As is the case in other festivals, it’s impossible to see more than a sample of the talented and creative performers offered by the EFG London Jazz Festival . This year, I cheated by catching ten singers and nearly 50 of the UK’s finest instrumentalists in an orchestra led and conducted by Guy Barker at the Royal Festival Hall. Jazz Voice (c) Emile Holba The opening gala night - Jazz Voice - was part of the EFG Elements Series , where each year the Festival organisers collaborate closely with title sponsors EFG to select four shows showing the richness and diversity of the programme. What was particularly remarkable was the number of school and family groups in the audience, with notable diversity among them. Each singer appeared as a soloist in front of the impressive London Jazz Festival Orchestra and Guy Barker in the first half, before then either performing again alone or with others in the second half before a Stevie Wonder medley took them all around the repertoire of one of our finest living musicians and song writers in jazz today. Dee Dee Bridgewater (c) Emile Holba One of the highlights was Dee Dee Bridgewater, singing James Moody’s Flying Saucer  in the first half and a   Roy Ayers medley in the second. Similarly, Tanita Tikaram performed her own songs Glass Love Train  and Twist in My Sobriety, while Stella Cole had selected ‘ Til There Was You and  It’s Magic. Natalie Williams owned Dancing to the Rhythm  and Vula Malinga took on What’s Going On before they both slayed I’m Every Woman . It wasn’t just the women who entertained the packed audience in the Royal Festival Hall: Tyreek McDole sang Open Up Your Senses  and The Sun Song, while Caleb Kunle performed It’s a Man’s World, I Feel Good  and  Gimme Dat with guest conductor Jack Murray. The second half began with a chance for the orchestra to show what they’re made of, with arrangements by Guy of a selection of tunes by the greats of UK jazz. There were some familiar faces in the orchestra, with big names in their own right as jazz performers in the UK and around the world. This really was the night to catch some great jazz apart from the vocals, with improvised solos from the established faces to the youngest - Klara Devlin, a finalist in the 2024 BBC Young Jazz Musician competition. Jacqui Dankworth (c) Emile Holba A particularly touching moment came when Jacqui Dankworth performed a medley of songs made famous by her mother, Cleo Laine, who died in July. The evening ended with a medley of Stevie Wonder, with contributions from the soloists, all arranged by the indefatigable Guy. Hosted by broadcaster, journalist and vocalist Jumoké Fashola, the show was broadcast live on BBC Radio 3 and is available to listen again on BBC Sounds .

I have to confess to being a big fan of guitarist Tom Ollendorff , so I was expecting to enjoy his third album - ‘Where in the World’ - and from the outset, it proved me right. This is a delightful first collaboration with Blue Note pianist Aaron Parks alongside the always impressive James Maddren (drums) and Conor Chaplin (bass). The last time I heard Tom playing live was at the Vortex with Germana Stella La Sorsa for her album launch  and it’s only a couple of weeks since I reviewed Parks’s own album, By All Means  and it's good to hear them both together on Where in the World . As well as the album launch in just a few days, there’s also a major 30-date world tour across Europe, Asia, and Australia. There really is something about Ollendorff’s compositions when performed with Parks, Maddren and Chaplin which is intoxicating. Supreme performers all, they combine into a collective that works so well. There’s a good reason why the opening track, Past Lives, has been released as a single in the run-up to launch. With a groove established by Maddren before the melody brings everyone together in a way that sets the scene for the individual sections that follow. Tom’s opening to West Lake  is gorgeous, while Worried World  starts with guitar and piano in perfect harmony. As the album takes a controlled, collective conclusion with Atlantic Angels . Where in the World  is out on 21 November on Fresh Sound Records .

There were some very familiar songs arranged for Hamish Stuart’s band that consists of some of the biggest talent in London today. If you haven’t heard of Hamish Stuart, you will definitely know many of his songs and they brought joy to a sell-out audience at Chelsea’s 606 Club. Alongside a period as lead singer and guitarist with The Average White Band, Stuart has worked as a songwriter and performer with musical royalty including Diana Ross, George Benson, Chaka Khan, Paul McCartney, Ringo Starr and Bill Wyman. Through the 1970s and 1980s, Stuart was writing some of the finest songs that sounded just as good with a stonking live band as they had on the originals. The setlist included What Cha’ Gonna Do For Me, Person to Person and  Work To Do . There was nothing else to end with but the crowd-pleasing Pick Up The Pieces . Other songs through the night included those written and performed with the band 360, which included Molly Duncan and Steve Ferrone from The Average White Band. Stuart has been a familiar face at the 606 Club for many years and clearly attracts a large and appreciative audience. Iain Thomas on drums, Hamish Stuart and Steve Pearce on bass Alongside the guitar and vocals of Stuart himself, the band was made up of the sensational Jim Watson and Ross Stanley (keyboards), Adam Phillips (guitar), Steve Pearce (bass) and Iain Thomas (drums). Stuart doesn’t always wheel out the whole band, so it was a fortunate night for everyone at the 606 Club that the usual sextet was joined by the impressive Hamish Horns of Patrick Hayes (trombone), Tom Walsh (trumpet), Graeme Blevins (alto sax) and Jim Hunt (tenor sax). Outstanding musicians all, and a great night that left the audience more than satisfied.

