Vocalist Hetty Loxston was joined by Sardinian guitarist Giorgio Serci for a delightful evening of song at The Cowshed Jazz Club in the Hertfordshire countryside. Loxston and Serci took the audience through a movie lover’s favourite film themes, with everything from Bond themes to the simply gorgeous Merry Christmas Mr Lawrence by Ryuichi Sakamoto. They took us from Close to You straight into A World of Pure Imagination and later into Caravan, as used in the film Whiplash. With the double bass of Davide Mantovani and a much-reduced drum kit in the hands of Filipo Galli, this quartet brought films through the decades to life. Thanks to Musical Director Marco Marconi, The Cowshed has curated an impressive collection of artists. Just over a year after the start of the club, it continues to bring a brilliant selection of artists to appreciative audiences. Many of those audiences are, like this one at the end of May, sold-out shows. Hetty Loxston Loxston’s voice and Serci’s guitar brought familiar melodies to life and we all went home with the quartet’s encore of Tu vuò fà l'americano, as made most famous in The Talented Mr Ripley. A well-chosen end to the evening’s veritable cinematic journey. Next up at The Cowshed is Jo Harrop on Friday 26 June

There are standards, and then there are tunes like 'The Peacocks', performed with panache by vocalist Heidi Vogel Upstairs at Ronnie Scott’s. There was something so soulful about Heidi’s version of the Jimmy Rowles tune The Peacocks, using lyrics penned by the great Norma Winstone. She chose to end her set Upstairs at Ronnie’s with this tune and it was the perfect way to send us all back out into the world. Heidi’s entire set was exceptional jazz from her accomplished quartet - Bruno Heinen (piano), Menelik Claffey (double bass) and Noah Ojumu (drums). Watching them communicate through brief glances and hand signals showed just how brilliant they all are individually and as an ensemble. Their improvised solos were musically perfect and they interwove with each other as only those who play together regularly can. I chatted with Heidi for Harmonious World in June 2026 and she promised new music coming soon. It was great to hear her live on stage - she uses her voice as an instrument lyrically, rhythmically and percussively. Every tune was chosen carefully and the audience loved it all, from Stolen Moments and Words Can’t Describe through to the Flora Purim Beijo Paritido (Broken Kiss). The crowd particularly enjoyed Heidi’s use of Babs Gonzales lyrics to Round Midnight. Upstairs at Ronnie’s continues to give a stage to brilliant artists and closing with The Peacocks made Heidi Vogel "proudly grace the scene". Check out Heidi’s music on Bandcamp - there’s a new album out on 20 August

A new EP from cellist Matt Haimovitz brings a community together to pay tribute to the people of Minneapolis and Saint Paul during their 2026 ICE occupation. The three pieces on Neighbors are performed by colleagues and students from the University of Minnesota, bring themes of community, remembrance and the power of collective voice. Composer Luna Pearl Woolf (who I interviewed in January 2021) reimagined Ernest Bloch’s Prayer for violin, cello and choir. Haimovitz says: “The violin line joins the cello in solidarity, the choir replaces the wordless piano, transforming the accompaniment into the harmonious incantation of a congregation.” The resulting first track on this EP is renamed Neighbors: A Prayer, using words from librettist David Van Taylor, based on the words of Minneapolis activists. Julius Klengel’s Hymnus (1920) is an evocative, wordless piece for twelve cellos, performed by Haimovitz and his students. I am Spirit follows, composed by former Minnesotan David C Dickau, bringing together violin, cello, soprano and choir. The individual’s spirit “awakens” with “the ferocity of your dignity” and seems to speak to the power of collectively overcoming darkness. I interviewed Matt Haimovitz for Harmonious World in August 2022 about his wonderful cello works and it’s a pleasure to have heard Neighbors now. ‘Neighbors’ is available online from Pentatone Music

