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Composer and bassist Ilaria Capalbo brings a new freedom with ‘The Brightest Sun’. Each track on The Brightest Sun seems to take us in different directions all at once. Opening with Arrival, we hear for the first time the freedom in composition and improvisation in Capalbo’s bass and electronics alongside Thomas Backman (alto sax, clarinets), Fredrik Nordström (tenor sax). Andreas Hourdakis (guitar) and Henrik Jäderberg (drums). The sonorous bass clarinet opening to Prophecy expands with the addition of sax and the whole quintet as Capalbo’s bass sings out. We come next to the beautiful Cosmos Earth and a lovely sax/bass duet introduction to Two Visions. The delightful Little Tiger once more brings us bass clarinet, which seems to sit perfectly alongside the leader’s bass: as we hear once more in the intro section of Ode. If Capalbo was looking for her ‘sound’ on The Brightest Sun, then that duet does it for me. Once we reach the title track at the end of this lovely album, we seem to have truly found the wonder of the sun. Capalbo wrote The Brightest Sun during pregnancy and the first years of motherhood. She says: “This album grew out of a time where everything felt immediate and transformed. I composed in fragments - through voice memos, sketches, and notes written whenever there was time. I wanted to preserve that rawness and vulnerability, without polishing away the emotion. Looking back, I remember that period as both fractured and full of wonder, and I wanted the music to reflect exactly that.” ‘The Brightest Sun’ is available via Bluenord Records

Sunday didn’t go entirely to plan, but I still caught several great artists. The brilliant David Kayode was a Sunday favourite Sunday at Love Supreme 2026 ended with me accompanying a friend to the local hospital for several hours, but it was a disappointing end to a brilliant weekend of jazz. The day began with Judith Owen and her Gentlemen Callers who put on a bright and varied set of original tunes and standards, including an uber-cool version of Robert Palmer’s Addicted to Love. Tony Momrelle and Natalie Williams A similarly varied set from Tony Momrelle and Natalie Williams with the Soul Family was made up of their successful tribute to Donny Hathaway and Roberta Flack. This collection of tunes was recorded recently at Ronnie Scott’s and you can get the album here. I reviewed the band when I saw them at Ronnie Scott’s in May 2024. Through the day, I also caught Olivia Vitalis, George Bloomfield and The Bad Plus. Standout sets for me were from DK Harrell - who confessed to not feeling well but sang and played a storm - as well as the brilliant Young Gun Silver Fox, Carrtoons and the brilliant David Kayode. I can highly recommend getting to see any of those artists if they’re coming to a venue near you. No photo can do justice to the sound of Samara Joy and her band Before the accident that stopped my Love Supreme weekend in its tracks, I caught the exceptional Samara Joy, with a small band that sounded like a big band. The four horns and rhythm section worked perfectly alongside one of my favourite singers, with some amazing arrangements of her own tunes and standards including Ellington’s I Got it Bad and That Ain’t Good and Joy’s own lyrics to Billy Strayhorn’s U.M.M.G. (Upper Manhattan Medical Group). It may have ended abruptly, but Love Supreme was outstanding once more. Don’t miss out next year - get your tickets now for Love Supreme 2-4 July 2027

