Out now on Losen Records is ‘Backlash of Uncertainty’, the new album from pianist Lorenzo De Finti’s quartet. All five tunes seem to encapsulate some of the best of contemporary jazz, with the jazz quartet and electronics combining beautifully. All compositions and production are a collaboration between De Finti and bass player Stefano Dall’ Ora: each tune allows for improvisation around the beautiful writing, with the collective effect being one of contemplative modernity. These are lengthy tunes that allow the quartet to expand their approach. The title track opens with a confident and decisive response to some of the difficult times in which we live, with electronics and some gorgeous bowing from Dall’Ora. There is more of a soulful feel in The Other Route That Wasn’t There perhaps of all the tracks, this is the one that shows Alberto Mandarini’s trumpet at its best across the range of the instrument.  Across the album, there are some particularly brilliant quartet moments, particularly the combination of drums from Marco Castiglioni and bowed bass in an early section on Temporary Shunt. As the track progresses, the electronics add a new layer and depth to the quartet sound. The final - and longest track - is Occam's Razor , reflecting a simplicity against complexity evident in the theory from which it is named. It's not really simple, but perhaps there is a simplicity to the collaboration between these four extraordinary musicians. Keep listening for the final addition of a collective improvisation that allows the tune's extension. Recorded, mixed and released across 2025, Backlash of Uncertainty  really does feel like an album for this year and all that has gone on in the world and continues as we head towards 2026.

It’s always a delight when artists contact me personally to suggest I listen to their music. It’s taken me a couple of weeks to listen properly to ‘Absinthe’ , the new album from French pianist Ramona Horvath , but I’m delighted to have found this treat from Fresh Sounds Records . Horvath’s piano seems effortless and the arrangements turn some classic pop tunes - Michael Jackson’s Heal the World , Billy Joel’s Just the Way You Are  and the Bee Gees’ How Deep is Your Love  - into jazz standards in a mature and expressive way. The beautiful Kurt Weill Here I’ll Stay  is similarly arranged for Horvath’s trio with Villeger’s melody, bringing the 1948 original right into the 21st century. Similarly, their version of You Are the Sunshine of My Life  by Stevie Wonder is a modernised version with a sympathetic treatment that is nonetheless novel. Throughout, this ensemble features Ramona Horvath (piano and arrangements), Nicolas Rageau (bass) and Antoine Paganotti (drums) with guest appearances from André Villeger (sax). The Billy Strayhorn Absinthe (Lament for an Orchid)  is beautifully arranged and performed, with Villeger’s mellow sax. It takes a lot to adapt another Strayhorn tune, and Horvath’s version of  Your Love Has Faded  has just the right level of nostalgia from the sax with lovely backing from the entire ensemble. The single original track - Horvath’s own JFK  - only left me wanting to hear more of the pianist’s own compositions. Once more, the addition of sax adds a pleasing melodic and harmonic layer. And now I have another artist to check out next time I’m in Paris.

Blue Note Records often bring real class, and that is certainly the case with saxophonist Dave McMurray ’s ‘I LOVE LIFE even when I’m hurting’. The opening track - ‘This Life’ - sets the scene for a heart-warming exploration of lyrics and sax, with McMurray performing both. And it gets better. Up next is The Jungaleers , beginning with McMurray’s doubled-up saxes alongside a stunning band of Don Was (acoustic bass), Luis Resto (keyboards), Wayne Gerard (guitar), Jeff Canady (drums) and Mahindi Masal (percussion). There is a joy that is set in stone in this perfect tune, ending with a sax flourish of excitement. Raised and honed in Detroit, McMurray’s sound has developed over years of playing with BB King, The Rolling Stones, Bob Dylan, Iggy Pop, Bonnie Raitt, Patti Smith, Bootsy Collins, Herbie Hancock, Was Not Was, Bob James, Kem and more. Throughout this collection of tunes - six by McMurray and three covers - there is a real sense of joy. It gets really fine with the central track with vocals by Kem and the Al Jarreau We Got By . It doesn’t seem like eight years since we lost Jarreau, but this tune could have been written for the Kem/McMurray treatment. This version will be around for years.   The Detroit sound is executed to perfection with some big names alongside McMurray’s compositions, sax, flute and synth playing: Don Was (bass), Ibrahim Jones (bass), Luis Resto (keyboards), Maurice O’Neal (keyboards), Wayne Gerard (guitar), Jeff Canady (drums), Mahindi Masai (percussion) and Herschel Boone (vocals) as well as Kem (vocals). McMurray conceived of the album title after having a deep discussion about the death of a friend who had been worn down by illness, eventually giving up and dying alone. McMurray’s response to that painful revelation was one of resilience: “Man, I love life even when I’m hurting.” Afterward McMurray wrote down that statement because it meant so much to him. “That ended up being the album title, because I kind of wrote songs around that. Songs about positivity.” He says: “Making this album was such a cool project because everyone on it is somebody that I love.” Take a listen to I LOVE LIFE even when I’m hurting  wherever it makes you happy.

