Photograph of the Matt Carmichael Sextet by Pam Mann

EFG LONDON JAZZ FESTIVAL 2025

DAY THREE, SUNDAY NOVEMBER 16th 2025

GLORIA YEHILEVSKY / MATT CARMICHAEL, PURCELL ROOM

This double bill at the Southbank Centre’s Purcell Room formed part of the celebrations marking the twentieth anniversary of Take Five, the talent development programme established by Festival promoters Serious to nurture emerging jazz talent.

Serious describe the programme as;
“A vital launchpad for mid-career musicians, offering an artistic residency, industry upskilling, mentorship and a wider network of musicians and industry professionals alike.”

Many of the UK’s leading jazz musicians have benefited through their involvement with Take Five, including today’s featured artists, vibraphonist and composer Gloria Yehilevsky and saxophonist and composer Matt Carmichael.

GLORIA YEHILEVSKY

Gloria Yehilevsky – vibraphone, Aram Bahmaie, James Owston, Niklas Lukassen – double basses

First to take to the stage was classically trained percussionist Gloria Yehilevsky, born in California of Ukrainian heritage but now based in London where she is studying for a PhD in Creative Practice at Trinity Laban Conservatoire.

Yehilevsky operates at the interface of jazz and contemporary classical music, her experimental works combining elements of both composition and improvisation.

There was a degree of confusion about the start time of today’s event. It was my belief that things were due to get under way at 2.30 and arrived at the South Bank at 2.00 only to find that the performance had already started. My error I’m sure, although the appearance of a number of other late arrivals suggested that I wasn’t alone in this misapprehension.

I don’t think I missed much of the music but I did miss any introductory remarks that Yehilevsky might have made. The programme that she presented appeared to comprise of a type of suite, it was noticeable that there was no applause between numbers.

Playing with four mallets almost throughout Yehilevsky also deployed extended vibraphone techniques, including the use of alternative implements to strike the bars and her striking of the tubes of the instrument. She also used a bow on the bars to create an ethereal sound, a technique that has been deployed by an increasing number of vibraphonists in recent years.

Yehilevsky performed with a rotating cast of double bassists – the bass / vibes duo being one of her favourite performance formats. Although the names were not announced while I was in the hall online research suggests that they were Aram Bahmaie, James Owston and Niklas Lukassen. In the main the bassists alternated and the first three movements were performed in a vibes / bass duo format before all three bassists joined Yehilevsky for the fourth and final movement.

During the performance the bassists deployed both pizzicato and arco techniques and the presence of all three for the final movement allowed for both techniques to be used, making for an effective series of contrasts, particularly when Yehilevsky deployed a bow on the vibes as well.

This was immersive music that was very much at the experimental end of the jazz spectrum, not free improv as such but definitely with roots in both the jazz and classical avant garde. My late arrival meant that I couldn’t absorb myself in the music quite as fully as I would have liked, but this was still a fascinating, if occasionally challenging, musical experience.

MATT CARMICHAEL SEXTET

Matt Carmichael – tenor saxophone, Charlie Stewart – violin, Tom Gibbs – piano, Chris Amer – electric & acoustic guitar, Ali Watson – bass, Tom Potter – drums

Yehilevsky was a new name to me but I was more familiar with the Scottish saxophonist and composer Matt Carmichael, having favourably reviewed two of his three albums, namely “Where Will The River Flow” ( 2021) and “Dancing With Embers” (2025). His recorded output also includes his second studio release “Marram” (2022) and the digital only EP “Live at The Bimhuis” (2024).

I have also covered a previous live performance by a Carmichael led quintet at Kidderminster Jazz Club in June 2022.
https://www.thejazzmann.com/reviews/review/matt-carmichael-quintet-kidderminster-jazz-club-the-corn-exchange-room-kidderminster-town-hall-kidderminser-worcs-09-06-2022

A former finalist in the BBC Young Jazz Musician of the Year competition and a previous recipient of the Peter Whittingham Development Award Carmichael’s original writing explores the interface between jazz and traditional Scottish folk music. It’s an area that has been investigated by numerous Scottish jazz musicians – the links between the jazz and folk scenes are particularly strong in Scotland – including the hugely successful pianist and composer Fergus McCreadie, who appears on Carmichael’s albums in addition to leading his own highly acclaimed trio.