Today’s Love Supreme 2026 artist list brought real value on the ticket price. Saturday started with a NYJO nonet performing a Miles Davis 100 set. I then caught Aron!, a singer with an old school voice and delivery, followed by the Joe Webb Trio. Such great talent from all so early in the day. One of my recent guests from Harmonious World - Eliane Correa in April 2026 - performed an electric Latin set with her band, including Allexa Nava, who I am DEFINITELY getting on the podcast to talk about her music. Eliane was also joined by singer Plum for two songs, which took us more punk than Latin, but in a VERY good way. Two of my favourite musicians - Courtney Pine and Bill Frisell - did full sets with their bands and they were both worth the cost of the weekend ticket alone. Courtney Pine brought his quartet to Love Supreme and it really was the best performance from this saxophone legend. He was joined by Robert Mitchell (piano), Rio Kai (bass) and the simply extraordinary Romana Campbell (drums). Each tune features improvised sections, many of which were duets between that player and Pine himself. He always engages brilliantly with the audience and said: “I love playing jazz. I love playing sax. We’re all about positive vibes - the United Kingdom has the word ‘united’ in the title and that’s what we’re here for.” The other winning Saturday set for me was Bill Frisell. The first thing he did was to introduce his amazing band to the audience - Greg Tardy (sax, clarinet), Thomas Morgan (bass) and Rudy Royston (drums). The set that followed was just beautiful. Both Frisell and Pine use their quartets equally as ensembles and individuals and the result is outstanding jazz. Through the day I also caught sets from Lamar and Jalen Ngonda - both extraordinary singers who filled the arena, as well as Esperanza Spaulding. A great way to spend a sunny Saturday. It’s not too late to come down for Sunday at Love Supreme

Love Supreme 2026 used the Main Stage on Friday for the first time: with Ezra Collective curating the artists. Femi (left) with his Ezra Collective team meeting their audience The Ezra Collective influence meant the huge audience enjoying artists who have impressed the band across all the stages. For me, first up in the afternoon was Lulu. followed by the amazing Kokoroko, with their intricate horn parts and vocals - their first time appearing at Love Supreme. Before Ezra Collective themselves headlined the night and wowed the main stage audience (which appeared to be most of the festival-goers), Durand Bernarr was glorious. Also a joy to experience on this first day were performances by pianist Luke Bacchus, Kio, Annie and the Caldwells and drummer Moses Boyd, who performed all new music with his band. All very different styles of jazz, gospel and hiphop, there was something for everyone and I didn’t come close to seeing everyone I had hoped to see. Sultan Stevenson with his trio prior to the The EZ Youth Club Jam One person I did catch was amazing pianist Sultan Stevenson, who I featured on Harmonious World back in April 2025. He was part of a youth jam session that saw several musicians stepping up to be part of a recreation of some classic creativity sessions. Femi Koleoso from Ezra Collective talked movingly in their set about their gratitude to New Generation Jazz (who run a stage for showcasing new artists) and to Love Supreme for their support since they started more than a decade ago. The youth jam session was their initiative, as part of their commitment to giving young musicians a chance to play together in front of audiences. Friday was a very special, strong start to Love Supreme and great to hear so many artists I’ve not heard before. It’s not too late to come down for Saturday or Sunday at Love Supreme

Back at West Side Jazz, The Simon Bates Trio produced great classic organ jazz, with tunes by Stanley Turrentine, Sammy Cahn, Hank Mobley and Lou Donaldson. The Simon Bates Trio @rw_crowley Sax player Simon Bates had selected a set list that took us through some of the less obvious jazz standards, including a final tune that I had never heard before: Funk Inc’s Smokin’ at Tiffany’s. The tunes played to the strengths of the whole trio, with Pete Whittaker (organ) and Dave Tandy (drums) producing some lovely improvisation in a truly democratic trio. Some of the most interesting sections were the swapping of eight or four bar solos that saw phrases moving between the three of them. King of the Hammond Organ Jimmy Smith provided tunes Back at the Chicken Shack and Blues for Jay, while tenor sax supremo Stanley Turrentine was channeled by Simon with Minor Chant and his version of Sammy Cahn’s Teach Me Tonight. Simon Bates on soprano @rw_crowley Although mainly performing on tenor, Simon showed his prowess on the soprano sax for Lou Donaldson's Blues Walk. As well as solo sections, the trio excelled on starts and finishes of tunes, with a variety of structures delivered with excellence. The cinema setting of West Side Jazz shouldn’t work but, yet again, the sound and the jazz were perfect for a warm summer’s evening. Next up at West Side Jazz is Jo Harrop on 2 September Dave Tandy @rw_crowley Pete Whittaker @rw_crowley

