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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

I can’t think of a better way to end the summer than with a night of jazz, funk and afrobeat with a stellar sextet led by the extraordinary Basil Hodge. Pizza Express Live in Soho was sold out and unsurprisingly so. Basil bought his compositions and arrangements of some belting tunes. Joining him on stage were Tony Kofi (saxes), Stuart Fiddler (guitar), Andrew John (bass guitar) and the brilliant pairing of Winston Clifford (drums) and Cheikh Diop (percussion). Hodge had the audience clapping before the music even started, and that set the tone for an evening of mutual joy. Cheikh Diop and Winston Clifford Tunes included Soul Makossa by Manu Dibango - which got everyone clapping from the very start - and then Fela Kuti’s Shakara. The arrangements allowed space for extended solos from each of these exceptional musicians, and some lovely pairings that saw phrases and musical themes swapping between them. Basil Hodge, Tony Kofi and Stuart Fiddler As well as several tunes by Manu Dibango and Abdullah Ibrahim, there was also space for a Hodge original, in the shape of Habanera, taken from his debut album My Guardian Angel. Throughout the night, the audience was entranced by extended solos from Hodge and Kofi and some simply beautiful improvisatory play between Clifford and Diop. The final tune to send us all on our joyful way home was Niger Mambo, composed by Bobby Benson and made famous by pianist Randy Weston. Check out future events with Basil Hodge and his ensembles here

The Kirsten Sym Undectet features a brilliant concoction of tunes that swaps between the 11-piece and solo, duo and trio sections on 'Somehow It Will Be'. Take a listen to tracks like One For Jim, which subtly shifts between these small sections and solos, particularly including the gorgeous vocals of Sarah Ramsey, which meld impercetibly into ensemble passages. These original compositions have been brilliantly arranged by Perth-based accordionist Kirsten Symczycz for a highly adept group of musicians. She is joined by Holly Forster (alto and soprano saxes), Finn Owen (tenor sax), Naoko Uemoto (baritone sax), Jessica Carlton (trumpet), Tahlia Denn (French horn), Steven Bickley (trombone), Rob Coleman (bass trombone), Xavier Douglas-Smith (piano), Aiden Moroney (guitar), Cass Evans-Ocharern (bass), Ben Stacy (drums) with Sarah Ramsey (vocals) and Matthew Barker (tuba). The mournful Memoir is quasi-classical and the brass really come into their own, swapping melody lines. The lovely piano and accordion duet at the start of Nothing Twice is a lovely - if somewhat rare - feature for Symczycz herself. Her compositions come to the fore on Somehow It Will Be and this debut album for the ensemble promises much for the future. You can buy ‘Somehow It Will Be’ on Bandcamp now

The concept of ‘Loop your idols’ (instead of ‘Kill your idols) is at the root of De-Phazz founder Pit Baumgartner’s approach when granted access to a unique analogue music archive. The result is ‘belooped’. Some of the jazz greats were recorded by MPS - Germany’s first jazz label - and now that archive is being honoured by some of the 21st century’s best technology and those adept at playing with all things digital. The global stars included in belooped include Oscar Peterson, Ella Fitzgerald, George Shearing and George Duke. These are big names and Baumgartner has restored some of these recordings and given them a very modern touch. One of my favourite tunes of all time is This Girl’s In Love With You and the De-Phazz version is a gorgeous modernisation of the Ella Fitzgerald classic, with deft use of electronics alongside the original recording. Similarly with the George Duke Love and Happiness: it really feels like these are familiar tunes that have been reintroduced to the dance floor. The beautiful Both Sides Now is another classic brought into the 21st century: above all, the grooves across the collection of tracks seems to be the starting point. But, more than all of that, the approach is conducted with respect for the original melodies and artists. Check out De-Phazz ‘belooped’ online

