Norway’s celebrated jazz colossus Jan Garbarek hadn’t played the north Norwegian city of Bodø for 15 years. Moreover, he and his group took the stage of the spanking new Stormen concert house as the openers of Bodø Jazz Open, the city’s four-day festival of all that is and isn’t strictly jazz. If there was any pressure, it didn’t show. Resolutely composed during his hour and three-quarters on stage, Garbarek also said nothing. Given his stature, the waves of power intermittently surfacing in the music and the nature of the event, there was only one possible outcome – a standing ovation.

Magma: Köhntarkösz, Köhntarkösz Anteria, Ëmëhntëhtt-Ré

Pianist Jason Moran's Grammy-nominated tribute to the legendary pianist, singer and composer, Fats Waller, effortlessly captures the joyousness and melodic beauty of the Harlem stride master's music. Joining Moran is vocalist Meshell Ndegeocello, and from the über-slow jam of “Ain't Nobody's Business” to the utterly seductive grooves of “The Joint Is Jumpin” and “Honeysuckle Rose”, the kind of galvanic presence that she brings to the project takes the material to entirely new emotional places.

With just over two weeks to Christmas, thoughts might be turning to which of the deluge of 2014’s reissues might be suitable as a gift, worth putting on your own wish-list for Santa or even merit buying for yourself. So if help is needed, theartsdesk is happy to provide a one-stop guide to the essential reissues covered so far this year.

John Coltrane’s album A Love Supreme, recorded 50 years ago next week, is second only to Miles Davis' Kind of Blue as a revered document of jazz recording. Inspired by Coltrane’s spiritual awakening on overcoming his addiction to heroin and alcohol in the late 1950s, it has (by his standards, at least) a relatively simple structure, following a four-note motif through four movements with the quasi-religious titles "Acknowledgement", "Resolution", "Pursuance", and "Psalm."

Expectations can be dangerous when it comes to live music, but sometimes managing them is easier said than done. Go and see a band like Jaga Jazzist, a genre-crossing collective of Norwegian multi-instrumentalists who skyrocketed to fame in 2002 when the BBC named A Livingroom Hush jazz album of the year, and you expect it to be big. Especially when it’s the group’s 20th anniversary tour and you arrive at Union Chapel to find the queue stretching around the block.

Over its 20 minutes, "Le Strategie Saint-Frusquin" colours its dark, funeral declaration with the insistent rhythm of an elephant dragging itself from a tar pit, textures from distorted guitar and saxophone, and occasional interjections of a voice sounding as though it’s beaming down from an early Apollo mission. "Pisces Analogue" is similarly lengthy and as engaging. Involving washes of pulsing electronics, it passes through five movements, each more intense than the previous.

The weapon of choice of wannabe jazz chanteuses the world over, the fact that London-based singer, songwriter and composer Fini Bearman chose to deliver the ubiquitous “Summertime” as a wordless meditation almost made me weep with gratitude.

It’s not easy to write about a gig when you’re still shaking with adrenaline, still less so when that gig is the grand finale of the 2014 EFG London Jazz Festival, the climax to a giddy ten days of world-class contemporary music. But it’s a cross I’ll have to bear, because last night’s performance from legendary saxophonist Charles Lloyd and jazz giants tenorist Joe Lovano and trumpeter Dave Douglas demands it.

Imaginatively constructed and endlessly surprising, this world premiere of the complete version of pianist Robert Mitchell's choral work Invocation elicited one of the most moving performances I had the pleasure of hearing at this year's EFG London Jazz Festival. Written as “a personal and universal thank you to life-changing teachers”, the vast, six-movement work skilfully interweaved the improvised with the composed, resulting in a score of quite astonishing richness and variety.