My first foray into the refurbished space upstairs at Ronnie Scott’s was to hear vocal trio Flight Call. Sometimes everything comes together in a gig, and that’s what happened in the beautifully-refurbished Upstairs at Ronnie Scott’s, where the sound and lighting are great, with a lovely ensemble performing a selection of standards and original tunes. Flight Call are three individuals singing collectively and collaboratively and bringing their own style and technique: Georgia Cécile, Peter Horsfall (who adds trumpet where appropriate) and Lucy-Anne Daniels. In support is a strong rhythm section of Alex Bryson (piano), Ferg Ireland (bass) and Will Creasey (drums). The arrangements for these three strong vocalists are clever, complex and deeply entertaining. Some are from the Andy Bey catalogue, including my new ear worm of the Flight Call version of Round Midnight. Similarly, their scatting on Smooth Sailing, the gorgeous Cole Porter Every Time We Say Goodbye and the Roy Ayers’ summer classic Everybody Loves the Sunshine were all perfected on stage in front of a capacity audience. The entire ensemble performed Alex Bryson’s I’d Have Thought By Now and later the composer himself sang his Let’s Pretend It’s Sunday with Ireland and Creasey. I first saw Lucy-Anne sing at Ladbroke Hall in September 2023 with Zhenya Strigalev and Soweto Kinch. Lucy-Anne and I then chatted for an episode of Harmonious World in January 2024. In this ensemble she has found a place to shine alongside other superb musicians. Flight Call are individually outstanding musicians and collectively engaging and entertaining. There’s a great range of artists appearing in this special space above the iconic stage on the ground floor, including vocalist Heidi Vogel, who I interviewed a few days ago for Harmonious World. Check out some of the future appearances at Ronnie Scott’s - upstairs, downstairs and for the late shows

Choral ensemble Voces Florium brought jazz to St Mary’s Hitchin with a rhythm section that would not be out of place on any stage. Phillip Brunton, Voces Florium, conductor Trevor Hughes and the Joe English Trio Voces Florium united with the Joe English Trio to perform a selection of tunes by British contemporary composers Bob Chilcott and Will Todd, as well as the trio performances of works by jazz greats McCoy Tyner and John Coltrane. A Little Jazz Mass by Bob Chilcott, one of the UK’s most prolific and well-respected choral composers, takes the choir and trio around a series of jazz grooves. Later in the programme, there were Chilcott arrangements of The House of the Rising Sun and Scarborough Fair. The whole second half of this glorious concert in the wonderful acoustics of St Mary’s Church was a performance of Mass in Blue by Will Todd. A masterful jazz setting of the Christian mass, this was also an opportunity for soloists within the choir to step forward alongside the alto and soprano saxes of Phillip Brunton. When given the space to perform on their own, the jazz trio were outstanding. Joe English is currently completing his studies at Guildhall School of Music and Drama and he brought with him two recent graduates - James Leaver (bass) and Theo Hayhurst (drums). All three performed with professional aplomb, stepping back to accompany and soloing when required. In particular, their segue from Tyner’s Utopia into Coltrane’s Resolution was exquisite - hints at A Love Supreme from the piano and a bass solo to bridge the gap. Since Tyner was the pianist on the Coltrane album, there was a sense of continuum in the trio’s rendition of the two tunes. Whether you like choral music or jazz, this concert blended the two beautifully in the gorgeous setting of St Mary’s under the baton of renowned conductor Trevor Hughes. Jazz Celebration was part of Hitchin Festival, which continues throughout July