Today’s line-up featured a sextet of players, most of whom appeared on the recent “Dancing With Embers” release, with the excellent Tom Gibbs taking over from McCreadie in the piano chair.

Carmichael’s highly personalised blending of folk melody with jazz harmony and sophistication makes for music that is readily accessible and it is a sound that has won him a considerable following, but without any hint of compromise in terms of artistic integrity. It’s probably fair to say that most of this afternoon’s audience was probably there to see him and there was a considerable Scottish presence in the crowd.

As is typical of mots jazz musicians Carmichael is already thinking ahead to the next project and today’s performance began with a segue of new as yet untitled and unrecorded tunes. Gibbs, a bandleader in his own right,  ushered in the first at the piano, soon joined by Carmichael in a piano / tenor sax duo. A gentle folk like melody began to emerge with Stewart switching from pizzicato to the bow. Gradually guitar, double bass and Potter’s drum colourations were introduced as this atmospheric opening item metamorphosed into the next tune with a fuller band sound steered from the drum kit as the melodic lead alternated between Carmichael’s sax and Stewart’s fiddle. Ali Watson, also a bandleader, emerged from the shadows to deliver an engaging double bass solo, followed by Carmichael on tenor and Gibbs at the piano, a stalwart of Scottish jazz and a more than adequate replacement for McCreadie. I was hugely impressed by Gibbs’ performance throughout today’s set.

“The Far Away Ones”, the title presumably a reference to the Highland Clearances and the Scottish diaspora, is the opening track of the “Marram” album. A gentle intro, again featuring sax and piano, built into something far more rousing and celebratory as the band kicked in with Stewart’s fiddle leading a rapidly accelerating ‘jigs and reels’ section underpinned by the vigorous strumming of Amer’s acoustic guitar. The music became increasingly frenetic as Carmichael weighed in with a powerful tenor solo, all the while ramping up the tension prior to the inevitable release. There was a terrific energy about this piece with the whole band, and particularly Stewart, Amer and Carmichael, ‘getting down’. A delighted audience hollered their approval.

The performance concluded with a segue of tunes from the “Dancing With Embers” album, “Mangata” and “Kite”. I remembered from the Kidderminster show that the Carmichael group like to sequence tunes together (what the folk fraternity might call ‘a set’) and also to improvise around them, very much in the spirit of jazz. As a result a tune at a Carmichael live performance might sound very different to the recorded version. This was particularly true of “Mangata”, the recorded version of which features the guest vocals of Rachel Sermanni. Here the piece began with a tenor sax / piano intro followed by a passage of unaccompanied piano. The addition of the other instruments marked the passage into “Kite” with its attractive, folk inspired tenor sax and fiddle melodies underpinned by an E.S.T. style rhythmic groove.

The Carmichael sextet’s performance elicited a rapturous reception from the supportive if somewhat partisan crowd, and rightly so. This was a flagship gig for them and they had risen to the occasion. The only drawback that was the performance was far too short. It’s an unfortunate truism that this kind of ‘double bill’ event can result in bands having to curtail their usual sets, often at the point where they’re just beginning to hit their stride. That was rather the case here and I could gladly have seen and heard more from Carmichael. I’m consoling myself by listening to the “Dancing With Embers” album as I write.

TREYJA, CRAZY COQS

Sara Colman, Tara Minton, Clare Wheeler – vocals, Rebecca Nash – piano, Loz Garratt – electric bass, Jonah Evans – drums plus guest Trish Clowes – tenor saxophone

This early evening show at Crazy Coqs featured Treyja, a new sextet co-led by three female singer songwriters, Sara Colman, Tara Minton and Clare Wheeler. Subtitled “Songs and Stories” this performance featured the original songwriting of all three co-leaders, their vocal harmonies complemented by a rhythm section featuring pianist Rebecca Nash, herself a vital part of the Treyja project, plus bass guitarist Loz Garratt and drummer Jonah Evans. The core sextet was augmented on a number of pieces by guest saxophonist Trish Clowes.

In a sense Treyja represents an expansion of Colman and Nash’s Ribbons project, which is set to release its debut album shortly. However Treyja brings two more songwriters on board, the Australian born Tara Minton, who is also an accomplished harpist, and Clare Wheeler.