There have been a number of album and gig reviews that have been posted on sites that no longer exist. I am therefore taking time to go through my archives and repost them on this site. Just a few of the albums I've listened to in recent years I will keep this list up to date as the old reviews are reposted. They won’t be in order, but I hope they will be of interest. February 2021: Fergus McCreadie’s Cairn September 2016: Carla Bley’s Andando El Tiempo Don't forget that you can see a LOT of previous reviews on my previous blog site .

The final night of Cambridge Jazz Festival 2025  was also the final date of a 17-date tour for pianist Fergus McCreadie  and his trio. The rather marvellous chapel at Churchill College, Cambridge My first experience of McCreadie’s music was during the Covid-19 pandemic, when I reviewed his album Cairn  in early 2021. There was something undefinably Scottish about that album and the same is certainly true of the 2025 release The Shieling . Hearing him perform tracks from the album live with his trio at Cambridge was a special moment for me. Recording The Shieling  was a new process for the trio, where they took McCreadie’s compositions into a remote cottage studio on North Uist in the Scottish Outer Hebrides. Joined by David Bowden (bass) and Stephen Henderson (drums), with production by the genius composer and trumpeter Laura Jurd, McCreadie produced something of supreme beauty that translated well to the chapel at Churchill College. Throughout the evening, McCreadie, Bowden and Henderson brought a little of the Scottish landscape and climate to a capacity audience (on our own southerly windy and rainy night in November). The selection of tunes gave a taster of The Shieling  and there was a respectable queue for audience members bagging their own CDs and vinyl albums afterwards. Beginning the night, McCreadie considerately chose my favourite of his tracks: Wayfinder . The tunes progressed one following the other, with a gentle drum solo leading into Sparrow Song  before a bass introduction to The Ridge  and then Wind Shelter  McCreadie took a pause to introduce the musicians and the album, before explaining the last few tracks, the writing and recording process. For those of us unfamiliar with the 282 Munros (Scottish mountains over 3000 feet) and the challenge to collect - or ‘bag’ - all of them, McCreadie explained how climbing them has become a creative activity in which he can find inspiration for his composition. Once the trio, with sound engineer, piano and producer, arrived in the cottage and began the arranging and recording of McCreadie’s ideas, the cottage itself added even more inspiration. You can read his account of the process on his website . Each tune was both evocative of the Scottish landscape and a demonstration of the musicians’ skill. The three instruments were used to their full potential - from every note of the piano, to bowing, plucked bass and the rims and sides of the drum kit. Alongside Henderson, sat a small shruti box on a table, used to great effect - hear more of it when you listen to the whole of The Shieling . You can see what I thought when I reviewed   Cairn  in February 2021, and this gig ended the Cambridge Jazz Festival to perfection.