The new album from guru of the flute Gareth Lockrane  and his Big Band is spectacular, featuring some of the (other) best jazz musicians the UK has to offer. ‘Box of Tricks’ is just that - a selection of some masterful writing and performing. The opening track features Lockrane’s exemplary flute - he plays flute, alto flute, bass flute and piccolo across the tracks - and All the People  really does show his playing at its finest. There’s a reason why he’s the go-to flautist in the UK and beyond. With Box of Tricks , he’s showing off his composition and arrangement skills too. Don’t be fooled into thinking you’ve heard big bands - this album showcases these extraordinary musicians as a collection and as individuals. Lockrane sets the improvisation standard, but others follow. On the opening track, Mark Nightingale (trombone) and Ross Stanley (Hammond organ) take the leader’s baton and blast with their own individual style. Many of the players (like Ross Stanley, who has appeared on several albums I’ve reviewed this year, as well as live gigs and even on an episode of Harmonious World  in 2022) are regulars across the UK jazz scene and they come together brilliantly under Lockrane’s baton. Formed in 2008, The Gareth Lockrane Big Band has been a purveyor of quality ever since, as seen on their 2017 debut album Fistfight At The Barn Dance . It’s hard to believe, but the nine tracks in their Box Of Tricks  were recorded in just one day in Livingston Studio. Across all these tracks, there is an attention to detail but lightness of touch in Lockrane’s composing and arrangement that means the big band format is still very much alive and well in the UK today. It’s always hard to choose a favourite track from any album, but for this one, I’d probably go for the final tune - Lockup!. At least partly, it’s a winner, because Lockrane’s flute is simply gorgeous, especially rising above the soli sections. His own solo weaves between the section backgrounds just perfectly. The final flourish completes Box of Tricks . Gareth says: “I love writing for an ambitious project like this that’s big enough to combine all my favorite influences, and I never get over the thrill of a big band roaring away with the unique voices of the soloists shaping the music - it never gets old.” “A lot of the tunes or germs of the tunes come out of a playing/practice process for me, consolidating ideas or soaking up influences that leads naturally to writing and personalizing all the ideas that I’m working on as a player. And the players are a multi-generational mix of my own peer group, older musicians I’ve always admired and people I’ve taught at the colleges over the last 15 years - incredible talents who are now taking their place on the scene. I’m really happy with how this record turned out.” You can find a full list of the tracks and personnel on the Bandcamp page for Box of Tricks .

Out on 11 December is ‘Wavemakers’, a new quartet album from Swiss-New Zealand pianist, composer and filmmaker Alex Ventling . Chamber jazz with the Nordic touches that come from global musical and personal influences, this album is truly mesmerising and subtle. Ventling’s compositions begin with Tracking  that seems to establish the textures of this quartet alongside his own piano. There is something brilliant about modern jazz violin, handled so brilliantly by Tuva Halse, before the album moves to Omaha , featuring vocals of Sissel Vera Pettersen. Every track on Wavemakers  flows beautifully to the next - I’ve always been a great believer in listening to albums as they are constructed by the artist. Ventling (piano and synth) has put together a stunning quartet, including Tuva Halse (violin), Amund Stenøien (vibraphone) and August Glännestrand (drums). Guest vocals from Sissel Vera Pettersen on Omaha  add a new layer that is both lyrical and intensely melodic. These five musicians capture a moment in musical time across the nine tracks, with a genuine sense of flow. Once we reach Trondheim I  and Trondheim II and then the briefest of detours to Traces  before Trondheim III , we are on course through an exploration of the importance of the city in Ventling’s own life and the birth of the quartet. If you have the chance to listen to the album, I can promise you will discover (or rediscover) the beauty of vibes and violin as a combination above piano/synth and drums. Equally captivating are the live performance videos for Four Refractions  and Omaha  (with violin in place of vocals). You will be able to experience Wavemakers  live following the release of the album, with dates currently released in Norway, Germany, Switzerland, New Zealand, Australia, and Japan.