As the subtitle of the show suggests Treyja’s music is very much about “Songs and Stories” and the songs of the group’s three writers are written from a personal and determinedly female perspective.  Announcements were shared between the three vocalists, with each introducing their own songs.

The performance commenced with a Minton’ song with a Spanish title translating as “In Another Life”, the lyrics speculating about what might have happened had an individual’s life followed a different path. This laid down the template for the evening with stunning vocal harmonies, both wordless and when sharing lines of the lyrics. Nash added an expansive piano solo and the rhythm team of Garratt and Evans provided flexible and intelligent support throughout.

“He Who Laughs” was written by Wheeler for her young son Isaac and featured Clowes as a guest instrumental soloist alongside Nash. The presence of Clowes, a band leader in her own right and a regular presence on The Jazzmann web pages represented a considerable bonus. In addition to Wheeler’s intensely personal lyrics there were also soaring wordless vocal harmonies from the co-leaders.

Minton’s “Lines” took inspiration from her Australian heritage and the book “Songlines” about the creation myth of the indigenous Australian population. The interlocking songlines and lifelines inherent in the title were explored by the similarly inter-linked harmonies of the three vocalists, with Minton delivering a particularly impressive high register ‘solo’ in the style of a jazz instrumentalist, this followed by a piano solo from Nash as the singers took a well earned ‘breather’.

Colman informed us that Treyja was formed just over a year ago and that this was only the band’s second gig. The song “Open” was developed by Colman and Nash from a solo guitar piece written by one of their regular collaborators, guitarist and composer Steve Banks. This was a duo performance featuring Colman and Nash only.

The full band returned for a new arrangement of Colman’s “What We’re Made Of”, the title track of her 2018 album featuring Nash, Banks and others. This began with Colman and Nash continuing in duo mode, but with bass and drums added as the other two vocalists joined to share the lead. Nash delivered a jaunty piano solo and Colman an impressive wordless vocal feature. The songs lyrics carried a message of both love and defiance – “turn around and face the sun, this is what we’re made of”.

The three singers worked together on the collaborative song “Meant For Shining”, another song that commenced with the duo of Colman and Nash with bass, brushed drums and the voices of the other singers subsequently added. Both the structure of the song and its lyrics hinted at Colman’s love for the music of Joni Mitchell, Colman’s 2022 album “Ink On A Pin” being a collection of interpretations of Mitchell songs. Part way through the song the band motioned for Clowes to join them on stage, which she did for a fluent and expansive tenor solo, with Nash following suit at the piano. Clowes’ r’n’b style tenor then soared over the singers’ swooping vocal harmonies on the outro.

“The Gardener”, a song  addressing the situation of women in Afghanistan under the rule of the Taliban, was originally written for Colman and Nash’s Ribbons project. A new arrangement introduced the vocal harmonies of Minton and Wheeler and also included powerful instrumental solos from Nash, at her most percussive on piano, and Clowes on tenor sax.

Among Wheeler’s other projects is The Christmas Project, a collaboration between herself and the Dutch musicians Henk Kraaijeveld (voice) and Jan Willem van Delft (piano). Together with Egyptian vocalist Amena Elabd this group recorded the charity single “The Coventry Carol”, raising money for the charity Save The Children. The carol’s lyrics are a mother’s lament following the Massacre of the Innocents by King Herod, as told in St. Matthew’s gospel. In the wake of recent events in Palestine it’s a song that sadly still has a very contemporary relevance. Not surprisingly Wheeler was the featured vocalist here, her stunning solo feature containing her muezzin like wailing as her co-singers harmonised around her, skilfully and sympathetically supported by Nash, Garratt and Evans.

The performance concluded with “The Mysterious Anarchist”, a vocal tour de force that also saw Clowes returning to the stage as Treyja signed off in style, their gig a considerable triumph for all concerned.

I have to admit that I enjoyed this gig far more than I thought I would. Not always a huge fan of vocal jazz I’d chosen it to fit a gap in my schedule but having seen Colman, Nash and Minton perform on previous occasions I knew I’d find something to enjoy here. It turned out to be even better than expected with intelligent and varied original songwriting covering a broad range of topics, great vocalising and some excellent instrumental playing. The presence of Clowes, which I didn’t know about in advance, was a huge bonus while Nash was the musical linchpin of the band and also delivered some brilliant solos. A word too for Garratt and Evans who were on the money throughout and made an immeasurable difference to the performance.

