There are singers who can dazzle with their technical mastery, those who welcome you into their musical world through a special communicative gift, and those who can traverse genres with absolutely no artifice. Rarest of all are those singers who combine all of the above with a timbral quality that can touch your very soul. Lizz Wright is one such singer.

This rambunctious German-Swiss trio is used to selling out much larger venues at home. Their overdue EFG London Jazz Festival debut, in an enthusiastic but not full Kings Place, introduced British audiences to an exhilarating take on the acoustic jazz trio. This is a wolf in sheep’s clothing, a brilliantly, brutally eclectic ensemble that pushes the language of jazz to new limits of originality, and does so with irresistible energy, and a refreshing sense of fun.

Following the seismic events across the pond earlier this week, an outcome which has left the rest of the world blinking in disbelief, Guy Barker’s brilliant arrangements for this year’s Jazz Voice offered much needed balm for the soul. Creativity, collective endeavour, community: humanity’s finest qualities were in evidence.

New Orleans icon Dr John (Mac Rebennack) epitomises that city’s diversely blended musical traditions. This release was recorded live in May 2014 at a New Orleans Jazz Festival celebration of his career, which began in the 1950s on the Los Angeles studio scene. The generous double CD (even this double release is only half the original gig) allows enough time to sample the full range of his output. The live event programmed alternating local and guest performers.

Until The Hunter is the third solo album by Mazzy Star singer, Hope Sandoval, and the long awaited follow-up to 2009’s Through the Devil Softly. It’s safe to say that the intervening time hasn’t encouraged any great stylistic leaps but to say that it’s been worth the wait, would be an understatement.

Two personable musicians, who win on all fronts: at the pinnacle of their highly competitive and skilled professions, highly articulate, and perhaps unlikely partners in their art. In one corner, ladies and gentlemen, the composer, world-leading jazz trumpeter, teacher, head of Lincoln Center Jazz, the New Orleans-born Wynton Marsalis, 55. In the other, Nicola Benedetti, 29, the Scottish classical violinist, teacher and leading campaigning proselytiser for the importance of music in all spheres.

Berlin's electronic music world has been traditionally been very white. Sometimes, as with the inward-looking minimal techno of the 2000s, it could feel painfully so. Obviously a city can't really help the nature of its demographic, but monoculture is rarely healthy for the development of living club scenes – and it certainly needn't be that way.

The original 1961 poster for Paris Blues trumpeted it as “a love-spectacular so personally exciting you feel it’s happening to you”. Would it were actually thus. Instead, it’s ponderous and features a cast so obviously “acting” that any verve implied by being filmed in Paris and set in the world of jazz is missing in action. Paris Blues is worth seeing, but don’t expect the pulse to quicken.

While there were 20 years between the 74-year-old David Crosby’s last solo album, 2014’s Croz, and its predecessor It's All Coming Back To Me Now..., Lighthouse arrives with what must be seen as exceptional speed. It’s also, despite being recorded at Jackson Browne’s studio (like Croz) and one co-write with singer-songwriter Mark Cohn, an album more dialled-in to today than Croz due to Snarky Puppy’s leader Michael League being on board as producer and main co-writer.

The human voice is as individual as a fingerprint: the emotional, melancholic pull of Billie Holiday; the slightly nasal, always ironic quality of Donald Fagen; the overheated melismas of Mariah Carey; and Michael Bolton, the aural equivalent of the Krakatoa eruption. Listening to “Carry On”, the lead single from her sixth solo album Day Breaks, Norah Jones's voice is characterised not only by its great tonal warmth but also by its conversational intimacy.