Out now on Little Yellow Man Records is the invention and innovative ‘Dialogue of Thoughts’ from The Harper Trio , featuring electric jazz harpist and composer Maria Christina Harper. There was a sense of creative freedom to the trio’s debut album in 2023 - Passing By  - and this new release brings increased influences from Harper’s own Greek and Egyptian musical roots Along with Evan Jenkins (drums) and Josephine Davies (sax), Harper brings a dynamic sound that is frenetic in some tracks and in others like Ephemeral Now  a beautiful contemplative groove. The sax/harp combination has always brought a strong sound and Davies combines effortlessly and ingeniously with Harper’s multi-faceted texture on these brief, beautifully-structured tunes. There is something a little deliberately dangerous about Madness While Trying to Meditate  that reflects the intended subject. Electronics, harp and sax are balanced by Jenkins’s controlled use of drums. Discussing the composition process, Harper says: “Spending more time gigging together gave me the confidence to be more adventurous and playful in my composing. I’d seen the trio’s full potential - our strength lies in how we respond to and are shaped by each other’s sound. Composing for the trio is never a solo act; it’s a dialogue. We improvise, explore tension, embrace softness, and above all, stay  playful. This album reflects that spirit.” Dialogue of Thoughts  is an exciting but contemplative album and the Harper Trio are currently touring across the UK, so check them out live as well.

The latest album from pianist and composer Andrew Carroll is a delightful concoction of modern jazz that sits where middle of the road should be, without being ‘smooth’ and anodyne. Nine original compositions feature a fine jazz trio with each performer bringing their best. Each tune on Speaking of Gravity  seems to convey a story that can be whatever you choose it to be. Vague titles hint at their inspiration, but glean from it what you will. The music will take you wherever you want to got. Tracks like Auburn Roots  and Audrey’s Arabesque get right to the heart of this beautiful trio album, with the composer’s piano melding perfectly with his collaborators, Jeff Ballard (drums) and Danny Ziemann (double bass). I’m always allowed a favourite track, and on Speaking of Gravity  it is How the Clock Strikes Now , with a  challenging time signature that sometimes waltzes and confusingly comes back on itself. Much like the world we are all inhabiting right now. The strings of the piano resonate at the end, almost expectantly. There are moments of solo piano that are mesmerising - they allow your mind to drift before you return to the trio format. These musicians have all worked with some of the greatest in the music world, with Carroll himself heard alongside Maria Schneider , Burt Bacharach, Steve Miller, Jane Monheit and many others. Interestingly, Ballard’s drums have appeared on several albums I have reviewed over the years. These are in-demand and exceptional musicians. Enjoy Speaking of Gravity  as a fine example of piano trio jazz today.

Taking a sensational big band (the WDR Big Band ) and adding some extraordinary bass in the hands of John Goldsby  makes for a compelling album with ‘Big Band Bass’. Released on 7 November 2025, Big Band Bass combines all that is expected and brilliant from the big band that is part of German public broadcaster Westdeutscher Rundfunk (WDR) in Cologne with American bassist John Goldsby. This really is some of the finest big band players around today, adding in the phenomenal bass that has been part of their ensemble for three decades. At the heart of this album are arrangements by Bob Mintzer ’s arrangements of John Goldsby compositions that allow the bass to take a lead. The WDR Big Band is really extraordinary, with a collection of flutes on the opening track - Vince Mondoza’s Sonatinita  - floating beautifully above Goldsby’s bass and a little delicate latin percussion in an extended introduction before the ensemble joins in for a section and then a decisive ending. It’s not just the big band ensemble that is on fire with Goldsby's bass, but there are some exceptional solos, including those from Karolina Strassmayer (alto sax), Ludwig Nuss (trombone), Johan Hörlén (alto sax), Ruud Breuls (trumpet) and, perhaps unsurprisingly, Mintzer himself. The latter sets light to The Baron’s Dilemma  with his sax growing from a gorgeous sax soli section with additional tenor sax solos from Ben Fitzpatrick and Paul Heller. Big Band Bass is Goldsby’s most personal project to date and he says: “Working with the WDR Big Band for 30 years has been a joy—and showcasing my original music on this album is a dream come true. With Bob [Mintzer] arranging and playing sax, and contributions from Vince Mendoza and other longtime friends, it felt like a family project.”

