In Annus Mirabilis, Philip Larkin wrote,

"So life was never better than 

In nineteen sixty-three 

(Though just too late for me) – 

Between the end of the "Chatterley" ban 

And the Beatles' first LP."

When a musical jeweller with an imagination of remarkable aural refinement meets a jazz orchestra which combines playing of super-fine precision and warmth with a total commitment to the music’s singular ebb and flow, remarkable things can happen.

This UK premiere of the award-winning, Dublin-born vocalist and composer Christine Tobin’s latest project, Returning Weather, presented an otherworldly ode to finding home – casting multiple perspectives on our yearning for connection and human warmth.

At first, it’s hard to believe that the true story of Colonel Blood’s audacious attempt to steal The Crown Jewels from the Tower of London in 1671 has not provided the basis for a play before. After two hours of Simon Nye’s pedestrian telling of the tale as a comedy, you have your answer.

One of the greatest things a musical artist can achieve is world building. That is, creating a distinctive type of environment, language and coordinates for everything they do such that the listener is forced to come into the musical world, and to engage with it on its own terms rather than by comparison. It’s something that musicians as diverse as Prince, Kate Bush and Wu-Tang Clan achieve have achieved, likewise plenty of more underground creators too.

Within its own aspirations, Orpheus is a complete triumph. “Monteverdi reimagined”, as Opera North subtitled it from the start, is an attempt to unite (and contrast, and compare, and cross-fertilise) early baroque opera with South Asian classical music.

Kiri Pritchard-McLean, Monkey Barrel ★★★★

Wearing a heavily sequinned leotard - she thought this was how we’d all dress after “living in trackies during lockdown” - Kiri Pritchard-McLean wants to address some very serious subjects, such as racism, imperialism and white privilege. But first she wants to deliver some funnies, and there are lots of them in Home Truths, a show bursting with energy and ideas.

When 2020 MacArthur Fellow and three-time Grammy Award winner Cécile McLorin Salvant previewed some of the material from her forthcoming album to an enraptured audience at Cadogan Hall as part of last year’s EFG London Jazz Festival, you sensed that something special was in the offing. But the treasure trove of marvels that is Ghost Song exceeds all expectations.

A celebration of that most extraordinary instrument, the human voice, this year’s edition of Jazz Voice – which gladly welcomed back a live audience and a full-strength EFG London Jazz Festival Orchestra – ranged from music of intimate delicacy to stunning virtuosity. Across two separate sets, eight singularly gifted artists showcased their distinctive storytelling gifts, enveloped by Guy Barker’s richly detailed arrangements.

“Bill Frisell is all about sound and melody and enhancing whatever context he is in.” That quote, which defines both the American guitarist’s gentle and benign nature and his huge level of musicianship, is from Emma Franz, who recently directed and produced a film portrait of him.