Enthusiasts of the tenor sax will find it impossible not to be swayed by this terrific follow-up to Trish Clowes' impressive 2010 debut, Tangent. Apart from her highly distinctive melodic fingerprint, it's the composer's terrific ear for textural detail that really draws you into this 10-track collection: the ever-so-subtle cello harmonics that underpin the intro to album opener “Atlas”, the constant ticking of “On/Off”, the ghostly violin figurations enfolding the bass solo in “Animator”.

The carriage swayed violently, sending a bottle of Perroni sliding across the Formica table top and into the quick hand of Malian guitarist Afel Bocoum. As we sped along, the sun sent flecks of light up the walls, across the ceiling, along the luggage racks and back down over assorted musicians who were sleeping, lounging, talking or playing music together in small groups. A green noise of trees and hedges blurred past our window, whilst barebacked hills seemed to stand completely still in the blue distance.

Django Bates has commented that he probably first heard the music of Charlie Parker while still in the womb. Parker's music has thus been part of his musical make up ab ovo, as it were. This brilliant follow-up to Bates' 2010 Parker tribute Belovèd Bird comprises three classics from the Parker canon – the title track, “Donna Lee” and “Now's the Time” – plus six compositions from Bates.

This debut album from Leeds-based Roller Trio epitomises the can-do, DIY approach of the younger generation of jazz musicians. With their achievements recognised by a prestigious Peter Whittingham Jazz Award last year, the band - James Mainwairing (tenor sax/fx), Luke Wynter (guitar/fx) and Luke Reddin-Williams (drums) - sent a tape of their first concert to the London-based F-IRE label who subsequently invited the band to release an album on its "F-IRE presents" imprint.

The UK premiere of Wynton Marsalis's Swing Symphony (Symphony No 3) last night was extraordinary on several counts. We heard, first and foremost, a real dialogue between jazz band and orchestra. Not one of those fist-bitingly cornball jazz arrangements where the jazz players get to stretch out and the orchestral players sit back and contribute the sustained, saccharine harmonies. This was a genuine coming together where all hands contributed equally to the rhythmic, harmonic and melodic detail of the work.

If this gig by the new vocal supergroup, BLINQ, had to be summed up by a musical expression, then poco a poco crescendo would fit the bill rather nicely. The group, Brendan Reilly, Liane Carroll, Ian Shaw, Natalie Williams, plus the Mercury Prize nominated virtuoso pianist, Gwilym Simcock – what's wrong with a bit of BLING? – gave their first ever performance at Ronnie Scott's last August.

Coming from a thriving East London improvisation scene, "aquatic Krautrock experimentalists" Snorkel have made a logical step forward and released a single that was entirely recorded in one, improvised take. We are very happy to present here in its full ten-and-a-half minute glory the video of the recording, as well as a free download of a remix by Crewdson of another track from the session.

Django Bates ascribes the variety of musical influences at play in his work to his childhood - growing up listening to his father's remarkably eclectic record collection. In the first part of my conversation with Django, he talks about Loose Tubes, StoRMChaser and his new post at Bern University of the Arts.

Born in Beckenham, Kent, in 1960, Django Bates is a self-taught composer and founder member of the seminal big band Loose Tubes (1983-1990). As well as leading his own groups, Human Chain and Delightful Precipice, he has composed works for the Brodsky Quartet, Joanna MacGregor, Evelyn Glennie, the Britten Sinfonia and the Dutch Metropole Orchestra, amongst others. In 1997, Bates was awarded the prestigious Jazzpar prize, known as the 'Nobel Prize of Jazz' (previous recipients include Lee Konitz, Roy Haynes and Geri Allen).