The winners of the ‘Downbeat Magazine; 90th Readers’ Poll include several Harmonious World guests and subjects of my reviews. It was such a pleasure to interview Christian McBride in person Most notably: Christian McBride : Artist, Bass player and Arranger of the Year Maria Schneider : Large Ensemble and Composer of the year Artemis : Group of the year

With two sold-out shows at Ronnie Scott’s as part of the EFG London Jazz Festival , remarkable, engaging pianist and vocalist Ashley Henry  brought his 2024 album ‘Who We Are’ to life. It’s clear from the outset that this quartet is used to playing together, there was a real communication across the stand as Henry himself extended solos and directed the others. He was joined by Johnny Woodham (trumpet), David Mrakpor (bass) and Peter Hill (drums). All of these are in-demand musicians with their own projects and when they come together they are both impressive individuals and a collective, collaborative ensemble. And Henry’s tunes are great. That blend of jazz, soul and hip-hop makes for a brilliant setting that combines both his virtuosic piano (and Rhodes keyboard) and sonorous voice. Whether it was the expressive Synchronicity , the title track Who We Are  or the gorgeous I Still Believe  from his earlier album Beautiful Vinyl Hunter , these are dynamic songs that the Ronnie Scott’s audience loved. Many of the tunes began with Henry’s solo piano improvisations that set the scene for the ensemble joining in. Woodham’s use of trumpet is sparing as backing, until it comes time for his own solos, which are a delight, using mutes and electronics to great effect. Bass lines from Mrakpor are subtle and expressive: it’s clear to see why one of his other projects - Blue Lab Beats - has seen such success. Meanwhile, the drums of Peter Hill are similarly subtle most of the time, and virtuosic when required. Together, the quartet promise much for the upcoming UK tour. Henry told a story of a tune that he was asked to perform but was initially unwilling to do: it was good that he changed his mind and eventually got permission from the estate of Nina Simone to perform and record Mississippi Goddam .  You can read my review of Who We Are  from October 2024 here .

I know from personal experience that the 606 Club  has a fine history of helping aspiring young musicians. Working alongside local schools and teachers is important to them all and as part of the EFG London Jazz Festival  they welcomed two such institutions: World Heart Beat Music Academy  and the Julian Joseph Jazz Academy . With tutors, organisers and even Julian Joseph himself in attendance, students from both organisations presented their programme ‘Together We Go Forward’. With a long-standing and deep-seated belief that the best way to learn jazz is to listen and play it, without written music getting in the way, playing by ear is clearly vital to these youngsters. A variety of young musicians opened the afternoon with tunes including Chet Baker’s Not For Me  and renditions of After You’ve Gone, the sublime Moonlight on the Ganges  and Nobody Else But Me,  as performed by Sarah Vaughan. These musicians took to the prestigious 606 stage with some nervousness but equally some of the confidence of youth. World Heart Beat’s jazz curriculum has brilliant working musicians at its heart, including Tony Kofi and Byron Wallen. The work done in preparing for performing at the 606 was also largely thanks to some outstanding up and coming jazz musicians including Ayo Vincent, Wilf Diamond, and Ava Joseph, who were all on hand to help the set run smoothly. After a brief interval, students from the Julian Joseph Jazz Academy performed and there is clearly a strong relationship between the two organisations - all helping prepare young people to play music to the best of their abilities. Julian introduced the musicians, alluding to that strong partnership and the benefits it brings to the youngsters. Slightly older than the musicians from the first set, there was a maturity about the way they all owned the stage and collaborated on tunes like Caravan, Black Jack, If I Should Lose You and  Nature Boy. The entire afternoon was a tribute to the great work going on around London to nurture new musical talent. It is thanks to organisations like World Heat Beat Academy, the Julian Joseph Jazz Academy, venues like the 606 Club and to the EFG London Jazz Festival that young people are being given opportunities to play and learn together. There is real evidence here that ‘Together We Go Forward’. You can listen to my Harmonious World episode with 606 Club’s Steve Rubie here  and read my review of the Nicole Brancato/Jeremy Weiss performance at World Heart Beat in Battersea here .

Mid-way through the EFG London Jazz Festival, ACT Music offered two of their finest ensembles on the Southbank: the innovative sounds of Emma Rawicz’s INKYRA , followed by The Michael Wollny Trio. The fantastic saxophonist and composer Emma Rawicz has many creative outlets, and INKYRA is one of the most exciting, drawing on her vast array of musical influences. You can read my album review here . INKYRA has some of the most in-demand musicians the UK modern jazz scene has to offer today, including Gareth Lockrane (flutes of all sizes), David Preston (guitar), Scottie Thompson (Rhodes and piano), Kevin Glasgow (bass) and Jamie Murray (drums). There is a comfortable yet innovative sense of this ensemble knowing exactly what they’;re doing, while occasionally throwing in glorious musical surprises. Rawicz always engages with the audience and her delight to be appearing at such a  packed venue on the Southbank Centre was obvious in each interaction and she explained the journey to get here. INKYRA has been in existence for a number of years and the release of their debut album is a real delight for us all - ensemble and audience alike. Following a brief interval and an introduction from the evening’s host, broadcaster Kevin LeGendre, pianist Michael Wollny took to the stage with his trio including Tim Lefebvre (bass) and Eric Schaefer (drums). Also on  ACT is the trio’s newest album, Living Ghosts.  Their performance was engaging and innovative, showing some of the outstanding playing we expect of them as individuals and an ensemble. Once more, ACT Music provides brilliant contemporary music and it’s great to hear these artists live as well as recorded.

I spent Saturday afternoon enjoying a special event marking the third year of collaboration between Melbourne International Jazz Festival  and the EFG London Jazz Festival . Jeremy Rose’s Disruption! The lobby of the Barbican was packed for two exclusive performances from Jeremy Rose's 'Disruption! The Voice of Drums' , followed by a set from flautist and composer Erica Tucceri  with her four-piece UK band. Disruption! The Voice of Drums  is the creation of sax player Jeremy Rose and features outstanding, innovative drumming from award-winning Simon Barker and Chloe Kim, who has recently signed to Charmaine Lee’s New York based Koh Records. Their set was innovative and exciting, with each member of the ensemble shining above and alongside the drums. Alongside Rose (sax) and the pairing of Barker and Kim (drums), there was great work from Hilary Geddes (guitar) and Jacques Emery (double bass). Erica Tucceri The second half of the afternoon was given over to the award-winning flute, percussion and voice of Erica Tucceri. As composer and band leader, she has a lot to offer the Australian and global jazz scene. Both fantastic sets were well-received by a packed lobby in the Barbican: these ensembles contain outstanding musicians who were a credit to the Melbourne International Jazz Festival and Australia.

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.