Neil Spencer

1 week ago | theguardian.com | Neil Spencer

With six members, the Gigspanner Big Band is not particularly big, though their collective elan has a forceful presence unmatched in British folk: a little classical, a little jazzy, highly inventive while their material remains almost entirely traditional. Founded by fiddle player Peter Knight, once of Steeleye Span, the ensemble contains two duos and a trio as well as the full six piece.

3 weeks ago | theguardian.com | Neil Spencer

Saxophonist extraordinaire Branford Marsalis claims his garlanded quartet is “a chamber group rather a jazz group”, by which he presumably means they are not thirsting for innovation but happy to celebrate and interpret tradition. Hence Belonging, a reprise of Keith Jarrett’s groundbreaking 1974 album that is also Marsalis’s debut for the Blue Note label skilfully resurrected by Don Was.

1 month ago | theguardian.com | Neil Spencer

Folk’s connection to the mythic and magical traditions of our isles has been in the ascendant for several years, spurred on by cinematic “folk horror” and the lingering influence of The Wicker Man. This debut from singer Liz Overs is thick with pagan references – unsurprising given that shehas hosted a monthly radio show devoted to Sussex folklore, and has for years sung with local group Chalk Horse Music.

1 month ago | theguardian.com | Neil Spencer

Since her 2007 debut, Wild and Undaunted, Londoner Lisa Knapp has blazed an impressive trail at the avant edge of British folk, her bravura vocals lighting up self-penned songs and well-loved standards, while the inventive arrangements of partner and producer Gerry Diver – now credited as co-creator – have helped capture the wyrdness, wonder and darkness of folklore. On Hinterland, the pair repeat the trick to thrilling effect.

1 month ago | theguardian.com | Neil Spencer

Now 48, trumpeter Pelt has maintained a profuse presence in US jazz since his early 20s, racking up an impressive 25 albums, while his contributions as a sideman run into scores. His playing stands squarely in the post-bop traditions of Clifford Brown and Freddie Hubbard, with occasional forays into the electric realm. Pelt himself is an agile player, capable of both fiery declamation and intricate intimacy while always remaining melodic and accessible.