Extraordinary jazz singer Jo Harrop continues to bring new tunes to delight audiences, this time with her quartet and hints of an imminent new album. Sam Watts, Jihad Darwish, Jo Harrop and Jamie McCredie I’ve seen Jo several times, with different ensembles, including at Watford Pump House in September 2025 and at Pizza Express Live in April 2025, and interviewed her for Harmonious World in May 2021. For this show in the depths of Hertfordshire, she was joined by Jamie McCredie (guitar), Sam Watts (piano) and Jihad Darwish (bass). As usual, the whole ensemble performed with subtlety and style on standards and original tunes. From time to time, Jo stripped back the accompaniment, with sections featuring either Sam’s piano or Jamie’s guitar, plus a stunning version of the Duke Ellington ballad Oh Too Soon together with Jihad’s sonorous bass. There is a confidence to Jo’s singing that makes this a chamber jazz experience with every possible permutation and subtle combinations adding interest for the audience. Once more, one of my favourite tunes was the Leonard Cohen Travelling Light, which always takes me a little by surprise because I’m not a natural Cohen fan. All the arrangements of tunes are interspersed between Harrop originals like You’ll Never Be Lonely in Soho and - hopefully on the new album - Love Now, Pay Later. One of the loveliest tunes was Everything’s Changing, composed with Sam while they performed as a duo as support for the great vocalist Gregory Porter. Musical Director at The Cowshed is pianist Marco Marconi, who continues to book high-class, international acts that keep the shows full and the audiences delighted. On nights like this, Marco makes the perfect MC, alongside owner Lawrie, who runs The Cowshed with everything from sound, lighting, booking, catering and bar staff in hand almost effortlessly - while also supporting charities and local good causes. Together, they make musicians and audience alike feel comfortable and welcome for what is always a great evening of jazz. Next month at The Cowshed is A Nat King Cole Tribute with Harfoush and Marco Marconi

Legendary guitarist Al Di Meola brought The Guitarchitect to The Barbican, drawing on nearly five decades of music. Alfonsi, Di Meola and Martinez As Al Di Meola returned to London after seven years at the Barbican Concert Hall as part of the Serious Music Summer Jazz Series, his introduction was full of humility: “I’ve always had a special connection with audiences in London, and I’m looking forward to sharing an evening of music that spans many chapters of my journey.” London audiences have always loved Di Meola, in the various ensembles that have graced stages at venues such as The Roundhouse and the Royal Albert Hall, with huge artists including Chick Corea and John McLaughlin. Some of those memories were shared from the stage, as he picked out tunes from such an enormous body of work. It was interesting to see the music parts that extended to several pages, indicating the intricacy of some of these compositions. This is not a guitarist making it up as he goes along (apart from in the improvised sections, obviously!) This stripped-down acoustic ensemble gave Di Meola the space to explore these tunes with careful structure and often dramatic endings. His trio included Peo Alfonsi (guitar) and Sergio Martinez (percussion) and, for a final encore of Mediterranean Sundance, the amazing Flamenco guitarist Antonio Reyes, fresh from his own London gig earlier in the evening. The various electronics used on guitars and the huge array of percussion and drum kit meant this sounded like a huge band, with much to listen out for through the evening. On a screen above the trio, images of nature and architecture were projected to complement the sound. While they played some of Di Meola’s Lennon and McCartney tunes, there was a short film of John Lennon which was quite emotional to watch. With images of Di Meola as a child and a younger musician, the whole evening was a delightful reminder of the life of this great musician. His heartfelt performance of the 2024 single Ava’s Dance in the Moonlight was accompanied by dancers on the screen - and even a section where the guitarist was having his face painted by his daughter, the inspiration behind the tune. This was a personal evening, shared with a packed and appreciative Barbican audience. There’s more still to come from live music producers Serious with the Summer Jazz Series and, of course, the EFG London Jazz Festival