Thanks to Trish Clowes, who had spotted me in the crowd, for coming over to have a word with me afterwards with the good news that her own band, My Iris, will be releasing a new album in the Spring of 2026. That’s really something to look forward to.

Also to Rebecca Nash and vocalist Emily Masser, who was handling the Treyja mailing list, for a quick word on my way out and thanks also to Sara Colman for contacting me by email afterwards after having been made aware of my presence.

A gig that exceeded expectations and it is to be hoped that Treyja, preferably plus Clowes, will be able to record this material for album release in the New Year.

EMMA RAWICZ’S INKYRA / MICHAEL WOLLNY TRIO, QUEEN ELIZABETH HALL

Back down to the Southbank for another double bill, this time featuring two groups associated with the prestigious German label ACT Records.

British saxophonist and composer Emma Rawicz has just released “Inkyra”, her third album for the label following the quintet album “Chroma” (2023) and “Big Visit” (2025), a duo recording made with pianist Gwilym Simcock.

Meanwhile the German pianist and composer Michael Wollny has been associated with the label for more than twenty years and appears on over thirty albums as either leader or sideman.

EMMA RAWICZ’S INKYRA

Emma Rawicz – Tenor & soprano saxophones, Gareth Lockrane – flutes, alto flute, bass flute, piccolo,  David Preston – guitar, Scottie Thompson – piano Rhodes, Prophet synth, Kevin Glasgow – electric bass, Jamie Murray – drums

First to take to the stage was the all British quintet Inkyra, led by saxophonist and composer Emma Rawicz. Tonight’s line-up was exactly the same as the one that appears on the “Inkyra” album, a recording that celebrates Rawicz’s love of prog rock and fusion and also of Brazilian music.

At the 2024 EFG LJF Rawicz led another all star group featuring trumpeter Laura Jurd and drummer Anton Eger at Kings Place as part of her project “Visitor from Everywhere”, a homage to the late, great Wayne Shorter. That gig was one of the best of the entire Festival and is covered elsewhere on this site. If this year’s performance didn’t quite hit the same heights it was still highly impressive.

I had hoped that the “Visitor From Everywhere” material might have represented Rawicz’s latest release, and it is to be hoped that it will still appear on disc. Instead we have “Inkyra”, which was actually recorded in October 2024, before that Kings Place show. And as Rawicz informed us the Inkyra band has been operating since 2021, alongside Rawicz’s numerous other projects.

Drawing on those prog, fusion and Brazilian influences the music of Inkyra is dense, complex and makes use of unusual time signatures. It’s also bright, colourful and exciting and by no means inaccessible.

Thompson’s use of the Prophet synth is a distinctive component of the band’s sound, as are Lockrane’s array of flutes and both were in evidence on the opening segue of the atmospheric “Earthrise” -  with its blend of synth, flutes, cymbal shimmers, and Garbarek like tenor sax – and the following “Particles of Change”. The latter saw Murray establishing an off kilter drum groove that provided the launch pad for a Rawicz tenor solo that exhibited a Brecker-esque power, this followed by a keyboard solo featuring the sounds of the Prophet. Murray’s colourful drumming was a feature throughout and he was rewarded with his own feature towards the close.

“All My Yellow Afternoons”, which featured the doubling up of Lockrane’s flutes and Rawicz’s tenor on the theme exhibited a prog rock influence embodied by Preston’s soaring guitar solo. At times Rawicz’s own powerful playing was reminiscent of such prog rock saxophonists as Mel Collins (King Crimson) and David Jackson (Van Der Graaf Generator).

“Yellow Afternoons” was segued with “Portrait of Today” which saw Thomson moving to acoustic piano for the opening sax / piano duet, the rest of the band then joining to provide a very full ensemble sound punctuated by the soloing of Rawicz on tenor, Preston on guitar and Lockrane on piccolo, a particularly distinctive contribution that was followed by a dynamic drum feature from the excellent Murray.

Murray’s drums introduced “Time and Other Thieves” as Thompson returned to the Prophet synth for one of the most obviously prog rock numbers of the set with spacey synth textures combining with a solid rock groove that provided the basis for Lockrane’s   bass flute solo. A second tenor sax / acoustic piano episode provided the link into “Moondrawn (dreaming)” with its heavy rock rhythms and turn on a dime dynamic changes framing a scorching Preston guitar solo and Rawicz’s blistering sax attack.