I’m a great supporter of local venues and it’s always a delight when the programming includes classic or well-known pieces, as well as those that are brand new. Such was the case at a recent organ and percussion concert at St Mary’s, Hitchin. A marvellous setting for organ and percussion Our local parish church is increasingly being used for marvellous musical events and this weekend featured a wonderful selection of pieces for the church’s ancient organ and a plethora of percussion. Organist Rufus Frowde had gathered together two professional musicians - Danny Basford and Josh Gearing - to work with his own son Josef on music from the 19th and 20th centuries right up to the present day. Caught in the Net was originally composed by Billie Reason for the Hertfordshire Schools’ Symphony Orchestra, rescored specially by the composer for organ, percussion, synthesiser and a digital soundworld. It was insightful and inspirational, asking us all to question how we can ensure a safer digital future. Josh Gearing Among this clever collection of pieces was a solo performance by Josh Gearing of an excerpt from Kaija Saariaho’s Six Japanese Gardens. Gearing employed electronics and percussion from the largest gongs to the smallest bells. Particular favourites were the arrangement of Elgar’s Nimrod and the Eugene Gigout Toccata. It was a shame that the St Mary’s organ (which had been ‘playing up’ throughout the concert) failed in the last section of the latter, but Rufus moved almost seamlessly to the church’s grand piano for the conclusion. We also got a bonus - Antonio Carlos Jobim’s How Insensitive - which finished the evening off perfectly. Find grassroots music near you across the UK on the Music Venue Trust’s Gig Guide

Drummer Laura Klain brought her adept ensemble to Pizza Express Live and wowed the crowd. Garnett, Morabito and Klain Laura manages her time between Italy, London and world travel with her amazingly inventive drumming. It was a pleasure to see her with her trio - Alex Garnett (tenor sax) and Lorenzo Morabito (double bass). The trio performed a mixture of original tunes and standards, with one of the most moving and brilliant performances of Lover Man I have ever heard. Garnett’s controlled tune and inventive improvisation combine with his pure tone, while Morabito’s bass can establish a groove or improvise solos with aplomb. A miriad of combinations of sax, bass and drums brought the sparseness of a trio to life that was genuinely captivating. These three extraordinary musicians swapping phrases and move melodies between each other, listening and responding to each other with dexterity and finesse. I’m a sucker for a jazz waltz and I’d never heard Frank Rosolino’s Blue Daniel before: I’ve added it to my list to learn. Finishing with McCoy Tyner’s Blues on the Corner - another less well-known standard - the trio brought a wonderfully intimate evening to a subtle close. Find out where you can catch Laura Klain live

Grassroots venues continue - often against all odds - to provide a vital stage for musicians around the UK. This week, I discovered Dead Colours at Hitchin’s Club 85. Dead Colours is Martyn Shone (guitar and vocals) and Chris Lines (keyboards). They were one of four bands on the lineup, bringing their original songs and especially a great cover version of Duran Duran’s Planet Earth which took us collectively back to 1981. All around the UK - and around the world - small venues are giving bands and artists a stage to perform in front of audiences. And long may that continue. After several years of uncertainty, Club 85’s future as a not-for-profit organisation, dedicated to bringing the whole community together in a safe space for all is closer to safety. The brilliant team behind the scenes allows people of all ages to enjoy music as they showcase the best local, touring and international talent. The set we enjoyed from Dead Colours was inventive and energetic, combining live and electronic music that had a touch of the 80s with modern originality. There’s always lots of new music to discover at Club 85 - check out grassroots venues near you

The winners of the Downbeat Magazine 74th Critics’ Poll include several Harmonious World guests and subjects of my reviews. As well as these great awards, there were several of my guests featuring as runners-up. One of the significant runners up in the Rising Star categories for Soprano and Tenor saxophonist was Emma Rawicz The notable winners are: Jane Ira Bloom: Soprano saxophonist of the Year Immanuel Wilkins: Alto Saxophonist of the Year Craig Taborn: Keyboardist of the Year Maria Schneider: Large Ensemble and Composer of the Year Gabrielle Cavassa: Rising Star Female Vocalist of the Year Take a look at the list and let me know in the comments who you’d like to find out more about on Harmonious World

