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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

There is a distinctive groove to ‘Awakening’ from Visions of Nar, combining Armenian folk, contemporary jazz and subtle electronics. Visions of Nar are Zela Margossian (piano) and Jeremy Rose (saxes) and they are joined for Awakening by Hilary Geddes (guitar) and Bobby Singh (tabla). The tracks are composed by Margossian and Rose individually, but there is a definite sense of collaboration throughout. Beginning with Cri du Cour, we are introduced gently to the collective, ethereal sound of these musicians, each bringing their own style and tone. The playful The Little Things continues to pit the sax and piano alongside the percussive tabla before the piano opens the truly gorgeous Gorgeous Nothings and the mournful Sweet Sorrow. A small ensemble this, that nevertheless provides a variety of grooves across Awakening that brings us to the folk-like Let’s Play in the Fields, including some disastrous, complex tabla rhythms. We are brought into a spirited, energetic groove with Eat Chaos. Rose says of the creativity of this ensemble: “This project has always been about connection, between cultures, between genres, and between musicians. Awakening captures that spirit - it’s music that searches for light.” Blessings brings a calm before Margossian’s piano opens Don’t Wait to Be Introduced and we’re back into the ethereal, brought into a darkness with In Times Like These. Although Rose is credited as sax player, he’s once more on bass clarinet here, which seems to work brilliantly with the piano/guitar/tabla collaboration. We end with a regularity and beat to the title track, a dark, sensuous finale to a deeply considered album. ‘Awakening’ from Visions of Nar is available on Earshift Music

Composer and vocalist Emma Pilgaard has used her own voice in jazz to capture the essence of eight women from Danish history on ‘A Woman’s Voice’. This gorgeous music reflects on the creativity and influence of painter Anna Ancher, electronic music pioneer Else Marie Pade, geophysicist Inge Lehmann, women's rights campaigner Thit Jensen, silent film stunt performer Emilie Sannom and sculptor Anne Marie Carl-Nielsen, while also giving voice to the lesser-known story of Carla Hansine Petersen, whose life reflects the women subjected to Denmark's twentieth-century eugenics policies. The opening track is Glowing in the Light of a Sunbeam, and it sets the tone for an album of beautiful music and expressive lyrics. Solos like the trumpet on Hidden Melodies and bass then piano on My Mother have a particularly extraordinary feel and intensity. Throughout this album, the musicians are all brilliant: alongside Emma Pilgaard’s vocals are Rahel Talts (piano), Hilda Nordkvist (bass), Patrycja Wybrańczyk (drums), Viktoria Søndergaard (vibraphone) and Ida Brinch (trumpet). The tracks are each as individual as the women inspiring the creation of them: Pilgaard’s voice on the title track brings the lyrics to life - “When nobody knew/A girl could discover something too.” The combination of music, lyrics and performance makes this a particularly special delivery of an important message. My favourite track - starting with a delicious bass line - has to be Above Expectations: it seems to encapsulate both Pilgaard’s musical style and her intention. This is one of those albums that demands active listening, and repays that effort. ‘A Woman’s Voice’ is available on April Records

I met inspirational composer and pianist Hania Derej while at Jazzahead! earlier in 2026. Now she has released her new album ,‘Don’t Look Behind Always Forward’, featuring her trio and special guests. Alongside Hania on various keyboards is Mateusz Szewczyk (bass guitar, double bass) and Gniewomir Tomczyk (drums), with contributions from Krzysztof Kusmierek, Walter Smith III and Abel Sanchez Abarca (sax). Together, they produce an album that embraces electronica and elements of chamber music. The extensive opening track - Always Forward takes the trio through electronics into a vibe that includes string sounds alongside Hania’s piano that evokes something of chamber music. Electronic sounds combine with the percussion and bass to create an inescapable groove. This is a fascinating album that plays with the listener’s expectations. Big chords on the opening of Hope create a landscape that the trio wanders around in, with improvisation and a groove that takes us with them every step of the way. Special guest Walter Smith III appears with verve on The Closer The Further, bringing some of the vivacity of playing we heard earlier in 2026 on his own album Twio Vol II. Later, we have Abel Sanchez Abarca featured on Life Upside Down before the sax role is passed to Krzysztof Kusmierek on Rush and Don’t Look Behind. Now the trio is out promoting the album around the world, so catch Don’t Look Behind Always Forward wherever you can. Find Hania Derej’s impressive range of music on Bandcamp

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