The penultimate number of the set was the proggy “Anima Rising”, introduced by Preston at the guitar and featuring solos from himself and Rawicz.

Rawicz’s love of Brazilian music found expression in the closing number “Marshmallow Tree”  with its breezy South American rhythms and Lockrane’s vivacious flute soloing, alongside Thompson on acoustic piano. One suspects that the late, great Heremeto Pascoal may have been a particularly significant influence here.

An excellent set from Rawicz which covered virtually all of the “Inkyra” recording, albeit in a different running order at this official album launch event. The performance was presented by Rawicz with her usual charm and eloquence and the standard of the playing was excellent throughout. It was interesting to observe that the leader was the only band member not reading music (as far as I could tell). Playing music of this complexity and sophistication from memory is a pretty impressive feat, but there was still plenty of scope for a degree of improvisation.

As good as this had been there was even better to come with a sensational performance from the Michael Wollny Trio.

MICHAEL WOLLNY TRIO

Michael Wollny – piano, electronics Tim Lefebvre – double bass, electronics, Eric Schaefer – drums, percussion

The German pianist and composer Michael Wollny has been a regular presence on the Jazzmann web pages since I first heard his music back in 2007.

In those days Wollny was a member of the collaborative trio , which also featured bassist Eva Kruse and tonight’s drummer Eric Schaefer. All three members wrote for the group and the trio recorded a total of five albums for ACT between 2005 and 2010.

Wollny has also enjoyed a prolific career as a solo artist and also as a serial collaborator and has recorded a total of over thirty albums as a leader or co-leader for ACT. These include solo piano work and also duo collaborations with the likes of saxophonist Heinz Sauer, accordionist Vincent Peirani and fellow pianist Joachim Kuhn. There have also been a number of all star aggregations featuring Wollny alongside a plethora of other musicians associated with the ACT label. Please visit his website http://www.michaelwollny.com for a fuller overview of his career.

The Jazzmann has reviewed numerous Wollny recordings with , as a solo artist, and as a duo partner with both Kuhn and Sauer. These accounts were written more than a decade ago at a time when I was routinely sent virtually every new ACT release, sadly something that doesn’t happen any more.

I’ve also reviewed live performances both by {em} and its natural successor the Michael Wollny Trio featuring Schaefer and the American bassist Tim Lefebvre, the group that released the excellent “Weltentraum “album back in 2014. I enjoyed seeing the Wollny Trio perform at both the Cheltenham and Brecon jazz festivals this year, shows that featured the Swiss bassist Christian Weber filling in for Lefebvre.

The trio, either with Weber or Lefebvre have released a number of other albums since then, some of them live recordings, others studio collaborations with other artists.

I’ve continued to keep half an eye on Wollny’s career but much of his recent output has slipped under my personal radar and prior to this evening it had been more than ten years since I last saw him perform live in the classic piano trio format.

The prospect of seeing the current Wollny Trio as part of a double bill with Emma Rawicz was too good to resist, although it did seem rather perverse that Wollny was scheduled directly opposite another of Europe’s leading pianists, the equally brilliant Marco Mezquida, who was playing next door in the Purcell Room.

Since I last saw the Wollny trio the pianist has taken the decision to approach each gig unprepared, with no pre-planned set list, but with tunes from the trio’s back catalogue being allowed to surface spontaneously before being taken to exciting new places. It’s not free improv as such but nevertheless it’s a daring approach, and one that delivers unimaginably wonderful rewards.

The trio’s latest live recording “Living Ghosts” exemplifies this approach, a double album featuring four lengthy, constantly evolving sequences of tunes. It makes for a thrilling, edge of the seat listening experience and this is exactly what the trio delivered for us tonight.

The Wollny Trio’s approach demands an astonishingly high level of interaction and an intuitive musical rapport. These qualities are there in abundance, Wollny has been working with Schaefer more or less constantly for twenty five years and on and off with Lefebvre for fifteen. These are three musicians who know each others’ playing inside out.