The ‘Ribbons’  album launch was my final gig for the EFG London Jazz Festival . It was great to spend a little time at World Heat Beat Embassy Gardens  before dashing off to the final gig of the Cambridge Jazz Festival  (it’s been a crazy couple of weeks!). Pianist Rebecca Nash and singer Sara Colman have created a wonderful partnership in composition and performance, combining elements of jazz, folk and classical music. Together, they have created Ribbons, which is not available online until February - to listen to this music before then, you have to buy a physical CD or vinyl. And you should. The combination of Colman’s voice seems to be perfect alongside Nash’s piano, and their songs are both complex and simple in equal measure. The emotions behind the lyrics are matched to the composing and performing energy. Nash and Colman were joined on stage for the final lunchtime gig of the EFG London Jazz Festival 2025 by Henrik Jensen (double bass) and Jonathan Silk (drums). On the album, there are a number of guests: Percy Pursglove (trumpet), Ruth Hammond (bass clarinet), Iain Ballamy (sax) and Trish Clowes (sax). The music undoubtedly benefits from the additional parts, but for this intimate Sunday lunchtime gig, the quartet performed them in stripped-back brilliance. Starting with the album’s title track, the gig seemed to establish strands between the quartet and into the audience, mirroring the Ribbons  themselves. Jensen and Silk played a strong supporting role but the piano and voice came to the fore. Both Nash and Colman are well-respected individually and in other ensembles, but together they seem to have found their niche. The album came from a Covid-enforced ten-day sabbatical in 2020 and each musician’s own influences combine in the collection and arrangements. Ribbons  was followed at the album launch by Turning Over Stones and the first single Noble Heart . Every tune has a story to tell alongside its musical credibility. Colman’s The Gardener  has been reworked by the pair for this album and there is a sense of real collaboration throughout. The songs I heard were a taster of what is available on the whole album and I highly recommend you buy Ribbons  before it is available on streaming platforms: check out Stoney Lane Records . Support for the ‘Ribbons’ launch was from singer-songwriter Bridget Walsh

My penultimate gig for the EFG London Jazz Festival  was the masterful pianist Bill Laurance at the Cadogan Hall. Having interviewed Bill in his studio for Harmonious World  in May 2024 and reviewed his latest album, Lumen , I knew this was going to be special. Plus, he’s won five Grammy awards. And this gig absolutely fulfilled all my expectations. Bill’s stage was set with an upright piano (minus the front panel) and a grand piano with the lid up. The acoustics and sound system were simply perfect and the two pianos were used differently throughout to add a variety of textures and touch on both instruments. There are no gimmicks about Bill’s playing, just an honest balance of composition and improvisation that is stunning. For many of the audience, Bill is familiar as a founding member of Snarky Puppy , but he is a classically-trained pianist and that absolutely informs his solo work, as well as his exemplary duo with Snarky Puppy’s own Michael League. I reviewed their last album Keeping Company   here  and League was in the audience for this latest outing for Bill as part of the London Jazz Festival. Chelsea’s Cadogan Hall  is a special venue, having only been in existence for a little over 20 years, but with a well-deserved reputation for putting on performances that are both interesting and entertaining. Bill’s engagement with the audience was brilliant. During one of his introductions to the tunes, he said: “Christmas has come early … The audience is the band … We’re in it together somehow.” It really did feel like we were in it together and there were times (the audience finger-snapping through an entire tune) when the joy on Bill’s face came from surprise that there was such a strong connection between performer and audience. A poignant moment came at the end, when Bill said he was “channeling the joy” of his friend and Snarky Puppy band member Shaun Martin, who sadly died last year, in the beautiful tune Dove , from Lumen  and dedicated to Martin’s memory. All of Bill’s compositions display that honesty which comes out in his playing, but this was a particularly special moment, shared with an appreciative audience. Meanwhile, the opening act absolutely confirmed my belief that you should always arrive in time for the first act, if there is one. They are often selected specifically because they are relatively new to a particular audience. In this case, Nesrine  and her electronic cello was performing in London for the first time and it was a brilliant set. Singing in a mixture of French, Arabic and English, using electronics and every possible aspect of the cello, Nesrine used influences from Beethoven and Michael Jackson to entertain us all. Her latest album, Kan Ya Makan  is out now on ACT Records.

