London Jazz Festival, in association with BBC Radio 3, Friday 11 to Sunday 20 November 2011

Our team of Festival volunteers have been travelling across the cit, catching as many gigs as they can humanly manage, and reporting on/reviewing the music they’ve seen. I’ve uploaded the full reviews on Facebook. But here are a selection of highlights.

“It seemed that half the audience at last night's Toumani Diabate concert had not ever heard a kora before. I couldn't help feeling that this venue was perfect for their first experience! Union Chapel's beautiful interiors and high ceilings perfectly suited what was to follow- an almost spiritual sonic experience... All in all, an absolutely beautiful concert- calming, entertaining and a thrill to watch.” Toumani Diabate, Union Chapel – by Cara Stacey. Full review

“Coleman took us on a whirlwind tour across a multitude of musical landscapes and themes, from hot to cold, from sad to playful, from heavy grooves to fluid floridity and lyricism… In terms of the ensemble playing, the band gelled under an immense degree of sensitivity; the musicians almost predicting one another's next moves and turns… Altogether it was a fantastic start to the festival; leaving the audience cheering and pleading for more. Absolutely stunning!” Steve Coleman, Queen Elizabeth Hall – by Rory Duffy. Full review

“One of the aspects that distinguishes the London Jazz Festival from many of the other festivals that take place in the city is the efforts it makes to reach out to audiences far beyond the West End. Hence, tonight we’re in Deptford, at the Albany. Until the 1980s, the venue used to be a regularly stop on the touring circuit for bands. It is even rumoured that Tom Waits once ventured down to SE8. These days the venerable old place rarely hosts major gigs, so it’s great to see that it is standing room only for this LJF show by saxophonist, and occasional MC, Soweto Kinch.” Soweto Kinch, The Albany – by Kevin Milburn. Full review

“The Ethnic Heritage Ensemble are Corey Wilkes on trumpet, Ernest Dawkins on saxophones and leader Zahil El’Zabar on voice and percussion…. El’Zabar’s swaying, chanting and impassioned percussion never stop. The intensity then picks up again with El’Zabar scatting furiously, Dawkins drawing delighted applause as he plays alto and tenor saxophones simultaneously, and Wilkes swinging his trumpet from side to side and up and down. Don’t try any of that at home.” Ethnic Heritage Ensemble, Pizza Express Jazz Club – by Paul Harrison. Full review

“A haunting piano melody begins the performance. Some of the notes ring out clearly, but others sound strange like the strings are broken. Kit Downes' piano is joined by the rich tones of Shabaka Hutchings' bass clarinet. Kit reaches into the piano, strumming and plucking the strings. As we move into the second piece the pianist is producing a startling range of sounds and textures.” Shabaka Hutchings & Kit Downes, The Forge – by Paul Harrison. Full review

“What an incredible combination - saxophones, tuba (substituting bass), piano and guitars, fronted by 3 West African percussionists - congas, cajon and djembe. The hits and stops were as well-rehearsed and tight as the skin of a drum, and the swift interchanges of texture, rhythm and harmony made for a stimulating performance, bubbling with good vibes, leaving you fulfilled and on top of the world!” Oren Marshall, Charlie Wright’s – by Rory Duffy. Full review

“A vocalist of extreme versatility and skill, using complex melodic lines, and vocal dynamics, sometimes accompanied by a bossa beat , Gill gave a new lease of life to classic songs such as “My favourite things” from the Sound of Music “Everyone’s talking “ Midnight cowboy and the Michel Legrand tune “ I will wait for you" “ Gill Manley, Hideaway – by Ijeoma Azubuike. Full review

“Emilia’s soulful voice immediately engaged the crowd as did the unique twists she gave to all her vocal material. Emilia’s performance provided a fantastic contrast to the innovative electro-jazz ensemble Moss Project, led by guitarist Moss Freed. Fusing jazz and elements of folk, rock and classical music with ease, The Moss Project’s phenomenal skills as instrumentalists was clear as they launched into long sections of complex free playing. Aresounding success.” Emilia Martensson & Moss Project, Green Note – by Julia Morris. Full review

“In just three days, I have been completely blown off my feet by some of the amazing things happening in the festival, and the sheer talent that is all around us, but this has definitely been the highlight for me so far. Here is a band destined for great things, and definitely one to follow in the coming months with plenty of shows lined up and the promise of an album release in the forthcoming year, and one I'll be raving about to everyone I know. The band modestly describe themselves as 'a work in progress'... I say that it is a work of a collective genius, and an inspiration for musicians and audiences alike across all genres and backgrounds, for generations to come.” PB Underground, Jazz Cafe – by Rory Duffy. Full review

“Entertaining, thought provoking and magical.” Soumik Datta, Rich Mix - by Ijeoma Azubuike. Full review

“Cleveland’s take on jazz is nothing if not eclectic. For this performance he is accompanied by piano, bass, drums, sax and trumpet, with the brass, in particular, providing elegant backdrops, reminiscent, at times, of those created by the great Kenny Wheeler. But as sympathetic as the musical settings were, the evening, entitled ‘Jazz Voices’, was really all about the singing. This came from the stage, thanks to the massed ranks of three choirs, two from Greenwich’s Trinity Laban college, the other from Plumstead Manor Choir, as well as from the floor. An inspiring evening.” Cleveland Watkiss & Trinity Laban, Blackheath Hallls – by Kevin Milburn. Full review

“Matt Roberts presented his all-star big band lineup made up of current and ex-students from the London music colleges. The concert consisted of five compositions, all written by Matt Roberts himself. His progressive compositional style is gloriously reminiscent of Bob Curnow and Pat Metheny, combining an age-old charm with the new and challenging ideas.” Matt Roberts Big Band, Front Room – by Rory Duffy. Full review

“John Turville Trio playing numbers from their new album, Conception. The clear, well-projected piano lines flow in a fluid, fluent exploratory improvisation consisting of captivating lines and shapes - characteristically bubbling up in small bursts with tight, chunky collisions against the percussion, which are always pulled off with style.” John Turville, Barbican Freestage – by Rory Duffy. Full review