Jazz pianist Bill Evans was a titanic figure in jazz performance until addiction and death took him in 1980, his blend of strength and sensitivity unparalleled, while his collaborations with Miles Davis and Charles Mingus, among others, left epochal records. Yet Evans is covered much less frequently than his contemporaries, so this release by London jazz pianist Bruno Heinen and Danish guitarist Kristian Borring is a timely reminder of what we’ve been missing.

Mozart, arr. Makato Ozone: Piano Concerto No.9 Makato Ozone (piano), Scottish National Jazz Orchestra, dir. Tommy Smith (Spartacus Records)

Playing that exudes a real joie de vivre, compositions that unfailingly get the synapses firing, fearless soloing, and a textural density and rhythmic punch that deliver a powerful emotional jolt. It's rare to hear music-making of this calibre, which is why this final piece of the magisterial Loose Tubes triptych – following Dancing on Frith Street (2010) and Säd Afrika (2012) from the same valedictory residency at Ronnie Scott's in September 1990 – is to be given the warmest of welcomes.

Don’t be fooled by the header picture. Despite the relaxed poses, Iceland’s Pink Street Boys are amongst the angriest, loudest, most unhinged bands on the planet right now. Hits #1, their debut vinyl album – which follows distorted-sounding, lower-than-lo-fi cassette and digital-only releases – is so impolite and wild that once the rest of the world gets the message the story of what constitutes the current-day music of their home country will have to be rewritten.

Company could have been recorded any time in the past 25 years. Although Slime’s debut feels fresh, affinities with the familiar tag Company as a retro-nodding debut which will have a broad appeal. Chin-stroking collectors will love its references. Hipsters dwelling in the edgy zones of cities will love the comedown, late-night, reflective atmosphere. The Newcastle-born, Hackney resident electronicist Will Archer – who assumes the name Slime – has created an album with the potential to cross boundaries.

There was a buzz at the Barbican last night, the kind that makes you feel like a child again, a ripple of electric energy that only comes with seeing the true greats. And they don’t come much greater than Chick Corea and Herbie Hancock, two jazz legends with strikingly similar trajectories. Both cut their teeth playing with Miles, both helped determine the direction of jazz-rock fusion and, though they’re now in their mid 70s, both have continued to push the boundaries.

Cleopatra in her barge gliding down the nave of Southwark Cathedral? Only figuratively, in the hypnotic “Half the Fun” movement of Duke Ellington’s constantly surprising Shakespeare compendium Such Sweet Thunder. Still, it wouldn’t be that much stranger than the combination of a jazz orchestra and a chamber choir – so superlative as not to need the “youth” in their names observed – celebrating Shakespeare in his local place of worship.

“I don’t think I could handle it, I think I’d go mad.” It’s the sort of answer given by anyone asked how they’d react to fame. With the possibility looming of recognition beyond jazz circles, Amy Winehouse, who was then not so well-known, responded with something which could have appeared trite; the humble words of an aspirant not wanting to seem too big for her boots.

Freedom Festival, a new event curated by vibes player and electronicist Orphy Robinson and vocalist Cleveland Watkiss, is all about bringing improvised music out of the shadows and into the limelight. All the same, it felt strange going to the Vortex in broad daylight. Gigs here don’t usually get started much before 9 pm (I’d always assumed that improvising musicians only came out at night), and darkness seems to lend itself to the free jazz atmosphere.

Robert Glasper has recently been making a name, and winning Grammys with his electronic fusion outfit, the Robert Glasper Experiment. After years of Casey Benjamin’s croaking vocoder on the Black Radio albums, the pealing acoustic notes of Glasper’s conventional trio are almost a surprise. Also novel by Glasper’s standards is the source material: there’s only one standard, “Stella By Starlight”. Many of the rest of are, as the title suggests, covers.