November’s live music started strong with both Cambridge and London promising Jazz Festivals and a little preliminary excitement from Kassa Overall and a scaled-back band under historic Denmark Street. The Lower Third sits deep below Denmark Street, formerly known as Tin Pan Alley, in London’s Soho and famous for housing music publishers, record shops and recording studios. There’s little evidence now of its historic past, but I stepped inside a cool bar and headed down to the basement at The Lower Third. Luckily, I followed advice I’ve given others many times and arrived in time for the support act. On stage was singer-songwriter India Blue and her guitar, with lots of poetic lyrics and an engaging explanation of her songs. She warmed the audience up nicely and made us all feel welcome in that intimate space. Once Kassa Overall joined the stage, it was clear he had scaled down the band behind his new album - C.R.E.A.M . Alongside his drums were Bendji Allonce (percussion), Giulio Xavier Cetto (bass) and Emilio Modeste (tenor sax). Absolutely perfect sound from the whole team on stage and in production at the Lower Third. With just one lead instrument, Emilio Modeste’s tenor sax did most of the melodic heavy lifting, until he was joined by American sax player Lauren Fink, now based in London. C.R.E.A.M. is Overall’s fourth solo studio album and several of the tunes performed were from that, but others from his previous releases. There were stand-out songs on the night, like Overall’s arrangement of Eddie Harris’s Freedom Jazz Dance  that worked brilliantly with Bendji Allonce’s brilliant percussion. Another outstanding chart is Nuthin but a ‘G’ Thang . These guys really grooved through that. But, above all, Kassa Overall is a drummer and his dexterity behind the skins is breath-taking. He was amazing at Love Supreme in July and even better with a smaller band in a more intimate, subterranean venue in central London.

It takes strength of character to release a new album where the opening melody is played by a band-mate, the tune lasts just over a minute and your own playing appears for the last ten seconds. Emma Rawicz proves once again on ‘Inkyra’ that she’s a generous musical powerhouse, emphasising her composition skills alongside those undoubted sax chops. Ikyra opens with Earthrise , featuring Gareth Lockrane on a gorgeous, sonorous bass flute before there’s a brief appearance of Emma’s sax, and a swift segue into Particles of Change , which motors along nicely and introduces us properly to Emma’s tenor sax and the entire sextet. By the time we reach the end of the album, A Long Goodbye  once more brings Lockrane’s flute to the fore. Alongside Emma Rawicz (tenor and soprano saxes) and Gareth Lockrane (flute, alto flute, bass flute, piccolo), there’s David Preston (guitar), Scottie Thompson (Rhodes, piano, Prophet), Kevin Glasgow (electric bass) and Jamie Murray (drums). Together, they take each of the leader’s ten compositions and create a sublime collection of jazz that could be anyone’s introduction to what’s great about jazz right now.Emma recently became a BBC New Generation Artist and for very good reason. Her 2023 album Chroma and her spectacular performances with pianist Gwilym Simcock, as well as concert hall performances around the world demonstrate virtuosity and dexterity. Plus, she’s one of the nicest people. You can hear my conversation with Emma for the first Harmonious World episode of 2025 here . Collaboration seems to always be at the heart of Emma’s composition and playing and Inkyra  allows every member of this sextet to shine. That opening with Lockrane’s always beautiful flute evolved into an album of outstanding performances, collectively and individually. The beautiful keyboard start of A Portrait of Today  allows the tune to expand into what sounds like a much larger ensemble piece. I love Preston’s brief guitar openings of Anima Rising and Marshmallow Tree . Not only does Emma collaborate, but she takes her inspiration from a variety of sources. She says: “Some of the inspiration for the music comes from Joni Mitchell. That might sound strange at first, because the pieces don't sound like singer/songwriter music. Nevertheless, I immersed myself in her music before composing the programme. I am fascinated by her way of structuring melodies, her use of harmony, unusual tunings and unfamiliar chords that you don't hear in jazz. That influenced me on the piano and in turn shaped my work as a composer. The result is a unique identity. I also took inspiration from the lyrics, which appear in the titles of the pieces and have also inspired the fantasy name of the album.” When I interviewed Emma at the end of 2024 for that first episode, I had no idea that 2025 would be so much her year, with Inkyra  and more touring closing it all off. Who knows what 2026 will deliver.