Wollny’s music has always embraced many elements, including both jazz and classical forms combined with something of a rock attitude and edge. Wollny is a musician who celebrates his German, and wider European musical heritage. There’s often a dark ‘gothic’ feel to his music that is informed by literature and the cinema. As a classically trained pianist his technique is impeccable and when combined with his sense of musical adventure it’s an unstoppable force of nature. Tonight’s performance featured just two lengthy sequences but each was simply teeming with ideas, the music constantly shifting in terms of style and dynamics with both Schaefer and Lefebvre totally in tune with Wollny’s ideas and his relentless creativity.

Reviewing tonight’s performance for London Jazz News Jon Turney wrote;
“Want to know what Michael Wollny, Eric Schaefer and Tim Lefebvre played on Sunday night? Sorry, I put aside my notebook after the first couple of minutes of this extraordinary gig. Their music demands total attention and pausing to write anything down would simply mean missing too much.”

Well I felt exactly the same, although I dutifully continued scribbling things down periodically, such notes as I have forming the basis for the following description of the trio’s spellbinding and frequently astonishing performance.

A stunning opening sequence that lasted the best part of an hour seemed to have everything, evolving from a classically influenced solo piano opening to embrace jazz and even rock influences. I was surprised to see Lefebvre, who I’ve always considered to be an electric bass specialist, playing acoustic double bass, and doing so absolutely brilliantly. With Wollny and Schaefer set up facing each other on stage the level of interaction between the members of the trio was intense with Wollny’s feverishly percussive piano playing matched by Schaefer’s busy, colourful, densely detailed drumming. On occasion Wollny would reach into the piano’s innards, variously dampening, plucking, strumming and striking the strings, Schaefer responded with the sound of bows on cymbals while Lefebvre added a little electronic exotica to the mix.

At one point a round of audience applause broke out as the crowd mistakenly thought we’d come to the end of the first piece, but there was to be no stopping the trio as the music continued through dark gothic passages to a tender ballad featuring a melodic double bass solo from Lefebvre. Wollny’s subsequent piano solo ramped up the energy levels again, his thunderous Cecil Taylor like eruptions accompanied by Schaefer’s volcanic, rock inspired drumming.

Subsequently the dialogue between the pianist and the drummer became more playful as the music embraced some fiercely swinging passages rooted in the jazz tradition before culminating in a Schaefer drum feature augmented by electronic sounds generated by Lefebvre and Wollny.

The music seemed to have come full circle with a Gothic flavoured passage of solo piano but the addition of double bass and brushed drums saw Wollny steering the music in a different direction once more with the introduction of a delicate song like melody.

A second solo piano passage then led towards something more forceful, punctuated by Schaefer’s drum explosions. Next a more playful episode leading into a second ballad instalment with the bass again prominent in the arrangement.

The music continued to shift shape and style almost constantly, a free jazz style dialogue embraced interior piano and drum skin scrapings before Wollny emerged with a highly percussive piano solo fuelled by Schaefer’s dynamic drumming, the sheer speed of the drummer’s hands a source of fascination and wonder. A free jazz breakdown then led into a barnstorming finale with Wollny hammering at the keyboard like the bastard son of Jerry Lee Lewis. A massive audience ovation followed.

Wollny then spoke for the only time, explaining something of the methodology of the trio’s performance and the meaning behind the album title “Living Ghosts”, basically the random exhumation of tunes from the trio’s extensive back catalogue. However none of these were actually announced and I’m not going to speculate. We also learned about how long the trio members had been playing together and that this was the tenth date of an ongoing European tour, with the group members feeling themselves to be at the top of their game, both individually and collectively. No arguments there.

A second, shorter sequence, essentially the encore, was no less gripping, emerging from a classically inspired solo piano intro into a thoughtful piano and drum / percussion dialogue with Lefebvre holding back. The addition of double bass took the music into ballad mode with Schaefer deploying brushes and Lefebvre coming into his own with another beautifully melodic double bass solo. Wollny’s subsequent piano solo saw the tempo increasing and the tension beginning to build, his playing becoming increasingly percussive as Schaefer’s drumming became more and more explosive, the trio teasing the audience with sudden sidesteps into quieter passages followed by a series of tantalising false endings. Finally we had the tumultuous, thundering, barnstorming finish and a standing ovation.

What a gig! The Wollny Trio is a world class act, arguably the planet’s premier piano trio. The performance of the Festival without a doubt.

But I’d have loved to have seen Marco Mezquida too.

 

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