cowshed brought jazz virtuosos to this jazz club hidden in the depths of rural Hertfordshire. Cowshed owner Lawrie Alderman and Musical Director Marco Marconi welcomed the musicians and audience. Not only is the jazz itself always outstanding, but the lighting and sound system are both state of the art, providing a comfortable ambience and environment in which to enjoy an evening of music. The first half of the evening began with On Time and Roxanne, composed for members of Zlat’s family, followed by Little Max for his dog. Each of the tunes allowed space for improvisation from these fine musicians - with little time for rehearsal, the trio came together seemingly effortlessly. Sorin Zlat at the Cowshed piano One of the most effective elements of the evening was the engaging Zlat, who explained the inspiration behind each tune performed. The Cowshed audience responds well to that kind of dialogue alongside the brilliant music. Mihaela Alex and Mikel Montolli After the first section of the evening, the trio was joined by singer Mihaela Alex, bringing her classically-trained and jazz-inspired voice to standards like Moanin and I’m Beginning to See the Light, as well as two Romanian tunes arranged to combine folk and jazz elements by Zlat. The performance ended aptly with Bob Haymes’s That’s All - with the audience wanting more and looking forward to the next show at the end of September. Next month at The Cowshed is Andrew Strong on Friday 25 September

The fourth album from Emil de Waal Old News - ‘Novelties’ - celebrates and mourns at the same time. This collection of original tracks from the Danish group features an eclecticism from the opening ‘Hellen’ through the perpetual motion of ‘Last Millenium When We Were Young’ through to the final, quasi-classical ‘Nuntii Veteres’. There is always a decision to be made following the passing of a band member. The loss of Elith "Nulle" Nykjær led Emil de Waal (drums and percussion) to reshape Old News by bringing in Henriette Groth (clarinet) alongside the existing line-up of Gustaf Ljunggren (contra alto clarinet, viola, arco contra bass, guitars), Jacob Anderskov (piano and spinet). Additional vocals and guitar come from Randi Laubek). Novelties features entirely original compositions, which each member contributing two tracks. The resulting collection takes us around folk and jazz, with tracks like Lim by de Waal himself seems to reflect some of the ‘newness’ of the title and the more traditional influences. Throughout the album, the clarinet spars with the guitars, while percussion is used sparingly and to great effect. The intensity of Anderskov’s Forgotten, not Forgiven combines beautiful piano melodies with those on clarinet and the rarely-heard contra alto clarinet. Each track on Novelties takes the listener in a different direction and yet we all seem to travel together. You can find Emil de Waal Old News ‘Novelties’ on Bandcamp

The new album - ‘Softly Light’ - from David Ehrlin and Neff Irizarry is a sumptuous and reflective collection of tunes that bring together these wonderful players in a quartet setting. Azul Y Oro (Blue and Gold) begins the album and establishes the quartet and individuals with a swinging melody and improvisations that allow each player space for expression. The tone is set for the album and the following, title track is a gentle ballad that softly creates an atmosphere of tranquillity. Throughout Softly Light, that duo sits in a collective unity alongside the bass and drums. Once we reach Baltic Love Song, the sax/guitar duo of the two leaders shows them coming together creatively. Similarly, on Blue in Green, where the two improvise melodies that interweave and the quartet brings these ideas together. There is a dignity about Grand Grandfather with a lyrical sax melody and a range of melodic lines. The Brazilian upbeat Fundas da Paixão (The Depths of Passion) is followed by the closing track, an extended version of Blue in Green. This final track exemplifies perfectly the delicacy and intricacy of the quartet and their tunes on Softly Light. Irizarry and Ehrlin are releasing singles from Softly Light’ running up the full album release on Soothe Sounds Australia on 6 November

Pianist Ignasi Terraza is celebrating a hugely successful 45-year career in music with the release of the fabulous ‘Long Play 45 at Palau de la Música’, recorded in June 2025. Opening with the extraordinary, virtuosic Django, we get to hear Terraza’s beautifully insistent piano before Wheatland takes us into the pianist’s trio work and stunning vibes lead us into Good Vibes for Milt. The ensemble that we meet through this delightful selection features Sara Dowling (vocals), Christos Rafalides (vibraphone), Adrian Cunningham (flute, clarinet and tenor saxophone), Jasen Weaver (double bass), and Esteve Pi (drums). Each one brings their own flavour alongside Terraza’s piano. 5am Blues begins with piano before vibes and sax pick up the melody and run with it: there’s nothing quite like live solos and this tune clearly wowed the audience and all the members of the ensemble, who weave their way between each other beautifully. I’ve always liked Sara Dowling’s voice and in this great venue with the musicians and clearly careful recording, her version of Devil May Care bears examination for anyone wanting to what liberties exceptional scat singing can take. Terraza’s celebratory album ends with How Do You Keep the Music Playing? - always a gorgeous tune but this brief solo piano version is simply perfection. I’m glad the recording includes the audience appreciation of the pianist’s 45-year career. Find ‘Long Play 45 at Palau de la Música’ wherever you listen to music or here

John Donaldson’s latest album - ‘We Were Together, I Forget The Rest’- features a truly wonderful collection of musicians, with tunes dedicated to the memory of Agatha Coffey. Following the passing of Donaldson’s wife, Agatha, he began composing music as a means of navigating the loss. Now these tunes feature on an album that includes some of the cream of UK jazz. As well as composing the music, John Donaldson is featured on piano (wiuth a particularly lovely solo on the opening track - Prayer for Tomorrow - and he is joined by some giant talents. Norma Winstone (voice and deeply moving lyrics on Into The Night), Rebecka Edlund (voice), Rob Luft (guitar), Tom Mason (bass), Jeff Ballard (drums), Iain Ballamy (saxes) and Graeme Flowers (trumpet). Each of the musicians is connected to different chapters of Donaldson’s career and their familiarity in playing together (don’t even TRY to create a map of the various tours and albums these artists have appeared on) gave an intimate recording process that follows through in the performances. Some of the solos (including lovely work by Luft on Into the Night) demonstrate a responsiveness that stems from the established relationships. The closing track - New Dawn - leaves us with something optimistic, trusting and full of so much love. John Donaldson, ‘We Were Together, I Forget The Rest’ is out now