I was delighted to discover pianist and composer Terence Collie earlier this year at the 606 Club, as part of Zoë Gilby’s band. Now he has released ‘DNA’, with compositions that explore his rich heritage. The opening tune of DNA takes us from Montrose to Mahé and it seems to embody Collie’s musical style and its various influences, with a definite Scottish lilt merging into African rhythms and a decisive call and response between his piano and the string trio. It sets the tone for what becomes a brilliantly cross-genre collection of tunes. Reflecting on his recent MOBO (Music of Black Origin) Amplified Award 2025, Collie saod: “Winning the award made me reflect on my personal connection to my ancestry. I took a DNA test and discovered I come from 26 different nations. My third-great-grandfather, John Moses Collie, was born in Montrose. He left Aberdeen by boat in 1830, journeyed around the Horn of Africa, and arrived in the Seychelles. There, he married a French woman and opened one of the island’s first schools. What struck me about the Seychelles was its youth – just 250 years of habitation! – and its incredible cultural diversity.” The second track - Good Genes - makes delicate use of the strings, particularly behind the bass solo and then as solos are swapped between bass, drums and percussion. The string writing is similarly beautiful on Beau Vallon, with Collie’s arrangement making the very best use of their addition. To create the perfect sound of the DNA compositions and improvisations, Collie’s piano combines with Nick Lenner-Webster (double bass), Ted Carrasco (drums), Cosimo Keita Cadore (percussion), Ruth Elder (violin, string consultant), Clare Kennington (viola) and Jocasta Mudge (cello). For her 606 Club gig, Zoë Gilby had selected an outstanding band including Collie, Lenner-Webster and Carrasco, with sax player Tony Kofi. You can read my review of that gig here. Rhythmically, DNA is all over the place - literally taking inspiration from around the world and bringing it into the jazz sphere. Collie’s piano playing is wonderful but his composition chops have really come to the fore on DNA. He said: “Searching for my ancestry flicked a switch in my mind. I’ve had an outpouring of creativity, writing better music than ever before. This is only the beginning; I feel like I’ve found my calling.” Get hold of ‘DNA’ on Adhyâropa Records here

Don’t even try to put Domi and JD Beck into a musical box. Each track on ‘Who Asked?’ takes the listener in a new direction and down a whole new route. Who Asked? begins with Epiphanie, which blends classical virtuosity with jazz sensibility. Winds battle (or blend with) strings on Had Enough before percussion and the duo’s voices take us towards pop grooves and effervescent electronics. Exit and Silhouette lead us to Growing Older, with percussion, complex orchestration and shifting time signatures that allow both musicians to explore the depths of composition and performance. Domi Louna (keyboards) and JD Beck (drums) also sing and have co-written the lyrics with Anderson .Paak From start to finish, Who Asked? is both complex and complete, feeling like an exploration of sound potential by these two musicians, with no constraints in terms of genre or musical structure. The perfect final crescendo that completes Epilogue is enough. As if two GRAMMY nominations wasn’t enough for the duo’s 2022 NOT TiGHT, there surely are awards to come for Who Asked? No review can give more than a snapshot and ‘Who Asked?’ deserves your ears - check it out

Having heard pianist Bruno Heinen with Heidi Vogel a couple of weeks ago, it was great to see him with his own trio upstairs at Ronnie’s. Bruno Heinen Trio (c) Robert Crowley Photography The refurbished space Upstairs at Ronnie Scott’s was the perfect venue for the quasi-classical compositions and arrangements performed by the Bruno Heinen Trio. Bruno was a brilliant sideman to Heidi Vogel a couple of weeks earlier, but with his own compositions his playing really came to the fore, with Kobe Heath Ngugi (bass) and Gene Calderazzo (drums). With a new album out shortly, the set at Ronnie’s included original compositions from Daydreamer and some wonderful, more unusual standards. Ambleside Days was dedicated to former Ronnie Scott’s pianist and composer John Taylor. Heinen’s own Ibrahim called to mind the recently-departed South African pianist and composer Abdullah Ibrahim. Heinen’s dedications shows his respect for the giants of jazz upon whose shoulders we all stand. Catch Bruce Heinen wherever you can live, and invest in ‘Daydreamer’ when it is available

