He’s an American jazz giant; she’s a Scottish doyenne of the classical violin. Anyone familiar with one more than the other – and that’s more or less everyone – would do a double take to see their names on the same bill. But this week at Barbican Hall, a new concerto by Wynton Marsalis will be premiered by Nicola Benedetti and the London Symphony Orchestra.

While many of his contemporaries make the most of their grizzled old men’s voices, Georgie Fame sounds as young and fresh as he did when he first burst on the London scene in the 1960s. This is supposedly his last album, and it sounds, in many ways, as if it had been made 50 years ago.

Asif Kapadia’s Amy packs a punch. It is a wrenching, clear-eyed portait of a supremely talented, charismatic young woman being whittled away by voracious, relentless 21^st century celebrity, exacerbated by her own demons. At the UK box office it’s become the second most successful documentary feature film of all time (after Farenheit 9/11). Part of its power is, of course, the raw, soulful singing of its central protagonist.

Return to Larkinland was the second of AN Wilson’s intimate portraits of poets, following his similar excursion to “Betjemanland” last year. His very particular form of exploration of the biographical genre results in a selectively detailed portrait seen through the eyes of an admitted admirer, a sense of character created through a pronounced feel for Larkin’s times, caught in redolent black and white archive, as well as in the attention he pays to the places and spaces of the poet’s life.

Georgie Fame: The Whole World’s Shaking – The Complete Recordings 1963–1966

Fashions in art and music come and go in less time than it takes to read a Buzzfeed list. So there was something uncannily satisfying about star pianist Alan Broadbent’s admission that he’s been working on last night’s collection of entirely new songs for the past 50 years.

The Mule Musiq family of labels, from Tokyo, is one of the great secret goldmines of the dance music world. The house, disco, techno and ambient music they put out from top worldwide producers can very often be tasteful to the point of innocuousness on the surface but, perhaps in keeping with the Japanese sense of wabi-sabi, when given your time and attention it almost invariably reveals hidden beauty that make their releases ones you can come back to over the years.

Loose Tubes go hand in hand with Ronnie Scott’s. This was the setting for their fabled residencies back in the Eighties, the scene of their farewell gig in 1990 and of their comeback last year (both of which feature on new live album Arriving). The venue’s location gets a name check on 2010 release Dancing on Frith Street (featuring more live material from that 1990 gig) and it got another mention on Thursday night, with Tubes trombonist and irreverent MC Ashley Slater declaring it the band’s "spiritual home".

The Chicago Jazz Festival is a freebie extravaganza, held over the Labor Day holiday weekend, its massive crowds welcomed by the looming chromium jelly bean that is sculptor Anish Kapoor’s Cloud Gate. Onward into Millennium Park, right on the shore of Lake Michigan, there are a pair of long tents for the afternoon sets, with alternating bands ensuring constant musical motion.

Courtney Pine’s Caribbean-flavoured album House of Legends was released three years ago, and it says a lot that he’s still touring it. This riotously melodic collection of ska, soca and calypso, embellished with some scorching solo work, has certainly proved popular, as the latest sell-out run at Ronnie’s testifies. Pine cheerfully apologised for a lack of CD’s to sell at the gig: they’ve all been sold.