Award-winning Scottish pianist Fergus McCreadie brings to life the Scottish landscape in his second album - ' Cairn '. Using his regular trio of David Bowden (bass) and Stephen Henderson (drums), McCreadie achieves a collection of tracks fusing jazz and classical influences with an originality that couldn’t hail from anywhere else. Scotland flourishes in all its beauty in the sounds of these nine tunes. McCreadie established himself as one to watch with both his debut album Turasi  and a finalist slot in the BBC Jazz Musician of the Year in 2018. He’s been nominated for many awards and  collected the Best Instrumentalist accolade at the October 2020 Scottish Jazz Awards. Now, in Cairn, McCreadie uses his prodigious skills as a composer and as a pianist to convey the listener across the highlands and lowlands, with a sense of purpose and direction. Arranged by the trio, each of the tracks is complex in its simplicity, fresh yet mature. They take intricate musical structures and scales, combined with traditional jigs and ballads with exceptional improvisation. The shame of 2021 is that it will still be weeks - if not months - before live performances of Cairn are possible. Cairn  is available now on Edition Records. The cover of each format - LP, CD, digital album and single - features a different picture of a rock, collected by Fergus in the Scottish highlands. Together, these rocks constitute a cairn. *** This review was originally posted on KindofJazz.com ***

The first announcements from Love Supreme Jazz Festival 2026 show the calibre of guests once again - and an exciting development, with the Main Stage being used for the first time on Friday. Ezra Collective - getting ready for Love Supreme July 2026 Friday is usually reserved for a stalwart few arrivals who want to get their tents pitched early in the best spots. In 2026, there is a LOT to see that will make the first day even busier. Brit Award and Mercury Prize-winning Ezra Collective have been confirmed as Friday headliners 10 years after first playing the festival and will curate opening day line-up under the banner  Temple Of Joy . Names already confirmed for the weekend of 3-5 July 2026 include: Loyle Carner, Ezra Collective, Samara Joy, Jalen Ngonda, The Temptations & The Four Tops, Kokoroko, Esperanza Spalding, Moses Boyd, Annie & The Caldwells, The War and Treaty, Luke Una, D.K. Harrell and Carrtoons Loyle Carner says: “Love Supreme’s been on my list of festivals to play for ages, I always see so many people I love on the line up. Feels like a rare one, that celebrates all the music I hold close. Plus my mum goes every year. Catch you in July!”   Early Bird tickets are on sale now from www.lovesupremefestival.com

As the final concert for this year’s K-Music Festival, the London Symphony Orchestra featured an artist portrait of pianist Seong-Jin Cho at the Barbican. The evening focused on the world premiere of a new concerto by composer Donghoon Shin, written for Cho and performed with the LSO, conducted by Maxime Pascal. Seong-Jin Cho, Donghoon Shin and Maxime Pascal take a bow together (c) Mark Allan Composer and pianist are both leading Korean artists in the field of contemporary classical music and this was an extraordinary collaboration. Cho, winner of the 17th International Chopin Competition and current Artist-in-Residence with the Berlin Philharmonic, returns to the Barbican following his sold-out recital in 2023. Shin’s works have been commissioned and performed by major international ensembles and are published by Boosey & Hawkes. Alongside the Piano Concerto, the first half of the concert also included pieces by two composers commissioned under the LSO Helen Hamlyn Panufnik scheme . Omri Kochavi’s gilufim  (“carvings”) was followed by Sasha Scott’s Sly . Both pieces were performed for the first time and the composers came to the stage to take the applause of the audience. While the piano was moved into position, a video interview with Donghoon Shin explained how the composer came to meet Cho and the commission to write his Piano Concerto, which brings modern Korean music to a UK stage. Beginning with ethereal strings and pianissimo brass as the orchestra introduces the piece, once Cho’s piano begins, it is clear that this is an extremely demanding - physically as well as musically - concerto. The interplay between sections of the orchestra and the soloist are breathtaking. The music moves between the sublime, melodic lyrical sections into rhythmic, percussive moments. Every piano concerto needs a careful balance between orchestra and soloist and the LSO/Cho combination, under the baton of Maxime Pascal was highly effective. As a finale to the K-Music Festival, this was genius programming - some of the UK’s finest classical musicians alongside a world-class Korean pianist performing a piece by one of the foremost young Korean composers. Returning from the interval, the audience was treated to a teaser of the final piece - Pierre Boulez’s Rituel in memoriam Bruno Maderna  from 1975. The orchestra is mathematically split into seven groups of musicians, each with a percussionist, plus an eighth group of 14 musicians and gongs. Complicated, mathematical and complex, the music was nevertheless engaging and even fun in places. The programme was an inspired combination of modern music with a global diversity and the perfect end to a festival that has introduced many of us in the UK to Korean music.