A brand new repertory company has been born - OVO in St Albans promises much following its opening production of a new adaptation of 'Sherlock Holmes'. The wonderful cast and set of 'Sherlock Holmes' The 12th Annual Roman Theatre Open Air Festival in St Albans (a short train ride north of London) was launched with a wonderful production of Sherlock Holmes. Four actors took on 25 characters and the audience’s suspension of disbelief allowed for a hilarious presentation that included some of Sir Arthur Conan Doyle’s best characters and plots. Director Mark O’Sullivan has created a show that is both verbally and visually witty. The four actors jump between gender and somehow make it easy to follow the narrative. There was lots of judicious use of costume - hats and wigs in particular - and body language that was reminiscent of some screen presentations of these characters. Just as Holmes dons disguises, so did all of the actors, in presenting narratives that weaved in and out of each other - beginning and ending with the Reichenbach Falls (sort of). Just as the direction and acting of Sherlock Holmes was brilliant, so, too was the stage design, which made excellent use of the outdoor space and gave a dynamic setting for the action. St Albans’ Roman Theatre is a marvellous venue and it was great to hear about the plans for even more events here and the future of the professional repertory company at the year-round Barn Theatre from OVO Artistic Director Adam Nichols. Oh, and Sherlock Homes DOES say “Elementary” from time to time, but NOT “Elementary, my dear Watson”. Out in the elements of the open air theatre, Mark chose to give that one significant word to Holmes’s arch-nemesis, Irene Adler. There’s still time to catch ‘Sherlock Holmes’ until 20 June and lots more to come from OVO

A stunning rendition of Bill Strayhorn’s ‘Lush Life’ was the highlight of an evening with Harfoush and Marco Marconi at Hertfordshire’s Cowshed Jazz Club. Tunes from Route 66 to Walking My Baby Back Home brought Harfoush’s voice to life, alongside the always-reliable and inventive piano of Marco. Not only a great pianist with an international reputation, Marco is also Musical Director of The Cowshed Jazz Club, working closely with owner Lawrie Alderman. Together, they ensure that the club produces music that the audience will love, with a selection of delicious food and drink served by an efficient and friendly team. The sound at The Cowshed is always good - this time with a new sound engineer - and the audience enjoys food, drink and ambience at the same time. Elements of fun and the interpretation of tunes made famous by Nat King Cole made for a great collection, all made individual by Harfoush and Marconi, very much in their own style. The Cole original Straighten Up and Fly Right and the Ahbez classic Nature Boy made this a very special evening, loved by the delighted audience. Once more, the show was close to sold out, with profits going to local charities. The music from Harfoush and Marco Marconi was great and the club made the whole night immensely enjoyable. Next month at The Cowshed is the Sorin Zlat Trio featuring Mihaela Alexa on 28 August

If 2 Tone, guitars and saxophones had been around in 1623, Shakespeare would have conceived of ‘As You Like It’ much as OVO staged it in the Roman Theatre of Verulamium. ‘As You Like It’ 2026 (c) Ian Cullen OVO used a Roman venue for a Jacobean play, in a black and white city from the sixties and a bucolic countryside idyll. The ensemble cast merged acting with singing and musical performances with some insightful and humorous uses of sixties tunes like Waterloo Sunset, These Boots Were Made for Walking and God Only Knows. The pace of Shakespeare’s language was perfect in this production, with the musicality of the lines delivered with panache by the entire cast. One of the joys of Shakespeare’s writing is the democratic sharing of some of the best lines, which makes it impossible to single out any of these actors for specific praise. Actor musicians seem to be a staple of the OVO ensemble and I enjoyed the musical elements of their previous productions of Sherlock Holmes and The Importance of Being Earnest in this summer season at the Roman Theatre. There’s still time for Twelfth Night at the end of August and lots of plans for the future of this inventive St Albans company. Find out more about OVO

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

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