‘The Myth We Choose’ is the new studio album from pianist, composer, healer and philosopher Nduduzo Makhathini. The opening track on the album was also released as a single in advance of the 26 June release - Kuzodlula. A sumptuous arrangement from Makhathini that seems to reach right into your soul and where he encourages us all to contemplate the nature of forgiveness and says: “Real forgiveness is the very attempt to forgive the unforgivable.” The Myth We Choose seems to be all about collaboration, beginning with co-production by Makhathini and his 18-year-old son, Thingo Makhathini. The pianist himself brings in his working trio with Dalisu Ndlazi (bass) and Lukmil Perez (drums), with additional contributions from Ayanda Sikade (drums) and multi-instrumentalist Shabaka, DJ and producer Black Coffee, Robin Fassie (trumpet), Keenan Ahrends (guitar) and vocalists Thando Zide, Muneyi and Omagugu, Makhathini’s spouse and longtime collaborator. Although there is a clear message, this is also beautiful music, rhythmically, harmonically and melodically. Stripping back to the piano intro on Kwamabili, the trio introduces this beautiful and haunting ballad that has a dream-like quality throughout. When we reach Liyoze Line Nangakithi, Shabaka’s flute is similarly ethereal, floating over bass, piano and percussion with electronics expanding the sonic field. As each tune yields to the next, we find a new realm of musical exploration - probably emanating from that collaborative sense across the composition and improvisation. Every track on this album has something different to say, in a different way and the traditional soundscapes mix with the modern with a genuine depth - Makhathini’s piano trio on Zimthilili, for instance, sits under the vocals and electronics as the perfect stability onto which the creativity can flourish. This is a complex album that reveals more of itself and its collaborators with each hearing. ‘The Myth We Choose’ is released on Blue Note on 26 June

There’s a brilliant new sax player on the block, and her name is Alden Hellmuth. With Tether, Hellmuth has created a style that is very much her own, not least in the unusual two-bass acoustic jazz ensemble: Yakiv Tsvietinskyi (trumpet), Paul Cornish (piano), Logan Kane (bass) Miller Wrenn (bass) and Justin Brown (drums). Released in advance of the album, the single Face The Wall sets out Hellmuth’s sax playing at the top of her game, while Microfictions opens the album and introduces us to Hellmuth’s rhythmic and expansive sax style. Both tunes are created and performed to show the ‘tether’ of the title - there is a thread that connects the players, allowing them a freedom and a return to each other. The intense, rhythmic start to Definitely Not Friends continues as sax and trumpet join in the frenetic pace that allows the whole ensemble to fuse melody and rhythm in improvisations and every time they come together. There’s something deeply satisfying about the ending of this track in particular - it feels like they’ve said what they want to say and it’s time to move on. Although I missed Hellmuth’s 2024 debut album - Good Intentions - I’m glad this punk, jazz, free musician has finally come to my ears. I’m looking forward to finding out more when I interview her for a future episode of Harmonious World. ‘Tether’ is out on 26 June on Leiter

I caught the Pete Roth Trio live at Love Supreme in July 2025 and it was great to chat with two thirds of them for Harmonious World. Now I’ve seen three of the coolest musicians on the planet give a full-length performance. With Mike Pratt (bass) back from a hiatus with a repaired arm, and the brilliance of Bill Bruford (drums), the Pete Roth Trio wowed a delighted audience at The Stables. Guitar trio jazz in an intimate setting meant we were all involved - on stage and off. And the sound was just perfect. Audience engagement was encouraged by the intricate improvisation that took every tune in a number of different directions - with tempos changing and every groove established right where it needed to be. Which, I guess, is exactly what you can expect from musicians of this calibre. Some of the tracks are Pete’s own, a few by Bill and most by the trio collectively. There was a lovely tribute to the brilliant Ralph Towner, who died a few weeks ago. The PRT version of How Insensitive by Antonio Carlos Jobim was also delightful. What PRT does spectacularly well is improvise form and structure as much as in the playing of chords: their use of silence and space between notes, solos and sections really is brilliant. Several of the tunes played were taken from the upcoming (18 September) release of Group Chat. There will be a review in due course. Meanwhile, you can check out my chat with Pete and Mike at Love Supreme in July 2025 on Harmonious World. Catch the Pete Roth Trio live this summer across Europe and the UK