The idea of setting T.S. Eliot’s ‘The Waste Land’ came from UK celebrated actor and director Adrian Dunbar. Presented as part of this year’s EFG London Jazz Festival at the Queen Elizabeth Hall, the resulting music for four voices, jazz quintet, orchestra and film was composed by Nick Roth . It was a stunning recitation of a wonderful poem: The Waste Land  is a significant 20th century poem that takes myth and story-telling into the realms of fantasy, generally regarded as one of T.S. Eliot’s finest works. Alongside a world-class jazz quintet and orchestra, the four voices were perfect - all brought together on stage by conductor John Harle. Snippets of period film footage accompanied the music and speech to complete the performance trio. Directed and introduced by Adrian Dunbar and staged by his production company Unreal Cities, the piece was commissioned by the Happy Days Enniskillen International Beckett Festival 2015 with the permission of the T. S. Eliot Estate, becoming the only performance of the poem in its 100-year history to include musical accompaniment. Nick Roth’s music was performed alongside film by four actors, jazz quintet and a full orchestra in collaboration with the Guildhall Session Orchestra, conducted by John Harle. It is no surprise that Dunbar should maintain his close relationship with his alma mater, the Guildhall School of Music and Drama. The four voices were: Anna Nygh; Orla Charlton; Frank McCusker; and Stanley Townsend. The jazz quintet was Alex Bonney (trumpet and electronics); Nick Roth (saxes and objects); Alexander Hawkins (piano), Oli Hayhurst (bass) and Simon Roth (drums). Nick Roth's sax playing was brilliant, and his use of objects to create sound effects was inspired. Running water, falling leaves and crunching gravel added to the effects of voices, music and film. This performance of The Waste Land  was extraordinary and thought-provoking. The world of Eliot’s writing context seems to have changed little in a century amid the threats of conflict around the world. Dunbar and Roth have created something that the poet would probably approve of, expanding the spread of his brilliant and evocative words.

One of my highlights for the EFG London Jazz Festival 2025 was always going to be seeing the three virtuosos that make up L’Antidote, playing together in the UK for the first time. Smiles on the faces of L’Antidote after an extraordinary gig I reviewed  their self-titled album and you can hear my conversation with Bijan and Rami on Harmonious World . These three musicians are extraordinary individually and perfection together in an ensemble. Redi Hasa  originally blew my mind when I saw him and his cello in a phenomenal string section with Ludovico Einaudi  at the Royal Albert Hall and it was a delight to discover that he had this new album about to appear a few weeks later. Redi and Bijan in action Bijan Chemirani  is a percussionist who has to be seen to be believed. Sitting behind a vast array of drums, stringed instruments and electronics, his dexterity and prowess is incredible. Rami Rami Khalifé  plays every inch of the piano, sometimes focused on the heights of the keyboard, in other solos spanning all 88 keys. He even makes extensive use of the strings themselves, plucking them like a guitar or violin. Seeing these three together at King’s Place proved to me that L’Antidote really brings a healing power and inspiration: the entire audience was united in responding to the various tunes and improvisations. What is incredible is that this is a relatively fresh ensemble. The recording of the album that launched them into my orbit was actually their first real encounter together, in a studio in Puglia, near Lecce: another example of the creativity which has abounded in the post-pandemic jazz landscape. From the musical output, they each appear to have brought musical ideas and improvisation genius. Their global spread both in individual influence and physical location seems to make their musical output the more extraordinary. Whether it is Redi’s use of the cello like a guitar in Pomegranate  or Rami’s delicate touch and control of dynamic and range in the solo Wind , every inch of each instrument is explored. The percussion solo on Vito’s Solo  showed a little more of Bijan’s prowess behind the textures and instruments of which he is master. There was no way the audience was going to allow L‘Antidote to leave without an encore and the fun Punk Improv  was a stunning finale that left everyone with more questions about where and when they can experience this trio live again.