Anthony Strong is set to release the sumptuous ‘And Then We Kiss …’, with his long-standing quartet and a full string orchestra. Strong’s new album combines his versions of the Great American Songbook (think Some Enchanted Evening and Love For Sale) with a touch of pop in the shape of a bossa If You Leave Me Now. The latter features a delightful duet with Pamina Beroff. One of the strengths (pardon the pun) of this album is the fabulous string arrangements by the uber-talented Callum Au. It turns these tunes into a Sinatra-esque collection that enhances Strong’s voice. Strong (voice, piano, arranger) is joined on And Then We Kiss … by Nick Fitch (guitar), Joel Barford (drums), Spencer Brown (bass), Brandon Allen (tenor sax) and Pamina Beroff (guest vocals). Strings are a wonderful addition, as orchestrated by Au and led by violinist Tom Kemp. One particularly stunning arrangement is the whimsical It’s Not Unusual, which begins with the quartet, Strong’s voice and Allen’s always-lyrical sax. Anthony Strong has done a great job on these arrangements, combining them with Au’s string orchestrations, great jazz and some of the most romantic songs there are. I’m looking forward to seeing what he brings with his trio to the Cowshed Jazz Club on 25 September. ‘And Then We Kiss…’ is out on Guaranteed! Records from 31 July 2026

Produced by Nicole Zuraitis and the legendary Larry Klein, the singer’s latest album ‘The Devil I Knew’ is gorgeous, romantic and wonderfully profound. Nicole is a fabulous pianist, vocalist and performer, as I discovered in July 2024 when Nigel Williams introduced her on stage at The Pheasantry in London. Ever since, I have been a little obsessed with the singer’s journey and this latest, hugely personal album is a wonderful example of her voice, her songwriting and her production skills. Zuraitis writes, arranges, sings and plays piano and a touch of Rhodes on The Devil I Knew. Alongside her are an array of talented musicians who dip in wherever appropriate. A constant is Dan Pugach (drums), with contributions across the album from: Donny McCaslin (sax), Jon Cowherd (organ), Larry Klein (bass and Wurlitzer), Christian McBride (bass), Sam Weber (bass), Larry Goldings (organ), Idan Morim (guitar), Gilad Hekselman (guitar), Scott Sherrard (guitar), Dean Parks (guitar) and David Cook (piano). Each one makes a specific contribution to this ensemble album. The fabulous horn arrangements were by Jerry Hey, performed by: Rashawn Ross (trumpet), Lori Stuntz (trombone), Larry Williams (tenor sax), Brandon Fields (baritone sax). When Zuraitis’s voice needs some backing, there’s subtle contributions from Sirintip and Vivienne Aerts. A deeply spiritual and personal collection of tunes, there’s healing bowls from Andromeda Turre and poetry spoken by: Susan Bloomberg, Johanna Telander, Jeanette Zuraitis, Jessica DeShong, Christina Giocona, Priya Darshini, Janet Robin, Angela Benson, Meka Nism and Dee Lee Dubé. As soon as the opening McBride bass line of Won’t Make it Out Alive and later on He’s a Demon, He’s a Devil, He’s a Dog bursts into your ears and your chest, you know this is going to be a groove that sticks with you. And the fabulous Larry Goldings organ seems the perfect foil to Zuraitis’s voice on the former track. Each musician selected to perform on different tracks is specific, such as on Two Steps Back (The Overlap) featuring the evocative sax of Donny McCaslin. Turning to a standard like the Hoagy Carmichael classic I Get Along Without You Very Well, is a nice touch, but Zuraitis knows how to write and sing about love, as evidenced on the soulful ballad Call My Name (I Dare You) and also on the deeply moving Wish I Could Love You. Across the whole album, there’s a sense of the writer’s connection to her own and our emotional life - all delivered perfectly by the vocalist. ‘The Devil I Knew’ from Nicole Zuraitis is out now on La Reserve Records