Taking a taste of afro-jazz and fusing musical elements from around the world, Ubunye  are releasing their new album ‘Tell Me the Truth or Don’t Tell Me Anything’ on 33 Jazz Records. Ubunye (‘Unity’) is the conception of keyboard player and lead songwriter David Evans, and Xolani Mbatha (vocals), now including Steve Hanley (drums), Nik Svarc (guitar), Sam Dutton-Taylor (bass) and Nokuthula Zondi (vocals). Joining the band on this new album are  the incredible Soothsayers horn section of Idris Rahman and Robin Hopcraft, Dave Hassell (percussion), Emma Johnson (tenor sax) and Aaron Wood (trumpet), Maja Bugge (cello) and poet Michelle Scally Clarke. In 2023, Ubunye won ‘Best UK Jazz Ensemble’ at the prestigious Parliamentary Jazz Awards. From the opening of Hey Now , Ubunye’s Tell Me the Truth or Don’t Tell Me Anything  crafts an exciting jazz-infused Afro-pop style combining punchy horns and vocal lines: all above a rhythm section that grooves through this and every tune. The elements combine beautifully, including traditional ‘Isigqui’ Zulu music. The breathtaking Let Me Stay Here  is an almost hymnal outlet for Mbatha’s vocals, with Svarc’s guitar guiding us through this moment. When the layers of backing vocals come in the afro-jazz-gospel feel is complete. Tell Me The Truth or Don’t Tell Me Anything  concludes with Bugge’s melodic cello on Hymn  above Evans’ keyboards with expansive, expressive vocals and a calm finish to this collection of eclectic tracks. Evans says: “Our second album explores connection - to ourselves and to others, of going beyond the ego - of recognising our struggles. Much more acoustic than our eponymous debut and a deeper reflection of how the band sound live, the album traverses  a number of themes: ‘Hey Now’ emphasises the importance of honesty, authenticity and truth - it  talks about the visceral honesty from Charlie Parker and how as musicians we look to Parker, Miles, Coltrane and others as leaders - people who expressed honesty and humanity in and through music. ‘On The Road’ is inspired by the Kerouac classic, exploring Zen Buddhist ideas. ‘Let Me Stay Here’ is a song about when everything is right and wanting to stay in those moments and ‘Flowers’ is a gratitude song for people who have helped us - maybe people who are no longer here - a special person - maybe a Mother.” Check out the Ubunye website for tour dates across the UK.

I first saw drummer Kassa Overall a decade ago when he appeared in London with trumpeter Theo Croker. He was impressive then, but even more so when he brought his own band to the Love Supreme Festival in July 2025. Now he brings us CREAM , his fourth solo studio album and it’s a brilliant piece of modern jazz that fuses hip-hop and ‘proper’ jazz drums in arrangements of tunes that really shouldn’t work in a jazz setting. But they do. There’s nothing new in jazz musicians arranging contemporary tunes for a jazz ensemble, but Overall takes surprising hip-hop tunes like The Notorious B.I.G.’s Big Poppa . This tune in particular takes on a new rhythmic feel with the drummer’s complex rhythms and some dextrous melodic mixing between Emilio Modeste’s tenor sax and Anne Drummond’s flute. Many of these arrangements take the original tunes and make them absolutely the drummer’s own. Overall’s arrangement of Eddie Harris’s Freedom Jazz Dance  makes it instantly recognisable but still different, with Emilio Modeste dancing along with Matt Wong’s organ, all sitting above Overall’s drums, Bendji Allonce’s percussion and Rashaan Carter’s double bass. The outstanding tune is the title track - C.R.E.A.M. (Cash Rules Everything Around Me)  by the Wu-Tang Clan. Totally reinvented by Overall, it’s a beautiful opportunity for the gorgeous, entrancing soprano sax of Modeste to float above the complex and tight rhythm section. Then you get to Overall’s arrangement of Nuthin but a ‘G’ Thang , which is a remarkable piece of work, with Modeste’s bass clarinet and Drummond’s flute that resembles the feel of the original, with added complexity and delicious percussion. Throughout, Overall’s drums sit brilliantly alongside his small but beautifully-formed ensemble: Bendji Allonce (percussion); Matt Wong (keyboards); Emilio Modeste (sax); Tomoki Sanders (sax and percussion); Rashaan Carter (bass); Jeremiah Kal’ab (bass); and Anne Drummond (flute). Overall says: “This project is a full circle moment for me, creatively. All of the knowledge and insight gained from the electronic and hip-hop vantage point was applicable from the perspective of the drumset and arranging for live acoustics. To take music that originally comes off as crass or as a club hit and to reframe it with an intellectual and intimate feel shows some kind of humor or absurdity. The point is to open the listener up. Also, I just wanted to make something that sounds dope.” Dope it might be, pretty some of it certainly is. I was blown away by the Overall set at Love Supreme (with many of the same players) and look forward to seeing him again on his current tour, now these arrangements are out in the world.