From its deep opening sonorous chords, ‘Identity’ from Poland’s Confusion Project reaches into your soul. There is something totally captivating about the rhythmic title track that introduces this new album. The concept of identity seems to involve the individual musicians, the ensemble collectively and the listener. Confusion Project’s music is composed by Michał Ciesielski (piano), all performed by Piotr Gierszewski (bass guitar) and Adam Golicki (drums). The jazz trio format moves between jazz and fusion, with clear influences from Polish folk and classical music, expertly creating a sound that edges towards prog rock and jazz fusion. At the heart of Identity are five Mazurkas - composed and performed with a 21st century groove and jazz edge. The Mazurka form is fundamental to Polish folk music, popularised in the 19th century by composers like Chopin, who adapted the dance form to their own style - an idea perpetuated in these jazz versions by Confusion Project. Later in the album, we have the delightfully-complex Simplicity, with a rhythmic groove established first by the piano before the trio runs loose with it. Ending Identity is the expansive What Now? which plays with the listener - a sudden ending that leaves the question of the title open. In 2020, Confusion Project started an environmental initiative called #1CD1tree, driven by contributions from album purchases, and have since planted over 2000 trees on several continents in places devastated by human actions. Identity is a jazz trio album of our time, with hints and nods to music of the past and questions about what the future holds. Confusion Project has released ‘Identity’ via Dot Time Records

Michael Arbenz has once more addressed Bach as jazz inspiration: this time with his brother Florian and Atom String Quartet. Bach’s iconic Orchestral Suite No. 3 in D Major has been completely reimagined - nearly 200 years since it was composed. If Bach had added piano and percussion to a string quartet and allowed for improvisation, it might have sounded something like this album. Arbenz has combined clear, precise writing for all the instruments and then included passages for improvisation that allows the players to take his writing and expand on it with their own personal perspective. The entire ensemble is Michael Arbenz (piano), Florian Arbenz (drums) and the Atom String Quartet - Dawid Lubowicz (violin), Mateusz Smoczynski (violin), Michal Zaborski (viola) and Krysztof Lenczowski (cello). It seems like Bach is repeatedly a great springboard for improvisers. In August 2025, I reviewed Michael Arbenz’s live From Bach to Ellington album with Andy Sheppard. I spoke to Joachim Horley in January 2026 about his Afro Bach project. The Neil Cowley Trio released Built on Bach in April 2026 and I also reviewed their live performance a couple of weeks later. Joining with his brother and Atom String Quartet, Michael Arbenz has brought Bach to life in the 21st century through the lens of improvisation and musical collaboration. Michael Arbenz feat. Atom String Quartet & Florian Arbenz’s ‘J.S. Bach Suite III - A Living Organism’ is available on Bandcamp

Celebrations of the 250th anniversary of America have not gone entirely to plan, but enjoy storytelling, today’s issues and ideas with Apollo Chamber Players and ‘We The People’. This latest album from Apollo Chamber Players is a stunning collection of music that reflects both the stories and the future of America as it celebrates 250 years since its birth. The opening track: And Still We Cross brings an idea of those who travelled from around the world and ‘discovered’ America, bringing the idea that we all walk in their footsteps. I’ve interviewed Apollo founder and violinist Matthew J. Detrick, in November 2021, January 2023 and September 2025. Of this latest release, he says: “This album reflects the dimensions of American democracy. Its ideals, its contradictions, its immigrant stories, its struggles for equality, its cultural plurality, its future, and its collective imagination.” There is so much to uncover - both musically and in the story-telling - in this album and I highly recommend getting your headphones on and indulging in the variety of sounds around the string quartet. The use of voices (solos, small groups, choirs and narration) is particularly engaging and there are also additional solos on strings and electric guitar The closing track is particularly moving: Howard Hansen and Mark Buller’s Song of Democracy is based on the poetry of Walt Whitman, featuring the Apollo Chamber Players string quartet and the Kinder HSPVA Chorale, with additional viola from Tonya Burton. Once again, Apollo Chamber Players are making music for us all to enjoy and to provoke thought. ‘We the People’ from Apollo Chamber Players is available as a digital release on Azica Records